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      Among Faceless Offices, a Theater Taking Risks

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      The New Diorama in London is placing bets on small troupes, inviting them onto its stage and giving them help to thrive. With two shows now in the West End, its gambles are paying off.Regent’s Place, a business quarter in the Euston district of central London, isn’t a likely location for a theater. Many of the buildings there are the offices of global corporations. The glass-fronted New Diorama could easily be mistaken for one.Since it opened in 2010, the New Diorama, an 80-seat studio theater, has gained a reputation as an incubator of new talent. It presents an innovative program of work by emerging theater companies and offers the artists who work there a level of creative support that’s rare for a venue of its size, with free rehearsal space, interest-free loans and help finding funding from other sources.The theater has nurtured the careers of many small troupes, and, in some cases, its support has been transformative. This season, two shows that originated at the New Diorama are playing on the West End: “Operation Mincemeat,” a comedy musical by the collective SplitLip, and “For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy,” a piece exploring Black masculinity and mental health, created by Ryan Calais Cameron. That show, which premiered in 2021, went from the New Diorama to a run at the Royal Court Theater, before a commercial producer snapped it up.“Operation Mincemeat,” a comedy musical about British spies in World War II, began at the New Diorama and is now playing in the West End.Alex Harvey-BrownDavid Byrne, the New Diorama’s artistic director, said in an interview that it was “a theater that would support companies and collaborative work in the way that a new writing theater would support writers.”Byrne added that he always tells artists who work at the New Diorama: “We need you to ask for things that you need. And we will try to provide them.”Cameron, whose show is running at the Apollo Theater through May 7, first came to the New Diorama’s attention in 2018, when he and his company, Nouveau Riche, won the theater’s Edinburgh Untapped Award. That prize gave the young director the funding to take an earlier show, “Queens of Sheba,” to the Edinburgh Festival Fringe. In an interview, Cameron recalled Byrne telling him that the New Diorama’s support didn’t end with the award: It was the start of a relationship. “He really seemed like he cared about the longevity of myself and the company,” Cameron said.Then, in 2021, when many British theaters were rebounding from pandemic-related lockdowns with low-risk solo shows, Cameron went to Byrne with his proposal for “For Black Boys,” a dance-theater piece for six performers. Cameron said the theater agreed to program the show after a meeting that lasted just eight minutes.The cast of “For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy,” performing at the New Diorama in 2021. Ali Wright“New Diorama was the only venue in London willing to take that kind of risk on an artist still relatively new to the mainstream,” Cameron said.Zoe Roberts, a SplitLip member whose previous company, Kill the Beast, also received support from the New Diorama, described the theater’s decision to work with her troupe as “a leap of faith,” because SplitLip had never produced a musical before. (“Operation Mincemeat” is at the Fortune Theater through July 8.)“They held our hands through the entire thing,” Roberts said in an interview. “They’re in their office running the theater, while also helping to produce our show, and even running around with a drill fixing bits of our set, because we didn’t have someone to do that,” she said.One of the key things the New Diorama provides the artists it works with is financial assistance — and not just while they’re developing a show for its stage. In 2016, the theater started offering interest-free loans for companies who had already worked there, to offset the costs of venue hire or taking work to the Edinburgh Fringe. Roberts likened the New Diorama to “the kindest bank in the world.”Its annual budget is around $1.5 million: It receives a small subsidy from the British government, and raises the rest through philanthropy, corporate sponsorship and ticket sales. Byrne makes the New Diorama’s income go further by negotiating deals with local businesses, including hotels to host visiting troupes from outside London and a local restaurant that delivers free post-show pizzas.The New Diorama was “a theater that would support companies and collaborative work in the way that a new writing theater would support writers,” said its artistic director, David Byrne.Tom Jamieson for The New York TimesOne of the biggest barriers that small theater companies face, Byrne said, is the cost of rehearsal space, which in London can be up to $60 an hour. So in 2017 the New Diorama made a deal with British Land, the property developer that owns the land that the theater stands on, to take over part of a nearby vacant building. Companies working with the New Diorama could use it as a free rehearsal space.That program was a test run for N.D.T. Broadgate, a temporary artist development complex in an empty central London office space that opened in 2021 and closed last year. N.D.T. Broadgate was also a collaboration with British Land, which again gave over the vacant real estate at no charge. Theater companies from across Britain could apply to use the space free, with the spots filled via lottery.N.D.T. Broadgate featured 16 rehearsal spaces, as well as a design studio. According to an independent report on the project commissioned by British Land and the theater, 724 small theater companies used the resources, creating 250 new shows. Cameron was one of the artists who benefited, creating a studio for Black artists within the space. “It was a kind of utopia,” he said.Byrne said that many British theater companies were struggling to get back on their feet after enforced closures during the pandemic, and that the rising cost of living had only amplified their problems. “Everyone we talked to was exhausted,” he said. Last year, he and the New Diorama’s executive director, Will Young, decided to close the theater for a season and focus on rejuvenation instead. “We wanted to send a signal that it’s all right not to continue growing,” Byrne said.“For Black Boys” cast members in a rehearsal at N.D.T. Broadgate, a temporary creative development complex that the New Diorama ran in an empty central London office space.Guy J. SandersEven though it was closed, the New Diorama continued paying artists to develop new work. It put out an open call for ensembles around Britain and received over 500 responses, Young said.The theater reopened earlier this year with “After the Act,” a musical developed during this period by the multimedia performance company Breach Theater, about the legacy of Section 28, a government policy that banned the promotion of homosexuality in British schools in the 1980s and 90s. According to the New Diorama, “After the Act” is its best-selling show to date.Not being as reliant on public funds as some organizations “means we can take really calculated swings that often pay off,” Byrne said.“It’s about pushing that creative ambition as much as possible,” he added. The New Diorama is about encouraging artists to run with their ideas, to take risks and know that “we’ve got you,” Byrne said. “You have a safety net.” More

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      Nora Forster, 80, Who Married (and Stayed Married to) a Sex Pistol, Dies

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      A German publishing heiress and music promoter, she settled in London in time for the 1970s punk-rock explosion and became the muse to its baddest boy.Nora Forster, a German-born publishing heiress and music promoter who gained fame as the wife of John Lydon — otherwise known as Johnny Rotten of the Sex Pistols — and the mother of Arianna Forster, or Ari Up, the lead singer of the influential all-female punk band the Slits, died on Thursday. She was 80.Her death was announced by Mr. Lydon on Twitter. “Nora had been living with Alzheimer’s for several years,” the announcement said. “In which time John had become her full time career.” He did not say where she died.For more than four decades, music fans knew Ms. Forster as the emotional rock for the ever-volatile Mr. Lydon, who in the late 1970s became Public Enemy No. 1 in the eyes of British polite society for spitting invective in every direction, including the Queen’s, as the frontman for the incendiary punk progenitors the Sex Pistols.When the band imploded after its brief, explosive career, he scarcely mellowed; he continued on as the creative force of the fiery post-punk band Public Image Ltd., or PiL.Because of her husband’s enduring notoriety, particularly in England, Ms. Forster’s struggle with Alzheimer’s disease unfolded as a public drama after he went public about her diagnosis in 2018.“It’s vile to watch someone you love disappear,” he said in an interview with The Sunday Times of London in February. “All the things I thought were the ultimate agony seem preposterous now.”Her illness, he said, had “shaped me into what I am.”“I don’t think I’ll ever get over it,” he added. “I don’t see how I can live without her. I wouldn’t want to. There’s no point.”The previous month, he had teared up when taking a more wistful turn in an interview on the television show “Good Morning Britain” about “Hawaii,” a haunting PiL ballad that he had written as a tribute to her and that was the Irish entry in this year’s Eurovision Song Contest. (Mr. Lydon was born in England to Irish parents.) “Remember me,” Mr. Lydon sang, “I remember you.”“I can see her personality in her eyes,” he said. “She lets me know that it’s the communication skills that are letting her down.”Nora Maier was born on Nov. 6, 1942, in Munich. After the war, her father, Franz Karl Maier, was a prosecutor who helped bring wartime Nazis to justice. He was later the editor and publisher of the newspaper Tagesspiegel.Ms. Forster went on to work as a model and to marry the singer Frank Forster, who was “kind of a swing pop star, always appearing on TV back in the ’60s,” Arianna Forster said in an interview with the music site Pitchfork in 2009, a year before she died.Nora Forster’s survivors include her husband and three grandchildren.As the 1960s unfolded, Ms. Forster promoted West German tours for acts like Jimi Hendrix and Yes, which gave her prominence on the German rock scene. “People were walking around in the living room back then, like the Bee Gees and all these big groups,” her daughter recalled in the Pitchfork interview.The bohemian lifestyle of her rock friends eventually ran afoul of the local authorities. “In Munich, the police were knocking at the door every night because of the loud acid parties,” her daughter once said. “She was fed up with it. You have to go to London to live that lifestyle.”Ms. Forster did just that in about 1970, and by the middle of the decade she had become enmeshed in the punk-rock scene that was starting to roil Britain and the music industry as a whole. She became “a den mother to all the young punks,” said Arianna, who in 1976, at age 14, would rename herself Ari Up and join with a drummer called Palmolive to found the Slits, which became a leading female punk band of the era.In 1975, Ms. Forster met Mr. Lydon, who was nearly 14 years her junior, at Sex, the boundary-pushing clothing boutique on London’s King’s Road run by the fashion designer Vivienne Westwood and the Sex Pistols’ manager, Malcolm McLaren.It was anything but love at first sight.“There was no physical attraction at first,” Ms. Forster said in a 2004 interview with The Sunday Mail of Britain. “I didn’t even think to be nice to him. I was at another gig and John passed by my table and said, ‘Drop dead.’”Despite the mutual hostility, Mr. Lydon was intrigued. “Her nose went 10 feet in the air in her ’40s film star outfit,” he said in the same Sunday Mail interview. “Long blond hair, padded shoulders — that entire femme fatale look, which I was a complete ham for.”Eventually she softened. “I fell in love with John because he surprised me,” she said. “He had a sweet attitude. He was more innocent and not like the rest of the group.”The couple married in 1979, to the horror of Ms. Forster’s father. And, to the likely amazement of those who considered Mr. Lydon a human mushroom cloud, the marriage endured.Even so, it might never have happened if Ms. Forster had listened to her friends’ advice in those early days. “One day he came up and asked why I had never invited him to my house,” she later said of Mr. Lydon. “I replied, ‘People told me you would destroy everything.’” More

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      Review: ‘Berlusconi: A New Musical’ Is Hammy and Hamstrung

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      The show, in London, skewers its protagonist through maximalist kitsch, but it comes with a tone of finger-wagging moralism that’s no fun.When we first meet Silvio Berlusconi, the title character in “Berlusconi: A New Musical,” the former populist prime minister of Italy is awaiting the verdict of a tax fraud trial in 2012. But this is not some courtroom drama about white-collar crime: The case is merely a framing device for a more comprehensive indictment of Berlusconi’s life and character.As he awaits his fate, a succession of women reproach the beleaguered media mogul in song: The state prosecutor, Ilda (Sally Ann Triplett), enumerates his alleged sexual and financial wrongdoings; his ex-wife Veronica (Emma Hatton) laments his many infidelities; Fama (Jenny Fitzpatrick), a TV reporter who had a relationship with him during the early stages of her career, tells her story, as does Bella (Natalie Kassanga), a young woman whom he seduced at one of his notorious “Bunga Bunga” parties; and his mother (Susan Fay) chides him from beyond the grave — “I raised you to be good!”Running at the Southwark Playhouse, in London, through April 29, “Berlusconi: A New Musical” is a maximalist kitsch cabaret that carries a serious message about power and hubris. Written by Ricky Simmonds and Simon Vaughan, it skewers its protagonist for the vacuous cynicism of his political demagogy, as well as his considerable personal shortcomings. But it is also hamstrung by its earnestness, with a tone of finger-wagging moralism that is the antithesis of fun.Sebastien Torkia performs the title role with a smirking, camp swagger. It feels like an amusingly counterintuitive rendering of the famously macho womanizer, until we recall that Berlusconi was a cruise ship crooner in the 1960s; in Torkia’s rendering, he still is. The music comprises a broad repertoire of finger-clicking ditties and soaring power ballads. But there’s a shift in tone for Bella’s segment, which deals with sexual exploitation: The director James Grieve and the choreographer Rebecca Howell render it in an appropriately sensitive and solemn manner, though the timbre of this sequence sails dangerously close to gooey melodrama, and may strike some as patronizing. This is tricky terrain.From left: Emma Hatton, Jenny Fitzpatrick, Torkia and Sally Ann Triplett. Throughout the show, a succession of women reproach Berlusconi in song.Nick RutterThere are some smart touches with the set design, by Lucy Osborne. The stage is filled by a steep staircase representing the courtroom steps, cleverly opening up the space for the performers to caper on multiple levels. Fitzpatrick delivers the standout vocal performance as Fama, whose parts are addressed to a camcorder synced up to the big screen in the back, as well as smaller TVs on either side. She appears onscreen in real time, complete with news graphics and captions that vividly evoke the psychological stress of personal drama played out in the media glare.Like many a puffed-up strongman, the figure of Berlusconi is ripe for satire. But Simmonds and Vaughan, the show’s writers, haven’t made the most of the comic potential in his vanity and libidinousness. The gags — including a dig at his penchant for facial filler and a somewhat puerile riff on the supposed homoeroticism of his friendship with Vladimir Putin — are mildly funny but not exactly sidesplitting.The show also suffers slightly from a lack of narrative thrust. Since everything is being chewed over in retrospect, we don’t get a sense of a personal journey unfolding. Torkia’s Berlusconi only really has two registers: the arrogant bluster that is his default mode (“I am the Jesus Christ of politics!”), and occasional moments of fretful self-doubt. After the first hour, these registers start to wear thin.With lyrics featuring pointed allusions to Donald Trump and Boris Johnson, “Berlusconi: A New Musical” is clearly trying to speak to the moment, channeling a long and distinguished tradition of lampooning demagogues that dates back to Charlie Chaplin. But the discourse on populism is saturated, to put it mildly, and this production would probably have felt more urgent about seven years ago: Its core insights, about the symbiosis between personal immorality and the corruption of the body politic, are almost self-evident by now.Either way, the point is labored. By the closing number, which urged theatergoers to “Be careful who you vote for,” the message was pretty clear. Insufficiently trenchant as satire, and not quite hilarious enough as entertainment, “Berlusconi: A New Musical” is caught between two stools. It’s a moderately enjoyable romp, but not much more. More

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      ‘Prima Facie’ and ‘My Neighbour Totoro’ Win Big at the Olivier Awards

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      The Jodie Comer-starring legal drama won best new play at Britain’s equivalent of the Tonys and an adaptation of ‘Totoro’ won six gongs — the most of any production.“Prima Facie,” a Broadway-bound play about a lawyer who represents men accused of assault, then is herself sexually assaulted, was the big winner on Sunday at the Olivier Awards, Britain’s equivalent of the Tonys.The one-woman show, starring Jodie Comer and written by Suzie Miller, was named best new play during a ceremony at the Royal Albert Hall in London. Comer was also named best actress for her performance at the West End’s Harold Pinter Theater.The awards come just days before “Prima Facie,” and Comer, transfer to New York. The show is scheduled to begin previews at the Golden Theater on Apr. 11.Its success at the Olivier Awards was perhaps unsurprising given that “Prima Facie” was a critical and commercial hit in London during its run last year. Matt Wolf, reviewing the play for The New York Times, said that Comer took a big risk making her West End debut in an “emotionally fraught solo play.” But, he added, “there’s no denying the visceral power of an evening that owes its sellout status to a theatrical neophyte who possesses the know-how of a seasoned pro.”“Prima Facie” beat stiff competition to the best new play title, including Aaron Sorkin’s adaptation of “To Kill A Mockingbird” at the Gielgud Theater; “Patriots” at the Almeida — a timely look at President Vladimir V. Putin’s rise in Russia; and “For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy” at the Royal Court, a tale of six young Black men in group therapy.Comer accepted her award, thanking “the sisterhood” who worked on the show, then giving a message to viewers online. “To any kids who haven’t been to drama school, who can’t afford to go to drama school, who’ve been rejected from drama school — don’t let anybody tell you that it is impossible,” she said.Although it won one of the night’s most coveted awards, “Prima Facie” was not the only big winner. “My Neighbour Totoro,” an adaptation of Hayao Miyazaki’s 1988 animated film, at the Barbican Theater in London, won six gongs — the most of any production — including best entertainment or comedy play, and the best director award for Phelim McDermott.The show, produced by the Royal Shakespeare Company, was a crowd-pleaser in London partly thanks to featuring several giant, fantastical puppets — including a furry Catbus that is part motor vehicle, part feline. Dominic Cavendish, reviewing the play in The Daily Telegraph, said those puppets were “worth the price of admission alone.”Other major winners included Paul Mescal, the Irish star, who was named best actor for his portrayal of Stanley Kowalski in a revival of “A Streetcar Named Desire” at the Almeida Theater.Matt Wolf, in a review for The New York Times, wrote that “Mescal brings both swagger and sensitivity to the role, in the process stepping out of the long shadow cast over this part by its stage and screen originator, Marlon Brando.”The best new musical award went to “Standing at the Sky’s Edge,” a show at the National Theater in London about the intertwined lives of the residents of a housing complex. It triumphed over several higher-profile titles including “Tammy Faye,” about the televangelist Tammy Faye Bakker, featuring music by Elton John. More

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      Review: ‘The Great British Bake Off Musical’ Is Sweet but Underbaked

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      In London, a stage show based on the popular TV series tries to capture the warmhearted appeal of the original.The first question you’re likely to ask about “The Great British Bake Off Musical” is, surely, “Is it sweet?” Such a tone, dusted with lots of sugar, has been crucial to the success of the popular TV program this new stage show adapts, and which pits amateur bakers against one another to see who can perfect the petit four or come up with the most luscious Key lime pie.And the show, which opened on Monday at the Noël Coward Theater for a limited run through May 13, really is generous-spirited. During its two-and-a-half hour running time, the musical’s likability is never in question, even if its craft sometimes is: You can’t help wishing the creators had been as exacting with their own material as some of the contestants are with their ovens.Newcomers to this milieu should know that “The Great British Bake Off” first aired in Britain in 2010 on the BBC, before moving to the commercial broadcaster Channel 4, and spawning various offshoots along the way: “Junior Bake Off,” for one, to showcase those adolescents, and younger, who have a penchant for pastry. (In the United States, the original is known as “The Great British Baking Show.”)This stage iteration, written by Pippa Cleary and Jake Brunger and directed by Rachel Kavanaugh, was first seen last summer in the spa town of Cheltenham, in the west of England, and has been put together in conjunction with Love Productions, the company behind the TV show.On home turf, the TV series has regularly made headlines, but you don’t have to be familiar with the so-called “Hollywood handshake” — the gesture of approval from Paul Hollywood, one of the judges — to grasp the terrain of the musical. Devotees of its small-screen original will note various in jokes, not to mention the visual match that has been achieved between Hollywood and Prue Leith — his bespectacled fellow judge — and the musical’s co-stars John Owen-Jones and Haydn Gwynne.Owen-Jones, right, and his fellow judge in the musical, Haydn Gwynne, left, look remarkably like the TV show’s judges Paul Hollywood and Prue Leith.Manuel HarlanBut perhaps the biggest appeal of the TV material is the cross-section of British society the competitors represent. The musical, perhaps inevitably but also rather drippily, whisks dollops of uplift into the mix. You get a comic number in which the two judges appear as dueling scones alongside life lessons elsewhere about “the recipe of me,” and it’s suggested that baking can make you feel better about yourself.An introductory sequence announces, with mock-biblical fervor, the birth of flour and sugar. And before we know it, we’re in the show’s iconic white tent — Alice Power designed not just the sets and costumes but also the cakes — and meeting the disparate group of eight bakers who will be whittled down to one winner. Their fates are accompanied by continual innuendo about soggy bottoms, spotted dicks and any other culinary double entendres that might induce a snicker (let’s not forget cream-filled buns).The self-regarding Izzy (Grace Mouat) is so sure of her success that she gets a dance number, “Obviously,” in praise of her own bravura. At the opposite end of the spectrum is the nervous chatterbox Gemma (Charlotte Wakefield), a depressive health aide from Blackpool whose climactic anthem, “Rise,” draws directly from the “Wicked” playbook of self-empowerment. In keeping with the “Wicked” theme, the older, notably fastidious Russell (Michael Cahill) speaks separately of people “coming into your life for a reason” — a familiar sentiment from the earlier show. The pie-themed musical “Waitress” hovers in the wings, as well.From left, Hassan (Aharon Rayner), Izzy (Grace Mouat) and Kim (Zoe Birkett) are some of the characters in the musical. Manuel HarlanThere’s something of a rummage-sale feel to Cleary and Brunger’s eclectic score, which draws upon such diverse sources as Cole Porter (a jaunty duet for the judges) and Stephen Sondheim: The wonderful Gwynne starts the second act with a sequined dance number that could have come from “Follies.” She also reprises the cartwheel that wowed audiences some years back in “Billy Elliot,” and when she speaks of dipping “your little finger in my raclette,” the image sounds notably lewd.Hassan (a winning Aharon Rayner), an immigrant based in Wembley, northwest London, hankers for the smells of Syria, his onetime home, while Francesca (Cat Sandison), a teacher with infertility issues, sings of how panforte and panettone are part of her Italian heritage.I wish it weren’t quite so preordained that the outspoken, thrice-married Babs (the redoubtable Claire Moore) would get a lusty showstopper in which her libido is revealed in all its power; the song’s title, “Babs’ Lament,” nods directly toward “Guys and Dolls,” a revival of which happens to be previewing across town at the moment.And as soon as we have glimpsed the widower Ben (Damian Humbley, in characteristically fine voice), it’s clear the contest will find him a companion: he’s even got a precocious 9-year-old daughter, Lily, to urge him on his amorous path, though not before she rather implausibly rattles off a list of today’s ills, the war in Ukraine among them.This musical occupies a different, more innocent world — one in which strudels are restorative and, as the show puts it, “cake is the cure.” I’m as fully on board with that message as anyone. What’s needed is more art to accompany the heart.The Great British Bake Off MusicalThrough May 13 at the Noël Coward Theater in London; bakeoffthemusical.com More

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      ‘My Neighbour Totoro’ Dominates Olivier Award Nominations

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      Studio Ghibli’s fantastical movie was an unexpected choice for a stage adaptation. Now, it is up for 9 awards at Britain’s equivalent of the Tonys.A stage adaptation of “My Neighbour Totoro,” an animated Japanese children’s movie filled with fantastical creatures, emerged on Tuesday as the front-runner for this year’s Olivier Awards, Britain’s equivalent of the Tonys.The show, which ran at the Barbican Theater in London and included numerous giant puppets, secured nine nominations for the awards — more than any other play. Those included nods for best comedy, best director for Phelim McDermott and best actress for Mei Mac as a girl who discovers a magical world near her home.The play’s high number of nominations was perhaps unsurprising given that “My Neighbour Totoro” received rave reviews when it opened last year.Matt Wolf, writing in The New York Times, said the play’s puppets were “the most endearing sight on the London stage” at the time. Sarah Hemming in The Financial Times said the Royal Shakespeare Company production was “a tender, remarkably beautiful family show that extols kindness.”Although “My Neighbour” secured the most nominations, it did not get a nod for best new play. Instead, four more grown-up dramas will compete for that title. Those include “Prima Facie” at the Harold Pinter Theater, a Broadway-bound one-woman show about sexual assault that stars Jodie Comer; “Patriots” at the Almeida Theater, a retelling of President Vladimir V. Putin’s rise in Russia; and Aaron Sorkin’s “To Kill A Mockingbird” adaptation at the Gielgud Theater.Those shows will compete with “For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy,” a play at the Royal Court in London about six young Black men who meet for group therapy.Jodie Comer’s performance in “Prima Facie” struck a chord with West End audiences and she was also nominated for best actress. She is up for that title against Mei Mac of “My Neighbour Totoro,” as well as Patsy Ferran for “A Streetcar Named Desire” at the Almeida Theater, Janet McTeer for “Phaedra” at the National Theater, and Nicola Walker for “The Corn Is Green,” also at the National.Before Tuesday’s announcement, many British theater critics had expected Emma Corrin to receive a nomination for “Orlando,” a play based on Virginia Woolf’s gender-fluid novel, at the Garrick Theater.That would have likely caused a media stir as Corrin, who is nonbinary and uses they/them pronouns, has over the past year repeatedly urged award show organizers to make their acting categories gender neutral. Last year, Corrin told the BBC that it was “difficult for me” to be nonbinary and nominated in female acting categories.Emma De Souza, a spokeswoman for the Society of London Theater, the award’s organizers, said that Corrin was considered in the best actress category, but did not make the cut. “It was an incredibly competitive year,” De Souza added.The best actor award is set to be equally hard fought. Among the nominees are the rising Irish star Paul Mescal for “A Streetcar Named Desire,” Rafe Spall for “To Kill a Mockingbird” and David Tennant for “Good.” They will compete against Tom Hollander for his role as an oligarch in “Patriots” and Giles Terera, who starred in “Blues for an Alabama Sky” at the National Theater.In the musical categories, the nominations are led by “Standing at the Sky’s Edge,” also at the National. The show, about the residents of a housing complex in the northern English city of Sheffield, secured eight nominations, including best new musical. It will compete for that title with the “The Band’s Visit” at the Donmar Warehouse and “Sylvia” — a hip-hop musical based on the life of the suffragist Sylvia Pankhurst — at the Old Vic.Those three titles will face stiff competition from “Tammy Faye,” a high-profile production at the Almeida Theater that told the story of the televangelist Tammy Faye Bakker using new music by Elton John.The winners of this year’s Olivier Awards will be announced on April 2 in a ceremony at the Royal Albert Hall in London. More

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      V&A Museum To Open David Bowie Archive

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      The London museum will house more than 80,000 items from the star’s music career at a new David Bowie Center for the Study of Performing Arts. It will open in 2025.Over a 55-year career, David Bowie redefined the essence of cool by embracing an outsider status. Now, Ziggy Stardust and all of the musician’s other personas will have a permanent home.The Victoria and Albert Museum in London will house more than 80,000 items from Bowie’s career at a new David Bowie Center for the Study of Performing Arts, the museum announced on Thursday. The center, which will be at a new outpost of the museum called the V&A East Storehouse at Queen Elizabeth Olympic Park in the Stratford section of London, will open in 2025.“With David’s life’s work becoming part of the U.K.’s national collections, he takes his rightful place amongst many other cultural icons and artistic geniuses,” Bowie’s estate said in a statement. “David’s work can be shared with the public in ways that haven’t been possible before, and we’re so pleased to be working closely with the V&A to continue to commemorate David’s enduring cultural influence.”Bowie died in 2016, two days after his 69th birthday.In a statement, the museum said that the acquisition and the creation of the center had been made possible by a combined donation of 10 million pounds (about $12 million) from the Blavatnik Family Foundation and Warner Music Group, adding that the donation would support “the ongoing conservation, research and study of the archive.” Warner Music bought Bowie’s entire songwriting catalog last year.Beyond 70,000 images of Bowie taken by the likes of Terry O’Neill, Brian Duffy and Helmut Newton, the collection includes letters, sheet music, original costumes, fashion, other photography, film, music videos, set designs, instruments, album artwork, awards, and of course, fashion.Many of those will be familiar to fans: Bowie’s ensembles worn as his alter ego, Ziggy Stardust; Kansai Yamamoto’s costumes for the “Aladdin Sane” tour in 1973; the Union Jack coat designed by Bowie and the British designer Alexander McQueen for the 1997 “Earthling” album cover.Handwritten lyrics for songs like “Fame,” Heroes” and “Ashes to Ashes” will also be on display, including examples of Bowie’s cut-up technique. The artist looked to William S. Burroughs, the postmodern author, as inspiration to cut up written text and rearrange it into lyrics.Cut-up lyrics for “Blackout” from “Heroes,” recorded in 1977 by David Bowie.The David Bowie ArchiveIn 1997, Bowie told The Times that he worked with that method “about 40 percent of the time,” which, in that year, meant using a Macintosh computer.“I feed into it the fodder, and it spews out reams of paper with these arbitrary combinations of words and phrases,” he said.Bowie’s personal writing and “intimate notebooks from every year of Bowie’s life and career” and “unrealized projects” will also be on display, many of which have never been made available to the public, the museum said.The permanent collection comes 10 years after the museum created “David Bowie Is,” a vast survey that traced the beginnings of David Jones, a saxophone and blues player growing up in London, as he became David Bowie, a transcendent figure in music, art and fashion. The traveling exhibit made its final stop in 2018 in New York, the city Bowie called home at the end of his life.“I believe everyone will agree with me when I say that when I look back at the last 60 years of post-Beatles music, that if only one artist could be in the V&A it should be David Bowie,” Nile Rodgers, a longtime collaborator, said in a statement. “He didn’t just make art. He was art!” More

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      in Theater

      On London Stages, Finding Something Fresh in Tragedy

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      New productions of “Medea” and “Phaedra” feature outstanding performances from Sophie Okonedo and Janet McTeer as women pushed to the edge.Tragedies are rarely absent from the London stage, but some defining theatrical titles don’t always deliver. It can be tricky to empathize with characters pushed to unimaginable extremes, and mythical landscapes can feel remote.What’s needed is a way of tapping into those works’ primal power afresh. It also helps to have performers with vocal and emotional range. London is offering two such powerhouses onstage right now: Sophie Okonedo and Janet McTeer, both Tony Award winners, though only Okonedo is in a production equal to her gifts.That would be the recently opened “Medea,” at the West End’s new in-the-round theater, @sohoplace, through April 22; performed in modern-dress without an intermission, Dominic Cooke’s expert production reminds us of the elemental fury at the heart of Euripides’ timeless play.The National Theater’s “Phaedra,” through April 8, is a new play from the Australian writer-director Simon Stone that draws from Euripides, Seneca and Racine. McTeer plays Helen, an anxious modern-day politician undone by love, as Phaedra was before her. But the tone wavers on the way to an attenuated close; the show runs nearly three hours.“Medea,” by contrast, charts a merciless 90-minute descent into the abyss, using the 1946 Robinson Jeffers adaptation from the Greek that is the play’s preferred version on Broadway.Daniels plays all the production’s male roles, including Medea’s husband, Jason.Johan PerssonWe hear the sorceress Medea before we see her, pleading for death from somewhere beneath the stage. Her husband, the explorer Jason, has transferred his affections to the daughter of the king of Corinth, leaving Medea to fester in grief and anger, and to plot literature’s most celebrated infanticide. Those children she will murder first appear onstage sweetly eating ice cream cones‌‌ — but that innocence won’t last.When Okonedo does appear, sunglasses hide the eyes. “I did not know I had visitors,” she says, deadpan, taking in the playgoers seated on all sides. (The intimacy of this circular theater opened last fall by the impresario Nica Burns is among its assets.) The effect draws us further into Medea’s plight, rendering us therapists or co-conspirators — or perhaps both.The play’s chorus consists of three women of Corinth seated in the audience who speak up now and again to voice their alarm. But Cooke’s primary innovation is to cast Ben Daniels, a London stage veteran, as all the play’s men. Seen before he speaks, Daniels circles the perimeter of the auditorium in silent slow-motion before stepping into the space to play a smugly dismissive Jason, or any of the other roles. The actor puts a deliciously camp spin on the Athenian king, Aegeus, in marked contrast to Jason’s knife-wielding machismo.The suggestion is of a male-dominated world in which the high-born Medea is doomed by her gender. Her fury, though, is directed at Jason specifically, and she commits the barbaric murder of their sons unseen, emerging afterward in embittered triumph.Throughout, Okonedo displays the suppleness of thought, and the wit, with which Medea surely once bewitched Jason, and the remorseless logic that has led to her monstrous deeds. Medea may go to extremes unknown to most of us, but this production keeps you on her side every step of the way.Chloe Lamford’s set for “Phaedra” at the National Theater encases the action in an revolving cube.Johan PerssonIt’s easy to imagine a younger McTeer as Medea, a role well matched to this fearless actress’s elegantly smoky voice and imposing physicality. As the sleekly attired Helen in “Phaedra,” she suggests a woman of wealth and power who knows how to work a room.That self-assurance is why it’s startling to watch her composure crack across a fitful evening that might work better if the production felt less remote. It’s a challenge to connect with the characters through the revolving cube of Chloe Lamford’s enclosed set.Not only must the actors be heavily amplified to be heard, but there are long blackouts while we wait for the various locations to be revealed — among them, a London restaurant, a field of reeds in the English countryside, or the rough Moroccan terrain of the play’s end.The characters at the start talk very fast, as if challenging the audience to keep up. But the gabble ceases with the unexpected appearance of Sofiane (Assaad Bouab) whose father, Ashraf, Helen’s lover, was killed in a car crash; Helen was in the vehicle at the time of the incident, which occurred when Sofiane was still a child.In “Phaedra,” Janet McTeer, left, plays Helen, who has an affair with the son of a former lover, played by Assaad Bouab.Johan PerssonHelen transfers her dormant feelings for Ashraf to the now-grown, and flirtatious, Sofiane, unaware that he is soon also bedding Helen’s daughter, Isolde (Mackenzie Davis, in an accomplished stage debut).The play surprises with its bursts of humor. Playing Helen’s sharp-tongued diplomat husband, the wonderful Paul Chahidi brings whiplash timing to a series of stinging takedowns of his philandering wife, who revels in feeling young again. (It would be helpful, though, to know more about Helen’s political life than the play lets on.)But for all McTeer’s considerable magnetism, this “Phaedra” feels like a messy story of romance gone wrong, modishly dressed up. Helen and her world may belong to the here and now, but it’s the centuries-old tale of Medea that really strikes at the heart anew. More