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      Jacqueline Woodson’s ‘The Other Side and ‘Show Way’ Go to BAM

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      A dance performance of “The Other Side” and a musical adaptation of “Show Way” head to the Brooklyn stage for young audiences.Jacqueline Woodson has always seen her books while she writes them, visualizing what the characters look like, how they might speak and move. “I imagine them line by line,” she said during a recent phone interview. “I see the pictures.”A prolific author of books for young people (and in later years, for adults), Woodson has won nearly every award possible for a children’s author: the Coretta Scott King award, a National Book award, many Newbery medals, a MacArthur grant. A few of those books have been staged, filmed or set to music. Since Woodson was named the Kennedy Center’s Education Artist-in-Residence in 2021, more have been adapted. Soon, the Brooklyn Academy of Music will bring two of those Kennedy Center productions, “Show Way the Musical” and “The Other Side,” to its Fishman Space. So now audiences in Brooklyn, where Woodson has long lived, can see these books, too.“Song and dance get inside of you in a different way,” she said approvingly. “Adding the dimension of music and movement to that narration touches us in a much deeper and more radiant way.”“The Other Side,” with choreography by Hope Boykin and a score by Ali Jackson, will have four performances this weekend. “Show Way the Musical,” with music and lyrics by Tyrone L. Robinson, runs March 16-17. Recommended for children 7 and older, each deals with difficult subject matter. “The Other Side,” about a Black girl and a white girl who live on opposite sides of a fence, addresses segregation. “Show Way,” a history of the women in Woodson’s family and the quilt they sewed, touches on enslavement. But both are ultimately hopeful, at times even joyful.“Show Way the Musical,” with music and lyrics by Tyrone L. Robinson, is a history of the women in Woodson’s family and the quilt they sewed.Kyle Schick / Elman StudioAmy Cassello, BAM’s interim artistic director, believes in art as a way to help young viewers understand this history, however fraught. “It sets the scene for learning and openness and understanding,” she said.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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      Cast Album Roundup: ‘Sweeney Todd,’ ‘Parade,’ ‘Camelot’ and More

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      Recordings of Broadway musicals are often better than the shows they preserve. Here’s a ranking of last year’s crop, with samples and bonus tracks.The best theatrical songwriting barely requires a theater. Which is a good thing when so many shows close so quickly.Of the 16 musicals that opened on Broadway in 2023, only four are still running. That’s live theater, perpetually dying.Yet not entirely. Like loved ones who leave behind scrapbooks or tchotchkes, many shows leave souvenirs of themselves in the form of cast albums. And sometimes, shorn of annoying context, they’re better than what was once seen onstage.Below, my highly subjective ranking of the nine 2023 musicals that released cast albums. (One more — “Gutenberg! The Musical!” — is expected, this spring.) And because no year is complete without a bunch of Stephen Sondheim marginalia, I’ve added a few bonus tracks, including a snippet of a surprise, in his honor.All the recordings are good, and some are sublime, as you can let your ears decide. But close your eyes if possible. Let the theater be inside you.1. ‘Sweeney Todd’The glorious score is largely unchanged. The orchestrations are only slightly tweaked. So what’s the added value of this nth recording of the Sondheim masterwork? As you might expect from a cast headed by Josh Groban as the vengeful barber, the answer is the beautiful singing. Groban’s slight stiffness and somewhat meek interpretation, which worked against the role’s terror in the huge stage production, are utterly absent on the album, turning numbers like Sweeney’s “Epiphany” into murderous arias as big as any in opera. Under Alex Lacamoire’s musical supervision, the performances — not just Groban’s but the ensemble’s — go for the throat, over and over.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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      Forbidden No More: ‘Forbidden Broadway,’ Scrappy Spoof, Bound for Broadway

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      The long-running parody show, which has been staged in New York and on tour, will open this summer at the Hayes Theater.For more than four decades, “Forbidden Broadway” has lovingly mocked the songs, stories and stars of Broadway from afar — in performance spaces at bars or diners as well as in theaters in New York and beyond.This summer, the show will for the first time be staged in the belly of the beast: on Broadway. A version of the long-running, oft-altered revue, now titled “Forbidden Broadway on Broadway: Merrily We Stole a Song,” is planning to begin previews July 29 and to open Aug. 15 at the Hayes Theater.“Everything else is getting bigger, so why not ‘Forbidden Broadway’?” said Gerard Alessandrini, the show’s creator and author. “I haven’t done a whole new edition of ‘Forbidden Broadway’ since before Covid, so I thought this would be a good time to come back — we need to laugh more, and with all the activity on Broadway, there will be plenty of good targets.”“Forbidden Broadway” is a satirical production, consisting mostly of melodies from well-known or currently running shows, rewritten with lyrics that mock something about the production or its artists. The audience’s basic familiarity with the material is crucial, so the show’s targets are often rotated to reflect whatever is most in the public eye.“Going to a ‘Forbidden Broadway’ is for me like sitting down and schmoozing with a friend who shares an obsession,” the critic Ben Brantley wrote in The New York Times in 2019.The show has had some near-death experiences, but, at least so far, each hiatus has been followed by rewriting and rebirth.The subtitle of the Broadway version is a confession as well as an allusion to one of the season’s biggest hits, “Merrily We Roll Along,” which has a score by Stephen Sondheim. “Forbidden Broadway” has long parodied Sondheim works, and this iteration is expected to spoof not only “Merrily,” but also several other classics by the great composer, including “Sweeney Todd,” “Into the Woods” and “Company.” That doesn’t mean this season’s other offerings will be spared — a news release cites as possible examples “Hell’s Kitchen,” “The Great Gatsby,” “Back to the Future,” “The Notebook” and “Water for Elephants.”The plans to bring “Forbidden Broadway” to the big stage were previously reported by the newsletter Broadway Journal. The production, with four actors, a pianist and rotating guest stars, will be directed by Alessandrini, who created “Forbidden Broadway” in 1982. The producers are Broadway & Beyond Theatricals (Ryan Bogner, Victoria Lang and Tracey Stroock McFarland) in association with John Freedson and Harriet Yellin. More

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      René Pollesch, Provocative Force in German Theater, Dies at 61

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      His avant-garde work, short on character and plot but long on verbal high jinks, could be irreverent, even goofy, but it was always intellectually serious.René Pollesch, a prolific playwright and stage director whose work — intellectually serious yet irreverent, chatty, goofy and riddled with pop culture references — made him one of the most significant forces in German theater of the past three decades, died on Monday in Berlin. He was 61.His death was announced by the Volksbühne am Rosa-Luxemburg-Platz theater, where he had been artistic director since 2021. No cause was given.Mr. Pollesch (pronounced POL-esh) wrote roughly 200 plays and directed virtually all of them himself, often at leading theaters in the German-speaking world. But while his plays lit up stages in places like Stuttgart, Hamburg, Vienna and Zurich, he was most closely associated with the Volksbühne, a publicly funded playhouse in what once was East Berlin, that had a reputation for daring and provocative theatermaking.Mr. Pollesch took over leadership of the theater after years of managerial turmoil set off by the dismissal of the company’s longtime artistic director, Frank Castorf, in 2017. When Mr. Pollesch arrived, two others in the top post had come and gone, and the theater was craving stability.In his two and a half seasons at the helm, he staged nine original plays, eight of which remain in the theater’s repertoire. The most recent, “ja nichts ist okay” (“yes nothing is okay”) premiered on Feb. 11.A scene from “ja nichts ist ok” (“yes nothing is okay”), the most recent play staged by Mr. Pollesch at the Volksbühne. It had its premiere on Feb. 11. Thomas Aurin, via Volksbühne am Rosa-Luxemburg-PlatzWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: In ‘Brooklyn Laundry,’ There’s No Ordering Off the Menu

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      John Patrick Shanley’s new play, starring Cecily Strong and David Zayas, is a romantic comedy with a penchant for the resolutely dismal.Fran and Owen have been chatting for only a few minutes, not all that companionably, when he asks her out. It’s a risky thing to do, since she’s a customer at the drop-off laundry he owns. To Owen, though, Fran resembles his ex-fiancée: “Smart, one inch from terrific, but gloomy,” he says.So bone-tired of being single that a casual insult from a guy she’s just met isn’t a deal breaker, Fran warily agrees to dinner.“But I don’t get why you want to, really,” she adds. “I’m not your old gloomy girlfriend. I’m somebody else.”Owen counters: “Well, whoever you think I am, I’m somebody else, too.”This is truer than he comprehends. Starring Cecily Strong as Fran and David Zayas as Owen, John Patrick Shanley’s enticingly cast, rather lumpy new play, “Brooklyn Laundry,” can get you thinking about warning labels — those heads-ups that we all ought to come with, so people know what they’re in for when they encounter us.Fran’s warning label would be long and convoluted, Owen’s even more so. Each of them would be surprised if they read their own. They realize that they’re a little bit broken, in need of repair. They just don’t understand quite how.Side note to Fran: While Owen seems potentially quite sweet (gruff adorability is Zayas’s bailiwick), he is way more hidebound and a whole lot more self-pitying than he lets on. Run, maybe?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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      Louis Armstrong Musical ‘A Wonderful World’ Set for Broadway

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      “A Wonderful World,” featuring Armstrong’s songs, is set to begin previews at Studio 54 in October after previous runs in Miami, New Orleans and Chicago.“A Wonderful World,” a new musical about Louis Armstrong, will have a run on Broadway starting in the fall.The musical, which has previously been staged in Miami, New Orleans and Chicago, will star James Monroe Iglehart, who a decade ago won a Tony Award for originating the role of the Genie in “Aladdin,” and who is now starring as King Arthur in a Broadway revival of “Spamalot.”The show is scheduled to begin previews Oct. 16 and to open Nov. 11 at Studio 54, where the musical “Days of Wine and Roses” is now playing a limited run.When Armstrong died in 1971, the trumpeter and singer left a legacy as one of the most important figures in the history of jazz. The show examines his life through the eyes of his four wives.The score is made up of Armstrong songs including the classic that gives the show its title, along with “When You’re Smiling,” “I Can’t Give You Anything but Love” and others. The book is by Aurin Squire, and Christopher Renshaw is directing; Renshaw and Andrew Delaplaine are credited with conceiving the musical.“A Wonderful World” is being produced by Thomas E. Rodgers Jr., Renee Rodgers, Martian Entertainment (Carl D. White and Gregory Rae), Vanessa Williams and Elizabeth Curtis. More

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      In Justin Peck’s ‘Illinoise,’ Dance On and Feel It

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      Justin Peck was around 17 when he first heard the Sufjan Stevens album “Illinois,” an epic paean to the state, nearly two dozen tracks brimming with orchestral indie rock, dense, lyrical wistfulness and sometimes obscure local history. This listening experience came long before Peck wanted to make dances, before he was even a professional dancer.But “Illinois” urged him to move. “It was an instantaneous, illuminating thing that I felt like it was so danceable,” said Peck, now the resident choreographer and artistic adviser at New York City Ballet. “And it is so rare to find someone who can conjure that, especially someone who’s alive right now.”Ever since, Peck, 36, has found artistic inspiration in Stevens — “the voice in music that has led me down paths further than I’ve ever gone before,” he said.The two collaborated regularly, including on “Year of the Rabbit,” the ballet that launched Peck as a choreographer, in 2012. Not long after they began working together, Peck, hoping to experiment with storytelling forms, and influenced by dance-pop productions like Twyla Tharp’s “Movin’ Out,” asked if he could make a theatrical piece set to “Illinois.” Stevens took nearly five years to agree.Justin Peck, left, and Jackie Sibblies Drury, who said the show “feels like the most broadly appealing thing that I have actually ever worked on.”Sasha Arutyunova for The New York TimesAlmost five years later, the result is “Illinoise,” a project that is every bit as ambitious and genre-defying as its soundtrack: a narrative dance musical that combines a coming-of-age story, a snapshot of queer identity and a meditation on death, love, community, history, politics and zombies.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 Ally’ Review: Social Justice as a Maddening Hall of Mirrors

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      Itamar Moses’s play offers eloquent arguments on all sides of the Israeli-Palestinian conflict. But it doesn’t offer much drama.As this is a trial, let’s start with the facts. Asaf Sternheim, who teaches writing at a university a lot like Penn, is asked by a former student, Baron Prince, to endorse a manifesto. The manifesto seeks justice for Baron’s cousin, Deronte, who was killed by police officers while being stopped for a theft he had nothing to do with.Also pertinent: Asaf (Josh Radnor) is a Jew, albeit the kind that subscribes, as he says, to the “acoustic-guitar-based variety” of Judaism. Baron (Elijah Jones) is Black, as was Deronte.And one more thing: The 20-page manifesto, tying violence against Black Americans to violence against all subjugated populations, calls for “sanctions on the apartheid state of Israel,” adding that “failure to do so will leave the United States complicit in the ongoing genocide of the Palestinian people.”You could feel the “uh-oh” in the audience the night I saw “The Ally,” an important, maddening play by Itamar Moses that opened on Tuesday at the Public Theater.Words like “apartheid” and “genocide,” when applied to Israel and Palestinians, are sure to rile lots of people. But challenging the use of those words will equally rile others. Smack in the middle is Asaf, whom the play proceeds to put through a tribal-political wringer that leaves him — and left me — a limp dishrag.Whether you think that’s a good thing for a play to do may depend on your tolerance for endless, furious, yet familiar debate. There’s no question that Moses, whose biography as the Berkeley-raised son of Israeli immigrants is a close match for Asaf’s, knows the territory and its every skirmish intimately. It often seems that the arguments, on all sides, have been transcribed from personal experience or the news.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