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PESSIMISM OF THE INTELLECT,
OPTIMISM OF THE WILL

Give Me My Money Back

15/8/2012

4 Comments

 
On Twitter yesterday afternoon, I asked this question:

"I'm wondering if reviewers who get a comp and write nothing should be asked to retroactively pay for their ticket. Thoughts?"

A lot of people got quite hot under the collar. One person called my 'proposal' "unethical" and said it was "basically blackmailing people into writing a review".

So for the avoidance of doubt at the outset, I am not seriously proposing we do this. It's good to know that people have got the hang of reading between the lines of my tweets, and understanding that they're seldom completely guileless. But in this case, it was. It wasn't a proposal; I genuinely simply wanted to know what people think. My apologies to all those who forcefully 'agreed' with me.

There are all sorts of reasons it isn't a good idea. It's good for critics to see a broad range of work even if they're not able to write about all of it. It might still make its way into a later feature or round-up even if you don't get a full review. I'm prepared to take the chance. And often reviews end up spiked for reasons that are, frankly, kinder to the performers. But more to the point, newspaper budgets are sufficiently stretched that I don't imagine arts editors are going to start forking out for tickets on the off-chance of a review. And expecting the critics to pay in these cases is yet another way of guaranteeing that our critics come from that small pool of people who can afford to get on.

It is nonetheless, I think, slightly absurd to suggest that expecting a critical response in return for the ticket is "unethical", even more so to suggest that it's "blackmail". It seems more likely that the initial comp (in exchange for an expected review) is blackmail than that the request for payment like everyone else (in the event of non-delivery of that review) is so. But it's such an institutionalised form of blackmail that we've forgotten it's there. Consequently, it doesn't really work.

But that brings into focus the more pertinent question: what is the nature of the contract when we give reviewers a comp? We obviously don't expect a good review, but do we have a right to expect something? We gave you the ticket because you have an audience whom you could tell about the show. If you don't tell them, should we continue to give you tickets? 

In the case of The Price of Everything in Edinburgh, which is lucky enough to be selling out most days, that's a) a ticket that could have been bought by a member of the public and therefore b) £10 I have personally given you. Any critics saying they're not well-paid enough to write up everything they see could spend a moment considering that most performers in Edinburgh (and I'm not one of them, but I'm hardly making a weekly wage, let alone a packet) are losing money hand over fist. Earlier this year I finally paid off the credit card bill run up by bringing shows to Edinburgh 2003-07.

(All of which reveals that the initial spur behind my question is, really, nothing more than sour grapes. I have directly given away money as a sort of investment in potential marketing materials. It's honestly worth the risk, as it happens, and I have no real gripe with the system. And I have no real right to any frustration. The show is selling out and I've had several very nice reviews. I suppose that's part of why I feel reasonably comfortable raising the question - I don't really have anything riding on it. I'm one of the lucky ones.)

Here's the interesting and totally unsurprising thing. Overwhelmingly, artists forcefully agreed with the assumed proposal in the question and critics opposed it just as forcefully. Critics (with some exceptions) did not feel that the privilege of a free ticket left them with any obligations. They may be right. That probably is the nature of the agreement. And so the critics who responded tended to defend their (totally defensible) position, with some of the arguments I've advanced above. Meanwhile, performers shared and expressed the same sense of frustration that gave rise to the original question. So both sides have a point.

At the very least, this bespeaks a lack of clarity in the expectations underlying the relationship. How do we clear it up?
4 Comments
Sam Freeman link
14/8/2012 07:46:43 pm

It's really difficult I think to address this problem, we've had shows where journalists have seen the show and then not written a thing, the problem is you run the line of pulling them up on it and potentially not being covered (some more) or receiving their vengeance on a different show. However it's not a regular problem, and I've found the occasional "can i have a look at the article" follow-up e-mail tends to sort it.

The one that really grates me, is where it takes 5 weeks for them to write the review, by which time the tour has ended... I wonder about whether conditions of reviewing should be written in, essentially, the review will be written and published (online or offline) within 3 working days... Not a big ask I don't think...

Graeme (our AD) (and me and my missus) really enjoyed the show btw...

Reply
Howard Seth Cohen link
15/8/2012 11:39:15 am

Daniel, I run Thomas Hampton Reviews, a site that offers free pr tools to performers and producers of live events (Event Page w/ SEO enhancement and Fb, Tw, Pinterest posts in support of said Event Pages) as well as select reviews of some shows that post these pages.
I NEVER make a press request for tickets without the express purpose of crafting a review from said experience.
In rare occasions where a review did not come (once in the last three years,) the production still received social media push from the site.
I, however, am 'lucky' to be in the position where I choose my own assignments, and edit my own material. No one shoots down a review, good or bad, for lack of space or any other editorial reason.
A press request from a reviewer should always be considered an invitation to review. If no review comes, some type of pr consideration from the outlet should be forthcoming.
The quid pro quo is that you, the show, provides me, the reviewer, with complimentary seats so that I may experience your show, and produce a review.
I have, at times, run into performers who do not believe that a documentation of the show in the form of a review is worth a comp. That is frustrating, but fine by me. I have also been asked to come back (comped) to shows I have already seen and reviewed, cutting into a producers bottom line. I have always refused. I want them to fill their seats with paying customers.
NEVER, EVER feel that you need to provide said comps willy nilly in the hopes of a review.
Press comps to a reviewer = review.
Press comps to a feature writer = feature.
The way that effective promotions happen are rapidly changing. The 'weight' of a review, even from a respected writer, has diminished considerably. However, the usefulness of a review as a sharable tool has increased, if you know how to leverage your social circles, and understand how to keep a relevant and interesting profile.
It can never hurt to make your expectations clear. If you are expecting a review, then say so in your response to a press request. It may sound simple and a bit silly, but put it in writing. This way, both sides understands what is expected.

Reply
Mark Cofta
16/8/2012 12:07:54 am

I am a theater critic for a large free weekly (Philadelphia City Paper) and we do not have the space or budget to review every show; we also have another critic who writes half our reviews. I often request a comp when I know I cannot review the show. My reasoning -- and I share this with theaters when I ask for the ticket -- is that I want to keep up with their work so that when I DO review something, that experience informs my work. Moreover, I usually WANT to see these shows because I really enjoy theater -- but even if I don't want to see a production, I consider it part of my job.

However, I do sometimes pay for my ticket if there's no chance I'll ever review that theater's work, especially if it's a small company, or when it's a small venue with limited seating, or a fundraiser.

Producers, I suggest you comp press even if they don't review because it's an investment in the future and, hey, they actually WANT to see your show! However, if someone says they're press and NEVER reviews, you might reconsider, on a case-by-case basis. And if you really don't want to provide those comps, set a firm policy and inform press ahead of time; sending a bill after a critic sees a show will probably result in never being reviewed again!

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seo company philadelphia  link
21/9/2012 01:41:19 am

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