The British drama critic has collected his theater reviews from 1951 to 1960 (which includes his two years on The New Yorker) together with articles on theater and playwriting, studies of film people (Cagney, Carbo, Fields and others), interviews and essays in a fine bulk of a book in which his passion for playgoing in equalled by his ability to scope verbally in praise of criticism. His impressions of plays in performance and in covers or in relation to a writer's progress- come from the British, American, French, Russian and German stages and, as he notes in his introduction, record the process of his change of feeling until now he realizes that there has to be a connection ""between what was happening on the stage and what was happening in the world"". This panorama is marked by the lightning flashes of his rapier-sharp phrases, by the cut direct -- and its opposite, by his literacy, intelligent appraisals, and always lively attitude towards the combination of arts that make up a play. A companion to contemporary theater history, this is also excellent reading. There is an index of plays, players and playhouses.