Play Out the Play!

Thoughts on Criticism

It is true that to those who use their time immersed in producing art that the voice of the critic is, at best, an irritant in the ear of an artist. As a practitioner of the theatrical arts, I fully understand that reaction. But I have also been regularly reviewed for my work as an actress and director. I saw my share of good and bad notations, and I probably deserved not so many of the former and a few more of the latter.

Here in ‘the Valley’, I have noted an upsurge of interest in the theatrical arts from Bakersfield to Fresno. Some companies have been here for years and years, some come and go, but more and more independent productions have cropped up. Some productions I ‘ve seen have been exceptional and others abysmal. And always I hear of amateur actors who want their work to touch, to entertain, to get better, and to be taken seriously.

Well, I’m here to do just that.

You may find that audience reactions to your shows are wildly enthusiastic and mine is barely lukewarm. But I’m fairly certain that you’ll find no one in your audience who takes your aims more seriously than I. No one will want to be moved, entertained, or informed more than I. And no one will be more honest– or more balanced in my review– than I.

I don’t wish to be one of those classic reviewers who made a name for themselves through meanness or bitterness. I don’t wish to tear your work apart, leaving its entrails on the stagefloor to be mopped up. But I will give potential audiences an idea whether their few hours off on the weekends are worth your show.

I’ll also give you an idea of where your work can be improved in the future and what you need to hold onto. (It is entirely possible I could be the one positive voice regarding your next production of “Godot”!).

I freely acknowledge that criticism can be good or bad, well or ill-written, exhilarating or dull. But, more than ever it seems to me, we need some kind of voice that will offer a verdict on plays in our area.

All in the Timing: Got it open

Last night was the opening night of the readings of All in the Timing.  There were a good 45 people there, probably the result of the Lobby Show being included on the season ticket.  Season ticket holders DO, by and large, turn up for every play on the season.  No matter if it interests them or not.  (This is really why I don't buy season tickets, because not every show interests me enough to devote three hours a month to it when I could be doing other things.)

We heard some very good things from a variety of people-- even a few little old ladies who weren't offended by the profanity at all.

This was a minor point of discussion before we opened, actually.  The profanity.  Two older women had brought was i assumed were grandchildren and set them smack in the front row.  The show contains a goodly amount of profanity-- and a healthy sprinkling of the F-bomb.  Those moments are actually some of the funniest in the show, though, due to the author's ability to contrast the profane with the polite. 

Jack, our director, was tempted to have us change all of the profanity for the sake of these youngsters and the large number of little old ladies in the audience.  After a few questions, I came to understand that Jack was in what I call the "Once Bitten" phase of profanity.  He had directed Neil Simon's The Gingerbread Lady earlier in the season and the board of directors got a letter about all of the "goddams" in the script. 

What Jack didn't understand is that every show containing regular profanity-- especially the GDs-- gets the requisite letter of complaint.  In fact, I rather think it's the SAME PERSON writing the letters all the time.  lol!  But the use of profanity in shows vs. the VCP subscriber's response is an ongoing discussion at the theatre.  It has been for at least 10 years.  And it will be continue to be a discussion.   After all, community theatre has to bear in mind the general values of the community.

What many in the theatre are holding fast to, however, is their right-- even responsibility-- to produce a wide variety of plays for the wide variety of community values. 

And I always find it rather hypocritical that someone objects to taking the Lord's name in vain, but doesn't object to the alcoholism and abuse central to the storyline of the The Gingerbread Lady.  Or the use of a prostitute in Biloxi Blues.  Or any number of other themes that should be offensive to a Christian Fundamental sensibility. 

So, in the end, Jack wisely decided to make an announcement about the profanity five minutes before the show, thus giving anyone who wished to opt out, the opportunity to go refund their tickets. 

No one did.  In fact, the little old ladies didn't flinch and the women with the children didn't leave.  The biggest problem with the children were that they were essentially bored. 

Ah. . .a life in the arts!