2008 Melbourne International Comedy Festival!
I have no opinion. I didn't go to a single comedy festival show. I chose life. (If you really want Comedy Festival reviews, check out the blog of the indefatigable Richard Watts.]
And here's my apologia... Actually, it's Eric Bentley's apologia. And I dedicate it to George Hunka, Alison Croggon, Mr. Watts and others with 2020 vision/tastes. (You know who you are!)
These stairs were made for fleeing...
Sydney Theatre. (Photo: Chris Boyd)
Professional Playgoing
George Jean Nathan long ago established the right of the drama critic to leave after the first act. The time has now come for the critic to claim the right to stay away altogether. Deciding what we can do without is, after all, one of the great tasks of living, and, unlike some of the others, it can be performed rather efficiently. Having noted the way John Steinbeck is going -- or Aldous Huxley -- pick a name -- I have decided not to read his next book. My decision may turn out to be mistaken. The next book may be a masterpiece. If it is, I shall hear about it, though; obviously I don't have time to read everything on the off-chance of stumbling on a masterpiece...
Few of the playwrights whose work is performed on Broadway have names one already knows. I decided whether to see their plays after reading the reviews of Brooks Atkinson, Walter Kerr, Richard Watts, William Hawkins, and whoever else is on sale at the nearest newsstand. When I've seen a play, I may realise I don't agree with any of these gentleman. But I can figure outfrom what they say whether I would agree with them. I know, for example, what kind of play strikes me as sentimental and strikes Mr. X as charming, wholesome, heartwarming, beautiful, and morally inspiring. I know what kind of play strikes me as boringly trivial and strikes Mr. Y as quite splendid because it illustrates the view that the age of Ibsen is over, that drama should be free of preaching...
Still, if they all like it, I go; if they are divided in their opinions, I go; it is only when they all -- or nearly all -- dislike it that I deliberately stay away. The critics' rejections are far less misleading than their enthusiasms. And anyway it is better to be misled a few times than go to the theatre too often. It is important that a theatre critic see as few shows as possible: the habit of regular attendance on complimentary tickets distorts the whole experience of theatre-going and can even kill the pleasure of it.
[...]
I prefer to leave when I am bored, to stay at home when I think I would be bored, and in either event not to go into print. That is why I am surprised when, having taken issue with a play or a performance, I am told: "You must have been bored." I take issue only when I am not bored. Dissent, surely, is a proof of interest. If you were the playwright, wouldn't you rather have a critic take issue with your play than be so ecstatic that you can tell he's making it up?
Professional playgoing is the first essay in Bentley's What is Theatre? Incorporating the Dramatic Event and Other Reviews 1944-1967. I picked up a copy for $7.95 from Clouston and Hall in Canberra. Bless! I checked just now and copies are still available at that price.
And here's my apologia... Actually, it's Eric Bentley's apologia. And I dedicate it to George Hunka, Alison Croggon, Mr. Watts and others with 2020 vision/tastes. (You know who you are!)
These stairs were made for fleeing...
Sydney Theatre. (Photo: Chris Boyd)
Professional Playgoing
George Jean Nathan long ago established the right of the drama critic to leave after the first act. The time has now come for the critic to claim the right to stay away altogether. Deciding what we can do without is, after all, one of the great tasks of living, and, unlike some of the others, it can be performed rather efficiently. Having noted the way John Steinbeck is going -- or Aldous Huxley -- pick a name -- I have decided not to read his next book. My decision may turn out to be mistaken. The next book may be a masterpiece. If it is, I shall hear about it, though; obviously I don't have time to read everything on the off-chance of stumbling on a masterpiece...
Few of the playwrights whose work is performed on Broadway have names one already knows. I decided whether to see their plays after reading the reviews of Brooks Atkinson, Walter Kerr, Richard Watts, William Hawkins, and whoever else is on sale at the nearest newsstand. When I've seen a play, I may realise I don't agree with any of these gentleman. But I can figure outfrom what they say whether I would agree with them. I know, for example, what kind of play strikes me as sentimental and strikes Mr. X as charming, wholesome, heartwarming, beautiful, and morally inspiring. I know what kind of play strikes me as boringly trivial and strikes Mr. Y as quite splendid because it illustrates the view that the age of Ibsen is over, that drama should be free of preaching...
Still, if they all like it, I go; if they are divided in their opinions, I go; it is only when they all -- or nearly all -- dislike it that I deliberately stay away. The critics' rejections are far less misleading than their enthusiasms. And anyway it is better to be misled a few times than go to the theatre too often. It is important that a theatre critic see as few shows as possible: the habit of regular attendance on complimentary tickets distorts the whole experience of theatre-going and can even kill the pleasure of it.
[...]
I prefer to leave when I am bored, to stay at home when I think I would be bored, and in either event not to go into print. That is why I am surprised when, having taken issue with a play or a performance, I am told: "You must have been bored." I take issue only when I am not bored. Dissent, surely, is a proof of interest. If you were the playwright, wouldn't you rather have a critic take issue with your play than be so ecstatic that you can tell he's making it up?
Professional playgoing is the first essay in Bentley's What is Theatre? Incorporating the Dramatic Event and Other Reviews 1944-1967. I picked up a copy for $7.95 from Clouston and Hall in Canberra. Bless! I checked just now and copies are still available at that price.
Labels: Eric Bentley, George Jean Nathan, reviewing
posted by Chris Boyd at 11:49 AM
3 Comments:
Onya Chris. You don't have that protestant work ethic programmed into your bloodstream - I have it enough to feel guilty at not knowing/seeing everything I feel I ought to, even while I realise that I also have my own work to do and my life to live/children to raise/friends to see/etc and only one body to spread around. And yet these godlike aspirations are plain daffy, even in Melbourne. It's not like I get paid for most of my trouble even...
And with you too on the question of critical engagement.
Awww ... I love those stairs. Lovely pic too.
Would it be somewhat crass to admit I'd love to see Rove perform at the Enmore just to see if he swears like a sailor for the first ten minutes? Adam and Wil did that and I freaked out for the whole ten minutes. *snort*
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