So what's really going on here? Is this article accurate? Was Charles fired more because he didn't get along with the Times staff or because of his close relationship with Scott Rudin, a producer he didn't review? Also, not too smart to bash your employer while using company e-mail. Like don't ever say anything negative about your employer in company e-mail or social media, duh!
New York Times critic fired over relationship with Scott Rudin
? New York Times critic fired over relationship with Scott Rudin
I tried to copy and paste the article from today's NY Post describing what's going on between Isherwood and the Times but it wouldn't link. Maybe somebody more technically savvy than me can do it! Thanks!
In our millions, in our billions, we are most powerful when we stand together. TW4C unwaveringly joins the worldwide masses, for we know our liberation is inseparably bound.
Signed,
Theater Workers for a Ceasefire
https://theaterworkersforaceasefire.com/statement
Except that Isherwood reviewed Rudin's biggest money make of the past few years The Humans - twice. Rudin announced the transfer of The Humans from the Roundabout "before the reviews came out" which no one ever does unless they have the review in advance.
Interesting! So The Humans made more money than any of his other shows? That's interesting. I saw The Humans and thought the ending was sort of bleak. Nothing seemed to happen. It's like the family all just went home, their separate ways. Althougb I've heard some people say that the father went out to kill himself.
In just the last few months, he reviewed three major new Broadway musicals (The Great Comet, Dear Evan Hansen, A Bronx Tale), a few prominent Off-Broadway shows (like Sweat), Kristin Chenoweth's concert at the Lunt-Fontanne, the revival of Falsettos. We're not exactly talking about shows running in church basements on the Lower East Side. The idea that Isherwood was kept from reviewing A-list shows is preposterous; and even if it was true, he's not the chief theater critic.
"You travel alone because other people are only there to remind you how much that hook hurts that we all bit down on. Wait for that one day we can bite free and get back out there in space where we belong, sail back over water, over skies, into space, the hook finally out of our mouths and we wander back out there in space spawning to other planets never to return hurrah to earth and we'll look back and can't even see these lives here anymore. Only the taste of blood to remind us we ever existed. The earth is small. We're gone. We're dead. We're safe."
-John Guare, Landscape of the Body
It's true that he's been complaining about not getting the top shows for years. I've heard that from tons of people. What a bizarre entitlement. He was never the top critic, why would he get the top shows? Good riddance.
Also, WTF was Isherwood doing corresponding with Rudin from his work email?
"You travel alone because other people are only there to remind you how much that hook hurts that we all bit down on. Wait for that one day we can bite free and get back out there in space where we belong, sail back over water, over skies, into space, the hook finally out of our mouths and we wander back out there in space spawning to other planets never to return hurrah to earth and we'll look back and can't even see these lives here anymore. Only the taste of blood to remind us we ever existed. The earth is small. We're gone. We're dead. We're safe."
-John Guare, Landscape of the Body
Rudin has his hand in a lot of theatre in NYC. A critic should not be maintaining any sort of relationship with him beyond the professional level. And clearly, gossiping and bitching about the top critic at your publication with a producer is remarkably unprofessional.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
Ish was unhappy for the classic reason of someone in a job that has no potential for advancement. There are plenty of people who would kill for his job, but that does not change the fact that no one wants to feel stuck. And Ish was not shy about saying it, not just to Rudin and Goodman but to anyone who would listen.
The best drama critic the Times had in the last quarter century, Peter Marks, left when he saw the writing on the wall, to take a great gig (that ironically is keeping others at the WashPost from advancing). Ish has no similar option, and so just wallowed in his unhappiness. But make no mistake: what he did was a no-no.
neonlightsxo said: "AC126748 said: "Also, WTF was Isherwood doing corresponding with Rudin from his work email? "
I mean, that's the real question isn't it? Especially after an election season all about emails.
"
Particularly when it's a known fact that employers can (and do) read emails sent from workplace accounts. Not excusing Isherwood's conduct--and from what I've heard, there's more to this story than what's reported here--but I'd at least hope he'd be smart enough to send communiques to Rudin from his Gmail.
"You travel alone because other people are only there to remind you how much that hook hurts that we all bit down on. Wait for that one day we can bite free and get back out there in space where we belong, sail back over water, over skies, into space, the hook finally out of our mouths and we wander back out there in space spawning to other planets never to return hurrah to earth and we'll look back and can't even see these lives here anymore. Only the taste of blood to remind us we ever existed. The earth is small. We're gone. We're dead. We're safe."
-John Guare, Landscape of the Body
Maybe he can get a job in theater but in a different capacity? To me he's always come across as a little bit whiny. On FB he comes across that way as well. But he does have a vast knowledge of theater so I'm sure he can work with it in some capacity, but he may have to get creative and entrepreneurial about it.
Kad said: "I would imagine the topic of "theatre journalist being too tight with producers" is not one that Riedel would like to bring up.
"
Yeah, but Riedel is a columnist, not a critic. He has no mandate to feign objectivity and he's never been shy in writing about his past dealings with producers, Rudin included.
"You travel alone because other people are only there to remind you how much that hook hurts that we all bit down on. Wait for that one day we can bite free and get back out there in space where we belong, sail back over water, over skies, into space, the hook finally out of our mouths and we wander back out there in space spawning to other planets never to return hurrah to earth and we'll look back and can't even see these lives here anymore. Only the taste of blood to remind us we ever existed. The earth is small. We're gone. We're dead. We're safe."
-John Guare, Landscape of the Body
Riedel didn't write about this because Riedel is tight with Rudin. He's been at Rudin opening nights....and if you read his column he's very rarely anti-Rudin. Also Riedel was pushing the narrative that SHUFFLE was a revival. Riedel also tried to force the HAMILTON producers' hands in bringing HAMILTON in during the 14-15 (FUN HOME season) so that it wouldn't compete with SHUFFLE, which they always knew was a NEW musical.
AC126748 said: "Kad said: "I would imagine the topic of "theatre journalist being too tight with producers" is not one that Riedel would like to bring up."
Yeah, but Riedel is a columnist, not a critic. He has no mandate to feign objectivity and he's never been shy in writing about his past dealings with producers, Rudin included."
True, but I think there's still cause to be wary on his end, especially since he's been seeing ever-reducing space in the Post and clout overall.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
The Times also has a number of freelancers on the theatre staff already. It would be nice if they would hire someone who is not a white man but I'm not holding my breath.