Come, let us dip a toe in the world of woke theatre criticism. From the pages of Intermission magazine, where the Toronto Star’s theatre critics, Aisling Murphy and Karen Fricker, applaud each other, and thereby themselves, for seeing an indigenous play and submitting to conditions on what they may say about it:

We both responded really positively to the show. But the reason we’re not writing a traditional review is because [playwright and director] Kim Harvey did not invite reviews of this Toronto premiere production of Kamloopa. This follows on from the world premiere production in 2018 in Vancouver in which she invited Indigenous women to write love letters to the show but did not invite traditional reviews.

You see, for Ms Harvey, our unflinching and very indigenous creative person, “staging theatre productions is a form of Indigenous ceremony,” and is therefore, conveniently, exempt from customary feedback, i.e., reviews of a kind that paying customers might have found useful, had they been available. And so, reviewers of pallor, should they be permitted, must first attend a circle, in which they will be told, in advance, how artful and profound the work in question is, and what they should say about it. After all, it’s so much easier on the ego, and any teetering vanity, if no acknowledgement of any shortcoming is permitted.

Despite not being brown and magical beings themselves, Ms Murphy and Ms Fricker are keen to show their approval of, and deference to, this artistic innovation:

Here, white critics were invited, but with the caveat of listening and bearing witness to Kim’s artistic philosophies first: to me, that felt not only fair but really rich.

Bearing witness, you say. To artistic philosophies. Because you can’t just turn up with tickets in the hope of entertainment.