Theater critic Charles McNulty has offered a sharp evaluation of Center Theatre Group (CTG) under the leadership of artistic director Snehal Desai, suggesting that the organization’s current struggles lie less in its choice of material and more in the execution of its productions.
“The issue isn’t the judgment behind the programming but the care in readying the work for presentation,” McNulty wrote in a recent assessment for the Los Angeles Times.
The critique comes as one of the nation’s largest non-profit theater companies attempts to recover from a period of significant turbulence. McNulty noted that CTG is “desperately trying to find a sustainable path” following a financial crisis that forced it to pause programming at its flagship venue, the Mark Taper Forum, for the entire 2023-2024 season.
Production Quality vs. Artistic Intent
McNulty’s assessment highlights a gap between the organization’s artistic ambition and the final product seen by audiences. While acknowledging the difficulty of the task, the critic pointed to a lack of “synergy and focus” in recent efforts, such as the reopening production of American Idiot. Directed by Desai in collaboration with Deaf West Theatre, the revival was intended to signal a bold new era for the Taper but was described by McNulty as a “muddle” that failed to coalesce, despite the “civic cheer” surrounding the venue’s return.
The criticism suggests that while the “One CTG” initiative—a strategy designed to unify the company’s three venues under a single brand—makes logical sense for a contracting organization, the artistic results have yet to consistently meet the high standards expected of Los Angeles’ premier theater institution.
The Struggle for Sustainability
The harsh review underscores the immense pressure facing Desai, who made history as the first person of color appointed to lead the organization in 2023. He inherited a company in “crisis mode,” facing a multimillion-dollar budget shortfall, shrinking subscriber bases, and the aftershocks of the pandemic.
In an effort to stabilize the ship, CTG has undergone significant restructuring, including staff layoffs and a reduction in the total number of productions. The “sustainable path” McNulty references involves a delicate balancing act: cutting costs to ensure survival while trying to lure audiences back with event-style theater. However, as the critique implies, the drive for financial stability may be straining the creative resources required to polish these complex productions.
A Critical Juncture
Desai, previously acclaimed for his transformative tenure at the smaller East West Players, has emphasized a vision of inclusivity and “event theater” to revitalize CTG. Yet, observers note that the organization is currently lagging behind local competitors like the Pasadena Playhouse and Geffen Playhouse in terms of consistent artistic quality.
As CTG continues its “One CTG” season, the spotlight remains on whether the leadership can bridge the gap between their programming concepts and the on-stage execution necessary to regain the full confidence of critics and subscribers alike.
