The pianist Jeremy Denk will transform an article for The New Yorker into a book for Random House.

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“Seven American Deaths and Disasters” transcribes radio and television broadcasts of painful events, from the Kennedy assassination to Sept. 11, as they unfurled on the air, live and unmediated.

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The 21st century echoes parts of “The Henrietta,” an 1887 production now at the Metropolitan Playhouse.

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“What Are We Worth? Shakespeare, Money and Morals” was billed as a town hall discussion at the Delacorte Theater.

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A journal that published an ambitious plan for New York State to go fossil free in a few decades now runs a critique.

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The Shakespeare in the Park production of “The Comedy of Errors,” directed by Daniel Sullivan, moves this mistaken-identity farce to a locale straight out of “Guys and Dolls.”

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A nickel of every dollar from the BP-oil-spill fines should be used to protect coastal marshes and wetlands to help the gulf survive the next oil spill.

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Why the Supreme Court’s ruling on gene patents is only a partial victory for DNA-data sharing.

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In Sara Farrington’s “Requiem for Black Marie,” it’s Bertolt Brecht’s women who do all the heavy lifting of authorship.

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Last fall in London, when I dropped by Cameron Mackintosh’s elegant Bedford Square headquarters, located in two adjoining Georgian mansions, the place was buzzing.Composer Claude-Michel Schönberg was going over the final edit of the film version of “Les Misérables.” Nick Allott, Mackintosh’s extremely able right-hand man, was...

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