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      Most Broadway theaters have ended vaccination checks as coronavirus cases are rising.

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      A man had his photo I.D. out and in his hand as walked up to the Gerald Schoenfeld Theater on Broadway to see “Come From Away,” but no one checked it. The families streaming in to see “The Lion King” were told to have their tickets out and their masks on, but there was no mention of vaccine cards. And the Covid safety officers in neon yellow vests who used to patrol outside “Six” were gone.Most Broadway theaters stopped checking the vaccination status of their patrons last week for the first time since they began to reopen last summer, easing safety protocols the same week rising coronavirus cases placed New York City into a higher risk level.The industry hopes that doing away with vaccine checks — which have also been eliminated at New York City restaurants, movie theaters and other venues — will make theatergoing more attractive, and that the remaining mask mandate will help keep audiences safe as cases have risen, but hospitalizations and deaths remain low.While some patrons welcomed the change, others said they felt uneasy about going into crowded theaters without the assurance that their seatmates were vaccinated, and several nonprofit Broadway theaters continue to require proof of vaccination.“I just don’t feel as safe as I have the past several months,” said Lauren Broyles, 44, an executive assistant from Hershey, Pa., who visited New York to see shows several times last winter but said she had stopped planning a summer theater trip after reading that Broadway dropped its vaccine mandate. “I’m waiting to hear what’s next.”But Michael Anderson, 48, of Hudson, N.Y., who was standing in line the other day to see “Hangmen,” said he thought that while vaccine checks had made sense earlier, he felt they were no longer necessary. “At this point, I’m vaccinated and boosted,” he said. More

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      ‘For Colored Girls’ to Close on Broadway, Reflecting Tough Season

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      The revival, directed by Camille A. Brown, received strong reviews but struggled to attract audiences and overcome challenges posed by Covid.A much-praised revival of “For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf,” Ntozake Shange’s classic choreopoem, will close later this month after struggling to find an audience during a tumultuous Broadway season.The show’s producers said Tuesday that the final performance would be May 22, just a month after opening and three months earlier than planned.The closing reflects the challenges of this unusual Broadway season — the first since the pandemic shutdown — when tourism remains down, coronavirus cases are a constant complication, and a large number of shows opened at the same time, making it difficult for any one of them to break out.“For Colored Girls” won strong reviews — in The New York Times, the critic Laura Collins-Hughes deemed it “thrilling and exuberant” — but it has struggled from the get-go; last week, which was its best yet, it grossed $250,000. The show’s audiences, at the Booth Theater, were just 51 percent full, and the average ticket price was $79.“Our numbers were much lower than those rave reviews would justify,” said Nelle Nugent, one of the play’s lead producers. “There are so many choices this season, which is very exciting, but there’s a lot of inventory, and the shows with major stars are doing better. I think there’s also a confusion in the public’s mind about safety.”“For Colored Girls,” a series of monologues about the experiences of Black women set to dance and song, first arrived on Broadway in 1976, and was a hit, running for 22 months. It has been adapted for film and television, and influenced many theater makers.In 2019, the year after Shange’s death, an Off Broadway revival was staged at the Public Theater, directed by Leah C. Gardiner and choreographed by Camille A. Brown. The success of that project led to the Broadway revival, which Brown directed and choreographed.This production, like many others, has been challenged by the coronavirus pandemic — three of the cast members have been out in recent days. And the pandemic took a toll in other ways, as well. “It affected us an extraordinary amount, including the delay of almost two years coming out of the Public, so the momentum we had had dissipated,” Nugent said.In a joint interview, Nugent and Ron Simons, also a lead producer, attributed the closing to a number of factors, including not only the high volume of shows opening on Broadway this spring and the lingering effects of the pandemic, but also a delay in the announcement of Tony nominations, the presence of scaffolding around their theater, and misunderstandings about what their show is.“There is a slight dampening effect for us because of the title — when you read ‘suicide,’ people think it’s going to be a somber play, and not enjoyable,” Simons said. “But it’s not just a play that deals with dark subjects. The show ends on a high note of celebration.”Nugent and Simons said they were hopeful that, by announcing a closing date, audiences would now flock to the show, and said they were open to extending it if there were a sudden surge of interest. Absent that, they said, it would remain necessary to close the show, which was capitalized for $4.85 million. “The decision ultimately is based on economics,” Simons said.“For Colored Girls” is the second Broadway show to announce an unplanned closing this spring because of weak sales. A stage adaptation of “The Little Prince,” which began previews March 29 and opened April 11, announced last week that it would close May 8. More

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      Tony Award Nominations Postponed Because of Coronavirus Delays

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      This year’s Tony Award nominations will be delayed by nearly a week, administrators of the awards said Friday, because enough actors have been out with coronavirus cases that it has become difficult for awards nominators to see all the eligible performances.The Broadway League and the American Theater Wing, who present the awards, said nominations would now be announced on May 9, instead of May 3. The awards ceremony itself will remain, as scheduled, on June 12.The change reflects the extraordinary disruption the coronavirus pandemic has caused to this theater season. Multiple shows — on Broadway, Off Broadway, around the country, and in Britain, Canada and elsewhere — have been forced to cancel performances and shift schedules because of coronavirus cases.On Broadway several shows have been scrambling to open before the eligibility deadline, which was scheduled to be April 28, but will now be May 4. Four shows — “Paradise Square,” “Macbeth,” “Plaza Suite” and “A Strange Loop” — canceled multiple performances because of coronavirus cases. (Among those testing positive were the “Macbeth” star Daniel Craig and the “Plaza Suite” stars Sarah Jessica Parker and Matthew Broderick.)Even now, when all shows are running, some actors are still out. That has made it hard for the nominators to see all the eligible shows with all eligible performers onstage.There are six shows scheduled to open next week, including “Funny Girl,” “The Skin of Our Teeth,” “A Strange Loop,” “POTUS,” “Mr. Saturday Night” and “Macbeth.” More

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      DJ Kay Slay, Fiery Radio Star and Rap Mixtape Innovator, Dies at 55

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      The onetime graffiti artist and New York D.J. for Hot 97 was known for breaking artists and stoking beefs that gave fuel to the careers of Nas, Jay-Z, 50 Cent and more.DJ Kay Slay, who served as a crucial bridge between hip-hop generations, developing from a teenage B-boy and graffiti writer into an innovative New York radio personality known for his pugnacious mixtapes that stoked rap beefs, broke artists and helped change the music business, died on Sunday in New York. He was 55.Slay had faced “a four-month battle with Covid-19,” his family said in a statement confirming his death.Few figures in hip-hop could trace their continued presence from the genre’s earliest days to the digital present like he could. In late-1970s New York, Slay was a young street artist known as Dez, plastering his spray-painted tag on building walls and subway cars, as chronicled in the cult documentaries “Wild Style” and “Style Wars.”Then he was the Drama King, a.k.a. Slap Your Favorite DJ, hosting the late-night “Drama Hour” on the influential radio station Hot 97 (WQHT 97.1 FM) for more than two decades before his illness took him off the air.“Cats know it’s no holds barred with me,” Slay told The New York Times in 2003, when the paper dubbed him “Hip-Hop’s One-Man Ministry of Insults.” In addition to providing a ring and roaring encouragement for battles between Jay-Z and Nas, 50 Cent and Ja Rule, Slay gave an early platform to local artists and crews like the Diplomats, G-Unit, Terror Squad and the rapper Papoose, both on his show and on the mixtapes that made his name as much as theirs.As mixtapes evolved from homemade D.J. blends on actual cassettes to a semiofficial promotional tool and underground economy of CDs sold on street corners, in flea markets, record stores, bodegas and barber shops, Slay advanced with the times, eventually releasing his own compilation albums on Columbia Records. Once illicit and unsanctioned, mixtapes now represent a vital piece of the music streaming economy, with artists and major labels releasing their own album-like official showcases that top the Billboard charts.“You were really the first to bring the personality to the mixtape,” Funkmaster Flex, a fellow Hot 97 D.J., once said to Slay during a radio interview. “That was very unusual. We were just used to the music and the exclusives.”Slay, who became immersed in drugs and spent time behind bars before making it in music, responded, “I had to find an angle and run with it.”He was born Keith Grayson in New York on Aug. 14, 1966, and raised in East Harlem. As a child, he was drawn to disco, dancing the Hustle; when early hip-hop D.J.s began turning breakbeats from those songs into proto-rap music, he traveled to the Bronx to observe and participate in the rising culture.“I had to see what was going on and bring it back to my borough,” he told Spin magazine in 2003. “So I used to hop on the 6 train and go up to the Bronx River Center [projects] to see Afrika Bambaataa and the Zulu Nation rock.”He soon took up the affiliated art forms of breakdancing and graffiti, even casually rapping with his friends. “Every element of the game, I participated in,” Slay told Flex. But street art became his chief passion, first under the tag Spade 429 and later Dez TFA, which he shortened to Dez.“I wanted a nice small name that I could get up everywhere and do it quick without getting grabbed,” he said at the time. “You’re telling the world something — like, I am somebody. I’m an artist.”Amid the city’s crackdown on graffiti, Dez took on the name Kay Slay (“After a while you get tired of writing the same name,” he said of his street-art days) and developed a fascination with turntables. “Boy, you better turntable those books,” he recalled his disappointed parents saying. But in need of money and with little interest in school, he soon turned to drugs and stickups.Kay Slay at MTV Studios in 2007. “The game was boring until I came around,” he said. Brian Ach/WireImageIn 1989, Slay was arrested and served a year in jail for drug possession with intent to sell. On getting out, he told Spin, “I started noticing Brucie B, Kid Capri, Ron G. They were doing mixtapes, doing parties and getting paid lovely.” He sold T-shirts, socks and jeans to buy D.J. equipment and worked at a Bronx facility that assisted people with H.I.V. and AIDS.“I can’t count the number of people I saw die,” he told The Times of that period. “Working there really made me begin to appreciate life.”In the mid-1990s, Slay found the professional music business still unwelcoming, and he began to call out, in colorful language on his releases, those label executives he thought of as useless. “I told myself I would be so big that one day the same people I was begging for records would be begging me to play their records,” he said.It was that irascible spirit that helped endear him to rappers who had their own scores to settle. In 2001, Slay had a breakthrough when he premiered “Ether,” the blistering Nas dis of Jay-Z that revitalized headline hip-hop beef following the murders of Tupac Shakur and the Notorious B.I.G. His radio slots and mixtapes became a proving ground, and he later started a magazine called Straight Stuntin’.“He’s like the Jerry Springer of rap,” one D.J. told The Times. “All the fights happen on his show.”Slay’s gruff manner and mid-song shouts would go on to influence his contemporaries, like DJ Clue, a onetime rival, and those who followed, like DJ Whoo Kid and DJ Drama. Alberto Martinez, the Harlem drug dealer known as Alpo, who was killed last year while in witness protection, even hosted a Slay tape from prison.“The game was boring until I came around,” Slay said.He is survived by his mother, Sheila Grayson, along with his best friend and business manager Jarrod Whitaker.In Slay’s on-air conversation with Funkmaster Flex, the other D.J. marveled at the creativity of Slay’s boasts and threats — “If you stop the bank, then I’m gonna rob the bank!” — and asked his colleague if he ever regretted the shocking things he’d bellowed.“I said some foul things, man, on some mixtapes when I was not in full touch with myself,” Slay replied. “But I’m not angry at myself for doing it, because the boy that I was made the man I am today.” More

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      ‘Macbeth’ Goes Onstage After Actor Tests Positive for Virus

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      Daniel Craig was back in the title role after testing positive earlier. But when the virus kept another actor out, the play’s director, Sam Gold, went on.A new Broadway production of “Macbeth,” determined to keep going even as cast members continue to test positive for the coronavirus, came up with an unusual solution Thursday night: The director went on to replace an absent performer.The director, Sam Gold, played the role of a Scottish thane named Lennox, as well as another role played by the same actor. He stepped in because all of the show’s understudies were already onstage, filling in for other absent actors.The production, starring Daniel Craig and Ruth Negga, is scheduled to open on April 28, which is the deadline to qualify for this year’s Tony Awards. That will make “Macbeth” the last show to open this season.But the play has faced serious coronavirus challenges throughout its preview period.“Macbeth” got through only three performances when, just half an hour before the curtain was to rise on April 1, a cast member tested positive for the coronavirus. The show canceled that performance, and the next day Craig, too, tested positive.The show wound up being closed for 11 days, restarting on April 12. On Thursday night, the house was sold out. When another member of the cast tested positive, Gold took to the stage himself to prevent having to send all those ticket holders home.A similar rescue happened last December, when Keenan Scott II, the writer of “Thoughts of a Colored Man” stepped in to save a performance of that show after several actors tested positive for the coronavirus.“Macbeth” is the ninth production directed by Gold on Broadway over the last decade. In 2015 he won a Tony Award as the director of the musical “Fun Home.”“Macbeth” is also one of four productions that has been forced to cancel performances by the coronavirus this month. The play “Plaza Suite” resumed performances Thursday (although one of its stars, Sarah Jessica Parker, remains out until Saturday); the new musical “A Strange Loop” held its delayed first preview that same night. The musical “Paradise Square” remains shuttered, and is planning to restart performances on April 19. More

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      ‘Macbeth’ Plans to Restart Broadway Performances on Tuesday

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      A new production of “Macbeth” starring Daniel Craig and Ruth Negga resumed performances on Tuesday night, 11 days after it shut down because of positive coronavirus tests among company members.The resumption comes as four Broadway shows, as well as several Off Broadway productions, that have canceled performances as coronavirus cases rise in New York City are all attempting to get back on their feet, in some cases after those who test positive recover, and in some cases even sooner by deploying understudies.“Macbeth” got through just three preview performances before shutting down on April 1, citing a positive test in the company; the next day, it said Craig too had tested positive. But on Tuesday, “Macbeth” returned; the production suggested earlier in the day that both principals were healthy, posting on Twitter that “Daniel Craig and Ruth Negga return to their throne.”Daniel Craig and Ruth Negga return to their throne. Performances resume tonight. pic.twitter.com/llcjZAf7rh— Macbeth on Broadway (@macbethbway) April 12, 2022
      Meanwhile, a revival of the Neil Simon comedy “Plaza Suite” starring the married couple Sarah Jessica Parker and Matthew Broderick planned to resume performances Thursday, with Broderick performing opposite Parker’s standby, Erin Dilly, while Parker continues to isolate. (Both she and Broderick tested positive for the virus, and the show has been canceled since April 7.) The production said Wednesday that it expected Parker to rejoin the cast on Saturday.A new musical called “A Strange Loop,” which won the Pulitzer Prize in 2020 after an Off Broadway production, hopes to begin performances Thursday, according to the production. The show had been scheduled to start previews April 6, but postponed the start of its run, citing positive virus tests in its company.“Paradise Square,” a new musical that opened April 3 but then canceled performances starting April 7, citing virus cases, is now planning to resume April 19.“Macbeth” and “A Strange Loop” face particular pressure because they have not yet officially opened, and must do so by April 28 to qualify for this year’s Tony Awards. But the cancellations are costly to all shows, which must continue to pay running costs without box office revenue and which are losing opportunities for Tony nominators and voters to attend.Off Broadway, the new musical “Suffs,” about the American women’s suffrage movement, also resumed performances Tuesday, after canceling performances starting April 5 because of virus cases. The show’s author and lead performer, Shaina Taub, is still recuperating, so the central role of Alice Paul is being played by Taub’s standby, Holly Gould.Both “Plaza Suite” and “Suffs,” which had been selling very strongly, have extended their limited runs to accommodate ticket holders affected by the cancellations. More

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      Will the Virus Cooperate With Broadway’s Spring Rebound?

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      Listen to This ArticleTo hear more audio stories from publications like The New York Times, download Audm for iPhone or Android.After a gloomy winter in which the Omicron variant shriveled Broadway’s lucrative holiday season, New York’s vaunted theater industry has been betting on a big spring, nearly doubling the number of shows on offer as the pandemic-battered business thirsts for a rebound.Adding all those plays and musicals — 16 new productions plus three returning from hiatuses are opening over a five-week stretch — was always going to be a gamble, since no one knows, in this not-yet-post-pandemic era, whether there are enough tourists and theatergoing locals to sustain that many shows.And now the stubborn persistence of the coronavirus is complicating matters even further. A rising number of cases in New York City, coinciding with the arrival of the virus’s BA. 2 subvariant, has once again rocked Broadway, infecting some of its biggest stars, including Daniel Craig, Sarah Jessica Parker and Matthew Broderick, and forcing four shows to temporarily cancel performances.“Our hope is that this isn’t a moment, but rather this is the way we will function now,” Parker said as she reflected on the high number of spring Broadway openings.OK McCausland for The New York Times“What we thought we were entering into this spring, which was always going to be busy and crowded, over the last week has changed dramatically,” said Greg Nobile, the lead producer of a new farce, “POTUS,” which, while still in rehearsals, has had to adapt as four of its seven actresses tested positive for the coronavirus. “Somehow it feels like, ‘This again?’ The answer is yes, but this time, we need to ask the question, how do we truly keep the show on, and what are the ways we are adjusting to what is a new normal?”Broadway’s big spring began on a cold night in late March with the opening of a revival of “Plaza Suite,” a Neil Simon comedy starring Parker and Broderick that was initially scheduled to start performances on March 13, 2020. Broadway shut down for the pandemic the day before that performance, and the Hudson Theater remained vacant, with the married co-stars’ names on the marquee and the set on the stage, for two full years before they returned to try again.“Every time I can walk a red carpet, I know it’s going to bring green currency to our city,” Mayor Eric Adams of New York said at the “Plaza Suite” opening.OK McCausland for The New York Times“Our hope is that this isn’t a moment, but rather this is the way we will function now,” Parker, in a pink satin gown with a beaded tulle overlay, said opening night at the end of an 80-foot-long preshow red carpet. “We have restaurants waiting to reopen still, we have hotel employees waiting to come back, we have delis that have been hit, we have ushers who are wanting to work the front of the house.”The crowd that came out to cheer her on, which included Mikhail Baryshnikov, Laura Linney, Cynthia Nixon and Martin Short, was buoyant.Broderick, finished with the gauntlet of camera crews arrayed inside a translucent tent, remarked how much he had enjoyed returning to the theater as an audience member, and now as a performer. “We’re learning to live with the pandemic or endemic — whatever you want to call it now — so the stronger theater and everything New York gets, the more normal life is,” he said. “This is part of the world coming back.”But eight days later, he tested positive, and two days later, so did she.Broadway openings remain starry, even in an era of few parties. Among those at the “Plaza Suite” opening: Anna Wintour, the longtime Vogue editor. OK McCausland for The New York TimesThe crowd that came out to cheer Parker and Broderick on included Mikhail Baryshnikov and his wife, Lisa Rinehart.OK McCausland for The New York Times“Plaza Suite” has been closed since Thursday, as has “Paradise Square,” a new musical which was already struggling at the box office and can ill afford the lost revenue. Craig’s show, a revival of “Macbeth,” canceled 10 days of its preview period. And “A Strange Loop,” a new musical which won the Pulitzer Prize based on its Off Broadway run, has postponed the start of its previews. All cited positive coronavirus tests among company members as the reason; all hope to resume performances this week.The latest virus-related cancellations were all at new shows; shows that have been running longer had more time to prepare for cast absences, and have been able to soldier on with understudies. Most notably, a revival of Stephen Sondheim’s “Company” that opened last December temporarily lost six of its principals to positive coronavirus tests in April, including its lead actress, Katrina Lenk, but the show went on. (Its best known performer, Patti LuPone, was not among those stricken, possibly because she had tested positive in late February and missed 10 days then.)And the effects are not limited to Broadway: Off Broadway, shows including “Suffs,” at the Public Theater, and “At the Wedding,” at Lincoln Center Theater, have also temporarily canceled performances.The industry is undergoing a stress test of sorts, as the annual crush of Broadway openings, which tend to cluster just before an end-of-April deadline to qualify for the Tony Awards, is even bigger than usual because some productions postponed their start dates in the hopes of avoiding the peak of the Omicron variant. This month features the highest number of Broadway openings in any April for more than a decade.So many shows are opening that Times Square rehearsal space is scarce, so the farce “POTUS” turned to Union Square. Among those in the cast are Julianne Hough, front left, and Vanessa Williams, front right.OK McCausland for The New York TimesBroadway is always a risky business, in which far more shows fail than succeed. Some producers acknowledge that having a glut of new shows vying for attention and audience at the same fraught time is less than ideal, but they tend to be optimists, and each seems to believe that theirs is the show audiences have been waiting for.“You can play a bit of chicken-and-egg,” said Jordan Roth, the president of Jujamcyn Theaters, which runs five Broadway houses. “Should we wait until every tourist is in town? But why is every tourist going to be in town if we wait? At some point we have to decide that we’re going to live.”This is actually Broadway’s second attempt at a rebound. The first began gradually last June, with the return engagement of Bruce Springsteen’s wildly popular evening of songs and storytelling. The first play began performances last August, and in September, with a moment of hope and celebration, the biggest musicals returned.Julie White, right, was among the members of the “POTUS” cast who tested positive during rehearsals. On White’s first day back, still coughing and wearing a mask, the play’s director, Susan Stroman, helped silence prop watches.OK McCausland for The New York TimesEarly box office grosses and attendance were encouragingly robust. But then the Omicron variant arrived in New York, contributing to the premature closing of nine shows and crushing attendance at the worst possible time of year: Only 62 percent of Broadway’s seats were occupied during the week ending Jan. 9.Through late winter, there were only 19 shows running in Broadway’s 41 theaters. With little competition, many of those left standing — mostly established hits or shows with famous titles — did quite well. By the week ending March 20, 92 percent of seats were occupied.Now, as the number of shows grows, and untested titles join the hits, average attendance is slipping, with 85 percent of seats filled during the week ending April 3. Overall, 224,053 people were at the 31 shows running that week, which is the highest number of ticket holders this year, but is substantially lower than the 315,320 who attended the 38 shows running during the comparable week in 2019.“The reopening of these shows is a real celebration of moving forward,” said Tom Harris, the president of the Times Square Alliance, which is marking this busy spring with a display of 10-foot-tall Playbill monoliths erected on a theater district pedestrian plaza. He noted that while Times Square was growing livelier, it is still quieter than it used to be: In March there were about 255,000 people passing through the neighborhood on an average day, he said, down from about 365,000 daily visitors before the pandemic.The play did not miss a day of rehearsals, despite cast absences; in this scene, Anita Abdinezhad, seated, filled in for Rachel Dratch. OK McCausland for The New York TimesUntil the pandemic, Broadway was booming, with 14.8 million ticket holders spending $1.8 billion at the box office during the 2018-19 season, which was the last full season before the coronavirus. But travelers to New York City, who before the pandemic accounted for two-thirds of the Broadway audience, have not returned in prepandemic numbers; the city’s tourism agency is projecting 56.4 million visitors this year, down from 66.6 million in 2019.That helps explain why Mayor Eric Adams had been celebrating Broadway at every opportunity — showing up at the openings of “The Music Man” and “Paradise Square” and attending a student performance of “Hamilton” in recent weeks.“Every time I can walk a red carpet,” Adams said in an interview at the “Plaza Suite” opening, “I know it’s going to bring green currency to our city.”On Sunday, he too tested positive for the coronavirus.The play is a comedy by Selina Fillinger about seven women who try to shore up a problematic president. OK McCausland for The New York TimesNow, as the city has dropped vaccine mandates at restaurants and other public spaces, Broadway must decide whether to do the same. Its current safety protocols, which require that all ticket holders show proof of vaccination to enter theaters and remain masked while inside, except when eating or drinking, are in place through April 30. Theater owners and operators had planned to announce by April 1 whether they would extend those rules, but they postponed that decision until April 15 as case counts rose.At the same time, the new shows keep coming. So many are opening this month that “POTUS,” whose stars include Julianne Hough and Vanessa Williams, wound up rehearsing at the Daryl Roth Theater, in Union Square, because the production could not find suitable space in the theater district.On a recent Saturday, the cast gathered to work on scenes on a makeshift White House set. One of the stars, Rachel Dratch, was still out with the coronavirus, so her part was rehearsed by an understudy, Anita Abdinezhad, while another star, Julie White, was back for the first time since finishing her isolation period. White, who had kept an eye on rehearsals via video while recuperating, was still coughing beneath a mask, but had her lines down cold, and she leaned in to the comedy.As she arrived, she was visibly delighted to be back at work. She noted her relief at finally seeing negative results on her daily coronavirus test, saying, “It was so good to see that single line this morning.”Audio produced by More

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      Nebula, a Big New Club, Wants Manhattan to Dance Again

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      Yang Gao, a newcomer to the nightlife business, took a gamble when he spent $12 million in the middle of a pandemic to carve out a 10,000-square-foot space in the heart of Midtown.Two years ago, Yang Gao and Richie Romero were watching over a very noisy and very expensive construction project: Digging down, down, down, beneath the floor of an old building on West 41st Street, just off Times Square.Mr. Gao, an entrepreneur, and Mr. Romero, a nightlife impresario, were carving out Nebula, a giant dance club. By blasting into the bedrock, the ceilings could be that much higher — 27 feet above the dance floor.Known in the tabloids as a “club king,” Mr. Romero had definite ideas about what Nebula should and should not be. The main thing was, it had to be the kind of place where people would actually dance, rather than lounge the night away in banquettes.That’s how it used to be when he started going into Manhattan from Queens as a teenager, eager to show off his moves at Tunnel, Palladium and Club USA. Everybody went out on the floor back then. You mingled. You sweated. You got into it. By age 18, Mr. Romero was working as a promoter of parties at Limelight. He was armed with a beeper and a list of more than 2,000 names and numbers. If your name was the list, Richie waved you in.Yang Gao, left, and Richie Romero in one of the V.I.P. rooms in the basement of the club.Dolly Faibyshev for The New York Times“Manhattan was the king of the world back then,” Mr. Romero, 46, said. “The stages were bigger than the DJs. Every DJ wanted to play them.”He was sitting in Nebula’s balcony during off hours. The place was empty and quiet. He recalled an early success he had, taking on the challenge of Monday nights at the China Club and just packing the place.“I was 19 years old,” he said. “I was so excited. I thought I was a big shot.”Manhattan may still be the epicenter of finance and media, but the club scene has moved elsewhere — Miami, Berlin, Las Vegas, even Scottsdale, Ariz. These days, New York is “the little stepsister,” Mr. Romero lamented. And although Marquee is going strong on Tenth Avenue, New York’s nightlife energy has moved on to Brooklyn.With Nebula, Mr. Romero and Mr. Gao are hoping to return Manhattan to its glory nights. Mr. Gao said he plowed some $12 million into the project, a huge gamble to take in the middle of a pandemic, when nightlife was on lockdown.“Dealing with the uncertainty of it all scared the hell out of me,” Mr. Romero said.At 10,000 square feet spread over three levels, Nebula was the largest new nightclub in the city when it opened last September. The main dance floor is 5,000 square feet. A D&B sound system pumps out the beats. Six LED projection screens descend from the ceiling to enclose guests in trance-like visuals.The multimedia aspect has appealed to the tech crowd. “Every NFT company wants to come here and do something,” Mr. Romero said.Nebula has also become a go-to place for newly minted 13-year-olds: “Funny,” he added. “We’re like the king of the bar mitzvahs now.”The private events, which take place on weeknights, are a lucrative sideline to the main attraction: weekend dance parties with top DJs from around the world, including Jamie Jones, Artbat and Eric Prydz, all of whom are scheduled to perform at Nebula this month.A clubber at Nebula.Dolly Faibyshev for The New York TimesAs New York’s clubs have become more lounge-like in recent years, with a focus on bottle service for high rollers who lay out $10,000 to $20,000 for a private table, Nebula is decidedly old school.“I want to capture the people that are artistic, that are able to go into the club and appreciate the music,” said Mr. Gao, Nebula’s owner.Mr. Gao, 42, is new to the nightlife industry. A classically trained oboist who once played in the Hong Kong Philharmonic Orchestra, he said he has a hand in several businesses, including a wine store in Astoria and East River party boats. About five years ago he started looking for club space in Manhattan, insisting the ceiling height be at least 21 feet. After signing the lease in late 2018, he sought out Mr. Romero.Nebula’s location has a long history in clubland. It was formerly Saci, Show and Arena. Most recently, it housed Circle, a Korean American spot that defined going out for a generation of the Asian and Asian American communities in New York until it closed in 2018. Mr. Romero promoted parties at all of those venues, except Circle. In recent years, he drifted out of nightlife and got into quick-service restaurants, opening a pizza chain, Zazzy’s, only to be lured back by Mr. Gao.“I believe in good bones. And this room always had good bones,” said Mr. Romero, who speaks at 200 beats per minute. “Sat down. Saw the vision. Came in here. We started putting it all together and made Nebula Nebula.”Business boomed in the brief window between opening and Omicron, Mr. Romero said. Since then, supply chain problems have led to shortages of Don Julio 1942, the club’s most popular tequila. The banquettes meant for the edges of the main dance floor didn’t arrive until last week.For those who remain wary of big crowds, Mr. Gao designed private rooms at the basement level, each with its own sound system, lights and bathroom. Despite reports of coming Covid-19 waves, he said he is optimistic.“I know that people want to come out,” Mr. Gao said. “People long for human interactions. That’s when I decided that this sector isn’t going away.”Saturday night at Nebula.Dolly Faibyshev for The New York TimesAt 12:30 a.m. on a recent Tuesday, Nebula’s main dance floor was nearly full. As images flashed on the LED screens, several hundred clubgoers were dancing to Lady Gaga’s “Poker Face.” The event was Tuesday Baby Tuesday, a night set aside for people who work at nightclubs.“It’s an industry night,” Jonas Young-Borra, 37, a musician and former male model who described himself as the “left-hand, right-hand” to Mr. Romero, said over the music. “You get people from other clubs who can’t go out on the weekends, plus the 21 and up crowd.”Mr. Romero, who stood watching the action on the dance floor, said that, in terms of the crowd, this was a bit slow for a Tuesday. He promised a bigger turnout the following week, when 50 Cent would be making an appearance. But after two years of social isolation, it was incredible all the same to see hundreds of bodies so close together, without masks or discernible phobias. Hostesses brought Champagne bottles topped with sparklers to the V.I.P. section.New York has changed since Mr. Romero’s Limelight youth, but he was determined that some things would not.“It’s important,” he said, “that we keep Manhattan thriving.” More