McNally, Terrence 1939–

PERSONAL: Born November 3, 1939, in St. Petersburg, FL; son of Hubert Arthur and Dorothy Katharine (Rapp) McNally. Education: Columbia University, B.A., 1960.

ADDRESSES: Agent—Peter Franklin, Gilbert Parker, William Morris Agency, 1325 Avenue of the Americas, New York, NY 10019-6026.

CAREER: Playwright. Actors Studio, New York, NY, stage manager, 1961, tutor, 1961–62; film critic for The Seventh Art, 1963–65; Columbia College Today, New York, NY, assistant editor, 1963–65.

MEMBER: American Academy of Arts and Letters, Dramatists Guild (vice president, 1981), Phi Beta Kappa.

AWARDS, HONORS: Henry Evans traveling fellowship, Columbia University, 1960; Stanley Award, 1962, for This Side of the Door; Guggenheim fellowship, 1966 and 1969; runner-up, Drama Desk Award for most promising playwright, 1969; Hull Warriner Award, 1973, 1987, and 1989; Obie Award, 1974, for Bad Habits; Obie Award for Best Play and Achievement in Play-wrighting citations from American Academy of Arts and Letters and National Institute of Arts and Letters, 1975, all for The Ritz; Emmy Award, 1990, for Andre's Mother; Antoinette Perry (Tony) Award, best book of a musical, 1993, for Kiss of the Spider Woman; Pulitzer Prize for drama nomination, 1994, for A Perfect Ganesh; Tony Award for best play, and Outer Critics' Circle Award for Best Broadway Play, all 1995, all for Love! Valour! Compassion!, and 1996, for Master Class; Tony Award, 1998, for Ragtime; Tony Award nomination, 2001, for The Full Monty.

WRITINGS:

PLAYS

(Adapter) Giles Cooper, The Lady of the Camellias, produced on Broadway at Winter Garden Theatre, March 20, 1963.

And Things That Go Bump in the Night (also see below; three-act; first produced in Minneapolis at Tyrone Guthrie Theatre, February 4, 1964; produced on Broadway at Royale Theatre, April 26, 1965), Dramatists Play Service (New York, NY), 1966.

Apple Pie: Three One-Act Plays (includes Tour, first produced in Los Angeles at Mark Taper Forum, 1967, as part of The Scene [eleven plays by various authors], collection produced as Collision Course Off-Broadway (at Café au Go Go, May 8, 1968), published as Collision Course, edited by Ed Pa-rone, Random House (New York, NY), 1968, published under original title, Dramatists Play Service (New York, NY), 1968.

(Author of book) Here's Where I Belong (musical; based on novel East of Eden by John Steinbeck), music by Robert Waldman, first produced on Broadway at Billy Rose Theatre, February 20, 1968.

Sweet Eros, Next, and Other Plays (contains Sweet Eros [one-act], first produced Off-Broadway at Gramercy Arts Theatre, November 21, 1968; Next, first produced Off-Broadway at Greenwich Mews Playhouse, February 10, 1969; Witness [one-act], first produced Off-Broadway at Gramercy Arts Theatre, November 21, 1968; Cuba Si! [also see below; one-act], first produced Off-Broadway at Theatre de Lys, December 9, 1968; and Botticelli [also see below]), Random House (New York, NY), 1969.

Noon (one-act; bound with Morning by Israel Horovitz and Night by Leonard Malfi; first produced on Broadway at Henry Miller's Theatre, November 28, 1968), Random House (New York, NY), 1969.

Botticelli (also see below), Dramatists Play Service (New York, NY), 1969.

Sweet Eros and Witness: Two One-Act Plays (also see below), Dramatists Play Service (New York, NY), 1969.

Cuba Si!, Bringing It All Back Home, Last Gasps: Three Plays (contains Cuba Si!; Bringing It All Back Home, [one-act], first produced Off-Broadway at La Mama Experimental Theatre Club, 1969; and Last Gasps), Dramatists Play Service (New York, NY), 1970.

Where Has Tommy Flowers Gone?: A Play (also see below; first produced in New Haven, CT, at Yale University Theater, January 7, 1971; produced Off-Broadway at Eastside Playhouse, October 7, 1971), Dramatists Play Service (New York, NY), 1972.

Bad Habits (also see below; two one-acts; contains Ravenswood and Dunelawn; first produced in East Hampton, NY, at John Drew Theatre, 1971; produced on Broadway at Booth Theatre, May 5, 1974), Dramatists Play Service (New York, NY), 1974.

Let It Bleed, produced as part of City Stops, New York, NY, 1972.

Whiskey (also see below; one-act; first produced Off-Broadway at St. Clement's Church, April 29, 1973), Dramatists Play Service (New York, NY), 1973.

The Tubs, first produced in New Haven at Yale University Theater, January, 1974, revised version produced as The Ritz (also see below), first produced on Broadway at Longacre Theatre, January 20, 1975.

The Golden Age, produced in New York, NY, 1975.

The Ritz and Other Plays (contains The Ritz, Where Has Tommy Flowers Gone?, Bad Habits, And Things That Go Bump in the Night, Whiskey, and Bringing It All Back Home), Dodd (New York, NY), 1977.

Broadway, Broadway, produced in East Hampton, NY, 1979.

The Lisbon Traviata (broadcast, 1979; produced in New York, NY, 1985), Dramatists Play Service (New York, NY), 1986.

It's Only a Play: A Comedy (produced in New York, NY, 1982), Dramatists Play Service (New York, NY), 1986.

(Author of book for musical) The Rink: A New Musical, music by John Kander (produced in New York, NY, 1984), Samuel French (New York, NY), 1985.

Frankie and Johnny in the Claire de Lune (produced in New York, NY, 1987), Plume (New York, NY), 1990.

Faith, published in Faith, Hope, and Charity (produced in New York, NY, 1988), Dramatists Play Service (New York, NY), 1989.

Prelude and Liebstod, produced in New York, NY, 1989.

Up in Saratoga, produced in San Diego, CA, 1989.

(Author of book for musical) Kiss of the Spider Woman (adaptation of the novel by Manuel Puig, music by John Kander, lyrics by Fred Ebb, first produced in Purchase, New York, NY, 1990; produced on Broadway, May, 1993), Samuel French (New York, NY), 1997.

Three Plays (contains The Lisbon Traviata, Frankie and Johnny in the Claire de Lune, and It's Only a Play), New American Library (New York, NY), 1990.

Preludes, Fugues and Rifts, 1991.

Lips Together, Teeth Apart (first produced Off-Broadway at the Manhattan Theatre Club, May 28, 1991), Plume/Penguin (New York, NY), 1992.

A Perfect Ganesh (first produced Off-Broadway at the Manhattan Theatre Club, June 4, 1993), Dramatists Play Service (New York, NY), 1994.

Love! Valour! Compassion! (first produced Off-Broadway at the Manhattan Theatre Club, November 1, 1994; produced on Broadway at the Walter Kerr Theatre, January 20, 1995), Dramatists Play Service (New York, NY), 1995.

Terrence McNally: Fifteen Short Plays, Smith and Kraus (Newbury, VT), 1994.

You and Hugh (a musical for children), music by Robert Kapilow, produced in New York, NY, November 13, 1994.

Love! Valour! Compassion! and A Perfect Ganesh: Two Plays, Plume (New York, NY), 1995.

Andre's Mother and Other Short Plays, Dramatists Play Service (New York, NY), 1995.

Master Class (first produced on Broadway at the Golden Theater, November 5, 1995), Plume (New York, NY), 1996.

Dusk (one-act; produced as part of By the Sea, by the Sea, by the Beautiful Sea), Manhattan Theatre Club, June, 1996.

Ragtime, 1997.

Corpus Christi, Grove Press (New York, NY), 1998.

Dead Man Walking (musical adaptation of the book by Sr. Helen Prejean), produced in San Francisco at the War Memorial Opera House, October, 2000.

The Full Monty (stage adaptation of Simon Beaufoy's screenplay), first produced on Broadway at the Eugene O'Neill Theater, October 26, 2000.

The Visit, produced in Chicago at Goodman Theater, October, 2001.

The Stendhal Syndrome, produced in New York, NY at the Elysabeth Kleinhans Theater Center, February, 2004.

SCREENPLAYS

The Ritz (based on play of the same title), Warner Bros., 1977.

(And co-producer) Earth Girls Are Easy, Vestron, 1989.

Frankie and Johnny (based on play Frankie and Johnny in the Claire de Lune), Paramount, 1991.

Love! Valor! Compassion! (based on play of same title), 1994.

TELEVISION PLAYS

Botticelli, 1968.

Last Gasps, 1969.

(Adapter) John Cheever, The 5:48, Public Broadcasting Service (PBS), 1979.

Mama Malone (series), 1983.

Andre's Mother (American Playhouse series), PBS, 1990.

OTHER

Kava: Nature's Answer to Stress, Anxiety, and Insomnia, Prima Health (Rocklin, CA), 1998.

A Man of No Importance (musical; based on film of same title), with new music by Stephen Flaherty, first produced at the Mitzi E. Newhouse Theater at Lincoln Center in New York, October 10, 2002.

At the Statue of Venus (one-woman opera), with composer Jake Heggie, first produced at Opera Colorado in Denver, September 10, 2005.

ADAPTATIONS: Kiss of the Spider Woman was adapted for film in 1985, directed by Hector Babenco, starring William Hurt and Raul Julia.

McNally wrote the book for Chita Rivera: The Dancer's Life, a musical expected to open on Broadway at the Schoenfeld Theater, 2005.

SIDELIGHTS: Terrence McNally is known as one of the pillars of contemporary American theater. Discussing McNally with a writer for Vogue magazine, playwright William Finn was quoted as saying: "What I think is most extraordinary about him is the way he's made a career. His early things were really entertaining, but he's become an artist, and he's a real role model for playwrights. He's gotten better. Unlike most people, he saved his best for last." The image of McNally as a seasoned veteran of the theater, producing better and better plays while helping along rookie writers through example and mentorship is fitting. McNally wrote his first play, The Lady of the Camellias, in 1963, when he was in his early twenties. Since then he has continued to achieve increasing critical and popular success, as well as serving the theater world by serving as vice president of the Dramatists Guild and helping to launch a play-writing department at the Juilliard School. In between, his own work has steadily achieved more and more critical and popular success, including multiple Tony Awards.

Bad Habits, consisting of two one-act skits (Ravenswood and Dunelawn), each of which takes place in a sanitarium, contains "non-stop hilarity" which is derived from the author's "amused fascination with obsessive behavior," according to Cue's Marilyn Stasio. "Although both plays are casually structured," she noted, "the character satire is dead-on accurate, and for all its zaniness has a niceness of logical clarity that is akin to classical farce."

Bad Habits prompted Nation reviewer Harold Clurman to declare that "Terrence McNally is one of the most adept practitioners of the comedy of insult…. Both plays [in Bad Habits] aim their shafts at institutions for the treatment of psychological disturbances—'encounter groups.'… [They] are spoofs and at times quite funny…. But there is no real criticism in them: the grotesquerie of the jokes supersedes all. These, in turn, are based on a strain of generalized dislike…. We laugh to free ourselves from what is implied."

New Yorker contributor Edith Oliver characterized Ravenswoodas "virtually plotless. It is a mosaic of edged funny lines that, however far out, always belong to the characters who speak them and to nobody else. The playwright does go overboard from time to time—he is a little too clever, in the British, pejorative sense—but that, I suppose, is the price of his fertile, pell-mell imagination. Ravenswood is vintage McNally; Dunelawn is not quite … but a lot of it is very funny all the same…. There are other spots, though, that seem forced or somewhat off-key or just catty."

John Simon of New York noted that McNally is one of just a few playwrights who has enough courage to be truly nasty, and felt that "both Ravenswood and Dunelawn go on a bit too long, and in both McNally succumbs to his chronic weakness, the inability to find the right ending. [Nevertheless, this is McNally] at his sick, mean, absurd yet purposive best, vicious crack topping vicious crack in the most demurely trotted-out fashion…. You can call these plays unwholesome, inhuman—whatever you like—but not undazzling or unfunny."

The Ritz, a play Time described as "a bedlam of straight-gay confrontations" between visitors to a homosexual bathhouse, is also a fairly typical McNally play. Stasio called it "a classic farce in modern (un)dress…. Instead of drawing rooms and ladies' boudoirs, the scene is a male bathhouse; and the inevitable philandering husband … dallies with boys instead of dollies. But the structural mechanics are classical—mistaken identity, chase scenes, a network of doors to open and slam." Though she felt that "McNally's humor is genuine and often original," she concluded that "its farce outlets just aren't sufficiently mathematical, subtle, or imaginative to sustain what is still a very bright idea."

Six of McNally's plays reached New York stages in the 1980s. Among them was The Lisbon Traviata, a full-length tragic comedy about two gay men obsessed with the opera diva Maria Callas and, more particularly, an obscure pirated recording of the opera La Traviata performed by Callas in Lisbon. The first act of the play is comic, and set in the rich, baroque-style apartment of Mendy, an eccentric opera buff, once married, who admits, "Callas was named in my divorce for alienation of affections." The second, more serious, act takes place in the apartment of Stephen, Mendy's Callas cohort, who returns home to find his lover with another, younger, man. The play ends violently.

Critics found the bifurcated structure somewhat troubling, but nevertheless praised McNally's characterization and dialogue. Writing for the New York Times, Mel Gussow observed, "In The Lisbon Traviata Terrence McNally has written the theatrical equivalent of an operatic double bill—an opera bouffe followed by a tragic denouement." Gussow admired the playwright's grasp of his subject, stating, "One does not have to be a music critic to appreciate Mr. McNally's wit and his encyclopedic knowledge of the art form [opera] under scrutiny." The Variety reviewer asked the reader to "imagine a revival of the first act of The Boys in the Band and the last of Who's Afraid of Virginia Woolf? and you'll have a sense of the dual artistic personality of The Lisbon Traviata. Terrence McNally's new play is a sort of chiaroscuro study of gay obsessions and relationships. The funny first half is very funny indeed, but the somber second act doesn't work."

McNally's 1987 romantic comedy, Frankie and Johnny in the Clair de Lune, is, according to the New Yorker's Terrence Rafferty, "a long sparring match, a comic clash between sharply opposed attitudes toward romantic love—Johnny's let's-do-it optimism versus Frankie's stubborn, defensive pessimism." Frankie is a waitress in a New York coffee shop where Johnny tends the grill. After a quick date that has ended with the two of them in Frankie's bed, Johnny tries every imaginable ploy to convince her they are meant for one another. Rafferty noted, "He bombards her with charm, jokes, romantic rhetoric, quotations from Shakespeare, autobiographical pathos, beautiful music, and heartfelt (though not terribly rigorous) philosophizing. He's the most eclectic and exhausting suitor imaginable, and he's too much for Frankie, who's determined not to expose herself to the pain and uncertainty of a serious relationship." In the end, Frankie and Johnny's future is left uncertain, though in the final act of brushing their teeth together there rests some hope for domesticity.

Following the popular stage version, McNally helped turn his play into simply Frankie and Johnny, a motion picture starring Al Pacino and Michelle Pfeiffer. Time's David Denby found the film to be "no more than a bittersweet valentine to a man who's desperate for love and a woman who's afraid of it, but it's been made with so much sympathy, delicacy, and true intelligence that it's a triumph of sorts—a gallantly hopeful commercial comedy about love in the age of AIDS and the VCR."

The momentum McNally was building through the eighties swung him solidly into the nineties with a string of successes. In 1991 Lips Together, Teeth Apart opened at the Manhattan Theatre Club (MTC), home of several of McNally's first-nighters before they headed to Broadway houses. The play concerns two affluent couples spending a Fourth of July weekend at the Fire Island beach house left to one of the women by her brother who died of AIDS. The setting raises many troubling issues for the group, including the potential failure of their marriages, their feelings of homophobia, and the capriciousness of death.

Reviewing the play for the New York Times, Frank Rich proclaimed, "The bright wit that has always marked Mr. McNally's writing and the wrenching sorrow that has lately invaded it are blended deftly throughout three concurrently funny and melancholy acts. The evening's moods are as far-ranging as its allusions to A Star Is Born and Virginia Woolf and as changeable as its incidental score, which runs from the show-biz cacophony of [the Broadway musical] Gypsy to the serenity of [Wolfgang Mozart's opera] Cosi Fan Tutte."

Death looms over McNally's next musical collaboration. In 1992 Kiss of the Spider Woman, a musical based on Manuel Puig's novel of the same name, premiered in London to rave reviews. It is the story of two men sharing a prison cell in an unnamed Latin-American country. Molina is a homosexual window dresser arrested for attempting to molest a young man. He is imprisoned with Valentin, a revolutionary jailed for trying to overthrow his country's oppressive regime. Against a backdrop of beating, torture, and murder the men learn to support one another. Molina relies on his fantasies of Aurora, a famous movie actress. He recounts her roles to Valentin in their darkest hours and Aurora, also known as the Spider Woman, joins the men in their cell, dancing and singing and luring them dreamily away from their nightmarish reality.

In Time, William A. Henry III called Kiss of the Spider Woman "the most rousing and moving musical to reach the West End since Miss Saigon." Edith Oliver admitted in the New Yorker, "To burst into tears at a musical just isn't done, but I confess that I did at Kiss of the Spider Woman, because of the beautiful performance of Brent Carver, as a homosexual window dresser … and because of the distinguished script, by Terrence McNally." For his script, McNally was awarded the Tony Award for best book of a musical in 1993.

The 1993–94 theater season also saw two more McNally premieres at the Manhattan Theatre Club. A Perfect Ganesh, the story of two middle-aged Connecticut women touring India under the protectorship of the Hindu god Ganesha, and Love! Valour! Compassion!, an account of the lives and relationships of eight gay men who holiday at an upstate New York country house, were each successfully staged. Knowing he has that kind of strong production support affects McNally's writing. In a preface to the published version of these plays, the author confessed, "I wouldn't be a playwright today if it weren't for the regional theater. My regional theater is the Manhattan Theatre Club. I'm a regional theater playwright who just happens to live in New York. Without the unconditional love of MTC … these two plays would never have been written. Knowing that they are committed to me as a writer and not as a playwright who is expected to provide them with 'hits' has given me the confidence to write each play as I wanted, not what I think they wanted based on expectations from the last play."

Of the two plays, Love! Valour! Compassion! met with greater success. It transferred to the Walter Kerr Theatre on Broadway and won the Tony Award for best play in 1995. Still, reviews were mixed. In the Nation, David Kaufman lauded the play, saying, "For the ways in which it's told no less than for what it has to say, Love! Valour! Compassion! is a remarkably Chekhovian work—which is to say vital and capacious, extremely natural yet poetic and crafted at the same time." John Simon, however, felt the venture was too formulaic. In New York magazine he complained, "I am struck … by the manipulativeness and meretriciousness of the enterprise, what with its eyedropper-calculated dosage of campy bitchiness, homosexual self-pity, and male nudity in artful rotation…. With the obligatory references to AIDS introduced at cannily calibrated distances from one another, and the trusty cliches given each its dollop of McNally wit … everything moves forward with the spontaneity of the changing of the guard at Buckingham Palace."

In 1996 McNally achieved a rare feat: Master Class, his biographical play about the legendary opera diva Maria Callas, won him a Tony Award for best play for the second year in a row. On the surface Master Class depicts a series of master voice classes Callas conducted at Juilliard in the early seventies, at the end of her career. Three students—two sopranos and a tenor—step forward from the audience to learn from the celebrated master. Underneath, however, the play probes the artist's relationship to art—humankind's need for creative expression and the costs and rewards that accompany a lifetime of artistic pursuit.

In Newsweek, Jack Kroll announced, "McNally's play is a profile in courage." Vince Canby wrote in the New York Times, "Mr. McNally's achievement has been to take the legendary Callas, the somewhat camp Judy Garland figure of grand opera, and restore to the woman a sense of her passion and intelligence and the singularity of her gifts." However, another Times reviewer, Margo Jefferson, felt McNally's depiction of the singer does not rise above caricature. "Mr. McNally wrote expressively and intensely about Callas fans in The Lisbon Traviata," she noted, "Why is he writing so glibly about Callas herself? It seems that he does fans better than he does artists."

McNally had some success with two musicals adapted from films, Dead Man Walking and The Full Monty. The former is based on the memoir of Sister Helen Prejean, a nun assigned as the spiritual counselor to a murderer on death row in Louisiana. In McNally's musical version, the focus is less on the murderer's journey from denial to repentance than it is on the ways in which Sister Prejean is transformed by her association with Joseph de Rocher, the murderer. According to Time reviewer Terry Teachout, "She has grown immeasurably by opera's end through her unflinching acceptance of the implications of De Rocher's monstrous act." The Full Monty was a much more light-hearted story, concerning a group of unemployed steelworkers who try to raise money by working as strippers.

McNally stirred up considerable controversy in 2001 with his retelling of the Gospel, set in Corpus Christi, Texas during the 1950s. In Corpus Christi, the Christ figure, renamed Joshua, and all his disciples are gay characters in a hostile environment. Joshua dies, ultimately, "for both his sexuality and his message of universal love and tolerance," stated Ed Kaufman in Hollywood Reporter. Kaufman termed the musical "brash, bold and thoughtful" and commented on McNally's adept touch at blending "onstage shtick with sentiment, the raunchy with the religious." Other critics were put off by what they perceived as McNally's sermonizing. Corpus Christi "is about McNally bending the story of Christ tale to advance his view that homosexuals are endlessly persecuted," claimed Evan Henerson in the Los Angeles Daily News. Madeleine Shaner concurred in Back Stage West that Corpus Christi is "not a very good play; it's a mere in-your-face gay Sunday-school version of the Bible story, with the motivation, the history, the activism, the courageous rebellion of the chosen Messiah left out." A more favorable opinion was expressed by Philip Brandes, who advised in Los Angeles Time that those "willing to contemplate the issues raised by the play (and overlook its at times considerable pretensions) will find some powerful depictions of the very real alienation and prejudice endured by social outcasts."

Throughout his decades as a professional playwright McNally has displayed an unwavering commitment to the theater. "The theatre is something to give your life to," McNally related to Richard Alleman in Vogue. "It gives your life value and joy…. Just stick it out like I did…. I don't think we in the theatre can change the world, but I think we can leave it a better and a different place that it was if we hadn't written our plays and acted in them. It's exciting, too—that you have to be there. It's like a good party. You can't hear about a party. You want to be at the party. And the theatre's the party I want to be at."

BIOGRAPHICAL AND CRITICAL SOURCES:

BOOKS

Contemporary American Dramatists, St. James Press (Detroit, MI), 1994.

Contemporary Dramatists, 5th edition, St. James Press (Farmington Hills, MI), 1999.

Contemporary Literary Criticism, Thomson Gale (Detroit, MI), Volume 4, 1975, Volume 7, 1977, Volume 41, 1987.

Dictionary of Literary Biography, Volume 7: Twentieth-Century American Dramatists, Thomson Gale (Detroit, MI), 1981.

Gay and Lesbian Literature, St. James Press (Detroit, MI), 1994.

PERIODICALS

American Theatre, March, 1995, pp. 12-17; September, 2001, Rebecca Paller, review of The Full Monty, p. 92.

Back Stage, November 10, 2000, Irene Backalenick, review of The Full Monty, p. 48; May 18, 2001, Mike Salinas, "Hammerstein Award to McNally," p. 6.

Back Stage West, August 23, 2001, Madeleine Shaner, review of Corpus Christi, p. 15.

Chicago Tribune, October 4, 2001, Sid Smith, review of The Visit.

Cue, January 14, 1974; February 11, 1974.

Daily News (Los Angeles, CA), August 24, 2001, Evan Henerson, review of Corpus Christi, p. L17.

Hollywood Reporter, September 7, 2001, Ed Kaufman, review of Corpus Christi, p. 42.

Los Angeles Times, August 24, 2001, Philip Brandes, review of Corpus Christi, p. F25.

Nation, March 2, 1974; December 19, 1994, pp. 774-776.

New Republic, March 1, 1975; November 11, 1991, pp. 30-31; August 23, 1993, pp. 31-33; April 3, 1995, pp. 30-32.

Newsweek, February 10, 1975; November 13, 1995, p. 85.

New York, October 25, 1971; February 18, 1974; May 27, 1974; February 3, 1975; October 14, 1991, p. 84; May 17, 1993, p. 103; February 27, 1995, pp. 115-117.

New Yorker, February 18, 1974; February 3, 1975; October 21, 1991, pp. 125-128; May 24, 1993, p. 104; July 12, 1993, p. 95; November 14, 1994, pp. 129-131; November 27, 1995, pp. 109-111.

New York Post, October 17, 2001, "In the Wings," p. 77.

New York Times, January 24, 1971; December 8, 1971; July 6, 1978; October 28, 1987, p. C23; June 2, p. C23; December 21, 1988, p. C32; June 7, p. C21; June 26, 1991, pp. C11, C13; November 6, 1995, pp. C11, C13; November 12, 1995, pp. 5, 36; June 1, 1996, p. 12; May 20, 2001, Jerry Tallmer, "A Couple of Regular Guys Bonding, Onstage and Off," p. 11.

New York Times Book Review, August 23, 1998, review of Almost Home, p. 16.

Time, October 18, 1971; February 3, 1975; November 30, 1992, p. 78; July 12, 1993, p. 60; August 23, 1993, p. 73; October 23, 2000, Terry Teachout, review of Dead Man Walking, p. 84.

Variety, October 20, 1971; October 30, 2000, Charles Isherwood, review of The Full Monty, p. 32.

Vogue, May, 1995, pp. 152, 154.