The ongoing conversation around responsible arts journalism took center stage this week, sparked by reader responses to recent American Theatre coverage of Palestinian theatre and a profile of veteran actress Lois Smith. A letter published by the magazine highlighted a critical debate: how to navigate the use of politically charged language – specifically the term “genocide” – when reporting on artistic expression emerging from conflict zones. Simultaneously, praise poured in for a recent interview with Smith, lauded for its depth and insight into a remarkable career.
Paul Epner, writing from Chicago, commended American Theatre for its continued attention to Palestinian artists working under duress, stating they “deserve attention, empathy, and serious engagement from the global artistic community.” However, Epner raised concerns about the editorial framing of the January 23rd article, “Theatre in a Time of Genocide: Palestinian Imagination Under Fire.” He argued that employing legally and politically contested terms without clear attribution or contextualization risks shifting the focus from the art itself to broader geopolitical debates.
Epner’s core argument centers on the importance of editorial calibration. He suggests that while opinion writing rightfully reflects an author’s convictions, language with significant legal and historical weight benefits from explicit framing to signal interpretation rather than established fact. This approach, he believes, would strengthen the article’s focus on artistic experience and preserve a “pluralistic space” for dialogue within the theatre community. He emphasized that careful language use is crucial in a field that “prides itself on fostering encounter across difference,” ensuring passionate testimony invites reflection rather than shutting down conversation.
A Legacy of Palestinian Theatre
The debate underscores the complex role of arts journalism in covering conflict. ASHTAR Theatre, a Palestinian non-governmental organization established in 1991, exemplifies the challenges and resilience of artists working in politically fraught environments. Founded in Jerusalem by Edward Muallem and Iman Aoun, ASHTAR Theatre is now based in Ramallah and focuses on drama education, community engagement, and theatrical productions. It was the first theatre training organization for youth in Palestine, according to Wikipedia.
ASHTAR Theatre is a member of both the Palestinian Performing Arts Network and the Anna Lindh Foundation, demonstrating its commitment to regional and international collaboration. The organization’s website, ashtar-theatre.org, currently features downloadable resources including “Letters to Gaza” and “The Gaza Monologues,” highlighting its dedication to documenting and amplifying Palestinian voices. The organization also supports itself through platforms like Global Giving and Patreon.
Celebrating Lois Smith’s Enduring Career
Shifting from critical analysis to heartfelt appreciation, readers also shared enthusiastic responses to a recent profile of actress Lois Smith. Susan Gold, a former New Yorker and self-described New York Times devotee, declared the interview, “Lois Smith and the Work That Endures” by Lyndsey Bourne, “one of the best interviews with a person in the arts…that I’ve ever read!”
Paul M. Barnes echoed this sentiment, urging fans to seek out Paul Mazursky’s 1979 film, Next Stop, Greenwich Village, to witness Smith’s “superb work” within a poignant portrayal of young actors navigating life and ambition in New York City. Barnes noted the film’s ability to capture “eloquently, hilariously, movingly a specific time and place.”
The Quest for Accessible Playscripts
A third letter, from Chambers Stevens in Los Angeles, highlighted a common frustration for theatre enthusiasts: the difficulty of accessing new playscripts. Stevens praised a recent American Theatre article, “Jonathan Norton’s Moments of Change,” but lamented the scarcity of readily available scripts for Norton’s work. Stevens contrasted the American experience with the British theatre scene, where plays are often published on opening night, and expressed hope for increased accessibility to contemporary American playwrights.
These letters collectively demonstrate the multifaceted concerns and passions within the theatre community. From debates over responsible reporting to celebrations of artistic achievement and calls for greater access to new work, the exchange underscores the vital role of arts journalism in fostering critical dialogue and supporting the creative ecosystem.
American Theatre continues to solicit reader feedback and encourages ongoing conversation about the issues raised in these letters. The magazine’s next quarterly print issue, available to members of the Theatre Communications Group (TCG), will feature further coverage of contemporary theatre and the challenges facing artists today.
Share your thoughts on these issues and the future of theatre journalism in the comments below.
