At what point should theatre companies invite critics in to see their work? I ask because almost every day another invitation arrives from a bright new company begging that I come and see their show and assuring me it will be the greatest theatrical experience of my life. Or a PR rings me to tell me of a show by a fledgling company that I really shouldn't miss.
It is entirely understandable that companies want to get recognition for their work at the earliest opportunity, but I also find it curious that before these invitations are despatched so few have entertained the notion that if a critic does pitch up, the review might not be a complete rave. In the last couple of weeks I've seen two shows from interesting young companies who I'm sure will go on to do good work in the future, but whose current shows are still at a stage of development when they might well benefit from being put in front of an audience but not from being put in front of my beady eyes.
The West End preview system recognises this, and so does the National Theatre Studio, where work is presented for an audience of peers but away from the prying eyes of critics. BAC Scratch nights operate on a similar basis. But outside of these structures young companies are often in too much of a hurry to get in reviews without thinking of the consequences. It gives me no pleasure to write a less-than-enthusiastic review and it certainly does a young company no good to have one published.
Of course companies need faith in what they are doing in order to produce anything at all. They also have the right to fail, but it seems like suicide to seek to have your failures sung from the rooftops. Particularly when with time and experience the same company may indeed produce a wonderful show.
There is another point too: at a time when reviewing space comes at a premium, every time a critic sticks out their neck and ventures off the beaten track in search of the new and comes back empty-handed, it makes it harder to justify doing it again. It just exacerbates a situation where we critics follow each other nose to tail around a well-trodden circuit that rarely extends beyond the West End and the major subsidised companies.
With venues so expensive to hire - particularly in London - and most fledgling theatre work being subsidised by dead-end jobs or granny, economics clearly plays a part in this rush to get reviewed. Compared with even five years ago there is more economic pressure to get noticed and moving to a point where project funding applications may be accepted. Even so companies need to think harder and be more self-critical before they start sending out the invites. Your mum might think it's the most fantastic show ever and your best friend may have been moved to tears, but that doesn't mean I will be, because they are doing their job and I will be doing mine.
My advice to companies in this position is to save on the PR budget and instead invite some peers (people you know but who are not friends) and people whose opinion you really value in to see your show and offer an outside eye. Listen to what they have to say, build a relationship with them and at some point, maybe several months or shows down the line, when they say you've got something really special, please do invite me. I'll be delighted to come.
