All stories by Michael Schulman on BroadwayStars

Monday, August 21, 2017

James Cromwell’s Civil Disobedience by Michael Schulman

He’s known for his salt-of-the-earth performance in “Babe,” but this summer he’s been in the news for his rabble-rousing.

SOURCE: The New Yorker Subscription at 05:00AM
Friday, August 18, 2017

Fall Theatre Preview by Michael Schulman

On Broadway, there’s the gem-size “The Band’s Visit” and the star-studded “Meteor Shower.” Off Broadway, old is new with “Measure for Measure.”

SOURCE: The New Yorker Subscription at 05:00AM
Friday, July 28, 2017

Encounters: Julie Klausner, Meet John Waters by Michael Schulman

The cultural, sexual and demographic melting pot of Provincetown finally unites the comedian and the director.

SOURCE: The New York Times Subscription at 02:26PM
Tuesday, July 25, 2017

Touring Jim Henson’s Restless Creative Spirit, at the Museum of the Moving Image by Michael Schulman

Michael Schulman on the new permanent Jim Henson exhibition at the Museum of the Moving Image, in Astoria, Queens.

SOURCE: The New Yorker Subscription at 03:57PM
Friday, June 30, 2017

“Assassins”: Vaudeville of Political Bloodlust by Michael Schulman

Stephen Sondheim and John Weidman’s musical draws out what’s scary and silly about America’s armed malcontents.

SOURCE: The New Yorker Subscription at 05:00AM
Monday, June 19, 2017

An Activist for New York’s Mom-and-Pop Shops by Michael Schulman

For the past ten years, a pseudonymous blogger has been writing Vanishing New York, chronicling the demises of beloved spots. Now he’s ready to unmask himself.

SOURCE: The New Yorker Subscription at 12:00AM
Tuesday, June 13, 2017

The 2017 Tony Awards: Lost in Spacey by Michael Schulman

Who says that theatre can’t cause a ruckus? On Sunday, as CBS was teasing “Broadway’s biggest night,” controversy was engulfing the Public Theatre’s production of “Julius Caesar,…

SOURCE: The New Yorker Subscription at 09:37PM
Sunday, June 11, 2017

Brigitte Lacombe’s Behind-the-Scenes Photos of Iconic Theatre Performances - The New Yorker by Michael Schulman

Over the years, Lacombe has captured such iconic performers as Alec Baldwin, Meryl Streep, Denzel Washington, and Madonna (during the singer’s volatile marriage to Sean Penn).

SOURCE: The New Yorker Subscription at 08:58AM
Saturday, June 10, 2017

Brigitte Lacombe’s Behind-the-Scenes Photos of Iconic Theatre Performances by Michael Schulman

Actors are, by definition, an exhibitionist bunch. But they can also be deeply protective of a process that requires them to dive inside themselves before resurfacing with pearls of performa…

SOURCE: The New Yorker Subscription at 08:00AM
Friday, May 19, 2017

Night Out: Amber Tamblyn Rallies Her Troops to the Red Carpet by Michael Schulman

The actress, poet and new director celebrates her film “Paint It Black” with family and a sisterhood of famous friends.

SOURCE: The New York Times Subscription at 12:27PM

Elizabeth Marvel’s Authority Figures by Michael Schulman

“I’ve never been a girl-woman,” Elizabeth Marvel said recently. “I’ve always been a Woman with a capital ‘W.’ ” With her deep timbre and penetrating eyes, the forty-seven-ye…

SOURCE: The New Yorker Subscription at 05:00AM
Monday, May 15, 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.…

SOURCE: The New Yorker Subscription at 05:00AM
Friday, 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-Augu…

SOURCE: The New Yorker Subscription at 05:00AM
Friday, May 5, 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 06:21PM
Tuesday, May 2, 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 …

SOURCE: The New Yorker Subscription at 04:16PM
Tuesday, April 25, 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 m…

SOURCE: The New Yorker Subscription at 04:00PM
Friday, April 21, 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. …

SOURCE: The New Yorker Subscription at 12:00AM
Tuesday, April 18, 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 06:00PM
Monday, April 10, 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. “…

SOURCE: The New Yorker Subscription at 12:00AM
Thursday, April 6, 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 stree…

SOURCE: The New Yorker Subscription at 07:40PM
Wednesday, April 5, 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 yo…

SOURCE: The New Yorker Subscription at 07:03PM
Friday, March 24, 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
Monday, March 20, 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 a…

SOURCE: The New Yorker Subscription at 12:00AM
Thursday, March 2, 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…

SOURCE: The New Yorker Subscription at 11:00PM
Monday, February 27, 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 Acade…

SOURCE: The New Yorker Subscription at 05:25PM
Thursday, February 23, 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 …

SOURCE: The New Yorker Subscription at 06:00PM
Sunday, February 19, 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

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
Tuesday, February 14, 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 suff…

SOURCE: The New Yorker Subscription at 12:00AM
Wednesday, February 8, 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?” Mos…

SOURCE: The New Yorker Subscription at 06:00PM
Tuesday, February 7, 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…

SOURCE: The New Yorker Subscription at 08:00AM

All that Chat

2024-2025 BROADWAY SEASON
Jun 05, 2024: Home - Todd Haimes Theatre
Jul 11, 2024: Oh, Mary! - Lyceum Theatre
Jul 30, 2024: Job - Hayes Theater
Sep 12, 2024: The Roommate - Booth Theatre
Nov 14, 2024: Tammy Faye - Palace Theatre
Nov 17, 2024: Elf - Marquis Theatre
Dec 12, 2024: Cult of Love - Hayes Theater
Dec 19, 2024: Gypsy - Majestic Theatre
Mar 17, 2025: Purpose - Hayes Theater
Apr 10, 2025: Smash - Imperial Theatre