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      Trevor Griffiths, Marxist Writer for Stage and Screen, Dies at 88

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      For him, “art played a particular role in social change,” the director Mehmet Ergen said. “Everything was political.”Trevor Griffiths, a prolific and avowedly Marxist writer for stage and screen most widely known for his play “Comedians,” which was staged in London and on Broadway, died on March 29 at his home in Yorkshire, England. He was 88.His agent, Nicki Stoddart, said the cause was heart failure.An important figure on the English left, Mr. Griffiths conjoined the political with the personal and expressed that affinity across a wide range of topics, whether connected to British party politics or comparable upheavals abroad.He was at his most visible during the decade or so from 1975 onward. That period encompassed the premiere of “Comedians” in Nottingham, England, in 1975, as well as its New York premiere in 1976 — it was his only Broadway play — and his lone foray into Hollywood, as a collaborator with Warren Beatty on his screenplay for the much-admired movie “Reds” (1981).Laurence Olivier, right, with Gawn Grainger in a scene from Mr. Griffith’s play “The Party” (1973) at the Old Vic Theater in London. It was Olivier’s last stage role.via Everett CollectionHis plays granted Laurence Olivier his last stage role, in the National Theater premiere of “The Party” (1973) — an anatomy of the British left set against the backdrop of the 1968 political tumult in Paris — and offered early opportunities for budding talents like Jonathan Pryce, who won a Tony for “Comedians,” and Kevin Spacey and Gary Oldman, who starred in the American and British premieres of the play “Real Dreams” in the 1980s.“Comedians,” set in Manchester among the hopefuls in a night comedy class, has had various notable revivals over the years — among them a 2003 Off Broadway production, with Raúl Esparza inheriting Mr. Pryce’s career-defining role, and one at London’s Lyric Hammersmith in 2009, David Dawson playing the same role.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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      Nonprofit Theaters Are in Trouble. Lawmakers Are Proposing Help.

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      Proposed legislation would allocate $1 billion annually for an industry coping with rising expenses and smaller audiences.The financial crisis facing nonprofit theaters in America has captured the attention of Congress, where a group of Democratic lawmakers is introducing legislation that would direct $1 billion annually to the struggling industry for five years.That money could be used for payroll and workforce development, as well as other expenses like rent, set-building and marketing. But the legislation, which lawmakers introduced on Tuesday, faces long odds at a time when a divided Congress — where Republicans control the House and Democrats lead the Senate — has had trouble agreeing on anything.Nonprofit theaters around the country have reduced their programming and laid off workers to cope with rising expenses and smaller audiences since the coronavirus pandemic began. There are exceptions — some nonprofit theaters say they are thriving — but several companies, including New Repertory Theater in suburban Boston, Southern Rep Theater in New Orleans, and Book-It Repertory Theater in Seattle, have ceased or suspended operations in response to the crisis.“It hasn’t been a recovery for the nonprofits — they’re really lagging compared to many other sectors in the economy, and it’s for a lot of reasons,” Senator Peter Welch of Vermont, one of the legislation’s sponsors, said in an interview. “So they do need help.”Mr. Welch argued that the organizations merit government assistance because they strengthen communities and benefit local economies.The legislation, which is called the Supporting Theater and the Arts to Galvanize the Economy (STAGE) Act of 2024, is also being sponsored by Senators John Fetterman of Pennsylvania and Jack Reed of Rhode Island. Representative Suzanne Bonamici of Oregon is sponsoring it in the House.Senator Chuck Schumer of New York, who is the majority leader and who led the fight to win government aid for performing arts organizations during the pandemic, is supportive of the proposed legislation and is also open to other ways to assist nonprofit theaters, according to a spokesman.The pandemic aid package that Mr. Schumer championed serves as a precedent: In 2020, Congress passed the Save Our Stages Act, which led to a $16 billion Shuttered Venue Operators Grant program that made money available to a wide array of commercial and nonprofit performing arts organizations.Mr. Welch said the earlier aid program succeeded despite initial skepticism.“With everything else that was going on, the expectation was this would die on the vine, but it didn’t — as this started getting momentum, there was excitement about being about to do something concrete,” he said.The new legislation is narrower, benefiting only professional nonprofit theaters, and only those that have either seen a decline in revenues or that primarily serve historically underserved communities.“This is a beginning,” Mr. Welch said. “There are obstacles, but let the effort begin.” More

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      ‘Eureka Day’ and Sondheim Revue Join Broadway’s Next Season

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      Bernadette Peters and Lea Salonga will star in Sondheim’s “Old Friends” in Manhattan Theater Club’s Broadway season, which also includes “Eureka Day.”Manhattan Theater Club, one of the four nonprofit organizations that operate houses on Broadway, is planning to stage a vaccination comedy called “Eureka Day” and the Sondheim revue “Old Friends” at its Samuel J. Friedman Theater next season.“Eureka Day” predates the pandemic — it was first staged in 2018 in Berkeley, Calif., where it takes place, and the disease at issue is mumps, not Covid. The play, by Jonathan Spector, is set at an exuberantly left-leaning private day school; the characters are school board members who find their tolerance tested by the anti-vaxxers among them.The initial production was at the Aurora Theater Company; in 2019, there was an Off Off Broadway production presented by Colt Coeur that the New York Times critic Ben Brantley praised, saying it “is not only one of the funniest plays to open this year, it is one of the saddest.” There have been several other productions since; most prominently, in 2022, the show was staged at the Old Vic in London, with Helen Hunt starring.The M.T.C. run, which is to begin performances on Nov. 25, will be a new production, directed by Anna D. Shapiro. (She won a Tony for directing “August: Osage County.”) Casting has not yet been announced.“Old Friends” is a posthumous tribute to the acclaimed composer and lyricist Stephen Sondheim, who died in 2021. (“Old Friends” is the title of a song in the Sondheim musical “Merrily We Roll Along.”) The revue, a passion project for the megaproducer Cameron Mackintosh, was first performed for one night in 2022, and then had a 16-week West End run that ended earlier this year.The New York production, like the London production, will star the Tony winners Bernadette Peters (“Song and Dance”; “Annie Get Your Gun”) and Lea Salonga (“Miss Saigon”) and will be directed by Matthew Bourne (who won two Tonys for “Swan Lake”) in collaboration with Julia McKenzie, an English actress and frequent Sondheim performer. The New York production is to begin March 25, 2025, following a run at Center Theater Group’s Ahmanson Theater in Los Angeles.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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      With Clinton as a Producer, ‘Suffs’ Takes a Political Battle to Broadway

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      As Shaina Taub’s musical opens, the show’s team members, including Hillary Clinton, say they’re ready to give the women’s suffrage movement a bigger platform.Shaina Taub was ready to watch Hillary Clinton win in November 2016. She had been at Harvard, doing research for an ambitious musical about the women’s suffrage movement, and was swept up in what felt like the inevitable: a woman elected president of the United States. Taub had traveled to New York City from Cambridge for election night, eager to cheer on Clinton, whom she had phone banked for.But Clinton lost, and Taub was utterly deflated. Returning to Cambridge to work on a show about triumphant women was the last thing she wanted to do. Yet, it was Clinton who reignited that fire in Taub with a concession speech in which she implored “all the little girls” to never doubt that they are “deserving of every chance and opportunity in the world to pursue and achieve” their dreams.Now, after years of development and an Off Broadway run at the Public Theater in 2022, “Suffs” is scheduled to open on April 18 at the Music Box Theater on Broadway, with Clinton making her debut as a producer. (The team backing the show also includes Malala Yousafzai, a Pakistani activist and Nobel Peace Prize winner.)“Many of the themes resonate with me personally,” Clinton said in a phone interview, “given my own life and career, including the tension between the so-called establishment and activist voices.”“I’ve been on both sides of that debate,” she continued. “And the larger lesson that’s in the score — that ‘progress is possible, but not guaranteed,’ and ‘the future demands that we fight for it now’ — I resonate so strongly with that.”In addition to Clinton and Taub, some of the “Suffs” cast and creative team recalled their first time voting, and shared their thoughts about what suffrage means to them.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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      Rachel McAdams Is Not Afraid of the Dark

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      The actress makes her Broadway debut in “Mary Jane” as the single mother of a seriously ill child. She views her acting choices as expanding her orbit.From the outside, you wouldn’t know that Rachel McAdams, the thoughtfully charming star of blockbuster rom-coms, rom-drams, a Marvel franchise and the Oscar-winning “Spotlight,” has been wondering about death.Maybe it has to do with the therapist who said that her indecisiveness and deep curiosity about seeing through someone else’s eyes, which she’s harbored since childhood, could be chalked up to something called “death anxiety.”McAdams had long viewed her acting choices as expanding her orbit. “It’s been a way to live a lot of lives in one,” she said. If that was about a fear of dying — well, it didn’t rattle her.Instead, characteristically, she embraced it. “We don’t have a lot of great coping mechanisms for death in our culture,” she said. “So, yeah, I kind of welcome the opportunity to lean into that — earlier rather than later. Let’s get cozy with it. Let’s get cozy with that next adventure.”Death hovers like a specter around her latest role, as the single mother of a seriously ill child, in the play “Mary Jane.” McAdams hasn’t done theater since college; she makes her Broadway debut as the title character in this Manhattan Theater Club production, which began previews April 2 at the Samuel J. Friedman Theater. It’s by the busy playwright Amy Herzog, who also adapted Broadway’s show of the moment, Ibsen’s “An Enemy of the People.”“Mary Jane” is the first of her own deceptively spare plays to appear on Broadway, after a celebrated run in 2017 at New York Theater Workshop. Dotted (surprisingly) with laugh lines, it’s about the daily muck and lasting profundity of caregiving, a nitty-gritty subject that’s rarely dramatized. “A heartbreaker for anyone human,” Jesse Green wrote in his New York Times review.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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      Howard Atlee, Showman Who Promoted Dramas and Dogs, Dies at 97

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      As a press agent, he had his first big hit with “Who’s Afraid of Virginia Woolf?” In dog competitions, his first big hit was a dachshund named Virginia.Howard Atlee, an eclectic publicist who represented award-winning shows during a now bygone Broadway era and, as an avocation, also bred dachshunds that won best in show at dog competitions, died on March 15 in Silver Spring, Md. He was 97.His death, in a hospital, was announced by his friend and caretaker, Harpreet Singh.Transplanted from an Ohio city of 10,000, Mr. Atlee set his sights on Broadway after attending his first professionally staged production while serving in the Navy in Boston. After he was discharged, he was a theater major in college.As a publicist, he would help launch the career of the playwright Edward Albee by promoting his first full-length play, “Who’s Afraid of Virginia Woolf?,” at the Billy Rose Theater in 1962. Some critics dismissed it as salacious, but Howard Taubman raved in The New York Times that it was written by “a born dramatist” and “marks a further gain for a young writer becoming a major figure of our stage.”Mr. Atlee also helped found the Negro Ensemble Company, which offered opportunities to fledgling Black actors and other theater professionals, including would-be publicists.In 1956, when he was 30 and working as a press agent for a summer theater in Camden, Maine, Mr. Atlee began what became more or less a behind-the-scenes gig, even for a press agent accustomed to operating backstage.“One day driving to the theater I saw a kennel,” he told The New York Times in 1970. “I stopped, and when I left I owned a smooth dachshund.”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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      With ‘Succession’ Complete, the Roys’ Next Takeover Is the Stage

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      Audiences are flocking to shows with Jeremy Strong, Sarah Snook and other alums of the acclaimed HBO series.There seems to be a secret ingredient to stage success this season: a stint on “Succession.”So many “Succession” alums are onstage in New York and London that the show’s creator, Jesse Armstrong, has been dashing from theater to theater, trying to catch the work of his colleagues. On a recent trip to New York, he saw four shows featuring “Succession” alums, including a revival of Henrik Ibsen’s “An Enemy of the People,” one of the hottest tickets on Broadway thanks to its star performer, Jeremy Strong, and “The Effect,” an Off Broadway play written by Lucy Prebble, who is also among the producers and writers of “Succession.” In London, Armstrong saw “The Picture of Dorian Gray,” a critically-acclaimed, one-woman adaptation of the Oscar Wilde classic starring Sarah Snook, and is booked to see “Long Day’s Journey Into Night,” starring Brian Cox.“We took a lot from New York theater,” Armstrong said, nodding to the many stage actors and playwrights who helped make “Succession” a success, “and I hope this season we are giving something back.”Arian Moayed, who played the investor Stewy Hosseini in “Succession” and starred in a Broadway revival of Ibsen’s “A Doll’s House” last year, theorized that the show had some theater-like attributes. “Part of what was cool about the show was that we shot it in a very one-act-y kind of way,” said Moayed. There are so many “Succession” alums onstage that one small downtown theater company in New York, Bedlam, advertised its current show, “The Assassination of Julius Caesar as told by William Shakespeare and George Bernard Shaw,” as “STARRING NO ONE FROM SUCCESSION.”Here is a look at where the Roys and their retainers are onstage now.Brian CoxBrian Cox as James Tyrone in “Long Day’s Journey Into Night,” left, and as the distant patriarch Logan Roy in “Succession.”From left: Johan Persson; Graeme Hunter/HBOIn “Succession,” Cox played Logan Roy, the merciless media mogul at the heart of the series. Cox, a veteran stage actor (his résumé includes five Broadway shows), is now starring in London’s West End in a revival of Eugene O’Neill’s “Long Day’s Journey Into Night.”Jeremy StrongJeremy Strong as Dr. Thomas Stockmann in “An Enemy of the People,” left, and as Logan’s ambitious, wounded son Kendall in the HBO series.From left: Sara Krulwich/The New York Times; HBO, via Associated PressWe 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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      Willy Wonka’s Unknown Lands a New Acting Gig in London

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      The internet latched on to 16-year-old Felicia Dawkins’ performance as The Unknown at a shambolic Willy Wonka-inspired event. This weekend, she’s heading to a bigger and scarier stage in London.On one chilly evening in March, after the sun had set and when most school-aged children were begrudgingly starting their homework, Felicia Dawkins, 16, enthusiastically hopped on the phone from Scotland to share that her life had changed — for the better.She introduced herself with the kind of bubbly energy and giddiness that only a teenager can radiate. It is the same energy that drew millions of viewers to her TikTok account, where she unveiled herself as a key participant in a Willy Wonka-themed event that had gone so poorly that its memes briefly took over large portions of the internet and international news coverage went on for days.That event, in Glasgow in late February, failed to create the dazzling experience it promised. The fallout — in true internet fashion — was swift and brutal. Organizers quickly shut down the event and promised full refunds to disgruntled families.In the aftermath, the internet latched on to one of the event’s more inexplicable characters, known only as “The Unknown,” played by Felicia. Footage of her performance as an evil chocolate maker who lives in the walls of the factory, which included emerging from behind a mirror to the cries of children, spread widely online, kicking off the teenager’s 15 minutes of fame.She’s capitalizing now, taking her scaring talents south for a guest appearance at the London Dungeon, a theatrical thrill attraction in the shadow of the city’s London Eye, this weekend. The company reached out to Felicia shortly after her viral moment to invite her to train with the performance team and appear in the attraction. “We could see she has a real passion and talent, for theater and interactions with guests,” Richard Quincey, the head of performance at London Dungeon and South Bank Attractions, said in a statement.Felicia’s mother, Janet Dawkins, said she had mixed emotions about the Wonka event failing so miserably, and so publicly. “Everything led to her getting all of this, all these opportunities,” Ms. Dawkins said. “So, I can’t really say that I’m mad about anything that went down, if I’m honest.”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