by G.L. Horton
G.L. Horton's newest essays are now being posted on her stageblog.
Dramaturgs Care About Criticism?
One of my pet peeves is that there are not enough women working
as reviewers. The theatre audience, which is 67% female, would
be better served if the Voice of Criticism wasn't so lopsidedly
male. But I was shocked---shocked! at Anita Gates' review [of
Les Belles Soeurs] in Tuesday's NYTimes...
A reader says: Most of the major media decided
that The Complete History of America - Abridged was not worth
their time. (The smaller local papers raved about both shows.)
GLH replies: Alas, the majors weren't the only ones who
ducked "History of Am". I finked out on writing about it for AisleSay
myself . . .
GLH writes: The worst sin a critic can commit is to decide
early on what his/her "hook" will be and spend the rest of
the performance gathering evidence . . .
keeps identity secret
A critic gave several "reasons" for keeping one's identity
and address secret and never "fraternizing" with theatre
people . . . death threats . . . GLH
replies: I've reviewed local theatre for a decade, and never
had a death threat-- or any other threat. I did get a long letter
telling me I'm full of shit about five years ago . . .
thank you note to critic?
A playwright asks: Is it OK to write the critic a thank you
note when my show gets a positive review? GLH replies:
If you think the review was perceptive and well written, yes,
say so--- why ever not? Especially if the critic "saw through"
the production to the script . . .
See also other G.L. Horton essays on . . . actors
& acting . . . criticism . . .
literature . . . miscellaneous
. . . modern plays . . .
political commentary . . . Shakespeare
. . . women's issues . . .
writing & directing & producing