To review or not review, is that a question?
- elwellchris
- Aug 18
- 5 min read
Updated: Aug 21
Theatre reviews. Love them or hate them, they’re kind of a staple of the theatre world. In the TYA (theatre for young audiences) world, there has been a huge debate for years – I think frustration maybe a better word - that no-one bothers to review this genre of work anyway, so let’s not worry. There are exceptions – reviewers like Lyn Gardner of course have championed TYA work for years, as has my good friend Mary Pollard – there are others of course… but these people are a rare bunch, and like much of TYA work in general, their wise words often sit on the fringes of the wider theatre ecology we all inhabit.
My news is that I have joined this reviewing crowd since leaving Half Moon earlier in the year, and it has been totally absorbing, and at times quite complex as I try to navigate what to say in 400 to 500 words, while being fair, open-minded and thoughtful. I was invited to review for Everything Theatre, London’s leading online platform for fringe theatre, which in addition to reviews offers up a whole range of interviews, podcasts and so on. Thanks to them for that opportunity. At the end of this blog, I have added some links to some of the shows to date I have crafted my response and which now sit for all to see on the Everything Theatre site.
One ex-colleague jokingly, I hope, said that I have switched sides: I think the actual words they said were, ‘gone to the dark side’. After years of seeking such commentary, for the many shows I made and produced, I am now the one giving opinion – and that is very complicated on many levels, belief me. I’ll let you judge for yourself, so please do have a read. I am always learning and welcome feedback. So, do let me know what you think. Reviewing also opened up another opportunity, and I am also now an award assessor for the Fringe Theatre Awards Scheme. That gives and extra responsibilities I guess?
Reviews have been around forever — well those write-ups in the papers. These have thankfully been joined by online blogs, individual's commentary on socials, online special interest communities and so on: everyone can, it seems, become a self-declared critic after seeing a performance – and tell us what they think. But here’s the question: are reviews actually helpful, or are they just noise?
On one hand, it makes sense why people read them. Not everyone can afford to see five different plays in a month, so a review can act like a little filter — giving you a sense of what’s worth seeing, what’s a bit of a miss, and what might totally blow your mind. A well-written review can give you just enough info to excite your interest without too many spoilers being given away.
And for the artists involved, a good review can really help - shift tickets and build profile and excitement about what they are up to. That kind of exposure matters, especially for emerging talent trying to get a foothold in a very crowded industry. But it’s not just about selling tickets. Reviews also keep the conversation going. Theatre doesn’t exist in a vacuum, especially true of TYA work and family work. It’s meant to stir something in us, surely, to challenge or comfort or surprise, bring greater empathy, unpack the difficult, bring change. Reviews, when thoughtful, help make sense of that experience. They can open up a deeper understanding of what the play was trying to say or what choices the creative team have made. Maybe we are encouraged to think more critically, openly, kindly - which is kind of uplifting when you consider how fleeting live performance is. And nowhere is this most potent than with TYA work of course.
That said... reviews can be annoyingly subjective — like, super subjective. One person’s “bold and risky” is another’s “messy and incoherent.” They might just not get the show — or might walk in with a particular bias they don’t even realise they have. And let’s be honest: some don’t always review in good faith. They come for the clever one-liner or the sharp takedown through some click bate ambition. And while that might make for a punchy read, it can be brutal for the people who poured their heart and soul into the work, however good or bad it might actually be.
And then there’s the whole issue of who’s writing the reviews in the first place. Historically, such criticism hasn’t been the most diverse space. A lot of the dominant critical voices have come from a pretty narrow demographic, which means that some stories, perspectives, and performance styles don’t always get the understanding or appreciation they deserve. That’s starting to change (thankfully), but it’s still a real thing, and there is more to do..
And if you're an artist reading your reviews? Take what helps. Leave the rest. You know the work you’ve done, and you also know that no one review — good or bad — defines it or you. Years ago when I worked for a period at the RSC, one of the things that I carry with me from that time were the number of actors (some big names and rising stars now risen), who said (I paraphrase as it was a while back now): “Chris, I never read a review. Why would I? It can never be a true reflection of what really is happening on stage, and if we took it at face value, it could throw completely what we have been working to achieve through the rehearsal process.” Hum? I sort of believe that may be the case, but I do also recall slightly animated conversations when 5* reviews landed, especially if a name was mentioned lauded with great praise.
So where does that leave us? Are theatre reviews worth reading? Should we be writing them? Listening to them? Ignoring them? Maybe the answer is somewhere in the middle. Reviews can be incredibly useful — when they’re written with care, with context, and with a little humility. They’re part of the conversation, not the final word. Remember, sometimes a performance that isn’t someone’s cup of tea might be exactly for you, or your children in the case of TYA.
So, at the end of the day, is theatre really only meant to be experienced, rather than analysed in a short bit of text of between 400 and 500 words? Reviews might echo in the background, but is the real moment — the one that really matters — happens between the people who made and perform the peice and the people who showed up to watch? And lets face it, sometimes, it is often hard to really articulate what you really feel, as performance can be a very personal and unique encounter.
So, if you would like me to pop along and see something – remember my focus is TYA – so family, children’s and youth focussed professional work - drop me a comment. Remember a review or interview is a dialogue, so why not pick up that conversation?
If you want to read my reviews, you can access them all here, including my Everything Theatre profile. Or for individual reviews, on the links below:
Production shot from: Let's Build - Polka Theatre