This article explores how the White lens has set the canon for musical theatre, defining any musical that does not directly deal with specific BIPOC cultures as a "White" musical while often defaulting to an all-White cast. Later sections will explore how this White lens has influenced the teaching of musical theatre history, leading to the perpetuation of stereotypes that Black singers are encouraged to embody to achieve commercial success. By analyzing the transition from Shuffle Along (1921) to Porgy and Bess (1935), this article will illustrate how White creators began shaping the representation of Black culture in commercial musical theatre. A look at Dreamgirls (1981) reveals how, half a century later, the tradition of White composers' interpretation of the Black experience through music continued to uphold stereotypes of "Blackness." While the problem persists in the professional industry, the solution may lie in the hands of musical theatre educators.