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.

When Elvis made his mass-media debut on 'The Ed Sullivan Show' - his notorious gyrations filmed only from the waist up - I fell off the family chaise longue with delight.

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.

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

Society drives people crazy with lust and calls it advertising.

That state of mind - of being beside yourself - is wonderful. As you get older, you're just very aware of a sense of an ending. You're grateful for every day.

Theatre people, who are an adaptive species, know that to remain sane in the process of production where everyone and his uncle has an opinion about how to fix a show, you must pick the people whose knowledge and taste you trust and stick only to these few. The Tweetocracy is no place to look.