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      ‘Twelfth Night’ Review: A Shot of Joy Under a Darkening Sky

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      At an uptown amphitheater, the Classical Theater of Harlem stages Shakespeare’s comedy with fizzy delight.For so many of us, stress roared in and put down roots. The stress of living at perpetual high alert in a world that has seemed, for the past several years, to be in an ever-shifting state of emergency. Amid all that, in the post-shutdown theater, has come a tsunami of shows dedicated to elucidating social ills and processing cultural pain. Such work is vital now and always; don’t get me wrong.But we desperately require its counterweight, too — shows that usher us into alternate worlds where we can give ourselves over to pure delight. The Classical Theater of Harlem gets that, deeply, and proves it with a delectable “Twelfth Night” so fizzy and fun that you may be surprised afterward at how relaxed your body is, and how much lighter your spirit feels.That’s what communal joy can do. Maybe it’s been a while?Hie thee, then, to the Richard Rodgers Amphitheater in Marcus Garvey Park, where this free, outdoor production directed by Carl Cofield boasts dance as lissome as ever, design that raises the bar on this company’s customary visual wow and a cast whose ease brings a lovely clarity. In Kara Young as Viola, this “Twelfth Night” also has a star as fascinatingly natural in Shakespeare as she has been in any of the contemporary stage roles that have established her as one of New York’s most exciting actors.Washed up on the shore of Illyria, her Viola is immediately surprising — shivery and traumatized, which makes the unseen shipwreck that tore her from her brother, Sebastian, more than a mere plot device to set in motion a rom-com with a mistaken-identity twist. Not that she lingers in her distress; this show gets playful fast. But the emotional stakes are laid, and they will pay off.Needing to survive in this strange country, Viola disguises herself as a young man named Cesario and gets a job working for Orsino (William DeMeritt), a love-struck duke who sends her to plead his amorous case with the countess Olivia (Christina Sajous). The elegant lady spurns Orsino’s messages but is much taken with the messenger, who, in turn, is so smitten with the oblivious duke that she can barely stand to be near him. It’s a triangle of sexual tension, one of romantic comedy’s most deliciously tormented shapes.An intersecting plot involves Shakespeare’s possibly most stellar team of ridiculous idiots: the ever-reveling Sir Toby Belch (Chivas Michael) and his tag-along friend Sir Andrew Aguecheek (an excellently goofy Carson Elrod), who with their raucous compadres stir up trouble for trouble’s sake at Olivia’s house. Their principal target is Olivia’s prim steward, Malvolio (Allen Gilmore), who, despite his name, is not a bad guy, really; he’d just like to get some sleep instead of being kept awake by these cases of arrested development.This beautiful show, at the Richard Rodgers Amphitheater, works its magic beneath the summer sky as dusk turns to dark.Richard TermineCofield and his creative team are gorgeously in sync as they fully embrace all comic opportunities — not least a memorably silly sword fight between Viola and Andrew, both of them terrified and armed with quasi-light sabers. (Fight direction is by the father-and-son team Rick Sordelet and Christian Kelly-Sordelet.) There is also the laugh-out-loud tableau of Toby, Andrew and the servant Fabian (Donathan Walters) popping their hatted heads up from their hiding place to watch Malvolio fall into their trap. (Set design is by Riw Rakkulchon, costumes by Mika Eubanks and lighting by Alan C. Edwards.)What befalls Malvolio is the one indelible blot on Shakespeare’s play: recreational cruelty that can’t be jollied away. In this production, though, the rest is lively, witty, fresh — and peppered with crowd-pleasing songs performed by Olivia’s scooter-riding jester, Feste (Israel Erron Ford) — in one instance, with Toby and Andrew as backup dancers. (The original music is by Frederick Kennedy, who also did the sound design; choreography is by company regular Tiffany Rea-Fisher.)As with any oft-told tale, the enjoyment of “Twelfth Night” lies not so much in the destination as in the journey. We know that Sebastian (J’Laney Allen) will turn up, that people will confuse him and Viola — the show’s hair designer, Earon Nealey, is instrumental in this illusion — and that it will all end happily with the romantic triangle squared.This is one of those productions that make you feel lucky to be in New York. You have not seen a Viola like Young’s fierce, funny, fully inhabited Viola. And if your nerves are as frayed as so many of ours are, you could do with the beautiful balm that is this show, working its magic beneath the summer sky as dusk turns to dark.Twelfth NightThrough July 29 at the Richard Rodgers Ampitheater at Marcus Garvey Park, Manhattan; cthnyc.org. Running time: 1 hour 30 minutes. More

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      ‘White on White’ Review: American Grotesque

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      Robert Quillen Camp’s play, about an antiracist discussion group, starts out naturalistically, but then pivots, with bloody abandon, to the absurd.“This orgy of white monstrosity must cease! Now! NOW!”Barked at maximum volume, the command is hard to ignore. And indeed, it puts a screechy brake on one of the most exhilaratingly bizarre scenes of the theatrical summer, if not year, toward the end of the new show “White on White.”The reprieve is temporary: The action revs up again, and at one point I could not help but gasp in horrified delight, or maybe it was delighted horror — the two are closely intertwined in Robert Quillen Camp’s absurdist, outrageous Grand Guignol, which recently opened at the Off Off Broadway space JACK in Brooklyn.As far as setups go, the one in this show, presented by the Hoi Polloi company (“Three Pianos”), is very familiar: A seemingly innocuous confab makes a hard turn into unexpected terrain. Fictional weddings, funerals, Thanksgivings and Christmases have long had a habit of going off the rails; in recent years the battlefield has moved away from those family-centric occasions to gatherings of various types — work meetings, recovery groups, political assemblies — that tend to end with people blowing a gasket and telling each other what’s what. (Tracy Letts’s “The Minutes,” currently on Broadway, is the latest example, about a small town’s City Council.)And so it is in “White on White,” which takes place during a meeting of an antiracist discussion group hosted by Hannah (Nisi Sturgis) in her suburban home — the participants are white so they can avoid “putting an undue burden on people of color,” as Hannah’s husband, Peter (Brandt Adams), puts it. Most of the audience members sit in a large circle, as if we, too, were in Hannah’s beige, characterless living room. (Mimi Lien is the scenic design consultant.)The first two-thirds of the show — directed by Alec Duffy, who also wrote the music, and Lori Elizabeth Parquet — focus on an exquisitely observed dissection of progressive mores and subtle class friction. Michelle (Rebecca Mozo), a blithely entitled type-A mom, pressures the mechanic O’Reilly (Peter Mills Weiss, “While You Were Partying”) into taking a look at her car, even though he is overworked. O’Reilly is the only one helping himself to the snacks.Peter is sitting in a meeting for the first time, and at first we discover the group through his eyes. Adams communicates Peter’s befuddlement through a seemingly blank face and almost imperceptibly widening eyes as the proceedings grow increasingly odd. The first obvious sign may be when the attendees start singing cryptic ditties with titles like “A Ship Doesn’t Capsize,” backed by Michelle’s partner, Riley (Dinah Berkeley), on an autoharp. When the group’s female members leave the room for a separate conversation, we are left with the men, including Peter, and an ominous pulse grows louder in the background — Jeremy Toussaint-Baptiste’s sound design helps create a disquieting atmosphere as the cultish vibe that had been simmering gets closer to a boil.“White on White” appears to target the way some white people find comfort in rituals of performative expiation. Until, that is, they reach the point where self-analysis ends and self-interest begins.But instead of being yet another chatty, naturalistic couch play, the show throws itself into the grotesque, when the essence of whiteness manifests in a burst of body horror as surreal as it is funny. That over-the-top scene does not resolve anything for characters or viewers alike — Camp refrains from offering a cathartic ending — but its go-for-broke delirium is uncommonly satisfying.White on WhiteThrough July 16 at Jack, Brooklyn; jackny.org/white-on-white. Running time: 1 hour 35 minutes. More

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      Review: Danai Gurira Makes a Sleek Supervillain of Richard III

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      At Shakespeare in the Park, athletic stamina and action-hero charisma muddy the meaning of a play about disability.Richard of Gloucester may be the killingest character in Shakespeare, personally knocking off or precipitating the deaths of more than a dozen people who get in his way. To be fair, he does so over the course of three plays, while top competitors like Macbeth and Titus Andronicus have just one.Still, lacking a prophecy, a particular vengeance or a bloody-minded wife to flesh out his motives, Richard remains the most mysterious in his evil; to make a success of the fabulous mess that is “Richard III,” you must decide what to do about that.The tonally wobbly and workmanlike revival that opened on Sunday at the Delacorte Theater in Central Park doesn’t decide. Whether Richard chooses his evil in reaction to the world’s revulsion — a “lump of foul deformity” is one of the nicer descriptions of him — or whether he was merely born to be bad is a question the Public Theater production, starring the tireless Danai Gurira as Richard, does not reach. We never learn what Richard means by the word “determined” when, in his first speech, he says that “since I cannot prove a lover/I am determined to prove a villain.” Is he bent on villainy, or was he pre-bent?Actually, in Robert O’Hara’s staging, that speech no longer comes first. In a sign that he will focus on action and not psychology, O’Hara instead opens with the gruesome final scene of “Henry VI, Part III,” the immediately preceding play in Shakespeare’s chronicle of 15th-century royal intrigue. In O’Hara’s characteristically droll take on awfulness, Richard coolly stabs King Henry to death, for good measure stuffing the corpse’s mouth with the royal pennant and wiping his knife on it too.As a means of showing us that Richard intends to replace the Lancasters on the throne with the Yorks — including, as soon as possible, himself — this is highly effective. And Gurira, the fierce General Okoye of the “Black Panther” films, certainly never disappoints as an action hero. Looking like a supervillain in black knee-high boots and stretch denim trousers, with her hair shaved into heraldic patterns, she is unflaggingly energetic, vocally thrilling and, as events become more hectic, more and more convincing.But for much of the play, the flash and fury of her performance, with its surface swagger and glary stares, too often feel like decoys. As Richard schemes his way from the sidelines to the throne, dispatching two young princes along the way, we get his gall but not his emotion, even as his words tell us that he understands the monstrousness of his methods. “Was ever woman in this humor wooed?” he asks after proposing marriage to Lady Anne, whose husband he has just murdered. As staged by O’Hara, the seduction is humorous in the comic sense too, involving a trick knife, a humongous ring, and a moment when Richard, sitting on the corner of the bier, brushes some part of the inconvenient body aside as if it were a crumb.From left, Richard’s aggrieved mother, the Duchess of York (Monique Holt), with Anne (Ali Stroker) and the ensemble member Thaddeus S. Fitzpatrick in “Richard III.”Sara Krulwich/The New York TimesAnd bodies, not just body counts, are crucial in “Richard III.” It’s worth noting that Ali Stroker, this production’s Anne, uses a wheelchair. Richard’s aggrieved mother, the Duchess of York (Monique Holt), uses sign language. So does one of the assassins, played by Maleni Chaitoo. Gregg Mozgala, in two important roles — Edward IV, who succeeds the dead Henry, and Richmond, the play’s hero, who eventually kills Richard — has cerebral palsy.Though they all have excellent moments, the admirably diverse casting only underlines for me the problem of a Richard who is not disabled. For centuries, of course, that has been the norm; mostly the role has been played by actors sporting more-or-less absurd humps, lumps, prostheses and braces to simulate the “bunch-back’d toad” described in the text. When Arthur Hughes, an actor with radial dysplasia, took the role at the Royal Shakespeare Company this summer, he was thought to be the first disabled person ever to do so at that theater.It is nice to dream of a time when disabled actors are employed so frequently, and in so many kinds of roles, that we need not discourage others from playing this one. And it’s true that the historical Richard probably suffered from nothing more than scoliosis, as an analysis of his recently discovered skeleton suggests. Shakespeare, I’ve said before, was a poet, not an osteopath.But what was once the norm can now seem a kind of ableist mummery, which this production attempts to sidestep by offering a Richard with no physical impairments at all. When other characters, and even the man himself, scorn his disabilities and mock his ugliness, we are forced by the evidence of our senses to treat the derision metaphorically. (Richard, we tell ourselves, is morally toadlike, not physically so.) And though I usually enjoy being asked to see familiar characters in unfamiliar skins, in this case the sidestep blocks access to the deepest elements of the drama.Those elements are what keep the otherwise ragged “Richard III” in the repertory. The verse is extraordinarily pungent and the questions obviously eternal. When a production has us asking to what extent Richard’s evil is the product of people’s hatred of him, as opposed to his prior hatred of himself, it forces us to ask the same of our own leaders. In this season of our discontent, the scene in which Richard cynically holds up a Bible as a ginned-up crowd clamors to make him king is one you may find familiar.Though we don’t get to ask those profound questions in this production, there are nevertheless compensations. The staging itself is lovely, with Myung Hee Cho’s revolving circles of gothic arches speeding the action and suggesting the inexorability of Richard’s rise and fall. (The arches are lit in beautiful pinks and purples by Alex Jainchill.) Dede Ayite’s witty mixed-period costumes score sociological points at a glance, from Anne’s tacky trophy-wife regalia to the doomed young princes’ spangly gold sneakers.Glistening too are some of the performers in secondary roles, which, in this play, means all roles but Richard. Sanjit De Silva turns Buckingham, the king’s chief enabler, into a hopped-up hype man, high on the fumes of ambient amorality. Paul Niebanck makes a powerful impression as Richard’s brother George, who incorrectly believes he can talk his way out of anything. And as Queen Margaret, the widow of Henry, Sharon Washington demonstrates with brutal efficiency how specific hatred can soon become general, blistering everyone, even herself, in its path.But these coherently interpreted characters do not add up to a coherent interpretation of the play, which wobbles between shouty polemics and a kind of Tudor snark. It may be that “Richard III” is in that sense uninterpretable; written to flatter Shakespeare’s royal sponsors, who were descendants of the victorious Richmond, its brilliance has always borne the sour odor of propaganda. That sourness is not sweetened by the fact that, to modern noses, the good guys smell a lot like the bad ones. If history plays cannot untangle for us what history itself leaves a jumble, they should at least help us figure out why.Richard IIIThrough July 17 at the Delacorte Theater, Manhattan; publictheater.org. Running time: 2 hours 40 minutes. More

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      ‘Ain’t No Mo’’ to Take Flight on Broadway

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      The play, by Jordan E. Cooper, is a biting comedy set in an America that offers to relocate Black citizens to Africa.“Ain’t No Mo’,” an uproarious and piercing comedy that imagines a moment in which the United States offers to relocate Black people to Africa, will be staged on Broadway this fall.Lee Daniels, the Hollywood director, producer and screenwriter, is shepherding the production as a lead producer; this will be Daniels’s first Broadway venture.The play, written by and starring Jordan E. Cooper, was previously staged Off Broadway at the Public Theater in 2019, where Jesse Green, the chief theater critic for The New York Times, called it “thrilling, bewildering, campy, shrewd, mortifying, scary, devastating and deep.”The new production is scheduled to begin previews Nov. 3 and to open Dec. 1 at the Belasco Theater. The Broadway production, like the Off Broadway one, will be directed by Stevie Walker-Webb; several members of the design team are new to the show.The play is structured as a series of comedic vignettes held together by scenes at an airport, where a lone flight attendant, played by Cooper, is helping passengers board a so-called “reparations flight” at Gate 1619 (the year enslaved Africans arrived in Virginia). The vignettes explore race in America; Green described it as “nothing less than a spiritual portrait of Black American life right now, with all its terrors, hopes and contradictions.”Daniels, whose projects have included the TV series “Empire” and the film “Precious,” said he went to see the show at the Public while scouting for writers, and was blown away. “I couldn’t believe what I was witnessing or what I was seeing — it was the boldest thing that I’d ever seen onstage, and it worked,” he said. “It examines the value of Black lives in our culture in a way that we have yet to see, ever.”Daniels, describing Cooper, who is now 27, as “Norman Lear meets James Baldwin,” worked with the playwright on the BET sitcom “The Ms. Pat Show” (Cooper was credited as showrunner, creator and executive producer). Daniels said he was determined to bring “Ain’t No Mo’” to Broadway, in part because when he was starting out he didn’t think it was possible for a Black writer to get to Broadway, and in part because “white people have been anointing certain plays, and this is not that.”Daniels is lead producing the play with Brian Moreland (“Thoughts of a Colored Man”), who said, “Jordan E. Cooper has found a way to unlock a very difficult conversation with laughter and joy. The season that’s coming is a heavy season, and it’s going to be fun to have a comedy on Broadway.” More

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      ‘Paradise Square’ Will Close on Broadway After Winning One Tony

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      The new musical was an unsuccessful comeback attempt by the storied producer Garth H. Drabinsky.“Paradise Square,” a dance-rich Broadway musical about race relations in Civil War-era New York City, will close Sunday, after weeks trying to overcome persistently soft sales.The musical, which began previews March 15 and opened April 3, was an unsuccessful comeback attempt by the storied producer Garth H. Drabinsky, who after winning three Tony Awards in the 1990s was convicted of fraud in Canada and served time there.The show, set in Lower Manhattan in 1863, is about a low-income neighborhood in which African Americans and Irish immigrants formed a community that was upended by the Civil War draft riots. The musical is big, with a large cast and lots of production numbers, and won praise for the central performance, by Joaquina Kalukango, as well as for the choreography, by Bill T. Jones and others.It was nominated for 10 Tony Awards, but won just one, for Kalukango. Her rousing performance at the Tony Awards of the show’s 11 o’clock number, “Let It Burn,” was well received, but the night did not translate to enough ticket sales to keep the show alive.“We wanted to give ‘Paradise Square’ every chance to succeed, but various challenges proved insurmountable,” Drabinsky said in announcing the closure.The show has had a long and complicated history. It started, a decade ago, as “Hard Times,” by Larry Kirwan of the band Black 47, and the early productions, at the Cell in New York, relied heavily on the music and life story of Stephen Foster, the 19th-century songwriter.In the years since, with Drabinsky at the helm, it has repeatedly changed book writers and expanded other parts of its creative team; it also moved further and further from Foster’s music and biography. Before Broadway, there was a production at the nonprofit Berkeley Repertory Theater in California, and a commercial run in Chicago; neither was especially well-received, but the production pressed on, convinced that word-of-mouth would be strong.The Broadway production was unable to break through during a competitive season, with tourism still down because of the coronavirus pandemic, and a raft of new shows all seeking attention. “Paradise Square,” with an unfamiliar title, a non-famous cast, and middling reviews, was unable to find its footing; it has consistently sold far less than other Broadway musicals and far less than it needed to sell to pay for its weekly running costs; during the week ending June 5, it grossed a paltry $229,337 and played to houses that were only 59 percent full.The musical was capitalized for up to $15 million, according to a recently updated filing with the Securities and Exchange Commission. That money will be lost. More

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      ‘Into the Woods’ Review: Do You Believe in Magic?

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      The Encores! revival of this fairy-tale musical, with songs by Stephen Sondheim, arrives on Broadway with its humor, wonder and humanity intact.After the woods and the wolf and the dark and the knife, Little Red Riding Hood has learned a thing or two. In the first act of “Into the Woods,” while modeling a cloak made from the wolf’s pelt, she shares her wisdom. Be prepared, she advises in “I Know Things Now.” Watch out for strangers. Stephen Sondheim’s bone-dry lyrics supply one more maxim: “Nice,” Little Red concludes, “is different than good.”True. But isn’t it splendid when a work of musical theater is absolutely both?Lear deBessonet’s superb production of the Sondheim and James Lapine modern classic “Into the Woods,” which originated at Encores! in May, has made the journey west and south to Broadway. Despite some cast changes, its humor, wonder and humanity have arrived intact. Indeed, they may glimmer even more brightly at the St. James Theater than they did at City Center. So if you saw that recent staging, should you go into the woods again? Unless your budget doesn’t run to Broadway prices, of course you should. To put it another way: Wishes come true, not free.A pastiche of a half-dozen Perrault and Brothers Grimm fairy tales, “Into the Woods” debuted at the Old Globe Theater in San Diego in 1986 and on Broadway the following year. It had a respectful Broadway revival, directed by Lapine, in 2002, and a misbegotten stint at Shakespeare in the Park in 2012. Disney adapted it into a pretty, somewhat empty live action film in 2014. For decades it has remained a favorite among high school drama clubs though many of those clubs stage only the first act, when happily ever after seems possible.As Sondheim and Lapine knew, a happy ending depends on where you stop the story. Turn enough pages and death puts in an appearance, disillusion, too. Perhaps this seems like a grim lesson from a show with Cinderella (Phillipa Soo), Jack the Giant Killer (Cole Thompson) and Little Red Riding Hood (Julia Lester) among its central characters. But if you reread those original tales, they skew pretty dark. Of Sondheim’s work, only “Sweeney Todd” has a comparable body count. Yet somehow its tone is hopeful.The cast of “Into the Woods,” includes, from left: Kennedy Kanagawa (with Milky White), Cole Thompson, Brian d’Arcy James, Joshua Henry, Patina Miller, Phillipa Soo, David Patrick Kelly, Sara Bareilles and Lester.Sara Krulwich/The New York TimesA work of giddy playfulness and moral seriousness, “Into the Woods” forges a path from innocence into experience. It asks its characters (the surviving ones, anyway) to exchange the narcissism of childhood — the wishing, the wanting — for a more nuanced ethical framework that emphasizes interdependence. This is the message of the show’s heartbreaker ballad, “No One Is Alone,” which Sondheim articulated even more directly in a 1991 PBS interview. “We are all responsible for each other,” he said.The mood at the St. James on a recent evening did not, however, suggest deep moral inquiry. And judging by the hats worn indoors, the masks not worn at all and at least one surreptitious phone camera, everyone was handling responsibility a little differently. So what were the vibes? Pleasure, anticipation, celebration. When the lights came up, the crowd screamed and screamed and screamed. I expected panties — or given the source material, the occasional dancing slipper — to be thrown at the stage.DeBessonet’s staging, refined but little altered from the Encores! outing, uses only a wide set of stairs and a downstage strip in front of them. The set, designed by David Rockwell, with storybook lighting by Tyler Micoleau, sketches a forest in the simplest terms — descending birch trunks, a rising moon. Behind the actors, sit the musicians, conducted by the invaluable Rob Berman. If your eye should stray from the actors — a big if — you can watch them implement the chiming score, magic made visible.If the production’s style is minimal, it is never austere and on this mostly blank canvas, deBessonet, aided by Lorin Latarro’s playful choreography, paints in rich and plentiful tones. Kindness is a watchword of deBessonet’s work, as seen in her many Public Works productions. A recognition of shared humanity, too. Here it seems to extend everywhere, to actors and audience both. I have rarely seen a show in which the cast had this much fun. In the case of Gavin Creel, who went up on the second verse of “Any Moment” and covered — sort of — by kissing his co-star Sara Bareilles, arguably too much fun. Throughout there is a feeling of largess that only occasionally shades into indulgence. And honestly, some of that indulgence (as in “Agony,” sung to pieces by Creel and his co-prince, Joshua Henry) is a joy, too.Bareilles as the Baker’s Wife and James as the Baker. “Together they find some fine rhythms in the roles of a married couple only beginning to know each other,” our critic writes.Sara Krulwich/The New York TimesBareilles’s performance as the Baker’s Wife has only grown, beanstalk-like, since the Encores! production. Best known as a singer-songwriter and the composer of “Waitress,” she has more recently established herself as a comic actor on “Girls5Eva.” Here, her comedy has both broadened and deepened. While she and Neil Patrick Harris had a wild, nervy chemistry at Encores!, she is now partnered by the mellower Brian d’Arcy James. Together they find some fine rhythms in the roles of a married couple only beginning to know each other.Soo, a shimmering soprano who can make each emotion as legible as skywriting, gracefully replaces Denée Benton. (Benton replaced her in “Natasha, Pierre & the Great Comet of 1812” when it moved to Broadway; fair’s fair.) And Patina Miller, replacing Heather Headley, renders the Witch with a fierce, dangerous glamour, trading Headley’s initial restraint for more ardent shadings. On this recent evening, the puppeteer Kennedy Kanagawa was out sick, but his understudy, Cameron Johnson, was an able herdsman for Jack’s pal, Milky White. That cow still kills. And the children’s chorus is gone. Thank God.During the second act, I worried — though worry is too strong a word — that maybe this production had become too funny, too lightsome. The devastations of the second act didn’t flatten me the way they had two months ago. But really, who wants flattening right now? Instead this show values resilience, connection.At the end, once Soo had trilled the final ambivalent syllables, the audience leaped to its collective feet. The actors bowed and curtsied and smiled. The rest of us clapped and clapped.No one was alone.Into the WoodsThrough Aug. 21 at the St. James Theater, Manhattan; intothewoodsbway.com. Running time: 2 hours 45 minutes. More

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      At BroadwayCon, Hillary Clinton Celebrates Women in the Theater

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      The former secretary of state moderated a discussion on Friday afternoon about successes and barriers for women working in the theater.“There’s a lot to worry about right now in our country and the world,” Hillary Clinton, the former secretary of state, told a packed room of about 500 people gathered at the grand ballroom at the Manhattan Center on Friday afternoon. “And I think we need theater and the arts more than ever.”Clinton was speaking at the seventh BroadwayCon — an annual haven for the most passionate theater fans — where she was moderating a panel celebrating women on Broadway. It was the first in-person edition of the three-day event, which continues through Sunday, since 2020. (The 2021 edition was virtual.)The event allows musical theater aficionados — many of them costumed as favorite characters like Elphaba from “Wicked” and Anne Boleyn from “Six” — to meet and take photographs with the stars of their favorite shows.Clinton led an hourlong panel titled “Here’s to the Ladies,” a riff on a Stephen Sondheim lyric from the song “The Ladies Who Lunch” from the musical “Company.” Participants included the actresses Vanessa Williams (who stars as the first lady in “POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive”), Julie White (who plays the White House chief of staff in “POTUS”), Donna Murphy (the veteran stage actress who has recently appeared in the television series “The Gilded Age” and “Inventing Anna”) and LaChanze (“Trouble in Mind”).Clinton, a noted theater fan, recently saw “POTUS” and said she was “looking forward to seeing a lot more shows in the weeks to come.” Michael Loccisano/Getty ImagesThere was a burst of applause and a 20-second standing ovation after Clinton entered the room, taking a seat in a plush white chair backed by a glowing, Hollywood-style BroadwayCon sign. Clinton, a noted theater fan, said she had attended performances of “Plaza Suite” and “POTUS” in the past week, and that she was “looking forward to seeing a lot more shows in the weeks to come.” (She received a round of applause at “POTUS” on Wednesday night after the scene in which Lilli Cooper, who plays a White House reporter, reviews the accomplishments of the first lady, played by Williams, and asks, “Why aren’t you president?”)Then Clinton had LaChanze and Williams discuss their work with the nonprofit Black Theater United; the group, formed over six months of Zoom meetings during the pandemic, aims to combat racism in the theater community.“There’s so much you can be proud of,” Clinton told them, “with the changes and awareness and consciousness and most effectively in actually hiring and retaining and recruiting more diversity.”The discussion then turned to the women’s experiences of motherhood, including balancing life and work. White extended the conversation beyond the stage, noting that women who have careers have to sort out child care, relying on family when none is available. “It’s an ongoing problem,” she said, joking that she thought one of the two nursing mothers in “POTUS” — one of whom appears onstage — “actually pumped during her audition.”White and Williams also discussed what it was like to work with a mostly female creative team for “POTUS,” which was written by Selina Fillinger and directed by Susan Stroman.From left, LaChanze, Murphy, Clinton, Williams and Julie White spoke about inclusion, motherhood and more during their panel on Friday.Michael Loccisano/Getty Images“It’s a sense of ease — you walk into a room and there’s all females,” Williams said. “You can relax, and be funny, and ask questions, and probe, and know that there is no judgment because you’re a woman.”White added: “There was no right or wrong. There was none of that subtle patriarchy that’s always kind of there, like, ‘Get it right, lady’ — in other words, what my vision is” of what’s right.Clinton spoke to her own experience as an up-and-coming lawyer navigating the workaholic environment of Washington, sharing a story of an older male lawyer telling her to leave her door closed when she went out to dinner so everyone would think she was still working.“I said, ‘But don’t they eat?’” she said. “He said, ‘No, no, you don’t understand, it’s all perception. When you get back from dinner, walk around the office and loudly announce to people, “What are you all doing? Anything I can do to help?” Even if you’ve been at dinner for two hours, they’ll think you’re back. They think you never left.’”“My God,” Clinton said to applause. “That is exhausting — just get your work done, and then go home!”White noted that she had become more comfortable advocating for herself as she’d progressed in her career. When she was young, she said, “You’re always looking at the director like, ‘I hope he likes me,’” she said. “Then you grow up and evolve and you become more interested in what you want to tell.”She said she had become notorious for not taking notes from directors “because the power is in me, the creation is in me,” adding, “I’ve become really irritating now!”Clinton concluded the event by asking each of the women what they hadn’t yet done that they wanted to do.“Besides the show where you and I solve crimes?” White asked. “I want to play the president of the United States.”“Well, I can give you lots of notes on that,” Clinton said.“You know I won’t take them!” White responded to applause.Elexa Bancroft, a 35-year-old artist from Atlanta, attended the panel on a break from selling her mixed-media art at the marketplace downstairs. “I needed that female empowerment in my life so badly,” she said. “Being a young female entrepreneur myself and trying to get my art out into the world and seeing how far those women have come in their jobs, it’s really inspiring.”Other events set for the weekend include “When Broadway Was Black: Celebrating the Black Artists Who Rewrote the Rules of the Great White Way”; a presentation by the author and cultural historian Caseen Gaines on Saturday afternoon that celebrates the centennial of the 1921 musical comedy “Shuffle Along,” one of the first successful all-Black Broadway musicals; and “Dreaming the Queer Future: TGNC Representation and Playwrights in the American Theater,” a discussion on Sunday morning that includes the Tony-nominated actress L Morgan Lee of “A Strange Loop” and the playwright Roger Q. Mason and focuses on trans and gender nonconforming representation in theater.“It definitely feels more inclusive this year,” Bancroft said. More

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      Larry Storch, Comic Actor Best Known for ‘F Troop,’ Dies at 99

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      His well-honed comic timing, and the mimicry skills he had developed in nightclubs, served him well on one of the sillier sitcoms of the 1960s.Larry Storch, who played a memorable television oddball on the 1960s sitcom “F Troop” and for years carried a secret in his personal life that was odd in an entirely different way, died on Friday at his home on the Upper West Side of Manhattan. He was 99.His stepdaughter, June Cross, confirmed the death.Mr. Storch had a long career as a nightclub comic and as a character actor on the stage and the big and small screens. But his other work was dwarfed by the impression he made during the two-season run of “F Troop” on ABC, from 1965 to 1967.The show was a slapstick comedy about an outpost called Fort Courage in Indian country just after the Civil War, and Mr. Storch played Cpl. Randolph Agarn, one of the bigger misfits in a unit full of them. Agarn and his business partner, Sgt. Morgan O’Rourke, played by Forrest Tucker, were constantly hatching moneymaking schemes, most of them involving the local Indian tribe, the Hekawis.O’Rourke was the brains of the partnership; Agarn provided the idiocy, and Mr. Storch’s well-honed comic timing served him deliciously in the role. So did the mimicry skills he had honed in nightclubs, where his act included all sorts of impersonations: In various “F Troop” episodes he played not only Agarn but also assorted Agarn relatives, who somehow found their way to the fort from far-off locales. “I had cousins who came from Moscow, Mexico, Montreal,” Mr. Storch recalled in a 2009 interview. “F Troop” wasn’t on long. But, like many sitcoms in that era of limited television choices, it burned itself into the minds of those who watched it, perhaps in part because it trafficked in the kinds of stereotypes — especially those hard-drinking, firewater-brewing Indians — that would soon disappear from television.Mr. Storch, in a 2007 interview with The Asbury Park Press, credited Mr. Tucker with securing him the role of Agarn.“I was supposed to be the sergeant,” Mr. Storch said, “but when they saw Forrest Tucker dressed in a cavalry suit — he looked like a polar bear — they said, ‘That’s going to be it.’ And Forrest Tucker said: ‘Wait a minute. I’m going to need a corporal around here, and I think he and I would have good chemistry.’” The “he” was Mr. Storch.When not clowning around on the stage or screen, Mr. Storch was party to an unusual secret at home. Before he and his wife, Norma Greve, were married in 1961, she had had a biracial daughter, Ms. Cross, with a Black performer named Jimmy Cross. Mother and child left Mr. Cross soon after June’s birth in 1954, but since the girl was dark-complexioned enough that she could not pass as white, she and her mother began encountering racism. When June was 4, Norma asked friends, a middle-class Black couple in Atlantic City, N.J., to raise her.Later, when the Storches were married and living in Hollywood, June would come to visit, and they would explain to friends that she was an abused child of former neighbors and that they had adopted her, but that she lived most of the year with Black friends.“In those days, people were encrusted in prejudice,” Mr. Storch explained to People magazine in a 1996 interview. “We saw no reason to rock the boat.”June Cross later became a television producer and then a professor at Columbia University. In 1996 she told her story in “Secret Daughter,” a documentary broadcast on PBS, which won an Emmy Award. The personal story of Mr. Storch and his wife has another wrinkle as well. In 1948, years before they were married, they had a daughter, whom they put up for adoption. After Ms. Cross’s documentary came out, the Storches and that daughter, Candace Herman, were reunited.After “F Troop,” Mr. Storch found steady work on other TV shows. He played a reporter who impersonates a priest in a 1969 episode of “The Flying Nun,” with Sally Field.ABC Photo Archives/Disney via Getty ImagesLawrence Samuel Storch was born on Jan. 8, 1923, in Manhattan. His father, Alfred, is described in several biographical listings as a real estate agent, though in a 1983 interview with The Washington Post Mr. Storch said he was a cabdriver. His mother, Sally (Kupperman) Storch, was a telephone operator who later had a jewelry store and ran a rooming house.Ms. Cross, in a telephone interview, said that as a child Mr. Storch would pick up voices and accents from the rooming house guests (Orson Welles, he always said, was one) that served him well later as a comedian.Mr. Storch left high school during the Depression when he found that he could make a few dollars doing impressions in the city’s clubs and acting as M.C. for vaudeville shows. He served in the Navy during World War II. By the time television came along, he was a well-established comic in the city and had used his mimicry skills to gain a foothold in radio.He first came to the attention of television audiences in 1951 as a guest host of “Cavalcade of Stars,” and in 1953 CBS picked him to host the summer replacement show that filled Jackie Gleason’s Saturday night slot. A string of television appearances followed, including a recurring role on “Car 54, Where Are You?” Mr. Storch was also the voice of the TV version of Koko the Clown in scores of cartoon shorts, and teamed with his friend Don Adams as one of the voices in the 1963 cartoon series “Tennessee Tuxedo and His Tales.”Then came “F Troop,” which brought Mr. Storch an Emmy nomination in 1967. He worked steadily in television through the 1980s, doing guest spots on “The Flying Nun,” “The Love Boat,” “Love, American Style” and numerous other shows. In 1975 he reunited with Mr. Tucker in a live-action children’s show called “The Ghost Busters,” in which the two men played detectives who searched for spooks. (The show was unrelated to the later “Ghostbusters” movies.)One of Mr. Storch’s Navy friends was a fellow sailor named Bernard Schwartz, who became better known as Tony Curtis and gave Mr. Storch roles in several of his films, including “40 Pounds of Trouble” (1962), “Sex and the Single Girl” (1964) and “The Great Race” (1965).Mr. Curtis and Mr. Storch teamed up again years later, in 2002, in a stage musical version of “Some Like It Hot,” the 1959 Billy Wilder movie that had starred Mr. Curtis, Jack Lemmon and Marilyn Monroe. (The show drew upon the 1972 Broadway musical “Sugar” and added new material.) Mr. Curtis played not his original role, a musician on the run from gangsters who joins a band disguised as a woman, but the millionaire Osgood Fielding; Mr. Storch played the band manager, Bienstock.That show, which toured the country, never made Broadway, but Mr. Storch had a half-dozen Broadway appearances to his credit, beginning with “The Littlest Revue,” a 1956 show that also starred Joel Grey. In 1958 he appeared in the play “Who Was That Lady I Saw You With?,” and he had roles in revivals of “Porgy and Bess” (1983), “Arsenic and Old Lace” (1986), “Annie Get Your Gun” (2000) and “Sly Fox” (2004). His other films included Blake Edwards’s “S.O.B.” and the disaster movie “Airport 1975.” His vocal talents turned up in numerous cartoons as well as in McDonald’s commercials (“the most money I ever made,” he said in 2009).Mr. Storch’s wife died in 2003. His brother, Jay, an actor who used the name Jay Lawrence, died in 1987. In addition to Ms. Cross and Ms. Herman, he is survived by a stepson, Lary May, the author of several books on film and popular culture; five grandchildren; and four great-grandchildren. Mr. Storch at a birthday party for Jerry Lee Lewis at B.B. King Blues Club and Gril in Manhattan in 2017. He continued to make public appearances late in life.Derek Storm/Everett CollectionMr. Storch was still making public appearances late in life. In June 2014 he served as mayor for a day of Fort Lee., N.J., a town where he had once performed. That September he appeared at the Comedy Store in Los Angeles and was honored with a star on the Palm Springs Walk of Stars.In 2016 he was honored by Passaic, N.J., the city the fictitious Corporal Agarn called home. Mayor Alex Blanco said at the ceremony that Passaic had been mentioned all over the world because of “F Troop”; Mr. Storch said that he had never been there before, but that he had chosen Passaic for his character’s hometown because “it sounded tough.”In his later years Mr. Storch maintained an active Facebook page and posted videos on TikTok. He also put in appearances at Wild West City, a western-themed attraction in Stanhope, N.J. In July 2021, at 98, for what was billed as his final public appearance, he toured the site in a sporty red sedan, hamming it up for onlookers.Mr. Storch could sometimes be seen playing the saxophone, a lifelong hobby, in Central Park. Another signature activity, even late in life, was standing on his head. “It helps your breathing,” he explained in 2002 to a reporter for The Detroit News, while standing on his head. “The blood goes to your brain, whatever brain you have.” More