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John Lahr [1941-0] American

Rank: 105
Critic

John Henry Lahr is a British-based American theater critic, and the son of actor Bert Lahr. Since 1992, he has been the senior drama critic at The New Yorker magazine. His books include Joy Ride and Tennessee Williams: Mad Pilgrimage of the Flesh.

Age

Quote	Tags	Rank
Samuel Beckett's 'Waiting for Godot,' billed as 'the laugh sensation of two continents,' made its American debut at the Coconut Grove Playhouse, in Miami, Florida, in 1956. My father, Bert Lahr, was playing Estragon, one of the two bowler-hatted tramps who pass the time in a lunar landscape as they wait in vain for the arrival of a Mr. Godot.		101
His life was one long extravaganza, like living inside a Faberge egg.		102
Did you come of age in those sweet summers of the early nineteen-sixties, when the airwaves were full of rock and roll's doo-wop promise of joy and the nation was full of J.F.K.'s eloquent promise of a New Frontier? I did. Life seemed to be laid out before us like a banquet; everything was for the taking, especially hearts.	Age	103
Tony Awards boost Broadway attendance and sell the shows on the road. They're the sugar to swat the fly. If you needed more explanation for the yearly ballyhoo, in the metropolitan areas where a Broadway show plays, the local economy is boosted by three and a half times the gross ticket sales. So when we're talking Tonys, we're talking moolah.		104
Of the modern critics, although I disagree with almost everything she says, I admire Mary McCarthy's eloquence and social observation in 'Sights and Spectacles'; she thinks in print, but she doesn't have a real feel for the stage.		105
Theatre is a game of hide-and-seek. For both the hiders and the seekers, the thrill is in the discovery. When the rules of the game are too vague or too complicated, however, the audience can lose its urge to play; the prize no longer seems quite worth the hunt.		106
Society drives people crazy with lust and calls it advertising.		107
Dame Edna is that rarest sighting in our time of the absolute comic, an inspired personification of caprice whose comedy answered the primal call to take the audience for a tumble.		108
In 1957, 'West Side Story' had introduced the musical to the reckless dark side of teen-age life; 'Bye Bye Birdie,' set in Sweet Apple, Ohio, where the citizens apparently dress mostly in chartreuse, mauve, orange, periwinkle, and turquoise, was a walk on the bright side.		109
Although the 'New York Times' annually declares that Broadway is on its deathbed, news of its demise is greatly exaggerated. There's a lot of life yet in the old tart.		110
A prose writer never sees a reader walk out of a book; for a playwright, it's another matter. An audience is an invaluable education. In my experience, theatre artists don't know what they've made until they've made it.		111
Theatre people, who are an adaptive species, know that to remain sane in the process of production where everyone and his uncle has an opinion about how to fix a show, you must pick the people whose knowledge and taste you trust and stick only to these few. The Tweetocracy is no place to look.		112
Broadway shows in New York draw two times the attendance of all New York sports teams put together.		113
'Angels in America' - which is composed of two three-hour plays, 'Millennium Approaches' and 'Perestroika' - proved to be a watershed drama, the most lyrical and ambitious augury of an era since Tennessee Williams's 'The Glass Menagerie.'		114
When Elvis made his mass-media debut on 'The Ed Sullivan Show' - his notorious gyrations filmed only from the waist up - I fell off the family chaise longue with delight.		115
We were postwar middle-class white kids living in the slipstream of the greatest per-capita rise in income in the history of Western civilization; we were 'teen-agers' - a term, coined in 1941, that was in common usage a decade later - a new, recognizable franchise. We had money, mobility, and problems all our own.		116
'Death of a Salesman' is a brilliant taxonomy of the spiritual atrophy of mid-twentieth-century white America.		117
The British playwright Nina Raine is one of her generation's most promising talents.		118
In Britain, the theatre has traditionally been where the public goes to think about its past and debate its future. The formation of the National Theatre, at the Old Vic, near the South Bank, in 1963, institutionalized the symbolic importance of drama by giving it both a building and state funding.		119
Writers don't always know what they mean - that's why they write. Their work stands in for them. On the page, the reader meets the authoritative, perfected self; in life, the writer is lumbered with the uncertain, imperfect one.		120
Nobody has ever gone broke selling escape to the American public.		121
Like the tail fins on fifties American cars or the parabolic shapes of Populuxe furniture, 'West Side Story' incarnates the dream of momentum in the golden age of the twentieth century.		122
I go to the theatre expecting to have a good time. I want each play and performance to take me somewhere. Naturally, this doesn't always happen.		123
'The New Yorker's' drama critics have always had a comparable authority because, for the most part, the magazine made it a practice to employ critics who moonlighted in the arts. They worked both sides of the street, so to speak.		124
I was the first critic ever to win a Tony - for co-authoring 'Elaine Stritch at Liberty.' Criticism is a life without risk; the critic is risking his opinion, the maker is risking his life. It's a humbling thought but important for the critic to keep it in mind - a thought he can only know if he's made something himself.		125

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