Theatre: It's a Man's World

Last week, I wrote about the media's portrayal of women and the effects it has on women's perception of their own beauty. However, in this entry, I have chosen to blog about the on going struggle for female playwrights to break through the "glass ceiling," (see image, left), in an effort get their work produced in both the east coast and the west coast theatre circuits. To offer a better understanding of the issue, statistics show that the number of female-penned plays on the stages of New York represents 12.6% of the total, while 60% of theatre audiences are female. The problem is frighteningly similar on the west coast, as well. Theatre is, at its very least, supposed to be a forum for progress, change and expression. How is it that an aspiring female playwright most definitely still finds herself in a man's world? Are there just not enough plays written by women to choose from? What's the deal? As a young woman with her sights set on a life in the arts, I have decided to raise a few questions and offer encouragement to the writers of a few blogs, who are currently concerning themselves with this ever present problem. I comment first on a blog entry, "Broadway's glass ceiling," written by acclaimed playwright Theresa Rebeck, author of several plays, including Spike Heels and Mauritius, which is making its and her Broadway debut on October 3rd of this year. Her blog is currently closed for commenting, so I have included it below. Rebeck, pictured below, does well in ranting on the issue as far as New York is concerned, so I found another blog that paints the picture just as effectively regarding southern California's iffy theatrical production decisions, similarly titled "L.A. Theatre's Glass Ceiling." Lisa Fung, a Los Angeles Times staff writer for the L.A. Times blog, Culture Monster, offers a similar, but more subdued, message as Rebeck: it is high time for female playwrights to get the representation they deserve from the theatre world that they are devoting their talents to. You will find my comments on what both writers had to say below.

"Broadway's glass ceiling" by Theresa Rebeck
Comment:
I would like to thank you, Ms. Rebeck, for taking the time to share your sarcastic assessment of the issue regarding the production of female penned plays in New York-- or lack thereof. The underrepresentation of women is a battle that plagues all areas of our lives: education, business, the arts, etc. Most probably assume that this struggle does not surface in the "free" and "artistic" world of theatre, but as you've expressed and those of us in the theatre community have experienced, it most certainly does. Your frank method of shrewdly shedding light on the issue is an unappreciated way of really reaching out to readers, grabbing their attention, and possibly giving them a voice--specifically women. So many critics speak in lofty terms to analyze theatre and the world in which it exists, making the "theatre is for snobs" stereotype reign supreme. Your sources give a good impression as to what is popular on Broadway today. It would have been wonderful if you could have included a source for the startling statistics on the plays written by women on NY stages and the 60% female audience percentage you give. I wonder: do you believe the number of plays written by women matches up to that of those written by men? Do producers have just as much male and female-authored work to choose from, or are they simply choosing male playwrights, because, well, they are male? I imagine great strides would be made for this cause if women were encouraged to write more, from early childhood into womanhood, so that they may grow up learning to to use the voice they normally would not even know they had. Then, maybe, the amount of good work written by women would be undeniable. What do you feel is the best remedy for this illness that has the world of theatre, or at least the women in it, feeling so sick? Lastly, I think your bravery in speaking out is something to be admired. You are a successful female writer in a seemingly "man's world," and you have a great deal to lose by putting your "balls" on the line. Write on, Ms. Rebeck, write on.

"L.A.'s Glass Ceiling" by Lisa Fung
Comment:
Many thanks to you, Ms. Fung, for shedding light on the theatre scene on the west coast, and how our struggle relates to that of the east coast theatre circuit. Your choice in using Theresa Rebeck's words, when identifying the barriers women playwrights face in getting produced as a "glass ceiling," is unfortunately perfectly accurate. Your simple and fact-based argument is effective in reaching both male and female readers, while Rebeck's sarcastic tone and choice of words may scare off the very men whose minds she is hoping to change. It is interesting that the Orange County theatre community has embraced female playwrights more that the Los Angeles circuit has. What do you think this is? I definitely agree with you that the woman's voice in the California theatre world is being muffled to a whisper thanks to producer's choices, but, I will pose the same question to you that I did to Rebeck when I ask: do you believe the umber of plays written by women matches up to that of those written by men? Do producers have just as much male and female-authored work to choose from, or are they simply choosing male playwrights because, well, they are male? Also, I wonder what a potential solution to this problem could be. You imply that an expectation for "some sort of gender based affirmative action" would be in appropriate, but is there any other way? What do you suggest? Could the answer lay in the encouragement of women to express themselves through story and other outlets, from the time they are young? I believe the answer to this equation is more deeply rooted, that it trickles down to young girls who are not even aware that theatre exists as something they can be a part of. Females should feel empowered and confident enough to tell stories, only then will the playing field be even between men and women when it comes to production decisions. lastly, I admire your action in responding to the problem and continuing to fuel the fire that Theresa Rebeck started. The heat is on, thank the theatre gods.