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      in Theater

      The First Play Returning to Broadway Is Doing Things Differently

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      Anna Martin and Phyllis Fletcher and After the opening night performance of “Pass Over,” hundreds gathered for a block party. The playwright, Antoinette Nwandu, spoke to the crowd from a balcony above the theater marquee.Jeenah Moon for The New York TimesThis episode contains strong language.Antoinette Nwandu’s “Pass Over” made its Broadway debut this week. Drawing on “Waiting for Godot” and the Book of Exodus, the play follows two Black men trapped on a city block — both by existential dread, and by the fear of being killed by police.But Broadway audiences won’t see the play’s original ending, which featured the death of one of the main characters.“I no longer wanted to work on a play that ended with the murder of a Black man,” said Nwandu, who rewrote the final scene. “I want to focus on life.”Nwandu’s play was the first to debut on Broadway since theaters closed their doors in March of 2020 and the first since a coalition of theater artists of color demanded change from the theater ecosystem in America.Nwandu spoke with the theater reporter Michael Paulson about the changes she is personally bringing to theater, and her hopes for the industry — still grappling with the pandemic — as the curtains rise again.“Thank you for celebrating Black joy!” Nwandu told celebrants at an afterparty on West 52nd Street, outside the theater. Jeenah Moon for The New York TimesAudience members in masks react after the curtain call.Jeenah Moon for The New York TimesTheatergoers gave a standing ovation to the three actors: Jon Michael Hill, left, Namir Smallwood and (unseen) Gabriel Ebert.Jeenah Moon for The New York Times More

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      Pulitzer-Winning Critic Wesley Morris Captured the Moment

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      For his piercing insights on race and culture, Wesley Morris recently received his second Pulitzer Prize. But he won over colleagues long before that.Times Insider explains who we are and what we do, and delivers behind-the-scenes insights into how our journalism comes together.Wesley Morris was ready for his medal.In 2012, he had just won his first Pulitzer Prize for criticism, as a writer for The Boston Globe, and was at the ceremony at Columbia University with his mother. But when he wondered out loud where he could pick up the award, he got a surprise.“Oh, sweetie,” Tracy K. Smith, that year’s poetry winner, told him. “We don’t get a medal, only the public service winner gets that. We get a paperweight.” (OK, she was exaggerating a little.)“My mom was like, ‘Oh my God, Wesley,’” he said, laughing.It was the rare oversight for Mr. Morris, a deep thinker and New York Times critic at large who recently won his second Pulitzer Prize for criticism, the only person to receive that award twice.He was recognized for an ambitious body of work over the past year on race and culture that included not only incisive essays about the racial justice movement and the impact of cellphone videos on Black Americans, but poignant personal pieces like a Times Magazine story about how growing a mustache was connected to his sense of Blackness.“I love important, weighty ideas,” he said, though he added that he also likes considering topics that are lighthearted and frivolous.Gilbert Cruz, The Times’s culture editor, said Mr. Morris’s pieces stood out for their scope and accessibility.“He has a unique ability to step back, look across the cultural and social landscape and speak to us in a way that makes it seem as if we’re engaged in a conversation,” Mr. Cruz said. “A funny, smart, sometimes emotional and always riveting conversation.”Sia Michel, The Times’s deputy culture editor who has edited Mr. Morris’s work for three years, similarly praised both Mr. Morris’s intellect and his common touch. “He has an imposing sense of critical authority and moral authority but always invites the reader in,” she said.Mr. Morris said his dreams of becoming a critic dated back to when he received an assignment in eighth grade: Write a report after either reading Howard Fast’s 1961 novel “April Morning” or watching the TV movie version of it. He decided to do both, then wrote a scathing critical review.“You didn’t really do what I asked you to do,” he recalls his teacher, John Kozempel, telling him. “But you did do a thing that exists in the world. It’s called criticism, and this is a good example of it.”Of course, not everyone can write elegant essays that educate even when they excoriate, and which provide an entry point to a conversation rather than closing a door to opposing views. But when Mr. Morris begins to put words on a page, the ideas flow.“I don’t know how I feel about a lot of things until I sit down to write about them,” he said. “That’s my journey as a writer — to figure out where my brain, heart and moral compass are with respect to whatever I’m writing about.”When Mr. Morris files a story, Ms. Michel said, she always knows she’ll get four things: surprising pop cultural and historical connections; a brilliant thesis; at least one “breathtaking” passage that reads like poetry; and a memorable, revised-to-perfection ending.“He always reworks his last graph until it slays,” she said.Mr. Morris said his biggest challenge is that he has so many ideas, he never has time to pursue all of them.“I can be paralyzed by my glut of ideas,” he said, “which often means I wait to write things until the last minute.” He added that he’s been known to write 3,000-word pieces on a same-day deadline.Yet somehow, amid writing for the daily paper, the Sunday Arts & Leisure section and The Times Magazine, as well as co-hosting the weekly culture podcast “Still Processing,” Mr. Morris manages to make time for everyone, his podcast co-host, Jenna Wortham, said.When Mr. Morris won his first Pulitzer in 2012, Mx. Wortham, who uses she/they pronouns, was a newly hired Business reporter for The Times who had been assigned to write a story about him. They left a voice mail message and sent an email to Mr. Morris.Thinking he would be too busy to respond right away, Mx. Wortham went out for coffee but after returning found a long, thoughtful voice mail from Mr. Morris with “more information than I needed.”“It left the deepest impression on me,” Mx. Wortham said. “And I remember thinking I would strive to be someone who always made time for other reporters.”Their friendship, which began six years ago, has only blossomed and deepened since then, Mx. Wortham said.“I’ve seen Wesley give a barefoot unhoused man money for a pair of shoes and absolutely demolish a dance floor with equal amounts of grace,” she said. “There’s no one like him, and we are all so lucky to exist in this iteration of life alongside him.”Although Mr. Morris’s profile is much higher now, he said he intended to respond to every one of the hundreds of congratulatory emails, texts, calls and Twitter messages he received after this year’s win — a goal that’s still in progress.“I’m still not done,” he said recently. “Even with strangers, if someone took a second out of their life to congratulate me for this, it’s important to me to say thank you.” More

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      in Music

      Barack Obama and Bruce Springsteen's Podcast to Become a Book

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      Crown is publishing “Renegades: Born in the USA,” a book adaptation of the podcast conversations.In “Renegades,” a podcast collaboration between Barack Obama and Bruce Springsteen, the former president acknowledged that it was, at a glance, an odd partnership.“On the surface, Bruce and I don’t have a lot in common,” he said. “He’s a white guy from a small town in Jersey; I’m a Black guy of mixed race, born in Hawaii, with a childhood that took me around the world. He’s a rock ‘n’ roll icon. I’m a lawyer and politician — not as cool.”But they have become vacation buddies and avid collaborators whose podcast — a series of frank conversations about race, fatherhood, social justice and American identity — became one of the podcasts with the most listeners around the world on Spotify.Now, they will be co-authors of sorts, with the coming release of a book of their conversations. This October, Crown, an imprint of Penguin Random House, is publishing “Renegades: Born in the USA,” a book adaptation of the podcast. The 320-page book includes introductions by Obama and Springsteen, more than 350 photos and illustrations, and archival material such as Springsteen’s handwritten lyrics and Obama’s annotated speeches.In his introduction, Obama describes how the conversations grew out of “our ongoing effort to figure out how it is that we got here, and how we can tell a more unifying story that starts to close the gap between America’s ideals and its reality.”As salable book ideas go, a collaboration between a rock star and a former president seems a sure bet. (Crown is suggesting a list price of $50 in the United States and $65 in Canada.)Springsteen’s memoir, “Born to Run,” which was released by Simon & Schuster in 2016, was a hit, selling nearly half a million hardcover copies in its first few months on sale. Obama’s 2020 memoir, “A Promised Land,” which was published by Crown, has sold 8.2 million copies globally, and nearly five million in North America.The book version of “Renegades” also marks the latest release from the Obamas’ growing media empire. It is being produced in partnership with Higher Ground, the company founded by Barack and Michelle Obama, which has struck exclusive production deals with Netflix for film and television and with Spotify for podcasts. The Obamas sold their memoirs to Crown in 2017 for a record-breaking $65 million. Michelle Obama’s memoir, “Becoming,” sold more than 16 million copies globally since its release in 2018.Obama and Springsteen got to know each other in 2008 while Obama was campaigning, and became friends over the years. Springsteen performed at the White House in January 2017, as Obama was preparing to leave office.In their podcast conversations, the pair largely focused on personal stories about their lives and avoided partisan politics, but spoke generally about the urgent need to understand and address divisions in American society.“This is a time of vigilance when who we are is being seriously tested,” Springsteen writes in his introduction to “Renegades.” “Hard conversations about who we are and who we want to become can perhaps serve as a small guiding map for some of our fellow citizens.” More

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      in Theater

      Review: Unearthing the Late Curiosities of Tennessee Williams

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      “Hilton Als Presents,” from New York Theater Workshop, features three of the playwright’s overlooked and often disparaged works.Once mortals become immortal, it’s easy to forget how precariously they stumbled through life. That is certainly true of Tennessee Williams, who ensured his place in the pantheon of American playwriting with his early hits “The Glass Menagerie,” “A Streetcar Named Desire” and “Cat on a Hot Tin Roof,” but spent his last two decades — after “The Night of the Iguana,” in 1961 — in what Hilton Als calls “a kind of critical purgatory.”But critics at their most vital aren’t a baying wolf pack chasing weakened prey. They’re champions of the overlooked, the underpraised, the misunderstood. In that spirit, Als, a writer for The New Yorker who won the Pulitzer Prize for criticism in 2017, is asking for a reconsideration of some late Williams works.In “Selections From Tennessee Williams,” the second episode of the two-part New York Theater Workshop podcast “Hilton Als Presents,” he plucks excerpts from three plays dismissed in their own time: “In the Bar of a Tokyo Hotel,” from 1969; “The Red Devil Battery Sign,” which succumbed in 1975 en route to Broadway; and “Clothes for a Summer Hotel,” Williams’s final Broadway premiere in his lifetime. It opened in 1980 on his 69th birthday and was met with such a pile-on of viciously mocking reviews that it closed after just two weeks.These plays are not exceptional in Williams’s oeuvre as considerations of masculinity, sexuality or the divided self — though, as Als notes, each includes a male artist character.Directed by Als, and with skillful audio production and editing by Alex Barron, the podcast does not always succeed in conveying, with voice and stage directions, what we need to envision.The scene from “The Red Devil Battery Sign,” starring Raúl Castillo as a band leader and Marin Ireland as a sexually rapacious belle, feels too untethered from context to add up to anything. But each of the other plays is memorable for a standout performance and for glimmers of beauty in the text.The longest excerpt, from “In the Bar of a Tokyo Hotel,” at first seems an airless exercise: an encounter between a brittle yet lascivious American woman (Nadine Malouf) and the Japanese barman (James Yaegashi) she is harassing. It comes to life only belatedly, with the entrance of Reed Birney as her husband, Mark, an exceedingly drunken painter struggling to maintain his dignity and harness his artistry. It is an utterly lived-in performance, edged with terror and mirth. (John Lahr, in his biography of Williams, calls this play “a fascinating dissection of the perversity of his psyche,” and he is correct.)“In the beginning,” Mark says, his hands shaky, paint all over his suit, “a new style of work can be stronger than you, but you learn to control it. It has to be controlled.”Williams, at that point, was not doing so well at controlling his art, his addictions or his emotional frailty.The other magnetic turn is by Michelle Williams in “Clothes for a Summer Hotel,” which the playwright labeled “a ghost play,” about Zelda and F. Scott Fitzgerald. As Zelda — a role originated by Geraldine Page on Broadway — Williams evades the traps that lie in wait in Tennessee Williams’s women: the masks and artifices of gender and class that made him famous for writing diva roles, and that often expose those characters to ridicule. Against the odds, Michelle Williams locates a human being.“Are you certain, Scott, that I fit the classification of dreamy young Southern lady?” Zelda asks her husband (played by André Holland). “Damn it, Scott. Sorry, wrong size, it pinches! Can’t wear that shoe, too confining.”Tennessee Williams, too, felt pinched and confined by expectations. He was forever in competition with his younger self.Als’s production doesn’t persuasively argue for these late plays. But it does accomplish what a critic is meant to do when elevation is in order — to urge close examination of something that might otherwise escape our gaze.Perhaps, taking Als’s cue, some brilliant director will see a way.Hilton Als Presents: Selections From Tennessee WilliamsThrough July 31; nytw.org. At anchor.fm/nytw79 and major podcast platforms. Running time: 1 hour 27 minutes. More

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      in Movies

      Caveh Zahedi Has So Many Stories to Tell

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      After plunging into a TV series, a filmmaker low on funds but loaded with rich personal narratives pours them into micro-podcasts.Caveh Zahedi was in a closet in a Brooklyn Heights apartment on a recent Sunday, trying to figure out how to end the story he was telling. He had been talking about a college class he’d taken with the filmmaker Michael Roemer. When Roemer saw Zahedi’s class project, a film titled “Sex and Violence,” he said, “‘I think you need serious help; you really need to be in therapy,’” Zahedi recalled. He cried on the spot when he heard those words. More

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      in Movies

      40 Acres and a Movie

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      Disney owns a piece of every living person’s childhood. Now it owns Marvel Studios, too. The co-hosts Jenna Wortham and Wesley Morris look at depictions of racist tropes and stereotypes in Disney’s ever-expanding catalog. The company has made recent attempts to atone for its past. But can it move forward without repeating the same mistakes?On Today’s EpisodeThe Marvel Cinematic UniverseLetitia Wright as Shuri in “Black Panther” (2018).Disney/Marvel Studios, via Associated PressTeyonah Parris portrayed Monica Rambeau in the 2021 Disney+ series “WandaVision.”Marvel Studios/Disney PlusEarlier this year — during “season three of the pandemic” — Jenna binged the M.C.U., the Marvel Cinematic Universe. While she appreciated the moral messaging of the movies, which are centered on a fight against evil forces, she was appalled by the lack of nonwhite characters. “You mean to tell me they’ve been making these movies for over a decade — 12 years — and you have still not managed to decenter the whiteness of this universe?” she exclaimed.Jenna and Wesley talked about these offerings from the Marvel universe: “Avengers: Endgame” (2019), “WandaVision” (2021) and “The Eternals” (2021).The Disney of Your Childhood and NowWesley and Jenna discussed how rewatching classic Disney movies with adult eyes has been unsettling, from the colonial undertones in “The Little Mermaid” (1989) to the Orientalist tropes peddled in “Lady and the Tramp” (1955).Disney, however, has tried to atone for its history. On the Disney+ streaming service, some older movies, such as “Dumbo” (1941) and “The Aristocats” (1970), contain warning labels about “negative depictions” and “mistreatment of people or cultures.” And one musical, “Song of the South” (1946), does not appear on the platform at all.Still, the labeling effort isn’t comprehensive and seems to address only movies with instances of blatant racism, Jenna noted. “It’s worth interrogating how all of these movies reinforce the ideas that are so harmful in the formation of this country,” she added.In recent years, Disney has started to make movies that feature more diverse casts and story lines, such as “Coco” (2017), “Moana” (2016) and “Soul” (2020). They’ve also remade classics, including the live-action “Mulan” (2020) and a super-realistic version of “The Lion King” (2019).“Moana” (2016) is about a Polynesian girl who embarks on a journey to save her island from destruction.DisneyBlack FuturesJenna mentioned the essay, “Fandom, Racism, and the Myth of Diversity in the Marvel Cinematic Universe,” which unpacks how Black and Asian stereotypes are employed in Marvel comics.She also pointed to Alisha Wormsley’s art project “There are Black People in the Future,” which began as “a response to the absence of nonwhite faces in science-fiction films and TV.”Alisha’s project gets at the importance of thriving representation in popular culture. “What is on our screens matters so much,” Jenna said, and “has a huge impact on how we see ourselves.” She added: “We have to be able to imagine ourselves whole, happy and healthy in the future for that to be possible today.”Hosted by: Jenna Wortham and Wesley MorrisProduced by: Elyssa DudleyEdited by: Sara Sarasohn and Sasha WeissEngineered by: Corey SchreppelExecutive Producer, Shows: Wendy DorrExecutive Editor, Newsroom Audio: Lisa TobinAssistant Managing Editor: Sam DolnickSpecial thanks: Nora Keller, Julia Simon, Mahima Chablani and Desiree IbekweWesley Morris is a critic at large. He was awarded the 2012 Pulitzer Prize for his criticism while at The Boston Globe. He has also worked at Grantland, The San Francisco Chronicle and The San Francisco Examiner. @wesley_morrisJenna Wortham is a staff writer for The Times Magazine and co-editor of the book “Black Futures” with Kimberly Drew. @jennydeluxe More

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      in Music

      7 Podcasts to Binge in a Day

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      Whether you’re craving a thriller, a spy documentary or an exploration of an American musical icon, each of these limited series can be enjoyed in one big gulp.One full year into the pandemic, the end is finally in sight. President Biden has promised to make every American adult eligible for vaccination by May, with the goal of a return to some version of normal life by the summer. Until then, though, we still need to find ways to hunker down and pass the time. And if you’ve already exhausted your Netflix queue and made your way through this year’s Oscar contenders, consider making your next binge an audio one.Whether you’re craving a twisty thriller, a quirky spy documentary or an award-winning exploration of an American musical icon, each of these seven limited series can be enjoyed in a single daylong gulp.‘Wind of Change’There’s no shortage of conspiracy theories about the Central Intelligence Agency — including a claim that it actually invented the term “conspiracy theory” — but none quite like the one at the heart of this eight-part nonfiction series. Here’s the premise: The C.I.A. orchestrated the writing of “Wind of Change,” an anthemic power ballad by the German heavy metal band Scorpions. Why? As part of a covert campaign to undermine the Soviet Union during the Cold War, of course. Hosted by Patrick Radden Keefe, a writer for The New Yorker, this podcast from Crooked Media take the listener on a labyrinth of a story, one that encompasses interviews with ex-spies and aging rockers alike, and may change the way you see pop culture forever.Starter episode: “My Friend Michael”‘Dirty John’Wondery, now a podcasting powerhouse that was recently purchased by Amazon, enjoyed its breakout moment in the fall of 2017, when the network (in tandem with The Los Angeles Times) released the first few episodes of its gripping saga about an abusive con artist and the women he almost destroyed. That show, “Dirty John,” takes place in the idyllic oceanfront setting of Orange County, Calif., where Debra Newell is about to go on a first date with a dreamy doctor named John Meehan. Suffice it to say, Meehan is not what he seems. A TV version was released on Bravo in 2018, but nothing matches the raw force of the audio original — particularly the breathtaking finale, in which Meehan’s disturbing behavior reaches its awful zenith.Starter episode: “The Real Thing”‘The Mystery Show’Picture this: you rent a video from a video store, back when those were a thing. The following day, you go to return the video only to discover that the store is gone. You’re not lost or confused — the store has genuinely vanished. This “Twilight Zone”-esque experience is just one of the real life mysteries that Starlee Kine investigates in “The Mystery Show,” an early hit from Gimlet Media. After the murder mystery “Serial” changed podcasting forever in 2014, there was an onslaught of copycat shows trying to cash in on the same formula by re-examining cold cases. Kine, though, focuses on low-stakes puzzles that involve no true crimes, but are nonetheless utterly captivating.Starter episode: “Case #1: Video Store”‘Passenger List’Blending the old-school pleasures of a radio play with a distinctly modern premise, ‘Passenger List’ is one of the best fictional podcasts of recent years. After a flight from London to New York disappears without a trace somewhere over the Atlantic Ocean, the twin sister of one of the doomed passengers (played by Kelly Marie Tran) sets out to uncover the truth about what really happened. Playing on timely anxieties surrounding events like the disappearance of Malaysia Airlines 370, the show from PRX’s “Radiotopia” is both an addictive popcorn thriller for your ears, and now an unexpectedly nostalgic treat for those missing air travel.Starter episode: “Traffic”‘Dolly Parton’s America’You don’t have to be into country music in general, or Dolly Parton in particular, to be pulled in by this Peabody-winning exploration of how the multifaceted star became such an enduring icon. Although much of the show from WNYC Studios is taken up with conversations about just how beloved Parton is by everybody who knows her, “Dolly Parton’s America” avoids hagiography by taking its title seriously, exploring the Dollyverse against a broader national backdrop. The host, Jad Abumrad (“Radiolab”), begins the series by explaining his own connection to the star — he hails from Tennessee just like Parton — and the moment in 2016 that made him see her as a unifying force in an otherwise divided nation. Featuring interviews with musicians, historians, fans and with Parton herself, this is the kind of nuanced and intimate profile that audio does best.Starter episode: “Sad Ass Songs”‘Escaping Nxivm’Last year saw the release of two buzzy rival documentaries about the sex trafficking cult Nxivm, whose leader, Keith Raniere, was recently sentenced to 120 years in prison. But long before either show, CBC Radio was the first to delve into the horrifying and deeply peculiar world of Nxivm, whose members famously included the “Smallville” actress Allison Mack and the liquor heiress Clare Bronfman. In “Escaping Nxivm,”, the first season of CBC’s ongoing “Uncover” podcast series, the journalist Josh Bloch interviews Sarah Edmondson, a former key member of Nxivm who has now become its most famous whistle-blower. An actress by trade, Edmonson makes for a compelling central figure, her voice vividly emotional as she recalls the nightmarish ways Raniere and his chosen leaders gradually chipped away at her sense of self. A tough listen that showcases the unique intimacy of podcasting.Starter episode: “The Branding”‘Bag Man’Many podcasts have found success by re-examining well-known political scandals through a fresh lens (most notably Slate’s “Slow Burn”), but this gem from MSNBC pulls off the same trick with a scandal that almost nobody remembers. That’s because Watergate was dominating headlines at the time, but in “Bag Man,” Rachel Maddow pulls back the curtain on an adjacent 1973 investigation that saw vice president Spiro Agnew accused of brazen political corruption. Maddow does not hesitate to point out what she sees as parallels to President Trump — Agnew angrily dismissed the investigation as a “witch hunt” in one example — and for anyone missing the juicy palace intrigue stories that came out of the Trump White House, this is a must-listen.Starter episode: “An Unsettling Secret” More

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      in Theater

      ‘Romeo y Julieta’ Review: Young Love in Two Languages

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      Lupita Nyong’o and Juan Castano star in a podcast adaptation that delivers the poetry — in Spanish and English — but not the fire.The scheme is so harebrained that it belongs more to farce than tragedy, but Shakespeare decided otherwise. In “Romeo and Juliet,” a trusted friar gives the desperate Juliet a potion to drink so she can fake her own demise.For a good “two and forty hours,” she will seem dead, he tells her, “and then awake as from a pleasant sleep.”Awake in a tomb full of corpses, he means, but that’s a mere detail. In countless productions, the hatching of this plan is where the plot flies off the rails. What is he, nuts, suggesting this to a teenager who’s come to him for help?Yet in the Public Theater’s bilingual audio production “Romeo y Julieta,” the extraordinary Julio Monge portrays Friar Lawrence with such warm ease and steadiness that the ploy seems — well, still exceedingly unwise, but almost persuasive. And the clergyman has his usual fine motive for aiding Julieta and her Romeo: to ally their warring families, turning their “rancor to pure love.”The program note for this production suggests that the Public, the most populist of Off Broadway theaters, has a similar motive concerning our own fractured culture. If this free podcast is better at conveying the poetry than the pulse of Shakespeare, its intention is laudable anyway.Starring Lupita Nyong’o as Julieta and Juan Castano as Romeo, the play is spoken in English and Spanish. It’s not a Sharks and Jets arrangement, either; the Montagues and Capulets are fluent in both languages. Switching nimbly from one to the other, midspeech or midsentence, is a means of welcoming speakers of either into the audience, and uniting us there — albeit at a distance from one another.Directed by Saheem Ali, the play is gently adapted by Ali and Ricardo Pérez González, and based on a Spanish translation by Alfredo Michel Modenessi. Presented with WNYC Studios, the recording (with original music by Michael Thurber and sound design by Bray Poor and Jessica Paz) comes with a downloadable script showing every line in Spanish and English, making it easier to follow along.Each actor in the cast of 22 takes great care with verbal clarity. Interpretive depth is harder to come by; textures of humor and passion, joy and grief, are scarce. Any scene where Monge appears, though, finds the others upping their games.That includes the tantalizingly paired Nyong’o and Castano, whose lucid performances never ignite the rebellious adolescent fervor that drives these just-met, I-would-die-for-you lovers to their irrational extremes. Romeo and Julieta are kids, with all the tendencies toward personal drama of people their age, yet we don’t sense that in them or in Romeo’s friends.It’s not a lack of talent on anyone’s part. What it feels like, largely, is a pandemic side effect. This show’s many artists couldn’t gather in a room to dig into characters and relationships; they rehearsed and recorded over Zoom. And when we listen to the podcast, and need the script to figure out who’s who in a crowd or a fight, we yearn for costume and gesture, for bodies in space.This “Romeo y Julieta” is a production in need of a stage, when that’s possible again. For now, it’s waiting on its third dimension.Romeo y JulietaAvailable at publictheater.org, wnycstudios.org and on all major podcast platforms. More