I wrote a short play about this very thing, being produced at Theatre Artists Studio at their summer shorts festival in June. I hope you can see it. And give it a standing O!
Once again, an insightful and thought-provoking piece. With the generalized 'dumbing-down" on so many levels, it's no surprise that people have been conditioned to mediocrity! I, too, do not join in standing ovations unless I have been truly moved and inspired!
Thank you for the critic's lament, Herb! I find that it's tough to sit out the ubiquitous standing ovation. Peer pressure often gets me sheepishly out of my seat, dammit. I see it this way: All these standing ovations tend to undercut the honor that we used to bestow only on a remarkable production. A standing ovation at practically every performance kind of waters down the effect. It's not unlike the overuse of "amazing" and "awesome" in current speech. So what do we say, how do we make a point, what language is left to us, if we want to comment on something that actually IS amazing? Thank you for sharing!
Chris, others have shared a similar response...the dilemma of being the only one sitting! For the fun of it (or maybe rather seriously, I posted the following proposal on FB:
After my essay on the “obligatory standing ovation, several folks asked: What’s the alternative? Well, here’s my modest proposal for theater companies to use in a program note, the pre-show announcement, or on screen projection:
🎭 Audience Response Etiquette
We believe standing ovations should be earned, not automatic. So…
🧍 Stand, applaud, howl, whistle—only if:
• You briefly forgot you were in a theater.
• You shouted “Bravo!” before realizing you were already on your feet.
• The performance cracked open your soul.
• Your worldview just shifted.
Otherwise…
💺👏 Stay seated and clap if it was simply… very good.
I think every theater critic feels obliged to write their version of this column at least once. I rarely joined the obligatory Standing O — or at least held out until the big star took their bows, which often coincided with getting ready to leave (Gammage). One of my colleagues made sure to start toward the exit BEFORE the ovation ... never a standing O from that one!
"The curtain falls, the house lights come up, and almost without fail, the audience leaps to its feet in a standing ovation. I [try hard to] remain seated." I thought it was just Prescott, but I've been to a couple shows in the valley too lately where I've reluctantly stood because otherwise I'd be the only one sitting; and when people know you, as they well know me in Prescott, one feels such social pressure! Will I look snobbish and oh so high-and-mighty if I remain sitting when everyone else stands? Certainly, the answer must be yes. I so want to reserve the standing ovation for when I am astonished at what the actors, director, tech team, and playwright managed to do.
And then there's your other point: that too many theatre-goers seem to want "comfort food theater, predictable arcs, feel-good endings." I have been fighting the "predictable arc" my entire playwriting career, and once again--like not standing when others are--that may make me arrogant (or perhaps unschooled). Nonetheless, the comments I got from out-of-town visitors after our Elks Theatre production in 2023, a play in which I did not follow the rules of the well-made play, included "stellar," "marvelous," and "one of the best plays I've ever seen." (Okay, so maybe he hadn't seen many plays.) But if theatre doesn't challenge and surprise us, if it doesn't cause us to talk about the play all the way home (and I live 1-1/2 hours from every show I see in the valley), why go? Save the gas or electrons and stay home. "Holding space for excellence," that's why, like you, I sit.
You know...just for the record and others who may see this page, let me repeat what I wrote:
Your post stopped me in my tracks—in the best possible way. Thanks for such a thoughtful and beautifully expressed response. It’s deeply gratifying to know the essay struck a chord.
As a theatre critic, I’m used to risking some blowback—whether it’s for delivering a critical review or challenging sacred cows like the reflexive standing ovation. So I really appreciated your candor about the pressure to stand when everyone else does. From other responses I’ve received, it’s clear we’re not alone in wrestling with these questions of authenticity and excellence in theatre.
I was especially glad you picked up on “holding space for excellence.” That phrase came from a mix of hope and frustration—hope that we can preserve those rare, electric moments that truly warrant a standing ovation, and frustration that the gesture has become so watered down by habit.
Your commitment to pushing past the “predictable arc”—and the impact La Posada clearly had—reminds me why this work matters. Theatre should stay with us, stir something, make the ride home buzz with conversation.
So, thanks for "sitting" with me...both literally and figuratively!
What to do when caught up in a numb, delusional, dumbed down performance and retain some kind of integrity-?catchphrases, that may or may not be apt,( if one doesn't beat a hasty retreat after a show that doesn't warrant a standing ovation or even a weak clap )”nice seeing you up there “,”wow what a text” “amazing interpretation”, “however did you do it? “,”I'm speechless.” “such a learning experience” please advise?
You nailed the dilemma with wit and painful accuracy. Those catchphrases—each a masterclass in evasive diplomacy—are exactly the kind of thing many of us reach for when we’re trying to be kind without betraying our own artistic integrity. It’s a weird space to occupy: being part of a community that values honest critique, yet knowing how much vulnerability is tied up in every performance.
Your comment gets at a deeper point in my essay: when applause becomes automatic, it blurs the line between genuine appreciation and social obligation. And when we lose that line, we also risk cheapening the moments that truly deserve to be celebrated.
Maybe the best we can do in those “numb, delusional” moments is to respond with something authentic but neutral, or let silence speak when it must. But your comment makes it clear—we’re all wrestling with how to stay human and honest in a culture of polite overcompensation.
In my case...frankly...I beat "the hasty retreat."
Thanks for adding that layer. It made me laugh and cringe in solidarity.
Peer pressure? Perhaps. I stand because after two hours the seats hurt my tired, aching back. It could be that those theatre companies willing to take risks haven't the resources to stay afloat in a sea of mediocrity. #criticismadvocates
As a playwright/ creative writer and more, your article has challenged me to be even more critical of my work and how it is perceived. I agree that standing ovations do seem to be a standard thing even when it isn’t warranted. I appreciate you pointing out this fact for myself and the community at large to step up to the plate and ensure we are delivering worthy products.
I wrote a short play about this very thing, being produced at Theatre Artists Studio at their summer shorts festival in June. I hope you can see it. And give it a standing O!
How about that!!! I shall surely look forward to seeing it...but, no promises.
Ha! of course not ...
I feel exactly the same, Herb. Standing O has become the norm, so what is one to do when you see a truly brilliant performance?
Perhaps, we need companies to proactively offer an audience advisory on applause etiquette. I think I'll work on one and post it.
Once again, an insightful and thought-provoking piece. With the generalized 'dumbing-down" on so many levels, it's no surprise that people have been conditioned to mediocrity! I, too, do not join in standing ovations unless I have been truly moved and inspired!
I'm delighted to have a kindred spirit! Thanks, Lorraine.
Society's members living in Silos!
Thank you for the critic's lament, Herb! I find that it's tough to sit out the ubiquitous standing ovation. Peer pressure often gets me sheepishly out of my seat, dammit. I see it this way: All these standing ovations tend to undercut the honor that we used to bestow only on a remarkable production. A standing ovation at practically every performance kind of waters down the effect. It's not unlike the overuse of "amazing" and "awesome" in current speech. So what do we say, how do we make a point, what language is left to us, if we want to comment on something that actually IS amazing? Thank you for sharing!
Chris, others have shared a similar response...the dilemma of being the only one sitting! For the fun of it (or maybe rather seriously, I posted the following proposal on FB:
After my essay on the “obligatory standing ovation, several folks asked: What’s the alternative? Well, here’s my modest proposal for theater companies to use in a program note, the pre-show announcement, or on screen projection:
🎭 Audience Response Etiquette
We believe standing ovations should be earned, not automatic. So…
🧍 Stand, applaud, howl, whistle—only if:
• You briefly forgot you were in a theater.
• You shouted “Bravo!” before realizing you were already on your feet.
• The performance cracked open your soul.
• Your worldview just shifted.
Otherwise…
💺👏 Stay seated and clap if it was simply… very good.
Or…
🤫 Be silent if you’re stunned.
Your honest reaction is the highest compliment.
I think every theater critic feels obliged to write their version of this column at least once. I rarely joined the obligatory Standing O — or at least held out until the big star took their bows, which often coincided with getting ready to leave (Gammage). One of my colleagues made sure to start toward the exit BEFORE the ovation ... never a standing O from that one!
Yup. I'm out the door as soon as possible. Hoping you're doing well...thriving!
"The curtain falls, the house lights come up, and almost without fail, the audience leaps to its feet in a standing ovation. I [try hard to] remain seated." I thought it was just Prescott, but I've been to a couple shows in the valley too lately where I've reluctantly stood because otherwise I'd be the only one sitting; and when people know you, as they well know me in Prescott, one feels such social pressure! Will I look snobbish and oh so high-and-mighty if I remain sitting when everyone else stands? Certainly, the answer must be yes. I so want to reserve the standing ovation for when I am astonished at what the actors, director, tech team, and playwright managed to do.
And then there's your other point: that too many theatre-goers seem to want "comfort food theater, predictable arcs, feel-good endings." I have been fighting the "predictable arc" my entire playwriting career, and once again--like not standing when others are--that may make me arrogant (or perhaps unschooled). Nonetheless, the comments I got from out-of-town visitors after our Elks Theatre production in 2023, a play in which I did not follow the rules of the well-made play, included "stellar," "marvelous," and "one of the best plays I've ever seen." (Okay, so maybe he hadn't seen many plays.) But if theatre doesn't challenge and surprise us, if it doesn't cause us to talk about the play all the way home (and I live 1-1/2 hours from every show I see in the valley), why go? Save the gas or electrons and stay home. "Holding space for excellence," that's why, like you, I sit.
You know...just for the record and others who may see this page, let me repeat what I wrote:
Your post stopped me in my tracks—in the best possible way. Thanks for such a thoughtful and beautifully expressed response. It’s deeply gratifying to know the essay struck a chord.
As a theatre critic, I’m used to risking some blowback—whether it’s for delivering a critical review or challenging sacred cows like the reflexive standing ovation. So I really appreciated your candor about the pressure to stand when everyone else does. From other responses I’ve received, it’s clear we’re not alone in wrestling with these questions of authenticity and excellence in theatre.
I was especially glad you picked up on “holding space for excellence.” That phrase came from a mix of hope and frustration—hope that we can preserve those rare, electric moments that truly warrant a standing ovation, and frustration that the gesture has become so watered down by habit.
Your commitment to pushing past the “predictable arc”—and the impact La Posada clearly had—reminds me why this work matters. Theatre should stay with us, stir something, make the ride home buzz with conversation.
So, thanks for "sitting" with me...both literally and figuratively!
Beautiful! I trust that you saw my response on Facebook. Thanks so much.
Not at my laptop right now so haven’t seen your response on FB. 😊
What to do when caught up in a numb, delusional, dumbed down performance and retain some kind of integrity-?catchphrases, that may or may not be apt,( if one doesn't beat a hasty retreat after a show that doesn't warrant a standing ovation or even a weak clap )”nice seeing you up there “,”wow what a text” “amazing interpretation”, “however did you do it? “,”I'm speechless.” “such a learning experience” please advise?
You nailed the dilemma with wit and painful accuracy. Those catchphrases—each a masterclass in evasive diplomacy—are exactly the kind of thing many of us reach for when we’re trying to be kind without betraying our own artistic integrity. It’s a weird space to occupy: being part of a community that values honest critique, yet knowing how much vulnerability is tied up in every performance.
Your comment gets at a deeper point in my essay: when applause becomes automatic, it blurs the line between genuine appreciation and social obligation. And when we lose that line, we also risk cheapening the moments that truly deserve to be celebrated.
Maybe the best we can do in those “numb, delusional” moments is to respond with something authentic but neutral, or let silence speak when it must. But your comment makes it clear—we’re all wrestling with how to stay human and honest in a culture of polite overcompensation.
In my case...frankly...I beat "the hasty retreat."
Thanks for adding that layer. It made me laugh and cringe in solidarity.
YES!
Peer pressure? Perhaps. I stand because after two hours the seats hurt my tired, aching back. It could be that those theatre companies willing to take risks haven't the resources to stay afloat in a sea of mediocrity. #criticismadvocates
Rear pressure!
Thank you for sharing your thoughts! Definitely thought provoking.
As a playwright/ creative writer and more, your article has challenged me to be even more critical of my work and how it is perceived. I agree that standing ovations do seem to be a standard thing even when it isn’t warranted. I appreciate you pointing out this fact for myself and the community at large to step up to the plate and ensure we are delivering worthy products.
Amen!
And thank you for your response. Wondering if you're of a similar perspective.
Good piece…and i fully agree!