The Power of Entertainment: The Show Must Go On

[Takao Minori]
The coronavirus swept through the city of New York as it did the rest of the world. People here experienced one of the worst outbreaks, and wondered if life would ever be back to normal again. But today, you can feel that the energy of New York is back. And Broadway is back too.

[MAN]
"The theater is open, welcome to Hamilton."
[VIDEO]
Broadway reopened in September after an 18-month shutdown under which all theaters had been closed. Strict infection control measures were introduced to begin the reopening process.
[MAN 2]
"Broadway is needed. It's just nice to have live theater back."
Meanwhile, the pandemic dramatically changed how people enjoy entertainment. Digital streaming services that can be accessed anywhere anytime have taken off. That's led to digital technology being integrated in all areas of entertainment.
[THE CROWD]
"Black Lives Matter!"
The pandemic also deepened social divisions. Expectations are rising that entertainment can help overcome this strife.
[MAN 3]
"To fight against racist ideologies."
How has the pandemic changed entertainment? And what role should it play in these uncertain times?

[TAKAO]
Welcome to Global Agenda. And a special edition brought to you from our new NHK WORLD studio here in New York City. This city is a hub for entertainment, from musicals, to operas, to concerts to movies. Well, the coronavirus pandemic hit all of those industries and the people who work in them very hard. Theaters, studios, concert halls were forced to close. Today we are joined by people who have devoted themselves to the world of entertainment and who have witnessed the hardships first-hand. Welcome to the studio. And Amon, welcome to our studio in Tokyo.

[Miyamoto Amon / Theater Director]
Thank you.

[TAKAO]
First, we are joined by Vanessa Williams. Actor, singer, writer, fashion designer. Oh, my goodness, you wear so many hats. And your career spans over so many years. You've seen it all on screen, on stage. Where were you? What were you doing when the pandemic hit?

[Vanessa Williams / Actor, singer]
I was actually starring in my first production on the West End in London. I was in a show called "City of Angels." And we had completed one week of previews and we were about to open the following week. And they closed down Broadway that Wednesday. And then we ended up five days later being closed down, so. Unfortunately, I never got a chance to premiere on the West End in London. I went home, and I ended up getting sick and getting COVID from being in London. Of course, as an actor, we're in a show, we're touching, dancing and speaking and singing and touching props and stuff. And we could see slowly, the people that were in the production slowly getting sick and sick. So luckily, thank God, I was fine. I didn't have to go to the hospital.

[TAKAO]
Did you wonder what was going on? It was still very... lots of questions back then.

[WILLIAMS]
Yeah. Well, in London, there were only a handful of cases. The pubs were still open so we would do the show and then go to a pub afterwards. And socialize. And then they slowly started closing down businesses. And then when we knew Broadway was closed, I knew that the border to the US was going to be closed soon. So that was kind of my key to try to get out of the country and get back home before it really shut down. And it was devastating. It was otherworldly. When you see the London streets bear. When you come to New York and you see Times Square when nobody's out and everything is boarded up. It's like you're living in a movie set or so.

[TAKAO]
And David. David Rooney will be sharing with us his deep knowledge as journalist, critic of theater and film. You are the Hollywood Reporter's chief critic for both of those fields. Please tell us how you were affected. And perhaps even the work that you do. Of course, when everything else shuts down and you're writing about them, it must have affected you.

[David Rooney / Chief Film and Theater Critic, The Hollywood Reporter]
A lot. It really did. I mean, I was in New York at the time, and it was probably the busiest period of the Broadway season, it was just starting up. Broadway was the first industry to shut down across the board on March. And it was the last one to reopen. So, it really has had a terrible impact there. But for me, I mean, at that time, I was strictly chief theater critic. I've since moved to chief film critic, because basically, there was no theater to review. And I had my calendar full right through April of Broadway openings. I had so many things. One of the saddest things was, looking out, I live in Chelsea, the streets were deserted, it was suddenly like a ghost town. And every day, I would look at my calendar on my phone, and there would be a Broadway show that night and I didn't cancel, I didn't delete them so I could see them all coming and when they would have opened. Some of them didn't open. Some of them closed completely in previews and never reopened. Some of them are still in the process of reopening. So, I think when you cover an industry like the New York theater industry, it's such a tight knit community. People are very supportive of each other. And it's such a deep pool of talent. But all of those people suddenly being out of work... Suspended in limbo for a year and a half. And it kept being pushed back. First, it was three months, then six months, then a year. I mean, it was an incredible thing to be going through and to see how it affected everybody in the entertainment industry. But I think the Broadway community was really hard hit and it will take some years to recover.

[TAKAO]
And Miyamoto Amon is joining us from Tokyo. Thank you for remotely joining all of us. Miyamoto Amon, wonderful to have this discussion with you. You've been directing plays, musicals, Kabuki, opera, all these things in Japan and all these other countries as well. How did the pandemic affect you?

[MIYAMOTO]
In February 2020, I was hosting a workshop on "The Karate Kid" in New York. When that was over, I came back to Japan in March. And that was when things suddenly started to happen, even in the theater world. The government asked each theater producer to decide whether to stop, or go on with the shows at their own risks. That was a really tough situation to be in. All of us started worrying about whether or not we could go on, while being told to avoid non-essential outings. So the question became, "Is theater essential or not?" We were on the phone discussing this and that. And it became obvious that the theater world was divided. We could have taken some sort of action had the government drawn the line. But we were left to act on our own responsibility. That was when things became chaotic. Yet in Japan, theaters have been open since then, although audience numbers remain small. And if someone tests positive we have to stop the show. So, we've carried on with a sense of unease, not knowing what will happen day-to-day.

[TAKAO]
Well, all three of you have really been deeply affected by the pandemic directly. And it has been such a shock for all of us. But I do have to say that when the lights of Broadway went dark for over a year and a half and everyone was wondering what was going to happen, and that district comes back to life, it means so much.

[VIDEO]
In October, the curtain rose once again for "The Phantom of the Opera," the longest-running musical on Broadway. All 1,800 seats were sold out. Andrew Lloyd Webber, who composed the musical, flew in from London to be there for the special night.
[Andrew Lloyd Webber / Composer, "The Phantom of the Opera"]
"Absolutely thrilled. It's amazing to be back."
Broadway theaters reopened with thorough infection control measures. The industry set strict guidelines that every theater must follow, disinfecting meticulously, and vaccinating everyone involved in productions. Even during intense rehearsals, the performers are not allowed to remove their masks.
[Staff]
"If you have your ticket and proof of vaccination I'll take you."
The audience must also wear masks, and present proof of vaccination.
[WOMAN]
"I feel safer here in New York City than I feel in most of places. So yeah, I think they are doing everything they can to keep it as safe for people as they can."
Even though Broadway is back after such exhausting preparations, the recent spike of new Omicron cases is posing a fresh threat that's forcing the suspension of some shows. Will this symbol of New York City ever regain its full glory?

[TAKAO]
So, Broadway is made up of 41 theaters in the heart of Manhattan in an area known as the Theater District. Well before the pandemic, Broadway shows attracted more than 14 million people annually, and took in 1.8 billion dollars in ticket sales alone. So, Vanessa, shutting all of that down undoubtedly hurt not just the industry, but the city's economy as well. And you've been involved in so many different productions, and you saw the efforts that everyone was making to bring everything back. How did it feel to watch everyone do this?

[WILLIAMS]
I can slowly see the New York, the energy and the audiences creep back in. And of course you can see it in Times Square now, that the visitors are coming back. I've been to at least seven shows, I think in the past month and a half. I was so hungry to support my friends who are all slowly coming back to sit live in community. It's community watching real art live, which changes every night. Everyone who loves the theater knows that every show changes every night. And it was just wonderful to kind of feel normal again. Even though we had our mask, we had to show our vaccination cards. But it made art come alive, and I'm so happy that the industry is back.

[ROONEY]
The thing that's touched me most about coming back and seeing Broadway shows, is just watching actor after actor as they take their bows, with tears streaming down their faces. I've never seen so many actors weeping just with the joy of being back on stage, performing for an audience that loves them, and shows their love with applause and standing ovations. It's really been wonderful. And that I think, is just going to create more and more determination for people in the industry to just be out there doing it. Whatever it takes in terms of testing 800 times a week. Whatever they have to do, they're going to do it.

[WILLIAMS]
The only other time that I felt that it was this dynamic, coming back, was right after 911, when everybody was totally in fear. And at that time, our mayor said go out and see a Broadway show. Go to a restaurant. And I remember going to 42nd Street, and everyone felt that same kind of, we're back and were strong and proud. People were crying, people had American flags, because we were so afraid of what had happened. And that was again, a sense of community like, we're going be together as one. And that was the only other time that I felt the welcoming back of Broadway as strongly as we did back in 2001.

[TAKAO]
And when the audiences have been away from all this for so long, I'm sure those cheers get even louder, and they are willing to cheer across their masks for that. But Amon, I want to know, how is the situation in Japan? Japan is gradually expanding the number of spectators they're allowing into the theaters. And of course, the numbers of infections, the cases are very low in Japan right now. But border controls do remain very strict. How have these factors all affected the industry? Do you think?

[MIYAMOTO]
As an independent director, I'm doing a lot of preparations for stage productions. But now when we rehearse, the entire cast wears masks. And I can only see their eyes while giving directions. We've been working like this for over a year. We have gotten fairly used to it but hope to become mask-free one day. The fact that COVID-19 put a powerful brake on theatrical productions prompted those of us in theater to become more passionate. That is, after an internal argument of whether we need theater or not, people have come to see that the role of theater is to connect people in a true sense. Even while wearing masks, we are seeing so many interesting stage productions, as well as audiences who come to watch, despite their uneasiness. Theaters in Japan are very quiet, and the curtain goes up without a sound from the audience. But their emotions and applause eventually do move the cast so much that they start crying. They think, we may not be able to perform tomorrow. And the production may stop on any day. But for now we are able to perform. In this sense we strongly feel the fundamental duty of presenting theater to audiences.

[TAKAO]
And David, the US is now open to a lot of visitors from overseas. And I have to say that as long as you're fully vaccinated, it is a lot more open than perhaps many other countries around the world. But we do have to say that there are still variants out there. We're hearing of new variants like Omicron again. What is the fear in people of the entertainment business right now? I just wonder how people feel when they work in that sort of industry.

[ROONEY]
I think there's a lot of fear and nervousness out there, justifiably, because we've seen how fragile things are. There have also been a number of shows that have been forced to suspend performances because of a case of COVID in the cast, and then everybody has to isolate. But I think the protocols that are in place are really great. Everybody is testing every day. And the same with film shoots. The way that film shoots have been able to continue, production on movies has been able to continue, and television, of course, almost throughout just by introducing very strict protocols. And people now have the ability with rapid testing to do on-site testing. To make sure everybody's okay, temperature checks, all of those things. So it's tough, and it's scary. And I think it's probably terrifying for the actors who waited a year and a half to get back to work. And a lot of people didn't. A lot of people decided in that time to leave the profession. Which is very sad. But we're all watching nervously. And I think in the film industry especially. The box office had just started to pick up in October. It had just started to get close to pre-pandemic levels. And I think caution around the Omicron virus variant is going to maybe make people think twice about, "Do I really want to go to a crowded movie theater again, even with a mask?" So, people are very worried about the big holiday releases, like the new Spider Man and Matrix movie and Steven Spielberg's West Side Story remake. There's a lot riding on those films and a lot of nervousness about it right now.

[TAKAO]
So, Vanessa, do you think there are enough measures in place right now, with vaccination, with masking with everything else.

[WILLIAMS]
I've done four television shows since the pandemic and precautions are made. You have to take a PCR test two days before you even show up on set. Then you have to take a test the day of your shoot. They make sure that you're wearing either a mask or a face guard when you're doing your rehearsals with the other. And then you do the scene, you take it off, and then immediately you put it back on. So, the industry across the board is taking it very seriously and you feel safe as an actor.

[TAKAO]
Well, you mentioned earlier about how some musicals aren't necessarily returning. What do you think has been the real toll of the coronavirus hitting the entertainment industry at this time?

[ROONEY]
Well, specifically with Broadway, I think that the big shows that are perennially popular, Hamilton, Wicked, Lion King shows of that level that always have packed audiences, they're going to be fine. They may not come back with 100 percent capacity audiences immediately, but, most of them will do very well. And they'll continue to do well. I think what we're seeing now is the return of some degree of US tourism. But international tourism is not here. And a show like Phantom, which has been playing for more than 20 years, probably 75 percent of that audience would be international tourists. So, without that audience, those shows are really going to struggle for a while.

[TAKAO]
And the city too is really trying hard to keep this going.

[ROONEY]
Well, absolutely. I mean, the impact on the city financially. If you consider just the Broadway dollars. You mentioned 1.8 billion. That was a record year, the last complete season 2018 to 2019. And then you cover the impact on hotels and restaurants and bars, and parking garages, and car services. The impact of tourism and all that, I mean, it's incalculable. I have no idea what the economic loss is. But it's going to be a long time. It's making producers very careful about coming back. I mean, do I really want to come back with a show, a big expensive show now, when the audience is not quite there yet. I think there's going to be a lot of nervousness. And that's ongoing.

[TAKAO]
Well, the spread of the coronavirus certainly changed our lifestyles faced with social distancing requirements, mobility restrictions, people were really forced to stay home. And COVID-19 has spelled disaster for the live entertainment industry for some time now. But I do have to say that it accelerated and amplified the growth of digital and technology platforms.

[VIDEO]
The music industry struggled with the cancellation of many large-scale concerts. The losses in 2020 alone are estimated to have exceed 30 billion dollars globally. It was under these conditions that the South Korean band BTS put on a live performance before the entire world, but with no audience at their venue. The concert was streamed live with well over 100 million global fans watching online.
[An Ji-won / BTS fan]
"I am super happy. I don't know what else to say. I never thought an online concert could be so good."
That's led to an increasing number of individual artists also turning to live streaming. A performance by this musician from his living room drew 3,000 people. They sent texts and donations to show their support during the pandemic.
[Justin Trawick / Musician]
"You have to perform in a different way and you have to assume that people somewhere on the other side of their screen are enjoying themselves."
Music wasn't the only sector to benefit. More than 1.1 billion people around the world are now able to enjoy a wide range of entertainment wherever and whenever they want. But for the film industry it's an uphill battle. Cinemas were closed during the pandemic, and even after reopening some moviegoers have stayed away. Box-office revenue for North America has fallen to one-fifth of the pre-pandemic level. Now in their fight for survival, many firms plan to have films streamed on major platforms. But these changes are causing some in the industry to fear a future decline in film-going culture.
[James Cameron / Film Director]
"What is a movie and why do we still need theaters? It's the only place where we literally make a pact with ourselves to go and spend two to three hours in a focused enjoyment of the art piece."

[TAKAO]
So, digital platforms and digital entertainment. These were not new things that came with the pandemic. They were already thriving before the coronavirus hit. But it's now really a force that we can't ignore. David, what do you think about the impact though of digitalization? Do you think this is really going to affect how movies are being made, for example?

[ROONEY]
I think this year has been a big experiment. And a lot of simultaneous releasing in theaters and on streaming platforms. I don't know how well that has worked out for a lot of films. People tend to estimate that there would have been greater box office if the streaming window hadn't been an option. But a lot of people are still unwilling, as we said, to go into movie theaters. So, it's been great to have those options there to see things on Netflix or Hulu or Amazon or HBO Max or wherever it might be. It will be interesting to see as the pandemic continues in its way with new variants coming through, whether 2022 sees everybody go back to just theatrical releases. Or whether it's a combination of the two. I mean, often the case has been that a movie will open in theaters, and then we'll be on streaming platforms a month later. It is a big change. And as much as it's fine to sit at home and watch a movie on your TV, from your couch or on your computer, or younger audiences in particular, are quite fine watching a lot of things on their phones. For those of us who like to be in the dark watching a big screen, it's not the same. And it's never going to be the same. And part of theater or film is that communal experience. That experience of coming together to experience storytelling. And there's no replacement for that. And so... I have to have hope and faith that that is going to come back and people are going to find a way.

[WILLIAMS]
What was comforting was the resilience of everyone who was out of work. I ended up doing a concert, which we did down the street here. "Live from the West Side," and it was myself, Patti LuPone, Laura Benanti. And it was all COVID-related, no audience at all. All my band was separated by Plexiglas like this. But we did it, and streamed it live. So, we got a chance to still do our art. Still sings, still entertain but we did it all through virtual audiences and streaming it. We also got involved with political campaigns, even though we were not allowed as people to really congregate. So, the resilience of the performers that ended up performing via streaming, really was impressive. And it allowed people to still be entertained from their home. Because you can't deny the fact that people want to be entertained. And the upside of the streaming as we found community within the streaming. When Tiger King came out, everybody all over the world was talking about Tiger King. I remember being on WhatsApp and my friends in London were watching it at the same time that I was watching it. Same thing with Squid Game. I was in London. Everybody was watching it at the same time. So those are the things that even though we were separated, gave us community.

[TAKAO]
Amon, I'm wondering about Japan. Movie theaters, people were very hesitant about going to movie theaters. They really got affected by a lot of the restrictions during states of emergencies in Japan. How are things for the movie industry? What do you think will happen to movie theaters in Japan?

[MIYAMOTO]
Cinemas are also finding it hard to attract many moviegoers, but I think there's an ongoing trend where people go to cinemas to watch movies that can only be enjoyed in that setting. For example, I was quite surprised by David Byrne's "American Utopia," a film version of an ongoing Broadway performance. Some pop singers here in Japan called me to say that I should check it out. Although there was not much publicity at first, many people went to see it. And the film is still being shown nationwide in Japan. Nothing like this has ever happened before. And, on a personal note, when the pandemic started last year, I thought of the uplifting song by Sakamoto Kyu, "Sukiyaki," also known as "I Look Up as I Walk."

[VIDEO]
In the spring of 2020, when outings were restricted in many nations, Miyamoto launched an online project. Miyamoto invited hundreds of people to record and send in their versions of the popular song, "Sukiyaki" to help ease the pain of lonely and anxious people around the world. It's one way he's trying to inspire new forms of digital expression.

[MIYAMOTO]
I invited people who perform in musicals, as well as the public, to audition to sing the song. And more than 600 people sent in their recordings in just two to three days. When I compiled the footage into a video, it quickly went viral, with about 2 million views.

[TAKAO]
So, you were able to use the digital platform in a way that you hadn't used it before?

[MIYAMOTO]
Well, we need to put digital technology to good use. Going forward, we can't do theater without it. To be honest, Japan may be struck by another big earthquake in the coming years. If that happens, many people won't go to theaters for a few years, as was the case with the 2011 Great East Japan Earthquake. If that kind of thing happens again, we must find ways that will prompt the audience to go out and watch the shows no matter what. We don't have the luxury of being picky about what's good or bad. We simply must reach out to people. Well, forgive me if I'm sounding a bit negative. But never in history have we become this connected digitally, actually transcending borders.

[TAKAO]
And you're actually holding auditions across Japan right now, I believe, through the Internet. Is that correct?

[MIYAMOTO]
Yes. Yes, we are. Actually, there was a case last year when people tested positive during an audition. So I try to do everything online. For "Karate Kid," we first asked people to sing and dance online. Then we asked them to come to the studio in New York and had their performances recorded before I finally met them. Our first step was to watch the video online.

[WILLIAMS]
Well, as we were just talking about auditions. I think there's a shift. It's not going to go back. As you said, ZOOM meetings are the norm. But I've met major people that I'd never would have been able to have meetings with on a weekly basis because of ZOOM. No matter where they are, they can log in and be there. Same thing with auditions. My brother's also an actor. Not only is he auditioning for things online. And everyone's got their setup with their light, and their stand, and their computer, and knows how to do everything. But he's also coaching. So now he's coaching other actors with their auditions, again, digitally. And he could be anywhere and his clients can be anywhere. But people are still casting and the industry still goes on. So, it's just indicative that there is a major shift, we can't deny it.

[TAKAO]
Do you think that the art would get lost through streaming? Or is that something that we won't lose? What do you think of that?

[WILLIAMS]
Well, as you said, I have four children, they watch everything on their phones. If there's a Smart TV, they're lucky to be able to download whatever they're doing and see on the biggest screen. But they're used to watching on planes, watching wherever they can. So, I think again, it's a sign of the times. They will see the art in a smaller... The younger ones will be able to have art wherever they go. So, I think it's just a different beast right now.

[ROONEY]
I think what a lot of people were expecting was that COVID and the extended lockdown would create this hole in the pipeline. And that wouldn't be enough films or TV programs coming. But the resilience of the entertainment industry in finding ways to continue producing films and TV and even filming theater for digital platforms, that has ensured that the product that... I shouldn't call it product, that's terrible. But that the film, that the content... Another terrible word that we use now for entertainment. That the entertainment, okay, let's stick with that, keeps coming. There hasn't been that hole. There are still plenty of films coming. I mean, I do worry about how the smaller films are going to survive. And some films are just very dependent on the theatrical experience. On being in a theater. It's not the same without them. I think one of the first films I went back to see and review after lockdown was not great art, but it was "Godzilla vs. Kong." And I saw it in an IMAX theater. There were three people in the theater. Myself and my guest and one person way over the other side that seemed like miles away. But I was so thrilled to be back in the theater. I didn't really care if the film was good or not. I just was happy to be watching something on a big screen. And for a lot of us that is very much a part of it. And I think that will never go away.

[TAKAO]
Well, while the entertainment did help to ease our stress and be able to connect people when we felt that we were isolated. And the Pew Research Center conducted a survey this summer in 17 countries, and indicated that most people think that their society is more divided now than before the pandemic. The US had the highest number of respondents who felt that way at 88 percent. And that's pushed many in the entertainment industry to raise their voices for change.

[VIDEO]
For two years now, the coronavirus has spread around the world.
[Donald Trump / US President]
"Chinese virus."
China, where the infection first began, is being blamed for the pandemic. And that's led to a rise in the number of attacks against Asians across the US.
[THE CROWD]
"Black Lives Matter."
Around the same time, George Floyd's death triggered a series of huge protests. The first of their kind since the civil rights movement of the 1950s and 60s. The entertainment industry has begun taking action to fight discrimination and division. Actress Vanessa Williams, along with friends, established an organization called, "Black Theater United."
[WOMAN 2]
"We will be heard."
[MAN 4]
"We stand together."
They seek to end the long-standing exclusion of people of color in theater and are demanding that more of them be appointed to positions of influence. Now, there are visible changes on Broadway, where diversity is becoming more apparent in roles on and off stage.
[WOMAN 3]
"When I was younger, I never saw anyone that look like me up on stage. But now I see this person and that person and they're out there living their dreams and it just inspires us to do the same thing."
Miyamoto is also preparing for a new musical that will be staged in the US next year. Based on a karate-themed film that became a global box-office hit, the musical is intended to convey the spirit of teaching the honoring of others, and love of peace. As the global pandemic rages on, the entertainment industry continues to search for ways to help empower people during these trying times.

[TAKAO]
Vanessa, what do you hope to achieve through Black Theater United? Why did you think that this organization needed to be created right now?

[WILLIAMS]
Well, you mentioned division. And everyone being isolated on top of the political unrest that we've gone through, which really has been heightened over the past four to five years, I would say, as an American citizen, basically came to a head when George Floyd was murdered. And for myself as a performer, some other Broadway performers immediately called each other. We have to do something, what can we do? And we didn't know where to start. Is it police reform? Is it more inclusion? And we ended up forming a non-profit called Black Theater United. And we started out doing open forums streaming through YouTube. And the second step was to create a summit, which we did with all the commercial theaters in Broadway, to make change. And the biggest, I would say, adage that we kind were talking about was diversity is a fact, but inclusion is a choice. And we wanted people to step up and make that choice. Whether it was theater owners, producers, directors, casting directors, concession stands. So, a lot of which we've seen in this season that Broadway is open, there are a tremendous amount of Black-themed authors and plays that are done by Black authors that normally might not have gotten an opportunity to have their thing. So, it's the inclusion, it's the change. And again, the shift that we've seen on every aspect of Broadway, not just performers, but on every level of Broadway and also Repertory Theater around the country.

[TAKAO]
David, do you think that the changes are finally happening?

[ROONEY]
The movement that Vanessa is involved with has been very much a direct response to the Black Lives Matter protests and the aftermath of George Floyd's murder. I mean, we were all shocked and stunned by that. The videos we were seeing on our cell phone, or on our social media feeds, of police brutality in protest movement, and things like that. It was shocking and startling. And, of course, that racism has been there all the time and this has just brought it all to a surface. Brought it all to a point where nobody can ignore it. And I think the response from the Broadway community has been fantastic. It would be wonderful to see more Asian representation on Broadway, more Latino representation, Middle Eastern representation. I'm thrilled when I see like Russell Harvard, a great, great actor, a deaf actor. Deaf actors are so underrepresented. There are all kinds of minorities that are underrepresented across the entertainment industry spectrum. And it would be great to see this as the beginning of a new way of thinking about that and approaching that and make sure everybody gets a seat at the table, everybody is represented. America is not majority white. So, it should not be represented that way. It should be represented as a great melting pot.

[WILLIAMS]
And we are also saying that there are Black that do have money. So do not think that there's only a small amount of people that can afford tickets. There are many Black that have money, but they haven't been able to have things on Broadway that they were interested in seeing. So that is one aspect. And it's also an opportunity to show that one of our Black Theater United members is a sound mixer. So, when you walk into a Broadway show and you see a Black woman behind the board, she's only one. And she needs to be able to set up internships where she can be able to tutor and guide young BIPOC and Black technicians so that she can continue to show her craft and her art. Stage management. All the opportunities that there are one or a few, we need to make sure that there's more opportunities for employment across the board of people of color.

[ROONEY]
I would just add that the effects of that are also being seen in arts journalism. Because film and theater critics for the longest time were very, very white. And this middle-aged white man does not want to do himself out of a job for God's sake. But I'm thrilled that it has been such a push in arts journalism to embrace, to bring in people of color, writers of color, talented young writers of color that can be nurtured up. We do need representation across the spectrum, it should not just be the point of view of the middle-aged white man. It should be everybody. Everybody deserves a seat at the table to talk about the arts as well. And I think that's just another aspect of the behind the scenes, it has to go deeper than just the actors we're seeing. And it's been great to read about Black female costume designers getting Oscars for the first time. There have been certain fields where a Black cinematographer, or a Black woman cinematographer, never heard of until ten years ago, and those faces, those names are starting to emerge and gain prominence, gain a reputation. I think it's great. And I hope that all of that continues. It's a movement that we all desperately want to see continue.

[MIYAMOTO]
I'm quite touched by what David and Vanessa said. This assures me that Broadway really has a future. As they said, I was a bit surprised to see that the after-party of the Tony Awards was staffed mostly by white people. But what I want to say after visiting New York and going to Broadway for the past 40 years is that it's a place full of miracles. Audiences will become racially diverse, and we will definitely explore human nature on stage. It doesn't matter if the characters are bad or good, it's a place where everyone shares in exploring human nature without discrimination. It's about seeking new and true diversity on Broadway by exploring human nature through the joys of song and music. I think it's wonderful that Broadway explores it in this way through the shows.

[TAKAO]
You're doing something that's completely new too, bringing the Karate Kid as a musical to Broadway, to theater audiences in the US. What do you want them to see?

[MIYAMOTO]
"Karate Kid" will be staged in a setting where there's division and disparity just like now when we see anti-Asian hate crimes. As you may know, there's no first strike in karate. Karate isn't about provoking fights, it's about preventing or stopping them. This theme is depicted through the mind of the main character Miyagi who hails from Okinawa. It's not just a musical adaptation of a film, but something intended to convey Miyagi's spirit. I want this work to help change these times into that which allows people across the globe to truly acknowledge each other, without conflicts or wars.

[TAKAO]
What do you think of Asian representation on Broadway? How do you think you can change that too?

[MIYAMOTO]
Well, honestly, I feel our numbers are small. There should be a variety of performances, as this is what can be so appealing about Broadway. That's why I hope there will be more Asians involved. There should be perspectives of not just Asians, but of people from all around the world. It may sound extravagant, but I would be happy to see Broadway creating such a future for the world.

[TAKAO]
Do you both think that this is something that entertainment can really do? Something, perhaps that only entertainment can do in bringing people together. That there are certain ways that the entertainment industry can help to bring people together after all this division? What is it about it that has the power to do that?

[WILLIAMS]
Well, the arts do you have power to unite, particularly with music, because I make my living with music. But when we mentioned community, when you can experience someone's story, or feel a tone or presence, because we're all feeling the same thing at the same time, it's undeniable. And that feeling and that yearning will never go away. So, I think that's the power of theater. That's the power of song. That's the power of art, being able to feel something, and also being in theater, doing it as a community. And as a collective. I think that'll never go away. And I think people will always want that.

[ROONEY]
I agree. I think that theater, film, music, the arts across the board, they are in a prime position right now, to benefit from a moment that really should be a cultural reset, or even a maybe a spiritual reset. We've seen all kinds of evidence of the injustice in this country in particular. And Amon mentioned, the anti-Asian violence, which started happening during COVID. But I have to be optimistic and just hope that people are going to benefit from this and continue to think about the way that art can influence opinions.

[WILLIAMS]
And I also tell my children, I have four, when my parents... I was born in 1963. That was the year that Kennedy was assassinated. So, you have to think, oh, my parents were bringing me into a world that was unsafe and unsure. Then when I was their age, I had my children. And that's when Rodney King was beat down and the LA fires, and Malibu, and riots. And I had the same fear. Will this be a safe world for my kids? Now my kids are, I've got two that are in their 30s. And they're thinking about bringing their children into a world, is it going to be safe? But every time there's been change, every time there's been some kind of schism, or major upset, it creates change. So, this is our opportunity right now to make change. And I think that's what we're all doing on every level.

[TAKAO]
Amon, what sort of change do you think can happen now? And if you were to define the power of entertainment, how would you define it?

[MIYAMOTO]
The power of entertainment. I think it embraces joy, happiness, laughter and dance that frees people's minds. And frees us physically to reach into the depths of each other's souls. To move the spirit and help us look to the future. I think the power of entertainment lies, not only in depicting the reality before us, but also showing us what the future should look like.

[TAKAO]
David, what is the power of entertainment?

[ROONEY]
I think the power of entertainment is to bring people together and share a communal experience and learn from it. I love nothing more than going to a movie or going to a show, going to a theater performance. And then just coming out and being at dinner and talking over all the things we loved or things we didn't love. And that, to me is the capacity of art, to bring people together, to connect people. And I'm not talking about Internet connectivity. I'm talking about connectivity on a heart level, on a primal level. That we respond as humans to art. And I think that's never going to go away. I think that as technology becomes more and more advanced, the primacy of art is just going to continue to grow in importance.

[TAKAO]
And Vanessa, so we've seen all sorts of social divides. We've seen difficult times, people have been isolated over the past year and a half. Or they've connected digitally, but it's just not the same as being together. What is the power of entertainment for you?

[WILLIAMS]
For me, it's discovery and storytelling. Whether it's a piece of dance, whether it is a monologue, whether it's a song. What was the moment before? What am I telling now? And how does it make you feel when you're done. And that's my mission to execute, whatever I'm doing. Whether it is singing or dancing, or acting. But it's the experience that allows the audience to hear the story, and see a perspective, and discover maybe something that they never even thought. So, it's discovery and storytelling for me.

[TAKAO]
And you're going to keep going.

[WILLIAMS]
I'll keep going, no matter what.

[TAKAO]
Thank you all for joining me today. And, we still don't know when we'll look back and say, the pandemic was just one chapter of our lives. Because we're still living in it. But entertainment helped connect us during times of isolation and the return of live entertainment has given us hope. And what's more, it may help us to come out of this pandemic, with a better sense of how we want to shape our society. Thank you very much for joining us on global agenda.

[TAKAO, WILLIAMS, ROONEY]
Thank you.

[TAKAO]
And thanks to Amon, too.

[ROONEY, WILLIAMS]
Thank you, Amon.

[MIYAMOTO]
Thank you.