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      ‘Eurydice’ Review: Maya Hawke in the Underworld

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      The actress stars in Sarah Ruhl’s reimagining of this classic myth, with a focus on a daughter’s reunion with her beloved father after death.The young couple on the beach are coltishly enamored — snuggled up close, their long limbs entangled. When he ties a string around her left ring finger, to remind her of his love, she squeak-squeals with pleasure and agrees to marry him.She is Eurydice and he is Orpheus, legendary musician nonpareil, and the handed-down myth about them says their union will be short. She will die abruptly, he will be bereft, and it will not go well when he descends into the underworld and tries to lead her back to the land of the living.Their relationship does figure in “Eurydice,” Sarah Ruhl’s tear-dappled masterwork, yet the play’s primary grief is Eurydice’s own — for her dead father, a gaping, missing presence on the day she and Orpheus wed. In this poetic, heightened comedy of mourning and oblivion, the surest, most steadying love is between parent and grown child.Les Waters’s marvelously burnished revival, which opened on Monday night at Signature Theater, stars an instantly likable Maya Hawke as a self-possessed Eurydice, cerebral but with a romantic streak, and a beautifully understated Brian d’Arcy James as her mild father, funny here in a dadly way and immensely moving, too. Caleb Eberhardt plays Orpheus, gentle and determined, pouring his misery into music and writing to his dead wife.“I’ll give this letter to a worm,” he tells her, signing off. “I hope he finds you.”Waters’s breathtaking 2006 staging of “Eurydice” was my introduction to Ruhl’s slender play, which she and the composer Matthew Aucoin have more recently adapted into an opera. This Off Broadway revival is similar to that earlier Waters production, yet even more eloquent in execution — the work of a director who by now knows the play’s every ripple and depth.Crucially, he has brought along two members of the crack creative team from that production: Scott Bradley, whose glamorous, slant-walled set is all watery blues and greens, part painted tiles, part forlorn grid of handwritten letters; and Bray Poor, whose often delicately musical sound design evokes the near-omnipresence of water in this very liquid play.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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      This ‘Buena Vista Social Club’ Star Knows She’s Intimidating

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      As she exits the stage door of “Buena Vista Social Club,” the Broadway actress Natalie Venetia Belcon can see it in their eyes. The waiting fans thrust Playbills and pens into the hands of her co-stars, but when Belcon comes down the line, she senses their shyness, their wariness.“They’re afraid,” she said. “It’s so weird. I’m like, ‘You guys, I’m pretending!’”Onstage, Belcon, 56, plays the middle-aged version of Omara Portuondo, the famed Cuban singer known as “the queen of feeling.” (Isa Antonetti portrays the teen version.) Belcon’s Omara is stately, imperious. “You’re not the kind of woman one forgets,” a bandmate in the show tells her. She can dismiss a person with a tilt of the head, a wave of the hand. The role has earned Belcon a Tony nomination, her first, for best performance by a featured actress in a musical.Natalie Venetia Belcon as Omara, with members of the onstage band, in “Buena Vista Social Club” at the Gerald Schoenfeld Theater.Sara Krulwich/The New York TimesBelcon is, she insists, not Omara, but some of this same majesty was evident even over a casual afternoon snack of calamari and plantains at Cuba, a restaurant in Manhattan’s West Village neighborhood. The waiter seemed honored to shake up a mojito for her. Belcon, dressed like some expensive, resplendent bird in a blue-and-yellow skirt and matching jewelry, looked regal as she sipped it.Then she pointed to the stalk of sugar cane in the glass. “Oh, I love sugar cane!” she said delightedly. “I grew up chewing on it. Then you catch yourself in the mirror, like, ‘That doesn’t look sexy!’”Belcon insists that in her downtime, offstage, away from journalists, she is an everyday sort of woman who prefers oversize T-shirts and yoga pants. She loves to put on her bunny slippers and watch the UFC.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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      Patti LuPone Apologizes for Comments About Audra McDonald and Kecia Lewis

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      LuPone said she was “deeply sorry for the words” she used in her criticism of Kecia Lewis and Audra McDonald when asked about a dispute over Broadway noise levels.Patti LuPone, a three-time Tony-winning actress, has for years been known, and generally celebrated, as one of the most outspoken performers on Broadway. Her reprimands of poorly behaved audience members have made her a folk hero of sorts in the theater business, and her grudges and grievances have had a certain real-talk charm.But this week she crossed a line for many in the theater community with her criticism of two fellow Tony-winning performers in an interview with The New Yorker.LuPone responded sharply when asked about responses to her concern that noise from the Alicia Keys jukebox musical, “Hell’s Kitchen,” was bleeding into the theater where LuPone was performing in a two-woman play, “The Roommate.”The criticism — LuPone referred to Kecia Lewis, who plays a piano teacher in “Hell’s Kitchen,” with the word “bitch” and described Audra McDonald, Broadway’s most-honored performer, as “not a friend” — prompted a backlash from many of LuPone’s colleagues, and on Saturday she issued a 163-word statement responding to the furor.“I am deeply sorry for the words I used during The New Yorker interview, particularly about Kecia Lewis, which were demeaning and disrespectful,” she wrote in a statement posted on Instagram and Facebook. “I regret my flippant and emotional responses during this interview, which were inappropriate, and I am devastated that my behavior has offended others and has run counter to what we hold dear in this community. I hope to have the chance to speak to Audra and Kecia personally to offer my sincere apologies.”LuPone’s offending comments came while discussing an incident last year when she had become concerned about distracting noise levels inside the theater, the Booth, where she was performing. (This is a frequent phenomenon on Broadway, where noise from the streets, and sometimes from adjoining theaters, can be audible.)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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      In ‘Dead Outlaw,’ Andrew Durand Has the Role of a Lifetime. And After.

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      An hour before a Wednesday evening show, the actor Andrew Durand clambered up to a platform on the stage of the Longacre Theater and began doing jumping jacks. “When I walk onstage I never want to feel like I walked in off the street,” he said between jumps. “I want some sort of elevation physically.”Durand, 39, a Broadway regular, is a first-time Tony nominee this year for his role in “Dead Outlaw,” a new musical that tells the improbable true story of Elmer McCurdy, a bandit fatally shot by a sheriff’s posse in 1911. Because his preserved corpse went unclaimed, McCurdy spent the following decades as a sideshow attraction and an occasional movie extra before ending up as a prop in an amusement-park ride.McCurdy’s unusual life and afterlife mean that Durand spends the first 40 minutes of the show leaping on and off tables, climbing up and down ladders, and hanging upside down. He spends the next 40 minutes standing still, barely breathing when the lights are on him. Before each performance, he puts himself through a 30-minute workout to prepare for all that motion, all that stillness.Andrew Durand plays the motionless corpse of Elmer McCurdy for most of the second half of “Dead Outlaw.”Sara Krulwich/The New York Times“I have all this crazy stuff to do in the show,” he said. “I don’t want my body to go into shock.”Durand, who has wavy brown hair, a wide forehead and the jawline of a cartoon superhero, grew up in a churchgoing family in a suburb of Atlanta. He saw his first play at 10, at the local community theater. He returned to act, to paint sets, to sell concession stand popcorn. He loved the openness, the silliness and the reverence he felt there. Eventually he recruited his whole family for the annual production of “A Christmas Carol.” An arts high school followed, then a theater conservatory, and not long after he graduated Durand was on Broadway in 2008, as a replacement cast member in “Spring Awakening.”During that show, Durand didn’t pay much attention to workouts or warm-ups. “I think I had some injuries that I didn’t notice or deal with,” he said. “I’m pretty sure I tore a rotator cuff doing some choreography, but we were kids. We were just partying after the show, hanging out, sleeping in.”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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      How Megan Hilty, a Tony Awards Best Actress Nominee, Spends Her Show Days

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      For 20 hours a week, Megan Hilty is a self-obsessed, vindictive, fading movie star. Then she spends the rest of her time trying to make it up to everyone.Ms. Hilty, 44, known for her starring role in the NBC musical series “Smash” and her turn as Glinda in “Wicked” on Broadway, returned to the stage late last year as the aging-averse Madeline Ashton in a musical adaptation of the 1992 movie “Death Becomes Her.”She has been nominated for the best actress in a musical Tony Award for the role, which she describes as the most physically demanding one she has undertaken. “I’m not just going to work, singing and dancing, and that’s it,” she said. “It’s way more involved than it seems.”Ms. Hilty said she and her two children write notes for one another during the week because work keeps her so busy.Shuran Huang for The New York TimesBut doing so meant uprooting her family from Los Angeles. “It was a big ask,” she said. “Not only did they leave their life as they knew it; I then basically left them, because my job is all-encompassing.”Making it up to them has meant being extra intentional with family time.“Sunday nights are our family dinner night,” she said. “The phone goes off and I’m theirs.”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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      ‘Good Night, and Good Luck’ Remembers When TV Had a Conscience, and a Spine

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      A TV critic looks at George Clooney’s play about CBS News standing up to political pressure, even as its current ownership might succumb to it.In the Broadway play “Good Night, and Good Luck,” the CBS newscaster Edward R. Murrow (George Clooney) allows himself a moment of doubt, as his program “See It Now” embarks on a series of reports on the anti-communist witch hunts of the 1950s.“It occurs to me,” he says, “that we might not get away with this one.”It is a small but important line. We know Murrow’s story — exposing the red-baiting demagoguery of Senator Joseph McCarthy — as history. And history, once set down on the page and stage, can seem inevitable.But Murrow’s success was not preordained. It required hard, exacting work. It required guts. It required journalists to risk personal ruin and some of them to experience it.It’s a point worth remembering. And it hits especially hard at this moment, when CBS News, headquartered just blocks away from the Winter Garden Theater, is again under political and financial pressure to rein in its coverage of the powerful. History is repeating, this time perhaps as tragedy. (CNN is airing the play’s June 7 evening performance live, as if to give the news business a shot in the arm.)In “Good Night, and Good Luck,” adapted from the 2005 screenplay by Clooney and Grant Heslov, all ends well, more or less. (The “less” is implied in the stage production by a “We Didn’t Start the Fire”-like closing montage that ties the division and chaos of the past several decades to the cacophony of media.)Murrow ultimately received support — however nervous and limited — from his network. Its chief, William S. Paley (Paul Gross), fretted about pressure from politicians and from the “See It Now” sponsor, the aluminum company Alcoa. But while Paley complained about the agita Murrow brought him, he did not pull the plug on the McCarthy investigation.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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      Dozens of Festival Plays Worth Traveling to This Summer

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      Across the country, you’ll find Shakespeare in amphitheaters, exciting new works on intimate stages and many regional repertories in bucolic settings.In and Around New YorkJust off Manhattan, a full-to-bursting open-air season is already underway at Little Island (through Sept. 28), a park in the Hudson River that looks from afar as if it was built atop a giant’s stash of stiletto heels. Highlights include Kate Tarker and Dan Schlosberg’s “The Counterfeit Opera: A Beggar’s Opera for a Grifter’s City” (through June 15); Sarah Gancher’s bluegrass re-envisioning of “Eugene Onegin,” directed by Rachel Chavkin (July 30-31); and “The Tune Up,” a music-filled evening of new work by Suzan-Lori Parks (July 30-Aug. 3).And at the newly renovated Delacorte Theater in Central Park, Shakespeare in the Park makes a glittery return with Saheem Ali’s production of “Twelfth Night” (Aug. 7-Sept. 14), starring Lupita Nyong’o as Viola, Sandra Oh as Olivia, Peter Dinklage as Malvolio, Daphne Rubin-Vega as Maria and Jesse Tyler Ferguson as Andrew Aguecheek.Amid the hive of theater development that is Poughkeepsie in summertime, New York Stage and Film’s dozen public performances at Marist College (July 11-Aug. 3) include new works by Donja R. Love, Carly Mensch, Hansol Jung, Kirsten Greenidge and John Patrick Shanley, while a reading of Drew Gasparini and Alex Brightman’s musical “It’s Kind of a Funny Story” is part of the Powerhouse Theater season (June 20-July 27) at nearby Vassar College. In Garrison, under the tent at the Hudson Valley Shakespeare Festival, “The Comedy of Errors” (June 6-Aug. 2) plays in rep with Thornton Wilder’s “The Matchmaker” (June 8-Aug. 3), followed by Dave Malloy’s chamber musical “Octet” (Aug. 11-Sept. 7).The Pennsylvania ShakespeareFestival, about an hour north of Philadelphia, takes an expansive approach to the Bard. You can see “Hamlet” (July 9-Aug. 3) and its Tom Stoppard spinoff, “Rosencrantz and Guildenstern Are Dead” (July 17-Aug. 2). Iambic pentameter not your jam? You can also catch the musical “The Producers” (June 11-29) or the Lorraine Hansberry play “A Raisin in the Sun” (June 25-July 13). Now that’s range.Shakespeare & Company’s outdoor stage is in bucolic Lenox, Mass.Nile Scott StudiosNortheastWestern Massachusetts is a travel destination for the Berkshires’ hilly beauty and for the summer seasons of its established theaters, including Barrington Stage Company (June 3-Oct. 12), in downtown Pittsfield; Shakespeare & Company (June 19-Oct. 12), in bucolic Lenox; and Berkshire Theater Group (through Oct. 26), in both Pittsfield and Stockbridge.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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      Willem Dafoe Returns to His Stage Roots at the Venice Theater Biennale

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      Willem Dafoe is returning to his roots. While his distinctive, chiseled features are instantly recognizable from over 150 movie roles, Dafoe, 69, actually got his start in experimental theater. In 1980, he co-founded the New York City-based company the Wooster Group, and performed with it for more than 20 years.Now, he is taking on the role of a curator. Last year, Dafoe was announced as the artistic director of the 2025 and 2026 editions of the Venice Theater Biennale, one of several festivals that began life as offshoots of the Art Biennale. (The theater event is actually an annual fixture.)And there will be familiar faces around Dafoe at this year’s edition, which opens Saturday and runs through June 16. Dafoe is paying tribute to some avant-garde theater companies that shaped him and were prominent 50 years ago at the 1975 edition of the festival, with productions from Denmark’s Odin Teatret and Thomas Richards, formerly of Workcenter Grotowski. The Wooster Group’s longtime director (and Dafoe’s ex-life partner), Elizabeth LeCompte, will receive the event’s Golden Lion for Lifetime Achievement.Under the tagline “Theater Is Body. Body Is Poetry,” the Theater Biennale will also welcome a mix of European directors whom Dafoe described in a recent video interview as “modern maestros” — including Romeo Castellucci, and Milo Rau — as well as emerging artists. These are edited excerpts from the conversation.How did this appointment come about? Did Pietrangelo Buttafuoco, the president of the Venice Biennales, reach out personally?Yes. I knew him a little bit: He was a very good friend of a dear friend of mine. I knew he wanted to talk to me, and it was the simplest of phone calls. I was very happy to accept.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