The #metoo movement is bringing down abusive power brokers in the arts. But what will we put in their place?
An editorial by Mark Sebastian Jordan
The titans are falling.
Let them fall.
But let’s not just raise up new monsters in their places.
The recent fallout generated by the #metoo movement has seen formerly untouchable celebrities finally receive their comeuppance. Victims of sexual harassment and assault, cowed into years of silence by the harsh court of public opinion, have turned the tables, publicly naming the perpetrators. That lawless court has just as harshly turned on such celebrities as Bill Cosby, Bill O’Reilly, and Kevin Spacey, finding them guilty without due process. Every person deserves due process, of course, but the urge to fulfill overdue justice has run ahead, for the moment, and careers are crumbling.
It hit the classical music world big time recently with the firestorm of accusations against long-time conductor of the Metropolitan Opera, James Levine, who has been accused of molesting young men (at least one of whom was under the age of consent at the time) for decades.
But a couple of Ohio connections have brought this major cultural shift home to me. One way is fairly impersonal: I am scheduled to cover a concert of the Cleveland Orchestra this winter that was originally slated to be conducted by the distinguished Swiss conductor Charles Dutoit, 81. That was before a half-dozen accusations of sexual misconduct erupted this week, apparently rising up out of a stew of gossip brewing for decades around the musician. In the last few days, Dutoit’s international career has collapsed as orchestra after orchestra has announced his replacement for upcoming concerts, with some stating outright that they are severing ties with him. A replacement conductor has not yet been named for Dutoit’s Cleveland concert.