In this issue:
Featured Feminist: Karen Olivo
Abuse and the Arts: “We Got Trouble”
White Complacency
Return to Stage: In Person this Time! (Hopefully)
Featured Feminist: Karen Olivo
By Mattie Limas
In the wake of the scandal surrounding Scott Rudin - well-known film, television, and theatre producer - the theatre industry has been resoundingly silent. Rudin, whose abuses have been documented for several decades, is only one of the many participants in an arts culture that disregards the safety and needs of marginalized groups. While media circulation is focusing on the corruption within the Broadway industry, it is fair to say that this abusive behavior is rampant wherever theatre exists: regional theatres, educational institutions, and audition rooms all over the nation. Even in prestigious institutions such as Juilliard, the wellbeing of students of marginalized groups is ignored while egregious abuses are swept under the rug. Rudin’s abuses exist only as a microcosm of a larger corrupt system within theatre culture.
Acting as a catalyst, protests and boycotts spearheaded by many brave people of color have sprung up, demanding transparency and action from the theatre industry (more specifically: Actors Equity and The Broadway League). One of these brave voices is Broadway star, Karen Olivo (she/they).
In an IGTV video posted on April 14th, Olivo announced that they will not make a return to the hit Broadway musical Moulin Rouge, on account of recent events. This is not the first time that they have stepped away from the Broadway world, becoming a theatre educator in 2012 at the University of Wisconsin in Madison, WI, after winning a Tony Award for playing Anita in the revival of West Side Story on Broadway. They have been very involved in theatre since then, with notable productions such as Hamilton, Fun Home, Chess, and tick, tick … BOOM!. Their recent role as Satine in Moulin Rouge is just another Broadway credit, with her breakout role being Vanessa in the original Broadway production of In the Heights in 2008.
In the five- minute IGTV video, Olivo explains:
“This is actually important for all of us. I can easily go back to a show and make a lot of money, but I still wouldn’t be able to really control what I was putting out into the world.
(...) Social justice is more important than being a sparkling diamond. Building a better industry for my students is more important than putting money in my pockets!”
In an industry that condones the abuses of multiple Scott Rudins, Olivo states that working for a Broadway show is antithetical to the activism that is intending to change the system. The truth is that the theatre industry not only abusive and condones abusive behavior, but it also preys upon the creativity and hopes of young people, many of whom she teaches. Understanding the influence of their platform, Olivo’s departure from Moulin Rouge is a protest in and of itself, and a statement to their students.
Olivo is also noted as a signatory to the We See You White American Theatre document, as well as working extensively in Broadway for Racial Justice to advocate for theatre artists across the nation. In an era where systemic racism is being put under the microscope, it is clear that POC voices are filling spaces of activism while their white counterparts, for the most part, are being silent. Those with the privilege and ability to walk away from shows without any damages to their livelihood, notably Sutton Foster and Hugh Jackman who are set to debut in the 2021 Broadway revival of The Music Man, need to put their money where their mouth is.
This is a time where many young theatre artists are becoming progressively disillusioned with the theatre industry, realizing it is not the artistic safe-haven it presented itself as. In order to work towards a more equitable theatre industry, artists, educators, directors, producers, technicians, and all other theatrical workers must set a precedent: abusive and unethical behavior must never again be condoned or tolerated.
It is a lot to hope for, but it can, and must be possible if the theatre industry wishes to see a future. It is the necessary growing pains of working towards a better industry. Olivo’s words and actions echo these hopes:
“I want a theatre industry that matches my integrity.”
Abuse and the Arts: “We Got Trouble”
By Rory Smith
For a long time, EGOT-winning film and theatrical producer Scott Rudin was seen as “too big to fail,” especially in the theatre industry. It has become clear over the past several weeks that the successful producer was a known abuser, who used violence and emotional terrorism to get the results he wanted out of his employees, or simply to keep them scared enough not to speak up about his actions. He smashed a computer monitor on an employee’s hand, sent others to the hospital with panic attacks, and frequently resorted to verbal assaults telling his subordinates that they were “worthless” and “meant nothing.” Though Rudin is now facing some form of consequences for his actions, it is worth questioning what it is about the arts that leads to monstrous abuses of power at the hands of men like Scott Rudin and Harvey Weinstein, along with the glorification of techniques or pieces of art by abusers.
According to Tavi Gevinson, an actress and writer who enjoyed her Broadway debut in a production of This is Our Youth produced by Rudin, abuse like Rudin’s is allowed to proliferate because, “We’re taught that we’re expendable and that there is always someone willing to do our job, and for free,” (Gevinson, “Art Doesn’t Need Tyrants”). Aspiring actors, support staff to high-power producers, and other laborers in the arts are often taught that we must do whatever it takes to get the job; and once we have the job, we must make sure not to tarnish our name or image so that we are able to find work again. The threat of “never working again in this town” is always subliminally implied.
An unstable income creates a culture of desperation, where abuse in the workplace is accepted as the norm, and even joked about, probably to ease the pain. A former assistant of Scott Rudin, named Kevin Graham-Caso, developed PTSD, anxiety, and depression after his time working with Rudin. In October 2018, he committed suicide. His friend recalls, after Kevin worked with Rudin, “That’s when he started having doubts about being a writer and having a career in film…It got to the point he was always questioning himself. He was being triggered daily to be subservient.” People in Rudin’s path have encountered similar abuses, so much so that they questioned their abilities and their desire for a career as an artist. How can Rudin possibly be held accountable now for these countless abandoned dreams? The damage is already done.
Rudin’s behavior has gone unchecked for several years due to this culture of silence. He has also exhibited ableist, sexist, and racist tendencies that are representative of white supremacy’s deep roots in both Broadway and Hollywood. However, a culture of letting abuse slide in show business, especially when committed by powerful white men, has already been proliferated for decades.
For example, Sanford Meisner’s groping of a student, veiled as an acting exercise, is detailed in the course book that theatre students are asked to read, yet it is never acknowledged in class. Because of Meisner’s urging towards unbridled authenticity in the moment, and his own demonstration of breaching physical boundaries, classes in this technique can easily become sessions of sharing trauma, where students’ mental health is not adequately attended to. Beyond foundational acting techniques, the film industry has seen known abusers, such as Roman Polanski and Woody Allen, continue to have success and notoriety despite their colleagues and the public being aware of their misconduct. Why is violence, abuse, and domination normalized in an industry that purports to revolve around collaboration, empathy, and storytelling? This incongruity – frankly, this hypocrisy – has gone on for far too long.
On April 22, actors and activists marched on Broadway at Columbus Circle. Organizers presented six demands as they protested outside the Actor’s Equity Association’s offices:
1. Scott Rudin to be removed from the Broadway League - If he is not removed from the Broadway League, we want restoration. We want Scott to publicly choose 20 BIPOC run theatres and donate a LARGE SUM of money to them.
2. A full list of organizations that AEA is working with to help Black, Indigenous, and POC feel safer.
3. A full report of how the 2020 Equity dues were spent and what percentage is being spent to help conversations around diversity.
4. Achieve greater inclusion for trans, nonbinary, and gender-nonconforming artists.
5. We want visibility on how the national council votes for policies. We also want efforts to improve diversity within the council.
6. We want to achieve greater inclusion for artists with visible and nonvisible differing abilities.
(Source: “Actor-Activists Plan ‘March on Broadway’ to Demand Equity Transparency, Rudin Removal or Restorations,” by Ryan McPhee for Playbill)
Protesters pledged not to pay dues until their demands for transparency and accountability were met. Organizers of the march included: Sis, a Black trans woman who created Our Offering, Nattalyee Randall, Courtney Daniels, Ryan J. Haddad, and Eden Espinosa, who co-founded Artists for Economic Transparency (AFECT) with fellow actor Karen Olivo. These efforts to lobby Broadway and Equity into doing the right thing are honorable and necessary, but there has already been so much harm done. Many students and young aspiring artists have become disillusioned with the industry over the course of the pandemic due to these endemic abuses of power coming to light, and the deeply rooted white supremacy, ableism, homophobia, and transphobia that we have all been conditioned to expect as the norm. How can artists now confidently allow themselves to participate in this field without sacrificing their dignity, their values, or their mental and physical well-being? The expected power dynamics and hierarchy of theatre, acting, film, and performing arts in general have proven to be toxic and unethical.
The pay disparity between those in power, i.e. producers like Scott Rudin, and freelance contract workers like actors and technicians are also inequitable and allows for exploitation to run rampant. This sets up a classist dynamic, where those who are able to afford unpaid or underpaid work and internships gain the experience needed to succeed, while those without generational wealth are not able to access these opportunities that do not offer adequate compensation. This inequity leads to even more white, upper-middle class perspectives being heard and valued in the arts.
The ousting of Scott Rudin is an important step, but if we keep digging, we may discover that the whole system is rotten to the core, where exploitation and abuse is allowed to continue unquestioned. The white capitalist model of theatre needs to be fully transformed so that theatre workers are protected, respected, and paid fairly. Broadway can never return to normal now that our eyes are fully open.
White Complacency
By Britney Gomez-Landeros
It is very easy, as theatre artists, to believe that other theatre artists or that the theatrical world, in general, is not capable of harm. It is easy to fall into the trap of thinking that theatre is only uplifting and helpful when it comes to social and political issues, and letting the unheard voices be heard. But that is a flawed ideology and a borderline white savior complex, as it is not news that the industry is predominantly white. Theatre artists will pick and choose heavy issues and create a piece through or about it. They will do research about said issues, having not been face to face with the true struggles of the select community, and then sympathize with those who have. But at the end of the day, they can go home and forget about it until the next rehearsal or show.
In a thread of tweets posted on April 22, 2021, Twitter user @prestonmaxallen shares his frustrations in response to theatre creators referring to Broadway’s “Jagged Little Pill”, a musical dealing with issues of LGBTQIA+, drug abuse, sexual abuse, etc, as an “educational opportunity”. He claimed“*Broadway* is NOT YOUR PERSONAL "EDUCATIONAL OPPORTUNITY." This should feel SHAMEFUL???”
This highlights the problems with theatre artists today, they fail to correctly confront these issues with actual educated professionals, which is a total direct and injustice for the voices they are trying to uplift. This is part of the performative activism that many of these same artists fall guilty of. Performative versus actual activism is a matter of genuine devotion to the cause. Many times in the theatre, performative activism takes the place instead of devotion. Their words do not align with their actions, which is straight-up hypocrisy.
A great example of this would actually be from the golden standard themselves, Juilliard. Following the conviction of George Floyd’s murderer, Juilliard's president released a statement, celebrating the achievement in accountability, to which student Marion Grey had her own words to share. She tells her experience with “Slavery Saturday”. On September 5th, 2020, the theatre program made drama students listen to a slavery experience before classes even started, which was allowed to happen by multiple students and professors for 27 minutes. They cannot genuinely support and stand by the Black community and their Black students while allowing something even remotely like this to happen and be considered okay. How can black students feel safe in an environment in which actions do not line up with words said?
Where is the “Accountability”? So much for the golden standards. Even the “best of the best” are guilty. I mean the winner for “Best Picture” for the 2021 Oscars was “Nomadland”, a film highlighting unseen issues of homelessness. Yet they had the audacity to force the homeless people living in tents near the Union Station building in Downtown LA to hold this prestigious event. Where is the devotion? If theatre artists fail to take actions to actually advocate for change, to actually devote to the cause, then what is the point? We have to do better. We have to admit we are in the wrong, and take accountability for the performative ways of creating theatre. In order to be better, we have to DO better, and not be afraid to call eachother out if that is not happening. So do better.
Return to Stage: In Person this Time! (Hopefully)
By Jackie Jimenez
Taken By Jackie Jimenez
In the beginning months of 2020, the whole world was introduced to “The Rona.” Little did the world know what it had in store for us. It shutdown schools, theatres, parks, places of worship, salons, barbershops, and even famous landmarks. Life in the world just stopped. After more than a year of gracing us with its presence, many look forward to life going back to “normal.” Normal. A word that is so simple and so complicated at the same time.
The pandemic has made life so complicated that many people do not know what normal looks like, especially students and teachers. When are students and teachers going to be able to see each other in person and not on a screen? If students, staff, and faculty return to school, will it be at limited capacity? What does that look like? Will students be able to walk at graduation? When can people start gathering in enclosed public spaces such as theatres? When can I get back to my life? So many questions, but very few answers.
CSULB Theatre students are asking the same questions, but more specifically “What does Theatre look like in the near future?” Many students are curious and eager to know the answer as it has been announced that certain Theatre classes have been selected to take place on campus next semester. Feminist Theatre Makers met with CSULB Theatre Department Chair, Anthony Byrnes, to see what life would be like next year for students take Theatre classes.
Throughout the pandemic, many people were faced with many challenges, especially those involved in theatre and the entertainment industry. We asked Anthony, “What challenges did the Theatre Department face this past year,” in which he answered “I think the better question is, what challenges have we not faced during COVID-19.” He then went on to explain how there are obvious challenges that the department has faced, but there are also more deeper challenges everyone has faced.
One specific challenge he mentioned is that COVID-19 took away time and space from everyone involved in the Theatre Department. As Theatre artists, we work with one another and rely on one another to work on our craft in real time and space. “Not being with one another in real time and space is like a sculptor without their marble. The actual material that we craft and shape is not existing within zoom meetings.” Anthony stated another challenge that affected many students and teachers is “the inability to articulate one moment and the next.” As his time as a theatre educator, Anthony stated he misses having those unexpected moments in class and experiencing the shared energy in the space these moments occur with one another.
Regardless of the amount of challenges that the Theatre Department has encountered, Anthony sees some of these challenges as opportunities. “I had a mentor of mine tell me to never waste a good crisis. At first, I was like what the heck? I want to get out of a crisis now. But the more crises I go through, I understand the message and meaning of what they meant,” stated Anthony. He went on to explain how the pandemic has given people like himself the chance to separate themselves and acknowledge the habitual practices and decisions made within the Theatre Department. We have been given the opportunity to see which of these habitual practices and decisions have either benefited us or inhibited us from making progress in the Theatre Department.
As stated previously, Anthony sees these challenges as opportunities. It makes one think, “if these challenges are opportunities for growth, what are the plans for next semester?’ With the uncertainty that came along with the pandemic, no one knows what the future has in store for everyone. This uncertainty makes it difficult to make plans and there is this area of the unknown. Anthony stated, “I have no idea what next semester holds. But, I think that’s fantastic and better for us in the long run.” He went on to explain how the pandemic helped us separate from this thought that growth and progression happen within a linear progression. “The pandemic has given us a chance to dive deeper and figure out a way to respond to everyone’s needs. This is a perfect opportunity for the department to do that,” stated Anthony. Embracing the unknown, Anthony still looks forward to returning to campus and sharing a space with others again.
Since students have the option to be on campus for some classes next semester, many look forward to in-person instruction. Anthony stated there are multiple scenarios for in-person classes and these scenarios vary across the different types of classes. Some of these scenarios include block scheduling and the use of technology, such as cameras. However, there is still some uncertainty on how these classes will look next semester as the Long Beach health and safety guidelines in place at that time will determine the format of the class. Regardless of the uncertainty, Anthony stated the goal is to get people back in the room, more specifically on campus. He hopes that the pandemic taught people new creative ways on how to approach teaching the material and once we return, we don’t dust off what we did before. “If a theatre company is doing the exact same season of shows from the previous season, they are not progressing,” stated Anthony. He hopes no one falls into this trap as it inhibits one's progression towards growth.
Students have been eager to make a return on stage. Since students can return to campus next year for some classes, many wonder if that means a return to the stage. Anthony stated, “Once again, it depends on the health guidelines. But we are looking into everything.” Some scenarios that Anthony stated the CSULB Theatre Department are looking into to get the most out of student’s experience and get people back on stage are streaming live performances, outdoor theatre, and socially-distanced performances. He encourages people to not be greedy to get back to things as it can lead to another surge in COVID-19 cases. The health and safety of all students, staff, and faculty is important and taken into consideration in all of these scenarios.
Many CSULB Theatre students, staff, alumni, and faculty voiced their concerns and shared their experiences with racism, discrimination, lack of representation and inclusion of BIPOC within the CSULB Theatre Department this past summer. Students, faculty, staff, and alumni have taken the steps to start a conversation on how to address these issues. Unfortunately in some cases, when these issues are brought to light, they often are swept under the rug. Anthony shared with us how he does not want this to happen within the department. He wants to work with everyone to continue to address these issues at CSULB. He stated, “It’s not a monologue, it’s a dialogue.” He encourages students to become engaged in this dialogue with him and help him understand issues that do not pertain to him as a white man. To quote Anthony directly, “Haunt me. If you want change. Haunt me. Email me. Let’s have a conversation.” He acknowledges that as a white man, he may not understand or be aware of the challenges students are facing, but he wants to understand the depth and perplexities. As a Theatre Department, he wants to serve and ensure the health, artistic safety, and growth of all students . His goal to keep this conversation alive is by approaching it as a never ending, long-term conversation and not a semester-base conversation.
The return to CSULB seems so close, but yet so far. It can be discouraging, but hearing from a perspective from someone like Anthony Barnes during a time with so much uncertainty is refreshing. His perspective reminds people that there is still hope and with challenges, comes opportunities for growth. It is comforting to know that the CSULB Theatre Department has a Department Chair that is deeply committed to helping students and listening to their concerns.
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