There’s an unwritten rule that critics observe the first night schedule, and only publish reviews the day after a show has officially opened – even if, for scheduling reasons, we’ve had to ask to be able to see a preview. On Monday, several of my colleagues went up to Stratford-upon-Avon to see the RSC’s new production of The Crucible, even though it doesn’t officially open till tonight, because there’s an unfortunate clash with the opening of a new Christopher Hampton play, Embers starring Jeremy Irons, simultaneously occurring in the West End.
But yesterday the Evening Standard already carried Nicholas de Jongh’s review of The Crucible. Since it was highly complimentary, the RSC might not mind too much; but in fact a serious breach of critical etiquette has occurred. Not only have the rest of the papers been “pipped” to the critical post, but also events like this make it difficult for all of us in the future: each time we ask for the special dispensation of attending a show early, we are at the mercy of the production and its press agents, and if we undermine that trust, they will simply not allow us in early in future. Of course, a different process – whereby some critics buy a ticket to an earlier performance, or one to a production to which we are not invited at all – puts us in charge of the process, and there are occasions, perhaps, when we should exercise some discretion in breaching the production’s own reluctance to have us there.
When Quentin Letts bought a ticket for Mary Poppins when it was undergoing a two month try-out at full prices in Bristol but national press were being kept away, that was up to him and his paper, who might legitimately declare that the public interest of their readers demanded an earlier critical response than its London arrival; ditto, more recently, Bill Hagerty of The Sun bought a ticket to review Sweeney Todd with Jason Donovan, since national critics are not being allowed near it (yet); I know, because I made a request. But if you accept hospitality, you have to act graciously and play by the rules.
Please send me the critics of 'Embers'