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Anything that they chose to do," Carson said on NBC's "Meet the Press." Carson responded, "In the ideal situation, the mother should not believe that the baby is her enemy and should not be looking to terminate the baby.

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due to his choice to cast a black actor in the featured role of Nick.

African-American actors Denée Benton (a 2017 Tony nominee for her starring role in Natasha, Pierre & The Great Comet of 1812) and Norm Lewis (a 2012 Tony nominee currently starring in Off-Broadway’s Sweeney Todd) sat down with The Great Comet general manager Andy Jones to talk about their experiences auditioning and working in entertainment and their hopes for the future of the industry.

There was a big deal recently when you played the Phantom; you also did Javert in Les Miz, Triton in The Little Mermaid. I mean, it just brought in so many different things. There was a line in the show where I’m talking to Sonya about Anatole. And yet, in The Great Comet, Denée, nobody in the audience really talks about the fact that an African-American woman plays Natasha. If there are ten shows written in a year, nine of those roles she will be considered for a white woman without a question. Because I can play a valley girl That’s not the point. And most of the time, it’s being asked to sound less educated and less like you have your stuff together. And they put her in a lot of different things in that way.

So do you think that this opportunity that you got, Denée, is a one-off? Because it’s a different form of oppression to be kept from it, in my opinion. NL: I mean, Hamilton helped a lot, because—DB: Because it made so much money, too.

I would have just assumed they weren’t looking for me to tell that story. But I had gone in for [director] Rachel [Chavkin] and [writer] Dave [Malloy] before with a different show and I felt like they really saw me. Denee you played a Black Lives activist in Un REAL. I think the issue for me, for the black roles that are available, many of them are wonderful and written well, but there’s so few of them that if you don’t do them well, then you’re afraid you won’t work. Read More: WHY THEATRE NEEDS MORE STORIES ABOUT BLACK WOMEN TOLD BY BLACK WOMENNL: No, but it’s true. That’s one reason why a lot of these shows, especially in the ‘70s, were written as the “black” version of something. I mean, that has been a dream role of mine for years. It affected my dating prospects in school when I was a kid. And they said “We’re really going for this sassy, really urban vibe.” And I said “Well, I’m from the suburbs.