Tags » Theatre Criticism

Where We Live (New Ottawa Critics in Residence)

   I’ve been talking for weeks now about what the critical landscape currently looks like in this country, what the New Ottawa Critics thinks it’s trying to accomplish, and the theory behind that. 1,081 more words


The drama behind the drama at the New York Times

According to Page Six, there’s a second act to the story of Charles Isherwood leaving the New York Times.


Baby Screams Miracle || A Review

From Woolly Mammoth Theatre Company, Howard Shalwitz presents an ominous production about a rural American family in crisis. In Baby Screams Miracle, Obie-award-winning playwright Clare Barron elegantly weaves a duality of calm and peril into an intimate exploration of prayer and the forces of nature against humanity. 1,130 more words

Author: Eileen E.

The Elephant Girls Return at undercurrents

I first saw Margo MacDonald’s hit one-woman show, The Elephant Girls, at its sold out run at Ottawa Fringe in 2015. The script hasn’t changed in very substantial ways since then – the story is still fascinating, and the voice(s) that tell it are unique in my experience – so many of the reasons I liked it then are still strongly present now, and so instead of rehashing what I’ve already… 664 more words


Approval Creep (or why I won't say everything is amazing)

This week I am going to talk about a rather insidious process I am calling ‘approval creep.’ We’ve touched on something like this before, in a discussion about star ratings, but this part of the conversation is a more constructive (rather than deconstructive) look at the way our particular brand of criticism works (and doesn’t work). 1,106 more words


Freedom to Engage

I’ve already written about the ecosystem that has been making (theatre) writers into bloggers. A lot of people complain about this transition, and fall into the timeless trap of glorifying the place criticism has historically occupied. 1,543 more words


Idealism in the Theatre (Or: The Role of the Critic)

Critics are positioned in a middle ground between the artist and audience, each of whom perceive the critic (in their ideal form) to be in uniquely service to their interests. 904 more words

Wes Babcock