Theatre Development Fund – TDF: The timing of Theresa Rebeck's What We're Up Against is uncanny. Although the dark comedy about a woman fighting for her due in an overwhelmingly male workplace was written in 1992, it's enjoying a belated New York premiere at a moment when stories about men abusing their power are breaking almost daily. Of course the #MeToo movement hadn't yet taken off when director Adrienne Campbell-Holt and Rebeck were approached about mounting the show at WP Theater (formerly known as Women's Project Theater). But that just confirms that while these issues are currently front-page news, they've been festering for years.
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Although its circumstances are rather depressing and inferiorating, it's very fitting that a play like this is put on right now, in the midst of drama involving Weinstein, Spacey, etc. This article focuses on the timeliness of shows and how many themes of pain and suffering are still resonating from over 20 years. The same could be said about Anna Devere-Smith and her work on "Fires in the Mirror" and "Twilight Los Angeles: 1992" where she had themes of prejudice and violence against black people. Shows that were written in the 90's with he intent of creating change are proving to still be incredibly relevant as now we have circumstances that are still as stagnant and backwards regarding race and gender. Also, with an all female team, I believe this show can give New York a whole heartedly gene its experience, as it's paving ways and setting examples for theatre companies everywhere to include more women when speaking about women's concerns. I'm glad this show is having its premiere, but I'm even more excited to hear about the progress I'm sure it will eventually make.
It is important to bring to light and discuss not just sexual harassment in the workplace, but also workplace sexism, misogyny, and warning signs that still happen daily—I know I have experienced this kind of “shadowing” and “lurking” mentioned in the article as I have grown into a woman working in the tech industry. It roots from high school, having your work consistently checked even though you know it’s right, or being followed “just to make sure you’re doing it correctly.” This culture we see in all kinds of working fields put in the context of a theatrical piece really helps to create an outlet amongst the allegations in the theatrical and entertainment industry. This topic being talked about in what sounds like a very grim, realistic, and blatant way helps to directly call out these workplace issues while keeping the discussion about sexual assault and harassment open until it is put to rest.
Is there a better time than now to bring issues of workplace gender politics to the stage? Now more than ever, if someone has never experienced these issues or doesn’t understand what women in the workplace fight against, this production might be able to change their minds. Showing it from the woman’s point of view is where theater is at its strongest, to create that link that otherwise might not exist. I appreciate the fact that this play seems to take a more complex view of gender politics. Yes, the female characters are imperfect, but that doesn’t excuse or dismiss the sexism that they face. But the fact that a play, written about sexism in 1992 is still so relevant is sad. I know a lot has changed in 25 years, but the fact that this play still rings true indicates how pervasive sexism is in the workplace.
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