It is very comforting in this age of hype to think about what is good theatre. Good theatre is dangerous, an act of passion and courage. Dangerous in the sense of going into the dark forest, confronting and doing battle with our deepest fears, most secret longings; entering the sacred and  profane with all the art, passion and craft that one has.

Good theatre is full of surprises, sometimes with a language all its own.

Good theatre throws us continually off balance. I am reminded of a great production on Broadway—Fool Moon—where actors were falling off balconies, bringing the audience onto the stage, hanging on the crescent of a papier-mâché moon for dear life. It was so achingly funny, that we came out the other side weeping.

Most of all, it is working close to the bone, diving deep, finding the essential metaphor in the essence of a beat and expressing it with blood, song, dance, whatever risk it takes. All good theatre comes with a reverence for the ephemeral live presence of an actor, communing and reaching out to an audience, placing them in thrall. In open admission to his or her own sacred talent, the actor is a trusted and magical guide, leading an audience deep into the heart of the play.

So eternally challenging to attain, good theatre is worthy of our celebration. Great theatre can change our lives.

Joyce Piven is the founder and co-artistic director of Piven Theatre Workshop. 

What Makes Good Theatre? Archives

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