John Lahr – författare

A great theater critic brings twentieth-century playwright Arthur Miller’s dramatic story to life with bold and revealing new insights  “Lahr’s cogent analyses are revelatory. . . . He does not reduce the work to the life, but shows how it explains the life from which it emerges.”—Willard Spiegelman, Wall Street Journal  “New Yorker critic Lahr shines in this searching account of the life of playwright Arthur Miller. . . . It’s a great introduction to a giant of American letters.”—Publishers Weekly  Distinguished theater critic John Lahr brings unique perspective to the life of Arthur Miller (1915–2005), the playwright who almost single-handedly propelled twentieth-century American theater to a new level of cultural sophistication. Organized around the fault lines of Miller’s life—his family, the Great Depression, the rise of fascism, Elia Kazan and the House Committee on Un-American Activities, Marilyn Monroe, Vietnam, and the rise and fall of Miller’s role as a public intellectual—this book demonstrates the synergy between Arthur Miller’s psychology and his plays.  Concentrating largely on Miller’s most prolific decades of the 1940s, 1950s, and 1960s, Lahr probes Miller’s early playwriting failures; his work writing radio plays during World War II after being rejected for military service; his only novel, Focus; and his succession of award-winning and canonical plays that include All My Sons, Death of a Salesman, and The Crucible, providing an original interpretation of Miller’s work and his personality.

"To be young, good-looking, healthy, famous, comparatively rich and happy is surely going against nature." When Joe Orton (1933-1967) wrote those words in his diary in May 1967, he was being hailed as the greatest comic playwright since Oscar Wilde for his darkly hilarious Entertaining Mr. Sloane and the farce hit Loot , and was completing What the Butler Saw but less than three months later, his longtime companion, Kenneth Halliwell, smashed in Orton's skull with a hammer before killing himself. The Orton Diaries , written during his last eight months, chronicle in a remarkably candid style his outrageously unfettered life: his literary success, capped by an Evening Standard Award and overtures from the Beatles his sexual escapades,at his mother's funeral, with a dwarf in Brighton, and, extensively, in Tangiers and the breakdown of his sixteen-year "marriage" to Halliwell, the relationship that transformed and destroyed him. Edited with a superb introduction by John Lahr, The Orton Diaries is his crowning achievement.

John Lahr has produced a theater biography like no other. Tennessee Williams: Mad Pilgrimage of the Flesh gives intimate access to the mind of one of the most brilliant dramatists of his century, whose plays reshaped the American theater and the nation's sense of itself. This astute, deeply researched biography sheds a light on Tennessee Williams's warring family, his guilt, his creative triumphs and failures, his sexuality and numerous affairs, his misreported death, even the shenanigans surrounding his estate.With vivid cameos of the formative influences in Williams's life—his fierce, belittling father Cornelius; his puritanical, domineering mother Edwina; his demented sister Rose, who was lobotomized at the age of thirty-three; his beloved grandfather, the Reverend Walter Dakin—Tennessee Williams: Mad Pilgrimage of the Flesh is as much a biography of the man who created A Streetcar Named Desire, The Glass Menagerie, and Cat on a Hot Tin Roof as it is a trenchant exploration of Williams’s plays and the tortured process of bringing them to stage and screen.The portrait of Williams himself is unforgettable: a virgin until he was twenty-six, he had serial homosexual affairs thereafter as well as long-time, bruising relationships with Pancho Gonzalez and Frank Merlo. With compassion and verve, Lahr explores how Williams's relationships informed his work and how the resulting success brought turmoil to his personal life.Lahr captures not just Williams’s tempestuous public persona but also his backstage life, where his agent Audrey Wood and the director Elia Kazan play major roles, and Marlon Brando, Anna Magnani, Bette Davis, Maureen Stapleton, Diana Barrymore, and Tallulah Bankhead have scintillating walk-on parts. This is a biography of the highest order: a book about the major American playwright of his time written by the major American drama critic of his time.

A reissue in hardback of critic John Lahr's famous 1982 study of Noel Coward's plays "Noel Coward," said Terence Rattigan, "is simply a phenomenon, and one that is unlikely to occur ever again in theatre history." A phenomenon he certainly was, and it is part of John Lahr's purpose in this book to show how that phenomenon called "Noel Coward" was largely Coward's own careful creation. Lahr's penetrating critical study of Coward's drama investigates all the major and minor plays of "The Master". Private Lives, Design for Living and Hay Fever make a fascinating group of "Comedies of Bad Manners". Blithe Spirit and Relative Values raise the "Ghost in the Fun Machine". Lahr then goes on to explore the "politics of charm" oozing through The Vortex, Easy Virtue and Present Laughter. In all Coward's plays Lahr uncovers a coherent philosophy in which charm is both the subject of Coward's comedies and the trap which made his very public life a perpetual performance."A smashing, thoughtful and very good guide to Coward's plays" (Sheridan Morley)

From David Mamet to Ingmar Bergman, Frank Sinatra to Woody Allen, Roseanne Barr to Eddie Izzard, The New Yorker's resident drama critic, John Lahr has had unparalleled access to the most elusive, compelling and irresistible public personas of our time. In SHOW AND TELL, Lahr - 'the most intelligent and insightful writer on theatre today' (NEW YORK TIMES) - reinvents the celebrity profile to find the essence of performance. Lahr's gift is his understanding of both the art and the artist, to show how the work and the life intersect. He has had unusual access to his subjects, who talk to him with rare candour.

A brilliant and feared critic, Kenneth Tynan was a nabob of the National Theatre alongside Laurence Olivier, and he was also the daring impresario who created "Oh Calcutta". He was a notorious eccentric, a louche sophisticate: connoisseur of cuisine, wine, literature and women. Where else could you find such a judicious blend of aesthetics, theatre lore, love, marriage, sex and politics? These sizzling diaries will remind older readers of a man whose reputation as the greatest critic of the twentieth century is still unchallenged and introduce younger readers to an electrifying writer who simply could not be boring.

For most of his Broadway plays Tennessee Williams composed an essay, most often for The New York Times, to be published just prior to opening—something to whet the theatergoers’ appetites and to get the critics thinking. Many of these were collected in the 1978 volume Where I Live, which is now expanded by noted Williams scholar John S. Bak to include all of Williams’ theater essays, biographical pieces, introductions and reviews. This volume also includes a few occasional pieces, program notes, and a discreet selection of juvenilia such as his 1927 essay published in Smart Set, which answers the question “Can a good wife be a good sport?” Wonderful and candid stories abound in these essays—from erudite observations on the theater to veneration for great actresses. In “Five Fiery Ladies” Williams describes his fascinated, deep appreciation of Vivien Leigh, Geraldine Page, Anna Magnani, Katharine Hepburn, and Elizabeth Taylor, all of whom created roles in stage or film versions of his plays. There are two tributes to his great friend Carson McCullers; reviews of Cocteau’s film Orpheus and of two novels by Paul Bowles; a portrait of Williams’ longtime agent Audrey Wood; a salute to Tallulah Bankhead; a political statement from 1972, “We Are Dissenters Now”; some hilarious stories in response to Elia Kazan’s frequent admonition, “Tennessee, Never Talk to An Actress”; and Williams’ most moving and astute autobiographical essay, “The Man in the Overstuffed Chair.” Theater critic and essayist John Lahr has provided a terrific foreword which sheds further light on Tennessee Williams’ writing process, always fueled by Williams’ self-deprecating humor and his empathy for life’s nonconformists.

Screenplay to John Lahr's successful dramatization of The Orton Diaries that chronicles the last eight months of Joe Orton's life, his growing theatrical celebrity, and the corresponding punishing effect it had on his relationship with his friend and mentor Kenneth Halliwell, who murdered him on August 9, 1967, and then took his own life.

SHORTLISTED FOR THE 2014 NATIONAL BOOK AWARD FOR NONFICTIONThe definitive biography of America’s most impassioned and lyrical twentieth-century playwright from acclaimed theatre critic John Lahr'A masterpiece about a genius' Helen Mirren'Riveting ... masterful' Sunday Times, Books of the YearOn 31 March 1945, at The Playhouse Theatre on Forty-Eight Street the curtain rose on the opening night of The Glass Menagerie. Tennessee Williams, the show’s thirty-four-year-old playwright, sat hunched in an aisle seat, looking, according to one paper, ‘like a farm boy in his Sunday best’. The Broadway premiere, which had been heading for disaster, closed to an astonishing twenty-four curtain calls and became an instant sell-out. Beloved by an American public, Tennessee Williams’s work – blood hot and personal – pioneered, as Arthur Miller declared, ‘a revolution’ in American theatre.Tracing Williams’s turbulent moral and psychological shifts, acclaimed theatre critic John Lahr sheds new light on the man and his work, as well as the America his plays helped to define. Williams created characters so large that they have become part of American folklore: Blanche, Stanley, Big Daddy, Brick, Amanda and Laura transcend their stories, haunting us with their fierce, flawed lives. Similarly, Williams himself swung high and low in his single-minded pursuit of greatness. Lahr shows how Williams’s late-blooming homosexual rebellion, his struggle against madness, his grief-struck relationships with his combustible father, prim and pious mother and ‘mad’ sister Rose, victim to one of the first lobotomies in America, became central themes in his drama.Including Williams’s poems, stories, journals and private correspondence in his discussion of the work – posthumously Williams has been regarded as one of the best letter writers of his day – Lahr delivers an astoundingly sensitive and lively reassessment of one of America’s greatest dramatists. Tennessee Williams: Mad Pilgrimage of the Flesh is the long-awaited, definitive life and a masterpiece of the biographer's art.

A dazzling celebration of theatre, its workings and its most compelling playwrights by the New York’s senior drama critic emeritus and the author of Tennessee Williams'By far the best thing about my stuff I’ve ever read' Arthur Miller'Luminous with insight and love for every aspect of the act of dramatic creation' Daily Mail'A wonderful celebration of theatre, filled with insights' Guardian‘John Lahr manages to write better about the theatre than anybody in the English language,’ says Richard Eyre. Joy Ride, which includes the best of his New Yorker profiles and reviews, makes his expertise and his exhilaration palpable.From modern greats, like Arthur Miller, Harold Pinter, David Mamet, Tony Kushner and August Wilson, through the work of directors like Nicholas Hytner and Ingmar Bergman, to Shakespeare himself, the depth of Lahr’s understanding is plain to see and extraordinary to read. He brings the reader up close and personal to the artists and their art.Whether you are a regular theatre-goer, or just starting out, Lahr’s book delights as both a celebration and a guide.

In Razzle Dazzle ‘Em, John Lahr, the lead theatre critic for The New Yorker for 21 years and a multi-award-winning biographer, captures the essence of some of Hollywood’s most influential actors and directors. This compelling collection of pen portraits offers a rare glimpse into the minds of those we see on screen. In this volume, Lahr’s profiles of Helen Mirren, Ethan Hawke, Viola Davis, Sean Penn, Julianne Moore, Todd Haynes, Cate Blanchett, Sam Mendes, Claire Danes, Judi Dench, Mike Nichols, Emma Thompson, and Al Pacino, spanning from 2000 to 2022, are brought together for the first time alongside Lahr’s award-winning essay Petrified, on stage fright. Showcasing the voices of these industry titans, Lahr masterfully explores the triumphs, challenges, and artistic processes that define the careers of these 'show-biz legends’.

Joy Ride throws open the stage door and introduces readers to such makers of contemporary drama as Arthur Miller, Tony Kushner, Wallace Shawn, Harold Pinter, David Rabe, David Mamet, Mike Nichols, and August Wilson. Lahr takes us to the cabin in the woods that Arthur Miller built in order to write Death of a Salesman; we walk with August Wilson through the Pittsburgh ghetto where we encounter the inspiration for his great cycle; we sit with Ingmar Bergman at the Kunglinga Theatre in Stockholm, where he attended his first play; we visit with Harold Pinter at his London home and learn the source of the feisty David Mamet’s legendary ear for dialogue.In its juxtaposition of biographical detail and critical analysis, Joy Ride explores with insight and panache not only the lives of the theatricals but the liveliness of the stage worlds they have created.

Since 1992 John Lahr has written for The New Yorker, where for twenty-one years he was the senior drama critic, the longest stint in that post in the magazine's history. Joy Ride is a collection of his profiles and reviews that throws open the stage door, taking us behind the scenes both on and off Broadway to introduce such creators of contemporary drama as August Wilson, Arthur Miller, Stephen Sondheim, Tony Kushner, Wallace Shawn, and Mike Nichols. The result is a delightful, literate, and essential crash course in contemporary theater.