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    Morgan Jenness, Whose Artistic Vision Influenced American Theater, Dies at 72

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    A beloved figure in the theatrical community, she redefined the role of dramaturg, influencing playwrights like David Adjmi and David Henry Hwang.Morgan Jenness, a dramaturg, teacher and theatrical agent who nurtured the work of countless playwrights — including Taylor Mac, David Adjmi, David Henry Hwang, Larry Kramer and Maria Irene Fornés — died on Nov. 12. Ms. Jenness, who in recent years began using the pronouns they/them and she interchangeably, was 72.Mx. Mac confirmed the death. “In Act 3 of her life, she was exploring her gender identity,” said Mx. Mac, who went to Ms. Jenness’s apartment in the East Village of Manhattan with two friends after she failed to show up for a class she taught at Columbia University and discovered her body. The cause of death had not yet been determined.Ms. Jenness was a revered and beloved figure in the theater community — particularly the downtown theater community. (In many ways, she was its embodiment.) She had a deep moral seriousness, colleagues said, as well as a fierce artistic integrity and a passion for subversive work that had depth charges in all the right places. She also had “a complete indifference to material success,” said Oskar Eustis, the artistic director of the Public Theater, where Ms. Jenness began her career. “She was frankly repelled by it.”The play was the thing.“She would ask writers, ‘What do you want to inject into the bloodstream of the American theater?’” recalled Beth Blickers, a theatrical agent.“If you said, ‘I just want to tell good stories,’ she would turn to me and say, ‘That was a terrible answer,’” Ms. Blickers continued. “She wanted someone to say, ‘I have a passion for this community or this idea.’ To tell good stories wasn’t enough.”A dramaturg has been defined as a sort of literary and theatrical adviser who helps the actors and director understand the play they’re presenting. “But that was the European model, focused primarily on the classics,” Mr. Eustis said. “Morgan was one of the first generation of people who were defining what a new play dramaturg was: the midwife and support system of a playwright.”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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      ‘Suffs,’ the Tony-Winning Broadway Musical, Will Close Jan. 5

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      The musical, created by Shania Taub, announced that it will play its final performance on Jan. 5 and start a national tour next fall.“Suffs,” a new musical about the American women’s suffrage movement, has a lot going for it: Its producers include Hillary Rodham Clinton and Malala Yousafzai, it won Tony Awards for its score and its book, and its audiences seemed energized by how the show’s themes resonated with the candidacy of Kamala Harris.But the show has struggled to sell enough tickets to defray its running costs, and on Friday night the producers announced that it would close on Jan. 5. At the time of its closing, it will have had 24 previews and 301 regular performances. The show announced plans for a national tour, which will begin in Seattle’s in September 2025.The musical, which takes place in the early 20th century, depicts two generations of women eager to win the right to vote, but divided over how best to do that. Shaina Taub, a singer-songwriter, wrote the book and score and stars as Alice Paul, an influential suffragist. It was directed by Leigh Silverman.The show began previews on March 26 and opened on April 18 at the Music Box Theater. A pre-Broadway production at the Public Theater received reviews that were mixed; the reviews of the Broadway production were somewhat better. Writing in The New York Times, the chief theater critic Jesse Green called it “a good show and good for the world” but said “to be great, a musical (like a great movement) must grab you by the throat. ‘Suffs’ too often settles for holding up signs.”The show’s grosses have been middling — during the week that ended Oct. 6, it grossed $679,589, which is generally not sufficient to sustain a large-cast musical.“Suffs” is the sixth musical to announce closing dates since early May, following “Lempicka,” “The Heart of Rock and Roll,” “The Who’s Tommy,” “The Notebook” and “Water for Elephants.” Broadway is always a difficult industry, and most shows fail, but the odds of success are particularly long now because production costs have risen, audience size has fallen, and a high volume of shows are competing for attention.“Suffs,” with Jill Furman and Rachel Sussman as lead producers, was capitalized for $19 million, according to a filing with the Securities and Exchange Commission. That money has not been recouped. More

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      Gavin Creel, Tony-Winning Musical Theater Actor, Dies at 48

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      He won the award playing a Yonkers feed store clerk in “Hello, Dolly!” and was also nominated for roles in “Thoroughly Modern Millie” and “Hair.”Gavin Creel, a sly and charming musical theater actor who won a Tony Award as a wide-eyed adventure seeker in “Hello, Dolly!” and an Olivier Award as a preening missionary in “The Book of Mormon,” died on Monday at his home in Manhattan. He was 48.His death was confirmed by his partner, Alex Temple Ward, via a publicist, Matt Polk. The cause was metastatic melanotic peripheral nerve sheath sarcoma, a rare form of cancer, which Mr. Creel learned he had in July.Mr. Creel was a well-liked member of the New York theater community whose death comes as a shock, given his age. He had been performing on Broadway for two decades, mostly in starring roles, and just last winter his physical and vocal agility, as well as his charisma and curiosity, were on display in a memoiristic show he wrote and performed Off Broadway called “Walk on Through: Confessions of a Museum Novice,” about learning to love the Metropolitan Museum of Art.Mr. Creel during his Broadway debut in 2002 when he played Jimmy Smith in “Thoroughly Modern Millie” opposite Sutton Foster as Millie Dillmount.Sara Krulwich/The New York TimesA superior singer with a sunny tenor, Mr. Creel made his Broadway debut and received his first Tony nomination in 2002 as the suave salesman Jimmy Smith in the original production of “Thoroughly Modern Millie,” starring opposite Sutton Foster, who played the title character, a spunky social climber named Millie Dillmount.He went on to find success in a string of Broadway revivals, playing the straight son of a gay couple in “La Cage aux Folles” (which opened in 2004); the leader of a tribe of hippies in “Hair” (2009); a womanizing clerk in “She Loves Me” (2016); a callow clerk in “Hello, Dolly!” (2017); and both a prince and a wolf in “Into the Woods” (2022).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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      Maggie Smith, Grande Dame of Stage and Screen, Dies at 89

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      She earned an extraordinary array of awards, from Oscars to Emmys to a Tony, but she could still go almost everywhere unrecognized. Then came “Downton Abbey.”Maggie Smith, one of the finest British stage and screen actors of her generation, whose award-winning roles ranged from a freethinking Scottish schoolteacher in “The Prime of Miss Jean Brodie” to the acid-tongued dowager countess on “Downton Abbey,” died on Friday in London. She was 89.Her death, in a hospital, was announced by her family in a statement issued by a publicist. It did not specify the cause of death.American moviegoers barely knew Ms. Smith (now Dame Maggie to her countrymen) when she starred in “The Prime of Miss Jean Brodie” (1969), about a teacher at a girls’ school in the 1930s who dared to have provocative views — and a love life. Vincent Canby’s review in The New York Times described her performance as “a staggering amalgam of counterpointed moods, switches in voice levels and obliquely stated emotions, all of which are precisely right.” It brought her the Academy Award for best actress.She won a second Oscar, for best supporting actress, for “California Suite” (1978), based on Neil Simon’s stage comedy. Her character, a British actress attending the Oscars with her bisexual husband (Michael Caine), has a disappointing evening at the ceremony and a bittersweet night in bed.In real life, prizes had begun coming Ms. Smith’s way in 1962, when she won her first Evening Standard Theater Award. By the turn of the millennium, she had the two Oscars, a Tony, two Golden Globes, half a dozen BAFTAs (British Academy of Film and Television Awards) and scores of nominations. Yet she could go almost anywhere unrecognized.Until “Downton Abbey.”Ms. Smith on the set of the 1969 film “The Prime of Miss Jean Brodie.” She won an Academy Award for best actress for the performance.Universal History Archive/Universal Images Group, via Getty Images

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      Was James Earl Jones an EGOT Winner? It’s Complicated.

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      The actor won just about every award he could — but his Oscar was an honorary one. Is that enough for an EGOT?When James Earl Jones died on Monday, some headlines called the prolific actor — known for his deep, mellifluous voice — an EGOT winner. But whether he’s really in the elite club isn’t so clear.Jones performed in scores of plays, some 120 movies and on nearly 90 television shows. And he was rewarded with Emmys, Tonys, a Grammy, an Obie (for Off Broadway productions), a National Medal of Arts, Kennedy Center honors and an honorary Academy Award.James Earl Jones with the Tony Award he won in 1969 for Best Dramatic Actor in “The Great White Hope,” with Lauren Bacall, who presented it to him.Bettmann Archive, via Getty ImagesBut the honorary Oscar might not be enough for the exclusive EGOT club — the playful acronym for winning an Emmy, a Grammy, an Oscar and a Tony. There has long been a debate over whether honorary or noncompetitive awards count toward EGOT status.Back in 2011, Jones won the honorary Oscar, a lifetime achievement award that comes with the famous Oscar trophy and has been given to the likes of Mel Brooks, Sophia Loren, Spike Lee and other Hollywood luminaries. Not enough, The Los Angeles Times proclaimed.“While Jones already has an Emmy, a Grammy and a Tony, to complete the EGOT cycle, winners have to actually win each award, and honorary awards do not count,” according to the newspaper.James Earl Jones holds up the two Emmy Awards he won in 1991.ReutersAccording to Billboard, “most EGOT experts don’t count noncompetitive awards” because “the whole point is to have won the awards in competition.”The New York Times has noted in its reporting on EGOT recipients that “there are hazy areas of eligibility, such as lifetime achievement awards.”Only 21 people have won a competitive EGOT. The list includes Rita Moreno, Audrey Hepburn, Mel Brooks, Whoopi Goldberg, Andrew Lloyd Webber, Viola Davis and Elton John.Even if an honorary win doesn’t quite count, Jones still finds himself in good company. Other honorary EGOT winners include Barbra Streisand, Harry Belafonte, Quincy Jones and Liza Minnelli. More

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      At Home With – Kecia Lewis

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      “I feel like with the kind of work we do as artists, we are literally giving ourselves — we’re giving our body and voice and spirit,” said Kecia Lewis, who recently won a Tony Award for her performance as the tough-minded but inspirational piano teacher Miss Liza Jane in the musical “Hell’s Kitchen.” What with […] More

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      Ron Simons, Who Brought Black Stories to Broadway, Dies at 63

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      He left a career in tech and found success as a producer, winning four Tonys. His mission: staging productions about underrepresented communities.Ron Simons, who left his job as an executive at Microsoft to pursue his dream of acting but later found his métier as a theatrical producer — one of the relatively few Black ones on Broadway — and won four Tony Awards, died on June 12. He was 63.His death was announced by Simonsays Entertainment, his production company. A spokesman declined to say where he died or provide the cause of death.Mr. Simons had been acting for about a decade, but was unhappy with the roles he was being offered, when he started producing in 2009. He believed that his experience as an actor and businessman would serve him well as a producer.“I’ve found that many businesspeople can handle the question of financial viability but can’t judge a good story, so as an artist I also have that area of expertise,” he told DC Theater Arts in 2020. “Plus, even if it’s a good story, it has to be crafted to take it to the stage, so the leadership must understand how to get it there.”Success came quickly. He was a producer of “The Gershwins’ Porgy and Bess,” starring Audra McDonald and Norm Lewis, which won the Tony for best revival of a musical in 2012. Mr. Simons won a second Tony a year later for best play for “Vanya and Sonia and Masha and Spike,” a comedy by Christopher Durang about three middle-aged siblings.Audra McDonald, center, in the musical “The Gershwins’ Porgy and Bess,” which Mr. Simons produced.Sara Krulwich/The New York TimesFrom left David Hyde Pierce, Kristine Nielsen and Sigourney Weaver in the Tony-winning “Vanya and Sonia and Masha and Spike.”Sara Krulwich/The New York TimesWe 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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      Meet The Sisters Who Turned “Merrily We Roll Along” Into a Tony Winner

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      Maria and Sonia Friedman discussed their long history with “Merrily We Roll Along,” after a bittersweet Tony Awards.The Friedman sisters have been making art together since they were little girls. Their London childhood was chaotic — they were often left to their own devices — but the family’s four children found solace in storytelling.Now Sonia, 59, is one of the most successful theater producers in the English-speaking world. Maria, 64, is a celebrated actress and singer. Their sister is a scientist, and their brother, who died last year, was a violinist.Sonia and Maria have occasionally worked together over the years, but rarely with as much emotional investment as on the current Broadway revival of “Merrily We Roll Along,” which Maria is directing and Sonia is producing. The revival has been transformative for the show, which, despite much-loved songs by Stephen Sondheim, was a famous flop when it first ran in 1981, and is now one of the hottest tickets in town.On Sunday night the Friedman sisters’ production won a Tony Award for best musical revival, as well as acting prizes for two of its stars, Daniel Radcliffe and Jonathan Groff, and another for its orchestrations. It did not, however, win for Maria’s direction, which made their evening bittersweet.“My heart went into 2,000 pieces,” said Sonia Friedman, who has a shelf full of Tony Awards, but just wanted recognition for her sister. She said she had to step out of the theater to collect herself. “The little sister in me was in agony for an older sister who’s only ever held me and supported me.”“Winning the Tony was fantastic, for Steve and for the legacy,” Maria Friedman said, but added that losing out on the best director award “was painful.”Sara Krulwich/The New York TimesWe 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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      First-Time Tony Winners on Their Awards: Daniel Radcliffe, Kecia Lewis and More

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      All of the actors who took home Tonys were first-time winners. Here’s what they had to say after their wins.All of the performers who received Tony Awards last night have one thing in common: they were all first-time honorees. After accepting their prizes, the winners trekked across the Lincoln Center plaza to a press room where they answered questions from The New York Times and reporters from other news outlets. Here’s a sampling of what they said.Daniel Radcliffe, “Merrily We Roll Along”Radcliffe won best featured actor in a musical for his performance as the lyricist Charley Kringas in a revival of Sondheim’s “Merrily We Roll Along.” It’s Radcliffe’s fifth Broadway show, but the first for which he was nominated for a Tony.What has the “Merrily” journey been like for you?It’s been a dream, especially with it ending like this. My singing teacher, who I mentioned, one of the first things he ever had me sing to him was “Good Thing Going” whenever I worked with him for “Equus.” Going from singing that for the first time in his office in London to singing it onstage and now this, it’s insane.What’s it like to find new success after spending so much of your career in your childhood on “Harry Potter?”When I finished “Potter,” I had no idea what my career was going to be. I had already started doing some stage stuff, but I didn’t know what the future held. To have had the last year with playing Weird Al [in the 2022 movie “Weird: The Al Yankovic Story”] and also doing “Merrily We Roll Along,” it’s been awesome. And I do think playing a character for a long time builds up in you a desire to sort of do as many things as you possibly can. I’m doing that right now.Talk a little bit about the process of learning “Franklin Shepard, Inc.?” It’s a huge moment in the show and a huge patter song.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