Power, Perception, and Professionalism: An Empirical Study of Digital Theatre Criticism in Canada

Abstract

In Canada, over the last two decades, the concurrent demise of print journalism and the rise of the blogosphere have dramatically altered the theatre criticism landscape, a situation that is mirrored in other international theatre markets. While some consider this a period of existential crisis for criticism and an erosion of quality journalism, others see it as a period of vibrant experimentation and democratization, as writers explore new forms of critical expression online and bypass the gatekeeping of traditional editorial processes. Both sides of these debates are concerned with power: who has it, how it is perceived, and where and how it manifests itself in the theatrical blogosphere. As arts organizations reflect on the role they play in upholding white supremacy, prompted by the global anti-racist activism in response to the murder of George Floyd by Minneapolis police, these questions about power in the theatrical blogosphere take on new urgency on an international scale. In this article, we argue that the internet has not democratized theatre criticism: the proliferation of online venues for reviewing, while increasing access for some writers, has not unsettled the power dynamics cemented during the print era of journalism. The few critics who are remunerated for their work and are published on more visible platforms (often, those associated with traditional, print media outlets) remain a homogenous and elite group. Our empirical study of Canadian theatre reviewers further demonstrates that distinctions between professional and amateur critics are not meaningful in this digital age; we propose new, platform-based categories that more accurately reflect the nuanced power dynamics at play within the blogosphere. 1. Megan Vaughan documents pushback against theatre bloggers in her 2020 book Theatre Blogging: The Emergence of a Critical Culture (London: Bloomsbury Methuen Drama), 10.