Contributor
Andrew Marzoni
is a writer, teacher, and musician in New York.
Articles
Phillips’s musical sequel to his haggardly wrought early Scorsese pastiche more aptly encompasses the existential malaise of NYFF62 than the proudest members of its main slate.
A narrow trail through the lucrative past of a working man’s multi-millionaire
The post-Hamilton death throes of our dramatic institutions insist that the show must go on.
The Brooklyn Tower is less a menacing monument to imminent doom than a superfluous by-product of capitalism gone awry.
