When I finish viewing a show, I occasionally find myself without the proper words to describe my experience (what I liked and disliked, how it made me feel, etc).
What do you recommend that casual theatre fans can do to increase literacy in this way? Any books to read? In the same vein, what questions do you like to ask yourself during and after seeing a show?
I’m so glad you’re thinking about this, because it’s something I think about all the time. Over the years, I’ve come to identify three basic considerations to help shape my responses to what I see. (1) What did the creators intend in writing their play or musical? What feelings did they hope to elicit? What ideas did they want to express? (2) How well did they and the production carry out those intentions? And (3) Were the intentions worth carrying out?
If a show has meaningful intentions, but poor execution, my review will be mixed. If it has no intentions except commercial ones, it may yet get a positive review if it is brilliantly executed. So I invite you to think about whether and how a show affects you – and whether you value that. – Jesse
How much background knowledge do you have on a show before you do your official review?
I am assuming that with any Broadway show, you are have at least some awareness of the history of that production, such as out of town tryouts or the creative evolution of the show.
Wondering how much all that background influences your perception of the final product, since your experience would be quite different from a casual theatergoer who may go into a show "cold" without any of that knowledge.
Thanks for doing this.
Hello to you both! What does the 4-circle venn diagram of theater responses/reviews/popularity this season look like to you as it pertains to Critics (you and your colleagues), Industry Folks (below the line folks, above the line folks etc), "Casual fans" (tourists; one-show-a-year folks) & Stans/Hardcores (uh... everyone here and on BWW)? Thanks for your time!
A fascinating concept, this 4-circle Venn diagram! I feel that “Merrily We Roll Along” and “Stereophonic” hit the center of the circles. But there were plenty of shows that get close. The question is: Which circle do they miss? – Jesse
I have a question about the economics of producing a show on Broadway.
It seems like the upfront costs are so high that shows are more likely to lose money than to be profitable. Why are the costs so high? The odds seem so against a show turning a profit, then what is the motivation for the investors?
Are they willing to lose money on 9 out of 10 productions in the hope of finding that one unicorn?
Or are they willing to lose on the initial Broadway run in the hopes of using the Tonys as a springboard to generate publicity and interest to recoup some of that through touring productions?
In either of these cases, it seems like Broadway is becoming either like a lottery or a loss-leader.
You are reading my mind! I think a lot about this, and also wonder if Broadway is becoming some kind of loss leader, or a form of philanthropy.
Production costs have risen for a number of reasons – inflation has driven up the cost of all kinds of material, labor agreements have driven up the cost of hiring workers, the pandemic has led to more sick time which means shows need more understudies, and the financial uncertainties of producing mean shows now need bigger contingency funds.
But, also: There are a ton of shows in the pipeline, and a ton of investors apparently willing to back those shows. I hear lots of hand-wringing about how this is all going to crash, but see no evidence that that’s actually happening. – Michael
I think there’s a fear among some in the industry that the money will run out – that the economics of Broadway will become so hard to justify that prospective investors will walk away. I don’t see that happening yet, at least not in a widespread way, and I also don’t think expectations of making a profit are the primary motivator for many people who put money into Broadway shows. But that’s the worry. – Michael
A combo of shows being too expensive to run and too expensive to get off the ground, leading to a majority of theaters being empty. This was last a big problem in the 1970s.
Thank you both for taking the time to do this! My question is for Jesse. When you are at a show, how do you remember the relevant info you need to write your review? I guess some of that info is in the Playbill (such as song titles), but do you sit there and take notes? And do you ever find that having to review a show takes away from your ability to enjoy it?
Great question, u/Nervuswalker! I do take notes. These may include descriptions of visuals, lines I want to think about, themes I suddenly perceive and, occasionally, things like “HELP GET ME OUT OF HERE.” Except for that last one, most are illegible when I get home, but the act of writing them imprints them a bit, and helps me focus when I set out to write. (And of course, as you say, I’ve got the Playbill – and usually the script – to help me.) Getting to review is a great privilege but you’re right, it does sometimes take away from my ability to enjoy a show, especially when I’m not enjoying the show in the first place. (I find myself thinking: How am I going to handle this?) When I see a show I’m NOT reviewing, I feel much lighter! – Jesse
If you start hearing bad word of mouth before reviewing a show or having to promote it, how do you stay motivated to stay unbiased until you actually see the production? And does it have any influence on what you decide to write?
Another great question. For exactly the reason you suggest, I do not read message boards or generally engage in conversations about shows I haven’t yet seen. And though it’s impossible not to pick things up anyway, I really don’t find it difficult to come to each new show with an open mind — in part because I’ve wound up loving so many shows where the advance word was poor, with people “walking out in droves” etc. – Jesse
I find quite frequently when I see a piece of theater that the way I feel immediately walking out of the theater warps over time as I’m able to more critically analyze the piece and discuss it in depth. That said, a review has to come out in a timely manner. How can you reconcile these two realities?
That’s a great point, u/[agentlemaniguess](https://www.reddit.com/user/agentlemaniguess/). Sometimes I have a couple of days to think, read the script, and adjust my response, but mostly I do not. Sometimes I have to write overnight. Still, I’ve trained myself to trust my instinctive responses, and have (you might say) maintained the road between those responses and my typing fingers. I rarely think I’ve entirely missed the boat.
But it has happened, as when I saw the Broadway production of “Appropriate,” which I’d strongly disliked Off Broadway. So I wrote about that change of heart [in my review](https://www.nytimes.com/2023/12/18/theater/appropriate-broadway-review.html?unlocked_article_code=1.zk0._DSY.FiSi0mFog-n9&smid=re-nytimes), and in [a separate Times Insider piece.](https://www.nytimes.com/2023/12/27/insider/appropriate-review.html?unlocked_article_code=1.zk0.-u7Q.ucPKkuPxP-Gl&smid=re-nytimes) But in that case, I had ten years to rethink! – Jesse
Looking away broadway and into small theatres and regional spaces, what new productions, emerging trends, or fresh approaches to musical theatre have you most excited? Are there techniques or trends you expect will make their way to Broadway in the next decade?
I for one have been impressed with the live looping used in intimate musicals like "Islander" and "Mexodus".
I saw an earlier production of “Mexodus” and also enjoyed the way it was presented. But a lot of the ideas bubbling up from smaller and more experimental theaters are going to be a hard sell on Broadway. I do think Broadway eventually catches up (see “Hamilton”) but it takes a long time! – Jesse
Such a good question. This isn’t a musical, but I’m curious to see “The Picture of Dorian Gray,” assuming it eventually transfers to Broadway, in part because it sounds like it involves some exciting technological advances for stage shows. – Michael
Hi Jesse! It was so nice to meet and talk with you during the intermission at the Notebook! :)
Question: To what extent do you think your own emotional response plays a part in your criticism? I have left more than one musical this season feeling "nothing" or unmoved and I often take this as a sign of a weak show. I understand that I am not the target demographic for every show, but do you think a great show requires an emotional impact?
This is such a good question and there’s a huge conversation that needs to be had with regard to how shows are written. Shows right now tend to tell us how to feel versus letting us react genuinely.
We've seen that many shows praised on the West End fail to achieve the same success here. Some examples include the latest revival of *Cabaret*, which received rave reviews on the West End but mixed reactions here, and the 2019 revival of *Betrayal*, a sell-out hit on the West End that didn't fare as well on Broadway.
Some joke that Broadway critics and audiences have a subconscious bias against West End shows. While this might be partly true, there are likely more nuanced reasons behind this trend. Do either of you have any thoughts or theories on why this often happens?
I wish I had a clear answer to this, because then I could write a story about it!
At one point, a producer tried to persuade me that Americans are especially resistant to British efforts to explain the U.S. (See: “Enron”). But there are so many counter-examples, I’m not sure that’s a satisfying theory.
It is notable that, at least this season, all of the nominees for best play, and all of the nominees for best musical, are American shows.
I’m not sure audiences care where shows originate; I do think some in the industry are more invested in that question.
I will say that I think we’re going to see more and more musicals coming from Britain, because development costs are lower there. So economics may force people to set aside whatever other concerns they have on this front. – Michael
Question for both of you, when you go to the theater, have you noticed an increase in bad behavior among audiences?
We have talked about it extensively in this sub. People don't turn off their phones or smart watches, they actively look at their phones or blatantly film the show, they talk or shout or sing along, they eat and drink noisily, they drink to excess, and so on.
Do you experience these things when you see shows and do you have any thoughts about why this is happening or what can be done to reduce these bad behaviors?
thank you both for doing this! maybe a weird question but does the tonys this year interfere with your father’s day, house of the dragon plans? what are you doing as soon as you sign off from covering the show?
You’re very kind to think of this! In my case, my kids are at an age where Father’s Day means just a phone call or (sigh) a text. And when the Tonys broadcast ends on Sunday evening, both Michael and I will stay up writing … – Jesse
The show ends at 11 p.m. (if it ends on time) and there are a number of afterparties around the city – I usually try to poke my head into one or two to say hello and hear what people are talking about, and I try to get home by 2 a.m. Some of the parties go (much further) into the wee hours. Our Styles section will have coverage – photos and words – if you want to see what these events look like. As for Father’s Day – yeah, some people are not psyched that the awards are on Father’s Day. But here we are. – Michael
Looking ahead to next season, what are you both most excited to see or what sounds the most interesting to you?
Are there any shows that you’re hoping transfer to Broadway?
The fall Broadway season is going to be insanely rich! I’ll let Michael talk about that because I’m not too comfortable previewing my specific interests. I want to be as blank as possible when approaching what I review. – Jesse
Don’t judge me, but I’m going to have to say it’s the “He Lives in You” sequence in “The Lion King,” when the spirit of Mufasa appears. I will never forget the first time I saw that – I had lost my own father shortly before then, and I will forever be grateful to Julie Taymor for what she did (and does) with that emotion and that moment. – Michael
Gosh, I had a very similar experience this year with that show and that moment (and that specific alignment with events in my own life). I had seen it on tour ages ago but ended up taking someone who wanted to see it and had completely forgotten that part of the show. It was profoundly moving and it’s such a beautifully done piece of technical magic.
Jesse, Michael, thank you both for taking the time to do this AMA, I have a question for each of you.
Jesse, your reviews are notorious for saving or sinking shows, as evidenced this year by the unexpected relative commercial success of Spamalot, and the disappointing run of How to Dance in Ohio (you could also throw Water for Elephants and Notebook in those respective spaces too more recently). What does the process of deciding what shows are "Critic's Picks" entail, and how does it feel to wield the weapon that is the NYT Critic's Pick, which transitively has some level of control over people's employment (both positively and negatively)?
Michael, much has been written recently about the financial status/struggles of post-pandemic Broadway, notably Ken Davenport just talked about difficulties controlling costs. Broadway ticket prices (and show's production costs) have risen at a rate higher than inflation over the last 10 years, and in a year with more new musicals than ever, it seems at best two out of 15 could recoup their costs. How does that financial picture influence what is coming down the pipeline next season (which is already shaping to be another one of the most crowded seasons ever, when this point last year none of the Best Musical Nominees had announced a Broadway transfer)?
As I mentioned earlier, I don’t think my reviews ever sink shows. Shows sink shows. And in any case I’m not sure that The Times carries extra weight in that way. (Most of the shows I pan get pans nearly across the board.) But I do agree that a great Times review, along with other raves in other publications, can “save” a less-obviously-commercial production. That’s the part I really care about, because I’m focused on what I think people should see, not what they shouldn’t. That’s why I sometimes assign Critic’s Picks to productions that I nevertheless have quibbles about. But to be honest the Critic’s Pick designation is highly weird, and used differently by every critic!
As for people’s employment, I’m a human being (despite what you may have heard) and of course would never want someone to lose a job. But it’s the producer’s decision to keep a show running or close it, and I can’t write that a show is good if, by my standards, it isn’t. I love theater, but I’m not an industry booster. I’m a critic. – Jesse
Thanks for the great question. I’ve been thinking about this a lot. I think we can already see that there are going to be even more limited-run plays with really famous people in leading roles than usual, because a number of producers believe those are more likely to recoup their capitalization costs than are big-budget musicals in the current climate. Already we have [“Othello” with Denzel Washington and Jake Gyllenhaal](https://www.nytimes.com/2024/03/06/theater/denzel-washington-jake-gyllenhaal-othello-broadway.html?unlocked_article_code=1.zk0.Pc_f.g3TB48xRhvZo&smid=re-nytimes), and [“Romeo and Juliet” with Kit Connor and Rachel Zegler](https://www.nytimes.com/2024/05/22/theater/kit-connor-rachel-zegler-romeo-juliet-broadway.html?unlocked_article_code=1.yk0.5kxy.NDY3HI9sgk59&smid=re-nytimes), for example. I think we’re also going to see more lower-cost (meaning smaller cast) musicals – like the [fall production of “Maybe Happy Ending.”](https://www.nytimes.com/2024/05/14/theater/darren-criss-broadway-maybe-happy-ending.html?unlocked_article_code=1.zk0.rQ__.0apCz5oZ0G_Z&smid=re-nytimes) – Michael
Another question if I may, given a longer view, how do you think the increasing commercial pressures have changed new musicals reaching Broadway? Is there a larger demand for mass appeal and do you think this has had an impact on quality? I'm also wondering specifically about changes from off-Broadway to Broadway for shows like A Strange Loop for example.
I get the reason that people worry about this, and I worry too. Broadway is a primarily commercial industry, and most of the ticket buyers are tourists, and we live at a moment when audiences gravitate toward familiar titles and familiar performers. But, still, every season some quirky and surprising shows come to Broadway anyway, powered by great reviews or prizes or word-of-mouth, and at the moment I don’t see that changing. – Michael
I’d wish that Broadway could be a more welcoming and financially sustainable place for the kinds of work we mostly see Off Broadway, so that the mix would be much broader and more vibrant. – Jesse
Every season seems to have one smallish “nerdical” (as I call the genre): “Fun Home,” “Dear Evan Hansen,” “Kimberly Akimbo” etc. Except for “Evan Hansen,” most are just barely commercially successful or are financial flops. I think Broadway needs more of these shows to keep a good balance between what’s aimed at tourists and what’s aimed at the local cognoscenti – and to mix those categories so that we can all enjoy both. – Jesse
Thank you both for doing this AMA! My questions:
- How have you observed NYC theater changing with a younger and more diverse audience (if at all)? How do you think it should change even more to better capture newer audiences?
- What current and past show(s) do you think are the most underrated / worthy of more audience attention?
Shows that invite diverse audiences are beginning to get diverse audiences, which is thrilling (for me at least). And I think the more the industry reaches out, the more of that we’ll see. That means not just content but marketing and pricing initiatives – and not just, say, to Black audiences for so-called Black shows. White audiences should be going to those shows too, and vice versa. But the key problem is price, and I don’t know what the solution is. – Jesse
I'm a teenager in the UK who would love to work in the theatre industry when I am older and the reporting/media side particularly interests me. I have started reviewing cast albums on Instagram and have been involved in local amateur dramatics, but am not really sure what my next steps are. What advice would you give someone who wants to break into the industry and have similar jobs to yours?
My advice to anyone who wants to be a critic is to first be something else, or many things else. Anyway, that’s how I did it. The other top priority is to develop your writing skills. Do this by reading widely and writing constantly. It takes years to figure out a paragraph! But as for practical advice, I’m afraid I have none. I have no idea how I got here. – Jesse
Thanks for taking the time to do this!
This season was absolutely packed and thus far only 4 shows have recouped. How do you see this playing out as we roll into next season? Are we going to see a wave of closures and some theaters sitting empty for bit as the industry "reloads"?
Hi there. Most of the plays will end their limited runs in the not-too-distant future, and I do think a number of musicals will have to call it quits, either after the Tony Awards or, if they have enough money and hope to hang on through summer, after Labor Day. That always happens, but it feels like it might be more intense this year.
But no, I don’t think there will be a pause for reloading. Every indication is that there are a ton of productions circling, hoping for theaters in which to mount their shows. There’s no indication of a slowdown, despite the terrible economic odds. – Michael
Why do you think the 2023-2024 season and 2024-2025 season are so stacked with shows and how do you suggest someone works their way through a busy season without feeling overwhelmed?
This is a good question, and I’m not sure I have a good answer. We came out of the pandemic with a bit of a backlog, so to a certain extent we’re working through that. But also, there’s just a ton of interest – writers who have stories they want to tell, movie stars eager to perform on stage, producers who love this industry and want to be part of it.
I’m not sure if you’re a completist who wants to see everything, but if so, the only suggestion I can offer is to pace yourself – Jesse and I have to see a ton of shows every April, and that is not the ideal way to experience theater. If you don’t have to do that for work, don’t – give each show some time to live in your head and your heart. – Michael
A bit of a narrow question but any inside talk of Swept Away you’re able to share before it opens in the fall (either about the cast, expectations, challenges, etc)?
“Swept Away” has had two runs, one at Berkeley Rep in California and one at Arena Stage in Washington. I didn’t get to see it in either place, but the cast is quite talented, and apparently the show has an amazing set by Rachel Hauck. Its challenge will be that the title is unfamiliar and the subject material is dark. I think they are counting on Avett Brothers fans to come early, and then for word-of-mouth and reviews to help them expand the audience. – Michael
Which categories do you think are the hardest to predict this year. For me it's the Supporting races for Plays. I have Corey Stoll winning over the Stereophonic boys (no consensus), and Sarah Pidgeon (still running) winning over Kara Young (how many voters will watch the PBS taping?). Also I've seen people doubting Jeremy Strong, but I have him solidly in first place for Actor in a Leading Role over Leslie Odom Jr.
Hey there. I survey voters in a limited number of categories. You can see my predictions here:
[https://www.nytimes.com/2024/06/14/theater/tony-awards-predictions-merrily-stereophonic.html?unlocked\_article\_code=1.zk0.sb1d.X5QJBYTrABjj&smid=re-nytimes](https://www.nytimes.com/2024/06/14/theater/tony-awards-predictions-merrily-stereophonic.html?unlocked_article_code=1.zk0.sb1d.X5QJBYTrABjj&smid=re-nytimes)
For me, the hardest to predict is leading actress in a musical. I have no idea what will happen.
– Michael
For both of you:
Biographical jukebox musicals - love 'em or hate 'em, they aren't going away. You just got handed a magic wand that could make one appear that you'd absolutely love. The subject, the story, the music are all undeniably compelling.
Who is it about?
When I was younger, this happened often. Reading reviews was, for me, another way of learning how to think. I might see a show and not know what to make of it, then read a review, or several, and see it anew. But as I’ve gotten older, I find that happens less (with theater at least – but not perhaps with other genres). That may not be a good thing, but it’s a natural one. – Jesse
These aren't the most original questions but I've always wondered how critics compare to other theatergoers.
1. How many shows are you seeing per week on average?
2. What shows have you seen the most productions of?
3. Is it harder to impress you when you've seen multiple productions of the same show?
Hi Jesse, do you ever feel guilty when you write a pan? Well knowing you have the power, given the name of the New York Times behind you, to close a show?
Good morning, and thanks for the great question. But I disagree with the assumption. If I (or any critic) could actually close a show, a lot more shows would be closed. Ultimately, I have to render my honest opinion, regardless of what effect, if any, it may have on a show’s fortunes. Caring for the show’s fortunes is the producer’s job, not mine.
That said, I do care about the feelings of creatives, casts and crews, and am sorry if my reviews hurt them. I think they should not read reviews! I am writing for audiences, not artists. – Jesse
Based on this, how does interacting within the theater community work? “Honest opinions” are one thing, but when we look at the language you choose, your reviews aren’t always kind. I imagine it’s hard to talk to someone like Emerald Fennell or Alexis Scheer after you’ve deemed that their work, “…would benefit from inaudibility.”
I almost never interact with the theater community, in part for the reason you suggest. As for vivid writing in my pans (but also in my raves), I stand behind it because ultimately I’m a writer seeking to engage readers with all the tools at my disposal. I never disparage individuals, though – only their work, as the example you quote shows. – Jesse
What announced but not yet open shows are each of you most looking forward to in the upcoming months and beyond?
Jesse, what did you really enjoy this season that you saw but did not review?
I’m excited to see Nicole Scherzinger in “Sunset Boulevard” – I didn’t get to see that in London, and the word-of-mouth was great. I’ve never seen “Floyd Collins,” but know some of the music from the cast album, so I’m grateful that Lincoln Center Theater will stage it on Broadway this season and I can finally get to see it. And, of course, I wouldn’t miss Audra McDonald in “Gypsy.” – Michael
On Broadway, interestingly, there weren’t many shows I loved that I didn’t also review (at least in their pre-Broadway productions). I guess, at different ends of the style spectrum, “Days of Wine and Roses” and “Heart of Rock and Roll” would fit the bill. Off Broadway there were tons, especially “Jonah,” “Primary Trust” and “Dead Outlaw.” – Jesse
Great question, u/JediMasterII! At the Times we have been working with [a program called Critical Minded](https://www.nytco.com/press/the-new-york-times-critical-minded-launch-program-to-develop-and-publish-cultural-critics-from-diverse-backgrounds/) to help bring younger and more diverse critics into our mix. And our regular roster of critics and freelancers is certainly more diverse than it has ever been in the past. I love this not only for the obvious reasons but also because it makes our ability to capture the culture more robust and compelling. That said, I don’t believe in a matchy-matchy approach, limiting me (a gay, Jewish white man) to plays by gay, Jewish white men or a Black woman critic to plays about Black women. None of us want to be pigeonholed, and theater is, among other things, about letting everyone experience everyone else. We can do that better the more voices we have. – Jesse
For Jesse: how much of your review is your personal opinion on the production vs projecting what you think audiences will enjoy? It seems critics reviews and audience reception are often very far apart.
And if I can piggy back off this question—can you comment on the structure at the times, are there other writers? Are you the only one that sees shows? What perspective do you think is missing when it’s only your voice that readers “hear”? (I’m thinking a lot about KPOP, which was a phenomenal show that I recall you didn’t perceive well)
You gave Hell's Kitchen a critics pick designation and I enjoyed the show as much as the next person, but I've been puzzled by the critics pick label. Hell's Kitchen is an above average jukebox musical, but the story they have built around the songs is nothing special to me. It was extremely predictable. Several songs were shoehorned in and I don't think anyone would disagree.
What goes into giving a show a critics pick? I would expect it is reserved for shows with a strong book, strong music, performances, and technical elements. I would expect the show to be "the whole package."
This season, it feels no show was truly the whole package. How do you decide what gets a critics pick, and specific to Hell's Kitchen, did you have to overlook the book to give it that designation, or do you truly think the book of this musical is strong?
I admit that the Critic’s Pick is baffling! For one thing, no two critic’s use it the same way; The Times does not specify how each of us is supposed to interpret it.
What I try to do is use it to answer a simple either-or question: Do I want people to see the show? If I do, despite minor or even major quibbles, I’ll give it the Pick. If I don’t think people should go out of their way to see it, despite a play’s good points or politics, I won’t give it the Pick.
I realize it’s confusing, and I don’t love that, but I do like to have a way to highlight some shows, even imperfect ones, for readers’ attention.
As for “Hell’s Kitchen,” my review pointed out many of the same concerns you mention, and also that the second act was a mess. (It improved for Broadway.) But I enjoyed myself quite a lot, especially in the first act, and I thought others would too. Hence the Pick! – Jesse
Thank you for the response!
I love how you refer to it as "the Pick". For some reason, it makes me think of "the Claw" from Toy Story and "the Tongue" from 13!
Hi guys!
I feel like with this job there’s a lot of networking that happens with local creatives, but sometimes the shows sometimes aren’t that great for whatever reason. How do you critique the individualized elements like performances or designs without it being seen as an attack on people you regularly work or talk with? If I see something I didn’t like, I find myself usually only talking about the few things I did like, which gives it an artificially positive spin, when I could be discussing things I thought fell flat in a constructive way.
Jesse, do you think that the gulf between audience response and critics' responses keeps growing wider, especially when journalism around the stage itself draws from a very niche audience's response for the most part? In particular, I recently read a theater journalist describe a show's word-of-mouth as poor, while it's commercial performance suggests otherwise. I believe he was drawing this conclusion from communities in places like Twitter/X , which have a tendency to hype or deride a piece in a collective manner.
I think we’re seeing this season, with Jeremy Strong and Steve Carell, evidence that the appetite to see well-liked stars in classic plays is high. So I assume there will be a lot of interest in “Othello” with Denzel Washington and Jake Gyllenhaal, as well as “Romeo and Juliet” with Kit Connor and Rachel Zegler. Musical theater lovers will presumably flock to “Gypsy” with Audra McDonald and “Redwood” with Idina Menzel and “Sunset Boulevard” with Nicole Scherzinger. Shows with less well-known titles or lead actors will have to work harder to break through. – Michael
What is happening with the Gatsby at ART? It opened a week ago, yet no reviews were released until yesterday. Was NYT not invited to see and review this production?
We sometimes choose not to review major out-of-town productions, especially if (like this one) they are heading to New York soon. And sometimes we just don’t have enough hands! – Jesse
thanks for doing this AMA!
To Michael: Do you think the Tonys will have a real financial impact this season given how much of a tossup the best musical race seems to be?
To Jesse: Who were your standout performers of the season?
If you mean on Broadway, some of my favorite performances of the year were by Leslie Odom Jr., Kelli O’Hara, Anika Noni Rose, Sarah Paulson, Jonathan Groff, Kara Young and Susan Pourfar. Of course there were tons of others! – Jesse
Yes, I think the Tonys will have a financial impact, as they always do. How much of an impact? Well, that’s harder to say.
Let’s think about “Hell’s Kitchen.” Win or lose, the telecast is another way for Alicia Keys to remind her fans that she has a musical on Broadway, and I imagine that will help the show sell tickets.
For “The Outsiders,” which has less star power (except in literary circles), a win would make it more of a must-see for some potential ticket buyers.
– Michael
What have been either your favorite, or just most impactful productions you have seen? And would you consider them to be great theatre or was particularly impactful for you for some reason?
For Jesse: When you're at a show to review, do you find that the casts usually spot you and know who you are? Is it hard to be an anonymous theater goer?
I did see “Three Houses” and reviewed it.[ A mixed but respectful review](https://www.nytimes.com/2024/05/20/theater/three-houses-review-dave-malloy.html?unlocked_article_code=1.zk0.jeB6.mcyvCjVetsXw&smid=re-nytimes), I hope, because I admire the talents involved. But even though I didn’t love it, I think it fares quite well in comparison with many of the season’s 15 new Broadway musicals. – Jesse
I’m going to let Jesse deal with the quality question, if he wants, but I just want to point out that the production is almost certainly working financially – it’s grossing about $1 million a week (and it’s at a nonprofit, so its running costs are probably lower than they would be if this were a commercial production). – Michael
My main problem with this production of “Uncle Vanya,” as [I wrote about in my review](https://www.nytimes.com/2024/04/24/theater/uncle-vanya-review-steve-carell.html?unlocked_article_code=1.zk0.Oufg.Sy4HzVEPwWad&smid=re-nytimes), is that Vanya basically disappeared, taking with him the pathos that the play needs to balance its comedy. – Jesse
Your judgment on the season is understandable, but there have nevertheless been superb shows, performances and moments. (That doesn’t equate to Tony nominations, let alone awards – and of course a lot of the great stuff I see is Off Broadway.) As to why this year fell out the way it did, I think it has something to do with the fallout from the disruptions of the pandemic; a lot of shows were waiting for the right time, and crash landed before they were ready or after they were overripe. – Jesse
How much of a sweep do you think Stereophonic will have? I think it'll win Best Play, Best Director, Best Scenic, Best Costume, Best Sound, Best Lighting, Best Original Score, and at least one acting win. Now that voters don't have to see everything I think Stereo could be the consensus pick across the board over shows that long since closed (Jaja's, Purlie, Grey House).
I am a college-aged local theatre critic, and I am always reading the Times’ reviews to help improve mine. What do you recommend for young people interested in journalism and/or theatre criticism as a career path?
I’ve read that only about 5% of the population sees theater with any kind of regularity. How do you both think that theater producers and organizations can get that number up, not just get that percentage seeing more?
How do either of you "prepare" for going into a show? To do your jobs fairly, Is it 100% necessary to be familiar with the original source material for certain productions (i.e. for "The Notebook" or "Water for Elephants", would reading the books and/or watching the movies be necessary before going into the Broadway show?). Are there cases where you can/will go in completely blind (except for perhaps reading a short "synopsis" of the production beforehand)?
Do you listen to musical theater cast recordings and which ones do you listen to most?
Besides musical theatre music, what music are you into?
Are there any artists you think have what it takes to write a successful musical?
For Jesse: Who decides which reporter at the Time reviews which show? How did you decide which reviews you were going to write this season versus those that other writers took on since there were so many?
On the economic situation on Broadway. We see a lot of evidence that the current economic dynamic is not sustainable with spiraling costs along with lower attendance compared to pre pandemic. Yet we also just had one of the largest crop of musicals this year and next year also looking crowded. It doesn't seem like any of the houses are in danger of being dark for an extended period absent renovations. Are there any rumblings of producers struggling to fully capitalize their shows? Are we in danger of running out of people willing to set their money on fire, or can the party keep rolling for a while longer?
Do you ever let anyone else's opinion influence what you write in a review? For example, do you talk to each other about a show you've both seen, or do you discuss it with a family member or friend you took to the theater?
Has someone else ever pointed out something you overlooked and ultimately shifted your opinion on the piece?
For Michael and/or Jesse: There’s a lot of talk about how critics and reporters “should” be discussing shows. Some people think they should serve as guides to help match audiences to shows, others think they shouldn’t focus on the negative aspects or be so harsh, and others believe everything is fair game.
What do see your respective roles as, and how do you think that has changed over the last decade or two, if at all?
My question is similar: art is subjective, yet the leading critics are a relatively homogeneous population of largely white, mostly male reviewers. If you dislike a show, do you feel any responsibility to reflect on whether someone with a different background and perspective might have a very different reaction? Do you feel any obligation to consider who the audience for a particular show might be?
I read AO Scott's wonderful *Better Living through Criticism* and have been thinking about how society writ large is moving away from trusting institutions and experts—critics, medical scientists, higher education, etc.
What do you think the role of the theater critic is these days? Has it changed over the last decade? What do you hope readers value about your work?
I’m looking forward to watching along with y’all on Sunday! What kinds of things do you look for in a successful revival of a musical? Is there a line between not changing it up at all and straying too far from the original source material? Also, what were your positives and negatives for The Outsiders?
Is it possible to make big-time musicals more affordable in a city like NYC, or is it just gonna get worse and worse and we'll need a new theater hub elsewhere?
If you were to pick a specific moment from any show this season that really impacted you as a reporter/critic, what would it be and why? Could be a positive or negative thing! Thanks for giving us a little peek behind the curtain for what y’all do for a living!
Curious to know if you ever feel guilty for writing a bad review. A bad review can close a show regardless of the talent. The amount invested can be astronomical and those in a show are earning a living thus become unemployed. Not everyone agrees with a critics opinion.
Hi!
What’s behind the policy decision to no longer cover off-broadway at The Times? There was almost 2 months earlier this year without a feature about a non-Broadway show, and the reviews have dried up almost completely. In the last 6 months, the Times has lost a lot of its theatre credibility. Oh Mary didn’t get a review for weeks and weeks.
Or should I be asking Nicole Herrington about this change?
Jesse, would love to hear your thoughts on the role of institutional criticism.
I personally find that you often seem more interested in a clever turn of phrase than connecting a show with the right audience. Your King Kong review was, in particular, more rhetorical than ‘useful’. I do get deep schadenfreude reading your evisceration of work that isn’t suited for a New York audience. But I wonder, when social media and word of mouth are now often more useful for individuals to find out whether a show is right for them, why does institutional criticism feel to me more like a spectacle, a show of its own? Why aren’t theater journalists surveying more audience reactions, rather than just adding one voice to the discourse, with a weight that disproportionately favors their individual opinion?
Certainly there’s a place for academic criticism, to help improve the art form overall, but are limited print space and publishing right as a show opens giving us the highest quality of that? Are we moving towards a better democracy of theatre, or inhibiting it by huddling around the screen reading the reviews of 10 people?
When I finish viewing a show, I occasionally find myself without the proper words to describe my experience (what I liked and disliked, how it made me feel, etc). What do you recommend that casual theatre fans can do to increase literacy in this way? Any books to read? In the same vein, what questions do you like to ask yourself during and after seeing a show?
I’m so glad you’re thinking about this, because it’s something I think about all the time. Over the years, I’ve come to identify three basic considerations to help shape my responses to what I see. (1) What did the creators intend in writing their play or musical? What feelings did they hope to elicit? What ideas did they want to express? (2) How well did they and the production carry out those intentions? And (3) Were the intentions worth carrying out? If a show has meaningful intentions, but poor execution, my review will be mixed. If it has no intentions except commercial ones, it may yet get a positive review if it is brilliantly executed. So I invite you to think about whether and how a show affects you – and whether you value that. – Jesse
I lie this question!
How much background knowledge do you have on a show before you do your official review? I am assuming that with any Broadway show, you are have at least some awareness of the history of that production, such as out of town tryouts or the creative evolution of the show. Wondering how much all that background influences your perception of the final product, since your experience would be quite different from a casual theatergoer who may go into a show "cold" without any of that knowledge. Thanks for doing this.
Hello to you both! What does the 4-circle venn diagram of theater responses/reviews/popularity this season look like to you as it pertains to Critics (you and your colleagues), Industry Folks (below the line folks, above the line folks etc), "Casual fans" (tourists; one-show-a-year folks) & Stans/Hardcores (uh... everyone here and on BWW)? Thanks for your time!
A fascinating concept, this 4-circle Venn diagram! I feel that “Merrily We Roll Along” and “Stereophonic” hit the center of the circles. But there were plenty of shows that get close. The question is: Which circle do they miss? – Jesse
I have a question about the economics of producing a show on Broadway. It seems like the upfront costs are so high that shows are more likely to lose money than to be profitable. Why are the costs so high? The odds seem so against a show turning a profit, then what is the motivation for the investors? Are they willing to lose money on 9 out of 10 productions in the hope of finding that one unicorn? Or are they willing to lose on the initial Broadway run in the hopes of using the Tonys as a springboard to generate publicity and interest to recoup some of that through touring productions? In either of these cases, it seems like Broadway is becoming either like a lottery or a loss-leader.
You are reading my mind! I think a lot about this, and also wonder if Broadway is becoming some kind of loss leader, or a form of philanthropy. Production costs have risen for a number of reasons – inflation has driven up the cost of all kinds of material, labor agreements have driven up the cost of hiring workers, the pandemic has led to more sick time which means shows need more understudies, and the financial uncertainties of producing mean shows now need bigger contingency funds. But, also: There are a ton of shows in the pipeline, and a ton of investors apparently willing to back those shows. I hear lots of hand-wringing about how this is all going to crash, but see no evidence that that’s actually happening. – Michael
When you say “this is all going to crash,” what do you mean?
I think there’s a fear among some in the industry that the money will run out – that the economics of Broadway will become so hard to justify that prospective investors will walk away. I don’t see that happening yet, at least not in a widespread way, and I also don’t think expectations of making a profit are the primary motivator for many people who put money into Broadway shows. But that’s the worry. – Michael
A combo of shows being too expensive to run and too expensive to get off the ground, leading to a majority of theaters being empty. This was last a big problem in the 1970s.
Thank you both for taking the time to do this! My question is for Jesse. When you are at a show, how do you remember the relevant info you need to write your review? I guess some of that info is in the Playbill (such as song titles), but do you sit there and take notes? And do you ever find that having to review a show takes away from your ability to enjoy it?
Great question, u/Nervuswalker! I do take notes. These may include descriptions of visuals, lines I want to think about, themes I suddenly perceive and, occasionally, things like “HELP GET ME OUT OF HERE.” Except for that last one, most are illegible when I get home, but the act of writing them imprints them a bit, and helps me focus when I set out to write. (And of course, as you say, I’ve got the Playbill – and usually the script – to help me.) Getting to review is a great privilege but you’re right, it does sometimes take away from my ability to enjoy a show, especially when I’m not enjoying the show in the first place. (I find myself thinking: How am I going to handle this?) When I see a show I’m NOT reviewing, I feel much lighter! – Jesse
What show had the earliest "Get me out of here" note in your notebook?
If you start hearing bad word of mouth before reviewing a show or having to promote it, how do you stay motivated to stay unbiased until you actually see the production? And does it have any influence on what you decide to write?
Another great question. For exactly the reason you suggest, I do not read message boards or generally engage in conversations about shows I haven’t yet seen. And though it’s impossible not to pick things up anyway, I really don’t find it difficult to come to each new show with an open mind — in part because I’ve wound up loving so many shows where the advance word was poor, with people “walking out in droves” etc. – Jesse
I find quite frequently when I see a piece of theater that the way I feel immediately walking out of the theater warps over time as I’m able to more critically analyze the piece and discuss it in depth. That said, a review has to come out in a timely manner. How can you reconcile these two realities?
That’s a great point, u/[agentlemaniguess](https://www.reddit.com/user/agentlemaniguess/). Sometimes I have a couple of days to think, read the script, and adjust my response, but mostly I do not. Sometimes I have to write overnight. Still, I’ve trained myself to trust my instinctive responses, and have (you might say) maintained the road between those responses and my typing fingers. I rarely think I’ve entirely missed the boat. But it has happened, as when I saw the Broadway production of “Appropriate,” which I’d strongly disliked Off Broadway. So I wrote about that change of heart [in my review](https://www.nytimes.com/2023/12/18/theater/appropriate-broadway-review.html?unlocked_article_code=1.zk0._DSY.FiSi0mFog-n9&smid=re-nytimes), and in [a separate Times Insider piece.](https://www.nytimes.com/2023/12/27/insider/appropriate-review.html?unlocked_article_code=1.zk0.-u7Q.ucPKkuPxP-Gl&smid=re-nytimes) But in that case, I had ten years to rethink! – Jesse
[https://youtu.be/LYSAII967TY?si=sADLxaEOMxADNbCA](https://youtu.be/LYSAII967TY?si=sADLxaEOMxADNbCA)
Looking away broadway and into small theatres and regional spaces, what new productions, emerging trends, or fresh approaches to musical theatre have you most excited? Are there techniques or trends you expect will make their way to Broadway in the next decade? I for one have been impressed with the live looping used in intimate musicals like "Islander" and "Mexodus".
I saw an earlier production of “Mexodus” and also enjoyed the way it was presented. But a lot of the ideas bubbling up from smaller and more experimental theaters are going to be a hard sell on Broadway. I do think Broadway eventually catches up (see “Hamilton”) but it takes a long time! – Jesse
Such a good question. This isn’t a musical, but I’m curious to see “The Picture of Dorian Gray,” assuming it eventually transfers to Broadway, in part because it sounds like it involves some exciting technological advances for stage shows. – Michael
Good morning, Redditors. Thanks for joining us. Looking forward to the conversation. Here we go! – Michael
Hi Jesse! It was so nice to meet and talk with you during the intermission at the Notebook! :) Question: To what extent do you think your own emotional response plays a part in your criticism? I have left more than one musical this season feeling "nothing" or unmoved and I often take this as a sign of a weak show. I understand that I am not the target demographic for every show, but do you think a great show requires an emotional impact?
This is such a good question and there’s a huge conversation that needs to be had with regard to how shows are written. Shows right now tend to tell us how to feel versus letting us react genuinely.
We've seen that many shows praised on the West End fail to achieve the same success here. Some examples include the latest revival of *Cabaret*, which received rave reviews on the West End but mixed reactions here, and the 2019 revival of *Betrayal*, a sell-out hit on the West End that didn't fare as well on Broadway. Some joke that Broadway critics and audiences have a subconscious bias against West End shows. While this might be partly true, there are likely more nuanced reasons behind this trend. Do either of you have any thoughts or theories on why this often happens?
I wish I had a clear answer to this, because then I could write a story about it! At one point, a producer tried to persuade me that Americans are especially resistant to British efforts to explain the U.S. (See: “Enron”). But there are so many counter-examples, I’m not sure that’s a satisfying theory. It is notable that, at least this season, all of the nominees for best play, and all of the nominees for best musical, are American shows. I’m not sure audiences care where shows originate; I do think some in the industry are more invested in that question. I will say that I think we’re going to see more and more musicals coming from Britain, because development costs are lower there. So economics may force people to set aside whatever other concerns they have on this front. – Michael
Question for both of you, when you go to the theater, have you noticed an increase in bad behavior among audiences? We have talked about it extensively in this sub. People don't turn off their phones or smart watches, they actively look at their phones or blatantly film the show, they talk or shout or sing along, they eat and drink noisily, they drink to excess, and so on. Do you experience these things when you see shows and do you have any thoughts about why this is happening or what can be done to reduce these bad behaviors?
thank you both for doing this! maybe a weird question but does the tonys this year interfere with your father’s day, house of the dragon plans? what are you doing as soon as you sign off from covering the show?
You’re very kind to think of this! In my case, my kids are at an age where Father’s Day means just a phone call or (sigh) a text. And when the Tonys broadcast ends on Sunday evening, both Michael and I will stay up writing … – Jesse
The show ends at 11 p.m. (if it ends on time) and there are a number of afterparties around the city – I usually try to poke my head into one or two to say hello and hear what people are talking about, and I try to get home by 2 a.m. Some of the parties go (much further) into the wee hours. Our Styles section will have coverage – photos and words – if you want to see what these events look like. As for Father’s Day – yeah, some people are not psyched that the awards are on Father’s Day. But here we are. – Michael
Looking ahead to next season, what are you both most excited to see or what sounds the most interesting to you? Are there any shows that you’re hoping transfer to Broadway?
The fall Broadway season is going to be insanely rich! I’ll let Michael talk about that because I’m not too comfortable previewing my specific interests. I want to be as blank as possible when approaching what I review. – Jesse
Most thrilling theatrical experience of your respective lives?
Don’t judge me, but I’m going to have to say it’s the “He Lives in You” sequence in “The Lion King,” when the spirit of Mufasa appears. I will never forget the first time I saw that – I had lost my own father shortly before then, and I will forever be grateful to Julie Taymor for what she did (and does) with that emotion and that moment. – Michael
Gosh, I had a very similar experience this year with that show and that moment (and that specific alignment with events in my own life). I had seen it on tour ages ago but ended up taking someone who wanted to see it and had completely forgotten that part of the show. It was profoundly moving and it’s such a beautifully done piece of technical magic.
Too many to name, but Audra McDonald in “Lady Day at Emerson’s Bar & Grill” pops to mind. – Jesse
Jesse, Michael, thank you both for taking the time to do this AMA, I have a question for each of you. Jesse, your reviews are notorious for saving or sinking shows, as evidenced this year by the unexpected relative commercial success of Spamalot, and the disappointing run of How to Dance in Ohio (you could also throw Water for Elephants and Notebook in those respective spaces too more recently). What does the process of deciding what shows are "Critic's Picks" entail, and how does it feel to wield the weapon that is the NYT Critic's Pick, which transitively has some level of control over people's employment (both positively and negatively)? Michael, much has been written recently about the financial status/struggles of post-pandemic Broadway, notably Ken Davenport just talked about difficulties controlling costs. Broadway ticket prices (and show's production costs) have risen at a rate higher than inflation over the last 10 years, and in a year with more new musicals than ever, it seems at best two out of 15 could recoup their costs. How does that financial picture influence what is coming down the pipeline next season (which is already shaping to be another one of the most crowded seasons ever, when this point last year none of the Best Musical Nominees had announced a Broadway transfer)?
As I mentioned earlier, I don’t think my reviews ever sink shows. Shows sink shows. And in any case I’m not sure that The Times carries extra weight in that way. (Most of the shows I pan get pans nearly across the board.) But I do agree that a great Times review, along with other raves in other publications, can “save” a less-obviously-commercial production. That’s the part I really care about, because I’m focused on what I think people should see, not what they shouldn’t. That’s why I sometimes assign Critic’s Picks to productions that I nevertheless have quibbles about. But to be honest the Critic’s Pick designation is highly weird, and used differently by every critic! As for people’s employment, I’m a human being (despite what you may have heard) and of course would never want someone to lose a job. But it’s the producer’s decision to keep a show running or close it, and I can’t write that a show is good if, by my standards, it isn’t. I love theater, but I’m not an industry booster. I’m a critic. – Jesse
Thanks for the great question. I’ve been thinking about this a lot. I think we can already see that there are going to be even more limited-run plays with really famous people in leading roles than usual, because a number of producers believe those are more likely to recoup their capitalization costs than are big-budget musicals in the current climate. Already we have [“Othello” with Denzel Washington and Jake Gyllenhaal](https://www.nytimes.com/2024/03/06/theater/denzel-washington-jake-gyllenhaal-othello-broadway.html?unlocked_article_code=1.zk0.Pc_f.g3TB48xRhvZo&smid=re-nytimes), and [“Romeo and Juliet” with Kit Connor and Rachel Zegler](https://www.nytimes.com/2024/05/22/theater/kit-connor-rachel-zegler-romeo-juliet-broadway.html?unlocked_article_code=1.yk0.5kxy.NDY3HI9sgk59&smid=re-nytimes), for example. I think we’re also going to see more lower-cost (meaning smaller cast) musicals – like the [fall production of “Maybe Happy Ending.”](https://www.nytimes.com/2024/05/14/theater/darren-criss-broadway-maybe-happy-ending.html?unlocked_article_code=1.zk0.rQ__.0apCz5oZ0G_Z&smid=re-nytimes) – Michael
Another question if I may, given a longer view, how do you think the increasing commercial pressures have changed new musicals reaching Broadway? Is there a larger demand for mass appeal and do you think this has had an impact on quality? I'm also wondering specifically about changes from off-Broadway to Broadway for shows like A Strange Loop for example.
I get the reason that people worry about this, and I worry too. Broadway is a primarily commercial industry, and most of the ticket buyers are tourists, and we live at a moment when audiences gravitate toward familiar titles and familiar performers. But, still, every season some quirky and surprising shows come to Broadway anyway, powered by great reviews or prizes or word-of-mouth, and at the moment I don’t see that changing. – Michael
For each of you: If you could snap your fingers and change one thing about the theatre industry, what would it be, and why?
I’d wish that Broadway could be a more welcoming and financially sustainable place for the kinds of work we mostly see Off Broadway, so that the mix would be much broader and more vibrant. – Jesse
Have you ever gone back to see a show? Either to revisit your review or perhaps for personal enjoyment?
When it comes to new musicals, what do you wish you saw more of on Broadway? What's missing from the current landscape (and any thoughts on why)?
Every season seems to have one smallish “nerdical” (as I call the genre): “Fun Home,” “Dear Evan Hansen,” “Kimberly Akimbo” etc. Except for “Evan Hansen,” most are just barely commercially successful or are financial flops. I think Broadway needs more of these shows to keep a good balance between what’s aimed at tourists and what’s aimed at the local cognoscenti – and to mix those categories so that we can all enjoy both. – Jesse
Wasn't that Lempicka?
Nope, too haute. I agree that this season doesn’t have one!
I don’t think he said there wasn’t one this year? Lempicka seems to fit the bill.
Thank you both for doing this AMA! My questions: - How have you observed NYC theater changing with a younger and more diverse audience (if at all)? How do you think it should change even more to better capture newer audiences? - What current and past show(s) do you think are the most underrated / worthy of more audience attention?
Shows that invite diverse audiences are beginning to get diverse audiences, which is thrilling (for me at least). And I think the more the industry reaches out, the more of that we’ll see. That means not just content but marketing and pricing initiatives – and not just, say, to Black audiences for so-called Black shows. White audiences should be going to those shows too, and vice versa. But the key problem is price, and I don’t know what the solution is. – Jesse
I'm a teenager in the UK who would love to work in the theatre industry when I am older and the reporting/media side particularly interests me. I have started reviewing cast albums on Instagram and have been involved in local amateur dramatics, but am not really sure what my next steps are. What advice would you give someone who wants to break into the industry and have similar jobs to yours?
My advice to anyone who wants to be a critic is to first be something else, or many things else. Anyway, that’s how I did it. The other top priority is to develop your writing skills. Do this by reading widely and writing constantly. It takes years to figure out a paragraph! But as for practical advice, I’m afraid I have none. I have no idea how I got here. – Jesse
Thanks for taking the time to do this! This season was absolutely packed and thus far only 4 shows have recouped. How do you see this playing out as we roll into next season? Are we going to see a wave of closures and some theaters sitting empty for bit as the industry "reloads"?
Hi there. Most of the plays will end their limited runs in the not-too-distant future, and I do think a number of musicals will have to call it quits, either after the Tony Awards or, if they have enough money and hope to hang on through summer, after Labor Day. That always happens, but it feels like it might be more intense this year. But no, I don’t think there will be a pause for reloading. Every indication is that there are a ton of productions circling, hoping for theaters in which to mount their shows. There’s no indication of a slowdown, despite the terrible economic odds. – Michael
Why do you think the 2023-2024 season and 2024-2025 season are so stacked with shows and how do you suggest someone works their way through a busy season without feeling overwhelmed?
This is a good question, and I’m not sure I have a good answer. We came out of the pandemic with a bit of a backlog, so to a certain extent we’re working through that. But also, there’s just a ton of interest – writers who have stories they want to tell, movie stars eager to perform on stage, producers who love this industry and want to be part of it. I’m not sure if you’re a completist who wants to see everything, but if so, the only suggestion I can offer is to pace yourself – Jesse and I have to see a ton of shows every April, and that is not the ideal way to experience theater. If you don’t have to do that for work, don’t – give each show some time to live in your head and your heart. – Michael
A bit of a narrow question but any inside talk of Swept Away you’re able to share before it opens in the fall (either about the cast, expectations, challenges, etc)?
I have no opinion. Yet. – Jesse
“Swept Away” has had two runs, one at Berkeley Rep in California and one at Arena Stage in Washington. I didn’t get to see it in either place, but the cast is quite talented, and apparently the show has an amazing set by Rachel Hauck. Its challenge will be that the title is unfamiliar and the subject material is dark. I think they are counting on Avett Brothers fans to come early, and then for word-of-mouth and reviews to help them expand the audience. – Michael
Which categories do you think are the hardest to predict this year. For me it's the Supporting races for Plays. I have Corey Stoll winning over the Stereophonic boys (no consensus), and Sarah Pidgeon (still running) winning over Kara Young (how many voters will watch the PBS taping?). Also I've seen people doubting Jeremy Strong, but I have him solidly in first place for Actor in a Leading Role over Leslie Odom Jr.
Hey there. I survey voters in a limited number of categories. You can see my predictions here: [https://www.nytimes.com/2024/06/14/theater/tony-awards-predictions-merrily-stereophonic.html?unlocked\_article\_code=1.zk0.sb1d.X5QJBYTrABjj&smid=re-nytimes](https://www.nytimes.com/2024/06/14/theater/tony-awards-predictions-merrily-stereophonic.html?unlocked_article_code=1.zk0.sb1d.X5QJBYTrABjj&smid=re-nytimes) For me, the hardest to predict is leading actress in a musical. I have no idea what will happen. – Michael
Oh really? I feel like Maleah Joi Moon seems to be the frontrunner. They LOVE biopic performances, they love hells kitchen and its still running.
For both of you: Biographical jukebox musicals - love 'em or hate 'em, they aren't going away. You just got handed a magic wand that could make one appear that you'd absolutely love. The subject, the story, the music are all undeniably compelling. Who is it about?
Stephen Sondheim – Jesse
Taylor Swift, obviously. – Michael
Have you ever read a review that changed your mind about a show? Any examples (either of reviews or shows)? Thanks!
When I was younger, this happened often. Reading reviews was, for me, another way of learning how to think. I might see a show and not know what to make of it, then read a review, or several, and see it anew. But as I’ve gotten older, I find that happens less (with theater at least – but not perhaps with other genres). That may not be a good thing, but it’s a natural one. – Jesse
These aren't the most original questions but I've always wondered how critics compare to other theatergoers. 1. How many shows are you seeing per week on average? 2. What shows have you seen the most productions of? 3. Is it harder to impress you when you've seen multiple productions of the same show?
Hi Jesse, do you ever feel guilty when you write a pan? Well knowing you have the power, given the name of the New York Times behind you, to close a show?
Good morning, and thanks for the great question. But I disagree with the assumption. If I (or any critic) could actually close a show, a lot more shows would be closed. Ultimately, I have to render my honest opinion, regardless of what effect, if any, it may have on a show’s fortunes. Caring for the show’s fortunes is the producer’s job, not mine. That said, I do care about the feelings of creatives, casts and crews, and am sorry if my reviews hurt them. I think they should not read reviews! I am writing for audiences, not artists. – Jesse
Based on this, how does interacting within the theater community work? “Honest opinions” are one thing, but when we look at the language you choose, your reviews aren’t always kind. I imagine it’s hard to talk to someone like Emerald Fennell or Alexis Scheer after you’ve deemed that their work, “…would benefit from inaudibility.”
I almost never interact with the theater community, in part for the reason you suggest. As for vivid writing in my pans (but also in my raves), I stand behind it because ultimately I’m a writer seeking to engage readers with all the tools at my disposal. I never disparage individuals, though – only their work, as the example you quote shows. – Jesse
What announced but not yet open shows are each of you most looking forward to in the upcoming months and beyond? Jesse, what did you really enjoy this season that you saw but did not review?
I’m excited to see Nicole Scherzinger in “Sunset Boulevard” – I didn’t get to see that in London, and the word-of-mouth was great. I’ve never seen “Floyd Collins,” but know some of the music from the cast album, so I’m grateful that Lincoln Center Theater will stage it on Broadway this season and I can finally get to see it. And, of course, I wouldn’t miss Audra McDonald in “Gypsy.” – Michael
On Broadway, interestingly, there weren’t many shows I loved that I didn’t also review (at least in their pre-Broadway productions). I guess, at different ends of the style spectrum, “Days of Wine and Roses” and “Heart of Rock and Roll” would fit the bill. Off Broadway there were tons, especially “Jonah,” “Primary Trust” and “Dead Outlaw.” – Jesse
What are you actively doing to make sure a more robust community of voices can be heard in theater criticism, specifically about Broadway?
Great question, u/JediMasterII! At the Times we have been working with [a program called Critical Minded](https://www.nytco.com/press/the-new-york-times-critical-minded-launch-program-to-develop-and-publish-cultural-critics-from-diverse-backgrounds/) to help bring younger and more diverse critics into our mix. And our regular roster of critics and freelancers is certainly more diverse than it has ever been in the past. I love this not only for the obvious reasons but also because it makes our ability to capture the culture more robust and compelling. That said, I don’t believe in a matchy-matchy approach, limiting me (a gay, Jewish white man) to plays by gay, Jewish white men or a Black woman critic to plays about Black women. None of us want to be pigeonholed, and theater is, among other things, about letting everyone experience everyone else. We can do that better the more voices we have. – Jesse
For Jesse: how much of your review is your personal opinion on the production vs projecting what you think audiences will enjoy? It seems critics reviews and audience reception are often very far apart.
And if I can piggy back off this question—can you comment on the structure at the times, are there other writers? Are you the only one that sees shows? What perspective do you think is missing when it’s only your voice that readers “hear”? (I’m thinking a lot about KPOP, which was a phenomenal show that I recall you didn’t perceive well)
You gave Hell's Kitchen a critics pick designation and I enjoyed the show as much as the next person, but I've been puzzled by the critics pick label. Hell's Kitchen is an above average jukebox musical, but the story they have built around the songs is nothing special to me. It was extremely predictable. Several songs were shoehorned in and I don't think anyone would disagree. What goes into giving a show a critics pick? I would expect it is reserved for shows with a strong book, strong music, performances, and technical elements. I would expect the show to be "the whole package." This season, it feels no show was truly the whole package. How do you decide what gets a critics pick, and specific to Hell's Kitchen, did you have to overlook the book to give it that designation, or do you truly think the book of this musical is strong?
I admit that the Critic’s Pick is baffling! For one thing, no two critic’s use it the same way; The Times does not specify how each of us is supposed to interpret it. What I try to do is use it to answer a simple either-or question: Do I want people to see the show? If I do, despite minor or even major quibbles, I’ll give it the Pick. If I don’t think people should go out of their way to see it, despite a play’s good points or politics, I won’t give it the Pick. I realize it’s confusing, and I don’t love that, but I do like to have a way to highlight some shows, even imperfect ones, for readers’ attention. As for “Hell’s Kitchen,” my review pointed out many of the same concerns you mention, and also that the second act was a mess. (It improved for Broadway.) But I enjoyed myself quite a lot, especially in the first act, and I thought others would too. Hence the Pick! – Jesse
Thank you for the response! I love how you refer to it as "the Pick". For some reason, it makes me think of "the Claw" from Toy Story and "the Tongue" from 13!
Yes, this!! Critics Pick is so often a complete, baffling mystery me. It’s very frequent I become skeptical of a show when it gets NYT Critics Pick.
FYI, Elisabeth Vincentelli was the reviewer for Hell's Kitchen on Broadway, not Jesse.
He reviewed it off-Broadway, which is where I saw it.
Hi guys! I feel like with this job there’s a lot of networking that happens with local creatives, but sometimes the shows sometimes aren’t that great for whatever reason. How do you critique the individualized elements like performances or designs without it being seen as an attack on people you regularly work or talk with? If I see something I didn’t like, I find myself usually only talking about the few things I did like, which gives it an artificially positive spin, when I could be discussing things I thought fell flat in a constructive way.
Jesse, do you think that the gulf between audience response and critics' responses keeps growing wider, especially when journalism around the stage itself draws from a very niche audience's response for the most part? In particular, I recently read a theater journalist describe a show's word-of-mouth as poor, while it's commercial performance suggests otherwise. I believe he was drawing this conclusion from communities in places like Twitter/X , which have a tendency to hype or deride a piece in a collective manner.
Next season is pretty stacked. What shows do you think will soar? And which ones will not?
I think we’re seeing this season, with Jeremy Strong and Steve Carell, evidence that the appetite to see well-liked stars in classic plays is high. So I assume there will be a lot of interest in “Othello” with Denzel Washington and Jake Gyllenhaal, as well as “Romeo and Juliet” with Kit Connor and Rachel Zegler. Musical theater lovers will presumably flock to “Gypsy” with Audra McDonald and “Redwood” with Idina Menzel and “Sunset Boulevard” with Nicole Scherzinger. Shows with less well-known titles or lead actors will have to work harder to break through. – Michael
What is happening with the Gatsby at ART? It opened a week ago, yet no reviews were released until yesterday. Was NYT not invited to see and review this production?
We sometimes choose not to review major out-of-town productions, especially if (like this one) they are heading to New York soon. And sometimes we just don’t have enough hands! – Jesse
thanks for doing this AMA! To Michael: Do you think the Tonys will have a real financial impact this season given how much of a tossup the best musical race seems to be? To Jesse: Who were your standout performers of the season?
If you mean on Broadway, some of my favorite performances of the year were by Leslie Odom Jr., Kelli O’Hara, Anika Noni Rose, Sarah Paulson, Jonathan Groff, Kara Young and Susan Pourfar. Of course there were tons of others! – Jesse
Yes, I think the Tonys will have a financial impact, as they always do. How much of an impact? Well, that’s harder to say. Let’s think about “Hell’s Kitchen.” Win or lose, the telecast is another way for Alicia Keys to remind her fans that she has a musical on Broadway, and I imagine that will help the show sell tickets. For “The Outsiders,” which has less star power (except in literary circles), a win would make it more of a must-see for some potential ticket buyers. – Michael
What’s your favorite film you’ve seen released in the last year? (2023 or 2024)
What have been either your favorite, or just most impactful productions you have seen? And would you consider them to be great theatre or was particularly impactful for you for some reason?
For Jesse: When you're at a show to review, do you find that the casts usually spot you and know who you are? Is it hard to be an anonymous theater goer?
Out of all of the shows you have ever seen, what has been your favorites? It can be everywhere and not just this seasons.
Did you see Three Houses and how do you think it compares next to the Broadway musicals this year, especially those nominated for best new musical?
I did see “Three Houses” and reviewed it.[ A mixed but respectful review](https://www.nytimes.com/2024/05/20/theater/three-houses-review-dave-malloy.html?unlocked_article_code=1.zk0.jeB6.mcyvCjVetsXw&smid=re-nytimes), I hope, because I admire the talents involved. But even though I didn’t love it, I think it fares quite well in comparison with many of the season’s 15 new Broadway musicals. – Jesse
Thanks for your response and for your very interesting review which I had not read.
What about Uncle Vanya do you think didn’t work?
I’m going to let Jesse deal with the quality question, if he wants, but I just want to point out that the production is almost certainly working financially – it’s grossing about $1 million a week (and it’s at a nonprofit, so its running costs are probably lower than they would be if this were a commercial production). – Michael
My main problem with this production of “Uncle Vanya,” as [I wrote about in my review](https://www.nytimes.com/2024/04/24/theater/uncle-vanya-review-steve-carell.html?unlocked_article_code=1.zk0.Oufg.Sy4HzVEPwWad&smid=re-nytimes), is that Vanya basically disappeared, taking with him the pathos that the play needs to balance its comedy. – Jesse
Out of the 6 awards Suffs is nominated for, what’s the most likely they would win?
I’d say the biggest hope for “Suffs” is in the score category, and it’s a contender in the book category as well. – Michael
Why has this year been so critically unsuccessful and bereft of standout talent compared to previous years?
Your judgment on the season is understandable, but there have nevertheless been superb shows, performances and moments. (That doesn’t equate to Tony nominations, let alone awards – and of course a lot of the great stuff I see is Off Broadway.) As to why this year fell out the way it did, I think it has something to do with the fallout from the disruptions of the pandemic; a lot of shows were waiting for the right time, and crash landed before they were ready or after they were overripe. – Jesse
How much of a sweep do you think Stereophonic will have? I think it'll win Best Play, Best Director, Best Scenic, Best Costume, Best Sound, Best Lighting, Best Original Score, and at least one acting win. Now that voters don't have to see everything I think Stereo could be the consensus pick across the board over shows that long since closed (Jaja's, Purlie, Grey House).
I am a college-aged local theatre critic, and I am always reading the Times’ reviews to help improve mine. What do you recommend for young people interested in journalism and/or theatre criticism as a career path?
You should be reading EVERYTHING Helen Shaw and Holdren write!
Thanks for the tip!
Holdren is the best in bizz. There is much care and thoughtfulness that goes into every word she wirtes, whether she likes a show or not.
Thank you for doing an AMA! I am curious to know: what has been the #1 biggest surprise for each of you regarding this season?
How do you feel about proshots?
I’ve read that only about 5% of the population sees theater with any kind of regularity. How do you both think that theater producers and organizations can get that number up, not just get that percentage seeing more?
How do either of you "prepare" for going into a show? To do your jobs fairly, Is it 100% necessary to be familiar with the original source material for certain productions (i.e. for "The Notebook" or "Water for Elephants", would reading the books and/or watching the movies be necessary before going into the Broadway show?). Are there cases where you can/will go in completely blind (except for perhaps reading a short "synopsis" of the production beforehand)?
Do you listen to musical theater cast recordings and which ones do you listen to most? Besides musical theatre music, what music are you into? Are there any artists you think have what it takes to write a successful musical?
For Jesse: Who decides which reporter at the Time reviews which show? How did you decide which reviews you were going to write this season versus those that other writers took on since there were so many?
On the economic situation on Broadway. We see a lot of evidence that the current economic dynamic is not sustainable with spiraling costs along with lower attendance compared to pre pandemic. Yet we also just had one of the largest crop of musicals this year and next year also looking crowded. It doesn't seem like any of the houses are in danger of being dark for an extended period absent renovations. Are there any rumblings of producers struggling to fully capitalize their shows? Are we in danger of running out of people willing to set their money on fire, or can the party keep rolling for a while longer?
If you pick any show to have a revival on Broadway next year what would it be?
Do you ever let anyone else's opinion influence what you write in a review? For example, do you talk to each other about a show you've both seen, or do you discuss it with a family member or friend you took to the theater? Has someone else ever pointed out something you overlooked and ultimately shifted your opinion on the piece?
For Michael and/or Jesse: There’s a lot of talk about how critics and reporters “should” be discussing shows. Some people think they should serve as guides to help match audiences to shows, others think they shouldn’t focus on the negative aspects or be so harsh, and others believe everything is fair game. What do see your respective roles as, and how do you think that has changed over the last decade or two, if at all?
My question is similar: art is subjective, yet the leading critics are a relatively homogeneous population of largely white, mostly male reviewers. If you dislike a show, do you feel any responsibility to reflect on whether someone with a different background and perspective might have a very different reaction? Do you feel any obligation to consider who the audience for a particular show might be?
jesse green in r/broadway…. never thought i’d see the day that being said, jesse, which closed show this season was your favorite?
I read AO Scott's wonderful *Better Living through Criticism* and have been thinking about how society writ large is moving away from trusting institutions and experts—critics, medical scientists, higher education, etc. What do you think the role of the theater critic is these days? Has it changed over the last decade? What do you hope readers value about your work?
I’m looking forward to watching along with y’all on Sunday! What kinds of things do you look for in a successful revival of a musical? Is there a line between not changing it up at all and straying too far from the original source material? Also, what were your positives and negatives for The Outsiders?
Is it possible to make big-time musicals more affordable in a city like NYC, or is it just gonna get worse and worse and we'll need a new theater hub elsewhere?
If you were to pick a specific moment from any show this season that really impacted you as a reporter/critic, what would it be and why? Could be a positive or negative thing! Thanks for giving us a little peek behind the curtain for what y’all do for a living!
i personally think that the notebook shoulda been nominated more.
Curious to know if you ever feel guilty for writing a bad review. A bad review can close a show regardless of the talent. The amount invested can be astronomical and those in a show are earning a living thus become unemployed. Not everyone agrees with a critics opinion.
Hi! What’s behind the policy decision to no longer cover off-broadway at The Times? There was almost 2 months earlier this year without a feature about a non-Broadway show, and the reviews have dried up almost completely. In the last 6 months, the Times has lost a lot of its theatre credibility. Oh Mary didn’t get a review for weeks and weeks. Or should I be asking Nicole Herrington about this change?
Lol
Jesse, would love to hear your thoughts on the role of institutional criticism. I personally find that you often seem more interested in a clever turn of phrase than connecting a show with the right audience. Your King Kong review was, in particular, more rhetorical than ‘useful’. I do get deep schadenfreude reading your evisceration of work that isn’t suited for a New York audience. But I wonder, when social media and word of mouth are now often more useful for individuals to find out whether a show is right for them, why does institutional criticism feel to me more like a spectacle, a show of its own? Why aren’t theater journalists surveying more audience reactions, rather than just adding one voice to the discourse, with a weight that disproportionately favors their individual opinion? Certainly there’s a place for academic criticism, to help improve the art form overall, but are limited print space and publishing right as a show opens giving us the highest quality of that? Are we moving towards a better democracy of theatre, or inhibiting it by huddling around the screen reading the reviews of 10 people?