While I disagree with castlestreet's implication that this is just something to accept, I think he brings up some worthwhile points about how we, as audience members, and how stars are complicit. I personally have been a dedicated audience member of Rudin's work for years, and I've defended some of his controversial business decisions, because I believe he adds so much value to the theatre community. But until recently, I've mostly been under the impression (possibly self-deluded) that he fell under the "difficult" category, not the "abusive" category. With this recent incident, I'm seeing that this isn't the case.
And yes, there's some hypocrisy to all this. Can I honestly say that I won't ever see another Scott Rudin production? Will I try to rationalize it by reminding myself that I only ever pay rush prices, which barely make a dent in his grosses? Will I continue to support the artists who repeatedly work closely with him, and make him his money? These are things that I, and many of us, have to think about going forward. Where will each of us draw that line, and how much are each of us willing to compromise our morals for great art? Preferably not at all, but it can be difficult to reconcile with that when, we, as dedicated theatre people, are so deeply entrenched in this world of seeing/discussing everything that comes to Broadway. But yes, if we're going to indulge in that hypocritical behavior, the least we can do is acknowledge our own hypocrisy.
As for the artists - it's a tough one, because I think castlestreet is right to point out that believing their claims of ignorance may be a bit naive. And yes, they should be held accountable for enabling him. But I also think that trying to boycott/cancel artists because of their associations with problematic figures is a game of rapidly diminishing returns. There may be a lot of social value in robbing Rudin of his outlet for abuse, but the social value of cancelling Laurie Metcalf for working with him is limited, to the point of maybe not being worth it.
But then, the question becomes, how does one practically bring down a man at the top, without de-incentivizing others to continue giving him power? And how does one de-incentivize artists to continue working with him, without presenting them with the risk of tainting their own public image?
I don't know. It's very complicated. And it's something I wrestle with constantly as someone who consumes art in the way that I (and many of us on this board) do.
Updated On: 4/7/21 at 01:21 PM