OnStage Blog: Chris Jones’ opinion column for the Chicago Tribune on April 22, 2021, titled “Broadway’s capitalist model isn’t perfect, but here’s why it works, and what can be fixed” brought strong criticism, critique, and anger from theatre workers both in Chicago, on Broadway, and nationally.
10 comments:
I really don't understand why theater critics feel the need to comment on a machine they don't know the half of. Theater critics who have not spent nearly enough time working in professional theater, or no time at all, should not be commenting on the working conditions and rights of the people who are at the mercy of the critics, in a way. I took an art history class where we considered what in the art world gets attention, and why that is. It basically all has to do with the critics. The rich, white, male critics support the art made by white men. When it comes to theater, and what a white man thinks can mean whether you run for another couple of years or only for another couple of months, that elite group can be very harmful. The critics have the power in theater, and when people critique the theater industry for it's inequity, they feel that they need to fight back, because inequity is the cycle that keeps them in power.
This article goes in depth on Chris Jones’ history up to this point as a theater critic– filled with gross bias towards privilege and power in the theater industry. Aka, rich white men making bank on Broadway. But everyone else? They are apparently fueled by envy and elitism or seeking indulgence as people work for better work conditions and a more equitable field, according to Chris Jones. As Jem discussed in a prior comment, this article speaks to how much power theater critics have in theater– it needs to change. Especially with people like Jones and the rich white male critics who support the male-created content the most, the system is often the make or break point for projects. This cycle of inequity needs to come to an end, starting with these types of comments and articles from critics. I would highly recommend anyone and everyone giving this article a read!
I wasn't aware of the detrimental effect theatre critics' elitist and uninformed views could cause in the industry. I find it interestingly entertaining that he believes that lobbying for equality and better labor conditions is "fueled by envy or elitism." I can't imagine an argument he could legitimately make that would back that claim. Oftentimes in theatre, I have found myself overworked while being told that that's just how it is and it's part of the job. I feel like every person I know can relate to being told that at least once if not constantly. For most of my high school career, I was taught that not prioritizing the show over our personal lives or mental health was selfish or wrong or demonstrated a lack of commitment to the process, cast, and crew. Knowing that critics who are supposed to support safer, more understanding, and equitable working conditions and positions is so upsetting. The work that is currently being done to create equal opportunity for BIPOC members of our community and create better labor conditions for all shouldn't be torn at by critics that have never experienced truly being in those positions for themselves.
I have to admit that I did not finish reading this article as I got most of the way through and got very angry. Why is it possible for someone to make a living, and an apparently especially successful career, being a professional critic for a profession that they obviously don't think is legitimate or support in any way. I hate this. It makes me so upset that such an influential person could have that much power to profess such horrible things about the industry I love to the general public who would not know him to be wrong. Of course the people in the industry were enraged by his column. It tore apart the practices that they are fighting so hard for. The Labor practices, Diversity Equity and inclusion practices, or any other practice should not be seriously criticized by people who have never been in the position to be affected by the same practices. I will now only be listening to critic who have been a part of the theatre industry in some way.
Man, I don't know how to tell you you should care about other people, and capitalism simply is not the way about it. Oh, having a safe and equitable working environment is "anti-capitalist?" Cannot emphasize how full of shit that sounds. If something that's supposed to better people's lives is anti-capitalist and you somehow think that's bad, well I got news for you buddy. Our current capitalist model Does Not Work. Chris Jones's type of thinking is the perfect intersection of just about every type of bigotry, which American capitalism continually perpetuates and has been proven time and time again to perpetuate. If safety and diversity and inclusion is "anti-capitalist," then he's really just saying capitalism serves the cis, white, straight, rich men. He would not be wrong, because it totally marginalizes everyone else, and that is exactly why this capitalist model does not, in fact, work.
This guy really makes me mad. The first thing that set me off was how he insulted non-profit theatre workers, saying they are self indulgent and don't know how good they have it, but then "he “marvel[ed] at the sheer cruelty” of the public outcry and felt victim to personal attack for his work and livelihood" as if he isn't insulting the work and livelihood of theatre artists who are barely scraping by in a capitalist industry. This might be a hot take, but the only people who truly support capitalism are those who benefit from it. It is notoriously and historically difficult for artists to make a suitable living because the world values profit over everything else. I appreciate the author of this article and their view on Chris Jones' work, stating "Instead, it has defended and legitimized power structures within the industry to the great detriment of the workers with the least power." Defending Broadway as a corporation, and defending artists who work on Broadway, are two very different things.
Considering I responded to the original article in a previous week, it is great to see such a powerful response. I too am of the opinion that the article published was misinformed and confusing, not to mention damaging, and I am glad that that was more or less the universal sentiment. Although it is good that people are speaking up against the message of this article, it is still discouraging to know that the article still stands, and to those not tuned into the situation, all they see is information promoting the current system coming from somebody that is versed In theatrical journalism. At first glance, he seems responsible to deliver the content described in the article, despite the obvious public backlash. As it stands now, the article is still up, and it just goes to show how much power some journalists have in upholding not only the elitist system within the journalism industry, but the theater industry as well.
This is my first time hearing about Chris Jones and his criticism 'opinion' pieces in the Chicago Tribune, but this article that lists all of the poor comments he has left on the theater world kept making me laugh. It seems to me that he is an ignorant theatre critic who does not factor in all of the evidence when he makes his critiques. Rather than critiquing, he resorts to insulting hard working people such as in non-profits and simply just saying the wrong things. The article mentions that Chris Jones probably wasn't expecting the backlash he got on his opinion piece, but I disagree. With bigotry capitalistic comments like his, where he is inserting his opinions on machinery that he has no knowledge of, he knew exactly what was coming for him. It amazes me that the Chicago Tribune continues to publish pieces by a writer who clearly does not do research into the things he comments on.
Yes, I’m so glad people are speaking out against Chris Jones. I do not understand what he thought he was doing defending Capitalism like it needs another critic to defend from the evil Marxist theater makers. He comes off like those dudebros who feel the need to defend Elon Musk because he’s going to get us to Mars, like he doesn’t profit from the labor of overworked engineers and scientists while not actually doing anything himself besides sending stupid tweets. This article does a fantastic job of going point by point and refuting everything he said. The fact that Chris Jones teaches at a prestigious institution like The Theater School at DePaul University is bewildering. Its one thing to be privileged and ignorant about your biases. However, these kinds of article show a pervasive pattern of behavior of not educating himself, spouting nonsense, and then getting defensive when he’s rightfully called out for his words.
I think it’s rather ironic that a critic would feel “victim to personal attack” when others are… critiquing him. If Jones is under the impression that he’s “defending the people who work for Broadway,” who does he think he’s defending?! How many Broadway workers have advocated for what he’s expressing in this article? Stating “you don’t work at the ballet for money” is unbelievably ridiculous because it suggests that people choose their profession based on what their salary will be, AND that when artists chose to be artists they chose to be broke. What person goes into a career hoping that they’ll be struggling financially for the rest of their lives? No one. I understand why theatre workers were so outraged by his response- it’s entirely out of touch, ignorant, and rude. Chris Jones damages all of the activism and movements fighting for change when he says things like this. He can ruin years of hard work by entire communities. You’d think he’d be more careful with his words.
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