ATCA

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 any writer who regularly publishes substantive pieces reviewing or otherwise critically covering theater.

Learn more

Join ATCA

  

Join Us on Twitter: @theatre_critics and @atca_member
Member Blogroll
David Dow Bentley III is the thepeoplescritic.com, which can also be read at the Houston Chronicle and broadwaystars.com.

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

Lindsay Christians is a full-time arts and food writer for The Capitol Times in Madison, Wis., where she has written theater reviews since 2008.

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

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.

Sandi Durell is publisher, editor, and a critic at Theater Pizzazz which covers Broadway, Off-Broadway and Off-Off-Broadway theater, including openings, red carpets events, and interviews.

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

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.

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.

Aaron Krause is the editor of Theatrecriticism.com, founded by Alan Smason (Steppin’ Out, WYES-TV), which offers original theatre reviews and republishes current critical print works online.

David Lefkowitz publishes the theater website TotalTheater.com, co-publishes the theater journal Performing Arts Insider, and reviews on his weekly radio show, Dave’s Gone By.

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 www.curtainup.com. She also writes for www.Phindie.com —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 is the senior critic (part-time) for the Pittsburgh Post-Gazette and also appears regularly on KDKA-TV.

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 miamiartzine.com.

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 ptleader.com.

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

 

 

 ATCA’s 2018 annual conference will be held July 10-15, 2018 at American Players Theatre, a classical repertory company in Spring Green, west of Madison, Wisconsin. ATCA members and guests can register here. 

There will be a 2018 New York Weekend Conference, Nov. 2 - 4, 2018. Details to follow.


 

 

For the full text of each Milestone, click on the name; for all these and previous Milestones together, CLICK HERE. They are listed in the order (latest on top) they appeared in the weekly ATCA UPDATE.

 

CHRIS RAWSON, Pittsburgh, PA, is hustling around the country playing catch-up, presenting the August Wilson American Century Cycle Award to theaters that have qualified.

RUSSELL WARNE
, Provo, UT, has just welcomed his second son into what he hopes will be a lifetime of loving theater.
 

.
ERICA MINER, Edmonds, WA, has just published Murder in the Pit, a murder mystery at the Santa Fe Opera.

KAREN TOPHAM, Chicago, is actively seeking theatre critics from around the country to become part of the expanded edition of her website, ChicagoOnStage.com. Contact her here.

 

For full text of these and previous Milestones, CLICK HERE.

Do you have a Milestone to share? Member Milestones are generally for Transitions (new jobs, retirements), Achievements (awards, honors), Publications (books, TV specials) and Memorials (obituaries). Write a paragraph and send it here. Include a Twitter address in the paragraph so we can give it wider notice. 

 

 

After more than 33 years and (by her count) 13,000 reviews, the long-standing Chicago theater and arts critic Hedy Weiss has been let go by the Chicago Sun-Times. Reporting in the competing Chicago Tribune, Chris Jones writes that the sometimes controversial critic “fit into the decades-long Chicago tradition of powerful, hard-working and famously independent women writing about the arts, without compromise or apology.” Read Jones here. Here, the Chicago Business Journal reports. Weiss delivered ATCA’s 2015 Perspectives in Criticism talk in New Orleans: click for an audio recording.

As others see us: Amanda Peet on being devastated by a NY Times review and going cold turkey on reviews thereafter, click here.  

Martha Steketee’s accumulating interviews of critics for The Clyde Fitch Report (click for index).

   

 

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 (just [2017] handsomely redesigned) and its web journal, Critical Stages, where the current issue deals at length with Contemporary African Drama and Theatre.

 

 

 

 

The 2017 Tony Award for Regional Theater went, on ATCA’s recommendation, to the Dallas Theater Center in Texas.
 
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.} 

I “believe in culture as a social justice and social change project, which requires not just looking at how ‘good’ a performance is, but at what it does in the world.” — Jill S. Dolan, critic for “The Feminist Spectator” (Princeton University, Dean of the College).

“The Internet allows an avalanche of opinion for infinite sources, many of them rubbish, mean-spirited and lazy. But there’s some terrific writing out there too, and best of all there are so many new ways of reviewing.” — Frank Rizzo, 33 years as Hartford Courant critic, now writes for Variety and many more.

* Previous Pull Quotes are ASSEMBLED HERE 


Past Conferences

.

New York Weekend Conference, November 3, 4 and 5, 2017. Details. 

.

San Francisco annual conference, 2017

  

 .

NYC weekend conference, 2016 (for reports and details, scroll down central column)



2016 annual conference in Philadelphia, April 6-10.

Some coverage: day one, day two, day three-A, day three-B, day four, day five. Full schedule here

.  
2015 NYC Weekend Conference
Sherry Eaker & Ira Bilowit, chairs

 

2015 New Orleans Conference 
Alan Smason, chair 

 

2014 Weekend Conference
New York City
 

2014 ANNUAL CONFERENCE
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

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

2012 ANNUAL CONFERENCE

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

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

 .

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

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

Logo by Tim Menees after Honore Daumier

2010 ANNUAL CONFERENCE
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 event logos

 

 

(above) Sarasota, 2009. 

 

.

 

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

Tuesday
Apr172018

Glenn Meredith Loney (1928-2018)

Glenn Loney, a Renaissance man of arts journalism who interviewed hundreds of major artists of the 20th Century around the world and across genres, died April 16, at his home in New York City at age 89 after battling brain and lung cancer for a year.

His lifetime as a critic and feature writer spanned nearly every art form with articles, books, and photojournalism.  His writing appeared in scores of publications from the New York Times to Opera News, and he launched three venues himself including Theatre Crafts.

 “Theater was his passion, and he considered opera to be theater and dance to be theater as well,” said his colleague and close friend Scott Bennett. “He was an extraordinary man.”

According to Bennett, Loney forged close friendships with dozens of theater luminaries like Bertolt Brecht, Gwen Verdon, Gerald Schoenfeld, and Hal Prince. He would mention their names as casually in conversations the way most people would refer to their neighbors.

Ingmar Bergman repeatedly flew him to his movie sets for professional interviews, and then kept him for extended personal conversations. So strong was his reputation that when he was late returning between acts at Angels in America this spring, management held the curtain for him without anyone asking.

In his later years, Loney was a walking, talking history of western culture, especially theater, opera and the visual arts. His fellow members of the American Theatre Critics Association (ATCA) knew the voluble raconteur for his bottomless storehouse of lengthy stories borne out of an encyclopedic knowledge gathered from personal experience and shared at the slightest encouragement in a high-pitched, scratchy voice. Younger colleagues bemused by his loquaciousness rarely realized the breadth and depth of his knowledge and accomplishments.

That depth is reflected in his stockpile of uncounted taped interviews, photos and reams of notes from interactions with such icons of the theatre as Edward Albee, Lillian Hellman, Arthur Miller, Morris Carnovsky, Katharine Cornell, and John Gielgud. “There are two banker boxes filled with cassettes that we need to transcribe,” said Bennett.

Loney’s massive resume in 2006 listed more than 1,000 magazine and journal articles, 530 reviews, seven books, six unpublished plays, two detailed show program notes, editing or contributions to 22 books, and 39 in-depth interviews for Cue magazine. Among the books is a two-volume 20th Century Theatre, a day-by-day chronology of American, British, and Canadian Theatre activity from 1900 to 1980.

Some of his more unusual projects included touring the United States to report on all the outdoor historical dramas, interviewing the artists and technicians of productions like Ringling Brothers/Barnum-Bailey Circus. He once studied every Shakespeare festival in North America.

He was as fascinated with the design aspects of theater as much as the dramaturgical facets. Before his death, Loney, working with Bennett, arranged to endow a prize, to be administered through ATCA, to give a significant cash award to a regional theater for outstanding design elements of a specific production. The details of the prize were being fine-tuned during consultations with him over the past year.

A true testimony to his obsession with the visual survives in hundreds of thousands of photographs he took on his many trips to Europe, Asia, Africa, indeed, anywhere he went. Colleagues often smiled at how he lagged behind on any tours of regional theaters and local landmarks, taking scores and scores of photographs of anything that moved or didn’t.

Loney had a simultaneous career as an educator, a profession he usually cited first when introducing himself. He was a Professor Emeritus of Theatre at the City University of New York Graduate Center and had taught at Brooklyn College, Hofstra University, Adelphi University, San Francisco State College, the University of Nevada Southern and the University of Maryland.

In addition to his longtime ATCA membership, Loney was a historian for the Outer Critics Circle and nominator for its annual awards, and a member of the Drama Desk, the International Association of Theatre Critics, the Dance Critics Association, the Theatre Historical Society, the American Society for Theatre Research, the Music Critics Association of North America, a member of the Municipal Art Society in New York and a nominator for the Society’s Brendan Gill Prize.

Glenn Meredith Loney was born on Christmas Eve in 1928 in the Mother Lode region of California, a state he championed throughout his life as a historic preservationist.

Even as a teenager, he pursued journalism and public speaking, garnering awards and outstanding grades. His love for theater (and journalism and photography) was cemented while studying for a bachelor’s degree at the University of California at Berkeley and studying for a master’s degree at the University of Wisconsin at Madison where his thesis focused on Edith Sitwell. He earned his Ph.D. in Theatre History and Dramatic Literature at Stanford University with a dissertation titled “Dramatisations of Popular American Novels: 1900-1917.” During this research, he discovered Edith Wharton and Clyde Fitch’s lost scripts for the play The House of Mirth.

After Army service during the Korean War, he was hired to lecture by the University of Maryland Overseas in 1956 and re-established a Maryland theater in Saudi Arabia. Loney taught “Classical Drama in Translation” in Greece to U.S. embassy and armed forces personnel, later being invited to teach with the famed Greek actress Katina Paxinou.

He embraced some technology including creating university-supported television shows and writing scripts for a weekly radio series about cultural and social news from Germany.

His accumulation of arts memorabilia, tapes, and notes is almost boundless and is being preserved for the future. Some 135 linear shelf-feet of files are with the University of California at Davis, additional records are at University of California at Berkeley, and his research related to choreographer Jack Cole is at the University of California, Los Angeles. Additional research material is held at the Philadelphia Public Library, his material about graphic and spatial arts at the University of the Arts in Philadelphia, and his rare art and reference books are at the library at the Frick Museum, the Brooklyn Museum of Art, and the Morgan Library. 

Additionally, there are myriad papers, books, notes, recordings and other data in his apartment that Bennett hopes to catalog, digitize, and make available online including a file of 15th and 16th-century woodcuts, 1950s photos of German concentration camps, and two books purportedly printed by Gutenberg.

Loney, who was adopted, has no surviving blood relatives. No services will be held at his request. 

Additional profiles are available at nytheatre-wire.com and gc.cuny.edu

– Wm. F. Hirschman