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1,908 stories from The New Yorker

"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

Drake's Musical Wanderlust on "More Life" by Carrie Battan

Heavy lies the crown of commercial success. Sometime before the release of his 2016 album, "Views," Drake, the outsider rapper turned pop virtuoso, grew too dominant for his own good. On his…

SOURCE: The New Yorker Subscription at 6:30pm on March 21, 2017

The Meanings of Ivanka and Justin Side by Side on Broadway by Adam Gopnik

There 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 Aw…

SOURCE: The New Yorker Subscription at 11:08am on March 21, 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 at …

SOURCE: The New Yorker Subscription at 12:00am on March 20, 2017

A Diva Smackdown in "War Paint"

Fresh off Ryan Murphy's "Feud" comes another diva smackdown: a new musical about the rivalry between Helena Rubinstein and Elizabeth Arden, who ran competing cosmetics empires. Though they n…

SOURCE: The New Yorker Subscription at 12:00am on March 17, 2017

The Heaviness of Memory in Arthur Miller's "The Price" by Hilton Als

Arthur Miller's "The Price" (in revival at the American Airlines, under the direction of Terry Kinney) premièred on Broadway in 1968, four years after Miller's other mid-career plays "After…

SOURCE: The New Yorker Subscription at 5:00pm on March 16, 2017

The Fate of the Critic in the Clickbait Age by Alex Ross

The critic's profession may be destined to fade away, but others will have to take up this simple, irritating, somehow necessary job.

SOURCE: The New Yorker Subscription at 5:55pm on March 13, 2017

Classic Musicals, Updated by Shannon Reed

"Peoples and Other Peoples"

SOURCE: The New Yorker Subscription at 12:00am on March 13, 2017

A Protest Musical for the Trump Era by Rebecca Mead

Five actors gathered in a room on Lafayette Street, in downtown Manhattan, to start rehearsing a new work for the Public Theatre, "Joan of Arc: Into the Fire." Written by David Byrne, former…

SOURCE: The New Yorker Subscription at 12:00am on March 13, 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 morda…

SOURCE: The New Yorker Subscription at 11:00pm on March 2, 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 Academy Awards,…

SOURCE: The New Yorker Subscription at 5:25pm on February 27, 2017

Crazy They Call Me by Zadie Smith

Well, you certainly don't go out anyplace less than dressed, not these days. Can't let anybody mistake you for that broken, misused little girl: Eleanora Fagan. No. Let there be no confusion…

SOURCE: The New Yorker Subscription at 11:00pm on February 26, 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 he won the…

SOURCE: The New Yorker Subscription at 6:00pm on February 23, 2017

Mica Levi's Anti-Musical Soundtracks by Ned Beauman

The musician Mica Levi has observed that in the world of film music, there are two schools of thought. "Some people see it as about doing something new and different, something very 'felt,'�…

SOURCE: The New Yorker Subscription at 4:32pm on February 23, 2017

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 on 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 on February 19, 2017
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