By Christian Viveros-Fauné
By Miriam Felton-Dansky
By Tom Sellar
By Tom Sellar
By Jessica Dawson
By Tom Sellar
By R. C. Baker
By Tom Sellar
But what else did people expect me to say? To speak the worst is drama criticism, and in the theater, the worst is usually true. It always has been. Writing barely 30 years after The School for Scandal premiered, Hazlitt said there was no one alive who could play it. Henry James said that Henry Irving, Victorian England's most admired actor, "is second-rate and never will improve." Woollcott claimed that the art of acting had ended with Mrs. Fiske, and Stark Young wrote that most of the plays he had reviewed were less meaningful than the sight of Pauline Lord coming down a staircase.
Maybe they were all, like me, bitter old men who hated the theater. But an alternate possibility is more likely: that Gresham's Law"bad money drives out good"applies in art as well as in economics; that badness (apathy, inadequacy, irrelevance) is a constant presence in every art form, waiting for its chance to take over. ("The theater," said Shaw, "is, was, and always will be as bad as it possibly can.") Genius, if there's any around, can transform that picture, but genius is an evanescent quality by definition, not to be relied on to come to the rescue. Competence, working hand in hand with tradition, can hold the quality line, but throw out tradition and watch how fast competence crumbles. The result would beand these days often isa theater about which any intelligent critic might be understandably bitter. About now, the friends and colleagues who urged me to make this column "positive" may be getting restive, but let me have my negative say. What the hell, it's my anniversary, I'll lament if I want tofor a few more clauses at least. If the theater 30 years ago had been, in general, like the theater we have today, I would probably have gone into some better-paying business. There, I've said it. Now go e-mail the editor in chief to fire me; he's a very contrary fellow and it only improves my status here.
But having made the forbidden remark, I ought to offer some explanation for it. So: The theater was better when I began because its old tradition was not yet dead, and the new movement springing up to replace that tradition was brand-new, and seemed inexhaustibly fresh. Today the old tradition is a ghostor worse, a zombieand what was once new, not exactly old enough to have become a tradition itself, has instead become a habit, rigid and repetitive, its choices blindly mimicked by youngsters who don't know that there was once meaning behind them. This is a general, even a theoretical, complaint, and shouldn't be taken personally by any individual. On a case-by-case basis, the theater is as good as it ever waseven better in some ways. We have extraordinary writers, directors, and designers, including some who've sustained their work through my entire time here. I'm certain, too, that we have many more fine actorsa body of devoted and sometimes brilliant men and women whose contribution is incalculable. In the last decade, when I've felt like giving up, New York's actors and the thought of an upcoming Ingmar Bergman production have cured my gloom for weeks at a stretch.
And if the young mimic their immediate predecessors, I don't propose to knock them for it. The most gifted of them don't, anyway, though what they lean toward instead often strikes me as even less healthy: an affectless and static deadpan skepticism, immobilized by the impulse to question everything. I can live with that; the worrisome part is where they'll go when, sooner or later, they break out of that blind alley. You can hardly keep creating art with no purpose and no context. Under those circumstances, the young are hereby cordially encouraged to imitate everything and anything. My only requests are (a) that they learn as much about what they're mimicking as they possibly can, including what drove its first makers, and (b) that they glance to both sides of it, to see if there isn't something they might like mimicking even more. (The song of all alternative-paper theater critics, "Aren't there any German playwrights besides Heiner Müller?")
Choices are what all theater work is built on, each choice leading to another till the work is complete. What dulls the theater for me too often, these days, is a seeming paucity of choices. Here the fault is less with the young than with their elders and non-betters, too many of whom are busy providing examples of what to avoid. I know that when I began reviewing for the Voice, I had the sense that anything might happen on a stage. I did not expect, as I frequently do these days, one of a few obvious categories of script, staged with one of a few predictable directorial gimmicks, with the actors moving toward behavior type A or type Z with a minimum of justification. Call it postmodernism or whatever you like; surely no convention in theater history has worn out its welcome so fast. Lately, a device that's differentlike the mobile 18th-century stage in David Herskovits's Dido, Queen of Carthagecomes as a relief to me even if I find it obtrusive and irrelevant; it beats sitting through, say, yet another Baroque opera staged with wheelchairs, trench coats, and Lucite revolving doors. Eighteenth-century stages are fun to look at; trench coats are just a gray day on Madison Avenue.