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      ‘The Half-God of Rainfall’ Review: Basketball Under the Heavens

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      Borrowing its powers from Greek and Yoruba mythologies, Inua Ellams’s play tells the story of a demigod who becomes an N.B.A. superstar.Turning verse into action is tricky, especially with ideas as lofty as the ones in Inua Ellams’s epic poem “The Half-God of Rainfall,” now appearing in theatrical guise at New York Theater Workshop.The poem is a melodious, sky-high tale of a basketball superstar born as a result of a celestial contest between the Greek and Yoruba gods of thunder, Zeus and Sango. But the stage adaptation, which opened on Monday, runs into some flaws that, while not fatal, strand this Nigerian writer’s work in the mortal realm.A storm of plot and themes is squeezed into an intermission-less 90 minutes: After defeating Sango (Jason Bowen) in a race, Zeus (Michael Laurence) has his pick of Sango’s subjects. To Hera’s (Kelley Curran) defeated disdain, Zeus rapes Modúpé (Jennifer Mogbock), a Nigerian woman, and soon the mixed-race half-god Demi (Mister Fitzgerald) is born.Neighborhood boys ostracize Demi, who can turn the soil to swamp with his tears. But he gradually comes into his powers and makes his way to the Golden State Warriors, learning about other demigods who had to suppress their own supernatural talents on the court. Demi’s growing celebrity eventually lands him face to face with Zeus, providing a chance to avenge his mother.As the deities Elegba and Osún (Lizan Mitchell and Patrice Johnson Chevannes, fantastic as always) narrate Demi’s ascent to sports stardom, they intersperse meditations on the gendered violence that permeates Greek mythology, and later, on the imperialist violence the West perpetrated to obscure African traditions.Ellams’s scope is staggering, and he mostly pulls it off. Each line, heavy with information and emotion, is shot back and forth by the able actors, who turn Ellams’s vibrant, poetic flow into a nonstop athletic match.But there are few scenes of interactions between characters — instead presentational, narration-driven exposition makes up the bulk of the play. And Taibi Magar’s direction displays an uncertain grasp over whether the piece should play naturally or at a distance: There’s the work’s traditional methods of self-aware, oral storytelling — having the cast address the audience, and change into Linda Cho’s athleisure costumes onstage — and the production’s sumptuous, almost immersive elements, courtesy of Stacey Derosier’s lighting, Mikaal Sulaiman’s sound and especially Tal Yarden’s gorgeous projections.Though Orlando Pabotoy’s fluid movement direction, along with Beatrice Capote’s Orisha choreography, strikes a powerful balance between the seamless and more Brechtian styles, the production finds itself stuck between them.I was reminded of Ellams’s “Icarus,” a short piece presented during the Public Theater’s Under the Radar Festival in 2021. It transformed the parable into the heartbreaking tale of a young Nigerian refugee who, detained at an Italian entry point, takes to the sky. Recited by just two performers, the work, in its simplicity, soared. The poignancy and concision left me wanting a one-by-one re-envisioning of Greek mythology through a contemporary African diasporic lens.Ellams certainly has it in him to assemble a universe of distinctive characters connected by their shared humanity, as he proved in his globe-trotting play “Barber Shop Chronicles.” But here, his ideas, vast and evocative as they are on the page, overwhelm the story onstage, and the sheer amount of talking at the audience becomes draining. Ninety minutes becomes too long for one solidly conveyed story; too short for an entire pantheon of players.His interest in and approach to mixing and remixing Western and African traditions is fascinating, however. This is a writer whose intuitive understanding of the common threads of tradition, globalization and human instinct could very well create a new mythological tapestry for our interwoven times.The Half-God of RainfallThrough Aug. 20 at New York Theater Workshop, Manhattan; nytw.org. Running time: 1 hour 30 minutes. More

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      Review: Young Bros and Maidens Harmonize in ‘Love’s Labor’s Lost’

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      This peculiar early Shakespeare comedy gets updated with 10 songs for a youthful alfresco production.“Let’s rock!” is something I’m pretty sure no character in Shakespeare ever said. But on a sandy stage under a jaunty tent, with a green hillside as a welcoming backdrop, it seemed an apt way to begin “Love’s Labor’s Lost.”It is, after all, a young man’s play, both in its authorship (Shakespeare was about 30) and story (four callow bros fall madly in love with four sharp maidens). And this production, directed by Amanda Dehnert for the Hudson Valley Shakespeare Festival, intensifies the youth-crush factor with 10 emo songs. Neither fully true to the strange original nor completely remade as a viable musical, it swings between those poles in ways that are both tiresome and charming.Let’s start with the charming: The catchy songs, by Dehnert and the Chicago-based composer André Pluess, tap the sappy heart of summer and are danceable to boot. (You may be the audience member asked at one point to prove it.) Whether folky or funky, and despite lyrics that sound little like Shakespeare — “she’s a nice girl, always thinking twice girl” — they match the story emotionally, with titles like “The Infinite Ones” (as youth always sees itself) and “Change to Black” (as youth at some point must do).That the songs don’t match the story structurally is probably an insuperable problem. “Love’s Labor’s Lost,” with or without the British “u,” is a very youthful, disjointed text, its thin thread of plot repeatedly cut by clowns, dullards, puns, pomposities and noodling that goes nowhere. Misdelivered letters and absurd disguises contribute. By the time you get to the masque near the end, featuring impenetrable spoofs of the nine classical “worthies,” you may doubt young Shakespeare’s judgment of worthiness.And yet his ear for the painful paradoxes of love is already fully in evidence. The four young men of Navarre, who form a “Seinfeld”-like pact to abjure the company of women for three years, break it almost instantly when a delegation of four visiting gentlewomen arrives from France to resolve a diplomatic issue. (After many readings and viewings of the play, I still don’t know what that issue is.) In supple pentameter, Shakespeare explores the difference between the book learning the young men meant to engage in and the learning that emerges, despite their plans, from “the prompting eyes of beauty’s tutors.”From left, Mayadevi Ross, Emily Ota, Antoinette Robinson and Phoebe Lloyd in the play, with music and lyrics by Amanda Dehnert and André Pluess.Sara Krulwich/The New York TimesStill, theirs is a bumpy road to maturity. Spurred on by Berowne, “a man replete with mocks,” they double down on whimsy, dressing up for some reason as Russians to bamboozle their intendeds. (In Dehnert’s staging, the “Muscovites” are a rock group.) In response, the women, spurred on by Rosaline, whose eye “Jove’s lightning bears,” disguise themselves as one another to confuse and trump the men. But just as all of this gets sorted, with a quadruple marriage (or more) in sight, a last-minute death delays the nuptials and forestalls a normal resolution.“Our wooing doth not end like an old play,” Berowne says. “Jack hath not Jill” — which if true enough to life, is way too sudden for dramaturgy.The Hudson Valley Shakespeare production is not the first to struggle with such problems in musicalizing “Love’s Labor’s Lost.” But unlike the 1973 opera by Nicolas Nabokov, with a libretto by W.H. Auden and Chester Kallman, or the musical comedy presented by the Public Theater in 2013, with songs by Michael Friedman, Dehnert’s version does not use its songs to deepen character and propel the story.They are generally too short and atmospheric for that, most being sung between scenes instead of during them, and by members of the multitasking cast-slash-band (guitars, drums, accordion) who are observing the action, not experiencing it. The addition of songs, however beguiling, thus winds up emphasizing the play’s ungainliness by adding another unintegrated element and stretching the run time. A full-blown musical might have worked better, but at two hours and 40 minutes, it’s already too long for a summer romp.That’s a shame, because some of the singers — including Melissa Mahoney, who plays the “wench” Jaquenetta, and Luis Quintero, one of the dullards — have great voices. Others compare favorably only with the chorus of mosquitoes that always accompanies a Hudson Valley Shakespeare outing. But if discipline is not the top vocal note, rawness verging on excessiveness is a kind of authenticity in a show about raw, excessive youth.Authenticity is not sufficient when speaking the verse, though; it requires more finesse than some of the young actors yet possess. Getting your mouth around the overlapping and oddly shaped dialogue can be like eating an unpeeled pineapple.Luckily, Stephen Michael Spencer as Berowne and Antoinette Robinson as Rosaline are standouts, fully inhabiting the process of growing up and growing wise. At first almost adversaries — he impulsive and she haughty — they gradually move toward the middle as the invented trials of infatuation give way to the real ones of love. Both are also generally spared the over-emphatic jollity that Dehnert has evidently encouraged as a way of plowing through difficult passages of dialogue and forcing the weird jokes to bloom. It’s no fun when the people onstage are having more fun than you.Still, despite its lapses and longueurs, “Love’s Labor’s Lost” remains in this version a fascinating and feelingful taste of Shakespeare to come. And if in his later works he generally improved on many of the tricks pioneered here, that too is apt. Like those tricks, this musical, as it develops for future productions, may one day improve on its first, green outing.Love’s Labor’s LostThrough Aug. 27 at the Hudson Valley Shakespeare Festival, Garrison, N.Y.; hvshakespeare.org. Running time: 2 hours 40 minutes. More

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      Ato Blankson-Wood on Playing a Hamlet Who ‘Leads With Love’

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      The actor is starring in a modern-dress production of the play through Aug. 6 at the Delacorte Theater in Central Park.As a veteran of the Public Theater’s free Shakespeare in the Park productions, Ato Blankson-Wood is used to contending with the elements. “The bugs, the helicopters flying overhead: There’s an intense focus that is necessary,” he said.But for this summer’s production of “Hamlet,” he has had to dig deeper: Not only is he feeling the weight of the title role, but, as he put it, “the world is on fire” and air-quality issues have forced the cancellation of four “Hamlet” performances so far.Still, Blankson-Wood is undeterred.“I remember that there’s a person in that audience who is maybe seeing a play for the first time, or who was very excited to come see a show,” he said during a recent interview at a cafe in the Fort Greene neighborhood of Brooklyn. “That’s what I’m focused on. This is not about my experience, it’s for them, and for my scene partners.”This alfresco staging of “Hamlet,” directed by Kenny Leon, is Blankson-Wood’s fifth production at the Delacorte Theater in Central Park. His first, “Hair,” in 2008, was also his New York professional stage debut. Then he played the narcissistic Orsino in “Twelfth Night” in 2018, and Orlando in “As You Like It,” in 2017 and 2022. He’s also had notable turns in more hospitable environments on Broadway and off, including his Tony-nominated run in “Slave Play.”The actor as Hamlet this summer at the Delacorte Theater.Sara Krulwich/The New York TimesAnd as Gary, a man questioning his interracial relationship (with Dustin, played by James Cusati-Moyer, left) in “Slave Play” at Broadway’s Golden Theater in 2019.Sara Krulwich/The New York TimesIn Leon’s modern-dress production of “Hamlet,” Blankson-Wood opted for a contemporary take on the tragic prince: a sad boy dressed in military fatigues, flowy white shirts and a dark hoodie that he said the show’s costume designer, Jessica Jahn, created after learning of his inspiration.“I had this thought that our most Hamletian modern figure is Kanye West,” he said. “We witnessed him losing a parent in the public eye, he’s been called a genius, and he has behaved in ways where people are like, ‘Is he OK?’ I think it’s exciting to imagine his moments of uncertainty, what his soliloquies might be.”The actor, 38, said West’s recent controversies, are less interesting to him. Which is not surprising. In speaking with Blankson-Wood, the sense emerges of an artist with little time for psychic clutter. Each morning, he recites daily affirmations (one he goes back to, borrowed from his “Slave Play” character, is, in part, “I am the prize”) and makes sure to engage his body (workouts at the gym), mind (post-workout podcasts, like “Spark & Fire” or Oprah Winfrey’s “Super Soul Sunday”), and spirit (“morning meditation, in a section of my room where I have a little cushion, altar, and a remembrance of my grandmother”).“I like to engage with the spiritual world,” he said. “It’s a part of my understanding of life on this planet, so I have to touch that every day to center myself.” Since “Hamlet,” he’s added a nightly bubble bath.He came to the production after participating in a collaborative online reading of the play’s “To be or not to be” speech, which was performed by Black actors, and released in 2020 by the Public to coincide with the Juneteenth holiday that year. Leon, a consultant on the piece, said he was struck by the strength and softness of Blankson-Wood’s performance.“I get to purge emotionally every night,” Blankson-Wood said of playing a Hamlet who is begging to be understood. “I can take bits of my day and pour it in there to release, if I need to.”Elias Williams for The New York Times“When it came time to cast Hamlet, I wanted to tell it through the eyes of the young people who felt hurt, betrayed, and unloved in the aftermath of George Floyd’s murder,” Leon said in a phone call. “Like Ato, this Hamlet leads with love, and is begging to be understood. We talked a lot about the mental health issues that young people are dealing with, because I wanted this production to have some hope, small as it is, by the end.”Leon made a deal with the cast: Once the Shakespearean scholar James Shapiro completed his edits, the actors would be allowed to add lines back in — though they would need to give up some of their own in exchange. The approach helped trim the five-hour play to two hours and 45 minutes, excising the military and royal aspects to focus on the family dynamics.“We’ve been talking a lot about how Shakespeare is often cut by academics, and sometimes I wonder if there would be a benefit to it being cut by artists; seeing what’s really necessary from an actor’s standpoint,” Blankson-Wood said. “I have my issues with this cut. A lot of the meta-theatricality is gone, and that’s one of the things I love about the character, like his line about holding a mirror up to nature. I did fight to get some things back.”The actor added that Leon’s “fiery” technique, on and off the page, took some getting used to, but credited Leon with pushing him further than he thought he could go. (In his review for The Times, the theater critic Jesse Green credited his performance with bringing “a vivid anger to the role.”)“I get to purge emotionally every night,” he continued. “I can take bits of my day and pour it in there to release, if I need to, and I knew this production would be good for that.”His love of theater, and his drive to define his relationship to it, extends to his childhood.Born the middle of five siblings in Silver Spring, Md., to two Ghanaian immigrants, Blankson-Wood grew up watching movie musicals with his mother. While his home was “culturally, very traditionally Ghanaian,” he said musicals created a cultural bridge to his American interests, which led to acting.He studied acting at New York University and was soon cast as a member of the tribe in a production of “Hair” at the Delacorte — which, coincidentally, shared the 2008 summer season with another “Hamlet,” starring Michael Stuhlbarg. He remained with “Hair” when it transferred to Broadway and then London’s West End but, following a run in the 2011 musical “Lysistrata Jones,” the actor said he felt a gap, “between the work I was doing and what I felt I was capable of.”“The ethos and energy behind commercial musical theater feels like it is really about the product,” he explained. “I don’t think that’s good or bad, but I do think my interests are always in process and craft, which I feel are more valued in plays. That’s where the impulse to go to grad school came from.”“I now really understand what it means to take ownership of my process,” the actor said, “and have found my voice in that way.”Elias Williams for The New York TimesHe enrolled in the Yale School of Drama, where he became friends with James Cusati-Moyer (who would later be his “Slave Play” scene partner). The two became “like a traveling act: this duo that everyone knew of,” Cusati-Moyer said. “And then we started doing drag together.”In 2013, they performed in Yale Cabaret’s inaugural “Yale School of Drag” show as well as a drag play written by their classmates — titled “We Know Edie La Minx Had a Gun” — which later had a 2016 presentation in Brooklyn. Blankson-Wood couldn’t reprise his role; he was giving what Charles Isherwood described as a breakout performance in “The Total Bent” at the Public. His replacement? An incoming Yalie named Jeremy O. Harris.The three became friends, and Harris took inspiration from the friendship of the other two as he developed the characters of Gary and Dustin, one of three interracial couples undergoing dubious sex therapy in “Slave Play.”“We had to navigate very difficult territory, as these characters were inspired by us, but were specifically not Ato and I,” Cusati-Moyer said. “But there’s no one else I can imagine doing that role with. He brings every corner of his heart, and that comes with an innate care and appreciation for his own work, as well as the work of those around him.”The show opened on Broadway in 2019 and garnered 12 Tony nominations, including nods for both actors; Harris; and the director Robert O’Hara, who later directed Blankson-Wood in a 2022 Covid-era adaptation of “Long Day’s Journey Into Night” at the Minetta Lane Theater.“I’m not necessarily drawn to these internal, isolating roles, but something happened when I went to grad school where it felt like a faucet turned on, and emotional availability became my go-to,” Blankson-Wood said.After “Slave Play,” he continued, “I was very aware of my inherent value, because that’s the journey my character was on. I now really understand what it means to take ownership of my process, and have found my voice in that way.“After that, and ‘Long Day’s,’ and this, I’m ready for something that has levity and is heart-forward.” More

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      Review: ‘Flex’ Hits the Right Rhythms on the Court and Off

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      The writer Candrice Jones and the director Lileana Blain-Cruz show a mastery of the game in this play about a girls’ basketball team in rural Arkansas.Their knees are bent, palms outstretched, eyes darting and alert.The young women of Lady Train, a high school basketball team in rural Arkansas, are training for every possibility on the court — which, in the beloved tradition of sports-powered coming-of-age stories, also means preparing for adult life.Perhaps it should be no surprise, then, that in the first scene of “Flex,” which opened at Lincoln Center Theater’s Mitzi E. Newhouse on Thursday, all of the players appear to be pregnant. As this tip-off to a slam-dunk New York debut makes clear, the playwright Candrice Jones excels equally in sly, sitcom humor and in the swift-tongued rhythms of teenage and athletic talk.The lumpy bumps beneath Lady Train’s various fly-casual printed tees (it’s 1997, and the spot-on costumes are by Mika Eubanks) are obviously fake, contraband from a home-ec class. But for April (a tender Brittany Bellizeare), the prospect of childbearing is no joke; she’s been benched since the team’s zero-nonsense coach (Christiana Clark) learned of her pregnancy. The bumper-belly drills are both a protest and show of solidarity.Threatening that bond is the requisite rivalry between two top players: the scrappy and headstrong team captain, Starra (a glowering Erica Matthews), who is trying to prove her mettle to her late mother, and Sidney (Tamera Tomakili, delightful), an eye-rolling, hair-flipping transplant from Los Angeles who talks smack with a smile. There’s a delicate romance, too, between the even-keeled Donna (Renita Lewis, the show’s subtle M.V.P.) and Cherise (Ciara Monique), a youth minister whose faith is at odds with her desires, and with April’s consideration of an abortion.Jones and the director Lileana Blain-Cruz (both former high school basketball players) demonstrate a dexterous mastery of the game, not only in narrated action sequences on the blond-wood, half-court set (by Matt Saunders), but also in the pass-or-shoot dynamics that bind these friends and teammates.The teammates bond while driving around in a dusty-blue Chrysler convertible and singing along to Aaliyah.Sara Krulwich/The New York TimesThere’s even an alchemy to “Flex” that conjures ardent home-team affinity from the audience (whoops and applause escalated in enthusiasm throughout the performance I attended). Maybe that’s inspired by Lady Train’s spelling-bee cheers (“big,” “bad” and “boss” are prominent), or their Aaliyah singalong with the top down on Donna’s dusty-blue Chrysler convertible (another impressive feat of design).But the special sauce is also in the careful economy of Jones’s character development, which offers just enough detail to inspire curiosity about who these women could become without claiming to know exactly who they are. (They’re teenagers, after all.) Whether Starra ascends to the W.N.B.A., she’ll have to wrestle with her ego. And Cherise doesn’t seem likely to let go of God, but what will happen if her devotion comes to feel like a trap?That “Flex” manages to garner such interest in its characters’ potential is a testament to the extraordinary synergy among Jones, Blain-Cruz and the cast members, who are as present and engaged in dialogue as they are nimble at the net.Tropes of the sports genre trotted out here — a betrayed purity pact, competition for scouts’ attention — are attended by the broader considerations that make young people and team sports such fraught and fertile ground. What do we owe ourselves, and at what cost to one another? Why learn the meaning of fairness when life is so unfair? To rebound when it knocks you down, and to savor the moments when it delivers on your wildest dreams.FlexThrough Aug. 20 at the Mitzi E. Newhouse Theater, Manhattan; lct.org. Running time: 2 hours 15 minutes. More

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      Review: A Lack of Passion Keeps Tennessee Williams’s ‘Orpheus Descending’ Earthbound

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      Erica Schmidt’s revival of this Tennessee Williams play for Theater for a New Audience downplays the melodrama.Clad in a snazzy snakeskin jacket and carrying a guitar, Val Xavier steps into a small town’s mercantile like a handsome troubadour dropping by to serenade the locals. But he is a stranger whose car has broken down, and in the South of the 1950s, the local women are going to talk and the local men might just stalk.And then there is Lady Torrance, who runs that dry-goods store and whose interest is piqued by the new arrival.A few minutes into Tennessee Williams’s “Orpheus Descending,” we know that emotions will run operatically high. Or at least they do on paper, because Erica Schmidt’s revival for Theater for a New Audience, which opened Tuesday at the Polonsky Shakespeare Center in Brooklyn and stars Maggie Siff as Lady Torrance, is maddeningly earthbound. The word “melodramatic” is usually deployed in a pejorative way to suggest an affected, exaggerated fervor designed to draw attention, or to describe something that defies conventional rules of propriety. But it is that heightened exaltation that makes Williams’s work glorious, and it is woefully missing in this cautious, bloodless production.“Orpheus Descending,” which had a short Broadway run in 1957, is not among Williams’s most famous pieces; critics tend to place it on the B list. The play, a reworking of “Battle of Angels,” from 1940, is a bit of a rambling mess, but it is also passionate and fascinatingly peculiar — the plot is loosely inspired by the story of Orpheus, after all.That mythical figure is Val (Pico Alexander), and it’s easy to see why he fascinates Lady (Siff). She is dressed in black when we first see her, but she is not, technically speaking, a widow: Her older, tyrannical husband, Jabe (Michael Cullen), has cancer and is hanging on by a thread spun of bile and loathing. For most of the play, Jabe is heard rather than seen, making his presence felt by imperiously knocking on the floor of the couple’s quarters, which are above the store.Like Val, Lady is different, which also puts her at odds in the community. She is Italian, for starters — though Siff’s bizarre accent is Sicilian by way of Eastern Europe — and she is also burdened by a tragic past: Her father was killed in a fire set by the Ku Klux Klan for selling alcohol to Black people.Williams writes that Lady “verges on hysteria under a strain,” but Siff (best known for the Showtime series “Billions”) evokes neither. Siff’s ability to project composure and intelligence was central to her terrific performances in two previous Theater for a New Audience productions, “The Taming of the Shrew” (2012) and “Much Ado About Nothing” (2013). Here it is a hindrance, as she can’t quite give in to the forces pressing down on Lady. Siff imbues the character with a convincing inner strength — the life force is evident — but less clear is the fact that Lady is stuck in a hell that is within and around her.It might have helped if Siff had a sturdier partner, but Alexander’s wan emo sensibility lacks the haunted charisma of a sexy drifter attempting to move on from his past. When Val tells Lady, “I lived in corruption but I’m not corrupted,” Alexander is much better at suggesting the second part of that sentence than the first. But the role needs both. (The 1960 film adaptation, “The Fugitive Kind,” starred Marlon Brando and Anna Magnani, which gives an idea of the intensity the play should aim for.)Tonally the production is similarly unmoored. The play alludes to fantastical elements, as with Val’s entrance, which looks as if he had been manifested out of thin air by Uncle Pleasant, a character who is also referred to as “conjure man” (Dathan B. Williams), or when Jabe’s baleful pounding sounds like the emanation of an enraged poltergeist. But Schmidt (“Mac Beth,” the musical “Cyrano” starring Peter Dinklage) does not exploit those opportunities. Also failing to make an impact is the outsize, fascinating character of Carol Cutrere (Julia McDermott), a lost soul who staggers in and out of the play in runny eyeliner, and is a key third outcast in the story.Amy Rubin’s atmosphere-free set does not help: If the store is meant to be a representation of hell on Earth, its blond wood, neat interior and tidy lines make it feel more like a furniture shop in a hip Hudson Valley town.Occasionally, Lady and Val wander to liminal spaces off to the side of Torrance Mercantile but still within view of the audience. There is a beguiling mystery to those brief scenes, allusions to life and love outside the bounds of the infernal prison. Oh, what could have been.Orpheus DescendingThrough Aug. 6 at Polonsky Shakespeare Center, Brooklyn; tfana.org. Running time: 2 hours 40 minutes. More

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      Why Basketball Is So Popular Off Broadway

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      Basketball is central to the plot in new shows, including “Flex” and “The Half-God of Rainfall.”In Inua Ellams’s new play, “The Half-God of Rainfall,” the gods play thunderous games of basketball in the heavens. For Candrice Jones’s “Flex,” high schoolers practice their defensive stances while scraping by in rural Arkansas. Near the end of Rajiv Joseph’s “King James,” the two main characters play a one-on-one game of basketball using a crumpled up piece of paper after waxing poetic about the greatness of the N.B.A. star LeBron James.Basketball hasn’t just been on the playgrounds of New York City this summer. Hoop dreams are also playing out onstage, highlighting a theater, ahem, crossover that has become more pronounced in recent years.While basketball is not as popular as, say, American football, its cultural reach surpasses that of other American team sports because its players are among the most publicly recognizable. (Three of the 10 highest-paid athletes in the world, when including endorsements and other off-field endeavors, according to Forbes, are N.B.A. players.)“Watching a basketball game is the same excitement I get from watching great theater,” said Taibi Magar, the director of “The Half-God of Rainfall.” “It’s like embodied conflict. It’s executed by highly skilled performers. When you’re watching Broadway, you feel just like you’re watching N.B.A. performers.”For Joseph, who grew up in Cleveland, basketball is the most culturally important sport partly because so many international stars play in the N.B.A., like the Denver Nuggets’s Nikola Jokic, who is Serbian, and the Milwaukee Bucks’s Giannis Antetokounmpo, who’s from Greece.“It’s drawing from every place on the planet, which means that the sport has become a really important athletic pursuit globally,” said Joseph, whose play “King James” just ended its run at New York City Center.In Inua Ellams’s “The Half-God of Rainfall,” at New York Theater Workshop, Demi (played by Mister Fitzgerald) is a half-Greek god who becomes the biggest star in the N.B.A.Sara Krulwich/The New York TimesAnd basketball’s prevalence in pop culture — including in the worlds of hip-hop and fashion and more recently in film and television — has also penetrated the theater space. Dwyane Wade, who retired from the N.B.A. in 2019, was among the producers of the Broadway shows “American Son” and “Ain’t No Mo’.”“Even if one hasn’t played on a team or hasn’t played organized ball, we all have access to basketball,” Jones, who wrote “Flex,” said in a recent interview. “You go in any hood or any small town, someone has created a basketball goal.”In casting “Flex,” which is in previews at the Lincoln Center Theater’s Mitzi E. Newhouse Theater, prospective actors recorded themselves playing basketball as part of the audition process. Jones and the show’s director, Lileana Blain-Cruz, who both played basketball in high school, said they wanted the basketball being played onstage to look authentic.“People have different styles, different ways of shooting, different personalities, different kinds of swagger,” Blain-Cruz said. “We care about the individual in the role that they play and how they’re playing it. And I think that aligns itself to theater.”Jones’s play, set in rural Arkansas, tells the story of a girl’s high school basketball team in 1998, which aligned with the second year of the W.N.B.A. So as the audition process advanced, the actors were asked to dribble, shoot and do layups for the creative team. Once the cast was set, some rehearsals weren’t about staging at all: The cast had basketball practice at nearby John Jay College.“There’s a kind of ensemble quality to it,” Blain-Cruz said about the sport. “Like an ensemble of actors playing together, a team of basketball players performing together. Together, they create the event.”Minutes later, as Lauryn Hill’s “Doo Wop (That Thing)” blared, Blain-Cruz led a warm-up with the cast that included hip openers and upward arm stretches. It could have doubled as pregame preparation. The set itself had a basketball hoop hanging in the rear, and a basketball court painted on the floor. “Flex” refers to a type of play basketball teams run, and the staged work features several instances of game play.“There’s a real rigor. It is real,” Blain-Cruz said. “That’s what’s so satisfying, I think, about sports onstage. There’s an honesty to it, right? Dribbling the ball is actually dribbling the ball. We’re not performing the idea of dribbling the ball.”After a recent outing to a New York Liberty game, the actress Erica Matthews, whose character, Starra Jones, is the 17-year-old point guard of the fictional team, said watching the players reminded her of watching live theater.“Basketball is very intimate. You can play a one-on-one game in a small amount of space,” Matthews said. “They’re actually performing on a stage and with the way the audience is surrounding them, the way they’re cheering, it’s basically storytelling.”Downtown at the New York Theater Workshop, Ellams’s “The Half-God of Rainfall,” a Dante-inspired “contemporary epic” about a half-Greek god named Demi who becomes the biggest star in the N.B.A., is in previews and is scheduled to open July 31. While “Flex” deals with down-to-earth issues, such as teen pregnancy, “The Half-God of Rainfall” transports basketball to a mythical world for immortals to deal with.At a recent rehearsal, cast members pantomimed slow motion basketball movements at the direction of the choreographer, Orlando Pabotoy. The actors Jason Bowen and Patrice Johnson Chevannes worked on setting up a proper screen, and Bowen later practiced a Michael Jordan impersonation — complete with the tongue wagging. (Jordan is referenced in the play.)As Ellams and Magar, the show’s director, looked on from desks cluttered with tiny inflatable basketballs, they worked on reallocating lines as the choreography required. Though this version of Ellams’s poem has a cast of seven, he said it can be staged with as many or as few performers as the production desires. (A 2019 production at the Birmingham Repertory Theater in England had only two actors.)Ellams, a Nigerian poet and playwright, who has played basketball since he was a teenager, said he created the character Demi to “do all the things that I never could” on the court. He mused that basketball has a greater draw to the stage because it is “a far more beautiful sport.”In Rajiv Joseph’s “King James,” which just ended its run at New York City Center, Chris Perfetti and Glenn Davis play two men who bond over their love of LeBron James.Jeenah Moon for The New York Times“There’s something humbling and mortal about basketball in the sense that there’s a simple equation,” Ellams said. “The ball bounces; it comes back up to your palm. You can break that down. This is solitariness, which invites the blues and what it means to play the blues. There’s a longing.”“There’s a natural melancholy about it,” he added, which makes it “easier to pair with the human spirit.”Of course there have been other basketball-related plays. In 2012, “Magic/Bird” explored the friendship and rivalry between the 1980s basketball stars Magic Johnson and Larry Bird on Broadway. The 2011 Broadway musical “Lysistrata Jones,” inspired by Aristophanes’s “Lysistrata,” followed a group of cheerleaders who withhold sex from their boyfriends on the basketball team because they keep losing games. Lauren Yee’s 2018 Off Broadway play, “The Great Leap,” also directed by Magar, tells the story of a teenage basketball prodigy who travels to China in 1989 to play in an exhibition game between college teams from Beijing and San Francisco.Daryl Morey, now an executive with the N.B.A.’s Philadelphia 76ers, commissioned a musical comedy called “Small Ball” that played in Houston in 2018. It depicts a fictional character named Michael Jordan — not the Jordan — as he finds himself playing in an international league with teammates who are six inches tall.“I think basketball is just the most important of all of the sports among the up-and-coming directors and playwrights, at least the ones I’ve spoken to,” Morey said.Not that basketball has a lock on the theater. Baseball has long been an object of fascination for playwrights, including classic shows like “Damn Yankees.” Richard Greenberg’s Tony-winning 2003 play, “Take Me Out,” about a baseball player who comes out as gay, had a Tony-winning revival on Broadway last year. In 2019, “Toni Stone,” written by Lydia R. Diamond, depicted the life of Marcenia Lyle Stone, who became the first woman to play in a men’s baseball league when she took the field for the Indianapolis Clowns in the Negro Leagues.Football and boxing, too: “Lombardi,” a biographical play based on the life of the legendary football coach Vince Lombardi, ran on Broadway in 2010, and 2014 brought a stage adaptation of “Rocky,” the famous 1976 underdog boxing film, to Broadway.But for the moment, it is basketball that is having a renaissance in theater. Or to put it in basketball terms, playwrights who take on the sport currently have the hot hand. More

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      New York’s Public Theater Lays Off 19 Percent of Its Staff

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      The institution, a titan among nonprofit theaters, is suffering from the combined effects of falling revenue and rising costs plaguing the arts world.The Public Theater, one of the nation’s most prestigious and successful nonprofit theaters, laid off 19 percent of its staff on Thursday as a financial crisis sweeps across the field.The move, which cost about 50 people their jobs, followed a 13 percent layoff at the Brooklyn Academy of Music and a 10 percent layoff at the Center Theater Group in Los Angeles.The Public, headquartered in Lower Manhattan and presenting work primarily Off Broadway, is by almost any measure a titan among nonprofit theaters — the birthplace of “A Chorus Line” and “Hamilton,” the originator and presenter of Free Shakespeare in the Park, and a creative anchor for some of the nation’s most influential dramatists.But the theater, like many others, is suffering from the combined effects of falling revenue and rising costs.“The economic headwinds that are attacking the American theater are attacking us, too,” Oskar Eustis, the theater’s artistic director, said in an interview. “Our audience is down by about 30 percent, we have expenses up anywhere from 30 to 45 percent, and we have kept our donor base, but it’s static. Put that all together, and you get budget shortfalls — big budget shortfalls.”Eustis said the Public would not shutter any programs beyond its previous decision to put its Under the Radar Festival, an annual program of experimental work, on indefinite hiatus.But Eustis said the Public would need to reduce the amount of theater it is staging in the short term — its next season, he said, will feature five shows at its Astor Place building, down from 11 in the last full season before the coronavirus pandemic. The traditional Shakespeare in the Park program will also not take place next year because its home, the Delacorte Theater in Central Park, will be undergoing a long-planned renovation, but Eustis said the company is seeking a way to present some Shakespeare at an alternate location (or locations) next summer.The theater’s executive director, Patrick Willingham, said the cuts would be spread across the company’s operations. “It’s a pullback in every department at every level,” he said.The Public currently has about 246 full-time positions, Willingham said. The company had a previous round of layoffs in 2021 as it tried to rebound following the pandemic closure of theaters, and it also had staff furloughs at the height of the pandemic. Willingham said this week’s layoffs were not a surprise to the staff because the need for spending cuts had been discussed internally for some time. “We’ve been really transparent with the employees over the course of this year,” he said. “We’ve been really clear that we were going to have to make reductions.”Willingham said the Public’s annual budget during the next fiscal year will be around $50 million, down from about $60 million before the coronavirus pandemic. He added that, thanks to federal pandemic relief funds and royalties from “Hamilton,” the theater is hoping it will not have a budget deficit during its current fiscal year, which ends next month, or the following fiscal year. “We’re making decisions that are actually trying to get ahead of what we’re seeing as this nationwide trend,” Willingham said, “so that we can get to a sustainable model we can rely on year after year.”Eustis, who is among the best-compensated artistic directors in the field, said he will cut his own pay by an unspecified amount — “I will be taking a significant reduction in salary,” he said — but that “nobody else would or should” have a salary reduction.He added that the Public remains committed to its Public Works program, in which amateur performers join professionals to put on musical pageants adapted from classic works, and its mobile unit, which presents Shakespeare in a variety of locations in and around the city, including at prisons and community centers.Eustis called the cuts “absolutely necessary to secure the Public’s security and future,” but also “tremendously sad and difficult.” However, at a time when some theaters are closing as a result of financial problems, Eustis said the Public is in no such danger.“This is not an existential crisis,” he said. “We are taking moves that mean that the Public’s existence and future will not be threatened. The Public will be here, and performing its mission, long past the time you and I are here.” More

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      Review: In ‘Malvolio,’ Hope (and a Title Role) for a Damaged Heart

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      The Classical Theater of Harlem follows up last year’s winning “Twelfth Night” with a sequel that feels like a sweet summer frolic.Poor old Malvolio. Amid the comic romance of Shakespeare’s “Twelfth Night,” he is the imperious steward who gets cruelly pranked for sport, duped by a band of smart alecks who forge a love letter seemingly addressed to him.Believing that the missive is from the countess he adores, and thinking he is following her wishes, he dresses garishly in yellow stockings with cross-garters and behaves as if he’s come unhinged. Then he is locked away in darkness, where his tormentors continue to mess with his mind.It’s a rancid kind of meanness, but the playwright Betty Shamieh has turned it into a hero’s origin story with her clever, winking new play “Malvolio.” And the Classical Theater of Harlem, whose “Twelfth Night” last July was an effervescent delight, has fashioned this sequel into a sweet summer frolic, with the sympathetic Allen Gilmore reprising what is now the title role.Twenty years after the end of “Twelfth Night,” Malvolio is long gone from the island of Illyria. A respected military general in a stubborn war, he is the leader of the Legion of the Cross-Gartered. (Fabulous name, that; fun uniforms, too, by Celeste Jennings.) But his past mistreatment festers in him.“My humiliation made me reckless,” he says. “Reckless men make great soldiers.”The fleet-footed production, featuring a very funny John-Andrew Morrison, center, as a bored king, is now at the Richard Rodgers Amphitheater in Marcus Garvey Park.Richard TermineIn Ian Belknap and Ty Jones’s fleet-footed production at the Richard Rodgers Amphitheater in Marcus Garvey Park, most of the old gang from “Twelfth Night” is still back on Illyria, living not so happily ever after. The marriage of Viola (Perri Gaffney) and Orsino (René Thornton Jr.) totters on despite his infidelity — and his preference for seeing her disguised as a boy, as she was when he fell in love with her.It’s Volina (Kineta Kunutu), their strong-minded daughter, who takes up the mantle of romance and adventure. Betrothed against her wishes to Prince Furtado (J.D. Mollison) — a misogynistic nitwit and sole heir to the uber-bored King Chadlio (John-Andrew Morrison, so funny that you will root for the king to survive various attempts on his life) — Volina slips out of Illyria and meets Malvolio by chance. She falls instantly, persuasively in love with him.Critical of war, skeptical of marriage and astute about the warping effect of defining oneself through trauma, “Malvolio” regards its characters from a distinctly female point of view. Paying close attention to the women, Shamieh has fun with callbacks to assorted Shakespeare plays; Volina’s nurse (Marjorie Johnson) was once Juliet’s.With a color palette that pops, and choreography (by Dell Howlett) that does, too, this is a visually and aurally enticing production. (The set is by Christopher and Justin Swader, lighting by Alan C. Edwards, video by Zavier Augustus Lee Taylor and music by Frederick Kennedy.) If the characters’ tangled relationships are a bit complex for the uninitiated, that’s also true in “Twelfth Night.” The big picture here is perfectly clear.Does Malvolio have enough hope in his damaged heart to risk loving Volina back? Will she even be free to choose him if he does? Well, it is a comedy — with last-minute reveals that are entirely in the spirit of Shakespeare, and utterly charming.It’s free, by the way. Treat yourself.MalvolioThrough July 29 at the Richard Rodgers Amphitheater in Marcus Garvey Park, Manhattan; cthnyc.org. Running time: 1 hour 30 minutes. More