Nobody has ever gone broke selling escape to the American public.

Nobody has ever gone broke selling escape to the American public.

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 were 'teen-agers' - a term, coined in 1941, that was in common usage a decade later - a new, recognizable franchise. We had money, mobility, and problems all our own.

I go to the theatre expecting to have a good time. I want each play and performance to take me somewhere. Naturally, this doesn't always happen.

The New Yorker's' drama critics have always had a comparable authority because, for the most part, the magazine made it a practice to employ critics who moonlighted in the arts. They worked both sides of the street, so to speak.

Angels in America' - which is composed of two three-hour plays, 'Millennium Approaches' and 'Perestroika' - proved to be a watershed drama, the most lyrical and ambitious augury of an era since Tennessee Williams's 'The Glass Menagerie.

Accustomed to the veneer of noise, to the shibboleths of promotion, public relations, and market research, society is suspicious of those who value silence.