Eliana Willis

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    As Life Slowed Down, They Got Creative

    The actor and comedian Niecy Nash and her wife, Jessica Betts, a musician, reveal how crab legs, skinny dipping and therapy improved their life as newlyweds.The actor and comedian Niecy Nash and the musician Jessica Betts married Aug. 29, 2020, at the peak of the pandemic, in an intimate ceremony at their home in Ventura County, Calif.“We only had 24 guests,” noted Ms. Nash, 51, the Emmy winner who many fans may recognize from her longstanding role as Deputy Raineesha Williams on “Reno 911!” or as the enterprising Desna Simms on “Claws.”Since saying “I Do,” the creative pair, who met on Instagram in 2015, have been productive while forced to hunker down like the rest of the world.Ms. Betts, 41, who considers her music a blend of rock and soul and sings and plays the guitar, has been busy writing and producing music for a new album. Her first single from the project is tentatively scheduled for release this summer. Ms. Nash is involved in two highly anticipated Netflix projects, a biopic mini-series, “Monster: The Jeffrey Dahmer Story” and a rom-com film, “The Perfect Find,” also starring Gabrielle Union.The dynamic duo also had the opportunity to mix business and pleasure when they shared the stage for the 32nd Annual GLAAD Media Awards on April 8. Ms. Nash hosted the virtual ceremony and Ms. Betts performed her soulful single “Catch Me.”Home Is Where the Love IsWhile quarantined, the newlyweds got a chance to get to know each other better.“Covid is terrible in terms of what it represents, but in terms of us being able to have more time to spend together? I’m really not complaining about that,” Ms. Betts said.Ms. Nash agreed, adding, “The other good thing for us is we got married in our backyard. We can walk around here and say, ‘Remember, we took that wedding picture there? Remember we got married right there? We cut the cake right there!’ The house is so full of memories and getting married here made it warmer.”The couple also created new memories with at-home date nights. “One night we might cook out late,” Ms. Nash said. “Or, we might have a tent outside and sleep in the yard. Or we’ll say, ‘Let’s go in the movie room and have a movie night and pop real popcorn with butter.’ We enjoy our space.”Quarantined ActivitiesBeing stuck at home together enabled the newlyweds to rediscover their love of water. One of the couple’s fun quarantine pastimes included nightly dips in their pool. When asked who the better swimmer is between the two, Ms. Nash immediately responded, “Jessica.” Then she jokingly added, “But I’m the better skinny dipper.” To this Ms. Betts responded with a chuckle, “Yeah. You got me on that one.”Homebound ValentinesFor the couple’s first Valentine’s Day as a married couple, Ms. Betts planned a private dinner in the couple’s home. “It was funny because I get in the car and I can’t see anything,” Ms. Nash said. “I have to keep my eyes closed. We drive somewhere. I have no idea where we are because I can’t open my eyes. So I get to the door, open it, and we were at our house.“She drove me right back to the house and had it transformed into this beautiful dining experience,” she continued. “There were balloons everywhere. It was absolutely gorgeous.”Ms. Betts also hired a private chef to prepare a custom menu that included Caesar salad, filet mignon and snow crab legs. “We both love snow crab legs,” Ms. Nash said. “That’s our favorite.” A loaded brownie with caramel and whipped cream dessert and Cristal Champagne completed the romantic meal.[Sign up for Love Letter and always get the latest in Modern Love, weddings, and relationships in the news by email.]Dealing With LossesMs. Nash and Ms. Betts both lost relatives during the pandemic.“I lost my grandmother,” Ms. Betts said. “When you lose an older family member you’re filled with so many wonderful memories. But during Covid, it’s not easy to have gatherings or funerals. “It’s difficult because you want to be there for family members and make sure people are comforted. On the other hand, you have to be very careful and conscious of all the safety rules and regulations.”Ms. Nash, who lost a close great-aunt, echoed her wife’s sentiments. “Trying to manage everybody’s mind and heart and keep their spirits up during that time was important,” she said.Honeymoon Dreamin’There were no elaborate post-wedding vacations. While Covid travel restrictions played some part in this, Ms. Nash said there were other factors as well. “The first time we tried to leave, we got to the airport and my passport was expired,” she said. “I didn’t realize it because we were in quarantine. So, we just drove to Santa Barbara.” Right around the new year, the couple managed to take another “mini-moon” to Cabo San Lucas, Mexico. The couple see more travel in their future. “We were just talking about going to Aruba,” Ms. Betts said. “And Turks and Caicos,” Ms. Nash added.Talking it OutWhen asked how they avoid letting their challenges consume the relationship, Ms. Betts immediately answered, “Therapy.” To which Ms. Nash added, “I’m a firm believer that there’s two types of people in the world. People who are in therapy and people who need to be in therapy.”The couple were committed to keeping a consistent therapy schedule even during the pandemic. “We were doing our sessions over FaceTime in the beginning of the quarantine,” Ms. Nash said.Couples therapy was initially Ms. Nash’s idea, but now both she and Ms. Betts sing the praises of it. “We do individual and couples therapy and we started before we got married,” Ms. Nash said.A Desire to InspirePerusing through the couple’s social media accounts allows one to see how these two glow in each other’s presence. Both Ms. Betts and Ms. Nash recognize their powerful influence. “We definitely were not sitting together strategically coming up with a plan on how to inspire with our love, I can guarantee you that,” Ms. Betts said. “But yes, I take responsibility for that because I love to inspire and so does my wife.”Ms. Nash, who has three adult children and was previously married twice to men, said, “It’s funny because people always knew me to be in relationships with men.”When she and Ms. Betts married, she said, “People were like, Auntie Niecy?! Yep! Your favorite Auntie.”Continue following our fashion and lifestyle coverage on Facebook (Styles and Modern Love), Twitter (Styles, Fashion and Weddings) and Instagram. More

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    Drake Bell Charged With Attempted Child Endangerment

    Mr. Bell, who starred in the Nickelodeon series “Drake & Josh” from 2004 to 2007, has pleaded not guilty.Jared Drake Bell, a former star of the Nickelodeon sitcom “Drake & Josh,” was charged in Cleveland with attempted child endangerment and disseminating material harmful to children.Mr. Bell, 34, pleaded not guilty to both charges in Cuyahoga County Court on Thursday. He was released after posting a $2,500 bond and agreeing to not have contact with the alleged victim.He was indicted by a grand jury on May 21.According to prosecutors, the charges stem from an incident at a concert in Cleveland on Dec. 1, 2017. Mr. Bell, who also goes by Drake Campana, had tweeted that he had a show scheduled at the Odeon Concert Club there on that date.Prosecutors said that Mr. Bell engaged in a conversation with a 15-year-old girl that was at times sexual in nature. An investigation by the Cleveland Police Department also revealed that Mr. Bell had sent the girl inappropriate social media messages in the months before the show, the prosecutors said.According to prosecutors, Mr. Bell “violated his duty of care” at the concert and, “in doing so, created a risk of harm to the victim.” A spokesman for the prosecutor’s office, Tyler Sinclair, did not say why Mr. Bell had only just now been indicted.In a brief statement on Friday, Ian N. Friedman, a lawyer representing Mr. Bell, declined to address specific questions. “All facts will be revealed in the courtroom,” he said.The felony child endangerment charge carries a sentence of up to 18 months in prison, with a minimum sentence of six months, and up to a $5,000 fine. The second charge, a misdemeanor, is punishable by up to 180 days in jail and a fine of up to $1,000.A pretrial video hearing for Mr. Bell has been scheduled for June 23.“Drake & Josh,” a young adult sitcom, aired for four seasons on Nickelodeon from 2004 to 2007. Mr. Bell played one half of a pair of stepbrothers (the other was played by Josh Peck) who lived together despite having opposite personalities.In the years since, Mr. Bell, who now goes by Drake Campana, has launched a music career and toured in support of several albums. More

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    Review: Connection, Interrupted, in ‘Communion’

    Christopher Chen’s new play is big on concept and cleverness, but withholds the intimacy that theater-lovers have craved during the pandemic.Last March, I booked tickets to see “The Headlands,” a new play by Christopher Chen. A few days later, live theater vanished like some awful magic act. I never made it to that show. But now Chen, a high-concept playwright with a vertiginous approach to dramatic structure, has created a new one, “Communion,” a clever and chilly digital wisp produced by the American Conservatory Theater in San Francisco and experienced on Zoom. To see it, as in-person performances prepare to return elsewhere, provides a dizzy kind of symmetry.“Communion,” directed by Pam MacKinnon and starring Stacy Ross, begins as so many recent shows have. A house manager greets the audience (about 40 people on the night I attended), offering a brief tutorial on cameras and mics and gallery view. Then Ross, a beloved Bay Area performer, appears, speaking from what looks like a basement. A nice basement. Ross, wearing a blazer, pigtails and a shrunken porkpie hat, has through-the-roof charisma, even in a Zoom window. This helped during the pro forma opening monologue, a friendly acknowledgment of the limits and possibilities of remote theater. “I always thought it would be interesting to do a Zoom show that somehow really took advantage of this strange intimacy this platform has,” Ross said excitedly.Like works by Will Eno and Lucas Hnath, Chen’s create a tension between the ideas at play — here, presence and absence, truth and lies, trust and manipulation — and the characters who inhabit them. There’s so much intelligence in “Communion,” enhanced by Ross’s mischievous performance and MacKinnon’s sleek direction. But the overall effect is somewhat stingy. It might have felt differently earlier in the pandemic. But at this point, most of us with working Wi-Fi have already thought plenty about presence and absence. I would trade the conceptualism for something more embracingly human.In fairness, “Communion” offers that, too. Late in the show, an unseen force sorts the audience into breakout rooms, asking us to introduce ourselves and perhaps discuss one of the prompts Chen had emailed before the show — chiefly, “In one or two sentences, can you describe a guiding principle you have?” Awkwardly and then with more ease, we introduced ourselves. One man shared a guiding principle, often attributed to Einstein: “No problem can be solved from the same level of consciousness that created it.”The rest of us had no principles. Still, we reveled in one another’s company and in the experience of sharing a work of art together, even though we sat some 4,000 miles apart. (In this, it resembles the recent efforts of groups like 600 Highwaymen.) It made me nostalgic for all those taken-for-granted lobby nods, that post-show race around the corner to discuss the play at a safe distance, that feeling of constituting an audience.“Communion” ends with a few conceptual switcheroos designed to make you question everything you have seen and heard. And I did. But these reveals dangle what people who love theater hunger for — connection, intimacy and yes, sure, communion — then snatch it back again, like Tantalus on a video call. Did you suspend your disbelief? Sucker.I like my disbelief suspended. And if a year of seeing shows from my bedroom has taught me anything, it is that I will take theater where I can find it. Here, I’d locate it less in Chen’s forceful smarts and more in those halting, unscripted breakout room moments, in a grid of people marking time with good will and small talk until we can really, actually be together again.CommunionThrough June 27; act-sf.org. More

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    National Black Theater Plans Next Act in a New Harlem High-Rise

    The pathbreaking company plans to replace its Harlem home with a 21-story building with apartments, retail and a new theater.It was more than 50 years ago that Barbara Ann Teer rented space in a building at 125th Street and Fifth Avenue in Harlem that would serve as the home of a nascent organization called National Black Theater.The theater blossomed into an important cultural anchor, presenting productions by, and about, Black Americans when their stories rarely appeared on mainstream stages, and hosting artists including Ruby Dee, Ossie Davis, Nina Simone, Nikki Giovanni and Maya Angelou. When the building was destroyed in a fire in 1983, many feared that the theater was doomed, said Sade Lythcott, Teer’s daughter. But Teer had another idea: She decided to buy the damaged 64,000-square-foot building on Fifth Avenue, with a vision of revitalizing it and trying to use real estate to help pay for the theater’s work.Sade Lythcott, the theater’s chief executive, sees the development as a continuation of the plans that her mother, Barbara Ann Teer, made after founding the theater.Braylen Dion for The New York Times“She saw it as the next piece of this temple to Black liberation, which is ownership,” said Lythcott, the theater’s chief executive. “Ownership would allow the real estate to subsidize the art, which was a model that would disrupt the standard practice of nonprofit theater funding.”The move did not solve all their problems. There were struggles over the years, and a series of financial disputes that at one point left the theater on the brink of losing its home, but the work continued. Now National Black Theater is getting ready for its next act: It is replacing its longtime home with a 21-story building that will include a mix of housing, retail and, on floors three through five, a gleaming new home for the theater.Lythcott and other National Black Theater leaders see the $185 million project, and the partnership they are entering with developers, as a new chapter with the financial and institutional backing to allow them to live out the dream of Teer, who died in 2008: to nurture a space where Black artists can thrive, and the company can work to bring a deeper sense of racial justice to the American theater industry.“What we’re building today really has been informed in all ways by this blueprint that Dr. Teer put into place starting in 1968,” Lythcott said. “It feels like what our community of Black artists and the community of Harlem deserve.”To realize the development project, National Black Theater has partnered with a new real estate firm, Ray, which was founded by Dasha Zhukova, a Russian-American art collector and philanthropist. Also joining the project are the subsidized housing developer L + M, the architect Frida Escobedo, the firm Handel Architects, and the design firms working on National Black Theater’s space, Marvel, Charcoalblue, and Studio & Projects.The planning for the new development has come at a turning point in the theater world. With theaters closed for more than a year because of the pandemic, many institutions have been called on to turn inward and interrogate their own histories of racism and inequity, with many prominent voices calling for change when theaters reopen. It is the kind of discussion National Black Theater has been involved in for decades. This year Lythcott has advised Gov. Andrew M. Cuomo on reopening the arts and, as chair for the Coalition of Theaters of Color, has spoken up about racial justice in arts budget negotiations.Before they decided to work together, Lythcott and Zhukova had to have a frank conversation early on about a high-profile misstep in Zhukova’s past.On Martin Luther King’s Birthday in 2014, an online fashion magazine published a photo of Zhukova sitting on a chair — designed by the Norwegian artist Bjarne Melgaard — that was constructed from a cushion arranged atop a sculpture of a partially clothed Black woman laying on her back, in some sort of bondage. Zhukova apologized for the photo, saying that using this artwork in a photo shoot was regrettable, “as it took the artwork totally out of its intended context.”Lythcott learned of this photo just before she met Zhukova for dinner for the first time — in fact she was Googling Zhukova on her phone at the restaurant before they met to discuss the development project. At the dinner, Zhukova brought up the incident first, Lythcott said, explaining that she would understand if the episode cast too much of a shadow on the project. But Lythcott wasn’t fazed by it, she said, because it was clear all that Zhukova had learned from the incident.“Perhaps that chair was the best thing that ever happened to Dasha,” Lythcott said, “because it was catalytic in expanding the lens by which she sees the world.”In an email, Zhukova said that she was “deeply sorry” for the photo and said that it had started her on a “journey of continued learning and education.”“I am so grateful that Sade sees the person I am trying to be on my continued journey toward personal growth,” she wrote.Barbara Ann Teer, center foreground, founder of National Black Theater, with the cast of one of her productions in 1970.via National Black Theater ArchivesThe new building being planned, for 2033 Fifth Avenue, is slated to include 222 units of housing, an event space and a communal living room where people might eat, work and hang out; a news release says “amenities will include health and wellness programming.”The development project is more than a decade in the making, with several false starts. Lythcott and her brother — Michael Lythcott, who is the chair of the National Black Theater’s board — see it as a realization of their mother’s dream, while recognizing that she might not have taken some of the paths they chose.“She never would have partnered with someone like Ray; she never would have had financing from Goldman Sachs,” Michael Lythcott said, noting that Teer had wanted full control over the building, and preferred to keep involvement limited to those inside the community.But it is all a means to an end that their mother energetically championed throughout her life: an “ecosystem by which Black people in particular are full-throated, full-voiced, fully rooted in their own liberation,” Sade Lythcott said.By the time construction starts this fall, theater in New York is likely to be back in full force. While the new building is going up, National Black Theater will use the Apollo Theater’s office space and two of its performance spaces. And by the time construction is slated to end, in spring 2024, National Black Theater leaders hope that the space will become a place to convene, both for art and the kind of community interaction that was sorely missed over the past year.“In the wake of this pandemic,” said Jonathan McCrory, National Black Theater’s executive artistic director, “there’s going to be a kind of psychic grief that is going to need to have a healing center.” More

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    It’s Outside, but Shakespeare in the Park Still Plans Social Distancing

    The free, beloved summer tradition will enjoy an extended run, but currently plans very limited capacity, with masks required.One of New York City’s hottest tickets is about to get even harder to get: When Shakespeare in the Park returns to the Delacorte Theater this summer after losing a year to the pandemic, it plans to sharply limit capacity in order to follow state guidelines, officials announced on Thursday.The 1,800-seat theater currently plans to allow only 428 attendees for each performance of “Merry Wives,” the intermission-free adaptation of Shakespeare’s “The Merry Wives of Windsor” being put on by the Public Theater; it says it must do so under the state’s current, but rapidly-shifting, rules. But there will be more performances: The show will run three weeks longer than originally scheduled, through Sept. 18 rather than Aug. 28.In a news release, officials said the capacity limit was put in place because of the need for social distancing. They said all theatergoers over age 2 would be required to wear a mask and either provide proof of full vaccination or a recent negative Covid test to attend.The decision to significantly limit the size of the audience stands in contrast to some other New York venues that have gotten permission to reopen to bigger crowds. Radio City Music Hall, for instance, plans to reopen this month to a full, indoor house of maskless, vaccinated ticket holders. Broadway shows have started ticket sales for what will be full-capacity performances, some of which will begin in mid-September. And on the other side of the country, the Hollywood Bowl in Los Angeles has decided to start selling all 18,000 of its seats.It is possible that the limits could be eased before opening night. A spokeswoman for the Public said Thursday that New York health and safety protocols for small and medium-sized performing arts spaces still require six feet of social distance between patrons. She said the theater would await updated guidance from the state and would adapt its policies as needed. More

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    Broadway Theater Owner Cited by OSHA in Stagehand’s Fatal Fall

    Federal regulators cited the Shubert Organization for four workplace safety violations in the death of an employee in the Winter Garden Theater.Federal regulators have cited the Shubert Organization for four serious workplace safety violations and proposed a fine of $45,642 in connection with the death of an employee who fell from a ladder while working at the Winter Garden Theater last fall.The citations, from the Occupational Safety and Health Administration, were issued on May 11, six months after Peter Wright, a 54-year-old stagehand, fell nearly 50 feet from a narrow, raised platform while performing routine maintenance in the theater.OSHA issues these serious citations when, according to its review, lapses have led to hazards carrying a “substantial probability that death or serious physical harm could result.” In the Shubert Organization’s case, OSHA did not find that the violations were willful ones, in which an employer “intentionally and knowingly” violates the law.The Shubert Organization has set up a meeting to discuss the citations and penalties, James C. Lally, a spokesman for the U.S. Department of Labor, said. If the two parties do not reach a settlement, the company can still contest the citations, Mr. Lally said. Otherwise, they will be obligated to pay the full amount.A spokesman for the Shubert Organization declined a request for comment, citing the ongoing investigation.The violations issued to the group, which is the largest landlord on Broadway, included having a wooden ladder coated with a material that could obscure structural defects and two instances of a ladder used for a purpose for which it was not designed.Mr. Wright, who was from Milford, Conn., was a stagehand for Local 1 of the International Alliance of Theatrical Stage Employees, the labor union that represents professional stage employees in New York, for 34 years. He and his wife of 23 years, Marcie Lowy Wright, met when they were both working as stagehands for a 1990s “Grease” revival at the Eugene O’Neill Theater.James J. Claffey Jr., the president of Local 1, wrote in a tribute in November that Mr. Wright “had a work ethic that was nothing short of exemplary, was extremely talented and skilled in his craft, and he was one of the finest riggers/flyman in our industry.”The last show to play at the Winter Garden Theater had been “Beetlejuice,” which had been set to end its run on June 6, 2020, before the theater, like all on Broadway, shut on March 12 because of the pandemic; “Beetlejuice” was not slated to return. A revival of “The Music Man” that will star Hugh Jackman and Sutton Foster is set to begin performances in December and open next February.Bill Evans, a spokesman for the Shubert Organization, said at the time of Mr. Wright’s death that most stagehands had not been working at the organization’s other theaters during the pandemic shutdown.“We mourn the loss of our valued colleague,” he said in a statement. “Our heartfelt condolences go out to the family during this difficult time.”Dylan Foley, who was a friend and co-worker of Mr. Wright’s, wrote in a Facebook tribute in November that Mr. Wright was “completely fearless in how he lived his life as a stagehand” and often did the work of three men.“He had a dry wit, an unstoppable work ethic, and a trademarked grin,” Mr. Foley wrote. “If you asked for something from Pete, his line was, ‘For you, the grid’s the limit.’” More

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    A Chance to Fix the Tonys, and So Many Things to Fix

    It has been a tough year for Broadway. Now it’s time to get tough on the show that too often honors investors instead of achievers.You know that hideous scrum of investors storming the stage when their show is named best play or best musical at the Tony Awards?Well, they’re heading back unless somebody stops them.The 2021 Tonys, which because of the pandemic are actually the 2020 Tonys, will be awarded on Sept. 26. That will make 27 months since the last telecast, in June 2019: plenty of time to rethink what has become a reliably mortifying experience. But to do that, Broadway will have to face up to the way it has traditionally favored the financiers over the artists in its shotgun wedding of art and commerce.Take the 2014 telecast, on which Jennifer Hudson sang the bombastic title song from the musical “Finding Neverland.”Was that show in the running for any awards? No — it did not even open until the following season. Was Hudson at least supposed to appear in it? No, but she was more famous than anyone who did. Was the staging, in which Peter Pan performed a ballet in green camo while Hudson swanned nearby in silver lamé, even remotely understandable?Well, yes, if you knew that the producer of “Finding Neverland” was Harvey Weinstein.Even when not being manipulated by moneybags, the awards have regularly represented Broadway as a neurotic mess: defensive about its marginality, embarrassed by its serious works and insecure about its commercial appeal. In the opening number at the 2019 awards, the host, James Corden, spent more than nine minutes begging the CBS audience to honor the liveness of live theater, even as he listed the many delightful and far more accessible experiences available on television, including his own CBS talk show.James Corden, flanked by Kelli O’Hara, Brooks Ashmanskas and other Broadway performers, during the opening number of the 2019 Tony Awards.Sara Krulwich/The New York TimesNow is the time for the Tonys to pull their act together. Why should the best show people somehow keep making the dullest, tackiest hodgepodge of a show?Which is not to say it will be easy, especially this year. Aside from reflecting the disaster of the pandemic, which saw Broadway darkened, its ranks thinned by disease and thousands out of work, the Tonys will have to address, within the context of an entertainment product, the racism long built into the theatrical ecosystem and the recent calls for change. That’s a story not very susceptible to jazz hands.With so much to do, the announcement that only three competitive awards will be given out within the two-hour CBS broadcast — the other 22 having been relegated to a two-hour preshow on the streaming service Paramount+ — may prove to be good news instead of the abomination it at first seemed.That’s because pushing most of the awards into one compartment and most of the singing and dancing into another may allow the producers and writers of this year’s show, many of them veterans of previous Tonys, to celebrate both parts of the Broadway package more fully. The gravity and the razzmatazz can each have their say, in their own style, instead of fighting for dominance and airtime, and losing jointly.There was a time when razzmatazz had no part in the proceedings. In the early years of the awards, which were first televised, to a local New York audience, in 1956, the ceremony was more like a funeral directors’ dinner, with little or no entertainment, extremely brief speeches and some very odd categories. (Best stage technician?) Coaxing potential audiences, especially out-of-town ones, to see a Broadway show was not on the agenda, and television itself, blurry and black-and-white, was no competition anyway. The point was merely to honor the honorees.Now we accept that the Tonys are an industry marketing tool, the honorees merely bait.That can be fun, and even powerful, when staged with the wit and intelligence that the best musicals apply to the uneasy relationship between art and commerce. In recent years, numbers from “Fun Home” (2015) and “The Band’s Visit” (2018) were so beautifully conceived for the camera — largely by their original directors, Sam Gold and David Cromer — that without any loss of seriousness or subtlety they demonstrated why people might want to see the shows in the first place.And with enough savvy, even a crushing loss could be expressed in prime time, as when students who survived the 2018 massacre at Marjory Stoneman Douglas High School sang “Seasons of Love” from “Rent” on that year’s telecast.But for the most part, recent musicals appear in a poor light compared to the classics of past Tonys, not because they are necessarily worse but because the old telecasts often cushioned their selections in context and let you get to know their characters. Plays have it even worse: They are barely permitted to present themselves at all. “Choir Boy,” in 2019, was the exception that proved the rule, intercutting spoken elements of its story with a thrilling version of “Rockin’ Jerusalem.”Finally, at the bottom of the pecking order, come the artists, starting with leading actors, then supporting actors, then directors, choreographers, composers, book writers, designers and, well, does anyone remember the last time we got to hear an orchestrator say more than four words on television?All of this can be improved in a split show. With its increased total time of four hours — and especially this year, with fewer categories and nominees than usual — the ceremony can honor the plays with meaningful excerpts, and the people who actually make the work with recorded segments that help us see what they do. The entertainment segment can likewise be given more time to breathe, allowing drop-dead production numbers and quieter, more intimate moments to create a rhythm more like the experience you actually get on Broadway.And if the Tonys would deign to take some pointers from the creators of the Antonyo awards, which in the worst of the pandemic managed to honor Black theater artists with dignity and warmth — or for that matter, this year’s surprising Grammys — they might remember that what they’re trying to promote, especially now, is human connection. The smarmy introductions and whirligig graphics and general aura of hectic oversell could be replaced with a more confident statement of what theater, at its best, has been and can be.Students from Marjory Stoneman Douglas sang a moving rendition of “Seasons of Love” from “Rent” at the Tonys ceremony in 2018.Sara Krulwich/The New York Times ORG XMIT: FSTI’m afraid that means some drastic changes. First, let’s get rid of hosts whose Broadway cred comes mostly from untutored enthusiasm and the wishful thinking that they might boost ratings. (It never works; for years, the show has drawn only 6 million to 8 million viewers no matter what — and recently even fewer.) Homegrown talent — Billy Porter? Meryl Streep? — will do nicely, thanks.And while we’re at it, let’s get rid of the overcaffeinated television directors, editing as if to induce convulsions and framing all scenes as if they were sitcoms. Recent highlights have repeatedly shown what should be obvious: Theater directors make the best televised theater.Not that Broadway’s identity crisis is going anywhere, even if we achieve the Best Tonys Ever. But to get to a healthier, more entertaining place, the American Theater Wing and the Broadway League, the organizations that present the event, have to stop favoring the commercial side so fawningly. Producers of individual shows should not be allowed to shape any content but their own; otherwise, the telecast winds up being hijacked by beamed-in celebrities singing songs from terrible musicals no one’s yet seen.And as for those stage-swarming investors? Let’s ban them too. The awards they bogart belong to the authors.In other words, let the artists be in charge. Money may talk, but it doesn’t sing. More