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1,898 stories from The New Yorker

Listen to Mark Mulcahy by Sarah Larson

Mark Mulcahy is the kind of musician that people proselytize about; several years ago, I started doing it myself. He's has had a long and varied career"with his band Miracle Legion, begin…

SOURCE: The New Yorker Subscription at 10:00am on May 17, 2017

The Feminist Consultants for "A Doll's House, Part 2" by Michael Schulman

"A woman cannot be herself in the society of the present day, which is an exclusively masculine society," Henrik Ibsen wrote in 1878, proving himself, in 2017 parlance, to be a woke bae. He …

SOURCE: The New Yorker Subscription at 5:00am on May 15, 2017

With Her Eerily Timely "Indecent," Paula Vogel Unsettles American Theatre Again by Daniel Pollack-pelzner

When the Yiddish writer Sholem Asch presented his play "God of Vengeance" at a Warsaw salon in 1906, his mentor, I. L. Peretz, told him to burn it. It's a shtetl tragedy: a Jewish brothel ow…

SOURCE: The New Yorker Subscription at 7:03am on May 12, 2017

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

Revisiting Florine Stettheimer's Place in Art History by Peter Schjeldahl

This is a good time to take Florine Stettheimer seriously. The occasion is a retrospective of the New York artist, poet, designer, and Jazz Age saloniste, at the Jewish Museum, titled "Flori…

SOURCE: The New Yorker Subscription at 5:00am on May 8, 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

Unfussy Southern-European Fare at Monroe by Becky Cooper

"Twenty years ago, Brooklyn was the Wild West. Now if you want grimy you come here," a bar-side patron explained. He was talking about Monroe, the latest offering in the area, south of Manha…

SOURCE: The New Yorker Subscription at 5:00am 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

Bette Midler Brings Her Best to "Hello, Dolly!" by Hilton Als

Bette Midler is such an incredible self-creation"an artist like no other"that finding roles that can harness her enormous energy while allowing room for her wit and her extraordinary skill a…

SOURCE: The New Yorker Subscription at 5:00am on April 24, 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

"Charlie and the Chocolate Factory" on Broadway

Golden tickets, Oompa Loompas, the great glass elevator: the world that Roald Dahl conjured in his 1964 children's novel, "Charlie and the Chocolate Factory," was as fanciful as it was menac…

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

The Disney-Movie Endings They Didn't Show You by Anna Fitzpatrick

"Beauty and the Beast"

SOURCE: The New Yorker Subscription at 11:30am on April 8, 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

Where the Beauty Queens Duelled  by Judith Thurman

"Let's start the tour at Frank Campbell," Lindy Woodhead suggested, from the back seat of a limo. Woodhead"blond, vivacious, and ample"is the author of "War Paint," a joint biography of the …

SOURCE: The New Yorker Subscription at 12:00am on April 3, 2017

Revisiting Sonny Rollins's Score for "Alfie," a Musical Masterwork That Transcended the Film by Richard Brody

The attention paid to movie scores"particularly in concert halls, where they're often played live to accompany screenings"doesn't, for the most part, serve movies any better than music. It's…

SOURCE: The New Yorker Subscription at 8:58am on April 1, 2017

Classical-Music Venues, Hiding in Plain Sight

Classical-music presenters are placing big bets on new venues, such as Williamsburg's dynamic National Sawdust. But some of the most evocative spaces may be hiding in plain sight"take the Ch…

SOURCE: The New Yorker Subscription at 12:00am on March 31, 2017

Ars Nova's Brilliant Career by Sarah Larson

On a Monday night this winter, at a gala in a Beaux-Arts former bank downtown, the young playwright Rachel Bonds, whose luminous "Sundown, Yellow Moon" is currently onstage uptown, made a sh…

SOURCE: The New Yorker Subscription at 5:37pm on March 28, 2017

Cover Story: Malika Favre's "Operating Theatre" by Françoise Mouly

"I was operated on when I was five or six . . . I vividly remember the counting down from ten"I don't think I made it much past eight," Malika Favre says, about her inspiration for the cover…

SOURCE: The New Yorker Subscription at 12:00am on March 27, 2017

Heaven's Tomboy: A Rock Musical About Joan of Arc by Joan Acocella

For centuries, Joan of Arc has been used for political purposes, and that makes sense. Born in 1412, in the middle of the Hundred Years' War, Joan saw her country overrun"fields scorched, ca…

SOURCE: The New Yorker Subscription at 9:02am on March 25, 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

A Delightful Dictionary for Canadian English by Jesse Sheidlower

A new musical opened on Broadway last week, "Come from Away," about Gander, a small town in Newfoundland that rallied to care for some seven thousand travellers stuck there after their plane…

SOURCE: The New Yorker Subscription at 10:00am on March 23, 2017
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