The American Theatre Critics Association, Inc. is the only national association of professional theatre critics. Our members work for newspapers, magazines, radio, television, and on-line services across the United States. Membership is open to all who review theatre professionally, regularly and with substance for print, electronic or digital media.

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Member Blogroll

Nancy Bishop reviews Chicago theater for and for her own blog.

 Gail Burns in Gail Sez writes about theatre in the Berkshires of western Mass and adjacent areas of Vermont and NY.

Lindsay Christians writes theatre reviews at 77 Square; also arts blog On the Aisle; The Capital Times and Wisconsin State Journal, Madison.

Mike and Laura Clark edit covering all types of theatre in Washington DC, Baltimore, and St. Louis including reviews, interviews, as well as audition and performance calendars.

David Cote blogs, reports on theater and reviews Broadway, Off and Off-Off productions for Time Out New York and

Christine Dolen writes a theater critic’s notes in Drama Queen; and Miami Herald reviews and previews.

Karen D’Souza writes reviews, features and blog for the San Jose Mercury News.

Harry Duke covers theatre throughout the San Francisco Bay Area. His essays and reviews can be found on the For All Events website and in the Sonoma County Gazette.

Randy Gener blogs on arts, culture and world theater in In the Theater of One World.

Michael Grossberg  writes on theater, comedy and the arts in Theater Talk, for the Columbus Dispatch.

Melissa Hall writes theatre reviews for the blog Stage Write. She mainly attends Indianapolis events, but also covers other Midwestern venues when possible.

Jay Handelman writes  News, reviews and opinion for the Sarasota Herald Tribune.


Pam Harbaugh’s blog, Brevard Culture, offers reviews, commentary and links in arts and culture primarily for residents of Brevard County and the Orlando area.  


Lou Harry  writes Lou Harry’s A&E: opinion, debate and discussion on arts and entertainment for the Indianapolis Business Journal.

Brad Hathaway’s “Theater Shelf: CDs, DVDs and Books for the Theater Lover” runs on multiple websites each week. You can find the latest column here: BradHathaway.Com

Bill Hirschman is editor, chief critic and reporter for Florida Theater On Stage.

Chris Jones writes reviews, interviews and commentary for Theater Loop at the Chicago Tribune.

Jack Lyons covers the theatre scene for the Desert Local News. Jack is based in Desert Hot Springs and covers the entire Coachella Valley and the rest of Southern California including select productions in Los Angeles, Pasadena, and San Diego.

Katherine Luck writes news and reviews of theatre in Seattle, Portland, and around the Puget Sound at Pacific NW Theatre.

Jonathan Mandell reviews Broadway, Off-Broadway and independent theater productions, and covers theater for a variety of publications, including Playbill and American Theatre Magazine.  He blogs at New York Theater and Tweets as @NewYorkTheater.

Andrew McGibbon writes Theatre Opinion, News and Information in TheAndyGram, based in NYC.

Kathryn Osenlund reviews Philadelphia theater productions and some New York theater festivals for She also writes for —independent coverage of Philadelphia and arts, and tweets as @theatrendorphin.

Rick Pender edits   The Sondheim Review, a quarterly dedicated to the musical theatre’s foremost composer and lyricist.

Christopher Rawson contributes to OnStage Journal and OnStage podcasts and reviews in the Pittsburgh Post-Gazette.

Wendy Rosenfield covers drama, onstage and off, in Drama Queen and the Philadelphia Inquirer

Michelle F. Solomon is a critic, reviewing professional theater and professional touring productions, for Florida Theater On Stage and

Martha Wade Steketee writes reviews, interviews, and commentary on Broadway, Off Broadway, regional theatre, and film for Urban Excavations in New York City.
Steve Treacy is the primary theatre critic for The Port Townsend Leader. Find his reviews of Pacific Northwest shows at

Tim Treanor  is the Senior Reviewer for DC Theatre Scene, Washington, D.C.

Lauren Yarger  reviews Broadway and OB for Reflections in the Light and reports on pro theatre and arts in Connecticut Arts Connection.


Click to Learn More & Register


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See ATCA International for news of the International Association of Theatre Critics from the ATCA members who represent us there. See also the IATC’s own site and its web journal, Critical Stages (Oct. 2014)



The Clyde Fitch Report 
interviews critics (mainly ATCA members): Misha BersonTerry Teachout; Peter MarksLauren Yarger; Wendy Rosenfield 

HowlRound criticism archive: NYT surveys response to critics, Jason Zinoman on the happy masochism of critics, etc.

Wendy Rosenfield, “Diversity Onstage: A Critical Issue” (Broad Street Review, Feb. 19, 2014)

ATCA’s 2016 annual conference is slated for Philadelphia, April 6-10, 2016. The host hotel is the Marriott Courtyard on Juniper Street, across from City Hall, at $149 a night. Five productions and maybe six! … and much more; details soon.


The 2014 Tony Award for Regional Theater went, on ATCA’s recommendation, to New York’s Signature Theatre — the first time the award has gone to a NYC theater. 

Elsewhere (off)site: for the website of the Drama section of the (British) Critics’ Circle, click here.


{For collected Pull Quotes going back to July, 2012, CLICK HERE.} 

As if he foresaw a future of blogging:
“No man but a blockhead ever wrote, except for money.” — Samuel Johnson, quoted in Boswell’s Life 

Why do it?
“Ultimately, our responsibility is not to the emotional well being of a specific artist.  Our responsibility is to the reader, the art form and our work. In so doing, I believe, we pay the artist respect. Our honesty and standards are an argument that the art they make matters.” — Jason Zinoman, at ATCA/CATF, 2013

* Previous Pull Quotes are ASSEMBLED HERE. 

ATCA members: Send us material for the Members’ Milestones page.

Past Conferences

2014 Weekend Conference
New York City

Humana Festival, Actors Theater of Louisville, April 2-6
; chair, Jonathan Abarbanel.

2013 ANNUAL CONFERENCE, CATF, Shepherdstown, WV, July 17-21 — Details here; Tim Treanor, Chair

Logo by Tim Menees after Honore Daumier

Indianapolis, Indiana
March 21-24, 2013
Lou Harry, Chair


Chicago, June 13-17, 2012
Jonathan Abarbanel, Chair
See ATCA BLOG for short takes


Milwaukee Add-On
Anne Siegel, Chair
June 17-20, 2012

Colorado New Play Summit
Denver Center Theatre Company, Feb 10-12, 2012

Ashland, Oregon July 6-10, 2011
Chris Rawson, Chair 

Logo by Tim Menees after Honore Daumier

Eugene O’Neill Theater Center, Waterford, Conn.
Chris Rawson, Chair 

Playwright and critic

Playwright and two critics

Check out: ATCA Blog — scroll back for accounts of ATCA/Ashland, ATCA/O’Neill, more on the Pulitzer controversy, also from Humana and Denver festivals



Past logos


Fun ‘n Games

Honest-to-Goodness Theater Geek Trivia Contest, Florida Theatre On Stage, Bill Hirschman, ed. (includes links to answers)

Round One.
Round Two


Theater Hall of Fame ceremony: what they had to say

Inductee Sir Trevor Nunn walked around, star struck, looking up at the walls encrusted with names in raised gold Sam Waterston and family members (Aubrey Ruben photo)letters. Sam Waterston accepted induction by saying, “For me, from the start, the theater [as opposed to TV] has always been ‘it.’ … This honor is, as I take it, for sticking to it.” Kristine Nielsen, veteran of many Christopher Durang plays, inducted the absent playwright (laid low by an accident just suffered performing at Yale) with a catalog of all the bitchy, depressive, psychotic and wildly Playwrights Sara Ruhl (left) and Paula Vogel (Aubrey Ruben photo) funny characters he’s given her to play. And in posthumously inducting Martin Pakledinaz, fellow costume designer Susan Hilferty remembered him “at the flea markets, on his bicycle racing through New York.”  

For the fullest available account of the evening, click here.

Perhaps the most affecting presentation speech was by playwright Sara Ruhl, doing the honors for her mentor, playwright Paula Vogel.

On inducting Paul Vogel into the Theater Hall of Fame, by Sara Ruhl

I am humbled and honored to introduce Paula Vogel to the Theater Hall of Fame tonight.

She and her plays are fearlessly playful, fiercely generous, radically inclusive, with a kind of incandescent strength. I love how she creates a modern architecture for grief. How she makes personal loss into something formal; how she laughs at terrible things. How she uses gesture and language; and how language can be a mode of alienation but also a source of solace. How she sees theater as a place for memory, and ghosts. I love her love of populism, and for the way she embeds politics in the personal, and the other way around.

The humanity in her work ultimately eclipses the politics of her work, which in the end, I think, is a radical political act, and changes our culture. How I Learned to Drive changed our culture of silence around sexual abuse. It changed us. It changed us individually, as audiences, and it changed the larger culture. I believe that there is a before How I learned to Drive and an after in our culture of silence. The silence became less deafening. Paula gives us strong guides in her plays, just as she gives her students guidance. How I Learned to Drive begins “sometimes you have tell a story so you can teach a lesson.”  For Paula, narrative and teaching and wisdom are inextricably bound.

And I do need to mention her teaching, because Paula was my teacher, and the only reason I started writing plays. This is a rare opportunity to thank her. (Thank you, Paula.) In the last decade, when you look at who has won the Pulitzer prize—Quiara Hudes, Nilo Cruz, and Lynn Nottage—so many were Paula’s students. But for Paula, I don’t think prizes are the end-point. I think that her end-point is no less than giving audiences and writers permission to be human through the continuance of the play as an art form. She gives us searing language and imagery to help us explain ourselves to ourselves, to stretch our compassion and our complexity.

She is a true original, a giant of the dramatic form. I am grateful for her plays, for her teaching, her friendship, her life, her wife, and for the fact of sharing this earth with her for a little while.