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      When ‘A Little Touch of Star Quality’ Is a Little Too Much

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      In upcoming musical revivals, world leaders both real (Imelda Marcos, Eva Perón) and folkloric (King Arthur) get an image makeover they may not deserve.Why do the worst characters in musicals get the best tunes?I don’t mean mere antiheroes like Billy Bigelow, the “Carousel” carnival barker who sings gloriously about love yet hits his wife. Or Joey Evans, that lowlife “pal,” whose bed-hopping grift is set to a sparkling Rodgers and Hart score. Or even Evan Hansen, lying his way to love as he catches your heart with the catch in his throat.They’re all pikers, their damage largely domestic.Sweeney Todd, the liberally neck-slashing barber, is more like it. Though most of Fleet Street has been minced by the time the curtain falls on the musical named for him, he gets some of Stephen Sondheim’s most gorgeous arias, including the sinuous “My Friends” (crooned to his razors) and the erotic “Pretty Women” (whispered in the ear of the judge he’s about to dispatch). That a penny dreadful character originally meant just to shock and sicken becomes instead a pitiable victim is a testament to the power of music to make bad guys, if not good, compelling.Still, in “Sweeney Todd,” which opens next month in a Broadway revival starring Josh Groban and Annaleigh Ashford, the terror remains local because the barber has no leverage. In three other upcoming musical revivals — “Evita,” “Camelot” and “Here Lies Love” — the damage is done by people with real power. Their harm is political, epochal, even as the songs they sing, encouraging empathy that may not otherwise be earned, invite us to give them a pass.Michael Cerveris, center, as the demon barber of Fleet Street, and Patti LuPone as Mrs. Lovett, second from left, in a 2005 production of “Sweeney Todd” at the Eugene O’Neill Theater.Sara Krulwich/The New York TimesExploring the humanity in flawed characters was the premise of many Golden Age musicals, which leaves them open to challenge today. “Evita” is an extreme case. Tim Rice’s book and lyrics try to keep the sins of Eva Perón, the second wife of the Argentine strongman Juan, at an ironic remove, lest the show seem to endorse her fascist tendencies and demagogic élan. The words make plain, just shy of celebrating, her manipulative genius.But Andrew Lloyd Webber’s music works at cross purposes to that distancing effort. Though famously difficult to sing, the difficulty is exciting; it’s impossible not to be thrilled when a performer nails the treacherous downward arpeggios of “Buenos Aires” or the stratospheric belt of “A New Argentina.” And to the extent new productions mimic the chic of the 1979 Broadway premiere, “Evita” always seems to bank on the same “little touch of star quality” that the real Perón did.Whether that contradiction can be addressed within the confines of the musical as written remains to be seen. Sammi Cannold, whose staging for New York City Center’s 2019 gala provided more context for Perón’s ambition, seems poised to go even further in a production scheduled to run from May 14 through July 16 at the American Repertory Theater in Cambridge, Mass. It’s promising that in a TED Talk about “Evita,” Cannold reflects on “the responsibility of the storyteller.”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.More honored in the breach, that notion is part of what renders many Golden Age musicals so tricky today. Some of their unexamined assumptions — about race and gender and even the primacy of pleasurable song over political impact — have been revised or shot down in the intervening decades.One musical compromised in the process is “Camelot,” a romantic retelling of Arthurian legend that opened on Broadway in 1960. Its book, by Alan Jay Lerner, has always been considered clumsy and overlong; for Bartlett Sher’s Lincoln Center Theater revival, which begins performances on March 9, Aaron Sorkin has rewritten it.Though dialogue in “Camelot” explains why Arthur (Richard Burton in the original 1960 production) orders the execution of Guenevere (Julie Andrews), song makes him sympathetic, our critic writes.Pictorial Press Ltd./AlamyBut the score, with Lerner’s lyrics and Frederick Loewe’s music, was always able to compensate for the book’s shortcomings. Arthur’s utopian dreams were so perfectly captured in the title song that it became an emblem of the Kennedy era. The hauteur of his wife, Guenevere, and the egotism of her lover, Lancelot, were exposed and then exploded in torrents of rapturous balladry that swept away their faults.More recent concerns about the story may be more difficult to dismiss with mere melody. Indeed, melody can aggravate the problem. Though dialogue explains why Arthur behaves as he does — ordering his wife’s execution and destroying his country’s peace — song makes him sympathetic. Especially with a beloved score, the identification between audience and the characters is difficult to sever: We sing the songs in our heads as they sing them aloud.If it took six decades to see why that might be problematic for “Camelot,” just one has sufficed to raise similar questions about “Here Lies Love,” which sets the story of Imelda Marcos to a disco score by David Byrne and Fatboy Slim. A success at the Public Theater in 2013, it is only now transferring to Broadway, where performances are scheduled to begin on June 17.The intervening years have altered the way we look at historical characters onstage, from Alexander Hamilton to Princess Diana. Marcos presents a particular problem, because she’s not yet historical: The country’s first lady from 1965 to 1986, she’s now, at 93, its first mother. (Her son, Ferdinand Jr., known as Bongbong, became president last June.) Whether merely supporting her husband’s dictatorship or more directly influencing and maintaining it, she was part of a regime accused of looting billions from the country’s treasury and eliminating its opponents.In telling the story of Imelda Marcos, a former first lady of the Philippines whose husband’s regime was accused of corruption, “Here Lies Love” takes lyrics from her own speeches and interviews.Sara Krulwich/The New York TimesNo wonder some Filipinos and Filipino Americans have objected to the way “Here Lies Love,” at least in the version seen at the Public, seems to sympathize with its main character. Sara Porkalob, who recently appeared on Broadway in “1776,” described the musical as painting “a glossy veneer over the Philippines’ national trauma and America’s role in it.”The show’s producers countered that “Here Lies Love” is “an Anti-Marcos show” that aims to fight disinformation with “a creative way of re-information.”But creative to what end? Though most of the show’s lyrics are taken from Marcos’s own speeches and interviews, phrases like “Why don’t you love me?” and “Is it a sin to care?” have a very different effect when merely spoken than when set to singalong melodies and danceable beats. Staging the production in what amounts to a discothèque further complicates the point of view. When song and dance bring so much pleasure, you may miss the atrocities as you’re doing the hustle.Perhaps that’s the point. As the musical has matured, artists have naturally sought to write about people who are more complicated than randy teenagers and frivolous socialites. Yet by applying the powerful tools of the form to darker and more dangerous figures, those figures are literally given greater voice, forcing us to consider the ways in which they are humans even if they may also be monsters.Does that mean whitewashing them? Obviously not; to describe domestic violence, as “Carousel” does, is not to endorse it. And yet seducing us into a kind of emotional complicity with powerful figures, especially real ones like Perón and Marcos, does have its dangers — dangers enhanced by the fundamental amorality of song, no matter what the words say.So when Evita, thrilling her public with diamonds and Dior, sings, “They must have excitement, and so must I,” it’s not that we risk forgiving her. It’s that we risk enjoying too much what we can’t forgive. More

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      Jason Alexander Will Direct a Comedy on Broadway This Summer

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      “The Cottage,” written by Sandy Rustin, will star Eric McCormack, Laura Bell Bundy and Lilli Cooper.“The Cottage,” a farce inspired by and also sending up the work of Noël Coward, will come to Broadway this summer in a new production directed by the “Seinfeld” alum Jason Alexander.The play, which has had several productions in small theaters over the last decade, will star Eric McCormack (“Will & Grace”), Laura Bell Bundy (“Legally Blonde”) and Lilli Cooper (“Tootsie”).“The Cottage” is a British farce by an American writer, Sandy Rustin, whose murder mystery drama, “Clue” (adapted from the board-game-based film), is now among the most-produced plays in the United States.Set in England in 1923, the comedy is set off by the revelation of an extramarital affair that brings a group of interconnected people together at a country house.It was first staged in 2013 at the Astoria Performing Arts Center in Queens, and has since had productions in Massachusetts, Arizona, Colorado, Virginia, and Florida, as well as on Long Island, and it has been optioned for television.Alexander directed a reading of the play in 2016 and led a developmental workshop in 2017. This production will be his Broadway directing debut, but he has appeared on Broadway in six shows and won a Tony Award for starring in “Jerome Robbins’ Broadway.”“The Cottage” is scheduled to begin performances July 7 at the Hayes Theater, with the opening scheduled for July 24. It is a commercial production, renting space from a nonprofit; the lead producers are Victoria Lang and Ryan Bogner, who last collaborated on the stage adaptation of “The Kite Runner” that ran on Broadway last year.This summer is shaping up to be an unusually busy one for Broadway: “The Cottage” is the fifth show to announce a summer opening thus far, joining the musicals “Back to the Future,” “Here Lies Love” and “Once Upon a One More Time” and the play “Purlie Victorious.” More

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      Broadway and West End Theater Owners Agree to Join Forces

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      A major British theater company, Ambassador Theater Group, says it is “combining operations” with Jujamcyn, the smallest of Broadway’s three big landlords.Jujamcyn Theaters, the smallest of the three big Broadway landlords, is combining its operations with a large British company, the Ambassador Theater Group, or A.T.G.The transaction, confirmed Tuesday by Jujamcyn and International Entertainment Holdings Limited, which is A.T.G.’s parent company, would give A.T.G., which already operates two of the 41 Broadway houses, a more sizable foothold in the heart of America’s theater industry, and would give Jordan Roth, the Jujamcyn president, more resources for showcasing his creative ambitions. Jujamcyn operates five Broadway houses; A.T.G. has 58 venues in Britain, Germany, and the United States.The companies said that the transaction is subject to regulatory approval, but did not say by what entity and in which country. No financial terms were specified.Roth, one of the most colorful characters on Broadway’s business side, will become the creative director of the combined company and its largest individual shareholder, with a seat on the board. There are also significant institutional shareholders: A large Rhode Island-based private equity firm, Providence Equity Partners, has for the last decade been A.T.G.’s majority shareholder, and at the height of the pandemic, when theaters were being financially squeezed by a lengthy shutdown, an Australian company, T.E.G., acquired a minority share of the company.Roth, the 47-year-old son of the real estate titan Steven Roth and the Broadway producer Daryl Roth, has been a singular force in a staid industry, with a disruptive emphasis on customer service in his theaters, a fondness for couture, an exuberant presence on social media, and left-leaning politics sharply at odds with those of his Trump-supporting father.The transaction portends a potential shift from the quirky to the corporate: A.T.G. is a large company, run by a former wine industry executive, Mark Cornell, who will remain as chief executive of the combined company. A.T.G. is fundamentally British, which could be a cause for concern on Broadway, where there is occasional worry about too many London shows — often developed with British government support — swamping work by American theater artists. (After Second Stage Theater, a nonprofit that focuses on work by living American writers, finally acquired a Broadway house in 2015, its artistic director, Carole Rothman, proudly proclaimed that her organization’s Broadway programming would feature “No Brits.”)The companies, which would not make anyone available for comment, did not describe the transaction as either an acquisition or a merger, and it is not immediately clear what “combining operations” will mean for the employees or operations at the five Jujamcyn houses or the two A.T.G. Broadway houses.The Jujamcyn theaters include the Eugene O’Neill, which is the long-term home of “The Book of Mormon,” as well as the Al Hirschfeld (“Moulin Rouge!”), the Walter Kerr (“Hadestown”), the August Wilson (“Funny Girl”) and the St. James (awaiting a new musical called “New York, New York”). Roth is expected to continue to decide what shows run in those five theaters, and he has previously shown a strong interest in work by American writers: Four of the five current Jujamcyn musicals have American origins; “Moulin Rouge!” has Australian roots, but the stage musical was developed in the United States.A.T.G. has an ambitious Broadway track record thus far. The company has for a decade operated one of the biggest Broadway houses, the Lyric, which, lavishly reconfigured for 1,622 seats, has for the last five years been home to “Harry Potter and the Cursed Child.” A.T.G. has since 2017 also operated one of Broadway’s smaller houses, the Hudson, which with just under 1,000 seats often presents plays; the latest, a revival of “A Doll’s House” starring Jessica Chastain, began previews Monday night. Among the hallmarks of the company’s Broadway presence: fancier food and drink than at most of the American-operated houses.Notably, both “Harry Potter and the Cursed Child” and “A Doll’s House” are produced by companies financed by A.T.G. A lead producer of “Cursed Child” is Sonia Friedman, a prolific and powerful London-based producer whose production company is an A.T.G. affiliate; the director of “A Doll’s House” is Jamie Lloyd, a British director whose production company is also affiliated with the group. (Friedman is also a lead producer of “Funny Girl” and “New York, New York,” both running at Jujamcyn theaters.)The combination of A.T.G. and Jujamcyn — it is not clear what the amalgamated venture will be called — will still be the smallest of the three big Broadway landlords, but now with seven of the 41 theaters. The Shubert Organization has 17 theaters and the Nederlander Organization has nine. Six theaters are operated by nonprofits, one by Disney, and one (Circle in the Square) is independently owned.Jujamcyn, founded in the late 1950s, was named for Judy, James and Cynthia Binger, the grandchildren of the company’s founder. The Binger family sold the company to Rocco Landesman in 2005; Jordan Roth bought a stake in the company in 2009.Roth has been an activist theater owner. In the buildings, he has overseen everything from a redesign of the ice cubes (to reduce the clinking noise) to bringing in a new ticket seller, SeatGeek, to manage ticket sales.He has presented multiple hit shows, among the biggest of which has been “The Book of Mormon,” which has been running since 2011. He also landed “Springsteen on Broadway,” an enormously successful Bruce Springsteen concert show that had runs both before and after the pandemic shutdown.Roth has also been active as a producer, most recently transferring a concert-style production of “Into the Woods” from City Center to the St. James; he was also a producer of the Tony-winning 2018 revival of “Angels in America.”A.T.G. has been expanding its presence in the United States, where it now owns, operates or manages 16 theaters, including not only the two Broadway houses, but also the King’s Theater in Brooklyn, the Colonial Theater in Boston, and theaters in Detroit, New Orleans, San Antonio, San Francisco and Sugar Land, Texas. More

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      For Burt Bacharach, ‘Promises, Promises’ Was One Broadway Hit Too Many

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      The perfectionist composer was content with being a one-hit musical-theater wonder, calling the experience the hardest thing he had ever done.In the late 1960s, when Broadway show tunes and popular music were veering in opposite directions, the producer David Merrick, one of the most hidebound curmudgeons on Broadway, reached out to one of the most successful American pop composers of the time: Burt Bacharach.Bacharach (who died on Feb. 8 at age 94) already had more than a dozen international hits with his lyricist partner, Hal David, including “Walk on By,” “Alfie,” “I Say a Little Prayer” and “The Look of Love.” That last song was introduced in the spy parody “Casino Royale,” and, in fact, Bacharach had met Merrick at that movie’s London premiere in 1967. They agreed to work together if the right project came along.Bacharach wasn’t exactly bedazzled by the bright lights of Broadway. “When I was getting successful with pop songs, and having hits, there wasn’t something burning inside me that said, “Boy, I need to write a Broadway show,’” he said in an interview for the 1985 book “Notes on Broadway.” “I was quite content being in the studio and making my records.”It just so happens that when Merrick eventually wrangled the playwright Neil Simon to adapt Billy Wilder’s 1960 Academy Award-winning film “The Apartment” as a musical, it was Simon who pushed for Bacharach and David, as he wanted to update the material and incorporate a sound that might reach contemporary audiences. “Promises, Promises,” as the show would be called, centered on a well-meaning milquetoast accountant in a New York insurance firm who essentially pimps out his apartment to his superiors in exchange — so he is promised — for a series of promotions. Merrick, a master of the Show for Tired Businessmen (“Do Re Mi,” “Hello, Dolly!,” “How Now, Dow Jones”), assembled the perfect team for a show about tired businessmen.The material was beautifully tailored for Bacharach and David’s sensibilities — urban, witty, rueful, alienated but passionate — and the songwriters were faithful to the tone of Simon’s book: a savvy mix of wisecracks, romantic heartbreak and contemporary satire.But one early aspect of this collaboration was telling: While Simon and David crafted the text together in New York, Bacharach remained deeply involved with other studio projects in Hollywood, setting his music to David’s lyrics from afar. He would not arrive in New York until September 1968, with the first Broadway preview just two months away.Orbach, background center, in one of the “Promises, Promises” production numbers. He won a Tony Award for playing the nebbish accountant, Chuck.Getty ImagesDespite the distance, Bacharach was already demonstrating how his command of the pop charts could pay dividends — even before the show went into rehearsals. “I thought it would be great if the music came out a couple of months before, so [theater audiences] would have some familiarity with the work,” he recounted in the liner notes to a 1989 three-CD set of his music. His eternal muse, Dionne Warwick, recorded two songs from the incipient score, while Bacharach worked his usual meticulous magic in the protected confines of the recording studio, getting his complicated rhythms just right. Warwick’s single of the “Promises, Promises” title number hit No. 19 on Billboard’s Hot 100 chart.“As musicals go, it couldn’t have been easier,” Bacharach recalled in “Notes on Broadway.” “The financing, getting it done, getting it in the theater — it just went with lightning speed.”Then came the November tryout in Boston, where Merrick’s usual boorish behavior was on display. He apparently demanded a hit song for the second act, so that the nebbish hero, Chuck, could connect romantically (however tenuously) with Fran, the elevator operator for whom he pines.Bacharach would have gladly obliged, but he was sent to Massachusetts General with pneumonia. Merrick stomped around and cursed the songwriters and supposedly threatened to hire Leonard Bernstein to replace them, but David beavered away and came up with wistful lyrics to a duet called “I’ll Never Fall in Love Again.” He even incorporated Bacharach’s malady: “What do you get when you kiss a guy?/You get enough germs to catch pneumonia./After you do/he’ll never phone ya.”When he was released from the hospital, Bacharach found the melody to match the malady: “Maybe because I was still not feeling all that well, I wrote the melody faster than I had ever written any song before in my life,” Bacharach wrote in his 2013 memoir, “Anyone Who Had a Heart.”Ahead of the New York opening, Bacharach wanted a sound more like what he was used to in a recording studio, so he brought in his frequent recording engineer Phil Ramone and had the Shubert Theater’s sound system redesigned. The orchestra was divided into small groupings (separated by fiberglass panels), each surrounding a microphone that would relay the sound to be mixed live at the back of the theater. And the orchestrator Jonathan Tunick (in one of his first Broadway jobs) added two guitars — one acoustic, one electric — and a quartet of female singers, billed as Orchestra Voices. The technical virtuosity of these innovations unnerved Merrick so much that, according to a New York Times article about the arrangements, he admonished Ramone and Bacharach: “I don’t want the audience walking out of the theater saying, ‘It’s a recording.’”But even Merrick fell in love again after “Promises, Promises” opened on Dec. 1, 1968, to rapturous reviews. On opening night, he told a reporter that Bacharach was “the first original American composer since Gershwin.” In an article in The Times, John S. Wilson wrote, “The tight Bacharachian rhythmic patterns keep bouncing around in your head as you walk into the night, songless but pulsing with a busy little beat.”Sean Hayes and Kristin Chenoweth in the 2010 Broadway revival of “Promises, Promises” at the Broadway Theater.Sara Krulwich/The New York TimesBut the experience didn’t make Broadway burn any brighter inside Bacharach. “Somehow I lived through it, and I’m still alive,” he told Rex Reed in a Times interview before the show opened. “But this has been the hardest thing I’ve ever done. I’m wiped out by this show, man. I’ll be in Palm Springs on Wednesday.” And he was as good as his word — joining his wife, the actress Angie Dickinson, in a newly-rented desert home with a tennis court and a swimming pool.A week or so later, a phone call to Palm Springs from Merrick confirmed that there were limits to what Bacharach could control in a live production, eight times a week. “He called me and said ‘Eight subs [substitute players] in the orchestra last night, including the drummer’ and guess who was in the audience? Richard Rodgers! This great, great composer. Richard Rodgers!,” he recounted in “Notes on Broadway.” “It made me feel just terrible, because my music is not that easy to play. A song like ‘Promises, Promises’ changes time signature in almost every bar. And I’ve got … a drummer who’s sight-reading, who’s never played it before.”“Promises, Promises” was hardly an irreparable disappointment for Bacharach: The original Broadway production ran for 1,281 performances (and Jerry Orbach, who played the accountant, won a Tony Award for the role); there was a robust West End run; and a Broadway revival (sized and trimmed for contemporary tastes) in 2010 starred Kristin Chenoweth and Sean Hayes. And “I’ll Never Fall in Love Again” would become a smash single for Warwick in 1970, hitting No. 1 on Billboard’s adult contemporary chart; it would also be the last time a song originating on Broadway reached the top spot on any of the Billboard charts.That was probably cold comfort to Bacharach. Looking back on his Broadway experience for the CD liner notes decades later, he was definitive: “If you’re doing a musical, it’s going to change every night,” he wrote. “If you’re doing something on record, it doesn’t get changed every night. So that’s what I prefer to do.”David, also quoted in the liner notes, said about his collaborator and the reality of Broadway: “If you’re a perfectionist, it can drive you crazy.”Sixteen months after “Promises” opened, Stephen Sondheim’s “Company” arrived on Broadway and the modernity of its sound would have been unthinkable without Bacharach’s innovations. Indeed, many of them were reintroduced by Tunick, the “Promises” orchestrator, when he took on the orchestrations for “Company.”“If I were hearing ‘Another Hundred People’ for the first time,” the music critic Will Friedwald said in an interview for this article, “I would have guessed it was Bacharach and not Sondheim.”Chenoweth with Bacharach, far right, and Simon, center, at the curtain call for the revival’s opening night performance in April 2010.Charles Sykes/Associated PressBacharach was initially philosophical about “Promises, Promises” — “If we knocked down a few doors with my rhythms or the new sound in the show, great,” he told Reed — but the theatrical magic he created for his only Broadway score is so apposite and hip and melancholy and sweet that it makes one ache for what might have been.Laurence Maslon is an arts professor at New York University. His latest book, “I’ll Drink to That! Broadway’s Legendary Stars, Classic Shows, and the Cocktails They Inspired,” will be published in May. More

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      Review: How to Shoot Your Parents, in ‘Pictures From Home’

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      In a stage adaptation of Larry Sultan’s photo memoir, Nathan Lane stars as the father everyone’s aiming at.Several weekends a month, from 1982 to 1992, the photographer Larry Sultan visited his parents in Southern California in search of a story. Was it a mark of his failure or his overachievement that, instead of one, he found many?In any case, in “Pictures From Home,” the 1992 photo memoir that resulted, Sultan created a classic of visual polyphony. Whatever he believed the work to be — a family portrait, a marital inquest, a takedown of Reagan-era masculinity — it was so much more by being all of them at once.But a book of staged photographs, home movie stills and discrepant first-person narratives was also, by the nature of the medium, flat: the better to ponder its mille-feuille of contradictions. The camera, after all, stops time.That would seem to make Sultan’s “Pictures From Home,” however brilliant, an unlikely source for stage adaptation, the stage being where time can never stand still. And indeed, the play by Sharr White that opened on Thursday at Studio 54, in a production directed by Bartlett Sher, has not made it all the way from two dimensions to three. Though honorable, thoughtful and wonderful to look at, with crafty performances by Danny Burstein, Zoë Wanamaker and especially Nathan Lane, it caulks so many of the book’s expressive cracks that the best thing about it — its mystery — is sealed out.Part of that is inevitable insofar as actors must have something concrete to act. To provide it, White has developed scenes from tiny cues in Sultan’s text, turning the subterranean Oedipal conflict between father and son, and to a lesser extent the conjugal one between husband and wife, into obvious rhubarbs, skits and lectures.For actors like these, such carvings are raw meat, no matter that the carcass gets stripped. Burstein has a field day with Larry, who begins the play by announcing to the audience that “this project will become one of my hallmark achievements.” As his chest puffs out, Burstein puffs it back in: “I know that’s not a modest thing to say.”It’s a peculiar choice to write Larry as a nervous pedant, proud yet endlessly defensive. But what he’s defending himself against immediately becomes clear upon Lane’s entrance as the father. “Are you still here?” is his first line.Burstein has a field day with Larry, our critic writes, and Lane’s peerless verbal and physical clarity make for an entertaining impression of Larry’s father, Irving.Sara Krulwich/The New York TimesIn the book, Irving Sultan is a glamorous remnant of the cocktails-at-lunch era of American business; at the peak of his career, he was a vice president at Schick. But having been put out to pasture some years before the photos were taken, his silver fox suaveness is mottled with flop sweat.As in his earlier plays — including “The Other Place” (a haunting Laurie Metcalf vehicle) and “The True” (catnip for Edie Falco) — White prioritizes playability over subtlety. Here he pulls at the threads of Irving’s vanity and petulance, unwinding them from his other qualities to provide the lurid outlines of a personality. That’s sufficient for Lane, of course, whose peerless verbal and physical clarity make for an entertaining if somewhat black-and-white impression. Each argumentative thrust and deflection is as sharp as an actor can render it, and anything faintly funny is primped into a generous laugh.That’s good news for the audience but less so for the real Irving, who was already skeptical about how his son would portray him, without having imagined how a playwright and Nathan Lane would. (Irving died in 2009 — as did Larry.) That the book’s tough bird winds up onstage a lovable bellyacher is one of the mysteries to be filed under “lost in translation.”Translation is even unkinder to Larry’s mother, Jean Sultan, whom Wanamaker plays with pinpoint sociological precision. (The costumes by Jennifer Moeller and the wigs by Tommy Kurzman help immensely.) What Wanamaker cannot do, because the script does not permit it, is restore dignity to a woman who deserves it. After raising Larry and his two brothers, then watching her husband short-circuit his career, she took up her own because somebody had to; in her first year as an independent real estate agent, she sold $18 million in property.Some of the book’s most trenchant photographs trace that transformation. (Projected at huge scale by 59 Productions against the back wall of Michael Yeargan’s slope-roofed, garishly green trompe l’oeil set, they look fantastic.) In them we see Jean, in late middle age, emerging from her housewifey past to become a serious breadwinner, with all the attendant anxieties. How this threatens Irving’s sense of privilege and primacy is clear enough on paper.The triple portrait of the Sultans in the play deviates from what is presented in the memoir, our critic writes.Sara Krulwich/The New York TimesYet in the play Jean is reduced to third banana and comic relief. She floats in and out of the men’s arguments and dithers in search of lost To Do lists. In one particularly unfortunate bit, elaborated from an innocuous sentence in the book, she is made to perform schtick like a bawdy 1960s comedienne about the size of the zucchini Irving grows in a garden. “He’s so proud of how huge it is,” she brays.For all I know, Jean, who died in 2004, really talked like that; White has said he had “many conversations” with Kelly Sultan — the artist’s widow — about her husband’s process and “the many complexities of Irv and Jean.” But even if accurate to life as lived, the triple portrait of the Sultans in the play feels inaccurate to life as recorded in the memoir. For one thing, Larry himself is made, if sympathetic, insufferable. As he gassed on fatuously about image and illusion, I too found myself impatiently asking, “Are you still here?”At just 1 hour and 45 minutes, with no intermission, a play should not feel padded, but it does. Still, it is hardly without its pleasures: It’s funnier than expected, and Sher’s poetic naturalism as he creates stage pictures is always moving to watch. Jennifer Tipton’s lighting reminds me of her superb work for dance.Nor does “Pictures From Home” lack for pathos — less so when it jerks the audience’s tears, at the end, than when it lets the questions of a son’s need for his parents, even well into their old age, sit patiently in frame. Stopping time with his camera, Larry tells us, was a way of not letting them die. How odd that a living thing like a play does the opposite.Pictures From HomeThrough April 30 at Studio 54, Manhattan; picturesfromhomebroadway.com. Running time: 1 hour 45 minutes. More

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      How ‘Some Like It Hot’ Tunes In to the Jazz Age

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      From the set design to the wig styles, the Broadway musical creates a richly detailed vision of the 1920s and ’30s. Its creators share their inspirations.During the 1920s and well into the next decade, there was an explosion of creativity in artistic expression and popular entertainment.The Chrysler Building stood proud and tall on 42nd Street, with a headdress worthy of a Ziegfeld girl. Bootleggers ensured liquor was flowing in the speakeasies. A fiery new music called jazz hit the airwaves, courtesy of Duke Ellington and his band in Harlem’s Cotton Club. Hemlines were higher, hair was shorter, and new moves were showing up on the dance floor and on the cinema screen.It was the Jazz Age, a period whose energy and excitement was in determined defiance of Prohibition and the Great Depression.The era comes to splendid life in “Some Like It Hot,” a new musical adaptation of the Billy Wilder film, now playing at the Shubert Theater. A lyric in the opening number sets the tone for the show while capturing the mood of 1933: “Let’s keep dancing till the crack of dawn … Tomorrow we may all be gone!”“It’s a world where our lead characters have to keep things hidden and underground,” the show’s director and choreographer, Casey Nicholaw, said of the setting. “A place where you could be a little bit naughty.”In a series of interviews, members of the creative team detailed how they drew on the Jazz Age for several aspects of the show: the music and lyrics, the book, the choreography, the scenic and costume design, and the looks.A Big, Brassy SoundChristian Borle, foreground left, and J. Harrison Ghee portray jazz musicians and lifelong friends who go on the run to escape from gangsters.Sara Krulwich/The New York TimesSet in Chicago during Prohibition, “Some Like It Hot” follows Joe (Christian Borle) and Jerry (J. Harrison Ghee), a sax player and a bass player who go on the run after witnessing a mob hit. They disguise themselves as women — now going by Josephine and Daphne — and join up with an all-female band, Sweet Sue and Her Society Syncopators, traveling with the group aboard a cross-country train.Appropriate for a story crowded with musicians, the show makes full, boisterous use of an onstage band whose 17 players cover many more instruments. The songs, by Marc Shaiman (music and lyrics) and Scott Wittman (lyrics), take their cues from the sounds of Duke Ellington, Louis Jordan, Count Basie and Jimmie Lunceford, with their bold melodies, ecstatic performances and dare-you-not-to-dance rhythms.The sound of Sweet Sue and Her Society Syncopators also nods to the International Sweethearts of Rhythm, a racially integrated, all-female jazz band that rose to prominence in the 1940s.The decision was made early on to recreate the “hot, joyous, sexy” sound of the big band era. Shaiman and Witman were ready for it. “We have been researching for this show our entire lives!” Shaiman said. “Those acts have always been top of the list for us.”For the character Sweet Sue (NaTasha Yvette Williams), the Syncopators’ bandleader, Shaiman and Wittman found a model in the sassy blues of the singer and songwriter Victoria Spivey. They explored a moodier palette for the character of Sugar (Adrianna Hicks), the Syncopators’ star performer, originally played by Marilyn Monroe in the film. “As soon as the idea of Sugar being Black came up, thoughts of the legendary women of color who toured with bands came to mind,” Wittman said. Sugar’s sultry ode to the sax, “A Darker Shade of Blue,” was written with the vocal stylings of Billie Holiday and Ella Fitzgerald in mind.Dance, With a KickThe show’s director and choreographer, Casey Nicholaw, began with the dance styles of the 1920s and ’30s and adapted them into performances that could still feel fresh to modern viewers.Sara Krulwich/The New York TimesDancing had gotten wilder and looser after World War I. Naughtier, too — a sensibility that Nicholaw sought to capture throughout, but especially in the flirtatious Charleston dancing in the number “Let’s Be Bad.”But it was the Lindy Hop, another popular dance craze of the time, that Nicholaw was most excited to bring to Broadway. “I jumped into that vocabulary right away,” he said.Originating in 1920s Harlem, and named in honor of the aviator Charles Lindbergh’s 1927 trans-Atlantic flight, the dance features brisk swing outs and lightning footwork. Set to the opening number, “What Are You Thirsty For?,” it’s the perfect dance to welcome the audience into the world of the show. “There’s a veracity and excitement to it,” Nicholaw said, while admitting that some liberties were taken. “Authenticity isn’t always theatrical. I wanted to create dances that had some humor and felt fresh now as well as capturing the authentic style of the period.”“Some Like It Hot” also embraced plenty of tap dancing, which had its heyday on American movie screens in the 1930s, with the films of Bill Robinson (better known as Bojangles) and Fred Astaire and Ginger Rogers.Early on, Joe and Jerry’s tap routine expresses the simpatico nature of their lifelong partnership. And in an Act 2 fantasy sequence, the show uses tap to reveal the budding romance between Joe and Sugar. Here, Nicholaw looked to Fred Astaire and Ginger Rogers for inspiration. (The pair first danced together onscreen in 1933, in “Flying Down to Rio.”) Nicholaw strove for something like Astaire and Rogers’ introductory dance in “Swing Time” (1936), whose kinetic movements convey the thrill of discovering a new dance partner — while providing the firecracker percussion of fancy footwork. “While romantic, it has a more playful feel to it.”Lyrics and LingoLyrical wordplay and Prohibition-era slang give a sense of authenticity without overwhelming the audience with detail.Sara Krulwich/The New York TimesWhen it came to conjuring the era through the lyrics, the urbane, “playfully bawdy” couplets of Cole Porter were a touchstone for Shaiman and Wittman. In the words to songs like “Let’s Misbehave,” Porter “found a million and one ways to refer to sex without ever using a single actually naughty word,” Shaiman said.In similar fashion, Shaiman and Wittman find endless fun with the title of the show, producing lines like: “Some like it rough, some like it tame/ Bring me a moth who loves the flame,” and “Now on some sultry summer day, some consummate with consommé.”“Some Like It Hot” is also peppered with scat singing, the improvised, syllabic gymnastics (“zee bap zeh bootlee atta feet bam-bam!”) that at times serve as the characters’ secret code. The vocal improvisations of scat singing greats like Louis Armstrong, Ella Fitzgerald and Cab Calloway provided inspiration, though here, of course, the effect is precisely scripted.In writing the book, Matthew López and Amber Ruffin wanted to evoke the period without letting things get too cartoonish. Speakeasy slang, like “Cheese it!” and “Move those getaway sticks!” found their way into the dialogue. “I think at first I went full ‘Bugsy Malone,’” Ruffin said. “I love where the show landed. It’s just enough lingo of the era that you’re not distracted by it and you also don’t miss it.”López and Ruffin’s book channels the wit and attitude of such pre-Production Code Hollywood films as “Merrily We Go To Hell,” “The Public Enemy” and “The Gay Divorcee.” Sweet Sue gets some zingers, redolent of a time when women no longer felt as constrained by the pressure to be polite. “I just heard from the doctor,” she says, “and I tested negative for patience.” “Sue always felt to me like a character out of a Jazz Age movie,” López explained, “except in a way she never would have been depicted at the time.”Sets From the Machine AgeSweet Sue and Her Society Syncopators meet Josephine and Daphne aboard a cross-country train.Sara Krulwich/The New York TimesWhile Duke Ellington was jazzing up the airwaves, a new kind of architecture and design sensibility was jazzing things up visually. Art Deco, with its striking geometry and gleaming surfaces, flourished in the 1920s and 1930s — the height of the Machine Age, as the show’s scenic designer, Scott Pask, points out — and was epitomized by the Chrysler Building in New York. For Pask, the decorative metalwork of that building was a jumping-off point for myriad onstage details, including stair rails and light fixtures. The receding parabolic arches in the Chrysler’s crown even inform a wallpaper pattern.The color of the sets throughout is rooted in the metallic palette of the Machine Age: steel, silver, chrome, graphite. Even before the show starts, the audience sees, instead of the traditional scarlet Broadway show curtain, a series of narrow, folded silver vertical planes, framed within a metal proscenium.In one dazzling scene, a train, designed by Pask, rolls into Chicago’s Union Station and traverses the entire width of the stage. It was modeled on the aerodynamic feel of locomotives in the ’30s. “It’s a design element that brings me a lot of joy,” Pask said.For the curtains, tables, chairs and other onstage furnishings at the Hotel del Coronado, Pask took inspiration from the work of the furniture designer Jacques-Émile Ruhlmann, which conveyed luxury through strong shapes and ornamental restraint when it was shown at the International Exhibition of Decorative and Modern Industrial Arts in Paris in 1925.Hairdos With PizazzAngie Schworer as Minnie.Sara Krulwich/The New York TimesJ. Harrison Ghee as Jerry, as Daphne.Sara Krulwich/The New York TimesThe Jazz Age was “really the time when women started cutting their hair short,” Josh Marquette, the show’s hair and wig designer, explained. “In fact, if you had long hair, you were either old or considered old-fashioned. The styles of the day were so elaborate and gorgeous, with finger wave and pin-curled hairstyles. Women went to great lengths to create these styles. But the hair still had to ‘dance’ and not fall apart when out at a jazz club.”Marquette studied footage of Lindy Hoppers, searching for the secret to hairstyles that could withstand a session on the dance floor. “They almost always ended a number with hair intact,” he said, “but most hats and hair ornaments were gone!”Marquette’s lookbook included the likes of Greta Garbo and Bette Davis. Daphne’s wig at the end of the show is directly and admiringly borrowed from Josephine Baker’s sleek “Eton crop” hairstyle, with curls pasted on the forehead and cheeks. “It’s just too good of a hair style to not include,” Marquette said.As for Sugar’s hair, though it was not modeled on anyone specifically, it has both the sculpted quality of Baker’s crop and a hint of Clara Bow’s curls and, he said, “with maybe one ounce of Betty Boop!” More

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      On ‘Pictures From Home’ on Broadway, a Family Portrait Full of Secrets

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      The actor Nathan Lane had been planning to play the American anti-father Willy Loman in Arthur Miller’s “Death of a Salesman” (1949) when that production fell apart. Restless during the pandemic and casting about for his next project, he read a draft of Sharr White’s “Pictures From Home,” which recalled “Salesman” to him: The two scripts share an almost incessantly angry, backward-looking gaze at the glory days of midcentury American masculinity, embodied by a discontented businessman. Now, as White’s play opens on Broadway this week, Lane, 67, will star as Irving Sultan, a former Schick razor executive who’s supported both emotionally and financially by his doting if frustrated wife, Jean Sultan (Zoë Wanamaker), while sparring with their childish 30-something son Larry Sultan (Danny Burstein, also doting, also frustrated), both of whom tend to Irv in their artichoke-colored Southern California ranch home even as he struggles to return their affection.The show, says Lane, is “about parents and mortality,” the latter of which has been on the actor’s mind since his 2020 cancer treatment. “They’re all fighting to tell their own story, and certainly Irv is fighting to protect this fantasy of his success.” Indeed, many arguments unfurl over 100 or so minutes, often in the form of direct audience address — it’s “part family dramedy, part documentary, part three-way TED Talk,” as Lane describes it — and the sorts of overlapping conversations native to people, like the Sultans, with Brooklyn roots and Palm Springs aspirations.Jennifer LivingstonWhat moves the play beyond that living room drama tradition is the source material: It’s based on Larry Sultan’s 1992 photo memoir of the same name, which the Bay Area-based artist published after dozens of visits to his parents’ San Fernando Valley home in the 1980s. Sultan then combined a decade’s worth of staged photographs and recorded interviews of his mother and father, both of whom died soon after the book’s release, with stills from home movies taken during his childhood to create a vulnerable family portrait that’s as much about aging as it is about accountability — and loyalty — to those we care about most. Photographers like Alec Soth and Stephen Shore still venerate the project, a longer version of which was republished in 2021; White discovered it in 2015, six years after the photographer’s death, as part of Sultan’s first career retrospective at the Los Angeles County Museum of Art. Afterward, the playwright contacted the artist’s widow, Kelly Sultan, and, over dinner, convinced her to let him option the book. She also agreed to open the archives so that White might achieve a new kind of bioplay, one that its director, Bartlett Sher, signed on to for its “multivariable potential,” he says, using found footage from the Sultans’ garage and photographic projections that, onstage, heighten the divide between truth and fiction.White, who also writes for television and has had two other plays on Broadway, both in different styles, says the half-decade he spent finishing this script was, from the start, an “investigation” into the Sultans’ power dynamics. In memoir and play alike, Jean and Irving are willing subjects … until they become skeptical co-conspirators, wondering why their son seems obsessed with chronicling them so harshly. “There’s lots of conflict, but it’s not the end,” adds White, 52, who had a strained upbringing with his own parents and is now raising two teenage sons in New York’s Hudson Valley with his wife, Evelyn Carr White, an artist and interior designer. “I was fascinated by this idea that you can say the worst thing, and ultimately nothing breaks.”And yet it’s Irv — depicted by Lane with jocular, egotistic bravado that barely masks his deep fear of irrelevance — who always seems to get the last word: “I’ll tell you about mess, Larry,” he says near the show’s conclusion. “You know what mess is? It’s intimacy. Intimacy is a big fat [expletive] mess. But I’ll tell you another thing. It’s love, too. OK? This thing you think you’re capturing. This evidence? This mess? It’s love.” More

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      Jesse Tyler Ferguson Tips His Cap to ‘Take Me Out’

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      The actor, who won a Tony Award for playing a baseball star’s business manager in the Broadway revival of Richard Greenberg’s 2002 play, called the role the most personal of his career.At the Gerald Schoenfeld Theater on Sunday night, Jesse Tyler Ferguson, standing in front of the black outline of a baseball stadium silhouetted against a pink, orange and yellow sky, closed his eyes, inhaling deeply as the lights went dark.“Right before that moment, I was like, ‘If I say these last words, it’s really over,’” Ferguson said later, after returning to his fifth-floor dressing room after his final performance in the Tony Award-winning revival of Richard Greenberg’s 2002 play, “Take Me Out.” “And that hit me hard. I was just trying to hold it together.”The sold-out show capped a 15-week return by Ferguson to the role that won him a Tony Award last spring, for best featured actor in a play.The curtain call on Sunday evening at the final performance of “Take Me Out.”George Etheredge for The New York TimesFerguson played Mason Marzac, a business manager for a player portrayed by Jesse Williams.George Etheredge for The New York Times“It’s definitely the most personal role of my career,” said Ferguson, 47, who played Mason Marzac, a fanboy business manager for a player (Jesse Williams) who comes out as gay. “It’s a role that meant something to me before I started learning it myself.”The revival, which was originally slated to debut in spring 2020, finally opened last April at the Helen Hayes Theater and ran through June 11. It received near-universal acclaim from critics and won two of the four Tonys for which it was nominated (it also took home best revival of a play).After the initial run, which was produced by Second Stage Theater, the producers Barry and Fran Weissler announced in August that they would bring it back for a limited encore at the Schoenfeld starting last October, with most of the original cast of the revival — giving Ferguson his first chance to walk onto a Broadway stage as a Tony winner.“We just felt like there was unfinished business with this play,” Ferguson said in a conversation in the Blue Room at the Civilian Hotel before his final performance, surrounded by Broadway memorabilia like a pair of women’s Emerald City boots from “Wicked.” Ferguson saw the play during its original Broadway run in 2002, with Denis O’Hare in his role. “To take the reins 20 years later and get to try my own version of this guy is really meaningful and special,” he said.George Etheredge for The New York TimesThough Ferguson is best known for playing the high-strung lawyer Mitchell Pritchett on the ABC sitcom “Modern Family,” he was a regular on New York’s Off Broadway stages before turning to the small screen.“I just love the intimacy of an audience,” he said. “I love being in a room and whatever happens, happens that day, and it’s just for these people.”In conversations before his final performance and then after the curtain call — life-size cutouts of the show’s cast lined the stairwell up to his dressing room — Ferguson discussed the role’s personal meaning, how the show changed his relationship with baseball and what’s next for him. These are edited excerpts from those conversations.How are you feeling? I’m having a lot of heartbreak right now, being done. And Mason is not — he’s the opposite of heartbreak, his heart’s been cracked open. So I was fighting against this thing happening inside me, with what my character needs. In a few hours, I’m probably going to have a really good cry about this.How did you first become involved with “Take Me Out?”I was approached almost three and a half years ago. I was getting ready to do my last season of “Modern Family,” and it worked out that I was going to go right from that into this show.What appealed to you about it?I saw this play 20 years ago, and Denis O’Hare, who originally played the part, was so wonderful and spectacular in it, and that performance reinforced my desire to be a theater actor. So to take the reins 20 years later and get to try my own version of this guy is really meaningful and special.“I’ve never peeled back the onion this far with a character, and it’s just because of the luxury of all this time we’ve had,” he said of the show’s second engagement.George Etheredge for The New York TimesHow has your performance changed in the encore run?When we all came back, the performances were so much richer and deeper. I’ve never peeled back the onion this far with a character, and it’s just because of the luxury of all this time we’ve had.Did you play or watch baseball growing up?No, though I certainly appreciate it more from working on this. It’s an infectious thing, and I’ve fallen in love with it in a way I never anticipated.Your character’s sudden baseball fandom is largely a means of redirecting an impossible crush. What is a time you’ve similarly become obsessively devoted to something?I’ve felt that way about theater, certainly. I sometimes use that as a replacement when I’m doing a show. I think about being on the stage at the Delacorte Theater, and I can replace that with being on a field by myself and looking at all these empty seats.It’s hard to believe this play was written more than 20 years ago. Are you surprised it’s still so relevant?It’s heartbreaking that it feels so relevant. We all kind of assumed that this play was going to feel like a relic after a while because it was like, “Oh, 20 years from now, that’s not going to be a thing, and people are going to be very open about who they are in professional sports.” And we haven’t gotten there yet. So few professional athletes have come out of the closet. The actor Eduardo Ramos joined Ferguson on the fire escape of the Schoenfeld Theater on Sunday in order to greet the actor Bill Heck who was unable to perform that night.George Etheredge for The New York TimesBecause the play has nude scenes, audience members were required to lock their phones in pouches during the performance. Have you noticed that people are more attentive?I do notice that, in the second act, they’re immediately with us because they haven’t been spending 15 minutes scrolling through Instagram. They’ve spent that time discussing the play with the people they’ve come with and just staying in the moment. I wish more theaters would do this.You are one of the few cast members who remain clothed in “Take Me Out.” But have you ever been naked onstage?When I was 21 or 22, I did a production of “The Most Fabulous Story Ever Told,” which is a Paul Rudnick play. It was terrifying, and the internet wasn’t what it is now and social media didn’t exist. I really look up to these guys who are doing this. It takes a lot of bravery. There’s three actors in this show who don’t have to get naked and we’re all looking at one another like, “Oh, we can have carbs!”What have you learned about yourself through this role?My last few times on Broadway, I played a kid in a spelling bee, or I did this quirky one-man show about reservations. I just never thought of myself as an actor who had the ability to take on a part as meaty as this.You recently became a father to your second son, Sullivan, in November. And your oldest, Beckett, is 2. How are you sleeping?My kids are in Los Angeles right now. So I’ve been going back and forth to see them in L.A., which has been a series of red-eyes to get back in time for the Tuesday night shows. And that’s been taxing. I certainly wouldn’t have been able to do this without the support of my husband.What’s next for you?I’m in “Cocaine Bear,” which is my first studio film. I saw a screening of it a few weeks ago, and it’s absolutely bonkers. I’m so excited to see it with a big audience. And they’re talking about doing “Take Me Out” as a mini-series or an ongoing series, so we’ll see if that gets any traction.OK, before I let you go get some food, let’s do a quick round of confirm or deny.OK!Next up for Ferguson is a role in the film “Cocaine Bear,” which is scheduled to be released later this month.George Etheredge for The New York TimesYou know all the lyrics to “Miss Saigon.”All the lyrics? There was a time when I did. I don’t know if I still have it in my head. So what is that, a confirm and a deny?“Shake It Off” is the best Taylor Swift song.No, though I love “Shake It Off.” My favorite changes daily, but I’m currently obsessed with “Champagne Problems.”If your options to save your life were to either hit a Major League fastball or fight off a cocaine bear, you would —I don’t think I’d survive either. But because I have been mauled by a cocaine bear, I’m going to have to try the baseball.You own a pair of dad shoes, a.k.a. white New Balance sneakers.(Sighs) Yes, I can confirm that.New York is basically Los Angeles now.Deny. There are a lot more juice bars, but beyond that — I don’t think so.If you could guest star on either “The White Lotus,” “Schmigadoon!,” “Yellowjackets” or “The Gilded Age,” you would choose — Oh, shoot! [thinks for a minute] “Schmigadoon!”You can also throw in a wild card if you want —“Severance!” Something dark or different — I need to crawl out under the rock of Mitchell Pritchett and surprise people. More