Michael Feingold

Though full of witty barbs and sharp bits of reality, the Rouben Mamoulian–directed, Rodgers and Hart–scored musical seems lighter than air—and “Isn’t It Romantic”!

William Faulkner’s novel transformed for the screen in 1949, when racism in America was rarely examined by Hollywood

If you’ve never seen ‘The Palm Beach Story,’ and are among the lucky folk soon to taste its delights for the first time, what a treat you have in store.

The first—and last—film Charles Laughton ever directed was poorly received and badly marketed in its initial release, though it’s now widely, and rightfully, acclaimed

This is the inaugural column of a new series. While we’re all obliged to shelter in place, for who knows how long, and virtual encounters online are the only safe ones, I’ve decided to put into words an idea I’ve long cherished: to curate a series of screenings of great films from the past that…

Michael Feingold looks at two popular century-old plays which had enduring afterlives, “Nothing But the Truth” and “The Cat and the Canary”

From John Barrymore to Fernandel to Peter Sellers, actors all over the world have put their stamp on Marcel Pagnol’s Topaze.

I have a notion for what might be a four-play repertory season. The title most likely to be recognized is the British specimen, James M. Barrie’s ‘The Admirable Crichton.’

The simplicity, even the banality, of a popular tune can be the arresting feature that gives a play its strength

How classic American songs worked their way into the plays of Eugene O’Neill, Arthur Miller, August Wilson, and more