Walter Kerr

Walter Francis Kerr was an American writer and Broadway theatre critic. He also was the writer, lyricist, and/or director of several Broadway plays and musicals and the author of several books, generally on the subject of theater and cinema. Kerr was born in Evanston, Illinois, and earned both a B.A. and M.A. from Northwestern University., after graduation from St. George H.S. also in Evanston.

He was a regular film critic for the St. George High School newspaper while a student there and was also a critic for the Evanston News Index. He was the editor of the high school newspaper and yearbook. He taught speech and drama at The Catholic University of America. After writing criticism for Commonweal, he became a theater critic for the New York Herald Tribune in 1951. When that paper folded, he then began writing theater reviews for The New York Times in 1966, writing for the next seventeen years.

He married Jean Kerr (née Collins) on August 9, 1943. She was also a writer. Together, they wrote the musical Goldilocks (1958), which won two Tony Awards. They also collaborated on Touch and Went (1949) and King of Hearts (1954). They had six children. Kerr died from congestive heart failure on October 9, 1996. David Niven portrayed him pseudonymously in the 1960 film Please Don't Eat the Daisies, based on Jean Kerr's best-selling collection of humorous essays. 

Kerr was one of his era's harshest New York theatre critics, giving the fewest favorable reviews. He was well known for musically ambitious panning musicals. Notoriously he is credited with one of the world's shortest reviews, "Me no Leica," for John Van Druten's I Am a Camera in the New York Herald Tribune, December 31, 1951. Many of the shows he critiqued were those of Stephen Sondheim. 

About Sondheim's Company, Kerr wrote that it was too cold, cynical, and distant for his taste, though he "admitted to admiring large parts of the show." About Sondheim's Follies, he wrote, " 'Follies' is intermissionless and exhausting, an extravaganza that becomes tedious for two simple reasons: Its extravagances have nothing to do with its pebble of a plot; and the plot, which could be wrapped up in approximately two songs, dawdles through 22 before it declares itself done. Mr. 

Sondheim may be too much a man of the seventies, too present-tense and sophisticated. The effort to bind it up inhibits the crackling, open-ended, restlessly varied surges of sound he devised with such distinction for Company." He praised A Little Night Music, saying, "The score is a gift, the ladies are delightful, and producer Harold Prince has staged the moody meetings with easy skill."

He expressed mixed sentiments about Sweeney Todd: The Demon Barber of Fleet Street, praising the music but deeming it too lilting for the show's grisly subject; his conclusion- "What is this musical about?" He wrote a follow-up article on his observation that the musical contained a plot from Molière's The School for Wives, posing the question of who, of all of the authors who had revised the tale of Sweeney Todd over the years, had put the plot into the story.

Nevertheless, in 1977, he wrote of Sondheim, "I needn't tell you that Stephen Sondheim is, both musically and lyrically, the most sophisticated composer now working for the Broadway theater." In reviewing Leonard Bernstein's West Side Story, he focused on the dancing: "the most savage, restless, electrifying dance patterns we've been exposed to in a dozen seasons... The dancing is it. Don't look for laughter or—for that matter—tears."

In his review of the original 1956 Broadway production of Candide, he wrote that it was a "really spectacular disaster." However, in reviewing the 1973 revival of Candide, he wrote that it was a "most satisfying resurrection. 'Candide' may, at last, have stumbled into the best of all possible productions... The show is now a carousel, and we are on it quite safely... The design of the unending chase is so firm; the performers are so secure in their climbing and tumbling...that we are able to join the journey and still see it with the detachment that Voltaire prescribes."

Of Frank Loesser's "musical with a lot of music" [sic. Opera], The Happiest Fella, he wrote: "the evening at the Imperial is finally heavy with its own inventiveness, weighted down with the variety and fulsomeness of a genuinely creative appetite. It's as though Mr. Loesser had written two complete musicals—the operetta and the haymaker—on the same simple play and then crammed them both into a single structure."

Kerr was also notable for his lack of enthusiasm regarding the plays of Samuel Beckett. For instance, in Beckett's Waiting For Godot, he wrote, "The play, asking for a thousand readings, has none of its own to give. It is a veil rather than a revelation. It wears a mask rather than a face."

Walter Kerr won a Pulitzer Prize for Criticism in 1978 for "articles on the theater". In 1983, Kerr was inducted into the American Theater Hall of Fame. In 1990, the former Ritz Theater on West 48th Street in the Theater District, New York, was renamed the Walter Kerr Theatre in his honor.