Screenplay to John Lahr's successful dramatization of The Orton Diaries that chronicles the last eight months of Joe Orton's life, his growing theatrical celebrity, and the corresponding punishing effect it had on his relationship with his friend and mentor Kenneth Halliwell, who murdered him on August 9, 1967, and then took his own life.

SHORTLISTED FOR THE 2014 NATIONAL BOOK AWARD FOR NONFICTION The definitive biography of America's most impassioned and lyrical twentieth-century playwright from acclaimed theatre critic John Lahr 'A masterpiece about a genius' Helen Mirren 'Riveting ... masterful' Sunday Times, Books of the Year On 31 March 1945, at The Playhouse Theatre on Forty-Eight Street the curtain rose on the opening night of The Glass Menagerie. Tennessee Williams, the show's thirty-four-year-old playwright, sat hunched in an aisle seat, looking, according to one paper, 'like a farm boy in his Sunday best'. The Broadway premiere, which had been heading for disaster, closed to an astonishing twenty-four curtain calls and became an instant sell-out. Beloved by an American public, Tennessee Williams's work - blood hot and personal - pioneered, as Arthur Miller declared, 'a revolution' in American theatre. Tracing Williams's turbulent moral and psychological shifts, acclaimed theatre critic John Lahr sheds new light on the man and his work, as well as the America his plays helped to define. Williams created characters so large that they have become part of American folklore: Blanche, Stanley, Big Daddy, Brick, Amanda and Laura transcend their stories, haunting us with their fierce, flawed lives. Similarly, Williams himself swung high and low in his single-minded pursuit of greatness. Lahr shows how Williams's late-blooming homosexual rebellion, his struggle against madness, his grief-struck relationships with his combustible father, prim and pious mother and 'mad' sister Rose, victim to one of the first lobotomies in America, became central themes in his drama. Including Williams's poems, stories, journals and private correspondence in his discussion of the work - posthumously Williams has been regarded as one of the best letter writers of his day - Lahr delivers an astoundingly sensitive and lively reassessment of one of America's greatest dramatists. Tennessee Williams: Mad Pilgrimage of the Flesh is the long-awaited, definitive life and a masterpiece of the biographer's art.

In 1993, network executives abruptly cut the final appearance of comedian Bill Hicks - a scathing tirade of digs on the Pope and the pro-life movement - from an episode of The Late Show with David Letterman. His banning from the show, along with a profile in The New Yorker by veteran writer John Lahr, catapulted Hicks to national prominence. Just months later, at age 32, he died of pancreatic cancer. Now available for the first time are Hick's most critical and comic observations, gathered from his stand-up routines, diaries, notebooks, letters, and final writings. This collection features his controversial humor and witheringly funny attacks on American culture, from its worship of celebrity and material goods to its involvement in the first Gulf War. Love All the People faithfully traces Hicks's evolution from a funny but conventional stand-up comedian into a fearless and brilliant iconoclast.

For most of his Broadway plays Tennessee Williams composed an essay, most often for The New York Times, to be published just prior to opening-something to whet the theatergoers' appetites and to get the critics thinking. Many of these were collected in the 1978 volume Where I Live, which is now expanded by noted Williams scholar John S. Bak to include all of Williams' theater essays, biographical pieces, introductions and reviews. This volume also includes a few occasional pieces, program notes, and a discreet selection of juvenilia such as his 1927 essay published in Smart Set, which answers the question "Can a good wife be a good sport?" Wonderful and candid stories abound in these essays-from erudite observations on the theater to veneration for great actresses. In "Five Fiery Ladies" Williams describes his fascinated, deep appreciation of Vivien Leigh, Geraldine Page, Anna Magnani, Katharine Hepburn, and Elizabeth Taylor, all of whom created roles in stage or film versions of his plays. There are two tributes to his great friend Carson McCullers; reviews of Cocteau's film Orpheus and of two novels by Paul Bowles; a portrait of Williams' longtime agent Audrey Wood; a salute to Tallulah Bankhead; a political statement from 1972, "We Are Dissenters Now"; some hilarious stories in response to Elia Kazan's frequent admonition, "Tennessee, Never Talk to An Actress"; and Williams' most moving and astute autobiographical essay, "The Man in the Overstuffed Chair." Theater critic and essayist John Lahr has provided a terrific foreword which sheds further light on Tennessee Williams' writing process, always fueled by Williams' self-deprecating humor and his empathy for life's nonconformists.

This mesmerizing story of playwright and author Joe Orton’s brief and remarkable life was named book of the year by Truman Capote and Nobel Prize–winning novelist Patrick White Told with precision and extensive detail, Prick Up Your Ears is the engrossing biography of playwright and novelist Joe Orton. Orton’s public career spanned only three years (1964–1967), but his work made a lasting mark on the international stage. From Entertaining Mr. Sloane to his career-making Loot, Orton’s plays often shocked, sometimes outraged, and always captivated audiences with their dark yet farcical cynicism. A rising star and undeniable talent, Orton left much undone when he was bludgeoned to death by his lover, Kenneth Halliwell, who had educated Orton and also dreamed of becoming a famous writer.  Prick Up Your Ears was the basis for the distinguished 1987 film of the same name, directed by Stephen Frears, with a screenplay by Alan Bennett, and starring Gary Oldman and Vanessa Redgrave. A brilliant, page-turning examination of the dueling forces behind Orton’s work, Prick Up Your Ears secured the playwright’s reputation as a great twentieth-century artist.

The third installment in the Modern Library's Paris Review "Writers at Work" series, this is an all-new gathering of interviews with the most important and compelling playwrights of our time. Their singular takes on their craft, their influences, their lives, the state of contemporary theater, and the tricks of the trade create an illuminating and unparalleled record of the life of the theater itself.

"At its best,  theater is an antidote to the whiff of barbarity in the millennial air. 'My feeling is that people in a group, en masse, watching something, react differently, and perhaps more profoundly, than they do when they're alone in their living rooms,' Arthur Miller says here. In the dark, facing the stage, surrounded by others, the paying customer can let himself go; he is emboldened. The theatrical encounter allows a member of the public to think against received opinions. He can submerge himself in the extraordinary, admit his darkest, most infantile wishes, feel the pulse of the contemporary, hear the sludge of street talk turned into poetry. This enterprise can be joyous and dangerous; when the theater's game is good and tense, it is both."
--from the Introduction by John Lahr

Written during the last eight months of his life, these diaries are an unfiltered narration of the life of Joe Orton, the extremely successful and famous British playwright. On August 9, 1967, Orton was murdered in London by Kenneth Halliwell, his lover of 16 years, who bludgeoned him with a hammer and then immediately committed suicide. Halliwell left a note that said that all would be explained if the police read Orton's diaries. In the diaries, Orton narrates his literary success, his sexual escapades--at his mother's funeral, with a dwarf in Brighton, and, extensively, in Tangiers--and the breakdown of his "marriage" to Halliwell, the relationship that transformed his life and ultimately ended it. "Escritos durante los ultimos ocho meses de su vida, estos diarios son una narracion sin restriccion alguna de la vida de Joe Orton, el sumamente exitoso y famoso dramaturgo ingles. El 9 de agosto de 1967, en Londres, Orton fue asesinado a martillazos por Kenneth Halliwell, su amante de 16 anos, quien se suicido inmediatamente despues. Halliwell dejo una nota que decia que todo quedaria explicado cuando la policia leyera los diarios de Orton. En los diarios, Orton narra su exito literario, sus aventuras sexuales--en el funeral de su madre, con un enano en Brighton y, profusamente, en Tanger--y la descomposicion de su "matrimonio" a Halliwell, la relacion que le cambio la vida y que termino por destruirla."

A brilliant and feared critic, Kenneth Tynan was a nabob of the National Theatre alongside Laurence Olivier, and he was also the daring impresario who created "Oh Calcutta". He was a notorious eccentric, a louche sophisticate: connoisseur of cuisine, wine, literature and women. Where else could you find such a judicious blend of aesthetics, theatre lore, love, marriage, sex and politics? These sizzling diaries will remind older readers of a man whose reputation as the greatest critic of the twentieth century is still unchallenged and introduce younger readers to an electrifying writer who simply could not be boring.