Responding to Lyn Gardner’s recent column arguing for “a new approach to theatre criticism, in which theatres see developing critical voices as part of audience and artist development,” Bill Marx writes that what Gardner seems to be suggesting is both vague and, well, unlikely: “Is the money invested in theater development these days dedicated to making stage audiences more ‘critical’? Are there any plans for ‘creative power sharing’ with spectators? From what I can tell, … the goal is to buff up [theaters’] business plans and marketing efforts, not to encourage the development of ‘critical’ audiences.”