The Prevalence of Standing Ovations

To the Editor:

Re “Bravo! Hurray! Wahoo! (Meh.),” by John McWhorter (Opinion, April 16):

The currency of the standing ovation is indeed seriously debased. The impulse to stand up during the ovation following a performance may in some cases represent a kind of unconscious one-upmanship. “I’m more sensitized than most people to the sublimity of what we all have just witnessed, and it is imperative that I separate myself from the underappreciative herd.”

Needless to say, if other audience members follow suit by rising from their seats, then you can raise the ante by hoisting your clapping hands up from the standard mid-torso level to over your head — signifying that the artistry one is acknowledging is not just merely great, but really most sincerely great.

I confess that although I invariably applaud performances, I usually “sit out” the competitive appreciation derby, and haul myself to my feet only if I feel particularly inspired. I avoid the over-the-head clapping mode at all times. Maybe this marks me as a philistine; I’ve been called worse.

David English
Acton, Mass.

To the Editor:

I admit that I’m often among the first to give a standing ovation. I always wondered why the holdouts would deny something so simple to these hardworking actors.

You have to walk out of the theater a few minutes later anyway, so why not stretch your legs and participate with your fellow theatergoers in the shared joy of theater? Perhaps it’s generational, cultural or regional, or maybe it’s a combination.

Jumping to my feet in appreciation of the actors’ hard work is my way of giving back, and it feels really good! I’m sure the actors like to feel the good will as well.