Of course they didn’t ask me to comment. They never do.

The Washington Post just reported that a new play is premiering in Washington, D.C. The play covers the confirmation hearings of Justice Clarence Thomas and Justice Brett Kavanaugh. From the Post article by Peter Marks:

The Ford/Hill Project is being unveiled for a public performance at Woolly Mammoth Theatre in Washington on Oct. 7 (the first day of the Supreme Court’s fall term) and an invitation-only reprise the next day, before moving on to New York’s Public Theater later in the month. The 70-minute production offers verbatim portions of the testimony by Ford, Kavanaugh, Hill (played by Amber Iman in D.C.) and Thomas — as well as questioning by senators of both parties—in ways that both blur and illuminate the parallels in the two proceedings.

As many readers will know, I was swept into the nightmare of the 2018 Kavanaugh hearings. In an effort to derail the Kavanaugh SCOTUS nomination, Christine Blasey Ford alleged that while in high school in 1982 a teenaged Brett Kavanaugh sexually assaulted her while I stopped by and watched, alternately cajoling him to continue and telling him to stop. This completely fabricated incident opens the play. This is how The Washington Post describes the rehearsal of The Ford/Hill Project:

Her voice sounded tight, anxious, tinged with pain.

“I was, you know, underneath one of them while the two laughed,” the actress Elizabeth Marvel recited. “Two friends having a really good time with one another.”

Marvel was seated at a long table in a rehearsal room in Lower Manhattan in July, trying to get the intonations right for a woman under almost inconceivable pressure. The words were those of Christine Blasey Ford, leveling accusations of sexual assault against Brett M. Kavanaugh at his 2018 Senate confirmation hearings to be a justice of the U.S. Supreme Court.

Guided by director Lee Sunday Evans, Marvel and three other Broadway actors were painstakingly charting a path through two sets of hearings 27 years apart that contained galvanizing echoes of each other: those involving Ford and Anita Hill, who before the same Senate panel had detailed allegations of sexual harassment by her former boss, Clarence Thomas.

According to Marks, the Post asked for comment from the people being depicted in the play: “a representative for Hill declined to comment; representatives for Ford, Thomas and Kavanugh [sic] did not respond to requests for comment as of publication time.”

The Post never contacted me—the person allegedly described in the very opening of the story by Peter Marks. I have been writing about the Kavanaugh nightmare for six years, to the point where even sympathetic friends are telling to shut up about it. 

Yet there is the issue of honor, which has to be defended no matter what. Peter Marks and the staff of The Washington Post are cowards, as are the people putting on The Ford/Hill Project. They are doling out propaganda and refuse to engage with anything I have said and written in the past six years, which debunks Ford’s story and exposes the opposition research hit job that targeted Kavanaugh.

It’s not like Marks and the Post are unaware of my story. I published a book about the ordeal, The Devil’s Triangle: Mark Judge vs the New America Stasi, in 2022. I was interviewed by conservative radio host Eric Metaxas, and earlier this year I was interviewed by Martha MacCallum on Fox News. I am the main protagonist in the documentary, Judge and the Justice, on Fox Nation. Kathleen Parker, the Pulitzer Prize winner at The Washington Post, wrote a column—in Marks’ own paper—defending me. I’m working with two other writers to pitch a movie script to Hollywood. This year I reviewed Blasey Ford’s own book. 

In all these appearances, I have raised a lot of questions about Ford’s story that the media have chosen to ignore. The Post has trashed me in their pages, making mistakes as they have done so, yet are too cowardly to face me. I have called out Post reporter Emma Brown, I have called out Post op-ed columnist Ruth Marcus, I have called out “legendary” Post editor Marty Baron, all of whom have written about me by name. They will not face me.

In Stench: The Making of the Thomas Court and the Unmaking of America, his new book about the Supreme Court, Stasi goon and gay wingnut David Brock claims that I have been in hiding:

At the time [2018], pressure mounted for Judge—who dismissed the Ford allegations in a brief interview with The Weekly Standard—to testify before the confirmation hearings. ”How could they want to get the truth and not have Mr. Judge come to the hearing?” New York’s Chuck Schumer politely asked, but in the end Judge escaped with a perfunctory FBI interview whose details were never revealed, Judge ducked the press—and has basically been hiding ever since.

If you don’t count all the media appearances, books, articles, a documentary, and a movie script, sure, I have been in hiding. 

At this point, the best course of action to defend my honor is to just show up at the Woolly Mammoth Theater on Oct. 7 and call the American Stasi out. My late brother Michael was an award-winning actor who did plays there, so I know my way around the theater world. Growing up related to a gifted actor also allowed me to see how the left works so brilliantly with arts and culture. They start small—a punk band in a garage, an amateur filmmaker or an off-off-Broadway play. They get all kinds of grants, fellowships, love and support, and grow thir project until it is on Netflix. They are aces at this. Creative types on the right have no such ballast. I have a film treatment for The Devil’s Triangle, it would make for a very powerful film, but we have a harder time getting people interested. 

This is how liberals win the culture war. While right-wingers were telling me to get over Blasey Ford, the left was busy creating art that will affect the national narrative for years. “I felt there was something really powerful about putting those two experiences together, letting them live side by side,” “The Ford/Hill Project” director Evans told the Post, “and to see how both these experiences shaped these women and stayed with them for so many years.” 

As powerful a story would be the experience of an innocent if flawed person who was fired into maelstrom by evil political plotters who have no consciences. I mean if Michael Avenatti isn’t a creepy villain from central casting I don’t know what is. 

So yes, I will go to the premier of The Ford/Hill Project. I’m not going to cause a scene or even protest. I just want to see how I am depicted, and if any reporter in attendance has any interest in my side of the story. If anyone wants to hero me with the price of the ticket, here’s my GoFundMe.