The relentless nature of the theatre world is highlighted, with the sentiment that “There are always more. The show doesn’t just go on. It goes on and on and on.”
The book offers little in the way of defending theater or its criticism. While the character Alex speaks of upholding standards, his consistent practice of awarding nearly every show a single star out of five, coupled with his harsh critiques, suggests a cruel streak and an underlying sense of defeat. These traits make him a tough character too sympathize with.
Its worth noting the frequent discussion of star ratings in reviews. The author personally doesn’t typically use stars, as is common among many New York City critics.
A compelling counterargument to the perceived decline of traditional reviews was recently presented by Richard brody in The New Yorker.In response to changes at The New York Times arts desk, Brody argued in his piece, “In Defence of the Traditional Review,” that arts criticism is not an outdated journalistic practice but rather a progressive force that ensures art remains honest and guides its future. Brody’s perspective directly contrasts with that of Sophie/Runcie, as he views reviews as a form of “consumer protection,” echoing Pauline Kael’s assertion that without critics, the public is left vulnerable to advertisers.
The author expresses satisfaction in obtaining “Bring the House Down” from the library after their request for a digital review copy was denied. The publisher cited a policy of limiting pre-publication access to books for reviewers. This experience prompts the author to consider if Hayley‘s approach might be more effective. The author hopes to encounter the types of performances that Sophie reviewed, such as a solo artist who “invited ticketholders to lick his face,” or “The Chill Pope,” described as a “modern confession booth” were “there are no sins in Chillicism.” The author is also on the lookout for the “vegan bagel place.” Following a description of Summerhall, the author has already registered for several shows at the venue.
Summerhall is depicted as a significant festival location in Edinburgh,occupying a large,converted 19th-century university complex. Originally a series of lecture halls, offices, and meeting rooms, its deteriorating state was temporarily masked during the festival with colorful posters, bunting, flags, and paintings. The annual festival media party, organized by a Scottish arts magazine, has been held for enough years to develop a sense of tradition, tho it primarily serves as an occasion for journalists and performers to socialize. Notably, the magazine that initiated these parties is no longer in print, existing only online.
