The L Magazine, How Theater Failed America :
But Daisey takes aim at something other than the crucifixion of theatrical products. His real target is us, i.e. anyone making, viewing or passing judgment on the theater. Secondly, and much more vocally, the regional theater movement. A movement that, like its biggest funders, is of the Baby Boom generation. Born in the early 1950s, the thing has now grown gray and fat, spending indiscriminately, with the gutless assumption that the money will just magically keep coming in even after the funders die, that somehow their own children will manage to pay off their outsized debts. Daisey is interested in taking regional theater back down to size, reminding it of its original prime mover — the idealistic urge to train and nurture local theater artists and build committed and long-term relationships not only with those artists but also with the audience.