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      As Broadway Returns, Shows Rethink and Restage Depictions of Race

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      “The Book of Mormon,” “The Lion King” and “Hamilton” are among those making changes as theaters reopen following the lengthy pandemic shutdown.“Hamilton” has restaged “What’d I Miss?,” the second act opener that introduces Thomas Jefferson, so that the dancer playing Sally Hemings, the enslaved woman who bore him multiple children, can pointedly turn her back on him.In “The Lion King,” a pair of longstanding references to the shamanic Rafiki as a monkey — taxonomically correct, since the character is a mandrill — have been excised because of potential racial overtones, given that the role is played by a Black woman.“The Book of Mormon,” a musical comedy from the creators of “South Park” that gleefully teeters between outrageous and offensive, has gone even further. The show, about two wide-eyed white missionaries trying to save souls in a Ugandan village contending with AIDS and a warlord, faced calls from Black members of its own cast to take a fresh look, and wound up making a series of alterations that elevate the main Black female character and clarify the satire.Broadway is back. But as shows resume performance after the long pandemic shutdown, some of the biggest plays and musicals are making script and staging changes to reflect concerns that intensified after last year’s huge wave of protests against racism and police misconduct.At the “Mormon” workshop, actors and members of the creative team discussed the script and the staging. Here, from left to right, actor Derrick Williams talked with the musical’s director, Casey Nicholaw, while two of the show’s writers, Robert Lopez and Matt Stone, conferred in the background.Darren Cox“We’re in a new world,” said Arbender J. Robinson, who was among the actors who expressed their concerns in a letter to the “Mormon” creative team. “We have a responsibility to make sure we understand what we’re doing, and how it can be perceived.”Although classic shows are often updated to reflect shifting attitudes toward race and gender when they are brought back to the stage as revivals, what is happening today is different: an assortment of hit shows reconsidering their content midrun. They are responding to pressure from artists emboldened by last year’s protests, as well as a heated social media culture in which any form of criticism can easily be amplified, while taking advantage of an unexpected window of time in which rewriting was possible, and re-rehearsing was necessary, because of the lengthy Broadway shutdown.“To me this feels like nothing ever before in theater,” said Diane Paulus, the director of “Jagged Little Pill,” which just last month won the Tony Award for best book and has revisited its book to refine the references to race. “This is different. This is saying the world has changed, and how can we embrace that?”Some of the changes are readily apparent, and others subtle, likely to be noticed only by the most detail-oriented audience members. There has been little pushback so far, either from those who might see the revisions as insufficient, or from those who might see them as an overreaction.The changes, big or small, are significant to performers — especially Black performers, who have become increasingly willing to speak up about concerns on and offstage.The letter from the “Mormon” actors, some from the original cast and some from the current roster, was sent in July of 2020, four months after the pandemic had closed Broadway and two months after George Floyd was killed by the police in Minneapolis. They warned that “when the show returns, all of our work will be viewed through a new lens.”The musical has faced criticism for years over its depiction of Africans, but some cast members were prompted to reflect again when an actor unaffiliated with the show denounced it on Facebook as “racist.”“I never felt this show was racist — never — but then I started hearing some concern from people in the show, who don’t know the intentions, and are saying, ‘Oh my God, am I doing a racist show?’” said Derrick Williams, who has been in “Mormon” since 2014 and also signed the letter. “There’s a fine line between satire and being offensive, and you have to be on the right side of that.”Trey Parker, one of the writers of “The Book of Mormon,” talked with the cast and crew. Darren CoxThe creative team was unsettled. “There was a moment where we weren’t sure — we thought, ‘Maybe this show has run its course,’” said Robert Lopez, who wrote the show with Matt Stone and Trey Parker, the creators of “South Park.” “But that’s not what anyone was asking for, so we braced for the hard work of what we would have to do.”So this summer, after a year of quiet conversations by phone and video, the original creative team gathered with the current cast — some meeting for the first time — and, for two straight weeks, went through the show scene by scene, clarifying their intent as they reviewed the plot, the comedy and the staging. The goal, Mr. Stone said: “Make sure everything works and everybody feels good.”Throughout the show, which will resume performances next month, moments were tweaked to sharpen the satire of Mormonism (already cringe-inducing for many members of the Church of Jesus Christ of Latter-day Saints), and to give the Ugandan villagers more agency. A gag in which the villager Nabulungi tries to send a text using a typewriter is gone; now she has an iPad, and the joke is no longer about her lack of sophistication, but about the unreliability of social media. Also: toward the end of the show, it is Nabulungi, not a white missionary, who scares away a warlord.“It’s putting Uganda at the center,” said Kim Exum, the actress playing Nabulungi, “instead of the Mormon boys.”In “The Lion King,” references to the character Rafiki, who is a shamanic mandrill, as a monkey have been dropped to avoid any possible racial overtones. Tshidi Manye played the role the night “The Lion King” reopened last month.Sara Krulwich/The New York TimesDisney, which reopened “The Lion King” and “Aladdin” last month, not only replaced the references to Rafiki as a monkey (first used in the 1994 animated movie, when the character was not depicted by a live actor) but also made a few changes to “Aladdin.” Among them: the word “barbaric” has been deleted from the opening song, “Arabian Nights,” and replaced with “chaotic,” reflecting a change previously made for the 2019 live-action film.“The 18-month hiatus gave us a chance to take a fresh look at ‘Aladdin’ and ‘The Lion King’ and make surgical changes to the books,” Disney Theatrical Productions said in a statement for this story, “informed by all that’s occurred since we’d last performed these shows.”At “Hamilton,” which broke ground by casting people of color to play the nation’s founders but has faced criticism for what some historians see as its misleading depiction of the title character as an abolitionist, attention during preparations for its reopening last month focused on Jefferson.Jefferson has become an increasingly controversial figure — the New York City Council earlier this month voted to remove his statue from its chambers — and “Hamilton” director Thomas Kail said the cast and creative team concentrated its revisions on Jefferson’s big number because of “the shameful distance between the liberty he wrote about, and the life he lived as a slaveholder.”There was another factor, too: the song contains the only moment in the show when an enslaved person is named — Hemings. “When you invoke the name of an enslaved person, you have to give some kind of respect,” said James Monroe Iglehart, who plays Jefferson.Hemings has no lines, but is represented through dance when Jefferson, saying “Sally be a lamb,” asks her to bring him a letter from George Washington; the choreography, Mr. Kail said, is now “quite different,” with “a different tone — one that is more respectful to Sally’s point of view.”In “Hamilton,” the second act opening number has been restaged so ensemble members representing enslaved people can express more distance from slaveholder Thomas Jefferson, currently played by James Monroe Iglehart.Sara Krulwich/The New York TimesIn the prepandemic staging, Hemings would dance around Jefferson flirtatiously, performing a battement; in the new version, she still kicks her leg, but she faces away from him, arms forming a cradle as if to remind viewers of the children she bore him. “Rather than the playful, romantic energy that the previous version had, I’m now playing a person that had no claim over her own life and her own body,” said Justice Moore, who dances the Hemings role.There are changes for the ensemble, too. Gone are the white gloves and the pantomimed motions of slaves at work as Jefferson arrives at Monticello; now some members of the ensemble stand at a distance, and don’t even join in the singing. “The gloves automatically put you in a servant place, in a minstrel show sort of place, and the more we dug deeper, the more we asked why we need that weight on the story,” said Shonica Gooden, a member of the show’s ensemble.“To Kill a Mockingbird” has restaged its ending to ensure that audiences stay focused on the plight of Tom Robinson, a Black man falsely accused of rape and then killed by prison guards. When the show opened in 2018, Robinson was played by Gbenga Akinnagbe, right, who is no longer in the cast; the role of Atticus Finch was played by Jeff Daniels, who has returned to play the role again this fall.Sara Krulwich/The New York TimesAt “To Kill a Mockingbird,” a stage adaptation of the classic novel about a white lawyer’s unsuccessful effort to defend a Black man falsely accused of rape and then killed by law enforcement officers, the final scene was restaged before this month’s resumption of performances. A specter of the accused man, Tom Robinson, now returns at the end. “My goal is to not lose track of Tom’s story,” said Bartlett Sher, the director, “and to keep the impact of what happens to Tom more present.”“The Lehman Trilogy,” about the rise and fall of a financial family, added new references to the businessmen’s relationship to slavery after earlier versions of the play were criticized for playing down that connection. “Everything that was built here was built on a crime,” a character now warns.Broadway is addressing concerns about race in a variety of ways as it reopens — the current season features a record number of plays by Black writers; many shows are creating new diversity-related staff positions; and industry leaders have pledged to create more opportunities for artists of color. But race, although the primary focus of the protests last year, is not the only subject being reconsidered.“Jagged Little Pill,” a musical adapted from the blockbuster Alanis Morissette album, has simultaneously tried to deepen its discussion of race (the show centers on a white family with an adopted Black daughter) and gender identity. The show had been criticized when a character who appeared to some to be nonbinary before “Jagged” reached Broadway was more clearly portrayed as female once it arrived. In response, the producers said last month that they had hired a new dramaturgical team, including nonbinary and transgender members, “to revisit and deepen the script.”The writer of the musical’s book, Diablo Cody, said that she welcomed the opportunity to take another look at the material: She works primarily as a screenwriter, and of course once a movie is done, it’s done. But during the shutdown, she was able to update the musical’s family argument about transracial adoption. “When I wrote this, it was 2017 to 2018,” Ms. Cody said, “and it just feels like there has been such a cultural sea change since then.”Are the changes enough? Maybe not — although “Lehman” opened this month to raves, some critics once again faulted the play’s treatment of slavery.And are the alterations finished? Again, maybe not, at least for long-running shows.“We used to say a show was frozen, but the show is never frozen now,” said Mr. Iglehart, the “Hamilton” actor. “The shows are evolving, and they will evolve as the world evolves.” More

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      in Theater

      Chad Kimball Sues ‘Come From Away’ Over His Termination

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      The actor, who is Christian, said in an interview he was let go because of his religious beliefs. The show’s producers declined to comment.A former lead actor in the musical “Come From Away” has sued the show’s producers, claiming that he was let go from the production because of his Christian beliefs.Chad Kimball, 45, a Tony-nominated performer who had been with the show since before its transfer to Broadway in 2017, filed suit this week in New York State Supreme Court, alleging that the production had violated his rights under New York City’s Human Rights Law.In the lawsuit, which was first reported by The New York Post, Kimball claimed he was terminated “wholly or partly” because of his religious beliefs. According to the lawsuit, one of the show’s producers allegedly told him there were concerns about supposed connections between his faith and Christian conservatives connected with the Jan. 6 assault on the U.S. Capitol.Matt Polk, a spokesman for the show, which reopened on Sept. 21, said the producers declined to comment.Kimball, a Broadway veteran described in the lawsuit as “a devout and practicing Christian,” had stirred controversy in November 2020 when he announced on Twitter that he would “respectfully disobey” Washington State’s coronavirus-related restrictions on religious services, including rules forbidding even masked worshipers from singing. At the time, he was living in Seattle, his hometown.“Respectfully, I will never allow a Governor, or anyone, to stop me from SINGING, let alone sing in worship to my God,” Kimball, who had previously had Covid-19, wrote.That statement drew strong criticism from some in the theater industry, including a co-star, Sharon Wheatley, who responded, “I respectfully totally and completely disagree with you.”Kimball said in an interview Friday that it was hurtful to have the initial reaction to his social media posts subsequently “snowball” into discussion of him as a “conservative Christian” whose beliefs were somehow connected with the Jan. 6 insurrection, which he described as “an event I wasn’t even involved with.”“I don’t talk about politics at all,” he said. “The only thing they really know about me for sure is that I’m a Christian.”Before the social media exchanges, the lawsuit said, Kimball, who had appeared in more than 1,000 performances of the show before the shutdown in March 2020, had never received any reprimand or complaint, and had never been told by anyone connected with the show that he “made them feel unsafe.” But subsequently, he “was forced to explain and defend his Nov. 15, 2020, tweet to Defendants’ agents and employees,” the suit claims.Then, on Jan. 18, the suit said, he was contacted by a producer, Susan Frost, who allegedly informed him that there was conversation around his “conservative Christian” faith and his “freedom to believe.”Frost, the suit claims, also mentioned the Jan. 6 Capitol insurrection and said that there were concerns that “the events at the Capitol, Josh Hawley and the conservative Christian movement were tied together and implied a connection” between Kimball’s faith and the “ideas and actions” of that day.On Jan. 22, according to the lawsuit, Frost told Kimball he would not be invited back to the production, which he was told “needed to focus on bringing the show back together and ensure people’s safety.”At the suggestion of Frost, the suit said, he spoke with the show’s director, Christopher Ashley, on Feb. 2, and asked him if he had been let go because of disagreements with colleagues or his religious beliefs. “In response,” the lawsuit continues, Ashley “stated that it was ‘everything.’”As a result, according to the lawsuit, Kimball was “made to suffer significant economic and professional harm,” as well as “emotional and physical pain and suffering.” The lawsuit is seeking compensatory and punitive damages and lost wages, as well as legal costs.Kimball was nominated for a Tony Award in 2010 for his role in the musical “Memphis.” While he has always been a Christian, the lawsuit said, it was following his recovery from an injury while in the show that he started becoming “more outspoken regarding his beliefs.”In the interview, a joint one with his lawyer, Lawrence Spasojevich of the firm Aidala, Bertuna & Kamins, Kimball said he had an inkling that his position with the show might be in jeopardy as early as December 2020 when he contacted the show’s producers to inform them of the tweets and the reaction to them.Kimball, who said he was currently not working, added that negative reactions to his beliefs weren’t new to him. “What was new to me was the idea that a religious belief could be used as fodder for deciding I wasn’t worthy of being a part of the show,” he said. More

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      in Music

      Andrew Lloyd Webber Brings the Music of the Night Back to ‘Phantom’

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      After a long pandemic pause, “The Phantom of the Opera” is returning to Broadway with some help from its creator.“The Phantom of the Opera,” the longest-running show in Broadway history, resumes performances Friday.Mark Sommerfeld for The New York TimesAndrew Lloyd Webber looked pleased.He was standing over the large orchestra pit of his musical “The Phantom of the Opera” at the Majestic Theater on Broadway, hearing the instrumental “Entr’Acte” from the top after a half-hour of detail work — more emphatic delivery here, more passionate lyricism there. He held his hands at his hips, a contented smile on his face.“That’s great, much better,” he said after the ensemble finished. “It just needs to be played like it’s on the edge, all the time.”Lloyd Webber, the composer of some of the most famous musicals of the past five decades — in a wide stylistic range from the radio-ready rock of “Jesus Christ Superstar” to the maddening tunefulness of “Cats” and the lush Romanticism of “Phantom” — was in town from Britain to prepare for the reopening on Friday of the longest-running show in Broadway history.Andrew Lloyd Webber visited the musical to rehearse the pit orchestra with its conductor, Kristen Blodgette.Mark Sommerfeld for The New York TimesVisits from composers are rarely afforded to musicals as settled in as “Phantom,” which opened at the Majestic in 1988. But because the pandemic kept it shuttered for over a year and a half, its return is more like a revival; the production’s tech has been spruced up during the pause, and the cast and orchestra were rehearsing the material as if it were new.And that’s exactly how Lloyd Webber wanted it to sound, he told the musicians during rehearsal on Thursday, by way of some personal history.“I remember when I was a boy I managed to get a ticket to the Zeffirelli production of ‘Tosca’ at the Royal Opera House,” Lloyd Webber said, recalling how he had always heard that Puccini’s melodrama was a potboiler not worth the price of admission. Yet Franco Zeffirelli, the Italian director with an extravagantly cinematic sensibility, “decided that he would shake up the cobwebs.”On Thursday, Lloyd Webber also worked on the duet “All I Ask of You” with Meghan Picerno and John Riddle, the show’s current Christine and Raoul.Mark Sommerfeld for The New York Times“What I just remember is, Tito Gobbi and Maria Callas that night, in the second act, made an impression on me that I’ll never forget,” he continued. “It was just extraordinary, because the critics were saying, ‘Oh my gosh, this is actually the greatest score.’ I’m not trying to say this is the same thing, but it’s just that we have to approach everything now as if it’s the very, very, very first time.”“Phantom” may not be Puccini, but its score — thick and lavishly orchestrated — shares more with opera than most Broadway musicals. It calls for an unusually large ensemble of nearly 30 players, about a third of whom have been with the show since 1988. “Today I don’t think we would be able to do that,” Lloyd Webber said during an interview between rehearsals. “I think everybody’s forgotten what a real orchestra can sound like.”During the pandemic shutdown, Lloyd Webber was one of theater’s fiercest and most outspoken advocates.Mark Sommerfeld for The New York TimesGiven that size, Lloyd Webber was particular about amplification on Thursday, preferring to let the instruments sound as acoustic as possible. But the orchestra needed to give more to make it work; virtually all of his notes to the conductor, the associate musical supervisor Kristen Blodgette, were about adding emphasis to a score that is already brazenly emphatic.“You can make a little more of that phrase,” he said at one point; at others: “We want the audience in our grip,” “It’s just a little undernourished” and “I think that can really come up a bit, I would treat it as appassionata.”He was joined by David Caddick, the production musical supervisor, who wanted for more of the same, asking the strings to “play into the shape of the melody” during a section of the “Entr’Acte” based on the soaring duet “All I Ask of You,” and reminding them to “make every melody sing out.”The “Phantom” orchestra is unusually large, consisting of nearly 30 players.Mark Sommerfeld for The New York TimesWhen some of the cast later came onstage — to rehearse the operatic set piece “Prima Donna” and “All I Ask of You” — Lloyd Webber at times seemed to be channeling Hal Prince, the show’s legendary director, who died in 2019, guiding the singers in their understanding and delivery of lyrics on a level as small as single words. “I’m one of the only ones left who was here on the ground floor,” Lloyd Webber later said. (The choreographer, Gillian Lynne, died in 2018.) “But I was very close to Hal on this.”In the scene leading up to “Prima Donna,” for example, he welcomed more joy and comedy. He told Craig Bennett, who plays Monsieur Firmin: “It’s great fun if you can say ‘To hell with Gluck and Handel, have a scandal’ — it’s the inner rhyme, isn’t it? That’s the game, savoring every moment because there are some good lines there.”And to Meghan Picerno and John Riddle, the show’s current Christine and Raoul, he said while running through “All I Ask of You”: “I think that what we’re perhaps not getting is that they’re like teenagers in love. It needs to be more earnest. Say ‘One love, one lifetime’ as if you really mean it. Just run with it. The more of that there is here, the more of an antidote it will be to what comes in the second act.”A poster for the show outside the theater. “I do always love to hear it,” Lloyd Webber said of the “Phantom” score.Mark Sommerfeld for The New York TimesAgain, this is uncommon; such attention from a composer is more likely to be given to a new show, such as Lloyd Webber’s latest, “Cinderella,” which opened in London this summer after a series of pandemic delays. During that time — and throughout the shutdown — he was one of theater’s fiercest and most outspokenly frustrated advocates. And when “Cinderella” at last debuted in the West End, its opening night was also a milestone for being that musical’s first performance for a full-capacity audience.It’s an ordeal that could make for a chapter of the awaited sequel to his memoir, “Unmasked,” which follows his life and work only until “Phantom.” “Oh, I’m not writing that,” he said in the interview between rehearsals, adding with a puckish grin: “There’s too much I know. I’d rather write another show, and get ‘Cinderella’ here.”But first, he had “Phantom” to open the next day. And a rehearsal to return to. As he stood up from a lobby chair to walk back into the house, he said, “I do always love to hear it.” More

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      in Movies

      Indian Film Is Being Adapted Into a Broadway Musical

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      “Dilwale Dulhania Le Jayenge,” a popular Hindi-language movie from 1995, will debut during the 2022-23 season.Bollywood is coming to Broadway.“Come Fall in Love — The DDLJ Musical,” based on the Indian filmmaker Aditya Chopra’s 1995 hit “Dilwale Dulhania Le Jayenge,” which has become a cultural touchstone of contemporary Bollywood, will open during the 2022-23 season, producers announced on Friday.The film, which was Chopra’s directorial debut at age 23, is a romantic comedy that tells the story of Simran, a young Indian American woman who is arranged to be married to a family friend who convinces her strict father that she should have a summer adventure in Europe first. (A charming American throws a wrench into her logical plans.)Chopra, who also wrote the movie, commonly referred to as “DDLJ” and whose title is translated as “The Braveheart Will Take the Bride,” said in a statement on Friday that he was excited to marry the worlds of theater and film in the project, which he will direct.“Twenty-six years later, I’m going back to my original vision of the story of ‘DDLJ,’” he said, “a love story of two cultures … two worlds.” He added, “I’m terribly nervous and incredibly excited.”The show will be produced by Yash Raj Films, India’s largest film studio, and it will be a collaboration between an American and Indian creative team. Nell Benjamin (“Legally Blonde,” “Mean Girls”) will write the book and lyrics, and the Indian songwriters Vishal Dadlani and Shekhar Ravjiani will compose the music. Choreography will be by Rob Ashford, who won a Tony Award for “Thoroughly Modern Millie,” and Derek McLane (“Moulin Rouge!,” “Hairspray Live!”) will design the set.The musical will have its world premiere at the Old Globe Theater in San Diego in September 2022, with Broadway dates to be announced later.“DDLJ,” one of the highest-grossing Indian movies of all time, was a success with critics as well as at the box office and placed 12th on the British Film Institute’s list of the top Indian films of all time.Writing for RogerEbert.com in 2012, Omer M. Mozaffar characterized the film as a Bollywood version of a Disney princess story, with a young woman “feeling trapped by the traditional patriarchy, seeking freedom through discovering the world, but finally finding it through silent, but inappropriate love.”A global casting search is underway. More

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      in Theater

      ‘Thoughts of a Colored Man,’ From University to Broadway

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      The playwright Keenan Scott II, the director Steve H. Broadnax III and others discuss how “a timeless piece” for Black actors has evolved over 15 years.Plays by August Wilson were nowhere to be found in the syllabuses of Frostburg State University’s theater classes when Keenan Scott II attended the Maryland school in the mid-2000s. Nor were works by Lorraine Hansberry, Amiri Baraka, Adrienne Kennedy or Lynn Nottage.But there was Ntozake Shange’s pioneering “For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf,” from 1975.Scott, who is making his Broadway debut as the author of the recently opened “Thoughts of a Colored Man,” said a class screening of the Shange work was his first — and essentially his only — exposure to theater by Black playwrights in college. And just as Shange coined the term “choreopoem” for her hybrid form, Scott began to describe “Thoughts,” his senior project, as “slam narrative.”The word “colored” brings with it a very different set of associations now than it did in 1975, when segregated drinking fountains and restrooms were only a decade in the past. And yet that word is both in the title of Scott’s play and more than 21 feet wide on the billboard at the center of Robert Brill’s set at the John Golden Theater.Like Shange (whose “choreopoem” is heading to Broadway next year), Scott has created a mosaic of speeches, poems and songs for seven performers of color. (And neither playwright identified their characters by name; Scott instead calls them such traits as Happiness, Love and Depression.) But when “Thoughts of a Colored Man” premiered in 2019 at Syracuse Stage in New York and then moved to Baltimore Center Stage, it also featured two female dancers and an onstage D.J. All three are gone, as are swaths of the original text. Only the Tony Award nominee Forrest McClendon (“The Scottsboro Boys”) remains from that cast.Scott and McClendon recently sat down with the “Thoughts” director, Steve H. Broadnax III, and Brian Moreland, a lead producer of the show, to discuss how the play has evolved, especially in the last two years. Their interviews have been edited and condensed.Forrest McClendon, second from right, with, from left: Tristan Mack Wilds, Dyllón Burnside and Da’Vinchi in “Thoughts of a Colored Man” at the Golden Theater.Sara Krulwich/The New York TimesIs “Thoughts of a Colored Man” on some level a response to “For Colored Girls”? Or is it its own thing?KEENAN SCOTT II I’m inspired by the works of Ntozake and many others, but it’s completely its own thing. I liked the word “colored” because it causes a visceral response. To this day, people ask, “Why say ‘colored’? Why use ‘colored’? We don’t use that no more.” But that is the point. There was a time when we were labeled “colored.” And through the journey of the piece, you see why these men shouldn’t be labeled.FORREST McCLENDON Ntozake was writing for colored girls to have something to do. And Keenan was writing for colored men to literally have something to do. For us to be represented onstage.STEVE H. BROADNAX III The genre that Keenan coined, “slam narrative,” is loose plot — that’s the difference. You can take, say, “Def Poetry Jam” on Broadway, which is a bunch of poetry and poets that you can put in any type of mixture. But here, if you take one out, it starts to mess up the loose plot. So he’s really created something new. “For Colored Girls” doesn’t have a loose plot to it, but this does.If I’m understanding the title correctly, do these seven men also add up to, essentially, one human?SCOTT Absolutely. These are, these could be, seven parts of the same man. We can all be some of these things. We can all be all of these things.How much has the piece changed since Syracuse and Baltimore?SCOTT It’s really just a re-investigation of these characters, to make sure they all had their individual journeys. Some monologues have been added. A new scene here and there. We knew that some characters were a little more shallow than others, and we wanted to make sure that all of them are equally robust.Luke James in the play, which Scott describes as a “slam narrative.” Sara Krulwich/The New York TimesCan you point to any specific examples?SCOTT I started writing this piece when I was 19, so originally these characters all hovered around 20 years old, because that’s where I was in life. Fifteen years later, being a 34-year-old man who’s married with a child, my sense of the world has deepened. I’ve been with this piece so long that I’ve literally grown up with these characters. And through development, the characters started to grow as well. So now the characters range from 18 to 65 years old.BROADNAX The connections between each of the characters have changed. We discovered, for instance, how Love and Lust connected with each other. You now have all of these “aha” moments to see how they are all interconnected.Do you think the piece would look or feel different if you had opened on Broadway directly from Baltimore, which was the plan before the shutdown?SCOTT As Steve says all the time, everything happens in divine order. I think the show would have been just as great. But it would have been different.BRIAN MORELAND After Baltimore, Keenan went through a private workshop with himself, writing.SCOTT We moved to Baltimore so quick after Syracuse. I was taking notes, and there were certain things that just couldn’t be implemented quick enough. So that’s when I went into that private workshop. And then Covid happened, and we had all the time in the world.When I saw it in Syracuse, there were also two women in the cast. What happened to them?BROADNAX We discovered that this was a story, and a space, for these Black men. The women are still very much a part of their worlds. They are there in media; they are there in spirit; they are there in language. But we thought this was a space for the men.MORELAND You go out of town so you can have a safe space to experiment. In addition to the female dancers, there was also a D.J. who was originally part of the production. All of these elements kept evolving and changing.McCLENDON Music and movement and media are all super important in terms of this play, but the star of this play is the text. And anything that in any way upstaged the text — including the actors — had to take its rightful place on the periphery. For me, in both Syracuse and Baltimore, the discovery about the women came from women in the audience. They felt it was a story really about men.SCOTT I’ve known from day one that the spectrum of the Black man is rarely, rarely shown, especially on Broadway. We don’t have that space. That’s what I wanted to create 15 years ago for myself and my peers who felt excluded from an art form we were studying.The show opened on Broadway on Oct. 13, over two weeks earlier than originally planned. Jeenah Moon for The New York TimesYou were scheduled to open Oct. 31, and then opening night suddenly moved up by two weeks. Openings shift all the time, but in the other direction. What prompted the move?MORELAND Their dress rehearsal. Their first preview. Their second preview. The audiences clamoring to see these men, hear these stories, hear Keenan’s words. That’s what prompted the change. Because it was ready.When you sat back down to write, Keenan, did you feel like the play needed to be different because the world felt different?SCOTT That’s a tricky question for me. I started writing this play when George W. Bush was president. So that’s three administrations ago. A lot has changed, and a lot hasn’t. People often ask me how the events around George Floyd affected me. For the Black community, George Floyd wasn’t new. When I started writing this piece, I was loosely inspired about what was going on in my community in Queens when Sean Bell was killed [in a police shooting]. A lot of the themes that I cover in the play are as ever-present as they were 15 years ago. I feel like I created a timeless piece that can live, but it saddens me as well, because I would have hoped that these issues would have been solved by now.Do you feel as if a lot of people in the audience on Broadway are only now beginning to understand what you have known this whole time?McCLENDON The thing that radically shifted is that the American theater shut down. Audiences had an opportunity to step back and really ask themselves about what they’d been consuming. We’re dealing with longstanding, oppressive practices, but this is an industry that is usually willing to look in the mirror. To look at itself and stare. In what ways are we complicit? I think we’re in a new moment. And I think the play is a huge part of representing that. More

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      The Moment of Death, Live Onstage

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      The Swiss provocateur Milo Rau’s latest work explores the ethics of voluntary euthanasia with real footage of an assisted suicide.DOUAI, France — A serene woman greets the audience at “Grief & Beauty,” the Swiss theater director Milo Rau’s latest production. As spectators take their seats, she appears on a video screen above the stage, silent, in a red sweater and black-rimmed glasses. Then, minutes into the show, we learn that Johanna, as she is identified, died on Aug. 28 — by choice and in Belgium, where euthanasia is legal.Real footage of Johanna’s death is the macabre centerpiece of “Grief & Beauty,” the second installment in Rau’s “Trilogy of Private Life.” The first, “Familie,” recreated a family’s real-life collective suicide in eerie detail. Like “Familie,” “Grief & Beauty” had its premiere in Ghent, Belgium, where Rau is the artistic director of the NTGent theater. This month, the show traveled to Le Tandem, a playhouse in the northern French city of Douai. Further tour dates are scheduled in France and the Netherlands.“Grief & Beauty” flirts even more closely with the choice to die than “Familie.” Instead of turning the subject matter into a drama, Rau actually shows us the moment a lethal injection killed Johanna. Yet while she is the heart of “Grief & Beauty,” the production barely scratches the surface of her life.Voluntary euthanasia, which is legal in only a handful of countries, has become a subject of fascination for Europe’s experimental theatermakers in recent years. In 2018, the Belgian choreographer Alain Platel also filmed a dying woman and played the footage throughout his 100-minute work “Requiem for L.” The next year, Marcos Ariel Hourmann, a doctor convicted of practicing euthanasia in Spain, where it is illegal, put on an interactive show in which he asked the audience members to judge him.“Grief & Beauty,” like Platel’s production, was created with the consent of everyone involved, and Rau details in an interview in the program the research that went into the production. His team, including the four actors onstage, met with health care workers and bereaved relatives, as well as patients suffering from Alzheimer’s disease. Some of them also visited Johanna last summer, we are told during the show.Princess Isatu Hassan Bangura, who was born in Sierra Leone, in “Grief & Beauty.”Michiel DevijverYet for most of it, Johanna takes a back seat to the actors’ stories. Instead of zeroing in on euthanasia, Rau assembled a motley cast of professionals and amateurs who have all experienced grief, albeit in different ways. Arne de Tremerie talks eloquently about his mother’s multiple sclerosis; Staf Smans, the oldest cast member, recounts the deaths of his sister, mother and daughter in quick succession. Princess Isatu Hassan Bangura, who was born in Sierra Leone, touches on another kind of pain —— that of being exiled and losing, as she puts it, her “African side.”Each of these performers speaks either directly to the auditorium or to a camera positioned to the right of the stage, which relays their monologues on the screen above. In keeping with Rau’s habit of mixing reality with semi-fictional scenes, they then perform vignettes set in an apartment. A kitchen, a bedroom and a bathroom are visible; at one point, an actor mentions that several items in the décor, including a handmade quilt, belonged to Johanna.Here and there, the script returns to her life. We learn that she witnessed the bombing of Rotterdam in the Netherlands during World War II, when she was 4; that she loved classical music; and that she once performed as a singer at NTGent. Out of the hours members of Rau’s team spent with her, it’s not much. Instead, she hovers mostly silently above “Grief & Beauty,” her eyes and expression alive and sympathetic.Before her death is shown, Johanna speaks briefly. “I always said I would go with a smile,” she says, before adding: “I have a lot of sleep to catch up on.” The injection follows.We watch as one of her eyes closes involuntarily, and her breathing becomes halted. In Douai, some around me cried openly. (Euthanasia is illegal in France, but according to an April survey by IFOP, one of the country’s leading polling organizations, 93 percent of French people support it in cases of terminal illness.)“Dido’s Lament” from Henry Purcell’s opera “Dido and Aeneas,” which opens “Grief & Beauty,” returns at this moment, along with more personal anecdotes from the cast. Yet no matter how hard Rau tries to interweave their stories with Johanna’s, her presence is overpowering. She belonged in a production of her own.Death has also long haunted the repertoire of the French director and choreographer Gisèle Vienne. This fall, audiences in France have a chance to revisit those works: The Festival d’Automne à Paris, a prestigious annual event taking place across numerous venues in the French capital, is devoting a retrospective to Vienne. Her latest production, “The Pond,” was presented at the Théâtre Paris-Villette in September, and revivals of several older works are scheduled before the end of the year.“Kindertotenlieder,” created by the French director and choreographer Gisèle Vienne. Mathilde Darel“Kindertotenlieder,” created in 2007, returned this month for four performances at the Centre Pompidou with a new cast — that is, a new human cast, since the stage is mostly populated with highly realistic dolls and robots. When “Kindertotenlieder” starts, it’s difficult to gauge just how many of the hunched-over teenagers in the darkened, snow-covered space are real.When the five actors do move and speak, “Kindertotenlieder” is no less disquieting. Although there is no linear story, the murder of a teenager by one of his peers gives a starting point. When the murdered boy’s ghost, the killer and others talk, it’s often to themselves, and the American writer Dennis Cooper’s text for the production is as chilling as it is over-the-top. (Sample line: “When I grow up, I want to behead your wife and kids.”)While the play’s title, which means “Songs on the Death of Children,” is borrowed from a song cycle by Gustav Mahler, the live music — introduced as a “memorial concert” for the dead boy — is by the duo KTL. To their moody, emo-adjacent songs, slow, violent interactions play out: A doll is strangled; two men kiss before one shoves the other, viciously.In “Kindertotenlieder,” as in “Grief & Beauty,” death is at the fingertips of the living. Neither production is for the faint of heart, but compared with the relentless angst of Vienne’s teenagers, there is relief in watching Johanna say her peaceful goodbye in “Grief & Beauty.” From time to time, reality still manages to be more soothing than fiction. More

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      in Movies

      Leslie Bricusse, Prolific Songwriter for Stage and Screen, Dies at 90

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      His songs from “Stop the World,” “Willy Wonka,” “Goldfinger” and other shows and movies became hits for a range of performers.Leslie Bricusse, a composer and lyricist who contributed to Broadway hits like “Stop the World — I Want to Get Off” and “Jekyll & Hyde” and popular films like “Willy Wonka and the Chocolate Factory” and “Goldfinger,” died on Tuesday. He was 90.The BBC said his agent had confirmed his death. News accounts said he died in Saint-Paul-de-Vence, France, where he had a home.Mr. Bricusse’s songs, many written with the actor and singer Anthony Newley or other partners, were recorded by a vast range of vocalists. Among the first was Sammy Davis Jr., who, when performing in London in 1961, saw the Newley-Bricusse show “Stop the World,” which had just opened in the West End, and became an ardent fan. He garnered a Top 20 hit in America in 1962 with his version of a song from that show, “What Kind of Fool Am I?”A decade later Mr. Davis would take Mr. Newley and Mr. Bricusse (pronounced BRICK-us) to the top of the charts when he recorded a largely unnoticed song from the film musical “Willy Wonka and the Chocolate Factory” with the Mike Curb Congregation. (The film had been released the previous year to negative reviews.) The song was “The Candy Man,” and it reached No. 1 on both Billboard’s pop and easy listening singles charts, the biggest hit of Mr. Davis’s long career.Another song from “Willy Wonka,” “Pure Imagination,” has been recorded by numerous artists, among them Josh Groban, Maroon 5 and Barbra Streisand. Shirley Bassey had a Top 10 hit in 1965 with “Goldfinger,” the title song from the 1964 James Bond movie, for which Mr. Bricusse and Mr. Newley wrote the lyrics to John Barry’s melody. Another Bond film, “You Only Live Twice,” featured a title song by Mr. Barry and Mr. Bricusse that was sung by Nancy Sinatra and recorded later by many others.One of Mr. Bricusse’s biggest, and earliest, hits in his native England was a song that some listeners may not have even realized he had a hand in: “My Old Man’s a Dustman,” a chart-topping novelty number recorded by Lonnie Donegan in 1960. Mr. Bricusse wrote it with Mr. Donegan and Peter Buchanan but used a pen name, Beverly Thorn, “because I was worried about it being down-market,” as he told The Telegraph of Britain in an interview in January.When Mr. Bricusse published a memoir in 2015, “Pure Imagination: A Sorta-Biography,” one of its several forewords was written by his friend Elton John.“His catalogue of songs is enormous — his achievements endless,” Mr. John wrote. “Anyone who has written ‘What Kind of Fool Am I?’ and ‘My Old Man’s a Dustman’ should be revered for ever.”Sean Connery as James Bond on the set of “Goldfinger” (1964). Mr. Bricusse and Mr. Newley wrote the words and John Barry wrote the melody for the movie’s title song.Sunset Boulevard/Corbis, via Getty ImagesLeslie Bricusse was born on Jan. 29, 1931, in London.“I fell in love with the idea of writing songs when I was a child,” he told The Herald of Glasgow in 2016. “I thought I was going to be a journalist at first, but I gradually fell in love with all these great writers like Irving Berlin and Cole Porter, who were at the peak of their powers then. The great thing about them as well was that they were literate, and wrote story songs.”As an undergraduate at the University of Cambridge, he was active in the drama club Footlights, writing and directing musical comedy shows. Beatrice Lillie, a star of the day known for offbeat musical comedy, saw his work and was impressed, hiring him to be her comic foil in a show she was performing at the Globe Theater, “An Evening With Beatrice Lillie.”“Auntie Bea sort of adopted me,” Mr. Bricusse told The Sunday Express of Britain in 2017.In 1961 he was working for Ms. Lillie when Mr. Newley approached him about collaborating on what became “Stop the World,” a show about an Everyman character named Littlechap and the lessons he learns from birth to death. Mr. Bricusse had free use of Ms. Lillie’s apartment in New York, and Mr. Newley joined him there from England; they wrote the show in four weeks (or, in another telling by Mr. Bricusse, eight days).“We had a nice thing of it in New York,” Mr. Newley told The Philadelphia Inquirer in 1961. “Pleasant flat, no one to bother us. It went like cream.”From left, Anna Quayle, Mr. Newley and Susan Baker in the Broadway production of “Stop the World — I Want to Get Off,” the first Bricusse-Newley collaboration.Friedman-AbelesThe show, with Mr. Newley starring, opened at the Palace Theater in Manchester, England, in June 1961 and then hit London, where it caught on, propelled by strong songs like “Gonna Build a Mountain” and “I Wanna Be Rich,” in addition to “What Kind of Fool Am I?” It opened on Broadway in October 1962 and ran there for more than a year.The two men followed that with “The Roar of the Greasepaint — the Smell of the Crowd,” an allegory in revue form about class struggle in which Mr. Newley again starred; it also made Broadway, in 1965. Decades later, Mr. Bricusse had two other Broadway successes: “Victor/Victoria” (1995), for which he wrote the lyrics (as he had done for the 1982 film on which it was based), and “Jekyll & Hyde” (1997), for which he wrote both the lyrics (Frank Wildhorn did the music) and the book. That book earned him a Tony Award nomination, his fifth.He was equally successful in the film world, and not just for songs. He wrote the screenplays as well as the music for “Doctor Dolittle” (1967) and “Scrooge” (1970), among other films. He later adapted both into stage musicals. His song “Talk to the Animals” from “Doctor Dolittle” won him an Oscar, and he shared an Oscar with Henry Mancini for “Victor/Victoria.”Rex Harrison in the title role of “Dr. Dolittle” (1967), for which Mr. Bricusse wrote the screenplay as well as the songs. The best-known song from that score, “Talk to the Animals,” won Mr. Bricusse an Oscar.PhotofestIn an interview this year with NPR’s “All Things Considered,” Mr. Bricusse recalled that when he visited the set during the filming of “Willy Wonka” he was struck by the contrast between the treatment it was receiving and the slick production being filmed on a neighboring soundstage: “Cabaret.”“I was a bit nervous about the amateur style of our show compared with the professionalism of Bob Fosse,” the director of “Cabaret,” he said.The critics, too, found “Willy Wonka” a bit amateurish, but it developed a following over time, especially once it began turning up on television and the music filtered into popular culture.Mr. Davis’s hit version of “The Candy Man” was one of some 60 songs he recorded that Mr. Bricusse wrote or co-wrote. One of Mr. Bricusse’s more recent projects had been a musical about Mr. Davis’s life and career. A version of it was staged at the Old Globe Theater in San Diego in 2009, and Mr. Bricusse had been continuing to refine it.Mr. Bricusse’s survivors include his wife, the actress Yvonne Romain, and a son, Adam.In a 2015 interview with the London publication The Stage, Mr. Bricusse talked about how he and Mr. Newley, who died in 1999, worked.“When I write a song, I hear the music and words at the same time — one suggests the form of the other,” he said. “And Tony was exactly the same. We would sing at each other across the room; it was a very bizarre, unofficial way of writing songs.”He was nonchalant about his ability to work with a wide range of other writers and composers.“I’m a good collaborator: I haven’t ever fallen out with any of them,” he said. “Though there have been one or two tricky ones that I won’t name.” More

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      Review: ‘Songs for a New World,’ Stuck in Another Time

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      Jason Robert Brown’s show is beginning to show its age, but Carolee Carmello’s deft performance lifts an otherwise straightforward revival.MILLBURN, N.J. — Jason Robert Brown is a composer-lyricist who knows how to write the perfect audition song: an entire character arc in a tidy, self-contained package that allows a performer the opportunity deliver a complete story.It’s a skill that is evident in even Brown’s first staged show, “Songs for a New World,” from 1995 and given a new production that opened Sunday at the Paper Mill Playhouse here. Somewhere between theater and song cycle, it is a collection of piano-driven pathos generators with plenty of wistful character beats, loosely structured around watershed moments in which “the things that you’re sure of slip from your hand.”Directed by Mark S. Hoebee, however, this straightforward revival keeps the show’s wide-eyed yearnings intact without taking the past quarter-century of change into account — its new world now seeming older. Each number stands alone, and you don’t have to look too closely to notice that the heaviest of them are shouldered by the production’s sole Black cast member, Roman Banks. One is titled “On the Deck of a Spanish Sailing Ship, 1492”; others are about a dead soldier, a basketball player surrounded by disadvantages, a man imprisoned.To be fair, the casting here follows the same racial lines as the original production’s, which featured Billy Porter in Banks’s role. But consider the subjects of songs sung by his white male co-star, Andrew Kober: leaving a fiancée, being in love, reuniting with a partner. It makes for a dated artistic vision that plays into tired stereotypes of Black pain in a show that does not otherwise explore race.A great performance can transcend the material, though, and in this production, these moments belong to Carolee Carmello. She lends her vocal deftness to the cabaret standard “Stars and the Moon,” and goes full “Cabaret” with the Kurt Weill sendup “Surabaya-Santa,” in which a scorned Mrs. Claus straddles a chair and bids her bearded lover goodbye. Her powerful, textured voice beckons listeners even as it resonates up to the rafters. And her first solo, the comedic “Just One Step,” smartly mines humor from preposterously elongated vibrato.Mia Pinero and Banks are young and talented, but not assuredly able to drive home the powerful numbers they are given, though Pinero was at her finest in “Christmas Lullaby”; Banks, in “King of the World.” Kober, with his hands permanently in his pockets and a shrug fixed on his shoulders, seems to actively resist any real engagement with the audience. (It doesn’t help that he’s tasked with the least interesting songs.)Kelly James Tighe’s set design rightly places the pianist front and center, behind which the orchestra plays — wonderfully, conducted by Sinai Tabak — on a platform with steps at either side of the stage for unfussy, simple entrances and exits by the cast. The choreography, by Kenny Ingram, is agonizingly literal: predictable in the way musicals are often mocked with bouncy, handy moves. At one point, Carmello dances to “The Steam Train” with a locomotive “choo-choo.”You can almost forgive the indignity of that, though, whenever she begins to sing. If this “Songs for a New World” production feels wobbly in its search for brighter lands, she is the X that marks the spot.Songs for a New WorldThrough Nov. 7 at Paper Mill Playhouse in Milburn, N.J.; papermill.org. Running time: 1 hour 45 minutes. More