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      Avett Brothers Musical ‘Swept Away’ to Close on Broadway After Short Run

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      The new musical, about a shipwreck and its aftermath, opened Nov. 19 at the Longacre Theater.“Swept Away,” a darkly elegiac musical featuring the songs of the Avett Brothers, will end its Broadway run Dec. 15, less than a month after opening.The musical, about a 19th-century shipwreck and its aftermath, explores the lengths to which human beings will go in order to survive. Although set in fictional circumstances, it is based on a real 19th-century tragedy that led to an important legal case in Britain.“Swept Away” began previews Oct. 29 and opened Nov. 19 at the Longacre Theater. At the time of its closing it will have played 20 previews and 32 regular performances.The show cost up to $14.5 million to capitalize, according to a filing with the Securities and Exchange Commission, and that money has not been recouped. The weekly grosses were consistently well below what it cost to run, which is unsustainable.“Swept Away” is the second new musical of this season to close shortly after opening, following “Tammy Faye,” at a time when new musicals face an ever-more-challenging path on Broadway.The Avett Brothers have a devoted fan base, and “Swept Away” was praised by the New York Times’s chief theater critic, Jesse Green, who described it as “really about the gravest decisions humans can make, the depths of souls that are darker than the sea’s.”But other reviews were mixed, and the musical, like the actual history that inspired it, includes cannibalism, which, although not featured prominently in marketing materials or press coverage, may have been a turnoff for some potential ticket buyers. Broadway is also packed with shows, many of which feature more familiar titles or performers, and “Swept Away” was unable to break through in that crowded marketplace.Many of the show’s songs were featured on the Avett Brothers album “Mignonette,” and a cast recording is scheduled to be released in February. John Logan, the Tony-winning author of “Red,” wrote the musical’s book, and it was directed by Michael Mayer, a Tony winner for “Spring Awakening.”The 90-minute show centers on four men stranded on a lifeboat — the only survivors of the shipwreck. They are played by John Gallagher Jr., a Tony winner for “Spring Awakening,” as well as Stark Sands (“Kinky Boots”), Adrian Blake Enscoe and Wayne Duvall.The lead producers of “Swept Away” are Matthew Masten, Sean Hudock and Madison Wells Live (founded by Gigi Pritzker). Before arriving on Broadway, the musical had runs at Berkeley Repertory Theater in California in 2022 and at Arena Stage in Washington in late 2023 and early 2024. More

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      Jason Laks Named President of Broadway League

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      The Broadway League, an industry trade organization, named Jason Laks as its new president. “I think our mission has to be more than to make it 2019 again,” Laks said.The Broadway League, the trade organization that represents commercial theater producers and the industry’s powerful theater owners, has chosen Jason Laks, a longtime official at the organization, to be its next president at a time when the sector is still struggling to recover its prepandemic financial strength.Laks, 52, is a lawyer who has been with the League off and on since 2012, primarily as the director of labor relations in charge of negotiating contracts with 14 unions representing the Broadway work force. Laks has been serving as the League’s interim president since February, when its longtime leader, Charlotte St. Martin, stepped down.The League’s most well-known role is as a co-presenter, alongside the American Theater Wing, of the annual Tony Awards, which honor plays and musicals staged on Broadway. The organization represents commercial producers in labor negotiations, handles government relations for the industry, works with organizations seeking to diversify the American theater and oversees the Jimmy Awards, a national high school musical theater competition.The League’s board of governors voted on Monday to approve Laks’s appointment.The organization, with a $12 million annual budget and a 33-person staff, has 830 members who include not only the owners and operators of the 41 Broadway houses, but also presenters of touring Broadway shows around the country, as well as general managers, vendors and suppliers.Broadway, which had been booming in the years preceding the coronavirus pandemic, has not fully recovered from a roughly 18-month shutdown; pre-Thanksgiving audiences this season were about 5 percent below prepandemic levels. Even as domestic and international tourism is rebounding, there has been a decline in theater attendance by New York-area suburbanites that is associated with the rise of hybrid work, a shift toward home-based entertainment consumption and concerns about costs, crime and congestion.“I think we are doing a remarkable job of coming back postpandemic, but it’s an important moment for the industry — we’re not back to where we were in 2019, but I think our mission has to be more than to make it 2019 again,” Laks said. “We need to continue to work to grow and diversify our audiences and get people into the city to see our shows.”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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      With ‘Sunset Boulevard,’ One Look Wasn’t Enough

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      A bare-bones revival of the Broadway musical grew on me with subsequent viewings, and the additional details I noticed bolstered my reporting.Times Insider explains who we are and what we do, and delivers behind-the-scenes insights into how our journalism comes together.Something I wish I had the chance to do more often as a reporter is to see shows multiple times, deeper into their runs — the “Notre Dame de Paris” musical, which I’ve seen seven times, and “The Phantom of the Opera,” which I’ve seen six times, come to mind.The first time I saw “Sunset Boulevard” in London last year, I was, to say the least, underwhelmed. Directed by Jamie Lloyd, the British minimalist, the revival of the Andrew Lloyd Webber musical had no sets, all-black costumes and almost no props.I had seen neither the original 1993 musical, nor the 1950 black-and-white Billy Wilder film on which it is based. This is not an approach I would recommend for a Jamie Lloyd show; the experience was akin to watching a gender-swapped Shakespeare production with no concept of the original.But one thing did grab me: The outrageously ambitious title number, which is filmed live every night. In a six-minute sequence that begins backstage before spilling out onto the street, the screenwriter Joe Gillis (played by Tom Francis) contemplates the circumstances that led to him becoming the plaything of Norma Desmond (Nicole Scherzinger).“There’s no way that’s live,” someone sitting next to me said, as the audience watched the street sequence unfold on a towering screen at the front of the stage.But the actor had grabbed an umbrella as he headed outside — it was raining that night in London, as it often does — which seemed to give it all away.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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      Momma Rose’s Many Faces, From Ethel Merman to Audra McDonald

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      To those who worship at the church of the American musical, it was a holy night. For on a Thursday in late November in the city of New York, the faithful had assembled to witness what might be described as the Sixth Coming.Momma Rose was being reborn once again.The occasion was the first preview of the fifth Broadway revival of “Gypsy,” directed by George C. Wolfe at the newly restored Majestic Theater, which had last been the home of the longest-running musical on Broadway, “The Phantom of the Opera.” Rose was being played — deep breath, please — by the record-breaking, six-time Tony Award winner Audra McDonald. The house was packed, the crowd aflutter, and expectations stratospheric.For the uninitiated, let me explain that Momma Rose — as she is somehow commonly known, though she is never called that in the show — is widely perceived by theater cognoscenti as the greatest character ever to inhabit a musical comedy. First portrayed by Ethel Merman, she is to that genre’s actresses what Hamlet and Lear are to Shakespearean actors, a sky-scraping, Himalayan peak. As Arthur Laurents, who wrote the show’s book, described her, she is “a larger-than-life mother, a mythic mesmerizing mother, a monster of a mother sweetly named Rose.”The title character of this 1959 musical is in fact the stripper deluxe Gypsy Rose Lee. But it’s her mother, Rose, who is the show’s very (very) dominating central figure, a human bulldozer who drags her two young daughters through the shabby vaudeville circuit of the Great Depression in the hope of making one of them a star. Written by the sacred trinity of Laurents, Jule Styne (music) and Stephen Sondheim (lyrics), “Gypsy” is regarded by many (including me) as the great book musical and the most probing musical about performing itself. For all its surface brightness and buoyancy, “Gypsy” thrums darkly with the ravenous hunger for attention that lies in the deepest heart of showbiz.McDonald with Joy Woods and Danny Burstein in the new production, directed by George C. Wolfe.Sara Krulwich/The New York TimesWe 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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      Auli’i Cravalho on ‘Moana 2’ and Making Her Broadway Debut

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      On a chilly November evening, wearing a light leather jacket and a scarf, Auli’i Cravalho was freezing as she plunged through a pair of gleaming doors into a candlelit bar in Midtown Manhattan.“I do not know how people layer here — I’m in total awe,” said Cravalho, who had just come from a photo shoot at a park on the Lower East Side. Like the plucky young heroine she voices in Disney’s “Moana” films — the sequel, “Moana 2,” hits theaters on Wednesday — Cravalho grew up in a tropical climate, in Kohala, Hawaii.But recently she had been living in an apartment in Hell’s Kitchen, with her partner and her best friend, while starring in the Broadway revival of “Cabaret.” Cravalho plays the singer Sally Bowles in the John Kander and Fred Ebb musical about a Berlin nightclub during the rise of fascism.That night would be her first back in the show after sitting out a few performances after she “had come this close to vocal hemorrhaging.”“I have a newfound respect for the leads of these musicals, because my gosh, it is tough,” said Cravalho, 24, whose name is pronounced owl-LEE-ee cruh-VAL-yo. It had been a whirlwind few weeks, but she was gregarious as she sipped tea poured from a miniature teapot.In addition to performing an emotionally demanding role seven times a week, there were promotional appearances for “Moana 2,” the follow-up to the 2016 Polynesian animated adventure — a global phenomenon that was the most-streamed movie on any U.S. platform last year, according to Nielsen.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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      Holiday Shows to See in N.Y.C.: ‘Elf,’ ‘A Christmas Carol’ and More

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      “Elf the Musical,” inventive spins on “A Christmas Carol” and classic family fare: Here are some of our favorite shows of the season.The end of the year marks the return of eggnog and latkes, gifting and regifting — and holiday-themed shows to bask in tradition, communal spirit and, yes, fun. In New York, we can always count on well-timed offerings on stages of all sizes.One of the biggest, the Marquis Theater, is hosting “Elf the Musical” (through Jan. 4) in which Grey Henson gets the title role “delightfully, entirely right,” according to Laura Collins-Hughes’s review for The New York Times. And then, at the cavernous Theater at Madison Square Garden, Whoopi Goldberg’s Miss Hannigan will do her darnedest to prevent the darling orphan girls of “Annie” from enjoying Christmas at Oliver Warbucks’s mansion (Dec. 4-Jan. 4, with Goldberg joining the cast on Dec. 11).In the middle is the Big Apple Circus, which once again pitched its tent in Damrosch Park at Lincoln Center. The company members may come from all over the globe, but the new show, “Hometown Playground,” is about New York City (through Jan. 5). And don’t overlook the jewel box New Victory Theater, which is presenting “Yuletide Factory” (through Dec. 29) by Cirque Mechanics, a Las Vegas troupe with, as Alexis Soloski described it in her review, “a giddily steampunk aesthetic.”And there is more, so much more — with some selections from around the country because New York can’t have all the fun.From left, Una Clancy, Mary Beth Peil, Kate Baldwin and Christopher Innvar in Irish Rep’s immersive, site-specific production of “The Dead, 1904.”Carol RoseggWe 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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      ‘Glicked’ Fans Rejoice in Bloodshed and Broadway Songs

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      Swords clashing and blood curdling screams of gladiators emanate from one room. Across the hallway, witches belt out show tunes.That’s the sound of “Glicked.”Last year, moviegoers swarmed to see “Barbenheimer” — the combined name for “Barbie” and “Oppenheimer” — when the films opened on the same day. Now, there is a push from the casts and fans of “Gladiator II” and “Wicked” — which both opened across the country on Friday — to recreate that energy for another double feature with a blended name.Isabelle Deveaux and Emma Rabuano skipped out of theater six at the Alamo Drafthouse Cinema in Brooklyn at 2:38 p.m. on Friday, after watching “Gladiator II.”At 6:15 p.m., the pair, both 25, planned to return to the Alamo Drafthouse to see “Wicked.” The crossover, Ms. Deveaux said, “felt so specifically catered to our interests.”Diego Gasca of Los Angeles went with friends to the opening day of “Wicked” at AMC Lincoln Square 13 in Manhattan, but he said that he was not interested in seeing “Gladiator II.”Colin Clark for The New York TimesOn the surface, the two films, which have a combined running time of over five hours, appear vastly different. One is a family friendly musical prequel to “The Wizard of Oz,” while the other is an R-rated epic sequel about murder, war and the Roman Empire. But Ms. Deveaux and Ms. Rabuano see some common ground in the films.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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      Jon M. Chu Waited 20 Years for the Chance to Direct ‘Wicked’

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      On a recent morning, Jon M. Chu was in his office in the Toluca Lake neighborhood of Los Angeles, describing what it was like to direct “Defying Gravity,” the thrilling finale of his forthcoming adaptation of “Wicked.” In the Broadway version of the scene, the green-hued Elphaba, a.k.a. the Wicked Witch of the West, rises above the stage atop a huge platform, its mechanical guts hidden behind an enormous black cape. Onstage, the effect is showstopping.In Chu’s version, however, Elphaba really flies, crashing through windows and barnstorming Oz. “We’re whipping her around with C.G. monkeys and C.G. backgrounds on a physical set,” Chu said. The Wizard’s guards are rushing in, the wind is blasting, and Cynthia Erivo, who plays Elphaba, is performing the signature song live, “even though I said she didn’t have to.”“That scene took all of us,” Chu said. “But without Cynthia, who is just a powerhouse, it would have been all for nothing.”Directing a film adaptation of “Wicked” would be a plum assignment for any fan of American musicals. Since its debut in 2003, “Wicked” has become one of Broadway’s most beloved shows, winning three Tonys and playing to more than 63 million people worldwide, from London’s West End to Tokyo. So how did Chu, who’s done lots of movies with music, but not a whole lot of musicals, get the gig? “I really am a newbie in the musical world,” he admitted. “So I feel like I’m living the theater kid’s dream.”Scenes from a career: Chu’s credits include, clockwise from top left, “Justin Bieber: Never Say Never,” “Step Up 2 the Streets,” “In the Heights” and “Crazy Rich Asians.”Indeed, Chu, 45, has been a lover of musicals dating to his earliest days. As a boy, he regularly saw shows in San Francisco and grew up on a steady diet of film musicals, including “The Sound of Music” (“That was on all the time in our house”) and “Singin’ in the Rain.” An early viewing of “Yankee Doodle Dandy,” the 1942 George M. Cohan biopic, inspired the young fan to start signing his name “Jon M. Chu,” in tribute.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