The pandemic led to innovative, alternative forms of theatre. Can theatre criticism keep up?
Brittani Samuel, Jose Solís, and Sarah Rose Leonard will lead the site, originally founded by Sarah Ruhl and Julia Jordan, aimed at diversifying the critical discourse.
The NY Observer’s drama critic, a Brit, brought an outsider’s inquisitiveness to the American theatre, as well as principled grouchiness.
The New York Times’ newest critic at large thinks about culture both broadly and personally, and strives to deliver dialogue, not a verdict.
The Times’ lead critic looks back on a fertile period in the field and reflects on the role he played in it.
My relationship with the great theatre critic began with a wary interview but soon gave way to a lifetime of anecdotes, confidences, and laughter.
The San Francisco paper’s influential personified ratings icon, beloved by many readers, is facing fresh pushback from local theatre artists.
I was spared his famous fury, thankfully, but once I met him, we spoke—and argued—often about the theatre we both loved.
He made his name with vitriol, but ultimately the role of critical scourge began to play him.
Armed with the idea that truth-telling and empathy don’t have to be mutually exclusive, they founded Rescripted, an independent Chicago theatre publication.