Word: criticize
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Dates: during 1960-1969
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...only the Times drama critic but its dance critic as well. He revisits hits to make sure audiences are getting their money's worth. He often has simultaneous reviews in the same edition; once he had four, an event that occasioned a different kind of criticism-from management. They conspired to persuade him to relinquish one job, but ended by giving him two offices, one in which to compose ballet reviews, the other for batting out theater pieces-carried throughout the U.S. on the N.Y. Times News Service...
London Lisp. The stuff in the bottles sparkled. The New York Times began to buy small pieces in 1963, in 1965 invited him to be its staff dance critic. For Barnes, the deadlines were lifelines; the city was home. "From childhood," he claims, "I had inhaled imported U.S. culture in films and drama. I was immediately Americanized...
Even before Barnes became drama critic, his appetite for theatrical performances was notorious. "If you dimmed the lights in a car," says a fellow critic, "Clive would have tried to review it." Two years ago, after Howard Taubman succeeded Brooks Atkinson and Stanley Kauffmann succeeded Taubman, the New York Times turned to Clive Barnes. His first reviews ran on heedlessly, as Barnes reviewed the theater, the audience, the seats. But by the following season he was as relaxed as an actor in the second year of a hit comedy, still babbling, but in the manner of a relaxed and witty...
Drama Ghetto. The harder he worked, the heavier he grew-and the bigger target he made. "If I decide to stay around Broadway beyond the current season," griped Producer David Merrick, "it will be for the pleasure of throwing his fat limey posterior out in the street." Fellow Critic John Simon fulminated in New York Magazine: "The APA production of The Misanthrope is as bad as . . . as . . . it is hard to find an adequately monstrous simile. As bad-let me try-as its review by Clive Barnes." Dance and Music Critic B. H. Haggin briskly summed up Barnes' critical...
...that New York City has but three major newspapers, Barnes has unprecedented authority, even for a Times critic. His raves can light up marquees for two years; his pans have flushed million-dollar musicals into the Hudson River. Staking out territory where first-stringers rarely used to tread, he helped revitalize off Broadway, formerly the ghetto of drama. "Today," Barnes believes, off Broadway "is the last place where a writer has the freedom to fail...