{"id":9987,"date":"2010-04-04T16:34:12","date_gmt":"2010-04-04T20:34:12","guid":{"rendered":"http:\/\/www.sheilaomalley.com\/?p=9987"},"modified":"2010-07-22T21:36:29","modified_gmt":"2010-07-23T01:36:29","slug":"one-of-the-reasons-i-love-john-lahr","status":"publish","type":"post","link":"https:\/\/www.sheilaomalley.com\/?p=9987","title":{"rendered":"One of the reasons I love John Lahr"},"content":{"rendered":"<p>&#8230; son of Bert Lahr, as well as long-time theatre critic for <i>The New Yorker<\/i> (his profiles have been compiled into a wonderful book: <i><a href=\"http:\/\/www.amazon.com\/gp\/product\/0520233778?ie=UTF8&#038;tag=thesheivari-20&#038;linkCode=as2&#038;camp=1789&#038;creative=9325&#038;creativeASIN=0520233778\">Show and Tell: New Yorker Profiles<\/a><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.assoc-amazon.com\/e\/ir?t=thesheivari-20&#038;l=as2&#038;o=1&#038;a=0520233778\" width=\"1\" height=\"1\" border=\"0\" alt=\"\" style=\"border:none !important; margin:0px !important;\" \/><\/i>) is because of paragraphs like this one, in<a href=\"http:\/\/www.newyorker.com\/arts\/critics\/theatre\/2010\/04\/05\/100405crth_theatre_lahr\"> his recent review of what sounds like a misguided <i>Glass Menagerie<\/i><\/a> at the Long Wharf:<\/p>\n<blockquote><p>Direct address suggests that the audience is being let in on a secret. In Edelstein&#8217;\u0080\u0099s production, we are, instead, let in on a documentary. In the opening four minutes of the play, a long time in the theatre, Tom (Patch Darragh) enters, puts on a record, loosens his tie, and readies himself to write -\u0080\u0094a preparation that includes swigging from a bottle of Bourbon (though drinking as an aid to writing was a habit that Williams didn&#8217;t acquire until nearly a decade later)-\u0080\u0094and, after much flimflammery, starts to type. When Tom finally gets around to speaking the play&#8217;\u0080\u0099s first words, he talks to himself, as if sounding out lines hot off his typewriter. We don&#8217;\u0080\u0099t enter <em>into<\/em> memory; we&#8217;\u0080\u0099re <em>outside<\/em> it, watching it take place. This is a huge shift in narrative tone, dramatically speaking-\u0080\u0094like switching from first to third person. To members of the audience who don&#8217;\u0080\u0099t know the masterpiece, it may come as a surprise to learn that none of what they&#8217;\u0080\u0099re seeing was written by Williams. To those who are familiar with the play, it&#8217;\u0080\u0099s an outrageous piece of intellectual impertinence from a director who is trying to claim co-authorship of a play that he imperfectly understands. At a stroke, Williams&#8217;s purpose and his meaning are skewed and screwed. <\/p><\/blockquote>\n<p>I have always felt that a theatre critic&#8217;s job is not just to say, &#8220;This was good&#8221;, or &#8220;This was bad&#8221;, but to understand the context and try to make it relevant and clear to the reader (and potential audience member).  Not only does he describe accurately this imposed &#8220;device&#8221; in the new production but he is able to analyze why, exactly, it doesn&#8217;t work.  He does this because he knows Williams&#8217;s work so well, and knows what has been lost in the transfer.<\/p>\n<p>I love John Lahr&#8217;s work.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8230; son of Bert Lahr, as well as long-time theatre critic for The New Yorker (his profiles have been compiled into a wonderful book: Show and Tell: New Yorker Profiles) is because of paragraphs like this one, in his recent &hellip; <a href=\"https:\/\/www.sheilaomalley.com\/?p=9987\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[16],"tags":[1551],"_links":{"self":[{"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=\/wp\/v2\/posts\/9987"}],"collection":[{"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=9987"}],"version-history":[{"count":2,"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=\/wp\/v2\/posts\/9987\/revisions"}],"predecessor-version":[{"id":24809,"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=\/wp\/v2\/posts\/9987\/revisions\/24809"}],"wp:attachment":[{"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9987"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=9987"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=9987"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}