The power of the print reviewer is one of those urban myths. There have always been shows that slipped under the critical radar to become popular successes: 'Tobacco Road', 'Abie's Irish Rose' and our old friend 'Spider-Man', which got the worst reviews in theatre history and is still apparently going strong.

Whether you like it or not, a performance's triumphs and belly flops come to seem excruciatingly intimate, as if you were somehow partly responsible for them.

I personally read criticism - at least by writers I enjoy - to stimulate a conversation in my own mind, and I like to think that's the function I serve for others.

Theater criticism should be visceral, at least on some level, an articulation of that fierceness and passion. I usually do a fair amount of research before I see a show - on the history of previous productions (if it's a revival) and the creative team.

I want the concentration and the romance, and the worlds all glued together, fused, glowing: have no time to waste any more on prose.

I found it hard to be young. When I was married in my twenties, I hated being regarded as 'the little wife.' You don't know what it was like then! I'd never even written a cheque. I had to ask my husband for money for groceries.

My wife - to-be and I went to see my father. Only he could answer the two questions before us: Shall we get married now? Shall I begin the practice of law, or continue being the successful wine salesman I had become, working my way through law school?

My parents have a wonderful marriage, but they have been together since my mother was 12, married when they were just teenagers and are barely ever separated. They even work together. As a result, I have always thought of marriage as involving the loss of a certain amount of autonomy.