Phrase by 'John Lahr'

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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.

Author: John Lahr - American Critic
Age , American , Story , Dream

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.

Author: John Lahr - American Critic
Life , You , Age , Sweet

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.

Author: John Lahr - American Critic
Everything , Feel , Admire , Real

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.

Author: John Lahr - American Critic
Me , Time , Good , Theatre

'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.

Author: John Lahr - American Critic
New , Speak , Street , Practice

Phrase by 'John Lahr'

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.

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.

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.

'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.

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