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    Tennessee Law Limiting ‘Cabaret’ Shows Raises Uncertainty About Drag Events

    The measure is part of a wave of legislation by conservative lawmakers across the country against drag performances. Many are wondering how it will be applied.NASHVILLE — A bill signed into law this week in Tennessee makes staging “adult cabaret” on public property or anywhere a child could see it a criminal offense. The law forbids performances in those places by topless, go-go or exotic dancers, strippers, or male or female impersonators who, as the law defines it, provides entertainment that is “harmful to minors.” The word “drag” does not appear in the legislation. And to some legal experts, the description provided in the letter of the law would not apply to drag as they know it. But many in the state are still trying to grasp how the measure will ultimately affect drag events, theater performances that involve drag, and even transgender and gender nonconforming people as they go about their lives.The law is part of a cascade of legislation across the country fueled by a conservative backlash to drag events, which has also spurred protests from far-right groups and threats directed at performers. Now that it is one of the first to succeed, with lawmakers in other states pursuing legislation with similarly ambiguous language, the law has prompted concerns about how it will be enforced and the implications it could have.“The murkiness of this law is causing a lot of people to be on edge,” said Micah Winter, a performer and board member of Friends of George’s, a theater company in Memphis whose shows are often centered on drag.Proponents of the legislation have described it as a way to safeguard children, asserting that drag events can have sexualized language and suggestive performances that may be too mature for younger viewers.“This bill gives confidence to parents that they can take their kids to a public or private show and will not be blindsided by a sexualized performance,” Jack Johnson, the Republican state senator who sponsored the legislation, said on Twitter.Gov. Bill Lee of Tennessee giving his State of the State address in February. Mark Zaleski/Associated PressStill, the legislation figures into a campaign by conservative lawmakers across the country to curb the rights of people in the L.G.B.T.Q. community. In Tennessee, one proposal would block transgender people from changing the gender listed on their drivers’ licenses, and on Thursday, the same day Gov. Bill Lee signed the adult cabaret bill, he approved legislation that prevents all puberty-delaying treatment, hormone therapies and referrals for transgender children to receive gender-affirming medical care in the state.Drag has become more mainstream in Tennessee, as in much of the country. Performers in vibrant costumes that upend gender assumptions could simply be reading a book, promoting acceptance and literacy. Or they might be “reading” — that is, playfully mocking — tourists piled onto buses rolling through Nashville or lip-syncing in variety shows in boozy brunches in Memphis or Chattanooga.“Not one of our performers on this bus has ever shown more skin than a Titans’ cheerleader on a Sunday afternoon,” David Taylor, an owner of the Big Drag Bus Tour in Nashville and bars that host drag events, said in a hearing on the legislation.Legal experts said the equivocal wording meant that the adult cabaret law was not exactly a ban on drag but could still have consequences.“It’s an anti-drag law,” said Kathy Sinback, the executive director of the American Civil Liberties Union of Tennessee, “because they passed it intentionally to try to chill and prevent people from doing drag, but that’s not really what the law says.”“It should not even touch any drag performances,” she added. But after watching public commentary and a series of legislative hearings debating the merits of the bill, she said, “it’s clear that some people think that drag in and of itself as an art form is obscene and that it should not be viewed by children.”But Ms. Sinback said the parameters set in the legislation should not apply to most drag performances, given that they would have to be considered extremely sexual or violent, lack serious literary, artistic, political or scientific values, and be considered broadly offensive and obscene to a child to warrant charging the performer with a crime.Mr. Johnson said that the law was not meant to target drag performances in general or discriminate against the L.G.B.T.Q. community. “It simply puts age restrictions in place to ensure that children are not present at sexually explicit performances,” he said in an interview with CNN.Critics said the legislation reflected what many in the gay and transgender community have described as a bleak and dangerous climate in Tennessee, threatening people who are often marginalized and already uniquely vulnerable. The law over medical care has provoked the most alarm. The Tennessee chapter of the American Academy of Pediatrics opposed the law, saying in a statement that it will “significantly limit our ability to practice to the standard of care established by numerous national medical organizations.”Sruti Swaminathan, a staff attorney for Lambda Legal, which is working with other civil liberties groups in mounting a legal challenge to the legislation barring gender-affirming care, said, “This is clearly an effort to villainize us and isolate us because they fear our resilience and our self-love and our collective power.”People protesting against the bill on cabaret restrictions in Knoxville, Tenn., in February. Jamar Coach/News Sentinel, via ReutersTennessee is one of more than a dozen states where conservative lawmakers, focusing on issues of gender and identity, have pursued legislation that explicitly or otherwise seeks to impose restrictions on drag events.Some of the bills would require venues to register as adult entertainment spaces or “sexually oriented businesses,” and others would forbid performances at schools or libraries. A proposal in Arizona would outlaw drag performances within a quarter-mile of public playgrounds and schools.The law in Tennessee has not yet spurred a legal challenge, but activists and lawyers were prepared to start one as they watched to see how it is applied. Those who violate the law will be charged with a misdemeanor or a felony for continued offenses.The drag performer Poly Tics attending a rally in Kentucky on Thursday. Bruce Schreiner/Associated PressIn Kentucky, where the State Legislature has advanced a sprawling bill to curtail health care access for L.G.B.T.Q. children, lawmakers had also considered restrictions that included prohibiting what the state classifies as “adult performances” from operating within 1,000 feet of child care facilities, schools, public parks, homes or places of worship. The legislation was amended on Thursday to limit such performances from taking place in public places or a location where the performance could be viewed by a child — a step that critics of the legislation took as a victory.“This version is much more narrowly tailored to just explicit sexual content,” said Chris Hartman, executive director of the Fairness Campaign, an L.G.B.T.Q. advocacy group in Kentucky, who acknowledged that much of his organization’s limited energy was focused on challenging the legislation on restricting gender-affirming health care.Compared with other proposals on L.G.B.T.Q. issues that advocates contend will have immediate and damaging impact, the ones that are tied to drag stir worries rooted more in uncertainty.For transgender and gender nonconforming people, who face a heightened threat of violence, some fear the law could be wielded as a tool to further discriminate against them.“The language is vague enough that it leaves it in the hands of each individual jurisdiction to define what counts as a ‘male or female impersonator,’” said Dahron Johnson, who works in community outreach with the Tennessee Equality Project. “They could say I, just going about my daily life, am an ‘impersonator.’”In theater, there is a long history of performance featuring cross-dressing and drag — Shakespeare famously employed male actors to play female roles — and many touring shows feature some variation on the practice: “The Lion King” (a male meerkat, Timon, dons a dress to dance the Charleston), “Hairspray” (the protagonist’s mother is often played by a man in drag) and “1776” (now touring with a new production in which all the male characters are played by female, transgender and nonbinary actors).“Hairspray” and many other theater productions feature drag performances.Sara Krulwich/The New York Times“We’re absolutely opposed to any legislation that restricts the rights of our producers to present stories we’ve been presenting for 4,000 years,” said Charlotte St. Martin, the president of the Broadway League, a trade association representing producers and presenters around the country. Ms. Martin said the league is “very concerned” about the legislation under consideration in multiple states.Brett Batterson, the president and chief executive of the Orpheum Theatre Group in Memphis, said that on Friday, he paused conversations about bringing to Memphis a solo show, “Dixie’s Tupperware Party,” a small, long-running and popular touring production that has played all over America and is performed by a man in drag.“We decided we would pause our discussion to see how some of the language is interpreted,” Mr. Batterson said. “I think the law will be challenged, and we want to see how it plays out.”For now, Friends of George’s was not ready to change any of its plans. “We think it’s outrageous, but we’re forging ahead with our next production in spite of everything,” said Ty Phillips, the nonprofit’s vice president.Yet uncertainty remained. Mr. Winter noted that over the years he has played Mother Ginger in “The Nutcracker” and the mother in “Hairspray.”“Can I still do that?” he asked. More

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    Broadway Bounces Back With ‘Best Week Since the Before Times’

    Broadway shows grossed $51.9 million during the holiday week, the most since 2019, and “The Lion King” set a record for the most earned by any show in a single week.Broadway, still struggling to rebound from the lengthy pandemic shutdown, is starting the new year with a sign of hope: Last week was, by far, the best for the industry since the arrival of the coronavirus.The 33 shows running grossed $51.9 million, which is the most since the final week of 2019. And “The Lion King,” which last fall celebrated its 25th anniversary on Broadway, notched a remarkable milestone: It grossed $4.3 million, which is the most ever taken in by a show in a single week on Broadway.The boffo numbers — 21 shows grossed more than $1 million last week — come with caveats. Both Christmas and New Year’s days fell on Sundays, concentrating holiday travelers into a single week. Twenty shows added extra performances for the holiday week, giving nine instead of the usual eight. And ticket prices were high: The average Broadway seat went for $166, up from $128 just four weeks earlier.But the strong week sent a signal that under the right circumstances, Broadway can deliver. During the holiday week — the week that ended Jan. 1 — the 22 musicals and 11 plays running were, on average, 92 percent full. Overall attendance was 312,878, which is not a record (in fact, it was the 27th-best-attended week in history, according to the Broadway League), but is good (by comparison, attendance over Thanksgiving week was 259,298).The two final weeks of the year saw combined grosses of $86.7 million, which is up 115 percent over the previous year, but down 12 percent compared to those key holiday weeks in 2019.“What you see is that we’re continuing to build and maintain our audience,” said Charlotte St. Martin, the president of the Broadway League, a trade association representing producers and theater owners. “We’re not back to where we were, but we’re doing very well at a time of uncertainty.”According to the League, last week was the third-highest-grossing in history. The highest was the week ending Dec. 30, 2018, when grosses were $57.8 million and attendance was 378,910; the second-highest was the week ending Dec. 29, 2019, when grosses were $55.8 million and attendance was 350,714.“The Lion King,” with a nine-performance week, toppled the previous record for the top-grossing week by a single show, which had been held by “Hamilton,” which grossed $4 million for eight performances during the week that ended Dec. 30, 2018. (The figures are not adjusted for inflation.)“The Lion King” earned $4.3 million last week, the most a single show has ever earned in one week. It resumed performances in September 2021.Jutharat Pinyodoonyachet for The New York TimesThe holidays are traditionally strong for Broadway, but in 2021 the final weeks of the year were a bloodbath because the Omicron variant led to cancellations of multiple shows. Now, despite the “tripledemic” of circulating respiratory illnesses, Broadway has largely figured out how to keep going: During the last three weeks, 12 scheduled performances were canceled, compared to 221 cancellations during the final three weeks of 2021.Throughout the industry, shows were trumpeting breaking records last week.“Chicago” had the highest-grossing week in its 26-year history, as well as its highest single-performance gross. The once-struggling “Harry Potter and the Cursed Child,” which revived its fortunes after the shutdown by consolidating from two parts into one, was already the highest-grossing play in Broadway history, and last week set a record (nearly $2.7 million) for weekly gross by a play. And a starry revival of “The Piano Lesson” was on track to being the highest grossing play by August Wilson — the much-celebrated and oft-performed bard of 20th-century African American life — in Broadway history.Several shows set house records at the theaters where they are being performed, including the revival of “Funny Girl,” which had been floundering financially until its producers brought in Lea Michele to star. Also setting records were shows including “Beetlejuice,” which closes Jan. 8 after a bumpy ride; “Six,” the pop-concert-style reconsideration of the wives of Henry VIII; “& Juliet,” a new musical imagining an alternative history for Shakespeare’s famously star-crossed lover, and “MJ,” the Michael Jackson biomusical.“We had our best week since the before times,” said Victoria Bailey, the executive director of TDF, a nonprofit organization that runs the TKTS discount ticket booths, who said her staff is noticing increasing geographic diversity among ticket buyers.“We were seeing people from lots and lots of states and lots and lots of countries — it wasn’t the same folks making the numbers bigger, but it was folks from further away,” Bailey said. “I don’t have any reason to say we’re out of the woods, but I don’t think this was just a one-off. And if we get to a point where you periodically have good weeks, that will be helpful.”Bailey and St. Martin both noted that tourists from China have not yet returned in significant numbers as that nation battles surging coronavirus cases. But both said they were particularly heartened by returning domestic tourism.Broadway now enters a period of greater challenge: January and February have historically been weak months for the industry. There are 12 shows scheduled to close this month, which is at the high end of the normal range for January closings. But there are a raft of openings planned in March and April — it looks like the overall number of new shows this season will be within the typical range — and St. Martin said she is feeling good about the industry’s trajectory.“I am overwhelmingly optimistic about the spring,” she said. More

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    Broadway Grosses Drop 26 Percent as Many Shows Cancel Performances

    The surge in coronavirus cases comes at a tough time for the theater industry, which traditionally relies on the holiday season box office.The surge in coronavirus cases is starting to take a real financial toll on Broadway, just as the industry is attempting to rebound from its lengthy shutdown.The Broadway League, a trade association, said on Tuesday that its theaters brought in $22.5 million last week. That’s a 26 percent drop from the $30.5 million in tickets sold the previous week; in the week before Christmas in 2019, total grosses were $40.1 million.The drop in grosses is a reflection of the fact that multiple shows have canceled performances when positive coronavirus tests forced cast or crew members to quarantine and there were not enough understudies or replacement workers for the shows to continue.Last weekend, about one-third of all shows canceled some performances, and this week, multiple shows decided to postpone performances until after Christmas, including “Ain’t Too Proud,” “Aladdin,” “Dear Evan Hansen,” “Hadestown,” “Hamilton,” “Harry Potter and the Cursed Child,” “The Lion King, “MJ” and “Skeleton Crew.”Plus, “Tina” canceled until Christmas night; “Jagged Little Pill” closed entirely; “Mrs. Doubtfire” canceled Tuesday night; and “Waitress” canceled Tuesday and Wednesday nights.Attendance also dropped, given the cancellations: 184,227 people saw a Broadway show last week, down from 240,602 the previous week.The resulting revenue drop is a real concern for an industry where most shows, even before the pandemic, fail financially. But the damage is not evenly dispersed — some shows that stay open are benefiting by selling tickets to people scrambling for something to see after their first-choice show canceled. This year the Broadway League is releasing only aggregate weekly grosses rather than breaking them down for individual productions, so it is difficult to see exactly how the financial ramifications are unfolding.Five other shows cited the pandemic shutdown in deciding not to reopen this fall — the musicals “Frozen,” “Mean Girls” and “West Side Story” and the plays “Hangmen” and “Who’s Afraid of Virginia Woolf?” Two shows cited the ongoing pandemic in deciding to close for good after starting (or restarting) performances this fall, then pausing because of positive coronavirus tests in their companies: not only “Jagged Little Pill,” which announced its closing Monday night, but also the play “Chicken & Biscuits,” which closed last month.The current crisis is coming at the worst possible time for the industry, because the holiday season is traditionally the most lucrative time of year for Broadway, and many shows depend on the holidays to make up for softer periods.Charlotte St. Martin, the president of the Broadway League, said she does not envision the industry shutting down again, no matter how many individual shows have to pause. “I do not imagine a shutdown by us, unless every show has people with Covid,” she said. “We’re going to keep as many people employed as we can.”And New York Mayor Bill de Blasio, at a news conference on Tuesday, was similarly shutdown-averse. “No more shutdowns,” he said. “We’ve been through them. They were devastating. We can’t go through it again.” More

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    Broadway Theater Owners and Producers Start Campaign to Bring Back Locals

    The trade association representing theater owners and producers gets an assist from Oprah Winfrey as it seeks to drive ticket sales beyond the buzzy September reopenings.Broadway producers and theater owners, concerned about whether fans are ready to return as dozens of shows prepare to start or resume performances, have banded together for an industrywide marketing campaign aimed at persuading Broadway’s core audience to purchase tickets.Gone are the days when the booming industry was focused on expanding its reach to tourists from China and Brazil. Now, as the longest shutdown in history nears an uncertain end, an anxious industry is more focused on bringing back fans from New Jersey and Connecticut.On Monday, the Broadway League will begin a “This Is Broadway” campaign that it plans to roll out on screens not only across the five boroughs — at subway and bus stations, in taxis and Wi-Fi kiosks, and on a giant electronic cube in Times Square — but also through social and news media platforms with a broader geographic reach, including YouTube, Facebook, Hulu, Condé Nast, CNN, The New York Times and more. The campaign, aimed squarely at people from the East Coast who before the pandemic enjoyed seeing Broadway shows, seeks to serve as a reminder of all that Broadway offers.The campaign is anchored by a 2.5 minute video, featuring snippets of 99 shows, such as “A Chorus Line” and “Hamilton,” and narration by Oprah Winfrey. The spots will be excerpted in 30 second, 15 second and 6 second digital ads.The marketing material points consumers to a new website, thisisbroadway.org, that features, describes and links to sales sites for every Broadway show that will be onstage this season; two shows, “Springsteen on Broadway” and “Pass Over,” are already running, and 15 more plan to start performances in September. The site also features recommendations based on user interests, and information about safety protocols (all shows are requiring that patrons be vaccinated and masked).“The goal is to let the world know we’re back, and, specifically, to drive ticket sales for the first six months from the Northeast corridor and the Eastern Seaboard, which is where we believe is our best opportunity to put people in seats,” said Charlotte St. Martin, the president of the Broadway League, which is a trade association representing theater owners and producers. The League has set aside $1.5 million for the campaign, but says that the campaign will have a broader reach, which they estimate will be worth more than $3 million in advertising value, thanks to discounted ad rates and support from other organizations.The campaign is unusual for Broadway because individual shows usually do their own marketing. But this is an unusual time, when concerns about the Delta variant have made an already precarious reopening seem even more risky. The League, citing the atypical nature of this season, says it will not disclose box office grosses, but St. Martin said the industry’s September sales are strong..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-w739ur{margin:0 auto 5px;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-w739ur{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-w739ur{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-w739ur{font-size:1.25rem;line-height:1.4375rem;}}.css-9s9ecg{margin-bottom:15px;}.css-uf1ume{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-box-pack:justify;-webkit-justify-content:space-between;-ms-flex-pack:justify;justify-content:space-between;}.css-wxi1cx{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-flex-direction:column;-ms-flex-direction:column;flex-direction:column;-webkit-align-self:flex-end;-ms-flex-item-align:end;align-self:flex-end;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}“There will be shows, as there always are, that don’t do well, and I’m sure they’ll blame it on the pandemic,” St. Martin said. “But I’m very encouraged.”Theater owners agreed to pool consumer data from a period of five years, including 17 million ticket sales in the Northeast, to improve the campaign’s targeting, and multiple unions agreed to allow the use of archival video for advertising. Collectively the spots feature 113 shows, 735 performers, and one dog (Sandy, from “Annie,” of course).In addition to the video, the campaign will call attention to the industry in other ways as well. On Aug. 30, the Empire State Building will be lit up to celebrate Broadway’s reopening. In collaboration with Audience Rewards, there will be a contest in which one person can win four tickets to all 38 shows now on sale. And, in collaboration with Playbill, there will be a mid-September festival and concert in Times Square.The League has been determined since the start of the Broadway shutdown in March 2020 to find a way to promote Broadway as it returns, but the focus of the campaign has shifted as the Delta variant has rattled consumers.“The hypothesis had been that the core audience is going to come back, and we should focus on the casual theatergoer,” said Andrew Lazzaro, a consultant who helped design the campaign for the Broadway League. “But over the course of the summer, as the Delta variant took hold, positions changed — a lot of our data started to suggest that the core audience wasn’t coming back at the level we needed, and we were able to pivot.”Lazzaro said their strategy is primarily aimed at a million people living between Maine and Virginia who, before the pandemic, were reliable theatergoers, interested in seeing what’s new on Broadway, and accounting for a disproportionate share of ticket sales, but who now may need a bit of encouragement to resume the habit.The campaign is scheduled to run through the end of the year. It overlaps with a $30 million promotional campaign by the city’s tourism agency to lure visitors back to New York City. More

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    Special Tony Awards Go to 'American Utopia,' 'Freestyle Love Supreme'

    The Broadway Advocacy Coalition, “David Byrne’s American Utopia” and “Freestyle Love Supreme” win special Tonys.The Tony Awards, long delayed by the pandemic, announced on Tuesday the first recipients, honoring the Broadway Advocacy Coalition, an organization started five years ago by a group of actors and others as a tool to work toward dismantling racism through theater and storytelling.The other recipients were “David Byrne’s American Utopia,” an intricately choreographed concert by the Talking Heads singer, and “Freestyle Love Supreme,” a mostly improvised hip-hop musical that was created, in part, by Lin-Manuel Miranda. These honors, called special Tony Awards, were presented to three recipients that the Tony administration committee thought deserving of recognition even though they did not fall into any of the competition categories, according to a news release.The recipients were announced more than one year after the ceremony had originally been expected to take place. During the coronavirus pandemic, the ceremony was put on indefinite hold. The awards show — a starry broadcast that will celebrate Broadway’s comeback — is now set to air on CBS in September, when Broadway shows are scheduled to return to theaters in almost full force. Most of the awards, however, will be given out just beforehand, during a ceremony that will be shown only on Paramount+, the ViacomCBS subscription streaming service.The award for the Broadway Advocacy Coalition is indicative of how deeply the American theater industry was affected by the mass movement for racial justice set off by the police killing of George Floyd last year.In a statement, Charlotte St. Martin, the president of the Broadway League, and Heather A. Hitchens, the chief executive of the American Theater Wing — the two organizations that present the awards — said that the coalition has provided an “unparalleled platform for marginalized members of our theater community and tools to help us all do better as we strive for equity.”Among the organization’s projects is Theater of Change, a social justice methodology — developed with Columbia Law School — that brings together Broadway artists, legal and policy experts and people whose lives have been shaped by forces such as the criminal justice, immigration and educational systems to collaborate on storytelling as a means to advocate “just policies.”This year’s ceremony for the Tonys, formally known as the Antoinette Perry Awards, will be the 74th such event and will recognize work performed on Broadway between April 26, 2019, and Feb. 19, 2020.Broadway’s 41 theaters have been closed since March 12, 2020; right now, the first planned performances are for “Springsteen on Broadway,” the rock legend’s autobiographical show, which is set to open this Saturday at the St. James Theater. As of now, the next show scheduled to open is “Pass Over,” a play about two Black men trapped on a street corner, on Aug. 4 at the August Wilson Theater.“American Utopia,” which opened on Broadway in October of 2019, is planning to restart performances on Sept. 17. “Freestyle Love Supreme,” which opened that same month, is scheduled to play again for a live audience on Oct. 7. More