Would you hire a car mechanic who did not know how to drive? This is something I frequently ponder while reading arts criticism. “Do these writers understand the basic components of the thing they’ve been hired to cover?”
I started writing in 2016 ago because I did not care for the uniformed opinions I kept tripping over in criticism. I felt that they were written from perspectives driven more by academic posturing than by any organic understanding or engagement with the work. Here’s a strange fact: few retired performers write about the arts as journalists, meaning that the very people who helped develop their field have little say in how it is discussed or promoted. This is not to suggest that the uninitiated are incapable of contributing worthy insights, just that, if I’m reading about sex, I’d rather hear from someone with actual experience than a virgin.
Prior to transitioning to writing, I devoted my life to performing around the world, collaborating with other artists, teaching students of all levels, and managing productions. Much like child-rearing, performing is a hands-on occupation from which understanding comes by doing.
The best dance and theatre writing that I’ve encountered leaves me bursting with questions and excited to see a show. That is what I hope to inspire in readers: insatiable curiosity. The desire to decide for themselves and to discuss what they have discovered. After reading my words, I hope you come away feeling equally moved.