The No. 1 drama critic at our national newspaper, The New York Times -- thus the most influential in the country -- remains Ben Brantley. But among the best moves in the recent re-fashioning of its arts and leisure section has been the appointment of Charles Isherwood, previously of Variety, as a very active No. 2. (There are various Nos. 3 and beyond, with no pattern clear to me yet.)

Isherwood is smart, knowledgeable (not the same thing) and articulate. So I enjoyed his Monday think-piece on New York's recent spate of short, intermissionless plays, a trend he welcomes with fervor. Myself, I feel both ways, as usual.

Sure, I'm happy when that "no intermission" line in the program promises a shorter play, leaving more time for whatever afterwards. I especially dislike a 90-minute play that adds an intermission just to bulk up. But I also love a legitimate marathon, like "Nicholas Nickleby," "The Mahabharata" or "The Mysteries." So basically, I want a play to take the time it needs, whether it be the 55 minutes of Caryl Churchill's taut, mind-chilling "Far Away," which was a very full evening indeed, or the more usual 2 1/2 hours. But if you inch up toward three hours, it had better be necessary. It was Pittsburgher George S. Kaufman whose invariable play-doctor advice, sight unseen, was, "Cut!"

So, no, I don't agree with Isherwood's "general aesthetic argument ... for the superiority of the one-act ... [and its] purer, more intense theatrical experience." What's pure about theater? That's like insisting all churches be white. The proof is really in the individual pudding. And although I understand his irritation at New York intermissions, where theaters are crowded with strangers, a Pittsburgh intermission still has social pleasures that need not conflict with the play.

A second act also offers a fresh start: If you didn't like or understand Act 1, Act 2 is generally an improvement (for good reasons, but beyond the space I have here to explain). And not incidentally, the dislike of intermissions has lost us some good plays from the three-act era.

Public exposure

A belated salute to Ellen Melaver's "Next Year in Manhattan," last week's new play reading at the Public. For this serious comedy about cultural identity (a lively subject as Christmas blankets the land), Kyle Brenton directed a spirited reading by Rebecca Harris, Danny Krell, Ingrid Sonnichsen and Jarrod Fry.

Superstition

In answer to a question about "Being Julia": Yes, Julia's (Annette Bening) refusal to read the script's final line during a first read-through is an old superstition, but I don't know how much it is still followed.

Casting news

Competition for local men this spring has been intense, with PICT casting "Henry IV"; Playhouse Rep, "The Visit"; and the Public, "The Tempest" -- all big plays running at the same time. The Public has been the first to announce its cast. Joining soon-to-be-installed Theater Hall of Fame member Brian Murray (Prospero) will be Pittsburgh's Lara Hillier (Miranda), a senior at Upper St. Clair. Familiar faces from the Ted Pappas Classical Ensemble include John Ahlin (Stephano), Ross Bickell (Antonio), Douglas Harmsen (Trinculo) and Edward James Hyland (Gonzalo); Pittsburghers include Darren Eliker (Boatswain) and Daniel Krell (Adrian).

The Bottom Line

Paid admissions at city's pro theaters, week ending Nov. 28:

Record/Benedum (58%) ... 13,068

Anna/Public (62%) ....... 2,624

Plaid/LO (83%) .......... 1,468

Moonlight/City (56%) ...... 368

WorkSong/City (60%) ....... 825

Week ending Nov. 21: Teibele/JewishTh. (54%) ....... 337

The Final Word

"Stories should be finished." -- "Anna in the Tropics," in its last week at the Public.