Criticismpalooza!

Roger Ebert passed away this week, and it's difficult to imagine a larger public figure who affected so many people with how he thought about what he loved. When I wanted to think more deeply about a film, I went to Ebert. Even if I disagreed with him, I respected what he had to say. He brought people to films and art they never otherwise would have seen or appreciated (or even hated). Thinking about Roger Ebert's life and how he lived it--openly, honestly, and with a well-placed barb--has made me want to be a better writer, advocate, and person. He inspired that in many people. I thought he would be around forever, and his cultural legacy will, along with those he helped think a little harder about art and life. In his honor, let's think about criticism directed toward the stage. HowlRound Criticismpalooza Rob Weinert-Kendt, Associate Editor at American Theatre magazine and blogger at The Wicked Stage, curated a week centered on criticism at HowlRound. As he rightly points out, the why of criticism is perennial, and links this recent article defending the form. The curation at HowlRound is a rallying cry for theatre criticism, and Weinert-Kendt understands its necessity, even if there will be another round of articles defending the form in the future. --- Audience has been on my mind lately as I consider criticism and reviews, and it's one of two considerations that Dominic Taylor advocates a critic keep in mind while viewing a work, the other being the why. He also has a salient point on audiences: "The dangerous thing about critics examining any work, then, is not the authority that they have over a work, but their individual and collective potential to conflate an audience." I was involved in an online discussion last week regarding about who reviews are for. For myself, they are used for focusing--this is what the critic concentrated on, but how did the highlighted moment strike me? Is this important to me as an audience member, or to someone else's worldview? So when constructing your checklist for thinking about stagework, ask why it was made and who is the audience, but remember that you might not be part of the latter. --- John Moore dips in on the why and for whom in his article about the demise of journalism and its consequences for theatre. I couldn't help be think of Ebert again as a read it, particularly this line: "Here are the real consequences when the print media goes away and is replaced by all things electronic: First, there is no sense of where to go. There is no single source where everyone turns for a consensus of credible opinion." People gravitated toward Ebert's criticism, and I wish we had other voices as strong as his that could serve as major signposts for theatre, even if we didn't necessarily agree with what the sign said. --- Jason Zinoman writes on why people become critics, how some of the very best have suffered, and what arguing with yourself about what you liked and disliked about a piece of art sharpens your mind. Everyone's a critic, and they should be, since it forces us to look at what we love with a critical eye. Not necessarily to tear down, but to understand how what we love works. --- Often I wish theatre-criticism was done differently. There is a cycle to reviews--a critic goes to a show opening weekend, writes a review, and then it's on to the next. I crave a process that involves seeing a show multiple times and reporting on how it's changed and further developed as the run has progressed. That's incredibly involved--a time commitment and drainer of resources, all while the next company is screaming for coverage. And let's say that process is used--by the time a critic had gone to the theater multiple times for the same show and released an in-depth breakdown, the show's over and the company is working on something else. I'm spent. This criticism writing has gone on too long and has ultimately led nowhere the reader cares about. Perhaps Joshua Humphrey should stick to podcasting and forget about blogging--he mangles the form and does a disservice to bloggers of old, the pioneers of the new world of publishing and thought... ...let's hit a couple other items. Local Matters Rohan Preston writes on the proliferation of small companies in the Twin Cities. This article isn't geared toward me, but toward those audiences that don't venture much farther than the Guthrie. My constant refrain is "see smaller theatre," so I enjoy seeing Rohan pushing for that in the Star Tribune. School of Rock Shows Sheila Regan over at TC Daily Planet writes on what theatre companies can learn from rock shows. Freshwater Theatre immediately comes to mind when I think of theatre companies who structure specific events around their plays. That model isn't for everyone, but it does make for a good time. 7 Tips for Auditioning Actors Being prepared and not viewing the other side of the table as the enemy are what I take away from these 7 tips for auditioners from Scandal's Dan Bucatinsky. Is there anything that should be added to that list? Rest in Peace, Sir Phil Kilbourne has passed. I first saw him on the Jungle stage a few years ago in Conor McPherson's Seafarer, and his stage presence was mesmerizing. That he continued to work while dealing with cancer elicits the utmost respect from me, and I am sad to hear of his passing. This Again The actors of Broadway's upcoming production of Orphans are interviewed about rehearsal, process, and... Shia Labeouf. It's an uncomfortable interview, but a good one that delves beyond normal talk on the rehearsal process, like this quote by Tom Sturridge: "I think what is so beautiful about the rehearsal process is that it’s a safe place for an actor. It’s a place where you can take risks, screw up, explore, and it’s safe because it’s private. I think it’s not fair to make public or investigate what happened in the rehearsal room because that sets a precedent for people to talk about what goes on in rehearsal rooms." Here's Your World Theatre Day Call To Arms About Creating Work ...delivered by the inimitable George Takei as he talks about the journey to produce a musical based on Japanese internment camps. --- If you have feedback or comments on any of the articles above, or suggestions for future blog and news items, please leave them in the comments or e-mail me at [email protected].