Who has a stake in intercultural practice, and on whose terms is it conceived? Can a particular group or individual claim ownership over performance concerning a locality, a tradition, or a form, and what happens if they do? Any attempt to answer these questions will, out of necessity, become context dependent: we need to know who is performing, for whom, where, and what specific traditions and locales of performance are being engaged with. These variables can be keenly discerned in one of the least explored areas of theatre-studies: casting. Casting forcefully connects to discourses pertaining to race and ethnicity, the national, international and transnational, relationships between self and other, as well as issues of inclusion and exclusion.