“I just got fired from The Georgia Straight,” Colin Thomas (arguably one of the most thoughtful, thorny, and experienced critics in the Vancouver theatre scene) wrote on his blog yesterday morning, “Thirty years. No warning. No compensation.” While Thomas’ higher-ups at the Straight seemed reluctant to give any particulars as to WHY his theatre review services would no longer be needed at the weekly arts and culture paper where Thomas’ writing was the keystone of their theatre section, the feedback he reports to have received hints at a couple of things:
- There is pressure at the paper to “find fresh ways to do things” (this is usually a euphemism for “find ways to make more money).
- Thomas’ critical reviews, much appreciated by the Vancouver theatre world, have been considered, well, too critical.
This news comes just as I am learning that Maclean’s Magazine (a respected Canadian news magazine to which I have a print subscription) will switch from a weekly print edition to a monthly one. (Meanwhile, Rogers Media, which owns Maclean’s, will keep its low-res, poorly composited entertainment rag Hello! Canada as a weekly publication). Whoever heard of a news magazine that only prints monthly?! Sure, new digital content will be available online each week, but it’s just not the same. The internet is opinion. The internet is this blog post and this blog and the millions of other blogs where people with something to say and time to say it hammer it out every once in a while. The print edition of Maclean’s is, for the most part, a well-researched, thoughtful, and balanced publication. It is not a blog post. It is a goddamn Canadian institution.
News of Thomas’ ouster also comes as Nick Mount, U of Toronto professor and also (former) editor of fiction at high-brow Canadian magazine The Walrus quits his post over the magazine’s push for more “family-friendly” content in its fiction section. The f*ck? Um….are children reading The Walrus? Are people really worried that a piece of fiction published in THE WALRUS could possibly be more corrupting than the violent porn and hate-filled vitriol literally at the fingertips of every kid with a computer or a wireless device?
All this is to say that this is a sad, and scary, time in Canadian print media. That a theatre reviewer of a major Vancouver arts and culture publication (really, THE theatre reviewer of THE arts and culture publication) can be fired, just like that, for doing their job to the best of their judgement and considerable expertise is nothing short of disturbing. Thomas writes:
Janet [Smith, arts editor at the Straight] also said that “there have been complaints from some companies.” “What complaints?” I asked. “You know: that you never like anything,” she answered with a laugh. I replied that it’s very hard to do good theatre and that I figure, if one show in three is worth recommending, that’s a good average. Then she added that some unnamed complainants feel that I am sometimes too hard on younger artists. (There is nothing I enjoy more than championing younger artists.) She gave an example. It was one of the worst shows of the year.
Thomas isn’t being facetious when he says he enjoys championing young theatre makers. Though generally difficult to please (his presence in an audience makes for a nervous performance, I can tell you), Colin Thomas is notoriously supportive of emerging artists. [Full disclosure: Thomas once reviewed a show I was a performer in (an early version of Chernobyl: The Opera), and called it “most impressive”. A few years later, he reviewed a show I wrote (Olya the Child) and raked it over the coals for being “unrealistic”. Though I disagree on the finer points, overall, he was right on both counts: Chernobyl was solid in both concept and execution, whereas the script I wrote had holes. I had a good cry about it and moved on. Like an adult]. While you might not agree with Thomas’ opinion about a specific show, he isn’t malicious–even when reviewing a total train wreck, he will praise this or that aspect of the production if praise is due. Most theatre artists who have commented on Thomas’ firing on social media, many of whom have been on the receiving end of both positive and negative criticisms, have said his comments have not only helped them to grow as artists but also to learn to handle criticism constructively.
I honestly don’t know what kind of credible arts and culture paper would take complaints about a solid reviewer being “too critical” seriously, and I don’t know what kind of “younger artists” do not yet understand that thick skin is a prerequisite for survival in this very difficult game. Yes, Thomas sometimes misses the mark, and yes, ultimately, his reviews are just his opinions. But they are informed and passionately defended opinions, based on a love of good theatre, a drive to hold it to a high standard (albeit his high standard, which may not be the same as yours), and not on elitism or malice. You don’t have to agree with him, but the fact remains that for thirty years, Thomas’ sometimes provocative reviews have provided great jumping-off points for wider discussions about theatre in Vancouver. This is a good thing.
Canadian print media is the going to be the poorer for its recent attempts to make its publications more profit-driven, more friendly, more “feel-good”. And The Georgia Straight is certainly the poorer for losing Colin Thomas.