Scott Rudin’s Broadway Comeback Should Surprise No One
Behind the scenes, things were tense. Cast and coworkers were walking on eggshells, constantly bracing for the next outburst. Some were reduced to tears, while others quietly swallowed the verbal jabs, knowing any pushback could be costly. The star at the center of it all was known for both immense talent and unyielding cruelty. And yet, after years of hushed industry whispers and public accusations—and after stepping back from Broadway—it was time for a stunning return to the stage.
I’m talking, of course, about Lea Michele. Her journey ended in triumph: she rescued Funny Girl from the brink of closure, smashed box office records at the August Wilson Theatre, and even managed to help the production recoup costs just before it closed in September 2023. It’s hard not to feel a mix of admiration and disbelief at how someone so polarizing could stage such a comeback.
Now, fast-forward two years, and we find Scott Rudin attempting his own comeback. But unlike Michele, Rudin doesn’t have an army of fans rallying behind him. His return will likely be measured solely by results—ticket sales, critical praise, awards, etc. He claims to have over a dozen shows in development, including at least three plays starring Laurie Metcalf and directed by Joe Mantello. But can Rudin pull off the same kind of return? Or, more importantly—should he?
Given the events that led to their respective downfalls, you’d think Broadway would and should be cautious. Both Michele and Rudin built reputations as brilliant but ruthless figures, accused of creating toxic environments that left colleagues feeling fearful, exhausted, or even traumatized. Michele’s behavior, for instance, unfolded in personal interactions—there was Samantha Ware’s claim that Michele turned her time on Glee into a “living hell,” or the chorus of co-stars who described her as demeaning and dismissive. On the other hand, Rudin’s influence permeated entire productions, with former assistants recounting how his explosive temper once led him to hurl staplers at employees or smash a computer monitor on a young staffer’s hand.
And yet, Broadway has had a long history of tolerance for bad behavior, so long as the end results were compelling and successful. Look back at Jerome Robbins, notorious for humiliating dancers in rehearsals, David Merrick, who thrived on fear and manipulation, and James Lapine, known for his sharp temper. Then there are performers like Patti LuPone, who has never hesitated to lash out, and Faye Dunaway, known for slapping cast and crew and creating unsafe work environments in theater and film.
This history leaves us with a bitter mix of shock and resignation. On one hand, there’s a glass-half-full hope that people can change—that perhaps these once-toxic titans might learn to tone down their behavior in a current era that increasingly values respect and kindness. On the other, one can’t help but worry that allowing such figures back on Broadway glosses over their past and mitigates true repentance, leaving us doomed to repeat history.
So as Broadway braces for the comeback of Scott Rudin, all eyes will be watching. There’s a cautious hopefulness that even the most difficult figures might learn to change. Yet even in an industry accustomed to celebrating the brilliant but brutal, a single misstep should undo any promise of transformation. If Scott Rudin can manage to reinvent himself, it won’t come from fan adoration or nostalgic reverence. It’ll be judged by successful management and production, but more importantly by a genuine improvement in how he treats those around him. Until then, hope remains intertwined with doubt—a reminder that while redemption is possible, it must be earned through steady and respectful behavior not by merely putting on a good show.
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