Friday, March 16, 2012
In the first beat of Arthur Miller's "Death of a Salesman" (now in a luminous revival, directed by Mike Nichols, at the Ethel Barrymore), the salesman Willy Loman (Philip Seymour Hoffman) tr…
SOURCE: The New Yorker Subscription at 12:59PM[SHARE]Monday, March 12, 2012
According to Edward Albee, the title of his 1980 play “The Lady from Dubuque” (in revival at the Signature Theatre Company, under the skillful direction of David Esbjornson) owe…
SOURCE: The New Yorker Subscription at 12:00AM[SHARE]Noël Coward claimed that his life was “one long extravaganza”; as if to prove it, the New York Public Library for the Performing Arts’ “Star Quality: The World o…
SOURCE: The New Yorker Subscription at 12:00AM[SHARE]Saturday, March 3, 2012
For an essay in the magazine on the fiftieth anniversary of the first production of "Death of a Salesman," I visited Arthur Miller at his home in Roxbury, Connecticut, in 1999. With his wife…
SOURCE: The New Yorker Subscription at 03:49PM[SHARE]Monday, February 6, 2012
John Osborne’s rowdy, shocking anger—first broadcast in his play “Look Back in Anger,” which is now in revival at the Roundabout Theatre Company’s Laura Pels…
SOURCE: The New Yorker Subscription at 12:00AM[SHARE]Monday, January 30, 2012
In 2008, nine years after Margaret Edson won the Pulitzer Prize for her rookie play, “Wit,” she addressed the graduating class of Smith College, her alma mater. She spoke about h…
SOURCE: The New Yorker Subscription at 12:00AM[SHARE]Monday, January 23, 2012
The most underrated of Shakespeare’s many theatrical gifts—poetic, tragic, festive—is his tabloid mentality. Shakespeare knew the value of the sensational: ghosts, gore, an…
SOURCE: The New Yorker Subscription at 12:00AM[SHARE]Monday, December 5, 2011
As a stagestruck boy, Anton Chekhov defied school regulations to attend the local playhouse in Taganrog. (He and his friends disguised themselves with false beards and glasses to sit in the …
SOURCE: The New Yorker Subscription at 12:00AM[SHARE]All fans of the American musical who are sick of boulevard nihilism, movie retreads, choreographic cliché, dopey lyrics, and banal librettos, your ship has come in: “Shlemiel the …
SOURCE: The New Yorker Subscription at 12:00AM[SHARE]Monday, November 28, 2011
8220;Circumstances make man, not man circumstances,” Mark Twain once quipped. As proof of his claim, take the smart, well-intentioned collection of political operatives who intervene i…
SOURCE: The New Yorker Subscription at 12:00AM[SHARE]Monday, November 21, 2011
Alan Rickman is the go-to actor for supercilious. Over the years, in screen roles as various as the Sheriff of Nottingham in “Robin Hood: Prince of Thieves,” Colonel Brandon in …
SOURCE: The New Yorker Subscription at 12:00AM[SHARE]Monday, October 31, 2011
On September 21, 2009, three days after her twenty-fifth birthday, Nina Arianda, like most ambitious actresses just out of drama school, was making the rounds in New York, looking for work. …
SOURCE: The New Yorker Subscription at 12:00AM[SHARE]Monday, October 24, 2011
8220;Ravishing” is the best word for Stephen Karam’s new comedy “Sons of the Prophet” (elegantly directed by Peter DuBois, at the Roundabout’s Laura Pels). At o…
SOURCE: The New Yorker Subscription at 12:00AM[SHARE]Monday, October 17, 2011
Martin Luther King, Jr., may have had a dream, but it was not to be the subject of a Broadway show. Katori Hall’s “The Mountaintop” (directed by Kenny Leon, at the Bernard …
SOURCE: The New Yorker Subscription at 12:00AM[SHARE]Monday, October 10, 2011
For the nearly two decades between his first hit, “French Without Tears” (1936), and his 1954 play “Separate Tables,” Terence Rattigan was the West End’s most s…
SOURCE: The New Yorker Subscription at 12:00AM[SHARE]Loading more stories…
