Interview: Theatre Life with Naveen Kumar

Over the last eight years, I have been fortunate to interview pretty much every theater critic at The Washington Post for this column. Now I have the distinct pleasure of introducing you to another stellar journalist that joins the list.

Today’s subject, Naveen Kumar, is the recently appointed Chief Theater Critic for The Washington Post. He succeeded Peter Marks after his departure on December 31st, 2023.  Marks had been with the Post for 21 years.

Naveen’s first review appeared in the Washington Post on January 28th, 2024. It was for Broadway’s Days of Wine and Roses. That was actually a trial run as the Post tried out a bunch of reviewers for the position before Naveen’s official appointment this past June.

Before coming to The Washington Post, Naveen’s works appeared in the New York Times, Variety, them.us, and more.

He is the associate director of the National Critics Institute, the leading arts-writing workshop for professional journalists.

One thing about being a theater critic is that you are always in the hot seat. If you love a show, people might disagree with you. If you hate a show, the same result might happen. In other words, you can’t win. As you will read, each of Naveen’s reviews are tailored to the specific production and venue.

There is a lot of criticism of The Washington Post’s decision not to hire someone based in the DMV for this position. You need to remember that Naveen’s job is not just reviewing our robust local theater scene. Broadway and beyond is part of the gig. The appropriate focus should be on what he will contribute to the robust dialogue not only about local theater, but the broader landscape.

Naveen Kumar is following in the footsteps of such journalistic greats as Peter Marks, Nelson Pressley, Jane Horwitz, and more. I welcome him and I hope you will too because like so many of us, Naveen Kumar is living his theater life to the fullest.

At what age did you realize that writing would be your chosen profession?

I never imagined I could choose writing as a profession — and, in fact, I didn’t. I started working as a freelance journalist for the same reason as many of my colleagues in the media industry, because I got laid off. I didn’t get paid to write for my high school paper, but I did have a column in which I chose the Best Dressed at prom.

Where did you receive your journalistic training?

I trained on the job, editing for print magazines and then in digital media. I have learned a tremendous amount from my editors, including at Them, The Daily Beast, The New York Times, and The Washington Post. I credit the National Critics Institute (NCI) at the Eugene O’Neill Theater Center, where I trained as a fellow in 2018, as a major turning point in my career and in my life. NCI is an arts criticism boot camp led by Chris Jones at the Chicago Tribune, whom I have worked alongside as associate director of the program since 2020. We bring in the very best people in the field — including Peter Marks! — to mentor our fellows, who range from early-to-mid career. I wouldn’t be where I am were it not for NCI.

There are many different genres that a writer can choose as a concentration. How did you land on theatrical critique?

I was fortunate enough that theater criticism chose me. A friend of a friend needed someone to cover theater for a popular LGBTQ+ news site, and then I became that someone. I had carte blanche to write about whatever productions interested me; it was an incredible opportunity to develop my voice and figure out how to write about theater. From there, I went on to contribute reviews to Variety, The New York Times, Broadway News, and other outlets with the generosity to publish me.

What was your first professional writing job?

It was earning milk money to moonlight as a theater critic while working full-time as an editor. I wrote on my own time because I loved it and because I loved going to the theater. I would have done anything to get through the door and see everything I could.

When you heard about Peter Marks leaving his position as Chief Theater Critic for The Washington Post, did you have any hesitation about applying?

I shared the initial reaction that I think many people had who care deeply about theater, which was hoping that the position would still exist and be filled. And, no, I didn’t hesitate. Peter is a lion of the industry and a dear friend. He was probably the one who told me to apply.

How did you find out that you had booked the job?

I received a cryptic email that turned into a phone call. I was sitting in a public park, where my elation must have seemed like its own sort of performance art.

The DC theater community is very vocal. There has been some question about you living in New York and being able to review DC theater. What do you say to your critics that think this is an issue?

I am approaching my responsibilities with an open heart, the best of intentions, and lots of excitement and humility. I hope the DC theater community, Post readers, and anyone else engaging with my work has some measure of that to offer me as well. I am always open to feedback as our relationships continue to develop.

From your time reviewing DC theater so far, what is the biggest difference that you see between reviewing in New York and DC?

Every show is different, and I take a holistic approach. Of course, my job is always critical engagement and assessment, but the Playing Field, audiences, and interested parties are different for any show anywhere, including on Broadway or in DC. I try to take as much as possible into account. I wouldn’t approach a show in a borrowed storefront, or at a storied DC company, in the same way as I would a Broadway show capitalized for 15 million dollars. I always want to see stories that move and engage (and challenge and delight) audiences, and each one is its own unique animal.

What advice can you give to a writer just starting their journalistic journey?

Trust your voice. Be rigorous about doing your homework, of course, but I think the most important thing for young writers to learn is trust. There’s a lot of insecurity that comes with learning the ropes and figuring out what you care about and what you have to say. Trust that you have every right to be in this field and to add your voice to the conversation. We need to hear it!

What productions are you most looking forward to seeing during the 24/25 DC theater season?

As many as I can! I promise this isn’t a cop out. I am genuinely looking forward to seeing where DC theater goes from here. I feel some synchronicity about coming to this position at a turning point for the industry, and for DC theater in particular. I think a lot of institutions, not just those with new leadership, are thinking deeply about how to chart a fresh path forward, making art that has an impact and reaches audiences in new ways. It’s thrilling in that it’s exciting and scary at the same time. I’m honored to play whatever part I may have in that future course.

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