A big difference between books and theater, as Broadway star Patti LuPone points out in her enlightening and instructive memoir (Crown; 324 pages; $25.99), is the fact that in publishing it takes an accumulation of negative reviews to damn a book; in theater, one review can kill a play overnight.
Here’s one reason: With books, the Internet has ushered in our current era of “the democratization of publishing” in which everybody’s a critic. True, traditional critics at newspapers and magazine may still be influential, but readers give as much or more weight to reviews by bloggers, customers, book clubs and, of course, themselves.
Theater criticism, on the other hand, has remained more parochial and elitist. A handful of trusted reviewers still seems to reign, and among these few, for Broadway shows especially, the New York Times has inordinate power.
LuPone is both victim and victor to this oddly provincial tendency. She has even been doubly damned: Despite her incredible talent and wildly favorable notices in Europe, LuPone has been the subject of hostile critics in New York not just for a few years but for entire decades.
This forced LuPone to re-earn audience regard every time she appeared onstage. For example, thanks to early publicity, tickets for Evita, her first big hit, were sold out so far in advance that LuPone and her co-star Mandy Patinkin had to outlast the sour impact of New York critics who hated her performance. This surprised even LuPone: Continue reading