About John Lahr: 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.
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.
'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.
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.
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 tram...
Broadway shows in New York draw two times the attendance of all New York sports teams put together.
Society drives people crazy with lust and calls it advertising.
