So the news is not great. Yet I find myself optimistic, unable to shake the sense that something is changing â that in a year that began with womenâs marches erupting around the globe, female theater makers are less willing to tolerate the stubborn status quo.
Ms. Vogel, whose show runs through Aug. 6 at the Cort Theater, is declining to exit Broadway with decorous gratitude, insisting instead on talking, in the news media and on Twitter, about what she sees as a system stacked against women. (She includes this newspaper.) Kate Whoriskey, the director of âSweat,â told me this spring that she spent years batting away reportersâ questions about the gender gap in directing but now believes that refusing to discuss it is part of the problem.
It is awkward, in a field that espouses liberal values, to point out the disparity between women and their male colleagues. But itâs pretty glaring. You donât have to squint to see it.
âThe Noblest Girlâ
Earlier this summer, in a fourth-floor theater way downtown, there was a âJulius Caesarâ that did not attract protesters or make the international news like the recent Shakespeare in the Park production did, with its Trump-like title character. Though less polished, the Pocket Universe staging was the more radical take on the tragedy â set in an all-girls high school and performed by young women building their dramatic muscles in roles that almost always go to men.
Not so different, you might think, from Phyllida Lloydâs ferocious all-female Donmar Warehouse production a few years back at St. Annâs Warehouse. Yet in the Pocket Universe version, all of Shakespeareâs characters were girls, and the…