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    Billy Porter to Star in ‘Cabaret’ on Broadway

    The show’s producers said they plan to end the New York run at the end of the actor’s run, on Oct. 19.Billy Porter, who won a Tony Award for the musical “Kinky Boots” and starred in the television series “Pose,” will return to Broadway as the Emcee in the revival of “Cabaret.”And then, that revival is planning to close.Earlier this year, Porter portrayed the Emcee in the London production of “Cabaret,” opposite Marisha Wallace as Sally Bowles. On Wednesday, the revival’s producers announced that Porter and Wallace would reprise their performances in New York, starting July 22 and running until Oct. 19.The show’s producers said they plan to end the New York run at that point, though it will continue in London. The New York production opened in the spring of 2024, starring Eddie Redmayne; it was nominated for nine Tony Awards, and won one, for its scenic design. (The August Wilson Theater was converted into a club-like setting with preshow performances in the lobby spaces and rings of seats, some with small cafe tables, around the stage.)The show is a hit in London, and it swept the Olivier Awards there. But the initial reception was much cooler in New York. Reviews were mixed — in The New York Times, the critic Jesse Green called the director Rebecca Frecknall’s staging “misguided.” Although it sold well with Redmayne in the lead role, it has struggled since — its weekly grosses peaked at $2 million in May 2024, but last week they were $763,000.Set in Berlin in 1929 and 1930, it depicts a group of people linked by a nightclub whose livelihoods and lives are threatened by the rise of Naziism. The show has had a succession of performers in the lead roles, starting with Redmayne and Gayle Rankin, followed by Adam Lambert and Auli’i Cravalho; and now Orville Peck and Eva Noblezada.The show is expensive to stage — it cost up to $26 million to capitalize, according to a filing with the Securities and Exchange Commission — and has been expensive to run as well. It has not recouped its capitalization costs.With music by John Kander, a book by Joe Masteroff, and lyrics by Fred Ebb, the show is a classic, first staged on Broadway in 1966 and revived three times previously. It was adapted into a Hollywood film in 1972; both the film and the first two Broadway productions starred Joel Grey as the Emcee. More

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    Where to Go in Philadelphia, According to Brian Tyree Henry

    If your memories of summer camp don’t involve eight-course tasting menus and vintage fashion shopping sprees, well, perhaps you weren’t doing it right. Or you were never in a stalled Apple TV+ production with Brian Tyree Henry.Mr. Henry, 43, who recently received the Gotham Television Awards’ first Performer Tribute for his role in “Dope Thief,” is the star and an executive producer of this crime drama about two friends who try to earn a living as fake drug enforcement agents. The limited series was not quite halfway through filming in Philadelphia when Hollywood writers went on strike in 2023, soon followed by actors. He decided to make the best of a bad situation by staying put and diving as deeply as possible into his character’s hometown.Mr. Henry rose to prominence as Alfred “Paper Boi” Miles in the FX show “Atlanta.” He currently stars in the limited Apple TV+ series “Dope Thief,” which is set in Philadelphia.Taylor Jewell/Invision, via Associated PressDuring the work stoppage, which lasted six months, “the Philly crew was still there, and they were my friends,” Mr. Henry said in a video interview. “So my time in Philly felt like sleep-away camp.” He learned a lot. For starters: “Philly natives love Philly,” he said. “If I walked out of my house in anything green and white, it had better have an eagle on it.”Mr. Henry and his co-star, Wagner Moura, play friends who try to earn a living as fake D.E.A. agents in “Dope Thief.”Jessica Kourkounis/Apple TV+, via Associated PressHe also discovered that he didn’t need to stray far from his Center City rental to find a happy place: the tiny 17th-century Rittenhouse Square. “You can sit in the park and read a book, and then go and chill out and have a good meal across the street,” he said, citing the steak, popovers and tater tots at Barclay Prime among his favorite examples. Another neighborhood staple was the Rittenhouse Spa & Club, where regular facials helped mitigate the “sweat, blood, smoke and gunpowder” he was covered in during filming. “They would be like, ‘What did you go through this week?’” he said.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘America’s Sweethearts’ Reveals 400 Percent Raise for Cowboys Cheerleaders

    The second season of the docuseries “America’s Sweethearts” reveals the squad’s successful effort to push for greater financial stability.In what amounts to the biggest reveal of the second season of the Netflix docuseries “America’s Sweethearts,” the Dallas Cowboys Cheerleaders will receive a pay raise of roughly 400 percent for the 2025 season.It is a huge increase in a profession known for its low wages, and one that a former cheerleader for the team, Jada McLean, described in an interview with The New York Times as “a drastic change” that could give the cheerleaders more financial security.The pay bump is announced in Episode 7 of the show’s second season, which began streaming on Wednesday. It caps a yearslong effort for higher pay that drew a great deal of attention in 2018 when the former cheerleader Erica Wilkins sued the team for unfair pay. She claimed in her lawsuit that she received roughly $7 per hour with no overtime pay and a flat rate of $200 per game, which, in total, ended up being less than the annual pay for the team’s mascot, Rowdy. Her case was settled out of court in 2019 and, since then, hourly wages for the squad remained low.Missing from the announcement of the raise in the show were any specifics of what the cheerleaders were making previously, or how much they would be paid under their new deal.But in a rare instance of a Cowboys cheerleader, past or present, discussing her compensation, Ms. McLean told The Times that in 2024, her fifth year with the squad, she had made $15 an hour and $500 for each appearance, and that compensation varies based on experience. With the increased wages, she said veteran cheerleaders could now be making more than $75 an hour. The new contract also changes the structure around pay for game day and other appearances, though Ms. McLean said it still does not provide health insurance.In an emailed statement, the franchise would not confirm the new wages or if the new rates apply to rookies on the team as well.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Jordan Klepper Calls Trump Out for His ‘Irish Exit’ at G7

    The president left the Group of 7 summit in Canada a day ahead of schedule, and Tuesday’s “Daily Show” host thinks he knows why.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.‘Stay Tuned’President Trump left the G7 summit in Canada a day earlier than planned, flying back to Washington to deal with the Iran-Israel conflict, according to the White House.On Tuesday’s “Daily Show,” Jordan Klepper called Trump out for his “Irish exit.”“Now, this is an important G7 for Trump, because he had to prove that he had the discipline and wherewithal to fix the global economy after he [expletive] up the global economy.” — JORDAN KLEPPER“We all know what this is, right? You’re at an event, you have to rush home because ‘something came up’? Look, I get it — none of us like to poop in an unfamiliar place. Sometimes, when you have a big matchup coming up, you just need that home-field advantage.” — JORDAN KLEPPER“After a few days with Trump, the Canadian prime minister was like, ‘I hate to see you go, but I also hate to see you here.’” — JIMMY FALLON“When French president Emmanuel Macron told the press that Trump left the G7 to work on a cease-fire, Trump attacked Macron, posting, ‘He has no idea why I am now on my way to Washington, but it certainly has nothing to do with a cease-fire. Much bigger than that. Stay tuned!’ Much bigger than that? Not a cease-fire? Maybe not the most subtle messaging from the commander in chief. It’s like when F.D.R. said, ‘Gotta get me some sleep. Tomorrow is Big D-Day. Can’t say much more, but it rhymes with Shmormandy.” — STEPHEN COLBERT“So either the United States is about to jump in or he just got bored during the G7 icebreakers.” — STEPHEN COLBERT“‘Stay tuned.’ Like it’s the season finale of ‘Celebrity Apprentice’ or something.” — JIMMY KIMMEL“Oh, great! Yeah, better than a cease-fire! Cease-fire plus! That’s great — I hate watching ads.” — JORDAN KLEPPERThe Punchiest Punchlines (Trade Deal Drop Edition)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Review: He’s Here, He’s Queer, He’s the Future King of England

    The Off Broadway play “Prince Faggot” aims to shock. But the real surprise is how good it is anyway.In 2032, a young man called Tips brings his boyfriend, Dev, home from college to meet the folks. Though cautious, Mum and Dad are neither surprised nor scandalized; after all, he’s 18, and they have known he was gay for a while.For the characters in Jordan Tannahill’s “Prince Faggot,” though, that gayness was long since a given. Early in the play, we are shown a famous picture of Tips at 4, looking adorable and, to them, arguably fey.Tips is better known to the world as Prince George of Wales, the oldest child of Prince William and Princess Catherine. The real Prince George is now 11. For that reason, I will hereafter refer to the character by his nickname. I am one of those who, as the play anticipates, resist the dragooning of a preadolescent boy into a dramatic argument about sexuality and monarchy — just as I cringe at the use of a slur I take no reclaimed pride in to market a title. If the playwright means to shock, mission accomplished.But here’s the real shocker: The play, which opened Tuesday at Playwrights Horizons, in a co-production with Soho Rep, is thrilling. Inflammatory, nose-thumbing, explicit to the point of pornography, wild and undisciplined (except in its bondage scenes) — yes, all that. Its arguments have so many holes in them, most hold water only briefly. Grievance is its top note: Tips is a whiner and Dev a theory queen. Love is everything and never enough.In other words, however objectionably conjectural, it’s real.Tannahill tries to sideline reality quickly though. In a throat-clearing prologue, he has the six actors (all exceptionally good in multiple roles) debate the propriety of telling the story in the first place. One (Mihir Kumar) argues that since “all children are ‘sexualized’ as heterosexual by default,” exploring a different framing is a kind of reparation. Another (K. Todd Freeman) retorts that to portray an actual child as queer is to invite a charge of grooming. A third (David Greenspan) adds wickedly, “Frankly, I think we’ve been doing a terrible job at grooming. I mean look at how many straights there still are.”From left, Rachel Crowl, K. Todd Freeman, N’yomi Allure Stewart and McCrea as the royals at the heart of the play.Richard Termine for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘Chaos’ Is a Morning Show Dramedy With Verve

    This Danish series, about a morning show in crisis, is light but not dumb, credible but still arch. It is also very different from “The Morning Show.”The Danish dramedy “Chaos” (in Danish, with subtitles), on Viaplay, centers on a morning show in crisis. “Denmark Awakes” is chugging along, not particularly vibrant or hugely popular but a fixture nonetheless. Then a new boss rolls in and announces that the show is about to be canceled, and suddenly the status quo is no longer an option.That is especially true for Lise (Katrine Greis-Rosenthal), who anchors the show with her husband, Martin (Hadi Ka-Koush). They smile through tepid human-interest stories about giant eggplants and unusually old dogs, but off camera, the cheery act is harder to maintain: He’s ready for kids, she definitely isn’t and thinks she may never be. So when she meets Johannes (Jacob Lohmann), a scruffy, emotionally wounded chef who is trying out van life for a while, she is drawn both to him and to the premise of a less conventional life.The staff at “Denmark Awakes” scrambles to grow its ratings, but attracting new, younger viewers is not easy. A brainstorming meeting concludes with three big ideas on the whiteboard: “MERMAN,” “DON’T SCARE MEN” and “DIRECTION.” Hmm. Maybe Johannes could do a segment, Lise suggests. And let’s have Lise and Martin take DNA tests onscreen! That is sure to be a trouble-free exercise with no unexpected results.Even though it is set at a morning show, this is — mercifully — not at all like “The Morning Show,” which is tediously trapped in its miasma of self-regard. “Chaos” is brisk and frisky, juiced by a rom-com engine and by the countdown toward the show-within-the-show’s cancellation. Is Lise’s life collapsing or beginning? Is everything falling apart, or was everything barely held together in the first place? Impending doom sucks, but would Lise be brave enough to make big changes without that pressure? Would anyone?“Chaos” is light but not dumb, credible but still arch. Its eight episodes are snappy and precise: no split timelines, no pointless subplots. More

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    Broadway’s ‘Real Women Have Curves’ to Close Because of Soft Sales

    The immigration-themed musical is the second show to announce a plan to close in the aftermath of this year’s Tony Awards.“Real Women Have Curves,” an immigration-themed musical about a young woman whose academic aspirations conflict with her mother’s desire for her to stay close to home and to help out at the family’s small business, announced on Tuesday that it would close on June 29 after struggling to find an audience on Broadway.Based on Josefina López’s 1990 play and a 2002 film, the musical began previews April 1 and opened April 27 at the James Earl Jones Theater. At the time of its closing, it will have played 31 previews and 73 regular performances.The musical is set in 1987 in an East Los Angeles dressmaking shop owned and operated by Latina women, some of whom are undocumented immigrants; it has echoes of events currently unfolding in Los Angeles, where immigration raids have prompted protests.“Real Women Have Curves” was nominated for two Tony Awards, for best original score (by Joy Huerta and Benjamin Velez) and for best featured performance by an actress (Justina Machado), but won neither. It is the second show to post a closing notice after going home empty-handed from the June 8 awards ceremony, following “Smash.”Reviews for “Real Women Have Curves” were mostly positive. In The New York Times, the critic Laura Collins-Hughes called it “a bouncy, crowd-pleasing comedy about female empowerment, self-acceptance and chasing one’s ambitions.” She added, “It is also a tale of immigrant life in this country, and the dread woven into the fabric of daily existence for undocumented people and those closest to them.”“Real Women Have Curves” has had difficulty selling tickets throughout its run. It has been grossing about $400,000 most weeks, which is well below today’s running costs for a large-scale Broadway musical. The producers, in a last-ditch effort to boost ticket sales, picked up the costs for the cast to perform a song on the Tony Awards broadcast (not a given, since the show was not nominated for best musical), but that did not save the show.The musical was capitalized for up to $16.5 million, according to a filing with the Securities and Exchange Commission. That money — the amount it cost to finance the show’s development — has not been recouped.“Real Women Have Curves” features a book by Lisa Loomer with Nell Benjamin; it is directed and choreographed by Sergio Trujillo. Produced by Barry and Fran Weissler and Jack Noseworthy, the show had an initial production that opened in 2023 at the American Repertory Theater in Cambridge, Mass. More

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    American Mythmakers, Revisited: Hunter S. Thompson and John Wilkes Booth

    Two shows attempt to make sense of the gonzo journalist and Lincoln’s assassin, cultural figures forever intertwined with American history.Two shows on stages just outside Washington, “The Untitled Unauthorized Hunter S. Thompson Musical” and “John Wilkes Booth: One Night Only!,” create a diptych of American mythmaking: One character sees the country crumbling and aims to shake it awake, the other sees it in betrayal of its founding principles and tries to burn it down.The writer Hunter S. Thompson had little regard for professional deadlines, but in “The Untitled Unauthorized Hunter S. Thompson Musical,” running through July 13 at the Signature Theater in Arlington, Va., he faces one he can’t ignore. With a bottle of Wild Turkey in one hand and a .45 in the other, the bathrobe-clad gonzo journalist — staring at a typewriter that has just landed with a thud onto the stage — neutrally informs the audience: “It’s February 20th, 2005. The day I die.” Then the self-proclaimed “major figure in American history,” played with feral charisma by Eric William Morris, manically attempts to commit his life, and the life of these disunited states, to the page.Created by Joe Iconis (music, lyrics, book) and Gregory S. Moss (book), and directed with anarchic propulsion by Christopher Ashley, the show is a frenzied, frothing act of theatrical resurrection. Morris is accompanied by a nine-member ensemble that functions as a Greek chorus of demons, muses and collaborators, ferrying us from Thompson’s Louisville boyhood to his professional dust-ups with the Hells Angels and drug-fueled detours through the underside of the American dream. His Colorado home, Owl Farm, serves as both writing bunker and memory palace. Crammed with gewgaws, it looks like the kind of place that would make people rethink their ideas about souvenirs.Subtlety was never Thompson’s forte, and this bio-musical wisely avoids making it an organizing principle. Iconis’s propulsive score is peppered with protest anthems, beat-poet swagger and a recurring rock ’n’ roll hymn to outsiders and misfits. “All hail Hunter S. Thompson,” the ensemble chants. “Hail to the freak.” Too much exposition? Too little? That depends on your familiarity with Thompson, a philandering husband and neglectful father who ran for sheriff of Aspen, Colo., cherished his constitutional right to own guns and nursed a near-cellular antipathy toward Nixon (played here by a reptilian George Abud).Though the show splendidly commits to unfiltered, maximalist expression, quieter moments also resonate, including when a young Hunter (Giovanny Diaz De Leon) reads a copy of “The Great Gatsby” and resolves to one day write into existence a more democratic country.Ben Ahlers as the title character in “John Wilkes Booth: One Night Only!” at Baltimore Center Stage.J Fannon PhotographyWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More