Clive Barnes | Author | LibraryThing

About the Author

Critic Clive Barnes was born in London in 1927. He spent two years in the Royal Air Force before receiving a scholarship to Oxford University. While there, he joined the Ballet Club, became editor of the quarterly journal Arabesque, and wrote for the journal Dance and Dancers. He was a dance and show more theater critic for The New York Times from 1965 to 1977 and The New York Post from 1978 until his death. He also wrote the Attitudes column for Dance Magazine from 1989 and contributed to the French magazine Ballet 2000 and the British magazine The Stage. He wrote or contributed to numerous books including Ballet in Britain since the War (1953), Frederick Ashton and His Ballets (1961), Dance Scene U.S.A. (1967) and Nureyev (1982). He died due to complications of cancer on November 19, 2008 at the age of 81. (Bowker Author Biography) show less

Includes the name: Clive Barnes [ed.]

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50 Best Plays of the American Theatre

Works by Clive Barnes

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50 Best Plays of the American Theatre [4-volume set] (1969) — Editor — 39 copies

Best American Plays : Seventh Series : 1967-1973 (1975) — Editor — 25 copies, 1 review

Nureyev (1982) 23 copies

Best American Plays : Eighth series : 1974-1982 (1983) — Editor — 20 copies

Inside American Ballet Theatre (1977) 19 copies

Best American Plays : Ninth Series : 1983-1992 (1993) — Editor — 19 copies

The New York times directory of the theater (1973) 13 copies

Ballet here and now 6 copies

50 Best Plays of the American Theatre, Volume 4 4 copies

50 Best Plays of the American Theatre, Volume 2 (1969) — Editor — 3 copies

Ballet in Britain since the war 2 copies

50 Best Plays of the American Theatre, Volume 1 2 copies

"Equus" - second review of the 1974 The National Theater Company production of Equus (included in Stages of Drama) 1 copy

Ghost Country 1 copy

"The Misanthrope" - review of The A.P.A.-Phoenix Theater production, 1968 (included in Stages of Drama) 1 copy

"Cat on a Hot Tin Roof" - review of the 1974 The American Shakespeare Theater production of Cat on a Hot Tin Roof (included in Stages of Drama) 1 copy

"The Threepenny Opera" - review of the 1967 The New York Shakespeare Festival production of The Threepenny Opera (included in Stages of Drama) 1 copy

"The School for Scandal" - review of the 1970 Stratford production of The School for Scandal (included in Stages of Drama) 1 copy

"The Duchess of Malfi" - review of The Stratford Festival production, 1971 (included in Stages of Drama) 1 copy

Paul Taylor Dance Company: The First Fifty Years 1 copy

50 Best Plays of the American Theatre, Volume 3 — Editor — 1 copy

Capturing Nureyev, James Wyeth Paints the dancer 1 copy

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Associated Works

Stages of Drama: Classical to Contemporary Theater (1999) — Contributor, some editions — 237 copies

The Russian Tea Room Cookbook (1981) — Introduction — 82 copies, 2 reviews

The Report of the Commission on Obscenity and Pornography (1970) — Introduction, some editions — 49 copies, 1 review

How'm I doing?: The wit and wisdom of Ed Koch (1981) — Foreword — 2 copies

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Common Knowledge

Birthdate: 1927-05-13
Date of death: 2008-11-19
Gender: male
Education: University of Oxford
Occupations: dance critic
drama critic
music critic
biographer
Organizations: The New York Times
New York Post
Dance Magazine
Nationality: UK
Birthplace: London, England, UK
Places of residence: London, England (birth)
Manhattan, New York, USA (death)
Place of death: Manhattan, New York, USA

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Devil_llama 1,922 reviews

Best American Plays 7th Series by Clive Barnes

The plays in this book are steeped in the 60s. The ideas, the language, the politics, the obsessions - all from that period that exuded so much angst and fear, even in an era of relative prosperity in the country. Looking back at these works from the position of 50 years, it is difficult to see that much has changed except how we do theatre. The large casts, the detailed descriptions of character, the exposition, the long stories and monologues - all of these are being eroded from theatre at show more a rapid pace due to the inability of the audience to sit still, the actors to memorize the lines (so I'm told; I haven't noticed that), and, of course, the cost of putting on a production with actual actors and sets that has driven us to a minimalist theatre. As a lover of minimalist theatre, I don't mean that as an insult, but still, when you read plays where there are numerous small parts that just show up for a cameo, then disappear, and many large parts that interact in all sorts of unexpected ways, you do realize that we are missing something. show less

Aug 8, 2015