Alexandra Schwartz, The New Yorker

Alexandra Schwartz

The New Yorker

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Recent:
  • Unknown
Past:
  • The New Yorker

Past articles by Alexandra:

Heidi Julavits’s “Directions to Myself,” Reviewed

In “Directions to Myself,” Heidi Julavits worries about what the world will do to her son—and what he might do to the world. → Read More

Kate Berlant’s Broken Mirror

In her first solo special and a new stage show, the comic deconstructs the relationship between performance, ego, and audience. → Read More

How “Less Is Lost” Finds Its Footing

In the sequel to Andrew Sean Greer’s Pulitzer-winning novel, a fiction writer leaves the Bay Area for a trip across America, and learns how little he knows. → Read More

The Fraught Fantasies of “Into the Woods” and “Hamlet”

From Shakespeare to Sondheim, the world is not what it seems. → Read More

Sarah Silverman’s Childhood Pee Problem Takes Center Stage

“The Bedwetter” turns the comedian’s memoir into a goofy, sweet, and hopeful musical. → Read More

Mottled Morals and a Fight for Justice in “Golden Shield”

Anchuli Felicia King’s play reimagines a lawsuit in defense of Chinese dissidents. → Read More

Jamie Lloyd’s Minimalist Hip-Hop “Cyrano de Bergerac”

A new staging, starring James McAvoy, gives us rappers instead of rapiers. → Read More

A “Hamilton” for the Suffrage Movement

Shaina Taub’s new musical follows Alice Paul’s tireless quest to win American women the vote. → Read More

Alex Edelman Gets Political in “Just for Us”

In his solo show at the SoHo Playhouse, the comedian delves into a world of neo-Nazi wannabes, to explore his whiteness—and his Jewishness, Alexandra Schwartz writes. → Read More

Shifting Identities in Sanaz Toossi’s “English”

Alexandra Schwartz reviews a play about a TOEFL class in Iran, in which speaking a second language isn’t just a way to say the same things differently but a way to be different. → Read More

“The Music Man” Is a Nostalgia Machine

Alexandra Schwartz reviews the latest Broadway revival of Meredith Willson’s “The Music Man,” starring Hugh Jackman and Sutton Foster, and notes how this iteration evokes a spirit of sanitation rather than the critical portrait Willson once intended in his original text. → Read More

Two Musicals on the Perils of Aging

A buoyant revival of Sondheim’s “Company” and the refreshingly off-kilter “Kimberly Akimbo.” → Read More

President Killers and Princess Diana Find Musical Immortality

“Assassins” and “Diana: The Musical” turn tragic history into song. → Read More

Maggie Gyllenhaal and Girlfriends Channel Elena Ferrante

The stars of “The Lost Daughter”—Olivia Colman, Dakota Johnson, and Jessie Buckley—gab about spinach pie, wine, and “press-clothes bullshit.” → Read More

Work, Motherhood, and Capitalism Onstage

The musicals “Caroline, or Change” and “The Mother” take on personal and political revolutions. → Read More

An American Dream and an American Nightmare

“The Lehman Trilogy” and “Dana H.” explore stories of success and survival. → Read More

“Is This a Room” and “Chicken & Biscuits” Bring the Unexpected to Broadway

A thrilling dramatization of the interrogation of the whistle-blower Reality Winner and a crowd-pleasing family comedy both rise above their pre-Broadway origins. → Read More

Margaret Qualley Acts Her Age

The “Once Upon a Time . . . in Hollywood” ingénue and star of the Netflix series “Maid” visits Color Me Mine for some sophisticated conversation. → Read More

We’re Shaped By Our Sexual Desires. Can We Shape Them?

What we want may be more socially conditioned than we realize. → Read More

“Merry Wives” and “Endure: Run Woman Show” Transform Central Park

A Shakespeare adaptation and a marathon-inspired performance turn the city’s back yard into a stage. → Read More