What We Want

Our one major demand – as simple as it may sound – is that when every production is reviewed by a major paper/magazine/literary journal/trade paper of note, it gets a minimum of two perspectives. No show gets reviewed by just one deciding voice at the major papers every again.

But what we really want is deeper and wider:

For the Theatrical and Critical communities to acknowledge the systems, patterns, and power structures at play.

For the Theatrical and Critical communities to acknowledge who is served by, who is harmed by, and who is left out of those systems, patterns, and power structures.

For the Theatrical and Critical communities to invest in studies, research, and reports to document, track, and name the current systems, patterns, and power structures, and how artists, productions, and critics are impacted.

For the Theatrical and Critical communities to acknowledge that there are many ways to engage in effective, honest, and valuable criticism that neither look nor function like the current system.

For the Theatrical and Critical communities to commit to invest in, support, and demand diverse voices when reviewing and reporting on new plays and productions.

For the Theatrical and Critical communities to commit to reform criticism and arts journalism to better support journalists and critics, as well as better articulate their impact on artists.

For the Theatrical and Critical communities to innovate new forms that criticism can take to flourish and represent the diversity of audiences

For the Theatrical and Critical communities to consider critics as part of the larger Theatre community (as opposed to outside observers), and thus keep them aware of the impact that their tone and judgement have on both the lives of plays and musicals and the livelihood and health of the artists that make them.