John Smythe on 20 years of Theatreview and why reviews still matter

Saturday, 2 May 2026

As Theatreview marks its 20th anniversary, its founder and managing editor John Smythe reflects on the site’s origins, its mission and the challenges of sustaining a nationwide archive of performing-arts reviews. The Post spoke to Smythe about his long career, the evolution of Theatreview and what comes next.

Hi John! What first inspired you to create Theatreview?

After seven good years as the National Business Review’s theatre critic for Wellington, plus Palmerston North, Christchurch and Dunedin on occasions, they dropped arts reviews south of Auckland. Websites were becoming a thing, the daughter of my partner’s friend was keen to help, we met one sunny afternoon on the Paramount Theatre balcony, she interrogated me – and created theatreview.org.nz!

Did you imagine it would grow into a national archive of nearly 15,000 reviews?

The plan was for me to review Wellington Theatre and, where possible, include reviews by the other critics on the Chapman Tripp Theatre Awards panel whose print newspapers didn’t have websites. Then dance reviewer Raewyn Whyte asked to come on board and my Auckland niece said there was plenty happening up there … We used our networks to see who wanted to review in return for two comps and Theatreview grew organically from there. Now we have Theatre Editors in Auckland, Wellington, Christchurch and Dunedin, a Dance Editor nationwide and voluntary reviewers throughout Aotearoa NZ.

How has your background as an actor and director shaped your criticism?

When I first reviewed theatre in Melbourne, having stepped away from the stage to write for TV series, practitioners were delighted that someone who really understood how theatre got made was a critic. Such validation has an impact, although I didn’t expect it to become my vocation. I still act and write in various ways and love keeping those muscles active.

What makes Theatreview’s 'virtual performing arts community' unique after 20 years?

Theatreview’s points of difference are its nationwide reach and ever-growing archive. We track the progress of productions as they evolve and travel to regional festivals, which gives the regions a voice in the continuing conversation about performing arts practice. Our kaupapa is to contribute constructively: productions “hold the mirror up to nature” (to quote Hamlet), we reflect them back to their makers, reflect on them for audiences, and write them into the historical record.

What have been the toughest funding challenges?

Without consistent funding from the Wellington City Council Arts and Culture Fund, for the Wellington Theatre Editor, we would not have been able to “keep the lights on”. Contestable funding for the arts is very prescriptive. It may not help that Theatreview is more responsive and reactive than creative. There’s never enough to fund the wealth of artistic activity that’s afoot, anyway. Nor do we seem to meet the needs of corporate sponsors or philanthropists.

Why is performing arts criticism essential?

The performing arts are “writ in water”. Unless reviewers write them into a freely available historical record, they cease to exist. Beyond their immediate value to audiences and practitioners, they are an essential resource for producers, teachers, academics, historians … even funding bodies. Without the reviews Kate Harcourt pasted into massive scrapbooks, I could not have written Downstage Upfront.*

Looking ahead, what’s next for Theatreview as it enters its third decade and what support does it need to get there?

Theatreview has survived on the extraordinary generosity of its editors, contributors and trustees, who bring a wealth of institutional knowledge and abiding passion for the performing arts to the party. And we’re not getting any younger. Without sustainable funding, how will Theatreview attract a new generation to keep it alive?

Meanwhile - Theatreview is running a “$20 for 20 years” donation campaign: https://nz.patronbase.com/_Theatreview/Products/Donate

*John Smythe's theatre writing includes Downstage Upfront: the first 40 years of New Zealand’s longest running professional theatre (Victoria University Press, 2004) and The Plays of Bruce Mason – a survey (VUP & Playmarket, 2015 ).