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      Review: In ‘Amours (2),’ Love Hurts

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      The French director Joël Pommerat has created an intimate chamber work examining love from many angles, all of them laced with pain and misunderstanding.A new stage production by Joël Pommerat is always an event in France. At 60, he is widely recognized as one of the greatest directors and playwrights working in the country today, a theater maker with rare box-office appeal. Yet unlike many of his peers, Pommerat hasn’t parlayed this success into an ever busier schedule of new productions.Since 2015, he has brought just three new plays to domestic and international stages, starting with his French Revolution-inspired juggernaut “It Will Be Fine (1) End of Louis.” This month, he is back in Paris with a much more modest endeavor: “Amours (2)” (“Loves (2)”), a 70-minute medley of fragments from Pommerat’s previous works, reinvented for an audience of around 40.This shrunken scale doesn’t make “Amours (2),” which is nominated for best public-sector production at this year’s Molière theater awards, any less effective. If anything, it showcases Pommerat’s art — his taut writing, delivered in piercing vignettes — more intimately than ever.The show isn’t performed on a traditional stage: The production requires merely a backdrop and chairs on three sides of a square space. (In Paris, it was staged at Pavillon Villette, a venue often rented out for receptions and conferences.) There were practical reasons for this format: “Amours (2)” is a reworking of “Amours (1),” a production that Pommerat created at a French prison in 2019.Pommerat has been working with prisoners in Arles, southern France, for nearly a decade. His first two collaborations featured full casts drawn from the jail there, and were performed inside the prison for small audiences. But the security and logistics for these events were demanding, and prison officials asked for a simpler setup for “Amours (1).”Four years later, two of the prisoners he worked with in Arles — Jean Ruimi and Redwane Rajel — have been released, and are working as professional actors with Pommerat’s theater troupe, the Louis Brouillard Company. “Amours (2)” starts with those actors seated in the audience.As a spokeswoman finishes a preshow announcement, Rajel’s irritated voice rises: “Just stop!” He and Ruimi, playing Rajel’s father, launched into an argument — apologizing along the way for the disruption, as if it were a spontaneous exchange. (Some onlookers believed it was, and tried to shush them.)Three actresses join Ruimi and Rajel and the show plays out in a dozen scenes between two or three characters, drawn from earlier Pommerat pieces: “This Child” (2006), “Circles/Fictions” (2010) and “The Reunification of the Two Koreas” (2013). Love, the overarching theme, takes many forms throughout, from intense friendship to filial affection and long-term companionship.Yet it is consistently laced with pain and misunderstanding. In one scene, a deep rift opens up between two best friends because their recollections of their first meeting differ. In another vignette, two neighbors wait for their spouses to return, until it dawns on them that the missing partners are having an affair.While Pommerat has honed a distinctive stage aesthetic over the years, with dusky lighting and an eerie, quietly cutting delivery style for actors, “Amours (2)” does away with technical wizardry and goes back to basics. The plain, bright lighting and compact space lessens the distance between the audience and highlights the spare yet mysterious quality of Pommerat’s writing.The three women onstage — Marie Piemontese, Elise Douyère and Roxane Isnard — are all faultless, with Isnard an especially versatile presence from scene to scene, projecting teenage anger as easily as quiet, mature tension. Yet Ruimi and Rajel, the two former convicts, bring a different dimension to “Amours (2).”Ruimi, a former high-profile member of a Marseille crime ring who served a lengthy sentence in connection with several killings and drug trafficking, draws attention with a nervy intensity. When he plays vulnerable characters — like a man paying daily visits to his amnesiac wife, who keeps forgetting who he is — his toughness almost seems to crack in real time.Rajel, who has also performed roles with the French director Olivier Py, is a softer presence, with a gift for delivering quiet blows in dialogue. “Amours (2)” is a testament to Ruimi and Rajel’s talent and hard work, yet their life experiences shape their stage presence, too.That is one of the benefits of social diversity in the arts. It’s an uphill struggle for actors from tough backgrounds to make it as professionals, with drama schools increasingly out of financial reach in Europe and the United States. Yet their presence makes for richer, fuller worlds onstage. “Amours (2)” is certainly proof, and is bound to become another Pommerat classic.Amours (2)Through April 22 at W.I.P. Villette in Paris, then touring France through June 9. More

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      ‘Emilie’ Review: Defending, and Defining, a Life

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      In her new play, Lauren Gunderson explores the legacy of the 18th-century French mathematician and philosophe Emilie du Châtelet.“Emilie: La Marquise du Châtelet Defends Her Life Tonight” starts with a death adjourned. Emilie (Amy Michelle), a mathematician and philosophe, has slipped through a loophole in the space-time continuum and now lingers in an uncanny valley between life and death. She has been allotted limited time to determine whether her legacy amounts to one of “loving” or “knowing.”The words “love” and “philosophy” are inscribed on an upstage wall and throughout this play, by Lauren Gunderson, Emilie returns to that makeshift chalkboard to tally up her life’s deeds. As a dramaturgical device, it’s more prosaic than piquant, yet not entirely off brand for a woman whose mind was a perpetual motion machine.The play’s protagonist is based on the real-life du Châtelet, famed in 18th-century France for her translation of and commentary on Newton’s “Principia” and for a treatise she wrote on the nature and propagation of fire. Such an accomplished woman hardly needs defending, but defining a life is another matter. That is the real brief for “Emilie.”In her state of limbo, the marquise discovers that she can’t intervene in past events. Any kind of physical contact will immediately set off a blackout, as if someone has shaken a cosmic Etch A Sketch. As a workaround, Erika Vetter plays a younger version of the marquise, enacting a telescoped version of her life. Where Michelle’s marquise is ruled by an Apollonian temperament, Vetter puts a heavy thumb on the “love” scale. “Are you jealous that I’m sharing orbits with another man?” she teases Voltaire, du Châtelet’s lover in real life.Under Kathy Gail MacGowan’s direction, many of the actors play multiple roles, underscoring the similarities between certain characters. Bonnie Black delivers compelling performances as both the marquise’s mother, a woman of mean understanding, and the meddlesome Madam Graffigny, a not entirely welcome guest at the marquise’s family estate.Unlike those two women, bound by corsets, Emilie wears a simple nightgown, which allows her to move freely from her chaise longue to her desk on Sarah White’s handsome set. Her mind moves just as nimbly from an appraisal of Gottfried Leibniz to a discussion of “living force,” a scientific concept for kinetic energy first developed by Leibniz and later elaborated upon by Emilie.For all the talk of life forces, however, there’s a lack of kinetic energy between the elder marquise and Voltaire, who is reduced to a concupiscent kibitzer with a string of chronic ailments. The first act is also dragged down by exposition. “Did I mention I was married? We’re skipping ahead.” “Did I mention I had children? Three. Fascinating creatures,” the marquise maunders on. Such palavering is wasted time for a woman facing a literal deadline.Gunderson, whose other work includes plays about pioneering women like Marie Curie, does more than pay hagiographic tribute to her subjects. There are angles of regret in her portrait of the marquise, who ultimately feels that she failed to provide enough opportunities for her daughter. Even as the lights dim, she is preoccupied with “love and so many questions,” and it becomes impossible to tell where loving leaves off and knowing begins.Emilie: La Marquise du Châtelet Defends Her Life TonightThrough April 30 at the Flea Theater, Manhattan; theflea.org. Running time: 2 hours.This review is supported by Critical Minded, an initiative to invest in the work of cultural critics from historically underrepresented backgrounds. More

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      Cabaret Mainstay 54 Below Enters a New Era: As a Nonprofit

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      The midtown venue’s owners hope to raise close to 20 percent of an annual budget approaching $10 million from supporters.After nearly 11 years in operation, one of New York City’s most high-profile cabaret venues has decided to transition from a commercial entity to a nonprofit. The owners of 54 Below, a popular forum for both Broadway stars and rising performers and composers, say they intend to raise close to 20 percent of an annual budget approaching $10 million from supporters, with sponsorships, multiyear donations and naming opportunities figuring into the new model.Richard Frankel, one of the owners, described the move as motivated by both economic challenges and artistic ambitions. “There’s no doubt it’s been a struggle, financially, combining the restaurant and theater businesses,” he said, adding that the club, which occupies the space below the 1970s nightlife fixture-turned-Broadway theater Studio 54, “puts on about 600 shows a year, which is insane. So we have a structure that’s not cheap.”Those shows have included performances by marquee names such as Patti LuPone, Kelli O’Hara and Brian Stokes Mitchell, as well as series and concerts spotlighting lesser-known artists and works. “Diversity has become very important to us, presenting new musicals and young performers, many of color,” Frankel said. “And we want to be able to pay them more and expand the audience, with artist subsidies and ticket subsidies. That can be very difficult, if not impossible, to do on a self-sustaining commercial basis.”Frankel noted that two of 54 Below’s competitors, Joe’s Pub and Dizzy’s Club, both enjoy the backing of nonprofit organizations: the Public Theater and Jazz at Lincoln Center. “We’ve been incredibly envious of them,” Frankel said.As a nonprofit, 54 Below will focus on raising money to offer discounted tickets and subsidize artists’ production costs, as well as continue livestreaming its performances.A newly formed board for 54 Below includes, in addition to Frankel and his fellow owners, names from the entertainment, business and nonprofit sectors, among them the actress and entrepreneur Brenda Braxton; Robert L. Dilenschneider, president and chief executive of the Dilenschneider Group, Inc; Stanley Richards, deputy chief executive of the Fortune Society; and Lucille Werlinich, chair of the Purchase College Foundation.54 Below opened in June 2012 and entered a partnership with the veteran performer and American songbook champion Michael Feinstein in 2015; that collaboration ended in July 2022, when Feinstein teamed up with Cafe Carlyle. Last June, 54 Below received an honor at the Tony Awards for excellence in the theater.“I’m expecting the funding sources to be generous, though I don’t know how many Santa Clauses there can be,” Frankel said. “But we’re committed to this, as a way for us to survive and thrive in the future.” More

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      Among Faceless Offices, a Theater Taking Risks

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      The New Diorama in London is placing bets on small troupes, inviting them onto its stage and giving them help to thrive. With two shows now in the West End, its gambles are paying off.Regent’s Place, a business quarter in the Euston district of central London, isn’t a likely location for a theater. Many of the buildings there are the offices of global corporations. The glass-fronted New Diorama could easily be mistaken for one.Since it opened in 2010, the New Diorama, an 80-seat studio theater, has gained a reputation as an incubator of new talent. It presents an innovative program of work by emerging theater companies and offers the artists who work there a level of creative support that’s rare for a venue of its size, with free rehearsal space, interest-free loans and help finding funding from other sources.The theater has nurtured the careers of many small troupes, and, in some cases, its support has been transformative. This season, two shows that originated at the New Diorama are playing on the West End: “Operation Mincemeat,” a comedy musical by the collective SplitLip, and “For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy,” a piece exploring Black masculinity and mental health, created by Ryan Calais Cameron. That show, which premiered in 2021, went from the New Diorama to a run at the Royal Court Theater, before a commercial producer snapped it up.“Operation Mincemeat,” a comedy musical about British spies in World War II, began at the New Diorama and is now playing in the West End.Alex Harvey-BrownDavid Byrne, the New Diorama’s artistic director, said in an interview that it was “a theater that would support companies and collaborative work in the way that a new writing theater would support writers.”Byrne added that he always tells artists who work at the New Diorama: “We need you to ask for things that you need. And we will try to provide them.”Cameron, whose show is running at the Apollo Theater through May 7, first came to the New Diorama’s attention in 2018, when he and his company, Nouveau Riche, won the theater’s Edinburgh Untapped Award. That prize gave the young director the funding to take an earlier show, “Queens of Sheba,” to the Edinburgh Festival Fringe. In an interview, Cameron recalled Byrne telling him that the New Diorama’s support didn’t end with the award: It was the start of a relationship. “He really seemed like he cared about the longevity of myself and the company,” Cameron said.Then, in 2021, when many British theaters were rebounding from pandemic-related lockdowns with low-risk solo shows, Cameron went to Byrne with his proposal for “For Black Boys,” a dance-theater piece for six performers. Cameron said the theater agreed to program the show after a meeting that lasted just eight minutes.The cast of “For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy,” performing at the New Diorama in 2021. Ali Wright“New Diorama was the only venue in London willing to take that kind of risk on an artist still relatively new to the mainstream,” Cameron said.Zoe Roberts, a SplitLip member whose previous company, Kill the Beast, also received support from the New Diorama, described the theater’s decision to work with her troupe as “a leap of faith,” because SplitLip had never produced a musical before. (“Operation Mincemeat” is at the Fortune Theater through July 8.)“They held our hands through the entire thing,” Roberts said in an interview. “They’re in their office running the theater, while also helping to produce our show, and even running around with a drill fixing bits of our set, because we didn’t have someone to do that,” she said.One of the key things the New Diorama provides the artists it works with is financial assistance — and not just while they’re developing a show for its stage. In 2016, the theater started offering interest-free loans for companies who had already worked there, to offset the costs of venue hire or taking work to the Edinburgh Fringe. Roberts likened the New Diorama to “the kindest bank in the world.”Its annual budget is around $1.5 million: It receives a small subsidy from the British government, and raises the rest through philanthropy, corporate sponsorship and ticket sales. Byrne makes the New Diorama’s income go further by negotiating deals with local businesses, including hotels to host visiting troupes from outside London and a local restaurant that delivers free post-show pizzas.The New Diorama was “a theater that would support companies and collaborative work in the way that a new writing theater would support writers,” said its artistic director, David Byrne.Tom Jamieson for The New York TimesOne of the biggest barriers that small theater companies face, Byrne said, is the cost of rehearsal space, which in London can be up to $60 an hour. So in 2017 the New Diorama made a deal with British Land, the property developer that owns the land that the theater stands on, to take over part of a nearby vacant building. Companies working with the New Diorama could use it as a free rehearsal space.That program was a test run for N.D.T. Broadgate, a temporary artist development complex in an empty central London office space that opened in 2021 and closed last year. N.D.T. Broadgate was also a collaboration with British Land, which again gave over the vacant real estate at no charge. Theater companies from across Britain could apply to use the space free, with the spots filled via lottery.N.D.T. Broadgate featured 16 rehearsal spaces, as well as a design studio. According to an independent report on the project commissioned by British Land and the theater, 724 small theater companies used the resources, creating 250 new shows. Cameron was one of the artists who benefited, creating a studio for Black artists within the space. “It was a kind of utopia,” he said.Byrne said that many British theater companies were struggling to get back on their feet after enforced closures during the pandemic, and that the rising cost of living had only amplified their problems. “Everyone we talked to was exhausted,” he said. Last year, he and the New Diorama’s executive director, Will Young, decided to close the theater for a season and focus on rejuvenation instead. “We wanted to send a signal that it’s all right not to continue growing,” Byrne said.“For Black Boys” cast members in a rehearsal at N.D.T. Broadgate, a temporary creative development complex that the New Diorama ran in an empty central London office space.Guy J. SandersEven though it was closed, the New Diorama continued paying artists to develop new work. It put out an open call for ensembles around Britain and received over 500 responses, Young said.The theater reopened earlier this year with “After the Act,” a musical developed during this period by the multimedia performance company Breach Theater, about the legacy of Section 28, a government policy that banned the promotion of homosexuality in British schools in the 1980s and 90s. According to the New Diorama, “After the Act” is its best-selling show to date.Not being as reliant on public funds as some organizations “means we can take really calculated swings that often pay off,” Byrne said.“It’s about pushing that creative ambition as much as possible,” he added. The New Diorama is about encouraging artists to run with their ideas, to take risks and know that “we’ve got you,” Byrne said. “You have a safety net.” More

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      ‘Like a Romance’: Laura Linney and Jessica Hecht’s Spring Fling Onstage

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      In David Auburn’s new play, “Summer, 1976,” the actresses play unlikely friends whose relationship has the intensity of a love affair.Alice and Diana don’t like each other very much. Not at first. Diana, a teacher at the University of Ohio, considers Alice an intellectual lightweight and flaky. Alice, a faculty wife, finds Diana condescending.“They are unlikely friends,” Laura Linney, who plays Diana, said with understatement.And yet forced together for a few sticky Midwestern months by their young daughters, a relationship burgeons over kiddie pools and popsicles. Their friendship, which will eventually burn with the blue-flame intensity of a love affair, will profoundly alter each woman’s life.This is the substance of David Auburn’s memory play “Summer, 1976,” a febrile two-hander directed by Daniel Sullivan and starring Linney and Jessica Hecht (Alice) as women in their 50s recalling a pivotal time in their 20s. The Manhattan Theater Club production, mostly composed of daisy-chained monologues, is scheduled to open April 25 at the Samuel J. Friedman Theater.Linney, left, and Hecht in David Auburn’s new play, “Summer, 1976,” at Samuel J. Friedman Theater in Manhattan. The two-hander opens on April 25.Hiroko Masuike/The New York TimesOn a recent weekday morning, the two women met in an otherwise empty rehearsal room at M.T.C.’s Midtown offices. This was a fraught moment in the process. “Week three in rehearsal for me is always a disaster, I’m so frustrated,” Linney said. And Hecht was still starring in another show, Sarah Ruhl’s “Letters From Max” at the Signature Theater. But the co-stars, dressed in drapey clothing, seemed relaxed enough.Both are stage and screen veterans who have worked with Sullivan — Hecht long ago in “The Heidi Chronicles,” Linney most recently in “The Little Foxes” — but never together. They were learning the play by listening, raptly, to each other.“It’s like being in a romance of sorts,” Hecht said.Over midmorning coffee — “Sometimes there’s god, so quickly,” Linney said, quoting Tennessee Williams, when the drinks arrived — the two women discussed the play, the process and why they keep returning to the theater. These are edited excerpts from the conversation.“It’s always exciting to see where the intersection is between the actor and the character,” Linney said of watching other actors and their process. “Like, where do they find their way in?”Thea Traff for The New York TimesWhat do you remember about 1976?JESSICA HECHT My mother’s divorce and her consciousness raising group.LAURA LINNEY I can remember wearing Corkys and feeling very cool with my Lip Smackers and my shampoo that smelled like wheat germ.What attracted you to these characters?LINNEY I wasn’t attracted to the character at first. I have no idea of who a character is until I’ve been working for several weeks. So for me, it was really the combination of people. If Dan Sullivan whispers my name, I’ll show up. Honestly, I will do anything that man wants me to do. And I so wanted to do it with Jess, because she is so amazing. Also, hurray for a new play!HECHT I never told you, but before they had officially asked me to do the play, I saw Dan on the corner of 93rd and Broadway. And he said, “Have you worked with Laura?” And I said, “No, I haven’t worked with her.” And he said, “She’s the real deal.” And it is true, because you have a clarity of purpose. We share that. For me, I’m interested in plays that talk about intimacy.LINNEY This was a time before cellphones, before the internet. Friendships were very deep. The effort that you would happily make to continue a relationship or a friendship! And the romance that went with not being able to have access to someone immediately.So once you’d signed on, what work has gone into building these characters?HECHT My approach is kind of internal. It’s really based on the language and how the story is working. It’s quite annoying.LINNEY No, not at all.HECHT I always worry that my technique annoys the other actors. Do you ever get that feeling? That this must be frustrating to the other person?LINNEY I love watching someone else’s process. How do you do this crazy thing that we do? Because we are all so different, it’s always exciting to see where the intersection is between the actor and the character. What is it that’s letting them in, bringing blood to the character? Like, where do they find their way in?I’m the daughter of a playwright. So I tend to be text-based. I try to listen to what the play is telling me to do. I work on it and work on it and work on it. Then there comes a period of time where it literally lifts up off the page and it becomes a three-dimensional living thing. Then it starts to work on me. It doesn’t always happen. But it’s exciting when it does.So who are these women? Who is Alice?HECHT Alice has a kind of impulsivity about relating to people and an attraction to different people. That excites me. I definitely was that person.And who’s Diana?HECHT She’s such a mystery. She’s so complicated.LINNEY There’s the question of who is she really and who does she think she is. There’s a big difference between the two. She wants to be an artist. It’s important to her. It’s more than a vocation. It’s a sacred pact. And she suffers terribly for it. She is uncompromising, she is opinionated. She is astute and perceptive and diagnostic. She also doesn’t really know who she is or what she needs or what she wants.Why is this friendship so intense?HECHT They both really feel that need to have somebody as a partner. With Alice, Diana teaches her so much.LINNEY They’re attracted to the qualities that they don’t have, but that the other person has in abundance. And there’s a sense of belonging to each other. There’s a sense of family, there’s a sense of chemistry. When you click with someone, it’s really powerful.HECHT Being friends with Diana is almost like having an affair, it changes Alice’s whole metabolism.LINNEY You’re chemically altered. And you’re spiritually rearranged.You’re about four weeks into rehearsal, what have you learned about the play?HECHT Yesterday we did our first run of the play without our books in hand. And it was so scary, but we got through.LINNEY We’re learning a lot. I don’t think any of us have pretensions that we have all the answers. Maybe that’s the one thing that shows how long we’ve been doing this. If you’re too knowing, there’s no room for growth.What’s the joy and terror of a two-hander, of having to rely so much on each other?LINNEY The joy is the intimacy and the bond and that you’re not alone up there. There’s a total interdependence. The biggest fear is that I won’t be able to help her if she gets into trouble.HECHT Yeah, that we would let the other person down.LINNEY The language is very difficult. We never stop talking. We’re going to mess up. We’re human beings. There’s just the fear that we will mess up in a way that derails the show.You both have spent a lot of your career on television. What keeps you returning to the theater?HECHT I feel very, very committed to our community. Being part of this community is definitely the biggest accomplishment of my professional life. I feel a tremendous amount of energy and human connection to the people I act with and the people I act for. Nothing else replicates that.LINNEY It’s a family profession. I have a history with it that goes beyond me. I also strongly believe that it is a part of public good. Theater provides a nourishment, intellectually and emotionally and spiritually, to audiences. And I love the ritual. There is a connection to the work that’s much deeper than anything you can do on television and film. Because we are doing it from beginning to end, eight shows a week.HECHT It is a religion. Someone said to me the other day, “Oh, that is my religion. Being in the theater.”LINNEY People ask me, “What church did you grow up in?” I’m like, “The theater.” Everything that’s important about life I’ve learned in the theater. More

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      With Cheers and Tears, ‘Phantom of the Opera’ Ends Record Broadway Run

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      The show’s record-breaking 35-year Broadway run came to an end on Sunday night. Its famous chandelier got a bow, and its composer, Andrew Lloyd Webber, spoke after its emotional final performance.“The Phantom of the Opera” concluded the longest run in Broadway history Sunday night with a glittery final performance at which even the production’s signature chandelier, which had just crashed onto the stage of the Majestic Theater for the 13,981st time, got its own curtain call.The invitation-only crowd was filled with Broadway lovers, including actors who had performed in the show over its 35-year run, as well as numerous other artists (including Lin-Manuel Miranda and Glenn Close) and fans who won a special ticket lottery. Some dressed in Phantom regalia; one man came dressed in the character’s sumptuous Red Death costume.The final performance, which ran from 5:22 to 7:56 p.m., was interrupted repeatedly by applause, not only for the main actors, but also for beloved props, including a monkey music box, and scenic elements such as a gondola being rowed through a candelabra-adorned underground lake. After the final curtain, the stagehands who made the show’s elaborate spectacle happen night after night, were invited onstage for a resounding round of applause.“It’s just amazing, really, what has happened,” the composer, Andrew Lloyd Webber, who wrote the show’s soaring score, said after the final curtain, as he dedicated the performance to his son Nicholas, who died three weeks ago.Lloyd Webber spoke alongside his longtime collaborator and the show’s lead producer, Cameron Mackintosh. They invited alumni of the original Broadway production to join them onstage, and projected onto the theater’s back wall pictures of deceased members of the original creative team, including its director, Hal Prince, as well as every actor who played the two lead roles (the Phantom as well as Christine, the young soprano who is his obsession).Andrew Lloyd Webber, center left, with Cameron Mackintosh during the curtain speech at the Majestic Theater after the final performance of the musical “Phantom of the Opera.”Sara Krulwich/The New York TimesToward the end of the evening, Mackintosh acknowledged the one-ton chandelier, which was lowered from the ceiling to a round of applause, and the crowd was showered with gold and silver metallic confetti, some of which dangled in ribbons from the chandelier.Hours before the curtain, fans gathered across the street, waving and taking pictures and hoping somehow to score a spare ticket. Among them was Lexie Luhrs, 25, of Washington, in a Phantom get-up: black cape, homemade mask, plus fedora, vest and bow tie, as well as mask earrings and a mask necklace. “I’m here to celebrate the show that means so much to us,” Luhrs said.On Broadway “Phantom” was, obviously, enormously successful, playing to 20 million people and grossing $1.36 billion since its opening in January 1988. And the show has become an international phenomenon, playing in 17 languages in 45 countries and grossing more than $6 billion globally. But the Broadway run ultimately succumbed to the twin effects of inflation and dwindled tourism following the coronavirus pandemic shutdown.Carlton Moe, obscured, hugs Raquel Suarez Groen before they go on the red carpet. They are both cast members in the musicalSara Krulwich/The New York TimesIt closed on an unexpectedly high note — and not just the high E that Christine sings in the title song. As soon as the closing was announced last September, sales spiked, as those who already loved the musical flocked to see it, and procrastinators realized it could be their last chance; the original February closing date was delayed by two months to accommodate demand, and the show has once again become the highest-grossing on Broadway, playing to exuberant audiences, enjoying a burnished reputation, and bringing in more than $3 million a week.“For a show to go out this triumphantly is almost unheard-of,” said Mackintosh.Jaime Samson at the theater in a Red Death costume he made himself.Sara Krulwich/The New York TimesAfter the final performance, the show’s company and its alumni gathered for an invitation-only celebration at the Metropolitan Club, with the show’s iconic mask projected onto a wall next to a marble staircase.The show, with music by Lloyd Webber and lyrics by Charles Hart, is still running in London, where the orchestra size was cut and the set was altered during the pandemic shutdown to reduce running costs, and it is also currently running in the Czech Republic, Japan, South Korea and Sweden. New productions are scheduled to open in China next month, in Italy in July and in Spain in October.And will it ever return to New York? “Of course, at some point,” Mackintosh said in an interview. “But it is time for the show to have a rest.” More

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      Book Review: ‘Chita: A Memoir,’ by Chita Rivera with Patrick Pacheco

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      Her new memoir finds the 90-year-old singer-dancer hungry for acclaim, but generous to others on her way to getting it.CHITA: A Memoir, by Chita Rivera with Patrick PachecoHow did Chita Rivera feel when she saw Rita Moreno, another actress of Puerto Rican descent, in the movie role of Anita that Rivera had originated on Broadway in “West Side Story”?“How dare she?” she recalls thinking in “Chita,” her playful and history-rich memoir. “That is my dress, that is my earring!” The truth is she was already kicking it up with Dick Van Dyke on Broadway in “Bye Bye Birdie” at the time. So she got over it. Then, when that show became a movie, Janet Leigh took Rivera’s part of Rosie, even after Rivera killed with “Spanish Rose,” her stereotype-bashing number, on “The Ed Sullivan Show.” (Look it up on YouTube, you won’t be sorry.)Years later the steamy role of Velma Kelly that she originated in “Chicago” for Bob Fosse went to Catherine Zeta-Jones, who won an Oscar for it. “She’s the perfect choice,” she responded when Rob Marshall, its director, checked in.Cutthroat as the acting game may be, and even harder for talent with Hispanic names long before J. Lo, Lin-Manuel Miranda, Rosie Perez and Daphne Rubin-Vega hit the scene, Rivera comes off as thirsty for recognition — but not bloodthirsty — despite the urgings of her colleagues Gwen Verdon, Fred Ebb and others to up her diva game.She occasionally takes a satisfying swipe (Paul Lynde gets a dressing-down for being nasty and so does John Lennon, of all people, when she appeared with the Beatles in 1964). But most everyone else gets a pass, including Tony Mordente, her first husband, a dancer whom she met in “West Side Story”; Lisa Mordente, their daughter; and the many loves of her life that she recalls with generosity — the restaurateur Joe Allen and Sammy Davis Jr., among them.“There’s nothing wrong with ambition,” Davis once told her. It took some time for Dolores Conchita Figueroa del Rivero to understand that. A tomboy born in 1933 and raised in Washington, D.C., by a poised mother of mixed ancestry who worked for the Defense Department and a dapper Puerto Rican musician father who died when she was little, Rivera got a scholarship to the School of American Ballet when she was 16. She moved in with relatives in the Bronx and describes a heady time of bodegas, subways, public school and intimidating ballet instructors. Overcoming her fear of singing, she got into the national tour of “Call Me Madam” with Elaine Stritch, then on Broadway in “Guys and Dolls” and “Can-Can,” starring Verdon. With “West Side Story,” her career took off.Broadway-loving readers will appreciate the play-by-play (pun intended) of this fizzy book, written in collaboration with Patrick Pacheco, a theater-savvy journalist and TV host. It doesn’t take much to make the pages fly when you have a scene of Stritch in rehearsals with Rivera, “blowing” on the Scotch in her coffee cup, or a pre-rehab Liza Minnelli playing her daughter in “The Rink.” Essentially a good girl, despite her insistence that she has a fire-breathing alter ego, Dolores (who occasionally makes herself heard in the book), at 90, this national icon doesn’t seem to want to burn many bridges. If roles or songs were taken from her and given to others, all for the best. She doesn’t get too political either, although she does unload about what it means to play Latina characters “subjected to racist taunts,” and on her defining early role as a street-sassy Puerto Rican. When Rivera was suggested for “1491,” one of his lesser-known shows, Meredith Willson, who wrote “The Music Man,” asked, “Doesn’t she speak with an accent?” She allows that while she bumped into ethnic stereotypes, the theater world was more relaxed than Hollywood. “I wanted to be considered for a range of roles and for the most part I succeeded,” she writes.One role she never played, this upbeat memoir makes clear — the victim.Bob Morris is a frequent contributor to The Times and the author of “Assisted Loving” and “Bobby Wonderful.”CHITA: A Memoir | By Chita Rivera with Patrick Pacheco | Illustrated | 320 pp. | Harper One | $27.99 More

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      in Theater

      The Phantom of the Opera Is Here, Inside The Times

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      As Broadway’s longest-running show headed to a close on Sunday after more than 35 years, New York Times employees shared their memories.Times Insider explains who we are and what we do and delivers behind-the-scenes insights into how our journalism comes together.I turned to the internet a week before heading to London for the first time in the summer of 2016:“Must-dos in London,” I intrepidly typed into the search box. Alongside going to Buckingham Palace and drinking tea was “See ‘Phantom of the Opera’ in the West End.”Intrigued, I found a music video of the actors who originated the lead roles, Michael Crawford and Sarah Brightman, singing “The Music of the Night” — and proceeded to play it at least 50 times a day for a week straight. (Three days in, I managed to tear myself away for long enough to watch a bootleg recording of the full production online.)My obsession only deepened when I saw the show live for the first time at Her Majesty’s Theater in London that summer, where the show had its world premiere in 1986. After a night spent dreaming of papier-mâché musical boxes in the shape of barrel organs, I returned to the box office the next day to get tickets to see the show again a few weeks later. I’ve since seen it three more times in New York, including the 35th anniversary celebration last year, as well as hundreds of other shows — a theatrical obsession for which I have “Phantom” to thank.But there will be no 40th anniversary party — at least, not in New York. The show, the longest-running in Broadway history, announced last September that it would close, citing high costs and a drop-off in audiences since the pandemic. The last Broadway performance is Sunday.Michael Paulson, the theater reporter for The New York Times, recently spent time with six devoted “Phans,” among them a man who said he had seen the show 140 times, a woman who has the address of the Majestic Theater tattooed on her midriff and a man who regularly attends shows in a mask and fedora. They shared what the show has meant to them.As it turns out, a number of Times staff members also have connections to the musical. In the accounts below, Times theater lovers reflect on their bonds with “Phantom,” including backstage tours, a post-9/11 viewing and knowing the show’s female lead. Their stories have been edited.Jordan Cohen, executive director, corporate communications“Phantom” was the first Broadway show my family and I saw after 9/11. I was 12, and I remember feeling anxious to be in Times Square. But seeing the show made me hopeful and reminded me that New York is the greatest city in the world where a production like “Phantom” can happen eight times a week, even after a tragedy. It was also one of the first shows I saw when Broadway reopened after the pandemic. The audience clapped and gave a standing ovation when the chandelier was raised.Peter Blair, editor, Flexible Editing deskWhen I was a copy editor with hours that revolved around print deadlines, I commuted to and from work in the evenings alongside people who also worked odd hours (think custodians, bartenders, nurses). One fellow commuter I got to know happened to be a stagehand for “Phantom.” Six years ago, when I told him I was taking one of my daughters to see the show for the first time, he invited the two of us backstage for a private tour before the performance. It was an experience we’ll never forget.Sherry Gao, senior engineering manager“Phantom” was the first Broadway show I saw, when a group of friends and I made a trip to New York during my freshman year at M.I.T. We didn’t have a lot of money and had to cram five of us in a hotel room, but we hit the TKTS ticket booth and ended up getting tickets to “Phantom.” Now I live in Boston, but I make sure to see a show every time I’m in New York.Robbie Magat, event and sponsorship managerIn the summer of 2016, a family friend, Ali Ewoldt, made history as the first actress of color to play Christine on Broadway. We were especially proud to see a Filipina mark this milestone. Ali took us backstage to her dressing room and gave us a full tour of the iconic set. I was surprised at how heavy her dresses were on the rack!Christine Zhang, visual editing resident, GraphicsI’m almost certain my parents named me after the female protagonist of “The Phantom of the Opera.” Like many immigrants, we adopted Americanized first names in the mid-1990s shortly after settling in the United States. My dad told me that he and my mom chose their own names out of a list of American names for “no special reason.” They had a list for me, too, and for a long time I never thought twice about my name being Christine. Until I remembered my parents’ love for the music of “Phantom.”They had gotten a tape of the “Phantom” cast recording in China. Long before we watched the Broadway show, we memorized the songs on long car rides, where we did our best to interpret the plot (mostly correctly) and took part in family karaoke sessions belting out “The Music of the Night.” When they decided to find a name for me, Christine — the name featured most prominently in the lyrics of the show — rose to the top of the list. The musical was “one of the things that put this name in our minds,” my dad said.Debra Kamin, reporter, Real EstateI saw “Phantom” for the first time when I was in the second grade, during a trip to Toronto with my parents and my sister. At the close of the first act, as the chandelier fell, I was so terrified that I dove under the seat in front of me. After the show, hoping to prevent nightmares, my father took me to the stage door and requested to see the Phantom himself, Colm Wilkinson.My father, a major Broadway buff, had seen Mr. Wilkinson play Jean Valjean in “Les Misérables,” and so he slipped him a note that said, “Mr. Wilkinson, if you keep up this ‘Phantom’ act, Javert will never find you!” Mr. Wilkinson was charmed, invited us backstage and showed me how all the props and costumes created make-believe on the stage. That night, not only did I not have a single nightmare, but my love of the theater was born. More