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      Chita Rivera’s Life and Career Are Honored at the Tonys

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      Chita Rivera, who dazzled Broadway audiences for nearly seven decades, died in January at the age of 91. She “was a Broadway star as long as anyone — and maybe longer,” our chief theater critic, Jesse Green, wrote in an appraisal. Rivera, whose father was born in Puerto Rico, was best known for starring as Anita in “West Side Story” and Velma Kelly in “Chicago,” but had a long list of credits to her name. (She detailed her life in career in “Chita: A Memoir,” written with Patrick Pacheco, in 2023.)The New York Times has extensively covered Rivera’s life and career. Here is a look at some of our recent work remembering her. More

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      Daniel Radcliffe Conjures Up His First Tony

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      Daniel Radcliffe is one of the world’s most famous actors. But he’s never won a major award. Until now.Radcliffe won the Tony Award for best performance by an actor in a featured role in a musical, for his work in the smash hit revival of “Merrily We Roll Along.” The show is Radcliffe’s fifth on Broadway, but the first for which he was even nominated for a Tony, despite mostly admiring reviews all along the way.Radcliffe, 34, will forever be known as the actor who played the title wizard in all eight “Harry Potter” films. But even before shooting of those films concluded, he had begun making the adventurous choices — onstage and onscreen — that have helped him accomplish the rare transition from child star to respected adult actor.In “Merrily,” Radcliffe plays Charley Kringas, a lyricist-turned-playwright whose long friendship and collaboration with a talented composer (a character named Franklin Shepard, played by Jonathan Groff) has imploded.Radcliffe’s enormous star power is a significant factor in the success of this production, which promises to forever alter how “Merrily” is viewed because the show’s original production, in 1981, was a storied flop.Radcliffe has been with the production since 2022, when he played the same role, with the same co-stars, during an Off Broadway run at the nonprofit New York Theater Workshop. The Broadway production opened last October, and is scheduled to conclude on July 7.He has repeatedly shown a willingness to try new things. Radcliffe first arrived on Broadway in 2008, starring in a revival of “Equus” that required him to appear nude; his next role, in a 2011 revival of the musical “How to Succeed in Business Without Really Trying,” required him to sing.He has since returned to Broadway to star in two more plays, “The Cripple of Inishmaan” in 2014 and “The Lifespan of a Fact” in 2018, and he also starred in an Off Broadway play, “Privacy,” in 2016 at the Public Theater.He has continued to make movies, many of them indie-ish projects including “Kill Your Darlings,” “Swiss Army Man” and “Weird: The Al Yankovic Story.”In an interview last month, two days after being nominated for the Tony Award, Radcliffe said that he keeps returning to the stage “because I love it.”“There’s something thrilling about doing something that scares you, live, a bit, every night,” he said. “And just the connection with the audience — being in a room full of people and feeling them react to the story. We’re very lucky it’s such an emotional show: There’s a lot laughs, and there’s a lot of comedy, but you can also hear people being emotionally affected by it towards the end, and that’s a very rewarding thing to be a part of.” More

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      Nick Jonas and Adrienne Warren to Star in ‘Last Five Years’ on Broadway

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      Whitney White will direct the first Broadway production of Jason Robert Brown’s popular musical, which plans to open next spring.Nick Jonas and Adrienne Warren are planning to star in a production of “The Last Five Years” on Broadway next spring.Jonas appeared in several Broadway shows as a child; his one starring role was in 2012, when he stepped into a production of “How to Succeed in Business Without Really Trying,” and his most recent appearance on Broadway was for a Jonas Brothers concert stand last year.Warren is a Tony Award winner for playing the title role in “Tina.” She also had roles in Broadway productions of “Shuffle Along, or the Making of the Musical Sensation of 1921 and All That Followed” and “Bring It On.”“The Last Five Years,” by Jason Robert Brown, is about the breakup of a marriage. Critics have rarely warmed to it, but it has a huge fan base, and is widely staged. It has never been on Broadway, in part because it is so small — just two characters and one act. The show also has an unusual structure: the male protagonist, a novelist named Jamie, tells the story from beginning to end, while the female protagonist, an actress named Cathy, tells it in reverse chronological order.It was first staged in Illinois, at Northlight Theater, in 2001, with Norbert Leo Butz and Lauren Kennedy, and then had an Off Broadway run at the Minetta Lane Theater in 2002, with Butz and Sherie Rene Scott. In the decades since, there have been numerous national and international productions and adaptations. There was a film adaptation, starring Anna Kendrick and Jeremy Jordan, in 2015. More recently, Cynthia Erivo and Joshua Henry starred in a concert version in 2016, and at the height of the pandemic Out of the Box Theatrics and Holmdel Theater Company staged a memorable streaming production filmed inside an apartment with Nicholas Edwards and Nasia Thomas. (The number of licensed productions of the show doubled during the pandemic because the small cast and idiosyncratic narrative structure made it conducive to social distancing.)The Broadway production, directed by Whitney White (a Tony nominee for “Jaja’s African Hair Braiding”), will be produced by Seaview, an increasingly prolific producing entity run by Greg Nobile; ATG Productions, a subsidiary of British theater owner ATG Entertainment; and the Season, which is the new producing entity of theater marketers Mike Karns and Steven Tartick. More

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      Listen to the Best Songs From 8 Tony-Nominated Shows

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      “Hell’s Kitchen,” “Stereophonic” and others are up for top prizes at Sunday’s ceremony. Our critic takes stock of their cast albums, all available now.Cast albums are both keepsakes and fantasies, preserving a show for those who have seen it and implying it for those who have not. At their best, they are also stand-alone works of musical-theater art. Listening to the recordings of the eight shows nominated for Tony Awards in the best musical and best score categories — all of which are now available — I was impressed by how often and how variously they reached that standard. Below, in chronological order by opening date on Broadway, a guide to the latest batch of future treasures.‘Here Lies Love’The first of the season’s best score nominees, this sung-through biography of Imelda Marcos was the only one not to release a cast recording. That’s a shame, but die-hards can seek out the 2014 Off Broadway version or the 2010 concept album, with its whacka-whacka disco-beat ditties by David Byrne and Fatboy Slim. Remastered in 2023, and with a very different collection of songs from the Broadway show, the concept album is naturally less theatrical; with each track featuring a different singer in a totally distinctive style — Tori Amos, Florence Welch, Natalie Merchant, Sia — character development is impossible. Instead, it offers hypnotic dance-floor euphoria, as in Cyndi Lauper’s take on Imelda’s “Eleven Days” of courtship.“Eleven Days”“Here Lies Love,” featuring Cyndi Lauper, from the 2010 concept album (Nonesuch)‘Days of Wine and Roses’A story of husband-and-wife alcoholics on diverging paths toward recovery and disaster is bound to be harrowing, but Adam Guettel’s score carefully balances the inevitable lows with the sometimes wild highs. The cast album brilliantly captures that full-spectrum range, especially in the edge-of-danger singing by Kelli O’Hara and Brian D’Arcy James at their finest. Their quasi-operatic cries for relief and forgiveness effectively contrast (but do not contradict) the jazzy mania of songs like “Evanesce,” in which the snockered characters sound like xylophones and leap like dolphins, making you ache if not for drink then for these desperate drinkers.“Evanesce”“Days of Wine and Roses” (Nonesuch)‘Water for Elephants’Jessica Stone’s thrilling staging is a real eye-catcher in this circus-based musical at the Imperial Theater. But the cast album demonstrates how the songs, by PigPen Theater Co., a seven-man indie folk collective, can grab you by the ears. Avoiding the rut of some Americana scores, PigPen, along with its arrangers and orchestrators, offers a wide variety of sounds and formats that suit the milieu and the action: bravura showstoppers for the ringmaster, soaring anthems for the hero, haunting ballads for the woman caught between them. One of those ballads is “Easy,” a heartbreaker even if you have no idea that it’s sung to a dying horse.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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      Review: In a Nostalgic Revival, ‘Home’ Is Where the Heart Was

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      Samm-Art Williams’s 1979 play about the uprooting of a Black farmer returns to Broadway for the first time.To say that Samm-Art Williams’s 1979 play “Home” is old-fashioned is to say that “The Odyssey” and “The Wizard of Oz” are too: They are all tear-jerking stories about lost souls working their way back to the proverbial place where the heart is. But another way to see them is as keen records of how we thought, at particular points in time, about our place in the universe. Is that ever old-fashioned?For “Home,” which opened on Wednesday at the Todd Haimes Theater, the particular point in time is the tail end of the Great Migration, bringing millions of Black Americans to the North from the South in an attempt to escape racism and poverty. Among them is the play’s protagonist, Cephus Miles, a North Carolina farmer who winds up in a big city a lot like New York after spending five years in prison. His crime: taking too seriously the biblical commandment to love thy neighbor and the injunction not to kill. He refused to serve in Vietnam.Though the outline of the story might seem to warrant a furious response, like that of many antiwar and antiracist works of the ’70s, “Home” follows a different line, its honeyed cadences glazing its anger with affection. That’s apt because Williams is ultimately less interested in the embitterments of the world than in the ability, indeed the necessity, of masking the bad taste of unfairness with love.And Cephus (Tory Kittles) is certainly not angry at the South. His memories of hard work, tall tales and odd characters in segregated, fictional Cross Roads — likely based on Williams’s Burgaw, N.C. — are surprisingly upbeat. The poverty, being general, is bearable. (And funny: If a possum falls into the moonshine still, so be it.) The racism shows up mostly as marginalia, implied rather than prosecuted. Black boys shoot dice in the white section of the cemetery, Cephus tells us, because “that’s where the nice cement vaults were.” The Black section’s graves provide no level surface.The nostalgic style, unfashionable for decades, may be why “Home” has not until now been revived on Broadway, despite its successful and much-praised premiere. Kenny Leon’s production for the Roundabout Theater Company — a result of the company’s Refocus Project, designed “to elevate and restore marginalized plays to the American canon” — is thus especially welcome, if perhaps overly faithful to the original vision. With golden light (by Allen Lee Hughes) and a set consisting mostly of a rocking chair and a tobacco field that make the sharecropping life look strangely inviting (scenic design by Arnulfo Maldonado), it steers right into instead of away from sentimentality, giving us the full flavor of the writing at the cost of courting hokum.The play is mostly a monologue for Kittles’s character, while Ayers and Inge provide quick-take sketches of preachers, loose women, drunks and aunties.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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      Review: In ‘Breaking the Story,’ All’s Unfair in Love and War

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      Maggie Siff plays a war journalist facing the most dangerous assignment of her life: domesticity.“If in the first act you have hung a pistol on the wall, then in the following one it should be fired.” So Chekhov instructed playwrights, and so they are taught in drama schools everywhere.But perhaps there should be a corollary: If you start your action with a bang, a gun had better follow.In Alexis Scheer’s “Breaking the Story,” which opened on Tuesday at Second Stage Theater, the initial bang is an earsplitting doozy: an explosion that throws a war journalist and her videographer to the ground. Nor is it the first life-threatening attack that the journalist has experienced. We quickly learn that in her 20 years on the front lines, Marina (Maggie Siff) has been knocked down, knocked out, cut up and resewn many times over. A scar runs up the right side of her face like a cherry gummy worm.Arresting and alarming though that is, it sets up an impossible comparison with the rest of the play, which, despite the director Jo Bonney’s efforts, is woefully light on dramatic ammunition. A rom-com is no match for a war.That’s not just the play’s problem, but also Marina’s. The slim thread of story concerns her attempted retirement from conflict journalism and sudden engagement to the videographer, Bear (Louis Ozawa). But on the weekend of the wedding, it turns out she isn’t so sure she wants (or can even survive) the safe, domestic life she has spent her career avoiding. Danger was not merely a risk she took in choosing to be a war correspondent but the reason for the choice in the first place.Thrill-seeking disguised as high-mindedness might be an interesting idea to explore, and indeed Donald Margulies’s “Time Stands Still,” about a war journalist likewise returning to regular life, explored it movingly in 2010. But Scheer’s framing, in which a flock of comic and undermining kibitzers descends for the wedding on Marina’s new estate in Wellesley, Mass., is too lightweight to support much content. For most of the play they treat Marina’s war-lust as an endearing character trait, already factored into their love for her.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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      Public Theater Takes Shakespeare in the Park Out on the Town

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      The Delacorte Theater is being renovated, so a musical version of “The Comedy of Errors” is touring some of the city’s outdoor spaces.On a small stage, three actors practiced a sword fight — slowly, then faster. Behind them board operators ran a sound check and a wardrobe assistant shook out costumes.“This is the part of theater you never get to see,” Rebecca Martínez said.Martínez was speaking on Saturday in the southeast corner of Bryant Park. Behind her, the cast and crew of the Public Theater’s bilingual musical version of “The Comedy of Errors,” performed in Spanish and English, accomplished their preshow rituals. Martínez, who adapted the production with Julián Mesri, is also the show’s director and choreographer. Typically, routines like these are performed backstage, out of sight. But at Bryant Park, amid the birders, the tourists and the library patrons, a backstage was not available.With the Delacorte Theater closed for renovations, the Public is taking its summer production of “The Comedy of Errors” to parks and other outdoor sites in the city.Dolly Faibyshev for The New York TimesFor over 60 years, the Public Theater has offered summer Shakespeare in one place: Central Park’s Delacorte Theater. This year, the Delacorte is closed for renovations (it plans to reopen next summer, with “Twelfth Night”), so the Public has taken this free show to the streets, parks and plazas of the city’s five boroughs.This “Comedy of Errors” was seen last year, as a production of the Public’s Mobile Unit, which brings high-energy, low-tech versions of Shakespeare to venues like libraries, correctional facilities and community centers. The Unit travels light, with a rug in place of a set, which allows a simple set up and strike.“Like, boom! Rug! Let’s go!” Martínez said.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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      Art and the Power to Heal

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      Artists and community organizations around the world are increasingly turning to art to create positive social change.Using her arms as a makeshift clapboard, a Sudanese woman in a black hijab and black-and-white caftan clapped her hands together, signaling the beginning of the rehearsal. The other amateur Thespians, wearing comic stick-on mustaches, moved to their marks, improvising a scene in a women’s beauty salon where one patron’s hair is accidentally dyed blue.As the scene ended, all the women were in hysterics, ribbing each other over how they could better play their parts next time. Scenes like this are common at the Kuluhenna Creative Workshop, which is held at a community clubhouse on the outskirts of this Yorkshire city. The workshop is open to all local women, but with a focus on immigrant communities, including refugees and asylum seekers.The 90-minute class, which the Mafwa Theater has held since 2019, is a happy space. Each week, some 15 women gather to tell stories, dance, act and gossip. They are provided with bus passes, a play area for their young children and an on-site health worker in case any of the women want to talk.Eman Elsayed, a mother of three originally from Egypt, said before she joined the workshop in 2020, she was “depressed, isolated and fed up” with her life in Leeds. But eventually, especially after joining Mafwa Theater’s associate artists program in 2021, she felt her life change.“Art, it’s a magic wand,” said Elsayed, who now has a paid job doing community outreach for the program. “But you need to believe, and you need to take the time to see what it will do.”Mafwa’s project is just one example of a larger trend — as more and more groups and individuals worldwide are using the arts to empower, unite and even help heal people who have suffered trauma, from war and natural disaster, or discrimination, poverty and displacement.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