Theater (Broadway)

Subterms

    Latest story

    125 Shares

    Review: Jean Smart, Gritty and Poetic in ‘Call Me Izzy’

    by

    The “Hacks” star returns to Broadway after 25 years in a triumph for her, if not for the old-fashioned, flowery play about spouse abuse.Two things can happen when a big star appears in a small play. She can crush it, or she can crush it.The first is almost literal: She leaves the story in smithereens beneath her glamorous feet. The second is colloquial: She’s a triumph, lifting the story to her level.Returning to Broadway after 25 years in “Call Me Izzy,” which opened Thursday at Studio 54, Jean Smart crushes it in the good way.Naturally, Smart plays the title character, a poor Louisiana housewife who writes poems on the sly. In the manner of such vehicles, she also plays everyone else, including Ferd (her abusive husband), Rosalie (a nosy neighbor), Professor Heckerling (a community college instructor) and the Levitsbergs (a couple who have endowed a poetry fellowship).You could probably write the play from that information alone, but I’m not sure you’d achieve the level of old-fashioned floweriness and deep-dish pathos that the actual author, Jamie Wax, has achieved.For this is quite self-consciously a weepie, one that with its allusions to Melville’s lyrical prose (“Moby-Dick” begins with the phrase “Call me Ishmael”) aspires to poetry itself. The play’s first words are an incantation: six synonyms for “blue” as Izzy drops toilet cleaner tablets in the tank. (“Swirlin’ cerulean” is one.) Shakespeare comes next, after a visit to a local library she didn’t know existed. Ears opened, she is soon devising sonnets of her own.This she does in secret, lest Ferd, who sees her hobby as a betrayal, should discover the evidence and beat her up. (He has been doing that with some regularity since their infant son died years earlier.) In a detail that’s a few orders of magnitude too cute, Izzy’s sanctum is the bathroom, where she scratches out her lines in eyebrow pencil, on reams of toilet paper.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

    More stories

    • 125 Shares42 Views

      in Elections

      Nicole Scherzinger and Other Tony Winners Party After the Awards

      by

      On Sunday night, after all the Tonys had been handed out, the comedian Alex Edelman took the stage during the official after-party at the Museum of Modern Art.“One day more,” he sang, waving his arms, trying to recruit others to join him behind the microphone in a rousing one-man rendition of a song from the musical “Les Misérables.”“Another day, another destiny … ”Mr. Edelman, who received a special Tony Award last year for his one-man show “Just for Us,” slowly gathered his army of fellow performers: Betsy Wolfe, Jessica Vosk and Casey Likes. Soon, more than half a dozen stars were belting not just their own parts, but every part.A cabaret moment is a familiar scene for any theater party, even on a night celebrating an unusual Broadway season. It has been a banner year on the district’s 41 stages, thanks in large part to a flurry of shows with screen stars on the marquee: “Good Night, and Good Luck” (George Clooney), “The Picture of Dorian Gray” (Sarah Snook, who won a Tony Award for playing 26 different characters), “Othello” (Denzel Washington and Jake Gyllenhaal) and “Glengarry Glen Ross” (Bob Odenkirk, Bill Burr and Kieran Culkin), among others.Many actors were making their Broadway debut.“I’m so lucky to get to do it,” Sadie Sink, best known for her role as the tomboy Max in Netflix’s science fiction drama series “Stranger Things,” said at the MoMA party, celebrating her first nomination.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

    • 113 Shares31 Views

      in Elections

      ‘Maybe Happy Ending’ Wins the Tony for Best Musical

      by

      The musical, about a budding romance between two outdated robots, won six Tony Awards on Sunday night.“Maybe Happy Ending,” an original musical that is outwardly about a budding romance between two outdated robots, but fundamentally about contemporary themes of social isolation and the transformative power of connection, won a stunning victory as best musical at the Tony Awards Sunday night.The show’s triumph defied all the odds — it has a mystifying title, a subject matter that some find off-putting, and zero brand recognition in an industry often dominated by well-known intellectual property and well-liked celebrities. But “Maybe Happy Ending” has gradually won over audiences since opening last fall, and overtook several better-known, and better-funded, titles to win the award that traditionally has the biggest financial impact on the shows that receive it.The story concerns two discarded “helperbots” — humanoid robots previously used as personal assistants — living across the hall from one another at a robot retirement home in a near-future Seoul. The helperbots, played by Darren Criss and Helen J Shen, strike up a friendship and embark on a road trip, racing against their own expiring shelf lives as they seek meaning and magic, at first from the outside world, but then from each other.The show is written by two Broadway newbies, Will Aronson, who was born in the United States, and Hue Park, who was born in South Korea; it is directed by Michael Arden, a Broadway regular who won a Tony Award in 2023 for directing “Parade.”The score has a midcentury pop and jazz sound. The cast is remarkably small for a Broadway musical, with just four onstage actors. But the production feels big, because it has an unusually elaborate and high-tech set, designed by Dane Laffrey with video design by George Reeve, that is one of the most complex and sophisticated seen on Broadway.“Maybe Happy Ending” had a long and nontraditional path to Broadway. It had productions in South Korea and Japan, as well as a prepandemic run at the Alliance Theater in Atlanta, before making its way to New York, where it opened in November to unanimously positive reviews. In The New York Times, the critic Jesse Green called it “astonishing,” writing, “Under cover of sci-fi whimsy, it sneaks in a totally original human heartbreaker.”The show began performances on Broadway last October and continues with an open-ended run at the Belasco Theater. A North American tour is scheduled to begin in Baltimore in the fall of 2026.The Broadway run is being produced by Jeffrey Richards and Hunter Arnold; it was capitalized for $16 million, and it is not yet clear whether it will recoup those capitalization costs, although the Tony will likely help. More

    • 138 Shares36 Views

      in Elections

      Cole Escola Wins the Tony for Best Actor in a Play

      by

      In “Oh, Mary!,” Escola plays a drunken, melodramatic Mary Todd Lincoln who yearns to return to cabaret.Cole Escola won the Tony for best actor in a play for their performance in the outlandish, ahistoric comedy “Oh, Mary!” This is Escola’s Broadway debut, and first Tony.Escola, who is nonbinary, plays a self-indulgent, scheming Mary Todd Lincoln, who aspires to become a chanteuse. As a result, her boredom — which includes pining to perform her “madcap medleys” of yesteryear — drives her to all kinds of antics. (With Cole prancing around in a hoop skirt, hilarity ensues.)The New York Times chief theater critic, Jesse Green, called “Oh, Mary!,” which Escola also wrote, “one of the best crafted and most exactingly directed Broadway comedies in years.”Directed by Sam Pinkleton, the show opened at the Lyceum Theater last summer after a sold-out and twice-extended Off Broadway run. The play has also been extended multiple times since it transferred to Broadway. (It was the first show in the Lyceum’s 121-year history to gross more than $1 million in a single week.)Escola, known for their roles in Hulu’s “Difficult People,” TBS’s “Search Party” and sketches on YouTube, came up through New York’s cabaret and alt comedy scenes. The premise for “Oh, Mary!” began with an idea, which Escola sat on for more than 12 years: “What if Abraham Lincoln’s assassination wasn’t such a bad thing for Mary Todd?”The Tony Awards, like the Oscars, use gendered categories for performers, and Escola agreed to be considered eligible for an award as an actor. Escola isn’t the first nonbinary actor to win a Tony Award.In 2023, J. Harrison Ghee became the first out nonbinary performer to win a Tony for best leading actor in a musical, for “Some Like It Hot,” and Alex Newell became the first out nonbinary performer to win for best featured actor in a musical for “Shucked.” More

    • 163 Shares51 Views

      in Elections

      ‘Sunset Boulevard’ Starring Nicole Scherzinger Wins the Tony Award for Best Musical Revival

      by

      The high-tech production of Andrew Lloyd Webber’s musical proved to be a star vehicle for the pop singer.A radically reimagined production of Andrew Lloyd Webber’s “Sunset Boulevard,” with no turban and lots of technology, won the Tony Award for best musical revival on Sunday night.The production, which began performances at Broadway’s St. James Theater last September and is scheduled to run only until July 13, is the brainchild of its director, Jamie Lloyd, a 45-year-old British auteur who prioritizes dialogue and psychological depth over furniture and props. Lloyd’s production first ran in London’s West End, where it won last year’s Olivier Award for best musical revival.The show proved to be a star vehicle for its leading lady, Nicole Scherzinger, who in her 20s achieved fame as the lead singer of the Pussycat Dolls, and then spent years as a judge on television talent shows before landing this role, which has reintroduced her, at age 46, as a powerhouse performer.In the musical, Scherzinger plays Norma Desmond, a onetime star of silent films who has vanished from the limelight but delusionally dreams of returning to the big screen. The show, set in Los Angeles in 1949 and 1950, is based on a 1950 Billy Wilder film; Lloyd Webber wrote the stage production’s music, while the book and lyrics are by Don Black and Christopher Hampton.The original Broadway production won seven Tony Awards, including best musical, in 1995. That production starred Glenn Close, who returned to play the role again in 2017 in the only previous Broadway revival of the show.The current production is characterized by its heavy use of technology adapted from filmmaking and its minimalist, modern aesthetic. The actors are dressed mostly in black and white; Scherzinger performs much of the show barefoot, and she and her co-star, Tom Francis, end the show drenched in blood.Because the story is about, and set in, Hollywood, Lloyd opted to integrate and interrogate cinematic devices — much of the onstage action is filmed by performers holding movie cameras and is projected onto a huge screen behind the actors. One of the production’s highlights is a coup de théâtre at the top of the second act, when Francis, playing a writer named Joe Gillis, performs the title number while walking through Shubert Alley and along 44th Street, with the action visible to audience members onscreen.The revival is being produced on Broadway by companies controlled by Lloyd (the Jamie Lloyd Company) and Lloyd Webber (Lloyd Webber Harrison Musicals), and by ATG Productions, which operates the theater where the show is playing, and by Gavin Kalin Productions. The show was capitalized for up to $15 million, according to a filing with the Securities and Exchange Commission; it has been selling more than $1 million worth of tickets most weeks, but it is not yet clear whether it will recoup its capitalization costs. More

    • 138 Shares31 Views

      in Elections

      Lin-Manuel Miranda and Original ‘Hamilton’ Cast Reunited for a Tonys Medley

      by

      Marking the 10th anniversary of the show’s opening, the creator and cast reunited to perform “My Shot,” “The Schuyler Sisters” and other notable songs.The cast of “Hamilton” on Sunday returned to the room where it happened, at least metaphorically.To mark the 10th anniversary of the show’s opening, 28 members of the original cast — the show’s creator, Lin-Manuel Miranda, along with the other stars, ensemble members, swings and standbys — gathered onstage at Radio City Music Hall and performed a medley of some of the musical’s biggest songs: “Non-Stop,” “My Shot,” “The Schuyler Sisters,” “Guns and Ships,” “You’ll Be Back,” “Yorktown,” “The Room Where It Happens” and “History Has Its Eyes on You.”They dressed not in the show’s period costumes, but in an array of high-fashion evening wear — all black with a few character-driven accents (Lafayette got a Frenchman’s beret; Burr a dueler’s cape; and King George the one splash of color: royal red).They didn’t say a word, but Cynthia Erivo, this year’s Tony Awards host and in 2016 the only musical performer to win a Tony for any show other than “Hamilton,” hailed the production.“Hamilton reinvigorated the American theater and changed not just Broadway, but how Americans views their own history,” Erivo said, before adding wryly, “or so I’m told.”“Hamilton” opened on Broadway on Aug. 6, 2015. The following spring, it was nominated for a record 16 Tony Awards, and then, in a Tonys ceremony at the Beacon Theater, it won 11 prizes, including best musical. (The event was memorable for many reasons — among them, it took place hours after the deadly Pulse nightclub shooting in Florida, which led the “Hamilton” cast to drop the use of muskets in its production number, and prompted Miranda to give his “love is love” acceptance speech.)The show quickly became the biggest phenomenon Broadway had seen in quite some time, and in the decade since, it has only gotten bigger, spinning off touring companies, streaming a live-capture film on Disney+, grossing about $3 billion in North America, and still going strong.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

    • 125 Shares109 Views

      in Elections

      How the ‘Purpose’ Writer Branden Jacobs-Jenkins and Cast Juggled Revisions

      by

      Ahead of the Tony Awards, the playwright Branden Jacobs-Jenkins and the acclaimed ensemble reflected on the challenges of balancing the many script revisions.Branden Jacobs-Jenkins’s Tony-nominated play “Purpose,” set in the Chicago home of a family of Black upper-class civil rights leaders, seems, at first, to be inspired by the political drama involving the Rev. Jesse Jackson’s clan. But those assumptions are upended by the play’s highly original take on the themes of sacrifice, succession, asexuality and spirituality.The family saga, which won this year’s Pulitzer Prize for drama, showcases even more of the vivid language, spitfire dialogue and sweeping sense of American history that garnered Jacobs-Jenkins a Tony Award last year for “Appropriate.” And like that production, this play’s ensemble has been nominated for multiple acting awards — five in all.Originally staged in 2023 at Chicago’s Steppenwolf Theater, and directed by Phylicia Rashad, “Purpose” was revised, refined and expanded throughout its Broadway preview period. Jacobs-Jenkins readily admits that this process is not unusual for him, much less the writers he has studied intently, like August Wilson or Tennessee Williams. On a recent afternoon, however, a conversation about his collaboration with the cast turned lively with Jacobs-Jenkins calling it “family therapy.”We were sitting on the Helen Hayes Theater stage — at the dining-room table where the play’s most memorable fight plays out — with the show’s six cast members, Harry Lennix, who plays the patriarch and preacher Solomon Jasper; LaTanya Richardson Jackson, as the pragmatic and perspicacious matriarch Claudine Jasper; Jon Michael Hill, as the narrator and the monastic younger son, Nazareth; Glenn Davis, as the beguiling older son, Junior; Alana Arenas, as his windstorm of a wife, Morgan; and Kara Young, who plays Nazareth’s naïve friend Aziza. (Arenas, Davis and Hill are all the Steppenwolf members around whom Jacobs-Jenkins originally conceived of the play.)Purpose Broadway“This is so naked,” Jacobs-Jenkins said, “because I never had this conversation in front of you all before. I have all this in my individual journal.” These are edited excerpts from the conversation.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

    • 138 Shares86 Views

      in Elections

      Patti LuPone Apologizes for Comments About Audra McDonald and Kecia Lewis

      by

      LuPone said she was “deeply sorry for the words” she used in her criticism of Kecia Lewis and Audra McDonald when asked about a dispute over Broadway noise levels.Patti LuPone, a three-time Tony-winning actress, has for years been known, and generally celebrated, as one of the most outspoken performers on Broadway. Her reprimands of poorly behaved audience members have made her a folk hero of sorts in the theater business, and her grudges and grievances have had a certain real-talk charm.But this week she crossed a line for many in the theater community with her criticism of two fellow Tony-winning performers in an interview with The New Yorker.LuPone responded sharply when asked about responses to her concern that noise from the Alicia Keys jukebox musical, “Hell’s Kitchen,” was bleeding into the theater where LuPone was performing in a two-woman play, “The Roommate.”The criticism — LuPone referred to Kecia Lewis, who plays a piano teacher in “Hell’s Kitchen,” with the word “bitch” and described Audra McDonald, Broadway’s most-honored performer, as “not a friend” — prompted a backlash from many of LuPone’s colleagues, and on Saturday she issued a 163-word statement responding to the furor.“I am deeply sorry for the words I used during The New Yorker interview, particularly about Kecia Lewis, which were demeaning and disrespectful,” she wrote in a statement posted on Instagram and Facebook. “I regret my flippant and emotional responses during this interview, which were inappropriate, and I am devastated that my behavior has offended others and has run counter to what we hold dear in this community. I hope to have the chance to speak to Audra and Kecia personally to offer my sincere apologies.”LuPone’s offending comments came while discussing an incident last year when she had become concerned about distracting noise levels inside the theater, the Booth, where she was performing. (This is a frequent phenomenon on Broadway, where noise from the streets, and sometimes from adjoining theaters, can be audible.)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

    • 88 Shares137 Views

      in Elections

      Lea Michele Returns to Broadway in ‘Chess’

      by

      The “Glee” star will join Aaron Tveit and Nicholas Christopher next fall in a Broadway revival of an Abba-adjacent Cold War musical.The 1980s musical “Chess,” about a love triangle set in the geopolitically charged world of top-level chess tournaments at the height of the Cold War, will be revived on Broadway for the first time this fall, with Lea Michele playing one of the three starring roles.Michele was last on Broadway in 2023 in “Funny Girl,” whose fortunes she revived after stepping in as a replacement when the initial lead wasn’t working out. Best known for portraying an ambitious musical theater actress on the television series “Glee,” Michele will star in “Chess” alongside Aaron Tveit (a Tony winner for “Moulin Rouge! The Musical”) and Nicholas Christopher (a “Hamilton” alumnus who recently thrilled critics in an Encores! production of “Jelly’s Last Jam”).The show is the brainchild and passion project of Tim Rice, the Tony-winning lyricist of “Evita” and “Aida.” Rice collaborated with Benny Andersson and Bjorn Ulvaeus of Abba on the music and lyrics.The revival was announced Wednesday, but the announcement did not include specific dates or the exact theater — only that it would be staged in the fall at a theater operated by the Shubert Organization. The lead producers will be Tom Hulce, Robert Ahrens and the Shubert Organization.“Chess,” set primarily in Bangkok and Budapest, tells a fictional story about two grandmasters, one American (Tveit) and one Soviet (Christopher), facing off at a chess tournament, joined by a woman (Michele) whom both of them, at various points, love.The musical, first staged in London in 1986 and then heavily revised for a Broadway production in 1988, has an ardent fan base, but the Broadway production was a flop, and the show has been reworked for subsequent stagings around the world.This fall’s production features another new book, by the screenwriter Danny Strong. The show will be directed by Michael Mayer, who directed Michele both in her breakout Broadway role, in “Spring Awakening,” and in “Funny Girl.”Mayer and Strong, working with Rice, have been rethinking “Chess” for some time — they collaborated on a 2018 concert presentation of the musical at the John F. Kennedy Center for the Performing Arts in Washington. More