Email Author Michael Feingold
It was a balmy night in Central Park, and it must have put me in a ruminative mood. As I wandered back toward the West Side after three-plus... More >>
It actually took less than a century for playwriting to get out from under the thumb of Eugène Scribe, the guy who, in the... More >>
Patriot and traitor, liberator and exploiter, hero and failure—you could hardly find a more dramatic central figure for a play than Roger... More >>
Playwrights these days tend not to finish the stories they tell us. I don't mean those who flat-out refuse to do so, on the basis of some... More >>
The Viennese author Stefan Zweig (1881–1942) belonged to a paradoxical class of writers peculiar to continental Europe between the two... More >>
People in the far north call it "icebreak": the moment just before springtime when frozen rivers start to flow again. The theater knows its... More >>
I'd meant to devote most of this column to the superb revival of Caryl Churchill's Top Girls, which looks better than ever, as acted by... More >>
I know the theater's a magical place, and when I'm there I sit in readiness, eager for its magic to sweep me away. But sometimes, the spell... More >>
It isn't fair, of course. If history really is the nightmare from which we're trying to escape, we ought to be able to rewrite it in the... More >>
Those who sneered at A Catered Affair, the Broadway musical that opened just prior to last week's new arrival, Cry-Baby, must be... More >>
We live, if you haven't noticed, in an increasingly confused and confusing world. The difficulty of understanding others is only equaled, these... More >>
All plays, even the most abstract, are autobiographical. Pre-plan the structure however tightly, make the approach as abstract as you can,... More >>
South Pacific, Gypsy, and Juno: While the last was on view, briefly, you could sample three rich dollops of what might be... More >>
I've just spent three evenings watching the work of young playwrights—well, relatively young, since they all turn out to be over 30,... More >>
First criterion for a political play: usefulness. When people complain about the theater not being "political" enough, they usually mean that... More >>
In the theater, as in real estate, location is everything. I don't mean the location of the performance, but of the events that take place... More >>
What a relief it is to see Cat on a Hot Tin Roof. You're likely to hear plenty of complaints about the new production of Tennessee... More >>
I went to three musicals this week and I enjoyed them all. But please, don't summon the men in the white coats just yet; my reasons are easy to... More >>
I wish I could fathom the obsession some American theater types have with all things British. Granted, our culture, theater included, came from... More >>
I suppose I'm too demanding. All through Next to Normal, the new musical at Second Stage, I kept wondering what it would be like if it... More >>
Melancholy was his stock in trade. All his songs deal with misery, pain, and violence, usually visited on him. His primary activity in performance... More >>
God may or may not be in the details, but most people seem to think reality is. The multitude of technological devices humans have invented to... More >>
How much factual information should a historical play contain? Like most big questions, this one leads to further questions rather than simple... More >>
The big, explosive laughter that starts early in David Mamet's November is of a kind I haven't heard in decades: It's the laughter of... More >>
The full-evening length and entire seriousness of David Ives's Spinoza play, The New Jerusalem, may surprise people who think of Ives as... More >>
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