Adam Gopnik on a new memoir that shows how the composer brought back the masses by returning the musical to an earlier form.
SOURCE: The New Yorker Subscription at 05:00AMThere was much talk recently about the evening that Justin Trudeau and Ivanka Trump spent side by side, sitting together at the Schoenfeld Theatre to watch the Canadian musical “Come from …
SOURCE: The New Yorker Subscription at 11:08AMWith the confrontation between Aaron Burr and Alexander Hamilton working its way toward its latest incarnation, what with Lin-Manuel Miranda (as Hamilton) and Leslie Odom, Jr. (as Burr), fac…
SOURCE: The New Yorker Subscription at 08:02PMOn a recent Saturday morning at the Pearl Studios, on Eighth Avenue, the most labyrinthine of all Broadway rehearsal halls, one of the most beautiful and endangered of all New York sounds su…
SOURCE: The New Yorker Subscription at 11:33PMThe Broadway musical, to the distress of those of us who think of it as America’s own fine form, the thing we made first and still, Andrew Lloyd Webber be damned, make best, isn’t really…
SOURCE: The New Yorker Subscription at 12:00AMOne of the strangest things to observe in recent weeks has been the hold on what used to be called the popular imagination of Robert Durst’s final monologue in Andrew Jarecki’s documenta…
SOURCE: The New Yorker Subscription at 05:05PM