What do you do if your theatrical production receives conflicting feedback?

1 Consider the source

The first thing to do when you receive feedback is to consider who is giving it and why. Is it a professional critic, a fellow artist, a friend, a family member, or a random stranger? What is their background, their expertise, their agenda, and their relationship to you and your work? How much do you trust their opinion and their intentions? Depending on the source, you may want to give more or less weight to their feedback, or even ignore it completely. For example, a critic may have more authority and influence than a friend, but a friend may have more empathy and honesty than a critic.

2 Look for patterns

The next thing to do is to look for patterns and themes in the feedback you receive. Are there any common points or issues that multiple sources agree on? Are there any specific examples or suggestions that resonate with you or confirm your own observations? Are there any gaps or discrepancies that reveal different interpretations or expectations? By looking for patterns, you can identify the strengths and weaknesses of your work, as well as the areas that need more clarification or development. You can also avoid getting bogged down by minor details or personal preferences that may not reflect the overall quality or impact of your work.

3 Evaluate the feedback

The third thing to do is to evaluate the feedback and decide what to do with it. This is where you need to use your own judgment and creativity, as well as your knowledge of your goals and vision for your work. Not all feedback is useful or relevant, and not all feedback can or should be implemented. You need to ask yourself some questions, such as: Does the feedback align with your artistic intention and direction? Does the feedback help you improve your work or communicate your message more effectively? Does the feedback challenge you to grow or explore new possibilities? Does the feedback respect your artistic integrity and autonomy? Based on your answers, you can choose to accept, reject, or adapt the feedback to suit your needs and preferences.

4 Communicate the feedback

The fourth thing to do is to communicate the feedback to the relevant people involved in your production. This may include your collaborators, your cast, your crew, your mentors, or your sponsors. You need to be clear, respectful, and constructive when you share the feedback with them, and explain why you agree or disagree with it, and how you plan to use it or not. You also need to be open to their input and feedback, and listen to their concerns or suggestions. Remember that you are part of a team, and that everyone has a stake and a role in the success of your production.

5 Implement the feedback

The fifth thing to do is to implement the feedback that you have decided to use, and see how it affects your work. This may involve making changes to your script, your performance, your design, or your direction, or experimenting with different options or alternatives. You may need to rehearse, revise, or redo some parts of your work, or add or remove some elements. You may also need to test the feedback with a new audience or a different context, and see how they respond to your work. You may discover that the feedback improves your work, or that it creates new problems or challenges, or that it makes no difference at all. Whatever the outcome, you can learn from the feedback and use it as a source of inspiration or reflection.

6 Appreciate the feedback

The sixth and final thing to do is to appreciate the feedback that you have received, and thank the people who have given it to you. Feedback is a gift, even when it is conflicting or negative, because it shows that people care about your work and want to help you grow as an artist. Feedback is also an opportunity, because it allows you to see your work from different perspectives and to improve your skills and craft. Feedback is not the end, but the beginning of a dialogue and a process that can enrich your work and your experience as a theatrical producer.

7 Here’s what else to consider

This is a space to share examples, stories, or insights that don’t fit into any of the previous sections. What else would you like to add?