If the project comes to fruition, it will mark Hoffman's first major endeavor since 2017 when he faced accusations of s^^ual assault and harassment from seven women, including at least one who was underage at the time.
The production will be overseen by industry heavyweight Scott Rudin, known for managing successful shows such as The Book of Mormon, To Kill a Mockingbird, and West Side Story. However, like the rest of Broadway, these productions have been on hold since March 12th due to the pandemic.
The announcement of Hoffman's involvement immediately sparked intense reactions on social media, with industry figures and fans raising concerns about the multiple allegations of s^^ual assault that emerged against him three years ago. One particular allegation involved Hoffman reportedly exposing himself to a 16-year-old individual in a hotel room.
While Hoffman initially offered apologies to some of his accusers, expressing deep remorse and stating that the described actions were not representative of his character, his legal representatives later dismissed subsequent allegations as "defamatory falsehoods." Representatives for the potential Broadway production declined to comment on the matter.
It is worth noting that some of the allegations against Hoffman stem from his past experiences on Broadway, including instances of groping female colleagues backstage while they were preparing to make their entrances.
The choice to involve Hoffman in the production raises further questions, given the controversial history of Rudin and his partners. They faced criticism prior to the pandemic for casting Amar Ramasar in West Side Story. Ramasar, a highly acclaimed dancer, had been fired from NYCB (New York City Ballet) due to s^^ual misconduct allegations. Although he was eventually reinstated following arbitration, his presence in West Side Story led to ongoing protests outside the theater.
It remains to be seen if Hoffman's involvement will generate a similar response.
However, there are uncertainties regarding whether the show will proceed as planned. The news arrives amid a wave of rescheduling efforts and hopeful anticipation for Broadway's return. Yet, with the current surge in infections, the reopening of the economy poses challenges that American consumers, under the current federal leadership, may not be ready to handle responsibly.
The Broadway League recently announced that shows would offer refunds until January 3rd, but no official reopening date has been set. The timeline for the return of shows is uncertain, as each production operates independently as a limited liability company (LLC), with varying budgets and financial circumstances.
Whenever the return does happen, Our Town is one of two noteworthy productions scheduled, with the other being the Main Stem debut of Alice Childress's Trouble in Mind—a play from 1955 that tackles racism within the theater industry. Childress is the only Black writer with a new production slated for the post-pandemic industry.
Over a dozen other shows were either in previews or rehearsals when Governor Cuomo ordered the closure of theaters. Some, primarily those associated with Broadway's major nonprofit organizations, have expressed intentions to reopen next spring or fall. However, many others have remained silent for the time being, and a few, including Disney's Frozen, have announced permanent closures.
The choices of Our Town and Trouble in Mind as potential productions hold significance against the backdrop of the ongoing national reckoning on racism and representation, prompted by the tragic deaths of George Floyd, Breonna Taylor, Ahmaud Arbery, and other Black Americans.
On one side, Our Town represents a timeless classic from the Western canon. The 82-year-old play, written by a white man, has previously seen five revivals on Broadway, now starring an 82-year-old white man in a role that, as critics have pointed out, does not specify race, gender, or age.
On the other side, Trouble in Mind, written by one of the most prolific Black female playwrights of the 20th century, explores the explicit structural racism within the theater industry and the stark differences in experiences between white and Black workers. Despite its significance, Childress's work has never graced a Broadway stage before, underscoring the enduring racial disparities in the industry even 65 years after the play's creation.
Many individuals disappointed by what they perceive as a missed opportunity for transformation in the theater industry share their concerns. The decision by one of the industry's esteemed producing houses to take a cautious approach during this time of potential change has raised eyebrows, although it may not be accurate to characterize it as a "safe" choice, especially considering the accounts shared by past female co-stars of Hoffman's.
