Broadway League

Subterms

    More stories

    • 150 Shares189 Views

      in Theater

      At Tony Awards, ‘Kimberly Akimbo’ Wins Best Musical and ‘Leopoldstadt’ Best Play

      by

      “Kimberly Akimbo,” a small-scale, big-hearted show about a teenage girl coping with a life-shortening genetic condition and a comically dysfunctional family, won the coveted Tony Award for best musical Sunday night.The award came at the close of an unusual Tony Awards ceremony that almost didn’t happen because of the ongoing screenwriters’ strike. Only an intervention by a group of playwrights who also work in film and television saved the show: they persuaded the Writers Guild of America that it would be a mistake to make the struggling theater industry collateral damage in a Hollywood-centered dispute, and in the end the telecast aired without pickets, without scripted banter and without a hitch.“I’m live and unscripted,” the ceremony’s returning host, Ariana DeBose said at the start of the show, after an opening number that began with her backstage, paging through a binder labeled “Script” filled with blank pages, and then dancing wordlessly through the theater and onto the stage. She then pointed out the absence of teleprompters, offered her support for the strikers’ cause, and declared, “To anyone who thought last year was a bit unhinged, to them I say, ‘Darlings, buckle up!’”Ariana DeBose, center, hosted the awards show without a script, relying largely on movement.Sara Krulwich/The New York TimesAt one point, she looked at words scrawled on her forearm, and said, “I don’t know what these notes stand for, so please welcome whoever walks out onstage next.”The basic elements of the awards show — acceptance speeches by prize winners and songs performed by the casts of Broadway musicals — remained more or less intact. But the introductions to the shows and performances were mostly sleekly shot videos, rather than descriptions by celebrities; presenters kept their comments extremely spare, which left more time for unusually well-filmed production numbers.The ceremony featured a pair of milestone wins: J. Harrison Ghee and Alex Newell became the first out nonbinary performers to win Tony Awards in acting categories, Ghee as a musician on the lam in “Some Like It Hot,” and Newell as a whiskey distiller in the musical comedy “Shucked.” “For every trans, nonbinary, gender nonconforming human, whoever was told you couldn’t be, you couldn’t be seen, this is for you,” said Ghee. Newell expressed a similar sentiment, saying, “Thank you for seeing me, Broadway.”“Theater is the great cure,” said Suzan-Lori Parks, whose “Topdog/Underdog” won the Tony for best play revival.Sara Krulwich/The New York TimesLast fall’s production of “Topdog/Underdog,” Suzan-Lori Parks’s 2001 tour de force about two Black brothers weighted down by history and circumstance, won the Tony Award for best play revival. The play had won a Pulitzer Prize in 2002 but no Tony Awards; Parks, in accepting this year’s Tony, praised actors Yahya Abdul-Mateen II and Corey Hawkins for “living large in a world that often does not want the likes of us living at all” and added, “Theater is the great cure.”There was star power, too. Jodie Comer, best known for playing an assassin on television’s “Killing Eve,” won the best actress in a play award for her first stage role, a grueling, tour-de-force performance as a defense attorney who becomes a victim of sexual assault in “Prima Facie.” And Sean Hayes, best known for “Will and Grace,” won for playing the depressive raconteur-pianist Oscar Levant in “Good Night, Oscar.”The night served as a reminder of the growing concern about antisemitism in America and around the world, as “Leopoldstadt,” Tom Stoppard’s wrenching drama following a family of Viennese Jews through the first half of the 20th century, won the prize for best play, and a new production of “Parade,” a 1998 show based on the early 20th-century lynching of a Jewish businessman in Georgia, won the prize for best musical revival.Sonia Friedman and Tom Stoppard accepted the Tony for best play for “Leopoldstadt,” which also won several other awards on Sunday.Sara Krulwich/The New York Times“Leopoldstadt,” which bested three Pulitzer-winning dramas to win the Tony, also won several other prizes Sunday night, including for its director, Patrick Marber, and for Brandon Uranowitz, who won as best featured actor in a play, and who noted the personal nature of the production for its predominantly Jewish cast in his speech, saying “my ancestors, many of whom did not make it out of Poland, also thank you.”The win by “Parade” cemented a remarkable rebirth for that show, which was not successful when it first opened on Broadway in 1998, but which is shaping up to be a hit this time, thanks to strong word-of-mouth and the popularity of its leading man, Ben Platt. The success of “Parade” is also a significant milestone for the musical’s composer, Jason Robert Brown, who is widely admired within the theater community but whose Broadway productions have struggled commercially. Brown wrote the music and lyrics for “Parade,” and the book is by Alfred Uhry; both men won Tonys for their work on the show in 1999.Michael Arden, who won a Tony for directing the “Parade” revival, said in his acceptance speech, “we must come together,” adding, “or else we are doomed to repeat the horrors of our history.” Arden went on to recall how he had been called a homophobic slur — “the F-word,” many times as a child, and he drew raucous cheers as he reclaimed the slur. “Keep raising your voices,” he said.Michael Arden, who directed the Tony-winning revival of “Parade,” drew cheers when he reclaimed a homophobic slur in his acceptance speech.Sara Krulwich/The New York TimesBut the night belonged to “Kimberly Akimbo,” the smallest, and lowest-grossing, of the five nominees in the best musical category, but also by far the best reviewed, with virtually unanimous acclaim from critics. (Nodding to the show’s anagram-loving subplot, the New York Times critic Jesse Green presciently suggested one of his own last fall: “sublime cast = best musical.”)The show, set in 1999 in Bergen County, New Jersey, stars the 63-year-old Victoria Clark as Kimberly, a 15-going-on-16-year-old girl who has a rare condition that makes her age prematurely. Kimberly’s home life is a mess — dad’s a drunk, mom’s a hypochondriac, and aunt is a gleeful grifter — and her school life is complicated by her medical condition, but she learns to find joy where she can. Clark won a Tony for her performance as Kimberly, and Bonnie Milligan won a Tony for her performance as the aunt.“Kimberly Akimbo,” which was directed by Jessica Stone, began its life with an Off Broadway production at the nonprofit Atlantic Theater Company in the fall of 2021 and opened at the Booth Theater in November. It was written by the playwright David Lindsay-Abaire and the composer Jeanine Tesori, based on a play Lindsay-Abaire had written in 2003. Lindsay-Abaire and Tesori both won Tony Awards for their work Sunday night.The musical, with just nine characters, was capitalized for up to $7 million, according to a filing with the Securities and Exchange Commission; that’s a low budget for a musical on Broadway these days, when a growing number of shows are costing more than $20 million to stage. The lead producer is David Stone, who, as a lead producer of “Wicked,” is one of Broadway’s most successful figures; this is the first time he has won a Tony Award for best musical, and he was also the lead producer of the Tony-winning “Topdog” revival.The award for best musical is considered the most economically beneficial Tony, generally leading to a boost in ticket sales. In winning the prize, “Kimberly Akimbo” beat out four other nominated shows: “& Juliet,” “New York, New York,” “Shucked” and “Some Like It Hot.” None of the five nominated musicals is a runaway hit, and four, including “Kimberly Akimbo,” have been losing money most weeks.The ceremony featured performances from all nine nominated new musicals and musical revivals, as well as a performance of “Don’t Rain on My Parade” by Lea Michele from “Funny Girl.”Sara Krulwich/The New York TimesThe 2022-23 season, which ended last month, was a tough one for new musicals: Broadway audiences were still down about 17 percent below prepandemic levels, and those who did buy tickets gravitated toward established titles (like “The Phantom of the Opera,” which sold strongly in the final months of its 35-year-run) and big stars (especially Hugh Jackman in “The Music Man,” Sara Bareilles in “Into the Woods,” Lea Michele in “Funny Girl” and Josh Groban in “Sweeney Todd”). So this year’s Tonys ceremony took on even more importance than usual, with the industry’s leaders hoping that a nationally televised spotlight on theater would boost box office sales.The ceremony featured not only musical performances by all nine nominated new musicals and musical revivals, but also a barn-burning performance of “Don’t Rain on My Parade” by Michele, a “Sweet Caroline” singalong led by the cast of the Neil Diamond musical “A Beautiful Noise,” and, as part of the In Memoriam segment, a song from “The Phantom of the Opera” sung by Joaquina Kalukango to acknowledge the show’s closing in April .The Tonys, presented by the Broadway League and the American Theater Wing and named for Antoinette Perry, gave lifetime achievement awards to two beloved nonagenarians: the actor Joel Grey, 91, who remains best known for playing the master of ceremonies in both the Broadway and film versions of “Cabaret,” and the composer John Kander, 96, who wrote music for “Cabaret” as well as “Chicago” and “New York, New York.” “I’m grateful for music,” Kander said after being introduced by Lin-Manuel Miranda as “the kindest man in show business.” Grey was introduced by his daughter, the actress Jennifer Grey; he sang a few words from the opening number of “Cabaret.”“Oh my God, I love the applause,” he said, to a round of applause.Sarah Bahr More

    • 113 Shares129 Views

      in Television

      The Tony Awards Are Sunday. Here’s How to Watch.

      by

      Here is all the information you’ll need to tune in on Sunday to the annual ceremony honoring Broadway’s top productions and performers.When are the Tony Awards? We’re so glad you asked!The Tony Awards, which each year honor the best plays and musicals staged on Broadway, are Sunday night.The main event, with lots of song-and-dance numbers between the prizes, is at 8 p.m. Eastern, and will be televised on CBS and streamed on Paramount+. And before that, starting at 6:30 p.m. Eastern, is a preshow at which a number of awards for creative work, such as design, will be handed out. That will stream on Pluto TV.This year is going to be different from the usual in several ways.First, the ceremony will take place in a new location: the United Palace, a former movie house in Washington Heights, which is one of Manhattan’s northernmost neighborhoods. The reasons for the move are predominantly financial; the United Palace proved much less expensive to rent than Radio City Music Hall, where the show often takes place.Second, screenwriters are on strike, and that strike initially threatened to disrupt the Tonys as it has disrupted other televised awards shows. In order to secure an agreement from the Writers Guild of America not to picket the telecast, the Tony Awards had to pledge not to use any scripted writing during the awards ceremony. The result is that there will be more singing, and less talking, than in normal years.Who’s hosting?The broadcast will be hosted for a second consecutive year by Ariana DeBose, who this year, because of the absence of writers, is expected to dance more and to make fewer jokes. She won an Academy Award last year for her performance in Steven Spielberg’s “West Side Story” remake, and she was nominated for a Tony Award in 2018 as one of three actresses playing Donna Summer in the jukebox musical “Summer.” This year’s Tonys preshow will be hosted by Julianne Hough (“POTUS”) and Skylar Astin (“Spring Awakening”).Who’s performing?Each of the five shows nominated for best musical will do a song — that’s “& Juliet,” “Kimberly Akimbo,” “New York, New York,” “Shucked” and “Some Like It Hot.” And all four shows nominated for best musical revival will also perform — that’s “Camelot,” “Into the Woods,” “Parade” and “Sweeney Todd.”But wait, there’s more! Lea Michele is going to lead a number from the revival of “Funny Girl” that opened a year ago. The cast of “A Beautiful Noise,” a jukebox musical about Neil Diamond, will also perform. And Joaquina Kalukango, one of last year’s Tony winners, will sing a song to accompany the In Memoriam segment.Why do the Tonys matter?Broadway is still struggling to recover from the lengthy coronavirus shutdown — attendance remains 17 percent below prepandemic levels — and producers view the Tony Awards as an important way to introduce a large audience to the newest shows.Also, the Tonys are a way to lift up theater as an art form, often boosting the careers of the artists involved. Wins and nominations help plays get staged at regional theaters and taught in colleges, and telecast performances help musicals sell tickets and tour.The Tony Awards, named for the actress and philanthropist Antoinette Perry, are presented by the Broadway League and the American Theater Wing. The winners are chosen by voters — there are 769 of them this year — who are mostly industry insiders: producers, investors, actors, writers, directors, designers and many others with theater-connected lives and livelihoods.This Sunday’s ceremony will be the 76th Tony Awards. More

    • 113 Shares139 Views

      in Music

      Broadway Musicians Object to David Byrne’s ‘Here Lies Love’

      by

      The show plans to use recorded music instead of a live band, but a labor union says its contract for the theater requires musicians for musicals.A labor union representing musicians is challenging David Byrne’s next Broadway show, “Here Lies Love,” saying it opposes plans to stage the production with recorded instrumental tracks instead of a live band.The musical — an immersive, dance-driven spectacle about Imelda Marcos, the former first lady of the Philippines — is scheduled to start previews June 17 and to open July 20 at the Broadway Theater. Byrne co-wrote the music with Fatboy Slim.The musical has previously been staged Off Broadway, in London and in Seattle, each time with a singing cast accompanied by recorded music. There are a few moments in which actors have instruments as part of the action being depicted, but there are no full-time instrumentalists.“Since ‘Here Lies Love’ was first conceived 17 years ago, every production has been performed to prerecorded track; this is part of the karaoke genre inherent to the musical and the production concept,” the production’s spokesman, Adrian Bryan-Brown, said in a statement on Tuesday. “The music for ‘Here Lies Love’ was inspired by the phenomena of ‘track acts,’ which allowed club audiences to keep dancing, much like this production aims to do.”But Local 802 of the American Federation of Musicians says its contract with the Broadway League requires the use of 19 musicians for musicals at the Broadway Theater. (The number of musicians required under the contract varies based on theater size.)The union says it is seeking to preserve jobs for musicians and quality for theater lovers.“We’re not going to stand by and let this happen,” said Tino Gagliardi, the local’s president and executive director. “It’s not fair to the public.”Since February, the producing team of “Here Lies Love,” led by Hal Luftig, has been seeking to have the show declared a “special situation,” which is a category in the labor agreement that allows for the employment of fewer musicians. The request is to be assessed by a panel that includes neutral observers as well as representatives of the Broadway League and the musicians’ union; it is not clear how long that process will take, and the ruling can be appealed to arbitration.The League did not immediately respond to a request for comment on Tuesday, but Bryan-Brown said, “This process is ongoing and may ultimately culminate in a final and binding arbitration decision, but until that time, we will continue to work in good faith with the union to move through the steps of the contractual process.”There have been multiple Broadway shows staged with reduced orchestra sizes over the years, but it is rare to have a musical without an orchestra at all. The best-known example was “Contact,” a dance show produced by the nonprofit Lincoln Center Theater that won the 2000 Tony Award for best musical. In 2011, the union objected to a reduced-size orchestra, along with recorded music, for the Broadway production of “Priscilla Queen of the Desert.” More recently, “The Little Prince” was staged at the Broadway Theater with music sung to recorded tracks; that show was not Tony-eligible and had a short run, so the union did not object.The musicians say they are disappointed that the request is coming from a show associated with Byrne, whom they revere. Byrne’s last Broadway production, “American Utopia,” showcased musicians, with the band onstage playing instruments and dancing with the star.“I was really excited that David Byrne was bringing something else to Broadway,” said Ray Cetta, a bass player and union member who has occasionally played in the band for “Chicago.” “The current situation is very surprising and disheartening. Any musician would want to work with David Byrne and bring his music to life.” More

    • 125 Shares119 Views

      in Theater

      Tony Awards Broadcast Can Proceed After Striking Writers’ Union Agrees

      by

      The Tony Awards, a key marketing opportunity for Broadway, can go ahead in an altered form after the striking screenwriters’ union said it would not picket this year’s broadcast.This year’s Tony Awards ceremony, which had been in doubt ever since Hollywood’s screenwriters went on strike earlier this month, will proceed as scheduled in an altered form after the writers’ union said Monday night that it would not picket the show.“As they have stood by us, we stand with our fellow workers on Broadway who are impacted by our strike,” the Writers Guild of America, which represents screenwriters, said in a statement late Monday.A disruption could have been damaging to Broadway, which sees the televised ceremony as a key marketing opportunity, particularly now, when audiences have yet to return to prepandemic levels. Several nominated shows have been operating at a loss, holding on in the hopes that a Tony win — or even exposure on the broadcast — could boost sales.The union made it clear that the broadcast, which is scheduled to air on CBS on June 11, would be different from past ceremonies.“Tony Awards Productions (a joint venture of the Broadway League and the American Theater Wing) has communicated with us that they are altering this year’s show to conform with specific requests from the W.G.A., and therefore the W.G.A. will not be picketing the show,” the union said in a statement. “Responsibility for having to make changes to the format of the 2023 Tony Awards rests squarely on the shoulders of Paramount/CBS and their allies. They continue to refuse to negotiate a fair contract for the writers represented by the W.G.A.”The union did not detail what those differences would be, and the Tony Awards administrators did not have any immediate comment. But a person familiar with the plan, who was granted anonymity to speak about conditions that are not yet public, said the revised broadcast would include the presentation of key awards and live performances of songs from Broadway shows, but that it would not feature any scripted material by screenwriters in its opening number or comedic patter.The Tony Awards agreed that they would not use any part of a draft script that had been written before the screenwriters’ strike began, said the person.It was not immediately clear what role, if any, Ariana DeBose will play in the unscripted show. The Oscar-winning, Broadway-loving actress had hosted the awards ceremony last year, and had agreed to host again this year.It became clear immediately after the screenwriters went on strike that the labor disruption could affect the Tony Awards, because the awards ceremony is televised (by CBS) and live-streamed (by Paramount+) and ordinarily features a script written by screenwriters.Broadway is a heavily unionized industry, and unionized theater workers like actors and musicians were not going to participate in an awards ceremony being protested by another labor union. Tony Awards administrators, aware of those concerns, asked the W.G.A. for a waiver that would have allowed its writers to work on the show, given the dire straits of the theater industry; on Friday, the W.G.A. denied that request, and on Monday night it reiterated that denial, saying that the guild “will not negotiate an interim agreement or a waiver for the Tony Awards.”But Tony Awards administrators did not give up, and asked the guild if, even without a waiver to allow screenwriters to work on the show, it would allow the broadcast to proceed without writers as long as it meets certain conditions.Prominent theater artists who work on Broadway and are allied with the writers guild also spoke up on behalf of the Tonys, arguing that forcing the show off the air would be devastating to the art form and to the many arts workers it employs. The combination of the lobbying efforts and the new conditions appears to have prompted the guild to say Monday night that it would not picket the broadcast.The striking screenwriters have argued that their wages have stagnated and working conditions have deteriorated despite the fact that television production has exploded over the last decade. Negotiations between the major Hollywood studios — represented by the Alliance of Motion Picture and Television Producers — and the W.G.A. broke down three weeks ago. Roughly 11,500 writers went on strike beginning on May 2.Over the last two weeks, the writers have assembled picket lines outside the major studios in Los Angeles and production sound stages in New York. But the writers have also gone farther afield, with some taking to picket outside productions in more far-flung locales like Maplewood, N.J., Chicago and Philadelphia.The threat of demonstrations forced Netflix to cancel a major in-person showcase for advertisers, which was scheduled for Wednesday, and to turn it into a virtual format instead. The company also canceled an appearance for Ted Sarandos, Netflix’s co-chief executive, at the PEN America Literary Gala on Thursday.CBS has been broadcasting the Tonys since the 1970s, making it one of the longest continuous relationships between a single broadcaster and an awards show. CBS has a deal to broadcast the show through 2026. Because of the Tonys’s relatively low viewership, it has long been more of a prestige play for the network than a significant profit maker. More

    • 113 Shares179 Views

      in Theater

      Tony Awards Officials Ask Striking Writers to Reconsider Broadcast

      by

      The LatestTony Awards administrators held an emergency meeting on Monday to try to salvage this year’s ceremony in the face of a strike by screenwriters that is imperiling the broadcasting of the event.The officials have asked the leadership of the striking Writers Guild of America to reconsider and accept a compromise that would allow the Tony Awards broadcast, which is scheduled for June 11 on CBS, to proceed in some form as the Hollywood strike continues.The W.G.A. said on Friday that it would not grant a waiver that would allow screenwriters to work on a script for the broadcast. That made it difficult to see how the Tonys could be televised, since Broadway is a heavily unionized industry and it is widely expected that theatrical union members, who include actors and musicians, will refuse to participate out of solidarity with the striking screenwriters.The awards show’s management committee, which oversees the broadcast, held a 90-minute virtual meeting Monday morning at which they opted to seek a way to preserve the planned June 11 show, according to three people with knowledge of what took place who were granted anonymity to describe a confidential conversation.Several Broadway shows are already seeking to boost ticket sales by advertising their Tony nominations, but the June 11 telecast that they hope will provide an even bigger boost is now in danger. Sara Krulwich/The New York TimesWhy It Matters: It’s Broadway’s biggest marketing moment.Broadway producers and industry leaders say that the annual awards show is a vital marketing tool for the industry, and particularly important to the financial health of new musicals.Broadway shows do not have the outsize marketing budgets of Hollywood films or television series, so they need to find other ways to build awareness, and the awards ceremony has traditionally been an important element of that.The ceremony benefits the theater industry in several ways: the shows that win awards often sell tickets to theatergoers eager to see the most acclaimed productions, and those shows that stage exciting or moving musical numbers on the broadcast often see a box office bump as a result.Background: Theater attendance is still down since the pandemic.W.G.A. members are striking for better compensation and structural changes to the way writers relate to studios, streaming services and networks as the entertainment industry evolves.At the same time, the theater industry is still trying to recover from the disruptions brought by the coronavirus pandemic: Broadway attendance this season remains about 17 percent lower than it was during the last full season before the pandemic.One sign of the current economic challenge: Four of the five shows nominated for best new musical this year are losing money most weeks, because the shows cost more to run than they are making at the box office. Those shows — “Kimberly Akimbo,” “New York, New York,” “Shucked” and “Some Like It Hot” — are especially hoping that winning prizes or showing off their production numbers on a television broadcast could help them sell tickets. And the nominated show currently doing the best at the box office, “& Juliet,” would welcome a chance to perform before a national audience.What’s Next: A decision could come in days.Conversations between theater industry leaders, union leaders, and CBS are ongoing. The Broadway League and the American Theater Wing, which jointly present the Tony Awards, are hoping to resolve the crisis soon.It appears more likely that the Tony Awards will have to find a way forward without a televised broadcast on June 11, but in an industry built on optimism, some theater officials are still holding out hope that pleas by theater artists to their Hollywood colleagues could yield a compromise.If a broadcast proves impossible, many industry leaders appear determined to hand out the prizes as scheduled, either at a nontelevised event or simply by announcing the winners. But there are also some who think the ceremony should be postponed until the strike is settled, so that it can remain on television. More

    • 138 Shares189 Views

      in Theater

      As Broadway Rebounds, ‘Some Like It Hot’ Gets 13 Tony Nominations

      by

      As Broadway’s rebound from the pandemic shutdown picks up pace, Tony nominators showered much-sought attention on a wide variety of shows, from razzle-dazzle spectacles to quirky adventurous fare.“Some Like It Hot,” a musical based on the classic Billy Wilder film about two musicians who witness a gangland slaying and dress as women to escape the mob, scored the most nominations: 13. But it faces stiff competition in the race for best new musical — ticket buyers have not made any of the contenders a slam-dunk hit, and there does not appear to be a consensus among the industry insiders who make up the Tony voting pool.Three other musicals picked up nine nominations apiece: “& Juliet,” which combines pop songs with an alternative narrative arc for Shakespeare’s star-crossed lovers; “New York, New York,” a dance-driven show about a pair of young musicians seeking success and love in a postwar city; and “Shucked,” a pun-laden country comedy about a rural community facing a corn crisis. “Kimberly Akimbo,” a critical favorite about a high school student with a life-altering genetic condition and a criminally dysfunctional family, picked up eight nominations.The Tony nominations also feature plenty of boldfaced names. Among the stars from the worlds of pop music, film and television who earned nods are Sara Bareilles, Jessica Chastain, Jodie Comer, Josh Groban, Sean Hayes, Samuel L. Jackson, Wendell Pierce and Ben Platt. Another went to one of Broadway’s most-admired stars: Audra McDonald, who, with nine previous nominations and six wins, has won the most competitive Tony Awards of any performer in history.The musical “Shucked,” the rare Broadway show about corn, got nine nominations. Sara Krulwich/The New York TimesThis year’s Tony Awards come at the end of the first full-length season since the coronavirus pandemic forced theaters to close for about a year and a half. Given that tourism remains below prepandemic levels, many workers have not returned to Midtown offices, and inflation has made producing far more expensive, the season has been surprisingly robust, with a wide range of offerings.“Entertainment is like food — sometimes you’re in the mood for an organic small plate, and sometimes for a burger and fries, and the best thing about New York is we’ve got the variety,” said Victoria Clark, the Tony-nominated star of “Kimberly Akimbo.”Broadway shows this season had grossed $1.48 billion as of April 30, according to figures released Tuesday by the Broadway League. That’s nearly double the grosses at the same point last season — $751 million — but lower than the $1.72 billion at the same point in 2019, during the last full prepandemic season.Other key metrics are better, too: 11.5 million seats have been filled on Broadway this season, compared with 6 million at the same point last season, but still down from the 13.8 million that had been filled by this point in 2019.The Tony nominations, which were chosen by a panel of 40 theater industry experts who saw all 38 eligible shows and have no financial interest in any of them, are particularly important to shows that are still running, which try to use the vote of confidence to woo potential ticket buyers.“It’s all about what’s going to make a show run longer and create more jobs for more people,” said Casey Nicholaw, the director and choreographer of “Some Like It Hot.” “Hopefully we’ll sell more tickets, and the show will be more of a success.”The Tony nominations can also boost the employment prospects, and the compensation, of artists. And, of course, they are a tribute to excellence. “It means something when your peers and your colleagues see beauty in something you make,” said James Ijames, whose play “Fat Ham” was among the nominated productions.“Between Riverside and Crazy” was among the nominees for best new play. Sara Krulwich/The New York TimesBroadway is a complicated place, dominated by commercial producers but also with six theaters run by nonprofits, and the work this season, as is often the case, featured everything from experimental plays tackling challenging subjects to more mainstream fare that aims primarily to entertain.Among the five nominees for best new play, three have already won the Pulitzer Prize in drama, including “Between Riverside and Crazy,” Stephen Adly Guirgis’s story of a retired police officer trying to hang onto his apartment; “Cost of Living,” Martyna Majok’s exploration of caregiving and disability; and “Fat Ham,” Ijames’s riff on “Hamlet,” set in the North Carolina backyard of a family that runs a barbecue restaurant.The two other Tony-nominated plays are each significant in their own ways: “Leopoldstadt” is Tom Stoppard’s autobiographically inspired drama about a European Jewish family before, during and after World War II, while “Ain’t No Mo’” is Jordan E. Cooper’s outlandish comedy imagining that the United States offers its Black residents one-way tickets to Africa.The nominations for “Ain’t No Mo’” were especially striking given that the show struggled to find an audience and closed early. “I’m just so elated, I can barely find the words,” said Cooper, who was nominated both as writer and actor. “There was a lot of turbulence, but we landed the plane.”Stoppard is already the winningest playwright in Broadway history, having won Tony Awards for four previous plays (“Rosencrantz and Guildenstern Are Dead,” “Travesties,” “The Real Thing” and “The Coast of Utopia”). He is now 85 years old, and “Leopoldstadt” is his 19th production on Broadway. Stoppard said he was proud of the nomination, but sorry the play had come to seem so timely at a moment of rising concern about antisemitism.“Nobody wants society to be divided,” he said in an interview, “and I like to think ‘Leopoldstadt’ works against a sense of human beings dividing up and confronting each other.”Jordan E. Cooper in his comedy “Ain’t No Mo’,” which was nominated for best play.Sara Krulwich/The New York TimesOf the 38 Tony-eligible plays and musicals this season, 27 scored at least one nomination, leaving 11 with no nods. Among the musicals snubbed by the nominators were “Bad Cinderella,” the critically drubbed new musical from one of the most successful musical theater composers of all time, Andrew Lloyd Webber, as well as a progressive rethink of “1776,” about the debate over the Declaration of Independence, which was revived with a cast of women, nonbinary and transgender performers.One of the musicals that did not score any nominations, a revival of “Dancin’,” quickly declared plans to close: A little more than nine hours after the Tony nominations were announced, the revue’s producers said its last performance would be May 14. Among the seven plays shut out was “The Thanksgiving Play,” which is thought to be the first work on Broadway by a female Native American playwright, Larissa FastHorse.The season featured shows examining a wide variety of diverse stories, and the nominations reflect that.At a time when gender identity issues have become increasingly politicized in the nation, nominations were earned by two gender nonconforming actors: J. Harrison Ghee, a star of “Some Like It Hot,” and Alex Newell, a supporting actor in “Shucked.”Helen Park, who is the first Asian American female composer on Broadway, was nominated in the best score category for the musical “KPOP.” “The more authentic we are to our respective cultures and stories,” she said, “the richer the Broadway soundscape and Broadway landscape will be.”Five plays by Black writers were nominated in either the best play or best play revival category, and four of the five nominees for leading actor in a play are Black.“I broke down in tears,” Pierce said about learning that he was among those nominees, for playing Willy Loman in a revival of “Death of a Salesman” in which the traditionally white Loman family is now African American. “I did not know how profoundly moving it would be. It was the culmination of years of hard work and a reflection on how much effort and toil went into the challenge of playing the role.”This was a strong season for musical revivals, and the nominated shows include two with scores by Stephen Sondheim — “Into the Woods” and “Sweeney Todd” — as well as the Golden Age classic “Camelot” and “Parade,” which is a show about the early 20th-century lynching of a Jewish man in Georgia.“Into the Woods” was one of two Stephen Sondheim revivals to earn nominations.Sara Krulwich/The New York Times“We’re so happy audiences are taking to it, and we hope that Sondheim would be happy this morning as well,” said Groban, starring as the title character in “Sweeney Todd.”The nominated play revivals are also a compelling bunch: a hypnotically minimalist version of Ibsen’s “A Doll’s House” adapted by Amy Herzog and starring Chastain as a Norwegian debtor trapped in a sexist marriage; a bracing production of Suzan Lori-Parks’s “Topdog/Underdog,” about two brothers ominously named Lincoln and Booth; a rare staging of Lorraine Hansberry’s “The Sign in Sidney Brustein’s Window,” featuring Oscar Isaac and Rachel Brosnahan; and a ghostly performance of “The Piano Lesson,” August Wilson’s classic drama about a family wrestling with the meaning, and monetary value, of an heirloom.The 769 Tony voters now have until early June to catch up on shows they have not yet seen before they cast their electronic ballots. The awards ceremony itself will be held on June 11 at the United Palace in Washington Heights in Upper Manhattan in a ceremony hosted by Ariana DeBose.Julia Jacobs More

    • 125 Shares109 Views

      in Theater

      Tennessee Law Limiting ‘Cabaret’ Shows Raises Uncertainty About Drag Events

      by

      The measure is part of a wave of legislation by conservative lawmakers across the country against drag performances. Many are wondering how it will be applied.NASHVILLE — A bill signed into law this week in Tennessee makes staging “adult cabaret” on public property or anywhere a child could see it a criminal offense. The law forbids performances in those places by topless, go-go or exotic dancers, strippers, or male or female impersonators who, as the law defines it, provides entertainment that is “harmful to minors.” The word “drag” does not appear in the legislation. And to some legal experts, the description provided in the letter of the law would not apply to drag as they know it. But many in the state are still trying to grasp how the measure will ultimately affect drag events, theater performances that involve drag, and even transgender and gender nonconforming people as they go about their lives.The law is part of a cascade of legislation across the country fueled by a conservative backlash to drag events, which has also spurred protests from far-right groups and threats directed at performers. Now that it is one of the first to succeed, with lawmakers in other states pursuing legislation with similarly ambiguous language, the law has prompted concerns about how it will be enforced and the implications it could have.“The murkiness of this law is causing a lot of people to be on edge,” said Micah Winter, a performer and board member of Friends of George’s, a theater company in Memphis whose shows are often centered on drag.Proponents of the legislation have described it as a way to safeguard children, asserting that drag events can have sexualized language and suggestive performances that may be too mature for younger viewers.“This bill gives confidence to parents that they can take their kids to a public or private show and will not be blindsided by a sexualized performance,” Jack Johnson, the Republican state senator who sponsored the legislation, said on Twitter.Gov. Bill Lee of Tennessee giving his State of the State address in February. Mark Zaleski/Associated PressStill, the legislation figures into a campaign by conservative lawmakers across the country to curb the rights of people in the L.G.B.T.Q. community. In Tennessee, one proposal would block transgender people from changing the gender listed on their drivers’ licenses, and on Thursday, the same day Gov. Bill Lee signed the adult cabaret bill, he approved legislation that prevents all puberty-delaying treatment, hormone therapies and referrals for transgender children to receive gender-affirming medical care in the state.Drag has become more mainstream in Tennessee, as in much of the country. Performers in vibrant costumes that upend gender assumptions could simply be reading a book, promoting acceptance and literacy. Or they might be “reading” — that is, playfully mocking — tourists piled onto buses rolling through Nashville or lip-syncing in variety shows in boozy brunches in Memphis or Chattanooga.“Not one of our performers on this bus has ever shown more skin than a Titans’ cheerleader on a Sunday afternoon,” David Taylor, an owner of the Big Drag Bus Tour in Nashville and bars that host drag events, said in a hearing on the legislation.Legal experts said the equivocal wording meant that the adult cabaret law was not exactly a ban on drag but could still have consequences.“It’s an anti-drag law,” said Kathy Sinback, the executive director of the American Civil Liberties Union of Tennessee, “because they passed it intentionally to try to chill and prevent people from doing drag, but that’s not really what the law says.”“It should not even touch any drag performances,” she added. But after watching public commentary and a series of legislative hearings debating the merits of the bill, she said, “it’s clear that some people think that drag in and of itself as an art form is obscene and that it should not be viewed by children.”But Ms. Sinback said the parameters set in the legislation should not apply to most drag performances, given that they would have to be considered extremely sexual or violent, lack serious literary, artistic, political or scientific values, and be considered broadly offensive and obscene to a child to warrant charging the performer with a crime.Mr. Johnson said that the law was not meant to target drag performances in general or discriminate against the L.G.B.T.Q. community. “It simply puts age restrictions in place to ensure that children are not present at sexually explicit performances,” he said in an interview with CNN.Critics said the legislation reflected what many in the gay and transgender community have described as a bleak and dangerous climate in Tennessee, threatening people who are often marginalized and already uniquely vulnerable. The law over medical care has provoked the most alarm. The Tennessee chapter of the American Academy of Pediatrics opposed the law, saying in a statement that it will “significantly limit our ability to practice to the standard of care established by numerous national medical organizations.”Sruti Swaminathan, a staff attorney for Lambda Legal, which is working with other civil liberties groups in mounting a legal challenge to the legislation barring gender-affirming care, said, “This is clearly an effort to villainize us and isolate us because they fear our resilience and our self-love and our collective power.”People protesting against the bill on cabaret restrictions in Knoxville, Tenn., in February. Jamar Coach/News Sentinel, via ReutersTennessee is one of more than a dozen states where conservative lawmakers, focusing on issues of gender and identity, have pursued legislation that explicitly or otherwise seeks to impose restrictions on drag events.Some of the bills would require venues to register as adult entertainment spaces or “sexually oriented businesses,” and others would forbid performances at schools or libraries. A proposal in Arizona would outlaw drag performances within a quarter-mile of public playgrounds and schools.The law in Tennessee has not yet spurred a legal challenge, but activists and lawyers were prepared to start one as they watched to see how it is applied. Those who violate the law will be charged with a misdemeanor or a felony for continued offenses.The drag performer Poly Tics attending a rally in Kentucky on Thursday. Bruce Schreiner/Associated PressIn Kentucky, where the State Legislature has advanced a sprawling bill to curtail health care access for L.G.B.T.Q. children, lawmakers had also considered restrictions that included prohibiting what the state classifies as “adult performances” from operating within 1,000 feet of child care facilities, schools, public parks, homes or places of worship. The legislation was amended on Thursday to limit such performances from taking place in public places or a location where the performance could be viewed by a child — a step that critics of the legislation took as a victory.“This version is much more narrowly tailored to just explicit sexual content,” said Chris Hartman, executive director of the Fairness Campaign, an L.G.B.T.Q. advocacy group in Kentucky, who acknowledged that much of his organization’s limited energy was focused on challenging the legislation on restricting gender-affirming health care.Compared with other proposals on L.G.B.T.Q. issues that advocates contend will have immediate and damaging impact, the ones that are tied to drag stir worries rooted more in uncertainty.For transgender and gender nonconforming people, who face a heightened threat of violence, some fear the law could be wielded as a tool to further discriminate against them.“The language is vague enough that it leaves it in the hands of each individual jurisdiction to define what counts as a ‘male or female impersonator,’” said Dahron Johnson, who works in community outreach with the Tennessee Equality Project. “They could say I, just going about my daily life, am an ‘impersonator.’”In theater, there is a long history of performance featuring cross-dressing and drag — Shakespeare famously employed male actors to play female roles — and many touring shows feature some variation on the practice: “The Lion King” (a male meerkat, Timon, dons a dress to dance the Charleston), “Hairspray” (the protagonist’s mother is often played by a man in drag) and “1776” (now touring with a new production in which all the male characters are played by female, transgender and nonbinary actors).“Hairspray” and many other theater productions feature drag performances.Sara Krulwich/The New York Times“We’re absolutely opposed to any legislation that restricts the rights of our producers to present stories we’ve been presenting for 4,000 years,” said Charlotte St. Martin, the president of the Broadway League, a trade association representing producers and presenters around the country. Ms. Martin said the league is “very concerned” about the legislation under consideration in multiple states.Brett Batterson, the president and chief executive of the Orpheum Theatre Group in Memphis, said that on Friday, he paused conversations about bringing to Memphis a solo show, “Dixie’s Tupperware Party,” a small, long-running and popular touring production that has played all over America and is performed by a man in drag.“We decided we would pause our discussion to see how some of the language is interpreted,” Mr. Batterson said. “I think the law will be challenged, and we want to see how it plays out.”For now, Friends of George’s was not ready to change any of its plans. “We think it’s outrageous, but we’re forging ahead with our next production in spite of everything,” said Ty Phillips, the nonprofit’s vice president.Yet uncertainty remained. Mr. Winter noted that over the years he has played Mother Ginger in “The Nutcracker” and the mother in “Hairspray.”“Can I still do that?” he asked. More

    • 125 Shares139 Views

      in Theater

      Broadway Bounces Back With ‘Best Week Since the Before Times’

      by

      Broadway shows grossed $51.9 million during the holiday week, the most since 2019, and “The Lion King” set a record for the most earned by any show in a single week.Broadway, still struggling to rebound from the lengthy pandemic shutdown, is starting the new year with a sign of hope: Last week was, by far, the best for the industry since the arrival of the coronavirus.The 33 shows running grossed $51.9 million, which is the most since the final week of 2019. And “The Lion King,” which last fall celebrated its 25th anniversary on Broadway, notched a remarkable milestone: It grossed $4.3 million, which is the most ever taken in by a show in a single week on Broadway.The boffo numbers — 21 shows grossed more than $1 million last week — come with caveats. Both Christmas and New Year’s days fell on Sundays, concentrating holiday travelers into a single week. Twenty shows added extra performances for the holiday week, giving nine instead of the usual eight. And ticket prices were high: The average Broadway seat went for $166, up from $128 just four weeks earlier.But the strong week sent a signal that under the right circumstances, Broadway can deliver. During the holiday week — the week that ended Jan. 1 — the 22 musicals and 11 plays running were, on average, 92 percent full. Overall attendance was 312,878, which is not a record (in fact, it was the 27th-best-attended week in history, according to the Broadway League), but is good (by comparison, attendance over Thanksgiving week was 259,298).The two final weeks of the year saw combined grosses of $86.7 million, which is up 115 percent over the previous year, but down 12 percent compared to those key holiday weeks in 2019.“What you see is that we’re continuing to build and maintain our audience,” said Charlotte St. Martin, the president of the Broadway League, a trade association representing producers and theater owners. “We’re not back to where we were, but we’re doing very well at a time of uncertainty.”According to the League, last week was the third-highest-grossing in history. The highest was the week ending Dec. 30, 2018, when grosses were $57.8 million and attendance was 378,910; the second-highest was the week ending Dec. 29, 2019, when grosses were $55.8 million and attendance was 350,714.“The Lion King,” with a nine-performance week, toppled the previous record for the top-grossing week by a single show, which had been held by “Hamilton,” which grossed $4 million for eight performances during the week that ended Dec. 30, 2018. (The figures are not adjusted for inflation.)“The Lion King” earned $4.3 million last week, the most a single show has ever earned in one week. It resumed performances in September 2021.Jutharat Pinyodoonyachet for The New York TimesThe holidays are traditionally strong for Broadway, but in 2021 the final weeks of the year were a bloodbath because the Omicron variant led to cancellations of multiple shows. Now, despite the “tripledemic” of circulating respiratory illnesses, Broadway has largely figured out how to keep going: During the last three weeks, 12 scheduled performances were canceled, compared to 221 cancellations during the final three weeks of 2021.Throughout the industry, shows were trumpeting breaking records last week.“Chicago” had the highest-grossing week in its 26-year history, as well as its highest single-performance gross. The once-struggling “Harry Potter and the Cursed Child,” which revived its fortunes after the shutdown by consolidating from two parts into one, was already the highest-grossing play in Broadway history, and last week set a record (nearly $2.7 million) for weekly gross by a play. And a starry revival of “The Piano Lesson” was on track to being the highest grossing play by August Wilson — the much-celebrated and oft-performed bard of 20th-century African American life — in Broadway history.Several shows set house records at the theaters where they are being performed, including the revival of “Funny Girl,” which had been floundering financially until its producers brought in Lea Michele to star. Also setting records were shows including “Beetlejuice,” which closes Jan. 8 after a bumpy ride; “Six,” the pop-concert-style reconsideration of the wives of Henry VIII; “& Juliet,” a new musical imagining an alternative history for Shakespeare’s famously star-crossed lover, and “MJ,” the Michael Jackson biomusical.“We had our best week since the before times,” said Victoria Bailey, the executive director of TDF, a nonprofit organization that runs the TKTS discount ticket booths, who said her staff is noticing increasing geographic diversity among ticket buyers.“We were seeing people from lots and lots of states and lots and lots of countries — it wasn’t the same folks making the numbers bigger, but it was folks from further away,” Bailey said. “I don’t have any reason to say we’re out of the woods, but I don’t think this was just a one-off. And if we get to a point where you periodically have good weeks, that will be helpful.”Bailey and St. Martin both noted that tourists from China have not yet returned in significant numbers as that nation battles surging coronavirus cases. But both said they were particularly heartened by returning domestic tourism.Broadway now enters a period of greater challenge: January and February have historically been weak months for the industry. There are 12 shows scheduled to close this month, which is at the high end of the normal range for January closings. But there are a raft of openings planned in March and April — it looks like the overall number of new shows this season will be within the typical range — and St. Martin said she is feeling good about the industry’s trajectory.“I am overwhelmingly optimistic about the spring,” she said. More