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    In Paris, First-Person Trauma Jumps from Page to Stage

    Several intimate literary accounts of pain and suffering have been adapted for the theater recently — with varying success.PARIS — When Vanessa Springora’s memoir, “Consent,” was published in 2020, it was the start of an overdue reckoning with child sexual abuse in France. Now the book has made its way to the stage, in a Paris production by Sébastien Davis that captures its raw impact yet lacks, at times, the clarity of purpose that Springora found in her writing.It’s not for lack of star power. For this monologue, Davis has cast Ludivine Sagnier, a movie actress who is a household name in France. She has rarely appeared in theater productions: Her last stage role was a decade ago, in Christophe Honoré’s “Nouveau Roman.”On the smaller second stage of the Espace Cardin, Sagnier looks increasingly assured as “Consent” unfolds. The production tracks the book closely, with some cuts. Springora’s troubled family background sets the scene for her encounter, at 13, with Gabriel Matzneff, then a famous author in his 50s who advocated for pedophilia in broad daylight and wrote extensively about his sexual encounters with teens. For two years, in the mid-1980s, he trapped Springora in a controlling sexual relationship, to which plenty of adults — and even the French police — turned a blind eye.In recent years, trauma memoirs have increasingly found a home in French playhouses. The works of Édouard Louis, now fodder for a wide range of international productions, are a prime example; later this season, one of Annie Ernaux’s most recent autobiographical books, “A Girl’s Story,” about her traumatic first sexual experience, is due for an adaptation at the Comédie-Française.While not innately theatrical — first-person narratives lend themselves to monologues, but not much else — these personal accounts of abusive situations tap into the cultural mood and offer neat emotional arcs. A one-woman show like “Consent” is also relatively cheap to produce and tour, no small advantage in straitened times for the arts.The set of “Consent.”Christophe Raynaud de LageAnd “Consent” is a story worth telling onstage. A proportion of audience members at any given performance will have lived through the permissive years Springora revisits: In the wake of the student uprisings of May 1968, the mantra “It’s forbidden to forbid” was taken literally by many French intellectuals. Sexual relations between minors and adults shouldn’t be criminalized, thinkers including Jean-Paul Sartre and Simone de Beauvoir argued. “Consent” is an indictment not just of Matzneff, but of the culture that allowed pedophiles to operate freely, and Sagnier is especially convincing when she brings it to life. With hints of dark humor, she mimics the men who surrounded the teenage Springora. There is her stepfather, who kisses her on the lips after announcing that he is separating from her mother, and the philosopher Emil Cioran, a friend of Matzneff’s, who explains to her just how “lucky” she is to be his child muse.Sagnier takes longer to settle into the role of Springora herself. Early on, when she talks about Springora’s absent father, her delivery falls somewhat flat, and isn’t helped by the heavy-handed live drums that are the musical accompaniment throughout. In a pink tank top and a white tracksuit, her hair in a ponytail, she looks like an overly gauche teenager. This staging choice starts to pay off when Springora and Matzneff meet, because it is so far removed from Matzneff’s idealization of Springora as a youthful “goddess.” As Sagnier lies on the shimmering black sheets of an onstage bed, the absurdity of their budding sexual relationship is clear.As Springora grows older, this traumatized child evidently remains within. The scene in which Sagnier wonders if she was “the accomplice of a pedophile,” because she outwardly “consented” to the relationship, is genuinely upsetting.Yet Davis intersperses “Consent” with fussy attempts at representing Springora’s fraying sense of self, as Matzneff creates a fictionalized version of her through his writing. A semi-opaque screen forms the backdrop of the production, and at several points, Sagnier is required to strip to her underwear and assume a puppetlike pose as she delivers lines in silhouette.The handful of scenes in which Sagnier acts out sex acts — opening and closing her legs suggestively, or thrusting while sitting on a chair — are equally odd when sexual exploitation is the driving theme. Davis’s heart is certainly in the right place, but avoiding any hint of sexualization would have been a cautious, sensitive choice, especially for a male director telling this story.Dominique Blanc in “Pain” at the Athénée Théâtre Louis-Jouvet, directed by Patrice Chéreau and Thierry Thieû Niang.Simon GosselinThere are also more subtle adaptations of first-person trauma tales playing in Paris. At the Athénée Théâtre Louis-Jouvet, the actress Dominique Blanc has revived “Pain,” a production created for her in 2008 by the towering French director Patrice Chéreau, who died nearly a decade ago.While productions regularly outlive their creators in opera or in dance, it happens much more rarely in contemporary theater, and “Pain” is a welcome opportunity for younger theatergoers to acquaint themselves with Chéreau’s dramatic work. The production was based on a 1985 book of the same name, in which the French author Marguerite Duras gives an unvarnished account of her long wait for her husband’s return from a Nazi concentration camp, at the end of World War II.Blanc, a highly regarded artist, took a short leave of absence from the Comédie-Française to recreate “Pain” with Chéreau’s former assistant, Thierry Thieû Niang, and the result hasn’t aged. A wooden table and a few chairs provide the setting. Blanc sits with her back to the audience at the start of the show, her shoulders sinking before a word is spoken, and recreates Duras’s anguished routine — and the agonizing weeks that her husband, the writer Robert Antelme, spent close to death after his return — so starkly, so plainly, that not a single hand movement feels out of place.Yuming Hey, right, and Nicolas Martel in “Herculine Barbin: Archaeology of a Revolution,” directed by Catherine Marnas at the Théâtre 14.Pierre PlanchenaultWhile “Consent” and “Pain” draw on well-known literary works, “Herculine Barbin: Archaeology of a Revolution,” at the Théâtre 14, introduces a memoirist few in France know. Herculine Barbin, later known as Abel Barbin, was the first recognized intersex person in the country, after a 19th-century court decided in 1860 that they had been wrongly assigned a female identity at birth.The director Catherine Marnas relies on the account Barbin left of their life to recreate the events that led to their death by suicide, in 1969, in a funereal yet often compelling production. Marnas was especially inspired to cast Yuming Hey, a nonbinary actor, as the play’s central figure.Wrapped in white sheets that act variously as a shroud and period clothes, Hey cuts a quietly melancholy figure as Barbin, an outcast who struggled to leave being a woman behind in a society unequipped to understand that transition. Some accounts of trauma are probably best left to literature, but “Herculine Barbin” feels as if it earned its turn onstage.Le Consentement. Directed by Sébastien Davis. Théâtre de la Ville/Espace Cardin, on tour and at Théâtre de la Ville/Les Abbesses from Feb. 28 to March 1.La Douleur. Directed by Patrice Chéreau and Thierry Thieû Niang. Athénée Théâtre Louis-Jouvet, through Dec. 11.Herculine Barbin: Archéologie d’une Révolution. Directed by Catherine Marnas. Théâtre 14, through Dec. 3. More

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    Stephen Colbert Is Conflicted Over Oath Keepers Leader’s Conviction

    Colbert said he felt “pretty darn good” about Stewart Rhodes’s verdict: “and I feel a little bad about that, because the thing I feel great about is somebody else going to prison.”Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.Lock Him Up!A jury convicted the Oath Keepers leader Stewart Rhodes of seditious conspiracy on Tuesday, for his participation in the attack on the Capitol on Jan. 6, 2021.Stephen Colbert said on Wednesday night that he was conflicted about feeling “pretty darn good” about the news, adding “and I feel a little bad about that, because the thing I feel great about is somebody else going to prison.”“Rhodes was also found guilty of other bad stuff, which is why he is now facing a maximum of 60 years in prison. That’s a long time, baby. That’s a long stretch. On the bright side, by 2082, the hip new look might be steampunk cowboy pirate.” — STEPHEN COLBERT“Now, when you hear the name ‘Oath Keepers,’ you know, and that eye patch, it makes Rhodes sort of seem like a heroic freedom rebel. In reality, he’s a disbarred Yale law grad who wears an eye patch after accidentally shooting himself in the face with his own gun. Oops-a-karma!” — STEPHEN COLBERT“It’s embarrassing, is what it is. That’s like finding out Rambo wears that headband to cover up his ‘live, laugh, love’ tattoo.” — STEPHEN COLBERT“This conviction, make no mistake, is a huge deal. It marks the very first time that a jury has decided that the Jan. 6 violence was the product of an organized conspiracy. Well, yeah! I watched it — it sure seemed organized. I don’t remember any headlines that said, ‘Capitol Meet-Cute Gets Out of Hand.’” — STEPHEN COLBERT“Rhodes is such a scumbag, even his estranged wife chimed in, saying that the conviction is the first time Rhodes has ever faced consequences. Damn! Damn! That is what you call ‘winning the breakup.’” — STEPHEN COLBERTThe Punchiest Punchlines (It’s Lit Edition)“December is minutes away from happening, and they got the holidays started in our nation’s capitol tonight. The president and first lady took part in the 100th lighting of the National Christmas Tree. Tonight, thousands of Americans gathered outside the White House to watch an old man flip a light switch.” — JIMMY KIMMEL“The tree, it’s 27 feet tall. They did not chop it down. It is a live white fir tree, it was planted last October, after the previous National Christmas Tree was removed in May of 2021 because it had a fungal disease — the second time that year that a fungus had to be removed from the White House.” — JIMMY KIMMELThe Bits Worth WatchingOn Wednesday’s “Tonight Show,” Dolly Parton addressed rumors of a secret unreleased song not be released until 2045.What We’re Excited About on Thursday Night“Stranger Things” star Dave Harbour will talk about his new film, “Violent Night,” on Thursday’s “Late Late Show.”Also, Check This OutChristine McVie of Fleetwood Mac performing at Madison Square Garden in 2014.Charles Sykes/Invision, via Associated PressHere’s a playlist of the 12 best, and best-remembered, songs of Christine McVie, the Fleetwood Mac singer, songwriter and keyboardist who died on Wednesday at 79. More

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    Judge Declares Mistrial in Danny Masterson Rape Case

    A jury in Los Angeles said it was deadlocked on the three charges against the actor known for his role in “That ’70s Show.”A judge on Wednesday declared a mistrial in the rape case against Danny Masterson after a jury said it was deadlocked on charges that the actor raped three women at his home in the Hollywood Hills in the early 2000s, the Los Angeles County District Attorney’s Office said.Known for his roles in the sitcom “That ’70s Show” and the Netflix comedy “The Ranch,” Masterson, 46, was fired in 2017 amid sexual assault allegations.The jury could not reach a decision on the three charges of forcible rape that the actor faces in Los Angeles County Superior Court. If convicted, Masterson could face 45 years to life in prison.Opening arguments in the case began on Oct. 18. Deliberations began on Nov. 15 and reached a deadlock three days later, jurors told the judge, who instructed the jury to continue deliberating after a weeklong break for Thanksgiving. When the court met again on Monday, two jurors with Covid-19 were dismissed and replaced with two alternates, resetting the deliberations, The Associated Press reported.The district attorney’s office said in a statement on Wednesday that “we will now consider our next steps as it relates to prosecuting this case.”“While we are disappointed with the outcome in this trial, we thank the jurors for their service,” the statement said. “We also want to give our heartfelt appreciation to the victims for bravely stepping forward and recounting their harrowing experiences.”Masterson’s lawyers did not immediately respond to a request for comment.Masterson’s case involved accusations by two of the women that the Church of Scientology, to which they and Masterson belonged, discouraged them from reporting the rapes to law enforcement. The church strongly denied that it pressures victims.Philip Cohen, who represented Masterson in the trial, had sought to limit discussion of Scientology in court, telling the judge in October that it would unfairly bias the jury and force the defense to fight a “war on two fronts,” The Los Angeles Times reported.But the judge, Charlaine F. Olmedo, found that Scientology was relevant to the case, and that the women could testify about their belief that church policy discouraged them from reporting the accusations to law enforcement, The Times reported.According to a trial brief filed by the Los Angeles County District Attorney’s Office, Masterson raped a woman, identified only as Jen B., in April 2003 after she went to his house to pick up keys and he gave her a red vodka drink. About 20 or 30 minutes later, she felt “very disoriented,” the brief states.According to the brief, Masterson raped her after she regained consciousness on his bed. She reached for his hair to try to pull him off and tried to push a pillow into his face, it states. When Masterson heard a man yelling in the house, he pulled a gun from his night stand and told her not to move or “say anything,” adding expletives, the document states.The trial brief says that Masterson raped a second woman, identified only as Christina B., who had been in a relationship with him and had lived with him for six years.In November 2001, the document says, she awoke to Masterson “having sex with her” and told him to stop. “I fought back,” she said, according to the document. “I tried pushing him off me and saying, ‘No, I don’t want to have sex with you.’” She also pulled his hair, and he hit her, the document states.In December 2001, she had one or two glasses of wine at a restaurant with Masterson and woke up naked in her bed the next morning, feeling that it hurt to sit down or go to the bathroom, the brief states. She said she went downstairs and confronted Masterson, and he acknowledged having sex with her while she was unconscious, the document states.The brief says that Masterson raped a third woman, identified only as N. Trout, who occasionally saw him at parties and gatherings and, like him, was in the Celebrity Centre branch of Scientology.Sometime between October and December of 2003, she went to his house, where he handed her a glass of wine and told her to take off her clothes and get in his hot tub, where “everything started becoming blank,” the brief states. He assaulted her in the shower and on a bed, the document states. She told him, “No, I don’t want to do this,” according to the document.Two of the women spoke to officials in the Church of Scientology about the assaults, according to the brief.Jen B., after seeking the church’s permission, verbally and in writing, to report the rape, received a written response from the church’s international chief justice that cited a 1965 policy letter regarding “suppressive acts,” the brief states.To her, the response signaled that if she were to report a fellow Scientologist to the police, “I would be declared a suppressive person, and I would be out of my family and friends and everything I have,” the brief states. Still, she reported the rape to law enforcement in June 2004, the document states.The woman identified as Christina B. said that when she reported the rape to the church’s “ethics officer” or “master at arms,” the officer told her, “You can’t rape someone that you’re in a relationship with” and “Don’t say that word again,” the document states.The officer showed her “policies and things in the Ethics Book about high crimes in Scientology.” One of them was “reporting another Scientologist to law enforcement,” she said, according to the brief.She understood that, if she went to the police, “the church would have ultimately destroyed” her and declared her a “suppressive person,” the document states.The woman identified as N. Trout told her mother and best friend about the rape, but not the church, the brief states.“If you have a legal situation with another member of the church, you may not handle it externally from the church, and it’s very explicit,” she said, according to the brief. She added that she “felt sufficiently intimidated by the repercussions.”In an in an emailed statement on Oct. 21, the church accused prosecutors of injecting Scientology into the trial and misrepresenting its doctrines and beliefs “to stir up passion and prejudice in the uninformed.”“The church does not discourage anyone from reporting any alleged crime nor tell anyone not to report any alleged criminal conduct,” it said in the statement. “The church has no policy prohibiting or discouraging members from reporting criminal conduct of Scientologists, or of anyone, to law enforcement. Quite the opposite. Church policy explicitly demands Scientologists abide by all laws of the land.” More

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    Michael Feingold, Forceful Drama Critic, Dies at 77

    For decades he wrote about theater in The Village Voice, but he also was a dramaturge and a Tony-nominated translator.Michael Feingold, whose learned writing about the theater was a fixture of The Village Voice for decades, and who was also a dramaturge, a translator and a Tony Award-nominated lyricist and adapter, died on Nov. 21 in Manhattan. He was 77.Daniel Pardo, one of his executors, confirmed the death, in a hospital. He said Mr. Feingold had had a longstanding heart condition.Mr. Feingold had an encyclopedic knowledge of plays and musicals, which he drew upon as he sized up productions, beginning in the early 1970s and continuing until recently. He did not pull punches, even if his target was a venerable veteran.He once dismissed Andrew Lloyd Webber, whose music is often said to be derivative, with this line: “Webber’s music isn’t so painful to hear, if you don’t mind its being so soiled from previous use.”In 2003 he assessed Neil Simon’s last produced play, “Rose’s Dilemma,” saying that it “doesn’t mean anything to anybody and doesn’t reveal any understanding, on its author’s part, of how plays are written.” Mr. Simon at that point had won multiple Tony Awards and the Pulitzer Prize for drama.Theatrical trends did not impress Mr. Feingold either, especially Broadway’s late-20th-century fixation on big-budget musicals that, as he once put it, were about “large, mechanized objects” rather than characters. His 1991 takedown of Cameron Mackintosh’s production of “Miss Saigon,” which ran on Broadway for 10 years and was famed for its onstage helicopter, was part of theatrical lore.“Every civilization gets the theater it deserves, and we get ‘Miss Saigon,’ which means we can now say definitively that our civilization is over,” Mr. Feingold wrote. “After this, I see no way out but an aggressive clearance program: All the Broadway theaters must be demolished, without regard for their size, history or landmark status.”He went on to list other things that needed to be done away with, including the staff of The New York Times (where the critic Frank Rich had praised the show). Also, he said, “Cameron Mackintosh and his production staff should be slowly beaten to death with blunt instruments; this year’s Pulitzer Prize judges in drama could be used for the job.” Those judges had, weeks earlier, given the drama Pulitzer to Mr. Simon for “Lost in Yonkers.”But Mr. Feingold was not a critic who would just sit and snipe. He was active in creating for the theater himself, even while writing criticism for The Voice.He translated numerous European works for the American stage, especially those of Bertolt Brecht and Kurt Weill. His adaptation of the Brecht-Weill collaboration “Happy End” even made Broadway in 1977, with Meryl Streep and Christopher Lloyd in the cast. He shared Tony nominations for the book and for the score. He earned another Broadway credit in 1989 for his translation of another Brecht-Weill work, “Threepenny Opera.” His translation earned some favorable comments, but critics trashed the show, which featured the rock star Sting.Mr. Feingold spent time as literary manager for the Yale Repertory Theater, the Guthrie Theater in Minneapolis and the American Repertory Theater in Cambridge, Mass., roles in which he would read scripts and often help shape ones that were accepted for production. The theater historian Jeffrey Sweet, in his book “The O’Neill: The Transformation of Modern American Theater” (2014), recounted the role played by Mr. Feingold in propelling the career of August Wilson.In 1982, when Mr. Wilson was still largely unknown, he brought his play “Ma Rainey’s Black Bottom” to the National Playwrights Conference at the O’Neill Theater Center in Waterford, Conn., where Mr. Feingold was doing dramaturgy. The first reading of the piece, directed by William Partlan, lasted more than four hours. Mr. Partlan and Mr. Feingold talked Mr. Wilson through the necessary trimming.“Cutting was a torment to him,” Mr. Feingold said in an interview for the book. “Cutting was always a terrible struggle for August because every word was blood.”Another reading was held, and this time the play was 90 minutes shorter. Mr. Rich, the Times critic, was in the audience and was impressed. His enthusiastic write-up in The Times jump-started Mr. Wilson’s career.“While there’s nothing novel about rich language in the theater,” Mr. Rich wrote, “it is quite unusual in 1982 to find a playwright who is willing to stake his claim to the stage not with stories or moral platitudes, but with the beauty and meaning of torrents of words.”Mr. Feingold wrote for The Voice from 1971 to 2013, when he became a victim of downsizing (though he would return later in a limited capacity). Robert Simonson, reporting on that dismissal in Playbill, said that Mr. Feingold’s writing was known for “erudition and understanding of theater history, both ancient and modern, and how current plays fit in with that continuum.”Mr. Feingold, right, in 2015 at the Obie Awards with, from left, the costume designer William Ivey Long, the performer Lea DeLaria and Heather Hitchens, the president of the American Theater Wing. Mr. Feingold was often a judge for the Obies, and he received one of his own in 2020.Ilya S. Savenok/Getty Images for American Theater WingMr. Feingold was born on May 5, 1945, in Chicago. His mother, Elsie (Silver) Feingold, taught piano, and his father, Bernard, managed a tannery.Michael grew up in Chicago and Highland Park, Ill., where the family moved when he was in high school. The Highland Park high school he attended had a drama club where, as he put it in an interview with the Primary Stages Off-Broadway Oral History Project in 2018, “I did some inept acting and some slightly less inept directing.”He became further interested in theater at Columbia University, where he earned a degree in English and comparative literature in 1966. He had taken a senior seminar from Robert Brustein, who was then known primarily for his theater criticism, and in the fall of 1965 asked if Mr. Brustein would write him a recommendation to support his application to the Yale School of Drama. After Christmas break, he asked if Mr. Brustein had remembered to do so.“He smiled mysteriously and said, ‘Oh, don’t worry about that,’” Mr. Feingold said in the oral history. “And I said, ‘What do you mean?’ And he said, ‘Read The Times tomorrow.’”The next day the newspaper reported that Mr. Brustein had just been named dean of Yale Drama.“So he wrote the recommendation and then he accepted it,” Mr. Feingold said, “feeling that he should take his own advice.”Mr. Feingold had wanted to study playwriting at Yale, and he did, but Mr. Brustein steered him toward criticism as well. He began writing for The Voice, and in 1983 he was named its chief drama critic.Mr. Feingold, who lived in Manhattan and who leaves no immediate survivors, was often a judge for the Obie Awards, which recognize Off Broadway work. In 2020 he received one of his own, a special citation recognizing “his extraordinary service to the theater.”He was, above all, a champion of theater that is bold and challenging. In 1993 he was the editor of “Grove New American Theater,” a play collection that included work by Karen Finley, Mac Wellman and other cutting-edge writers.In the introduction to that book, he lamented the cyclical nature of American theater: a period of innovation, then stagnation, repeated endlessly, stunting growth.“If the theater doesn’t grow up, the American public doesn’t grow up either,” he wrote. “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.” More

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    The Museum of Broadway Is Open. Here Are 10 Highlights.

    In Times Square, a 26,000-square-foot space details the history of theater with objects like Patti LuPone’s “Evita” wig, a Jets jacket from “West Side Story” and more.When a Broadway show closes, the next stop for the hundreds of costumes, setpieces and props is often … the dumpster.“The producers often stop paying rent in a storage unit somewhere, which is heartbreaking,” said Julie Boardman, one of the founders of the Museum of Broadway, which opened in Times Square this month.Boardman, 40, a Broadway producer whose shows include “Funny Girl” and “Company,” and Diane Nicoletti, the founder of a marketing agency, are looking to reroute those items to their museum, a dream five years in the making.“We see it as an experiential, interactive museum that tells the story of Broadway through costumes, props and artifacts,” Nicoletti, 40, said of the four-floor, 26,000-square-foot space on West 45th Street, next to the Lyceum Theater.The museum was a self-funded project at the start, Nicoletti said, as they drew from Boardman’s connections to secure meetings with major players in the New York theater industry, including theater owners; the heads of the American Theater Wing, the Broadway League, Broadway Cares/Equity Fights AIDS; and executives from the licensing companies. (Boardman and Nicoletti declined to share the for-profit institution’s budget and early investors. Tickets cost $39 to $49, with a portion of each ticket benefiting the nonprofit Broadway Cares/Equity Fights AIDS.)The museum occupies a building next to the Lyceum Theater on West 45th Street.Sara Krulwich/The New York TimesOriginally scheduled to open in 2020, the museum was delayed by the pandemic — though that gave Boardman and Nicoletti more time to acquire artifacts, photographs and costumes. A majority of the more than 1,000 objects and photographs on display are loans from individual artists, creators and producers, as well as performing arts organizations like Disney Theatrical Productions and the Public Theater.The space is organized chronologically, starting with Broadway’s beginnings in the mid-18th century and running to productions onstage now. And more than 500 shows are highlighted here in the form of items like a pair of tap shoes from the current revival of “The Music Man” and the arm cast that the actor Sam Primack wore onstage in September during the final Broadway performance of “Dear Evan Hansen.” Several of the rooms were dreamed up by the same set designers who worked on the shows the spaces are devoted to, among them Paul Clay (“Rent”) and Bunny Christie, who designed the recent revival of “Company.”Nicoletti and Boardman said they also wanted to reveal how shows are made, and highlight the roles of costumers, press agents and stage managers. To that end, a first-floor space, by the set designer David Rockwell, takes visitors behind the scenes of the making of a Broadway show.“People don’t realize shows take five, seven, 10 years to put together,” Boardman said.In addition to rotating the items on display in the permanent areas, Boardman said, the museum plans to host two or three special exhibitions each year in a first-floor space that is now devoted to the drawings of the theatrical caricaturist Al Hirschfeld.And as notable Broadway productions end their runs, well, they’ll be ready.“We already have a glove from ‘MJ,’” Boardman said. “And we’re getting a ‘Strange Loop’ usher hat.”Here are 10 highlights from the collection.Sara Krulwich/The New York TimesSara Krulwich/The New York TimesBroadway AIDS QuiltThis quilt, meant to mourn those lost to AIDS and show solidarity with those living with it, was one of the first projects initiated by the organizations Broadway Cares and Equity Fights AIDS. Shows running on Broadway in the late 1980s created handcrafted 7-inch-by-7-inch squares, with much of the work handled by the productions’ wardrobe teams. (Look for the square for the 1984 Terrence McNally musical “The Rink,” which is signed by Liza Minnelli and Chita Rivera, who won a Tony Award for her role the show.)Patti LuPone ‘Evita’ WigYou aren’t likely to see a Museum of Broadway Wigs anytime soon. That’s because wigs are expensive, and they’re often reused, dyed or cut for new productions, said Michael McDonald, a costumes and props curator for the museum. But this one, created for LuPone by the celebrated wigmaker Paul Huntley for the original 1979 Broadway production of “Evita” — and possibly worn on the production’s opening night — was a gift to her. Each of the approximately 100,000 strands was fitted through a minuscule hole, one by one, to create an accurate hairline, resulting in a seamless look. “It’s hard to believe there’s bobby pins, a cap and a full head of her own hair under the wig,” McDonald said as he pointed to a photograph of LuPone wearing it.Sara Krulwich/The New York TimesSara Krulwich/The New York Times‘West Side Story’ JacketThis Jets jacket, worn by the actor Don Grilley, who succeeded Larry Kert, who played Tony in the original 1957 Broadway company of “West Side Story,” hung in a closet for decades. It was given to the museum by Grilley’s widow, Lesley Stewart Grilley. (Don Grilley died in 2017.) “We got lucky,” McDonald said. “There aren’t many costumes still around from the original.”‘Hair’ Military JacketClearly built to last, this red-and-green military jacket was worn by an ensemble member in the original 1968 production of “Hair,” the 2008 Public Theater revival in Central Park, the 2009 Broadway revival and that production’s 2010 transfer to London. But it most likely dates back even further, said McDonald, who received a Tony nomination for designing the costumes for the Broadway revival and loaned the jacket to the museum. “It was likely used in a production of ‘Much Ado About Nothing’ at the Public in the 1960s,” he said.Sara Krulwich/The New York TimesSara Krulwich/The New York TimesLittle Red Dress From ‘Annie’The iconic fiery red frock from the 1977 Broadway musical about a little orphan with curly red hair whose pluck and positivity wins the heart of the billionaire Oliver Warbucks (not to mention the audience) is on loan from the Connecticut nonprofit Goodspeed Musicals. (“Annie” originated at Goodspeed Opera House in 1976.) “It’s honestly the most instantly recognizable costume on earth,” said Lisa Zinni, a costumes and props curator for the museum.Meryl Streep’s Broadway Debut CostumeLuke McDonough, the longtime costumes director at the Public Theater, had the foresight to hold on to this one: a floor-length, off-white lacy number worn by a then-little-known actress named Meryl Streep, who made her Broadway debut in the Public’s production of “Trelawny of the ‘Wells’” at Lincoln Center in 1975. (One of her co-stars was another fresh face making his Broadway debut: Mandy Patinkin.)Sara Krulwich/The New York TimesSara Krulwich/The New York Times‘Phantom of the Opera’ Chandelier InstallationEach of the 13,917 glistening crystals in this piece, which were fashioned by the German artist Ulli Böhmelmann into hanging strands, is meant to represent one performance the Broadway production of “The Phantom of the Opera” will have played from its opening on Jan. 26, 1988, through its closing night performance. Though the final show was originally set for Feb. 18, 2023, the production announced Tuesday that it had been pushed to April 16 amid strong ticket sales (Böhmelmann plans to add the necessary crystals). ‘Avenue Q’ PuppetsIn the early days of the 2003 Broadway production of the puppet-filled musical comedy “Avenue Q,” the show’s low budget meant the puppeteers had to put their charges through quick changes. The show initially had only three Princeton puppets — but he had eight costumes — meaning the puppets took a beating from changing clothes multiple times eight shows a week. “Eventually, they had a puppet for every costume,” McDonald said.Sara Krulwich/The New York TimesAl Hirschfeld Foundation; Sara Krulwich/The New York TimesGershwin Theater Set ModelThis scale model, which is just over five feet wide, was designed by Edward Pierce, the associate scenic designer of the original Broadway production of “Wicked,” and took four people seven weeks to build. It includes more than 300 individual characters — and another 300 seated audience members in the auditorium. (See if you can find the Easter egg: a small model of the set model, with the designers — who look like the actual designers — showing the director a future design for “Wicked.”)Al Hirschfeld Etching of Barbra StreisandThe theater caricaturist Al Hirschfeld, who was most famous for his sketches that ran in The New York Times the Sunday before a show opened, created around 10,000 drawings over his 82-year career. But one of his most popular pieces was his 1968 portrait of Barbra Streisand — captured here in a 1975 etching — which he drew on the Sunday before “Funny Girl” opened in March 1964. It depicts Streisand looking into a mirror showing a 1910 photo of Fanny Brice, whom she played in the Jule Styne musical. “For him, a caption was a toe-curling admission of failure,” said David Leopold, the Al Hirschfeld Foundation creative director who curated the special exhibition. “He wanted the drawing to stand on its own two feet.” More

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    Playing Neil Diamond: A Dream Role, and a ‘Crazy Privilege’

    Will Swenson, the star of “A Beautiful Noise,” has come a long way from his days as an eighth grader wooing girls with his Diamond repertoire.Back in the era of the eight-track tape, the actor Will Swenson’s father played Neil Diamond albums practically on a loop. A poster of Diamond, the Brooklyn-born singer-songwriter most famous for the singalong behemoth “Sweet Caroline,” hung on a wall in the family’s garage.So when Swenson was in eighth grade, looking to “woo girls around the campfire” with his guitar, it was obvious to him that a few Diamond tunes belonged in his repertoire.“My go-to was ‘Play Me,’” he said, “which is the most sexual song ever, and I don’t think that it dawned on my innocent little Mormon brain that I was singing just lascivious lyrics to these innocent little Mormon girls.”In early November in his dressing room at the Broadhurst Theater, Swenson laughed at that memory in what he called his “post-show morning voice”: extra deep with a touch of sandpaper. Given the demands of his song-heavy current Broadway gig — playing the title character in “A Beautiful Noise, The Neil Diamond Musical,” which opens on Dec. 4 after a month of previews — it was probably not the kindest thing to ask him to tax his voice further by giving a 90-minute interview.“It’s all right,” he said, an hour in. “Necessary evils.”With a book by Anthony McCarten, whose Warhol-Basquiat play, “The Collaboration,” opens on Broadway later in December, “A Beautiful Noise” is both a conventional jukebox musical and a strange beast, structurally. Michael Mayer, its director, aptly described it this way: “The first act is a musical wrapped in a play, and the second act is a play wrapped in a concert.”Swenson, who portrays the Neil Diamond of the 1960s to the 1990s, in the musical, which opens Dec. 4 at the Broadhurst Theater in Manhattan.Sara Krulwich/The New York TimesThe conceit that makes it what Swenson considers a memory play involves the present-day Neil Diamond, played by Mark Jacoby, talking through his life and lyrics with his therapist, played by Linda Powell. The real Diamond, now 81, spent years in psychoanalysis.Swenson, who at 50 can easily look much younger, headlines as the Neil Diamond of the 1960s to the ’90s. (In the interest of vocal preservation, Swenson plays the role seven times a week instead of the usual eight. Nick Fradiani takes over on Wednesday nights.) An anxious Jewish songsmith from Flatbush whose family name actually is Diamond, he writes the Monkees hit “I’m a Believer,” finds his feet as a performer on the tiny club stage of the Bitter End in Greenwich Village, inadvertently signs a record deal with the Mafia that comes back to bite him hard and over the years walks away from one marriage and then another.And amid all that, evolves into a globe-trotting, sequin-wearing, arena-playing star.For Swenson, doing a Diamond impression long ago became a kind of party trick. At some concerts given by his wife, Audra McDonald, he has come on toward the end to sing a little Diamond with her, mischievously.“We would set up ‘You Don’t Bring Me Flowers’” — the Diamond-Streisand duet about a couple whose love has died of neglect — “by saying, ‘Well, this is kind of our song. It kind of represents our emotional relationship,’” he said.A Tony Award nominee for playing Berger in Diane Paulus’s 2009 Broadway revival of “Hair,” and an Obie Award winner for his 2018 performance as Satan in “Jerry Springer — The Opera,” he’s been dangerously sexy in “Murder Ballad,” unnervingly menacing in “Assassins” — and fortuitous offstage in “110 in the Shade.” That 2007 Broadway production is where he met McDonald, whom he married in 2012, and with whom he has a 6-year-old daughter.To hear Swenson tell it, though, Diamond is the role he’d been waiting for since well before “A Beautiful Noise” became “a twinkle in anybody’s eye.” Playing a series of eight guitars as he traces the arc of Diamond’s life, he’s aiming for something deeper than mere mimicry.“I have strong feelings,” he said, “about the blurry line — the tricky, tricky line — between honoring a sound and, well, impression and impersonation.”But how to craft a performance that captures Diamond for eagle-eyed fans while allowing himself interpretive latitude?“That is the question, isn’t it,” Swenson said, wryly borrowing a line from early in the show, when Diamond has yet to find a sound that is his own.Neil Diamond circa 1968. Michael Ochs Archives/Getty ImagesABOVE THE COUCH in Swenson’s dressing room, near a photo of him and McDonald with their older children on their wedding day, is a framed, poster-size image of Swenson with Diamond at Fenway Park in Boston, when the cast of “A Beautiful Noise” went there to sing “Sweet Caroline” last June.That appearance — at the ballpark where Diamond had sung the same song in 2013 to comfort a city stricken in the aftermath of the Boston Marathon bombing — was a promotion for the show, which was in town for its pre-Broadway run. It was also a rare public performance by Diamond, who retired from touring in 2018 after being diagnosed with Parkinson’s disease.“It was just beautiful,” Swenson said, “to sort of watch him step into that piece of himself that I’m sure he’s missed so much.”A note in the Playbill for “A Beautiful Noise” suggests the profundity of that longing. Titled “Letter From Neil,” and dated September 2022, it begins:“The idea of a Broadway musical about my life has always been a daunting one. It wasn’t until the symptoms of Parkinson’s disease prematurely ended my touring career that I started to seriously consider the prospect. I say ‘prematurely’ because my heart and soul would tour until the day I die if only my body would cooperate.”The symptoms of Parkinson’s manifest differently in different people, but voice, movement, balance and cognition can all be affected. There’s an ache, then, built into the show’s celebration of Diamond’s life and music. Someone else — someone whose body will cooperate — gets to be onstage, performing Diamond’s songs in front of his fans. I asked Swenson if he thinks about that poignancy.“Yeah,” he said, misting up. “It’s a crazy privilege. Especially because he does it better. Like, I’m the poor man’s version, and you’re screaming for me.”But such is the curious performer-audience dynamic of jukebox biomusicals, whose playlists so instantly unlock remembrance that they might as well be madeleines. And just as Michael Jackson fans react to Myles Frost in the title role of “MJ” as if Jackson himself were in the room, Diamond fans respond to Swenson as if they were at a Diamond concert back in the day.It’s quite a thing to behold. At the first preview of “A Beautiful Noise,” in early November, a sea of mostly older audience members needed merely the slightest cue not just to sing along (which, in the case of a few judiciously chosen songs, the show encourages) but also to perform the same movements in unison — air punches, raised arms. To an uncanny degree, they knew precisely what was expected of them, because Diamond had expected it.Steven Hoggett, 50, the show’s choreographer, finds this tapping of physical memory “professionally fascinating,” particularly when he watches the crowd from above. The son of Diamond fans, Hoggett grew up in Britain knowing the albums his parents played, like “The Jazz Singer” (1980), and singles that charted there, like “Beautiful Noise.” But he looks in wonder at the Diamond faithful, whose bodies have retained their kinetic history.“These people,” he said, “they’re responding to gigs they went to when I was 4.”Giving Diamond fans possibly the closest thing they can get now to the live concert experience of an artist they love, Swenson is the beneficiary of all that nostalgic affection, which he knows isn’t really for him.“I feel like I’m lying to them sometimes, because I’m like” — and here Swenson dropped his voice to a whisper — “‘I’m not Neil.’”BEFORE SWENSON MADE it big on the New York stage, he was a star of Mormon cinema.Born in Logan, Utah, the second of four siblings, Swenson spent his early childhood in Glendale, Calif., doing shows at his grandparents’ theater. His grandmother, the biological daughter of a Ziegfeld Follies girl who gave her up for adoption, was a playwright — “three-act, family-friendly comedies, mostly,” Swenson said.He was 12 when his parents moved the family to Salt Lake City to start their own theater, and about 16 when he met the girl who would become his first wife.Between high school and starting college at Brigham Young University, he went on a two-year mission to Ecuador. During that trip, which he remembers as “a beautiful time” in his life, he kept waiting in vain for confirmation from God that everything he had been taught about Mormonism was true.Swenson at Carmine Street Guitars. In the show, he plays a series of eight guitars as he traces the arc of Diamond’s life.Peter Fisher for The New York TimesThen in 1999, he joined the second national tour of “Miss Saigon.” As the show crisscrossed the country, he visited sites that figured in Mormon history, read books about the church, discovered unsettling things that he had not known about it.“Having to tell my mom that I was going to leave the church was maybe the hardest thing I’ve ever done in my life,” Swenson said. “From the time that I decided that I had to leave the church to the time that I legitimately was open and honest about it with everyone was probably a 12-year journey.”In the early 2000s, as he was starting out in New York, he returned to Utah to star in a movie called “The Singles Ward,” as a standup comic whose wife divorces him, which dumps him back into the Mormon dating pool. The film was a niche success, so he did some more, including a sequel to “The Singles Ward.”But the apex was “Sons of Provo,” which Swenson co-wrote, directed and starred in. A clever, very funny mockumentary about a Mormon boy band, it doesn’t come off as the slightest bit mean, even when you know that he eventually left the fold.Does it matter, by the way, that a former Mormon from Utah has been cast as a Jewish guy from New York? To Mayer, 62, who is Jewish — and whose other current Broadway show is the revival of “Funny Girl” — the answer is no.“The thing about Neil that is most compelling,” he said, “isn’t necessarily the fact that he’s Jewish or that he’s from Brooklyn as much as he is a bit of a victim of a generational anxiety and depression. And I feel like that is not unique to the Jews.”There is also an argument to be made from what Swenson recalls as Diamond’s response at the first reading the actor did of the show. Performing for him, as him, from just a couple of yards away, Swenson worried initially that Diamond was bored, because he listened with his eyes closed.“I think we got to ‘Solitary Man,’ and he started kind of rocking and tapping his thumb and sort of mouthing the words,” Swenson said. “And then we got to, I think, ‘Sweet Caroline.’ And he kind of raised his hand, singing along, and it was just like: Oh, my God.”Swenson isn’t Diamond; it’s true. But even for the man himself, he can play the part. More

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    Jimmy Kimmel: Trump’s ‘Not a Racist — He Just Eats With Them’

    Kimmel poked fun at Mike Pence asking Donald Trump to apologize for a recent dinner, saying, “He hasn’t even apologized for trying to kill you.”Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.Dinner With SchmucksOn Tuesday, Jimmy Kimmel reported that “several prominent Republicans have distanced themselves from” Donald Trump’s “dinner with schmucks,” including former Vice President Mike Pence.“Even Mike Pence took some time during the world’s saddest book tour to weigh in on that ill-advised meal with the K-K-Ye,” Kimmel said, referring to Pence’s Monday night interview with NewsNation’s Leland Vittert. (Pence said that he believed Donald Trump should apologize for having dinner with a white nationalist, but that he doesn’t believe Trump is an antisemite or a racist.)“No, he’s not a racist — he just eats with them.” — JIMMY KIMMEL“I love Mike Pence telling Donald Trump to apologize. Donald Trump hasn’t even apologized for trying to kill you, you think he’s going to apologize for this?” — JIMMY KIMMEL“[Imitating Mike Pence] He can’t be a racist! He also wanted to kill me, a person lacking all color! I’m a manila envelope taped to a beige wall.” — STEPHEN COLBERT“Pence wasn’t the only Republican trying to distance himself from the former president. Louisiana Senator Bill Cassidy tweeted, ‘The former president hosting racist antisemites for dinner encourages other racist antisemites. These attitudes are immoral and should not be entertained. This is not the Republican Party.’ Counterpoint: Yes, it is.” — STEPHEN COLBERTThe Punchiest Punchlines (Another Round Edition)“Today, the U.S. beat Iran 1-0 to advance to the next round of the World Cup. Yes! U.S.A.! I just hope this doesn’t ruin our incredible friendship with Iran.” — JIMMY FALLON“When asked how they beat Iran, the U.S. coach said, ‘We found their secret game plan in a box at Mar-a-Lago.” — JIMMY FALLON“This is a weird one to root for because, you know, you’d think the U.S. versus Iran would be like Rocky versus Drago. But there’s a revolution going on right now in Iran led by women and young people who are speaking out against the vicious regime that runs that country, and the players for Iran have shown a lot of courage in this tournament. They even refused to sing their national anthem, which resulted in the Iranian government threatening to torture their families, so they weren’t exactly villains. It’s like finding out the shark in ‘Jaws’ is an endangered species — you don’t know who to root for.” — JIMMY KIMMEL“Americans haven’t been this fired up about soccer since we remembered it existed last week.” — JIMMY FALLONThe Bits Worth WatchingPam Grier talked with Trevor Noah about her new podcast, “The Plot Thickens,” on Tuesday’s “Daily Show.”What We’re Excited About on Wednesday NightDolly Parton will promote her new holiday special on Wednesday’s “Tonight Show.”Also, Check This OutBilal Baig is a creator and star of “Sort Of,” a comedy that suggests that almost everyone is in transition in one way or another.Yael Malka for The New York Times“Sort Of” star Bilal Baig returns for a second season of their HBO Max series on Dec. 1. More

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    ‘Phantom of the Opera’ to Delay Broadway Closing After Sales Spike

    Last week was the highest-grossing in the show’s 35-year history.“The Phantom of the Opera” is going to continue haunting Broadway a while longer.The musical — the longest-running show in Broadway history — announced in September that it would close in February, ending a storied run shortly after celebrating its 35th anniversary.But immediately after the closing was announced, ticket sales spiked. And last week, when Broadway was bolstered by Thanksgiving travelers, “Phantom” enjoyed its highest-grossing week ever: $2.2 million.So on Tuesday the show’s producer, Cameron Mackintosh, plans to announce an eight-week extension of the run, to April 16.“What a phenomenal response there has been to the show ending,” Mackintosh said in a telephone interview on Monday. “We’ve sold out virtually everything that we have on sale.”And why not run forever? The answer is simple: Until the closing announcement, the show was not selling enough tickets to defray its rising running costs. The slow return of audiences to Broadway following the pandemic and inflation were both contributing factors.“For most of last year, we were losing every week,” Mackintosh said. “There comes a point when you become theatrical wallpaper. People took it for granted that it’s going to run forever.”Those driving the surge in sales include fans hoping to catch the show before the closing.George Etheredge for The New York TimesThe turnabout at the box office has been significant. The week before the closing plan was announced, the show grossed $867,997. After the announcement, the numbers began to climb.Broadway is gradually rebuilding following the lengthy pandemic shutdown and last winter’s Omicron slump, which forced a number of shows to close.Thanksgiving week — traditionally one of the biggest of the year for Broadway — saw a modest uptick in grosses from last year. The 33 shows running this year grossed $37.5 million last week, up from the $32.5 million that the 33 shows running last year earned during the same period. But Broadway has yet to return to prepandemic levels: in 2019 there were 35 shows running, and they grossed $41.7 million.Those driving the surge in “Phantom” sales include people who have seen the show before but want to catch it again before the closing, as well as those who have never seen it and realize it’s now(ish) or never.“The reason it is sold out is because it’s coming off, absolutely,” Mackintosh said. “We know that one of the reasons that it’s doing it is because this is your last chance to see the great show.”Among the recent patrons: Lucas Perez, a 37-year-old smoke shop worker from Manalapan, N.J., who bought a pair of tickets as soon as the closing was announced. He had seen the show twice before — once as an elementary school student, and once as an adult — but wanted to bring his mother, who had never been. They went in mid-October.“It felt like I was saying goodbye to an old friend, to someone I’ll never see again,” Perez said. “I was very nostalgic the whole time. There’s something about the experience of ‘Phantom’ that other shows don’t have.”Featuring soaring music by Andrew Lloyd Webber, “Phantom” is a Gothic melodrama about a masked music lover who haunts the Paris Opera House and becomes fixated on a young soprano. The Broadway production, directed by Hal Prince, is a large-scale spectacle, with a 27-person orchestra and a famously crashing chandelier, emblematic of an earlier era of hyper-romantic musical theater. In 1988, the year the show opened, it won seven Tony Awards, including the one for best musical.Christina DiCillo, a 31-year-old Queens resident who works in the advertising department at the website TheaterMania, is a “Phan” — what the show’s superfans call themselves — who has seen the show 46 times so far, and hopes to hit 50 before it closes. She and her twin sister saw a touring production of the show when they were growing up in Buffalo; now they have each seen it repeatedly in multiple locations. (Christina has seen it in London, Las Vegas and South Korea, among other places.)“I feel bad for people that are just discovering it now,” she said. “The music always gets me, and when I’m there I’m transported. I keep thinking, ‘Maybe this time is the time it won’t feel as magical,’ but every time the chandelier rises you get the chills down your spine. I see a lot of Broadway shows for fun, and some of them are better and some of them are worse, but that’s one I know I’m going to love every time.”The Broadway run has been seen by 19.9 million people and has grossed $1.3 billion; at the time of its closing it will have had 13,981 performances. According to the production, it has employed about 6,500 people, including 400 actors.Mackintosh said there would be no further extensions. Following the show’s closing, he said, the Shubert Organization is planning a renovation of the Majestic Theater, where “Phantom” has run since its opening. The show will mark the end of its Broadway run with an April 14 benefit performance to raise money for charities, and a final performance with an audience including alumni and friends of the show.“Phantom” had a lengthy North American touring life, playing 14,500 performances in 77 cities, and productions are currently onstage in London (where running costs were lowered by reducing the orchestra size) and in Melbourne, Australia. A version in Mandarin is scheduled to open in China next year, and the actor Antonio Banderas is working on a new Spanish-language production.“It’s not like the show is going anywhere — the show will be done and is being done all over the world, and I’m sure it will come back to America and we’ll do a tour in the future,” Mackintosh said.And will it return to Broadway? “I’m sure at some point it will,” he said. “It’s a great show, and the great classics do come back.” More