| Introduction | |
| Preface | |
| Professional Playgoing | p. 3 |
| Pity his Simplicity | p. 8 |
| Merchant of Venice, Long Island | p. 12 |
| Eugene O'Neill's Pieta | p. 16 |
| Maiming the Bard | p. 19 |
| Pickwick in Love | p. 22 |
| The Case of O'Casey | p. 25 |
| Hitch your Star to a Wagon | p. 28 |
| What is Acting? | p. 31 |
| Charlie Chaplin's Mea Culpa | p. 34 |
| The Poet in New York | p. 37 |
| It's all Greek to me | p. 40 |
| The Pink and the Black | p. 43 |
| I have a Bright Idea | p. 46 |
| Lillian Hellman's Indignation | p. 49 |
| Acting: Natural and Artificial | p. 52 |
| Acting vs. Reciting | p. 55 |
| Guilding the Lilli | p. 58 |
| The Innocence of Arthur Miller | p. 62 |
| Hans Andersen's Boomerang | p. 65 |
| On the Sublime | p. 68 |
| Pathetic Phalluses | p. 71 |
| Camino Unreal | p. 74 |
| A Major Musical | p. 78 |
| From Leo X to Pius XII | p. 81 |
| Personality | p. 84 |
| On Being Read to | p. 87 |
| Within this Wooden O | p. 91 |
| On Staging Yeats | p. 94 |
| Give my Regards to Broadway | p. 97 |
| Sir Laurence MacHeath | p. 100 |
| Julius Caesar, 1953 | p. 103 |
| Folklore on Forty-Seventh Street | p. 107 |
| How Deep are the Roots? | p. 110 |
| The Perfect Play | p. 114 |
| New Playwright, New Actress | p. 117 |
| God Bless America | p. 120 |
| End As a Yes-Man | p. 123 |
| The Ill-Made Play | p. 127 |
| Pessimism as a Pick-me-Up | p. 131 |
| Shakespeare's Politics | p. 134 |
| Captain Bligh's Revenge | p. 138 |
| Old Possum at Play | p. 141 |
| The Idea of a Theatre | p. 145 |
| Homosexuality | p. 149 |
| Reigen Comes Full Circle | p. 152 |
| Acting, Sex-Appeal, Democracy | p. 155 |
| The Standard Story | p. 159 |
| Tea, Sympathy, and the Noble Savage | p. 162 |
| Who are you Rooting for? | p. 165 |
| Crafty Godliness | p. 169 |
| The Presence of Mozart | p. 172 |
| "... and Chronicle Small Beer" | p. 175 |
| The Family, 1954 | p. 183 |
| Off Broadway | p. 186 |
| The American Musical | p. 190 |
| A Whole Theory of the Drama | p. 193 |
| Joshua Logan | p. 196 |
| A Real Writer | p. 200 |
| Eileen Heckart and others | p. 204 |
| Poetry of the Theatre | p. 207 |
| There is Charm and Charm | p. 211 |
| But Junk is Junk | p. 214 |
| Wild Duck and Tame Phoenix | p. 218 |
| What is Beauty, Saith my Sufferings, then? | p. 221 |
| Tennessee Williams and New York Kazan | p. 224 |
| Homage to Scribe | p. 231 |
| Orson Welles and Two Othellos | p. 235 |
| A Great Bronze Gong | p. 238 |
| Two Hundred Years of Mowing | p. 242 |
| The Example of the Comedie Francaise | p. 245 |
| Inaccuracy | p. 251 |
| The Road from Rouen to New York | p. 254 |
| On the Waterfront | p. 258 |
| Marriage, 1955 | p. 261 |
| A Funny Sort of Red | p. 265 |
| A Director's Theatre | p. 269 |
| How not to write an Audience | p. 272 |
| Whimsy and the Cultured Classes | p. 276 |
| The Last Drawing-Room Comedy | p. 279 |
| A Directly Sensuous Pleasure | p. 283 |
| Inaccuracy again | p. 286 |
| A Liquid Grace | p. 290 |
| Undramatic Theatricality | p. 295 |
| The other Orson Welles | p. 304 |
| The Missing Communist | p. 309 |
| Thirty-two Non-Reviews | p. 315 |
| Olivier on Disk | p. 330 |
| De Filippo on the Screen | p. 335 |
| Martha Graham | p. 338 |
| Marcel Marceau | p. 342 |
| James Agate | p. 345 |
| Drama Now | p. 353 |
| The Old Vic, the Old Critics, and the New Generation | p. 362 |
| Barrault: A Dialogue | p. 368 |
| Playwright of the Fifties | p. 377 |
| The Peking Opera | p. 382 |
| Opera in New York | p. 385 |
| A Touch of the Adolescent | p. 394 |
| Comedy and the Comic Spirit in America | p. 404 |
| The German Theatre Today | p. 414 |
| Eight German Productions | p. 423 |
| Charlie Chaplin and Peggy Hopkins Joyce | p. 434 |
| The Civil Obedience of Galileo Galilei | p. 443 |
| Afterthoughts (1952-1956) | p. 453 |
| Index | p. 471 |
| Table of Contents provided by Blackwell. All Rights Reserved. |