WIT is committed to fostering a diverse community of improvisers. We strive to create culture of inclusion at every level of our organization, from classes to mainstage performances.
Diversity at WIT
Improv has something to offer everyone, and everyone has something to offer through improv. We aim to provide an accepting and safe environment for people of all backgrounds and identities. We believe that in order to create our best work we need diverse participants and diverse voices.Below, find a snapshot of some of the actions WIT has taken to increase diversity across multiple programming areas.
Overall gender parity at WIT has always been strong compared to many other cities’ improv scenes. WIT’s founding artistic director was a woman (Carole Douglis). Two other women each served as WIT’s artistic director prior to current AD Mark Chalfant taking the position.
What we’re doing:
- WIT staged The October Issue, an all-female ensemble project which debuted in fall 2015 as part of the citywide Women’s Voices Theater Festival and has since continued as a WIT project.
- We pursue gender parity in Harold team casting and have achieved it. Since 2013, the percentage of women performing in our Harold teams and ensembles has gone up from 36% to 47%.
- Company ensembles are encouraged to be mindful of gender parity in casting.
- 5 of 14 current coaches/directors of Harold teams, ensembles, or Project shows are women.
- We have deliberately worked to recruit and train female teachers. 60% of new teachers in the last 2 years have been women and 60% of the teaching assistants are women.
- WIT’s Board of Directors is majority women (8 of 15).
Race and Culture
Increasing racial and cultural diversity is a top priority for WIT. The organization has undertaken several strategies to promote this diversity.
What we’re doing:
- We pursue racial, ethnic and cultural diversity in Harold team casting. Company ensembles are encouraged to be mindful of racial, ethnic and cultural diversity in casting. Project shows are encouraged to be mindful of racial, ethnic and cultural diversity in casting. Improv Actually’s refreshed cast now includes 7 players of color in a cast of 13.
- We have intentionally cast guest acts in WIT runs with an eye toward ethnic or cultural diversity, and have recently become more transparent about that by including cast racial make-up questions in the submissions query. We sometimes cluster culturally diverse shows to create a space for those voices. Shows cast have included Sabado Picante, Kaleidoscope, Minority Re’port, the Lodge, Bombay Vindaloo, and Invisible Knapsack.
- We have offered WIT classes at Anacostia Arts Center in an attempt to draw in more students of color.
- We are intentionally trying to increase the number of people of color who teach on our faculty. 20% of the teachers who have taught in the past year are people of color. 13% of the TAs recruited in the past year are people of color.
- We conduct free Improv for All workshops at venues throughout all eight Wards of DC with the intent of sharing improv with new and varied communities.
- WIT’s Board of Directors includes five members who are people of color and diversity is a goal in recruitment.
WIT features healthy LGBT representation on its stage.
What we’re doing:
- LGBT players are well represented on Harold teams and company ensembles.
- WIT’s core staff includes two LGBT members and one LGBT contractor. WIT’s Board includes two as well.
- Anecdotally it appears LGBT student enrollment is strong (we do not currently collect this demographic data).
- We have intentionally cast shows and guest acts in WIT runs with an eye toward LGBT inclusion. Shows have included SHAME, Ugh, Going to the Movies Alone, Jackson Millissippi, and Invisible Knapsack.
From our classes to our shows, WIT makes improv accessible to those with physical disabilities.
What we’re doing:
- We do not maintain statistics on students or players with disabilities. However, over time our teachers have accommodated students with numerous physical disabilities including students in wheelchairs and visually impaired students.
- Ensemble and project show casts have included a player with severe visual impairment, a player with MS, a player with a speech disability, and a player with mobility issues requiring a walker/stabilizer.
- We almost always offer classes and workshops in ADA accessible space, and will make special arrangements if necessary to accommodate a student.
- Whenever possible we program performances in an ADA accessible space. We accommodate audience members in wheelchairs with reserved front-row seating.
Washington Improv Theater is committed to increasing diversity among the voices and talent in DC’s improv community. This work starts in the classes program. The goal of this scholarship is to help enable more diverse communities to pursue improv, which would mutually benefit the improv community and the individuals selected. The students selected for this scholarship program will cover the cost of the entire curriculum Levels 1 thru 5, contingent upon meeting the learning objectives required to complete each class.
WIT is specifically looking to increase the diversity of race and ethnicity in our classes program. We are excited to be able to offer the full program to motivated, eligible students. The scholarship is equivalent to $1395 (plus an additional $279 if a student is asked to repeat a course). You can apply for the scholarship at any time, but there are specific deadlines to be considered for each class session.
If you are a current student, you are welcome to apply! The scholarship is not retroactive but will cover future class costs for the core curriculum.
Deadlines to apply:
Summer session (classes start third week of JUN 2017 – click here to see the list of classes) – applications due Monday May 19
Fall session (classes start second week of SEP 2017) – applications due Monday, August 11
Winter session (classes start first week of JAN 2018) – applications due Monday, November 10
Spring session (classes start last week of March 2018) – applications due Friday, March 2