The reviews are in! Well, I’m not sure if I would necessarily call this link below a review… maybe more of an opportunity to push a kinda desperate, if not exuberant and somewhat precious narrative. Stay tuned for more about reviews!… the new kind with a blunt pen aimed at the midsection of commercial theater.
“The Visitor” opened! After all the conversations, and de-centering whiteness and actors quitting and middle aged white protagonists….the show is still, um, about a middle-aged white protagonist I imagine.. I haven’t seen it. It seems, at times, there’s even a middle aged white dude center stage. Not even off or de…
https://www.nytimes.com/2021/11/04/theater/the-visitor-review.html?referringSource=articleShare
“The few attempts at nuance — a comment from Walter showing how he’s also guilty of racial stereotypes, a mention of him as a white savior, and an added back story about Zainab’s abuse-ridden immigration journey — cannot change the story that’s being told or how uncomfortably it sits in our current moment.”
New York Times
“So what does one do with a work of art that, by the time of its premiere, has already been outpaced by the moment? How can you contemporize a work whose very conceit — its whole plot, its central perspective — will land like a well-meaning but ignorant cousin’s comment in a conscientious cultural conversation?”
New York Times
The question I have for this reviewer is… has she seen “To Kill a Mockingbird”? Maybe she hasn’t seen it. It’s running a few blocks uptown..clearly this skit doesn’t live up to the standards of her moment. Or the moment. Or the cultural conversation that’s not really a conversation because there’s only an echo chamber that’s hard to talk over.
The question I ask myself is this: whose current moment? What moment? It seems to me, the moment isn’t really a moment. Perhaps in the navel gazing woods…Here’s the truth: most people are not having this conversation. Some are, some have I suppose. I wonder who’s uncomfortable too…. It may be the seats and not the moment. I mean for the people the moment is intended for. Or aimed at…. Other than a sore ass I think they’re good.
The Public so botched this. They botched it by thinking they were leading some sort of cultural revolution ..which they’ve actually done in the past. They tore apart a show in a feeble attempt to appease the moment. Scratch that. The thumb warriors. The Public had an opportunity to have a conversation about art. And writers and creativity and freedom of expression. They chose to not have that conversation.. a much more difficult and important one at this point that’s so needed. I still think they’re up to it, but they’re afraid it will damage their corporation. Here’s hoping. Fingers crossed.
Anyway, some like me have found the deep dive into identity politics.. when it comes to art… as anathema. Not only to art obviously, if you have some sort of device and you’re paying attention to it. The obsession with tribalism just further drives many well intentioned peeps into their respective camps, and hardens them.. not only ideologically but as human beings. This moment also keeps audiences at home. With their wallets.
Identity politics is a cock block to art.
The ultimate destination for this “moment” is the big C.. no, not the you next Tuesday one. Or the lymphoma one.
The cancel one. The dreaded ‘c’ word. The one followed by culture that is even further evidence of the divide because evidently only conservatives utter it. Oh, another C word that comes to mind is China.
I’m far from a conservative.
The Old Vic canceled a production of “Into the Woods” because Terry Gilliam.
This British dude sums up my feelings on the momentous cancellation de jour. It’s titled ”The Old Vic has lost the plot here”. I would concur. They’ve lost some business too….
The fascinating thing, to me, about…what’s that smell?…the smoky whiff of cancel culture swirling in the air… is there’s little to no ideas of improving anything or replacing a show or a job or whatever the burning embers of the conscientious cultural conversation envelopes.
There’s just get rid of it. Or ruin it. Not…I have a better idea. Well, maybe other than I’m special so let me just skootch on in here and be me.
You’re either James Caan getting hobbled by Kathy Bates… as the Public just did with “The Visitor” in the nicest, wokest way possible.
Or this.
“Drabinsky’s imminent re-emergence on Broadway thus places him at the center of a culture in which he no longer belongs, and positions him as a direct danger to the safety of his employees if this is allowed to happen.”
OnStage Blog
I mean, who needs a job when you have the glory of the moment?
Ok, I saved the best for last. My favorite momentnugget of the week goes to…….
The tribunal that demands reviewers critique shows after disclosing their “ability/disability status” and admit they are racists somewhere in their soul.
The organization, whose name I respectfully withhold, issued a “transparent press policy” designed, it appears, to protect performers from critics. It asks writers to “acknowledge race bias as part of their review,” along with ability/disability status. It instructs them to “treat the art and artists with respect in their language and descriptions, treating their own words as opinion, and not fact; avoiding body-shaming, mis-gendering, and assumptions about cultural, ethnic, or racial backgrounds.” It points out that in a performance with many parts, “all works should be acknowledged … not mentioning an artist and their work is erasure.”
Village Voice
Hi, I’m Frank Greene. I have MS and use a cane. I guess I have to tell you that to review your show, although I would have preferred to keep that to myself. I am Jewish. I’m not sure if that’s an ability or a disability. I have erectile dysfunction too. Sometimes. I will watch your show and love everyone.
Robert DuSold 
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