In this visualization, we investigate who is getting hired or paid in Broadway. Focusing on 4 different positions in Broadway, Principal (P), Principal (M), Chorus, and Stage Manager, these four visualizations see which race and ethnicity gets the most contracts and highest salary.

Looking at the visualizations, it is evident that Caucsian actors and stage managers receive the most contract than any other race or ethnicity; most of the other ethnicties fail to reach even half of the contracts of Caucisian actors. While it is untrue for few jobs, Causcian actors' contractual salary is usually on the higher scale compered to other race or ethnicity.

An interesting data to notice is that BIPOC actors actually often have a higher average rate of minimum salary or overscale ($ exceeding the minimum salary) While this seems like a comparatively optimistic news, it also tells what BIPOC actors lives might be like. Especially an industry known for its instability due to its nature of gig-based jobs, stability as an actor is a sign of financial wealth. This stability comes from contracts, a binding agreement to hire actors while BIPOC actors receive an insubstantial amount of contracts. Visually it can be seen by the shapes of the maps. In most jobs, Caucasians have a rounder map, showing a stable lifestlye of contracts. On the other hand, while a BIPOC actor might get paid more once, it is difficult to maintain such life in high-cost living situations such as Broadway.

This points us to question, how many theaters are consciously putting out stories for BIPOC and written by BIPOC people? Even further, how many racial/ethnic identity-based theaters get to perform in Broadway?