How the late composer’s preoccupation with outsiders has endeared him to a new generation
What’s the secret to making great pop music? A Max Martin–inspired musical has some answers.
The subversive intent of the playwright’s art and activism has long been underestimated.
The Broadway revival of the musical means less to reanimate the nation’s founding than to talk back to it.
And the play that lays bare Britain’s constructed myths
The late composer-lyricist took a calcified medium and made it engage with the human condition.
His work was strongest when it lingered in the pain of knowing that no ever after lasts long.
Dear Evan Hansen was lauded on Broadway, but the film adaptation only emphasizes its flaws.
Two new Netflix films, Ma Rainey’s Black Bottom and Giving Voice, honor the late playwright’s rejection of white commercial restrictions.
Disney+’s filmed version of Lin-Manuel Miranda’s hit musical feels dated, timeless, and vital all at once.
Theater, an industry full of optimists, is reckoning with a heartbreaking realization.
The intimate camerawork of its web broadcasts gives everyone the best seat in the house.
The qualities for which live theater is celebrated—audiences responding with laughter, tears, gasps, and coughs—accelerate its danger. But the Broadway shutdown could be good for plays.
A new revival shows that the musical is still bound by ethnic stereotypes, and that it would work best by returning to its origins.
The 27 works, moments, and objects that define the best—and worst—of the past decade
The Broadway adaptation’s writer and star—Aaron Sorkin and Ed Harris, respectively—talk about updating and paying homage to Harper Lee’s American classic today.
As the groundbreaking show concludes with a final theater run in London, audiences are left to grapple with its meaning.
The legendary producer Hal Prince prevailed through changing tastes and times, and helped pioneer the creation of the “concept musical.”
Heidi Schreck’s What the Constitution Means to Me appears to tout radical change, but it stops just short of being revolutionary.
Heidi Schreck’s Tony-nominated Broadway show is as “messy” and full of contradictions as the founding document itself.