Tag Archives: Gabriella Pinto

The Cat Ass Trophy Goes To… Peter Peter Theatre Eater

16 Nov

Peter Tromp, the esteemed Cape Town theatre critic, is a dickless motherfucker. Wait… wait… I apologize, dear reader. It was not my intention to start like that. I have no research to back my opening statement. There is no proof that Peter Tromp, the esteemed Cape Town theatre critic, lives his life without a penis or that he had sexual intercourse with his mother. One can only speculate on such things. Unfounded accusations of genital mutilation and incest are better left to editors and publications that employ people like Peter Tromp, the esteemed Cape Town theatre critic.

So, let’s try again.

Peter Tromp, the infallible trend setter and scourge of bad theatre, who time and time again has answered the call to deliver critical analysis of why a show produced by people of a lower class than Mr Tromp, is worthy of his praise or condemnation and has shown himself to be an immovable object when it comes to his opinions, is in fact… a dickhead. (Perhaps that’s where his penis migrated to. Someone will have to research that.)

The reason for my umbrage towards Mr Tromp is due to an article that was published in “48Hours”, an arts magazine that carries the honour of employing Mr Tromp and sending him on noble crusades to shit on or praise other people’s work. This, of course, is part of the game. Theatre-makers have to endure the good reviews and the bad ones and if one does not ask “why” when you are granted a good review then the same goes when one receives a bad review. The article in question is Mr Tromp’s review of Nicholas Spagnoletti’s “Special Thanks to Guests from Afar”, the fourth play in Artscape’s 8th Spring Drama Season (an annual season dedicated to showcasing new writing.)  I was also part of this year’s season and my play “Champ” was the second in the season, after Amy Jephta’s “Other People’s Lives”. Mr Tromp did not review “Champ” and gave no indication of his immense dislike (spoiler alert!) of the play when he interviewed me for “48Hours”. I say interview, but what I mean is he e-mailed me a generic list of questions, which I answered and the exchange was published as an interview. The sub-heading even read “Peter Tromp spoke to Louis Viljoen…” Peter Tromp has never spoken to Louis Viljoen. Peter Tromp is too important to speak to a lowlife like Louis Viljoen.

But back to the article. In his glowing review of “Special Thanks to Guests from Afar” (a review the play richly deserves. Mr Spagnoletti is a very good writer and the actors were superb) Mr Tromp referred to my play, “Champ”, as a catastrophe and one of the reasons for the Artscape’s 8th Spring Drama Season being on the verge of dismal failure. He also included Ms Jephta’s work in that statement, but I will let her start her own fight with Mr Tromp. (And I suspect she will eviscerate him.) Granted, it is his opinion. He has every right to hate my work and I don’t hold it against him. “Champ” was not for everyone. As much as it irks me to say, Mr Tromp has been reviewing theatre for longer than I’ve been working in it, and he’s seen more theatre than I have, so his opinion comes not from the mind of a neophyte but from experience in watching theatre (that he never has to pay for) and he gets paid to give his opinions.

However, (ah, boy, here it comes.)

The reasons critics are paid are not only to give their opinions. They are expected to say whether a play is good or bad, but more than that, they need to qualify it. “The play is good because…” and “the play is bad because…” and so forth. You get the idea. Of course you do, because you’re not a moron. Mr Tromp’s unqualified statement that “Champ” is a catastrophe comes out of nowhere. He uses his hatred of the play as a forward for his review of someone else’s play, but draws little to no comparison between the two. It is not expected of him to compare Mr Spagnoletti’s play to mine, but he introduces the possibility of comparison without following it through. This would be acceptable if he was an unpaid commenter or a blogger (hey, that’s me) but as someone who I’m sure refers to himself as a critic and who would not write a word about any theatrical endeavour without attaching an invoice to the article, he is in dereliction  of duty as a writer for the arts.

Later in the review, Mr Tromp takes time to denigrate the work of Gabriella Pinto, a young playwright who has proven herself, one year out of UCT’s Drama School, as a prolific writer/director who is growing with every new play she produces. Ms Pinto was not part of the Spring Drama Season, but fell afoul of Mr Tromp for reasons that are unclear. He hated her play “Chickens” and he felt he should mention it in a review of “Special Thanks to Guests from Afar”. Again, he doesn’t qualify his statement. Firstly he insults Ms Pinto’s work without explaining why it so appalled him, then he lumps her in and somehow makes her seem implicit in the “catastrophes” that were “Champ” and “Other People’s Lives”, therefore lowering her work and her achievements by asserting his disapproval of her writing and that she exists in the same industry as me and Ms Jephta.

Why did Peter Tromp feel the need to vent his anger about other people’s work in a review that had nothing to do with those people’s work?  It can’t be his hatred of women (I’m a boy-man with no penis attached to my head). It can’t be inexperience (he is THE Peter Tromp, esteemed theatre critic).  It can’t be his personal feelings towards an industry that he doesn’t understand anymore (surely that would make him unemployable in his field). You know what it can be? Lazy fucking journalism. Lazy, unedited, frustrated and unqualified rants from a man who should know better.

And what makes my rant any different? I don’t get paid to insult Peter Tromp. I’ll do it for free.

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