{"id":499,"date":"2019-12-14T19:10:36","date_gmt":"2019-12-14T19:10:36","guid":{"rendered":"https:\/\/www.critical-stages.org\/20\/?p=499"},"modified":"2022-02-05T13:26:23","modified_gmt":"2022-02-05T13:26:23","slug":"criticism-on-the-critical-list-just-a-canadian-issue","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/20\/criticism-on-the-critical-list-just-a-canadian-issue\/","title":{"rendered":"Criticism on the Critical List: Just a Canadian Issue?"},"content":{"rendered":"\n

Robin Breon<\/strong>*<\/a> and Don Rubin<\/strong>**<\/a><\/p>\n\n\n\n

The\nface of arts journalism is changing again\u2015and not for the better \u2015at least in\nCanada. Is it changing in other countries as well?<\/p>\n\n\n\n

In\nthe last two to three years, major theatres and major festivals across the\ncountry have begun to cut back on the number of review tickets being offered to\nall but high circulation newspapers, broadcasting outlets and even websites\nthat don\u2019t receive a large enough number of \u201chits.\u201d The situation \u2015 a\nbean-counter\u2019s delight \u2015has impacted numerous long-time reviewers and theatre\nwriters in Canada.<\/p>\n\n\n\n

In\nplace of these many small, diverse but independent commentators has emerged a\ntroubling phenomenon \u2015paid advertising content in the form of backgrounders and\nfeature pieces which occasionally even \nmimic actual reviews supplied by major theatres themselves.<\/p>\n\n\n\n

The\nelimination of media seats for smaller publications and digital platforms that\ndon\u2019t somehow meet a particular theatre\u2019s (usually unstated) numerical minimums\nhas begun to impact not only theatre criticism in Canada \u2015an art form that has\nalways thrived on casting a wide net\u2015 but is also negatively impacting what\nmight be called \u2018diversity of voice\u2019 and even career opportunities for younger\nvoices. A loss? Yes, a palpable loss. But is Canada alone in this regard?<\/p>\n\n\n\n

Is\nthe theatre world now moving to the point where some of our most prestigious\npublicly-subsidized theatres are unilaterally deciding through unnecessarily\ntight media policies to replace critical response by all but pre-approved\ndigital outlets and major media?<\/p>\n\n\n\n

To\nput it another way, is \u2018sponsored content\u2019 with its disclaimers at the top of\narticles the way of the future for theatres with large advertising budgets,\ntheatres that can afford to buy their own critical spaces in major publications,\nmaterials produced in-house by their own communications and media people or by\npaid freelancers? Is this the future of what was once independent arts\njournalism and theatre criticism?<\/p>\n\n\n\n

In\nresponse to this emerging environment, one established Canadian arts journalist\nwho actually works for a major daily, the Globe\nand Mail<\/em>, a national newspaper, wrote about her own recent problems gaining\nmedia access to this year\u2019s Vancouver Fringe Festival. In her piece \u2015carried\nnationally in the Globe and Mail<\/em>\u2015Marsha\nLederman wrote: \u201cA funny thing happened on the way to the [Fringe] this year: I\nwasn\u2019t able to get media accreditation.\u201d <\/p>\n\n\n\n

The\nreason given by the Festival\u2019s communications and marketing representative was\nthat it was unclear as to whether or not a piece by Lederman would actually\nappear during the 10-day festival. As a regular arts writer, Lederman pointed\nout that despite the paper\u2019s limited arts coverage, she still tries to see as\nmany shows as she can \u201cin order to find break-out talent, see work that might\nfit into future stories and inform my general view of the Fringe.\u201d<\/p>\n\n\n\n

The\narrangement she had made with her editor was that if she was really blown away\nby any of the shows \u2015in this case a play called The Untold Story of Shakespeare\u2019s Roz and Jules <\/em>\u2015she would do a\nreview. If not impressed, no review would appear. Not a bad deal for an\nuntested show. But the Vancouver Fringe refused to make available complimentary\nseats media tickets to her.<\/p>\n\n\n\n

\"\"
Canada’s Stratford Festival Theatre, founded in 1953. Website: stratfordfestival.ca<\/a>. Photo: Wikipedia<\/a><\/figcaption><\/figure><\/div>\n\n\n\n

\u201cI\ndid consider just buying my own tickets,\u201d said Lederman in the piece she wrote,\n\u201cwhich I know are a bargain and almost always well worth it. But it\u2019s a\nslippery slope. As fun as it is, this is my job, and I\u2019m already doing this\nwork off the side of my desk\u2015at night, often, maybe paying for a baby sitter.\nAnd like pretty much everyone else I know, I cannot afford to pay to do my\njob.\u201d<\/p>\n\n\n\n

Here\nwe believe, if anything, Lederman understates her case. For years, freelance\narts journalists have gone out-of-pocket for sundry items such as gas, meals\nand, in some cases, accommodation when travel is involved to out-of-town\nvenues.<\/p>\n\n\n\n

But\nthe Vancouver Fringe isn\u2019t the only subsidized theatrical organization in\nCanada now into professional bean-counting. At least two years ago, both the\nStratford and Shaw Festivals\u2015among the largest theatres in Canada \u2015decided, at\nabout the same time, to drastically reduce the number of media tickets that\nwould be made available to working arts writers. Many of the writers suddenly\ncut off had long publishing histories that clearly placed the work of both\nfestivals in front of the general public. At least one such deleted writer\nstill has books about the festival prominently displayed on the shelves of its\ngift shops. Talk about short-term thinking!<\/p>\n\n\n\n

In\nan effort to understand the rationale for these emerging restrictive policies\ntoward theatre writers, the authors of this article proposed a sit-down\ninterview with the two key artistic directors, Antoni Cimolino at Stratford and\nTim Carroll at Shaw. As two long-time arts commentators in Canada, we felt a\nspecial obligation to raise this issue on behalf of our colleagues who are\naffected by this extremely parochial policy. We even offered to allow them  to review and comment on the article before it\nwent to press, something we would never do if we were writing a straightforward\nreview of a production.  <\/p>\n\n\n\n

We\neven submitted our core questions in advance. We were especially eager to\nunderstand how these artistic directors, who have had their productions\nreviewed by the media for years, view what must seem to them like an armada of\nweb-journalists now setting sail within social media and landing on their\nshores.<\/p>\n\n\n\n

Is\nthis a demographic that is threatening to them as artists? Did they have\nthoughts on how theatre writers and commentators today should be interacting\nwith large institutions ? Did they see a difference between how critics\ninteract with the companies they lead in North America and similar sized\ninstitutions in other parts of the world, especially in the UK and the US?<\/p>\n\n\n\n

Critical Stages<\/em>, a web-based international journal — one created for\ntheatre critics about theatre criticism — seemed like the perfect place to begin\nthis discussion. And we wish that we could tell you this interview proceeded in\na cordial, straightforward and candid fashion and that we are now ready to\nshare the results of our labor with you. Alas, this is not the case. <\/p>\n\n\n\n

The\nfact is, both of these distinguished directors declined to respond to us\ndirectly and referred our request to their respective in-house media and\ncommunications people who maintained that they \u2015the reps \u2015 were more interested\nin a discussion of meta-data, analytics and circulation numbers than issues of\nwhat we felt were of actual critical substance. They added that discussions\nabout media issues did not fit within their artistic directors\u2019 mandates. <\/p>\n\n\n\n

Apparently,\nthe valuable and many times unheralded work that theatre publicists used to do\neveryday has now been turned heavily toward bottom-line bean counting. We\nthought about their responses and then offered to meet with them all\u2015the  artistic directors and the PR people\u2015together.\nEven that was declined by both Stratford and Shaw.  Knowing when discretion is the greater part of\nvalor we agreed to disagree and politely withdrew our invitations for any\ninterview.<\/p>\n\n\n\n

Interestingly, one of the grand old voices of contemporary anglophone criticism, Eric Bentley (now over a hundred years of age), even before such terms were popular, recognized the dangers of commodifying culture this way and turning it into what is essentially an economic issue. In his classic volume What is Theatre?<\/em> (published in 1968) Bentley observed that the values of capitalism were becoming increasingly entrenched in the arts and cultural life more generally. Bentley wrote, \u201cin business these days\u2026it has been discovered that the quality of the product is less important than the quality of the salesmanship; we don\u2019t sell products anymore, we sell a customer \u201con\u201d a product\u201d (Bentley, p. 274). <\/p>\n\n\n\n

There were also other troubling economic trends at the two Canadian Festivals. This past season, Shaw was charging a Hamilton<\/em>-like top ticket price of $270 a shot for its production of Man and Superman <\/em>(including the Don Juan in Hell<\/em> scene). More \u201caccessible\u201d seats to the production came in at $180 a pop. Meanwhile, over at Stratford, they were charging an equally uncomfortable $140 (top price) for a ticket for shows in its Studio Theatre \u2015 the company\u2019s so-called experimental stage.  <\/p>\n\n\n\n

\"\"
Shaw Festival. Niagara-on-the-Lake, Ontario, Canada. Founded: 1962. Website: www.shawfest.com<\/a><\/figcaption><\/figure><\/div>\n\n\n\n

Commercial theatres can of course, charge what they want and do what they want vis-a-vis media but these two festival theatres are significantly subsidized by taxpayer money so their policies deserve special evaluation. Indeed, the Stratford Festival receives annual operating grants from Canadian arts councils of some $3 million, not so significant in percentage terms to each festival\u2019s overall budget but still a significant chunk of the national arts theatre subsidies. And each theatre clings tightly to its non-profit tax status and receives additional funding for bricks and mortar projects like Stratford\u2019s new Tom Patterson Theatre opening next season in a $66 million theatre on the banks of Ontario\u2019s Avon River.<\/p>\n\n\n\n

So\ngiven all this and given these skyrocketing prices, is the audience, narrowing\nat these theatres? Is this the reason for cutting back on media seats? Does a\nsaving of less than one percent on potential media seating across a six month\nseason really matter to the bottom line? And given that neither theatre sells out\nevery performance, what are they actually doing with their empty seats? <\/p>\n\n\n\n

The\nfact is, neither theatre has a pay-what-you-can policy in operation. Such seats\nseem to remain empty. While doing our own bean-counting for this article, we\nnoted that one performance of Stratford\u2019s The Crucible<\/em> had over 370\nseats available just two hours before the performance. Hopefully they had a\ngreat walk-up crowd that night.<\/p>\n\n\n\n

As\nwe see it, a savvy communications, media and marketing office would have wanted\nto see, for argument\u2019s sake, at least fifty to a hundred of those empty seats\nfilled with freelancers and web-based media types, as well as members of\nCanada\u2019s professional theatre community not living in those communities, who\nmight be curious to see the production. Even if only a-third of these people\nloved the show, a-third of them hated it and a-third were left neutral in their\nopinion, the amount of buzz created would surely go far far beyond the sound of\nno hands clapping.<\/p>\n\n\n\n

Full\ndisclosure here: although we two writers accept media tickets when they are\noffered, we have also occasionally purchased our own tickets for Stratford and\nShaw. And, given ticket prices even with occasional discounts, we are actually\nseeing fewer and fewer productions at these theatres and are therefore\ncommenting less and less on what they do. That is to say, our own theatrical\nconversation is decreasing and these major companies don\u2019t seem very interested\nin starting it up again.<\/p>\n\n\n\n

And so, without being rhetorical, we ask the question in all sincerity once again: are we witnessing a paradigm shift vis-\u00e0-vis critical commentary among highly-funded theatres? Is it happening elsewhere? <\/p>\n\n\n\n

If\nit is happening now in Canada, is your country next? <\/p>\n\n\n\n

Can this particular paradigm be changed? <\/p>\n\n\n\n

Should it be changed? <\/a><\/p>\n\n\n\n

\n\n\n\n\"\"
 \n\n\n\n

*<\/a>Robin Breon<\/strong> is an arts journalist based in Toronto and author of the blog, Aisle Say.ca<\/a><\/em>. <\/a><\/p>\n\n\n\n\"\"
 \n\n\n\n

**<\/a>Don Rubin<\/strong>\u00a0is Managing Editor of Critical Stages\/Sc\u00e8nes critiques<\/em>. He is the General Editor of Routledge’s six-volume World Encyclopedia of Contemporary Theatre<\/em> and founding Editor of Canada’s national theatre quarterly Canadian Theatre Review<\/em>. He is Professor Emeritus of Theatre at York University in Toronto and Founding Director and Former Chair of both York\u2019s Department of Theatre and its MA\/PhD Program in Theatre and Performance Studies. His volume Canadian Theatre History: Selected Readings<\/em> is a standard volume on the subject. He is a vice-president and trustee of the Shakespeare Oxford Fellowship.<\/p>\n\n\n\n

Copyright \u00a9<\/strong> 2019 Robin Breon and Don Rubin
Critical Stages\/Sc\u00e8nes critiques<\/em> e-ISSN: 2409-7411<\/p>\n\n\n\n

\"Creative<\/a><\/figure><\/div>\n\n\n\n

This work is licensed under the
Creative Commons Attribution International License CC BY-NC-ND 4.0.<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":690,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[12],"tags":[],"class_list":["post-499","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critics-on-criticism"],"jetpack_featured_media_url":"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image12-1.jpeg","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":324,"url":"https:\/\/www.critical-stages.org\/20\/critics-should-never-say-in-writing-what-they-cannot-dare-to-say-to-the-subject-in-person\/","url_meta":{"origin":499,"position":0},"title":"Critics should never say in writing what they cannot dare to say to the subject in person: Interview with Ian Herbert","author":"Robin Breon and Don Rubin","date":"December 13, 2019","format":false,"excerpt":"by Savas Patsalidis* After leaving Cambridge University in 1961 with a degree in Litterae Humaniores, Ian Herbert began his career as a publisher with Sir Isaac Pitman and Sons. 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By bringing early American drama\u2014a field largely neglected in itself\u2014into the discussion of performance and age studies, this paper examines age\u2026","rel":"","context":"In "Special Topic"","block_context":{"text":"Special Topic","link":"https:\/\/www.critical-stages.org\/20\/category\/special-topic\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image2-8.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image2-8.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image2-8.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image2-8.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":728,"url":"https:\/\/www.critical-stages.org\/20\/theatre-in-malta-amateur-practice-and-professional-aspirations\/","url_meta":{"origin":499,"position":3},"title":"Theatre in Malta: Amateur Practice and Professional Aspirations","author":"Robin Breon and Don Rubin","date":"December 16, 2019","format":false,"excerpt":"Vicki Ann Cremona* Abstract This article provides a general outline of theatre in Malta where the small size of the archipelago (316m2) makes it difficult to develop professional theatre. It evaluates the issues theatre faces when confronted by political constraints that affect cultural policies and outlooks. It looks at the\u2026","rel":"","context":"In "National Reports"","block_context":{"text":"National Reports","link":"https:\/\/www.critical-stages.org\/20\/category\/national-reports\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image7-3.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image7-3.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image7-3.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image7-3.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":614,"url":"https:\/\/www.critical-stages.org\/20\/cotillion-of-loss-summoning-august-wilsons-african-american-century1\/","url_meta":{"origin":499,"position":4},"title":"Cotillion of Loss: Summoning August Wilson’s African American Century","author":"Robin Breon and Don Rubin","date":"December 9, 2019","format":false,"excerpt":"Lissa Tyler Renaud* Gem of the Ocean, by August Wilson. Company: The Lower Bottom Playaz. Venue: Flight Deck, Oakland, California. Premiere: February 1, 2019. Directed by Ayodele Nzinga and Cat Brooks. Set design: Aaron Swar. Costumes and props: Regina Evans. Lighting: Stephanie Anne Johnson. 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At what age does one become \u201cold\u201d nowadays? Does ageing increase wisdom or fear of death? 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