Kevin Spacey, the former Old Vic artistic director and actor, has been found not guilty of all criminal charges in his sexual assault trial, but – despite the verdict – the trial was still an uncomfortable reminder for British theatre that #MeToo is not over.
Some of the allegations from claimants during the trial suggested that theatre can too often ignore or look to manage the behaviour of those in positions of power, rather than confronting them when they are alleged to have behaved poorly.
Theatre has not always taken safeguarding with all the seriousness it demands. Like Banquo’s ghost, safeguarding is an issue that will not lie down. Nor should it.
Many still believe that, during the time of Spacey’s tenure as artistic director of the Old Vic, British theatre was more than happy to brush any accusation of inappropriate behaviour or potential misconduct under the carpet.
Long before #MeToo, there was a rumour-and-gossip network that resulted in those believed to be potentially at risk of unwanted behaviour being moved out of the way, or sent off on ’urgent errands’.
The intention may have been to protect, but perhaps these behaviours arose from the fact that no one wanted to address any potential problems head-on and provide wider protection for all those working in the industry. Instead, it was easier to deny any knowledge of what was rumoured to be happening.
The Old Vic’s chief executive Sally Greene took that line herself as revelations about Spacey and his behaviours began to emerge in public. At the time, she vehemently denied that she had ever heard anything about any alleged sexual misconduct and said that she felt “sick to my stomach to think that people may have suffered from harassment and abuse as a result of their association with the theatre”.
British theatre continues not to take safeguarding as seriously as it should
Her denials that she was aware of any complaints is contradicted by an allegation of one of the claimants in court. Meanwhile, the Old Vic’s own investigation into allegations against Spacey found that the theatre had not created an environment or culture in which people felt able to raise concerns about any alleged misconduct. This is an all-too familiar story in British theatre.
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Greene made her exit from the Old Vic shortly before the trial began and it was reported in court that “neither Greene nor her husband Robert Bourne would make a formal witness statement or attend court as witnesses”. So, it is important to note that she has not been able to defend herself and the claimant whose allegations contradicted her previous statements was branded a liar by Spacey’s defence team.
However, as Alistair Smith observed back in May after clocking the Greene departure, it was long overdue.
Greene was on the Old Vic’s board and its chief executive (the latter post retrospectively described as being only “honorary” after revelations) during Spacey’s tenure. Smith wrote: “Whatever the outcome of the trial, Spacey is responsible for his own actions. However, those in charge of the Old Vic during his tenure had a responsibility to ensure the workplace had sufficient structures in place to protect employees.” A good point.
British theatre continues not to take safeguarding as seriously as it should, and it is still full of people throwing up their hands and saying: ’I didn’t know anything’, while the rumour-and-whisper mill offers the only protection against abuse and other bad behaviours. That makes newcomers to the industry particularly vulnerable, as they are often not networked into this gossip.
Spacey may now resume a career that had been halted by a string of allegations and both criminal and civil suits, all of which he has successfully defended. But it would be a tragedy if last week’s latest not-guilty verdict slowed efforts to make British theatre a safer place.
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