My Hopes for the Next Theatre Critic for the Washington Post

by Chris Peterson, OnStage Blog Founder

The Washing Post recently announced they’re looking for a new theatre critic. This follows the resignation of Peter Marks, who stepped down from the position after 21 years. While some thought that Marks would be the paper’s last theatre critic, it is comforting to know that the Post is still going to cover theatre the way they always have.

But with this opening comes with it an opportunity to set a new course in theatre criticism. Criticism that embodies fairness, thoughtfulness, and a contemporary perspective in reviews. In an era marked by rapid evolution when it comes to what and who is on stage, it is essential that our critics reflect the new values and attitudes of the 21st century.

The job posting on the Post’s website reads as such,

“The Washington Post is seeking an exceptional theater critic to be the paper’s leading voice on the artform, helping us rethink our coverage while writing trenchantly and imaginatively on productions in Washington, New York and beyond.

We’re looking for a curious, discerning and lively audience surrogate whose recommendations consumers will trust, as well as a journalist who will be immersed in two vibrant theater towns. One who’s eager to take some big swings: We want this writer to enrich readers’ thinking about the American stage, from new works to revivals, from dramas to musicals, and on the surprising ways that theater manifests across the culture.

We’re eager to shape this role around the successful candidate, though we’ll expect you to widen the aperture of the job, both in terms of the kinds of works a critic considers and the way that one considers them. It’ll be fun. But you tell us what a Washington Post theater critic should – and could – be in 2024.”

While this posting gives me some hope that the Post is going to change course from what theatre criticism has been for the past 100 years, I still am a little worried.

So to those in charge with such a hire, I’m going to ask for a couple of things to consider.

I want a critic who approaches their work with an open mind, sensitivity to diverse voices, and a willingness to engage with the evolving landscape of contemporary theatre would undoubtedly enrich the cultural discourse. I’m done with the Ben Brantley’s and Jesse Green’s of the world. I am definitely done with the Johnny Oleksinski’s.

I want a critic who is going to be fair and balanced and one who considers multiple viewpoints, respects the creative process, and offers constructive criticism that encourages dialogue within the theatrical community.

Having someone who works for such a journalism institution who approaches critiquing a show like this is more important than ever in 2024. From diversity and inclusivity to intersectionality, critics need to offer more nuanced and comprehensive analyses of the work.

I also don’t think it’s a bad idea if the next critic is someone who actually has had experience working in theatre. Their firsthand knowledge of the craft enhances their understanding of production elements, such as acting, directing, and staging, enabling them to offer more informed critiques. Also, having been involved in theatre productions themselves, critics can empathize with the challenges in the creative process. I always thought it was funny that most high school thespians had more theatrical experience than Ben Brantley.

While the theatre criticism industry is overwhelmingly white and cis-male, I won’t go as far to say that the Post must hire a BIPOC candidate, but it would be great to see diversity in such a high profile position.

The role of the theatre critic in 2024 is not merely to pass judgment on productions and I hope that the Washington Post understands that and it reflects in their new hire.