The New York Times – Music:
The composer Cinco Paul discusses the clever references to classic musicals everywhere you look (and hear) in his new Broadway show.
Author: Alexis Soloski
-
How Scientifically Accurate Is ‘Project Hail Mary’? Experts Weigh In
The New York Times – Film:
Based on hard science fiction, a genre that prioritizes scientific accuracy, the blockbuster gets a lot right but misses a few things, experts say.
-
From ‘It Ends With Us’ to ‘Reminders of Him,’ How Colleen Hoover Captured Hollywood
The New York Times – Film:
The work of the novelist Colleen Hoover has become hot property in Hollywood. Here’s why studios clamor to adapt her books.
-
On ‘Best Medicine,’ Josh Charles Has a Heart
The New York Times – Film:
After years of playing smarmy characters, the actor is stepping up as the lead in a comedy about a grumpy but charming doctor.
-
After ‘Working Girl,’ Can Christopher Ashley Bring His Sunshine to New York?
The New York Times – Film:
Before returning to New York to lead Roundabout, Christopher Ashley is concluding his 18-year tenure at La Jolla Playhouse with the new musical “Working Girl.”
-
‘Now You See Me: Now You Don’t’ Has Tricks Up Its Sleeve
The New York Times – Film:
The magician heist thriller franchise is back for a third installment. We go beyond the illusion to find out why these movies endure.
-
What Is the Right Way to Say Godot?
The New York Times – Film:
The latest starry revival of Samuel Beckett’s play is on Broadway, and one thing is certain: Whatever you call its elusive character, he doesn’t come.
-
Diane Keaton’s Only Documentary Was About the Afterlife
The New York Times – Film:
Keaton, who died on Saturday, was an actor, director and producer on multiple films and series. Her sole documentary, “Heaven,” explored popular ideas of the afterlife.
-
‘Masquerade’ Review: ‘Phantom of the Opera’ Gets the Immersive Remix
The New York Times – Music:
Andrew Lloyd Webber’s “The Phantom of the Opera” returns to New York in an immersive spectacle, as silly as it is thrilling.