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      Ben Platt to Lead ‘Parade’ Revival on Broadway This Season

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      The musical’s exploration of antisemitism is timely, with rising concern about the issue in the United States and beyond.Ben Platt, the Tony-winning star of “Dear Evan Hansen,” will return to Broadway next month to lead the cast in a revival of “Parade,” a musical about an early-20th-century lynching of a Jewish businessman in Georgia.The revival, directed by Michael Arden (a two-time Tony nominee, for revivals of “Once on This Island” and “Spring Awakening”), had a seven-performance run at New York City Center last fall. Platt plays Leo Frank, a factory boss convicted of killing a young girl in a case tainted by antisemitism; Micaela Diamond, who previously played the youngest version of the title character in “The Cher Show” on Broadway, will co-star as Frank’s wife, Lucille.The show, with songs by Jason Robert Brown and a book by Alfred Uhry and co-conceived by Hal Prince, had a brief run on Broadway that opened in 1998; it was commercially unsuccessful, but won Tony Awards for both book and score. The history it depicts is real: Frank was convicted in 1913, lynched in 1915 (at age 31), and in 1986 he was posthumously pardoned.The musical’s exploration of antisemitism has made it more timely now, when there is rising concern about the issue in the United States and beyond. The City Center production garnered uniformly strong reviews: in The New York Times, Juan A. Ramírez called it “the best-sung musical in many a New York season.”The “Parade” revival will begin previews Feb. 21 and open March 16 at the Bernard B. Jacobs Theater, where the musical “Almost Famous” closed on Sunday. The “Parade” production is planning a short run, to Aug. 6.The revival is being produced by Seaview, a company created by Greg Nobile and Jana Shea that previously produced “Slave Play” and “POTUS,” and Ambassador Theater Group, a large British theater company that operates two Broadway houses (the Hudson and the Lyric) and also produces shows. More

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      ‘Parade’ Review: The Trial and Tragedy of Leo Frank

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      City Center’s gala production delves further into America’s history of violence and delivers the best-sung musical in many a New York season.Just six months after its universally beloved Encores! revival of “Into the Woods,” New York City Center returns with another timely, excellent production about collective responsibility and loss. Smartly directed by Michael Arden, City Center’s gala presentation of “Parade,” which opened on Tuesday night and runs through Sunday, delves further into America’s history of violence and delivers the best-sung musical in many a New York season.The book writer Alfred Uhry’s dramatization of the 1913 trial of Leo Frank, and his subsequent imprisonment and 1915 lynching, gave the composer Jason Robert Brown a canvas to paint a complex, nourishing score that captures the entire weight of that fraught history. (Both men won Tonys for their work on the show, which premiered on Broadway in 1998.) Here, a first-rate orchestra, conducted by Brown, and under the music direction of Tom Murray, brings its pomp and pageantry to terrifying life.At the heart of the show is the rich-voiced Ben Platt, successfully transferring his lauded anxious energy from “Dear Evan Hansen” to the role of Leo Frank, a Brooklyn-born Jewish pencil factory manager uneasy in his Atlanta surroundings. His sense of regional superiority is matched by the naïve comfort of his wife, Lucille (a luminous Micaela Diamond), as she plans for a picnic on the day of the town’s annual Confederate Memorial Day parade. Diamond’s expressive face, with large eyes as expressive as those of a silent screen siren, carries the burden of resilience as Leo is wrongly jailed for the murder of a 13-year-old girl who worked at the factory.In an antisemitic kangaroo court under Judge Roan’s (John Dossett) uncaring eye, the prosecutor Hugh Dorsey (a remarkable Paul Alexander Nolan) presents a flimsy case. Adding fuel to the flames are a fundamentalist newspaper publisher (Manoel Felciano) and a sensationalist reporter (the superb Jay Armstrong Johnson, shining as he sings the score’s most fast-paced number, “Real Big News,” made doubly hectic by Cree Grant’s spin-heavy choreography here, which is otherwise lovely).A fully staged “Parade” hasn’t been seen in New York in nearly 25 years, and this revival recalls an era of big casts, big stories and big talent, our critic writes.Sara Krulwich/The New York TimesDespite Governor Slaton’s (Sean Allan Krill) belated efforts, Leo’s fate is sealed by false testimonies coaxed out of the murdered girl’s co-workers (Ashlyn Maddox, Sophia Manicone, Sofie Poliakoff) and the factory’s janitor Jim Conley (a phenomenally voiced Alex Joseph Grayson). The cast, which also includes Gaten Matarazzo as a teenager out for vengeance, is uniformly splendid — as adept in the work’s solo outings as in the electric group numbers.But the problems with the book, which lacks some dramatic immediacy, remain. Ben Brantley mentioned the “overriding feeling of disdain, a chilly indignation” in his original review; and, as Vincent Canby wrote shortly afterward, the musical “plays as if it were still a collection of notes.” There is no confusing good and evil here; never any question as to what anyone is thinking or about to do, their personalities and fates as predetermined as those of characters in a children’s Bible. The show, in that respect, is aptly titled.Arden wisely counteracts this by filling the production with deft flourishes that compound American hatred across centuries: A salute by Confederate soldiers’ is slowed down so that their outstretched arms resemble a Sieg Heil salute; Roan and Dorsey’s fishing rods in one scene whip down like switches; revelers crack open Bud Lights in their final celebration.Dane Laffrey’s resourceful set — a raised wooden platform flanked, courtroom-style, by simple chairs — effectively evokes a minstrel stage, soapbox and gallows at once. And the stage under the platform is adorned with stars-and-stripes buntings that hang over mounds of crimson earth — as much the hallowed “old red hills” of Georgia as bloodstained dirt thrown onto a coffin — and a small screen emphasizing the show’s procedural nature by displaying each scene’s time, date, and location, which matches historical photographs projected onto the back wall.Then again, considering Uhry and Brown’s text and lyrics, subtlety need not be the name of the game these days. This country’s ongoing procession of racism, antisemitism and “law-and-order”-screeching politicians comes awfully close to the hate-filled climate of the work’s setting, shedding any pretense of respectability. Arden here fights fire with fire, and his direction is sincere and unambiguous. But no one is let off the hook. I imagine the audience members laughing at the condescending jokes about Southern idiocy in the first act had to at least sit with the second act’s taunting of selective liberal compassion, sung with liveliness by Courtnee Carter and Douglas Lyons.A fully staged “Parade” hasn’t been seen in New York in nearly 25 years, and this revival recalls an era of big casts, big stories and big talent — a time when musicals actually felt like events. Platt and Diamond are fearless performers, and their duet “This Is Not Over Yet” is a powerhouse for the ages. Their commanding vocals are matched by a confident production that revives the best of the original while pointing at the possibility of growth, and hope.ParadeThrough Nov. 6 at New York City Center, Manhattan; nycitycenter.org. Running time: 2 hours 30 minutes. More

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      Netflix’s “13” Brings Back Memories For Its Stage Cast

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      For the creators and cast of the 2008 musical “13,” a new Netflix adaptation brings back memories — theatrical and hormonal.It’s one thing to wrangle a few Von Trapp kids. Some Matildas. A Gavroche or two.But a baker’s dozen of newly minted teenagers, raging hormones and all, packed into a handful of dressing rooms backstage in a Broadway theater? And aside from the crew, the musical director — and, yes, three child wranglers — no adults in sight?This was the great experiment of “13,” the 2008 coming-of-age musical both about and performed by a group of kids going through one of the more chaotically vulnerable stages of life. The show, about a 13-year-old named Evan juggling his parents’ divorce, his upcoming bar mitzvah and a seemingly life-shattering move from New York to the middle of Indiana, was not just a test in managing this particular company — an all-teen cast and band — but in finding exactly what the audience appetite was for a work that sat squarely in the limbo between Disney and “Spring Awakening.”Adult reviewers were lukewarm — though, to be fair, the 14-year-old companion of the New York Times critic Ben Brantley found it to be “pretty good” — and “13” closed three months after opening night, one of numerous Broadway casualties during the recession.But in the years since, the show, with music by Jason Robert Brown and a book by Dan Elish and Robert Horn, has found renewed life in schools — and now on Netflix, where a new generation of tweens have picked up the mantle with a film adaptation that began streaming on Friday.Most of the original cast members are now in their late 20s. They’ve graduated from having adolescent showmances to planning their weddings. Some are still acting or directing or choreographing, on TV and Broadway and elsewhere; others have left the business entirely.And one actress — Ariana Grande, making her Broadway debut as the gossip-prone, flip-phone-wielding Charlotte — has become a bona fide pop supernova.Ahead of the film’s release, members of that cast, band, creative team and production crew looked back on their memories of the show — in conversation with a reporter who, years earlier, at age 11, happened to be sitting in the audience of the Bernard B. Jacobs Theater to see “13,” her first Broadway musical. Here are edited excerpts from our discussions.A book editor at Scholastic reached out to Jason Robert Brown to see if he would be interested in brainstorming a new project: an original musical that would also tie into a new book series. The collaboration eventually fell through, but not before Brown thought up a pitch: a story about young teenagers that would become the framework for “13.”JASON ROBERT BROWN (music and lyrics) Dan Elish had seen me do an interview where I said I really wanted to do a show with a bunch of dancing teenagers. We were doing “Parade” in the same season as “Footloose,” and people didn’t respond to “Parade” very well when it came out — it’s very heavy. I got the sense that we were spending the whole season competing against dancing teenagers.DAN ELISH (book) He was kidding, you know? But I had just had this young adult novel come out, about two eighth grade boys in New York. Maybe I was the guy to write the Great Dancing Teenager Musical.BROWN Dan sent me a copy of his novel. And I liked it, but I didn’t think it was a musical. But I said, “If you’re into working on something with me, I do have this idea that I came up with once about a show with nothing but 13-year-olds in it.” And Dan said, “Sure, that sounds fun.”The musical premiered in 2007 at Center Theater Group in Los Angeles. As the show’s producers set their sights on Broadway, the writer Robert Horn and the director Jeremy Sams joined the creative team and started searching for their New York cast.JEREMY SAMS (director) We saw hundreds of kids in New York and L.A. from all over the place. It was absolutely obvious, the more kids we saw, who we should have in our show. When Ariana Grande turns up, and Liz Gillies and Allie Trimm and Graham [Phillips], it’s quite clear. I’ll never forget when Ariana sang to me and Jason. BROWN At the end of the opening number, there are four scat solos. And I remember a day [in rehearsal] with everyone going around the piano and just improvising, and some of them clearly were like, I have no idea how to improvise a solo. And some of them were Ariana Grande.Ariana Grande, left, with Williams, Phillips and Chris Raymond during the opening night curtain call. Walter McBride/Corbis, via Getty ImagesARIANA GRANDE (Charlotte) Working with Jason is the ultimate master class — not only in musicianship, but his storytelling and creativity, his problem solving. I remember him leaving the room whenever they felt something was missing and coming back 30 minutes later with a brand-new brilliant song.AARON SIMON GROSS (Archie) I was simultaneously working and star-struck at virtually all times.ELIZABETH GILLIES (Lucy) Ariana and I joke about it a lot, because she was so social and making friends with everyone. And I was so hard core back then when I first started auditioning that I just kind of tucked away into a corner. I was so determined to book this role that I didn’t want to talk to anyone until we started the reading process.BRYNN WILLIAMS (Cassie) All of our pressure was self-inflicted. We wanted to do well because we wanted to prove that we were capable. But there wasn’t any outside pressure at all; they did a fantastic job of treating us like professionals while also being aware that we were teenagers.BROWN A lot of them had done more Broadway shows than I had. And my feeling was, look, I’ve written some hard music, but I know it’s possible. I wasn’t going to simplify it for them unless they couldn’t do it. But let’s find out first. And they all rose to it.ROBERT HORN (book) It was so interesting to see that divide between the incredible work ethic that they had at such a young age, and the talent and commitment they bring to it — and the next moment they’re running off and getting into trouble. And you realize that they’re kids.Case in point: an out-of-town tryout in the summer of 2008 at Goodspeed Musicals in Chester, Conn.BROWN In the middle of July or August or whatever it was, we just let loose 20 kids on this little town in Connecticut, all living in the same house. They were 13 years old; they were a bunch of punks.GILLIES The closest thing we had to entertainment was the pizzeria, a graveyard and the woods.EAMON FOLEY (Richie) It was summer camp with the most talented kids in the world. Like wildly creative children who, one half of the day, had this really sick show being built on their talents, and then the other half of the day were running through the woods and smoking weed out of Gatorade bottles.HORN Someone got caught with a joint. I’m not going to mention names.Through the Goodspeed run, and even as performances began on Broadway in September 2008, the show was constantly changing.HORN We were writing it with those kids. They were giving us the authenticity. I can bring my humor and storytelling, but I was never a 14-year-old girl.DELANEY MORO (Kendra) They were so good at giving us agency to share our ideas, and they would pick up on things that we said or did and try to write it in.GRAHAM PHILLIPS (Evan) New jokes were being put in and taken out. Depending on how the audience reacted, I’d put up one of five fingers [onstage, directed at Horn in the audience]. If it was really bad, I’d put up a crooked index finger. That was like the equivalent of a trombone womp, womp.From left: the composer Jason Robert Brown, the book co-writer Robert Horn and Phillips, the musical’s leading (young) man.via Robert HornBROWN I put in a big finale of the first act at Goodspeed — my idea was a James Brown soul revue kind of thing. That lasted one performance. But on Broadway, we had a whole Dance Dance Revolution number that replaced it.HORN At one point, the girls came out in these background-singer sparkly dresses, and then all these Dance Dance Revolution machines came out — and poor Graham Phillips, who was phenomenal, was not a dancer.ALLIE TRIMM (Patrice) We spent hours teching it so that we had the Dance Dance Revolution arrows lighting up to match with our choreography.The actors weren’t the only teenagers onstage.BROWN We also had a band that was entirely kids. So that was a whole other level of crazy — of course, that’s the kind of crazy that I most enjoyed, the kid musicians.TOM KITT (musical director) They were just a joy. They were game for anything. The band was onstage and I, of course — the one adult — was hidden by scenery.CHARLIE ROSEN (swing bass, guitar and percussion) We were kids — we had shortcomings, you know? We weren’t the greatest sight readers. But Jason didn’t dumb down any of his writing. We really had to step up and become professional musicians way earlier than even kids in college might really understand — things that they don’t teach in music school, like showing up on time and rehearsal etiquette and how to follow your music director.GRANDE I think it is safe to say that all of us quickly developed the discipline and stamina that we’d have for the rest of our careers doing eight shows a week as young teenagers, even just vocally alone.For the cast, backstage was often more dramatic than the show itself.PHILLIPS I was sharing a dressing room with Eric Nelsen [playing Brett], who was dating Liz at the time, who was sharing a dressing room with Ariana, who I was dating at the time.BROWN Robert really got into the gossip.HORN Somebody would be going out with somebody, and then a few days later, they’d be going out with somebody else.PHILLIPS I remember a lot of sneaking around. I became more acquainted with the nooks and crannies of the Jacobs Theater than probably anybody else. One of the wranglers was really good at finding me.TRIMM Everyone was figuring out their sexuality and finding themselves. And I think everybody was kind of going through such a massive awakening of who we are as people, which is kind of a funny, beautiful parallel to the show.Eli Golden, center, is Evan in the Netflix movie, which includes adult actors and some new songs.Alan Markfield/NetflixBut in some ways, when “13” closed in January 2009, it still wasn’t finished. Brown and Horn spent six months tearing the show apart and revising the version that would be licensed in schools for community theater productions.BROWN I always loved “Brand New You,” at the end of the show. And I remember watching it one night, maybe somewhere toward the end of the run, and thinking this is what the whole show was supposed to have been, as far as this audience is concerned. A lot of exactly what I started saying: It should have been teenagers dancing. It should have been this sort of kinetic rock-concert sort of thing. And instead, over the course of developing it, it had become very personal and very intimate.GILLIES The audiences [at Goodspeed] were so receptive, and our theater was very quaint. By the time we got to Broadway, it was a whole other animal. It’s a very large stage for a very intimate, small show.BROWN We had invited a whole bunch of kids to the dress rehearsal, and it was a very young and a very rowdy audience. I just remember the shrieks that the show got that night. I called my wife and I said, “I think we have a hit.” And I was so wrong. But I wish I could have just frozen the show that night, because that feeling was exactly what I wanted. More

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      Review: Billy Crystal Carries the Tune in ‘Mr. Saturday Night’

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      In a mishmash new musical based on his 1992 movie, he charms the audience as a has-been comic reconnecting with family.On the heels of “City Slickers,” just a few years after “When Harry Met Sally,” Billy Crystal was at the apex of his film stardom when he made the 1992 movie “Mr. Saturday Night.” If you watch it now, you can see why it flopped, not least because Crystal was playing against type as Buddy Young Jr., a ruthlessly selfish has-been comic with a vicious streak.At the time, Crystal was in his 40s; for much of the film, Buddy is in his 70s. And Crystal embodied him with a middle-aged comedian’s idea of that later phase of life: under old-guy makeup so egregious that viewers couldn’t possibly suspend disbelief, and with the physical mannerisms of an ancient — like Miracle Max, Crystal’s indelible elder from “The Princess Bride,” but without the charm.Three decades later, Crystal too is in his 70s, and in the new musical comedy “Mr. Saturday Night,” which opened on Wednesday night, he slips much more naturally into Buddy’s skin. As a piece of theater, the show is a bit of a mess; the jokes, even some of the hoary ones, work better than the storytelling, and the acting styles are all over the place. Still, it makes for a diverting evening — because it will almost surely make you laugh, and because of how acutely tuned into the audience Crystal is.Ad-libbing his way through the script, fine-tuning the funniness, he feeds off the energy of the crowd at the Nederlander Theater. Like Buddy, who mopes around his New York apartment in a tragic cardigan, lamenting the gigs he’s been reduced to taking — the morning slot at a retirement center is, after all, no comedian’s dream — Crystal is utterly in his element performing live. If you are a fan of his, or simply someone who has missed that kind of symbiosis between actor and audience, it’s a pleasure to watch.The musical, though, is an ungainly beast, by turns zany and sentimental. Directed by John Rando, with a mood-setting score by Jason Robert Brown (music) and Amanda Green (lyrics) that goes vocally easy on its star, it has a book by the film’s screenwriters, Crystal, Lowell Ganz and Babaloo Mandel. Less cynical and more hopeful than the movie, it gives us a Buddy who is still cruel but not so callous, and thus a better candidate for our sympathy.That’s despite the myriad ways in which he has failed his brother, Stan (the immensely likable David Paymer, an Academy Award nominee for the same role in the film), who has sacrificed his own ambitions to be Buddy’s manager; his wife, Elaine (Randy Graff, stymied by an almost total lack of chemistry with Crystal), who has put Buddy first for half a century; and their daughter, Susan (Shoshana Bean, in a beautifully calibrated performance), who at 40 has been justifiably angry with her father since she was 5.David Paymer, left, as Buddy’s brother and Randy Graff, right, as his wife.Sara Krulwich/The New York Times“Mr. Saturday Night” traces Buddy’s second chance at life and fame, set creakily in motion one night in 1994, when he catches the in memoriam montage on the Emmy Awards broadcast and sees his own face and name appear right after John Candy’s. Buddy gets booked on the “Today” show to crack wise about the error.As his career wobbles toward possible resuscitation, he gradually notices that he’s been a schmuck to the people who love him. “Hurt them” is the command he has always used to psych himself up before he goes onstage, but however many audiences he’s killed, he’s done lasting harm at home.In the film, the brothers’ relationship is paramount. In the musical, the father-daughter fracture comes to the fore, while Elaine — whose only solo, a fantasy about going to Tahiti, is the show’s most cuttable song — is again strikingly under-imagined. (The six-piece orchestra, which sounds terrific, is conducted by David O.)“Mr. Saturday Night” means to be a valentine to both the bonds of family and the comedians of a bygone age — pros like Buddy, who got his big break in the 1940s at a Catskills resort and hosted a hit TV show on Saturday nights in the ’50s, before he blew a hole in his career with his loose-cannon arrogance.The costume designers, Paul Tazewell and Sky Switser, have their silliest fun dressing Buddy’s wacky sidekicks — Joey (Jordan Gelber), Bobby (Brian Gonzales) and Lorraine (Mylinda Hull) — for the musical’s ’50s flashbacks. A singing, dancing pack of cigarettes, anyone? (The choreography is by Ellenore Scott.)As for Crystal’s singing, he doesn’t have the range to play Fanny Brice, but he doesn’t need to. He does OK. Paymer, in Stan’s one emotional outburst set to music, kind of, sort of, almost approaches singing but doesn’t have those chops. Which works on a meta level, because Buddy is the brother who’s at ease onstage.What’s surprising is how unpersuasive the show is when the principals play decades-younger versions of their characters — a transformation that in theater, so much less literal a medium than film, can require no more than an altered demeanor. Bean is the only one to tap into that simplicity.Shoshana Bean as Susan, Buddy’s estranged daughter, in the musical, which is based on a 1992 film.Sara Krulwich/The New York TimesBut most of the show unfolds in 1994. By then, Buddy’s old sidekicks are fixtures at the Friars Club, and so is he. Though if Lorraine is a member, she must be a relatively recent one; in the real world, the Friars Club of New York admitted its first female member, Liza Minnelli, in 1988.This is where nostalgia gets tricky. That boys’ club territoriality is the backdrop to an encounter at the Friars that the authors have kept largely, and unwisely, unchanged from the movie: when Buddy, expecting a powerful male agent to join him for lunch, is met instead by a smart young female agent, Annie (a sunny Chasten Harmon, who has a fizzy chemistry with Crystal).Annie, who will prove to be a godsend for Buddy, handles comics for a major agency. Yet she has never heard of any of the comedy greats whose names he fires off at her in a bullying pop quiz, or even, apparently, of the Friars Club — implausible for an industry professional, and almost impossible so soon after the Friars’ infamous 1993 roast of Whoopi Goldberg. Annie is written as ignorant just so that Buddy can school her, which carries a strong whiff of dinosaur on the authors’ part.Of course, Buddy himself is a caveman. When his old pals called him and Elaine “Fred and Wilma” — as they did, affectionately, at the performance I saw, Crystal not being the only one enlivening the script with variations — it was funny because it’s true.But Buddy does want to evolve, at least a little. If his epiphany about his need to change seems to arrive out of nowhere, buoyed by piano and brass in a lovely, impassioned solo, we root for his redemption anyway.This is a musical that wants its guy to get a happy ending. Despite all of the show’s faults, and all of Buddy’s, it turns out that so do we.Mr. Saturday NightAt the Nederlander Theater, Manhattan; mrsaturdaynightonbroadway.com. Running time: 2 hours 35 minutes. More

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      Let Him Entertain You: Billy Crystal Returns to Broadway

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      The comedian is starring in “Mr. Saturday Night,” a musical version of his 1992 movie about an aging performer who won’t accept that his time in the spotlight is up.“The worst nightmare is, do you wake up one day and you’re not funny anymore?” Billy Crystal, 74, said of the anxiety that comes with being an aging comedian. “Do you wake up and you’re not relevant?”Philip Montgomery for The New York TimesA funny thing happened in the rehearsal room of “Mr. Saturday Night” a few weeks ago. Billy Crystal was performing a scene from this new Broadway musical in which his lead character, an aging, out-of-touch comedian named Buddy Young Jr., has learned that he was mistakenly included in an in memoriam segment on the Emmy Awards.Invited to appear on the “Today” Show to correct the error, Buddy sees an opportunity to reclaim the spotlight he once commanded. With that motivation, Crystal turned to his co-star David Paymer, who plays Buddy’s endlessly loyal brother, Stan, and he began to sing a song about his deep yearning for a crowd’s attention:What I was, way back thenI could have that back againI could be — still could beThat guyIt’s an essentially comedic song, delivered in the warm, warbling voice we heard Crystal employ each year when he was a ubiquitous comedy star and a reliably genial Academy Awards host.“Mr. Saturday Night,” which opens April 27 at the Nederlander Theater, is a throwback to the era of Crystal’s hegemony in the 1980s and early ’90s, when he straddled the cultural landscape with his standup specials and hit films like “City Slickers” and “When Harry Met Sally…”Crystal as the out-of-touch comedian Buddy Young Jr. (who is mistakenly included in an awards show’s in memoriam segment) and Randy Graff as Buddy’s wife, Elaine, in the new musical.Sara Krulwich/The New York TimesThe film version of “Mr. Saturday Night,” which Crystal starred in and directed in 1992, felt like a strange misstep at the time. Far from the eager rib-ticklers he was known for, Crystal — then 44, under layers of old-age makeup — played Buddy as a selfish curmudgeon who has alienated his family and refuses to accept that his career is over.Now 74, Crystal is not that guy — if he doesn’t enjoy the outsize dominance he once had, he doesn’t share Buddy’s desperation to reclaim it, either.Still, as Crystal told me a few days before the rehearsal, there is a certain pleasure he finds in revisiting this singularly disagreeable character: “To play him 30 years later, they actually have to make me younger,” he joked.But seriously, folks: Crystal explained that when he performs as Buddy in the stage musical, he isn’t weighed down by elaborate prosthetics or an aura of likability, and it brings a newfound ease to his performance.“When he’s cantankerous and edgy with people, it’s in front of a live audience,” he said excitedly. “I feel them get upset with him and I hear them go, ‘Ooh.’”Having lived long enough to match the character in age and to experience the kinds of setbacks and regrets that shaped him, Crystal understands that Buddy is not a bad guy. “He’s misunderstood and confused, bitter and regretful, and time is running out,” he said.This is the point where Billy Crystal and Buddy Young Jr. really intersect: at the realization that there is more life behind them than in front of them, and the anxiety that they might never again be as good as they once were.For himself, and for any comedian who cares about the art, Crystal said, “The worst nightmare is, do you wake up one day and you’re not funny anymore? Do you wake up and you’re not relevant? When does that happen?”He added: “There’s a magic about when it’s good, and when it’s bad, it’s really something incredible. There’s a terrible feeling of, I’m losing them.”“It’s not an Ahab thing — it’s not his white whale,” the screenwriter Lowell Ganz said of why Crystal is revisiting “Mr. Saturday Night.” “He has a real affection for the character because he loved those guys.”Philip Montgomery for The New York TimesNot that Crystal lets this fear keep him up at night — “I’m a bad sleeper, anyway,” he said. “I don’t need to worry about more than I’m worrying about” — but the best solution he has found is to focus on projects that put him to the test, like “Mr. Saturday Night.”“You’ve got to keep pushing ahead and not let anybody leave you behind,” he said.In early March, I met with Crystal at his spacious penthouse apartment in downtown Manhattan. Dressed in a long-sleeved T-shirt, jeans and sneakers, he was a subdued but still quippy host as he showed off some of his artifacts: a desk nameplate for Dr. Benjamin Sobel, his “Analyze This” character; an enlarged photograph of celebrity guests at the 1937 Oscars. (“Even then, the show ran too long,” he said.)Crystal’s love of nostalgia and showbiz history helped inspire the character of Buddy Young Jr., a Don Rickles-like insult comic he played in segments on HBO specials and “Saturday Night Live” before giving him a full life in “Mr. Saturday Night.”That film, which he wrote with the “City Slickers” screenwriters, Lowell Ganz and Babaloo Mandel, was Crystal’s feature-directing debut. Back then, becoming the wizened entertainer required five hours a day to put his old-age makeup on and another two hours to take it off: “They’d cut a hole in my bald cap and you’d hear, whooooosh,” Crystal recalled. “It was like Jiffy Pop.”Paymer, who also played Stan in the film, received an Oscar nomination. But the movie was a commercial dud, grossing just $13 million domestically. (“City Slickers,” by comparison, made $124 million.) “It was the biggest disappointment that it didn’t do well,” Crystal said.His film collaborators said that Crystal was especially stung by the failure because he had intended “Mr. Saturday Night” as a tribute to the tenacious golden-age comedians he grew up admiring.“It’s not an Ahab thing — it’s not his white whale, and I don’t think he deals in that kind of neurosis,” Ganz said. “But he has a real affection for the character because he loved those guys.”In the years after “Mr. Saturday Night” was released, Crystal entered a foreseeable cycle of hits and misses. (“Analyze This,” yes; “City Slickers II: The Legend of Curly’s Gold,” no thank you.)This is Crystal’s first Broadway musical (he took voice lessons during the pandemic lockdown). His previous Broadway outing, the autobiographical one-man show, “700 Sundays,” won a Tony Award in 2005.Philip Montgomery for The New York TimesHe had seemingly hosted his last Oscars in 2004, until he got called in to pinch-hit in 2012 — an act meant to bring some dignity back to the show after its co-producer Brett Ratner resigned after making offensive public remarks and his chosen M.C., Eddie Murphy, exited after him.Rather than coast to his own emeritus status, Crystal has lately appeared in projects that have paired him with younger stars: the short-lived FX series “The Comedians” with Josh Gad; modest existential comedy-dramas like “Standing Up, Falling Down” with Ben Schwartz; and “Here Today” with Tiffany Haddish.He remained on the lookout for new projects to engage him. In 2017, he toured with the actress Bonnie Hunt, at appearances where she interviewed him about his life and career. Though he was planning to shape this material into a new show, Crystal said he backed off the idea: “One word came to my mind that pulled me away from it — easy. It’s not a challenge.”He had already starred in his autobiographical one-man show, “700 Sundays,” whose original Broadway run won a Tony Award in 2005. At that time, he said Mel Brooks had approached him about being a replacement cast member in his musical “The Producers.” (As Crystal recounted the story, “I said, ‘Do I really want to be the eighth guy to play Max Bialystock?’ He said, ‘You won’t be — you’ll be the 12th.’”)Crystal in the 1992 movie.Entertainment Pictures/AlamyBrooks also raised the suggestion of a “Mr. Saturday Night” musical, which Crystal said he’d do only if Brooks starred in it. (A representative for Brooks’s production company confirmed their conversation.) This casting didn’t come to pass either, but Crystal continued to reflect on the idea for another decade.Around 2015, Crystal said he got serious about the musical. At that point, when he contemplated playing Buddy Young Jr., he said, “It’s easier.”By then, he’d also become more familiar with the whiplash oscillations of show business that were mostly speculative when he made the movie. “I’ve had ups and downs and sideways and middles, and the middles may be harder than the downs,” he said. “The middle, that’s the weird one, because you’re looking up and looking down at the same time.”Crystal, Ganz and Mandel wrote a new book for the musical, one that charts Buddy’s trajectory from Catskills dining-room cutup to TV star to washout, and the show features songs with music by Jason Robert Brown (“Parade,” “The Bridges of Madison County”) and lyrics by Amanda Green (“Hands on a Hard Body”).Its director, John Rando (“Urinetown,” “The Wedding Singer”), said that where the film used younger performers to flash back to Buddy’s earlier days, the actors in the musical will play their characters at every age. In his initial conversations with Crystal, Rando recalled, “I said I want to see Billy Crystal play his 20-year-old self and his 40-year-old self and his 70-year-old self. This is the theater and we should capitalize on that.”In workshopping the musical, Rando said that the overall size of the cast shrank from about 20 people to a more intimate group of eight. “That made us discover the real heart and pulse of the show, which is Buddy’s family, and how each of them relate to him,” he said. (The principal Broadway cast also stars Randy Graff as Buddy’s wife, Elaine, and Shoshana Bean as his estranged daughter, Susan.)But just as “Mr. Saturday Night” was nearly ready to go before audiences, the onset of the pandemic in March 2020 halted work on the show. Crystal hunkered down with his family in Los Angeles, finding that his quarantine at least provided the time to focus on other writing projects. “It gave me a discipline.”For Crystal, who hasn’t performed in a full-length musical since 1981 (when he played the master of ceremonies in a Kenley Players production of “Cabaret” in Ohio), this was also a period he spent working with a vocal coach and practicing his songs.When “Mr. Saturday Night” was at last able to have an out-of-town tryout at Barrington Stage Company in Pittsfield, Mass., this past October, anxieties were running high. After hearing the audience clap and cheer for the show’s first performance, Crystal said he found Rando backstage and collapsed into his arms, crying with relief.“I felt like Dr. Frankenstein — it’s alive!” Crystal excitedly recounted. “We had a show.”Crystal on the set of the musical, which is in previews at the Nederlander Theater. Opening night is scheduled for April 27.Philip Montgomery for The New York TimesCrystal remained a persistent presence through the Broadway rehearsals at Pearl Studios in Midtown Manhattan, sometimes wandering its narrow room to joke around with his cast and stoke morale, but always watching fastidiously for opportunities to make refinements.“He’s more serious than I thought he would be,” said Bean, who has previously starred in musicals like “Hairspray” and “Waitress.”“If it’s a scene that he’s not involved in, he does listen in,” she said. “He stands there with his little arms folded and he squints his eyes and he’s paying attention.”Bean added, “I live for the moments when I can get him to crack a smile or laugh. It’s like the sun comes shining through on you for two seconds. And I don’t know if he’s just being polite or if he really thinks that I have charm, but it’s the greatest.”Paymer, who has now performed “Mr. Saturday Night” onscreen and stage, said that Crystal is constantly striving to find ways to reinvent the musical and keep it distinct from the film.“I said to him last week, ‘Well, in the movie, we did this,’” he recalled. “And he said, ‘Well, that was the movie.’ That, to me, was freeing. I found myself giving the same line readings at times. And then I stopped myself from doing that — don’t go back to the movie and say things exactly the way you did then.”However long “Mr. Saturday Night” runs, Crystal said that the physical and psychic demands of the show are exactly what he is looking for at this point in his life — a self-explanatory rebuttal to any potential argument that he’s running out of steam or should be looking to pack it in.“If you just do the math, you could say, all right, there’s less time to do stuff,” he said. “But why look at it that way?” Though there’s no established path for a comedian to follow at this point in his career, Crystal added, “the exciting thing about it to me is that there is no road map.”And making this incarnation of “Mr. Saturday Night” has taught Crystal that there is still so much more he wants to make, if he can just pace himself.As he explained, in a voice that was familiar for both its shticky-ness and its sincerity, “I have too much to do and I’m in no rush. When you rush, you make mistakes. That’s the old excuse: ‘How’d you fall?’ ‘I was rushing when I shouldn’t have rushed. I didn’t read the thing. I tripped and I fell.’ So, I’m just going to take it as it comes.” More

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      Billy Crystal to Return to Broadway in ‘Mr. Saturday Night’

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      The musical, about a comedian’s rise and fall, plans to open at the Nederlander Theater in the spring.Billy Crystal plans to return to Broadway in the spring as the star of a new musical, “Mr. Saturday Night,” adapted from his 1992 film.The project has been in development for years — he said Mel Brooks first suggested in 2005 that he think about adapting the film for the stage — and last month Crystal led a nine-performance presentation of the show at Barrington Stage Company, in the Berkshires region of Western Massachusetts.“Mr. Saturday Night” is a comedy about the rise and fall of a stand-up comedian named Buddy Young Jr. Crystal not only starred in the film but he also directed, produced and co-authored it. He is writing the musical’s book with Lowell Ganz and Babaloo Mandel, who also collaborated with him on the film’s screenplay. The stage adaptation features music by Jason Robert Brown (a Tony winner for “The Bridges of Madison County” and “Parade”) and lyrics by Amanda Green (“Hands on a Hardbody”). The director is John Rando (a Tony winner for “Urinetown”), and the choreographer is Ellenore Scott (who is also choreographing next spring’s revival of “Funny Girl”).Joining Crystal in the eight-person cast will be David Paymer, playing Young’s brother, Stan. Paymer played the same role in the film, and was nominated for an Academy Award. Randy Graff (a Tony winner for “City of Angels”) will play Young’s wife, and Chasten Harmon (“The Good Fight”) will play his agent.In an interview, Crystal said he has found himself repeatedly drawn to the character for decades — he said he first performed as Young on an HBO special in 1984, and then brought him to “Saturday Night Live” and then did him on another HBO special before creating the film. “I love that guy,” he said. “And there was more to say with this character; there was more to do.”He noted that, 30 years ago, when he started shooting the film, he was 43 playing 73; now he is 73 playing 73, and “it just feels better.”Crystal said he performed in college musicals and sang as an Oscars host, but that he has been working with a vocal coach to prepare for the musical. “I’m going to be the best I can be,” he said. And will he dance? “I’m going to move,” he said.Crystal has done one previous Broadway show, “700 Sundays,” an autobiographical one-man play which he performed for eight months, from 2004 to 2005, and which he then brought back for two months from 2013 to 2014. The original production was given a 2005 Tony Award as best special theatrical event.He said he is ready to return.“I’ve always tried to challenge myself and keep growing, keep stretching,” he said.“Mr. Saturday Night” is scheduled to begin previews March 1 and to open March 31 at the Nederlander Theater. The producers are James L. Nederlander and Nederlander Presentations, Inc.; the show is being capitalized for $11 million, according to a filing with the Securities and Exchange Commission.The show will be staged seven performances a week (one fewer than the traditional Broadway eight) and Crystal said the run is open-ended.This is the eighth new musical scheduled as part of this Broadway this season, as the industry seeks to rebuild after the lengthy pandemic shutdown. The others are “Girl From the North Country,” which opened just before the shutdown but is being counted as part of the current season, as well as “Six,” “Mrs. Doubtfire,” “Diana,” “Flying Over Sunset,” “MJ” and “Paradise Square.”Crystal said “Mr. Saturday Night” had been delayed by the pandemic, but that he felt good about the new timing based on audience response in the Berkshires.“I’ve spent so much of my life in front of an audience,” he said. “The great feeling to hear laughs, live, in a theater, even through masks, was intoxicating to all of us, and it gave us so much joy and so much hope.” More

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      Review: ‘Songs for a New World,’ Stuck in Another Time

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      Jason Robert Brown’s show is beginning to show its age, but Carolee Carmello’s deft performance lifts an otherwise straightforward revival.MILLBURN, N.J. — Jason Robert Brown is a composer-lyricist who knows how to write the perfect audition song: an entire character arc in a tidy, self-contained package that allows a performer the opportunity deliver a complete story.It’s a skill that is evident in even Brown’s first staged show, “Songs for a New World,” from 1995 and given a new production that opened Sunday at the Paper Mill Playhouse here. Somewhere between theater and song cycle, it is a collection of piano-driven pathos generators with plenty of wistful character beats, loosely structured around watershed moments in which “the things that you’re sure of slip from your hand.”Directed by Mark S. Hoebee, however, this straightforward revival keeps the show’s wide-eyed yearnings intact without taking the past quarter-century of change into account — its new world now seeming older. Each number stands alone, and you don’t have to look too closely to notice that the heaviest of them are shouldered by the production’s sole Black cast member, Roman Banks. One is titled “On the Deck of a Spanish Sailing Ship, 1492”; others are about a dead soldier, a basketball player surrounded by disadvantages, a man imprisoned.To be fair, the casting here follows the same racial lines as the original production’s, which featured Billy Porter in Banks’s role. But consider the subjects of songs sung by his white male co-star, Andrew Kober: leaving a fiancée, being in love, reuniting with a partner. It makes for a dated artistic vision that plays into tired stereotypes of Black pain in a show that does not otherwise explore race.A great performance can transcend the material, though, and in this production, these moments belong to Carolee Carmello. She lends her vocal deftness to the cabaret standard “Stars and the Moon,” and goes full “Cabaret” with the Kurt Weill sendup “Surabaya-Santa,” in which a scorned Mrs. Claus straddles a chair and bids her bearded lover goodbye. Her powerful, textured voice beckons listeners even as it resonates up to the rafters. And her first solo, the comedic “Just One Step,” smartly mines humor from preposterously elongated vibrato.Mia Pinero and Banks are young and talented, but not assuredly able to drive home the powerful numbers they are given, though Pinero was at her finest in “Christmas Lullaby”; Banks, in “King of the World.” Kober, with his hands permanently in his pockets and a shrug fixed on his shoulders, seems to actively resist any real engagement with the audience. (It doesn’t help that he’s tasked with the least interesting songs.)Kelly James Tighe’s set design rightly places the pianist front and center, behind which the orchestra plays — wonderfully, conducted by Sinai Tabak — on a platform with steps at either side of the stage for unfussy, simple entrances and exits by the cast. The choreography, by Kenny Ingram, is agonizingly literal: predictable in the way musicals are often mocked with bouncy, handy moves. At one point, Carmello dances to “The Steam Train” with a locomotive “choo-choo.”You can almost forgive the indignity of that, though, whenever she begins to sing. If this “Songs for a New World” production feels wobbly in its search for brighter lands, she is the X that marks the spot.Songs for a New WorldThrough Nov. 7 at Paper Mill Playhouse in Milburn, N.J.; papermill.org. Running time: 1 hour 45 minutes. More

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      Review: Close Quarters and Distant Love in ‘The Last Five Years’

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      Casting Black actors and filming in a claustrophobic New York apartment revitalizes Jason Robert Brown’s popular two-character musical.Breakups, hookups, divorces, engagements: Even if you haven’t been afflicted yourself, you’ve surely heard stories of the dramatic changes Covid-19 has wrought on relationships, as though Cupid himself got feverish and went rogue.It’s unsurprising, given how the pandemic has redefined space, shrinking the square footage of our lives to a house or a studio apartment. Proximity became a test, and if you don’t believe me, the proof is in Out of the Box Theatrics and Holmdel Theater Company’s gorgeously performed and neatly contained virtual production of “The Last Five Years.”Plot-wise, you may already know the lowdown: Created by Jason Robert Brown, the 2001 musical is about the beginning and ending of a five-year relationship between two young New Yorkers. Each side of the story is enacted separately, and in opposite chronological order; Cathy (Nasia Thomas), a struggling actress, begins the tale in the future, after the fights and farewells, while Jamie (Nicholas Edwards), a talented novelist on the path to celebrity, starts in the past, in the exciting early days of courtship. Their paths only cross once, in the middle of the musical, during their wedding.Though the show is barely old enough to be of legal drinking age, it’s had many lives. Consider the myriad productions we’ve recounted in this newspaper: in 2002, at the Minetta Lane Theater; in 2012, at Crossroads Theater Company; in 2013, at Second Stage Theater; and in 2016, a benefit concert with Cynthia Erivo and Joshua Henry at Town Hall. I’ll even take a moment to recall the tragically limp 2015 film version, starring the otherwise button-cute Anna Kendrick and Jeremy Jordan.And yet for all of this, “The Last Five Years” was and remains just … fine. The diverging timelines are often confusing, the songs workable but nothing extraordinary and the character portraits rely too heavily on the clockwork conceit.Which is what makes this virtual production, directed by Jason Michael Webb (the musical director of several Broadway shows), that much more delightful. For one, a Black Cathy and Jamie feel like a novelty, given how many productions cast white leads by default. And Webb’s arrangements, which anchor Brown’s score with more soul and strut, allow Thomas and Edwards to revitalize the songs.Thomas and Edwards in the filmed production, which, under Jason Michael Webb’s direction, stresses the claustrophobia of a troubled relationship.Gerald Malaval“Still Hurting” is a showcase for Thomas’s regal timbre, her vibrato recalling the crystal-clear tone of a knife clinked on a champagne glass.Edwards, who recently starred as the Son of God in the Berkshire Theater Group’s pandemic-era production of “Godspell,” wears the kind of toothy grin that could bring out the sun on a cloudy day, and his vocals are just as sunny, especially in his character’s effervescent early numbers.Later, Edwards, as an older, restless Jamie, slows down into the melancholic swells of “Nobody Needs to Know.” (Carin M. Ford’s sound editing and Nicole Maupin’s sound mixing expertly coax liveliness from the performers, by no means a given in a recorded musical.)The production’s most clever aspect, however, is what defines it as a Covid-19 theater experience: the penned-in feel of where and how it’s shot. Filmed inside a New York apartment, “The Last Five Years” recalls the claustrophobic bubble of a couple who remain stuck — because of love or codependency or, maybe, a pandemic — in each other’s orbits until something gives.Wall scrolls, tapestries, pictures, books and random Star Wars collectibles (like a familiar green baby alien) create the look of a fully lived-in space and also provide visual clues into the couple’s style and personality, details absent in the script (design is by Adam Honoré).Webb’s inspired direction keeps the characters, and the paths of their relationship, in a tight embrace. Cathy and Jamie move around each other, often inhabiting the same space, but their interactions often feel distanced. Because the couple meets only once in the timeline, there’s a sense of pantomime to their other scenes together, reactions and physical proximity but no dialogue. It’s fitting because we know, watching, that what we’re seeing is only one character’s memory of an event.At least Cathy and Jamie have beautiful accompanists to score their confrontations and declarations of love. Six musicians haunt the space like ghosts: Sitting on a couch, perched on a bed, they function as silent stand-ins for friends and roommates, before fading back into the background, or discreetly poke the fourth wall with a subtle smirk or nod at the singing characters.Meanwhile, Brian Bon’s videography waltzes with the contours of the apartment, angling high and low and peeking around corners to create the illusion of a labyrinthine setting for relationship purgatory.In purgatory, time doesn’t pass. The same may feel true during a pandemic. Two lovers stuck together but living in two different moments — one racing toward the future, one clinging to the past — that’s a story I’ve heard before.But in this robust production, it’s a story impressively freed, not trapped, by its physical and creative limitations.The Last Five YearsThrough April 25; ootbtheatrics.com More