This summer the American Theatre Critics Association held its annual conference at the Eugene O’Neill Theatre Center in Waterford, Connecticut. It was an opportunity to gather some prominent theatre artists and journalists for a panel discussion titled “The Theatre Looks at Critics,” where the conversation centered on cultural reporting in the digital era—the good and the bad. Here are some of the panelists’ comments.—J.Y.C.

Stephen Hendel, a producer on the Broadway musical Fela!: “The press has been one of the main ways we’ve been able to find an audience. Theatre criticism can enhance the reader’s understanding of what a musical’s intentions are… put it in perspective of where it is in the history of theatre.”

Playwright Adam Rapp, recalling a positive review he received early in his career, forNocturne: “It told me to keep going… There’s something noble about being a critic. There’s something noble about trying to bring theatre to the masses… [But] there are some who I would like to have removed from the planet.”

Wendy C. Goldberg, artistic director, O’Neill National Playwrights Conference: “Something I’ve noticed as the papers have dwindled… with those that still remain, the reporting has become much more creative. There’s a huge responsibility on critics in this moment, because you are holding up the last bastion of arts journalism in your community.”

Patrick Healy, feature writer, The New York Times: “We have a shrinking news hole. We’re under pressure to write shorter in the paper. The view from on high seems to be, people’s attention spans are constantly shrinking. Yes, we will do longer-form journalism when it’s called for, but in general, shorter is better—and online, even shorter is better. I would like to see people writing longer online. It would be great if someone could burst the bubble.”