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      Stephen Sondheim’s ‘Old Friends’ Review: A Broadway Party With 41 Songs

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      Bernadette Peters and Lea Salonga lead the festivities in a new Broadway revue of the great musical dramatist’s work.Fast approaching the number of musicals Stephen Sondheim wrote is the number of revues written about him. The first, to my knowledge, was a 1973 fund-raiser held on the set of the original production of “A Little Night Music.” It featured so many stars, speeches and songs that even truncated, even then, its recording filled two LPs.I snapped that album up and wore it out. The cover alone was fascinating, with the titles of nine of his shows spelled out in intersecting Scrabble tiles. (Something like nine more shows were to come before his death in 2021 — and one after.) Threaded through those tiles like a secret theme was Sondheim’s name itself.I was younger then, a teenager, but that secret theme became part of my life’s music.How then to hear a new Sondheim revue with fresh ears and fresh heart? As the latest, “Old Friends,” says right in its name, we are already well acquainted.Whether onstage, online, in cabarets or, like “Old Friends,” on Broadway, all such compendiums play their own game of Sondheim Scrabble. Though there are many hundreds of songs in the catalog, compilers must pick from the same limited subset of favorites, arranging them in various concatenations and outcroppings. Occasionally a 10-point rarity turns up, but most of the choices are deeply familiar to those who have followed the man’s work.Peters and Jacob Dickey in the “Hello, Little Girl” number from “Into the Woods.”Sara Krulwich/The New York Times“Old Friends,” which opened on Tuesday at Manhattan Theater Club’s Samuel J. Friedman Theater, is in that sense a lot like its predecessors. The 41 numbers it features come from the main pool, with an emphasis on songs from “Sweeney Todd,” “Merrily We Roll Along,” “Company,” “Follies” and “Into the Woods.” Most of them were brilliant in their original context; many remain so outside it. Some are sung spectacularly by a bigger-than-usual cast of 17, led by Bernadette Peters and Lea Salonga. Others are middling, a few are misfires.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Best Classical Music Performances of March 2025

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      Watch and listen to recent highlights, including Nicole Scherzinger on Broadway, a pair of Janacek operas and Cécile McLorin Salvant.The New York Times’s classical music and opera critics see and hear much more than they review. Here is what has hooked them recently. Leave your own favorites in the comments.Nicole ScherzingerAn excerpt from the song “With One Look.”I would not have expected the former lead singer of the Pussycat Dolls, Nicole Scherzinger, to convincingly portray a Hollywood has-been in Andrew Lloyd Webber’s almost irredeemably cheesy musical “Sunset Boulevard.” And yet she is giving a spectacular and audacious performance as Norma Desmond in Jamie Lloyd’s dark, stripped-down revival on Broadway.Where Norma typically recedes, a reclusive grande dame floating about the stage in a fog of self-regard, Scherzinger explodes with kinetic energy. Her singing, sculpted and emotive, soars. She stares down the challenge of a rangy song like “With One Look” with a clean, secure belt and still accesses an undeniably pretty, flutelike head voice. Her Norma’s eager desire to entertain and be adored, in stark contrast to the modern-noir staging, becomes a clear sign of her derangement.But there’s pathos, too. When Scherzinger’s Norma shows up to the Paramount lot, her fantastical confidence cracks a bit in front of Cecil B. DeMille, the director on whom she has pinned her hopes of a career resurgence. In her insecure hesitation, she seems to acknowledge, on an almost subconscious level, that Norma knows she’s kidding herself.Like a nuclear reaction, though, that fissure in Norma’s self-perception generates a colossal amount of emotional energy, which Scherizinger pours into a coruscating performance of “As If We Never Said Goodbye.” Norma may be a joke to the outside world, but Scherzinger’s performance creates a world of its own, one where a silent-film star has a magnificent inner life that truly sings. OUSSAMA ZAHRWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Stranger Things: The First Shadow’: What to Know About the Broadway Show

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      The new play, set 24 years before the start of the Netflix series, combines lavish spectacle with a cast of familiar characters.After a critically acclaimed premiere in London’s West End in 2023 — where it is still running — “Stranger Things: The First Shadow,” a play that serves as a prequel to the popular Netflix series, is set to open on April 22 at the Marquis Theater on Broadway.Of course, fans of the show, which is set to release its fifth season later this year, are excited (though it’s small consolation for having to wait more than three years between seasons). But what if you can’t tell a Demobat from a Demogorgon? Can you plunge right in?Here’s what you need to know about the TV series, how it informs the show and more.Winona Ryder stars as Joyce Byers in the Netflix series. In the play, her character’s younger self, Joyce Maldonado, is just as spunky. NetflixWhat is the TV series about?Set in the 1980s in the fictional town of Hawkins, Ind., the Netflix series follows a group of friends as they try to get to the root of supernatural forces and secret government experiments in their town. They discover an alternate dimension — the Upside Down — filled with monstrous creatures, who are not content to sit back and leave them well alone.Over the course of four seasons, a cast anchored by Winona Ryder (Joyce Byers), David Harbour (Chief Jim Hopper), Finn Wolfhard (Mike Wheeler), Millie Bobby Brown (Eleven, a young girl with mysterious powers) and Gaten Matarazzo (Dustin Henderson) save one another from the jaws of death while navigating the complexities of their relationships. (And, in Eleven’s case, eating lots of Eggo waffles.)Where does the play fall in the timeline of the TV series?It’s a prequel set in 1959 — 24 years before the start of the Netflix series — and centers on a character introduced in Season 4: Henry Creel, a troubled teenager with telepathic powers who will later become Vecna, the show’s primary antagonist.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Loose Screws, Hot Flames and Infinite Joy of William Finn

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      The composer and lyricist of “A New Brain,” “Falsettos” and other shows answered the pains of life with jaunty songs. He died this week at 73.When I met William Finn in 2005, at work on “The 25th Annual Putnam County Spelling Bee,” he was seated in his office in front of what looked like a trash heap but might have been a desk. On a couch nearby, one of his collaborators sank slowly beneath a rising tide of detritus; when she spoke, Finn kept overwhelming her too. Bearlike and blustery, garrulous and appetitive, he grabbed at every idea floating around the room, just as he grabbed at insane rhymes and jangly melodies in writing his sometimes hilarious, sometimes haunting (sometimes both) songs.The opportunistic lyrics were what first attracted me. By the time of “Spelling Bee,” Finn, who died Monday at the age of 73, had already made a name for himself with the “Falsettos” trilogy, his take on a family (and thus a society) shattered by disease and disaffection in the early years of AIDS. Yet despite the sadness of that story (the book is by Finn and James Lapine), the melodies are mostly jaunty and the words outrageously playful. In the show’s opening number he rhymes “four Jews” with “loose screws.”Listen to a selection of Finn’s songs on Spotify:We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      At 90, Wole Soyinka Revisits His Younger, More Optimistic Self

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      With the Off Broadway debut of his 1958 play “The Swamp Dwellers,” the Nigerian Nobel laureate looks back on the writer he was when he was starting out.We are living, all of us, in an exhausting world, and the Nigerian writer Wole Soyinka is not immune. You don’t become as profoundly invested in art and politics as he has been over his long life unless you care to your core about the path that we as a species are charting.“I’m a fundamentalist of human freedom,” he said one morning last week in Brooklyn. “It’s as elementary as that.”In the late 1960s, during Nigeria’s civil war, he was held for two years as a political prisoner, having agitated against the conflict. Three decades later, he was charged in absentia with treason, bringing the possibility of a death sentence, but he remained abroad until the dictator who had persecuted him died and was succeeded by a leader who promised reform. In between, cementing Soyinka’s status as a global intellectual, he won the 1986 Nobel Prize in Literature, with the Academy lauding his “vivid, often harrowing” works and their “evocative, poetically intensified diction.”As his 90th birthday approached last summer, though, he decided to give himself an unusual gift — in reaction to what he called “the double whammy of Ukraine and Gaza,” which made him so pessimistic that his impulse was to withdraw completely.“I remember going months saying to myself, I don’t want to read any newspapers, I don’t want to watch television news, I just want to get out, stay out and enjoy what it feels like,” he said, sitting in a greenroom at the Polonsky Shakespeare Center, where Theater for a New Audience is giving his 1958 play “The Swamp Dwellers” its Off Broadway premiere.Leon Addison Brown as Makuri in “The Swamp Dwellers” at Theater for a New Audience.Hollis KingWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Boop! The Musical’ Review: Betty Gets a Broadway Brand Extension

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      The It girl with the spit curl looks great for 100, but her Broadway musical, which feels like one big merch grab, is boop-boop-a-don’t.Some shows are “what?” shows, leaving you baffled. Perhaps they involve roller-skating trains or shrouds of Turin.Others are “how?” shows, as in: Dear God, how did that happen?But the most disappointing subgenre of musical, at least in terms of opportunity cost, is the “why?” show: a well-crafted, charmingly performed, highly professional production that nobody asked for. Its intentions are foggy and sometimes suspicious.“Boop! The Musical” — now playing at the Broadhurst Theater, in a production directed and choreographed by Jerry Mitchell — is a “why?” show par excellence.And excellence it has. As Betty, the flapper of early talkie cartoons, Jasmine Amy Rogers is immensely likable. She sings fabulously, sports a credible perma-smile, nails all the Boop mannerisms and has a fetching way with a tossed-off line. I can’t imagine anyone making more of the exhausting opportunity, let alone in a Broadway debut.She is ably supported by other young talent in featured roles, luxury-cast veterans doing their damnedest and a hard-working ensemble selling Mitchell’s insistent, imaginative, precision-drilled dances. When his pinwheel kick-lines hop in unison, not one foot among 26 is left on the floor.Or make that 27, because Pudgy, Betty’s pug, a marionette with a lolling pink tongue operated by the puppeteer Phillip Huber, sometimes shakes a leg too.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      At James Earl Jones Memorial, Denzel Washington and Whoopi Goldberg Share Stories

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      At a gathering in the Broadway theater renamed to honor the star, speakers including Denzel Washington and Phylicia Rashad described Jones as an inspiration.Denzel Washington called him his “northern star.” Whoopi Goldberg said “getting to see him onstage was heaven.” Some of the most notable names in show business gathered in Times Square on Monday afternoon for a starry, and sometimes emotional, send-off for James Earl Jones, who died last year at the age of 93. He was remembered for his thunderous voice and his enviable acting chops, as well as for being a gentle guiding presence in the lives of young actors.For more than 90 minutes, at the Broadway theater that now bears his name on West 48th Street in Manhattan, a packed house laughed, cried and shared numerous personal stories that not only painted a bright picture of Jones, but cast him as an important figure who inspired fellow actors to reach their personal bests.“He was powerful, he was present, he was purposeful, he was humble,” Denzel Washington said of Jones.Sara Krulwich/The New York TimesIn a short speech, Denzel Washington described Jones as having personified grace, power and dignity. Washington, who is currently starring in a Broadway revival of “Othello,” a role that Jones had made his own on Broadway more than six decades ago, said he hoped to be as good a stage actor as Jones. “He was powerful, he was present, he was purposeful, he was humble,” Washington said. “He is not only the greatest African American actor; in my opinion he is one of the greatest actors ever to be on a Broadway stage.”The actress Linda Powell recalled starring with Jones in a Broadway revival of “On Golden Pond,” which opened 20 years ago this week. She said Jones had pushed for her to be cast in the role of his daughter. “It was one of the best jobs of my life, one of the best experiences of my life, and his faith in me was a gift,” she said.Phylicia Rashad recalled seeing Jones perform when she was a young adult, and later performing as Big Mama to his Big Daddy in the 2008 Broadway revival of “Cat on a Hot Tin Roof.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Snubs and Surprises of the 2025 Olivier Awards

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      Times critics discuss the big winners — a new play about Roald Dahl, a “Fiddler on the Roof” revival and a folk-rock “Benjamin Button”— at London’s theater awards.When the nominees for the Olivier Awards — Britain’s equivalent to the Tonys — were announced last month, a revival of the 1964 musical “Fiddler on the Roof” dominated, with 13 nominations. At the awards ceremony on Sunday night, though, the list of winners was more balanced: “Fiddler” took home three trophies; as did “Giant,” which starred John Lithgow as Roald Dahl; and a folk music adaptation of “The Curious Case of Benjamin Button.”Matt Wolf and Houman Barekat, The New York Times’s London theater critics, discussed the winners and the productions that missed out with Eleanor Stanford, a Times contributor.New productions like “Giant” and “The Curious Case of Benjamin Button” were among the big winners on Sunday night. What does that say about the state of British theater?BAREKAT It’s heartening, especially when you consider that neither of these plays sound particularly promising on paper: Benjamin Button reimagined as an English fisherman, set to Cornish folk music; Roald Dahl squabbling with his publisher about blowback from an inflammatory article. And yet both were staged successfully. It tells us that, when the industry is prepared to take risks, theatergoers can be receptive. And the same goes for “The Years” — I wasn’t quite as enthused by it as some other critics, but turning a sociological memoir into watchable theater is no mean feat. Eline Arbo imbued it with a sense of movement and vitality, so I can understand why she won best director.WOLF Both shows were expected to win their key categories — best new musical for “Benjamin Button” and best new play for “Giant” — and did. Both are decidedly British, as well as strikingly original, which is interesting given the Oliviers’ history of often crowning American work, especially when it comes to best new musical: “Hamilton” and “Dear Evan Hansen” both won that category.Remarkably, this year Romola Garai was nominated twice for best supporting actress, for her performances in “The Years” and “Giant.” She won for “The Years.” What makes Garai stand out onstage?We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More