We have so many theatre riches before us. If we don’t engage with them fully and forthrightly, we’re effectively taking them for granted.
We know too well the laments about shrinking critical jobs and authority. But are we looking for the future in all the wrong places?
Three theatre critics of color who are used to being the only one who looks like them on the aisle seat.
There may be as many kinds of writers about theatre as there are kinds of theatre. Here’s a handy guide.
Sure, theatres can find ways to spread the word without critics, but patrons still want—and deserve—disinterested reviews.
The legendary critic and impresario is still writing every day, though he’s largely left the battlefield to other warriors.
Playwriting as a lifeline in prison, changes in Chinese theatre, and the crisis of criticism.
New York magazine’s new critic is also New York’s newest critic, and she says she’s as ready to listen as to talk.
Time Out New York’s longtime theatre editor leaves a legacy of incision and advocacy, and has no plans to go silent.
The longtime Newsday fixture—for decades New York’s only female first-string theatre critic—says she’s resigning, not retiring.