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Michael Appler

Michael Appler
regional managing editor - United States - New York

Michael Appler is a theater journalist, playwright, and cultural studies scholar in New York City with degrees in Journalism and American Studies from Fordham University. His writing has appeared largely in the Village Voice and the Fordham Observer, where his theater criticism helped to create the most active theater desk at any college paper in the country. His scholarly research has focused on racial performance in the music of Janis Joplin, as well as the countercultural projects of the late-1960s and early-1970s American musical. He has worked as a professional musical director at regional theaters across the New York area, and his current playwriting project, Letters To The Editor, looks to dramatize the American sexual revolution through the letter-writing communities of Penthouse Magazine.

“The Prom” Is a Celebratory Trumpian Footloose When We Need It Most

Maybe “The Prom’s” greatest success, in all of its glitter and be gay, is a validation that splashy, garish musical comedies, themselves no champion of political correctness, can still be made from scratch. “The Prom,” exceptionally original yet cradled by tradition, is proof that bursting into jazz hands when someone puts you down is still a worthy prescription for joy.

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“Torch Song” Breathes New Life, Radiantly Led By Michael Urie

You may find that this glorious Broadway revival, led by Michael Urie and Mercedes Ruehl in the same theater where it opened over 35 years ago, burns a softer flame —  no less bright, for sure, but perhaps a bit more tender, lit for a time when a drag queen poised before a Broadway audience, while no less political, is imaginably less avant-garde.

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In “Midsummer” The Mobile Unit Delivers a Joyous Celebration of Life and Shakespeare

Joe Papp would be proud had he lived to see what his Mobile Theater had become: a brimming, joyous sanctuary of inclusivity and plurality, of Shakespearean excellence armed with subtle and striking mindfulness, no longer a struggling caravan of the American theater’s earliest pioneers, but a rag-tag group of brilliant players all the same.

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