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He was elevated to Chief Theater Critic three years later. [1] Brantley is the editor of The New York Times Book of Broadway: On the Aisle for the Unforgettable Plays of the Last Century, a compilation of 125 reviews published by St. Martin's Press in 2001. He received the George Jean Nathan Award for Dramatic Criticism for 1996-1997. [1]
Green began at The New York Times as co-chief theater critic following the firing of the newspaper's second-string theatre critic, Charles Isherwood, in February 2017. [6] [7] At the time of his selections as co-chief critic, Green was noted to disagreed on his colleague Ben Brantley in multiple reviews, including of a revival of The Glass Menagerie. [8]
The New York Drama Critics' Circle meets twice a year. At the end of each theater season, it votes on the annual New York Drama Critics' Circle Awards, the second oldest playwriting award in the United States (after the Pulitzer Prize). The main award is for Best Play.
Genzlinger began working for The New York Times as a television critic in 2000. Prior to that, he was an editor for the publication. His reviews tend to shift more toward theater and television related to disabilities, such as plays called Syndrome, Autism: The Musical and Push Girls." [6] [7]
Wesley Morris (born 1975) [2] is an American film critic and podcast host. He is currently critic-at-large for The New York Times, [3] as well as co-host, with J Wortham, of the New York Times podcast Still Processing. Previously, Morris wrote for The Boston Globe, then Grantland. [4]
In 1993, he joined the staff of Variety, where he was promoted to the position of chief theatre critic in 1998. [2] In 2004, Isherwood was hired by The New York Times. He was fired by the paper in 2017, reportedly following public disputes with colleagues and correspondence with theatre producers that "violated ethical rules."
Rich served as chief theater critic of The New York Times from 1980 to 1993, earning the nickname "Butcher of Broadway" for the perceived power of his negative reviews to close Broadway shows. [11] He first won attention from theater-goers with an essay for The Harvard Crimson about the Broadway musical Follies (1971), by Stephen Sondheim ...
The Drama Desk was the first New York theater organization to give awards to talents such as Edward Albee, Wendy Wasserstein, and George C. Scott. Plays like Driving Miss Daisy , Other People's Money , Steel Magnolias , and The Boys in the Band built momentum with the help of Drama Desk wins.