Writers, and any other artists, have to be ready to accept the judgments of critics. I was sent a couple of nice notes regarding a negative review, from audience members (and friends) who liked the particular show reviewed, but I have to also consider the power of critics to make or break a work.
Pittsburgh City Paper: New Death... Airless and Deadly
How much do critics influence an artist? For me, that depends on the critic and his or her biases. If a critic has a history of liking a particular genre or a particular set of writers — and disliking others — then I have to ask if I fall into Column A or Column B.
Even when an artist is in Column B, and approval is a long-shot at best, I would still suggest listening and asking what the nuggets of truth are in the review and how to address those. A negative review is valuable, if you're willing to learn what you can and ignore the rest.
From the review above, I am reminded that opening nights aren't easy. Seldom does an opening occur without dropped lines, missed cues, and a nervousness that feels unnatural. That is simply the nature of new shows. Add in a new, untested script, and there's more reason for unease and mistakes.
As a playwright, I have to ask what I can do to help a cast and crew make the best of their talents. Did I tighten the dialogue enough? Did I balance the action with exposition? Did I make the most of the medium, especially as stages have serious limitations. Did I balance humor with whatever else I'm trying to convey?
I don't write farce or sitcoms. I don't aim for a joke or two a page. I write serious plays with lighter moments. When the audience starts to consider the work a comedy, that's a failing on my part to balance the early pages well.
As this production winds down, I'll look at the script and compare my notes with reviews, audience feedback, cast and crew notes, and whatever else is available. All my plays undergo endless revisions. A negative review, or a positive review, can influence the choices I make revising.
A fellow playwright say, "Not every play is for every audience." That's also something to keep in mind.
Never let negative marks (grades, reviews, audiences) stop you from taking chances. Take the feedback and move forward with the next idea. What you shouldn't do is try to please the negative voices, item by item, because then you aren't creating your own vision.
Showing posts with label staging. Show all posts
Showing posts with label staging. Show all posts
Monday, August 4, 2014
Tuesday, July 9, 2013
Mnemonic was 'Too Good' for Me…
Sunday, I went to see Quantum Theatre's production of "Mnemonic." I give a lot of credit to Quantum Theatre for taking a chance. Performing another company's work was risky, and it didn't quite work for me. This was a play devised by an entire production company, written by the actors and representing that original production company.
As a writer and audience member, my wife can attest that I like some "odd" things. I respect adventurous writing and innovative staging. I've seen plays in which the actors never take the stage, and some that were immersive media experiences. I've enjoyed plays that are in multiple languages, reminding me that good actors and staging transcend language barriers (but I still tried to translate what I could). I've written plays in which mime was essential, and some that are surely abstract.
But you must never forget that people need to feel engaged by a play. Writing shouldn't push the audience or readers away. I don't fall into the camp that "art must offend" nor do I believe that "challenging" the audience has no limits. You can overshoot the challenge, and then you're left with empty seats.
Reviews such as this are a problem for theatre:
As a writer and audience member, my wife can attest that I like some "odd" things. I respect adventurous writing and innovative staging. I've seen plays in which the actors never take the stage, and some that were immersive media experiences. I've enjoyed plays that are in multiple languages, reminding me that good actors and staging transcend language barriers (but I still tried to translate what I could). I've written plays in which mime was essential, and some that are surely abstract.
But you must never forget that people need to feel engaged by a play. Writing shouldn't push the audience or readers away. I don't fall into the camp that "art must offend" nor do I believe that "challenging" the audience has no limits. You can overshoot the challenge, and then you're left with empty seats.
Based on a small random sample of audience response, I might say "Mnemonic" is too good for its audience, except that the Quantum audience is as good as it gets in Pittsburgh (adventurous, intelligent, willing).
— Stage review: Quantum traces memory, mysteries
When you consider a work "too good" for an educated, informed audience including professors from excellent universities, it might be the work that is the problem. The acting was solid enough and the staging was excellent, but the play didn't speak to me — and judging by others, it didn't speak to them, either. The play feels like it was meant for a specific place, time, and production company. It didn't make the move, and maybe that's an interesting question in itself.
I can't say it was a bad experience, watching "Mnemonic." I can't say it was wonderful, either. It was "okay" — which isn't going to expand the audience for theatre. I'm not suggesting theatre has to be pop to be a success, but it can't be "okay" and thrive.
When someone like me, a fan of the surrealists, modern art, and experimental music, is left wondering "What was the point?" that's not theatre that's "too good" for the audience. (And yes, absurdist theatre makes the point that there is no point… but "Mnemonic" wasn't an absurdist work.)
When someone like me, a fan of the surrealists, modern art, and experimental music, is left wondering "What was the point?" that's not theatre that's "too good" for the audience. (And yes, absurdist theatre makes the point that there is no point… but "Mnemonic" wasn't an absurdist work.)
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