Vulture Examines Charles Isherwood's Firing at the Times

As previously reported, theater critic Charles Isherwood recently departed The New York Times, with much mystery surrounding his exit. Now, Vulture has culled together a piece attempting to puzzle out what prompted the writer's dismissal.

According to Vulture, on February 3, two senior editors and two executives confronted Isherwood with nine of his own emails that allegedly "violated ethical rules" before escorting him from the Times offices.

Vulture writes, "The Times insists a crucial triggering incident is missing" from their account of the ordeal, with no official word on what said "incident" might have been, aside from this statement:

"While we don't comment on specific personnel matters, the scenario of someone simply being difficult or publicly negative about the Times or colleagues would never lead to the highly unusual step of a review of an employee's email. Only something more serious would result in such an action."

Here's a breakdown of what Vulture is reporting:

- Isherwood was friends with a couple of theater insiders, including producer Scott Rudin, which might have compromised his objectivity.

- He and lead critic Ben Brantley were not friendly and hadn't communicated for the last five years after "two early 'dustups'" early on.

- The critic allegedly complained to Rudin and two PR contacts via email about Brantley and about "diminishing arts coverage at The Times."

- Rudin did not like Isherwood's editor Scott Heller and often went over his head to deal directly with Isherwood.

- Isherwood is now pursuing arbitration against the Times.

Finally, Vulture writes that there could be a connection between Isherwood's layoff and "editorial streamlining" announced by the Times last month, as well as the wish for fresh blood in the department.

Scott Rudin had this to say about Isherwood: "Charles was a highly respected and very well-regarded critic, and it's a huge loss to the paper and to the theater community. He championed a lot of shows that needed him. He made a difference in the ecology of the theater."

Isherwood joined the Times in 2004 after working as Chief Theater Critic for Variety.

Among the up-and-coming musicals he praised while writing for the Times were Lin-Manuel Miranda's IN THE HEIGHTS, Duncan Sheik's SPRING AWAKENING, and Benj Pasek & Justin Paul's DEAR EVAN HANSEN before its Broadway transfer.

More recently, he exulted NATASHA, PIERRE & THE GREAT COMET OF 1812, calling it "the most innovative and the best new musical to open on Broadway since Hamilton...(Heresy alert: I prefer this show to that one.)"

Click here to check out the full archive of his reviews for the Times.

The Times is still looking for a full-time replacement for the department's No. 2 position below chief critic Ben Brantley.

See the full job posting below:

The New York Times is seeking a critic to review and write about the vitally important world of theater. From Broadway to Off Off Broadway, Steppenwolf to the Oregon Shakespeare Festival to the West End, theater has never been so creative, so wide-reaching and so necessary.

We are seeking a critic with a deep appreciation for plays, musicals and theater history, but it is equally important that this person is able to connect the themes and issues on stage to those of the wider world. The writer must be gifted at assessing performances and stagecraft, but also eager to help readers understand the ideas that drive the work. While a background writing about theater is a plus, it is not a prerequisite.

Discovery, too, will be a crucial part of the job. The New York Times has a rich tradition of identifying, spotlighting, and championing young actors, writers, directors, and other theater artists. We are committed to that mission now more than ever and are looking for someone who will be curious, discerning, open-minded and energetic about seeking out the emerging voices and talents who are narrating and challenging life as we know it.

As The Times expands its audience around the the globe, the critic must be open to experimenting with new story forms, be willing to collaborate with a large staff of editors, reporters and fellow critics, and be open to engaging with readers when appropriate. Most important, this critic must be able to convey with wit and emotion what makes plays and musicals important, irreplaceable and often unmissable.

This is a Guild position open to internal and external candidates.

To apply, please send a one-page summary describing how you would approach the job, along with writing samples of published work to culturejobs@nytimes.com.