chapter 5

Experiencirg Theotre

Anne Fletcher So uthern I lli nois U n iversity

Scott R. Irelon Weste rn M i ch i g o n U n ive rsity

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-lrving Wardle, Theotre Criticism, 6.

IM M ERSION #5 Audience Etiquette

You have probably attended some sort of live performance event-a concert, dance recital, or a play. For this exercise, a film at a movie theatre works. In fact, any place where a group of people gather to view and/or experience the same event, like church or a graduation ceremony, will suffice.

List the sorts of behaviors on the pqrts of others that have disrupted your enjoyment of the event or annoyed you-for example, someone seated near you repeatedly getting up to go out.

After you make your list, discuss it with others, and try to imagine what it would be like if everyone at the event behaved this wayl

Attending a live theatrical performance involves its own set of con- ventions (rules or expectations). Watchers who are not prepared for seeing any type of live performance event can be distracting. Granted, expectations vary from event to event. The kind ofbehavior expected at a football game, for example, is different from that at live theatre. The theatre experience begins with your first encounter with the the- atre building itself-whether that is a trip to the box office to purchase your tickets (or even interfacing with the venue's website to buy them online) or your entry to the lobby or when an usher directs you to your seat. fust as the front-of-house personnel, those who meet you at the door or get you to your seat, should treat you, the patron, with respect, answering any questions you might have, helping you exchange your tickets if you wish, directing you to the concession stand, restrooms, or gift shop if there is one, there are some guidelines you, the watcher, should follow in attending a production. Remember, a live theatre

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performance can be exciting. All of the people involved in the produc- tion work hard to be sure they give a great performance. Remember, too, that you the watcher are the fourth component to theatre-making (space, performer, idea, and watchers) so it is important that you work hard too.

One of the best ways to ensure a quality viewing experience is by arriving early for the performance, taking into account parking, getting to the actual performance venue, picking up the tickets, visiting the bathroom, and proceeding to the seating area. Sometimes if a patron does not pick up herlhis reserved tickets ten minutes prior to the start of the first scene, then the theatre will release that reservation and sell the tickets to someone else on a waiting list. It is always a good idea to call and ask how early the doors will open. Ariving at your seat with extra time gives you the opportunity to peruse the program. If you are unavoidably detained and arrive late, then treat the box office staff, house manager, and ushers graciously. It is not their fault you are late. There are late-seating policies at every theatre, so let them work that process. Late-seating guidelines are established for the good of the audience, and sometimes they depend on the size and design of the performance space (intimate or huge) and on the duration of the per- formance (Are there act or scene breaks during which late-comers can be seated with less interruption?). This means that sometimes when you arrive late you may not be let in to your seat. In this case, simply exchange your ticket for another performance.

It is also a good idea to inquire in advance as to what kind of attire is preferred. For example, a ninety-nine seat theatre may indicate that business casual or urban casual are flne whereas the opening night of a Broadway performance may require some sort of more formal dress. Tourists attending outdoor theatre will dress differently from watchers going to a benefit performance of an opera. As you go about dress- ing for the event, it is also important to keep in mind allergies that watchers might have to ingredients in cologne or perfume. Two other considerations should be hairstyle and hat choice. Make sure that your hairstyle is not excessively tall or wide as it can block someone's view. Do not wear a hat into the seating area if at all possible. If it is neces- sary, then make sure it is not too wide or too tall so as to obscure the view of others.

There are some good housekeeping elements to attend to before the start of the performance. As mentioned above, make sure to visit the bathroom before you enter the seating area, especially if a cocktail hour has been part of pre-show activities. Once the performance be- gins, intermission is the next time this opportunity will be available without disturbing nearby watchers. If an audience member, including you, does have an emergency and needs to come or go to attend to it,

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then be quiet and careful as you exit. Have an usher indicate when a scene change occurs so that you can reenter with as little disruption as possible. Keep in mind, however, some productions have no scene breaks, and others do not have an intermission, so ask questions before the live performance starts if you anticipate needing to come and go.

All electronic communication devices shouldbe shut off completely. Texting, talking, and taking out the device for any reason is distracting both to watchers and to performers alike (and iust plain rude). There is no shortage of stories from Broadway where performers the likes of Hugh Iackman and Nathan Lane have stopped a performance to com- ment on the disrespectful behavior of someone texting (or phoning). On a technical level, some of the component parts of these devices can actually interfere with wireless control systems for lighting, sound, and the like. Even if a watcher is a medical doctor, the device can be left at the box offlce and an usher can offer notification of an emergency. If someone does forget to turn off an electronic device, then do not snarl at them or shout "Turn it off" in the dark as that is just as distracting and rude. It is also a good idea to put away any image-taking devices (video or still photograph cameras) as it is usually illegal for watchers to take pictures, moving or otherwise. Flashes distract performers and can even cause them to physically stumble so forget about using them until after the show iTwhen you meet the performers in the lobby.

Once the performance starts, try to sit still. Shifting, lifting your arms, foot tapping, and other such motions take attention away from the main event. Also resist the urge to begin talking to a neighbor. Whispering is still talking. Wait for intermission, or at least for loud applause or musical numbers to make any sort of comment.

Although some theatres now allow food and drink in the seating area, in general, neither of these has a place in a live theatre produc- tion. Go to lunch or dinner before you arrive so that you can engage fully with what you are watching. This said, some outdoor venues may encourage picnicking, so do some research. If there is a chance that something like a cough drop or piece of hard candy will be needed, then either unwrap them before the performance starts or wait for loud applause or a musical number to unwrap them.

If the seating area is close to (or even on) the performance space, then make sure not to clutter it with programs, coats, bags, or other articles of clothing. All are distractions and tripping hazards for per- formers.

Sometimes live theatre events hold the attention of watchers well and sometimes they do not. Sometimes watchers attend a production well rested and sometimes they do not. In either case, try not to fall asleep as the cast and crew can take it as an insult. Besides, snoring

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Singing along with musical numbers or scene change music is also distracting and can provoke deep stares from other watchers. We had an experience like this when watching a popular musical on Broadway. Our seats were in a section filled with high school tour groups that ob- viously had played the cast album on the bus ride to the city. As much as we wanted to fully engage the performance, the "singers" around us often took attention away from the stage.

So many things to avoid, but what can watchers do? Engage fully in the performance. Laugh when appropriate. Applaud when suitable. Talk with other audience members about the experience at intermis- sion and after the performance. Stay for the entire curtain call to show appreciation for the work done by the cast and crew.

This introduction to watching live theatre has dealt exclusively with audience expectations and behavior. Good watching is vital in order for you to effectively evaluate a production. We need to pay at- tention to the performance in order to speak or write about it with any

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Exercise #47 Performing the "Bad' Audience

Materiats needed: Small, individually wrapped hard candies

Programs (Available to download and print. Visit the title support page: www.hackettpublishing. com/experiencing_theatre worksheets)

Slips of paper assigning behavior:

> Dial someone's cell phone number and let it ring > Stand up and leave the room, allowing the door to slam > Tell someone they are in your seat and try to get them to move > Eat the wrapped candy and crinkle the wrapper > Crumple the program > Whisper to the person next to you > Take a flash picture with camera or cellphone

lnstructions: 1. Hand out programs, slips ofpaper, and props as participants enter. 2. "Conduct" the cacophony of"badness" as ifit is a symphony, bouncing from one

sound to another while moving toward a climax.

3. Once set, have a select gloup get in front of the group and attempt to read over the noise.

4. Debrief the exercise and relate to the watching experience.

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Watcher Fig. 5-1-The lmportant Etements of Drama when Watching

authority. We all have preferences, likes and dislikes, belief systems, and ideologies. However, these biases have no place in writing critically about performance. To critique performance (or any art form), we must practice aesthetic valuing and critical thinking.

Aesthetic Valuin&and CriticaI Thin kine

Aesthetic valuing and critical thinking are related. Aesthetic valu- ing ("aesthetic" defined roughly as the appreciation of beauty in art) has to do with determining the relative artistic (or in our case, the- atrical) success of a piece, based on an evaluation that uses both the vocabulary of the discipline and the principles of the art. Asking us to "judge" the piece according to these and not from an individual gut response like "l liked it" or "I did not like it" is key. Personal taste need not be completely eliminated, but it must be supported with evidence from the text or production. Like aesthetic valuing, critical think- ing invites us to observe, react, talk, and write using evidence-based reasoning, not iust personal opinion. Critical thinking is necessary to success in any discipline or work place, and critical thinking can be in- creased through our aesthetic valuing ofplays and productions.

Writers of Critique

lVhile, to some extent, all watchers can offer commentary on an ex- perience, both critics and reviewers are individuals who have dedicated

themselves to writing about what they see (or read) with the purpose of informing a larger theatre community about that experience. Some writers of critique are on staff at a traditional publication or website while others are not. Some writers of critique are paid for their work while others are merely reimbursed for mileage and hotel stays. Some writers of critique work in higher education and analyze a play as a text, a play as performance, or both as a text and as a performance in order to better place the work in context for others. Al1 writers of cri- tique, though, are educated, intelli- gent, passionate people that not only

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have the ability to conduct some sort of dramatic analysis but also pos- sess the skill to recount that analysis in ways that are both interesting and engaging to a readership.

Those who write about plays and productions fall into two basic groups: 1) the critic and 2) the reviewer. For our purposes here, we call the person who has time to write longer critiques the critic. Published criticism varies in length and appears in many different types of ven- ues-books, chapters in books, journal articles, and even peer-reviewed websites. We should also note that, in this case, "criticism" does not necessarily mean recounting errors or offering negative feedback. "Criticism" in this context indicates engagement in a thoughtful pro- cess of study and reflection, regarding to what extent elements work well, to what extent elements are confusing, and how or to what extent a production fits into the larger scope of theatre and performance his- tory. Those who write opening night critiques of performances, then, generally for newspapers or sometimes magazines, we call reviewers. We will explore the type of work each does, focusing on similarities and differences meant to provide a sense of both styles of writing. We start, then, with a section on the person who writes what is often referred to as either dramatic or performance criticism.

The Critic

The critic is an individual who has time to prepare carefullywritten insights and flndings about a production, for a specifled theatre public. This is because, unlike the reviewer, who writes for a community of consumers (those who buy newspapers, for example), the critic often writes for a community of scholars (those who study). This means that a critic is usually not a journalist writing for the popular press but, rather, a person writing for a peer-reviewed publication (i.e., Theatre lournal) or at least a focused trade magazine (i.e., American Theatre). Student critics are often involved with the Kennedy Center American College Theatre Festival and, like you, perhaps, they find themselves writing response essays for classes. Although we separate writing about play texts (dramatic criticism) from writing about productions (performance criticism), professional critics (those who write books and articles and/or those who write performance responses) possess knowledge of a wide range of plays and often relate the play's liter- ary qualities when they write about production. Because performance critics take time before sharing their conclusions, they often perform rigorous research regarding the play they have seen. At the core, then, a performance critic is someone who engages in critical thinking as they consider a particular watching experience, going over the choices made by writers, designers, directors, and the rest of the production team. When s/he f,nally writes up herAis flndings, the ideas they

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2. Rigor of analysis 5. Case-making through use of evidence (either read or seen) 4. Clear organization ofideas 5. Readable style and syntax with appropriate grammar and punctuation

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present usually provoke some sort of deeper creative thinking about form, style, genre, character, action, or any of the myriad facets of live theatre in production.

The performance critic is mostly concerned with the analysis of a particular watching experience in terms of its success or failure, not only to clearly interpret the play text as it appears in live performance but also to build on an existing production history of other times and places it has been performed. Remember, the professional critic may have years of experience from which to draw and is able to draw com- parisons with other plays and productions so they are able to fit, or sit- uate, the performance within a larger historical context. They do this by supporting assertions and conclusions with evidence drawn from a watching experience. What does that mean for you as a watcher?

The performance critic might look at a particular performer and compare herAis previous roles with the performance just watched, or sAe might compare the performer's work to other performers who have tackled the same role. A performance critic might also look at the work of the director and compare how s/he chose to approach this production versus a previous production. The performance critic may choose to write about design elements and designers, individually or as a group, in comparison to previous efforts or at least other designs of the same play in order to situate designs in a historical context. In the end, the better performance critics incorporate these comparisons into a flnal draft while still offering a clear sense of who, what, when, where, especially focusing on how and why. For someone to offer an analysis without adequate support of assertions goes against the signiflcance of performance criticism. Because live performance events are fleeting in nature, the closing of a production marks a "death" of sorts, so the performance critic also preserves or archives the memory of the pro- duction with images and detailed description.

In the end, the critic focuses on a variety of areas directly related to the written text. This can include elements of form, use of a central image or guiding metaphor, representation of historical flgures, bio- graphical information from the writer's life, social or political events

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3. Emphasize analysis of the production over plot summary (no summary needed for often produced or well-known plays and musicals).

4. Address production values vis-d-vis its historical moment, performers, director, design, style, or constituent watchers.

5. Consider production values or emphasize the importance of a live performance event culturally, politically, or contextually.

Fig. 5.3-Guidetines for Performance Criticism

that relate to the text, and so on. Criticism shapes (or at least refines) current understandings of theatre because it builds on existing schol- arship by providing fresh insights or opinions.

One way to think of the role of the critic is to consider his or her task as part play analyst and part production dramaturg.

The Reviewer

The reviewer is a watcher who functions as either cheerleader or safety officer depending on the production they see. Some of them have an educational background in dramatic literature. Some are iournalists assigned to the "arts beat." Regardless of vocational background, re- viewers quickly develop a way to use the review they write as a vehicle to deliver a recommendation (good or bad) to other watchers. So, if a production is engaging, they use the review to share with potential audiences how and why they enfoyed the performance, most likely of- fering a positive recommendation (cheerleader). If a production is less appealing, then they use the review to warn potential watchers about pitfalls they might encounterwhen attendingthe piece (safety officer). Because reviewers often place themselves in the role of an "ideal spec- tator" who represents the tastes of a larger public, it is the reviewer's knowledge of herAis readership that most often guides not only the content but also the tone of the review. Given this approach, there is little objectivity inherent to a review.

Think for a moment about the last time you watched an episode of your favorite television show. Now recall how you described your view- ing experience to a friend. \Mhat did you highlight as funny or engag- ing? \Mhy? rrlrlhat was not so good about it? !Vhy? Did you recommend they watch it? lVhy or why not? This is the type of work that a reviewer does. The better and more entertaining a reviewer is when writing up a viewing experience, the more people begin to take their advice seriously. Reviewers of repute are often those quoted in advertising

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Exercise #48 Reading a Performance Review

Large group activity (instructor provides copies of performqnce reviews) OR individual exercise (to be completed on your own or as homework for class).

This exercise asks you to read, reflect upon, and analyze a published performance review in a iournal. We suggest using Theatre lournal. Under no circumstances should you use a newspaper review of a play or musical.

Read through the article at least once, perhaps with an eye toward the author's thesis statement and topic sentences in each paragraph, before answering the following ques- tions.

1. What are the author's main arguments?

2. On what aspects of production does the author focus? Directing? Acting? Design? 5. Does the author relate the production to the script as written? To other plays? By

the same playwright? By others?

4. How does the author/reviewer situate the production? Historically? By style? 5. \,Vhat new information about the play or production do you get from the

performance review?

materials or play covers of a published version of the script. Three of the better-known reviewers in the United States are Chris Jones in Chi- cago, Charles McNulty in Los Angeles, and Ben Brantley in New York. Each has had the opportunity to be both cheerleader and safety officer for many productions. What distinguishes them from the thousands of other skilled reviewers is both their artistry and insight when writing up a watching experience and their large readerships beyond the the- atre market in which they are located.

While many of you may not read a lot of theatre press, most of you are probably already familiar with the type of article a reviewer pro- duces, especially if you look for recommendations on fllm and music selections to stream or download. Nevertheless, when thinking about the tone and style of a theatre review that might appear in a large pub- lication like the Chicago Tribune, The New York Times,, or even a small publication like a campus newspaper, it is important to keep in mind that the piece should work in much the same way that a book report does. That is, it should be something that stimulates interest (either positive or negative) in potential watchers by describing as much as possible about the viewing experience without revealing too much and becoming a "spoiler." Written on a tight deadline, theatre reviews are also often limited both in content and in word count (usually 500- 1500 words). The idea is not to provide an exhaustive situating of the text in performance but rather to offer an immediate, flrst-person reaction

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A Basic Mode[ for Review Writing Who, what, when, where, and why: Provide the given circumstances of the watch- ing done.

Plot review and/or synopsis: Use events that are important to the review to filI potential watchers in on the story.

Acting and directing (and choreography if a musical): Reflect on stage pictures, character interactions, and the like; paying attention to those moments and images that hold attention and those that do not (and why).

Design elements: Reflect on lights, setting, costumes, sound, proiections, and the like; pay attention to those moments and images that hold attention an those that do not (and why).

Reaction, opinion, and overall recommendation: Close with a flnal evaluation based on evidence provided in previous sections.

Fig. 5.4-A Modelfor Review Writing

to the experience. As such, what follows is a suggested starting point when attempting to write a review. Although we offer a flve-paragraph model here to getyou started, each reviewer and publication frequently work closely together to devise an appropriate approach.

Many revi ewers ope n with basic wh o, wh at, when, wher e, why infor - mation. In this case who refers to the producing organization,what is the performance being watched, when is obviously the day and time the reviewer saw the production, where is the proper name of the theatre (and perhaps city), andwhy can cover whether it was opening night or if a special charity or performer was featured. The point of this para- graph is to clearly recount the given circumstances of the viewing. The next paragraph should offer potential watchers a plot synopsis that recounts elements of the sequence of events vital to the overall re- view. This serves two purposes. First, it may remind readers about the finer points of a play with which they are already familiar or saw years ago. Second, if watchers have never seen or read the play, then it offers them a nice window into the world of the performance.It is often good form to follow the slmopsis with a discussion of acting and directing (and choreography if a musical). This should highlight strengths and weaknesses of either the entire ensemble or speciflc performers. The fourth paragraph should consider design elements, particularly in re- gards to how they either do or do not work together to effectively cre- ate a unified production.

The last paragraph is reserved, then, for reaction, opinion, or a part- ing recommendation based on the previous case-making in the review.

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Review Pitfa[[s to Avoid 1. Censorship (iiber-safety officer)

2. Excessive cheerleading

5. Unjust war with the pen

4. Know-it-all tone and style 5. Restaging or redesigning the production (because writer is a frustrated artist)

Fig. 5.5-Review Pitfatts to Avoid

Put another way, this is the "Dear potential audience member, here is what I ultimately think and why you should/should not go see this pro- duction based on my experience" paragraph. This closing paragraph is particularly important in large theatre markets, like New York City, Chicago, or Vancouver, because a strong recommendation can mean a box office success while a poor review can lead to immediately closing the production in order to avoid losing too much money.

Given the weight that reviews can carry, there are some important aspects of writing and content ethical reviewers try to avoid (Fig. 5-5). One of the most important pitfalls to circumvent is censorship of any kind. It is not the iob of a reviewer to object to content. This approach is taking the safety offlcer role a little too far. They should, however, write a warning to potential watchers if there is either strong language or adult themes that some might find obiectionable. At the same time, a reviewer must be careful not to be an excessive cheerleader (think Cheri Oteri and Will Ferrell in the "spartan Spirit" sketches on Sat- urday Night Live).If any reviewer stays too excited about every[hing they see, then theywill lose the respect needed of their readership. Any production, even the best at Lincoln Center in New York, has places where watchers are drawn in and taken out of the live performance event. Report on that. Be honest. Reviewers must also try not to think of the pen as a sword and go about writing harsh, negative pieces that often kill off anything that they consider "bad theatre." lVhen writing from this place of retribution, reviewers put themselves ahead of the taste of the larger theatre public. Reviewers need to consistently work hard to find a balance of good to go with the bad. Another pitfall re- viewers should avoid is coming off as a know-it-all pontificator of all things great about theatrical production. If readers want a teacher to talk at them, then they will go to the local college or university and enroll in a course. |ust as dangerous is the thwarted theatre artist who uses a review to share how they might direct, act, design, or otherwise better mount the production. This is neither helpful nor useful to po- tential watchers. Ultimately, crafting reviews takes continued practice

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Exercise #49 Review Writing

PART I 1. Choose one ofthe plays you are studying. 2. Find at least three different reviews in major news publications (i.e.,The New York

Times, Variety).

3. Identify how the writer of each piece positively or negatively discusses the watching process.

4. Identify and list all of the positive remarks, noting phrasing choices. 5. Identify and list all of the negative remarks, noting phrasing choices.

PART II 1. Now that you have studied stmcture and flow, go see a live theatrical event with

the purpose of writing a review. 2. With your production notes at the ready, begin by writing an opening paragraph

that covers the name of the production, the producing 8roup, the dates, etc.

3. Follow this with a paragraph that fills in the details of plot, story and main idea. 4. Use the next paragraph to address strengths and weaknesses oftechnical elements. 5. Use the next paragraph to address strengths and weaknesses of performer choices. 6. Use the next paragraph to address strengths and weaknesses of director choices. 7. Close with original, thought-provoking conclusions, beliefs, opinions, or other

revelations based on your watching experience.

8. Submit your review.

and study not unlike the work that playwrights do to make the pieces they write better.

Closing Thoughts

Writing about plays in performance (and writing about a play you have read) is an important part of the art-making that happens in live theatre. Though we have only scratched the proverbial surface here, we hope that you have a clearer impression as to why the reviewer, critic, and spectator are all valued members of the dialogue surrounding live theatre and its history.

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For Fu rther Exploration

Americon Theatre Critics Associotion. American Theatre Critics Asso-

ciation. ATCA,2014. 6 May 2014. Web.

Americo n Theatre Wi ng. "f healre Jou rnaIism: On Ii ne a nd Off #399." Working in the Theotre. American Theatre Wing, May 2011. 9

January 2012. Web. Accessed viaYouTubeT May 2074.

Otis L. Guernsey, Jr. Curtoin Times: The New York Theatre 1965-1987

(NY: Apptause, 2000). Print.

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