So mostly because of the directness; here’s a response per Lightsey piece by piece:

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Mr./Ms. Lynch, why don't you lay off the scorn and speak more directly. If you'll look again at the other comments, you'll see they come from educated art viewers, not philistines.

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I don’t understand why you thought my comments were scornful; they were not written in a negative light at all. I was just trying to investigate and bring up as many simple differences and similarities as I could come up with between the Kitchen and the McGuire performances (without being at the Kitchen).

I don’t think anyone in Minnesota is (or that I am? are you saying?) a philistine or is to be treated as such. However now that you bring the notion up, the piece itself was very simple; even Philistine’ian in form. Aside from the elaborate frame including the technology (the Walker [the McGuire, the front of house staff], the technical objects 10 audio lines, somekind of video playback device, a substantial video projector, all the time in the space that the piece needed) I felt like I was watching MTV, the extras on a DVD, or an internet video segment. Never a performance. And that simple form of ‘prerecorded something’ was only odd, because of the ELABORATE technological and theatrical frame. I am still very surprised at all the hubbub over “what happened” for the simple reason that the event itself was incredibly familiar, usual, and widely accepted faire.

(let us continue)
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I take it that part of your point is that the difference in audience and venue affected the performance negatively.
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No, again, I never said anything about negativity, you’re wearing arrogance colored glasses.

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Okay, I can buy that. The McGuire is not a big theater, but it did feel cavernous for Wampler's piece.

****** I said that the McGuire is much bigger than the Kitchen.
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Also, I can see that if everyone had known what to expect, we might have responded to it all differently.
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Well of course. All I said was that questioning liveness and media culture as live work tends to pop up more in the Kitchen (because they program and conduct workshops on the matter ) more often. The Walker doesn’t conduct larger artist rearing processing; if we’re talking shows that have been here in similar vane, two years ago “Superamas” had a similar vibe, the Big Art Group’s work some years ago as well, and of course who can forget the behemoth of Builders Association/dbox.

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But I can't see how this is the fault of the audience. This is a bit like saying the revival would have gone over better if the audience had already been believers.
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Any revival goes over better if you’re believers, just ask Elvis.

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Again, I think you looked my writing as if I was flaming at you all; I was in fact trying to be as un-critical and stilted as possible. Sounds like I failed. I apologize.

Sorry Minnesota; I love you very much (sincerely).

The show I was at did get what might have been the de rigueur standing ovation (complete with stomping, shouting and rhythmic clapping — planted and otherwise), but it was a little different than others that I’ve seen. For one thing the average age of the audience was under the city speed limit.