Dumb question: Why do major and minor news outlets [I'm using the word
'news' loosely] generate theatre reviews? Yes, these opinion pieces assist
potential audience members to make decisions concerning their next
theatre-going experience. And for working theatre artists, the articles provide
a way for checking on the projects of friends and colleagues, which can be a
fruitful experience (in ‘warming-the-heart’ or ‘groups-to-avoid’ senses). And,
much as I hate to say it, they can provide constructive feedback that could
change an artist’s future work, if not the current production under review.
[Twyla Tharp’s production Movin’ Out comes
to mind, which the New York Times
controversially chose to review while it was still in a preliminary run in
Chicago. The poor review led to a complete overhaul of the show’s second act –
and a much more favorable review by the Times
when the show opened on Broadway…]
All of these answers point to a particular accepted ‘accuracy’ on the part
of the reviewer (taking the reviewer’s ‘opinion’ to be accurate due to expertise
or specialization in the field). But, far from critical, many reviews solely
praise a production (such as Hedy Weiss’s review of Equivocation for The
Sun-Times) or deride a few elements yet ultimately recommend the production
for other ‘redeeming’ qualities. Unfortunately, the drive to give praise where
none is due (and I would contend that only the set of Equivocation is worthy of praise), may be related to spectacle’s
inextricable link to capital, as pointed out by Debord (in much stronger
terms). Theatre reviews are not just tied to ticket sales and publicity to
theaters (although both are strong capitalist incentives for the reviews). They
are also key pieces of evidence used by professional theaters to raise money
through donations, grants, and corporate support. Money for productions is
raised long before the show goes on, so theater's must point to other evidence of artistic merit, this is especially true for small companies where full
productions are only intermittently staged. Without constant live theater to
showcase to funders, overly positive reviews are development staff members’
best friends. And, yes - theater reviewers are aware of this fact.
Thus, Victory Gardens is now armed with Weiss’s review of Equivocation for their next meeting with
a major donor or submission to a granting agency. The review can be handed as
evidence of artistic merit with key portions highlighted: “a snap, crackle and
pop production at Victory Gardens Theater,” “Director Sean Graney, in peak
form, deftly moves his supremely brainy and talented cast in the play’s
speed-of-light mood shifts,” “Everyone here is operating in breathtaking
overdrive in a play that also pays homage to the theater.” Each is a handy
sound bite to use when trying to garner funds for the theater’s next
production.
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