http://www.chicagoreader.com/chicago/profiles-theatre-theater-abuse-investigation/Content?oid=22415861

"It's especially egregious because The Glory of Living is a play about the mistreatment and abuse of young women," says Kelly O'Sullivan, who played Cox's onstage teenage girlfriend. "There's the assumption that probably there were more female voices in control in the room, that people in leadership positions were probably looking out for the best interests of the other women in the room—which doesn't always happen. But there were no female voices of any kind of roles in power for that show."

"For the longest time I was like, 'Well, he's too old,' " she remembers. "I wouldn't even consider this. Then somehow he convinced me it wasn't a big deal and that it was pretty great."

"He gave me special attention from very early on," Allie remembers. He told her she looked sexy in her costume. Backstage, as she helped him do a quick change, he would say things to her like, "You're easy to fall in love with, baby." ... During that second show, Jahraus suggested Cox start giving her rides home every night. The attention made Allie feel confused, but also good. Soon, their relationship became more intimate.

"I was made to think that the reason it was OK for us to be in a relationship, despite him being 24 years older than me and me being a teenager, was because I was so mature and because our connection was so unique," Allie says now.

Early the following year, soon after the end of Kid Sister and her relationship with Cox, Allie confided the whole story to Redman. Allie was afraid of what Cox would do to her if she outed him, and she didn't know who else she could tell. Redman was appalled. She invited some of her friends who also worked in theater to a meeting in her apartment to pool information. Many of them, it turned out, also had Profiles stories.

As a group, they discussed various plans of action. They considered writing an open letter to the Sun-Times and Tribune, but they were too afraid of retribution from Cox and the greater theater community to go through with it. Allie didn't see the point of going to the police because the relationship hadn't been physically violent.

Independently, Allie appealed to another authority: she reached out to three women with power and influence in the Chicago theater community to alert them about what was happening at Profiles and ask for their help.

Myers and Fisher circle the block around the theater, approaching women who've finished their auditions. Most of the women accept [warning] flyers with polite interest; several stop for a longer discussion about workers' rights. They're aware of Not in Our House; the previous week, the Tribune had run a lengthy front-page story about sexual harassment in the improv community that briefly mentioned the group.