What would it look like if a major U.S. theatre city lost its last full-time theatre critic? While many U.S. cities have already run this dystopian experiment, it had never happened to one of American theatre’s largest markets until early in February, when massive layoffs at The Washington Post included its entire arts and culture section, chiefly theatre critic Naveen Kumar, arts and entertainment editor Jonathan Fischer, senior editor Zachary Pincus-Roth, and many more across all departments. Kumar confirmed in a recent interview that “every editor I ever filed copy to was also laid off.” Since then, all the Post’s theatre stories (which haven’t been plentiful, and none of which have been reviews) were written by freelancers. There has been no indication that this situation will change. (We reached out to The Washington Post for comment but did not receive a response.)

For Kumar, who has returned to contributing to The New York Times since being laid off, the staff cuts “did come as a shock. I was never naïve enough to believe that it was absolutely a stable position or industry that we’re in, but the extent to which they cut arts coverage across the whole paper was a shock and surprising to many of us, because the rumors had been focused on different sections,” Kumar said. “There was a philosophical turning away from arts coverage as a whole.” 

Reflecting on his brief time at the job (he was hired in June 2024), Kumar added, “It was such a privilege to have an opportunity to explore the D.C. theatre scene, which is so robust and really vibrant, with so many diverse perspectives and different sizes of companies and artists working at the top of their game. It was really such a pleasure and a privilege to engage with all the artistry in the city. I felt like the conversation between us was just getting going, and I’ll miss getting to deepen that connection with the community.”

Kumar said doesn’t “see this as an existential moment for the arts there. I think it’s such a thriving community that they’ll find ways to continue growing and continue chasing their missions,” Kumar said. “But it is undoubtedly a challenge without coverage at a major regional paper.”

While the city, nation, and world contemplate life after The Washington Post as we knew it, the question for D.C. arts organizations is immediate and urgent. On Feb. 27, 33 theatres signed onto a Theatre Washington statement expressing deep concern and disappointment over the cuts, sharing that the loss of a decades-long critical “local national” voice that provided sustained criticism and coverage is “not simply a media issue; it is a civic and cultural loss for our entire region.” D.C. has, according to Theatre Washington’s Impact Report, 89 nonprofit theatre organizations within 30 miles of downtown D.C. that create more than 4,000 jobs, engage thousands of volunteers, pay more than $80 million annually to artists and staff, and steward over $1 billion in combined assets.

“Strong arts journalism matters,” the co-signers wrote in their statement. “Reviews, profiles, and features continue to drive ticket sales, visibility, philanthropy, and public engagement for theatres of all sizes. Equally important, they help audiences discover work, deepen understanding, and feel connected to the stories being told on our stages. While the many other local outlets do vital work, no single outlet can fully replace the reach, influence, and regional perspective that The Washington Post has historically provided.” 

Kumar agreed that these theatres “have every right to be” upset. “Losing theatre coverage at this level has untold ripple effects on the whole ecosystem. I’m very humble in whatever impact I personally would have had, or did have, in this position. The ongoing conversation between critics and artists fosters artistic development: championing a young playwright could mean they get their next career move, or that a play is seen by a wider audience, or gets a life outside of the city. There’s so many different ways coverage impacts the ecosystem beyond ticket sales. It’s a big part of it—but not the only part of it.”

For Olney Theatre Center, currently premiering Joriah Kwamé’s musical Little Miss Perfect, the loss of the Post may have an impact on how far a new work can go. Their post-show emails urged folks to spread the word about the show.

“There’s no single replacement for having our shows reviewed by talented, knowledgeable critics and reporters in a local paper with national reach,” said Olney’s executive director, Debbie Ellinghaus. Though the theatre has gotten better at working with new outlets, she said, “Achieving the reach these stories might have had in the Washington Post is the real challenge.”

Arena Stage has had many world premieres reviewed by the Post that went on to continued life beyond D.C. “The long-term effects are difficult to predict but not hard to imagine,” executive producer Edgar Dobie said. “We’ve built a smart audience over the past 75 years, and our local critics and journalists have played a significant role in that. Replacing, let alone maintaining, that critical capacity for our audiences is simply added to the list of existential threats to our field.”

Round House Theatre also takes this as a “serious blow,” artistic director Ryan Rilette said. “While we haven’t yet experienced the full impact, we know that without the Post’s coverage, our work and the work of theatres across the region face a very real risk of disappearing from the national cultural conversation.”

For organizations like GALA Hispanic Theatre whose patrons get most of their information about theatre from the Post, “the layoffs are particularly devastating, even though they are Spanish speakers, since our local Latino papers rarely cover the arts,” said executive director Rebecca Medrano. “In a city like D.C. with its educated international readership, the loss of this coverage has an enormous impact on the diverse cultural landscape and overall economy.”

So how will theatres move forward? In the Theatre Washington statement, the co-signers said, “This moment is not only about protest; it is about pivot and possibility.” They hope to prioritize outlets, platforms, and independent journalists who demonstrate a “meaningful commitment to arts and culture coverage,” including digital outlets, newsletters, podcasts, Substacks, and collaborative initiatives. 

Local theatre-focused publications have an even more vital role to play. In a recent DC Theater Arts editorial, new executive director Elgin Martin proclaimed: “DC Theater Arts is doubling down. On the DMV. On local artists and playwrights. On the stories being told on stages across this region, from the grandest to the most intimate. If anything, the events of the last few weeks have sharpened our sense of purpose.” He invited artists, companies, and displaced writers and critics to collaborate and share their stories.

“This decision has undoubtedly shocked and devastated the community of journalists, artists, and audiences alike, but the D.C. theatre community is bonded by a spirit of resilience in the face of change,” said Mosaic Theater Company artistic director Reginald Douglas. “I have confidence that we will navigate through this precarious moment with grace and an ever fervent desire to keep sharing work that centers D.C. I am especially encouraged to see other press outlets around the area step up, expand, and double down on their commitment to the local arts scene—a sign of our community’s creativity, positivity, and unity.”

Theatre Washington’s statement hit a similarly upbeat note: “We believe a community as culturally rich and vibrant as the Washington, D.C., region deserves a strong, visible, and well-resourced arts press. We stand ready to work together with media partners, journalists, funders, and other arts and cultural organizations across the region to help shape what comes next.”