Sexual Harassment Policies Are Not Enough

The kinds of stories that have been swirling around the improv community these days can inspire outrage at the people who are victimizing others, and it should. But when seeking better outcomes, we must address more than just the bad apples in our community. We must do more than put in place policies that address harassment.

Let’s say that you were put in charge of a large comedy theater that has recently had significant issues with sexual harassment. What might you do? Well you might take a look at your policies. You probably would open up channels so that people could have a way to confidentially share their experiences. You might arrange some training for your staff. And you might have to fire some people–get rid of the “bad apples” as they say. But if you don’t address the power structure of your organization, it will never really get fixed.

Even before the recent public accusations of rape, unwanted sexual advances, and hostile environments, it should have been obvious that there was a problem. The gender imbalance at certain theaters is obvious and persistent. In a way, harassment is the ugly symptom of a disease that goes much deeper.

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Diversity Works Best From The Top Down

Last week I wrote a post urging improv theaters to rethink their casting. In a nutshell, I think most people take a bottom up approach to diversity. If they care about diversity at all, they concentrate on getting more diversity in their classes, and think that over time things will even out. Outreach programs are great. I fully endorse diversity scholarships and other attempts to attract a diverse student base and a diverse audience. But I think there is something really special about having a diverse cast on stage for your shows.

For prospective students, it lets them know that they are welcome and that when they are ready, they will have a fair shot at becoming an ensemble member. Sure you can make them feel welcome by being nice and being encouraging, but actually seeing people like themselves on stage speaks volumes.

Last year, when we held our first auditions for our ensemble, I remember wanting to have a diverse cast. I hoped we would get people from a lot of different backgrounds. I especially hoped that we would have lots of great women in the ensemble. I think it’s common for ensembles to be 20-30% female. And I wanted to do better. And I figured it would be the easiest part of the problem to fix.

I hope that if I had been doing the casting on my own, I would have cast an ensemble that was about half women and half men. But if I’m honest, I probably wouldn’t have. Maybe I would have fallen short and cast 2/3rd male like most theaters seem to do. The reason I didn’t? Because I wasn’t doing it alone. My business partner ran the auditions with me. I think this had four effects:

  1. I think people who auditioned for us knew that the company was co-owned by a woman. And I think that may have nudged many women (consciously or unconsciously) to audition.
  2. I think she probably reached out to some women to audition, particularly women she had taught or directed at Second City or whom she had known from other projects.
  3. When we were making decisions, I think her sensibilities may have nudged me to value the talent of some people more than I would have if I were judging them on my own.
  4. And most importantly, she walked into that audition assuming we would cast an equal number of men and women. And when she pointed that out to me, I knew she was right.

It wouldn’t be enough to do better than most. I wanted a cast that was just as likely to have more women on stage as more men. And the best way to do that would be to just cast an equal number of men and women. So that’s what we did. We’ve had two auditions and at the end of each audition, we’ve had an equal number of men and women in our ensemble.

Despite my desire to see more women in comedy and improv, it just would not have happened if it was only me making the decision, or if my business partner were another man. So yeah, get more diversity on your stage, but first, get more diversity in your casting room.

One other thing, these posts are not just meant to nudge people in other theaters to do better, but also to nudge my future self to do better as well. I can already see areas in our own business where we need to better. And if I keep talking about this in public, it will be that much harder to overlook this at our own theater.

I’ve heard of so many good ideas from the conversations spawned by my first post, and I’m eager to try them. So I’d love to hear your stories about this. What are your theaters doing to address this? What is your experience in improv been like? Has your journey been harder because of your gender, your culture, your age, your sexual identity? What kept you going?

Why Isn’t Your Improv Theater Diverse?

Recently I was a part of a panel of teachers and theater administrators at an improv camp. One of the questions was about how we can make our improv shows and teams more diverse. Many of the responses were about how to get people interested and involved, how to reach out to communities that are underrepresented and try to recruit people for classes or even just to get them to shows.

These weren’t bad ideas, but honestly there is a really simple answer. When you are making casting decisions, just decide that diversity is a priority and cast the most diverse ensemble that you can. Cast LGBT folks, cast black people and latinos, cast women. Just cast them. Do it. Stop making excuses about talent or quotas. Just cast them already.

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