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update: paradise blue & the geffen
As expected, Jessica Gelt at the Los Angeles Times reported out the Paradise Blue cancellation at the Geffen — but if you’re hoping for a gossipy, detailed play-by-play, you’re going to be disappointed:
Morisseau is not interested in naming names — or cataloguing what happened behind the scenes. She says she came to that decision out of concern for vulnerable theater makers who lack the power of marquee visibility. The bottom line, she says, is that even though the harm began within the production, it was up to the Geffen to put a timely stop to it.
In response, executive director Gil Cates Jr. replied, “Our effort to resolve conflict in a sensitive and thoughtful manner within the Paradise Blue company resulted in the removal of an individual from the production, which occurred the day before cancellation.”
Morisseau detailed the process before the company member’s termination:
Morisseau says that the Geffen agreed to remove “part of the harmful party” two days earlier than it did, and during the lag time, more harm was done. Also, during that window, she says she repeatedly stated that she would have to pull her play if the Geffen did not act immediately.
Representatives for the Geffen say they were following an agreed-upon directive to procure an apology or terminate and worked diligently to get that apology. When it became clear the apology was not forthcoming, the theater enacted the termination.
Some good news in this mess: despite the cancellation, all company members’ contracts were paid in full.
Morisseau explained her decision to take this public and expressed her disappointment in the Geffen’s “failure to rise to the occasion”:
“When leadership is strong, you have to make tough decisions in service of the people’s wellness, and I felt in this particular situation that everybody’s wellness was not considered,” Morisseau says. “The theater makers that were causing the harm were being centered over the people who were being harmed — and those who were reporting harm were told to wait it out and endure it.”
“The Geffen knows it has work to do. You’ve gotta really dig deep and find out why when people told you they were being harmed, your first impulse wasn’t to protect them. You gotta ask why, and that’s some deep digging, that’s not surface.”
in-person theatre
Tim Price’s new stage adaptation of Force Majeure is now playing at the Donmar Warehouse. Directed by Michael Longhurst, the play is adapted from Ruben Östlund’s award-winning comedy about a family falling apart.
the regional theatre game of thrones
Michael Patrick Thornton is stepping down as artistic director of The Gift Theatre after two decades. The Chicago storefront will now be led by the artistic triumvirate of Brittany Burch, Jennifer Glasse, and Emjoy Gavino. The company is also moving out of its long-time Jefferson Park space, but plans to build a new theater in the neighborhood.
Kent Gash is the new artistic director of The Acting Company. He succeeds Ian Belknap, who led the company for a decade. The theatre’s 2022-23 will start with Gash directing Kirsten Childs' world premiere adaptation of Alexandré Dumas’ The Three Musketeers.
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.)
Development Communications Assistant, Manhattan Theatre Club: $40K range
Living Wage for NYC: $51,323
Amateur Licensing Representative, MTI: $40,000 - $45,000
Living Wage for NYC: $51,323
FYI
Just a head’s up that next week’s newsletter — the last weekly round-up of 2021! — might be slightly delayed because I have to grade thirty eight-page papers within a 72-hour timeframe and somehow also work full-time? Say a prayer for your girl.