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      Tony Awards Officials Ask Striking Writers to Reconsider Broadcast

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      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

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

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      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

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

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      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

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

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      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

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      New Broadway Labor Agreement Includes Pandemic-Prompted Changes

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      The deal, ratified by members of Actors’ Equity, provides salary increases for performers and stage managers, and allows producers to make short-term hires.The union representing theater actors and stage managers has ratified a new contract that provides pay increases for those working on Broadway and, in a move prompted by the coronavirus pandemic, allows producers to make short-term hires to cover absent actors.Actors’ Equity Association announced Monday that its membership had voted in favor of the three-year contract, which by late 2024 would raise the minimum salary for performers working on Broadway to $2,638 per week. That reflects three years of pay increases: 5 percent this year, 4 percent next year, and 4 percent the following year.The Broadway contract, negotiated by Equity and the Broadway League, applies to commercial productions on Broadway, as well as to so-called sit-down productions, which are extended runs of commercial shows elsewhere in the country.The contract is important because Broadway is the segment of the American theater world where artists can most reliably make a living wage, and also because provisions in this contract influence others in the industry. The union will next turn its attention to negotiating contracts for touring shows and regional theaters (the regional theater contract also applies to the four New York nonprofits that operate Broadway houses).This Broadway contract, which goes into effect immediately, is the first negotiated since the outbreak of the coronavirus pandemic. As shows returned, the challenge of staying open when company members tested positive for the coronavirus called attention to the important work of understudies, swings and standbys who keep shows going when illness strikes, and also highlighted the tension between a historic show-must-go-on ethic and disease transmission.The contract is the first to provide paid sick leave for anyone working on an Equity contract; previously, those earning above a certain amount were not entitled to paid sick days. In another first, the contract caps how many roles a swing can cover in one performance.And the contract allows for the use of short-term actors, with rehearsal time, to cover performer absences. The provision was a concession by the union to the producers.The union also highlighted a few wins for its members: a limited number of very long rehearsal days, and fewer rehearsal hours post-opening.The contract includes several new provisions prompted by discussion within the industry, and the broader society, about diversity concerns. Among them: commitments to employ technicians for certain hair styles, to consider gender identity when identifying spaces for dressing rooms and bathrooms, to set up a committee to talk about onstage intimacy, and to improve casting notices for those with disabilities.Kate Shindle, the president of Actors’ Equity, said the deal was a compromise reflecting the economics of the moment. The contract was ratified by a smaller margin than some previous pacts, suggesting disagreement within the union’s membership about whether it was good enough.“The industry is not entirely back yet, and while we were looking to reinvent the whole way the theater industry operates, we’re also faced with real financial considerations,” Shindle said.She said the wage increases were significant at a time when inflation is high, as are real estate costs in New York (which, of course, is where many Broadway workers live). She also noted that many in the industry had not had work while theaters were shut down, making their current salaries more important.Charlotte St. Martin, the president of the Broadway League, said in a statement that she was pleased with the ratification of the agreement, “which we believe represents a significant step forward for our industry.”She said several provisions “were ultimately directly responsive to the push from the union for less time spent in rehearsal and more time off for actors,” and she also hailed the diversity provisions, which were, she said, “in the forefront of our priorities.”“A key component to these changes is language that will allow us to hold everyone, including actors working on our productions, to the same standards when creating a safe and inclusive working environment for all,” she said. “We were able to achieve all of these significant improvements for each side while providing a meaningful and yet responsible economic package.” More

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      Times Square May Get One of the Few Spectacles It Lacks: A Casino

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      The battle to win a New York City casino license has heated up in Manhattan, with real estate and gambling giants offering competing proposals for Times Square and Hudson Yards.Times Square, New York City’s famed Crossroads of the World, could hardly be considered lacking. It has dozens of Broadway theaters, swarms of tourists, costumed characters and noisy traffic, all jostling for space with office workers who toil in the area.Now one of the city’s biggest commercial developers is pitching something that Times Square does not have: a glittering Caesars Palace casino at its core.The developer, SL Green Realty Corporation, and the gambling giant Caesars Entertainment are actively trying to enlist local restaurants, retailers and construction workers in joining a pro-casino coalition, as the companies aim to secure one of three new casino licenses in the New York City area approved by state legislators earlier this year.The proposal has enormous implications for Times Square, the symbolical and economic heart of the American theater industry, and a key part of the city’s office-driven economy. Although foot traffic in Times Square was almost back at 2019 levels during recent weekends, theatergoers and office workers have been slower to re-embrace a neighborhood where violent crime has risen.Overall attendance and box office grosses on Broadway are lagging well behind prepandemic levels, and there is considerable anxiety within the industry about how changes in commuting patterns, entertainment consumption and the global economy will affect its long-term health.A casino in Times Square faces substantial obstacles. There is already a competing bid for a casino in nearby Hudson Yards from another pair of real estate and gambling giants, Related Companies and Wynn Resorts.And with casino bids also taking shape in Queens and Brooklyn, there is no assurance that the New York State Gaming Commission will place a casino in Manhattan, let alone Times Square, one of the world’s more complex logistical and economic regions.Few things change in Times Square without notice or protest. When the city installed pedestrian plazas in the area more than a decade ago, the move was widely condemned and even lampooned by late-night talk show hosts, before being eventually embraced as an innovative foray in urban design. When the neighborhood’s army of costumed characters gained a reputation for aggressive solicitation, the city restricted them to designated “activity zones,” raising free speech concerns.Now critics worry that putting a casino at 1515 Broadway, the SL Green skyscraper near West 44th Street, would alter the character of a neighborhood that can ill afford to backslide toward its seedier past, and further overwhelm an already crowded area.In a copy of a letter soliciting support for the casino, which was obtained by The New York Times, the companies promised to use a portion of the casino’s gambling revenues to fund safety and sanitation improvements in Times Square, including by deploying surveillance drones.Yet the idea of a casino has already found an influential opponent: the Broadway League, a trade association representing theater owners and producers. On Tuesday, the league sent an email to its members saying it would not welcome a casino to the neighborhood.“The addition of a casino will overwhelm the already densely congested area and would jeopardize the entire neighborhood whose existence is dependent on the success of Broadway,” the league said in a statement. “Broadway is the key driver of tourism and risking its stability would be detrimental to the city.”The congestion in Times Square is both a closely watched sign of vibrancy and a potential irritant, particularly for commuters and theatergoers who sometimes cite the crowds and the cacophony as reasons to stay away.For New York, Times Square is an important financial engine — the city relies heavily on tourists to spend money at the neighborhood’s hotels, restaurants, stores and entertainment venues.There are ample indicators that Broadway is still struggling: Several productions, including “The Phantom of the Opera,” which is the longest-running Broadway show in history, and “A Strange Loop,” which won this year’s Tony Award for best musical, have announced plans to close.Last week, there were 27 shows running on Broadway, seen by 225,731 people and grossing $29 million; in the comparable week in October 2019, before the pandemic, there were 34 shows running that were seen by 286,802 people and grossed $35 million.Still, the Actors’ Equity Association, the labor union representing actors and stage managers, is among those supporting the casino bid, suggesting a contentious road ahead for a proposal that will face a lengthy approval process.“The proposal from the developer for a Times Square casino would be a game changer that boosts security and safety in the Times Square neighborhood with increased security staff, more sanitation equipment and new cameras,” Actors’ Equity said in a statement. “We applaud the developer’s commitment to make the neighborhood safer for arts workers and audience members alike.”The simmering tensions between local power brokers, months before the formal bidding process has even begun, foreshadow the fight ahead for developers hoping to cash in on what could become the most lucrative gambling market in the country, at a time when traditional office-using tenants have become more scarce.A state committee formed this month to review casino applications said the process would open by Jan. 6, and that no determinations on locations would be made “until sometime later in 2023 at the earliest.”In their letter seeking support for the casino, SL Green and Caesars said that gambling revenues could be used to more than double the number of “public safety officers” in Times Square and to deploy surveillance drones.The letter said a new casino would result in more than 50 new artificial intelligence camera systems “strategically placed throughout Times Square, each capable of monitoring 85,000+ people per day.” The safety plans were developed by former New York Police Commissioner Bill Bratton, according to SL Green.Mr. Bratton did not respond to a request for comment.“As New Yorkers, it’s incumbent on us to keep making sure Times Square is keeping up with the times, and doesn’t go back to what I’ll call the bad old days of the ’70s or the early ’90s,” said Marc Holliday, the chief executive of SL Green. “And we all remember what that was like, when it comes to crime, and, you know, open drug use.”The casino is expected to include a hotel, a wellness center and restaurants, right above the Broadway theater that is home to “The Lion King” musical and a stone’s throw from the site of the ball drop on New Year’s Eve.Earlier this year, the state authorized up to three casino licenses for the New York City region. Legislators have touted the union jobs, tourists and tax revenue that a casino would attract, citing the fact that the bidding for each license will start at $500 million.Two existing “racinos” — horse racetracks with video slot machines but no human dealers — are considered front-runners for two of the three licenses: Genting Group’s Resorts World New York City in Queens and MGM Resorts International’s Empire City Casino in Yonkers, N.Y.The competition for the third license features many of the country’s major casino companies. Steven Cohen, the owner of the New York Mets, has been talking with Hard Rock about a casino near the baseball team’s stadium in Queens. Las Vegas Sands has been finalizing plans for its preferred casino location in the area, and Bally’s Corporation has been scouting for a development partner.The Wynn-Related proposed casino would be on the undeveloped western portion of the Hudson Yards, which was supposed to be completed by 2025 and include residential units and parks. Related, the developer of Hudson Yards, said it plans to fulfill all of its prior housing and public space commitments for the area.In a private pitch deck obtained by The Times, Wynn and Related wrote that Hudson Yards, near the Javits Center, was the ideal location to target “diverse upscale” guests for a casino resort complex.“Because it attracts the upper tier of gaming consumers, Wynn is able to dedicate less than 10 percent of its resort space to gaming, yet still generate significant gaming revenue and tax benefits for municipalities,” reads a slide in the deck.The deck also features photos of an outdoor man-made waterfall — and of a couple enjoying cocktails while watching a cigarette-holding animatronic frog, apparently from Wynn’s “Lake of Dreams” show.In their pitch letter, SL Green and Caesars said the casino was a “once in a lifetime opportunity to once again solidify Times Square as the world’s greatest entertainment area.”Community support is an integral ingredient to winning state approval for a casino license.The Broadway League’s “influence and clout and understanding of what theatergoers want is crucial to the future of Times Square, and if they’re opposing this proposal, I don’t see how it proceeds,” said Brad Hoylman, the state senator representing the district that encompasses Times Square.But Andrew Rigie, president of the New York City Hospitality Alliance, which represents the city’s restaurants and bars, said the group would support a casino in Manhattan if it used local restaurant operators or provided vouchers to nearby eateries. A major question surrounding the economic impact of casinos is whether they incentivize guests to stay and eat inside the building, which could hurt surrounding businesses.Alan Rosen, the owner of Junior’s Cheesecake, a restaurant chain with locations in Times Square and at the Foxwoods Resort Casino in Connecticut, said he was unconcerned.“I can’t see it hurting my business,” he said. “Look at Las Vegas. What do people do? They eat. They go to shows. It’s a lot more than gambling these days.” More

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      On Broadway, One Show Decides to Keep Masks. No, It’s Not ‘Phantom.’

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      Three days after the Broadway League announced that all 41 theaters would make masks optional starting July 1, one of those theaters has decided to stick with mandatory face coverings.The producers of a starry revival of “American Buffalo,” which is a 1975 drama by David Mamet about three schemers in a junk shop, announced Friday that they would continue to require masks through the scheduled end of the show’s run at Circle in the Square Theater on July 10.That’s only 10 days beyond when Broadway plans to drop its industrywide masking requirement, and it’s just one show, but it suggests that the unanimity among producers and theater owners may not be rock solid.There are several factors that make the “American Buffalo” situation unusual.The play, starring Sam Rockwell, Laurence Fishburne and Darren Criss, is being staged at Broadway’s only theater-in-the-round (it’s actually almost-in-the-round, because the seating doesn’t entirely encircle the stage), which means there are more patrons seated within spitting distance of actors than at other theaters.Also, Circle in the Square, with 751 seats as it is currently configured, is the only remaining Broadway theater that is not operated by a large company or a nonprofit organization, so its decisions are not tied to those of a bigger entity.Rockwell expressed concerns about the end of the masking policy in an interview this week with the New York Times columnist Ginia Bellafante.The show announced the change in policy in a news release, saying that it was “due to the close proximity of the audience to the actors as a result of the intimate size of the theater and the staging in the round.” The production and theater owner did not immediately respond to requests for further comment.Charlotte St. Martin, the president of the Broadway League, said of the “American Buffalo” decision, “As the optional mask policy takes effect in July, there may be unique situations which would require the audience, or some of the audience, to be masked.”It is not clear whether the decision will affect other Broadway shows. The vast majority take place in theaters operated by a handful of big landlords who endorsed the mask-optional decision. Broadway’s four nonprofit theater operators, who have been more Covid-cautious, do not have any shows this summer. And summer fare on Broadway is dominated by big musicals, where the audience tends to skew toward tourists, many of whom come from places where masks are long gone; older New York playgoers are scarcer at this time of year (and the volume of shows is lower, too: there are only 27 shows now running on Broadway).After “American Buffalo” closes next month, Circle in the Square is scheduled to be vacant until October, when a new musical called “KPOP” begins previews.Actors’ Equity, the union representing performers and stage managers, has declined to comment on the audience safety protocols, but this week sent an email to its members, previously reported by Deadline, saying, “This decision was made unilaterally, without input from your union or any other, and the unions were only given advance notice a couple of hours before the announcement.”Although the decision was announced by the Broadway League, it was made by theater owners and operators, and they plan to reconsider the protocols monthly. More

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      Broadway Will Drop Mask Mandate Beginning July 1

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      Broadway theaters will be allowed to drop their mask mandates starting July 1, the Broadway League announced Tuesday.The League described the new policy as “mask optional,” and said it would be re-evaluated monthly.“Our theater owners have been watching the protocols, watching admissions to hospitals, watching as we have no issues across the country where tours are mostly not masked, and they decided it was time to try,” said Charlotte St. Martin, the president of the Broadway League. “This is not an easy decision — there are more people that want masks off than on, but plenty still want them on — and we’re encouraging people that have any concerns to wear their masks.”St. Martin said the theater owners would continue to meet weekly to assess the health situation, and are open to reimposing the mandate if necessary. “We’re going to see how it goes,” she said.Broadway had maintained fairly restrictive audience policies since theaters reopened last summer. The theaters required patrons to show proof of vaccination until April 30, and have continued to require patrons to wear masks except while eating and drinking.Broadway’s public health protocols have taken on an outsize role in the performing arts, as many other institutions have taken their cues from the big theaters. Broadway theaters imposed a vaccine mandate before New York City did the same for restaurants, gyms and other indoor performances, and then maintained their rules long after the city stopped requiring them.Regular reminders to wear masks had been part of the theatergoing experience this season.Jutharat Pinyodoonyachet for The New York TimesMask wearing became part of the theatergoing experience this season: sign-wielding employees walked the aisles reminding patrons of the requirement, and reminders to wear masks were added to the usual preshow announcements about turning off mobile phones and banning photography. When theaters first reopened, some did not sell food and drink to avoid interfering with mask-wearing; the consumption of refreshments now provides a noticeable loophole for those who don’t like wearing masks.Some other performing arts venues, including many Off Broadway theaters, continue to ask for proof of vaccination and to mandate masks, and public transit in New York continues to require masks indoors, although compliance is dropping. But many other corners of society, including domestic air travel, have dropped mask mandates and conditions in the city seem to be improving: Mayor Eric Adams said Tuesday that the city’s Covid-19 alert level had moved from high to medium.There are currently 27 shows running in Broadway’s 41 theaters.The four nonprofit organizations that operate six of the Broadway houses hung onto vaccine mandates longer than the commercial landlords who operate the majority of the theaters. But none of the nonprofits currently has a show running on Broadway, and none plans to resume producing on Broadway until after Labor Day.Roundabout Theater Company, which is scheduled to begin performances of a Broadway revival of “1776” in September, plans to evaluate its protocols monthly, according to a spokeswoman, Jessica Johnson, who said it is too soon to determine the rules for this fall. The nonprofit is continuing to maintain a mask mandate for its current Off Broadway shows.The other nonprofits operating on Broadway, which plan to start shows in the fall, said it was too soon to know what their safety protocols would be then.Public reaction to the mask-optional policy was, predictably, polarized, with some cheering what they saw as an overdue step, and others ruing a retreat they viewed as reckless.Jeffrey Eric Jenkins, a frequent Broadway theatergoer as a Tony voter and professor of theater studies at the University of Illinois Urbana-Champaign, said he would continue to wear a mask while seeing shows. “It’s important, when you have people packed that tightly together, to control the flow of airborne germs at a time when we don’t know what the long-term effect of Covid is going to be,” he said. More