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Patrick Stewart, Peter Brook, Sonia Friedman are among those who give their verdict on a critic with ‘razor-like intelligence and a tender heart’
Tom Stoppard: In the theatre, Michael is simply “Billington”, like a brand. Four stars from Billington is a relief and a blessing; a single star is as rare as five. Actually rarer. After so many reviews and so many years, I doubt Michael ever enters a theatre pessimistically. How could he keep going for so long if he didn’t expect to be blown away every time? When he can’t like something as much as he’d like to like it, he often writes “Much as I admire…” before he dissents. A curate’s egg never got a fairer deal. Not very long after Michael took over, Kenneth Tynan asked me, “Who is the critic now?” then answered his own question tentatively: “Michael Billington?” I didn’t have a better answer.
Laura Wade: Playwrights aren’t supposed to care about reviews. I do care – I can’t help being interested – and the one I care about most is Michael’s. He brings a sense of history, vast knowledge and unmatched experience. Is there anyone writing now who has seen more plays? It matters to Michael that our work is both theatrically and politically rigorous, and mentally and visually stimulating. He holds us to account. And when he really gets what you’re trying to do – as he did with my most recent play, The Watsons – it’s the best feeling. It galvanises you. His love for the theatre and his belief that plays can be a catalyst for change and a force for good make him a humane and timely reminder of the value of experts. Continue reading...