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      Leaked Video of Jesse Williams’s Staged Nude Scene Denounced by Union

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      Despite an attempt to ban smartphones in the theater, a video of the actor’s nude scene in the Broadway production of “Take Me Out” circulated widely online.The first time “Take Me Out,” a baseball play with nude shower scenes, arrived on Broadway, there were no iPhones in the theater, because they hadn’t been invented yet.This year, when the acclaimed play returned for its first revival, the nonprofit presenting the show instituted a no-phones policy, requiring patrons to put their phones in locked pouches before entering the theater, in an effort to prevent the photographing of naked actors.The effort failed.This week, someone posted to social media video of a naked Jesse Williams, a star of the play, in a shower scene. The video circulated widely.The incident prompted outrage both from Second Stage Theater, the nonprofit producing the play, and Actors’ Equity Association, the union that represents stage performers.“We condemn in the strongest possible terms the creation and distribution of photographs and videos of our members during a nude scene,” Kate Shindle, the union president, said in a statement. “As actors, we regularly agree to be vulnerable onstage in order to tell difficult and challenging stories. This does not mean that we agree to have those vulnerable moments widely shared by anyone who feels like sneaking a recording device into the theater.”Second Stage, which distributes Playbills with an insert reminding patrons that “photos and videos are strictly prohibited,” issued its own statement, saying “we are appalled that this policy has been violated” and that “taking naked pictures of anyone without their consent is highly objectionable and can have severe legal consequences.”The theater said it was seeking to have the online videos removed, and was adding security at the theater to enforce its phone ban.Second Stage has been using Yondr pouches to restrict phone use — when patrons arrive, they are asked to turn off their phones and put them into the locked pouches, which the patrons hold through the show, and then hand back to be unlocked after it is over. The system, used at some comedy shows, pop music concerts and other live events, is imperfect — some people have figured out how to open such pouches, while others smuggle in phones despite the rules.“Take Me Out,” written by Richard Greenberg, is about homophobia in baseball; Williams plays a team star who comes out as gay and confronts discomfort among some of his teammates. In 2003, the drama won the Tony Award for best play; this week the current revival picked up four nominations, including one for best revival, and three for actors, including Williams, Jesse Tyler Ferguson and Michael Oberholtzer. Oberholtzer can also be seen, naked, in some of the online video.In the run-up to the show, Williams, best known for “Grey’s Anatomy,” discussed the nudity. “It’s terrifying in all the right ways,” he said on “The Ellen Show” last year. In an interview this year with The New York Times, he was more sanguine. “I’m here to do things I’ve never done before,” he said. “I have got one life, as far as I know. It’ll be fine.” More

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      Review: ‘To My Girls,’ a Toast to Millennial ‘Instagays’

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      Put three gay frenemies in a Palm Springs Airbnb and what happens? In JC Lee’s new comedy, not enough.They don’t seem to like one another very much, these three gay besties weekending together at a tacky Airbnb in Palm Springs.Castor, an Asian American writer scraping by as a shift supervisor at a Starbucks in Sherman Oaks, doesn’t want to room with Leo, a Black “Queen of Queer Theory” with whom, on previous vacations, he’s had fights about marriage equality.He and Leo do agree, though, that Curtis, a hookup hound with cheese-grater abs, is an irredeemable narcissist, unable to curb his buff white privilege for more than 30 seconds no matter how many times he’s called out for it.Curtis just wants everyone to have a good time, as long as it’s on his own terms. He treats Leo as a good-luck charm and Castor as a throw pillow: comforting and disposable. His loyalty is to his Instagram followers.If this round-robin of frenemy fire puts you in mind of “The Boys in the Band,” Mart Crowley’s 1968 play about catty and self-hating gay men a year before Stonewall, you aren’t far off. JC Lee’s muddled new comedy, “To My Girls,” which opened on Tuesday in a Second Stage Theater production, does function, in part, as a millennial update to the earlier and much more pointed work. Call it “The Boys in the Sand,” set not at the dawn of liberation but at its eyes-wide-shut dusk.Like Crowley’s play, “To My Girls” assembles a clutch of 30-somethings — Castor (Maulik Pancholy), Leo (Britton Smith), Curtis (Jay Armstrong Johnson) and a fourth who arrives later — in a safe space where they can be themselves. Here, the space isn’t a mod Greenwich Village apartment but a midcentury bungalow bursting with winky accents that create what one character calls a “Jonathan Adler aesthetic.” (The eyestrain-inducing room and the fake palms outside it are by Arnulfo Maldonado; the desert glare and rippled reflections by Jen Schriever.)“To My Girls” also echoes “The Boys in the Band” in providing contrast to the bickering, self-involved central characters with two outsiders: Bernie (Bryan Batt), the 60-something gay Republican who owns the Airbnb, and Omar (Noah J. Ricketts), a happy 20-something hottie Castor brings back from a bar. To Omar, no less than Bernie, the others look like weird exhibits in a museum of unnatural history.From left, Bryan Batt, Johnson, Smith and Pancholy performing for followers of one of the play’s Instagram-obsessed characters.Jeenah Moon for The New York TimesThat effect is apparently what Lee wants. “Imagine the future archaeologist who has to sort through social media to write their thesis on millennial queens,” Leo says, not thrilled by what he assumes the archaeologist will conclude.If “To My Girls” is a first draft of that thesis, it’s not a convincing one; its arguments, which are little more than quips, point in too many directions. Do “Instagays” posing “topless with Maya Angelou quotes as their caption” signal, as Castor suggests, the death knell of queer fabulousness? Or, as Leo counters, is heteronormativity the poison? Or, as the play itself seems to demonstrate, is everything really just fine?Lee, whose play “Luce,” from 2013, is as tightly wound as this one is aimless, seems to want it all ways. Social media and conformity may be killing gay culture, but everyone participates joyfully in the music video Curtis is making to attract more followers. It’s the jolliest thing in the show: a synchronized dance to the Pussycat Dolls song “When I Grow Up,” performed in heels, wigs and diaphanous floral-print caftans. (The costumes, and lack thereof, are by Sarafina Bush.)“I wanna be famous/I wanna be a star,” they lip-sync with no irony.That the routine must pass as one of the play’s high points is part of the problem, indicating how little is happening otherwise. Yes, one character sleeps with another, upsetting a third, but nothing much comes of it. The political and generational arguments, not exactly fresh in the first place, change no one’s mind, perhaps because, as in “The Boys in the Band,” everyone’s blitzed within minutes of arrival. (The play’s title is a toast.) What the high-octane margaritas do for the characters, the quick-sketch rhythms of the writing do for the drama: delink action from reaction. Expediency is all.Noah J. Ricketts, center, with Batt, left, and Pancholy in JC Lee’s comedy, directed by Stephen Brackett.Jeenah Moon for The New York TimesWhen the jokes are good enough, that’s diverting in small doses. Castor, analogous to Harold, the “ugly, pockmarked Jew fairy” in “The Boys in the Band,” gets the best lines, often at his own expense — and Pancholy sells them well. In the play’s most compelling scene, with Ricketts’s witty Omar, you can see Castor growing out of his old, self-hating self toward something new, even as you wonder whether he has done so before, perhaps many times, and reverted.Though the setup of that scene is not credible, and it lasts only five or six minutes, I could have watched a whole play that built its smart observations into meaningful conflict that alters characters. Unfortunately, the actual play disposes of such moments instantaneously, and thus, under Stephen Brackett’s keep-it-snappy direction, has no cumulative power. At the end, everyone’s basically where they started, except hung over. You don’t doubt that another weekend in another few years would play out just the same.Which is not how life goes — and certainly not how gay life does. Change has been so big and breakneck since “The Boys in the Band” that you can hardly tell the backlashes from the front ones. Even a comedy should acknowledge that, as Drew Droege did in “Bright Colors and Bold Patterns” and “Happy Birthday Doug,” a pair of scalding one-man shows about those left mangled on the tracks as the gay rights locomotive chugs on.No one is mangled, or even much moved, in “To My Girls,” a play that asks gay men to “protect the fire that keeps you flaming” but never shows what the fire is made of. Tequila, perhaps?To My GirlsThrough April 24 at the Tony Kiser Theater, Manhattan; 2st.com. Running time: 1 hour 30 minutes. More

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      Review: In ‘Take Me Out,’ Whose Team Are You On?

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      Richard Greenberg’s 2002 play about baseball and homophobia gets a fine revival starring Jesse Williams and Jesse Tyler Ferguson.Not for nothing is Darren Lemming, the fictional center fielder of a team called the Empires, also at the center of “Take Me Out,” Richard Greenberg’s gay fantasia on the national pastime.Said to be a “five-tool player of such incredible grace he made you suspect there was a sixth tool,” Lemming surpasses even Derek Jeter — on whom he is to some degree modeled — in versatility, steadiness and the kind of arrogance that, arising from excellence, adds up to charisma. He’s a natural star for baseball and, when he decides to come out as gay, a natural irritant for drama.At its best, “Take Me Out,” which opened on Monday in a fine revival at the Helen Hayes Theater, is a five-tool play. It’s (1) funny, with an unusually high density of laughs for a yarn that is (2) quite serious, and (3) cerebral without undermining its (4) emotion. I’m not sure whether (5) counts as one tool or many, but “Take Me Out” gives meaty roles to a team of actors, led in this Second Stage Theater production by Jesse Williams as Lemming and Jesse Tyler Ferguson as his fanboy business manager.True, dropping a few flies along the way and throwing some wild pitches — forgive the baseball metaphors, which the play indulges with the zeal of a convert — makes “Take Me Out” a bit baffling in parts. It’s not the kind of work that benefits much from postgame analysis, which reveals flaws in construction and logic. But in performance, now no less than in 2002, when it had its New York debut at the Public Theater, it is mostly delightful and provocative. Perhaps especially for gay men, it is also a useful corrective to the feeling of banishment from a necessary sport.Jesse Tyler Ferguson, center, as a business manager overjoyed with his new superstar client who awakens in him a love of the game.Sara Krulwich/The New York TimesBy that I don’t mean baseball itself but the examination of masculinity through its lens. In “Take Me Out,” Lemming’s announcement that he’s gay, prompted by no scandal and involving no lover, is essentially a pretext for a disquisition on maleness. What it finds in the locker room, where the Empires change, shower, snap towels and squabble, is as despairing as what it finds on the field is still hopeful and good.Connecting them, Lemming is a figure of godlike mystery. Aside from his purely technical skills, he is the kind of person, as his teammate Kippy Sunderstrom (Patrick J. Adams) floridly describes him, from whom mess does not “flow forth.” Lemming assumes that whatever he does will redound to his benefit, and that unlike most people for whom coming out is momentous, his gayness will be just another of “the irrelevancies” in his life, like being handsome and biracial.What he hasn’t counted on is the way, for his teammates, the revelation dims his aura of perfection while exposing cracks in their less perfectly airtight psyches. Their nudity now feels different to them, which is why the audience is asked to consider it as well. (But not the wider world; patrons are required to put their phones in Yondr pouches to prevent photography.) However well built he is, a man wearing nothing is inherently undefended.As a result, the Empires, formerly on track for the World Series, begin to lose cohesion and, soon thereafter, games. Homophobia bubbles up from the dark places of other men’s souls; even Lemming’s closest friend, Davey Battle, a religious man who plays for an opposing team in more ways than one, comes unglued by it. And, with the arrival of Shane Mungitt, a pitcher called up from the minor leagues, the confusion erupts in a shockingly violent act.Adams, left, as the veteran player Kippy Sunderstrom, and Michael Oberholtzer as Shane Mungitt, a talented pitcher carrying a ton of baggage. Sara Krulwich/The New York TimesYet “Take Me Out” is not only about that descent into chaos on the playing field; it is also, in the story of the business manager, Mason Marzac, about the elevation of the spirit in the same locale. Marzac, the kind of gay man who feels he has no place in the heterosexual world or even the gay community — “I’m outside them. Possibly beneath them,” he says — is overjoyed when Lemming, his new client, comes out. In that act he sees the possibility of a reintegration into the mainstream of Americanness, and soon develops a maniacal interest in the game.That his newfound fandom is mostly a way of redirecting an impossible crush does not make it any less meaningful; that kind of sublimation may indeed be an unspoken aspect of many sports manias. Ferguson makes that feeling legible in a softer, less biting take on Marzac than the one originated by the brilliant Denis O’Hare, who won a Tony Award for the 2003 Broadway production. Ferguson brings out Marzac’s woundedness in a wonderfully detailed comic performance that is nevertheless full of yearning and unexpected elation.But if Lemming and baseball take Marzac out of his shell of protective pessimism — one of the many meanings packed into the grand-slam pun of the title — Marzac also takes Lemming out of his shell of aloofness. Oddly it is this element, the most fantastical in real life, that feels most believable onstage, and only in part because the locker-room drama, which involves too many obvious tensioning devices as well as too many morons, slightly collapses as the story develops. A late scene added for this production, between Lemming and two policemen, doubles down on that problem.Williams, left, and Brandon J. Dirden in the first Broadway revival of Richard Greenberg’s 2002 play, a Second Stage production.Sara Krulwich/The New York TimesBut as Lemming and Marzac form a bond — not romantic but not untender, either — the ideas that Greenberg is juggling, about integration on the ball field and integration of the psyche, fully pay off. Williams, a stage novice but a longtime star of the television series “Grey’s Anatomy,” nails the way the glamour of the gifted can keep them from full lives; perhaps the seeming effortlessness of his own career gives him insight into the downside of too much ease.Under Scott Ellis’s assured and sprightly if visually underpowered direction, the other cast members make excellent utility players, moving swiftly between spotlight moments and background work as members of the team. In particular, Michael Oberholtzer, as Mungitt, seems to disappear into his damaged self when he isn’t spewing bizarre biographical tidbits or hatred. And as Battle, Brandon J. Dirden, just off a stellar turn as a factory foreman in “Skeleton Crew,” gives a perfectly etched performance at the other end of the spectrum, finding in his faith a sanctimony that supersedes even love.It is in fact Battle who unintentionally sets the plot in motion, telling Lemming that to be a full human he should want his “whole self known.” Ultimately, “Take Me Out” is about the danger that challenge poses to some people — a danger others may know nothing about. Still, Greenberg shows us, it is crucial to happiness, and not just for gay men, even if it introduces immense difficulties. A game needn’t be perfect to be won.Take Me OutThrough May 29 at the Helen Hayes Theater, Manhattan; 2st.com. Running time: 2 hours 15 minutes. More

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      After ‘Grey’s Anatomy,’ Jesse Williams Takes the Stage

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      The former “Grey’s Anatomy” star is making his Broadway debut in “Take Me Out.” For that, he said, “I needed to go into a very unknown place.”Jesse Williams will be the first tell you — certainly, he was the first to tell me — that he has no formal theater training and little practice. There’s an Edward Albee play in the hazy past and a one-act opposite Zosia Mamet. That’s pretty much it.When I met him, on a recent weekday afternoon at Spring Place, a ritzy club and co-working space in TriBeCa, he joked that he was probably the least experienced theater actor I had ever interviewed.But on April 4, the Broadway revival of Richard Greenberg’s “Take Me Out” will open at Second Stage’s Hayes Theater with Williams, a familiar TV presence from his decade-plus run on “Grey’s Anatomy.” Which means that he is learning on the job: what “upstage” means, whether to hold for a laugh, how to use his whole body in a scene and not just the torso on up, as is the norm on television.“I’m not even wearing pants in half of those scenes,” he said of his time on “Grey’s.” (I think he was kidding?)In “Take Me Out,” which is set in the mid-1990s, Williams, 40, plays Darren Lemming, a superstar baseball player who comes out as gay. It’s a play about race, class, sexuality, sport and living a life in the public eye. Williams’s Darren stands — in batter’s crouch — at the intersection of these competing themes. “I’m here to just learn and get my butt kicked,” he said, using a stronger word than “butt.”Patrick J. Adams, left, and Williams in the play, which is in previews and scheduled to open on April 4.Sara Krulwich/The New York TimesWilliams grew up in Chicago, the eldest child of a white mother, a potter, and a Black father, a factory worker who later became a teacher. When Williams hit junior high school, his parents, now divorced, moved the family to a majority white neighborhood in suburban Massachusetts, where he experienced casual, and less casual, racism. Baseball, which he played on school teams and with his father, remained a constant.He graduated from prep school — he had moved on to soccer and lacrosse by then — and enrolled at Temple University, double majoring in African American studies and film and media arts. School, like most things, came easy to him. He would often write his papers the night before, high on marijuana, just to see if he could get away with it. Still, he excelled.Scouted as a model, he shot some commercials during college. But he never took that too seriously. The artists in his family were visual artists, not performers. And acting didn’t seem as creative, as generative, as stimulating. In 2006, having worked as a teacher, a paralegal and a political organizer and an activist with several grassroots organizations, he decided to apply to law school. Or maybe film school. But first he reached out to his old commercial agent, a move he chalked up to a “quarter-life crisis.”Four days later, in an example of the effortlessness that has defined his professional life, he booked an episode of “Law & Order.” He appeared in a few movies and shows, including a brief arc on the teen comedy “Greek” as a character aptly nicknamed the Hotness Monster. Then, in 2009, he was hired onto the medical drama “Grey’s Anatomy,” where he spent 12 years as Jackson Avery, the dynamic, gym-ripped plastic surgeon.Here is the comment that Shonda Rhimes, who created “Grey’s,” gave about a key scene: “We felt that having a shirtless Jackson Avery would be a benefit to society.”What he lacked in formal training, he made up for in his eagerness to master the craft. “He was always watching everybody’s artistry and learning from it,” said Krista Vernoff, a “Grey’s” showrunner.His colleague Sarah Drew, who played his longtime love interest, echoed that. “There’s nobody that worked as hard as he did,” she said. “Nobody.”Ellen Pompeo, another co-star, who said that she lived to mess with him, added: “He’s handsome. Girls always like that.”Fair enough. Williams, whom I watched first in rehearsal and then a few days later across that Spring Place table, is good-looking in a way that seems almost uncanny, with a grin that could melt permafrost. In person, he projects confidence — cockiness, almost — shot through with self-scrutiny and the occasional flash of humility. Colleagues described his keen intellect, instantly legible in the quickness and charm of his conversation.“Can an actor cross the footlights? I thought, I bet he can,” the director Scott Ellis said of offering Williams the lead role in “Take Me Out” after seeing him on “Grey’s Anatomy.”Sabrina Santiago for The New York Times“Yes, he really does look like that,” Vernoff told me. “And yes, he is really smart. And really, really talented.”Which explains why, a few years ago, the director Scott Ellis offered him the role of Darren. Ellis had wanted to revive “Take Me Out,” which received the Tony Award for best play in 2003. But first he had to find a biracial leading man (Darren’s race is a crucial element of the play) of overwhelming charisma who could also pass as a Hall-of-Fame-level player. Having seen Williams on “Grey’s,” Ellis suspected that he could command a Broadway stage.“It’s always that question,” Ellis said, speaking on a rehearsal break. “Can an actor cross the footlights? I thought, I bet he can.”Williams turned Ellis down. His schedule on “Grey’s” — as an actor and occasional director — didn’t allow a Broadway run. The play itself, with its rhythmic, cerebral dialogue and its nude scene, scared him. But the offer nagged at him. And as his work on “Grey’s” began to feel, in his words, “increasingly safe, protected, insulated,” that fear became part of the appeal.“I knew that as I designed my exit, the next thing I did had to be terrifying. I needed to get out of my comfort zone, I needed to go into a very unknown place,” he said. “Take Me Out” provided it.REHEARSALS BEGAN in February 2020 and halted, as all Broadway did, that March. Williams spent the intervening months at home in Los Angeles, teaching the rudiments of baseball to his two children — he shares custody with his former wife, Aryn Drake-Lee — and intensifying his activism, particularly his support of the Black Lives Matter movement.Williams sits on the board of the Advancement Project, an advocacy group devoted to civil rights. “He is deeply committed to racial justice,” said Judith Browne Dianis, its executive director. “He’s not one of the celebs or influencers that does things for his brand purposes. It’s deep in his soul.”Williams does little for brand purposes. And he doesn’t seem to know how to phone it in. “I swing through the ball,” he said, describing his approach to each new project. He didn’t seem to register the sports metaphor.Williams spent 12 years playing the plastic surgeon Jackson Avery on the medical drama “Grey’s Anatomy.” Williams, above center, with some of his co-stars, from left: Robert Baker, Kevin McKidd, Sandra Oh and Sara Ramirez.Randy Holmes/ABCWhen rehearsals began again, almost two years later, he swung through, supplementing run-throughs with voice lessons; personal training; breath work, where he learned about the diaphragm; physical therapy, to heal several torn ligaments in his foot. (Mini golf has its dangers.)“I’m taking the preparation really seriously, because every single syllable is totally brand-new,” he said.Because he lacks training — “I’m not really an actor,” he reminded me, “I didn’t go to acting school” — he fills his characters out with lived experience. In some ways, his experiences paralleled Darren’s.For example, they share a similar focus and drive. “I win,” he said, using more sports metaphors. “I hustle hard. I jump way bigger than I am. And I figure it out.”And he relates to the frictionless way that Darren has moved through his life. The play describes Darren as “something special: A Black man who you could imagine had never suffered.” And that isn’t true of Williams personally, but it’s true enough professionally.“I’ve related to a self-awareness of ease in my life, a self-awareness that the way I look or perform, based on the standards in our society, grants me access,” he said. “I can relate to how it can lull you to sleep, ease.”He has asked himself why Darren chooses to come out as gay. Is it an act of self-determination or a kind of self-sabotage, a way to complicate that ease?Of course, those same questions also apply to a TV actor choosing to lead a Broadway play. “There’s a lot of spillage,” Williams said. “A lot of overlap.” Which means that the role is also a way for Williams to explore some of his own contradictions, like what it means to be a deep thinker admired for his body, to be a Black celebrity in majority white spaces, to live both a public life and a private one.Williams on embracing the play’s locker room nude scenes: “I’m here to do things I’ve never done before. It’ll be fine.”Sabrina Santiago for The New York TimesHe is trying to embrace those contradictions fully and candidly, which also means embracing the play’s locker room nude scenes. He was somewhat resistant at first, asking Ellis about alternatives — a towel bar, maybe? But he has since committed to it, although when he spoke, he admitted that he had yet to try it.“I’m here to do things I’ve never done before,” he said. “I have got one life, as far as I know. It’ll be fine.”But of course his life is not exactly Darren’s, particularly when it comes to sexuality. Darren is gay. And Williams, as a number of tabloids will happily tell you, is straight. While Broadway has largely decided against racial impersonation, when it comes to matters of sexuality, gender and disability conversations around which actors should play which roles remain ongoing.Ellis, who is openly gay, said that an actor’s sexuality pertains less than other factors. “Do they have empathy?” he said rhetorically. “Do I feel that they can understand what this character is going through? That’s all that matters.”That isn’t exactly all that matters to Williams, who has taken these questions to heart. “If there’s anybody in the gay community that thinks that role should be played by a gay person, they have an argument,” he said. “They absolutely have an argument.”And still, he wanted his at-bat. “I really wanted the challenge of trying to do my best at the role,” he said.For Jesse Tyler Ferguson (“Modern Family”), the openly gay actor who plays opposite Williams, that’s enough. “He’s asking very thoughtful questions in the process and doing the work that truly great actors do,” Ferguson said. “I’ve completely fallen in love with his version of Darren.”I watched a scene of that Darren — the shower scene, rehearsed clothed — on a recent weekday morning. Williams looked like a ballplayer, rubbing pain cream into his ankle, swinging a bat like he’d been born with it. He looked like a stage actor, too, communicating danger and an almost feline grace as Darren approached another character.Patrick J. Adams (“Suits”), a longtime stage actor, described how quickly Williams had adapted to the rhythms of theater. “He’s just taking it in kind of instantly, almost frustratingly, to be perfectly honest,” Adams said. “Like, How is this so easy for you?”Williams makes it look easy. But that doesn’t mean he isn’t working hard.“The last thing I want is to be the shiny rich TV guy that thinks he can just show up and do something, because that’s just absolutely not how I feel,” he said. “I’m just here to learn.” More

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      ‘Clyde’s’ Review: Sometimes a Hero Is More Than Just a Sandwich

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      In Lynn Nottage’s bright new comedy, cooks at a greasy spoon dream of remaking the menu — and their lives.We are living in Greek times — or so you might conclude from the preponderance of Greek tragedies turned out by today’s playwrights. The world they show us is too dark for anything but the cruelest of tales, the bleakest of forms.And no wonder. The systems that control our lives — institutional racism, predatory capitalism, the prison-industrial complex — seem as powerful and implacable as gods. What can humans do about fate, these playwrights suggest, but submit to it and hope to preserve the story?Lynn Nottage has sometimes been one of them. Her two Pulitzer Prizes are for works in which the world and its people are trapped in an abusive relationship. In “Ruined,” women prove to be the real targets in the Congolese civil war. In “Sweat,” steelworkers resisting their union-busting management inexorably wind up busting one another.But Nottage’s delightful new play, “Clyde’s,” which opened at the Helen Hayes Theater on Tuesday, dares to flip the paradigm. Though it’s still about dark things, including prison, drugs, homelessness and poverty, it somehow turns them into bright comedy. In Kate Whoriskey’s brisk and thoroughly satisfying production for Second Stage Theater, we learn that, unlike Oedipus and his mom, people who may have little else nevertheless have choices.Which is not to say the choices are easy. In the kitchen of the truck stop diner that gives the play its title, the cooks making the sandwiches have all served time. Letitia (Kara Young) “got greedy” and stole “some oxy and addy to sell on the side” after breaking into a pharmacy to obtain “seizure medication” for her daughter. Rafael (Reza Salazar) held up a bank but (a) with a BB gun, and (b) only because he wanted to buy his girlfriend a Cavalier King Charles spaniel. We don’t at first get the story of how Montrellous (Ron Cephas Jones) wound up behind bars, but he is so saintly that Letitia, called Tish, believes it must have been elective.In any case, like the others, he has paid the price, and keeps paying it. As the joint’s proprietor, Clyde (Uzo Aduba), enjoys pointing out, she’s the only employer in Reading, Penn., who will hire “morons” like them. She does so not because she too was once incarcerated; don’t accuse her of a soft heart. (Of the crime that landed her in prison the only thing she says is that the last man who tried to hurt her “isn’t around to try again, I made damn sure of that.”) Rather, Clyde has shady reasons to keep the overhead low and the morale even lower.Aduba, far left, as the shady restaurant proprietor Clyde, and her cooks, from left: Reza Salazar, Kara Young, Jones and Edmund Donovan.Sara Krulwich/The New York TimesIn Aduba’s hilarious and scalding performance, Clyde, wearing a succession of skintight don’t-mess-with-me outfits by Jennifer Moeller, is a shape-shifting hellhound, all but breathing fire. (The pyrotechnics are by J&M Special Effects.) Though “not indifferent to suffering,” she tells Montrellous, she doesn’t “do pity,” which is an understatement. Popping up like a demon in a small window between the front and the back of the restaurant, she roars orders and insults; when she emerges, in full glory, among her minions, it is only to exert her fearful, foul-mouthed dominance.Into this uncomfortable equilibrium comes Jason (Edmund Donovan), recently out of prison and covered with white supremacist tattoos. (The other characters, in this production, are Black and Latino.) At first it seems that Jason’s integration into the kitchen will form the story’s spine: Tish quickly warns him that she knows all about “breaking wild white horses.” But it turns out to be less of a spine than a rib. Despite his tats and defenses, Jason is a puppy, fully domesticated before the play is half over.This conception of Jason worried me at first. People who have seen “Sweat” will recognize him as one of the perpetrators of a heinous attack on a Colombian American busboy at the climax of that play, also set in Reading. (Another character suffers a traumatic brain injury in the process.) If Nottage’s aim was to keep “Clyde’s” a comedy, even one about redemption, Jason had to be rebuilt; in the writing though not the performance — Donovan faultlessly negotiates the contradictions — the seams sometimes show.Even if you don’t know “Sweat,” though, “Clyde’s” may slightly cloy. The three other cooks, with their softball crimes, begin to seem a pinch too adorable. Tish, in Young’s superb performance, is a smart, sharp, heavily defended kitten; Rafael, a huggable romantic; Montrellous, an impeccably kind sage — “like a Buddha,” Rafael says, “if he’d grown up in the hood.” Jones fulfills that description perfectly, correcting for the character’s Zen imperturbability with subtle dashes of pain and sacrifice.Still, where’s the action? Another underdeveloped plotline explores the possibility of the diner becoming a destination restaurant. In yet another, a pro forma (but totally heartwarming) romance buds between two of the characters. And the series of fantastical sandwiches Montrellous creates, inspiring the others to make their own as a way of dreaming big, threatens to convert from a leitmotif into an annoyance when it is forced to bear too much meaning. All the cooks have served time. Young, left, plays Tish who stole “some oxy and addy to sell on the side.” And Salazar, as Rafael, held up a bank to buy his girlfriend a Cavalier King Charles spaniel.Sara Krulwich/The New York TimesYet in “Clyde’s,” Nottage does something shrewd with the obvious underlinings that can sometimes make her meticulously researched plays feel didactic. By putting them into a character whose goal is in fact to educate, and by blowing them up into amusing overstatements, she keeps the play itself from becoming gassy. When Montrellous says that sandwiches like his grilled halloumi on home-baked herb focaccia are “the most democratic of all foods” — or that “this sandwich is my freedom” — we see something about his personality, not just the playwright waving semaphore flags.It also helps that Takeshi Kata’s cleverly expanding set, lit for comedy by Christopher Akerlind, allows Whoriskey to hit the ground running and barely pause for 95 minutes. She leans beautifully into the sweetness of the cooks but also, bending the other way, into the sourness of Clyde, for whom Nottage has written great zingers. When Rafael complains about the rotting Chilean sea bass she expects him to cook, she responds, approximately, “You think Colonel Sanders didn’t fry up a couple of rats to make ends meet?”Playwrights sometimes do the same. In this case the shortcuts were totally worth it; that “Clyde’s” is a comedy does not mean it doesn’t have tragedy baked in. (It was originally called “Floyd’s” — until George Floyd was murdered.) Though it ultimately rejects the Greek model, it is still about gods and mortals. What is Clyde but a greasy-spoon Satan, the diabolical voice seductively whispering “Don’t get too high on hope” to people trying to escape their past?Still, the cooks are in purgatory, not hell. They are not merely victims of fate; they can use their moral imagination to resist the Clydes of this world. That they discover the power of that imagination in the most unlikely way, by making food, is what makes the play funny. The point would be much the same, though, if it weren’t: Sometimes, there’s a good reason you can’t stand the heat. When that happens, get out of the kitchen!Clyde’sThrough Jan. 16 at the Helen Hayes Theater, Manhattan; 2st.com. Running time: 1 hour 35 minutes. More

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      Broadway Play “Clyde's” Will Be Livestreamed

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      The digital experimentation born of the pandemic shutdown is continuing: the final 16 performances of Lynn Nottage’s “Clyde’s” will be streamed, for $59.The coronavirus closures prompted many theaters around the country to experiment with online offerings. Now, even though theaters have reopened, a new Broadway play is planning to try streaming some performances.Second Stage Theater, a nonprofit that operates a small Broadway house, plans to sell a limited number of real-time, virtual viewings in January for the final 16 performances of “Clyde’s,” a dramedy about a group of ex-cons working at a sandwich shop. The show, by the two-time Pulitzer winner Lynn Nottage, opens Tuesday.The decision to stream some performances, which Second Stage views as an experiment, suggests that some of the survival strategies theaters embraced during the pandemic could have a lasting effect on the art form.“Over the 18 months when we had to pivot, and shift a lot of storytelling to Zoom, that opened up a new door of opportunity for many of us who make theater,” Nottage said. “What we’re hoping is that folks who are reluctant to come out because of the virus, or for whom theater is not accessible, will have access because of this streaming.”They are not aiming for a mass audience. The streams will cost $59, which is the same price as the least expensive ticket at the box office, so as not to undercut in-person sales. (There will also be a $30 ticket for people aged 30 and under, as with in-person performances.)The virtual tickets will be limited in number — probably to around 200 to 300 a performance — because as part of an agreement with labor unions, the theater will cap the number of streaming tickets sold so as not to exceed the total capacity of the theater over the course of the play’s run.The move is significant because, even though the Metropolitan Opera has been streaming performances to cinemas for years, and a number of leading symphony orchestras have long been streaming their concerts, Broadway has been resistant to such a step, in part because of quality concerns, in part because of the cost of compensating artists, and in part because of a fear of eroding the appetite for in-person attendance.In 2016, when BroadwayHD live-streamed a single performance of the Roundabout Theater Company’s revival of “She Loves Me,” the event was so unusual that it was recognized by Guinness World Records; a few months later, the same company also live-streamed a performance of Roundabout’s “Holiday Inn.”The pandemic prompted theaters to take digital work more seriously: with their buildings closed, many Off Broadway and regional theaters, as well as some prominent theaters in Britain, embraced streaming as one way to continue connecting to audiences. There were complications both mundane (which labor unions represent theater artists onscreen?) and existential (what is theater, anyway?), but one upside was increased access for people unlikely to attend in-person performances because of disability, geography or finances.For Broadway shows, there were some limited pandemic experiments with filmed performances, but not livestreaming. A “Hamilton” movie, using footage shot and edited in 2016, was released during the pandemic by a streaming platform, as was a filmed version of David Byrne’s “American Utopia”; the musicals “Come From Away” and “Diana” filmed invitation-only run-throughs during the pandemic, and those filmed performances were also released on streaming platforms.Now, as theaters reopen, some are discussing the pros and cons, as well as the feasibility, of a so-called hybrid model, in which stage shows can be seen either in-person or at home. Second Stage, working with the company Assemble Stream, earlier this fall offered its subscribers an opportunity to livestream some performances of an epistolary Off Broadway play, “Letters of Suresh”; encouraged by that experience, the nonprofit decided to try the hybrid approach for “Clyde’s,” which is its first post-shutdown Broadway show.“In-person activity is our priority, but we’ve learned a lot from the pandemic, as far as finding other ways of engaging with audiences,” said Khady Kamara, the executive director of Second Stage. There are a number of potential audiences — those still leery of public gatherings, those who live outside the New York area, those with a variety of accessibility concerns — and Nottage said she also hopes at some point that the play could be streamed in prisons.Kamara said the theater would livestream “Clyde’s,” which stars Uzo Aduba and Ron Cephas Jones, in real time during performances from Jan. 4 to Jan. 16 — it can’t be watched on demand.Is there a risk that the project will dissuade people from coming to see the show at the theater? “I really believe that the magic of being inside the theater, and being so close to the stage, is not something that goes away,” Kamara said. “I think that most people are still going to want to go with the in-person experience.”The performances will be captured by five to seven cameras mounted by Assemble Stream inside the Helen Hayes Theater; the footage will be edited, remotely, in real time, as with a live television broadcast, according to Katie McKenna, the company’s vice president of marketing and business development.Kamara and McKenna said the theater would not need to remove any seats to accommodate the cameras, and that the cameras would not obstruct any patron’s sightlines; the cameras will be operated remotely. “Our goal is to be as nondisruptive as possible,” McKenna said.Neither party would detail the financing arrangement, but Kamara said, “To begin with, we’re not looking at this as a revenue stream, as much as we’re looking at it as an additional avenue for us to provide access to the work that we put on our stages.”And will Second Stage seek to stream other Broadway shows in the future? Kamara described the “Clyde’s” streaming as a pilot project. “We are learning, and will continue to learn, and we’ll see what the future holds,” she said. “Certainly, if there is a market for it, hopefully we’re able to continue to offer it.” More

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      ‘Letters of Suresh’ Review: Returning to the Fold

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      Rajiv Joseph’s new drama revisits the protagonist, and the metaphoric possibilities of origami, of his earlier play “Animals Out of Paper.”We live in the age of the reboot: an era of reimaginings, spinoffs and sequels upon sequels upon sequels. Theater, with its dependence on adaptation and revival, got there first. But this impulse now extends to new plays, too — “A Doll’s House, Part 2,” Zoom installments of the Apple Family Plays, the way that “Pass Over” riffs on “Waiting for Godot.”So it’s surprising, yet not surprising at all, to sit down at Rajiv Joseph’s “Letters of Suresh,” which opened Tuesday night at Second Stage Theater, and discover a follow-up to “Animals Out of Paper,” his petite and practically perfect dramedy from 2008.A three-character play originally produced as part of Second Stage’s uptown series, “Animals Out of Paper” traced the relationships among Suresh, a teenage origami prodigy who is mentored by Andy, his calculus teacher, and Ilana, the professional origamist that both men fall for. It ended in an unresolved fashion. Joseph (“Guards at the Taj,” “Bengal Tiger at the Baghdad Zoo”), a playwright who specializes in putting big ideas into small and sparsely populated spaces, isn’t big on resolution. Yet “Animals” had seemed complete enough. I have rarely wondered how Suresh’s life — forgive me, I can’t resist — unfolded. Joseph must have felt differently.Directed by May Adrales, “Letters of Suresh” is, as the title suggests, an epistolary play, with a script composed entirely of letters. Well, letters and one FaceTime conversation. It opens with a letter from Melody (Ali Ahn, frenetic and endearing), a 40-year-old writing teacher. Melody has inherited the worldly effects of her great-uncle, Father Hashimoto: a Bible, an origami bird, a box of letters from Suresh. She writes to him, asking if he wants them returned, narrating the text as she scribbles. Despite receiving no response, she keeps writing and narrating, marveling at the way she can reveal herself to a blank page.If narrating letters to nowhere seems like a writerly conceit, that’s because it is, though Ahn’s messy charisma puts it over. She soon disappears, replaced — within the set designer Mikiko Suzuki MacAdams’s false prosceniums — by Ramiz Monsef’s Suresh. He narrates the letters in the box, which take him from a confused boy of 18 to an equally confused man of about 30. Utkarsh Ambudkar created the role of Suresh in the earlier play, which means Monsef has some big high-tops to fill. Cocky, appealing and forlorn, he fits them just fine.Ramiz Monsef, left, as Suresh, and Kellie Overbey, as Amelia.Sara Krulwich/The New York TimesThere are two other roles, Father Hashimoto (Thom Sesma), and Amelia, a onetime colleague of Suresh’s, played by Kellie Overbey — who originated the role of Ilana, which makes her appearance in this different guise a little confusing. “Letters of Suresh,” sweet and even soppy, finds its characters in various stages of heartbreak, with no fracture fully healed. Mixing originality and cliché, the play surveys the near impossibility of connection, a theme reflected in its structure, in which everyone, more or less alone onstage, speaks their truths into a void. It offers up its metaphors — that paper bird, the heart of a whale — with a hand as heavy as an anvil. “Letters and origami,” Amelia muses. “These ancient, archaic art forms of folding paper into something else.”Adrales keeps the pacing sprightly, and the actors mostly resist the pull of sentiment. (Shawn Duan’s projections, which have the screen saver quality of most projections, don’t exactly help.) A play, though, is also a way of making paper (a script) into something else (a show), and “Letters of Suresh,” despite its adroit, layered performances, never executes that transformation fully, persisting as a literary work rather than an entirely theatrical one.Joseph wrote the play before the pandemic, which seems prescient. With everyone homebound and exhausted by Zoom, letter writing experienced a brief vogue. But we can see each other in person now. And as of late summer, we can see live theater, too. “Letters of Suresh,” though, mostly withholds the pleasures of dialogue and interaction. It gives us paragraphs, signed sincerely and very truly, instead.Letters of SureshThrough Oct. 24 at the Tony Kiser Theater, Second Stage Theater, Manhattan; 2st.com. Running time: 1 hour 30 minutes. More