The Democratization of Theatre Criticism

We received a lovely note from a relatively new Lemon Head named Sarah Taylor Ellis, a UCLA PhD student in Theatre and Performance Studies. She asked us to take a look at her new blog COMPOSITIONS ON THEATRE.

I did. And I liked it. I liked it so much I added her to our blogroll. Why did I like Sarah’s new blog so much? I’ll tell you why. But first, I hope Sarah won’t mind that I’m about to use her and her fine blog as an example of what I’d like to call “The Democratization of Theatre Criticism”. A GOOD example.

We’ve taken some heat here at BITTER LEMONS because of the nature of our aggregate Lemon Meter Rating System which basically elevates all reviews to an equal level and then creates an overall portrait of how well a certain production was reviewed i.e. 33% Bitter, 75% Sweet, 59% Bittersweet.

One of the criticisms is that Joe Blow who decides to write a review on his own personal blog does not merit the same weight as Print Publications like the LA Times, the LA Weekly, Backstage and Variety, because they lack editorial oversight and therefore will lack in quality. I don’t disagree with this sentiment. But due to the fact that print publications are in their death throes it’s a given that the web is where people will be going to read their theatre reviews so why shouldn’t Joe Blow get a fair shake? Might these “established” critics just be getting a little nervous that Joe Blow might write a better review than them?

Take Sarah’s blog for example. An excellent, thoughtful, heartfelt, intelligent review of “Ordinary Days”. So good that I’m going to add it to the Lemon Meter Rating of the play. Basically, her review MERITS inclusion. And this is my point. The essence of this site and the goal of “The Democratization of Theatre Criticism”.

The cream WILL rise to the top. Quality WILL out. Sarah’s blog is a perfect example. She asked us to take a look. We did. We liked. Now we are INCLUDING her as a part of the eclectic pantheon of Los Angeles critics.

Just to be clear, I’m the first person to say that many of the critics writing for the review sites we include in the Lemon Meter Rating System are pretty amateur, lacking in sophistication, poor writers, not very theatre savvy, and just plain oblivious at times. And guess what, some of them even write for the Times, the Weekly and Backstage. Although, more of them reside on the less-established purely internet-sourced sites.

But so what?

They are taking the time, making the effort, bringing new perspective, new voice – and they should be included. Because THIS IS THE FUTURE OF THEATRE CRITICISM.

Hell, folks, this, in my opinion, IS THE FUTURE OF AMERICAN THEATRE. A more Democratic Theatre. For the People, by the People, less elite, less masturbatory, stories with wider appeal, wider entertainment value, less obscure and academic, speaking to the common man, the Middle Classes, speaking to and with Joe and Jane Blow. High Art for the Lowlands.

And beyond that, what we’re doing here also balances the playing field for the audience goer. No longer are they at the mercy of the ONE PAPER TOWN syndrome: The LA Times. Because of what we’re doing, EVERYBODY gets to participate. And even though the quality might be uneven here and there, a picture emerges, a BITTER or SWEET or BITTERSWEET picture of how good that play REALLY is.

Isn’t that what a theatre goer wants? The most well-rounded opinion of the actual quality of a certain production? Doesn’t it allow them then to make up THEIR minds?

And so we thank Sarah for contacting us and we thank her for including her opinion of Los Angeles Theatre and we encourage her and others to do the same.

Check it out. COMPOSITION ON THEATRE. A wonderfully MUSICAL take on theatre. Listen to this from Sarah’s blog:

With very little spoken dialogue and such long narrative songs, Ordinary Days often feels more like a themed cabaret or song cycle (in the vein of Jason Robert Brown’s The Last 5 Years or Songs for a New World) than a musical. This is not necessarily a negative quality, just a different type of show with different narrative imperatives. Perhaps this song cycle quality is to blame for making Claire’s revelation in the latter half of the show – a revelation that has not been sufficiently foregrounded – a strange jolt. I agree with other critics, Gwon may want to partner with a bookwriter in the future to smooth his storylines. Although Claire’s revelation is a sudden shock, the song that elaborates this revelation is beautiful and affecting; even as I recovered from the strange narrative shift, I found myself wiping away a few tears.

Chick knows what she’s talking about.

We are in the throes of something new, Lemon Heads. Embrace it. Or get left behind. Your choice.

Out.