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Criticism

From our February 2009 video interview with Quinton Skinner, Dominic Papatola, Camille LeFevre, and Graydon Royce. A year and a half later only one remains a full time theater critic.

Let's admit it: Arguing about the work we do—whether in print or in bars—is almost as important as doing it. It's how we judge our impact and learn where we need to grow. In this issue, we critique the critics while also dipping our vulnerable toes into the rough waters of classical criticism.

Useless is useful

by Ryan Hartigan • Dec. 22

Criticism | Vision

Grazing through other intellectual commentary on the arts, Ryan Hartigan turns Oscar Wilde’s aphorism "All art is useless" inside out.

In defense of theater

by Matthew Foster • Dec. 30

There's no good reason, but if you want to spell it R-E, go right ahead.

Watch out

by Marya Hornbacher • Dec. 21

Prof. Paul Woodruff wrote a book on the “art of watching and being watched.” You should avoid reading it if you possibly can.

Don't review this

by Melodie Bahan • Feb. 2

Criticism | Vision

Melodie Bahan loves good performing arts writing so much that she's begging arts journalists to make her life as a publicist more difficult.

The press release

by Alan M. Berks • Feb. 2

Criticism | Management

Don't give reporters reason to curse you. Make sure your press release spreads word of your show, easy and smooth.

Forgetting taboos

by Dominic Orlando • Feb. 5

Criticism | Vision

A critic’s reaction inspires Dominic Orlando to contemplate Doubt, Forgetting, and a taboo greater than sex.

The follow-up

by Alan M. Berks • Feb. 8

Criticism | Management

Some journalists will tell you that they haven't got time to answer their phones. Call them anyway.

Review this

by Alan M. Berks • Feb. 12

How should a critic pick what shows to review? The Star Tribune's Graydon Royce sends us an honest question. How would you respond?

How to be a critic

by John Middleton • Nov. 3

Clarity is not your friend; foreign-sounding words are - and other tricks of the critical trade from John Middleton.

Critical interview

by MinnesotaPlaylist • Feb. 16

Four Twin Cities critics sit down for a wide-ranging interview on the tension in their role, their relationship to artists and responsibility to readers.

Batman knows all

by phillip andrew bennett low • Feb. 19

Storyteller and blogger phillip low considers Jeffrey Hatcher's Dr. Jekyll and Mr. Hyde, a new twist on the original two-face story.

Using the tubes

by Matthew Foster • Feb. 22

Criticism | Management

Two rules for online media: If you build it, they won't come, and everything will take more labor than you think. Scared? Don't worry. There are options.

Shame on me

by Brad Zellar • Feb. 26

Can Pure Confidence save theater? MinnesotaPlaylist tries to convert one theater skeptic at a time, starting with local writer Brad Zellar.

Corporate welfare crybaby hypocrites

by Matthew Foster • Feb. 26

Cutting arts funding is moronic fiscal policy; it can only be justified as cultural revenge killling.

When critic meets playwright

by Roy Close • May. 23

Criticism | Innovation

Muzzle the urge to call that theater critic a despicable prick. The critic may just be the best friend a new work can have.

Holiday (show) virgin

by Tom Poole • Dec. 7

Our first crack at the question of why people go see holiday shows comes from playwright Tom Poole. For some reason, raccoons come up.

Baby, it's cold outside

by Mo Perry • Dec. 7

Audience | Criticism | Tradition

What is a religious experience? What is magic? What does Fat Man Crying have to tell us about these questions and more?

Generosity and inanity

by Joseph Scrimshaw • Dec. 16

Criticism | Tradition

"Normally when I say 'cult' I’m being negative. This is a special holiday exception. "

A conversion experience

by Tom Poole • Dec. 18

Criticism | Tradition

"The dramatic structure of the play actually seems like the sort of thing a virtuosic theater director might undertake on a dare."

Unbearable lightness of holiday theater

by Matt Sciple • Dec. 30

Criticism | Tradition | Vision

Snow can be heavy, dirty, and hard to handle. Holiday shows are not. Matt Sciple thinks they might benefit from a bit more blizzard, a bit less whitewash.

A great space Christmas

by Tom Poole • Dec. 30

Audience | Criticism | Tradition

"You can bet if the Klingons were in two wars at once, and had been for years, they would have the knobby alien balls to own up to it."

The Minnesota Way

by Quinton Skinner • Jan. 6

Criticism | Tradition

Wendy Knox and Bain Boehlke. Michelle Hensley and Lou Bellamy. Do they have anything in common? Quinton Skinner tracks it down.

Penumbra style

by Stephanie Lein Walseth • Jan. 11

Criticism | Vision

While Garrison Keillor seems like Minnesota's essential national representative, don't forget that Penumbra Theatre nurtured the equally famous August Wilson.

The dance scene

by Lightsey Darst • Nov. 3

Criticism | Vision

Decentralized, political, process-oriented, and anti-fashion: Does that sound like the dance you've seen around town?

The missing Minnesota mythos

by Marya Hornbacher • Jan. 17

Criticism | Vision

"We are on the cusp of a change in what Twin Cities theater is, or at least, what it is willing to do."

Anti-anxiety of influence

by John Middleton • Jan. 27

Criticism | Process

Minnesota Style is the sum total of the people who live here. Regular contributor John Middleton explores how we learn the style we call our own.

Art in an outpost

by Andy Sturdevant • Jan. 29

Enjoy this excellent article, exchanged with mnartists.org, on the Minnesota tradition in visual arts. As similar to the performance scene as a sibling.

Speaking of place

by Camille LeFevre • Feb. 6

Where you live matters. This last essay on Minnesota Style delves deep into the world of architecture. Just as with theater, discipline and restraint reappear.

The art of participation

by Camille LeFevre • Mar. 27

Criticism | Innovation

Through analysis and experience, Camille LeFevre distills the essence of audience participation outside the black box into a quick study guide for audiences.

Balancing act

by Joseph Scrimshaw • Aug. 31

Joseph Scrimshaw begins the month with praise for the kind of effortless comic acting, balancing humor and pathos, that we don't see enough.

Open windows

by Paul Herwig • Sep. 4

Offleash Area's co-Artistic Director expects a lot from the work he sees. This year, he was inspired by John Munger.

Multiple dimensions

by Nicholas Leeman • Sep. 7

For some theater artists this year, John Heimbuch's "The Transdimensional Couriers Union" was the show to see. Nicholas Leeman explains his excitement.

Behold(en)

by Penelope Freeh • Sep. 12

What makes great dance? For dancer and choreographer Penny Freeh, Uri Sands "Earth" lingers.

Redefining excellence

by Matt McGeachy • Sep. 14

No one strives for mediocre, yet excellence is as hard to define as a fish is to hold. But Matt McGeachy attempts it while thinking on ". . .Virginia Woolf"

Meaning and nothingness

by John Middleton • Sep. 19

People spout shameless nonsense just for attention. Regular Playlist contributor John Middleton begs you not to be one of those people.

Disruption

by Sid Solomon • Sep. 20

Theater, like scotch and jazz and fine food, is best enjoyed with time. Sid Solomon doesn't think you should judge before you let it marinate.

Body slams and pile drivers

by Reginald Edmund • Sep. 20

"In a state where it’s winter most of the year, I hope that every theater experience wants to bring a little heat to the audiences’ collective soul."

Your mission

by Jack Reuler • Sep. 29

Criticism | Vision

If you aren't viciously committed to your nonprofit's mission, then you should pull the plug on your next show. And maybe even your entire institution.

How to be a bad director

by Isaac Butler • Nov. 11

Criticism | Production

For audience, actors, and writers alike, Isaac Butler attempts to create a quick guide to saving yourself from that horrible director.

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At stake when writing a “bad” review: trust and excellence

by Matt McGeachy • Mar. 9

Matt McGeachy on why critics put their own particular version of excellence at stake in their critiques.

An experiment in criticism

by Camille LeFevre • Mar. 11

Introducing a new series on criticism, responses to Aspen Santa Fe Ballet.

Dancing around a subject

by Cristeta Boarini • Mar. 13

Audience | Criticism

The audience responds, live, to Aspen Santa Fe Ballet at the Northop Auditorium on Tuesday, March 8.

ASFB: Undiscovered country worth exploring

by Ed Huyck • Mar. 14

Theater critic Ed Huyck explores new territory and is invigorated, puzzled, rewarded.

ASFB: Like Ferris wheels in a windstorm

by Phillip Koski • Mar. 16

Architect Phillip Koski examines the nuts and bolts of ASFB's choreography.

ASFB: Giving oneself over to a shadow dance

by Tom Poole • Mar. 17

Playwright Tom Poole cracks wise on critics of dance and on dance criticism.

Thespis to theater in America: “Why can’t I quit you?”

by Matt Sciple • Apr. 28

Criticism | Vision

A dramatic dialogue in which theater addict Matt Sciple hides behind the fake moustache of satire to question the value of his chosen profession.

The best is yet to come

by Alan M. Berks • Sep. 5

Audience | Criticism | Vision

Challenging is a criteria for excellence that Minnesota may experience more in the year to come.

Best of 2010-2011: The Oldest Story in the World

by Jeremy B. Cohen • Sep. 5

Criticism | Vision

The Playwrights' Center's new Artistic Director tells us why he feels at home here in the Twin Cities.

Best of 2010-2011: Tracey Maloney

by Ricardo Vazquez • Sep. 8

If theater writing were more like sportswriting, you would know more about the ins and outs of how actors do great work.

Best of 2010-2011: Laurie Van Wieren

by Charles Campbell • Sep. 11

Criticism | Innovation

Laurie Van Wieran's "2nd Draft: Who Made These Video Tapes" helps us recognize what it means to be here now.

Worst of 2010-2011: Lack of thoughtfulness

by Nathan Keepers • Sep. 15

Criticism | Process

"So often shows are either out of breath or holding their breath."

The state of the arts is strong

by Marianne Combs • Sep. 19

"We are surrounded by artists who are wrestling with the issues of the day, and that makes life better for all of us."

Best of 2010-2011: New Play Readings

by Matt McGeachy • Sep. 25

Criticism | Innovation

"When you need to feel complicit in something, like you belong to a community, go see a reading."

Best of 2010-2011: Red Resurrected

by Meena Natarajan • Sep. 28

Audience | Criticism

Spare need not be empty. With the aid of the audience's imagination, minimal has maximum effect.

Best of 2010-2011: Chimera

by John Bueche • Sep. 30

Audience | Criticism

Deborah Stein and Suli Holum's creation crawled under the Bedlam Artistic Director's skin.

Short on pig

by Levi Weinhagen • Oct. 12

Criticism | Process

A well done production hindered by adaptation choices.

Civilization and its playwrights

by Alan M. Berks • Oct. 18

A rash of contemporary plays argue that you should throw off the chains of civilization and embrace your inner savage.

A musical revue with a war in the background

by Matt McGeachy • Dec. 5

Matt McGeachy reviews "A Civil War Christmas," the first in a series of reviews this month.

Not feeling it

by Matt McGeachy • Dec. 12

After seeing DHM Productions version of "A Christmas Carol," Matt McGeachy makes a request to Santa.

Nuts!

by Linda Shapiro • Dec. 14

Ballet of the Dolls and Le Cirque Rouge team to blow up the season's Nutcracker cliches.

A separate peace

by Matt McGeachy • Dec. 17

In his third try, Matt discovers a holiday show that inspires him to yearn for the lack of war that the season demands.

Mother Goose and her dancers

by Linda Shapiro • Dec. 22

How are nursery rhymes like a dance company? Linda Shapiro illuminates both in her review of Zenon's holiday show.

In praise of Christmas past

by Matt McGeachy • Dec. 27

Audience | Criticism

After watching Kevin Kling's latest show at the Fitzgerald, Matt wonders whether the essence of the season is nostalgia.

Suggestion box

by Alan M. Berks • Jan. 2

Criticism | Innovation | Management

We're considering a major redesign of the website in the coming months. Now is your chance to send us your suggestions.

Learning to love arts criticism

by Alan M. Berks • Mar. 4

Does a type of arts criticism exist that would please artists, audiences, and newspaper editors at the same time?

Writing about Writing about Writing

by Matthew A. Everett • Jun. 17

Criticism | Fringe

Playwright and theater journalist writes about the struggle between being a playwright and writing about plays.

Best of 2011-2012

by Ben McGinley • Sep. 4

"Snowfuck" and "A Bun for A Door Handle" lived so far outside the author's traditional theater expectations in a way that felt miraculous.

Best of 2011-2012: The Birthday Party

by Linda Sue Anderson • Sep. 6

Harold Pinter's work is not for everyone, but for the people who love it, "The Birthday Party" was worth celebrating.

Best of 2011-2012

by Ruth Weiner • Sep. 9

Carleton College Professor highlights four very different productions that are united by how well the ensemble works together.

Best of 2011-2012: Bearded Men Improv

by Jill Bernard • Sep. 12

Great improv contains so many more elements than just quick wit. There's got to be heart, physicality, and tech.

Best of 2011-2012: The Ravagers

by Matt McGeachy • Sep. 13

"Theater – really good theater – makes you feel alive even as you are literally stepping over dead bodies."

How do you define Quality?

by Laura Zabel • Sep. 17

Springboard for the Arts Executive Director digs deeper into conversations about Quality and uncovers the land mines.

Best of 2011-2012: A Bun for a Door Handle

by Damon Runnals • Sep. 19

Have you considered what your tech choices, or lack of choices, tell the audience about the world of the play?

Best of 2011-2012: The Dragons are Singing Tonight

by Katie Kaufmann • Sep. 21

TigerLion Arts combine spectacle with big stories. Even when they make a children's play, they continue to impress.

Live tweets from the Iveys

by Levi Weinhagen • Sep. 24

Audience | Criticism | Production | Vision

Levi Weinhagen live tweets the Ivey Awards tonight for us @minnesotaplays #iveyawards #theaterprom #canyoubetoosnarky

Best of 2011-2012: Pina

by Stuart Pimsler • Sep. 25

A 2011 film about Pina Bausch inspires Stuart Pimsler to reflect on his own journey. (Don't forget the Sage Awards on October 17.)

Best of 2011-2012: Walking Shadow Theater Company

by Matt Dawson • Sep. 26

Walking Shadow won an Ivey Monday, and their success is driving Matt Dawson mad. Damn them!

Best of 2011-2012

by Penelope Freeh • Sep. 27

"These works felt necessary, essential. They needed to be made and thus performed and thereby witnessed."

Best of 2011-2012: The Naked I

by Andrew Troth • Sep. 28

The author identifies the paradoxical quality of Vulnerability, being strong enough to get hurt, as the best part of his theater experiences.

Best of 2011-2012: Paul F. Tompkins

by Levi Weinhagen • Oct. 1

Levi values high levels of craft and big buckets of fun, and he finds it in the work of great stand-up comics.

Best of 2011-2012: Spring Awakening

by John Heimbuch • Oct. 2

Theatre Latte Da and the University of Minnesota combine forces to surprise John Heimbuch into liking musicals.

Best of 2011-2012: The Amen Corner

by Julianna Skluzacek • Oct. 3

Owatonna's Merlin Players Artistic Director points out the lessons you can learn, and stories you can tell, in careful set construction.

Best of 2011-2012: Black Water

by Sheila Regan • Oct. 4

Have you noticed an increase in site-specific work lately? Sheila Regan has, and she isn't complaining.

REVIEW: "Rabbit Hole" at Theatre in the Round

by Matt Berg • Jan. 18

Theatre in the Round chose a grim subject for its 500th production, but Matt Berg says "Rabbit Hole" suits the milestone better than you'd think.

'Anne Frank' and onstage redemption

by Dean J. Seal • Jan. 24

"I am Anne Frank" and Vanessa Gamble return to Minneapolis, and Dean J. Seal says the story of redemption hits as hard as ever.

REVIEW: Minnesota Opera's "Doubt"

by Bartley Stratton • Jan. 31

John Patrick Shanley's modern classic gets the operatic treatment at the Ordway. Bartley Stratton says little is lost in translation.

REVIEW: Hijack and Chris Yon at Outlet Performance Festival

by Laura Holway • Feb. 6

Unorthodox dance in an unexpected environment made Jaime Carrera's "Outlet" festival an immersive experience for reviewer Laura Holway.

How do we watch modern dance?

by Laura Holway • Feb. 11

Chris Schlichting's "Matching Drapes" at Red Eye makes our reviewer ponder the way she watches dance performances.

'Buzzer' rings twice

by Brianna Olson-Carr • Feb. 28

Tracey Scott Wilson's tragicomedy returns with a revised script on a new stage. What can we learn by watching a play's evolution?

REVIEW: "To the Moon" at Open Eye

by Bartley Stratton • Mar. 8

A reimagining of "The Honeymooners" with an all-female cast makes for an entertaining 90 minutes.

REVIEW: "Loss Machine" at Open Eye

by Zoe Michael • Apr. 10

Open Eye Figure Theater's Platform series kicks off with a transformative journey into transformation.

The communal comfort of 'Dykes Do Drag'

by Zoe Michael • Apr. 25

For its devotees, the long-running Bryant-Lake Bowl show is much more than just a fun night out at the theater.

The burpy beauty of Open Eye Figure Theatre

by Laura Holway • May. 1

In one writer's eyes, Open Eye is a "perfect combination of thoughtful exploration, risk-taking, universality and humor."

The ageless artists of "Alive and Kickin"

by Bartley Stratton • May. 16

It's more than just "old folks singing" - the artists of "Alive & Kickin" represent a living document of local theater history.

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