Editorial Concerns & Reader Responses | American Theatre Magazine

A recent exchange in the letters section of American Theatre magazine sparked a conversation about editorial framing, artistic expression, and the complexities of language when discussing politically charged subjects. The discussion, prompted by a January article focusing on Palestinian theatre, also included heartfelt praise for veteran actress Lois Smith and a lament over the accessibility of contemporary play scripts.

Navigating “Genocide” in Arts Criticism

Paul Epner, writing from Chicago, commended American Theatre for continuing to spotlight artists working in extraordinarily difficult circumstances, specifically Palestinian theatremakers. He expressed gratitude for the publication’s attention to their perform, emphasizing the demand for empathy and engagement from the global artistic community. However, Epner’s core concern centered on the editorial use of the term “genocide” within the January article, “Theatre in a Time of Genocide: Palestinian Imagination Under Fire.”

Epner argued that presenting legally and politically contested terms without contextual qualification or attribution can inadvertently shift the focus from the artistic work itself to broader geopolitical debates. He acknowledged the right of authors to express strong convictions but suggested that language with significant legal and historical weight benefits from explicit framing to indicate it represents an interpretation rather than established fact. This isn’t about silencing voices, he implied, but about maintaining a space for nuanced discussion within the arts.

The core of Epner’s argument rests on the idea that careful editorial calibration is crucial for fostering encounter across differences. He believes that distinguishing between artistic perspective and institutional voice—particularly when dealing with emotionally charged language—can help ensure passionate testimony invites reflection rather than shutting down dialogue. This echoes ongoing debates within arts journalism about the role of objectivity versus advocacy, and the responsibility of publications to present complex issues with sensitivity and precision.

A Standing Ovation for Lois Smith

Shifting gears dramatically, the letters also featured effusive praise for a recent profile of actress Lois Smith. Susan Gold simply declared the interview, “Lois Smith and the Work That Endures” by Lyndsey Bourne, “one of the best interviews…that I’ve ever read!” Gold, a self-described former New Yorker and New York Times devotee, offered a succinct but powerful endorsement of Bourne’s work.

This sentiment was echoed by Paul M. Barnes, who used the opportunity to recommend Paul Mazursky’s 1969 film, Next Stop, Greenwich Village, highlighting Smith’s “superb work” in the film. Barnes described the movie as a poignant and humorous portrayal of young actors striving to create their mark in New York City, particularly recommending it to fans of Smith’s extensive career. Smith’s career spans decades and includes notable roles in film, television, and theatre, earning her critical acclaim and a dedicated following. She received a lifetime achievement award from the Film Society of Lincoln Center in 2023, cementing her status as a respected figure in American cinema. Film Society of Lincoln Center

The Playwright’s Accessibility Problem

A third letter, from Chambers Stevens in Los Angeles, addressed a common frustration for theatre enthusiasts: the difficulty of accessing contemporary play scripts. Stevens praised Jonathan Norton’s work, referencing a recent American Theatre article, “Jonathan Norton’s Moments of Change,” but lamented the fact that his plays are not readily available for purchase. Stevens recounted a week-long search to finally locate a single Norton play, highlighting a disparity between the American and British publishing landscapes, where plays are often published on opening night.

This issue speaks to a broader challenge within the American theatre ecosystem: the limited availability of published scripts, particularly for emerging playwrights and works by artists of color. While Samuel French (now Concord Theatricals) and Dramatists Play Service remain major publishers, the process of getting a play published can be lengthy and competitive. The lack of readily available scripts hinders educational opportunities, limits the ability of regional theatres to program diverse works, and ultimately restricts the reach of contemporary playwrights. Norton’s work, which often explores themes of race, identity, and social justice, is particularly relevant in this context. He is a recipient of the 2024 Terrence McNally Prize, recognizing his contributions to American theatre. American Theatre

Ashtar Theatre’s Ongoing Work

The initial letter from Paul Epner, focusing on Palestinian theatre, indirectly highlights the work of organizations like ASHTAR Theatre. Based in Ramallah, ASHTAR Theatre is a Palestinian non-governmental organization established in 1991, dedicated to drama education, community engagement, and theatrical production. Ashtar Theatre According to their website, they offer training programs and produce works like “Letters to Gaza” and “The Gaza Monologues,” providing a platform for Palestinian voices and experiences. The organization is a member of the Palestinian Performing Arts Network and the Anna Lindh Foundation, demonstrating its commitment to regional and international collaboration.

The challenges faced by Palestinian artists, as alluded to in the American Theatre article, are significant. Restrictions on movement, limited resources, and the ongoing political conflict create a complex environment for artistic creation and dissemination. Organizations like ASHTAR Theatre play a vital role in preserving cultural expression and providing opportunities for Palestinian artists to share their stories with the world.

American Theatre’s continued coverage of these issues, and the thoughtful responses from its readership, underscores the importance of arts journalism in fostering dialogue and promoting understanding in a complex and often divided world.