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At a time when racial divides in the UK feel especially palpable, film and TV can not only help bridge those gaps but show that our nation’s multiculturalism is not a modern thing. Finally, the industry is demonstrating that period drama is a genre in which racial diversity can be both reflected and celebrated, rather than any group being excluded because of outdated and inaccurate perceptions of our collective history. Is it time to retire the all-white period drama, then?

In television, film and theatre, ethnic minorities are represented better than ever, which is something that most actors and directors of colour feel should be celebrated. While the conversation around casting processes might sound like hair-splitting, it does seem important to interrogate the results they produce – particularly in TV, where there is a significant discrepancy between representation behind the camera and representation in front of it. Essiedu is best known for his role as Kwame in I May Destroy You. He is also recognized for his work in The Capture, The Lazarus Project, Anne Boleyn, Gangs of London, Press, National Treasure: Kiri, The Miniaturist, Murder on the Orient Express and Men. He has appeared in Royal Shakespeare Company productions of Hamlet and King Lear.

Barriers to entry

In some ways, I am loath to admit that it was not until I watched Bridgerton that I realised that I had never truly experienced period drama in the way that I believe it is supposed to be experienced, because I had never seen someone who looked like me be truly involved in the romance of it. I have always had a rich imagination, and yet, I had never been able to transport myself into one of these scenes. In my mind's eye I was always watching the characters from the other side of the glass. But if it’s the former then perhaps we can hope for a theater that respects the integrity of both new and classic plays while also using them to reflect on urgent contemporary questions of race, gender and sexuality, as in Phyllida Lloyd’s all-female Shakespeare productions. And sometimes even these questions might yield to the excitement of thrilling actors taking on roles written for characters with dissimilar bodies, ethnicities and cultural identities. When Oscar Isaac plays Hamlet this summer, it’s difficult to imagine Shakespeare tsk-ing in his grave. Gordon, Joel. “When Superman Smote Zeus: Analysing Violent Deicide in Popular Culture.” Classical Receptions Journal, vol. 9, no. 2, 2017, pp. 211–236. doi 10.1093/crj/clw008. [Crossref] [Web of Science ®] , [Google Scholar] Appiah, Kwame Anthony. The Lies That Bind: Rethinking Identity. 1st ed., Profile Books, 2018. [Google Scholar] Fast forward to 2015, when Lin-Manuel Miranda in Hamilton redefined what it meant to cast inclusively in modern period dramas by using actors descended from slavery and colonialism to play the Founding Fathers. Every aspect of the musical was designed to reframe the existing narrative of early American history. The costume design also reflected the identities of the actor by featuring braids, locs, and textured hairstyles over 18th century white hairstyles. Rap lyrics conveyed to the audience the names, dates, and other descriptions of the Revolutionary War. The old adage that someone must “look the part” to play a biographical role was thrown out the window.

Rosalind Eleazar and Dev Patel in The Personal History of David Copperfield, directed by Armando Iannucci. Photograph: Allstar/FILMNATION ENTERTAINMENT While a certain amount of progress has been made with on-screen talent in recent years, and although several entertainment companies are starting to make strides toward diversity and inclusion, our new analysis shows that inequity persists and is deeply entrenched across the film and TV ecosystem. Data on the levels of diversity and representation on-screen have been available for several years. But those numbers alone, as important as they are, tell only one part of the story. We examined in detail the racial complexities and challenges of this dynamic workplace, analyzing the entire film and TV ecosystem—including studios, networks, production and streaming companies, and distributors—through the lens of the individuals who must navigate it: on-screen talent, as well as off-screen writers, producers, directors, executives, agents, crew members, and beyond. The Personal History of David Copperfield is released in the UK on 24 January and in the US on 8 May. Great Expectations was published in 1861, but the story of Pip and the people who encourage then disappoint his expectations takes place over 30 or so years, beginning around 1810. Bashy says his casting as Jaggers is realistic and, looking at this period, it is. hooks, bell. Reel to Real: Race, Class and Sex at the Movies. 1996. Routledge, 2009. [Google Scholar]

Lady Danbury (Adjoa Andoh), Simon’s godmother, is an elder stateswoman and a twist on the battle-ax aunt trope popular in period dramas. She isn’t as caustic and insulting as some other famous widows and spinsters but she commands authority and a mansion filled with people to perform all the hard labor. Lady Danbury is even implied to be slightly higher in status than her white counterparts with children of marrying age Lady Violet Bridgerton (Ruth Gemmell) and Lady Portia Featherington (Polly Walker). Set realistic expectations. Casting calls often attract a lot of attention, so it's essential to set realistic expectations for who you're looking for and how many people you expect to audition. Follow up. After the casting call, take some time to follow up with each candidate. Thank them for their time and let them know whether they are being considered for the role. Brooker noted that Paul “had to wrestle with some grim material.” Adding that they “were filming in a heat wave, and I have no idea how he stayed sane.” Be professional. Remember that this is a business transaction and treat it as such. Be respectful of each person's time and be clear about your expectations.