Theater

1. Charles Isherwood
The New York Times
Reviewer for Variety from 1993 to 2004, when he became a second-string reviewer for the Times.

“Smart, very smart, and knows his stuff. However, he pretty much hates everything, which is tough when his paper still holds the bulk of power.”…“A smart and experienced critic whose reviews have become oddly jokey since his move from Variety to the Times. An example is the review written from the point of view of his cat: Did that tell anyone whether or not the show was worth spending money on?”

2. Ben Brantley
The New York Times
Chief drama critic at the Times since 1996.

“Always highly readable. Sacrifices seriousness for style. Excels at play-by-play.”… “His writing is very self-conscious and fussy. In both his less generous as well as his giddy columns, he seems like a ‘maiden aunt.’ I wish he were more ambitious in his thinking.”…“Boring, boring, boring. I cannot get through his reviews. And he is a starfucker. For the most part, he will review a celebrity positively.”

3. John Lahr
The New Yorker
A critic at The New Yorker since 1992, Lahr is also known as Joe Orton’s biographer.

“I’m not a fan, but his reviews hold influence.”…“A superb writer. He’s made a shift and is writing more essaylike work; sometimes I get more information than I want about a show he may inspire me to go see.”…“C’mon, people, it’s The New Yorker! Total credibility. But I’m not complaining! He’s a special case.”

4. Jeremy McCarter
New York
Chief critic at The New York Sun from 2002 to 2005, then replaced John Simon at New York.

“A smart critic whose talent is wasted with New York.”…“He’s got potential, but sometimes he’s way off, like on A Chorus Line.”…“A young critic who, if reports are to be believed, wants to be a writer himself, and that sometimes seems to inform his reviews.”

5. John Simon
Bloomberg.com
The 81-year-old critic is now at Bloomberg after close to 40 years at New York.

“His writing ability is legend. He isn’t easy, though.”…“Treacherous. He is outright mean. There’s absolutely no excuse for this kind of harshness.”…“A very gifted wordsmith. Unspeakably political, and it’s a very good thing that he’s not with a major publication anymore. But he’s very knowledgeable and can be persuasive when he has strong responses to work.”

6. Terry Teachout
The Wall Street Journal

The drama critic at the WSJ also contributes to several other publications, such as The New York Times and Commentary.

“The right mind at the right publication.”… “Fair-minded. He’s biased against anything political, but not a Wall Street Journal ideologue. He’s got old-fashioned taste, but is up-front about it. A real champion of regional and Off Broadway theater.”

7. Michael Feingold
The Village Voice
Chief critic at the Voice since 1974. Also known for his translations of Brecht.

“Exceedingly smart, and that’s his downfall. Comes across as smug and conceited.”…“Knows more about theater than almost anyone else. His reviews are probably of more interest to theater folk than a general audience.”…“Can write brilliantly, but is too clever for his own good.”

8. John Heilpern
The New York Observer
The drama critic at the Observer since 1992, Heilpern also teaches at Columbia.

“Probably the single best critic in the city (maybe the country). Compelling, articulate, passionate, knowledgeable without condescension.”…“He can be cranky and old-fashioned. Has experience, but he is more inclined to be nasty than to honestly review a show.”…“Smart and funny. Looks at theater with a long background working in it, but he can also appreciate contemporary work.”

9. Linda Winer
Newsday
The only woman on this list has been at Newsday since 1987, following writing stints at the Chicago Tribune, the Daily News and USA Today.

“More of a cheerleader than an unbiased observer.”…“Cranky, cranky, cranky—she really seems to hate theater. May have burnout.”…“Newsday is a shadow of itself, but she is the critic of an intelligent Long Island readership.”

10. Eric Grode
The New York Sun
Replaced Jeremy McCarter at the Sun in 2005.

“His taste swings, but he is a good writer.”…“Smart guy.”…“Terrific reviewer but writes for a paper that has zero influence over ticket sales.”

11. Clive Barnes
New York Post
Chief critic at the Post since 1977, after ten years at the Times.

“God bless him, but he can barely stay awake during shows.”…“His taste is fairly outdated, but I also think he writes for the Post’s audience, which is pretty dumbed down.”…“The old fogy. He used to matter, but now who reads him?”

12. Frank Scheck
New York Post
Handles Off Broadway at the Post.

“Reviews for the consumer—theater purely as entertainment, not art.”…“Underrated. Smart and no bullshit.”…“Crappy commercialized reviews of overly commercial theater. Highly superficial.”

13. Hilton Als
The New Yorker
Reviewing theater at The New Yorker since 2002, on staff since 1996; author of the memoir The Women (1996).

“Weird opinions. Doesn’t seem to come at them from a theater perspective.”…“Smart, highly articulate, sees the big picture and makes connections. Wish he had more influence.”…“He’s sometimes off base, sometimes bizarrely so.”

TONY’s own

David Cote
At TONY since 2000; Theater editor since 2003; regular NY1 contributor.

“When he likes something, he gets utterly behind it. His passion for the art form is evident.”…“If anything, he can be too generous to work that really deserves a beat-down, but that’s probably for the best.”…“Knows what he’s covering, which is a rarity these days. Also writes clearly and smartly. A savvy take on pop culture.”

Adam Feldman
Staff critic since 2003; president of the New York Drama Critics’ Circle.

“Young but getting more respected.”…“Good writer and good intentions, but not much fire, and not many results.”…“Hungry to find what is out there.”…“Very bright and enthusiastic. Gets behind the work he admires and has a real connection to it. Does not seem concerned with fulfilling any expectation of the magazine.”