The Reviewer

Actors should pay little attention to reviews. Reviewers and critics can be many things. They can approach a play completely with a non-critical eye. They could have vested interests. They can be lumbering academics. Perhaps they are frustrated writers. They could have an agenda of some kind. Most people have agendas, preferences that they know nothing about. Reviewers hold a lot of power in their hands. Sometimes the conceit that goes with holding a career in one's hands ruins objectivity.

While there are some great reviewers and critics, a lot are not. There is probably not a great actor in North America who has not got a bad review. While, there might be legitimate issues that conspire to wreck an actor's performance, reviewers and critics are not likely to understand those issues. As performance can take in music, dance, theatre, styles and literature, a reviewer needs to be an expert on many disciplines. That is not likely.

One actor I directed in Kingston was given a crushing review. He was misdiagnosed as looking the part but lacking the art, all looks and no talent. The guy was playing Hamlet.

After that he was accepted into Canada's most prestigious theatre school, and of course he went on to play leads at the Stratford Festival and for Mirvish Productions. Another young man I had playing Hamlet, was also criticized as lacking depth and being in love with his costume too much. He again ended up at the same prestigious theatre school and again at The Stratford Festival. In small towns, a reviewer might be forced to write reviews as well as his regular news desk job and of course, such reviewers are bound to be suspect.

Diana Rigg of television's The Avengers wrote a hilarious book called No Stone Unturned, where famous actors in film, television and theatre submitted their worst reviews. Every actor should read that. There's something comforting about getting a bad review and finding yourself in the company of greatness.

Of course, as an actor, you will receive your unearned share of good reviews. Rarely will you get an accurate review. The review that matters most is the one that comes from the audience. You can't get rich pleasing reviewers and critics, while displeasing the audience. Theatre, film and television companies rely on audience numbers to keep their business going. No matter what academics might think, performance in a vacuum is not a performance. It is self-indulgence.

Actor and watcher share their cup of communion through the performance. Film and television companies are always looking for the one actor that can move an audience. So, what a critic or reviewer thinks is relatively immaterial. What the audience thinks is highly material. In fact it is likely detrimental to a performer's career to pander to the critic or reviewer.

Take the audience with you and there are no limits to your progression as a working actor.