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ARTS & CULTURE entity. To illuminate life in front of the curtain—that is, from the seats of our statewide critics who review about 60 productions annually—I asked my colleagues to weigh in on the realities of our profession. Here’s an excerpt from our discussions: 22 AB: Why do you feel strongly about the importance of our organization and being an active participant? KI: I like the idea of talking to colleagues, sometimes arguing, or just having energetic discussions about our different opinions, and I learn from them and hopefully they learn something from me. We all have a mutual goal: We love theater; we want people to enjoy theater; we want people to go to theater. GD: I initially got involved for the same reasons as Karen—because it’s good to sit and talk and mingle with fellow critics. I’ve stayed because of that but also because of how the organization has expanded, and what truly intrigues me is what we’ve been able to accomplish and what we might be able to accomplish in the future. It’s kind of exciting. FR: What drew me to the organization is what I could add to it in terms of the annual awards event. It’s a celebration of theater in Connecticut, and if you want emotions on stage, you don’t have to go to Indecent or A Moon for the Misbegotten or Angels in America: You just come to the annual show, and you see beautiful, heartfelt acceptance speeches by actors, designers, writers, performers, directors…. They work for very little, are sometimes unappreciated, and we’re able to say “thank you” and reward them in some way. AB: What are the upsides and downsides of being a theater critic today? KI: One challenge is that too many media outlets are eliminating reviewers. I think the public appreciates some guidance. Not that they always agree with us, but they at least see our perspective, and it may help them decide where to spend their limited entertainment dollars. The great thing is you see a lot of really wonderful theater. The downside is you often see productions that disappoint you in one way or another, and you just wish they were better. The amateur critics are focusing in on film—that’s an easy venue. We’re offering, by and large, well-thought-out reviews of productions by professionals we respect. GD: When I first started as a theater critic and had to write my first negative review, it was agonizing until I realized that my function is as an advocate for theatergoers. And, if I don’t tell the truth, then I’m not doing my job. And, by and large, the public appreciates our expertise as professional theater reviewers. The second thing, as Karen mentioned, is because there are so few publications publishing reviews these days, the theaters really rely on us. The CCC mantra is: “In support of theater in Connecticut.” And one of the ways Seasons of West Hartford • SPRING 2017 MASTER OF CEREMONIES: Broadway actress and singer Tina Fabrique, known for her starring role in the musical Ella, served as M.C. at the 2016 CCC awards ceremony. you support theater is getting the word out, especially when you see something wonderful. AB: I want people to know how seriously we take reviewing and also how seriously we take the selection of award winners. Any thoughts? GD: It’s an arduous project. Everyone voices opinions; we give reasons for or reasons against. Is it a perfect system? No, but I think it captures the essence of what we’re attempting to do, which is to award quality. FR: The problem with Connecticut is the range of where our critics [reside] and the geography of the state. Because of the local publications they may be writing for, they may not be able to see everything. However, [the awards committee] is charged with seriously taking the [entire membership’s] opinions into our conversation in deciding who should get the awards. KI: I think the issue with the awards has always been, to some extent, comparing apples and oranges. Somebody plays Macbeth and is brilliant. And then there is somebody who is in a fluffy comedy and is also brilliant. How do you equate those two and come to a decision as to who was best in his or her role? There is a lot of diversity of opinion. AB: That’s for sure. We’ve had meetings to select the nominees that have gone on longer than three hours. It’s like being locked in a jury. KI: Or a bag of kittens. I think sometimes you wonder if you saw the same production as other people. GD: That’s the nature of criticism. But although we have different opinions, there is surprising equanimity among us. FR: In other groups it can be a snake pit. I have to say, I’ve only done this for six years, but the conversations over that table are respectful, detailed, and really fascinating. AB: Other thoughts on the awards ceremony, as we gear up for our June event? KI: It’s really interesting to look back and see some of the people who are now stars, like Jessie Mueller. She was a
ARTS & CULTURE nominee for a CCC award, went on to win a Tony Award for Beautiful, and is now starring in Waitress [on Broadway]. Also, it’s this great opportunity for Connecticut professional theater people, who don’t all get together very often, to see each other in this social setting, to interact with the critics, interact with the public. GD: From the point of view of those who receive the awards, all you have to do is access the photos from last year’s show and look at the looks on the faces of the recipients, and you’ll see why we do what we do. FR: And it’s not just critics giving awards to the insiders. The public is invited, and our event has always been free, generously welcoming everyone. It’s really amazing: Outside New York and Chicago, the Connecticut market is one of the top five in terms of creating national- and internationalquality work. Amy J. Barry is a seasoned freelance writer and expressive arts educator who lives in Stony Creek. For more about Amy, visit aimwrite-ct.net. Visit ctcritics.org for information about the spring 2017 awards ceremony. The event is open and free to the public, but RSVPs are requested. THE CRITICS SPEAK Amy J. Barry is a member of CCC, serves on its annual awards ceremony committee, and is a Seasons contributor. She loves writing and theater and is terrified of performing, so she found the perfect niche as a theater critic. She published her first theater review in The Informer, the University of Hartford student newspaper, which she cofounded back in 1976. Karen Isaacs is a founding member of CCC, its secretary, and a member of the awards selection committee. She has studied voice off and on since college and has appeared in Gilbert & Sullivan musical reviews. She currently participates in cabaret classes at the Neighborhood Music School in New Haven. Geary Danihy has been a CCC member for 10 years and its president for five years. He experienced one of those unforgettable moments in 2008 at Hartford Stage when the microphone Carrie Fisher was wearing suddenly went dead during her one-woman show Wishful Drinking. While Fisher was escorted offstage for re-miking, Debbie Reynolds jumped out of the audience and onto the stage to stand in for her daughter. Frank Rizzo, theater writer for The Hartford Courant for nearly 34 years, joined CCC six years ago and chairs the annual awards ceremony committee. August Wilson, Edward Albee, and Tom Stoppard head the list of famous playwrights he has interviewed over the years. Rizzo reflects: “It breaks my heart to remember August saying that he wanted to take a trip down the Nile with Ben Mordecai some day. Later that year, they were both dead. I spoke to Albee in his spacious Tribeca home surrounded by art and artifacts, and I was on edge because of his wicked wit. He was a charmer and gracious. Ditto for Stoppard.” OFFICIAL PRESENTERS: Governor Dannel P. Malloy and his wife, Cathy Malloy, perform a little of their own stand-up comedy, as they present the 2016 award for Outstanding Ensemble. Seasons of West Hartford • SPRING 2017 23
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