1,908 stories from The New Yorker
A voice for working-class women and an icon for all kinds of women, Parton has maintained her star power throughout life phases and political cycles.
The poet and the playwright discuss art, race, and expression with the New Yorker contributing writer Lauren Michele Jackson. At its scheduled time, click here to join the event.
The seventy-nine-year-old choreographer discusses her dogged work ethic, not falling in love with Baryshnikov, and what's lost and gained by making art as you age.
Roberto Rossellini's 1950 film exemplifies the fruitful creative tensions that can arise out of casting ordinary people alongside movie stars.
In the Kaufman Music Center's series, through the end of April, vacant retail spaces on the Upper West Side become stages for local musicians.
A new biography enables us to see beneath the intellectual dazzle of the playwright's work.
The company streams its version of the ballet, with shimmering, polychromatic music by Stravinsky and fantastical sets and costumes by Geoffrey Holder.
"If I had to write the impeachment part all over again, I'd really dumb it down," James Madison said.
An intuitive storyteller, the director perfected narratives"including his own.
Few actors rise so effortlessly above poor material, but the implausibilities of John Lee Hancock's film are a challenge for Washington and his co-stars.
Music is sometimes presented as a kind of impartial panacea. That's a lot to ask of art, but it's still a nice fantasy to indulge.
"One impeachment was a good start, but it didn't get it done," the esteemed virologist said.
Viola Davis plays the blues singer, whose wounds live right next to her cynicism.
A mirror for our times Nelson's play starring MARYANN PLUNKETT is the first great original play of quarantine and HEIDI ARMBRUSTER brings us a bawdy "Arsinoe" in Moliere in the Park's THE MI…
Michael Schulman reviews the telecast of the Tony Awards, hosted by James Corden, in which Rachel Chavkin, Elaine May, and others gave winning speeches.
The playwright Sam Shepard's matter-of-fact observations about where his characters stand in the world tell us so much about the world they inhabit, Hilton Als writes.
Heidi Schreck, the creator of the Broadway hit "What the Constitution Means to Me," on what the document does and does not say about our rights and about potential abuses of power.
A new interactive play can be performed in the bathroom of your apartment, provided you have a tub, Patricia Marx writes.
Hilton Als reviews the new musicals "Beetlejuice" and "Tootsie," which feature performers who help you see the narrative behind all the flash.
Hilton Als reviews a newsroom drama about Rupert Murdoch and Taylor Mac's spin on Shakespeare's first tragedy.
Michael Schulman reviews Joe Mantello's Broadway production of Lucas Hnath's play "Hillary and Clinton," about the life of the former Presidential candidate Hillary Clinton and the 2008 Pres…
Michael Schulman writes on "Oklahoma!" and "What the Constitution Means to Me," two current theatre productions that have unsettling stories to tell about statehood.
The playwright, a master at capturing duelling perspectives, takes on a notoriously complicated marriage with his new Broadway play, "Hillary and Clinton," D. T. Max writes.Â
Working with his old professor Martha Nussbaum, the writer, filmmaker, and "O Brother, Where Art Thou?" star really did his homework, Mark Singer writes.
In a new staging, the director uses Shakespeare's words as a launching pad from which to explore his own theatrical concerns, Hilton Als writes.
