‘Valentine’ Review

I don’t believe I have ever written to any newspaper about a review of any production I have directed, or any production produced by my own organization before. I don’t think it is possible to do so without sounding like “sour grapes,” and often, in the heat of the moment, one can do more harm than good, lending some credence to the offending review in question.

But Don Shirley’s recent review of Craig Noel’s production of “Shirley Valentine” at the Cassius Carter Center Stage, (“Shirley at the Globe Can’t Top the Film,” March 16) seems so utterly lacking in responsibility that I would be remiss if I did not respond to it.

It is not that Mr. Shirley complained about the production or, indeed, the performance of associate artist Katherine McGrath in the title role. In fact, he had genuinely positive things to say about both. The issue for Mr. Shirley seemed to be the fact that one pays more for a ticket to this performance than the cost of renting a cassette of the movie or, indeed, the cost of a movie per se.

What are we in the theater or, indeed, in any of the performing arts to make of this as a basis for valid criticism? That renting a movie is in any way comparable to attending a live performance? Or that faced with a choice, the “cheaper” choice is the preferable one?

There is no mention in this review of the fact that Willy Russell’s play was conceived as a vehicle for one woman to perform on stage, or that the actress who originated the part won both the Oliver Award in London and the Tony Award in New York for her extraordinary accomplishment. The fact remains that this play is far more celebrated as a stage event than its modest success as a film would suggest. Is there not, perhaps, some reason for this?

Consider the consequences of this kind of critical response. Films of “Hamlet” and “Henry V” also exist. Shall we simply suspend our attempts to produce these classics now that they have been preserved on film? After all, how could we compete with the likes of Mel Gibson or Kenneth Branaugh. And it’s so much cheaper to rent the videos!

We in the arts fight every day of our lives for both credibility and our survival. We do not look to our critics for unilateral raves, nor do we complain when we do not earn them. But if the critics do not at least support the act of live performance, they too may find themselves looking elsewhere for employment when a theater so easily dismissed ceases to function.

JACK O’BRIEN, Artistic Director, Old Globe Theatre, San Diego