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    Joy Ride: Lives of the Theatricals
    Unavailable
    Joy Ride: Lives of the Theatricals
    Unavailable
    Joy Ride: Lives of the Theatricals
    Ebook712 pages11 hours

    Joy Ride: Lives of the Theatricals

    By John Lahr

    3/5

    ()

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    About this ebook

    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.
    LanguageEnglish
    PublisherBloomsbury Publishing
    Release dateSep 10, 2015
    ISBN9781408868645
    Unavailable
    Joy Ride: Lives of the Theatricals
    Author

    John Lahr

    John Lahr, the author of eighteen books, was the senior drama critic of The New Yorker for over two decades. He has twice won the George Jean Nathan Award for Dramatic Criticism and is the first critic ever to win a Tony Award for coauthoring the 2002 Elaine Stritch at Liberty.

    Read more from John Lahr

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    Reviews for Joy Ride

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    • 3/5
      The author is a former writer for the New Yorker; here he shares some of his profiles and reviews. The commentary on the playwrights, directors, and shows is well written and lively, even if I do sometimes disagree with his assessment. His biographical sketches are interesting, and help to add some understanding to some of the work of these artists. There is one major complaint - he places the date the piece was written at the end of the piece, and it can become difficult when he references things like "this year" or "next year" without that frame of reference; I found myself constantly flipping forward to figure out what the time frame was.Another interesting feature is that it adds a new perspective on the lack of diversity in theatre. The book is dominated by white males. There was one female director, one female writer, and one writer of color. The total lack of diverse voices in such an important publication goes a long way to explaining the lack of visibility of writers who are not white or male in the greater theatre scene. I could think of a slew of other possible subjects he could have written about, many of them at least as prominent as writers who were covered. This feature was very disappointing. I hope if the author does any further anthologies, he seeks to correct that omission.
    • 3/5
      The author is a former writer for the New Yorker; here he shares some of his profiles and reviews. The commentary on the playwrights, directors, and shows is well written and lively, even if I do sometimes disagree with his assessment. His biographical sketches are interesting, and help to add some understanding to some of the work of these artists. There is one major complaint - he places the date the piece was written at the end of the piece, and it can become difficult when he references things like "this year" or "next year" without that frame of reference; I found myself constantly flipping forward to figure out what the time frame was.Another interesting feature is that it adds a new perspective on the lack of diversity in theatre. The book is dominated by white males. There was one female director, one female writer, and one writer of color. The total lack of diverse voices in such an important publication goes a long way to explaining the lack of visibility of writers who are not white or male in the greater theatre scene. I could think of a slew of other possible subjects he could have written about, many of them at least as prominent as writers who were covered. This feature was very disappointing. I hope if the author does any further anthologies, he seeks to correct that omission.