John Henry Lahr (born July 12, 1941) 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. Read full biography of John Lahr →
His life was one long extravaganza, like living inside a Faberge egg.
Society drives people crazy with lust and calls it advertising.
In 1957, 'West Side Story' had introduced the musical to the reckless dark side of teen-age life; 'Bye Bye Birdie,' set in Sweet... →
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... →
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... →
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... →
'Death of a Salesman' is a brilliant taxonomy of the spiritual atrophy of mid-twentieth-century white America.
Although the 'New York Times' annually declares that Broadway is on its deathbed, news of its demise is greatly exaggerated. There's a... →
'Angels in America' - which is composed of two three-hour plays, 'Millennium Approaches' and 'Perestroika' - proved to be a... →
Of the modern critics, although I disagree with almost everything she says, I admire Mary McCarthy's eloquence and social observation in... →
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... →
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... →
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... →
John Henry Lahr (born July 12, 1941) 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.