Leonard Jacobs, National Theatre Editor and theatre critic for Back Stage and New York Press, is also the mind behind the popular theatre blog, Clyd Fitch Report. Brave soul that he is, Leonard agreed to be our first "Critic on the Spot" by fielding questions from some of our Extra Criticum authors.
Every few days, we'll post a new Q&A between Leonard and one of us. Here's #2 in our series, this one from Andrew Altenburg.
Q:
Let's say you've seen a show that you think is just awful but you have close friends on the production team. What do you do? I realize that we're professionals, but we're also human beings and don't people feel that as their friend, you're supposed to give their production a break and give them good press? But then you're risking your integrity about the opinions you're giving out to the world. Do you give the review to someone else to write? Do you tell the truth and risk your friendship (and on a completely superficial level, your access to future productions that involve the same people) or do you just soft pedal it?
and another question:
What's the most recent show you've seen that left you filled with excitement afterwards...something you literally couldn't wait to get home to write about?
A:
I don’t review friends, period. Brooks Atkinson, who is sort of a model for me, was friends with many of the major theatre artists of his day and was known for giving opinions when asked for them. But it was also understood that there was a time for him to disclose opinions in a private and/or personal setting and a time to actually put his byline on criticism destined for the public square. You have to set your own boundaries and be fair to the friend and to yourself and your readership.
For me, there are a number of people I won’t review (I won’t name them, either). They are friends, and by that I mean personal friends, people with whom I socialize. Acquaintances are a different animal, though—I have no problem reviewing them. I think you have to know the difference. That’s not always easy.
I should add that when my friends are involved in a show, particularly if they write, direct or act in it, I don’t give them my opinion unless they ask for it. If they do ask directly, and if I feel the piece needed some work or—worst case scenario—sucked, I’ll tell them if asked, but I think one of the things about being a friend is knowing how to tell them appropriately, particularly if I know it’s stuff they won’t want to hear. I feel strongly that there’s a time and place for these things, too. Immediately after a performance, for example, is an awful time for me to say what I think—good or bad—and if a friend rushes up to me and demands to know right then and there (it does happen), I’ll really, really try to dissuade them and suggest we find a later time for coffee or a drink (or five). As a friend, my job isn’t to be a critic, but to be a friend. If I can’t give them that, then I suck as a friend and I shouldn’t even see the show.
Don’t think all this isn’t problematic. I have several friends who wish I’d write about them and I often feel bad about that. You can also learn a lot about why people are friends with you. I’ve ended some friendships because it was obvious they were my “friend” to get press. If you want to be my friend, that’s great. Otherwise, I’m not that lonely.
