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    Can Shoplifting Be Justified? This Artist Wants You to Decide.

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    Dries Verhoeven has constructed a replica grocery store for his latest provocative performance.Between two aisles of a grocery store, a woman is having a destructive meltdown. She opens a jar of applesauce, spits in it and returns it to the shelf. She squirts a tube of mayonnaise onto the floor, then smears tomato sauce from a container on her chest.Climbing the shelves, she recites a soliloquy on the joys of shoplifting. “Why call it stealing?” she says, with surprising calm. “I call it a love affair.”All of this takes place within a giant glass box on the stage of the International Theater Amsterdam as part of the six-hour performance installation “Everything Must Go,” by the Dutch artist Dries Verhoeven. Through Thursday, spectators can enter and exit the theater during the performance to peek into the box or can watch the performer unravel on TV monitors displaying CCTV footage.It is the latest disquieting offering from Verhoeven, 49, who combines elements of theater and visual art to create performances that are engineered to leave the audience trembling.“I’m quite a nervous person, and I like this feeling of nervousness, because it means there’s something at stake,” he said, while the glass box was being assembled at the theater earlier this week. “When we’re nervous, we are activated.”The installation takes place over six hours …Ilvy Njiokiktjien for The New York Times… and features disquieting elements to unsettle the audience.Ilvy Njiokiktjien for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Tom Hanks Will Perform His Play ‘This World of Tomorrow’ Off Broadway

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      “This World of Tomorrow,” based on the actor’s 2017 short story collection, is scheduled to begin performances in October at the Shed.Tom Hanks, the acclaimed film actor, has written a new play about love, longing and time-travel, and is planning to star in an Off Broadway production of it this fall.The play, “This World of Tomorrow,” will be staged in a 550-seat theater at the Shed, a performing arts venue on Manhattan’s Far West Side that has been helping Hanks develop the work over the last year. The play is scheduled to run for just eight weeks, from Oct. 30 to Dec. 21.“This World of Tomorrow” is about a scientist from the future who travels back in time — to the 1939 World’s Fair in Queens — searching for love. It is based on elements of Hanks’s “Uncommon Type,” a collection of short stories published in 2017.Hanks, who will play the scientist, will lead a cast of 10 to 12 performers, some of whom will take on multiple roles. A two-time Oscar winner (for “Philadelphia” and “Forrest Gump”), Hanks has one Broadway credit, “Lucky Guy,” a 2013 newsroom drama for which he received Tony Award nomination.Hanks wrote the new play with James Glossman, a playwright and director with whom he has collaborated on other projects, including “Safe Home,” which had a production in 2022 at Shadowland Stages in Ellenville, N.Y. (It was also based on “Uncommon Type” stories.) The director of the new play will be Kenny Leon, who won a Tony Award in 2014 for “A Raisin in the Sun.”Alex Poots, the artistic director of the Shed, said Hanks’s team approached him last year when they were looking for a place to develop the show. Poots leapt at the opportunity, he said, thinking “he’s one of the most beloved and trusted storytellers of our time.” Poots called the play “a classic love story,” but also noted that, because parts of it take place in 1939, “there is reference to the rise in authoritarianism.”“This World of Tomorrow” is one of three upcoming theater pieces to be staged at the Shed. It will present, in collaboration with Los Angeles’s Geffen Playhouse, a revival of Tarell Alvin McCraney’s play “The Brothers Size,” starring André Holland, from Aug. 30 to Sept. 28. And from June 17 to Oct. 19 it will present “Viola’s Room,” an immersive audio production narrated by Helena Bonham Carter. It was created by Punchdrunk, the company behind “Sleep No More.” More

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      Review: How Music Came Down to Earth, in ‘Goddess’

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      Amber Iman lives up to the title of a musical about the divine gift of song.If you’re going to call your show “Goddess,” you’d better have one handy. Luckily, the musical with that name that opened on Tuesday at the Public Theater stars Amber Iman, who fully fits the bill. Whether scatting or belting or just standing tall in gold eye shadow and regal gowns, she conveys the combination of power and ease that inevitably elicits words like “otherworldly.”When Saheem Ali, the director of “Goddess,” gives Iman and the rest of the talented cast a chance to display that otherworldliness, mostly while performing the songs by Michael Thurber and dances by Darrell Grand Moultrie, the show makes a strong case for live performance as a central expression of our divided nature. “What is human? What is divine?” goes one of Thurber’s better lyrics. “Do either exist until they intertwine?”But when merely talking, “Goddess” descends. The book by Ali, with additional material by James Ijames, is labored, with a conventional plot about a young Kenyan man torn between furthering his family’s political dynasty and baring his artistic soul. (He plays saxophone.) It doesn’t take long to get bogged down in banalities of both the domestic and the folkloric variety.Because yes, the goddess of the title is literal. Iman plays Marimba, a mythic East African queen who, we learn in a flashback, taught humans to sing and gave them their first instruments. But like Omari, the saxophonist, Marimba has parent problems. Her mother wants her to go into the family business, which to judge from Julian Crouch’s amazing puppets and masks is evidently Evil Incarnate. But Marimba, refusing to accept the mantle of war goddess, instead escapes to Mombasa to live under a new name, Nadira, in an underground nightclub called Moto Moto.Arica Jackson, left, plays a spunky nightclub owner and Nick Rashad Burroughs, seated in the chair, is its exuberant emcee.Sara Krulwich/The New York TimesIt is there that Nadira becomes a queen in the secular sense: a star. Singing Thurber’s mélange of music, which encompasses smooth jazz, R&B, theatrical pop and an aura of Afrobeat, she draws an audience that is similarly diverse. Moto Moto, run by the spunky Rashida (Arica Jackson) and emceed by the exuberant Ahmed (Nick Rashad Burroughs) becomes a hotbed of heterogeneity (there’s even a shaman) in a culture that is otherwise intolerant of mixing.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Creditors’ Review: Who Pays the Price for a Bankrupt Marriage?

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      Liev Schreiber stars in an update of the bleak Strindberg classic about a husband and wife and the man who seeks to destroy them.If a man hates women but also everyone else, is he still a misogynist?I ask for an acquaintance: August Strindberg, the Swedish playwright whose three tempestuous marriages were not enough to exhaust his fury at wives, muses, temptresses and others. Also, it would seem, at himself.His excess of rage found its way into plays — “Miss Julie” (1888) and “The Dance of Death” (1900) are today the most famous — that feature male characters only slightly less awful than the women in their lives. That ought to be unbearable, and not just as an affront to feminism; his pox-on-both-your-genders cussedness can sometimes feel self-canceling as drama. Still, Strindberg sticks to the canon of European classics like a tick: ugly, bloodthirsty, alive.The contradiction is at its most vexing in “Creditors,” a follow-up to “Miss Julie” that flips the earlier play’s love-triangle geometry so that one woman and two men stand at its vertexes instead of one man and two women. Believe me, two men are worse: The lone woman, in this case a writer named Tekla, is literally outmanned. When Adolph, her second husband — having fallen under the influence of Gustav, his new friend — prosecutes Tekla for the theft of his happiness, Strindberg barely allows a defense.That “Creditors” is nevertheless wretchedly compelling has previously been sufficient to keep it onstage. Perhaps in a post-#MeToo age no longer. At any rate, the production that opened Sunday at the Minetta Lane Theater — starring Liev Schreiber as Gustav, Maggie Siff as Tekla and Justice Smith as Adolph, now called Adi — sets out to shift the play’s balance of power and mostly succeeds. In Jen Silverman’s thoroughgoing adaptation, Tekla is given full voice, and the men are finally held to account.The new version, set in a vague present, opens like the original in the parlor of an out-of-season seaside hotel. There, Adi, a young painter, and Gustav, a teacher of “dead languages,” are discovered in the depths of a whiskey-enhanced discussion of women and art. At first idly, then with what appears to be solicitude, and finally with the glee of a cat cornering a mouse before killing it, Gustav pokes into Adi’s professional failures, connecting them to Tekla’s galling success. Having dumped her first husband after humiliating him in a popular roman à clef, what’s to stop her from doing the same to her second?The author of dramedies that foreground women — among them “The Roommate,” “The Moors” and “Collective Rage: A Play in 5 Betties” — Silverman is not about to let that wife-as-witch framing stand. Still, Strindberg’s three-part structure, with its bear-trap teeth, is too ingenious to mess with. In the second part, Adi, empowered or perhaps just empoisoned by Gustav, confronts Tekla with his newfound and possibly bogus insights into what he had thought was a happy marriage. Because Smith is so sincere and appealing, his vulnerability reading as openness instead of petulance, we are at first willing to allow his line of thought.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      BAM Announces a Female-Led Next Wave and Fall Season

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      The arts institution, which has shrunk its programming in recent years, unveiled its fall lineup.The Brooklyn Academy of Music will welcome its 42nd Next Wave festival this fall, with most works created by female artists, the performing arts center announced on Thursday.“We led with women,” said Amy Cassello, who became BAM’s artistic director last year after serving in the role as interim. “It just felt like a good time to center women creatives.”The announcement comes at a time of financial fragility and leadership flux for the academy. BAM’s staff has declined by more than a third in recent years, and its nearly $52 million operating budget is smaller than it was 10 years ago.But there is momentum, and audiences are growing.Next Wave will have 11 events, as it did last year, up from eight in 2023. That year, the festival scaled back to nearly half of the 2022 offerings amid staff layoffs.“I feel confident that we have the number of shows that make a coherent statement,” Cassello said, adding, “I wish there were more money to subsidize and support and invest in artistic work.”The festival opens with the choreographer Nora Chipaumire’s “Dambudzo” (Oct. 8-9), a blend of painting, sculpture, sound and performance, transforming the nearby performing arts space Roulette into a Zimbabwean house bar.The lineup also includes the French director Caroline Guiela Nguyen’s “LACRIMA” (Oct. 22, 24-26), a choral theater performance that, in a dark look at the fashion industry, traces the many hands across the world it takes to create a wedding dress for a British princess; Eiko Otake and Wen Hui’s “What Is War” (Oct. 21-25), a fusion of movement and video testimony about war and its aftermath on collective memory and the body; and the choreographer Leslie Cuyjet’s “For All Your Life” (Dec. 3-7), a solo performance interrogating the life insurance industry’s ties to slavery.Next season will also feature a revival of Richard Move’s dance-theater work “Martha@BAM — The 1963 Interview” (Oct. 28 -Nov. 1), in which Move recreates a 1963 interview between Martha Graham (Move) and the critic Walter Terry (the playwright Lisa Kron) at the 92nd Street Y.BAM will also present a screening of “The Mahabharata” (Sept. 18), a film adaptation of Peter Brook’s nine-hour theatrical presentation of the Sanskrit epic that BAM staged in 1987 atthe theater now known as the Harvey Theater at BAM Strong. The Harvey will be the site of the screening of Brook’s (much shorter) 1989 film, newly restored by his son, Simon Brook.The season concludes with a revival of the raucous post-rock opera “What to Wear” (Jan. 15-17) by the avant-garde theater maker Richard Foreman, who died in January at 87. The hallucinatory work, with a score by Michael Gordon, will be conducted by Alan Pierson and directed by Paul Lazar and Annie-B Parson, and run as part of Prototype, the experimental New York opera festival.“BAM has always been artist-centered and adventurous and risk-taking,” Cassello said, “and I think that’s absolutely necessary. Always has been.” More

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      Review: Hugh Jackman in a Twisty Tale of ‘Sexual Misconduct’

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      A new play about a middle-age professor and his teenage student forces you to ask: Who’s grooming whom?We first see the willowy Ella Beatty, half of the cast of “Sexual Misconduct of the Middle Classes,” lugging furniture onto the stage of the Minetta Lane Theater. If you’ve heard that the play, by Hannah Moscovitch, is part of an Off Broadway experiment called Audible x Together — featuring big names, spare décor, short runs and rock-bottom prices — you may find yourself wondering whether the backers had penny-pinched on a crew. If so, they might have let the other half of the cast do the lugging: Hugh Jackman has the guns.But the backers — Audible is a division of Amazon and Together is Jackman’s venture with the hugely successful producer Sonia Friedman — are not exactly impoverished. Art, not parsimony, is the source of Beatty’s labors. Setting the stage for the terrific, tightly plaited knot of a play, the curious opening will pay off later. So will every seemingly casual moment of Ian Rickson’s long-game staging, from lighting (by Isabella Byrd) that often, weirdly, illuminates the audience, to Jackman’s manhandling of an actual lawn mower.Jackman plays Jon Macklem, a critically acclaimed yet best-selling author who teaches literature at a “world class college.” He has not had as much success in his domestic career, being the kind of Kerouac cliché who spends years, as he puts it, “racking up ex-wives like a maniac.” Currently he is separated from his third.Soon another cliché enters: the “grossly underwritten” sex-object character that lust-addled novelists (a description Macklem cops to) write about to “expose their mediocrity.” That’s Beatty’s Annie. Though she is a 19-year-old student in one of his classes, and he is starting to grizzle at the edges, their affair begins.“The erotics of pedagogy,” Macklem, only half-mortified by the phrase, explains.It is here you may say to yourself: I’ve seen this before. The questionable relationship between male mentors and female students is almost its own genre in plays (“Oleanna”) and novels (“Disgrace”) — perhaps because it is almost its own genre in life. (I immediately thought of Joyce Maynard and J.D. Salinger.) But Moscovitch clearly wants to complicate that narrative by shaping it almost entirely from the man’s point of view. Macklem speaks perhaps 80 percent of the words in the play, spinning long, disarming, verbally dexterous monologues. Annie’s lines are more like this: “I shouldn’t / I don’t know why I / Said that / Sorry I’m mm.”The thrill of this production, our critic writes, is that it doesn’t tell you what to think but, in its big payoff, gives you plenty to consider.Sara Krulwich/The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Jeffrey Seller Produced ‘Hamilton.’ Now, in ‘Theater Kid,’ He’s Telling His Story.

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      In “Theater Kid,” Jeffrey Seller reflects on his Broadway career.The Broadway producer Jeffrey Seller is, by any measure, enormously successful. He’s produced (always in collaboration with others) about 10 shows that have, collectively, grossed $4.74 billion, approximately one-third of which was profit for producers, investors and others.You’ve probably heard of several of those shows. His first big hit was “Rent.” His most recent: “Hamilton.” In between were “Avenue Q” and “In the Heights,” but also plenty of others that didn’t flourish.For a long time, Seller, now 60 and the winner of four best-musical Tony Awards, had complicated feelings about how he fit in. He was adopted as an infant and grew up in a downwardly mobile and fractious family in a Detroit suburb.Seller accepting the Tony Award for “Hamilton,” which won best musical in 2016.Sara Krulwich/The New York TimesTheater was where he found pleasure, and meaning — a way out, and a way up. Now he’s written a memoir, “Theater Kid,” that is being published on May 6. It is a combination coming-of-age and rags-to-riches story that is unsparing in its description of his colorfully challenged-and-challenging father, unabashed in its description of his sexual awakening, and packed with behind-the-scenes detail, especially about the birth of “Rent.”In an interview at his office in the theater district, Seller spoke about his life, his career and his book. These are edited excerpts from the interview.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Ragtime’ Is Returning to Broadway

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      A revival of the sweeping musical will open at Lincoln Center Theater in October, starring Joshua Henry, Caissie Levy and Brandon Uranowitz.“Ragtime,” an epic musical that explores early 20th-century American aspirations through three fictional families whose lives intersect with historical figures and events, is returning to Broadway.The musical, based on a 1975 E.L. Doctorow novel and set mostly in New Rochelle and other locations in and around New York, first opened on Broadway in 1998, won Tony Awards for best score and best book, and ran for two years. There was a short-lived revival in 2009.This new production will be staged at Lincoln Center Theater, which is one of four nonprofit organizations that operate Broadway houses. It will be the first production during the tenure of Lear deBessonet, who is taking over as the nonprofit’s new artistic director; deBessonet will direct the production.This revival, scheduled to begin previews Sept. 26 and to open Oct. 16 at the Vivian Beaumont Theater, began its life with a 12-day run last fall in a New York City Center gala presentation, also directed by deBessonet. The new production is scheduled to run for just 14 weeks.The Broadway production, like the City Center production, will star Joshua Henry as Coalhouse Walker Jr., an African American pianist; Caissie Levy as Mother, the matriarch of an affluent white family; and Brandon Uranowitz as Tateh, a Jewish immigrant. The intersection of those individuals and their communities, with each other and with the history of the United States, drives a complex plot of intertwined narratives that touch on North Pole exploration, early filmmaking, the labor movement, Houdini’s escapades, and, of course, ragtime music.The musical is among the best-known and most acclaimed works from the longtime collaborators Lynn Ahrens, who wrote the lyrics, and Stephen Flaherty, who wrote the music. The book is by Terrence McNally, an acclaimed playwright who died in 2020 at the start of the coronavirus pandemic.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Pierre Audi, Eminent Force in the Performing Arts, Dies at 67

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      After turning a derelict lecture hall into the daring Almeida Theater, he had a long career as a director and impresario in Europe and New York.Pierre Audi, the stage director and impresario whose transformation of a derelict London lecture hall into the cutting-edge Almeida Theater was the opening act in a long career as one of the world’s most eminent performing arts leaders, died on Friday night in Beijing. He was 67.His death, while he was in China for meetings related to future productions, was announced on social media by Rachida Dati, the minister of culture in France, where Mr. Audi had been the director of the Aix-en-Provence Festival since 2018. The announcement did not specify a cause.Mr. Audi was in his early 20s when he founded the Almeida, which opened in 1980 and swiftly became a center of experimental theater and music. He spent 30 years as the leader of the Dutch National Opera, and for part of that time was also in charge of the Holland Festival. For the past decade, he had been the artistic director of the Park Avenue Armory in New York.The Almeida Theater in London. Mr. Audi was in his early 20s when he founded it in 1980, and it soon became a center of experimental theater and music.View PicturesAll along, he continued working as a director at theaters around the world. Last year, when the Théâtre de la Monnaie in Brussels cut ties with Romeo Castellucci halfway through his new production of Wagner’s four-opera “Ring,” the company turned to Mr. Audi as one of the few artists with the knowledge, experience and cool head to take over such an epic undertaking at short notice.“He profoundly renewed the language of opera,” Ms. Dati wrote in her announcement, “through his rigor, his freedom and his singular vision.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More