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    Jeff Bezos and Jessica Chastain Toast a Daring ‘Sunset Boulevard’ on Broadway

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    Outside the St. James Theater on Sunday night, curious onlookers joined a throng of photographers as, amid a sea of flash bulbs, stars descended on a black carpet for the opening night of a buzzy new revival of the classic musical “Sunset Boulevard.”“I’m thrilled to see this,” said Betty Buckley, 77, who played the role of the faded silent-film star Norma Desmond in the Andrew Lloyd Webber musical in London and on Broadway in the 1990s.The show, which tells the story of Ms. Desmond’s descent into madness as she is forced to come to grips with an industry that discards its female stars at an ever-earlier age, stars the 46-year-old Nicole Scherzinger, a former Pussycat Doll, in the role.The new production, helmed by the minimalist director Jamie Lloyd, who also directed a London run last year, is in many ways a daring update of the original musical, which opened in the West End in 1993.The show’s director, Jamie Lloyd, with its choreographer, Fabian Aloise, at the after-party.Tom Francis, who plays the young screenwriter Joe Gillis, received a standing ovation for a sequence in which he sings the show’s title number as he is followed onto the street by a live feed.Rebecca Smeyne for The New York TimesJessica Chastain was nominated for a Tony Award last year for starring in Mr. Lloyd’s previous Broadway production, a revival of “A Doll’s House.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      At ‘Slave Play’ in London, a ‘Black Out’ Night Emerges From Controversy

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      Critics slammed the idea of “restricting audiences on the basis of race,” but at a recent performance, Black spectators praised producers for creating a safe space.Elaine Grant was pleased with the scene unfolding outside the Noël Coward Theater in London on Wednesday night.Unlike most nights at the theater in the West End, there was a sea of majority Black faces laughing and jovially chatting in a line that snaked around the block before a performance of Jeremy O. Harris’s “Slave Play.”Grant, who works in the arts, had organized a group of more than 100 people, mostly Black women, to see the show. “A lot of the people that I work with don’t necessarily go to the theater a lot,” she said, and so it was important for them to be in a space where they could feel safe experiencing a range of emotion.This was a “Black Out” performance, an idea Harris first announced for his play’s Broadway 2019 run, in which he invites Black audience members to attend a specific performance, to experience and discuss art away from the white gaze. Joaquina Kalukango, an actress in the show’s New York run, told the Times in 2020 that she felt on those nights that she was performing to an audience “that fully understood the story and understood where these characters were coming from.”In London, the mood on the theater steps was upbeat and there seemed little concern that when this “Slave Play” transfer — including two Black Out performances — was announced in February, it drew the wrath of some British commentators, and got caught up in ongoing debates over race in British cultural institutions. Even the office of the prime minister at the time, Rishi Sunak, chimed in, saying, “restricting audiences on the basis of race would be wrong and divisive.”Harris responded to the widespread criticism on social media, addressing what he called a “moral panic” among parts of the British public.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Jeremy O. Harris’s ‘Slave Play’ Documentary Is Fueled by Experimental Films

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      The playwright Jeremy O. Harris’s “Slave Play. Not a Movie. A Play.” wears its intellectual references on its sleeve.Jeremy O. Harris’s new documentary — titled “Slave Play. Not A Movie. A Play.” — is ostensibly focused on acting students rehearsing scenes from his provocative “Slave Play,” which was nominated in 2020 for 12 Tony Awards.That’s only the beginning.The documentary, which is streaming on Max, becomes an examination of Harris’s artistic influences and why he wants his play to be seen solely as a work of theater. Part of the strategy is calling back to hallmark experimental documentaries.The playwright Jeremy O. Harris, left, providing feedback to acting students who are rehearsing “Slave Play.”HBO“It’s really important to pay homage to these figures who are just now starting to really get the celebration they deserve, but also opened the door for me to do what I’m doing,” Harris said in an interview.Here are some of the references that informed “Slave Play. Not A Movie. A Play.”:‘Symbiopsychotaxiplasm: Take One’“Symbiopsychotaxiplasm: Take One” is a movie about making a movie about directing a screen test.Janus FilmsUnderstanding the premise of this making-of-the-making-of documentary requires some investment.On its first layer, “Symbiopsychotaxiplasm: Take One” (1968) is a screen test filmed in Central Park. On the next, it’s a movie about William Greaves directing the screen test. And then it’s a movie about making a movie about directing a screen test.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Why Some Black Playwrights Are Saying Their Shows Must Not Go On

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      Several Black playwrights have canceled productions of their works, in some cases after performances started, because of concerns about conditions at the theaters presenting them.In Ohio, the playwright Charly Evon Simpson scuttled last month’s planned Cleveland Play House production of her latest work, “I’m Back Now,” after the director said that the theater had mishandled an actor’s report that she was sexually assaulted at the building where the theater housed artists.In Chicago, Erika Dickerson-Despenza forced Victory Gardens Theater to stop its production of “cullud wattah,” her Flint water crisis-prompted family drama, in the middle of its run last summer to protest actions that included the ouster of the theater’s artistic director.And in Los Angeles, Dominique Morisseau shut down a Geffen Playhouse production of her play “Paradise Blue” a week after its opening in late 2021, saying that Black women who worked on the show had been “verbally abused and diminished.”The steps by playwrights to halt productions of their own work reflects concerns by Black artists frustrated by what they see as a failure of theater administrators to live up to the lofty promises made during and after the spring of 2020, when George Floyd’s death at the hands of Minneapolis police prompted nationwide protests and calls for change in many corners of American society, including the arts. In theater, an anonymously-led coalition of artists, known by the title of its first statement, “We See You, White American Theater,” circulated a widely read set of demands for change.“We don’t want to be pulling our plays — we are playwrights, we want our plays to be done, we are walking away from money, and we are walking away from seeing our work onstage,” Morisseau said. “But this is not an ego act and it is not a diva act. What we are doing is standing up when no one else will.”The cancellations have come just as theaters have been trying to reopen and rebuild following the lengthy pandemic shutdown.There has been notable change to address concerns about diversity and representation: An increase in the number of plays by Black writers staged on Broadway and beyond; a wave of appointments of administrators of color to high-level theater industry positions; the renaming of two Broadway houses after Black performers (James Earl Jones and Lena Horne).More on N.Y.C. Theater, Music and Dance This SpringMusical Revivals: Why do the worst characters in musicals get the best tunes? In upcoming revivals, world leaders both real and mythical get an image makeover they may not deserve, our critic writes.Rising Stars: These actors turned playwrights all excavate memories and meaning from their lives in creating these four shows, which arrive in New York in the coming months.Gustavo Dudamel: The New York Philharmonic’s new music director, will conduct Mahler’s Ninth Symphony in May. It will be one of the hottest tickets in town.Feeling the Buzz: “Bob Fosse’s Dancin’” is back on Broadway. Its stars? An eclectic cast of dancers who are anything but machines.But the cancellations reflect recurrent concern about conditions in the industry. There is pain all around — although actors are often still paid, the playwrights can lose fees and the theaters lose box office revenue and sunk production costs. And there are reputational risks: Will theaters still want to hire these artists? Will artists still want to work at these theaters?“It’s damaging to the theaters, it’s damaging to the playwrights, and it’s damaging to all the artists involved, but it puts a spotlight on issues that need a spotlight, and I hope it’s catching the field’s attention and reminding us that we haven’t solved all the problems,” said Sheldon Epps, a senior artistic adviser at Ford’s Theater in Washington, the former artistic director of the Pasadena Playhouse, and the author of a new memoir, “My Own Directions: A Black Man’s Journey in the American Theater.” “We had all those conversations and all those conference calls, and the talk was valuable but clearly a lot more action is needed.”The playwright Jeremy O. Harris threatened to pull “Slave Play” from the Center Theater Group in Los Angeles to protest its dearth of works by women. After they agreed to stage more, the play, starring Antoinette Crowe-Legacy and Paul Alexander Nolan, went on.Craig SchwartzThese cancellations began in October of 2021, when Jeremy O. Harris posted on Twitter an email he had sent to the Center Theater Group of Los Angeles, saying he wanted to “begin the process” of canceling that theater’s production of “Slave Play,” his acclaimed drama about interracial relationships. The Los Angeles production was to be the first since a pair of buzzy Broadway runs, but Harris was upset that the theater had announced a season with just one work by a woman.The reaction was immediate. The company apologized publicly, and within a week had pledged that the following season at its Mark Taper Forum would feature only work by women or nonbinary playwrights. Harris then allowed “Slave Play” to proceed; the production became the best-selling show at the Taper since the pandemic shutdown.“We have nothing to lose by telling a theater that we don’t want to be their mascots any longer,” Harris said.“Here’s the thing: writing a play is an act of community service, and even in pulling the play you are doing an act of community service — that is theater as well, because the conversation that gets sparked is similar to the conversation sparked by doing the play,” he added. “The only cost is to the ego of theater administrators who have dropped the ball in upholding the politics of the playwrights they’ve programmed.”Harris ultimately praised the Center Theater Group for its responsiveness, and Meghan Pressman, the theater’s managing director and chief executive, said she was “grateful” for Harris’s confrontation, even though it was difficult.“We’re being called to task, and we learned a lot,” she said. Morisseau was next, pulling the rights for “Paradise Blue” from the Geffen. The precipitating incident has never been made public, but Morisseau said at the time that “Harm happened internally within the creative team, when fellow artists were allowed to behave disrespectfully.” The Geffen apologized, saying, “an incident between members of the production was brought to our attention and we did not respond decisively in addressing it.”In an interview, Morisseau said she considered pulling her play a last resort.“I felt there was nothing else for me to do,” she said.And why have there been several cancellations in recent months? “I think what you’re seeing is a failure of institutions and institutional leadership to take seriously the harms against Black women,” Morisseau said. “It’s nothing new to us, but it is very disappointing to experience it in a theater ecosystem that we all seek to be better. You can’t welcome us and our stories, and not welcome the people who tell our stories and the bodies on whom our stories are told.”Playwrights, unlike screenwriters, have enormous power over the use of their work, sometimes by virtue of their contracts, and sometimes by virtue of the nature of their relationships with regional theaters.Prepandemic, there were occasional instances of playwrights exercising such rights for a variety of reasons. In 2016, Penelope Skinner withdrew a Chicago theater’s right to stage her dark comedy, “The Village Bike,” after a news report detailed allegations that the theater’s leader had mistreated performers; in 2012, Bruce Norris withdrew a German theater’s right to stage his Pulitzer Prize-winning race-relations satire, “Clybourne Park,” because he was angry about plans to cast a white actor to play a Black character; and in the 1980s, several playwrights canceled productions because of a union dispute.“We encourage authors to exercise all of their contractual rights to the extent possible,” said Ralph Sevush, the executive director of business affairs at the Dramatists Guild of America, an association representing playwrights.For the affected theaters, the cancellations have been disruptive — in each case, tickets had already been sold. Victory Gardens, which was already imploding when “cullud wattah” was pulled, has since stopped producing shows; the Cleveland Play House and Geffen Playhouse both issued apologies.“Cleveland Play House acknowledges there were missteps in efforts to respond to a sexual assault,” that organization said in a statement last month.The financial implications vary from case to case. Morisseau said that, when “Paradise Blue” was canceled, “Every artist got paid through their contracts. I, as the writer, and the Geffen, as the institution, are the only ones who took any financial hit.” David Levy, a spokesman for the labor union Actors’ Equity Association, said that “Every Equity agreement anticipates worst case scenarios in which a production is canceled before the full run of the show is completed. When that happens, the union does our part to enforce the contract so that actors and stage managers are taken care of.” In Cleveland, the union filed grievances that led to payment to its members for the canceled show there.The current round of cancellations is directly tied to the racial reckoning that has roiled theaters over the last three years; there have been a wide array of calls for change, from term limits for industry leaders and more diverse creative teams sought by the We See You petitions, to the renaming of theaters and the use of racial sensitivity coaches won in a pact negotiated by the organization Black Theater United.Black artists have cited the issues that propelled those movements in describing their current concerns. In Chicago, Dickerson-Despenza pulled the rights to her play after the dismissal of the theater’s artistic director, Ken-Matt Martin, who was one of three Black leaders in top positions at Victory Gardens. At the time Dickerson-Despenza decried the “white supremacist capitalist patriarchal values” of the board. On Wednesday, the board issued a statement saying, “Victory Gardens Theater vehemently disagrees with the characterization,” noting that it had had a diverse staff and board, and adding that “it is our hope that, rather than jumping to conclusions and casting aspersions, we can all move forward with a shared goal of having a vibrant and inclusive theater community for all.”Stori Ayers, who directed both the canceled production of “I’m Back Now” in Cleveland and the canceled production of “Paradise Blue” in Los Angeles, used similar language in an Instagram post about the two experiences, citing “white supremacy theater making culture.” Both of those theaters declined to comment beyond their written statements.Simpson, the playwright who pulled the rights for “I’m Back Now” from the Cleveland Play House, said she had decided to take that step after Ayers withdrew from the production over the theater’s response to an actor who said she had been sexually assaulted in an elevator at the theater’s artist housing.“To put it simply: if the health, safety and well-being of people working on my play is in question, then there’s no reason for the play to happen,” Simpson said. “I could no longer trust that the theater was going to take care of the people putting on my show.”Simpson said she’s not sure what will happen next with “I’m Back Now,” because it was commissioned by the Cleveland Play House, and this was to be its first production. The play is about three generations of Cleveland residents, including a historical figure named Sara Lucy Bagby, who was the last person forced to return to slavery under the Fugitive Slave Act.“You want the production, and you want to make it possible, and many of us are taught to be so grateful for that and to ignore things that may bother us,” Simpson said. “I didn’t ever imagine having to pull the rights.” More

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      Joaquina Kalukango and Amanda Williams on Creative Freedom

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      The “Slave Play” actress and the Chicago-based artist discuss generational gaps, success and the art that brought them each acclaim.What does it mean for an artist to be free? And what does that freedom look like for a contemporary Black artist? Amanda Williams has recently been asking herself these very questions. A Chicago-based visual artist who trained as an architect, Williams, 47, is known for her pieces exploring the nuances of color, both racial and aesthetic. Her breakout work was “Color(ed) Theory,” a 2014-16 series in which she painted eight condemned houses on Chicago’s South Side in vivid, culturally coded shades, such as “Ultrasheen,” a dark turquoise that matches the hue of a Black hair-care product, and “Crown Royal Bag,” a purplish pigment that mirrors the packaging of a popular whisky.In a 2018 TED Talk, Williams discussed how we perceive color — specifically, how our perceptions are determined by context. One example, she said, was redlining — federal housing maps from the 1930s marked neighborhoods inhabited by Black Chicagoans as red, contributing to policies that prevented many residents from securing loans — which weaponized color and resulted in underinvestment. When the actress Joaquina Kalukango, 32, heard the speech, she was awe-struck. Kalukango is no stranger to powerful works of art: Last year, she received a Tony nomination for best leading actress in a play for her work in Jeremy O. Harris’s searing, passionately debated drama “Slave Play,” which is set on a plantation and follows a trio of modern-day interracial couples whose relationships are stymied by conflicting views on race.One rainy morning in October, Kalukango met Williams at the latter’s studio in Chicago’s Pilsen neighborhood. Kalukango was days away from starting a Chicago run of “Paradise Square,” a musical about the 1863 Manhattan draft riots, in which Irish immigrants turned on the Black neighbors with whom they’d previously peacefully coexisted. (It’s headed to Broadway early next year.) Meanwhile, Williams is expanding on “What Black Is This, You Say?,” an ongoing, multiplatform series of abstract paintings inspired by cultural touchstones and observations related to the Black experience that she showed at Art Basel in Miami Beach this month.Amid laughter, Williams and Kalukango talked generational differences, the desire to be “regular” and the blurry line between artistic genius and madness.AMANDA WILLIAMS: Twenty twenty was a mess. I was contemplating Kool-Aid [the subject of one of her latest paintings] and laughing about it, and then the whole world was like, “How are you feeling about being Black, segregation and systemic racism?” People were like, “I want to help, right this minute.” I thought, “I don’t know how I feel right now. I was actually doing something else, and now I’m going to cry.” It’s a little easier now. We’re farther away from it. How did that feel for you?JOAQUINA KALUKANGO: It’s interesting, because “Slave Play” opened [on Broadway in October 2019] before the country had its racial awakening. There was a lot of aggression toward our production. There was a lot of pushback, specifically within the Black community. [Some who had seen the play, and many others who hadn’t, found it offensive in its use of antebellum role play and inappropriately sexually graphic; one online petition calling for the show’s shutdown referred to it as “anti-Black sentiment disguised as art.”] But after audiences saw the show, there was so much conversation. On the streets, people would come up to me and talk about it. That was affirming. It was also exhausting. The greatest thing that helped me was when we had a “Black Out” night — the audience was all Black. I heard the show in a different way: It was funny. There was this release of Black people finally being able to feel like this show was for them, as opposed to sitting next to someone and wondering, “Why are you laughing at this?” How can we get Black people to feel free regardless of who’s sitting next to them? How can we fully enjoy ourselves in situations and experience art without feeling like other people are watching us? It’s always a struggle.Kalukango in “Slave Play” at the Golden Theater in New York City, in September 2019.Sara Krulwich/The New York TimesA.W.: I’ve thought a lot about the freedom question. Take Kanye West. He’s obviously experiencing some mental health issues. But also, he has a level of mastery and talent that borders on complete freedom. He says inappropriate things, and maybe he doesn’t even understand what freedom is. But if you’ve ascended beyond practically any other brown human you’ve ever met, and you can buy Wyoming, isn’t that free? [West has purchased two huge ranches there.] He just does what he wants. [For the listening party for “Donda,” his recent album named after his mother, who died in 2007,] Kanye was like, “I’m going to recreate my mom’s house in [the Chicago Bears stadium] Soldier Field.” Everybody was confused. But I thought, “This could be a mental moment, but it’s also pure creativity.” Every artist who you might say is the most free, in terms of pushing their craft to the edge, is always called crazy.J.K.: Did anyone tell you, early in your career, that you had to work within certain boundaries? Did you feel pressure to be a certain type of artist?A.W.: I trained as an architect [at Cornell University]. My parents were in a panic that I might be an artist. They were like, “Artists who make money are called architects.” In a sense, that was a boundary. Then, I moved to the San Francisco Bay Area right at the height of the dot-com boom. The economy was great. Projects were bountiful; jobs were plentiful. I was able to live out this architectural career that I thought would take 30 years in five or six. Then I had a boss who said, “If you could be doing anything in the world right now, what would it be?” She thought I was going to say, “Taking over your company.” And I said, “Painting.” She encouraged me to try it. And the Bay Area lent itself to that. Everybody had an idea. Google was born when I lived in the Bay. That kind of environment helped me take the leap.If I had to do it again, I wouldn’t. I’d be like, “What if it doesn’t work? How am I going to eat?” But back then, I was just like, “Oh, I’ll eat some avocados, it’s California.” There’s no moment I remember when somebody said I couldn’t do it. Well, I’m sure there was, but I blocked it out. My friend and I were just talking about how our generation tended to dismiss racist comments or sexual advances. We just kept moving. Your generation does not tolerate nonsense. Is that how it feels?J.K.: Definitely. The new show I’m in, “Paradise Square,” is a musical that has been in development for a long time. There was always a struggle to figure out whose lens the story should be told through. Now, it finally centers around this free Black woman in New York who owned a bar in 1863 [Nelly Freeman, the role Kalukango is playing]. We have an E.D.I. [equity, diversity and inclusion] person who talks about terminology. One day in rehearsal, an assistant said, “Joaquina, we’re not going to say the L-word in this sentence.” I was like, “ ‘Let’? ‘Listen’? ”A.W.: Which “L”?J.K.: It was “lynch.” I said, “What? We’re just not going to say this?” But the idea was, we don’t have to say that word until it’s absolutely necessary. I thought, “Well, this is a whole new way of being, even for me. That word doesn’t bother my spirit, but it’s bothering other people’s spirits.” It’s a different world from when I was growing up in Atlanta.Loren ToneyA.W.: How does that impact your craft? Does it trip you up to have to be mindful of words in a way that maybe you hadn’t been before?J.K.: We’re all more careful. Everyone’s fragile. We’re still in the midst of a pandemic, and so many issues have come up for so many people. We’re all giving each other a lot of care and grace in this new era that we’re trying to build, this new era of theater we’re trying to make. But it’s a bit of a struggle, I’ll be honest. When you do work that’s specifically about a very troublesome time — and if you look at the Jan. 6 riot [at the U.S. Capitol], it’s similar to the draft riots — you can’t sugarcoat it. You can’t run away from it. It’s always a balance of, how do you tell a story without traumatizing our community?T: When did you first encounter each other’s work?J.K.: I first saw Amanda’s work in her TED Talk.A.W.: Oh my God. I had wondered, how did you find out about me? How do you know who I am?J.K.: I had such a visceral reaction to “Color(ed) Theory.” All of it was so much a part of my life, my childhood. Plus, I just love colors. How did you get that concept? What inspired you?A.W.: I grew up on Chicago’s South Side and crossed town every day to go to school. Chicago segregation, coupled with the city’s grid, is perfect for systemic oppression because it sets boundaries, and then we mentally reinforce them. I was hyperaware of color all the time, as in race, thinking, “That’s a Mexican neighborhood.” “Chinese people are there.” “White folks do this.” Things like that. And I’ve loved [chromatic] color since birth. Then I learned about color in an academic setting.One summer, while [I was] teaching color theory, a friend joked, “They pay you money to teach people what? Red and blue is green?” I said, “No, color theory is a whole science.” She said, “You know colored theory.” We laughed and I left it alone. A week or two later, I thought, “I do know colored theory.” I spent another few years making sense of it. It seemed so juicy. I started to think, “What things make you think of the color first?” There’s a story I told in the TED Talk: I met a gentleman who grew up near the “Crown Royal Bag” house. He thought the purple house meant Prince was coming. Even after I told him about my art, he said, “You wait and see. Prince might show up and perform right here.” Suddenly, he had hope for that vacant lot, in a way that maybe he didn’t before. To me, that was success.J.K.: It was brilliant.A.W.: At first, I wasn’t as familiar with your work, but when I started to look into it, I was like, “How could I have missed all of this? These are the exact same things I’m thinking and talking about.” I’m excited about how we translate these thoughts across mediums — theater, performance, music, architecture, sculpture, writing.Williams’s “Color(ed) Theory: Pink Oil Moisturizer” (2014-16).Amanda WilliamsWilliams’s “Color(ed) Theory: Crown Royal Bag” (2014-16).Amanda WilliamsT: You both have long been working artists, but your breakout pieces — “Slave Play” and “Color(ed) Theory” — made you famous. Has that affected your work? Do you feel an added responsibility now?J.K.: An actor starts off auditioning for nearly everything. We’re told “no” 99 out of 100 times. Initially, the roles I took were just what ended up coming to me. But I also believe that what’s for you is for you. When you’re on a path that you’re aligned with, more things start coming your way. Now I am adamant that Black women see many facets of ourselves, that we are depicted with a wide gamut of emotions: the unflattering and unraveling parts but also joyful and loving, peaceful and gentle. I want it all for us, at every possible moment. I’m trying to ensure I show Black women as full human beings — not stereotypes, not archetypes. We’re not strong all the time. Yes, our ancestors had to survive, but there was always joy in the midst of all that pain.A.W.: You also have to give yourself permission to be an artist. That’s hard because there is a burden. You know how few people have the same opportunities, so you always want to make sure you’ve done justice. At the same time, you have to take the pressure off. Our society thinks about the home run, the slam dunk — the idea that each thing you do must be better than the last. But if you look at any creative being’s full oeuvre, there are ups and downs. Artists have to continue to understand themselves and improve their craft for themselves. It makes me think of this great artist Raymond Saunders, who lives in the Bay Area. He taught an advanced painting class, and I was teaching at the same school, so he invited me to his class. I went — and the students were eating handmade pastries from this beautiful boutique in Berkeley or something. I’m like, “What is this?” And they’re like, “He told us he can’t teach us how to paint, he can teach us how to live.” It was mind-blowing. Maybe we don’t have to nail it every single week of every year. Maybe we just nail it every five years. Maybe we can sleep one of those years.J.K.: I always think, “Do we ever have the space to be mediocre and figure things out?” I don’t want to be Black girl magic every day. Sometimes I want to be regular. Just regular Black. [All laugh]A.W.: Regular Black. I’m going to make a painting based on that.T: How do you two define success right now?A.W.: Just being the best me. I don’t worry so much if my work is well received or if it garners accolades. That sounds so cheesy. My husband jokes, “Well, that’s nice to say after you’ve gotten the accolades.” [All laugh]J.K.: I love originating and creating new roles. For me, success is knowing that there are girls coming up who can use work I’ve done as audition pieces for colleges. In “Slave Play,” my character, Kaneisha, has a 10- or 15-minute monologue. She takes up space for almost the entire last act. I’d never seen anything like it onstage before. For a long time, it was hard to find material or scene work that included multiple Black characters. It was hard finding those plays [when I studied at the Juilliard School]. It’s all about the next generation for me. If at any point I can make someone feel more free, more confident in their abilities, that’s the win.This interview has been edited and condensed. More

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      'Slave Play' Is Returning to Broadway

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      The play, which had been nominated for 12 Tony Awards, will return to Broadway in November.“Slave Play,” the buzzy and provocative drama that was nominated for 12 Tony Awards but won none, will return to Broadway this fall.The playwright, Jeremy O. Harris, announced the plan just after midnight Monday morning, about an hour after the award ceremony shutout, at an after-party held to celebrate “Slave Play” and the Broadway Advocacy Coalition, an antiracism group.Harris had been planning the return engagement, win or lose. And he said on Twitter that he never expected to win.“Slave Play has never won one of the major awards of any of the great voting bodies but changed a culture and has inspired thousands of ppl who didn’t care about theatre before,” he wrote on Twitter. “I saw someone randomly reading the play in Slovenia. We already won.”The play’s 12 nominations made it the most nominated play in history, and had it won as best play, it would have become the first play by a Black writer to claim the Tony since 1987. It lost to “The Inheritance,” a sweeping drama by Matthew López that explores 21st century gay life in the aftermath of AIDS; López was the first Latino to win the prize.“Slave Play” imagines a radical form of role-playing for sexually frustrated interracial couples as a way of exploring the lingering effects of slavery in America.“Slave Play” becomes the eighth play by a Black writer slated to run on Broadway this season, so far, a record number. It’s also one of several return engagements by shows whose runs had ended before the pandemic, including “American Utopia,” “Freestyle Love Supreme,” “Springsteen on Broadway” and “Waitress.”“Slave Play,” which had an Off Broadway run at New York Theater Workshop, ran on Broadway from Sept. 10, 2019 through Jan. 19, 2020. It did not recoup its capitalization costs, but that is not unusual for plays.The producers said the return engagement would be at the August Wilson Theater, and would run from Nov. 23 to Jan. 23. They then plan to transfer the production to Los Angeles for a run at the Center Theater Group.The Broadway run will again be directed by Robert O’Hara, and will feature much of the original cast, including Ato Blankson-Wood, Chalia La Tour, Irene Sofia Lucio, Annie McNamara and Paul Alexander Nolan. However, Joaquina Kalukango will not rejoin the cast in the role of Kaneisha; she is starring in a new musical, “Paradise Square,” scheduled to start previews in February, and will be replaced by Antoinette Crowe-Legacy, who previously played the role in a developmental production at Yale.The lead producers are Greg Nobile and Jana Shea; among the other producers is the actor Jake Gyllenhaal. The producers pledged to make 10,000 tickets available for $39 each and to hold invitation-only “Black Out” performances, as they did during the initial run, for Black audiences. More

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      ‘Moulin Rouge!’ and ‘The Inheritance’ Take Top Honors at Tony Awards

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      The ceremony, held for the first time in more than two years, honored shows that opened before the pandemic and tried to lure crowds back to Broadway.It was the first Tony Awards in 27 months. It followed the longest Broadway closing in history. It arrived during a pandemic that has already killed 687,000 Americans, and as the theater industry, like many other sectors of society, is wrestling with intensifying demands for racial equity.The Tony Awards ceremony Sunday night was unlike any that came before — still a mix of prizes and performances, but now with a mission to lure audiences back as the imperiled industry and the enduring art form seek to rebound.The ceremony’s biggest prize, for best musical, went to “Moulin Rouge! The Musical,” a sumptuously eye-popping stage adaptation of the 2001 Baz Luhrmann film about a love triangle in fin-de-siècle Paris. The musical, jam-packed with present-day pop songs, swept the musical categories, picking up 10 prizes.“I feel that every show of last season deserves to be thought of as the best musical,” said the “Moulin Rouge!” lead producer, Carmen Pavlovic, “The shows that opened, the shows that closed — not to return — the shows that nearly opened, and of course the shows that paused and are fortunate enough to be reborn.”The best play award went to “The Inheritance,” a two-part drama, written by Matthew López and inspired by “Howards End,” about two generations of gay men in New York City. The win was an upset; “The Inheritance” had received, at best, mixed reviews in the U.S., and many observers had expected Jeremy O. Harris’s “Slave Play” to pick up the prize. López, whose father is from Puerto Rico, described himself as the first Latino writer to win the best play Tony, which he said was a point of pride but also suggested the industry needs to do better.“We constitute 19 percent of the United States population, and we represent about two percent of the playwrights having plays on Broadway in the last decade,” López said. “This must change.”Right from the start, there were reminders of the extraordinary difficulties theater artists have faced. Danny Burstein, a much-loved Broadway veteran who had a life-threatening bout of Covid-19 and then lost his wife, the actress Rebecca Luker, to a neurodegenerative disease, won his first Tony. It was the seventh time he was nominated, for his performance as a cabaret impresario in “Moulin Rouge! The Musical,” a show in which at least 25 company members fell ill.In his speech Burstein thanked the Broadway community for its support. “You were there for us whether you just sent a note or sent your love, sent your prayers, sent bagels,” he said. “It meant the world to us, and it’s something I’ll never forget. I love being an actor on Broadway.”The ceremony was held at Broadway’s Winter Garden Theater, which holds 1,500 people, far fewer than the 6,000 who can fit into Radio City Music Hall, where the event was often held in previous years. Attendees were subjected to the same restrictions as patrons at Broadway shows: they were required to demonstrate proof of vaccination, and they were asked to wear masks that cover their mouths and noses.With the majority of the awards given out earlier, most of the CBS telecast, which featured Leslie Odom Jr. as host, was devoted to musical numbers aimed at enticing potential ticket buyers as Broadway reopens after the longest shutdown in its history. Sara Krulwich/The New York TimesThe bifurcated four-hour show relegated most of the awards to an all-business first half, which was viewable only on the Paramount+ streaming service. That freed up the second half, which was telecast on CBS and hosted by Leslie Odom Jr., to emphasize artistry over awards, as a parade of musical theater stars, including “Wicked” alumnae Kristin Chenoweth and Idina Menzel, as well as “Rent” alumni Adam Pascal and Anthony Rapp and “Ragtime” original cast members Audra McDonald and Brian Stokes Mitchell, sought to remind viewers and potential ticket buyers of the joys of theatergoing.Early in the streamed portion of the show, the appeal to nostalgia began: Marissa Jaret Winokur and Matthew Morrison opened by leading alumni of the original cast of “Hairspray” in a rendition of that 2002 musical’s ode to irrepressibility, “You Can’t Stop the Beat.” And, just in case anyone missed the message, the awards ceremony’s host, McDonald, a six-time Tony winner, spelled it out, saying, “You can’t stop the beat of Broadway, the heart of New York City.”“We’re a little late, but we are here,” McDonald added. Then she urged the industry to “commit to the change that will bring more awareness, action and accountability to make our theatrical industry more inclusive and equitable for all.”“Broadway is back,” she said, “and it must, and it will, be better.”An early emotional highlight came when Jennifer Holliday, whose performance of “And I Am Telling You I’m Not Going” from “Dreamgirls” at the 1982 Tony Awards has been described as the best Tonys performance of all time, returned to sing the song again. The audience leapt to its feet midway through the song, and stayed there through her final, wrenching, hand-thrust-in-the-air, wail.The road to this 74th Tony Awards — honoring a set of plays and musicals from the pandemic-truncated 2019-2020 season, which abruptly ended when Broadway was forced to shut down on March 12, 2020 — was long.Only 18 shows were deemed eligible to compete for awards, which is about half the normal number, and only 15 shows scored nominations.The nominees, chosen by 41 theater experts who saw every eligible show, were announced last October. Electronic voting, by 778 producers, performers and other industry insiders, took place in March.The long-delayed ceremony — originally scheduled to take place in June of 2020 — was ultimately scheduled by the Broadway League and the American Theater Wing, which present the awards, to coincide with the reopening of Broadway. Those reopening plans were complicated by the spread of the Delta variant, which drove caseloads up over the summer and added new uncertainty to the question of when tourism, which typically accounts for roughly two-thirds of the Broadway audience, will return to prepandemic levels.But there are already 15 shows running on Broadway — which is home to 41 theaters — and each week more arrive. Adrienne Warren won for her performance as the title character in “Tina — The Tina Turner Musical.” She urged the industry to transform. “The world has been screaming for us to change,” she said.Sara Krulwich/The New York TimesAmong the shows returning are all three nominees for best musical. “Moulin Rouge!” began performances on Friday; “Tina — The Tina Turner Musical,” a biographical musical about the life and career of Tina Turner, returns Oct. 8; and “Jagged Little Pill,” a contemporary family drama inspired by the Alanis Morissette album, returns Oct. 21.All three musicals scored some wins.The star of “Tina,” Adrienne Warren, won for her jaw-dropping performance as the title character. Warren, who is one of the founders of the antiracism Broadway Advocacy Coalition, is leaving the role at the end of October; she too urged the industry to transform. “The world has been screaming for us to change,” she said.“Jagged” won for best book, by Diablo Cody, and for best featured actress, Lauren Patten, who electrifies audiences with her showstopping rendition of Alanis Morissette’s “You Oughta Know.” Patten’s performance is the subject of some controversy, because some fans had perceived the character as nonbinary in a pre-Broadway production and were unhappy with how the role evolved; the show’s producers said that the character was “on a gender expansive journey without a known outcome.” In her acceptance speech, Patten thanked “my trans and nonbinary friends and colleagues who have engaged with me in difficult conversations and joined me in dialogue about my character.”Among the multiple awards won by “Moulin Rouge” were a first Tony for the director, Alex Timbers, and a record-breaking eighth for the costume designer, Catherine Zuber. The show’s leading man, Aaron Tveit, won for the first time, in an unusual way — he was the only nominee in his category, but needed support from 60 percent of those who cast ballots in the category to win, which he got. He teared up as he thanked the nominators and the voters.“Let’s continue to strive to tell the stories that represent the many and not the few, by the many and not the few, for the many and not the few,” he said. “Because what we do changes people’s lives.”None of the nominees for best musical had an original score, so for the first time that award went to a play — Jack Thorne’s new adaptation of “A Christmas Carol,” which featured music composed by Christopher Nightingale. That sparkly production, from the Old Vic in London, also won for scenic design, costume design, lighting design and sound design.There was no best musical revival category this year, because the only one that opened before the pandemic, “West Side Story,” also was not seen by enough voters. It also wasn’t seen by many theatergoers: Its producers have decided not to reopen it.A production of “A Soldier’s Play,” directed by Kenny Leon and produced by the nonprofit Roundabout Theater Company, won the Tony for best play revival. The play, a 1981 drama by Charles Fuller, is about the murder of a Black sergeant in the U.S. Army; it won the Pulitzer Prize when it was first published and was later adapted into a Hollywood film, but it didn’t make it to Broadway until 2020.The production starred Blair Underwood and David Alan Grier. Grier picked up the first award of the night, for best featured actor in a play.Leon gave a fiery acceptance speech, repeating the names Breonna Taylor and George Floyd — both of whom were killed by police last year — as he began, saying “We will never ever forget you.” And then, he exhorted the audience, “Let’s do better.”Kenny Leon, the director of “A Soldier’s Play,” gave an impassioned acceptance speech, repeating the names of George Floyd and Breonna Taylor and saying, “We will never ever forget you.”Sara Krulwich/The New York Times“No diss to Shakespeare, no diss to Ibsen, to Chekhov, to Shaw; they’re all at the table,” he said. “But the table’s got to be bigger.”The outcome in the best play category was startling enough that gasps could be heard in the theater when the winner was announced. “Slave Play,” with 12 nominations, had been the most nominated play in history, and a win would have made it the first play by a Black writer to claim the Tony since 1987, but the play won no prizes. “The Inheritance,” which had been hailed in London but then greeted tepidly in New York, won four, including for Stephen Daldry as director, Andrew Burnap as an actor, and for 90-year-old Lois Smith as a featured actress. Smith is now the oldest person ever to win a Tony Award for acting, a record previously held by Cicely Tyson, who won at 88.The best leading actress in a play award went to Mary-Louise Parker for her spellbinding performance as a writing professor with cancer in Adam Rapp’s “The Sound Inside.”The Tonys also bestowed a number of noncompetitive awards. Special Tony Awards were given to “American Utopia,” David Byrne’s concert show; “Freestyle Love Supreme,” an improv troupe co-founded by Lin-Manuel Miranda, and the Broadway Advocacy Coalition, a group pushing for racial justice.“I want to acknowledge that I’m only standing here because George Floyd and a global pandemic stopped all of us, brought us to our knees and reminded us that beyond costume, beyond glamour, beyond design was pain that we weren’t yet seeing,” said the coalition’s president, Britton Smith. “It created this beautiful opening that allowed us to say ‘Enough.’”Sarah Bahr, Nancy Coleman, Julia Jacobs and Matt Stevens contributed reporting. More

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      Jeremy O. Harris's Grad School Reunion

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      Standing, from left: SOHINA SIDHU, actress, 29; JULIAN SANCHEZ, actor, 25; JONATHAN HIGGINBOTHAM, actor, 33; MAIA MIHANOVICH, actress, 24; AMAUTA M. FIRMINO, screenwriter, 29; HUDSON OZ, actor, 30; JEREMY O. HARRIS, playwright, writer, producer and performer, 31; and SYDNEY LEMMON, actress, 30. Seated, from left: PATRICK FOLEY, actor and playwright, 30; EDMUND DONOVAN, actor, 30; […] More

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      Tony Awards Voting Starts Now. And It’s Going to Be Weird.

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      #masthead-section-label, #masthead-bar-one { display: none }At HomeFall in Love: With TenorsConsider: Miniature GroceriesSpend 24 Hours: With Andra DayGet: A Wildlife CameraAdvertisementContinue reading the main storySupported byContinue reading the main storyTony Awards Voting Starts Now. And It’s Going to Be Weird.No shows are playing, and no one knows when they will come back. Here are answers to six questions about a process even more idiosyncratic than usual.Adrienne Warren as the title character in “Tina — The Tina Turner Musical,” one of three shows eligible for the best musical Tony Award.Credit…Sara Krulwich/The New York TimesMarch 1, 2021The last Broadway season ended, unexpectedly, nearly a year ago. The next one will begin who-knows-when.But deep in this winter of our theaterlessness, a dormant tradition is starting to stir: the Tony Awards.Hundreds of voters, this week and next, are casting ballots for the best shows, and the best performances, of a theater season abruptly cut short by the coronavirus pandemic.The jukebox shows “Jagged Little Pill,” “Moulin Rouge! The Musical” and “Tina — The Tina Turner Musical’ are competing for best musical, and hope to resume performances whenever Broadway reopens. All five of the best play contenders have closed. They are “Grand Horizons,” by Bess Wohl; “The Inheritance,” by Matthew López; “Sea Wall/A Life,” by Simon Stephens and Nick Payne; “Slave Play,” by Jeremy O. Harris; and “The Sound Inside,” by Adam Rapp.In this strangest-of-all Tony competitions, the voting is disconnected from both the period being assessed, which ran from April 26, 2019, to Feb. 19, 2020, and the ceremony for handing out awards, which has not yet been scheduled.In other words, we won’t know the results until — well, for a long time.But here’s what we do know:Who’s going to vote?Not a lot of people.There are 778 Tony voters, but they can only cast ballots in categories in which they’ve seen all the nominees. Because the pandemic prevented any spring theatergoing, there are fewer qualified voters than usual.There are 25 prize categories; the Tonys won’t say how many people will actually be able to vote in each category, but producers believe slightly fewer than 400 people will qualify to cast ballots for best musical, and fewer than that for best play.What’s missing?Parties.The usual Tonys season is all-encompassing. Shows that opened in the fall (and that would have included all three of last season’s nominated musicals) invite voters back to see them again. Monday nights are jammed with nonprofit galas at which nominees mingle with voters, and those who can sing, do. There are press junkets and mixers; display ads in The New York Times and caricatures at Sardi’s; plus, of course, a raft of spring openings to catch up with.So much hugging. So much schmoozing. So many four-hour dinners. Everyone complains. And now they long for it.“I can’t believe I miss buffets,” said Eva Price, a lead producer of “Jagged Little Pill.” “So much that we took for granted, and sometimes grimaced at, we would give our left arms for right now.”Lauren Patten, center, in “Jagged Little Pill,” a show that re-aired a cast reunion concert as a way to remind voters and fans that it plans to return to Broadway.Credit…Sara Krulwich/The New York TimesIs it appropriate to campaign?Yes, but very gingerly.We’re still in the middle of a devastating pandemic and a huge number of people who work in theater are currently unemployed. Also: money is tight because there are no ticket sales.“The 2020 shows can’t run a campaign in the usual way, and even if we could it would feel icky to try,” said Carmen Pavlovic, the lead producer of “Moulin Rouge!”“This is not a moment for cocktail parties and gossip,” she added. “It’s just a moment for lifting up artists from darkness, and hoping that lifts everybody else along the way.”So swag is minimal. “Moulin Rouge!” and “Jagged Little Pill” sent voters coffee table books about their shows, but that’s about it. The main form of campaigning this year is in the form of “For Your Consideration” emails.The nominated show that is furthest in the rearview mirror — a revival of “Frankie and Johnny in the Clair de Lune,” which closed in July 2019 — sent voters a video montage of interviews including its playwright, Terrence McNally, who died eight months later from complications of the coronavirus.Nominees are sitting for profiles with theater trade publications. And last week, “Tina,” “Jagged Little Pill,” “The Inheritance,” “Slave Play” and “Betrayal” bought daily sponsorships of Broadway Briefing, an emailed industry newsletter whose subscribers include many Tony voters.And there are other, newfangled ways to refresh voters’ memories. “Betrayal” on Sunday held a cast reunion on Instagram Live; “The Sound Inside” sent voters videotaped selections from the production; “Jagged Little Pill” released a video reflecting on the year and is re-airing a concert version of its show. “Moulin Rouge!” and “The Inheritance” built voter web pages with performance clips, interviews, scripts and more.The message needs to be focused, producers say. “We have to be very mindful and respectful of what people’s experiences are right now,” said Tali Pelman, the lead producer of “Tina.” At the same time, she said, “Honoring our talent and their contribution is important. More than ever, we have to shout out about their exceptional value in society.”What happens when the votes are tallied?An accounting firm sits on the results.The voting period runs through March 15, with votes cast electronically via a password-protected website, and tabulated by Deloitte & Touche LLP. Even in pre-pandemic years, results are not shared with the leaders of the organizations that present the awards — the Broadway League and the American Theater Wing — or anyone else before they are announced.This year they will just be kept secret for longer than usual.Aaron Tveit (with Karen Olivo, in “Moulin Rouge!”) is the only actor eligible for best actor in a musical.Credit…Sara Krulwich/The New York TimesCan you lose if you’re the only nominee?Theoretically, yes.Aaron Tveit of “Moulin Rouge!” is the only person nominated as best actor in a musical. This is an unusual circumstance, for which the Tonys have imposed an unusual rule: to win, Tveit must get a positive vote from 60 percent of those who cast ballots. But, to be clear, he’s likely to pick up his first statuette this year.There are a couple of other nomination quirks, too. There will be no prize for best musical revival, because the only one that managed to open, “West Side Story,” did so after the retroactively imposed eligibility date. And the contenders for best score were all from plays.So when will we know the winners?Stay tuned.It seems clear that the ceremony will only take place after live performance is allowed to resume in New York and tickets to Broadway shows have gone on sale.That’s because the industry’s priority will be to use the ceremony to remind potential audiences that Broadway is back. The goal, said Heather A. Hitchens, the Wing’s president and chief executive, “is to be most helpful to the industry.”Several producers and publicists say they are now thinking the most likely time frame is after Labor Day, a full year and a half after Broadway shut down.The organizers have shared a few other details. This year’s ceremony, like those before the pandemic, will be overseen by Glenn Weiss and Ricky Kirshner. There will be some noncompetitive awards (those are honors like lifetime achievement). But there has been no announcement about whether the ceremony will be in-person or virtual, televised or streamed, live or taped; only that it will take place “in coordination with the reopening of Broadway.”“We hope to have news very soon,” said the League’s president, Charlotte St. Martin.AdvertisementContinue reading the main story More