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An interview is presented with theater critics Wei-Huan Chen, Karen d'Souza, and Rohan Preston. When asked about how their race or ethnicity has impacted their critical authority, they discuss tokenism and the assumptions and expectations of white people. When asked about the diversification of theater criticism, they talk about the inclusion of marginalized voices and institutional commitment. Other topics include anti-intellectualism, career development, and entrepreneurialism.

The article discusses changes to theater criticism in U.S. mass media following the decline of print media and a shortage of professional theater critics. Emphasis is given to platforms for media criticism such as aggregator websites and podcasts, the financing of the review website 4Columns, and former critics such as John Moore who have been re-employed at arts institutions like the Denver Center for the Performing Arts.

The article explores the critical methodology and writing styles of theater critics including Hilton Als, Frank Rich, and Harold Clurman. Emphasis is given to topics such as criticism gleaned from diaries, the representation of the physicality of performance in theater reviews, and proselytization in the discovery of playwrights.

An interview with theater critic Eric Bentley is presented. Topics discussed during the interview include the ideal theatre concept of a great critic, his book "In Search of Theater," the plagiarism issue of poet Bertolt Brecht, his criticisms of playwrights Arthur Miller and Eugene Gladstone O'Neill, and the resident theatre movement.

The article profiles artistic director Sean Graney, who founded the theatrical company Hypocrites in Chicago, Illinois to stage adaptations of classic plays such as "Twelfth Night" by William Shakespeare, and who earned a fellowship at Harvard University's Radcliffe Institute to stage adaptations of Greek tragedies. Graney's education at Emerson College, his staging of plays such as "The Bald Soprano," and critical reception pf Hypocrites' productions are also discussed.

Dramatic criticisms of the theatrical productions "Iron Kisses" and "Looking Over the President's Shoulder," by James Still at Indiana Repertory Theatre in Indiana are presented. A plot synopsis for each play is presented, which were performed in celebration of Still's 10th anniversary as a playwright-in-residence. The article evaluates similarities and differences between the shows as well as the work of Janet Allen, the theater's artistic director.

A dramatic criticism of the theatrical production "A Streetcar Named Desire," by Tennessee Williams is presented. The article also discusses the motion picture adaptation of the play and a stage version directed by Sheila Daniels at the Intiman Theatre in Seattle, Washington. Characters in the production are also analyzed.

The article presents a panel discussion regarding the influence and role of the dramatic critic in 20th century American theater, featuring playwright Eric Bentley, director and English professor Robert Brustein, and film critic Stanley Kauffmann. Topics discussed include the academic value of drama, Bentley's book "The Playwright as Thinker," and the importance of educating audiences in the quality and artistic standards of the genre.

The article presents an exploration into the artist-critic relationships within American theater. Questions regarding the necessity of artistic dialogue between the two parties are raised. Examples of successful professional collaboration in Denver, Colorado; San Francisco, California; and Nashville, Tennessee are given. Suggestions highlight both professional and personal communication as well as a high level of expertise and familiarity with the other's respective methods.

This article discusses theatrical productions that suffer by the early responses of theater critics. Theatrical productions in the article include the plays “Passion,” “The Seagull,” and “The Matchmaker. ” The article discusses the different effects the criticisms can have on both drama and comedy productions.

Presents a critique of various translations of Oscar Wilde's 1890s play "Salome." Irina Tsikurishvili and Jonathan Levek for Synetic Theater; Marisa Tomei and Al Pacino for Actors Studio; Peter Hauenstein and Barbara Cole for Shakespeare Tavern.

Examines the actions taken by several dramatists and theater directors to retaliate against theater critics who wrote negative comments about their works. Jules Feiffer; Michele Lowe; Andrei Serban; Robert Brunstein.

Discusses the responsibility of the theater community to develop a process for critical response to dramatic criticism within the community. Dependency of the theater community on criticism; Discrepancy between critical language and natural human response in dramatic criticism; Questions commonly used to assess a play or production.

Argues that the plays of Maria Irene Fornes deserves critical praises. Characteristics of Fornes' plays; Information on two books about Fornes' works; Guide to understanding the works of Fornes. INSET: FORNES ON STAGE: THE VIGOR OF WOMEN4.

The article discusses professional theater critics who are also working artists in the theater. Particular focus is given to the author's experiences as a critic and playwright. Details on ethical issues involved in balancing both roles are presented. Critics and performers Elaine Liner and Christine Howey are also discussed.

An interview with playwright and columnist Jonathan Reynolds is presented. He talks about the kitchen for the theatrical production "Girls in Trouble," directed by Jim Simpson, that opened at the Flea Theater in New York City in February 2010. He stresses the significance of food to most of his work. He also offers views on how food and theatre criticism are similar or different.

A dramatic criticism of the theatrical production "In Conflict," directed by Doug Wager at Temple University in Philadelphia, Pennsylvania is presented. The production, an adaptation of the book by author Yvonna Latty, documents chaos during the war in Iraq. The plot of the production is further evaluated as well as its meaning, the rehearsal process and techniques, and the accusation that the production does not support the war.

A dramatic criticism is presented of the theatrical production "Flip Side," by Ellen Maddow with the Talking Band performance group in New York City. The plot synopsis of the play is presented as well as ways in which the production values aspects of music, choreography, and images. A workshop of the production is discussed, which was held at Smith College in Northampton, Massachusetts.

The article announces the winners of several theater awards and prizes in the U.S., including "Bliss,"by Emma Lively and Tyler Beattie as a recipient of the third round of the 2019 Edgerton Foundation New Play Awards of the Theatre Communications Group (TCG), Obediya Jones-Darrell as the recipient of the 2019-2020 Kulas Theatre Composer Initiative of Cleveland Public Theatre, and Soraya Nadia McDonald as the 2019-20 recipient of the George Nathan Award for Dramatic Criticism.

Debates on whether dramatic critics should be involved in the production of plays or forge relationships with people from the theater community. Need for critics to be objective in theater reviews; Significance of the involvement of critics in the creative process of the play; Advantages of critics who review plays based on their liberal arts background.

Presents examples of graduate dramaturgy programs in the United States. American Repertory Theatre Institute for Advanced Theatre Training at Harvard University in Cambridge, Massachusetts; Program for directing/dramatic criticism at Stanford University; Theatre criticism at Yale School of Drama Department of Dramaturgy and Dramatic Criticism. INSETS: MEILING CHENG;ELISSA ADAMS;ELIZABETH BENNETT.

The article examines the controversy caused by a production of the play "This Is Modern Art" staged in Chicago, Illinois during the Steppenwolf Theatre for Young Adults (TYA) series. Topics discussed include criticism of the plays by newspaper theater critics Chris Jones and Hedy Weiss, the response to this criticism by the play's cowriter Kevin Coval, and the play's depiction of spray painting and hip-hop culture.

The article discusses the U.S. National Critics Institute (NCI), a professional development opportunity offered to theater critics by the Eugene O'Neill Theater Center in Waterford, Connecticut. Topics discussed include the role at the NCI played by theater critic Chris Jones, the struggles critics face in securing employment, and the role critics play in keeping artists accountable.

This article provides ideas for dealing with negative criticism of a play in the U.S. Organizers used negative criticism to promote the play "Matthew Modine Saves the Alpacas" at the Geffen Playhouse in Los Angeles, California, in 2009. Geffen marketing director Joseph Yoshitomi said he would not use such a tactic for a dramatic and serious play. Meanwhile, artistic director Sarah Benson of Soho Rep published a negative review of the play "Orange Hat and Grace" along with positive reviews.

The article discusses British theater critics and how they fit into the theater culture. The author states that critics do not persuade audiences to go to the theater anymore and they have no real impact on theater. The author believes that critics matter less in both American and Great Britain partly because of economic recessions and a change in how the public spends its free time. Critics discussed in the article include Jack Tinker, Nicholas de Jongh, and David Mellor.

The article discusses theater critics and popular perceptions of them. The author explains that it is a common joke that theater critics are never seen during the day, much like a vampire. The author believes that complete estrangement between artists and art critics is detrimental for both sides. She states that each critic brings their own bias and temperament to their work.

This article presents a critical analysis of the 365 Days/365 Plays written by Suzan-Lori Parks. Parks dedicates one piece to four guys who helped her and her husband, the blues musician Paul Oscher, move into their Venice, California home. Parks was chilling with her husband when the quirky idea of 365 Days/365 Plays popped into her head. Some of the plays require lots of actors.

Describes the career of a former theater actress who became a dramatic critic. Services provided by theater companies to critics; Influence of the critics on the success or failure of the theatrical production; Effect of criticism on the public's perception on theater.

Presents the views of several theater critics on their role as a critic in relation to their readers and to the theater community. Martin Denton; Michael Christenson; Elizabeth Maupin; Hugo Quintana.

The article discusses the Engine project, developed by Sasha Anawalt from the Annenberg Arts Journalism Program at University of Southern California and critic Douglas McLennan, which sets up work stations for critics at arts festivals such as the 2013 Humana theater festival in Kentucky to produce quick critiques.

A letter to the editor is presented in response to the article "Critical Juncture," by David Cote, originally published in the November 2011 issue, discussing the status of theatre criticism in the U.S.

A letter to the editor is presented in response to the article "Critical Juncture," by David Cote, originally published in the November 2011 issue, discussing the status of theatre criticism in the U.S.

A letter to the editor is presented in response to the article "Critical Juncture," by David Cote, originally published in the November 2011 issue, discussing the status of theatre criticism in the U.S.

A letter to the editor is presented in response to the article "The Fortune of Criticism," which was published in the February 2008 issue.

The article presents the author's reflections on the development of dramatic criticism throughout the 20th century and its future directions. The trajectory from active participation, to passive consumption, to collaborative co-creation is outlined in audiences and critics alike. The implications of such movements on the industry's artistic methodologies are discussed.

The article presents a preface to the issue, discussing the central focus on theater criticism.

This article presents news briefs about awards and prizes to people in the theater world. "New York Times" drama critic Charles Isherwood has won the 2005-2006 George Jean Nathan Award for Dramatic Criticism. Kara Lee Corthron was named the winner of the Theodore Ward Prize for African-American Playwrights.

The article presents an interview with critic, playwright and author Eric Bentley. Bentley was honored with an Obie for lifetime achievement. He expressed his views on theatrical criticism. He mentioned his secret to a long and rewarding life in the theater industry. He also cited three things that he will take with him to a desert.

Provides information on various awards and recognition given in the field of theater in the U.S. as of April 2004. Award received by the play "The Clean House"; Winner of the George Jean Nathan Award for dramatic criticism; Recognition received by theater celebrity Bernadette Peters from the New York Women in Communication.

Introduces a series of articles which focused on dramatic criticism and theater critics.

Introduces a series of articles about theatre practice and critical discourse.

Discusses `Waste,' Harley Granville Barker's play about political and private downfall of a British politician. Reason the play banned by the official Examiner of Plays; How it reached the London, England stage in 1936; Interview with American Theatre about the script.

Presents information on drama criticism. How the author deals with criticisms; Examples of criticisms; Role of language in plays; Author's feeling of premature rejection; Questions asked.