“... him. He said: ‘I was probably in my dressing-room asking: “Where are all my friends?” ’ John Lahr is not the first writer on Humphries to wonder how it is that Dame Edna contrives to make her victims enjoy being mocked. In the television studio politicians are made to dance like bears and sing like birds. Husky male film stars wear frilly ...”

“... Bloomsbury have sent out the first publicity pack for Kenneth Tynan’s diaries, edited by John Lahr, which are to be published in October. Among the slogans (‘Think Alan Clark meets Alan Bennett’ – no, don’t) and the paraphernalia (a padlock and key) is a pamphlet of highlights. A good many of the selected entries concern spanking, and a good many others are anecdotes about Hemingway, Dietrich, Olivier, Vivien Leigh, Miles Davis, Gregory Peck, but it’s not all like that ...”

“... plays on the stage in the 1940s and 1950s; 12 years in the case of his latest and best biographer, John Lahr; or even as little as six weeks by me while reading Lahr’s absorbing Life, along with the work, and a big chunk of all the stuff Williams wrote and said about the work – is to learn and relearn how soberly ...”

“... his attacks, unscathed, protected by their own sense of themselves. It is a relief to turn to John Lahr’s Automatic Vaudeville, 15 reprinted essays written over the last decade, which go far to confirm his rating as the Leavis of the popular, largely performing arts, though this collection also includes a snatch of reportage on Dallas – at once ...”

“... diaries, which Tynan bequeathed on his deathbed to his daughter Tracy. They have been edited by John Lahr, the perfect choice for the task – indeed, an inescapable one. Lahr is Tynan’s true successor at the New Yorker, reviewing theatre for the magazine, as did Tynan, and, more important, filling his loafers as ...”

“... coincided with what critics have identified as the ‘epistemological break’ in his work. John Lahr, in his 1984 essay on Allen, wasn’t the first to take the view that the comic’s early films, thin narrative skeletons on to which Allen could graft his anarchic one-liners, were somehow more honest. After the break, according to ...”

“... When Joe Orton was in Tangier, he noted down the following exchange: ‘You like to be fucked or fuck?’ he said. ‘I like to fuck, wherever possible,’ I said. He leaned across and said in a confidential tone: ‘I take it.’ ‘Do you?’ I said. ‘Yes,’ he said, ‘up to the last hair.’ ‘You speak very good English,’ I said. Though Orton is aroused, his attention is undeflected ...”

“... the help he got from Gamlin. Forbes wrote to him at the BBC – at the time Forbes’s name was John Theobald Clarke – and Gamlin wrote back, telling Forbes that his letter was so extraordinary he would have to meet him. When they met Gamlin said it would be necessary for him to change his name. ‘Another young actor, ahead of me,’ Forbes wrote years ...”

“... If they’ve arrived too late, they should have gone in earlier.The Orton material is drawn from John Lahr’s biography, Prick Up Your Ears, which plays the part in Corey Fah Does Social Mobility that The Trial did in Sterling Karat Gold – a text to be ‘put to work’, in Waidner’s phrase. Orton’s literary executor was his agent, Peggy ...”

“... that Whitaker finally produced something she could stand over. She sent it to the Adelphi, where John Middleton Murry accepted it for publication. When Whitaker visited the Adelphi offices with her husband, it became clear that the editors thought he was the author. In her memoir, Whitaker doesn’t explore her reasons for choosing her male, Old Testament ...”

“... at the Coconut Grove in Miami: the columnist Walter Winchell called it ‘vulgar’ and Bert Lahr, who played Estragon, got a letter asking what a star of The Wizard of Oz was doing ‘in a play which is communistic, atheistic and existential’. ‘This Miami fiasco does not distress me in the smallest degree,’ Beckett wanted Schneider to know, ‘or ...”