the week of august 2 - 6, 2021
there’s no greater drug than the myth of artistic genius
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there’s no greater drug than the myth of artistic genius
Time passes. Glaciers melt. Empires rise and fall. And then, as I stare into the abyss of civilization, my primal screams drowning out all sound, I awaken from a blackout and discover that white men are still publicly defending abusers.
This week, American Theatre published a letter to editor in response to its story on Walnut Street Theatre. The writer, Charlie Hensley, is a former associate director at the theatre and accuses writer Cameron Kelsall of “[mixing] truth, hearsay, and grudges to conjure his desired despot.” He also takes umbrage with the criticism of Havard’s inflated salary, calling it “entirely in line with that of other leaders of American regional theatres of similar size.”
Hensley is clearly not a subscriber to this newsletter, because I already compared Havard’s salary to executive compensation at theatres of similar (and larger) sizes, and I regret to inform you that your man’s still wildly overpaid, especially considering WST pays apprentices $300/week and there are currently open full-time positions with salaries below the living wage in Philadelphia.
He closes out his letter with some customary excuses, prioritizing fiscal wellness and the happiness of donors and patrons over the safety of artists:
“Look, I’ve known the guy for a long time. I have always found him to be admiring and respectful of artists of all colors and ages, and a true ally of the LGBTQ+ community. It’s true that he has never hewed to a TCG-approved model of running a theatre. As with any artistic producer, he gets to pick which paths to follow. In doing so, he has clearly managed to please his audience, grantors, and board of trustees for many years now, and led a theatre whose financial stability is as rare as it is legendary.”
Just because you’ve never personally witnessed someone bullying or harassing another person doesn’t mean they’re incapable of that behavior. Elevating your narrow experience as the sole truth above the testimony of others is a symptom of main character syndrome — but it also ignores the power dynamics and sexism at play here, and minimizes the way your own identities can blind you to injustice.
Meanwhile: Vulture published a new article on Scott Rudin, tracing the origins of his career, the open secret of his abusive conduct, and whether or not he can stage a comeback. (Don’t call it a comeback, he’s just been hiding out in the Hamptons.) I don’t want to rehash my previous thoughts here, but I should be less surprised that people value proximity to power — no matter how diminished — enough to still fawn over Rudin’s purported genius and merit:
“There’s this glib assumption,” says the Pulitzer-winning playwright John Patrick Shanley, whose Doubt Rudin adapted for the screen, “that anyone is replaceable. I don’t see it. I don’t see another Scott out there.”
I hesitated to discuss these statements, because giving them space is a form of amplification. But I can’t shake how all of these defenses always cite the financial and creative triumphs — the revenue, the awards, the capital-A art — without considering the invisible losses. Scott Rudin and Bernard Havard allegedly harassed and bullied people over decades, and you can't tangibly measure the impact of that behavior: the careers derailed, the ambitions quashed, the opportunities lost. These men are lauded as champions and cultivators of theatre, but all I can think about is the potential art they destroyed.
digital & in-person theatre
Whitney White’s Semblance is now available as both “an intimate theatrical installation and a remote virtual experience” from NYTW. The hybrid, filmed theatrical experience “asks us to examine how Black women are perceived and how we interact with the Black feminine.”
The Ojai Playwrights Conference continues with streamed readings of A. Zell Williams’ Diversity (August 7), Elizabeth Irwin’s Support (August 8), and Will Arbery’s Corsicana (August 12). Diversity, directed by Kimberly Senior, is “set in an MMA octagon with thousands of dollars on the line, as professors battle over the student they believe is most deserving.” Nikkole Salter directs Support, an exploration of domestic violence survivors. Corsicana, which will premiere at Playwrights Horizons next season (also under Sam Gold’s direction), follows a woman with Down Syndrome and her half-brother left unmoored after the death of their mother.
The NYT’s Theater to Stream round-up is very good and eclectic this week, including highlighted digital offerings from the Edinburgh Fringe.
the regional theatre game of thrones
Shanta Thake is the new Chief Artistic Officer of Lincoln Center. She is currently the associate artistic director at the Public Theater. Thake will oversee “Lincoln Center’s artistic strategy to further embed the organization into the daily lives of NYC residents.”
2021-22 season updates
About Face Theatre announced its 2022 plays. The Chicago theatre, dedicated to stories about gender and sexuality, will produce Samantha Mueller’s Laced (directed by Lexi Saunders) and Terry Guest’s The Magnolia Ballet (directed by Mikael Burke).
assorted news
Thirteen DC-area theatres announced they will require audiences to provide proof of vaccination. The companies will also require vaccinations for all performers and staff. (Best of luck to the valiant front of house staffs who will have to enforce these policies!)
Noor Theatre announced its latest Artists Advancing Cultural Change Cohort. The four writers — Jacob Kader, Haleh Roshan, Betty Shamieh, and Hadi Tabbal — will “create work of their chosen medium in response to contemporary American culture through a Middle Eastern lens.”
Manhattan Theatre Club announced its 2021 Sloan Commissions. The initiative commissions plays with scientific and technological themes; the selected writers are J. Nicole Brooks, Diane Exavier, Franky D. Gonzalez, Charlie Oh, Kristin Slaney, and Else Went.
that’s not a living wage
Here are this week’s featured underpaid job listings, paired with the living wage for a 40-hour work week for one adult with no children in that area. (You can read more about the methodology here.)
A few people have asked my thoughts on deducting healthcare expenses from the EPI living wage estimate, since most theatres cover insurance premiums for full-time employees. (This is a very good question!) I haven’t been deducting them because not all companies cover the full cost of deductibles, and there are still co-pays, out-of-pocket costs, prescription tiers, the astronomical price of giving birth — all the usual scams of the healthcare and pharmaceutical industries.
I don’t have access to individual theatres’ insurance policies, so these are naturally imperfect calculations. I hope employers are thoughtful about the true value of their healthcare plans when they’re setting salaries, and I hope this encourages prospective employees to scrutinize benefits packages before accepting positions.
I’m also going to start indicating overtime eligibility. I don’t think a person should have to work more than 40 hours a week to earn a living wage, but the phrase “some evenings/weekends required” is boilerplate at this point and it’s worth noting if one gets paid for that time.
Costume Shop Manager, Round House Theatre: $38,000 - $42,000
Montgomery County, MD Living Wage: $53,385
Marketing Assistant, Roundabout: $42,000 (overtime eligible)
NYC Living Wage: $51,323Development Associate, Walnut Street Theatre: $31,200
Philadelphia Living Wage: $38,291Dramaturgy & Casting Apprentice, Asolo Rep: $1600/month (9-month contract) for a total of $14,400
Sarasota, FL Living Wage: $3,047/month or $27,243
*The company offers “available to rent” shared housing for $200/week.
