Michael Feingold

Michael Feingold joined TheaterMania as a bi-monthly contributor in 2013. His review column had been a regular feature in The Village Voice for over three decades. Michael is a graduate of Columbia University and the Yale School of Drama. A winner of the George Jean Nathan Award for Dramatic Criticism and twice a finalist for the Pulitzer Prize in Criticism, he has also had a notable career in the theater as a playwright, translator, and dramaturg. He is particularly noted as translator of the Brecht-Weill works Happy End, Threepenny Opera, and Rise and Fall of the City of Mahagonny. The first two were seen on Broadway, Happy End in a production starring Meryl Streep and Christopher Lloyd and Threepenny in a mounting by John Dexter, starring Sting and Maureen McGovern. Feingold's translation of Mahagonny can be heard on DVDs of productions by the Madrid Opera and LA Opera. The latter, which stars Audra McDonald and Patti LuPone in a production that was directed by John Doyle, won Classical Grammy Awards for both Best Classical Recording and Best Opera Recording — the first time either award has been given to a work sung in translation. Michael's column with TheaterMania, "Thinking About Theater," appears on two consecutive Fridays each month.

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Michael Feingold

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Latest Articles by Michael Feingold

Today, Would Aristophanes Tweet? (Part II)

Today, Would Aristophanes Tweet?

A Playwright's Political Madhouse (Part II)

A Playwright's Political Madhouse

Vacancies for Visionaries (Part II)

Vacancies for Visionaries

Notes on O'Neill's Ghosts (Part II)

Notes on O'Neill's Ghosts

The Crucible's Historical Melting Pot (Part II)

The Crucible's Historical Melting Pot

Our Shrinking Repertoire (Part II)

Our Shrinking Repertoire

Concerning Black Theater Matters (Part II)

Concerning Black Theater Matters

A Carol Faintly Heard (Part II)

A Carol Faintly Heard

Ibsen the Inevitable (Part II)

Ibsen the Inevitable

Giving Will the Shakes (Part II)

Giving Will the Shakes

Of Censors and Correctors (Part II)

Of Censors and Correctors

Hirschfeld, Kahn, Coleman: Theater Lives Worth Contemplating (Part II)

Hirschfeld, Kahn, Coleman: Theater Lives Worth Contemplating

Does the Audience Need an Outlet? (Part II)

Does the Audience Need an Outlet?

Judith Malina and the Award-Season Rush (Part II)

Judith Malina and the Award-Season Rush

Should Kristin Chenoweth Play Paul Robeson? (Part II)

Should Kristin Chenoweth Play Paul Robeson?

An Outspoken Critic Provokes Visions of Stages Past and Present (Part II)

An Outspoken Critic Provokes Visions of Stages Past and Present

Bad News and (Maybe) Better Plays (Part II)

Staying Power and the Power to Leave (Part II)

Staying Power and the Power to Leave

Talking of Turkeys (Part II)

Talking of Turkeys

Bert Williams: America's First Black Star (Part II)

Bert Williams: America's First Black Star

America's Greatest Woman Playwright (Maybe) (Part II)

America's Greatest Woman Playwright (Maybe)

Lear, There, and Everywhere (Part II)

Lear, There and Everywhere: Notes on a Tormenting Play

Me, the World, and The Killer

Gilbert & Sullivan & … Frankenstein?

Credits, or Credibility? (Part II)

Credits, or Credibility?

Connecting with Brecht (Part II)

Connecting With Brecht

Lives, Saved or Lost

The Children's (Shining) Hour (Part II)

The Children’s (Shining) Hour

The Common Sense of Shakespeare (Part II)

The Common Sense of Shakespeare

Secrets of Pleasurable Theatergoing (Part II)

People for (or Against) the People's Opera (Part II)

People for (or Against) the People’s Opera

ReGoogling of Things Past (Part II)

ReGoogling of Things Past

The Critic, the Worker, and the Business Model (Part II)

The Critic, the Worker, and the Business Model

An Old Way to Play New Texts (Part II)

An Old Way to Play New Texts

Of Playwrights and Complainers (Part II)

Of Playwrights and Complainers

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