Theatre’s #MeToo Moment

Thank you, Teresa Eyring, for writing this article (“Time’s Up for Theatre Too,” AT, March ’18). Sadly, the questions you raise are vitally necessary and will be, I fear, for time to come. With all respect, and not attempting to reframe the topics you raise, I think it would be interesting to know what TCG’s sexual harassment policy is. As a leader in the theatre industry, TCG sets an example for others to follow. Laying out (in broad strokes, of course) how TCG handles and protects those who bring harassment claims would be enlightening and instructive to the rest of us. If there is a link to the TCG policy perhaps it could be amended to the end of your article. Thank you again for your cogent and necessary piece.

Wally Dunn
New York City

TCG responds: Thank you for writing. TCG recognizes its unique position to speak and lead on this issue. Our goal is to provide a safe work environment where all employees are treated with respect. Our written policy prohibits harassment of any employee by any supervisor, employee, member, or vendor on the basis of sex, gender identity, or gender expression. Employees who feel they have experienced conduct that violates this policy may immediately report the matter to their supervisor. If their supervisor doesn’t respond within five days, they may reach out to a member of TCG’s senior leadership; if their supervisor is the person about whom the complaint is being made, they may go directly to a member of TCG’s senior leadership. Every report of perceived harassment is fully investigated, and corrective action is taken where appropriate. Violation of the policy results in disciplinary action, up to and including termination of employment, and TCG will not allow any form of retaliation against individuals who report unwelcome conduct to management or who cooperate in the investigations of such reports in accordance with the policy. You can find resources for your own use here.

Wrong Angle on ‘Angels’

I’ve always liked Alisa Solomon’s work, and her observations are good, but it seems that she’s criticizing The World Only Spins Forward for not doing something that it never claims to do (“‘Angels’ in the Details,” AT, March ’18). It’s an oral history by (mostly) people who were involved in staging Angels; of course it doesn’t give us analysis of the interpretive debates over the play. That’s not really an oral history’s job, and the people who have performed, directed, designed, and produced the play are precisely the people not to ask about interpretive debates, just as you wouldn’t ask them to review the play.

I don’t agree that the book will necessarily “stand as the definitive account of the birth, life, and legacy of Angels.” Sure, it’ll be the definitive oral history from participants, but there’s still room for a book (or several) about the play’s history and interpretation from the point of view of critics and the public.

Matthew Westphal
New York City

Fond Farewell

It is with a very heavy heart that I write this note to you. For many years my husband was an enthusiastic fan of your wonderful publication. He passed away suddenly last winter. Therefore, when your magazine arrives to my home, it makes me so very sad, thinking of how he would have thoroughly enjoyed it. He especially loved when you would feature a new play for him to read!

Ed was thrilled to see an Off-Broadway production, he read Playbill religiously online, and was a regular supporter of many regional productions in our city of Philadelphia. He received his undergraduate degree in theatre from Temple University. He performed professionally in Maryland, New York, and Pennsylvania through the years.

Please do not send any future issues to our home. I thank you sincerely for bringing such joy to my dear husband—theatre was “the thing” to Ed, it truly fulfilled him and enriched his entire life. Your magazine was a gift to him each time it arrived.

Margaret Miller
Philadelphia