Yes, I know I promised highway updates. They’re taking longer than I expected, so they’ll show up later in the week. Instead, here are some other thoughts that are prompted by the Operation Lemon Head look back at Year 2 (this is in advance of a kickstarter for the LemonHeadMeter that starts tomorrow). In particular, in this post, Colin cited Steven Stanley’s response as to why his reviews are so positive. Now I’ve never been one to put that much weight behind what Steven says, although his response stirred something in me… something that made me think about my writeups and something that made me look at Steven in a more different, more positive, light.
What was it? It was the fact that his reviews tend to be positive. More important, though, was the reasons why. This is because they are very similar to my own.
If you look back at my reviews, you’ll find them almost always positive in some way. Perhaps this is because I always think twice before saying something nasty… and if I do, I try to couch it in a “here’s how you can improve”, not “you stupid fool”. I do try separate the book from the performance — you can have great performances from a bad book, and bad performances from a good book. Still, if I have bad performances and a bad book, I’ll say it. But I rarely do. Do you know why?
Very simple: I’m paying my own money for the shows I attend. When my money is on the line, I tend to go to shows I think I will like — usually by knowing the music in advance, or the reputation for the show. Thus, for the shows for which I purchase individual tickets, there is rarely a klunker. If I’m going to pay, there’s likely something I know I’ll like in advance.
I do have three subscriptions: Cabrillo Music Theatre, the Colony Theatre, and REP East. I depend on subscriptions to broaden my theatre view — to take me to shows for which I wouldn’t normally purchase tickets. But even then, I’m pre-selecting in that I’ve chosen to spend my subscription dollars at theatres with a track record of producing great shows that I predominately like. That’s one reason I chose to move from the Pasadena Playhouse to the Colony. The bankruptcy was the straw that broken the camel’s back, but I had been seeing more shows that weren’t exciting than I was willing to pay for. The Colony’s track record has been much much better.
I think this is something you’ll see common in a blogger that writes about their experiences. If I’m selecting my shows, I’ll pick something I like. Critics (such as those at a paper) are assigned the shows they see because the editor wants a review. That means they’ll see good or bad, and they are being paid (in terms of salary) to attend the shows. Some bloggers get COMP tickets — they are being paid less (e.g., saving the cost of the show), but at least it is only their time at risk. This — to me — is the essential difference between the amateur blogger and the professional or quasi-professional reviewer.
So who should you read? Both. Find theatre bloggers whose taste in shows agrees with you (just like you find restaurant reviewers with tastes congruent to your own). Balance their opinions with the professionals. Look for concensus — lots of people liking something is a good sign, just like with Amazon reviews. If lots of regular people like a show but a critic doesn’t, that may just mean the show doesn’t appeal to the critic. If lots of critics like a show but the regular folks don’t… then you may be looking at a show that just hasn’t found its audience yet (look at much of Sondheim, or even Chicago). If your opinion is congruent with the regular folks, then wait a few years to see it. If you are forward thinking, see it now.
Of course, what’s the easiest way to do this? Funny you should ask. This is what Colin is doing with the Lemon Meter — he’s combining reviews from bloggers and critics to give an overall rating, just like Amazon does with its reviews. It provides a first-order assessment of a show. His idea for the LemonHead Meter — where audiences can give immediate ratings — is quite intriguing. I look forward to the kickstarter tomorrow.
[ETA: Here’s a link to the LemonHead Meter kickstarter. I”m not that crazy about the premiums and levels that Colin chose — they aren’t as enticing as they could have been; but still the cause is worthy of support, even if all you get is a button to identify you as a supporters and a pen to write your reviews. Perhaps Colin might be able to turn that button into a stronger benefit — perhaps half-price concessions? What would I have done as premiums? Perhaps coordinating with Goldstar and some other theatres to get some small discounts or comp tickets to shows that might have gone unsold anyway. This could then translate into more people attending theatres, plus Bitter Lemons could ask the people attending the shows to contribute their opinions to help start the meter.]
