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168 stories by "Hilton Als"

Hilton Als: The timely resurgence of Ed Bullins. by Hilton Als

Long ago, in the late nineteen-seventies, when I treated Manhattan like one big discothèque, or the glittery gritty mirrored universe in “A Chorus Line,” I also went to part…

SOURCE: The New Yorker Subscription at 12:00am on April 11, 2014

Hilton Als: “A Raisin in the Sun” returns to Broadway. by Hilton Als

Lorraine Hansberry’s “A Raisin in the Sun” may or may not be a great play, but it’s a profoundly fair one. When it was first produced, in 1959, Amiri Baraka’s r…

SOURCE: The New Yorker Subscription at 12:00am on April 7, 2014

Hilton Als: “The Library,” directed by Steven Soderbergh, at the Public. by Hilton Als

In a world rife with shifting realities and the vagaries of “truthiness,” some real things still happen, such as this: the playwright and screenwriter Scott Z. Burns, round-chest…

SOURCE: The New Yorker Subscription at 12:00am on March 27, 2014

Hilton Als: Alex Timbers takes on “Rocky.” by Hilton Als

The new musical “Rocky” (at the Winter Garden) is an immense spectacle. But it’s a spectacle of waste. Based on the 1976 movie, which starred Sylvester Stallone as the epon…

SOURCE: The New Yorker Subscription at 12:00am on March 24, 2014

Hilton Als: “No Exit” and “All the Way” reviews. by Hilton Als

Jean-Paul Sartre’s “No Exit” is a play with a fantastic theme, but, as directed by Linda Ames Key (at the Pearl), it’s not so fantastic to watch. First produced in Pa…

SOURCE: The New Yorker Subscription at 12:00am on March 10, 2014

Hilton Als: A new production of “A Doll’s House.” by Hilton Als

Money is the more binding of the corsets that the female characters have to deal with in Henrik Ibsen’s 1879 play, “A Doll’s House” (currently in revival at BAM’…

SOURCE: The New Yorker Subscription at 12:00am on March 3, 2014

Hilton Als: “Intimacy” and “Outside Mullingar” reviews. by Hilton Als

A playwright’s voice isn’t everything. Certainly not when it comes to our superficial enjoyment of a show. Watching a straight drama or comedy, we listen less for literary invent…

SOURCE: The New Yorker Subscription at 12:00am on February 3, 2014

Hilton Als: David Henry Hwang’s “Kung Fu,” at Pershing Square Signature Center. by Hilton Als

Nancy Kwan was the first. The first movie star my brother and I fell in love with. We met her late at night in the black-and-white universe of our television set. We saw her, initially, in h…

SOURCE: The New Yorker Subscription at 12:00am on January 31, 2014

Hilton Als: Violence and desire in “Machinal” and “Tyson vs. Ali.” by Hilton Als

8220;Machinal” (a Roundabout Theatre Company production, at the American Airlines) is hard to get a handle on and often hard to handle, because it’s a flop and a hit. The hit par…

SOURCE: The New Yorker Subscription at 12:00am on January 20, 2014

Hilton Als: Celebrating the life and work of Adrienne Kennedy. by Hilton Als

In 1987, while working as an assistant in the Village Voice’s art department, I came across a strikingly laid-out book. It had photographs of unknown black people mixed in with photogr…

SOURCE: The New Yorker Subscription at 12:00am on January 17, 2014

Hilton Als: The ninth anniversary of the COIL festival. by Hilton Als

When you run a not-for-profit space devoted to the performing arts, personal attractiveness helps. But it’s a tricky thing to handle. You want to be a star in order to attract other st…

SOURCE: The New Yorker Subscription at 12:00am on December 19, 2013

Hilton Als: Conor McPherson’s “The Night Alive” review. by Hilton Als

Conor McPherson’s “The Night Alive” (an Atlantic Theatre Company production at the Linda Gross, directed by the playwright) is about poverty, economic and otherwise. ItR…

SOURCE: The New Yorker Subscription at 12:00am on December 16, 2013

Hilton Als: A new take on Burt Bacharach. by Hilton Als

My first brush with existentialism came not through my college-era reading list—Kierkegaard, Kafka—but when I first heard Burt Bacharach. This was in the old country of childhood…

SOURCE: The New Yorker Subscription at 12:00am on December 9, 2013

Hilton Als: Samuel Beckett’s metaphysical slapstick. by Hilton Als

The most significant incarnation of Samuel Beckett’s 1953 play “Waiting for Godot” I’ve ever seen was staged outdoors, in New Orleans’s Lower Ninth Ward. The ye…

SOURCE: The New Yorker Subscription at 12:00am on December 2, 2013

Hilton Als: Three Generation X actors take to the stage. by Hilton Als

As long ago as the nineteen-nineties, a group of young performers—Sarah Jessica Parker, Billy Crudup, and Ethan Hawke among them—entertained audiences with a new style of acting.…

SOURCE: The New Yorker Subscription at 12:00am on November 29, 2013

Hilton Als: The joys and mysteries of Tim Carroll’s “Twelfth Night.” by Hilton Als

From Zadie Smith’s 2013 essay “Joy”: “If you asked me if I wanted more joyful experiences in my life, I wouldn’t be at all sure I did, exactly because it proves…

SOURCE: The New Yorker Subscription at 12:00am on November 18, 2013

Hilton Als: Harold Pinter’s “Betrayal” review. by Hilton Als

Harold Pinter’s artistic vision focussed less on love than on the con. Born in 1930, Pinter grew up Jewish in modest circumstances in London’s East End, the beloved only child of…

SOURCE: The New Yorker Subscription at 12:00am on November 4, 2013

On the Boardwalk by Hilton Als

Period detail and a magnetic turn by Jeffrey Wright elevate the current season of “Boardwalk Empire.”

SOURCE: The New Yorker Subscription at 6:17pm on October 22, 2013

Hilton Als: David Adjmi’s “Marie Antoinette” review. by Hilton Als

Marie Antoinette continues to interest us because punishment does. Born in Vienna in 1755 and executed in Paris thirty-seven years later, she has never had what one might call a dramatically…

SOURCE: The New Yorker Subscription at 12:00am on October 21, 2013

Hilton Als: A revival of Harold Pinter’s “Betrayal,” at the Barrymore. by Hilton Als

In a series of interviews conducted with the British-born playwright Harold Pinter in 1971, Mel Gussow said that he was struck by the emotion and lyricism in some of the author’s post-…

SOURCE: The New Yorker Subscription at 12:00am on October 18, 2013

Hilton Als: The seriousness of the Public Theatre’s new “Fun Home.” by Hilton Als

The notion that theatre is universal is specious, given the world of difference that can separate the productions in New York’s uptown and downtown theatres. In the nineteen-fifties, O…

SOURCE: The New Yorker Subscription at 12:00am on October 11, 2013

Hilton Als: “The Glass Menagerie” review. by Hilton Als

Writers, for the most part, find themselves not in writing but in revision. The “I” of personal narrative—the egotism it takes to display one’s point of view in a nov…

SOURCE: The New Yorker Subscription at 12:00am on September 30, 2013

Hilton Als: “Romeo and Juliet” review. by Hilton Als

What happens when you pimp out the pop in a pop masterpiece? Does it cheapen the original work by association? An unfortunate aspect of the thirty or so modern-day screen adaptations of R…

SOURCE: The New Yorker Subscription at 12:00am on September 23, 2013

Hilton Als: Love Sprung by Hilton Als

When you think about the talented children of famous parents, you don’t necessarily think about their gifts so much as their genes. Could the famous offspring’s renown be based o…

SOURCE: The New Yorker Subscription at 12:00am on September 9, 2013

Hilton Als: Lois Smith in Horton Foote’s “The Old Friends,” at the Signature Center. by Hilton Als

You know Lois Smith. You’ve seen her a million times. Onstage, in the movies, on TV. You might be thinking of Mary Louise Wilson or Elizabeth Wilson—two equally great actresses, …

SOURCE: The New Yorker Subscription at 12:00am on August 26, 2013
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