Theatre is a game of hide-and-seek. For both the hiders and the seekers, the thrill is in the discovery. When the rules of the game are too vague or too complicated, however, the audience can lose its urge to play; the prize no longer seems quite worth the hunt.

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

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.

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.

Like the tail fins on fifties American cars or the parabolic shapes of Populuxe furniture, 'West Side Story' incarnates the dream of momentum in the golden age of the twentieth century.

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.