The list has been leaked! Simmer down, Santa; I’m actually talking about the New York Times list—two of them, in fact. Perhaps you’re unaware that that Ben Brantley and Charles Isherwood, the dynamic duo of theatrical critique, release an annual list of favorite productions every December. Though the twosome is often, ironically criticized for having far too much power regarding the fate of Broadway productions, I generally find myself head nodding along with their opinions and musings. And for the record, the Times published quite a positive review of SIDESHOW, my personal pick for best musical of the year, which is closing in spite of critical accolades, citing poor ticket sales. I was pretty shocked at the news and perhaps you were, too. I’m absolutely certain it will win a 2015 Tony for Best Musical Revival (our very own Steve Hayet is thinking ON THE TOWN, which I slept through). If stale old CABARET wins, a little part of me will die. I’m frightened this Donmar Warehouse production is headed toward CHICAGO run forever-ness, I swear.
According to sources—like, investor-pals, so I feel confident telling you—the house has barely been reaching 60% capacity. Surprising to me, considering the popularity of the new AMERICAN HORROR STORY, which is also set at a freakshow this season. I mean, how many people did we see dressed as Twisty the Clown this Halloween? Also, traditionally, theatrically-natured Broadway audiences generally love a good story, and this production vastly improved upon the original, which was panned by critics and closed after only 91 performances back in 1998. WAIT A MINUTE… This latest production will also run 91 performances if the projected closing date does not change. So… let me get this straight: one production was panned while the other was praised and both will run the same number of performances? Maybe Mr. Brantley’s power is cryptoniting these days. Still, I highly recommend you check out their complete lists (links below). Notable, one production to make both lists was CURIOUS INCIDENT… which I suspect will win Best Play this spring.
In truth, perhaps we should think more highly of theatre critics. And not just because I, on occasion, am one of them. When you’re not involved with a production and read the reviews, it’s noteworthy how balanced they often are. And that’s appropriate; productions are rarely all good or all bad. Still, most people are not good bestowers of constructive criticism. In fact, it’s a skill that I wish was taught more in arts education.
Here are 3 quick tips when giving feedback to artists and/or their work:
GO BROAD
We all know—hopefully—to never EVER give an actor a line reading, as direction or otherwise. A good director will always point a performer in the right direction through a change of intention or need. Otherwise, you are asking an actor to simply imitate an inflection, which of course, encourages a completely inorganic delivery. Bad acting. And worse, lazy direction. Ther same goes for writers. And as one, I can tell you that nothing infuriates me more than someone giving me a line adjustment. It’s no one’s job but the writer to write the piece. Telling a writer that “line x should really go here” or “this line would be clearer written like this” is bad form. Much better feedback would be, “I wasn’t clear what character x wanted from character y in Scene Three” or “Her speech sounded very elevated for a third grade child.”
DON’T BE VAGUE
Little is more frustrating than vague critique. “I just didn’t connect with the material.” Art is not a wifi signal. If you can’t verbalize why you did or why you didn’t like a piece, best not to say anything. If you can’t get your own thoughts together, maybe you’re not the person to be offering critique. It’s also pointless. You basically just told an artist you didn’t like their work and then rudely offered no thoughts on what might improve your experience.
DON’T BE PASSIVE AGGRESSIVE
If someone is so savvy to construct a full-length play or take on a large film role, they are most likely intuitive enough to see through your strange avoidance or silence. Nothing is worse than running into someone post-performance and the only thing they say to you is, “How did you feel about it?” What? Get over yourself. You’re not the artist’s therapist. If you have nothing nice to say, just lead with a simple “congratulations”. After all, even attempting a role or writing a play is quite a feat, whether it’s executed well or not—all according to you, who didn’t do either of those things. Let the critics review your friends, you’re there to support them.
By the way, ever wonder what Mr. Brantley and Mr. Isherwood actually look like? I mean, have we passed these pernicious penners at an opening or even on a midtown street? Here are the mugs to watch for:
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