Newspaper theater critics from various major dailies generally review shows on opening night which, for national touring Broadway productions, typically falls on Tuesday nights. “Most frequently I write the review the following morning, in almost every instance. I go that night and I write it by 10 or 11 the next morning,” explains Jones. “On certain days and in certain circumstances, like for example THE COLOR PURPLE, or very big shows, where there is a competitive need to really get it out there fast, we would do an overnight review. So in that case I write it by midnight.” Zink normally writes his review the following day as well. “What I do and everybody that I know does is, especially if we’ve seen the show before or we know about the show, we insert what we call B-Matter (in advance) which would be the plot, who the cast is - just background information on the show.” He then fills in his thoughts about the production afterward. They both bring a writing pad to the theatre to jot down notes during the production and intermission.

Having a bad pre-show experience can put a damper on anyone’s mood and even theater critics are not immune to long lines or lack of parking. But as a critic, if it’s something that’s just happening to them, then they try their hardest not to be influenced by that experience or let it affect their review. “My job is to represent the audience and if I perceive the audience to be having a bad pre-theater experience then I would consider that fair game to discuss in a review, says Jones. “If it’s some sort of sense that things are awry at the box office or that there’s something that’s affecting people’s experience when they’re paying a lot of money for that experience, then I wouldn’t hesitate to write about that.”

If you’ve ever seen a show that you thoroughly enjoyed but read the theater critic’s review afterward and they hated it, you may wonder if the audience’s reaction during the show ever influences their opinion. Well, it doesn’t according to both Jones and Zink, but it is worth mentioning in their reviews. “I think that in certain circumstances shows can have a visceral response with an audience that you don’t share,” explains Jones. “When you look around and see real paying costumers clearly moved or delighted; in those circumstances I think that is often worth noting, even if you didn’t share it yourself.” Zink adds that “If I’m not having a good time but the audience obviously is, I will point that out.”

Watching Broadway shows for a living is definitely one of the things Jones and Zink appreciate most about being a theater critic. “The best part though is that I’m lucky to have this job in such a city because we have such incredible theater here,” says Jones. “I can’t imagine my life without it – it enriches it so much.” But there can also be a very real downside to being a theater critic. As a Sun-Sentinel writer for the past 35 years, Zink has gotten to know many of the people that his reviews are based on. “I’ve had other critics, movie critics, TV critics and such tell me that they don’t know how they would be able to review people that they know personally,” he explains. “It’s just something that you have to get used to and sometimes you lose friendships over it. But if you’re going to do your job right, that’s part of the price you pay.”

So, what happens if the critics give a show a bad review? Are they bombarded by emails and phone calls from readers who passionately support the show? “There have been times when somebody at the theater will organize an email campaign against the review,” Zink acknowledges. “Threats and the calls that you were ‘drunk’ and etc, etc, etc. It’s a part of the territory. My philosophy has always been that if you can’t take it, you shouldn’t be dishing it out.”

By: Beth Cox