Shrek the Musical continued

I opened up my May 2010 Theatre Journal (I get them used from the theatre, so I'm a litttttle behind on issues) and the very first article was entitled "Let Our Freak Flags Fly": Shrek the Musical and the Branding of Diversity (written by Jessica Brater, Jessica Del Vecchio, Andrew Friedman, Bethany Holmstrom, Eero Laine, Donald Levit, Hillary Miller, David Savran, Carly Griffin Smith, Kenn Watt, Cahterine Young, and Peter Zazzli. Phew.) The writers defend Shrek the Musical, comparing it's opening on Broadway and Barack Obama's inauguration as first black President of the United States (only a few months apart), and supporting the musical's theme of tolerance and diversity. I wholeheartedly agree with their statements here.
They go on to directly discuss the issue I talked about last blog post-Why is Donkey Black?
Jessica Brater et al. say, "The short answer to the question is that Donkey is black because the musical, despite its message, is appealing to comic yet retrogressive racial stereotypes." (p. 167). They go on to highlight how once again, the black character is portrayed as a servant...but I'd like to point out, not to a white man, and not against his will. Donkey willingly clings to Shrek, as anyone who has seen the movie will remember.
Also, I'd like to point out what Shrek the Musical is doing with it's music. It is purposefully bringing 60s and 70s funk to the Broadway stage, which I applaud. Who fronted the funk movements? African Americans like Little Richard and James Brown. So, by having Donkey be representations of these men, they are accurately portraying the musical history. How angry would society be if the James Brown/Little Richard character was portrayed by a white actor? Pretty angry, I bet. However, I am all too willing to see the other side of the argument, at Jessica Brater et al highlight,
"One might note as well that as beasts of burden, donkeys' close kin, mules, have historically been associated with African Americans, because of the need for mules in sharecropping and the false promise of "40 acres and a mule" for every former slave. Casting DOnkey as black, then, has layers of racial significance even before the performance starts" (168).
Still, I have to point out that all actors willingly portray their written characters. No one is forced into doing anything they wouldn't want to do, and at the end of the day, actors are the ones who control their creations. I highly doubt the amazing African American actor Daniel Beaker would have taken this role if he thought he would be offending his own race. If anything, the show is preaching tolerance (for color, creed, and sexuality, as heard in the song "Freak Flag" )and while I actually didn't like the musical a whole lot, I liked it's message.