
Unveiling Allegations: Broadway Costume Icon William Ivey Long Faces Civil Suit Over Sexual Assault ClaimsIn a startling turn of events, renowned Broadway costume designer William Ivey Long finds himself at the center of a civil lawsuit, accused of sexual assault. This comes after NPR reported in November 2021 on allegations of sexual abuse against Long, a six-time Tony winner celebrated for creating iconic looks in productions like Chicago and Hairspray.
Long, a former chairman of the American Theatre Wing and overseer of the design for The Lost Colony, a North Carolina summer theater production, now faces a legal challenge from Court Watson, a New York City-based set and costume designer. Watson, one of the individuals NPR reported on, filed the civil suit against Long and the Roanoke Island Historical Association (RIHA), the nonprofit behind The Lost Colony.
The suit, filed in New York State Supreme Court, alleges "repeated grooming, sexual harassment, and ultimately rape" orchestrated by Long and supported by his associates and RIHA. Watson, who worked at The Lost Colony between 2000 and 2003, filed his suit on the eve of the expiration of the New York Adult Survivors Act, which granted a one-year window for survivors of sexual abuse to file civil claims beyond the typical statute of limitations.
Watson echoes NPR's 2021 report, including the claim that in 2002, Long engaged in sexual activity with him when he was intoxicated and unable to consent. Long's attorney, Pearl Zuchlewski, had no immediate comment on the new developments. In 2021, Zuchlewski stated that Long "emphatically denied" all allegations.
The Roanoke Island Historical Association's attorneys have yet to respond to NPR's requests for comments. Long, who supervised The Lost Colony's design from 1994 to 2019, parted ways with the production in 2020 after RIHA leadership became aware of the allegations.
As this legal saga unfolds, it casts a shadow over a Broadway luminary and raises critical questions about accountability and transparency within the performing arts community.
Unveiling Shadows: Further Details Emerge in Broadway Costume Icon's Sexual Assault LawsuitExpanding on NPR's previous revelations, the civil suit against Broadway costume designer William Ivey Long continues to unravel distressing details. The Roanoke Island Historical Association (RIHA), responding to NPR's 2021 report, acknowledged conducting an internal investigation that, while not substantiating specific allegations, raised concerns about the workplace environment.
Court Watson's lawsuit, filed just before the expiration of the New York Adult Survivors Act, includes a harrowing claim of an encounter with Long in 2008, years after the alleged assault. Watson asserts that Long forcibly touched him in a New York City costume shop, making inappropriate comments about his appearance, leaving Watson shaken and anxious.
The suit further alleges intentional infliction of emotional distress against both Long and RIHA, citing a pattern of sexual assault, forcible touching, and humiliation. Watson's case draws support from a 2002 lawsuit by former Lost Colony production manager Mary Elizabeth Stewart, which included serious allegations of sexual misconduct against Long between 1999 and 2001. Stewart claimed that RIHA took no action when multiple individuals reported Long's misconduct, leading to her termination when she raised the issue.
Stewart's lawsuit was settled in 2003, and NPR found no record of police reports or criminal charges related to her allegations. Long's attorney in 2021, Pearl Zuchlewski, asserted that RIHA never informed Long of Stewart's claim until 2020. Long emphatically denied Stewart's allegations.
In response to Watson's recent suit, RIHA and Watson had been in settlement talks for months, but these negotiations were abruptly halted about a week before the filing window closed. As this legal drama unfolds, it sheds light on a complex web of allegations, workplace concerns, and the intricacies of accountability within the world of Broadway.
Pursuit of Justice: Court Watson Speaks Out Amidst Lawsuit Against William Ivey Long and RIHAIn a poignant written statement shared with NPR regarding his lawsuit, Court Watson expresses disappointment over what he perceives as the Roanoke Island Historical Association's ongoing protection of William Ivey Long, his alleged abuser. Despite a quiet parting of ways, Watson contends that RIHA continues to shield Long. He highlights the association's months of delay and perceived bad faith but asserts his commitment to seeking public accountability.
Watson's statement carries a resolute tone as he anticipates the journey towards justice. Not only does he seek personal vindication but also aims to keep the door open for other survivors to share their stories. In a powerful declaration, Watson emphasizes his dedication to advocating for safe, respectful, and diverse spaces within creative realms—spaces where individuals can take creative risks without fear of harassment or abuse.
As the legal proceedings unfold, Watson's words serve as a testament to the resilience and determination of survivors in their pursuit of justice, transparency, and the creation of safer environments within the creative community.
A Call for Accountability and Cultural Change in BroadwayIn the unfolding legal battle against William Ivey Long and the Roanoke Island Historical Association, Court Watson's resolute statement stands as a call for accountability and cultural change within the creative realms of Broadway. Disappointed by what he sees as ongoing protection of his alleged abuser, Watson expresses a firm commitment to pursuing public accountability and keeping the door open for other survivors to share their stories.
Watson's dedication extends beyond personal vindication; it resonates as a rallying cry for the broader cause of fostering safe, respectful, and diverse spaces within the creative sphere. His words underscore the importance of advocating for environments where creative risks can be taken without the looming threat of harassment or abuse.
As this legal saga unfolds, Watson's courageous stance reverberates as a testament to the strength of survivors and their collective pursuit of justice. It serves as a catalyst for a broader conversation about accountability, transparency, and the urgent need for cultural change in the theater community. The outcome of this legal battle may well contribute to reshaping the narrative surrounding workplace conduct in Broadway, emphasizing the imperative of creating spaces that prioritize the well-being and dignity of all individuals involved in the creative process.