THE TEAM Editor Sarah Kirkup Assistant Editor Julia Rank Ar t Editor Heather Woodley Editorial Assistant Jonathan Whiting Sub-editor Lisa Martland Publisher/Editorial Director Martin Cullingford Marketing Director To n y H a l l Marketing Manager John Barnett Marketing Assistant Oscar Faulkner Editorial Consultant Edward Seckerson Production Manager Kyri Apostolou Studio Manager Chris Charles Production Director Richard Hamshere Subscriptions Director Sally Boettcher Managing Director Ravi Chandiramani CEO Ben Allen Chairman Mark Allen SUBSCRIPTIONS UK: 0800 137 201 Overseas: +44 (0)1722 716997 subscriptions@markallengroup.com ADVERTISING Commercial Director Esther Zuke +44 (0)20 7501 6368 esther.zuke@markallengroup.com Title Manager Nicola Miller +44 (0)7967 169137 nicola.miller@markallengroup.com

CONTRIBUTORS Claire Allfree writer, The Times, The Telegraph David Benedict critic, Variet y, The Stage Richard Bratby critic, Gramophone, The Spectator Mark Brown critic, Daily Telegraph, Sunday National Jason Carr orchestrator Tim Connor composer Andrew Farach-Colton critic, Gramophone Thom Geier NYC critic Alun Hood critic, WhatsOnStage Laura Lott critic, BroadwayWorld UK Lisa Martland founder, Musical Theatre Review (MTR) Scott Matthewman critic, Musical Theatre Review Fiona Mountford critic, The i Paper Jim Munson critic, BroadwayWorld Elaine Paige performer, broadcaster Julia Rank critic, London Theatre Edward Seckerson writer, critic, broadcaster Joe Stilgoe songwriter Jonathan Whiting composer Holly Williams author, journalist Matt Wolf London critic, International NY Times

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Welcome

What does it mean to What does it mean to be a reviewer today? be a reviewer today?

The responsibilities of a reviewer should never be taken lightly. Reviewers may not be paramedics or surgeons – what they write (hopefully) won’t make the difference between life and death – but even if one person reads their review of a show and decides to part with hard-earned cash to go and see it, that matters. Ultimately, while passion, creativity, dedication – and, above all, talent – remain the bedrock of our industry, they don’t count for much if theatres lie empty. With the cost of producing shows on the rise, it’s paramount that companies recoup their costs – and yet, increasing pressures on how we spend our money o en mean that cultural activities fall by the wayside. A compelling, brilliantly written, considered review can make the difference between, say, a tour that finishes on schedule and a show that closes early.

I met up recently with this magazine’s editorial consultant Edward Seckerson, and we revisited the age-old debate on objectivity vs subjectivity in a live review. Firstly, we agreed, the reviewer is duty-bound to lay out the facts as they stand – in other words, to be objective. For a Musical Theatre show, this includes namechecking the creative forces involved, including the cast. Context is useful here, too. What have they worked on previously? Is this a revival, or something new? Then we get into the nitty-gritty: how the show looks and sounds. How does the set operate (revolves, platforms, backdrops)? How is videography used? Are the costumes minimal or lavish? Already at this point, the line between objectivity and subjectivity is beginning to blur. How each element lands will vary, depending on taste and experience. A costume may remind one reviewer of, say, a production they saw previously and enjoyed; for another, it may prompt unbidden images of a student production they were forced to take part in. Same costume, two different reactions.

their reaction to what they see onstage – but how can it not? We’re all human, a er all.

And anyway, if a review is devoid of subjectivity, it cannot resonate with its reader. How the reviewer feels when seeing a performance is what connects him or her to that performance, and, in expressing those feelings, a connection is thereby forged between reviewer and reader. Take Matt Wolf ’s review of Passing Strange (see page 58): ‘“Life is a mistake that only art can correct,” we’re informed near the end – an assertion so immediately moving that I’ve made a separate note of it elsewhere.’ We know he is invested in this performance, and so we feel invested when reading about it.

At the same time, subjective views may not chime with our own – but that doesn’t make them wrong. When I went to see Kathy & Stella Solve a Murder! recently, I thought it was one of the funniest shows I’d seen in a long time; our reviewer didn’t agree. We were at the same performance, but sitting in different parts of the theatre. Could that account for our very different reactions? Pairing up a show with a reviewer is a bit like matchmaking, and when the two hit it off, the copy can be electric. But all our reviewers go to see shows with an open mind (and if they’re not able to do that – if, for example, they have a personal involvement in the show, or they instinctively know they’re going to hate it – they’ll tell us and we’ll commission someone else).

I mention all this because next issue we’re introducing star ratings – largely in response to what readers have been telling us they want: that being able to see, at a glance, how a reviewer rates a show is a useful barometer. But I hope that what I’ve written here is a reminder: firstly, that all our reviews are worth reading; and, secondly, that different productions resonate differently with different audiences – which is, of course, why Musical Theatre remains

Edward and I agreed that, in an ideal world, reviewers would let go of baggage – circumstantial or otherwise – that might influence what they write. Are they sitting in a theatre dripping wet, having just been caught in a rainstorm? Are they surrounded by coughers, chatterers or noisy eaters? None of this should have a bearing on an endlessly fascinating art form. Who would want it any other way?

Editor, Musicals sarah.kirkup@markallengroup.com ll l Hu ichae

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INTRODUCING THIS ISSUE’S FEATURED CONTRIBUTORS…

Cindy Marcolina was born in Italy in 1992. After earning a degree in entertainment studies with a focus on criticism, she moved to London in 2016. She is a freelance critic and writer with an interest in original projects and reimagined classics as well as fringe theatre and music, and is a member of the drama section of the Critics’ Circle. See Cindy’s reviews of Mean Girls and Your Lie in April on pages 54 and 62.

Mickey-Jo Boucher is a theatre critic and commentator best known for creating video reviews and vlogs on YouTube as MickeyJoTheatre. He can also be seen as the host of his own live chat show at the Phoenix Arts Club in the West End and loves sharing the joy of seeing theatre around the world. Read his feature about fan culture on page 38.

Aliya Al-Hassan is a life-long theatre lover who has been reviewing theatre for over 15 years. She is Senior Managing Editor for

BroadwayWorld UK, a writer for a variety of theatrical websites and is a member of the drama section of the Critics’ Circle. Aliya is a passionate advocate for female voices and for new writing. See her cover interview with Marlow and Moss on page 24 and her review of Babies on page 46.

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