To me, the fun part of both jobs is to always try to push the discussion and debate forward in some way. The most fun part of being a theater critic for the Times was always to try and champion something that maybe other people didn't like, or that was produced under obscure circumstances or had to fight for its life. And I would say in the column what I try to do is in some ways related in that I'm trying to fight for a point of view. I'm not trying to be a kingmaker in either job, and don't want to be, and shouldn't be.

If Obama needs to be criticized, I will criticize him. There's a tremendous amount of excitement about him. And a corollary of that is, as we're learning, from newspapers and magazines that are going into overdrive reprinting Obama editions, etc.

There have been at least three other cases in which federal agencies have succeeded in placing fake news reports on television during the Bush presidency. It was a really good tour. It seemed maybe about a week too long.

What was most striking about the Obama speech in Berlin was not anything he said so much as the alternative reality it fostered: many American children have never before seen huge crowds turn out abroad to wave American flags instead of burn them.

The truth is that a lot of plays aren't political at all. In American theater history, political theater has tended to crop up when there's a crisis, a national crisis.

Yul Brynner's performance in "The King and I," . . . can no longer be regarded as a feat of acting or even endurance. After 30-odd . . . Mr Brynner is, quite simply, The King.

The actor doesn't merely command the stage, he seems to own it by divine right.