Arts journalism is fighting for its life, but it’s well past time to invite new voices to join the fray.
Why did The New York Times hire another white guy to be their new co-chief theatre critic? He plans to work hard to show us why.
What the blow-up over a Times review of ‘Big River’ says about this cultural moment—and what it may bode for the direction of criticism.
Originally hired in 2004, Isherwood had outsized influence and aroused passionate feelings, occasionally his own.
Theatres in New Jersey, Connecticut, and various New York counties will no longer be regularly reviewed in the paper of record. What now?
Brenda Withers’s new play, set in 19th-century Russia, is inspired by her theatre’s experiences with feedback on Cape Cod.
After a national search, the Bay Area daily hires a young local writer who’s shown herself to be both enthusiast and gadfly.
How theatre critics can use their words, and their status, to be more inclusive of both theatre artists and a diverse new generation of journalists.
As theatres and audiences face a brave new digital world, 12 of the nation’s most influential theatre critics talk about their towns and their changing roles.
Or, how visual arts audiences got comfortable with radical innovation, while theatre audiences didn’t.