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1,908 stories from The New Yorker

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 8:58am on June 11, 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 8:00am on June 10, 2017

New Tony Award Categories - The New Yorker by Bizzy Coy

SOURCE: The New Yorker Subscription at 6:18am on June 10, 2017

New Tony Award Categories by Bizzy Coy

Best Direction by a Woman"Just Kidding, This Category Will Be Replaced by a Montage from "Annie II: Hip-Hop Don't Stop (Singing About 2morrow) Featuring D.J. Daddy Big Buckz"

SOURCE: The New Yorker Subscription at 11:30am on June 9, 2017

The Public Theatre at Fifty: "A Machine for Making Community" by Rebecca Mead

The stage of the Delacorte Theatre, in Central Park, was glistening on Monday evening with what remained of an earlier rainfall, while the sky overhead was heavy and gray. These were not the…

SOURCE: The New Yorker Subscription at 12:00pm on June 7, 2017

How Different"and Dangerous"Is Terrorism Today? by Robin Wright

On Sunday, just hours after three men launched an assault on London Bridge, British Prime Minister Theresa May stepped in front of 10 Downing Street and told the world, "We believe …

SOURCE: The New Yorker Subscription at 11:03am on June 5, 2017

Thousand-Pound Bronzes on the Upper West Side by Paige Williams

The sculptor Joy Brown creates enormous bronze humanoid figures, and, on a recent Monday night, nine of them arrived in the city on flatbed trucks, to be installed on the Upper West Side. Th…

SOURCE: The New Yorker Subscription at 5:00am on May 29, 2017

Weekly Culture Review: Tragedy at an Ariana Grande Concert, and More by Vinson Cunningham

Sign up for our newsletter to have the Culture Review delivered to your inbox each week.

SOURCE: The New Yorker Subscription at 3:53pm on May 26, 2017

A Soft and Vulnerable Moment at Ariana Grande's Manchester Concert, Destroyed by Terror by Amanda Petrusich

As we heard the news from Manchester, it was hard not to feel especially devastated by the age of Ariana Grande's fans: the youngest confirmed victim, Saffie Rose Roussos, was just eight yea…

SOURCE: The New Yorker Subscription at 12:25pm on May 23, 2017

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-year-old actress…

SOURCE: The New Yorker Subscription at 5:00am on May 19, 2017

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
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