Helen Shaw is a Theater Writer at The New Yorker. She specializes in arts and entertainment, with a particular focus on plays and musicals, bringing insightful commentary to the theater scene. Her work has been featured in Vulture, Time Out Group plc, The Irish Times, and The New York Times, among others.
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New York, United States (Local)
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Helen Shaw's coverage heavily focuses on theater, particularly Broadway and Off-Broadway productions. She emphasizes expert commentary and event coverage, indicating a preference for insightful analysis of ongoing or upcoming theatrical events.
Given the high percentage of investment analysis in her articles, Helen may be interested in pitches that offer perspectives on the financial aspects of theater production or how industry trends impact investment opportunities within the entertainment sector.
As she has a national focus on the United States, considerations for geographic relevance to U.S.-based theatrical events would likely make pitches more appealing to her.
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Eliya Smith’s disturbing teen dramedy explores the ambivalence and confusion of life on the brink of adulthood.
By: Helen Shaw
Every year, as the awards push begins, we look back over the season that was. Somehow it has all gone so quickly!
By: Helen Shaw
/ -- EarFun has added a new feature to its dedicated iOS and Android app, EarFun Audio, allowing users to replace default voice prompts — such as power-on and pairing notifications — with smart Tones sounds. By registering a compatible product in the EarFun Audio app and selecting “EarFun Tones” in the settings screen, users can enjoy this feature free of charge.
This newly discovered play by Wilder is part picaresque, part fable, featuring a Midwestern boy who dreams of working at a department store in the big city.
Jean Genet’s psychosexual drama gets a social-media-heavy update. But what does it say beyond “internet=bad”?
By: Helen Shaw
While the 1999 movie went for melodrama, this stage adaptation with songs by Aimee Mann honors the memoir’s coolly clinical prose.
John J. Caswell’s triangular romance set in the early 1990s speaks to us from the smoking psychic caldera left by AIDS.
Morgan Bassichis, whose solo show “Can I Be Frank?” resurrects an act by Frank Maya, joins others this season who are recreating the works of deceased artists.
For the Public Theater’s Shakespeare in the Park, the director Saheem Ali presents a strangely low-energy version of the tragedy.
A co-founder of Pig Iron Theater Company, known for its surreal productions, he also gave energetic performances as his alter ego, Martha Graham Cracker.
