Saying that what Mike Daisey does isn’t theatre is not equivalent to saying that what Jackson Pollock painted isn’t art. Rather, it’s equivalent to saying what Jackson Pollock painted isn’t photography. I make this argument in greater detail in my essay, “The Solo Show: A Risk Averse Artistic Administrator’s Best Friend” which is, beyond a reasonable doubt, what Omar Willey refers to in his withering list of “nonsense” and “childish territorialism” nestled within his hot-off-the-virtual presses criticism of Culturebot’s recent evening Everyone’s a Critic. Omar’s essay is worth the read despite the red herrings and half-thrown gauntlets. Just as— I like to think— my essay on one-person shows is also worth a glance, despite its putative shortcomings.
Easily one of the three smartest people I know, Omar Willey is a mensch’s mensch. His contributions as the founding publisher of The Seattle Star are profound, and his thinking on how criticism can make Seattle theatre better is vital to the conversation, no matter how proudly he praises his own prolixity and opacity. (Trust me: it’s quite not as bad as he hopes.) If, however, Omar were always right, I would be compelled to worship him as a fearsome god, instead of treasuring him, as I do, for the dear friend he is.