Theatre criticism has been a valid activity since the 18th century. It reaches a wide public, ranging from the artists directly concerned, to readers who will never see the production. They all require something different from the critic; and their response varies between outrage, contempt, respect, interest and pleasure. Yet while the theatre undergoes continuous critical examination, the critics themselves remain unexamined. This book should be of interest to undergraduates and academics interested in theatre studies and theatre practitioners.