'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.'

'Death of a Salesman' is a brilliant taxonomy of the spiritual atrophy of mid-twentieth-century white America.

A prose writer never sees a reader walk out of a book; for a playwright, it’s another matter. An audience is an invaluable education. In my experience, theatre artists don’t know what they’ve made until they’ve made it.

Although the ‘New York Times’ annually declares that Broadway is on its deathbed, news of its demise is greatly exaggerated. There’s a lot of life yet in the old tart.

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.

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.

Writers don’t always know what they mean – that’s why they write. Their work stands in for them. On the page, the reader meets the authoritative, perfected self; in life, the writer is lumbered with the uncertain, imperfect one.

The British playwright Nina Raine is one of her generation’s most promising talents.

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.