The Return of Broadway

From The New Yorker’s archive: a selection of pieces about the art we’ve missed so much. View in browser | Update your preferences The Return of Broadway There have been only a few times in history when Broadway has “gone dark.” Even at the height of the 1918 flu pandemic, New York City’s theatre district remained open. Now, as theatres begin to welcome (vaccinated) audiences, we’re bringing you a selection of pieces about the art we’ve missed so much. In “All About the Hamiltons,” from 2015, Rebecca Mead profiles Lin-Manuel Miranda and talks with the playwright about “Hamilton” in the period before its opening. Vinson Cunningham explores the treatment of race in two radically different plays, Aaron Sorkin’s “To Kill a Mockingbird” and Jeremy O. Harris’s “Slave Play.” In “Fortress Mamet,” John Lahr profiles David Mamet, whose play “American Buffalo” is currently in revival. In “Alice Childress, the Last Woman Standing,” Hilton Als chronicles the fascinating career of the Black playwright. Finally, in “Performers on Lockdown Turn to Their Smartphones,” Alexandra Schwartz writes about the early days of the pandemic shutdown and the ways in which people coped with the resulting vacuum. “Nine days, which feel like nine weeks, have gone by, as of this writing, since Broadway went dark and New York’s theatres closed their doors,” she observes. “By the time you read this, it may well feel like nine years. The suddenness with which the city’s performance ecosystem has vanished defies comprehension—it’s as if the Great Barrier Reef had died overnight.” —David Remnick From The New Yorker’s Archive Onward and Upward with the Arts All About the Hamiltons A new musical brings the Founding Fathers back to life—with a lot of hip-hop. By Rebecca Mead | February 9, 2015 The Theatre Black and White in “Slave Play” and “To Kill a Mockingbird” Jeremy O. Harris’s new work and Aaron Sorkin’s adaptation of Harper Lee’s novel explore the politics and the power at the heart of America’s racial regime. By Vinson Cunningham | December 24 & 31, 2018 Profile Fortress Mamet Where did the playwright get his gift for the swagger of American speech? By John Lahr | November 17, 1997 Newsletters Sign Up for The New Yorker’s Movie Club Newsletter Reviews of the current cinema, plus recommendations for classics and underrated treasures available on streaming services, every Friday. The Theatre Alice Childress, the Last Woman Standing A new look at the pioneering playwright. By Hilton Als | October 10, 2011 The Theatre Performers on Lockdown Turn to Their Smartphones In a time of fear and strained feeling, creative people are doing what they can for us from their living rooms. By Alexandra Schwartz | April 6, 2020 You’re receiving this e-mail because you signed up for the New Yorker Classics newsletter. Was this e-mail forwarded to you? Sign up. Unsubscribe | Manage your e-mail preferences | Send newsletter feedback | View our Privacy Policy Copyright © Condé Nast 2021. One World Trade Center, New York, NY 10007. All rights reserved.