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    Trump’s Kennedy Center Comes Into Focus With Theater and Dance Plans

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    Some big shows and troupes will perform, while others will stay away. And in a shift, the center will present some Broadway shows with nonunion casts.As the Kennedy Center reinvents itself for the Donald J. Trump era, it announced on Monday that its next season would feature some big names in theater and dance, but also some conspicuous absences. And, in a break with the past, the center said it would present several touring Broadway shows with nonunion casts.Artists have been divided about whether to perform at the center since President Trump became its chairman after purging its previously bipartisan board of members appointed by Democrats.The upcoming theater season will feature “The Outsiders,” which won last year’s Tony Award for best musical, but not “Hamilton,” which canceled a planned run there, citing dismay over Mr. Trump’s takeover. And its dance season will include performances by American Ballet Theater, New York City Ballet and the Stuttgart Ballet but not by the Alvin Ailey American Dance Theater, an annual fixture at the center in recent years, which said in a statement that it would pursue another opportunity next season.Mr. Trump, who continues to play a big role in trying to reshape the center, was expected to meet Monday evening with Kennedy Center board members and executives for dinner at the White House. He attended a board meeting at the center in March, recently requested $257 million from Congress to help with capital repairs and plans to attend a gala fund-raiser performance of “Les Misérables” in June.The upcoming theater season underscores some of the changes unfolding at the center. In addition to “The Outsiders” it will include tours of “Back to the Future,” “Moulin Rouge!” and “Spamalot,” all of which feature unionized casts, as has been standard at the center in recent years.But two of the tours coming to the Kennedy Center next season will feature nonunion casts, which tend to be paid less and cost less to present: “Chicago” and “Mrs. Doubtfire.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Remembering Chita Rivera’s Unique Voice

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      Chita Rivera died on Jan. 30, at age 91. Over her seven decades performing onstage and onscreen, Rivera established herself as one of the 20th century’s great dancers. “But to think of her only as a dancer,” says our chief theater critic, Jesse Green, “is to miss a really important part of what made her one of the most compelling stage performers of the last 70 years. And that is her voice.” Listen in as he presents some of Rivera’s great vocal performances.On today’s episodeJesse Green, chief theater critic for The Times.Photo illustration by The New York Times; Photo: Ted Streshinsky/Corbis, via Getty ImagesFurther reading Read Jesse’s appraisal of Chita Rivera’s gifts as a singerThe New York Times Audio app is home to journalism and storytelling, and provides news, depth and serendipity. If you haven’t already, download it here — available to Times news subscribers on iOS — and sign up for our weekly newsletter. More

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      Chita Rivera Tributes Pour in From Rita Moreno, the Cast of ‘Chicago’ and More

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      Onstage and off, she was celebrated as a pathbreaking triple-threat who left a huge legacy in musical theater and dance.Chita Rivera created several memorable Broadway characters that are now considered part of the canon, including the role of Velma Kelly in the original production of “Chicago.” So when the cast of the long-running Broadway revival took to the stage of the Ambassador Theater in New York on Tuesday night just a few hours after her death was announced, it was only natural that they would pay tribute to her.After the performance the cast assembled onstage as Amra-Faye Wright, who plays Kelly now, recalled Rivera as a “Broadway giant,” who championed other dancers.“I feel still an impostor in the role because it belonged to Chita Rivera,” Wright said, as cast members dabbed their eyes. “She created it. She starred in the original production of ‘Chicago’ and she lives on constantly in our hearts, on this stage, in every performance. We love you, Chita.”Rivera’s death on Tuesday at the age of 91 inspired an outpouring of testimonials from fans and colleagues, elected officials and stars of stage and screen, who recalled her as a pathbreaking triple-threat who left a huge legacy in musical theater and dance.The audience at “Chicago” listened as Rivera was recalled as a “Broadway giant.”Jeenah Moon for The New York TimesOn Instagram, Lin-Manuel Miranda, the composer, writer and actor, described Rivera as “The trailblazer for 🇵🇷 on Broadway,” using an emoji of the Puerto Rican flag, and called her “an absolute original.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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      Chita Rivera, Electrifying Broadway Star, Is Dead at 91

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      Appearing in scores of stage productions, she dazzled audiences for nearly six decades, most memorably starring as Anita in “West Side Story” and Velma Kelly in “Chicago.”Chita Rivera, the fire-and-ice dancer, singer and actress who leapt to stardom in the original Broadway production of “West Side Story” and dazzled audiences for nearly seven decades as a Puerto Rican lodestar of the American musical theater, died on Tuesday in New York. She was 91.The death was announced in a statement by her daughter, Lisa Mordente. It gave no other details.To generations of musical aficionados, Ms. Rivera was a whirling, bounding, high-kicking elemental force of the dance; a seductive singer of smoky ballads and sizzling jazz; and a propulsive actress of vaudevillian energy. She appeared in scores of stage productions in New York and London, logged 100,000 miles on cabaret tours and performed in dozens of films and television programs.On Broadway, she created a string of memorably hard-edged women — Anita in “West Side Story” (1957), Rosie in “Bye Bye Birdie” (1960), the murderous floozy Velma Kelly in “Chicago” (1975) and the title role in “Kiss of the Spider Woman” (1993). She sang enduring numbers in those roles: “America” in “West Side Story,” “One Boy” and “Spanish Rose” in “Bye Bye Birdie,” and “All That Jazz” in “Chicago.”Ms. Rivera, foreground, led dancers in a rehearsal for “West Side Story,” which opened on Broadway in 1957, the same year she married a dancer in the production. Leo FriedmanCritics thumbed thesauruses for hyperboles to rhapsodize about her pyrotechnics. In 2005, Newsweek called her “only the greatest musical-theater dancer ever.” Reviewing her performance in “Bye Bye Birdie” in The New York Times, Brooks Atkinson called her “a flammable singer and gyroscopic dancer.” Of her Tony Award-winning romp as Anna in “The Rink” (1984), Richard Corliss in Time magazine wrote: “Packing 30 years of Broadway savvy into the frame of a vivacious teenager, the 51-year-old entertainer could by now sell a song to the deaf.”Ms. Rivera was a hard-working perfectionist who rarely missed a beat, let alone a performance. Trained in classical ballet before joining the musical stage, she was beloved on Broadway, where she began performing in the early 1950s. With her showstopping voice and eloquent body language, she radiated a charisma rooted in solid song and dance techniques and in the pleasures she derived from them.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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      Review: ‘Chicago,’ With Nary a Finger Snap

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      Barrie Kosky’s Berlin production of the 1975 musical adds a touch of burlesque and a dash of Bertolt Brecht.The seedy, culturally vibrant and rapidly modernizing Berlin of the 1920s was nicknamed “Chicago on the Spree.” That moniker sprang to mind recently during the premiere of a masterful and muscular new production of “Chicago,” directed by Barrie Kosky at the Komische Oper Berlin.“Chicago,” a “story of greed, corruption, violence, exploitation, adultery and treachery,” to quote the prologue, is the longest-running show currently on Broadway, but it got a very mixed reception when it opened there in 1975. Many of those early audience members were uncomfortable with Fred Ebb, Bob Fosse and John Kander’s use of musical showstoppers in the service of an amoral satire, and the show’s jerky and pastiche-like narrative technique.For his production, Kosky has gone back to the original concept of the show as a musical vaudeville with a heavy dose of bile and a dash of Brechtian alienation, while also embracing burlesque elements. Michael Levine’s dazzling set is outfitted with nearly 7000 light bulbs, which intelligently frame the actors, and the action, in frequently changing configurations that suggest a nightclub, a prison cell and a circus ring.Many of the costumes in Kosky’s production give a nod to the musical’s roots in burlesque and vaudeville.Barbara BraunThere are definite echoes of Kosky’s darkly glittering take on “The Threepenny Opera” from 2021. But this “Chicago” is not another radical rethinking of a canonical work, nor is Kosky clearing the cobwebs from an aged classic, as he did previously with “Fiddler on the Roof” and “Candide.” This “Chicago” is simply a damn good show, with an attention to choreography and musical verve rarely found outside Broadway or the West End. The production offered further proof, if any was needed, that Kosky has made the Komische Oper — which has always embraced various forms of music theater — the best place for classic American musicals on the continent.The show, performed in a limber German translation by Helmut Baumann and Erika Gesell, is impeccably cast. Katharine Mehrling, an acclaimed chanteuse and regular Kosky collaborator, brings the right mix of naïveté and tenacity to the role of Roxie Hart, the washed-up chorus girl whose trial for murdering her lover catapults her to stardom. As her jail mate and rival vaudevillian Velma Kelly, Ruth Brauer-Kvam gives a sexy, assured performance. She’s also the cast’s truest triple threat, singing, twirling and acting her way through the evening without breaking a sweat.Jörn-Felix Alt brings a rakish, matinee-idol charm to his performance as Billy Flynn, the shyster lawyer who orchestrates media circuses for his female clients. Andreja Schneider makes a sassy, straight-shooting Mama Morton, the crooked warden of Cook’s County Jail, while Ivan Tursic doesn’t overdo the pathos as Roxy’s chump of a husband, Amos.The music, performed in its original 1975 orchestration, sounds fantastic played by a full orchestra — a luxury you rarely get on Broadway. The conductor Adam Benzwi shapes the music with precision and vitality, and his band gives the changing temperatures and moods the score requires.Jörn-Felix Alt, center, brings a rakish, matinee-idol charm to his performance as the lawyer Billy Flynn.Barbara BraunHandsome and sleek, the staging is as stripped-down as some of Kosky’s other recent productions, but he also knows when to pull out the stops. Mehrling makes her bold entrance in “All That Jazz,” trailed by a dozen dancers hiding behind red ostrich feather fans. Kosky brings back the razzle-dazzle in the final number, “Nowadays,” when Roxy and Velma are outfitted in the sparkliest suits legally permitted onstage. In between, Victoria Behr’s costumes provide plenty of other fresh and smoothly executed ideas, including orange silk robes for the prisoners and surreal touches like masks of oversized heads and cartoon lips.The choreographer Otto Pichler, credited as a co-director, crafts sparkling dance numbers for the soloists and his 12-person troupe with nary a finger snap, twist or slow-motion hip roll in sight. This is a welcome choice, since anything that is overdone — even a style as vivid as Fosse’s — can become fossilized.After the Komische Oper opened its season with a monumental production staged in an airport hangar, “Chicago” is the company’s first show at the Schiller Theater, its temporary home, in the west of Berlin, while lengthy renovations to its historic house continue.Luring audiences to the other side of town this season doesn’t appear to be an issue: Even before opening night, virtually the entire run of “Chicago” had sold out.ChicagoThrough Jan. 27, 2024, at Komische Oper Berlin; komische-oper-berlin.de. More

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      An Arabic Adaptation of ‘Chicago’ Razzle Dazzles Lebanon

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      Reimagining the Broadway musical for audiences near Beirut meant new character names, choreography and lyrics.As the orchestra began vamping for roughly a thousand festivalgoers at a 19th-century palace in a mountainous town in Lebanon, Selma Fehmi — the Velma Kelly character in a new Arabic version of the musical “Chicago” — started to croon lyrics to the tune of “All That Jazz.”But this reimagining of the show’s opening song quickly provided a Lebanese twist: “Hurry, pick me up and let’s take a drive/to a small place hidden in the center of Beirut.”The Arabic adaptation of “Chicago,” the longest-running show currently on Broadway, debuted at the Casino du Liban in May with a sold-out run that extended to five nights. The team returned with three performances in August at an art festival in Beiteddine, a town some 20 miles southeast of Beirut — where this adaptation takes place — and now hopes to take the show abroad, within the Middle East and beyond.Despite dealing with American cultural references and wildly different syntax, translating the musical into Arabic came pretty smoothly, said Roy ElKhouri, the writer, choreographer and director of the adaptation. The context particularly speaks to present-day Beirut, said Anthony Adonis, who adapted the lyrics.“It’s like it was written to be a commentary on the judicial system in Lebanon,” Adonis said, referring to the mismanagement and corruption that spurred the nation’s economic crisis and an investigation into the 2020 port explosion in the capital that has been muddied by obstruction and interference.In addition to an acting role, Roy ElKhouri wrote, choreographed and directed the adaptation.Chicago the MusicalThat ability for a show set in 1920s Chicago to speak to modern affairs in the Middle East was attractive to ElKhouri. “You can relate to it in every aspect,” he said, pointing to its universal themes of corruption, media manipulation and the power of showbiz.Barry Weissler, who produced the 1996 Broadway revival alongside his wife, Fran, was not surprised that artists in Lebanon were revisiting the story. “Everyone gets it,” Weissler said. “It doesn’t matter which language it’s in — the reaction’s still the same.”Yet even with the commonalities, reinterpreting the musical was a complicated process because of the strict guidelines that accompany licenses from Concord Theatricals. The Arabic version had to stay true to the original story line. Characters could not be added nor removed, and neither could songs. And the Lebanese team was required to give the adaptation entirely new choreography — originally by Bob Fosse — and direction.Once those parameters were laid out, ElKhouri’s team got to work.The first step was coming up with relevant Arabic names for characters, including Selma (Mirva Kadi), whose name rhymed with Velma. Roxie Hart, whose killing of her lover sets the story in motion, became Nancy Nar (Cynthya Karam), alluding to the Lebanese pop star Nancy Ajram.Other changes involved wordplay: The smooth-talking lawyer Billy Flynn, who frees murderers from prison, became Wael Horr (ElKhouri), his last name meaning “free.” Roxie’s loyal husband, Amos, became Amin (Fouad Yammine, who helped adapt the script), which means “faithful.” And the sympathetic journalist Mary Sunshine became Nour El Shams (Matteo El Khodr), whose full name translates to “the light of the sun.”Translating the songs was a bigger challenge. The legal and showbiz jargon of “Razzle Dazzle” — “Shubeik Lubeik” in Arabic (“Your Wish Is My Command”) — were especially tricky. Adonis wrote at least three versions until the team settled on the one that most aligned with the music. “It was like doing very, very complicated math,” he said.The team that adapted the musical did not shy away from its sensuality, whether it was the wide-open legs in the dance numbers or the revealing costumes.Chicago the MusicalThe Arabic version had to stay true to the original story line, but entirely new choreography — originally by Bob Fosse — was required.Chicago the MusicalLebanese references were trickled throughout the musical. In “Cell Block Tango,” or “Kan Yistahal” (“He Deserved It”), the prisoners’ dialects reflected the country’s diversity. The character of Hunyak, who is Hungarian in the original, became Armenian, a reference to Lebanon’s Armenian population.Though the country is considered one of the most liberal in the Arab world, many pockets of society lean conservative. But the team did not shy away from the musical’s sensuality, whether it was the wide-open legs in the dance numbers or the revealing costumes and suggestive squeals.ElKhouri did have other fears, though, primarily that “Chicago” would not find an audience in the country. The sold-out shows proved otherwise.“You rarely see this in Lebanon — this level of performance,” said Yahya Fares, a nurse who watched the first performance at the festival. His girlfriend, Maribelle Zouein, was also impressed.“They incorporated Lebanon’s culture,” she said. “They made it relatable.”Both Fares and Zouein lamented that Lebanese theater, and art in general, is growing more difficult to produce despite its cultural reputation in the region.In the mid-1800s, Maroun Naccache introduced Western-style theater to Lebanon by adapting European plays into Arabic musicals, said Aliya Khalidi, the founder of the Foundation for Arab Dramatic Arts. After the arrival of the Baalbeck International Festival in 1956, theater flourished. And even during Lebanon’s civil war, from 1975 to 1990, the composers and playwrights known as the Rahbani brothers, the singer Fairuz and her son Ziad produced musicals and plays that remain cultural mainstays.The past few years have delivered a setback because of the coronavirus pandemic, the financial meltdown and the port explosion, Khalidi said. “Usually, in times of crisis, the most affected medium is the theater,” she said.In the past year, more and more modest productions have begun to pop up in Lebanon, Khalidi and ElKhouri said. But the “Chicago” adaptation stood out for its scale, even though financial constraints meant the cast and crew had only two months to rehearse before the debut. Some actors and dancers had to keep their day jobs.“We’ve done this out of pocket,” Nayla El Khoury, the producer of the show, said. “Imagine what they can do if they had the proper resources and the proper support from the country.”Adonis said the adaptation was a statement in and of itself: No matter what the country endures, culturally, “Lebanon’s still on the map.” 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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      After ‘Phantom,’ Which Shows Will Be the Longest-Running on Broadway?

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      Hints: They both reached for the gun. I’m working on my roar! Everyone deserves the chance to fly. Have fun in hell!“The Phantom of the Opera” has been running on Broadway longer than many of the industry’s hoofers have been alive. But on Friday, the show announced that it will close Feb. 18, a few weeks after celebrating its 35th anniversary.The musical holds a distinction unlikely to be overtaken any time soon: It is the longest-running show in Broadway history, by a long stretch. By the time it closes, if all goes well, it will have played for 13,925 performances.Many of Broadway’s longest-running shows closed years ago, including the original productions of “Cats,” which ran for 7,500 performances; “Les Misérables,” which had 6,691 performances; and “A Chorus Line,” which had 6,137.“Phantom” has been enormously profitable and has reached a huge audience: As of Sept. 11, the Broadway production had been seen by 19.8 million people, and had grossed $1.3 billion. Globally, “Phantom” is even bigger, thanks to productions in London and on tour, and those will continue after the Broadway show closes.And what will be the most-enduring-and-still-running shows on Broadway once “Phantom” closes? “Chicago” celebrated its 25th anniversary last fall; “The Lion King” is preparing to celebrate that same milestone this fall. Here’s a look at the four remaining productions that have been playing for more than a decade:Once “Phantom” closes, “Chicago” will be the longest-running show still open on Broadway. The current production opened in 1996.Jeenah Moon for The New York Times‘Chicago,’ Opened 1996It turns out that the combination of sex and murder is a potent one. This show, with a plot about a group of women jailed for killing their husbands or lovers, is beloved for its jazz score, its Bob Fosse-inspired choreography, and its dark satire of the justice system.The musical, with songs by John Kander and Fred Ebb and a book by Ebb and Fosse, first opened on Broadway in 1975 and ran for just two years. But then in 1996, the Encores! program at New York City Center staged a bare-bones revival and it was so successful that it transferred to Broadway. That revival, with Walter Bobbie as director and Ann Reinking as choreographer, is now the second-longest running show in Broadway history, and once “Phantom” closes, it will be the longest-running show still open.The show has a huge sustainability advantage over all of the other long runners — its weekly running costs are much, much, much lower, thanks to the simplicity of the production (one set, no costume changes, minimal automation and 14 onstage musicians, which is about half the size of the “Phantom” orchestra) plus aggressive cost management. And the show benefited enormously — and somewhat unexpectedly — from the success of a 2002 film adaptation, which won the Academy Award for best picture.But still, the musical, which has been enormously dependent on tourists, and has relied heavily on news-making casting to goose grosses (Pamela Anderson cycled in to play Roxie Hart earlier this year), seemed soft before the pandemic and its grosses are volatile again now. Its continued longevity is unknown; it has proved doubters wrong many times in the past, but what happens next depends on whether international and business travelers return in greater numbers.A Final Curtain Call for ‘The Phantom of the Opera’The longest-running show in Broadway history will close on Feb. 18, 2023.A Damaging Lockdown: “The Phantom of the Opera,” a symbol of musical theater for many, is the latest Broadway show to fall victim to the drop-off in audiences since the pandemic hit.Producer Q&A: In an interview with The Times, the storied British producer Cameron Mackintosh explained the decision to end the show.After ‘Phantom’: What will be the most-enduring-and-still-running shows on Broadway once “Phantom” closes? Here are the four productions that have been playing for more than a decade.From the Archives: “It may be possible to have a terrible time at ‘The Phantom of the Opera,’ but you’ll have to work at it,” our critic wrote after the show’s Broadway opening in 1988.As of Sept. 11, the Broadway production of “Chicago” had run for 10,114 performances; it had been seen by 9.8 million people and had grossed $711 million.“The Lion King” is still among the top-grossing shows on Broadway each week, even as it prepares to celebrate its 25th anniversary this fall.Sara Krulwich/The New York Times‘The Lion King,’ Opened 1997This show really is the king of the jungle, and the pride of Disney, which claims that “The Lion King” has grossed more than any other title in entertainment history.The Broadway musical, adapted from the animated film, this fall will celebrate its 25th anniversary. And it is the strongest of the long-running shows, thanks in part to its innovative use of eye-popping puppetry and masks to tell a mythic story, but also because of the strength of the Disney brand, and the show’s enduring appeal for families.Directed by Julie Taymor, the show is about a lion cub who must overcome the circumstances of his father’s death in order to succeed him; it features pop-style songs by Elton John and Tim Rice as well as South African music by a team of writers including Lebo M.As of Sept. 11, the Broadway production of “The Lion King” had run for 9,740 performances; it had been seen by 16.4 million people and had grossed $1.8 billion.Kristin Chenoweth, left, and Idina Menzel starred in “Wicked” when it opened in 2003. Last year they reunited to perform at the Tony Awards. Sara Krulwich/The New York Times‘Wicked,’ Opened 2003Rejoicify indeed! This musical, which imagines a sympathetic back story for the villainous Wicked Witch of “The Wizard of Oz,” overcame skeptical critics to become an enormous hit that is playing in Broadway’s biggest theater (the Gershwin), and shows no signs of slowing down.Adapted from a novel by Gregory Maguire, the show has appealed to audiences who love the clever riff on a beloved story, and it has also cultivated a devoted fan base that includes many repeat attendees thanks to its focus on female friendship.The musical, which opened in 2003, features songs by Stephen Schwartz and a book by Winnie Holzman; it is directed by Joe Mantello. A long-delayed film adaptation starring Ariana Grande and Cynthia Erivo, directed by John M. Chu, is now in the works; it is scheduled to be released in two parts, starting in late 2024.As of Sept. 11, the Broadway production of “Wicked” had run for 7,268 performances; it had been seen by 12.9 million people and had grossed $1.5 billion.“The Book of Mormon” has been running on Broadway since 2011.Sara Krulwich/The New York Times‘The Book of Mormon,’ Opened 2011It’s hard for comedies to stand the test of time, but “The Book of Mormon” is still going strong, more than a decade after it opened to raised eyebrows and rave reviews.The musical, developed in part by the team behind “South Park,” is a biting satire, not only about the Church of Jesus Christ of Latter-day Saints, but also about religion more generally, and its “can-they-really-say-that” humor, combined with its masterly deployment of old-fashioned song and dance, has made it a main stem mainstay.The show, which opened in 2011, faced more challenges than its competitors during the pandemic, as one of the lead producers, Scott Rudin, stepped back over allegations of bullying behavior, and after some critics questioned whether the musical’s depiction of African villagers was offensive. But the show’s three writers, Robert Lopez, Trey Parker and Matt Stone, retooled elements of the script and staging, and its grosses have held up.As of Sept. 11, the Broadway production of “The Book of Mormon,” directed by Parker and Casey Nicholaw, had run for 4,131 performances; it had been seen by 4.5 million people and had grossed $704 million. More

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      Canada’s Stratford and Shaw Festivals Revive Four Classic Works

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      At the Stratford and the Shaw theater festivals, four heated classics get cool new productions for summer.STRATFORD, Ontario — “All’s Well That Ends Well” is one of Shakespeare’s least-loved comedies. “Gaslight” is a hopeless old melodrama purveying woman-as-victim tropes. And “Chicago” is so covered with Bob Fosse’s fingerprints — or are they footprints? — that the musical can hardly be imagined without him.Yet on a recent trip to Canada — six days here at the home of the Stratford Festival and another day in Niagara-on-the-Lake, where the Shaw Festival performs — I saw all three of those shows successfully remade. I also saw one classic, “Richard III,” successfully left alone.Is there something healthful to revivals in the air up here? The productions run through the end of October, so you have time to find out for yourself.Stratford’s “All’s Well,” at the brand-new Tom Patterson Theater, was perhaps the biggest surprise. As usually performed, it is the distasteful tale of a callow playboy named Bertram who treats the friend who loves him — Helen, a young “gentlewoman” of his mother’s household — as a discardable childhood toy. And though Helen eventually gets her revenge, employing a textbook “bed trick” to snare him, that too feels icky.Indeed, “All’s Well” often comes off as a Shakespearean supercut. Bertram’s mother, a recently widowed countess, retails Polonius-like pearls of wisdom; a fop soldier gets a Malvolio-like comeuppance; and the dying King of France is magically rescued from apparent death like 32 other characters in the canon.But with vibrantly detailed performances under the direction of Scott Wentworth, the Stratford production turns the problems into assets. Bertram (Jordin Hall) isn’t frivolous; on the brink of manhood, he’s terrified of being trapped by his past. Likewise, Helen (Jessica B. Hill) draws on the anguish, verging on rage, that is the other side of a crush. That you want the best for both of them — and even for the poor fop (Rylan Wilkie) — makes the conflicts more compelling.A subtler transformation has turned the countess (Seana McKenna, superb) and the king (Ben Carlson, likewise) from stock dotards into complex characters. This is achieved less by rethinking motivations than by burrowing into the language, far richer than I imagined. The updating of the period — which from Michelle Bohn’s Edwardian costumes appears to be World War I — is just enough to provide the actors with recognizable social situations (a funeral, a farewell) that make the verse feel purposeful instead of just pretty. For pretty, there are restless Satie-like piano études by Paul Shilton.“All’s Well” is thus revealed as less of a knockabout romp than a moving look at the stages of maturity: how it is at first avoided at all costs, then pursued uncertainly and, eventually, for the lucky, achieved with dignity if not a little rue.Jennifer Rider-Shaw as Velma Kelly in a revival of “Chicago,” directed by Donna Feore, who replaced Fosse’s choreography with her own.Cylla von TiedemannWalking a few blocks along the Avon River — yes, that’s its real name — brings you from the Tom Patterson to the Festival Theater, where “Chicago,” directed and choreographed by Donna Feore, is playing. Feore is the first person permitted by the show’s rights holders to replace Fosse’s choreography in a major production; as she has shown in previous Stratford musical revivals, including “Guys and Dolls” and “The Music Man,” she makes every new step count.But actually, she’s not very interested in steps, as Fosse so distinctively was. (His style is much the same no matter the material.) Rather, she builds on social dance of the period, the late 1920s, to tell the story she’s chosen to highlight. That story is less about the cynicism of the American justice system — how two “merry murderesses” (Jennifer Rider-Shaw and Chelsea Preston) get off the hook by turning their crimes into showbiz — than about women negotiating the tricky new landscape of independence and prohibition.So when six incarcerated women perform the “Cell Block Tango,” we see their men getting bumped off — and they look as if they deserved it. And when Hunyak, the immigrant who maintains her innocence to the end, is nevertheless executed, Feore stages the scene as an aerial act, having the doomed woman (Bonnie Jordan) descend from the top of the theater on a satiny ribbon that becomes her noose. I won’t reveal how Billy Flynn, the self-serving lawyer played by Dan Chameroy, departs.Still, this “Chicago” is a mostly joyful take, as is nearly inevitable with full sets and costumes instead of the bleak aesthetic of the long-running Broadway revival. (With everyone wearing black in that production, it can sometimes seem like a super-chic sorority wake.) Feore has apparently drawn inspiration instead from the great Kander and Ebb song “All That Jazz,” which starts the show on a note of liberation: “Oh, I’m no one’s wife/but, oh, I love my life.”That sentiment is nothing you’d expect to find in “Gaslight,” the 1938 Patrick Hamilton thriller about a woman driven nearly insane by her husband. In earlier versions of the story, including the 1944 George Cukor film, the wife, Bella, is a bewildered victim of psychological torture and a mostly passive participant in the escape from her husband, Jack. She’s rescued by a police detective, whom we understand she may marry next.André Morin as Jack and Julie Lumsden as Bella in a revamp of the classic thriller “Gaslight” at the Shaw Festival.David CooperBut in Johnna Wright and Patty Jamieson’s complete revamp along feminist lines for the Shaw Festival, there’s little left of the original but the gaslit Victorian setting and the general theme of mind control. Even that is now a two-way street. Bella (Julie Lumsden) soon understands what Jack (André Morin) is doing, and fashions a plan to turn the tables. With no police detective in sight, she must rescue herself, with just a doughty maid (Kate Hennig) to help.Normally when producers find material broadly objectionable, I think they should simply not produce it. (There are plenty of new plays that need to be staged.) This “Gaslight,” though, makes a convincing case for the renovation, not because it is palatable to our tastes but because it is so satisfying as genre drama. It doesn’t hurt that the production, directed by Kelli Fox, is taut and luscious — the set and costumes are by Judith Bowden — with Lumsden particularly compelling as a woman waking up to her powers.Whether the revision can become a new classic is yet to be seen. It could certainly take a shot at Broadway, where the original, under the title “Angel Street,” ran for three years in the 1940s.But which works manage to last, and why, remains a great mystery. Though it certainly helps to have Shakespeare on the title page, even he is buckling under pressures of representation and fairness. “The Merchant of Venice” is antisemitic, “The Taming of the Shrew” is sexist, “Othello” is arguably both sexist and racist.This year seems to find “Richard III” on the block. When it opened the first Stratford festival in 1953, no one blinked at having Alec Guinness, who was not disabled, play a king who famously was. But when the play, in a nice touch of symmetry, opened the new Tom Patterson this summer, in a production starring Colm Feore — he’s Donna Feore’s husband — I felt torn. I had just seen the Public Theater’s garbled take in Central Park, in which Danai Gurira played the title role without any acknowledgment of Richard’s disability.Colm Feore in “Richard III” at Stratford. His performance, our critic writes, is “superb in a very cool and traditional reading.”David HouFeore more than acknowledges Richard’s body. In some ways that’s what this production, directed by Antoni Cimolino, Stratford’s artistic director, is about. Cimolino frames the action with the discovery of what is most likely the king’s skeleton in 2013. Feore walks with one leg turned at almost a 90-degree angle, causing him to lurch wildly and, at some performances, fall over. If that weren’t enough to make plain the importance of disability in this production’s conception of the character, the scoliotic curvature of Richard’s spine is sewn into his costumes, designed by Francesca Callow.One ought not like it. Even if you believe, as I do, that someday everyone should be able to play anyone, there are too many disabled actors who rarely get work to give a plum role like Richard to somebody else.And yet, what can I say? Feore is superb in a very cool and traditional reading of the role. (He barely raises his voice, or needs to, thanks to the Patterson’s phenomenal acoustics.) His internalization of Richard’s disability seems complete, accurate and uncondescending. The supporting cast, most of whom appear in “All’s Well” at alternate performances, is unusually fine, especially the quartet of women whom Richard widows, taunts, haunts, marries or murders. Actually, in this production, it’s a quintet of women: The assassin he hires to do his worst deed — the killing of the boy princes who stand in his way — is no longer James Tyrell but Jane. Chillingly, she is the only person onstage you believe Richard actually loves.Despite that alteration, and the contemporary framing device, this remains a conventional revival in the best sense: It restores the power of the story by keeping faith with its words. That’s what makes all the Canadian revivals I saw so powerful. (Well, OK, there was a middling “Hamlet.”) If there’s something in the air here promoting that quality, it’s the repertory system: Stratford, still returning to full strength after the pandemic shutdown, has 10 productions running this season; Shaw has 11. Talk about maturity! Most things get better the more you do them.Stratford Festival“All’s Well That Ends Well,” “Chicago” and “Richard III” are in repertory through Oct. 30. Stratford, Ontario; stratfordfestival.ca.Shaw Festival“Gaslight” is in repertory through Oct. 8. Niagara-on-the-Lake, Ontario; shawfest.com. More