Are Brantley and Isherwood mellowing, or is this a really strong season?

The last four shows to open on Broadway (August: Osage County, The Seafarer, Is He Dead? and now The Homecoming) have all gotten positive reviews from the New York Times, with three of them being pretty much raves. Although the non-profits have not gotten the best reviews, of the 11 commercial openings on Broadway so far this season, Brantley and Isherwood seem to like most of them, which is a much better ratio than usual. Only Grease, Young Frankenstein, and The Farnsworth Invention have really gotten panned. Are Brantley and Isherwood becoming less harsh, or is the quality of this season's productions better than usual (or is it both)?

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1. It's the season.

2. Jon Robin Baitz's article on The Huffington Post tearing B & I to shreds, oh so tactfully and truthfully, must have had some sort of an impact on the way they review from that point on.

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For those who didn't see:

Isherwood's article:

http://www.nytimes.com/2007/11/13/theater/13ishe.html

Baitz's article in response:

http://www.huffingtonpost.com/robbie-baitz/all-the-views-fit-to-prin_b_72637.html

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Thanks for that Baitz piece, Wanna Be A Foster.

The Baitz piece was fascinating to read and my respect for him just grew higher than it already was, though he has some balls accusing Isherwood of waspish writing and then go write a BROTHERS & SISTERS episode (and I'm a fan of the show).

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I doubt that Baitz's article had any effect on Isherwood (or Brantley) at all. Both critics can be generous and effusive when they see good work, which is largely what we are receiving on Broadway this season.

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My coworker and I think they're stoned.

Or on Prozac.

Although, it is the strongest year in a long long LONG time for straight plays (so that could be it too).

Well, now I feel dumb, jordangirl. Thanks for clarifying that one for me.

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If you look at the comments below Baitz's article, Theresa Rebeck commented, regarding Brantley's review of her play MAURITIUS, and there are a bunch of other comments there, all in support of Baitz.

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wickedrentq, that is an interesting point. As far as I can remember, the only new musicals on Broadway in the past three years that have gotten positive reviews from the Times for both the material and the performances are Spring Awakening, Xanadu, and Spelling Bee, and the last "big" new musical to get a positive review in the Times may have been Hairspray, which was over 5 years ago.

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And I have the feeling "August-Osage County" didn't blow Brantley's skirts up. It's a bit too ballsy for his cerebral, academic taste. Thank God it was given to Isherwood, who, mind you, I still haven't forgiven for getting all pissy about Lucy Thurber's gorgeously grungy, autobiographical play "Scarcity."

Playwright Jon Robin Baitz has been "ousted" from his ABC television series "Brothers & Sisters," the scribe revealed Jan. 2 in his blog on The Huffington Post.

"I have left the show I created, 'Brothers & Sisters,' from which I was ousted, not fired, an important distinction," said Baitz in a post titled "Leaving Los Angeles (Part Two: Love)." (The original "Leaving Los Angeles (Part One: Work)" alluded to his departure from the series and detailed his troubles with "the studios.")

He continues: "I am still one of the executive producers of 'B&S,' still enjoy friendly relations with the entire writing staff, and entire cast, still read scripts avidly, and I hope to be asked to write an occasional special, 'it's time for a weird Robbie episode' episode (like 'Mistakes Were Made,' which was co-written with my friend Craig Wright, another playwright who left for his own show, 'Dirty Sexy Money')."

http://www.huffingtonpost.com/robbie-baitz/leaving-los-angeles-part_b_78361.html
Playwright Baitz Leaves ABC's "Brothers & Sisters"; At Work on Play in NYC

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