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.

Of the modern critics, although I disagree with almost everything she says, I admire Mary McCarthy's eloquence and social observation in 'Sights and Spectacles'; she thinks in print, but she doesn't have a real feel for the stage.

Broadway shows in New York draw two times the attendance of all New York sports teams put together.

Samuel Beckett's 'Waiting for Godot,' billed as 'the laugh sensation of two continents,' made its American debut at the Coconut Grove Playhouse, in Miami, Florida, in 1956. My father, Bert Lahr, was playing Estragon, one of the two bowler-hatted tramps who pass the time in a lunar landscape as they wait in vain for the arrival of a Mr. Godot.

Did you come of age in those sweet summers of the early nineteen-sixties, when the airwaves were full of rock and roll's doo-wop promise of joy and the nation was full of J.F.K.'s eloquent promise of a New Frontier? I did. Life seemed to be laid out before us like a banquet; everything was for the taking, especially hearts.

I was the first critic ever to win a Tony - for co-authoring 'Elaine Stritch at Liberty.' Criticism is a life without risk; the critic is risking his opinion, the maker is risking his life. It's a humbling thought but important for the critic to keep it in mind - a thought he can only know if he's made something himself.