Vinson Cunningham joined The New Yorker as a staff writer in 2016. Since 2019, he has served as a theatre critic for the magazine. In 2020, he was a finalist for a National Magazine Award for his Profile of the comedian Tracy Morgan. His writing on books, art, and culture has appeared in the Times Magazine, the Times Book Review, Vulture, the Awl, The Fader, and McSweeney’s, where he wrote a column called “Field Notes from Gentrified Places.”
Cunningham previously served as a staff assistant at the Obama White House.
Martyna Majok’s play, presented by New York Theatre Workshop at the Lucille Lortel, focusses on two precisely defined characters to explore the injustices experienced by Dreamers in America. By Vinson CunninghamOctober 4, 2021
In new podcast versions of his plays “The Designated Mourner” and “Grasses of a Thousand Colors,” Shawn turns the upper-middle-class intellectual hero inside out to show the demon within. By Vinson CunninghamJuly 19, 2021
In “What to Send Up When It Goes Down,” at BAM Fisher, Harris memorializes the deaths of Black people—Trayvon Martin, Sandra Bland, Tamir Rice, and many others—at the hands of the police and other awful actors. By Vinson CunninghamJuly 5, 2021
For “Zoetrope,” viewers peer into a trailer to watch two lovers on lockdown talking past each other in well-educated millennialese; Bill Gunn’s “The Forbidden City” follows a Black middle-class family in 1936. By Vinson CunninghamMay 17, 2021
A festival of readings of the playwright’s later works, from Round House Theatre, reveals a development in Kennedy’s thinking since her earlier, most famous play, “Funnyhouse of a Negro.” By Vinson CunninghamJanuary 11, 2021