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      The Tony nominations are being announced right now.

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      As the theater industry continues its attempt to rebound after its lengthy pandemic shutdown, the industry this morning began its effort to celebrate the best work on Broadway by announcing a new set of Tony nominees.The first nods, to designers, are being followed by nominations for performers and shows.The nominations are being announced, on YouTube, by the actors Adrienne Warren and Joshua Henry.We have an updating list of all the nominees here.There are 34 eligible shows, all but one of which opened after theaters reopened. (The exception: “Girl From the North Country,” a musical that opened just before the shutdown.)The shows were all hoping to win nods in some of this year’s 26 competitive categories. Producers hope that nominations will lead not only to awards, but also to a bump in the box office, which has not recovered to prepandemic levels. And for artists, a nomination or a win can lead to more job opportunities and higher salaries.The nominees were chosen by a group of 29 nominators who saw all eligible shows and voted last Friday. Next, the 650 Tony voters have until June 10 to cast their ballots, and the Tony Awards will be announced on June 12. More

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      ‘Last Ward’ Review: Ashes to Ashes, Dirt to Dirt

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      Yaa Samar! Dance Theater’s production at Gibney is an uncommonly deft combination of dance and verbal theater.Picture a standard, sterile hospital room. From behind a cabinet, an arm snakes out, followed by the rest of the body — a man with serpentine moves who slinks around and creeps under the bed. Immediately, the death implicit in the setting has become visible, corporeal, though still metaphorical, in a particular way. The man suggesting death is a dancer.“Last Ward,” which Yaa Samar! Dance Theater premiered on Thursday at the Gibney: Agnes Varis Performing Arts Center, is a dance work, with choreography by the company’s artistic director, Samar Haddad King. But it’s a play, too, with poetic text by Amir Nizar Zuabi, who also directs the 65-minute production. The uncommonly deft combination of dance and verbal theater heightens the impact of what might sound like a cliché: a profound meditation on life and death.At the center is a patient, played by the accomplished Palestinian actor Khalifa Natour. He and a woman who appears to be his wife (Yukari Osaka) look bewildered as they enter the hubbub of the hospital. Dancers in scrubs skip around and gesture officiously, doing a stylized version of the inscrutable activity that any patient might recognize.The stylization brings out the absurdity, and as Natour receives plant-bearing guests, the physical comedy continues. Two visitors who might be his grown children squabble over proximity to his bed. Later, the medicine he’s given seems to induce hallucinations. A friend (the lithe Mohammed Smahneh, who also plays the serpentine figure at the start) appears to come undone, his body parts all going in different directions.But the stakes remain high, as is confirmed when Natour — who does almost all of the talking, in Arabic, with English supertitles clearly projected onto the back wall — recounts the moment when his doctor gave him his diagnosis.His condition is incurable. Unnamed, it sounds like cancer: “the same power that created life” now “gone wild.” Zuabi’s text and Natour’s understated performance give the disease a terrible beauty: “My cells divide and divide and divide.”This mix of beauty and the awful truth is the text’s power, made more affecting by quotidian details, as when Natour lists “Things You Will Do After I’m Gone.” Earlier, he tells the boyhood story of buying a fish in a plastic bag. On his way home, bullies snatch the bag and toss it to one another. “I could see my fish swimming calmly in midair,” he says, before the bag is dropped and he watches as the fish’s gills open and close and go still — his first understanding of death.Death is all around him in the hospital, of course. The production reminds us of this when dancers wielding IV bags emerge during his fish story. His room opens to a hallway at the rear, and periodically an orderly wheels by with a body on a gurney.And then there is the dirt. It first appears as the food he’s given, an oddity you might not initially notice. But soon dirt is spilling everywhere, despite the desperate efforts of his wife to tidy it up or the semi-comic cleaning routines of staff members (to Jefferson Airplane’s “White Rabbit,” mixed into an effective electronic score by King). As a theatrical metaphor, the dirt is not subtle. It’s strong.The proliferation of dirt summons a memory of Natour’s character helping to bury his grandmother when he was 15. He remembers thinking of her not as the old woman she had become but as the desirable girl she once was, a thought he acts out by shoveling dirt onto a dancer embodying feminine allure. After burying his grandmother, he says, he went behind the house with his girlfriend, undressed and fell to the ground with her “again and again and again.”The repetition of those words echoes the cells that “divide and divide and divide,” the force that will kill him. It’s the “swirl of life” that will fill the void he leaves, a force that King’s choreography gives form to in a swirl of dancers. The inextricable connection between life and death is what “Last Ward” understands. The connection between words and dance, too.Last WardThrough May 12 at Gibney: Agnes Varis Performing Arts Center, Manhattan; gibneydance.org More

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      ‘To Be or Not to Be’: Is It the Question or the Point?

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      At the Metropolitan Opera, Brett Dean and Matthew Jocelyn’s adaptation of “Hamlet” nods to different, surprising versions of Shakespeare’s text.“Hamlet” is our culture’s supreme emblem of a great artist’s freedom to create something radically new. Shakespeare found a way to represent the inner life as it had never been represented before: the pressure of compulsive, involuntary memories; the haunting presence of a dead father; a son’s angst in the wake of his mother’s remarriage; the suicidal thoughts of a young person forced to make impossible choices in a corrupt world. It is here, if anywhere, that Jorge Luis Borges could claim with a straight face that Shakespeare was God.In fact, the creation of “Hamlet,” which was first written and performed in late 1599 or 1600, took place within severe, all-too-human constraints. A part owner of his theater company, Shakespeare was almost certainly urged by his fellow shareholders to write a play about the Danish prince. They would have noted the success of at least one earlier stage version of an old revenge tale that was already well-known (and that continues to be recycled, as in the new film “The Northman”). In addition to writing for a commercial enterprise in a cutthroat mass-entertainment industry, he was working with an all-male cast of 12 that performed in the afternoons on a stage without scenery or lighting; he had to keep a wary eye on the government censors; and he had to please a large audience that ranged from the educated elite to the illiterate.Given these constraints, his achievement is all the more stunning. To see the originality of “Hamlet,” simply consider the astonishing number of words in the script that are used for the first time in print (and, in some instances, never again): fanged, fret, pander, compulsive, unnerved, unpolluted, besmirch, self-slaughter, blastment, chop-fallen, down-gyved, implorator, mobled, pajock, and many, many more. It is as if Shakespeare were driven to invent a whole new idiom to express what he had discovered in a familiar story.And it was not only a matter of unusual words. The play, written in characteristically supple iambic pentameter, has an unforgettable music of its own, a set of rhythmic surprises sprung in the opening spondee — “Who’s there?” — and developed in a thousand different ways. It is a music epitomized, even for those who have no idea that “Hamlet” is composed in verse, by the cadence of the most famous line in its most famous soliloquy: “To be, or not to be: that is the question.”Clayton, right, as Hamlet during a recent rehearsal at the Met.Sara Krulwich/The New York TimesNow imagine the challenge of trying to write an opera based on this of all plays — as Brett Dean has done with his “Hamlet,” which had its premiere at the Glyndebourne Festival in 2017 and arrives at the Metropolitan Opera on May 13.“Hamlet” is a musical challenge before which even Giuseppe Verdi hesitated. In 1887, in what is for me the greatest of all transformations of Shakespeare into opera, Verdi miraculously captured the music of “Othello.” With the help of the librettist Arrigo Boito, who radically cut the tragedy, the composer found a way to give the three protagonists sublime melodic expressions of their ardent, anxious desire, steadfast love and fathomless hatred.To make this transformation work successfully, of course, many things in Shakespeare’s text had to be jettisoned, and the motivations of the characters had above all to be clarified. In the play, for example, Iago’s rationale for destroying Othello is famously unclear; in the opera, “Otello,” Verdi gives Iago a stupendous, full-throated credo: “I believe in a cruel God who has created me in His image.”Small wonder that Verdi — who also adapted “Macbeth” and fashioned “Falstaff” out of “The Merry Wives of Windsor” and “Henry IV” — contemplated taking on “Hamlet” but ultimately changed his mind. What would he have done with a plot whose every action is plagued by uncertainty, and with characters whose every motivation is ambivalent?A handful of composers, most notably Ambroise Thomas in the mid-19th century, ventured into this territory, but none of them managed to penetrate very far into its forbidding depths. That is, until Dean wrote his adaptation, which captures something of the authentic “Hamlet” music — in all its strangeness, dissonance and haunting beauty.But the word “authentic,” in relation to “Hamlet,” is misleading. The opera’s gifted librettist, Matthew Jocelyn, grasped what Shakespeare scholars have come to understand, that there is no single definitive text of the play. It survives in three early printings that have at least some claim to authority: the brief version (Q1), published in 1603 in the small-format size known as a quarto; the much longer quarto version (Q2), published the following year; and the version included in the celebrated First Folio (F) of 1623.Each text differs from the others in crucial ways, and almost all modern editions of the play adopt elements from more than one of them. (Even editors who dismiss Q1 as hopelessly defective usually follow it in having the ghost appear in the famous closet scene not in armor, but in his nightgown.) Moreover, the texts of Q2 and F are each too long to fit comfortably into what Shakespeare called “the two hours’ traffic of our stage.” From the beginning, the playwright seems to have expected any given production to pick and choose, shaping “Hamlet” for its particular time and occasion. All versions are the result of choices, cuts, alterations.All of this clearly lies behind Jocelyn’s evident sense of freedom in refashioning the text, which in any case would have had to be reduced in length to serve as the libretto. Only about 20 percent of the lines in the full-length play make it into the opera, leaving room for the music, as Dean has said, to be the protagonist.What is striking, given the drastic cuts, is how much of what has obsessed the readers and audiences of “Hamlet” over the past several hundred years powerfully resonates in this operatic reimagining. Hamlet’s voice reaches the edge of desperation then swoops into bitter comedy before veering toward tenderness and back to manic grief. The murderer Claudius has a gift for smoothness and authority that lightly conceals something like false notes. The countertenors, Rosencrantz and Guildenstern, thinly flatter and echo both each other and their interlocutors. Ophelia’s descent into madness releases in her an erotic aggression that astonishes and alarms Gertrude. Chords in the orchestra and chorus are extended, drawn out and dispersed, as if they were searching for a resolution that eludes them.John Tomlinson, above, as the Ghost of Old Hamlet, and Clayton in the Glyndebourne production.Glyndebourne Productions Ltd.; Richard Hubert SmithJocelyn also cunningly reweaves the text, an intervention apparent from the opera’s first moments. An offstage chorus sings a funeral chant for the old king made up of words and phrases — “noble dust,” “quintessence of dust,” and the like — that come from very different places in the play. Hamlet enters alone and, half-singing, half-speaking, intones the words “or not to be … or not to be … or not to be.” The fragment from the celebrated Act III soliloquy is followed in this opening aria by fragments taken from his other soliloquies, along with a line — “What ceremony else?” — lifted from a different character, Laertes, who speaks it in Act V, at Ophelia’s grave.From the start, then, it is made clear that we are not to expect that the opera will work its way dutifully through the text or develop individual characters in the way that Shakespeare’s play does, most famously through soliloquies. Rather, we have entered what we might call “The Hamlet Zone.” Here, words do not stay in their place or belong only to the character who speaks them. In his death throes, Polonius sings the lines about the play-within-the-play that both he and the chorus have earlier sung.When Hamlet asks the visiting players to give him a passionate speech from their very best play, they begin to sing “To be or not to be.” And in Ophelia’s madness, she sings not her words alone but words that Hamlet has spoken to her, words that weigh like rocks dragging her down to a muddy death. “The Hamlet Zone” is a place in which words are broken up, transferred and shared, and in which the voice of one character is woven together, in both harmony and dissonance, with that of another.Such, after all, is the special power of opera.Dean does eventually give us one of Hamlet’s soliloquies more or less in its entirety, and it is the soliloquy we have been waiting for since the opening fragment “or not to be.” But there is a surprise in store. Not only does Hamlet drop the opening “To be” — as if he were already too far along toward not being — but the speech also takes an unexpected turn:… or not to be… or not to be… or not to beTo be … ay, there’s the point.Is this faithful to Shakespeare? Yes, in a way. Jocelyn has chosen the version of the soliloquy that appears in Q1. Scholars typically cite this to demonstrate why they call this text of the play the “Bad Quarto.” My students at Harvard usually laugh when I show it onscreen. But it is not the least bit funny here. As Hamlet sings it, the monosyllabic “point” works perfectly, in a way that “question” would not. A play and an opera, however deeply bound up with each other, are not the same. Ay, there’s the point.Stephen Greenblatt is the author, among other books, of “Will in the World: How Shakespeare Became Shakespeare” and “Hamlet in Purgatory.” He is the Cogan University Professor of the Humanities at Harvard and the general editor “The Norton Shakespeare.” More

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      Fun Things to Do in N.Y.C. This May 2022

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      Looking for something to do in New York? Go see the Asian Comedy Fest at Stand Up NY and Caveat or the British singer Nilüfer Yanya at Webster Hall. Take the kids to Our First Art Fair, as part of NADA New York. Or you can still catch “Hangmen” on Broadway and the Jacques-Louis David blockbuster at the Metropolitan Museum of Art.Comedy | Music | Kids | Film | Dance | Theater | ArtComedyJes Tom, above at Union Hall in Brooklyn in February, will be among the performers in this weekend’s Asian Comedy Fest.JT AndersonAsian Comedy FestFriday at 6, 8 and 10 p.m. at Stand Up NY, 236 West 78th Street, Manhattan; standupny.com. Saturday at 6, 8 and 10 p.m. at Caveat, 21A Clinton Street, Manhattan; caveat.nycFor the third straight year, Ed Pokropski, a writer and producer at NBCUniversal, and the producer and comedian Kate Moran have assembled dozens of performers for this festival, and like last year, they’re right on time to celebrate Asian Pacific American Heritage Month. The six shows will feature Julia Shiplett, Michael Cruz Kayne, Usama Siddiquee, Karen Chee with the puppeteer Kathleen Kim, the podcasters from “Feeling Asian,” and Yuhua Hamasaki from “RuPaul’s Drag Race.” Friday’s 8 p.m. lineup includes perhaps the festival’s buzziest performer: Jes Tom, a nonbinary trans comedian who co-stars in the new Hulu rom-com “Crush.” (Tom will also headline their own show on May 14 at the Bell House.) Tickets start at $25 per show ($65 for an all-night pass) and are available at asiancomedyfest.com. SEAN L. McCARTHYMusicDarius Jones, above at the Winter Jazzfest in 2018, has programmed this year’s MATA Festival, which concludes at National Sawdust this weekend.Jacob Blickenstaff for The New York TimesClassical MusicMATA FestivalFriday and Saturday at 7:30 p.m. at National Sawdust, 80 North Sixth Street, Brooklyn; live.nationalsawdust.org.This year’s iteration of the annual contemporary music blowout known as the MATA Festival has been programmed by the composer and alto saxophonist Darius Jones. For the festival’s final two nights, Jones has put together a set of works by younger artists on Friday and one of his own on Saturday. Friday’s concert will feature notable artists like Travis Laplante, who is scheduled to play his solo tenor saxophone opus “The Obvious Place.” And Saturday’s performance will offer the world premiere of Jones’s piece “Colored School No. 3,” which references a Brooklyn building once used as a segregated school for Black children into the early 20th century. Tickets for each night are $25. SETH COLTER WALLSNilüfer Yanya will headline at Webster Hall on Saturday.Adama Jalloh for The New York TimesPop & RockNilüfer YanyaSaturday at 7:30 p.m. at Webster Hall, 25 East 11th Street, Manhattan; websterhall.com.Though as a teenager she was tapped to be in a girl group assembled by Louis Tomlinson of One Direction, Nilüfer Yanya chose a self-determined path over the prospect of pop stardom. The British singer’s debut album, from 2019, contained notes of jazz and indie pop but leaned predominantly into alt-rock, showcasing the guitar chops she had honed since picking up the instrument at age 12. Yanya’s sophomore effort, released in March, follows suit but pares her sound down to essential components: wafty melodies, crisp beats, circuitous guitar work reminiscent of Radiohead. Ironically titled “Painless,” the album is spiked with thorns, its lyrics tackling the complicated, damaging side effects of desire. On Saturday, Yanya heads a bill that also features two other singer-guitarists: Ada Lea and Tasha. Tickets start at $25 and are available at axs.com. OLIVIA HORNKidsOur First Art Fair at Pier 36, sponsored by the New Art Dealers Alliance and the Children’s Museum of the Arts, will feature works by children 12 and under. Above, a display from an after-school class at the museum in 2019.Children’s Museum of the ArtsOur First Art FairThursday from 4 to 8 p.m.; Friday and Saturday from 11 a.m. to 7 p.m.; Sunday from 11 a.m. to 5 p.m. at NADA New York, Pier 36, 299 South Street, Manhattan; newartdealers.org.Learn More About the Metropolitan Museum of Art$125 Million Donation: The largest capital gift in the Met’s history will help reinvigorate a long-delayed rebuild of the Modern wing.Recent Exhibits: Our critics reviewed exhibits featuring the drawings of the French Revolution’s chief propagandist and new work by the sculptor Charles Ray.Behind the Scenes: A documentary goes inside the Met to chronicle one of the most challenging years of its history.A Guide to the Met: From the must-see galleries to the lesser-known treasures, here’s how to make the most of your visit.While the New Art Dealers Alliance has always catered to the business’s youngest members, it would be hard to find exhibitors younger than some appearing at this year’s NADA New York exposition. They’re the entrepreneurs 12 and under participating in Our First Art Fair, presented by the alliance and the Children’s Museum of the Arts. Here, youngsters display and price their creations, receiving all proceeds. Little artists who missed the April submission deadline can still contribute by completing a required form and delivering it, along their work, to the fair. On Saturday from 2 to 4 p.m., museum educators will also attend, providing art supplies and helping with last-minute entries. What doesn’t sell goes to the museum’s permanent collection — no small distinction. NADA passes start at $40; they’re free for children. LAUREL GRAEBERFilmThuy An Luu and Frédéric Andrei in Jean-Jacques Beineix’s “Diva,” which is screening at Film Forum starting on Friday.Rialto Pictures‘Diva’Ongoing at Film Forum, 209 West Houston Street, Manhattan; filmforum.org.You’ve seen Brian De Palma’s “Blow Out”? “Diva” is the other major film of 1981 (released in the United States in 1982) that involves a protagonist with a hot-potato audio recording, or technically two: Jules (Frédéric Andrei), a postman and opera fan, secretly records a star vocalist, Cynthia Hawkins (the real-life soprano Wilhelmenia Wiggins Fernandez), who makes a point of only singing live, at a performance in Paris. Soon after, he unwittingly comes into possession of another tape that could expose an international drug-and-sex-trafficking operation.But the crazy convolutions of the plot are hardly the point. “Diva,” directed by Jean-Jacques Beineix, who died in January, is perhaps the film most identified with a trend in France that became known as the cinéma du look, movies for which visual style and attitude left the prevailing impressions. In a print showing at Film Forum, the shades of blue are dazzling, and an elaborate chase through the Paris Metro is pretty exciting, too. BEN KENIGSBERGDanceValerie Levine of Ice Theater of New York performing “Arctic Memory” by Jody Sperling on Governors Island in February.Josef PinlacIce Theater of New YorkFriday and Saturday at 7 p.m.; Monday at 6:30 p.m. at Sky Rink, 61 Chelsea Piers, Manhattan; chelseapiers.com.After pivoting to pavement during the pandemic, Ice Theater of New York returns to its true milieu, which is also a fitting place to reflect on climate change. As part of its home season, the company will present the premiere of the choreographer Jody Sperling’s “Of Water and Ice,” which draws on her research in the Arctic and is set to music by D.J. Spooky. It will be joined on the program by 10 other works, many of them also new, with soundtracks ranging from Philip Glass to Rachmaninoff to Madonna. Don’t expect a string of Nathan Chen-like acrobatic feats, though; the company, founded in 1984, is rooted in the art of ice dancing, which combines the ethos of concert dance with the speed, momentum and strength of ice skating. Two of the form’s best-known practitioners, the British champions Jayne Torvill and Christopher Dean, will be honored at Monday’s gala performance. Tickets start at $25 and are available at icetheatre.org. BRIAN SCHAEFERTheaterDavid Threlfall, center, with, from left, Richard Hollis, Ryan Pope, John Horton and Alfie Allen in Martin McDonagh’s dark comedy “Hangmen” at the Golden Theater.Sara Krulwich/The New York TimesCritic’s Pick‘Hangmen’Through June 18 at the Golden Theater, Manhattan; hangmenbroadway.com. Running time: 2 hours 20 minutes.In Martin McDonagh’s Olivier Award winner, set in the 1960s, a menacing mod from London (Alfie Allen of “Game of Thrones”) walks into a grim northern English pub run by a former hangman (David Threlfall). Pitch-black comedy ensues. Directed by Matthew Dunster, this production was a prepandemic hit downtown. Read the review.‘Plaza Suite’Through June 26 at the Hudson Theater, Manhattan; plazasuitebroadway.com. Running time: 2 hours 40 minutes.Matthew Broderick and Sarah Jessica Parker revel in physical comedy as they play two married couples and a pair of long-ago sweethearts in the first Broadway revival of Neil Simon’s trio of one-act farces, a smash at its premiere in 1968. John Benjamin Hickey directs. (Onstage at the Hudson Theater. Limited run ends July 1.) Read the review.Critic’s Pick‘American Buffalo’Through July 10 at Circle in the Square, Manhattan; americanbuffalonyc.com. Running time: 1 hour 40 minutes.Laurence Fishburne, Sam Rockwell and Darren Criss team up for David Mamet’s verbally explosive tragicomedy, set in a Chicago junk shop where an inept pair of small-time criminals and their hapless young flunky plot the theft of a rare nickel. Neil Pepe directs. Read the review.Hugh Jackman as Harold Hill in the Broadway revival of “The Music Man” at the Winter Garden Theater.Sara Krulwich/The New York Times‘The Music Man’At the Winter Garden Theater, Manhattan; musicmanonbroadway.com. Running time: 2 hours 45 minutes.Hugh Jackman, a.k.a. Wolverine, returns to the stage as the charlatan Harold Hill opposite Sutton Foster as Marian the librarian in Jerry Zaks’s widely anticipated revival of Meredith Willson’s classic musical comedy. It’s a hot ticket, and one of Broadway’s more stratospherically priced shows. (Onstage at the Winter Garden Theater.)Read the review.Art & Museums“The Oath of the Tennis Court” (1791), a presentation drawing in “Jacques-Louis David: Radical Draftsman” at the Metropolitan Museum of Art, depicts a foundational event of the French Revolution.RMN-Grand Palais/Art Resource, NYCritic’s PickJacques-Louis David: Radical DraftsmanThrough May 15 at the Metropolitan Museum of Art, 1000 Fifth Avenue, Manhattan; 212-535-7710, metmuseum.org.“Radical Draftsman,” a momentous and deadly serious exhibition, assembles more than 80 works on paper by this prime mover of French Neo-Classicism, from his youthful Roman studies to his uncompromising Jacobin years, into jail and then Napoleon’s cabinet, and through to his final exile in Brussels. It’s a scholarly feat, with loans from two dozen institutions, and never-before-seen discoveries from private collections. It will enthrall specialists who want to map how David built his robust canvases out of preparatory sketches and drapery studies. But for the public, this show has a more direct importance. This show forces us — and right on time — to think hard about the real power of pictures (and picture makers), and the price of political and cultural certainty. What is beautiful, and what is virtuous? And when virtue embraces terror, what is beauty really for? Read the review.Critic’s PickJonas Mekas: The Camera Was Always RunningThrough June 5 at the Jewish Museum, 1109 Fifth Avenue, Manhattan; 212-423-3200, thejewishmuseum.org.A Lithuanian refugee who landed in New York City in 1949, Jonas Mekas became a founder of the Film-Makers’ Cooperative, Film Culture magazine and Anthology Film Archives. He also made scores of collagelike “diary” films. “The Camera Was Always Running” is Mekas’s first U.S. museum survey, and its curator, Kelly Taxter, approached the daunting task by mounting a high-speed retrospective projected on a dozen free-standing screens.Most of the films in the exhibition are broken up into simultaneously projected pieces, so that the full program of 11 takes just three hours. Many are diary films — abstract kaleidoscopic records of Mekas, his brother Adolfas, also a filmmaker, and the SoHo bohemians and Lithuanian transplants of their circle. Since the point of all this, even more than documenting the variety of Mekas’s life in particular, is to capture the magical incongruity of life in general, Taxter’s inspired staging may even make the works more effective. Read the review.Painted fabric hangings behind the sculpture “The Wake and Resurrection of the Bicentennial Negro,” 1976. This entire installation originated as part of a performance piece.Faith Ringgold/ARS, NY, DACS, London and ACA Galleries; Simbarashe Cha for The New York TimesCritic’s PickFaith Ringgold: American PeopleThrough June 5 at the New Museum, 235 Bowery, Manhattan; 212-219-1222, newmuseum.org.Ringgold’s first local retrospective in almost 40 years features the Harlem-born artist’s figures, craft techniques and storytelling in inventive combinations. And it makes clear that what consigned Ringgold to an outlier track half a century ago puts her front and center now. The show begins with a group of brooding, broadly stroked figure paintings from the 1960s called “American People Series.” All the pictures are about hierarchies of power; women are barely even present. Ringgold referred to this early, wary work as “super realist.”In the ’80s, an elaboration on the painted quilt form, called “story quilts,” brought Ringgold attention both inside and outside the art world. It is the vehicle for Ringgold’s most formally complex and buoyant painting project, “The French Connection.” Overall, it feels, in tone, like a far cry from the “American People” pictures, but there’s politics at work in the French paintings, too. Read the review. More

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      Equity Drops ‘Waitress’ Unionization Effort and Files Grievance

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      The union said it was withdrawing the petition because the producers of the nonunion tour now plan to end its run in June.Actors’ Equity, the union representing performers and stage managers, has withdrawn its attempt to organize a touring production of “Waitress,” and instead has filed a grievance against the musical’s producers.The union last month filed a petition with the National Labor Relations Board, seeking an election to represent the nonunion touring cast and stage managers, saying they were doing the same work as those working for a touring production of the same show, but being paid far less.But on Thursday the union said it was withdrawing the petition because the producers of the nonunion tour said they were ending its run in June, which is too soon for the election process to take place. The union said the tour had previously planned performances into next year.The union said that it had filed a grievance against the musical’s licensors, Barry and Fran Weissler and the National Artists Management Company (NAMCO), for “double-breasting” — simultaneously running union and non-union operations.A “Waitress” spokesman did not immediately respond to a request for comment. More

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      Performing a Comedy About Abortion, Watching the Supreme Court

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      Alison Leiby had just performed her show “Oh God, a Show About Abortion” when she learned of the leaked draft opinion showing that the court could be on the verge of overturning Roe v. Wade.After finishing a preview performance of her hourlong stand-up show about reproductive rights, “Oh God, a Show About Abortion,” the comedian Alison Leiby was finishing dinner Monday night when she checked her phone.She had dozens of messages, all about the breaking news that a leaked draft of a Supreme Court opinion showed that the court appeared to be poised to overturn Roe v. Wade, eliminating the constitutional right to abortion in the United States.“It was just an absolute confrontation with reality, that this is not theoretical anymore,” Leiby, a self-described abortion rights activist perhaps best known for work co-producing “The Marvelous Mrs. Maisel,” said in an interview.As Leiby began to process what this potential decision would mean for the country, she also realized that she needed to quickly start thinking about how it might reshape her show, a 70-minute stand-up set about her own unwanted pregnancy and how it was resolved with a Saturday afternoon trip to Planned Parenthood. So at Tuesday evening’s preview at the Cherry Lane Theater in New York, she addressed the news at the top of the show.“I’m not going to ignore the literal elephant in the room,” Leiby said on Tuesday, thanking the person behind the lone guffaw in the audience for getting her wordplay.From Opinion: A Challenge to Roe v. WadeCommentary by Times Opinion writers and columnists on the Supreme Court’s upcoming decision in Dobbs v. Jackson Women’s Health Organization.Ross Douthat: The leak of a draft Supreme Court decision that would overturn Roe v. Wade is not a surprise, but the strategy behind it is something of a mystery.Roxane Gay: Whoever leaked the draft wanted people to understand the fate awaiting America. So people can prepare. So they can rage.Emily Bazelon: By suggesting in the draft that the progress women have made is a reason to throw out Roe, Justice Samuel Alito has turned feminism against itself.Bret Stephens: Roe v. Wade was an ill-judged decision when it was handed down. But overturning it would do more to replicate its damage than to reverse it.Sway: In the latest episode of her podcast, Kara Swisher talks to an abortion rights advocate about the draft opinion and the future of abortion rights in America..“I’m not changing anything in response to the news, but I understand that your feelings toward it might be different,” Leiby said. “If something is funny, not funny, cathartic — feel that. That is valid. I’m not up here dancing for applause. We’re in this together.”Zoe Verzani, right, spoke to Leiby after the performance at the Cherry Lane Theater.Desiree Rios for The New York TimesThe news that the court could be on the verge of overturning Roe, which would lead to immediate abortion bans in some states and prompt others to move to issue bans and restrictions, comes as theaters and cinemas around New York City and the nation are presenting works about abortion.In Atlanta, performances of “Roe,” a play by Lisa Loomer focused on the plaintiff in the landmark case and the lawyer who argued it in front of the Supreme Court, begin Friday. The same day, the Metrograph Theater in New York will begin a series devoted to films that touch on or explore abortion, including Josef von Sternberg’s 1931 drama “An American Tragedy” and the 1987 romantic comedy “Dirty Dancing.” And this summer, a small nonprofit theater in Chicago will premiere “Roe v US,” a play billed as giving “voice to the women who made the choice.”The same night Leiby’s show opens in the West Village, a play that looks at abortion through a very different lens is scheduled to be held at a theater in Midtown: “Oh Gosnell,” about Kermit Gosnell, a doctor who was convicted of murder in 2013 following botched late-term abortions. The case became a rallying cry for the anti-abortion movement. Phelim McAleer, an Irish-born filmmaker and producer, said that he had seen Leiby’s show billed as an “abortion comedy” and decided to counter it by producing a play about Gosnell that draws its text from a grand jury report and trial transcripts, saying he wanted to give audiences an “alternative viewpoint.”The show has faced difficulties: The theater it originally planned to use backed out, and two of its seven actors walked out shortly before previews were set to begin.Intent on making sure the play goes ahead at its new venue, McAleer — who has made documentaries questioning the opposition to fracking, and said he was working on a film about Hunter Biden — said that he was still processing the Supreme Court news. “It definitely means the Gosnell story is more relevant than ever and plays about abortion are more relevant than ever,” he said.Leiby and McAleer’s two shows could hardly be more dissimilar. One is a comedy about an uneventful abortion procedure that makes a case for broad abortion access and the other is a graphic play about an infamous abortion provider whose clinic was described by prosecutors as a “house of horrors.” But Leiby and McAleer share one similar goal: to talk about, and to get audiences to listen to, a work about abortion.This week there will be a staged reading of “Oh Gosnell,” a play about Kermit Gosnell, a doctor who was convicted of murder in 2013 following botched late-term abortions.Russ Rowland“Oh God, a Show About Abortion,” — which is being presented by the comedian Ilana Glazer and directed by Lila Neugebauer — is scheduled to run through June 4. After seeing an earlier iteration of Leiby’s show, Jason Zinoman wrote in The New York Times that, “Without a trace of didacticism, she finds humor in the messy, confusing, sometimes banal experience of an unwanted pregnancy and an abortion.”The show tells her story: of a 35-year-old comedy writer who learns she is pregnant in a hotel bathroom in St. Louis. She is so confident in her disinterest in having children that in the act, she compares her eggs to those by Fabergé (“feminine but decorative”). At Leiby’s first mention of Planned Parenthood, a group of young, female public health students who were in the audience burst into cheers.One member of the group, Zoe Verzani, 24, who wore a hot-pink Planned Parenthood T-shirt to the show this week, said that she thought Leiby handled the material just right.Understand the State of Roe v. WadeCard 1 of 4What is Roe v. Wade? More

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      in Theater

      On European Stages, Myths and Memories Merge

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      New productions by the theater titans Krzysztof Warlikowski and Frank Castorf play games with ancient Greek folklore and modern history.STUTTGART, Germany — Perhaps no theater director working today is more haunted by memory than Krzysztof Warlikowski.To portray its tortuous mechanisms, the Polish Warlikowski favors enigmas and fragmented narratives over straightforward answers. During the past 20 years, this has helped make him one of Europe’s most acclaimed and distinctive directors. In addition to his productions for the Nowy Teatr in Warsaw, which he founded in 2008, Warlikowski also stages works for many of Europe’s leading drama and opera festivals.In his latest production, “Odyssey. A Story for Hollywood,” he takes the viewer on a kaleidoscopic journey from Homer to the Holocaust to Tinseltown, telling the story of a Jewish woman who risks her life during World War II to search for her deported husband. She is portrayed both as a latter-day Odysseus and as Penelope: the wily and weary adventurer in search of his elusive homeland, and the faithful, patient wife tending the hearth.Loosely inspired by “Chasing the King of Hearts,” a 2006 novel by the Polish author Hanna Krall, the production is an epic web of associations brought to life on Malgorzata Szczesniak’s handsome and versatile set, whose darkly industrial components stand in for interrogation chambers and waiting rooms.History, mythology and philosophy, and pop and high culture, rub shoulders in a four-hour production that is consistently absorbing even if you’re not always sure what it means. (An international coproduction with Nowy Teatr, “Odyssey” was recently performed at the Schauspiel Stuttgart theater here and will tour to Paris later this month.)Izolda Regensberg, the protagonist of Krall’s short novel, is convinced that her life as a survival artist would make a great Hollywood film. The play’s opening scenes, set in war-torn Europe and shortly afterward, show Regensberg navigating a film-noir landscape of violence and menace. A giant cage wheeled repeatedly across the stage heightens the sense of claustrophobia.From there, we’re whisked to Los Angeles, where a much older Regensberg is meeting with the director Roman Polanski, the film producer Robert Evans and Elizabeth Taylor, who is set to play Regensberg in a film. The Polish actors perform the scene in English with exaggerated American accents that heighten the vulgarity and ignorance of their backroom talk.That sendup of Hollywood cluelessness is rebutted by the French filmmaker Claude Lanzmann’s 1985 documentary, “Shoah,” a nine-hour oral history of the Holocaust that is a milestone in the history of cinema, to which Warlikowski turns later in the evening. A screen lowers and we watch a famous excerpt from the movie in which Lanzmann interviews Abraham Bomba, a barber living in Israel who once cut the hair of Jewish women destined for the gas chambers at Treblinka. Bomba’s wrenching testimony contrasts sharply with a showy test reel we see during Regensberg’s meeting with Polanski — a spot-on parody of Hollywood Holocaust schlock in which a handsome Gestapo officer tortures and arouses his interrogation victim by playing Wagner on the piano.Malgorzata Hajewska-Krzysztofik as Hannah Arendt and Roman Gancarczyk as Martin Heidegger in “Odyssey. A Story for Hollywood.”Magda HueckelIn “Odyssey,” Warlikowski sifts through many of the same tropes as Lanzmann’s film, rummaging around in trauma and memory while sifting through the ethical and aesthetic implications of representing the Holocaust. At times, Warlikowski’s associative and open-ended approach leads the production in unusual directions and to unexpected places.At one point, the scene abruptly shifts to the Black Forest in 1950, where Hannah Arendt is picnicking with Martin Heidegger. As the German philosophers (and former lovers) struggle to reconcile — Heidegger remains defiant about his support of the Nazi regime — a pushy, camera-toting tourist (possibly a visitor from the future) pesters them with questions. The grim trajectory of the play is often speckled with such surreal and humorous details.For the production’s finale, Warlikowski turns to the Coen brothers by faithfully re-creating the prologue to their 2009 film, “A Serious Man.” In that atmospheric short, a Yiddish horror-comedy sketch seemingly disconnected from the rest of the film, a pious couple in a 19th-century shtetl are visited by a dybbuk (an evil spirit in Jewish folklore) who possesses the body of dead rabbi.This final scene is a jarring contrast to the “Shoah” material that directly precedes it and concludes this sprawling production on a curiously muted note. Yet the subject of existential homelessness is the connective tissue that unites “Odyssey’s” various strands.The intersection of personal and communal trauma told through one woman’s eyes is also the theme of Irina Kastrinidis’s dramatic monologue, “Schwarzes Meer” (“Black Sea”), whose world premiere at the Landestheater Niederösterreich, in St. Pölten, Austria, was directed by the German theater legend Frank Castorf. It’s a surprising production, not least because Castorf, whose fame rests on his deconstructive approach to literary classics, is not exactly known for his sensitive portrayals of female protagonists.Julia Kreusch, left, and Mikis Kastrinidis in Irina Kastrinidis’s “Schwarzes Meer,” directed by Frank Castorf.Alexi PelekanosIn “Schwarzes Meer,” Kastrinidis, a former actress in Castorf’s troupe when he led the Berlin Volksbühne (she is also the director’s ex-girlfriend), has fused Greek myths with the history of her more recent ancestors: Pontic Greeks, living in what is now Turkey, who were forcibly expelled in the 1920s. Her monologue — a stilted and nonlinear oration in heightened and, at times, archaic language — is delivered by the German actress Julia Kreusch, whose physically impassioned immersion in the text seems to elevate it. Kastrinidis’s text mixes quotidian, even banal, observations with paeans to the Argonauts and passages in which Penelope seems to fuse with pop icons like Jane Birkin. The expulsion and murder of Kastrinidis’s forebears hovers in the background. And as the first-person narration shuttles among Paris, Athens, Berlin and Zurich, Kastrinidis suggests a continuity of exile and inherited trauma and memory that explains her own hallucinogenic sense of homesickness.Perhaps to safeguard against monotony, Castorf adds two characters who don’t appear in Kastrinidis’s text, including one played by his 12-year-old son, Mikis Kastrinidis, whose spirited performance alternates between adorable and irritating. Sharing the stage with Kreusch (and occasionally a real goat), he repeatedly reminds the audience that he’s acting in his parents’ play by talking to his mom on the telephone and cracking jokes about how old his dad is.This chamber staging of a brand-new work is a change of pace for Castorf, who is now 70. His classic productions, tour de force theatrical marathons, took extreme liberties with their source materials and were frequently exhausting for actors and audiences. Kreusch certainly gets a workout in “Schwarzes Meer,” but, aside from that, there are surprisingly few hallmarks of Castorf’s style.Most surprising, it is, by and large, faithful to Kastrinidis’s text, as if the onetime enfant terrible decided it would be inappropriate to impose his ego onto his former lover’s personal and poetic cri de coeur.Like “Odyssey,” “Schwarzes Meer” is ultimately an artistic excavation of the theater of memory. In the associative games they play with Greek mythology and modern European history, both of these striking new productions suggest that dislocation and exile are fundamental to the modern human condition.Odyssey. A Story for Hollywood. Directed by Krzysztof Warlikowski. On tour at the Théâtre National La Colline, in Paris, May 12-21; Nowy Tear, in Warsaw, June 2-5.Schwarzes Meer. Directed by Frank Castorf. Landestheater Niederösterreich. May 5 and Sept. 24. More

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      in Television

      Ariana DeBose to Host This Year’s Tony Awards Ceremony

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      The nominees are to be announced on Monday, and the awards ceremony is to take place on June 12.Ariana DeBose will host this year’s Tony Awards.The Broadway League and the American Theater Wing, the two organizations that present the awards, announced the choice on Wednesday. The Tony Awards, which honor plays and musicals staged on Broadway, will take place on June 12.DeBose, 31, in March won the Academy Award for best supporting actress for her performance as Anita in last year’s Steven Spielberg-directed film adaptation of “West Side Story.”She has appeared in six Broadway shows, including “Hamilton” (in a dance number, she portrayed the bullet that killed the title character). She was nominated for a Tony Award in 2018 for her work in “Summer: The Donna Summer Musical” (she played “Disco Donna,” representing one of three stages of the singer’s career).The Tony Awards will be DeBose’s second high-profile hosting gig this year; in January she hosted “Saturday Night Live.”This year’s Tony Awards ceremony will take place at Radio City Music Hall, and is scheduled to last four hours. DeBose will host the three-hour televised segment, broadcast on CBS from 8 p.m. to 11 p.m. Eastern; that segment, which is likely to be dominated by performances, will be preceded by a one-hour segment, streamed on Paramount+, at which many of the awards are likely to be announced. The streaming portion will have a different host who has not yet been named.The nominations for this year’s Tony Awards are to be announced on Monday. More