Rewrites: A Memoir

by Neil Simon

A winning combination of touching personal memories and reflections, anecdotes about the writing life, and hilarious stories about some of the biggest names in the entertainment business, "Rewrites" is "one wonderful read" (Larry King, USA Today).

His plays and movies have kept us laughing for four decades, but even more than the humor, it is the humanity of Neil Simon's vision that has made him America's most-loved playwright. Now, the author of such hilarious and heartwarming plays as Barefoot in the Park, The Odd Couple, Plaza Suite, and The Goodbye Girl gives readers his memoir—a funny, touching biography filled with the details of his writing life and rich with the experiences that underlie his work.

Genres: Memoir, Biography, Nonfiction, Theatre, Writing, Biography Memoir, Plays

418 pages, Kindle Edition

First published January 1, 1996

About the author

Marvin Neil Simon was an American playwright and screenwriter. He wrote more than 30 plays and he received more combined Oscar and Tony nominations than any other writer. He was one of the most reliable hitmakers in Broadway history, as well as one of the most performed playwrights in the world. Though primarily a comic writer, some of his plays, particularly the Eugene Trilogy and The Sunshine Boys, reflect on the twentieth century Jewish-American experience.

Reviews

[David · Rating 5 out of 5]

An invaluable - and often illuminating - read for those who have done theater or have written plays. (I've done both.)

A number of times throughout this first volume of memoirs, Simon tells and reminds us that he is someone who has always been most comfortable with and on paper - more than anyplace else. He even explains that his celebrity persona is one he felt the need to create (for approval) - and that there was an invisible 'Neil' who watched on the sidelines. (Hence, his need for analysis. He had a very rough childhood - growing up poor, with dysfunctional parents.)

The very comfortable Neil is the one we mostly spend time with in these pages. That doesn't mean he had a split personality (even though he sort of felt that way). It just means we don't get that many stories others have told about how he could come off as cold or somewhat ruthless (with his tongue) in person. He admits to often not knowing how to act with real people... not, by nature, being a comfortable (non-neurotic) person. (Though, of course, there are countless examples given of how he got along with people quite well.)

I'm not familiar with Simon's later plays (though I'd now like to be) - and I'm only familiar with the films in the first half of his screenplay career. When I was teenager, 'Promises, Promises' (for which he wrote the book) was the first Broadway musical I saw. I later saw the Broadway productions of 'Last of the Red Hot Lovers', 'The Sunshine Boys' and 'Fools'. I enjoyed them all. I was too young to see earlier productions and spent too much time out of New York City for many of the later ones.

But I'm very glad to have read this book because - for someone who says he's uncomfortable opening up - Simon opens up remarkably well in it. He tells the story of the first half of his life efficiently, with intelligence and wit - and with welcome candor.

He also reveals quite a bit about his writing process, illustrating how much of it is rooted in having common sense in depicting human behavior... which can still take time to arrive at when you're actually in the throes of the daunting endeavor of constructing and fully realizing a play.

Though the whole book (a rather swift read) is engaging (and particularly so when he eventually enters the section dealing with his first wife's illness), my favorite part is about how 'The Odd Couple' came to be. That's a very long, involved section - brought vividly to life, from the idea through to opening night. With the inclusion of details of Mike Nichols' direction, it's practically a Master Class in playwriting.

[Bruce · Rating 4 out of 5]

I've been reading lots of Neil Simon this summer. This may well prove to be one of your lighter four-star reviews out there. Neither much in the way of gravitas or backstage gossip involved, Rewrites is your basic angel-food cake of an "and then I wrote" autobiography. That said, fresh angel food cake is mighty tasty, and Neil Simon is nothing if not a prolific baker. I mean, here's a guy who has written a successful Broadway play and/or movie on an annual basis for nearly fifty years. That's not counting remakes or new productions of previous hits. This memoir may not have much to say about the human condition or much to explore from the author's own psyche ("After a while I stopped analysis because the present was a much pleasanter place to be than in the past," he notes at p. 225, which perhaps explains why Simon in this memoir stays for the most part rooted in time to his early playwriting, from his start with Come Blow Your Horn in the early 1960's until the tragic 30-something death of his first wife in the early 1970's from breast cancer). However, the book does offer a bunch of useful insight into the genesis and emergence of his first decade on Broadway which included hits like: Barefoot in the Park, The Odd Couple, Sweet Charity, and The Sunshine Boys. Lots of backstage handwringing, line-, and plot-tweaking. Knowing what doesn't work and why is Simon's greatest self-described gift; you'd think writing comedy was easy or something.

Simon's his own harshest critic: he only likes 7 of his 20+ screenplays (despite four Oscar nominations, and I hope The Goodbye Girl makes his cut). He doesn't think film is his forte. He doesn't like his own film adaptation of Barefoot -- too stagey.

Simon's huge on ironic self-deprecation, though arguably the best bit of irony in the book arises tragically from life. Considering James "Jimmy" Coco, the Gleasonesque comedian and star for whom he wrote Last of the Red Hot Lovers ("He got all the best lines in the play because I thought they were what Jimmy would have said anyway.") Simon at p. 311 goes on to relate: "He was diagnosed years later as having throat cancer. He threw every cigarette he had in the world in the wastebasket and swore he would never touch another one if he could beat the cancer. Soon after, he found out the cancer diagnosis was wrong. He immediately went back to cigarettes and died a few weeks later from a heart attack."

I don't mean to falsely give the impression that the author plays this passage for laughs; in context it's a reflective observation, not a humorous one, but no less worth noting for all that it says of Simon's internal story-editor. Reading this book has motivated me to go back and read through Simon's published plays (I have volumes one through three in my personal library, but never read them cover-to-cover), and I intend to write here later about just how rewarding and delightful a read each of those are.

Simon's writing lies somewhere between lemonade and a good lager - perfect for a summertime, but with a great finish that glows well into the Fall. Of course, he's so prolific, his collected works should make boon companions for a very good year (or more).

[Kara · Rating 3 out of 5]

It's true that this book is quite good. I enjoyed it. I thought it was funny.

Originally, I had picked it up because I thought I would learn something from it. There wasn't much to learn, except for a few things. Mostly that art imitates life and life imitates art. And I can understand why he had to be a writer to make money for his family. His few business endeavors never made any money.

While he's obviously a talented playwright, I felt there was nothing to be learned from his experiences because everything happened so fast for him. He wrote one play, got an agent that wanted to represent him right away, and then got a producer that wanted to produce his work right away. And then afterwards he was with him for most of the rest of his career. That's it, there was almost no struggle whatsoever. Like he was shot out of a cannon.

Now, I have yet to read his work, but I have heard of most of it and the commentary is almost always positive. There were a number of funny anecdotes about his small misadventures vacationing, working with crazy actors and a movie set full of crazy people. He has worked with legends of the stage and a few on the silver screen, but the only one I can remember is Bob Fosse, mostly because of his brilliant work ethic and because Simon mentions him so often in the book.

It gave me an odd chuckle every now and then, and the ending was terribly sad, but I don't think it's something that will stick with me.

[Michele Gardiner · Rating 4 out of 5]

I enjoyed reading Neil Simon's inspiration, working life, and experiences in his own words. But around 39% in, the book became littered with so many odd typos: semicolons in simple sentences (i,e. We stoppped; working.), ajar of coins; John E Kennedy supposedly slept with Marilyn Monroe. Too many more to list.

I wish the publisher, with their team of editing/formatting pros, would give Neil Simon the respect he deserves and fix these.

[Mediaman · Rating 2 out of 5]

If less than one-third of a book is worth reading, what kind of rating would you give it? I'm giving it two-stars, considering that it's coming from one of the greatest theatrical writers of all time. Neil Simon has basically two good sections in a long, dull, meandering book that includes more about his hypochondria and constant anxieties than it does about his shows. And even then, he falls short of giving many details of his hits.

My advice is skip about the first 75 pages, which give bland background to his life story but not enough details to care. He barely mentions his time in the military or his years in the golden age of television--he considers those wasted. Why would he think we would not want to hear about the incredible shows and stars he worked with when television was young? Simon doesn't care what the reader wants, he only likes to hear his written voice drone on about odd relatives, a ditzy wife, and neurotic feelings.

The long section on The Odd Couple is fantastic, with great details and some surprises. But how did this supposedly intelligent guy give up the rights to all his productions up to and including that show for only $125,000? No wonder Paramount (which bought those rights) made at least five filmed versions of the show in different incarnations such as the black odd couple, the female odd couple, and the Matthew Perry odd couple. Paramount makes all the money off any Odd Couple production. Then it got reinvented around the world for different cultures--and Simon didn't get the millions in residuals he would normally have received.

Sadly, that intriguing section is followed by a horrible 30-pages on his little-known movie After the Fox with Peter Sellers, which I have seen and it's pretty strange. This receives more attention in the book than any of his works other than The Odd Couple, and it isn't worth more than a few paragraphs.

He pads the book with lots of unnecessary detail about his vacations and trips, names of people we don't care about, places he lived, other shows he saw and books he read. I assume Simon thought he was allowing us into his creative process, which seemed to be triggered by all of these things. The guy essentially used his family and media exposure to drive the plays he created. He is also especially sensitive to critics, who he quotes often and makes major changes to shows based on a couple of newspaper writers' opinions.

Too much of this is filler, which may have seemed important to him but appears to be his way of spinning his image or reframing the legacy he'd leave. I appreciate his love and dedication to his wife and daughters, but if he isn't going to give us more than written beachside vacation snapshots of their supposedly perfect lives then why continue to mention them while he glosses over the creation of some of his best-known works?

I'd add that Simon seems confused when it comes to morality--he excuses away his cheating on his wife by blaming it on his first experience of having smoked marijuana (seriously?). He sees a doctor for back pain and is given cocaine up his nose but claims naive innocence. He also tries to proclaim his progressive beliefs but doesn't understand politics, claiming liberals are "consistently against any system that puts itself ahead of anyone's individual rights." Um, is this guy confused? Democrats create large bureaucratic government and non-profit systems, put in place to take from the majority's individual rights in order to support pay for those in need as well as those with irresponsible behavior. Republicans are the anti-system, anti-large government political arm supporting individual rights and responsibilities.

There are other sections of the book that are hard to believe, as if he created situations or characters to say and do things in order to make for a better storyline. And there are even a few mistakes in the book, with mixed up timelines and his depending on his memories instead of simply doing some research to find out the facts!

In retrospect it's too few pertinent details in too many anxiety-filled pages. We understand that rich elitist Neil Simon wants us to believe that he could barely survive success because it was so traumatic, but instead he comes across as one of his nervous caricatures in Broadway comedy. This book needed a rewrite.

[Linden · Rating 4 out of 5]

While a memoir offers a behind-the-scenes look at someone's life, many writers find it difficult to resist the soapbox of explanations or reputation tidying. But not Simon. Perhaps his self-identified insecurity about success has kept him honest as well as wryly funny.

Most remarkable for me was to hear how his observation of human behavior around him would lead to a play. For example, at a party, Simon witnessed a very conservative woman debating some of Paddy Chayefsky's liberal beliefs in a polite, even charming way. He wondered about such a conflict would play out in a longer relationship--and it became "The Star-Spangled Girl." While not a critical success (261 performances compared to "Barefoot in the Park" which ran for 1,530), many aspects of that play were very interesting: how it grew from a real event; the complexity of Simon's insight; which of Simon's choices along the way led him astray; and, finally, what he learned from it.

Though I loved many comments and insights by Simon, he did not write my favorite quote from the book. He particularly enjoyed what Walter Kerr said in the New York Times review of TS-SG: "Neil Simon, your friendly neighborhood gagman, hasn't had an idea for a play this season, but he's gone ahead and written one anyway." It increased my appreciation for Simon, that he loved a great line, a line critical of himself, even when he hadn't written it. (400 p.)

Four and a half stars

[Tama · Rating 4 out of 5]

Really surprised at what I got here. I, like some others, was expecting there to be insights into a great script writer’s process. It is a memoir. Remembering his professional journey and more important family aspects of his life up until the age of forty-six.

He is not a very good looking man but he landed a very pretty wife. I treat those few pages of pictures in books such as these as a reward for reaching whatever point of the book they’ve been inserted. It added an extra tenderness in the instant that I could put a face to the actions.

I was rapt with every point of this man’s life. It was a lot to read but pretty much perfect content as far as a “Neil Simon autobiography” ought to be. It was just the right amount of funny.

This is quite a big deal for me to have spent two weeks reading almost nothing-but-this as it, in the end, isn’t as important a book for this point in my life as I’m currently needing.

Would recommend for anyone who doesn’t have a very pressing reading list.

Now the battle is - do I read the next one which follows off perfectly from the first? Or do I wait until some time next year? Urgh. I have ‘The Hero with a Thousand Faces’ out now. Maybe I could reissue this book to myself until I read the next one. :/

[Arlene Eisenbise · Rating 5 out of 5]

I enjoyed this book as much as I've enjoyed Neil Simon's plays and the many movies made of his plays. His work has brought me much laughter; his book also brought a few tears.

Neil's devotion to his work and eagerness to please producers, directors, and actors by making whatever he was working on become the best that it could be is a shining example to all writers. I am one of them.

[Michael Martin · Rating 3 out of 5]

My paperback copy of this memoir had over thirty typos in it. Rather shocking for a book about one of our most successful playwrights.

I enjoyed the book, but I actually had higher expectations for it.

[Ben Truong · Rating 4 out of 5]

Rewrites: A Memoir is an autobiography of Neil Simon, a prolific playwright, screenwriter, and author. This book traces the story of Simon's life during the 1970s approximately a decade into his career. This book is the first of a two-part autobiography written by Neil Simon.

Marvin Neil Simon was an American playwright, screenwriter, and author. He wrote more than thirty plays and nearly the same number of movie screenplays, granted most of them were of his plays. He received more combined Oscar and Tony nominations than any other writer did.

Neil Simon died earlier this month (26 August 2018) and I was rather shocked to hear his death in the news, considering I did not even know he was ill in the first place. Over the years, I have seen many of his plays performed and many of his films that he has written. In fact, he was one of the first writers of plays and films that I consciously followed. Even though, I was a fan, I do not know much about Simon’s life besides his work, so I thought it would be appropriate to read his autobiography.

Rewrites: A Memoir is a lengthy account of Simon's life in the 1970s. It reveals his creative influences, as well as his personal triumphs, and tragedies. Simon is brutally honest in describing his bouts with writer's block, and he is not afraid to admit that directors and actors have often helped him complete some of his most endearing plays – including his most famous play: "The Odd Couple".

There is a plethora of anecdotes about actors, producers, and others that Neil Simon has worked with, which made for a particularly entertaining read. However, these many digressions, though humorous, distract from the story at hand. While it was interesting what Neil Simon thought about these people, I wished it were limited to his interaction with them or what they meant to him – something autobiographical.

Rewrites: A Memoir focused more on Neil Simon's professional life as a writer, playwright, and screenwriter. His account of his family and personal life beyond the theater lacks resonance and seemed to be an afterthought. Oddly or interestingly enough – I can't decide which, is his experience with psychotherapy, where those sections are written in the third person, which was a tad jarring in the flow of the writing and seemed impersonal.

The autobiography is written rather well. I quite enjoyed the candor and most of the anecdote that was found within. It is an interesting tale of a struggling artist – even well after he found success. It is interesting to see where his influences were and now in retrospect I would look at his plays differently. The bought of writer's block in particular was an interesting read and I liked that he gave credit, albeit extremely fashionably late, to those that nudged him along the way.

All in all, Rewrites: A Memoir is a well-written autobiography about a struggling artist trying to find success in a competitive world to one day become the most prolific playwright, screenwriter, and writer in Hollywood.

[Rachel · Rating 3 out of 5]

This book vacillated between one star and five stars for me. I loved the sections where he wrote about his process and feelings about writing, especially early on. I was working as a cook this past spring and broke my foot. While I was recuperating, I wrote a novel. I thought it nothing more than a fun intellectual exercise, and I expect nothing will come of it. Then I read that is exactly what Neil Simon thought of his first play and it sent a little chill down my occipital. I have also been recently thinking of running away to the country and doing some mundane job that gets me enough money to get by. Now that I read the book, I think I need to double my therapy load.

The other parts of the book would be better titles "Acknowledgements" than "Rewrites". It is a lot of name dropping and glad handing. There are long lists of names and everyone is brilliant, talented, and wonderful. All of them his good friends. It really reads like the acknowledgements section that is two to three pages long in the back of the book, only it is half the book. At the same time he is stroking his enormous ego about how talented and cool he is while simultaneously trying to convince us by directly stating that he is very humble. A magicians trick. I didn't fall for it.

[Anna · Rating 4 out of 5]

This is a mostly well written book that provides insight into Neil Simon's world. I had an ambivalent relationship to the author throughout the narrative: I appreciated his willingness to accept that something he had written needed more work, but I also received the impression of a man who preferred to not look at things too critically or too deeply. Even when he talks about serious issues, both his actions at the time as well as the tone of his narrations are reactive, of someone going with the flow, rather than carving his own path. Of someone being a member in a professional organisation but never turning up for the meetings and then complaining that he isn't appreciated enough by said organisation.
Some of the things Neil describes with amusement or fondness rubbed me (reader from a different generation) the wrong way, as is to be expected. The way he described (some) women; that his wife's doctor told him the examination results but kept them secret from the actual patient.
What I didn't expect was the abrupt ending. I missed the closure of a narrative arch - which is surprising in light of him being a playwright.

[Aaron · Rating 5 out of 5]

Earns a 5 for its moments of sincerity and profound, funny wisdom about the theater and movie business. The book has lots to be highlighted, and most exceptional are the chapters where Simon talks about writing. Not as a pompous ass, but as a working, prolific and adaptable writer. An author open to improving his product at all costs. This kind of education cannot be taught with more depth than he supplies here, especially as he explains what works and what doesn't. Many a writer worthy of Simon's confessions might still blab on about "his process", but not the man himself. It's all about the work, and yet his plays and his growth as a playwright are as mysterious to him as the work is entertaining to his audiences. Great anecdotes, great adventures in the trade, and an amazing humility keeps the book worthy. Only a few over-long chapters about lost virginity distract.

[Alexis · Rating 4 out of 5]

I have never read or watched anything Neil Simon has written. I read this solely because I found it for cheap at a thrift store, love theatre, and attempting to knockout a couple of books that have been on my shelves too long and/or too improbably. That being said, I now very much want to consume some of Neil Simon's work. I found this memoir extremely interesting as well as extremely entertaining. Knowing that Simon is a great writer of comedy, I should not have been surprised to find so much humor in its pages, but I very much was. I would recommend this to anyone interested in biographies, theatre, or comedy in general. I have nothing bad to say about it.

[Amber · Rating 5 out of 5]

It has been many years since I've read this book but I still remember it as being a great. I love Neil Simon's plays. He is like that brand of clothes or restaurant that you go to over and over again because you know you're going to be happy with anything you choose. I still own many of his plays and look forward to the times they come to a local theater. If you like any of the following, this book is for you: good plays, good writers, good acting, history of broadway, good personalized biographies, laughing while reading a biography and learning about parts of "Hollywood". Highly recommend.

[John Schrank · Rating 4 out of 5]

I am enjoying re-reading REWRITES. Neil Simon describes in detail working through the many structure problems in his plays during rehearsals and tryouts, although he says he has no memory of what the previous acts that didn't work were like. I can believe that there's no reason to remember something that's not working! One of the most enlightening passages is when he describes an incident in his own life that inspired a play--but disputes everyone's assumption that means it autobiographical. Most pieces of writing are inspired by something in real life. It doesn't mean it literally happened.

[Jeanne · Rating 5 out of 5]

The autobiography of one of the most prolific American Broadway writers - how could it be anything but terrific?
Filled with humor and pithy insights, the look into the creation of Neil Simon's early plays (and earlier days), made me feel like he was there, doing an interview with me alone.
I had already read his 2nd book, so I knew I would enjoy this one.

[Dan Lalande · Rating 3 out of 5]

The first volume of the populist playwright's autobiography. In this new, prosaic form, Simon has corrected everything for which critics relentlessly gave him whatfor: the one-liners are few and the sentiment unforced. The book is mostly the personal histories of the plays, until the major sub-thread, his relationship with his perky, powerhouse first wife, takes over. While even a topic as profoundly exploratory as her premature death does not afford him much depth, Simon, writing without the need to commercially sway an audience, proves that he can convey intention with underemphasis and probity.

[Tatjana Dzambazova · Rating 5 out of 5]

I absolutely love Neal Simmons plays, (movies as well) - this memoir brings it all together as Neil tells the story of their makings. What a wonderful person , talent and storytelling capacity! and such an exquisite way of depicting a seducing era of New York City’ theatre scene in the 60-70’s . Jane, his wife, seems to have been such an amazing woman and the great support.I strongly recommend

[Darla Ebert · Rating 5 out of 5]

Neil Simon was a funny guy and his plays drew in multitudes of people eager to be entertained, they were rarely disappointed. This book of memoirs about the plays written by Simon touches on the people he met and the rewrites and re-re-writes he made on his plays. It was enjoyable for the time period, for the humor of the author, and for the people he met, the stories he told.

[A.M. Arthur · Rating 5 out of 5]

An immersive, often humorous, exploration of Neil's career as a playwright, from his start in television until, as he says, the point at which he felt he was done telling his story. There is a lot of good stuff in here for writers of any stage, age, or ability. Highly recommend.

[Peter Langston · Rating 3 out of 5]

It was pity the last chapter was the most moving. Much before that became repetitive and dull.

[Lee · Rating 4 out of 5]

Interesting memoir about the business of getting a play produced.

[Elaine · Rating 5 out of 5]

Very raw & revealing.

[Mark Anthony · Rating 4 out of 5]

I warm, funny, intimate and ultimately melancholy trap through the early years of Simon's playwriting life. Some wonderful anecdotal asides and insights. Fans of Simon will love it.

[Jeff · Rating 4 out of 5]

Excellent, illuminating, funny and sad, this memoir covers early days up until about 1973. Mr. Simon's prose is as engaging as his plays, and this is quite an enjoyable read.

[Sean Mulligan · Rating 4 out of 5]

This is a very moving poignant, memoir that also has plenty of humor and fun.

Neil Simon was one of America's most popular playwrights and his work has been on Broadway, television and the movies. Simon talks about growing up Jewish in New York, both loving and resenting his big brother, who Neil felt in the shadow of for many years. Neil built a family with his loving wife and two children and was devastated when his wive died of cancer. I empathized with Neil Simon's efforts to create something of literary value and his skepticism of his own skills and whether he could be a success and his struggle to perfect his writing by making multiple revisions.

During his career Neil Simon got to know many great actors such as the young Robert Redford, Maureen Stapleton, Walter Mathau, Jerry Lewis, George C Scott and Peter Sellers. Simon convinced Matthau that Matthau was perfect for the part of Oscar, depite Matthau wanting the part of Felix because Matthau thought that that would be more of a challenge. This book has many interesting anecdotes about Neil Simon's life and New York City. Peter Sellers tells us some interesting things about the changes in New York during his lifetime. When he was a boy, he said that New Yorkers regularly left their homes unlike but by the 60's or 70's everyone was afraid of crime. This book was written in 1996 and since then crime has gone down again in New York and across the country.

[Surreysmum · Rating 4 out of 5]

Neil Simon has what seems to be a truly natural funny turn of phrase. Just from a randomly opened page: "[a warm-up man is] usually not an actor or a comic but a staff announcer with the wit and humor of a tree trunk and the personality of someone running a Bingo game." This text is full of such unexpected similes, and Simon often doubles their effect by reverting to them a few paragraphs later. A trick of his dramatic trade - or perhaps his success in the trade was due to his natural mastery of the trick.

Simon gives some very interesting insights into his creative process, which, fortunately for him though not for those who like sturm und drang in their biographies, was one of the most important things in his life. He also speaks with frankness about the money and production side of the Broadway theatre business, and about several of the personalities he dealt with there. He's less forthcoming about the movie biz (although he wrote some screenplays, he was very much east coast and theatre based).

Like the pro he is, Simon leaves us wanting more, choosing to stop his narrative with the death of his beloved wife Joan from cancer. I understand there's a sequel called "The Play Goes On", which I will most certainly seek out and read.

[Leta · Rating 5 out of 5]

This was lent to me by a friend and I'm glad it was. Simon says several times over the course of this charming and engaging memoir that writing is the thing that comes easily to him. If a director -- especially if the director is Mike Nichols -- didn't like a page, a scene, or an act, Simon would head to the back of the theater and rewrite it, often having new pages for the actors the next day.

I don't know how much rewriting went into this book but Simon's voice shines out as does his affection for friends past, present, and lost, and his undying love for his first wife, Joan.

He looks with the same affection, and frustration and great honesty, on the process of mounting a Broadway-bound play, taking it out of town for try-outs, and even quotes some of his less than glowing reviews, even (especially) Walter Kerr's famous review of The Star Spangled Girl: "Neil Simon hasn't had an idea for a play this season, but he's gone ahead and written one anyway." Simon concurred.

An informative look by the playwright whose works are always in production somewhere at how he got where he was. Recommended for people interested in theater, especially the theater of the 1960s.

[Tom Stamper · Rating 5 out of 5]

I went to the library back in the 1990s just to browse the entertainment section hoping to find a Marx Brothers book I hadn't read or anything on a ballplayer worth reading. But I saw the spine of this book and picked it up despite having mixed opinions of Neil Simon's plays. I read a random page from the middle and was immediately impressed. I grabbed a chair and continued reading and then made myself stop so I could read it from the beginning. I flew through it. It's better than most of his plays because he is more interesting than most of the characters he wrote. It didn't hurt that I have not seen nor read most of his plays. The process of his career and life are interesting because he is interesting. He could have written about his career as a candle maker and I think I would have loved it.

The Play Goes On, his second memoir is every bit as good too.