Email Author Michael Feingold
The decades before World War I, when the Industrial Revolution was just rolling into the century of unremitting technological change that... More >>
I hate 10-best lists, and this column won't include one. Trying to list everything that was great in the New York theater over the past decade,... More >>
Sometimes I think theater lovers would be luckier if only we could forget the past and live, as apparently everyone else in America can,... More >>
In the theater, where your first impression is often the only one you get, matter takes second place to manner. Academics' dismay... More >>
In some ways, the musical theater's history resembles the history of other forms of theater in reverse. At the start of the 20th century, the... More >>
These days in New York, you can get a great deal of play for your money. Both uptown, where the memory of August: Osage County lingers,... More >>
Drawn from E.L. Doctorow's popular novel, the 1998 musical Ragtime, now getting its first New York revival (Neil Simon Theatre), deals... More >>
I've paid so many pleasurable visits to Richard Foreman's world that the number of people I know who've never been there always surprises me.... More >>
Mingled with the many raves for the new production of Finian's Rainbow (St. James Theatre) has come a curious counterpoint, on blogs and... More >>
Honesty, dignity, and Neil Simon. No, I know what you mean: I didn't expect to be writing those three terms in sequence any more than you... More >>
The new musical Memphis (Shubert Theatre) supplies an object lesson in something every practitioner of musical theater should... More >>
The funny part, 233 years later, is that we still don't know who we are. We have a history; we have a cultural tradition, both low and high;... More >>
" 'Twixt optimist and pessimist/The difference is quite droll./The optimist sees the doughnut;/The pessimist sees the hole." I suppose, by the... More >>
None of it matters much, of course. What the public wants is to see stars; the material chosen to show them off is of secondary importance. If... More >>
Conceptually, the phenomenon seems gigantic; as experienced, it turns out to be pleasant and startlingly, almost joyously, slight. Ensemble... More >>
Mired in the gloom of our own time, we tend to forget the extent to which every time is the worst of times. We think of the great playwrights... More >>
My recent comments on criticism's tenuous position in our increasingly Web-woven world ("Theater Criticism Reconfigured," Voice, August... More >>
It's really all Winckelmann's fault. Here we sit, nearly a quarter-millennium after the 18th-century German scholar's death, and we still... More >>
A Lifetime Burning is far too grandiose a title for the 90 intermissionless minutes of Cusi Cram's new play, the opening production in... More >>
By the end of this paragraph, the producers of Burn the Floor will be sore at the Broadway League and the American Theatre Wing. When... More >>
A concert-style pocket musical that means to spoof both boybands and Christian hypocrisy, but simultaneously seems to display its faith in both.... More >>
Carlo Goldoni (1707–1793) was coming to the end of his reign as Venice's leading playwright when, in 1762, he wrote a set of three... More >>
Konrad, the protagonist of Thomas Bernhard's 1970 novel Das Kalkwerk (The Lime Works), is struggling to write the definitive... More >>
Time is a river. Events past and present glide down it, vanishing into the future we can't predict and surfacing unexpectedly out of memory.... More >>
The Dutch arrived here 400 years ago, and the last weekend in June, York Theatre Company commemorated the quadricentennial by presenting, in... More >>
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