How the machinery of enablement works in American theatre.

This is a case study of how the machinery of enablement of sexual harassers and abusers works in American theatre. It involves Raphael Martin, the ex-Director of New Work at Soho Repertory Theatre in New York; and American Theater Magazine and its publisher the Theatre Communications Group (TCG).

I.

In October 2016, I read this piece by poet Annie Finch, an account of sexual harassment in the literary world. Her descriptions reminded me of the sexual harassment I’d experienced from the then-Director of New Work at Soho Rep, Raphael Martin, in 2013; and how that harassment had negatively influenced my career trajectory, and informed my negative feelings toward Soho Rep. Inspired by Finch, I wrote a Facebook post about my experience with Martin. Many people saw it and responded, but apparently none at Soho Rep. I looked at their staff and board list, recognized the name of a Facebook friend, and sent my friend my Facebook post via private message. My friend responded immediately and, with my permission, shared my post on their personal Facebook wall, asking if anyone else had also been sexually harassed by Martin. Apparently many had—all young female theatre artists, like me—and submitted their accounts to my friend. Within a few days, Martin was fired.

At the time, I felt satisfied that Soho Rep had done the right thing. But I was a little confused that none of the leadership at Soho Rep had reached out to me, and that there was no press coverage of the incident; the firing of the Director of New Work at one of New York’s most prestigious independent theatre institutions had apparently gone unnoticed.

Since then, Martin has set up a theatrical consultancy agency in London. In other words, he was free to simply pick up and move shop, with few the wiser. This pattern is a crucial element in every culture of abuse: academia, high school sports, the Catholic priesthood, and so on. So I wrote to Sarah Benson, the Artistic Director of Soho Rep. She responded very kindly and thoughtfully, acknowledged the harm done to myself and the field, and thanked me for coming forward, then and now; but said that, as difficult as it was, the theater was not in a position to revisit the incident in a public way.

I don’t know why. And I wonder if there are reasons I can’t know why.

I wish they’d noticed that Martin seemed to pursue meetings only with young women theatre artists.I wish they’d reached out to check in with me after I came forward. I wish they’d publicly taken responsibility for Martin’s long-term employment and the extensive damage it did to the field. And most especially, I wish they—and all theatrical institutions—would look more closely at their part in the American theatrical community’s culture of scarcity, secrecy, and exclusivity, which deters so many women from coming forward.

I wish Soho Rep knew me as a playwright and not as a whistleblower.

II.

Last fall, a friend sent me a post by a journalist at American Theater Magazine (AT), the nation’s “only general-circulation magazine devoted to theatre.” The journalist was soliciting accounts of sexual harassment in theatre. I was one of approximately a hundred people to get in touch with her, and spent a long time talking to her on the phone about my experiences, which included naming names on the record, including that of Raphael Martin. She was terrific, receptive and compassionate.

Months went by. I tweeted at AT, asking whether they were planning to publish anything from the amounts of information they’d gotten. They sent me link to a published article, here. I hadn’t heard anything about it, and it’s not hard to see why: because though it’s well-written, it says very little except that sexual harassment and abuse is an enormous problem in American theatre, with illustrations thereof, but no names or institutions attached. I didn’t blame the journalist. I gave her names—lots of us did—and she seemed to want to publish them. So I got in touch with her to ask what had happened. She said that the leadership at TCG (the publisher of AT) had overruled her, opting instead to anonymize everything because they didn’t want the legal liability, and that naming names (of people or institutions) was “not in line with their mission.”

III.

This is how the machinery of enablement works.

And this is how it breaks: when individual victims take on the risk of speaking out.

For a variety of reasons, I do, and have before. Those reasons might merit their own blog post one day. But what I want to emphasize now is: this is not a matter of “having a chip on my shoulder.” It’s a matter of sexual harassment and abuse being a major public health and safety issue in all sectors of our society, and wanting to do something about it, especially when the leadership of arts institutions tend to do whatever it takes to preserve themselves first, at the direct cost of the health and safety of the individuals they’re supposed to serve. There is a vacuum of moral leadership in American theatre. This is especially ironic given theatrical institutions’ self-positioning as bastions of progress. Many are not. They merely replicate the same biases, abuses, and failures that exist in larger society, and then brand it as “arts advocacy” to its donors. Adding insult to injury, this “advocacy” is a means by which hundreds of people make a sound living, with health insurance and retirement benefits; meanwhile, actual theatre artists cannot make a living at all.

I wrote to the Editor-in-Chief of ATM, Rob Weinert-Kendt; and the Executive Director of TCG, Teresa Eyring. Both of them wrote me back kindly, but did not reverse their decision. I told them both I appreciated their responses, but did not agree with their decision or their reasoning. I think American Theater Magazine leadership should have empowered and supported its reporter to name the names we gave her. I think American Theater Magazine and its publisher, TCG, should seriously reexamine its mission if its mission does not include protecting the basic health and safety of theatre artists. And I think American Theater Magazine and its publisher, TCG, owe an apology to the entire theatrical community for its complicity in the machinery of enablement.

No matter what, donors to AT and TCG should start asking questions.

IV.

In my opinion, Martin needs serious psychological help, and until he receives it, he should not be in any position where he works with younger women in a theatrical or other context. If Mr. Martin would like to sue me, he’s welcome to try; I have exactly one asset—my car—and $159 to my name. Luckily for me, truth is an absolute defense in defamation cases. Nothing I’ve said in public or in private is untrue.

If any commenters are looking to engage me in “debate,” you should know that I have to approve all comments before they go live, and I’m not interested in debating. I’ve thought about publishing a post like this for months, discussed it with many people I trust, and am at peace with my decision. I will delete your comments.

If any reporters would like to get in touch with me to speak on the record about any of the above, you can contact me through my web site.

Thank you for reading.

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