It’s been 10 days since then The Hollywood Reporter published “It simply came to our notice then Monster,” a long-form report focused on the alleged abusive work environment created by Hollywood blockbuster (and EGOT winner) Scott Rudin. The play presents Rudin’s status as a kind of top bully in the LA ecosystem, a tyrant happy to work physical abuse (especially throwing things at or near subordinates) in a regime. of emotional abuse that could range from verbal diminution to a common practice of firing people and then re-employing them when their temper has cooled. Collecting anecdotes over the decades of Rudin’s business history (just like this recently Vulture piece) THR the report emphasized the shape of a man who would probably become a fascinating character in a movie – but who, in the real world, was just another abuser, albeit a very strong one and financially successful.
Now, however, Rudin seems to be facing a small amount of consequences for his behavior variety Report that the producer apologized and offered to “take a step back” from his various Broadway productions. This comes after growing criticism of his business practices, including by Karen Olivo, the Tony-nominated star who said she would not return to Broadway production of Red Mill! (in which, to be clear, Rudin is not involved) because of the disgust with the industry’s support for Rudin and people as he.
Rudin handed her the plate statement to Washington Post, which also notes that it appears to be considering anger management classes, which will certainly come as a relief to the many assistants and subordinates it would entail. hit over the years. However, here is the statement:
Much has been written about my history of disturbing interactions with colleagues, and I am deeply sorry for the pain my behavior has caused people, directly and indirectly. After a period of reflection, we decided to take a step back from actively participating in our Broadway productions, with immediate effect. My roles will be played by others in the Broadway community and, in many cases, from the list of participants already on the site of those shows. My passionate hope and expectation is that Broadway will reopen successfully very soon and that many talented artists associated with it will once again begin to thrive and share their art with the world. I don’t want any controversy associated with me to interrupt the well-deserved return of Broadway or, specifically, the return of the 1,500 people who work on these shows.