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    Theater to Stream: Morgan Freeman in ‘Gospel at Colonus’ and More

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    Can’t catch the live revival of this retelling of “Oedipus at Colonus”? Stream a version with Freeman and Robert Earl Jones, or four more stage-related shows.‘The Gospel at Colonus’Stream it on YouTube.“The Gospel of Colonus” has built a fervent following over the past four decades or so — its number “How Shall I See You Through My Tears?” even popped up in the cult-favorite movie “Camp” — so expectations are running high for the new revival at Little Island in Manhattan (through July 26). Those not in New York or who couldn’t get a ticket to Shayok Misha Chowdhury’s new staging can check out a production from the American Music Theater Festival in Philadelphia, from 1985, that’s streaming on YouTube. This superlative take on Lee Breuer and Bob Telson’s gospel retelling of Sophocles’ tragedy of Oedipus boasts a powerhouse cast, including Morgan Freeman, Jevetta Steele and Robert Earl Jones (James’s father), who went on to Broadway with the show three years later. The score, which features some of the funkiest, most rousing numbers ever heard in a musical, surges to vivid life. Tip: Blast this at full volume.‘Frozen: The Hit Broadway Musical’Stream it on Disney+.The stage version of the animated megahit movie “Frozen” played just two years on Broadway (a short spell by Disney standards), but this newly available capture of the West End production may well kick-start renewed interest in the United States. For the stage version, Kristen Anderson-Lopez and Robert Lopez expanded their score with a dozen new songs — my favorite is the catchy duet “What Do You Know About Love?” between Anna (Laura Dawkes) and Kristoff (Jammy Kasongo). The movie and the show share a bone structure, but they are different animals, with the show able to spend more time on the complicated bond between the sisters, Anna and Elsa (an excellent Samantha Barks). Michael Grandage’s staging captures the story’s supernatural side well, and, let’s face it: We’re all going to watch Elsa’s eye-popping costume change during “Let It Go” a million times, wondering how they pulled it off.Krista Apple in “A Summer Day” by Jon Fosse.Johanna Austin, AustinArt.org‘A Summer Day’Stream it from the Wilma Theater.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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      ‘The Gospel at Colonus’ Review: Singing Hallelujah on the Hudson

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      In an open-air revival on Little Island in Manhattan, Lee Breuer and Bob Telson’s musically sumptuous play follows Oedipus at the end of his life.Back at the start of this century, Tom Stoppard raised some eyebrows with the copious program notes theatergoers received at his brainy Broadway play “The Invention of Love.” The Times review advised reading them, as context for understanding the performance, “before the curtain goes up.”Audience members traipsing onto Little Island in Manhattan for the handsome revival of Lee Breuer and Bob Telson’s “The Gospel at Colonus” don’t get anything of the kind, but it would have been a help. An aurally sumptuous quasi-Passion play that sings hallelujah to the heavens in the island’s open-air amphitheater, the show retells an ancient Greek drama through the prism of a Black Pentecostal church service.“Welcome, brothers and sisters,” the Preacher (Stephanie Berry) says at the beginning, with the Hudson River glinting as a backdrop in lieu of an upstage wall. “I take as my text this evening the Book of Oedipus.”It is a clever line. But while a pastor might be able to presume a congregation’s familiarity with a book of the Bible, it is riskier to count on a crowd knowing Sophocles’ drama “Oedipus at Colonus.” Breuer, the great downtown experimentalist who died in 2021, was all about risk. Still, let’s recap, shall we?In “Oedipus at Colonus,” Oedipus is old, infamous and exiled from Thebes, where he once was king. His life has been a litany of scandals, which you might recall from another of Sophocles’ Theban tragedies, “Oedipus Rex”: Abandoned as an infant, he did not know his parents, so when he later killed his father in a fight, he didn’t realize who it was, and when he married his mother and had children with her, he likewise had no idea. After learning the truth, he gouged his eyes out.Now, in his wanderings, his beloved daughter Antigone is his indispensable guide. Upon their arrival at Colonus, Theseus, the king of Athens, takes pity and offers them sanctuary.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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      An Indispensable Theater Incubator Faces a Troubled Future

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      On a sun-kissed summer day at the Connecticut shore, some 200 people huddled in a darkened room. They had come to the Eugene O’Neill Theater Center in Waterford, Conn., to hear “Dead Girl Quinceañera,” a new play by Phanésia Pharel. The story of a Miami teenager who goes missing during her own birthday party, the play was performed by four young actresses, their scripts propped atop metal music stands.When Pharel, a playwright newly sprung from graduate school, arrived at the O’Neill a week before, the play was much shorter. It lacked an ending. But she had since found one. After the reading, she floated back into the afternoon on an artist’s high. “It’s a dream,” she said of her time at the center. “It’s a little bit of a utopia.”Pharel and three colleagues are the newest members of the National Playwrights Conference, which the O’Neill has hosted annually (barring a brief pandemic hiccup), since 1966. It is perhaps the country’s premiere spot for play development, its alumni functioning as a who’s who of American theater in the last half century.John Guare was among the first cohort, with “The House of Blue Leaves.” Those who followed him include August Wilson, Wendy Wasserstein, David Henry Hwang, Beth Henley, Samuel D. Hunter, Quiara Alegría Hudes, Dominique Morisseau, Jeremy O. Harris. (Musical theater alumni include Jeanine Tesori, Lin-Manuel Miranda and Robert Lopez.) Celine Song, another alum, sets a scene from her recent film, “The Materialists,” at the center.Actors rehearse a season from “Dead Girl Quinceañera,” a new play by Phanésia Pharel (seated in a yellow dress).Jillian Freyer for The New York TimesThe actors performing work by participants of the National Playwrights Conference, which the O’Neill has hosted annually (barring a brief pandemic hiccup), since 1966.Jillian Freyer for The New York TimesLula Britos, center, an actor.Jillian Freyer 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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      As Climate Change Heats Up Europe’s Summers, Avignon Festival Tries to Adapt

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      Rising temperatures pose an existential threat to the theater extravaganza, where extreme heat is making it tough for the audience.As a punishing heat wave swept through Europe last week, some cultural events had to carry on with the show. The Avignon Festival, one of Europe’s largest theater extravaganzas, was just days from opening. And even as temperatures hit 40 degrees Celsius, or 104 degrees Fahrenheit, the festival’s venues — many of them outdoors — still needed to be prepped.“Within 12 hours, we had adapted,” said Eve Lombart, who has been the festival’s general administrator since 2019. Working hours for technicians building stages and sets were adjusted, with longer breaks in the afternoon; to compensate, technical teams started as early as 6 a.m. at some of the event’s 40 venues.The swift adjustments were the result, Lombart said, of years of behind-the-scenes effort to adapt the festival to climate change.For Avignon and other events in the south of France, rising summer temperatures have become an existential threat. Days over 100 degrees Fahrenheit are no longer a rarity, with serious effects on audiences and workers. While air conditioning — less common in Europe than in other parts of the world — has been installed at most indoor venues, crowds typically walk from show to show throughout the day to catch as many productions as possible.Visitors in Avignon find ways to protect themselves from the sun during the day.Pierre Gondard for The New York TimesFlorent Masse, a Princeton University professor who is the director of the Princeton French Theater Festival, said that conditions had worsened significantly since he first traveled to Avignon, in 2002. Masse noted that on the opening day of this year’s event, the 30-minute walk back to the city center after a performance at La Fabrica, a venue in Avignon’s suburbs, was arduous.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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      The Surprising Presence in ‘The Gospel at Colonus’

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      Little Island’s revival of “The Gospel at Colonus” brings together a powerhouse ensemble of Black artists to tell a story of shame, exile and grace. At its center: the gospel singer and pastor Kim Burrell, who came under fire nine years ago after a sermon surfaced online in which she condemned homosexuality. Now, in her traditional theatrical debut, Burrell joins a production that asks whether redemption is possible.“The Gospel at Colonus,” directed by Shayok Misha Chowdhury, is a joyous fusion of Greek tragedy and gospel music. This is the show’s first New York production not led by its writers, the composer Bob Telson and Lee Breuer, a founder of the experimental theater group Mabou Mines. The musical, first produced at the Brooklyn Academy of Music in 1983 and a finalist for the Pulitzer Prize in 1985, uses the melodic language of a Black Pentecostal church service to retell the story of Oedipus, the king of Thebes who unwittingly killed his father and married his mother, then gouged out his eyes in shame.The jazz musician Frank Senior, left, and the bass-baritone Davóne Tines. “The Gospel at Colonus,” directed by Shayok Misha Chowdhury, is a joyous fusion of Greek tragedy and gospel music.Yuvraj Khanna for The New York TimesThe original production starred Morgan Freeman as the pastor who tells Oedipus’ story and the Five Blind Boys of Alabama as the singers who give voice to his pain. Now, Chowdhury has assembled a multitalented cast: the R&B singer-songwriter serpentwithfeet; the actors and singers Stephanie Berry, Ayana George Jackson and Jon-Michael Reese; and, sharing Oedipus’s singing parts, the operatic bass-baritone Davóne Tines and the jazz musician Frank Senior. Burrell appears as Theseus, the king who offers Oedipus refuge at the end of his life.Chowdhury, a Pulitzer-nominated playwright, studied and later taught about spirituals and other religious music at Stanford. He said he assembled this cast because of their voices. “There’s enormous sonic diversity under the umbrella of Black sacred music,” he wrote in an email, “and in gathering together a team for this production, I wanted to highlight that range of sounds and textures.”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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      Richard Greenberg, Playwright Whose ‘Take Me Out’ Won a Tony, Dies at 67

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      More than 30 of his plays were produced on Broadway and off. Many of them dealt with the manners and mores of New York’s upper middle class.Richard Greenberg, who won frequent praise as the American Noël Coward for his sharp-witted plays about the manners and mores of urbane, sometimes smug New Yorkers, and who received a Tony Award in 2003 for “Take Me Out,” his play about a gay baseball player, died on Friday in Manhattan. He was 67.His sister-in-law, Janet Kain Greenberg, said the cause of his death, in a hospice, was cancer.A child of the middle-class Long Island suburbs, Mr. Greenberg rose to theater fame in the 1980s with a string of scripts that delved into the interior lives of the people he knew best: young, upwardly mobile urban professionals — yuppies, in the parlance of the time.Works like “Eastern Standard” (1987) and “The American Plan” (1990), two of his first major plays, were incisive and biting, but never cruel. His goal was to examine the bourgeoisie, but never to épater them.From left, Kieran Campion, Lily Rabe, Brenda Pressley, Mercedes Ruehl and Austin Lysy in the Broadway revival of Mr. Greenberg’s “The American Plan” in 2009.Sara Krulwich/The New York TimesHaving once aspired to be an architect himself, he used that profession as both an identity for many of his characters and an unspoken metaphor in his plays: How do the relationships we build on love and family and friendship bear up over time and under the stress of imperfect, if caustically funny, partners?“We’re always trying to make a cogent story out of our existence,” Mr. Greenberg told Princeton Alumni Weekly in 2016, “and people in my plays often feel they have the story, but almost invariably they’re wrong.”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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      ‘Memnon’ Review: To Fight or Not to Fight?

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      In Will Power’s play for the Classical Theater of Harlem, Eric Berryman stars as an Ethiopian king drawn into the Trojan War.The trappings of royalty don’t always send the intended signals. Take the gilded crown of laurels gleaming expensively atop the head of Priam, the king of Troy. He means the jewelry to underline his status, to augment his gravitas, but no such luck. Even gussied up, he is unmistakably a twit.His nephew Memnon, though? That man has majesty. As embodied by a gripping Eric Berryman in “Memnon,” Will Power’s Trojan War verse play at the Classical Theater of Harlem, he radiates the charisma, integrity and serious-mindedness of a leader. He has a sense of family duty, too.Not to be confused with Agamemnon (same war, different king, opposite side), Memnon has traveled all the way from Ethiopia, where he is king, to answer his uncle’s call for help. A great warrior, he is uncertain that he wants to join the battle, though Troy is a decade deep in combat and in danger of imminent defeat.Memnon has not forgotten the painful slights he has endured for being Trojan only on his father’s side: treated as “not fully Trojan, kin and not kin,” he says. Is a society that has always regarded him that way, led by a king who also sees him that way, worth risking his own life for?His moral wrestling is at the heart of the play, his blend of affection and alienation speaking to the present with bracing clarity.“It makes no sense, to fight for that which has proven time and time again that you will forever be other,” he says. “And yet, golden moments do I have. Good memories in Troy.”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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      Book Review: ‘Bring the House Down,’ by Charlotte Runcie

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      Drawing on her own experience as an arts journalist, Charlotte Runcie comically skewers bad men, bad faith and (unforgivably) bad theater.BRING THE HOUSE DOWN, by Charlotte RuncieHow cruel may a critic be? I ask for a friend.David Niven was once dismissed as “tall, dark and not the slightest bit handsome.” (He hung the review in his bathroom.) John Simon described Barbra Streisand’s nose in “A Star Is Born” as “a ziggurat made of meat” bisecting the screen like “a bolt of fleshy lightning.”Having never gone further than calling an actor confused or miscast, I find such put-downs shocking. But they pale in comparison to Alex Lyons’s review of Hayley Sinclair in a one-woman Edinburgh Festival Fringe production called “Climate Emergence-She.” After disemboweling the script, Lyons turns his attention to its author and star. “Hayley herself is so tedious, and so derivative,” he writes, “that after you’ve endured the first 10 minutes of what the venue is loosely calling ‘a show,’ you’ll be begging for the world to end much sooner than scheduled.”Should Lyons, the lead critic at a major British newspaper, be canceled for that? How about if, in the hours between writing the pan and its publication, he picks up Sinclair at a bar and sleeps with her? She reads her one-star review in the morning, not knowing until then that the man she spent the night with was its author.And does it change the moral calculus if Lyons was right? The show sounds truly dreadful.Those are the questions heating up Charlotte Runcie’s debut novel, “Bring the House Down,” which enjoyably pours fuel on both his and her sides of the dispute. Lyons is basically a #MeToo straw man, so grossly cavalier and indifferent to the sensitivity of other people, especially women, that you’d want to cancel him just for existing.Nor does Runcie make Sinclair a shining heroine. In a canny and commercial act of revenge, the character instantly revamps “Climate Emergence-She” as “The Alex Lyons Experience,” dredging up the history of the critic’s indiscretions and releasing the monster of internet rage. With its parade of guest star exes and its bonus semi-nudity, the new show is the hit the old one could never be.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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      ‘Heathers: The Musical’ Returns to New York, Fueled by a Devoted Fandom

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      When the pitch-black comedy “Heathers” came out in 1989, a review in The New York Times said it was “as snappy and assured as it is mean-spirited.” An early scene was said to have “the air of a demonic sitcom.” This may explain why the composer Laurence O’Keefe initially had reservations about working on a musical adaptation.“I thought it was too nihilistic,” O’Keefe said of the movie, in which a frustrated senior (Winona Ryder) and her murderous boyfriend (Christian Slater) dispatch members of their high school’s bullying elite with theatrical violence. “This material is in some ways more despairing than ‘Sweeney Todd.’”Yet O’Keefe still thought there was a way to make the story palatable for the stage. He was right: These days, “Heathers: The Musical,” the adaptation he created with the writer Kevin Murphy and the director Andy Fickman, is gaining cult-classic status in its own right.It took a decade, but in December the Off Broadway production’s cast album, from 2014, went gold. Packed with a mercilessly catchy mix of bangers (“Candy Store”) and ballads (“Seventeen”), the recording was instrumental in fueling a “Heathers” craze in Britain, where the show has had several West End runs and tours, which were further immortalized in a second cast album and a live capture.From left, Winona Ryder, Kim Walker, Lisanne Falk and Shannen Doherty starred in the pitch-black high school comedy “Heathers.”Moviestore Collection Ltd/Alamy Stock PhotoNow “Heathers: The Musical” has returned to New World Stages, where it had its original New York engagement back in 2014. This version incorporates changes, including new songs, made to the show in the intervening decade. It will open on July 10 with a sterling cast list led by Lorna Courtney (“& Juliet”) as the arty senior Veronica; Casey Likes (last seen on Broadway in “Back to the Future: The Musical”) as the vengeful J.D.; and McKenzie Kurtz, Elizabeth Teeter and Olivia Hardy as the school’s queen bees, all named Heather.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