Eliana Willis

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    Broadway Is Reopening. But Not Until September.

    Even as New York City begins to reopen this summer, Broadway will not resume performances until Sept. 14. Here’s why.Gov. Andrew M. Cuomo says that most pandemic capacity restrictions will ease in two weeks. Mayor Bill de Blasio says he wants the city to fully reopen on July 1. But Broadway, a beacon for tourists and an engine for the economy, is not quite ready to turn on the stage lights.Most shows are not planning performances until September or later. But there are signs of life: Mr. Cuomo said Wednesday that Broadway shows would start selling tickets for full-capacity shows with some performances starting Sept. 14.Why the four-month wait? With as many as eight shows a week to fill, and the tourists who make up an important part of their customer base yet to return, producers need time to advertise and market. They need to reassemble and rehearse casts who have been out of work for more than a year. And they need to sort out and negotiate safety protocols.But the biggest reason is more gut-based: individually and collectively, they are trying to imagine when large numbers of people are likely to feel comfortable traveling to Times Square, funneling through cramped lobbies and walking down narrow aisles to sit shoulder-to-shoulder with strangers. Most Broadway shows lose money even in the best of times, so producers say there is no way they can afford to reopen with social distancing, given the industry’s high labor and real estate costs.“We’ve never done this before,” said Victoria Bailey, executive director of TDF, the nonprofit which oversees the TKTS ticket-selling booth in Times Square. “The last time the theater industry opened from a pandemic, Shakespeare was still writing new plays.”Broadway’s emerging timeline, which is constantly being re-evaluated, serves as a reminder that New York’s rebound from the pandemic will be slow and gradual. Edicts from elected officials are only one factor in reopening: every economic sector will have to figure out when and how to restart, and every individual will have to figure out when and how to re-emerge.Broadway, home to 41 theaters, drew 14.6 million people who spent $1.8 billion on tickets in 2019. The coronavirus pandemic forced them all to close March 12, 2020, and reopening is clearly going to be far more complicated than shutting down. One of the biggest challenges the industry faces is the dearth of tourists, who made up roughly two-thirds of the Broadway audience before the pandemic struck.“We had such a good year before the shutdown, but now we need the ability to reignite the energy that we were sailing on,” said Tom Hulce, a lead producer of “Ain’t Too Proud,” a jukebox musical about the Temptations. “We basically are starting from zero advance, as most shows are, and now we need time to reach out and build back up.”“Ain’t Too Proud,” a jukebox musical about the Temptations, had a good year before it closed, but needs time to build back its audience.Sara Krulwich/The New York TimesAbout 30 shows are currently planning to begin performances on Broadway before the end of 2021 — approximately half starting in September, and the rest spread out across the year’s final quarter.Among the first to go on sale following the governor’s announcement: “The Phantom of the Opera,” Broadway’s longest-running show, which said Wednesday evening that it would put tickets on sale Friday in anticipation of resuming performances Oct. 22. “Emphatically: Yes, we are coming back,” said the show’s composer, Andrew Lloyd Webber.The three juggernaut musicals that were the biggest box office grossers before the pandemic — “Hamilton,” “The Lion King” and “Wicked” — have been planning to jointly announce next week that they expect to reopen in mid-September. Those shows, with their well-known titles and fervent fans, face lower hurdles than others in reintroducing themselves to potential ticket buyers, and they are also the most able to withstand financial risk.A number of other musicals are also hoping to open in September, including the long running “Chicago,” the David Byrne concert show “American Utopia,” Disney’s “Aladdin” and the inspirational Canadian hit “Come From Away.” Each is confident they can find an audience even as some forecasts suggest that it could be several years before tourism fully recovers.“I do think there’s going to be a real push to reach out to the tristate area, to day-trippers, and to locals,” said Sue Frost, a lead producer of “Come From Away.” “But does the pent-up demand explode and then go dormant? If we don’t put our toe in the water, we won’t know.”The longest running show in Broadway history, “The Phantom of the Opera,” which opened in 1988, said it will resume performances on Oct. 22.Sara Krulwich/The New York TimesThere remain many uncertainties. Will masks be required for patrons? (Probably, at least at first.) Will performers sign autographs at the stage door? (Probably not, at least for a while.) Will vaccinations be required? (Governor Cuomo said he would prefer that, but said it would be up to the theater industry to decide. “Are you willing to go into an indoor theater and sit there for two hours next to a person who you don’t know if they are vaccinated or unvaccinated?” he asked. And “Phantom,” in its announcement, said protocols could require vaccination or negative test verification.)Even the frequency of performances is still to be determined. The Broadway League and several labor unions have been talking about the possibility of opening with fewer than the customary eight shows a week. That would mean lower pay for cast and crew, a concession they are likely to consider only if theater owners take the same percentage cut in rent.Pricing practices are expected to be fluid. Several producers said they expect to start selling tickets at prices similar to those in place before the pandemic, but that they could adjust depending on what demand looks like. One change that seems certain in the post-pandemic era: more liberal refund policies. (“Phantom,” for example, said all tickets could be refunded or exchanged until two hours before a performance.)“There’s never been a time when all the tickets have basically gone on sale at once, so there’s going to be a lot of learning,” said Brian Fenty, the chief executive of TodayTix, which runs a popular ticket-selling app.Every show faces casting complications, because most, if not all, contracts with actors have expired and will need to be renegotiated. Some performers need to recondition their bodies or their voices. Some are dealing with lingering effects of Covid. Some ensemble members may decide that life in, say, Nebraska is actually better than life in New York. Some child actors — and there are children in the casts of a half-dozen shows — have aged out of their roles. Elizabeth Stanley, a star of “Jagged Little Pill,” is pregnant. And Karen Olivo, whose character is central to “Moulin Rouge!,” issued a critique of Broadway’s priorities and the industry’s lack of response to abusive behavior and said she would not return.Karen Olivo of “Moulin Rouge!” decided during the pandemic that she does not intend to return to Broadway.Sara Krulwich/The New York TimesBroadway has been rocked not only by the pandemic, but also by the unrest over racial inequity that coursed through the country last year after George Floyd and Breonna Taylor were killed by police.All of the new plays announced for Broadway this fall are by Black writers. Two are commercial productions — Keenan Scott II’s “Thoughts of a Colored Man,” about a single day in the life of seven Black men in Brooklyn, and Antoinette Chinonye Nwandu’s “Pass Over,” about two Black men trapped by existential dread in a society where too many Black people are killed by police.“We are leaning in to the conversation that’s happening in America,” said Brian Moreland, a lead producer of “Thoughts of a Colored Man,” which is aiming to open in October.There will also be three nonprofit productions of plays by Black writers on Broadway: “Clyde’s,” a new play by Lynn Nottage presented by Second Stage; “Lackawanna Blues,” a one-man show by Ruben Santiago-Hudson presented by the Manhattan Theater Club; and “Trouble in Mind,” a classic play by Alice Childress getting its first Broadway production via the Roundabout Theater Company.“It’s been a really hard year for the not-for-profits — we’re all suffering, and we all have deficits,” said Carole Rothman, the artistic director of Second Stage, who said she hopes to start performances of “Clyde’s” in November, after opening her smaller Off Broadway stage a little earlier. “I’m an optimist,” she said. “Definitely there’s going to be an audience chomping at the bit to see theater.” “Lackawanna Blues,” a one-man show by Ruben Santiago-Hudson, standing, is one of several works by Black playwrights coming to Broadway.Sara Krulwich/The New York TimesA handful of shows are not expected to return until 2022. The most prominent among them is the two-part play, “Harry Potter and the Cursed Child,” which is rethinking its length and structure before deciding how and when to reopen. And plans for a pair of shows produced by Scott Rudin, “To Kill a Mockingbird” and a revival of “West Side Story,” are unclear following his decision to step back from active involvement after a series of news reports detailed his bullying behavior toward employees and collaborators.Expect at least four new Broadway musicals to open this fall, including “Six,” the concert-style British pop show about the ill-fated wives of King Henry VIII, which was just 90 minutes from opening when theaters closed, as well as “Mrs. Doubtfire,” “Diana” and “Flying Over Sunset.” And a fifth new musical — “MJ,” about a chapter in the life of Michael Jackson — is planning to start performances late this year.The lead producer of “Phantom,” Cameron Mackintosh, said the return of theater is essential for the cultural and economic life of both New York and London, but acknowledged that much is unknown.“No one is taking this for granted, and no one is assuming we’re going back to what it was pre-Covid,” he said. “We need to be completely optimistic, but also pragmatic, because none of us have been in this situation before.” More

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    Online or In-Person? Soon, British Theatergoers Can Decide

    Live theater is set to return in England starting May 17, but many online offerings will remain.LONDON — Is watching a play on your laptop enough? This question will be put to the test starting May 17, when theaters in England reopen after a five-month shutdown.Some shows here are experimenting with filmed versions in advance of — or to run alongside — the same play in three dimensions, offering a choice to possibly skittish audiences who may be wary of entering a theater.When Ben Brown’s spy drama “A Splinter of Ice” begins a tour of British theaters on June 8, those who wish to can see it live, as long as they wear masks and maintain social distancing, for the first part of its travels at least. (Such protocol may change from June 21 onward, as the British move still further out of lockdown.) For everyone else, a filmed version, running online through July 31, was shot on the stage of the Everyman Theater in Cheltenham, England. It stars the same distinguished pair of actors, Oliver Ford Davies and Stephen Boxer, who will take the play out on the road.The actor Jack Holden’s feisty performance in his self-penned play “Cruise” was available online through April, in a film shot in the East End, across town from the Soho district where it is set. Holden will return to the show at the Duchess Theater, on the West End, from May 18, hoping that the play’s online run has raised awareness of its onward life onstage.Of course, none of this is new. The 2012 National Theater production of “The Curious Incident of the Dog in the Night-Time” was shown in movie theaters around the world via NT Live long before it opened on Broadway, where it ran for two years and won five Tony Awards: The screen version surely whetted New York appetites.The difference this time is that many potential audience members will be wary about sitting in crowded auditoriums. These new streamed productions offer a choice — and an additional income source as well.Other British playhouses, including the Almeida and the Orange Tree Theater, both in London, also plan to present works both ways. The risk is, however, that the filmed version will seem sufficient and dampen the desire to experience it onstage.“A Splinter of Ice,” set in Moscow in 1987, tells of an encounter between the novelist Graham Greene, then in his 80s, and the British intelligence officer Kim Philby, who died the following year, at age 76, 25 years after he defected to the Soviet Union. An armchair drama heavy on exposition, Brown’s play doesn’t feel especially theatrical and works fine as an onscreen vehicle for its two splendid leading men.Stephen Boxer, right, and Oliver Ford Davies in Ben Brown’s “A Splinter of Ice.”James FindlayFord Davies, 81, brings a world-weary geniality to the role of Greene, who functions for the most part as an interlocutor trying to make sense of Philby, the onetime journalist who was part of the celebrated British spy ring known as the Cambridge Five.Boxer, his co-star, finds a prickly intelligence in the role of Philby, who refers to himself as “the most wanted man in England” and who, the play suggests, may have been the inspiration for the “third man” of Greene’s 1950 novel. Lovely as it is to see seasoned actors in the flesh, the screen version gives a gratifying close-up view of Ford Davies’s kind, quizzical eyes. The writing is labored at times, but its stars give it a lift, and a heavily accented Sara Crowe completes the cast as Philby’s wife, Rufa, a role that will be re-cast for the tour.“Cruise,” on the other hand, is a far more visceral piece of writing, and its online version makes you want to partake of Holden’s enthusiasm firsthand. A springy study in London gay life in the 1980s and today, the 90-minute play tells of an L.G.B.T. help line volunteer in his early 20s. Accompanied onscreen in a nonspeaking role by sound designer John Elliott, who spins the disco tracks (Gloria Gaynor’s “I Will Survive,” for one) of a bygone age, the character of Jack gets absorbed in the elaborate story of a decades-older caller named Michael. This unseen character, voiced by Holden, has made his way through the fearsome years of the AIDS epidemic, even as many around him have not, and wants to enlighten Jack about the hedonistic days (and nights) of an era unknown to the younger man.At times, the play feels like an English footnote to “The Inheritance,” Matthew Lopez’s two-part glance back at the losses of a generation of gay American men, and few could claim that Holden’s writing, however vivid, breaks new ground. But watching the author dart about onscreen leaves you keen to be in the same room with that bristling energy. In a few weeks, we’ll be able to do just that. More

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    Could ‘Young Rock’ Be Dwayne Johnson’s ‘Apprentice’?

    A wrestler’s job is to sell an absurd fiction, and make it reality — maybe it’s not so different from politics.Listen to This ArticleThe eighth episode of “Young Rock” finds the show’s protagonist, a 15-year-old Dwayne Johnson, in a classic sitcom predicament. He has pretended to be rich to impress a classmate named Karen, who has the blond hair and movie-grade makeup that teenage boys dream of. Now she is coming over for dinner and expecting to see a palace; in reality, Young Rock is squeezed into a small apartment with his parents, who struggle to pay the rent. The show, which just finished its first season on NBC, follows the actor’s childhood growing up around the professional wrestling business, back when his father, Rocky Johnson, was a star. In a bind, Young Rock turns to his father for the sort of advice only he can provide.“I understand,” Rocky says with paternal knowingness and a roguish smile that implies he has been here before. “You were working a gimmick, and you cornered yourself.” In pro wrestling, working a gimmick is the tapestry of untruths you speak and act into reality — the commitment to character that propels the most gifted fabulists into superstardom. The all-American Hulk Hogan persuaded children to eat their vitamins; the Undertaker somehow made people think he really was an undead mortician; Rocky, who dressed fantastically and went by “Soulman,” was the coolest guy around. (It wasn’t more complicated than that.) It’s why, on the show, he leaves the wrestling arena in a fancy Lincoln Continental, only to check into a run-down motel for the night — he has created a high-rolling persona for the fans, and he must keep it intact. And it’s why he dismisses Young Dwayne’s concerns that maybe he should just come clean with Karen. “Wrong, son,” he says. “What you gotta do is work the gimmick even harder.”Professional wrestling is a form of entertainment that invites viewers to understand its fictive properties but nevertheless still buy into its dramas; in fact, the knowledge that it’s all constructed quickly gives way to a form of meta-appreciation. And unlike actors in a conventional TV drama, wrestlers are their characters, even in real life. This informal contract between performer and audience to never break character means that no matter where Rocky Johnson goes, he’s still recognizable as himself and must behave accordingly.With “Young Rock,” Johnson may very well be trying to find out if this alchemy can be performed for real: if a fiction can be created in front of an audience and then imposed on reality. The framing device for the show, the reason we’re learning about Young Rock’s life, is that Johnson is on the campaign trail for the 2032 presidential race, where he has a real shot to win. Like all coming-of-age stories — and most instantly remaindered political memoirs — “Young Rock” purports to trace how Johnson’s upbringing turned him into the man he is today: wrestling champion, the highest-paid actor on the planet, maybe a future president. Roll your eyes, but accept the possibility. Ever since Donald Trump was elected, plenty of charismatic celebrities have been floated as potential candidates. More than the other contenders — Oprah, Mark Cuban — Johnson has gained real traction, even going so far as to publicly state that he wouldn’t run in 2020 but that it was something he “seriously considered.”Johnson passes every cosmetic test: handsome, tall, voice like a strong handshake. He’s the star of several film franchises that future voters will have grown up watching. And while a different show might play all this for laughs, “Young Rock” frequently lapses into what messaging for Johnson’s actual campaign might sound like. It’s never specified whether he’s running as a Democrat or a Republican; he presents as a third-way politician who just wants America to push past its divisions. Candidate Rock is a little like Michael Bloomberg, but with more convincing platitudes and even better delts. One episode shows Young Rock watching his grandmother’s wrestling company struggle to adjust to contemporary trends, something that leads candidate Rock to sympathize with everyday Americans concerned about their jobs being replaced by automation. Another ties his childhood friendship with Andre the Giant to his selection of a female general (played by Rosario Dawson) as his running mate — because, just like Andre, the general will “always push me to consider other points of view.” (She had previously endorsed his opponent.) Celebrity politicians, like Trump or Arnold Schwarzenegger, can usually skip this self-mythologizing process; the reason they’re running is that people already know who they are. But on “Young Rock,” Johnson runs a fairly conventional campaign; he even engenders a small controversy when he eats a Philly cheesesteak improperly. The insistence that his candidacy would be in any way conventional only heightens the sense that the show is a road map for an actual run.Back in 1987, Young Rock takes his father’s advice to double down on the gimmick in order to impress Karen. It backfires when she sees through the ruse, because for most people charisma can transform reality only so far — and even wrestlers run into this barrier, once their stars fade a little, or their addictions take root, or they simply grow older. Wrestling history is littered with ignoble ends and performers who couldn’t quite accept that the show was over. But there’s one — the only one who has ever lived, actually — who has kept doubling down and seen his star ascend accordingly. For most people, charisma can only transform reality so far — and even wrestlers run into this barrier. Johnson followed his father into professional wrestling, then left the W.W.E. at the apex of his success to get started in Hollywood; he latched himself to the “Fast & Furious” franchise, always playing some version of his stentorian, trash-talking wrestling persona, until he became a movie star in his own right; when his name started coming up as a potential presidential candidate, he indulged the rumors rather than say, “Wait a minute, I’m the guy who says, ‘Can you smell what the Rock is cooking?’” And here he is now, maybe sort-of speaking his fictional presidential campaign into reality, a compelling “will he or won’t he” drama that’s up there with any of his best wrestling or Hollywood stories.“Young Rock” has been modestly successful, averaging more than four million viewers per episode. It’s not Trump’s “The Apprentice,” which was a genuine hit for a decade. But Johnson has many other concurrent efforts to expand his fame across American life: A new “Fast & Furious” movie comes out in June; his relaunch of the much-maligned X.F.L., which he purchased last year, is still in the works; there are rumors that he’ll return to the W.W.E. for a final match. Nobody has ever taken this path to the Oval Office, but you could have said that about Trump, who also understood the importance of committing to character. When your supporters want to believe what you’re saying, there’s no limit to how far the gimmick can go.Source photographs: Mark Taylor/NBC/NBCU Photo Bank, via Getty Images; David M. Benett/WireImage, via Getty Images; PM Images, via Getty Images. More

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    How One Graphic Novel Looks at Anti-Asian Hate

    In “Cyclopedia Exotica,” the artist and writer Aminder Dhaliwal created a fictitious community facing xenophobia, fetishization and media misrepresentation. It’s resonating with her thousands of Instagram followers.In the new graphic novel “Cyclopedia Exotica,” immigrants with one eye coexist uneasily with their two-eyed neighbors.Members of the cyclops community are targeted by curious online daters and porn addicts, as well as cosmetic surgeons eager to give them that desirable two-eyed look. They contend with xenophobes protesting mixed marriages, hateful comments from subway Karens and, in some cases, physical violence.In 2018, when the artist and author Aminder Dhaliwal began sharing pages with her nearly 250,000 Instagram followers, she was drawing from her experiences as a South Asian woman growing up in England and Canada, but she wondered if the topic was relevant.“I remember saying to a friend, I want to do a book on microaggressions, but that’s, like, so old. Is it even worth doing?” she said in a phone interview from Burbank, Calif., where she now lives.Three years on, Dhaliwal’s book seems particularly of the moment. It’s tough to miss the parallels between its characters, minorities singled out because of their eyes, and the spate of reported attacks on Asian people in the United States over the past months. “I could not imagine that this would be happening this year,” she said.The graphic novel begins with the story of Etna, the world’s first cyclops sex symbol. Her critically acclaimed 2018 debut, “Woman World,” imagined an idyllic, supremely chill future in which guys went extinct years ago. (Spoiler alert: They aren’t really missed.) Published by the Canadian comics house Drawn & Quarterly this month, “Cyclopedia Exotica” is her second book and has already connected with a diverse readership.“A lot of the microaggression stuff was specifically about Asians,” Dhaliwal, 32, said. “But I also get questions like, ‘Is this about queer people?’ Or, ‘I relate to this so much as a trans person.’”Born in Wembley, London, she moved when she was 11 to Brampton, Ontario, a predominantly South Asian suburb of Toronto. She loved to draw from an early age, tracing the covers of her brother’s video game cases and creating Harry Potter fan art. She knew she wanted to do something art-related but wasn’t sure what she could do or whom to even ask. “Being an Asian kid, I feel like my family had access to every doctor,” she said. “But I didn’t know anyone doing art.”Inspired by a presentation at Sheridan College given by a Disney “Beauty and the Beast” animator, Dhaliwal enrolled in the school’s animation department. “He was this larger guy with a big old beard, and he flips a switch and he’s Belle,” she said. “It was just bananas to me. I knew at that moment that I wanted to dedicate my life to this craft, because it just seemed so fun and silly.”After graduation, Dhaliwal found work in Los Angeles as a writer and artist on animated shows like “The Fairly OddParents” and “Sanjay and Craig.” The work was rewarding — in 2020, she earned a spot on Variety’s list of “Ten Animators to Watch” — but the secrecy and nondisclosure agreements involved wore her down. “So much of my day-to-day is hidden behind N.D.A.’s,” she said. “You get exhausted not getting to talk about the cool things you’re working on or getting to process the hard things you’re going through.”Aminder Dhaliwal began sharing pages on Instagram in 2018. “I remember saying to a friend, I want to do a book on microaggressions, but that’s, like, so old,” she said. “Is it even worth doing?”Joyce Kim for The New York TimesAfter working for four years on a pilot for an animated series that never got greenlit, she knew she had to create her own comics, things she could post online for immediate feedback. She started with a Harry Potter spoof, then a tongue-in-cheek comic based on the Japanese manga series “Death Note.”“Woman World” came to Dhaliwal after she participated in the 2017 Women’s March in Los Angeles and saw signs that read “the future is female.” What might that look like, she wondered? As with “Cyclopedia Exotica,” she questioned her idea early on. “I remember starting to write it and thinking like, ehhh, feminism is doing great,” she said. “And then the #MeToo movement happened, and I was like, oh yeah.”The animation industry had its own reckoning in 2018, dubbed the #MeToon movement. Dhaliwal and her fellow animator Megan Nicole Dong (“Pinky Malinky,” “How to Train Your Dragon 2”) joined others in creating an organization that led to changes in human-resources practices at several studios and the one-year suspension of the “Loud House” creator Chris Savino following sexual harassment allegations. “Initially, we were just trying to create a safe space to talk about things that had been happening in animation,” Dong said. “But it evolved into a much bigger movement within our industry.”The success of “Woman World” gave Dhaliwal new confidence. “I had been working as a comedy writer for years and didn’t know if I was funny,” she said. “I remember asking one of my office mates, ‘Am I funny?,’ which now seems like such a sad question. It’s like a teenager asking a friend, ‘Am I pretty?’ I didn’t realize how much I needed someone else to say yes, you’re funny.”Unlike “Woman World,” the inspiration for “Cyclopedia Exotica” didn’t come from a march or movement. “I wish I could tell you there was some really beautiful reason,” Dhaliwal said. “But truly, I just found cyclops so interesting. So often they just look like people, except for their one defining feature. The first thing I remember sketching were pinup drawings of cyclops, and it went from monsters in erotica to looking at how minorities find acceptance through being attractive.”Dhaliwal is among several artists who have showcased and serialized their work on Instagram, including Lucy Knisley (“Kid Gloves”), Shelby Lorman (“Awards for Good Boys”), and Liana Finck (“Passing for Human”). Like Dhaliwal, many use social-media platforms to show their work, describe their creative processes and discuss everything from depression to writer’s block.“Cyclopedia Exotica” begins with the story of Etna, the world’s first cyclops sex symbol. Later, other cyclops deal with being perceived as overly submissive, the lack of cyclops representation in Hollywood movies, and worries about whether mixed children will have one eye or two.“Aminder has always been so observant about everything,” Dong said. “She’s also friends with so many people, and so many different kinds of people, that all of these things in her book feel very authentic, because they’re either based on things she’s experienced or things her family and friends have gone through.”One cyclops goes to a cosmetic surgeon to get two eyes — a nod, Dhaliwal said, to double-eyelid surgeries targeted at Asians. The character’s surgery doesn’t take. “People die for beauty, because they feel they don’t look a certain way,” she said. “But so often people trivialize beauty, and say things like, you need to get over it, or you need to be OK with yourself.”“That’s the message animation shows always try to tell kids,” she continued. “Be true to yourself. But I think that can be really hard to swallow when the world has punished you so often for being who you are.”In many ways, the current climate of anti-Asian hate feels familiar to Dhaliwal. “I remember after 9/11, and for the next 10 or 15 years, it just sucked having brown skin. It seemed like every offhand joke was about being a terrorist. And then you get this odd experience where you’re like, finally, the Eye of Sauron turns to another group, and your first reaction is like, phew, we’re out of it, the eye’s not on us anymore! When instead, we should be thinking: No one should ever feel like this.”Dhaliwal is working on a new comic series that she hopes to begin posting on Instagram this month. She’s also written for the upcoming Netflix animated series “Centaurworld,” created by Dong, and was recently selected to serve as a mentor and consultant on the Creative Council of Cartoon Network’s shorts program, “Cartoon Cartoons,” which will showcase the work of diverse and up-and-coming animators.While Dhaliwal probably won’t be telling her mentees to just be true to themselves, she will be able to share what it means to be a working animator in an industry that’s gotten more inclusive but still has a ways to go. “I’m going to get to give creative feedback to all these people who are trying to make something and do something really creative,” she said. “It’s exciting to be in this position, because I’ve been in their position so often.”Follow New York Times Books on Facebook, Twitter and Instagram, sign up for our newsletter or our literary calendar. And listen to us on the Book Review podcast. More

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    Back in the Girdle Again: Getting Fitted After a Year Untouched

    Confessions of an actress seeking reassurance — and sleeves — as she steps before a live concert audience again.The actress and singer Melissa Errico returns to the fitting room for the first time since March 2020. Landon Nordeman for The New York TimesHere I am, back at the confessional at last. Forgive me, father, for I have sinned. It has been 13 months since my last visit to you. The father-confessor, to whom I am looking for absolution, is Eric Winterling, one of the great Broadway costume makers, and my confession is that (whisper it!) the pandemic had been unkind to my arms. To be specific, my upper arm in the rear, with a strange new pocket of femininity developing just to the interior of my elbow, on both sides.I had to confess this news because that is what actors do when we are in a costume fitting. For a show, we want to make an impression, and that means we have to deal with our bodies, and we need someone to whom we can tell the truth.A lovely fitter named Rita zips me into a dress and adjusts my undergarments. The pandemic has been filled with women writing about their bra drawers and what they don’t need; a woman actor has an additional secret drawer filled with Spanx and other strange, confining underwear, some almost medical, with fiercely strong zippers.The dress needed to say femme fatale — betrayal! cruelty! jazz! — while, of course, covering the arms.Landon Nordeman for The New York TimesThat morning I had ransacked mine for the first time in forever. “Back in the girdle again,” I hummed to myself. I turned to Rita as I struggled into one, and said I hoped her day was going well. She said simply, “You are the first actor I have seen in a year.”Eric slipped into the room, turned me to the mirror and laid his hands on my hips — the first time that had happened in a long time, too. We stared at me in three-sided reflection, and I asked, meekly, if I was now a singer who required sleeves.His task was to find, or create, a dress in which I could sing an evening of film noir-inspired songs — many, dauntingly, in French — to a limited in-person audience on May 6 for the French Institute Alliance Francaise. It will be the first time I have sung in front of living people since March 2020. Four cameras will be present, for those watching virtually, making it a concert in the round, so to speak.Eric Winterling, one of the great Broadway costume makers, created a dress of his own after several Donna Karans were rejected.Landon Nordeman for The New York TimesThe dress needed to say femme fatale — betrayal! cruelty! jazz! — while, of course, covering my arms. No stranger to creating costumes for ripening actresses, Eric projected confidence that the vintage improves in a tightfitting bottle. I tried to trust him.Intimacy, humor and humiliation hung in the air as we quickly tested a series of sleek Donna Karan gowns he had assembled, all of which were wrong on me in various, dreadful ways. Then he spoke decisively. “It would just be easier if I made you a whole new dress,” he said, adding benevolently, “Angela Bassett ruined everything with her toned arms.”A Psychic EncounterOf all the intimacies of an actor’s life, none is as intimate as that with the costume fitter; he is your confessor and also, sometimes, your co-conspirator.As a child growing up in a suburb of Philadelphia, Eric spoke sewing the way a violin prodigy speaks music. He watched his mother and used his paper route money at age 9 to buy dress patterns.“The dress is made in the fitting room,” he says, quoting the designer Jane Greenwood.Landon Nordeman for The New York Times“I have three brothers — they were very athletic,” he tells me. “One day, I realized that in the back of the pattern books in the fabric stores, they had stuffed animal patterns and Barbie dress patterns. And that was it. I was off to the races.” His first triumph was an orange gingham stuffed dog that he made from a store-bought Simplicity pattern.Eric studied costume design at Temple University, and after three years working as resident costumer of the Houston Grand Opera, he moved to New York in 1987, taking a job at Terilynn Costumes. When they closed, Eric decided to start his own costume-making business, though he was only 29.“I’m rarely the designer, as a matter of fact,” he explains. “I decided a long time ago that I’m much better at interpreting designer sketches than designing myself. And so, I thought that what I could do sewing was much more useful for the world.”Before the pandemic, as many as 15 shows were being worked on at once in Eric’s shop.Landon Nordeman for The New York TimesEric’s light-filled Flatiron district fitting room has French doors that open out to 8,200 square feet of industrial space, with 38 sewing machines and 18 cutting tables, while hundreds of yards of rolled fabric lie on shelves like sacred scrolls. If he is my confessor and the studio his cathedral, the fitting room is the mirrored apse where the very essence of his craft takes place.“The dress is made in the fitting room,” Eric tells me, quoting the designer Jane Greenwood, with whom he has often worked, and whom I first met when she designed (and he made) the costumes for the Broadway musical “High Society.” (Just over my shoulder, on the back wall, hangs a framed, and fading, sketch of me as Tracy Lord in my — her! — wedding gown.)The fitting room itself has to be just so: “This room is 400 square feet, and not just a corner of the room with a curtain on it. You have to really have people be comfortable in it.” Eric long ago installed stage lighting on the ceiling.The final product is bosomy without being modern, the neckline inspired by Jane Greer’s in the 1947 noir film “Out of the Past.”Landon Nordeman for The New York TimesAnd he understands that a costume fitting is a psychic encounter as much as a physical one. “You have to listen to people,” he says. “What the person who’s wearing the costume sees with her eyes, you have to make the match through the process of a fitting. You have to switch each other’s glasses to just see what they’re seeing.”Struggling to Stay OpenBefore the pandemic, as many as 15 shows were being worked on at once in Eric’s shop. His atelier created Elphaba’s witchy dress for “Wicked” (designed by Susan Hilferty) and the blue velvet harem ensemble for the Genie in “Aladdin” (designed by Gregg Barnes). He solved the challenge of the breakaway costume for Elsa as she belts “Let It Go” in “Frozen.”Nearly 50 full-time employees were working in Eric’s studio, hailing from the Dominican Republic, Pakistan, Thailand, Japan, the Czech Republic and Russia, among other places. Now, though, he is working with only a third of his usual team.He’s been active with the new Costume Industry Coalition, which raises awareness of how hard hit this sector has been. Last summer, he struggled even to keep his shop open.“I spent a lot of time last May, June, driving things around to people’s homes, like this ice dress,” he says of a beaded number, intended for a Tokyo production of “Frozen.” “It had to be hand-painted over here, and then it had to go over there to be beaded, then it had to go to New Jersey to be made.”Eric understands that a costume fitting is a psychic encounter as much as a physical one. “You have to listen to people,” he says.Landon Nordeman for The New York TimesHis staff was working and sewing from home, and he lent his studio to organizations making P.P.E.; instead of magical dresses, they made protective gowns. And television work, including HBO’s “The Gilded Age,” replaced the theater.I sensed that one reason Eric was pleased to make me a dress was because he saw it as an offering to the Gods of the Balcony: If I go on making dresses, the singing will come back.Sleeves Again!At my second fitting a week later, a black sequined gown was placed on my body. I stepped into it, and Rita guided my voluptuous elbows into two tunnels of sparkling masquerade. Sleeves!She zipped me into a near-finished, brand-new dress and sat on the floor to stare at the hemline while Eric came in to get a look. The look was bosomy without being modern, the neckline inspired by Jane Greer’s in the 1947 noir film “Out of the Past.” While describing a Parisian bead-and-sequin shop he loves called Fried Frères, Eric tended to my arms and pinched the fabric, experimenting with taking it in, or shortening the sleeves.After 14 months of Lululemons and T-shirts, I had a real costume on my body. It felt wonderful to be in a slinky, sinuous gown with a flirtatious satin sash. I felt like a candy box.Inspiration for a noir-era costume and cabaret show.Landon Nordeman for The New York TimesI’m no stranger to doing cabaret jobs in rented gowns — there is an app for slightly-used dresses for gently-worn actresses — so this feeling was precious. Eric and I looked at each other. The costumer-confessor and actress-penitent were in a state of hope. He, because sewing is what he does; she, because despite all the agonies, singing is what she does. That’s the irony of the actor’s life: The costume frees us from the insecurities that the need for a costume creates. It’s the actor’s version of infinity — a new look, a new role, a new possibility.More practically, I suggested he could tighten the waist.“There is no need,” he reminded me. “You have to sing. You have a lot to do in this dress. It’s fine as it is.” I wiggled my hips, with a few bars of “Put the Blame on Mame.” Eric let out an audible sigh. He moved to the back of the room and turned off the lights. Then he flipped the switch, and the ceiling’s stage lights burst into a warm glow.“There’s the magic,” he said. I was dressed.Melissa Errico is an actress and singer. “Mystery,” her new concert, is Thursday at 7 p.m. at Florence Gould Hall in Manhattan; stream at fiaf.org. More

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    ‘Pass Over,’ About Black Men Trapped by Dread, Heads to Broadway

    The play, by Antoinette Chinonye Nwandu, has previously been staged at several prominent theaters and filmed by Spike Lee for Amazon.“Pass Over,” a searing play about two Black men trapped by existential dread in a world where too many of their peers have been killed by police, is coming to Broadway.A team of producers who include the playwright, Antoinette Chinonye Nwandu, said Tuesday that they would mount a new version of the play at the August Wilson Theater on Broadway later this year. The production will be directed by Danya Taymor.The play, an 85-minute riff on “Waiting for Godot,” began its life in 2017, directed by Taymor at Steppenwolf Theater Company in Chicago. That production was filmed for Amazon Prime Video by Spike Lee, and in 2018 the play ran at Lincoln Center Theater. It has since had several other productions, including at the Kiln Theater in London.The play, in which two friends pass time on a city street corner, sharing fears and dreams, was prompted in part by the death of Trayvon Martin, and draws on the Book of Exodus. Nwandu reworked the play’s ending between the Steppenwolf and Lincoln Center productions, and said she now plans to do so again. In earlier versions, one of the two main characters died at the end; Nwandu said that in the Broadway version, they will both survive.“I wrote the other versions of the play out of anger, and out of a desire to shock white people into caring about the fact that Black lives matter,” Nwandu said. “Now I’m ready to step back from that role of needing to indict white America. White America has been indicted, and continues to be indicted, by the actual death of Black people, so nobody needs to see that theatrically rendered anymore.”She said the play “is still largely a lament,” but that she is now envisioning a tonal shift at the end, as she thinks about her own emotional well-being and that of her audience. “We all know we need some sort of communal healing,” she said. “We have to witness. We have to grieve. And we have to heal, so we can go out into the world and fight these battles.”The Broadway production will have an eclectic producing team: Matt Ross, a longtime theater publicist who is becoming more active as a producer; Jujamcyn Theaters, the company that operates the August Wilson Theater; Lincoln Center Theater, the nonprofit that presented the play Off Broadway; Concord Theatricals, a publishing and licensing company with a growing footprint in the theater world; Renee Montgomery, a retired basketball player who is an owner of the Atlanta Dream W.N.B.A. team; the actor Blair Underwood; Madeleine Foster Bersin, who, along with Ross, was part of the producing team for “What the Constitution Means to Me”; and Nwandu.The cast has not yet been announced. More