Review: THE CRITIC and THE REAL INSPECTOR HOUND

"Today, anyone can be a critic -- all one needs is a pen, paper and a well of resentment." This line, stated by Mr. Dangle (John Ahlin) in THE CRITIC, now playing at the Guthrie Theater in Minneapolis, made me laugh out loud, along with most of the other audience members at the opening night performance. It's funny, and perhaps because it's true. Often, one reads criticism and wonders if the author needs a vacation from reviewing.

Both Guthrie Artistic Director Joseph Haj and Jeffrey Hatcher, who adapted the play from the original by Richard Brinsley Sheridan, said in their program notes that bad reviews are the ones that stick with them the most and are essentially the bane of their existences. Hatcher writes, "I know it isn't healthy, but I'm not the only playwright who thinks this. It's one of the reasons we love to write about critics. It's our only revenge." In THE CRITIC and also THE REAL INSPECTOR HOUND (by Tom Stoppard), critics are the targets. The two one-act comedies have little else that tie them together, having been written nearly 200 years apart. In the former, the critic Puff decides to become a playwright (as does another critic, Sneer), and Hatcher writes, "Only one who knows could devise such a hell."

Writing reviews or criticism does not come naturally for me. I much prefer my usual wheelhouse - writing interviews, features and promotional items - but occasionally I'm called upon to review a local production. My day job, my hobbies, friends and my side gig for BroadwayWorld collide and give me much pause when I review a show; first because of those ties that bind and relationships I have, and second, my opinion of a show is simply that - my opinion. And when it differs from what I can hear and see others experiencing in the house, I am lax to share that for all to see.

Recently, a piece in Minnesota Playlist by Sophie Kerman about the lack of female critics in the Twin Cities and how the theatre bloggers are mostly female raised some issues that included whether it's because women are less likely to want to critique and be negative, for various reasons including fear of not being invited back to see other productions. The blogger community representatives that responded in the comments (and whom I know and am associated with) mostly agreed that they see themselves as enthusiasts who wish to promote and share their love of theatre vs. provide critical review (that, and they mostly attend shows they are pretty sure they'll enjoy, though they will point out things that don't work when they seem them). That brings us back to the paid media critics. They seem to be unafraid of the reactions they may stir, and after all, it's their job to provide criticism, good and bad. But it's that bad that sticks with the theatre creators like playwrights, directors and actors (and publicists -- I'll admit to feeling the sting a couple times myself in one of my other roles).

But the relationship between the artists and the critics has waged on for centuries and always will. These days, a critic's words can sting, but don't often cause a show to close the next day. There are very few with that kind of power today. With the wide range of media available, including social, pretty much anyone with a pen, paper, keyboard or iPhone can be a critic.

And so I'll take a stab at giving the good and the bad -- or maybe not as loved -- of the Guthrie's latest effort and hope to maintain my relationships and not hurt any feelings. The two one-act plays are night and day in their approach and style. The talented cast solidly work both sides of intermission. THE CRITIC was delightful and entertaining in every way. Hatcher's adaptation was humorous and just the right mix of the old and new. Stand outs from the excellent cast were Robert Stanton as Mr. Puff and Robert Dorfman as Mr. Sneer. The slapstick of the latter half of the act was a hoot and Set Designer James Noone's rolling waves were great to look at, along with being integral to the joke. Murell Horton's period costumes were rich and vibrant. The leap back to the 1779 aesthetic was a joy to absorb.

THE REAL INSPECTOR HOUND was a jump forward to a more modern day. It started out well with the critics (Robert Stanton as Moon and John Ahlin as Birdboot) and a candy wrapper incident that was all too familiar for any frequent theatre goer. While the acting was good across the board, and the set, costumes and production values were top notch, the story was not as light and fun and (for me) dragged out too long. I was following along fine until the critics became part of the play they were observing and it began repeating from the beginning. I blame it on my linear mind, but I couldn't quite figure out what was happening and the frustration of it made me anxious. This was not a fault of the actors, or probably the director, but the story was not working for me. There, I've said it. I didn't love the second act. But don't hate me for it. It's just one writer's opinion. Take it for what it's worth - if you're a non-linear thinker, you may find the device used to your liking.

All this did give me food for thought about all this talk of theatre criticism and one person's opinion when it comes to the weeks and countless hours a company puts into any given production. Countless people will love it and others will not. That's the beauty of live theatre or any art form.

Overall, this dual one-act evening was a success because THE CRITIC was one of the better shows we've enjoyed at the Guthrie in some time.

THE CRITIC and THE REAL INSPECTOR HOUND play at the Guthrie through March 27 on the McGuire Proscenium Stage. TIckets and info at www.guthrietheater.org.

Photo: Charity Jones as Signora Decollete, John Ahlin as Mr. Dangle and Robert Dorfman as Mr. Sneer in The Critic, written by Richard Brinsley Sheridan, adapted by Jeffrey Hatcher and directed by Michael Kahn. Set design by Jim Noone, costume design by Murell Horton and lighting design by Mark McCullough. February 23-March 27, 2016 on the McGuire Proscenium Stage at the Guthrie Theater, Minneapolis. Photo by Scott Suchman.

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