Hey A'isha, sorry for the late reply. I've been doing other things, but didn't forget about this. I promised you a reply, so I ought to deliver :)
@Aisha
One of the things deserving deeper (non-dismissive) discussion is the notion that Esmeralda being cast with a white actress is not a big deal because an African-American (or mixed race, as in the case of the originator of the role in the particular production in question) actress is also the wrong ethnicity to play the role. My only suggestion is to read what the production guide I linked to above has to say, specifically regarding who to cast for Quasimodo and why it matters, because it's also extremely applicable for the role of Esmeralda as well.
I've taken a look at the play's production guide. Here are some things it mentions that seem relevant to me...
@Production guide, page 12
Casting Actors with Disabilities
The Hunchback of Notre Dame centers on a character with a non-normative body and partial deafness. Regardless of your interpretation of Quasimodo (see pp. 36-42 of this handbook), the musical’s themes of discrimination and acceptance present an opportunity to open up casting of all characters to all actors, including those with disabilities. While many theaters today are working toward better representation of racial diversity in their casting, the largest minority group in the U.S. is still mostly ignored: In 2015, according to the Centers for Disease Control and Prevention, 53 million adults in the U.S. were living with a disability. When casting your production of The Hunchback of Notre Dame, consider actors and singers whose abilities will allow them to excel at the roles they are assigned, regardless of their physical appearance or likeness to a preconceived notion of the character.
“Have an open mind and heart. This musical is really perfect to show representation of different classes and levels. I encourage theaters to look at any persons with disabilities; it’s worth it to take the risk. If you don’t, you won’t know how successful it could be.”
John McGinty, deaf actor; Quasimodo in The Hunchback of Notre Dame at Sacramento Music Circus & La Mirada Theatre for the Performing Arts
-> This actually gives a sort of mixed message.
On the one hand, it says that “the musical’s themes of discrimination and acceptance present an opportunity to open up casting of all characters to all actors, including those with disabilities” , as well as “When casting your production of The Hunchback of Notre Dame, consider actors and singers whose abilities will allow them to excel at the roles they are assigned, regardless of their physical appearance or likeness to a preconceived notion of the character.” This suggests that while looking at actors with disabilities would be preferred, it is by no means a requirement.
On the other hand, McGinty says “I encourage theaters to look at any persons with disabilities; it’s worth it to take the risk. If you don’t, you won’t know how successful it could be.” This is a stronger endorsement of casting people with disabilities, but still just a recommendation.
@Production guide, page 39
Disability in Film & Theater
To better understand how Quasimodo fits into the larger landscape of disability representation in theater and other media, it’s important to fgure out where we are now. The disabled community is the largest minority group in the country, but it is the most underrepresented in the media, which has led to an ongoing conversation in the disabled community about how people with disabilities are portrayed onstage and in other media. The adjacent charts and statistics from the 2017 study, “Inequality in 900 Popular Films” offer a clearer picture of where we are now with representation. (Also noteworthy: None of these disabled roles depicted a member from the L.G.B.T.Q. community or an underrepresented racial/ethnic group.)
Historically, these roles have been performed almost solely by actors without disabilities, though we are starting to see a change in this trend.
-> While not explicitely stated as a commandment’, the implication here is clear: It would be best to cast an actor with a disability (not specified which one... just that they ought to be disabled in some way).
@Production guide, page 40
Performing Quasimodo’s Disability
There’s no way to fully embody Quasimodo’s humanity without his physical differences. The trick, as I see it from an acting perspective, is to “perform disability,” but not to the extent that it would hinder the storytelling. In my experience, audiences and the general public have a limited awareness and understanding of disability and the community’s historical, political, and cultural complexities. Disability is a diverse, complex series of population.
-> This is interesting: it suggests that the actor should perform a disability onstage; however, one does not have to be disabled in a way that might impact mobility. See the example of John Mc Ginty: while he is deaf and thus disabled in one way, his performance of Quasimodo’s particular disabilities (other than his partial deafness) is entirely a matter of acting.
@Production guide, page 42
While some professional productions of this musical have cast artists with disabilities, this may not be an option for you, and that’s okay! If you do have a performer or performers who identify as disabled, don’t assume that they should, or would even want, to play Quasimodo. That’s okay too. If necessary, these questions can be addressed with individual conversations on a case-by-case basis.
-> So basically... if you have actors with disabilities, consider them for the role of Quasimodo; but if they don’t want the role, that is fine.
@Production guide, page 45
The Greatest Challenge
Esmeralda is the only named female lead character in this musical. The historical setting and mores reflect many ideas about women that we still cling to today. It is the artist’s job, however, to empower Esmeralda, who is strong, talented, capable, and caring despite her lot in life. Not only is she living in a time when women had no power, but she is an outcast racially and culturally. The challenge with playing most female characters is finding the most interesting pieces and pressing into them (e.g., Esmeralda’s desire for love and consistency though she is destined to be ruled over by a man and has no home to call her own), even when it seems like the easiest choice would be to fit within the roles prescribed to her (i.e., disempowered woman and outcast).
-> I underlined a point of contention FSTDTers have had in this thread. Again, while it is not spelled out explicitly, this does seem to suggest that an actor from a racial minority would be the best fit for Esmeralda.
All in all, I haven’t noticed that Esmeralda’s race and, more specifically the race of the actress that ought to play her is mentioned much in the production guide. Seems to me that the most we could conclude from sections dealing with her is that a racial minority actor might be the best option, but it is not strictly required.
You (A’isha) did say that the parts about Quasimodo are very applicable to her, though. So, judging from those, I would say that the production guide very clearly aims to give a voice to the unheard that is, to those whose representation in wider society is lacking.
This would indeed suggest that the students’ grievances do have a basis in the guide.
However, we should also keep in mind something from the guide that I quoted above:
“When casting your production of The Hunchback of Notre Dame, consider actors and singers whose abilities will allow them to excel at the roles they are assigned, regardless of their physical appearance or likeness to a preconceived notion of the character.”
So, while the authors of the guide might sympathise with these students’ concerns, they seem to be quite a bit milder in their approach. I suspect they’d take issue with any sort of (verbal) violence and excessive pressure. In fact... I have nothing but respect for their subtlety and openness in dealing with the issues they are trying to address. I just wish the students would take a page out of their book, so to speak.
In conclusion, while the casting of a white actress may not have been optimal, I stand by my earlier assessment of the students having reacted somewhat inappropriately (and definitely too strongly).
I hope my answer has been worthwhile. :)