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      ‘Strategic Love Play’ Review: A Slightly Dark, Not-Quite-Romantic Comedy

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      In this first-date comedy, Michael Zegen and Heléne Yorke play people who might just be willing to settle for each other.There comes a time in some adults’ dating lives when the search for love slides down the priority list, and with it the pesky urge to be particular about who might qualify as life-partner material.What’s far more vital, suddenly, is simply to couple up — less as a bulwark against the world than as a defense against the paired-off friends who fret about your singleness. So what if you and your new plus-one aren’t besotted with each other? At least you’re not alone.This is where Jenny (Heléne Yorke) and Adam (Michael Zegen) find themselves in “Strategic Love Play,” Miriam Battye’s slightly dark, not-quite-romantic comedy at the Minetta Lane Theater in Greenwich Village. Directed by Katie Posner for Audible Theater and Chase This Productions, it unfolds over the course of a single rocky date.For both Jenny and Adam, who evidently matched on an app, the prospect of having a default person to stand with the next time they go to a barbecue is a potently soothing thought. Which is maybe why they persevere through this awkward first encounter in a charmingly lit bar, where sconces hang on the bare brick walls. (The set is by Arnulfo Maldonado, lighting by Jen Schriever.)Reserved and wary of Jenny’s big personality, Adam wants to bolt pretty much immediately, while Jenny is the kind of person who reacts to silence by trying to rile things up, get a reaction, be outrageous. From his rigid posture, his lack of interest is clear, but she is all about leaning in.“Two-drink minimum,” she stipulates, meaning he’d better not leave before then. “Anything less would be — rather unmerciful.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Paul Mescal Rides ‘A Streetcar Named Desire’ to Brooklyn

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      The award-winning production will begin performances in February as part of Brooklyn Academy of Music’s next season.Brooklyn Academy of Music next spring will present an Olivier Award-winning revival of “A Streetcar Named Desire” starring Paul Mescal, the Irish actor, in the role made famous by Marlon Brando.The production is the high point of the next season at BAM, which, like many nonprofit arts organizations, has been struggling to rebuild after a period of economic challenges and leadership change.“Streetcar,” one of Tennessee Williams’s Pulitzer Prize-winning plays, imagines a down-on-her-luck Southern woman’s disruptive visit to the New Orleans home of her sister and brother-in-law. It was first staged on Broadway in 1947, and this latest revival began at London’s Almeida Theater in 2022, and then transferred to the West End in 2023. Not only did the production win an Olivier, but so did Mescal and Anjana Vasan for their portrayals of Stanley and Stella Kowalski. Vasan will join Mescal in Brooklyn, as will Patsy Ferran, reprising her London performance as Blanche DuBois.The critic Matt Wolf, writing in The New York Times, called the London production “an electrifying ensemble production.”Mescal, an Oscar nominee for “Aftersun,” is also known for the series “Normal People” and the film “All of Us Strangers,” but he is likely to become much better known this month because he is starring in “Gladiator II.” “Streetcar” is his American theater debut.The production, directed by Rebecca Frecknall, will return to the West End from Feb. 3 to 22 at the Noël Coward Theater before transferring to BAM where it is scheduled to run from Feb. 28 to April 6. The producers of the West End production, led by ATG Entertainment, a large British theater company with a growing presence in New York, are credited as presenting partners at BAM.Among the other highlights of the BAM season is a production of “The Threepenny Opera” performed by the Berliner Ensemble under the direction of Barrie Kosky. Joshua Barone, reviewing the production in Berlin for The New York Times, called it “hauntingly enjoyable.”BAM will also present “Macbeth in Stride,” Whitney White’s reimagining of Lady Macbeth “as an indomitable Black female icon.” The production was at Washington’s Shakespeare Theater Company last year; in The Washington Post, Celia Wren called it “an ingenious meditation on ambition and the Bard.”Both of those shows will be in April; the opera is being presented with St. Ann’s Warehouse, and the play is a co-production with Shakespeare Theater Company and Philadelphia Theater Company, both of which staged it last fall, and Yale Repertory Theater, which is staging it next month.There will also be dance (including Alvin Ailey American Dance Theater, Batsheva Dance Company and the annual DanceAfrica event), music (including Max Richter), films and children’s programming. More

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      In ‘Give Me Carmelita Tropicana!,’ Alina Troyano Explores How Art Can Live Inside Others

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      You never can tell where your inheritance will come from, but the playwright Branden Jacobs-Jenkins almost missed out on some of his.In 2007, as a New York University graduate student, he nearly dropped a course on the uses and abuses of sentimentality because it conflicted with a job he had just gotten at The New Yorker. But it was a small class, and he was the only guy. So his instructor — Alina Troyano, the Cuban-born Obie Award winner who teaches under her stage name, Carmelita Tropicana — put up a fight.“He stayed in the class because I begged him to stay,” she said.Thus began an acquaintanceship that turned into a friendship that turned into a collaboration: “Give Me Carmelita Tropicana!,” their hallucinatory new play at Soho Rep. It is the last production at the theater’s longtime home, in TriBeCa, before the company moves into temporary accommodations at Playwrights Horizons in Midtown. Written by the two of them, and starring her, it is about creative legacy, generational change and the ways that autobiographically and culturally specific art made by one person can live, and morph, inside others.In the show, Troyano performs as both Alina and her comic alter ego, Carmelita: a feminist, sex-positive lesbian from Havana who borrows stereotypes to send them up, campily ridiculing bigotry, misogyny, machismo, colonialism. Ugo Chukwu plays Branden.The trippy premise is that when Alina threatens to kill Carmelita, an alarmed Branden asks her to sell him the persona instead. How this would work when Carmelita has lived inside Alina since before Branden was born is the mind-bending question at hand.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Walden’ Review: My Sister! My Twin! My Astronaut!

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      Emmy Rossum and Zoë Winters star in a new Off Broadway play that’s a climate disaster drama cohabiting with a domestic soap opera.Despite its name and original mission, Second Stage Theater, founded in 1979, has in recent years expanded its reach to include many new works by early-career playwrights.The latest beneficiary of that expansion is Amy Berryman, who makes her professional New York debut with “Walden,” the promising but unconvincing story of twin astronaut sisters on opposite sides of a philosophical divide in a devastating climate dystopia. It opened Thursday at Second Stage’s Off Broadway space, the Tony Kiser Theater in Midtown Manhattan.The promising part of the play is the new angle it offers on an old sci-fi setup. In Berryman’s vision of the near future, Earth has reached what the sisters call P.O.N.R., for “point of no return.” NASA, having (like Second Stage) expanded its original mission, decides to accelerate plans to build habitations on Mars. But unlike movies with a similar premise, the prime movers here are women.That makes for fresh takes on the usual questions of home and hearth and the fate of humanity. It’s nice to see that, at least at first, Cassie (Zoë Winters) is a gung-ho adventurer. Having just returned from a year on the moon, where she became the first person to “grow something from nothing” on its inhospitable surface, she has now been asked to lead an epochal mission to Mars.Not that Earth’s surface is much more hospitable, with violent weather and rising tides killing millions and causing wars. In response, Cassie’s skittish sister, Stella, has retreated to the American interior to nest in a corrugated but strangely chic wilderness cabin. Stella (Emmy Rossum) is also an astronaut — or was. Though she left NASA under mysterious circumstances, her design for a new habitation called Walden will be the one used on Mars. Cassie will likely live there for the rest of her life.On the weekend before she begins training for that future, Cassie visits Stella after a long estrangement. Inevitably, a debate breaks out between them about whether to prioritize saving the planet (as Stella favors) or preparing an escape route (as Cassie does). Encouraging Stella’s view is her boyfriend, Bryan (Motell Foster), a so-called Earth Advocate for whom expanding the reach of human depravity to virgin new worlds is a poor excuse for not cleaning up the old one.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: A Vocally Splendid ‘Ragtime’ Raises the Roof

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      Joshua Henry stars in an exhilarating gala revival of the 1998 musical about nothing less than the harmony and discord of America.To say that a singer blows the roof off a theater, as Joshua Henry does in the revival of “Ragtime” that opened at New York City Center on Wednesday, is to understate what great musical performers do. It’s not a matter of so-called pyrotechnics, as if their vocal cords were dynamite sticks. Nor is it a matter of volume, so easily finessed these days. Also beside the point are ultrahigh notes and curlicue riffs, which are too often signs of not enough to sing.As it happens, Henry offers all those things almost incidentally in this exhilarating gala presentation directed by Lear deBessonet. But what makes his performance as the tragic Coalhouse Walker Jr. so heart-filling and eye-opening, even if you know the musical and have some issues with it, as I do, is the density of emotion he packs into each phrase. Well beyond absorbing the aspirations and travails of the character created by E.L. Doctorow for the 1975 novel on which the show is based, he seems to have become the novel itself. He’s a condensed classic; he blows the roof off your head.He is aided by songs that, though built from nuances of story, grow to the full scale of Broadway — not an easy act to pull off and not in fact pulled off consistently here. But especially in the first act, the music by Stephen Flaherty and lyrics by Lynn Ahrens, for whom “Ragtime” was a breakthrough hit in 1998, smartly express national themes in domestic contexts. Working with Terrence McNally, who shaped the unusually complex book from the highly eventful novel, they offer a boatload of songs in distinctive styles for the story’s three worlds, all intersecting in and around New York City during the first decade of the 20th century.From left: Matthew Lamb, Caissie Levy, Tabitha Lawing and Brandon Uranowitz in the revival, directed by Lear deBessonet. Sara Krulwich/The New York TimesIf that’s programmatic, it’s also a useful tool and metaphor. An upper-middle-class white family in New Rochelle sings in a classical vein derived from Western European operetta. Immigrants arriving in Lower Manhattan by the thousands — and particularly a Jewish artist called Tateh — bring the sounds of the shtetl with them. Coalhouse, a pianist and composer, represents the aspirations of a Harlem-based Black population with a beguiling, sorrowful, assertive “new music”: ragtime.No wonder deBessonet begins the show with a spotlit piano: “Ragtime” is fundamentally about the shared dream of American harmony, even if reality delivers only discord. Fittingly then, this Encores!-adjacent production emphasizes the singing of the 33-person cast and 28-person orchestra, under the direction of James Moore, rather than the overblown hoopla of the 1998 production, which featured fireworks and a Model T Ford. The choral work — Flaherty wrote the vocal arrangements — is thrilling.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Two Climate Change Plays Keep the Flames of Hope Alive

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      “Hothouse,” at Irish Arts Center, fends off despair with loopiness; “In the Amazon Warehouse Parking Lot,” at Playwrights Horizons, is a fuzzy world lacking depth.Critic’s Pick‘Hothouse’Through Nov. 17 at Irish Arts Center, Manhattan; irishartscenter.org. Running time: 1 hour 30 minutes.Humans have a habit of averting their gaze from danger, even when it’s upon them. Even when it’s chronic, with one emergency piling atop another.That’s what Barbara did for years and years, staying with her violent husband.“Because you want to think it’s — I don’t know,” she says to her daughter, who grew up in that terrifying home. “A blip on the radar. That things’ll go back to being normal. That all this isn’t normal.”Domestic violence is not a theme you might expect from “Hothouse,” a climate change play from the Dublin-based Malaprop Theater. It’s principally set aboard a cruise ship taking passengers to the North Pole “to say goodbye to the ice.”But this alluringly strange and spangly show, at Irish Arts Center in Manhattan, is not solely or simplistically about ecological catastrophe. It’s about self-destruction as learned behavior through generations of safeguarding failures: the harm that parents do to children, who pass that on to their own, and the harm that humans do to the planet, abdicating their duty of care.It’s like a riff on Philip Larkin’s enduring poem “This Be the Verse” — you know the one, about man handing on misery to man — except that it takes cleareyed exception to Larkin’s grim final lines: “Get out as early as you can, / And don’t have any kids yourself.”Written by Carys D. Coburn with Malaprop and directed by Claire O’Reilly, “Hothouse” is a lament for the present and an elegy for the past that keeps alight a flame of hope for the future. It’s also yet another bit of smart programming from Irish Arts Center at a time when New York’s theater scene is somewhat starved for contemporary European work.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Ragtime’ Crushed Brandon Uranowitz’s Dream. Now It’s Healing His Wounds.

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      Nearly 30 years after being let go from the Broadway-bound show, this Tony Award winner is taking a lead role in a new revival at City Center.In 1997, Brandon Uranowitz was a 10-year-old from West Orange, N.J., who dreamed of being on Broadway. He got one small foot in the door that year when he replaced Paul Dano as the wide-eyed little boy Edgar in the musical “Ragtime” during its premiere in Toronto.A year later, “Ragtime” opened on Broadway, and the musical — about three families navigating America at the turn of the 20th century, based on E.L. Doctorow’s 1975 novel — featured most of the Toronto cast, a powerhouse roster that included Audra McDonald, Brian Stokes Mitchell, Peter Friedman, Marin Mazzie and Lea Michele. But Uranowitz wasn’t chosen to make the move. (Alex Strange was cast in the role instead.)That disappointment remains an “open wound,” Uranowitz, 38, said.“It was just, see ya, thanks for coming,” he added. “It felt unfinished.”Uranowitz, center, and other cast members during a rehearsal for the show, which begins performances on Wednesday.Amir Hamja for The New York TimesUranowitz eventually got to Broadway, making his debut in the short-lived musical “Baby It’s You!” and later appearing in “Falsettos,” “An American in Paris” and other shows. Last season, he won a Tony Award for his role in Tom Stoppard’s play “Leopoldstat.”Starting Wednesday, Uranowitz hopes to finally close that open wound when “Ragtime” is revived, not on Broadway but at City Center, where Lear DeBessonet’s new production is to begin performances. And Uranowitz, returning to the show for the first time since his Toronto run, will play the Jewish immigrant father-protector Tateh, the role for which Friedman received a Tony nomination.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Bad Kreyòl’ Review: Dueling Cultural Identities Make for a Weighty Comedy

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      Dominique Morisseau’s new play explores the tensions between a Haitian American woman and her Haitian-born cousin.Concluding a four-show run as one of Signature Theater’s writers-in-residence, Dominique Morisseau looks beyond her usual American petri dish in the comic and contemplative “Bad Kreyòl.” It’s the second world premiere of her seven-year tenure (stretched from five because of the Covid pandemic) with the company, which has staged her explorations of 1940s jazz (“Paradise Blue”), campus race relations and slavery (“Confederates”) and the aftershocks of revolutionary movements (“Sunset Baby”).In “Bad Kreyòl,” Morisseau follows a Haitian American woman’s trip to the island, where she intends to work with nongovernmental organizations and reconnect with her cousin following their grandmother’s death. Directed by Tiffany Nichole Greene, this co-production with Manhattan Theater Club deftly tackles diasporic identity, as well as personal, familial and national duty.If that sounds like a serious undertaking, it never feels that way here. Morisseau is incredibly skilled at weaving her ideas into compelling human dramas, and “Bad Kreyòl” finds the writer at her funniest, operating in the digestible vacation comedy genre.When Simone (Kelly McCreary) arrives at the upscale Port-au-Prince boutique her cousin Gigi owns, her appearance is instantly assessed. Gigi (Pascale Armand) is a tough-love type, and their odd couple dynamic represents most of the play’s humor and duel of national mentalities. As opposed to Simone’s relaxed athleisure, Gigi is impeccably dressed in colorful fabrics (costumes by Haydee Zelideth). She is the picture of the hard-working Haitian who can’t understand why her American cousin lets things like personal happiness get in the way of a lucrative career in finance.Another point of contention: whether Pita (Jude Tibeau), their family’s longtime housekeeper, is more like their slave. Born into poverty, he was essentially sold to Gigi’s family in exchange for room and board through an underground Haitian practice called restavèk. Simone says it violates international labor laws, Gigi compares it to American foster care.In this case, Gigi says, it’s worked out for the best: In their homophobic country, the flamboyant Pita, who is gay, also finds protection in their home. Simone, of course, lives out a liberal fantasy by nudging him to join a queer activism group, an idea the fiercely protective Gigi knows could bring harm. But, again, Morisseau balances this gravity by making Pita the play’s beating heart, and often the source of its funniest lines.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More