| re: Another way of framing this | |
| Last Edit: CCentero 01:11 pm EDT 08/06/17 | |
| Posted by: CCentero 01:09 pm EDT 08/06/17 | |
| In reply to: re: Another way of framing this - Singapore/Fling 11:27 pm EDT 08/05/17 | |
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| I think you're projecting too much on this one. Are you sure about Riedel's politics? Has he stated them before? He’s a glorified gossip columnist with a byline. His job is to get the story into the paper as soon as possible. Waiting around for people to talk about the specifics of their dispute doesn’t make sense, unless he’s been assigned to do a lengthy piece about the demise of the show. Someone with a byline is allowed to insert their opinions. Every publication in the world picks favorites and targets—even the NYT. An expensive Broadway musical with a name that readers recognize like Josh Groban is just going to warrant more ink—positive and negative. I don’t disagree that his reporting could be better, but just because he’s wrong about the numbers for the show doesn’t negate his ability to get the main story correct. And it’s important that there are other people covering the theatre aside from the Times and the theatre trades: Right after 9/11, Broadway business sagged and Liz Smith (in the Post) expressed outrage that Cameron Mackintosh, who had made hundreds of millions of dollars in New York was planning to cut the salaries of performers in his shows. This forced Mackintosh to back down. Riedel was first on the Ars Nova story: Even the Times, which barley mentions the existence of the Post: the schism has intensified sharply since it was first reported on Tuesday by the New York Post. What I don’t like about Theatre Talk is that standard schtick that they use where one host can be silly, while the other one (Haskins) is the one who has done the homework. |
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