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P. G. Wodehouse

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Has anybody ever seen a drama critic in the daytime? Of course not. They come out after dark, up to no good.

 
P. G. Wodehouse

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A good drama critic is one who perceives what is happening in the theatre of his time. A great drama critic also perceives what is not happening.

 
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As poets we do not ask permission before we begin to practise, for there is no authority to license us. We do not inquire whether it is still possible to pen a drama, for the answer to that question is ours alone to give. It is our drama, spoken or sung, that asserts our right to the title of poet. It is our decision that counts, and not the opinion of some theatre management, or the ponderings of the critic, or even the advice of our friendliest mentors.

 
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She could take the dark out the nighttime and paint the daytime black.

 
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I've noticed that there is not necessarily a great relationship between what the majority of critics have to say and what is actually true. Some of them are so busy trying to mold the public taste according to the limits of their perceptions, and others are so busy reflecting what they consider to be the public taste — that view limited again by their perception. You find very few critics who approach their job with a combination of information and enthusiasm and humility that makes for a good critic. But there is nothing wrong with critics as long as people don't pay any attention to them. I mean, nobody wants to put them out of a job and a good critic is not necessarily a dead critic. It's just that people take what a critic says as a fact rather than an opinion, and you have to know whether the opinion of the critic is informed or uninformed, intelligent of stupid — but most people don't take the trouble.

 
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If Attila the Hun were alive today, he'd be a drama critic.

 
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