Sex dating in Healy

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In the summer of the actress Marin Ireland, a past Tony Award nominee, was dating Scott Shepherd, a fellow theater star. According to interviews with both, Ms. Ireland slapped Mr. Shepherd one night at their apartment; two nights later he slapped her with enough force that he knocked her to the floor.

When Ms. Ireland walked into rehearsal the next morning, she had a black eye. Members of their theater company, the Wooster Group , were shocked. One actor asked why Mr. Others questioned whether the play should go on. Shepherd was deeply apologetic. Ireland said that she came to feel that instead of doing something about Mr. Shepherd, a company veteran, the Wooster Group was putting the onus on her to stay or quit the play. Ireland said. That confusion over blurry boundaries and ability, the sense that there was no one impartial to turn to, has propelled Ms.

Ireland into a cause that is gaining momentum in the industry. Together with a group of actors and theater professionals, she is pressing unions and others to create clear-cut protocols for registering and handling grievances about harassment in the theater. While sexual misconduct and harassment policies have become more stringent in places from university campuses to dot-com start-ups, theater remains largely unregulated. And it is a unique work environment, one that asks employees to flirt and kiss, argue and fight, strip naked and simulate sex eight times a week for what can be months on end.

After hours, sexual encounters are common among cast members; actors date one another, and directors sometimes date their actors. When powerful people behave badly, they have agents to protect them. Given how decentralized the world of theater is, it is difficult to pin down exactly how common problems of workplace misconduct are.

But interviews this winter with 45 performers, dancers, writers, directors and other theater artists from around the country yielded scores of s of firsthand experience with harassment and unwelcome behavior by fellow production members. Women and gay men in their 20s and 30s describe being propositioned for sex by influential directors, casting directors and others who could help or hurt their careers. Young gay men harassed one another, and groping was a problem for all genders and sexualities. And the far-flung world of plays and musicals lacks a human resources department to complain to.

Ireland believes that a few specific steps would go a long way in helping actors and other members of a production respond to abusive or harassing behavior. Nearly theater actors and artists have endorsed the campaign, including Jessica Chastain and Joanna Gleason, and the playwrights Lynn Nottage and Stephen Adly Guirgis. She said she saw no point in telling anyone at the time, and declined to name the director now.

Several Broadway veterans contacted for this article — Glenn Close, Sutton Foster and Donna Murphy among them — say they have never experienced harassment in the theater. And prominent casting directors like Bernard Telsey say they have heard few if any stories of predatory behavior. Others believe harassment is as often as not in the eye of the beholder. But talk to performers in their 20s and 30s and a generational divide begins to reveal itself. Younger actors seem to have less tolerance for flirtatious or licentious behavior than performers of earlier generations, particularly those who came of age in the s when directors like Bob Fosse, a notorious womanizer, were Broadway giants.

Hilary Bettis left her small town in Minnesota a decade ago to pursue dreams of acting and writing. She had talent, ing with an agent and getting commercials; she also had beauty. The combination led to theater opportunities, invitations for drinks and parties and more come-ons than she says she can remember. One prominent producer, whom she would not name, offered to help finance a show of hers if she would masturbate him, Ms.

Bettis said. The female stage manager got him out. Another director criticized her work in a make-out scene and proposed that she practice with him. She has also been referred to in derogatory terms for female genitalia, she said, and had her breasts and backside grabbed in audition rooms or at meetings on several occasions. Bettis, 29, who is now a playwriting fellow at Juilliard. Among the actors and dancers interviewed, four gay men and one woman said that directors or casting directors had demanded oral sex or dates in exchange for being considered for a job.

These performers would describe their experiences only on the condition of anonymity, and they declined to identify the directors or casting directors. Duncan complained to the stage manager, only to have the stage manager come on to him sexually too. Duncan said. New York theater is not the only place where actors complain of unprofessional behavior going unchecked. In Chicago, a group of actors and artists met this month to discuss predatory behavior — mostly sexual advances and touching — in theaters there.

But we are ready to take a stand so no more year-old women have to take off their clothes in an audition for no good reason. Harassment and come-ons are also a problem in Hollywood, said several theater actors who work there, but studios tend to have tough policies, and celebrity magazines, TMZ and other outlets shine spotlights on bad behavior. Like Ms. Bettis, actors tend not to complain to Equity or the police. Some, however, do go to stage managers, who are supposed to handle complaints. have been mixed, with both actors and stage managers, who are also Equity members, saying that stage managers are usually not trained to deal with harassment and that their primary interest is keeping the show running smoothly since they report to management.

Several stage managers said they had witnessed ugly behavior, describing actors being grabby with other performers or inappropriately using their tongues during kissing scenes. They also described numerous experiences of actors going onstage while drunk or high and being physically inappropriate with co-stars, and directors drunkenly groping actors or crew members in bars or bathrooms.

Judging from interviews with performers and artistic directors the enforcement of sexual harassment policies differs widely among productions and theaters. They rely instead on anti-harassment language in the Equity bylaws, labor contracts, or policies of theater troupes, though most New York performers interviewed said they were unaware of such language. In the case of Ms. Ireland and Mr. And while the fighting between Ms. Two other people involved with the play recalled that Ms.

A therapist met with the whole company at one point, but participants described the session as awkward and uncomfortable. Shepherd with as few other actors around as possible. Ireland described Ms. LeCompte as saying that it was fine if Ms. Ireland left the play, but she would have to do so quickly so she could be replaced. LeCompte denied this and said she neither put pressure on Ms. Ireland nor favored Mr. Shepherd over Ms. Ireland, a relative newcomer to the troupe. By the time Ms. Shepherd were back in New York, in the fall of , their relationship was all but over.

LeCompte wanted Ms. Ireland to continue with the play in a future production, but Ms. Ireland would do it only if Mr. Some months later, she sought advice from a lawyer, Norman Siegel, who proposed a discussion between Ms. Ireland and the Wooster Group.

Some members of the group liked the idea, but others were spooked by the feisty and attention-getting reputation of Mr. At the advice of a lawyer on its board, the group proposed meeting with Ms. Ireland and a neutral mediator. A compromise could not be reached. Shepherd said in an interview this winter.

Sex dating in Healy

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