Joy Ride: Show People and Their Shows

by John Lahr

A collection of John Lahr’s New Yorker profiles and reviews that are “the nearest we get to modern theatre history” (The Spectator).

Joy Ride throws open the stage door and introduces readers to such makers of contemporary drama as Arthur Miller, Tony Kushner, Wallace Shawn, Harold Pinter, David Rabe, David Mamet, Mike Nichols, and August Wilson. Lahr takes us to the cabin in the woods that Arthur Miller built in order to write Death of a Salesman; we walk with August Wilson through the Pittsburgh ghetto where we encounter the inspiration for his great cycle; we sit with Ingmar Bergman at the Kunglinga Theatre in Stockholm, where he attended his first play; we visit with Harold Pinter at his London home and learn the source of the feisty David Mamet’s legendary ear for dialogue.

In its juxtaposition of biographical detail and critical analysis, Joy Ride explores with insight and panache not only the lives of the theatricals but the liveliness of the stage worlds they have created.

Genres: Nonfiction, Biography, Theatre, History, Essays

590 pages, Kindle Edition

First published September 21, 2015

About the author

John Lahr is the senior drama critic of The New Yorker, where he has written about theatre and popular culture since 1992. Among his eighteen books are Notes on a Cowardly Lion: The Biography of Bert Lahr and Prick Up Your Ears: The Biography of Joe Orton, which was made into a film.

He has twice won the George Jean Nathan Award for Dramatic Criticism. Lahr, whose stage adaptations have been performed around the world, received a Tony Award for co-writing Elaine Stritch at Liberty.

He divides his time between London and New York.

Reviews

[Brian · Rating 4 out of 5]

“We go to the theater not just to lose ourselves but to find ourselves.”

John Lahr was the senior drama critic for the “New Yorker” magazine for many years. JOY RIDE is a collection of some of his writings from that period. Mr. Lahr is a prolific writer. Besides his writing at the “New Yorker”, he has authored numerous biographies, works of criticism, some novels, and even five plays. This collection is organized into three sections: profiles of 12 playwrights, 11 reviews of specific productions, and then concludes with lengthy profiles of 4 directors.

JOY RIDE is mostly a strong read, with the section on Shakespeare and some of his plays being a highlight for me. It contains some excellent thoughts on a few of his works. Also enjoyable to me was the chapter about musical theater director and choreographer Susan Stroman. Another joy of the text were the little nuggets that Lahr quotes some of subjects as saying. There are a few that are really something to mull over. Take this example from playwright and actor Sam Shepard, “I hate endings…just detest them. Beginnings are definitely the most exciting, middles are perplexing, and endings are a disaster.” Mr. Shepard may have been talking about a play, but I think he was probably talking about much more. I know it made me think of much more.

There are some moments in JOY RIDE I was not so fond of. The chapter on Ingmar Bergman I could have done without, mainly because I have no experience with his work. My eyes glazed over a few times while reading it.

John Lahr is a skilled (yet unpretentious) stylist, and I enjoyed his writings and thoughts. He has a good mind for observation and analysis. I will probably read some of his other books at some point.

[Dan Lalande · Rating 4 out of 5]

The latest compilation of reverent, even-tempered and smartly observed profiles of American theatre practitioners from the New Yorker's John Lahr. Lahr's bent is for muscular stylists, those who deem to mess with the elemental forces of form and language. He demonstrates a linguistic kinship with them with the flowery raves that serve as addendum to the puff pieces.

[David Sheward · Rating 3 out of 5]

One of my Christmas presents I finally got around to reading. A collections of profiles and reviews from John Lahr, from his tenure as chief theater critic of the New Yorker. Lahr would not only review a play, but deliver an in-depth profile of creative personnel involved. Some of the pieces have appeared (Mike Nichols, David Mamet, etc.) in earlier collections (Honky Tonk Parade, Light Fantastic). It was invigorating to read these celebrations of the theater when all is dark because of the pandemic. In the review Lahr doesn't just deliver his opinion, but recreates the experience with vivid descriptions of the staging and performances. The profiles of the playwrights are fascinating, particularly when taken together. All of the dramatists, except for Sarah Ruhl, the lone female, seem to have had unhappy childhoods and difficult parents. David Mamet and Neil LaBute, previously the hottest pistols in theater, seem to have gone out of fashion, maybe because their primary protagonists were angry white males, raging at perceived slights. I read this while dipping into Pauline Kael's movie criticism. Kael had incredibly high standards and found fault with almost every movie she scrutinized, while Lahr was in love with the stage.

[Kennedi · Rating 4 out of 5]

Liked it - I really love anything that has to do with the theatre. It was wonderful to read about the creative process of these artists from all across the spectrum - playwrights, directors, even the productions themselves. However, it’s not just a description of their process, these profiles give you insight into the person and what made them that way.

However, it could be repetitive at times. Each chapter has a profile of the person in question, followed by a profile of one (or a few) of their more famous works. Sometimes it seemed as if info for their main profile came straight from one of the mini profiles. It’s almost a strange sense of deja-vu...whole sentences are repeated. Also, I feel like I have to mention that sometimes the artists in question weren’t the best of people. Actually, there were quite a few who seemed absolutely terrible and tyrannical. This isn’t a criticism of the book, as it can’t control the behavior of its subject. It just bugged me a bit when the author seemed to be excusing the person’s behavior. So if things like that bother you, you might find yourself getting annoyed quite often. Should the genius excuse the terrible attitude?

Overall though, I enjoyed the enthusiasm that the author clearly had for the theatre. I loved how it made me feel a part of the world, something I’ve always wished for, even if only for a little bit.

[Gabrielle Pantera · Rating 3 out of 5]

Joy Ride: Show People and Their Shows is taken from Lahr’s reviews and interviews when he was chief theatre critic for The New Yorker. Precise and engaging, Lahr divides Joy Ride into three sections: playwrights, productions and directors. He shares the biographical details and analysis of the makers of classic shows on Broadway, the genius behind the process of working in the theatre. For every fan of New York theatre and Broadway, it’s a lively way to deconstruct a play.

Snippet from my feature article in British Weekly.

[Alyssa Lentz · Rating 4 out of 5]

This was a really interesting read and I learned so much! His writing style was such that I was able to connect with whoever he was profiling even if I wasn't familiar with their work, which was cool. Some really grabbed me and some I just wanted to get through, so maybe it's not the most even book in the world, but I think that would happen in any compilation like this. The only real complaint I have is that, in reading every profile, it was really easy to see the pattern of "this male artist had a hard childhood and now he has a temper and is tortured," which can get REAL ANNOYING to read about after a while. I thought some of the female profile were far more interesting and unexpected, and I engaged with them much more easily and will remember them better. Of course, that is a reflection of the industry as a whole and it isn't wholly Lahr's fault, but I would have appreciated reading about more women. Overall, it got me excited to see more theatre soon and it helped me connect in a new way with the shows I've seen.

[Malcolm Frawley · Rating 4 out of 5]

This is a collection of Lahr's profiles on a variety of theatrical types - writers & directors - along with occasional theatre reviews of the work of the same, & the 6th of his books I have read. Originally published between about 1995 & 2006 they are both erudite & perceptive. However, what glows from the pages of all his books is his love of theatre, film, & virtually all who work in these media. As someone who has suffered the slings & arrows of theatre critics who use their reviews to insist they could have done it much better - if only they could write, direct or act - it was a pleasure to read a critic who looks for the positive first & admirably resists the temptation to show off with scathing put-downs. My current crop of acting students would not know most of the people Lahr writes about. Such a shame.

[Steve Wolcott · Rating 4 out of 5]

Behind-the-scenes look at Broadway by the long time New Yorker magazine drama critic.

[Olga Vannucci · Rating 4 out of 5]

Actors and playwrights are all about words,
Whereas directors develop whole worlds.

[Mick Meyers · Rating 2 out of 5]

Just couldn't quite get into this,probably not the right moment even though I love entertainment biographies.

[Brett · Rating 4 out of 5]

Lovely profiles and reviews of a number of theatrical writers, directors and productions. The thing that constantly comes across is John Lahr’s love of theatre, theatricals and the theatre process.

[Heather F · Rating 3 out of 5]

Very interesting but I little dry, I read it on a Twitter rec from Lin-Manuel Miranda.

[Rose · Rating 4 out of 5]

Makes his subjects come alive for the reader and his reviews are fun to read.

[Joanne Gass · Rating 5 out of 5]

John Lahr's collection of his essay on plays and playwrights he's known and loved is a joy to dip into. It's also a wonderful education in the theater.