Hilton Als Wins a Pulitzer Prize for Criticism – The New Yorker
April 11, 2017 - als
Hilton Als, a entertainment censor for The New Yorker, has won a 2017 Pulitzer Prize for Criticism.
Als became a staff author for The New Yorker in 1994 and a entertainment censor in 2002. Week after week, he brings to a repository a rigorous, sharp, and low-pitched viewpoint on acting, playwriting, and directing. With his low believe of a story of performance—not usually in entertainment though in dance, music, and visible art—he not usually shows us how to perspective a prolongation though how to place a director, a author, and a performers in a ongoing continuum of thespian art. His reviews are not simply reviews; they are provocative contributions to a sermon on theatre, race, class, sexuality, and temperament in America.
Here are a 10 pieces by Als, from 2016, that were partial of a prize-winning acquiescence to a Pulitzer committee:
“Dreamgirls”: John Doyle’s uninformed and critical reconstruction of “The Color Purple.”
“Bookworms”: A theatre instrumentation of “2666.”
“The Night Crawlers”: Down and out in Eugene O’Neill’s “Hughie.”
“Betrothed”: A matrimony of cultures in “Familiar.”
“My Old Sweetheart”: Revisiting a traumas of a past in “Blackbird.”
“Legends”: Recriminations and regrets in “Long Day’s Journey Into Night.”
“Conversation Piece”: Two shows lift questions about a value of debate in storytelling.
“Showoffs”: Life, death, and revelation all, in “Duat,” “A Life,” “The Front Page,” and “Falsettos.”
“Worked”: In “Sweat,” Lynn Nottage and Suzan-Lori Parks make a tangible unrecognizable—which is to say, they make it art.
“Bullies”: The low-pitched “Dear Evan Hansen,” destined by Michael Greif, is a surpassing evocation of how a need to go can be as nauseous as a need to exclude.