The passion of the theatre blogs

thepassion

A look back on a good year in the theatrosphere

By Ian Mackenzie and Simon Ogden

Time to put 2008 to bed? Good idea. But not before we take one last look at the year that was in theatre blogging. And what a year it was! From epic online dust-ups to Internet-wide collaborations, here’s our list of last year’s greatest moments in theatre blogging:

The Empty Spaces’ Or, How Theatre Failed America.
The American monologuist Mike Daisey’s scathing editorial for the Seattle-based The Stranger newspaper argues that American theatre has been irreversibly damaged at the hands of corporate commodification. It quickly becomes the most widely discussed theatre essay of February.

The Great ‘Value of theatre’ Debate.
For one day in March, the Ohio-based blogger Matt Slaybaugh of TheatreForté organized a theatrosphere-wide discussion to answer one simple question: ‘What is the value of theatre?‘ More than 32 different blogs from around the world weighed in on the topic that day, and yet surprisingly few common themes emerged. That theatre’s online diarists could not reduce the craft to tidy soundbites is welcome evidence of the art form’s complexity.

The SummerWorks ‘Expression’ video controversy.
The Toronto-based SummerWorks Theatre Festival promo video depicts some of the city’s most highly regarded women playwrights acting like bimbo valley girls, up-talking and saying ‘like’ a lot. ‘Expression‘ sparked an all-out brawl among Toronto’s theatrical intelligentsia. Some called it demeaning, some called it transgressive, others called it smart marketing. But no one called it late for dinner.

Professor Scott Walters ‘retires’ from theatre blogging.
After a lengthy monologue explaining his Tribes model of running a theatre company, and some highly personal bare-knuckle scrapping in his comments section, the resident professor of the theatrosphere calls it quits again in May. He’s back posting within a couple of days; posts sporadically for a few months; and then officially reboots his blog again earlier this week.

The proliferation of the Canadian theatre blogs.
Although theatre blogging exploded in the U.S. a couple of years earlier, 2008 was the year theatre blogging officially took flight in Canada. Here’s a quick, incomplete survey of the current landscape:

And the list keeps growing. Thankfully.

Canadian artists rally online over $45 million goverments arts cuts.
The Canadian arts community unites against Stephen Harper’s Conservative government following its controversial $45 million cuts to Canadian arts programs; sets the national theatrosphere ablaze, including dozens of reprints of playwright Wadji Mouawad’s scathing response to Harper and the birth of the arts advocacy group Department of Culture.

Content is king for a day.
Well, several days actually, after Tony Adams drops a post called ‘Content‘ in which he wonders aloud why no one on the Internet ever discusses the content of their shows. The topic has legs.

The age of the guest post.
Theatre is territory and its west coast sister blog The Next Stage host a series of guest posts that help inspire their writers to think outside the blog:

Don Hall gets divorced.
The usually irascible Don Hall blogs about the dissolution of his marriage, morphing the normally incendiary Angry White Guy in Chicago blog into a tender and affecting piece of Internet theatre.

The Globe and Mail gets its theatre blog on.
After showing all of England how to theatre blog (by founding the Guardian UK’s theatre blog roundup Noises off), J. Kelly Nestruck returns home to Canada to fill the prestigious national theatre critic slot at the Globe and Mail. He promptly starts a Globe theatre blog, Nestruck on theatre, and seals the deal on theatre blogging’s legitimacy in Canada.

Canadian theatre critics invite unprecedented dialogue with artists.
Notorious Vancouver theatre critic Colin Thomas challenges theatre artists to change their status quo and engage him directly about his opinions online – none do (yet). J. Kelly Nestruck does likewise.

How Mike Daisey failed American Theatre.
‘The Daisey’ goes head-to-head with American Theatre Magazine.

The theatroshpere unites to say goodbye to Harold Pinter.
Legendary American playwright shuffles off his mortal coil and goes on to join the choir invisible; the chorus of the theatrosphere sings his praises down here.


Well, it’s clear that our list could be twice as long and still wildly incomplete. Lest we forget Isaac Butler’s oddball Hair Blogging, George Hunka’s syllable-heavy Organum series, Matt Freeman’s awesome Star Wars fixation, Nick Keenan’s constant innovations, James Comtois’ horror film posts, Leonard Jacob’s prolific flamboyance, Paul Rekk’s island of insight, Adam Thurman’s paradoxical mission, those anonymous ponderings at 99Seats, Travis Bedard’s extreme connectedness, Alison Broverman’s fashionista quipping, Chris Wilkinson’s succinct reporting of the whole fine mess . . . oh theatrosphere, we hardly know you and yet we bleed for your love.

Suffice to say, 2008 was the year that many will remember as the year theatre finally made a successful transition to digital.

You can also find this here.

10 thoughts on “The passion of the theatre blogs

  1. Oops, sorry mate, that was a coding error. Fixed. But on the other hand, we would never have found the Righteousness Journal otherwise!

  2. Pingback: Three Can’t Miss Retrospectives | Theater For The Future

  3. Thanks Dennis, me too. Did you change the URL of your blog recently? I think I’ve been missing your updates.

    I wonder if Twitter is perhaps a gateway drug into blogging? I’ve talked to a few theatre types who say they are getting into the whole internet communication thing through the relative ease of twitter, that it’s helping them to develop their ‘voice’.

    I hope so. For as much use as twitter may be, the discussion that need to take place about theatre certainly require more than short bursts of chatter…

  4. Great post Simon & Ian.

    Twitter was certainly a launching point for me to start blogging, though I had been reading theatre blogs for many months before delving into either medium.

    I do see Twitter as having the potential for a large impact over 2009 as theatre artists from around the world are starting to converse on a more frequent basis.

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