John Lahr was recently awarded The National Arts Club Medal of Honour for Achievement in the Theatrical Arts, the first critic ever to win the award which has been given in the past to such luminaries as Tennessee Williams, Arthur Miller, Edward Albee, Lin Manuel-Miranda.
Winner of the eighth annual Sheridan Morley Prize for Theatre Biography
Winner of the 2014 National Book Critics Circle Award for best biography, winner of the American Academy of Arts and Letters’ Harold D. Vursell Memorial Award for recognition of “the quality of prose style”.
In the sensational saga of Williams’s rise and fall, Lahr captures not just the man’s tempestuous public existence but also his thrilling backstage life where the director Elia Kazan, his agent Audrey Wood, Marlon Brando, Anna Magnani, Bette Davis, Maureen Stapleton, Diana Barrymore, Tallulah Bankhead, Eli Wallach, and Laurette Taylor have scintillating walk-on parts. Tennessee Williams: Mad Pilgrimage of the Flesh is a biography of the highest order: a book about the major American playwright of his time written by the major American drama critic of his time.
‘Nobody will be able to write another biography of Tennessee Williams after this, because it puts the D in definitive.’
‘The book is a triumph’
‘Tennessee Williams: Mad Pilgrimage of the Flesh is a biography of the playwright that is never likely to be equalled let alone surpassed.’
‘This is a masterpiece about a genius. Only John Lahr, with his perceptions about the theater, about writers, about poetry and about people could have written this book. What a marvelous read, with brilliantly detailed research.’
‘John Lahr’s magnificent biography…gathers material from a vast array of sources, including Williams’s diaries, poems, letters and the recollections of countless friends and colleagues,to trace how the personal and the creative lives interweave throughout the whole span of Williams’s oeuvre. The result is at once sensitive and magisterial, and it fulfils the ultimate test for a literary biography by convincing you that the works cannot be understood without it. Once you have read it, it becomes part of their meaning.’
John Carey, lead review, Sunday London Times
‘This is by far the best book ever written about America’s greatest playwright. John Lahr, the longtime drama critic for the New Yorker, knows his way around Broadway better than anyone. He is a witty and elegant stylist, a scrupulous researcher, a passionate yet canny advocate… Hebrings us as close to Williams as we are ever likely to get.’
J.D. McClatchy,Wall Street Journal
‘Splendid beyond words. It would be hard to imagine a more satisfying biography.’
‘Could this be the best theater book I’ve ever read? It just might be. Tennessee Williams had two great pieces of luck. Elia Kazan to direct his work and now John Lahr to make thrilling sense of his life’
John Guare, author of Six Degrees of Separation, House of Blue Leaves, Atlantic City
W. W. Norton & Company (US -September 22, 2014)
Bloomsbury Publishing (UK -25 Sep 2014)
‘Lahr creates a book worthy of its title: It is a living celebration of theater itself.’
Caryn James, New York Times
‘John Lahr writes beautifully about the theatre and those who make it with an unrivalled blend of enthusiasm, perception and analytical precision. This book is justly titled; his joy is irresistible.’
‘100 years from now this is where people will look to see what it was like back then. Bravo!’
‘We’re on the cusp of rehearsals for “Hamilton”, and reading your intimate profiles of these playwrights gives me immeasurable courage and heart.
I’m in your debt.’
‘Former New Yorker drama critic John Lahr (“Tennessee Williams: Mad Pilgrimage of the Flesh) spotlights more brilliantly neurotic theater personalities in his latest incisive exhuberant collection from the magazine…Lahr’s reportage, trenchant insight, and infectious love of the stage will remind readers of how exciting modern theater can be.’
Publisher’s Weekly, June 22, 2015
‘Mr. Lahr patiently mines the essence of his subjects–playwrights, directors–with the affection of a fan, the insight of a confidante, and the authorial flair of an experienced critic. The effect is often delicious. Lahr’s work for the New Yorker offers something of lasting value. A delight
‘Joy Ride is a privilege to read. Lahr’s writing about theatre means something of grandeur receives its appropriate memorial.’