For his work as the translator and adapter of the book and lyrics of the Kurt Weill, Elisabeth Hauptmann, and Bertolt Brecht musical Happy End, he was nominated for two Tony Awards in 1977.

[2] In 1982, Feingold was serving as a dramaturg for the National Playwrights Conference at the Eugene O'Neill Theater Center in Waterford, Connecticut, and was instrumental in furthering the career of playwright August Wilson, helping to edit Ma Rainey's Black Bottom, which impressed New York Times theatre critic Frank Rich, who was in the audience for the reading of the trimmed-down version of the play.

[4] Feingold was a playwright, and translated German and Italian plays and operas into English for off-Broadway productions, including Bertolt Brecht and Kurt Weill's The Threepenny Opera, Max Frisch's The Firebugs, The Beaver Coat by Gerhart Hauptmann, The Venetian Twins, The Barber of Seville, The Mistress of the Inn, Der Vampyr, and Mary Stuart,[5][6] as well as the French playwright Henri Bernstein's 1908 play Israël, which had a public reading in 2007, and Max Frisch's Andorra (1961), produced off-Broadway in 2022.

Adaptors who catch the theatrical saltiness unwittingly strain out the poetic pepper; academics, busily measuring the exact ingredients, often omit the flavor altogether.

[10][5] Feingold's translation of Weill's and Brecht's The Rise and Fall of the City of Mahagonny, as staged by the Los Angeles Opera at the Dorothy Chandler Pavilion, with performances by Audra McDonald and Patti LuPone, was broadcast on the PBS Great Performances TV series in 2007, and was released on CD as well.

"[26] Another colleague, Los Angeles Times theatre critic Charles McNulty, Feingold's editor at The Village Voice, called Feingold "[a] polyglot and polymath with a deep knowledge of opera and music" and "an unstoppable font of cultural knowledge and insight", and praised his commitment to theatrical tradition.

He most assuredly was not writing for consumers casually wondering where to spend their entertainment dollars on a Saturday night.His loyalty was to the theatre and its tenuous survival.

... [T]he chief limitation of his criticism is tied to one of his main strengths: the clarity of his unassailable conviction ... [A] complex humanity was always reachable via his sterling intelligence, and his robust wit had a way of offsetting the pedantic tone that would creep into his prose.

[6]Benjamin Ivry, writing in The Forward, praised Feingold's "charity, sensitivity and a gift for playwriting" and his "historical awareness, good citizenship, and erudition.

"[7] Journalist and author Robert Simonson said of Feingold that his writing showed "erudition and understanding of theater history, both ancient and modern, and how current plays fit in with that continuum.

Instead, it gets hotted up, every 20 years or so, over the same issues — sex, politics and religion — the three matters that art, according to some strangely permanent lunatic fringe of American opinion, must never be allowed to deal with, at least not in any open manner.

"[8] Feingold died on November 21, 2022, at Mount Sinai Morningside Hospital in Manhattan, New York City from aortic valve disease at the age of 77.