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      in Music

      Met Opera Protest: Union Rallies Against Proposed Pay Cuts

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      The Metropolitan Opera hopes to reopen in September after its long pandemic closure, but simmering labor tensions have called that date into question.As New York prepares for the long-awaited reopening of its performing arts sector, with several Broadway shows putting tickets on sale for the fall, it is still unclear whether the Metropolitan Opera will be able to reach the labor agreements it needs to bring up its heavy golden curtain for the gala opening night it hopes to hold in September.There have been contrasting scenes playing out at the opera house in recent days.On the hopeful side, the Met is preparing for two concerts in Queens on Sunday — the company’s first live, in-person performances featuring members of its orchestra and chorus and its music director, Yannick Nézet-Séguin, since the start of the pandemic. And it recently reached a deal on a new contract with the union that represents its chorus, soloists, dancers and stage managers, among others.But the serious tensions that remain with the company’s other unions were put on vivid display outside Lincoln Center on Thursday, as hundreds of union members rallied in opposition to the Met’s lockout of its stagehands and management’s demands for deep and lasting pay cuts it says are needed to survive the pandemic. The workers’ message was clear: their labor makes the Met what it is, and without them, the opera can’t reopen.The Met’s stagehands have been locked out since December. James J. Claffey Jr., president of their union, Local One of the International Alliance of Theatrical Stage Employees, said that the season cannot open without them.Sara Krulwich/The New York Times“That’s not the Met Opera,” said James J. Claffey Jr., president of Local One of the International Alliance of Theatrical Stage Employees, which represents Met stagehands, pointing over to the opera house. “The greatest stage, the largest stage — it’s empty. It’s nothing without the people that are right in front of me right now.”Masked stagehands, musicians, ticket sellers, wardrobe workers and scenic artists packed the designated rally space, greeting each other with elbow bumps after more than a year of separation. They wore union T-shirts and carried signs with messages like, “We Paint the Met” and “We Dress the Met.” The same chant — “We are the Met!” — was repeated over and over throughout the rally.The protest made clear the significant labor challenges that the Met must overcome to successfully return in the fall.Although the opera season is not scheduled to begin until September, the company will need to reach agreements with Local One, which represents its stagehands, much sooner to load in sets and hold technical rehearsals over the summer. The Met has been hoping to bring a significant number of stagehands back to work beginning in June, but Claffey said union members were holding out for a labor agreement.The Met locked out its stagehands in December after contract negotiations stalled. The union has been fiercely opposed to the Met’s assertion that it needs to cut the payroll costs for its highest-paid unions by 30 percent, with an intention to restore half of those cuts when ticket revenues and core donations returned to prepandemic levels (the Met has said the plan would cut the take-home pay of those workers by about 20 percent).“Regardless of the Met’s plans, Local One is not going to work without a contract,” Claffey said in an interview. “There’s a lockout when you didn’t need us, but when you really need us, it’s going to transition from a lockout to a strike.”Although the Met recently struck a deal with the union representing its chorus, tensions remain high with the unions representing its orchestra and stagehands.Sara Krulwich/The New York TimesThe Met said in a statement on Thursday that it had “no desire to undermine” the unions it works with but that it had lost more than $150 million in earned revenues since the pandemic forced it to close, and that it needs to cut costs to survive. The statement said the Met had “repeatedly” invited the stagehands’ union to return to the bargaining table.“In order for the Met to reopen in the fall, as scheduled,” the statement said, “the stagehands and the other highest paid Met union members need to accept the reality of these extraordinarily challenging times.”The rally was organized by Local One, which represents the Met’s roughly 300 stagehands. Speaking outside the David H. Koch Theater because metal barriers blocked the path to the Metropolitan Opera House, union leaders railed against the monthslong lockout that has prevented its workers from returning to the Met in full force.“A lot of us stagehands have had to pivot or leave the industry entirely,” said Gillian Koch, a Local One member at the rally. “And we are showing up to say that is not OK, and we all deserve to have our careers after this pandemic.”Tensions rose even higher when the stagehands learned that the Met had outsourced some of its set construction to nonunion shops elsewhere in this country and overseas. (In a letter to the union last year, Peter Gelb, the Met’s general manager, wrote that the average full-time stagehand cost the Met $260,000 in 2019, including benefits; the union disputes that number, saying that when the steady extra stagehands who work at the Met regularly, and sometimes full-time, are factored in, the average pay is far lower.)The stagehand lockout has not been absolute. Claffey said that at the Met’s request, he has allowed several Local One members to work at the Met under the terms of the previous contract, particularly to help the union wardrobe staff who are on duty.But although the Met has now reached a deal with the American Guild of Musical Artists, which represents its chorus, it has yet to reach one with Local 802 of the American Federation of Musicians, which represents the orchestra. Both groups were furloughed without pay for nearly a year after the opera house closed before they were brought back to the bargaining table with the promise of partial pay of up to $1,543 per week.Adam Krauthamer, the president of Local 802, pointed out that because of the Met’s labor divisions, other performing arts institutions were ahead of the Met in reopening.“Broadway is selling tickets; the Philharmonic is doing performances; they’re building stages right before our eyes,” Krauthamer said in a speech at the rally. “The Met is the only place that continues to try to destroy its workers’ contracts.”The rally had the backing of several local politicians who spoke, including Gale Brewer, the Manhattan borough president, and the New York State Senators Jessica Ramos and Brad Hoylman, who had a message for the Met’s general manager: “Mr. Gelb, could you leave the drama on the stage, please?” More

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      in Theater

      As Broadway Plans Its Return, ‘Hamilton’ Will Require Vaccines Backstage

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      With 23 shows setting Broadway reopening dates, audiences can expect full crowds, masks and flexible ticketing policies. But not lower prices.As Broadway prepares for a fall reopening, the “Hamilton” producer Jeffrey Seller said he will mandate that all of his show’s employees, including the cast and the backstage crew, be vaccinated against the coronavirus.Seller is the first producer to make such a declaration publicly, and it is not clear whether any of Broadway’s many labor unions could or would challenge such an effort. Brandon Lorenz, a spokesman for the Actors’ Equity Association, said of a vaccination requirement, “That would be something we would find acceptable, as long as the employer complies with the law.”Broadway’s cast and crew work in very close quarters in tight backstage spaces, and actors onstage are extensively exposed to one another’s exhalations because they are unmasked, speak and sing loudly in proximity, dance in partnered and group configurations, and in some shows kiss or fight.Seller’s plan comes as many American colleges and universities say they will require students to be vaccinated, and employers are wrestling with whether to do the same.Broadway producers, many of whom announced resumption plans over the last week, are still figuring out details, including what safety measures will be necessary come fall. But social distancing is not expected, and ticket prices, from early reports, are not going down.Seller, who said he does not plan to require vaccination for patrons, disclosed his intentions in a joint interview with Thomas Schumacher, who as president of Disney Theatrical Productions is the producer of “The Lion King,” and David Stone, the lead producer of “Wicked,” in which the three discussed their decision to reopen their productions — all popular juggernauts — on the same night, Sept. 14.Neither Schumacher nor Stone said whether they would require vaccinations for cast or crew.The trio said they and others started talking a week or two after Broadway shut down, trading tips and comparing coping strategies. Those periodic check-ins continued for more than a year, slowly pivoting to reopening plans. Then Stone made a suggestion in a call with Seller and Schumacher: What if, instead of jockeying for position, their shows all opened on the same night?A fan photographing the display outside “Hamilton,” which is one of four Broadway shows that will raise the curtain on Sept. 14. Jutharat Pinyodoonyachet for The New York Times“The three of us recognized that by joining together, the sheer announcement would get more play, and that’s good for everybody,” Schumacher said. Seller took the idea to his creative team, which, he said, “were so strongly in support of us holding hands and going together.”So on Tuesday, “Hamilton,” “The Lion King” and “Wicked,” which are regularly among Broadway’s biggest box office draws, jointly announced that they would open on a single night — a date they chose in consultation with industry leaders and government officials and based on an assessment of when vaccination rates will be high enough, and infection rates low enough, to do so safely.They are planning staggered curtains — 7 p.m. for “Wicked” (Glinda’s opening line: “It’s good to see me, isn’t it?”); 7:30 p.m. for “The Lion King” and 8 p.m. for “Hamilton” — to allow dignitaries and journalists to stop by them all.“It made sense, and it frankly was a very effective way to communicate,” Schumacher said. “It said Broadway is coming back.”Their plan became the focal point for Broadway’s reopening, as Gov. Andrew M. Cuomo declared Sept. 14 the date on which Broadway shows would start to return at 100 percent seating capacity.But not everyone was ready to defer to the troika.“The Phantom of the Opera,” with bragging rights as Broadway’s longest-running show, barged out of the gate with the first post-Cuomo reopening announcement, slated for October. “Chicago,” which touts itself as the longest-running American musical (“Phantom” originated in Britain), crashed the Big Three party, declaring it would open on the same night, but announcing it four days earlier.“Come From Away” opted to seize some of the attention, buying a TV ad spot during the “Good Morning America” segment in which the bigger shows announced their plan. And at least one musical is still hoping to get a jump on “Hamilton,” “The Lion King” and “Wicked” by opening even earlier.But there’s no question that the trio’s collective action drew national attention to Broadway’s planned return. As the delayed 2021-22 theater season starts to take shape, 23 shows have already announced performance plans, and more are expected soon.The nine shows that have chosen to start performing in September are well-established brands confident that they can find an audience even at a time when tourism is expected to be soft. They include “Six,” which has a strong tailwind coming out of London; “American Utopia,” a return engagement for David Byrne’s sold-out dance concert; as well as “Come From Away,” “Moulin Rouge! The Musical” and another Disney production, “Aladdin.”The long-running revival of “Chicago” announced its Sept. 14 reopening ahead of three other major shows whose producers had agreed together to return on that date.Jutharat Pinyodoonyachet for The New York TimesRiskier shows and those with more niche audiences are holding off a little longer. The nonprofits that present on Broadway are waiting at least until October to get started, as are many of the new commercial productions.Even some big draws are opting to give consumers more time to get comfortable with the idea of gathering in indoor crowds: “Dear Evan Hansen,” for example, is waiting until to December to resume, and two big-budget new productions, a Michael Jackson biomusical called “MJ” and a starry revival of “The Music Man,” are aiming to open in February, although both are planning to start performances in December.What do the first round of announcements tell us about post-pandemic Broadway?Ticket-buyers are being told they will be required to wear face masks (although it’s not clear how changing advice from the Centers for Disease Control and Prevention might affect that expectation). Theaters will have upgraded HVAC systems with virus-trapping filters. Most ticketing will be digital. And theaters are reserving the right to impose a variety of safety protocols — in an explanatory note similar to that posted by other shows, “Ain’t Too Proud” says “protocols may include mask enforcement, increased cleaning and ventilation/filtration enhancements, vaccination or negative test verification, and more.”Prices, at least so far, are similar to what they were prepandemic, although premium prices are somewhat lower. The priciest seat at “Hamilton,” for example, is now $549, down from $847 before the pandemic.But it will be far easier to cancel or exchange tickets.Disney, in particular, has taken steps to make ticket-buying less onerous: The company said it would pay all Ticketmaster fees for performances through Aug. 7, 2022. (High service fees often irk consumers; a $99 ticket to “Tina,” for example, costs another $14.70 in fees.) Disney said it would also allow free ticket exchanges and refunds, and would offer package deals for those who buy seats at both “Aladdin” and “The Lion King.”How often will shows perform? The Broadway League and labor unions, concerned about the possibility of soft demand for some productions, have been discussing whether to allow shows to come back with fewer than eight performances a week, and prorated salaries.The issue remains unresolved, but a few shows are now marketing a reduced schedule. “Chicago” and “Dear Evan Hansen,” for example, are offering tickets to just five shows many weeks; “Six” is listing mostly, um, six.For the big shows, early sales have been strong, producers said. “Yesterday, we had hope,” Seller said. “Today we have confirmation.”Among the early purchasers: Claire Grimble, 51, of Belmont, Mass., who bought tickets to “Jagged Little Pill” as soon as that show, featuring the songs of Alanis Morissette, went back on sale. She said the cast album had helped her teenage daughter, who had seen the show in 2019, get through the pandemic.“We booked tickets for the first weekend it is open,” she said. “We can’t wait.” More

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      in Television

      That ‘Ziwe’ Look

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      On her new Showtime series, Ziwe Fumudoh’s feminine-with-a-wink style enables her sharp comedy.In the first episode of her new variety series on Showtime, the comedian Ziwe Fumudoh asks the writer Fran Lebowitz: “What bothers you more: slow walkers or racism?”“This character is hyperbolic,” Ms. Fumudoh said a few days before the premiere of “Ziwe.” “It’s only hyperbole that somebody would ask that question. And you see that reflected in how I dress.”Ms. Fumudoh was explaining how the wardrobe for the series came together: a tornado of pink that has sucked up a few feather boas, a mountain of crystal embellishments and an assortment of fuzzy hats, plastic visors, tiny sunglasses and opera gloves. When the costume designer Pamela Shepard-Hill would add a ring to an outfit, Ms. Fumudoh would ask for six more, “and then let’s do a cuff that’s entirely made of diamonds,” she said.On “Ziwe,” whether during a confrontational interview or parody music video, Ms. Fumudoh plays an audacious, quick-witted consumerist, whose attitude and armor is inspired by an unholy marriage of Dionne from “Clueless” and Paris Hilton in “The Simple Life,” along with a few other ultrafeminine pop culture figures of the 1990s and aughts. (In a sketch about plastic surgery, she wears matching pink sweatpants and a sleeveless crop top, wordlessly making a reference to Amy Poehler’s desperate mom from “Mean Girls.”)As a comedian who became famous for making people uncomfortable with questions about race and class, Ms. Fumudoh, 29, uses fashion like a weapon, creating an air of innocence with her Delia’s catalog looks, then slicing through it with the sharp heel of a Barbie stiletto.She is also an exceptionally physical performer, writhing and jumping through her musical numbers, whether channeling a jazzy “Chicago” siren or a girl-group member, circa 1999. Extensive legs-in-the-air choreography had to be taken into consideration when planning her ensembles, Ms. Shepard-Hill said.Ms. Fumudoh, in a LaQuan Smith catsuit, rose to prominence on Instagram Live, wearing equally bold outfits and makeup.Greg Endries/Showtime“We would have fittings, and I would be like, ‘OK, do your choreography,’” she said. “Then instantly: ‘That’s inappropriate. Take that off. That’s actually not OK for Showtime.”For the music videos in particular, hyperbolic Ziwe borrows from the real Ziwe’s closet. In a song called “Stop Being Poor” (a joke, in Episode 3, about people who believe being poor is a choice), Ms. Fumudoh wears a skintight all-crystal minidress by Aidan Euan of Akna.“How absurd is it to have a dress that luxurious in a time like this?” she said. “It so encapsulates the idea of ‘Stop Being Poor’ that I got it for ‘Stop Being Poor’ before we even wrote the song ‘Stop Being Poor,’ when I just knew that it was something I wanted to do.”In the 1920s-inspired number “Lisa Called the Cops on Black People,” she wears her own off-the-shoulder black velvet-and-mesh catsuit by LaQuan Smith.When putting together a mood board for the show, Ms. Shepard-Hill included iconic — a favorite “Ziwe” adjective — models like Donyale Luna and Naomi Campbell, as well as rappers like Rico Nasty and Saweetie. She included Josephine Baker, the music-hall star and World War II spy, too.“It was a real range of women that span time but are all iconic in their visuals, iconic in their style and sensibility,” said Ms. Shepard Hill, 37, who is also a stylist and instructor at Parsons School of Design.But in creating her wardrobe, Ms. Fumudoh was also thinking about the white comedians who dominate late-night TV and how to portray herself as the opposite of the suit-wearing men she calls “Jimmy, Jimmy, John, John,” whose wood-heavy sets are “really, really masculine — all blues and blacks and sharp images.”Ms. Fumudoh credits “Legally Blonde,” Rihanna and Lindsay Lohan (among others) as influences on her character’s style.Greg Endries/Showtime“If all of late night is painted with masculinity, my show is hyper-feminine,” she said. “I wear a lot of sparkles. You would never have seen John Oliver in a choker.“When I was growing up, and especially when I first started in media, the idea was to downplay your femininity. If a woman wants to be taken seriously, she wears glasses and pants and she talks with a lower voice like she works for Theranos.”On the wall of the set where Ms. Fumudoh conducts her interviews, there’s a large photo of a young Oprah Winfrey, who deeply influenced “Ziwe,” Ms. Fumudoh said. The Meghan Markle and Prince Harry interview was broadcast the night before the team began cutting the show, and the drama of it “really shaped the way we framed every episode.” It’s not a stretch to imagine Ziwe delivering the same scene-stealing “silent or silenced” line.There’s something else about the plastered photo of Ms. Winfrey that feels tied to “Ziwe”: In it, she’s wearing pink and pearls. Early in her career, Ms. Winfrey found a way to ask tough questions while communicating her femininity.In the first episode of “Ziwe,” when Ms. Fumudoh sits across from Ms. Lebowitz, Ms. Fumudoh wears a short black blazer dress with electric pink lapels, and her own thigh-high chunky-heel leather boots. It’s not a designer piece; it’s available at AD Los Angeles for $149.Despite the opulent aesthetic of “Ziwe,” the costume budget was somewhat limited, in part because it’s a new show, Ms. Shepard-Hill said. The dream, if there’s a second season? “A whole in-house team, where everything could be custom-built from head to toe,” she said.The blazer dress outfit was originally intended for a sketch in which Ziwe, channeling a billionaire Marilyn Monroe acolyte, announces her candidacy for New York City mayor. (“Gone are the days of old white men abusing the office of the mayor to do crooked favors for their ugly friends. Because I don’t have any friends, and I only do favors for myself.”)But Ms. Fumudoh felt strongly about wearing it for the first episode instead, using it to set that subversive anti-late-night host tone for the series.“That pink lapel is such a splash accent that it really captures what the show is,” she said. “All the outfits are telling a story in, like, 19 different ways, beyond the actual text that we write and say.” More

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      in Theater

      Broadway Is Reopening. But Not Until September.

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      Even as New York City begins to reopen this summer, Broadway will not resume performances until Sept. 14. Here’s why.Gov. Andrew M. Cuomo says that most pandemic capacity restrictions will ease in two weeks. Mayor Bill de Blasio says he wants the city to fully reopen on July 1. But Broadway, a beacon for tourists and an engine for the economy, is not quite ready to turn on the stage lights.Most shows are not planning performances until September or later. But there are signs of life: Mr. Cuomo said Wednesday that Broadway shows would start selling tickets for full-capacity shows with some performances starting Sept. 14.Why the four-month wait? With as many as eight shows a week to fill, and the tourists who make up an important part of their customer base yet to return, producers need time to advertise and market. They need to reassemble and rehearse casts who have been out of work for more than a year. And they need to sort out and negotiate safety protocols.But the biggest reason is more gut-based: individually and collectively, they are trying to imagine when large numbers of people are likely to feel comfortable traveling to Times Square, funneling through cramped lobbies and walking down narrow aisles to sit shoulder-to-shoulder with strangers. Most Broadway shows lose money even in the best of times, so producers say there is no way they can afford to reopen with social distancing, given the industry’s high labor and real estate costs.“We’ve never done this before,” said Victoria Bailey, executive director of TDF, the nonprofit which oversees the TKTS ticket-selling booth in Times Square. “The last time the theater industry opened from a pandemic, Shakespeare was still writing new plays.”Broadway’s emerging timeline, which is constantly being re-evaluated, serves as a reminder that New York’s rebound from the pandemic will be slow and gradual. Edicts from elected officials are only one factor in reopening: every economic sector will have to figure out when and how to restart, and every individual will have to figure out when and how to re-emerge.Broadway, home to 41 theaters, drew 14.6 million people who spent $1.8 billion on tickets in 2019. The coronavirus pandemic forced them all to close March 12, 2020, and reopening is clearly going to be far more complicated than shutting down. One of the biggest challenges the industry faces is the dearth of tourists, who made up roughly two-thirds of the Broadway audience before the pandemic struck.“We had such a good year before the shutdown, but now we need the ability to reignite the energy that we were sailing on,” said Tom Hulce, a lead producer of “Ain’t Too Proud,” a jukebox musical about the Temptations. “We basically are starting from zero advance, as most shows are, and now we need time to reach out and build back up.”“Ain’t Too Proud,” a jukebox musical about the Temptations, had a good year before it closed, but needs time to build back its audience.Sara Krulwich/The New York TimesAbout 30 shows are currently planning to begin performances on Broadway before the end of 2021 — approximately half starting in September, and the rest spread out across the year’s final quarter.Among the first to go on sale following the governor’s announcement: “The Phantom of the Opera,” Broadway’s longest-running show, which said Wednesday evening that it would put tickets on sale Friday in anticipation of resuming performances Oct. 22. “Emphatically: Yes, we are coming back,” said the show’s composer, Andrew Lloyd Webber.The three juggernaut musicals that were the biggest box office grossers before the pandemic — “Hamilton,” “The Lion King” and “Wicked” — have been planning to jointly announce next week that they expect to reopen in mid-September. Those shows, with their well-known titles and fervent fans, face lower hurdles than others in reintroducing themselves to potential ticket buyers, and they are also the most able to withstand financial risk.A number of other musicals are also hoping to open in September, including the long running “Chicago,” the David Byrne concert show “American Utopia,” Disney’s “Aladdin” and the inspirational Canadian hit “Come From Away.” Each is confident they can find an audience even as some forecasts suggest that it could be several years before tourism fully recovers.“I do think there’s going to be a real push to reach out to the tristate area, to day-trippers, and to locals,” said Sue Frost, a lead producer of “Come From Away.” “But does the pent-up demand explode and then go dormant? If we don’t put our toe in the water, we won’t know.”The longest running show in Broadway history, “The Phantom of the Opera,” which opened in 1988, said it will resume performances on Oct. 22.Sara Krulwich/The New York TimesThere remain many uncertainties. Will masks be required for patrons? (Probably, at least at first.) Will performers sign autographs at the stage door? (Probably not, at least for a while.) Will vaccinations be required? (Governor Cuomo said he would prefer that, but said it would be up to the theater industry to decide. “Are you willing to go into an indoor theater and sit there for two hours next to a person who you don’t know if they are vaccinated or unvaccinated?” he asked. And “Phantom,” in its announcement, said protocols could require vaccination or negative test verification.)Even the frequency of performances is still to be determined. The Broadway League and several labor unions have been talking about the possibility of opening with fewer than the customary eight shows a week. That would mean lower pay for cast and crew, a concession they are likely to consider only if theater owners take the same percentage cut in rent.Pricing practices are expected to be fluid. Several producers said they expect to start selling tickets at prices similar to those in place before the pandemic, but that they could adjust depending on what demand looks like. One change that seems certain in the post-pandemic era: more liberal refund policies. (“Phantom,” for example, said all tickets could be refunded or exchanged until two hours before a performance.)“There’s never been a time when all the tickets have basically gone on sale at once, so there’s going to be a lot of learning,” said Brian Fenty, the chief executive of TodayTix, which runs a popular ticket-selling app.Every show faces casting complications, because most, if not all, contracts with actors have expired and will need to be renegotiated. Some performers need to recondition their bodies or their voices. Some are dealing with lingering effects of Covid. Some ensemble members may decide that life in, say, Nebraska is actually better than life in New York. Some child actors — and there are children in the casts of a half-dozen shows — have aged out of their roles. Elizabeth Stanley, a star of “Jagged Little Pill,” is pregnant. And Karen Olivo, whose character is central to “Moulin Rouge!,” issued a critique of Broadway’s priorities and the industry’s lack of response to abusive behavior and said she would not return.Karen Olivo of “Moulin Rouge!” decided during the pandemic that she does not intend to return to Broadway.Sara Krulwich/The New York TimesBroadway has been rocked not only by the pandemic, but also by the unrest over racial inequity that coursed through the country last year after George Floyd and Breonna Taylor were killed by police.All of the new plays announced for Broadway this fall are by Black writers. Two are commercial productions — Keenan Scott II’s “Thoughts of a Colored Man,” about a single day in the life of seven Black men in Brooklyn, and Antoinette Chinonye Nwandu’s “Pass Over,” about two Black men trapped by existential dread in a society where too many Black people are killed by police.“We are leaning in to the conversation that’s happening in America,” said Brian Moreland, a lead producer of “Thoughts of a Colored Man,” which is aiming to open in October.There will also be three nonprofit productions of plays by Black writers on Broadway: “Clyde’s,” a new play by Lynn Nottage presented by Second Stage; “Lackawanna Blues,” a one-man show by Ruben Santiago-Hudson presented by the Manhattan Theater Club; and “Trouble in Mind,” a classic play by Alice Childress getting its first Broadway production via the Roundabout Theater Company.“It’s been a really hard year for the not-for-profits — we’re all suffering, and we all have deficits,” said Carole Rothman, the artistic director of Second Stage, who said she hopes to start performances of “Clyde’s” in November, after opening her smaller Off Broadway stage a little earlier. “I’m an optimist,” she said. “Definitely there’s going to be an audience chomping at the bit to see theater.” “Lackawanna Blues,” a one-man show by Ruben Santiago-Hudson, standing, is one of several works by Black playwrights coming to Broadway.Sara Krulwich/The New York TimesA handful of shows are not expected to return until 2022. The most prominent among them is the two-part play, “Harry Potter and the Cursed Child,” which is rethinking its length and structure before deciding how and when to reopen. And plans for a pair of shows produced by Scott Rudin, “To Kill a Mockingbird” and a revival of “West Side Story,” are unclear following his decision to step back from active involvement after a series of news reports detailed his bullying behavior toward employees and collaborators.Expect at least four new Broadway musicals to open this fall, including “Six,” the concert-style British pop show about the ill-fated wives of King Henry VIII, which was just 90 minutes from opening when theaters closed, as well as “Mrs. Doubtfire,” “Diana” and “Flying Over Sunset.” And a fifth new musical — “MJ,” about a chapter in the life of Michael Jackson — is planning to start performances late this year.The lead producer of “Phantom,” Cameron Mackintosh, said the return of theater is essential for the cultural and economic life of both New York and London, but acknowledged that much is unknown.“No one is taking this for granted, and no one is assuming we’re going back to what it was pre-Covid,” he said. “We need to be completely optimistic, but also pragmatic, because none of us have been in this situation before.” More

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      in Theater

      A Tireless Actress, Back at the Scene of the ‘Crime’

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      Before the pandemic, Catherine Russell had missed only four performances of an Off Broadway perennial since 1987. She was onstage for its reopening.On Sunday, before a small, masked, spaced-apart audience at the Theater Center, the most persistent show in New York made a return after what might be described as — in the scheme of things — a brief intermission.Warren Manzi’s “Perfect Crime” opened on April 18, 1987, and stubbornly stayed put. The unflashy murder mystery has remained more or less the same as everything changed around it. It took a pandemic to shut the show down for 13 months.Until then, Catherine Russell, now 65, had missed only four performances in the lead role of a possibly murderous psychiatrist. She is also the general manager of the Theater Center, which is also the venue for “The Office: A Musical Parody.” That show is running again, too; Russell hands out tickets at its box office.“Perfect Crime” was the first Off Broadway show with a live audience to open with approval from Actors’ Equity. New York Mayor Bill de Blasio spoke before Sunday’s show, telling theatergoers, “The show must go on.” Russell has been outspoken in her belief that the show might have gone on much sooner.After her 13,524th curtain call, Russell selected a familiar spot in her book-lined office onstage to talk about 34 years of “Perfect Crime.” These are edited excerpts from the conversation.Congratulations on reopening. How does it feel to be back?It’s wonderful being onstage in a room full of people. I value that so much, and this is what I always wanted to do. I’m selling the tickets before the show to the other show. I get offstage, and I go downstairs and take the garbage out of the dressing rooms on the third floor. Occasionally I plunge a toilet. I love every part of it.I’m a person who likes stability who chose a field that wasn’t very stable. But I’ve been able to have a fairly stable life in the theater.What was it like to suddenly lose that stability last year?I was fine! I missed being onstage, but it was fine not doing it. I didn’t dream about it.You weren’t itching to do a version on Zoom.Oh God no. I went to the theater every day to work. It’s a few blocks from my apartment.If I were not near a theater, I think I would have missed it. But I was still here, in my home away from home, teaching acting privately, and working toward reopening. We found extra unused paint and repainted walls unusual colors, fixed seats, Marie Kondo-ed the backstage areas.I did a lot of research on how to make it safe, and spent a lot of time trying to figure out how, not just for me to get back onstage, but for theaters to open again in New York. We have our Atmos air scrubbers over there. It’s very safe here.Russell, as a psychiatrist, with costar Patrick Ryan Sullivan in the murder mystery.The Theater CenterYou also organized a lawsuit against the city and state, pushing for reopening?I felt really strongly that everything needed to be closed down and I was fine with that. But then things started reopening. Restaurants were open, gyms were open. Bowling alleys is what pushed me over the edge. I have nothing against bowling, but if you put your fingers in these holes and wear rented shoes, why can’t you go to the theater? It was nothing malicious, but theater fell through the cracks.The suit is still going on. We’re pushing for 50 percent capacity. I think we will prevail.Mr. de Blasio was here tonight. Did you bring this up with him?No. I don’t know if he knows that I’m suing him. I’m grateful that he and [Gov. Andrew] Cuomo let us open. But I’d like to be more open.I’m also raising money to convert a garage down the street into a five-theater complex. We need more Off Broadway theaters, especially now after Covid. Smaller theaters are going to be more practical — it’s a lot easier to raise money for an Off Broadway show than a Broadway show. And I really think we need more midtown theaters that are clean and safe, and Covid-safe, that people feel comfortable going to. I built this place 15 years ago. I didn’t know what the hell I was doing. So I kind of want to take what I learned here and apply it.You must have missed interacting with audiences.In normal times, I love talking to people after the show and hearing what they thought about it. Occasionally someone will wait for me afterward and say: “You know what? I’m a librarian and I’ve never missed a day of work.” That sort of mentality, showing up to work every day, strikes a chord in many people. They admire that.There are no times when your heart’s not in it?People sometimes come thinking, She’s going to be phoning it in. And I’m kind of like, Screw you! You can think I’m stupid or something for doing it, but I am not phoning it in. I’ve done it when I didn’t feel well, I was really tired, when I was grieving horribly. But honestly, if I thought that I was phoning it in, I would say it’s time to go.“She’s a really complicated character, and it’s fun to find different aspects of this character as I’ve gotten older,” Russell says.John Taggart for The New York TimesDo you feel you’ve missed out on anything because of your commitment to the show? There must have been a few refused dinner invitations over the years.I was actually engaged to somebody else when I first started doing “Perfect Crime.” He said it ruined his life. He did not want to be married to somebody who would be onstage eight times a week. Though I didn’t know the play was going to run this long … obviously.But I was blessed to eventually be married to somebody who understood it. We got married at City Hall at 11 o’clock and had lunch at The Palm. Then I went back to work and he took a nap, and we were both really happy.I notice there’s a prop book of the complete works of William Shakespeare there. Do you ever fantasize about doing another play eight times a week?I’m happy in this play. She’s a really complicated character, and it’s fun to find different aspects of this character as I’ve gotten older. I haven’t gotten bored doing it.One good thing about doing a play like this, it lets out whatever you’ve been feeling during the day. I can cry onstage, pick myself up, walk off the stage, and whatever I’ve been feeling is gone. Do you know what I mean? I don’t want to say it cleanses the soul. That sounds pretentious. But it’s a good way to use all the stuff that’s happened to you in your life.Does the character feel different to you today?I think that my performance is a little different after the year that we’ve had. At the end of the play, I used to fall apart more. But she pulls herself together. She’s a little steelier, a little stronger. More

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      Head of New York Theater Workshop to Depart in 2022

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      James C. Nicola, who balanced provocative programming with shows aimed at Broadway, will have served 34 years as artistic director.As the New York theater world points toward reopening, one major force within its nonprofit sector — and a central figure in its often lucrative collaborations with Broadway — is preparing to walk away.James C. Nicola, the artistic director of New York Theater Workshop, announced on Friday that he will step down in June 2022. At that point, he will have spent 34 years — nearly half his life — at the off-Broadway theater, which spawned the once-in-a-lifetime hit musical “Rent” and grew under his leadership into a steady home for provocative fare by the likes of Caryl Churchill, the Five Lesbian Brothers and the director Ivo van Hove.“I’ve been around long enough to see some of my colleagues carried out of their jobs in a pine box,” Nicola, 71, said on Thursday. “I didn’t want to go that route.”His announcement comes at a time when theaters in New York are grappling with numerous internal and external pressures. Besides the protracted closures related to Covid 19, which has wreaked havoc on theaters’ finances, several groups of theater artists who are Black, Indigenous or people of color have pointed out the overwhelmingly white and male demographics of their artistic leadership, most notably in the “We See You, White American Theater” manifesto that came out in July 2020.One of its demands was that theater leaders should view it as “an act of service to resign” if they have served in the role for more than 20 years — a benchmark that Nicola reached when George W. Bush was president. Nicola is the first prominent New York artistic director to announce his departure since then, and the process of replacing him will undoubtedly be closely watched.Asked about his replacement, Nicola said he would “love to see someone who has the trust and faith of all the constituencies of the community.”Unlike many artistic directors, Nicola was not primarily a stage director himself. He came to New York Theater Workshop in 1988 after stints in the New York Shakespeare Festival’s casting office and at Arena Stage in Washington.In recent years, the workshop has seen several works transfer to Broadway from its airy East Fourth Street theater, including the Tony Award-winning musicals “Once” and “Hadestown”; the acclaimed personal-meets-political memoir “What the Constitution Means to Me”; and “Slave Play,” which is currently nominated for 12 Tonys. (Another transfer, “Sing Street,” was two weeks away from its first preview on Broadway when the Covid-19 lockdown happened.)Nicola — who recently celebrated the 25th anniversary of “Rent,” the theater’s first Broadway transfer, with a starry online fund-raiser — says he is of two minds about the pipeline between commercial and nonprofit theater.“There are many wonderful people in the commercial Broadway world, but I think we’ve become too dependent on their enhancement money,” said Nicola, referring to the funds that commercial Broadway producers will invest in smaller productions with an eye toward larger subsequent productions.“If it’s a large project and it doesn’t have commercial enhancement, it’s probably not going to happen,” he said. “And I think that’s something we as an industry need to be really concerned about.”New York Theater Workshop still plans to present two works that were canceled last year, the Martyna Majok play “Sanctuary City” and a new adaptation of Chekhov’s “Three Sisters” by Clare Barron.Until that is feasible, the theater has established an ambitious Artistic Instigators program, connecting traditional theater artists, filmmakers and digital artists on projects that subscribers can watch in their evolving states. As Nicola envisions a post-coronavirus theater landscape, he hopes theaters will learn from these innovations.“This year, we had 18,000 people view the ‘Rent 25’ gala from all over the globe,” he said. “Eighteen thousand. That kind of access — it’s hard to imagine not having the capacity to do that going forward. So maybe instead of doing eight shows a week, we do seven live shows and then stream a capture.”Members of the original “Rent” cast during the recent anniversary fundraiser.via New York Theater WorkshopBut those decisions will ultimately fall to his successor. Whoever it is, Nicola will be watching from the sidelines.“I want to absolutely stay out of it,” he said. “I think it’s completely inappropriate to be hovering or hanging out, both during the process and when that person comes in. They shouldn’t have to contend with the old guy.”He said he was at peace with what comes next.“As a child, my dad told me he thought he was going to die at 37,” Nicola said. “He didn’t, but I started thinking the same thing: Was I going to make it past 37? And oddly, I was 37 when I started at New York Theater Workshop. In a certain way, it was like the beginning of my life, not the end.” More

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      Lincoln Center’s Plaza Is Going Green. Really.

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      Lincoln Center, whose theaters remain closed by the pandemic, will cover the plaza around its fountain with a synthetic lawn as it pivots to outdoor performances.Lincoln Center, which is holding a series of performances outdoors while its theaters remain closed by the pandemic, announced Tuesday that it would transform the plaza around its fountain into a parklike environment by blanketing it with a synthetic lawn.With the center using its outdoor spaces as stages this spring and summer, it turned to a set designer, Mimi Lien, to reimagine its campus. She came up with a plan to transform the plaza into something she calls “The GREEN” — adding a splash of color to a palette that is dominated by white travertine, and turning the space into a grassy-looking oasis that she hopes will invite New Yorkers in for performances and relaxation.“I wanted to make a place where you could lie on a grassy slope and read a book all afternoon,” Lien, the recipient of a MacArthur genius grant, said in a statement. “Get a coffee and sit in the sun. Bring your babies and frolic in the grass. Have a picnic lunch with co-workers.”“Like a town green,” she added, “a place to gather.”The installation, which will open on May 10 and remain in place through September, will be the physical centerpiece of Restart Stages, an initiative Lincoln Center announced in February to use its outdoor spaces for live performances. The initiative began last week with a performance the New York Philharmonic gave for health care workers, and it has continued since then with a blood drive and other pop-up arts programming.The artificial turf will be green in another sense: Officials said it that it would be made of recyclable material with “a high soy content, fully sourced from U.S. farmers.” It will also feature a small snack bar, and have books available for borrowing. Events that will be held in the space will be announced in the coming weeks, officials said.The space will be open from 9 a.m. to midnight; face coverings, social distancing and other health and safety protocols will be required. The plaza will be cleaned regularly, officials said. More