Monday, November 26, 2012

Blog Post #21 (Justin): Wrong Reviews Equal Capital

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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