Broadway… really can’t maintain its status as the place where new playwrights, especially women, go to gain recognition.
Women do not see their crucial concerns acted on the stage, we do not read theatre reviews written by women critics, and… women do not buy the majority of tickets to the plays we write.
Over time, the survival of the Women’s Project, the largest and oldest theatre in this country supporting the work of women, will depend on our ability as past and present and future supporters to believe in a restored vision. Good luck, Lisa!
The petition protesting the termination of Julie Crosby as Artistic Director of the Women’s Project gained the signatures of over seven hundred people. The signers included this country’s most accomplished theatre artists, leaders, managers, and supporters.
Commitment to this kind of work, edgy, daunting, representing visions seldom seen on our stages, demands a commitment over the course of two generations that may be simply too hard to come by.
Somewhere among us there is another inspired woman producer, another inspired women director, and surely more than one inspired woman playwright who will bring on the next transformation.
I tended my resignation from the Advisory Board of the Women’s Project, as have most of its other members.
We were fearless back then, as we have continued to be—the three of us founders and the hundreds of more recent supporters—fired by knowing that women playwrights represented only something like 17 percent of the playwrights produced in New York, on and off-Broadway.