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240 stories by "Michael Schulman"

Summer Theatre Preview by Michael Schulman

Among the signifiers of a New York summer"the Mister Softee jingle, air-conditioner droplets messing up your hair"is the sound of blank verse. Shakespeare has become a mostly May-to-August a…

SOURCE: The New Yorker Subscription at 5:00am on May 12, 2017

The Musical Eccentric Who Turned Tolstoy's Pierre Into Every Seeker by Michael Schulman

Imagine writing yourself the role of a lifetime, only to be replaced by a photogenic, puppy-eyed celebrity version of yourself. Such was the fate of Dave Malloy, the writer, composer, and or…

SOURCE: The New Yorker Subscription at 6:21pm on May 5, 2017

The 2017 Tony Nominations: War, Peace, and Bette Midler by Michael Schulman

It seems like a lifetime ago that "Hamilton" swept the 2016 Tony nominations and pointed us toward a bright, progressive future. This year's nominations, which were announced Tuesday morn…

SOURCE: The New Yorker Subscription at 4:16pm on May 2, 2017

Not Exactly Golden Tickets: "Charlie and the Chocolate Factory" and "Anastasia" on Broadway by Michael Schulman

What's sweeter than a rags-to-riches story? Cinderella, Little Orphan Annie, Eliza Doolittle"all made the journey from poverty to the palace, and all have been the subjects of Broadway music…

SOURCE: The New Yorker Subscription at 4:00pm on April 25, 2017

Immersive War Games Under the High Line by Michael Schulman

It's not easy to describe what Randy Weiner does for a living. Some people call him an "impresario," but he comes across more like a mild-mannered cardiologist than like P. T. Barnum. With h…

SOURCE: The New Yorker Subscription at 12:00am on April 21, 2017

The Tao of "Groundhog Day," Onstage by Michael Schulman

What did you do this morning? Perhaps you woke up at your regular time, made coffee in the same machine that you did yesterday, took the same commute to work that you do every day. In adult …

SOURCE: The New Yorker Subscription at 6:00pm on April 18, 2017

Allison Janney's Modern Art by Michael Schulman

Allison Janney spiralled, cranelike, up the ramp of the Guggenheim Museum. She stopped in front of a Kandinsky""Black Lines" (1913), a jumble of Technicolor splotches"and gasped. "My gosh, t…

SOURCE: The New Yorker Subscription at 12:00am on April 10, 2017

"Amélie" Arrives on Broadway by Michael Schulman

The heroine of "Amélie," the new musical at the Walter Kerr Theatre, is a dreamy Parisian café waitress who channels her childlike wonder into staging anonymous good deeds on the streets o…

SOURCE: The New Yorker Subscription at 7:40pm on April 6, 2017

"The Play That Goes Wrong" Is Quite Good by Michael Schulman

"Firstly, I would like to apologize to those of you involved in our little box-office mixup," a tuxedoed man with a posh accent tells us. "I do hope the six hundred and seventeen of you affe…

SOURCE: The New Yorker Subscription at 7:03pm on April 5, 2017

Sara Bareilles Picks Up a Shift in "Waitress" by Michael Schulman

The singer-songwriter Sara Bareilles has one of those silvery voices that can bring intimacy to a large stage. Born in Eureka, California, Bareilles played in bars in Los Angeles before brea…

SOURCE: The New Yorker Subscription at 12:00am on March 24, 2017

Stuck in Gander, Newfoundland by Michael Schulman

The town of Gander, Newfoundland, has six traffic lights and a population of less than thirteen thousand. Snowmobiling is popular, and people leave their car doors unlocked while they're at …

SOURCE: The New Yorker Subscription at 12:00am on March 20, 2017

Spring Theatre Preview by Michael Schulman

Since the film "Groundhog Day" came out, in 1993, it's been claimed by existentialists, Buddhists, political theorists, and comedy nerds alike. The story has become a modern parable: a morda…

SOURCE: The New Yorker Subscription at 11:00pm on March 2, 2017

Scenes from the Oscar-Night Implosion by Michael Schulman

Not long after "La La Land" was announced Best Picture at the eighty-ninth annual Academy Awards"after which "Moonlight" was announced Best Picture at the eighty-ninth annual Academy Awards,…

SOURCE: The New Yorker Subscription at 5:25pm on February 27, 2017

Oscar Spotlight: Best Director and Best Picture by Michael Schulman

"I'm the king of the world! Whooooo!" That line is not, in fact, from President Trump's Inaugural Address but from James Cameron's infamous speech at the 1998 Academy Awards, when he won the…

SOURCE: The New Yorker Subscription at 6:00pm on February 23, 2017

Shakeup at the Oscars by Michael Schulman

The Academy of Motion Picture Arts and Sciences occupies a squat nineteen-seventies building on Wilshire Boulevard, surrounded by car dealerships. On January 14th of last year, Cheryl Boone …

SOURCE: The New Yorker Subscription at 11:00pm on February 19, 2017

Inside Julie Andrews's Puppet Show by Michael Schulman

Lisa Henson and Emma Walton Hamilton met only recently, but they have something rare in common: each has a parent who likely held a deep, enchanted place in your childhood. Henson, who is fi…

SOURCE: The New Yorker Subscription at 11:00pm on February 19, 2017

Oscar Spotlight: The Screenplays by Michael Schulman

"We didn't need dialogue," Norma Desmond tells a young screenwriter in "Sunset Boulevard," recalling her silent-film-era glory days. "We had faces!" Screenwriters famously suffer all sorts o…

SOURCE: The New Yorker Subscription at 12:00am on February 14, 2017

Oscar Spotlight: The Actors by Michael Schulman

"Actors aren't animals! They're human beings!" the wise producer Leo Bloom once said, to which his partner, Max Bialystock, replied, "They are? Have you ever eaten with one?" Most of the Osc…

SOURCE: The New Yorker Subscription at 6:00pm on February 8, 2017

Oscar Spotlight: The Actresses by Michael Schulman

For a certain stripe of Oscar obsessive"c'est moi"it's all about actresses. A healthy variety of tough, sly, vulnerable, funny, chilling female performances signals that the state of the cin…

SOURCE: The New Yorker Subscription at 8:00am on February 7, 2017

Meryl Streep at the Golden Globes by Michael Schulman

What a strange and contradictory"and not unentertaining"thing the Golden Globes were to watch last night. On the one hand, "La La Land," a Hollywood movie musical about the magic of Hollywoo…

SOURCE: The New Yorker Subscription at 1:12pm on January 9, 2017

Unearthing Rare Second World War Musicals by Michael Schulman

A few years before writing "Guys and Dolls," which premièred in 1950, Frank Loesser put his sizable talents to work for Uncle Sam, when the U.S. Army hired him to collaborate on a series of…

SOURCE: The New Yorker Subscription at 11:00pm on December 29, 2016

Postscript: Carrie Fisher, 1956-2016 by Michael Schulman

"If my life wasn't funny it would just be true, and that is unacceptable," Carrie Fisher, who died yesterday, at the age of sixty, wrote in her memoir "Wishful Drinking," from 2008. Fisher's…

SOURCE: The New Yorker Subscription at 12:42pm on December 28, 2016

The Thorny Ethics of the Oscars by Michael Schulman

The Academy Awards officially need a rabbi. How else to navigate the thorny ethics that seem to sprout up each year around the question of separating the artist from the art? Of course, this…

SOURCE: The New Yorker Subscription at 7:00am on December 21, 2016

A Lost "Glass Menagerie," Rediscovered by Michael Schulman

Jane Klain, the indefatigable research manager at the Paley Center for Media, which houses a vast collection of old television and radio programs, goes on archival treasure hunts that someti…

SOURCE: The New Yorker Subscription at 8:04am on December 7, 2016

Cheryl Strayed's Advice Becomes Theatre by Michael Schulman

Early in 2010, Cheryl Strayed got an e-mail from an acquaintance, Steve Almond, who wrote an advice column"Dear Sugar"for the literary Web site The Rumpus. Strayed was living in Portland wit…

SOURCE: The New Yorker Subscription at 11:00pm on December 4, 2016
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