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      Nonprofit Theaters Are in Trouble. Lawmakers Are Proposing Help.

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      Proposed legislation would allocate $1 billion annually for an industry coping with rising expenses and smaller audiences.The financial crisis facing nonprofit theaters in America has captured the attention of Congress, where a group of Democratic lawmakers is introducing legislation that would direct $1 billion annually to the struggling industry for five years.That money could be used for payroll and workforce development, as well as other expenses like rent, set-building and marketing. But the legislation, which lawmakers plan to introduce on Tuesday, faces long odds at a time when a divided Congress — where Republicans control the House and Democrats lead the Senate — has had trouble agreeing on anything.Nonprofit theaters around the country have reduced their programming and laid off workers to cope with rising expenses and smaller audiences since the coronavirus pandemic began. There are exceptions — some nonprofit theaters say they are thriving — but several companies, including New Repertory Theater in suburban Boston, Southern Rep Theater in New Orleans, and Book-It Repertory Theater in Seattle, have ceased or suspended operations in response to the crisis.“It hasn’t been a recovery for the nonprofits — they’re really lagging compared to many other sectors in the economy, and it’s for a lot of reasons,” Senator Peter Welch of Vermont, one of the legislation’s sponsors, said in an interview. “So they do need help.”Mr. Welch argued that the organizations merit government assistance because they strengthen communities and benefit local economies.The legislation, which is called the Supporting Theater and the Arts to Galvanize the Economy (STAGE) Act of 2024, is also being sponsored by Senators John Fetterman of Pennsylvania and Jack Reed of Rhode Island. Representative Suzanne Bonamici of Oregon is sponsoring it in the House.Senator Chuck Schumer of New York, who is the majority leader and who led the fight to win government aid for performing arts organizations during the pandemic, is supportive of the proposed legislation and is also open to other ways to assist nonprofit theaters, according to a spokesman.The pandemic aid package that Mr. Schumer championed serves as a precedent: In 2020, Congress passed the Save Our Stages Act, which led to a $16 billion Shuttered Venue Operators Grant program that made money available to a wide array of commercial and nonprofit performing arts organizations.Mr. Welch said the earlier aid program succeeded despite initial skepticism.“With everything else that was going on, the expectation was this would die on the vine, but it didn’t — as this started getting momentum, there was excitement about being about to do something concrete,” he said.The new legislation is narrower, benefiting only professional nonprofit theaters, and only those that have either seen a decline in revenues or that primarily serve historically underserved communities.“This is a beginning,” Mr. Welch said. “There are obstacles, but let the effort begin.” More

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      Rachel McAdams Is Not Afraid of the Dark

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      The actress makes her Broadway debut in “Mary Jane” as the single mother of a seriously ill child. She views her acting choices as expanding her orbit.From the outside, you wouldn’t know that Rachel McAdams, the thoughtfully charming star of blockbuster rom-coms, rom-drams, a Marvel franchise and the Oscar-winning “Spotlight,” has been wondering about death.Maybe it has to do with the therapist who said that her indecisiveness and deep curiosity about seeing through someone else’s eyes, which she’s harbored since childhood, could be chalked up to something called “death anxiety.”McAdams had long viewed her acting choices as expanding her orbit. “It’s been a way to live a lot of lives in one,” she said. If that was about a fear of dying — well, it didn’t rattle her.Instead, characteristically, she embraced it. “We don’t have a lot of great coping mechanisms for death in our culture,” she said. “So, yeah, I kind of welcome the opportunity to lean into that — earlier rather than later. Let’s get cozy with it. Let’s get cozy with that next adventure.”Death hovers like a specter around her latest role, as the single mother of a seriously ill child, in the play “Mary Jane.” McAdams hasn’t done theater since college; she makes her Broadway debut as the title character in this Manhattan Theater Club production, which began previews April 2 at the Samuel J. Friedman Theater. It’s by the busy playwright Amy Herzog, who also adapted Broadway’s show of the moment, Ibsen’s “An Enemy of the People.”“Mary Jane” is the first of her own deceptively spare plays to appear on Broadway, after a celebrated run in 2017 at New York Theater Workshop. Dotted (surprisingly) with laugh lines, it’s about the daily muck and lasting profundity of caregiving, a nitty-gritty subject that’s rarely dramatized. “A heartbreaker for anyone human,” Jesse Green wrote in his New York Times review.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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      Christopher Durang, Playwright Who Mixed High Art and Low Humor, Dies at 75

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      In a career spanning more than 40 years, he established himself as a hyperliterate jester and an anarchic clown.Christopher Durang, a Tony Award-winning playwright and a master satirist, died Tuesday night at his home in Pipersville, Pa., in Bucks County. He was 75.His agent, Patrick Herold, said the cause was complications of aphasia. In 2016, Mr. Durang was found to have a rare form of dementia, logopenic primary progressive aphasia. The diagnosis was made public in 2022.An acid, impish writer, Mr. Durang never met a classic (“The Brothers Karamazov,” “The Glass Menagerie,” “Snow White”) that he couldn’t skewer. In a career spanning more than 40 years, he established himself as a hyperliterate jester and an anarchic clown. Regarding subject and theme, he pogoed from sex to metaphysics to serial killers to psychology, and he had a way of collapsing high art and jokes that aimed much lower.“He’s so scaldingly funny,” the actress Sigourney Weaver, a friend and collaborator since she met Mr. Durang at the Yale School of Drama, said in an interview. “You laugh with horror at what’s going on and your sheer inability to do anything about it.”But even in his most uproarious work — like his early play, the sex and psychoanalysis farce “Beyond Therapy,” or his late hit “Vanya and Sonia and Masha and Spike,” a delirious homage to Chekhov — there was often a strong undertow of melancholy.Mark Alhadeff and Cynthia Darlow in a 2014 production of Mr. Durang’s “Beyond Therapy” at the Actors Company Theater in New York.Marielle SolanWe 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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      Christopher Durang, the Surrealist of Snark

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      In works like “Vanya and Sonia and Masha and Spike,” the playwright would force you to laugh, not to dull the pain but to hone it.Pickpocketing Chekhov for dramatic capital is almost a rite of passage among playwrights, but only Christopher Durang invested the loot in beefcake.In his play “Vanya and Sonia and Masha and Spike,” Vanya and Sonia are more-or-less familiar transplants from the Russian hinterlands to Bucks County, Pa., dithering so much about the purpose of life that they neglect to have one. Masha, though a movie star, is a Chekhov type, too: endlessly fascinating, especially to herself.But you will not find Spike anywhere in the canon; a jovial, amoral, ab-tastic himbo, he is apparently unfamiliar with the function of clothes. They keep coming off.Durang, who died on Tuesday night at 75, was likewise a stripper, peeling the pants off serious theater, both to admire and ridicule what it was packing beneath. When “Vanya” won the Tony Award for best play in 2013, it was the culmination of a writing life spent remaking the respectable precedents and characters of the past in the snarky image of his own times. Drama became comedy, but then — surprise! — swung back toward drama, then swung back again, never quite settling. In making us laugh and then demanding a retraction, Durang became an absurdist Neil Simon for a post-great generation.Billy Magnussen as Spike, with Genevieve Angelson as Nina, in Lincoln Center Theater’s 2012 production of “Vanya and Sonia and Masha and Spike.” Sara Krulwich/The New York TimesOften enough, the laughing was of the can’t-catch-your-breath variety, further dizzying the ambivalence of the culturati by punching both high and low. I didn’t see any of the plays and sketches he wrote while a student at the Yale School of Drama in the early 1970s, often collaborating with pals like Sigourney Weaver, Meryl Streep, Albert Innaurato and Wendy Wasserstein, but the titles tell you a lot: “Better Dead Than Sorry,” “The Life Story of Mitzi Gaynor,” “When Dinah Shore Ruled the Earth,” “The Idiots Karamazov.”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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      ‘The Who’s Tommy’ Review: Going Full Tilt

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      Will the Who’s rock opera about a traumatized boy hit the jackpot again?That its plot makes no sense is not really the problem with “Tommy.” When it first appeared as a concept album, in 1969, it was, after all, billed as a rock opera. And let’s face it, if you’ve ever paid attention to its story unstoned, you’re going to have some questions, just as you might with “The Magic Flute.”Nor can you complain about the rock part of the billing; there’s some pretty magic guitaring going on, and some righteously harmonized vocals.Translations to film and the stage have offered additional pleasures. The 1975 movie gave us Tina Turner in top form — enough said. The original 1993 Broadway musical, with its flying Tommy and galloping pinball machine, was a visual groundbreaker, warmed by excellent performances. Even the colder, coarser revival that opened Thursday at the Nederlander Theater, long since rebranded as “The Who’s Tommy,” offers the excitement of big, poppy belting.Who’s Tommy indeed! And whose? Despite all its incarnations, the experience that makes the most powerful use of Pete Townshend’s infernally catchy songs remains the one that takes place in the ear’s imagination. Largely freed from the burdens of literalness, the album did not need to make sense to make history.Today, though, unless you’re a die-hard fan who thrills automatically to every lick and lyric, you may want something that calls itself musical theater to offer more than a full-tilt assault on the senses. This production — directed, like the original, by Des McAnuff — won’t provide that, being less interested in trying to put across the story (by McAnuff and Townshend) than in obscuring it with relentless noise and banal imagery.To be fair, the story, set during World War II and the two decades after, probably benefits from some obscurity. We first meet Tommy Walker as a cheerful 4-year-old (Olive Ross-Kline, alternating with Cecilia Ann Popp). But when his father (Adam Jacobs) returns after several years in a prisoner-of-war camp, and kills the lover that his mother (Alison Luff) has acquired in the meantime, the boy is traumatized. Witnessing the shooting, he instantly loses his ability to hear, speak and see, leaving him a shell of a child, defenseless against his parents’ rages and his pedophile uncle (John Ambrosino). It also makes him, for a musical, a bizarre protagonist, spending most of his time staring into a large, symbolic mirror.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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      ‘Opening Night’ Review: Ivo van Hove Makes a Stylish Movie Into a Sludgy Travesty

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      Ivo van Hove’s stage adaptation of the 1977 John Cassavetes film, with music by Rufus Wainwright, turns a taut character study into a corny melodrama.In a London auditorium, a work of art is being desecrated. “Opening Night,” John Cassavetes’s understatedly stylish 1977 movie about an actress struggling with midlife ennui, has been reimagined as a musical by the Belgian director Ivo van Hove, and the result is a travesty.Its antiheroine, the Broadway superstar Myrtle Gordon (Sheridan Smith), has landed the lead role in a play about a middle-aged woman. But she isn’t feeling it: Though she is about 40, she insists she can’t relate. She stumbles through rehearsals, clashing with the director, Manny (Hadley Fraser), and the playwright, Sarah (Nicola Hughes), then goes rogue during previews, taking liberties with the script.To compound matters, the actress develops a neurotic fixation on Nancy (Shira Haas), a 17-year-old fan killed in a car crash moments after getting Myrtle’s autograph. Convinced that Nancy is a cipher for her own lost youth, Myrtle intermittently hallucinates the dead girl’s ghost, and even converses with it. Myrtle is unraveling, but the show — somehow — must go on.Smith with Shira Haas, who plays Nancy, a fan of Myrtle’s who was killed in a car crash after getting Myrtle’s autograph.Jan VersweyveldIt’s a compelling story line, filled with dramatic possibilities, but “Opening Night,” which runs at the Gielgud Theater through July 27, is scuppered by a series of poor choices. Smith is miscast as Myrtle, for a start: Her onstage bearing exudes a homely approachability rather than high-strung poise or inscrutable aloofness.Benjamin Walker is wooden as Maurice, Myrtle’s stage co-star and ex-partner, who Cassavetes himself played charmingly in the film. The estranged couple’s brittle onstage chemistry is an essential ingredient in the drama; here, they seem like actual strangers. Haas’s spectral Nancy is a disconcertingly cutesy symbol of youthful feminine vitality, a sprite-like figure who scurries around the stage in a short skirt, knee-high socks and platform boots — suggesting not so much a young woman as a pubescent child.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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      Nicole Scherzinger to Star in ‘Sunset Boulevard’ on Broadway in the Fall

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      The revival, birthed in London, is a radically reimagined version of the 1993 Andrew Lloyd Webber musical based on a 1950 Billy Wilder film.Jamie Lloyd’s radically reimagined revival of “Sunset Boulevard,” in which Nicole Scherzinger plays the faded film star Norma Desmond, will come to Broadway this fall after a rapturously received run in London.Earlier this month, the revival was nominated for 11 Olivier Awards, including best musical revival, best actress in a musical for Scherzinger and best director for Lloyd. The Broadway production is scheduled to begin previews Sept. 28 and then open on Oct. 20 at the St. James Theater.The musical, a dark thriller based on a 1950 film by Billy Wilder, features music by Andrew Lloyd Webber and book and lyrics by Don Black and Christopher Hampton; Glenn Close starred in both previous Broadway productions, in 1994 and 2017. (The stage role was originated by Patti LuPone in London; the film starred Gloria Swanson.)Lloyd, a British theatermaker, has carved out a distinctive niche by staging starkly spare productions of classics with a focus on psychological drama. The new production, which ended its London run in January, is stripped down in many ways — two songs have been cut, there is no grand staircase or turban and Scherzinger doesn’t even wear shoes.“It’s much more about the psychological and emotional journey as opposed to huge, elaborate sets,” Lloyd said in an interview. “It’s very much a kind of psychological chamber piece.”The show, set in midcentury Los Angeles, is about a forgotten star of the silent film era who latches onto an aspiring young screenwriter in the hopes of rebooting her career.Scherzinger, 45, has had a varied entertainment path — as a musician, an actress and a television talent show judge. The critic Matt Wolf, reviewing the London production for The New York Times, called this “a career-defining performance” for Scherzinger; the New York production will be her Broadway debut.“I guess I’ve been waiting for this my whole life,” Scherzinger, who studied theater in high school and college, said in an interview. “I can’t believe that it’s finally about to happen.”Scherzinger, who was born in Hawaii and raised in Kentucky, said she was eager to have another go at the role in the United States. She said she will set aside the script for a few months — she just spent three weeks visiting with her grandparents in Hawaii — before reimmersing herself in the character.“I’ll be back in America, my home, and I’m going to want to try and up my game even more,” she said. “There’s certain places I can make stronger choices, and I’m excited to play around with that to see where it can go — it’s great to be able to explore even more and go deeper.”Scherzinger, who said she has committed to nine months in the role, will be joined on Broadway by her three Olivier-nominated co-stars, Tom Francis, Grace Hodgett-Young and David Thaxton. More

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      ‘Like They Do in the Movies’ Review: Laurence Fishburne Widens His Lens

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      In his solo show, the screen and stage star shines a light into his formative dark corners and on the people who made an impression.When Laurence Fishburne wants to get closer to audiences of his one-man show, he lowers himself into a deep squat near the lip of the stage. Hands clasped and knees spread wide, the actor — who has become an avatar of inscrutability during his half-century screen and stage career — seems to be trying to shrink himself down to life-size.Fishburne’s indomitable presence is the muscle behind “Like They Do in the Movies,” which opened on Thursday night at the Perelman Performing Arts Center in Lower Manhattan. His vigor and gravitas are unwavering, even as Fishburne, the 62-year-old “Matrix” star, softens to reveal difficult details from his childhood and to portray others whose vulnerability made a personal impression.Part memoir and part ethnography, the show opens with Fishburne, who played a schemer in the 2022 Broadway revival of “American Buffalo” and a Supreme Court justice in the 2008 one-man play “Thurgood,” as you’ve likely never seen him before: draped in sequins (the flowing black robes are credited to Jimi Gureje). Addressing the audience in griot fashion, Fishburne briskly sketches his early years, introducing his mother, Hattie, a charm-school matron turned abusive stage mom. Using the refrain “but more on that later,” he indicates open questions he’ll return to, including how his father fits into the picture.These recollections have a clipped momentum, like listening to a celebrity narrate a tell-all at 1.5 speed. If the pacing makes him seem a bit guarded, it also serves a practical purpose: The production, written by Fishburne and crisply directed by Leonard Foglia, runs nearly two and half hours with an intermission. Greater economy would pack a more decisive punch, but the show rarely goes slack and Fishburne’s performance is thoroughly engrossing.That’s especially true as he slips into the more familiar territory of playing other people, in a series of vividly drawn monologues book ended by his own reflections. The play’s title may suggest a tour through Fishburne’s own Hollywood résumé, which includes an Oscar-nominated turn as Ike Turner in “What’s Love Got to Do With It.” But here, Fishburne plays a truck packer for The New York Daily News, a Hurricane Katrina survivor and a homeless man who washes cars, among others.Stalking Neil Patel’s sparse set — a stage with only a long table and a pair of chairs — Fishburne nimbly dons each persona with a keen and easy sensitivity. The assembly of character studies, mostly everyday New Yorker types, lacks an obvious sense of cohesiveness, though Fishburne himself emerges as the common thread.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