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    Nick Jonas and Adrienne Warren to Star in ‘Last Five Years’ on Broadway

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    Whitney White will direct the first Broadway production of Jason Robert Brown’s popular musical, which plans to open next spring.Nick Jonas and Adrienne Warren are planning to star in a production of “The Last Five Years” on Broadway next spring.Jonas appeared in several Broadway shows as a child; his one starring role was in 2012, when he stepped into a production of “How to Succeed in Business Without Really Trying,” and his most recent appearance on Broadway was for a Jonas Brothers concert stand last year.Warren is a Tony Award winner for playing the title role in “Tina.” She also had roles in Broadway productions of “Shuffle Along, or the Making of the Musical Sensation of 1921 and All That Followed” and “Bring It On.”“The Last Five Years,” by Jason Robert Brown, is about the breakup of a marriage. Critics have rarely warmed to it, but it has a huge fan base, and is widely staged. It has never been on Broadway, in part because it is so small — just two characters and one act. The show also has an unusual structure: the male protagonist, a novelist named Jamie, tells the story from beginning to end, while the female protagonist, an actress named Cathy, tells it in reverse chronological order.It was first staged in Illinois, at Northlight Theater, in 2001, with Norbert Leo Butz and Lauren Kennedy, and then had an Off Broadway run at the Minetta Lane Theater in 2002, with Butz and Sherie Rene Scott. In the decades since, there have been numerous national and international productions and adaptations. There was a film adaptation, starring Anna Kendrick and Jeremy Jordan, in 2015. More recently, Cynthia Erivo and Joshua Henry starred in a concert version in 2016, and at the height of the pandemic Out of the Box Theatrics and Holmdel Theater Company staged a memorable streaming production filmed inside an apartment with Nicholas Edwards and Nasia Thomas. (The number of licensed productions of the show doubled during the pandemic because the small cast and idiosyncratic narrative structure made it conducive to social distancing.)The Broadway production, directed by Whitney White (a Tony nominee for “Jaja’s African Hair Braiding”), will be produced by Seaview, an increasingly prolific producing entity run by Greg Nobile; ATG Productions, a subsidiary of British theater owner ATG Entertainment; and the Season, which is the new producing entity of theater marketers Mike Karns and Steven Tartick. More

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      In Rehearsal One Minute, Laid Off the Next: The Fate of Broadway’s ‘Room’

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      Actors were two weeks into rehearsals when the show, which was set to star the Tony-winning actress Adrienne Warren, was postponed indefinitely.Two weeks into Broadway rehearsals for “Room,” a show about a mother held captive with her young son, the first act had been fully blocked. Tickets were on sale. Critics had been invited.It was 18 days until the first preview performance, and on Thursday, actors were continuing to work through Act II. But then, inside the rehearsal studio on 42nd Street, a lead producer gathered members of the cast and crew to announce that a financial shortfall meant the show would be postponed indefinitely.“It just became pin-drop silent,” said Michael Genet, one of the show’s actors.The churn of Broadway machinery had ground to a halt. The producer, Hunter Arnold, explained to those present — including the star, the Tony-winning actress Adrienne Warren — that an attempt to save the show through dozens of phone calls to potential investors had been unsuccessful.“I said, very truthfully, that this is the most painful thing I’ve ever had to do in my professional life,” Arnold said in an interview on Friday. “We had spent the last few days doing everything in our combined power to try to save something that we believe is really beautiful, and failed.”Genet, who has been acting on Broadway since 1989, said he had experienced plenty of turbulence in the industry: One musical he was in, “Lestat,” shuttered in 2006 after 39 performances.“But I had never had the rug pulled out in the middle of rehearsal,” he said.“Room” had been scheduled to start performances on April 3 and run through mid-September.Sara Krulwich/The New York Times“Room,” adapted from a novel by Emma Donoghue, who later turned it into a film starring Brie Larson, had been preparing for its Broadway debut after premiering in London in 2017 and staging productions in Ireland, Scotland and Canada. Directed by Cora Bissett, the production, which was also slated to feature Ephraim Sykes and Kate Burton, was scheduled to start performances on April 3 and run through mid-September.Arnold, whose current shows include “Some Like It Hot” and “Leopoldstadt,” told the cast and crew — and soon after, the public — that a lead producer had decided not to “fulfill their obligations to the production” because of personal reasons.In an interview on Friday, Nathan Gehan, a Broadway producer and general manager, said he had decided to withdraw his producing company, ShowTown Productions, from being a general partner on “Room” because of a family crisis. As a general partner, Gehan’s company assumed the show’s financial liability, along with Arnold and the British producers who had shepherded the show from its overseas beginnings, Sam Julyan and James Yeoburn.Gehan said he had planned to continue to raise funds and do “boots on the ground” producing work despite announcing his intention to withdraw as a general partner on March 7. He said he believed that his company had enough financial commitments to “hold up our end of the bargain.” But in the days since, Gehan said, he and his producing partner, Jamison Scott, had been cut out of the process by the other producers; they learned of the postponement with the rest of the public.“To have to go through rehearsal and not have anything to show for it is just gut-wrenching,” he said.The show had been seeking to raise up to $7 million overall, according to a filing with the Securities and Exchange Commission.In a statement, Arnold said that the exiting producer provided the remaining producers with a list of “interested parties” with regard to fund-raising, but that “it became quickly apparent that list was neither viable nor sufficient to close the economic gap we were facing.” They reached out to more than 200 contacts looking for potential investors, Arnold said, but could not find the necessary support.“We are still processing this turn of events and since this is ongoing, cannot speak to each statement made by Mr. Gehan,” he said. “Suffice to say, we do not entirely agree with his version of events.”The story told in “Room” is a particularly raw and emotional one, following a mother (played by Warren) who was kidnapped as a teenager and has been living in one room for seven years, raising a child she bore after being raped by her captor. Warren appeared to respond to the news about the show with a broken heart emoji on Twitter.The two child actors who play the young boy, Christopher Woodley and Aiden Mekhi Sierra — both of them anticipating their Broadway debuts — were told about the show’s postponement after their parents had arrived, Genet said. In the rehearsal room, some people cried and some hugged, but the conversation quickly turned toward ways they could get the show back on track.“People were hopping on calls trying to figure out who could help,” said Justin Ellington, the sound designer, who had been preparing to show the director the music and cues for the first act on Thursday. “It didn’t feel like people were like, ‘Oh, I’m missing out on all this money’ — that was not the talk. What I was feeling and hearing in the space was connected to the piece and telling this story.”Still, actors who had signed on for more than five months of work were suddenly looking at empty schedules. Arnold said he assured them they would receive their paychecks for the work they had done, though he cautioned that the checks could take a few days to clear because they were coming from an account at Signature Bank, which was recently seized by regulators as part of a larger banking crisis.A spokesman for the Actors’ Equity union said it was working to ensure that the production was following the terms of the collective bargaining agreement. Arnold added in a statement that union company members would be “fully compensated on the terms of their contracts.” Baseline Broadway contracts for actors and stage managers include a stipulation that if a show is discontinued, the workers must be paid for the rest of the rehearsal period, plus at least two more weeks.In his statement, Arnold said he was “committed to creating comparable compensation terms” for nonunion employees.Even as the actors and crew members hold out hope for a new investor to swoop in, the bubble of excitement around staging a new show with a major Broadway star had been punctured.“I’ll just do my taxes I guess?” Ellington said. “I really haven’t thought that far.” More

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      Broadway’s ‘Room,’ Starring Adrienne Warren, Postpones Run Indefinitely

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      The show, scheduled to open in April at the James Earl Jones Theater, was adapted from Emma Donoghue’s best-selling 2010 novel.In a surprise move, a new Broadway show that had already begun rehearsals announced on Thursday morning that its run this spring has been scuttled because of a money shortfall.“Room,” adapted from an Emma Donoghue novel that had already been turned into an acclaimed film, was to start performances in 18 days, with the Tony winner Adrienne Warren starring. There was already a marquee illuminated outside the James Earl Jones Theater, and tickets were on sale.The collapse, although not unprecedented, was startling, and comes at a time when the capitalization costs for Broadway shows have been rising, and some producers have had a harder time raising those funds. “Room” had been seeking to raise up to $7 million, according to a filing with the Securities and Exchange Commission.Hunter Arnold, who was producing “Room” with Sam Julyan and James Yeoburn, blamed fund-raising woes for the production’s shut down, which he described as an indefinite postponement.“In the midst of our rehearsals we were informed by one of our lead producers that due to personal reasons, they did not intend to fulfill their obligations to the production,” he said. “Since being notified, the rest of the producing team has exhausted all possible avenues to keep the show on track, but the narrow timeline and economic shortfall created by this series of events has proven to be insurmountable.”(This has been a rough season for Arnold: The SEC said in September it was investigating whether two of his partners had misled investors, but he said that investigation has since been dropped.)“Room” is the story of a young boy raised in a shed where he and his mother are held captive by a sexual predator; the novel, released in 2010, was a best seller, and the film came in 2015. The show, written by Donoghue with songs by Cora Bissett and Kathryn Joseph, had been staged several times in the British Isles and in Canada starting in 2017; Warren, who won the Tony in 2021 for starring as Tina Turner in the “Tina” biomusical, was to play the boy’s mother on Broadway.The last time a Broadway show imploded this close to opening was in 2016, when “Nerds” collapsed, also citing fund-raising woes. And in 2012, the musical “Rebecca” collapsed, also citing money trouble; that show’s troubles led to litigation. More

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      ‘Room’ Will Be Staged on Broadway, Starring Adrienne Warren

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      Emma Donoghue adapted the show from her best-selling 2010 novel; she also wrote the screenplay for the 2015 film.“Room,” Emma Donoghue’s harrowing story of a young boy raised in a shed where he and his mother are held captive by a sexual predator, was a best-selling novel in 2010, and then a much-praised film in 2015.Now a stage adaptation of the story is coming to Broadway with Adrienne Warren, a Tony-winning actress, starring as the boy’s mother. Warren, a founder of the antiracism organization Broadway Advocacy Coalition, won the Tony in 2021 for her electrifying performance as Tina Turner in the “Tina” biomusical. She has since appeared in the film “The Woman King” and the television series “Women of the Movement” and signed a development deal with a production company.The stage adaptation of “Room,” which is a drama with songs, has had several productions, starting in 2017 in the British Isles — at Theater Royal Stratford East in London, Abbey Theater in Dublin and National Theater of Scotland in Glasgow — and then last year in Canada, at Grand Theater in London, Ontario, and the Princess of Wales Theater in Toronto.Asked whether the production would be considered a play or a musical for awards purposes, Jim Byk, a spokesman for the show, said, “The producers have previously described ‘Room’ as a play with music, but as there has been considerable work done since the last production, they do not plan on making a definitive call on this until after the show is frozen, as is traditional for productions that could technically qualify for either category.”The Broadway production is scheduled to begin preview performances April 3 and to open April 17 at the James Earl Jones Theater. Donoghue, the Irish Canadian author of both the novel and the screenplay, has also written the stage adaptation; the songs are by two Scotswomen, Kathryn Joseph and Cora Bissett. Bissett is also directing the show.“Room” is being produced by Sam Julyan, James Yeoburn, ShowTown Productions and Hunter Arnold. More

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      ‘Moulin Rouge!’ and ‘The Inheritance’ Take Top Honors at Tony Awards

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      The ceremony, held for the first time in more than two years, honored shows that opened before the pandemic and tried to lure crowds back to Broadway.It was the first Tony Awards in 27 months. It followed the longest Broadway closing in history. It arrived during a pandemic that has already killed 687,000 Americans, and as the theater industry, like many other sectors of society, is wrestling with intensifying demands for racial equity.The Tony Awards ceremony Sunday night was unlike any that came before — still a mix of prizes and performances, but now with a mission to lure audiences back as the imperiled industry and the enduring art form seek to rebound.The ceremony’s biggest prize, for best musical, went to “Moulin Rouge! The Musical,” a sumptuously eye-popping stage adaptation of the 2001 Baz Luhrmann film about a love triangle in fin-de-siècle Paris. The musical, jam-packed with present-day pop songs, swept the musical categories, picking up 10 prizes.“I feel that every show of last season deserves to be thought of as the best musical,” said the “Moulin Rouge!” lead producer, Carmen Pavlovic, “The shows that opened, the shows that closed — not to return — the shows that nearly opened, and of course the shows that paused and are fortunate enough to be reborn.”The best play award went to “The Inheritance,” a two-part drama, written by Matthew López and inspired by “Howards End,” about two generations of gay men in New York City. The win was an upset; “The Inheritance” had received, at best, mixed reviews in the U.S., and many observers had expected Jeremy O. Harris’s “Slave Play” to pick up the prize. López, whose father is from Puerto Rico, described himself as the first Latino writer to win the best play Tony, which he said was a point of pride but also suggested the industry needs to do better.“We constitute 19 percent of the United States population, and we represent about two percent of the playwrights having plays on Broadway in the last decade,” López said. “This must change.”Right from the start, there were reminders of the extraordinary difficulties theater artists have faced. Danny Burstein, a much-loved Broadway veteran who had a life-threatening bout of Covid-19 and then lost his wife, the actress Rebecca Luker, to a neurodegenerative disease, won his first Tony. It was the seventh time he was nominated, for his performance as a cabaret impresario in “Moulin Rouge! The Musical,” a show in which at least 25 company members fell ill.In his speech Burstein thanked the Broadway community for its support. “You were there for us whether you just sent a note or sent your love, sent your prayers, sent bagels,” he said. “It meant the world to us, and it’s something I’ll never forget. I love being an actor on Broadway.”The ceremony was held at Broadway’s Winter Garden Theater, which holds 1,500 people, far fewer than the 6,000 who can fit into Radio City Music Hall, where the event was often held in previous years. Attendees were subjected to the same restrictions as patrons at Broadway shows: they were required to demonstrate proof of vaccination, and they were asked to wear masks that cover their mouths and noses.With the majority of the awards given out earlier, most of the CBS telecast, which featured Leslie Odom Jr. as host, was devoted to musical numbers aimed at enticing potential ticket buyers as Broadway reopens after the longest shutdown in its history. Sara Krulwich/The New York TimesThe bifurcated four-hour show relegated most of the awards to an all-business first half, which was viewable only on the Paramount+ streaming service. That freed up the second half, which was telecast on CBS and hosted by Leslie Odom Jr., to emphasize artistry over awards, as a parade of musical theater stars, including “Wicked” alumnae Kristin Chenoweth and Idina Menzel, as well as “Rent” alumni Adam Pascal and Anthony Rapp and “Ragtime” original cast members Audra McDonald and Brian Stokes Mitchell, sought to remind viewers and potential ticket buyers of the joys of theatergoing.Early in the streamed portion of the show, the appeal to nostalgia began: Marissa Jaret Winokur and Matthew Morrison opened by leading alumni of the original cast of “Hairspray” in a rendition of that 2002 musical’s ode to irrepressibility, “You Can’t Stop the Beat.” And, just in case anyone missed the message, the awards ceremony’s host, McDonald, a six-time Tony winner, spelled it out, saying, “You can’t stop the beat of Broadway, the heart of New York City.”“We’re a little late, but we are here,” McDonald added. Then she urged the industry to “commit to the change that will bring more awareness, action and accountability to make our theatrical industry more inclusive and equitable for all.”“Broadway is back,” she said, “and it must, and it will, be better.”An early emotional highlight came when Jennifer Holliday, whose performance of “And I Am Telling You I’m Not Going” from “Dreamgirls” at the 1982 Tony Awards has been described as the best Tonys performance of all time, returned to sing the song again. The audience leapt to its feet midway through the song, and stayed there through her final, wrenching, hand-thrust-in-the-air, wail.The road to this 74th Tony Awards — honoring a set of plays and musicals from the pandemic-truncated 2019-2020 season, which abruptly ended when Broadway was forced to shut down on March 12, 2020 — was long.Only 18 shows were deemed eligible to compete for awards, which is about half the normal number, and only 15 shows scored nominations.The nominees, chosen by 41 theater experts who saw every eligible show, were announced last October. Electronic voting, by 778 producers, performers and other industry insiders, took place in March.The long-delayed ceremony — originally scheduled to take place in June of 2020 — was ultimately scheduled by the Broadway League and the American Theater Wing, which present the awards, to coincide with the reopening of Broadway. Those reopening plans were complicated by the spread of the Delta variant, which drove caseloads up over the summer and added new uncertainty to the question of when tourism, which typically accounts for roughly two-thirds of the Broadway audience, will return to prepandemic levels.But there are already 15 shows running on Broadway — which is home to 41 theaters — and each week more arrive. Adrienne Warren won for her performance as the title character in “Tina — The Tina Turner Musical.” She urged the industry to transform. “The world has been screaming for us to change,” she said.Sara Krulwich/The New York TimesAmong the shows returning are all three nominees for best musical. “Moulin Rouge!” began performances on Friday; “Tina — The Tina Turner Musical,” a biographical musical about the life and career of Tina Turner, returns Oct. 8; and “Jagged Little Pill,” a contemporary family drama inspired by the Alanis Morissette album, returns Oct. 21.All three musicals scored some wins.The star of “Tina,” Adrienne Warren, won for her jaw-dropping performance as the title character. Warren, who is one of the founders of the antiracism Broadway Advocacy Coalition, is leaving the role at the end of October; she too urged the industry to transform. “The world has been screaming for us to change,” she said.“Jagged” won for best book, by Diablo Cody, and for best featured actress, Lauren Patten, who electrifies audiences with her showstopping rendition of Alanis Morissette’s “You Oughta Know.” Patten’s performance is the subject of some controversy, because some fans had perceived the character as nonbinary in a pre-Broadway production and were unhappy with how the role evolved; the show’s producers said that the character was “on a gender expansive journey without a known outcome.” In her acceptance speech, Patten thanked “my trans and nonbinary friends and colleagues who have engaged with me in difficult conversations and joined me in dialogue about my character.”Among the multiple awards won by “Moulin Rouge” were a first Tony for the director, Alex Timbers, and a record-breaking eighth for the costume designer, Catherine Zuber. The show’s leading man, Aaron Tveit, won for the first time, in an unusual way — he was the only nominee in his category, but needed support from 60 percent of those who cast ballots in the category to win, which he got. He teared up as he thanked the nominators and the voters.“Let’s continue to strive to tell the stories that represent the many and not the few, by the many and not the few, for the many and not the few,” he said. “Because what we do changes people’s lives.”None of the nominees for best musical had an original score, so for the first time that award went to a play — Jack Thorne’s new adaptation of “A Christmas Carol,” which featured music composed by Christopher Nightingale. That sparkly production, from the Old Vic in London, also won for scenic design, costume design, lighting design and sound design.There was no best musical revival category this year, because the only one that opened before the pandemic, “West Side Story,” also was not seen by enough voters. It also wasn’t seen by many theatergoers: Its producers have decided not to reopen it.A production of “A Soldier’s Play,” directed by Kenny Leon and produced by the nonprofit Roundabout Theater Company, won the Tony for best play revival. The play, a 1981 drama by Charles Fuller, is about the murder of a Black sergeant in the U.S. Army; it won the Pulitzer Prize when it was first published and was later adapted into a Hollywood film, but it didn’t make it to Broadway until 2020.The production starred Blair Underwood and David Alan Grier. Grier picked up the first award of the night, for best featured actor in a play.Leon gave a fiery acceptance speech, repeating the names Breonna Taylor and George Floyd — both of whom were killed by police last year — as he began, saying “We will never ever forget you.” And then, he exhorted the audience, “Let’s do better.”Kenny Leon, the director of “A Soldier’s Play,” gave an impassioned acceptance speech, repeating the names of George Floyd and Breonna Taylor and saying, “We will never ever forget you.”Sara Krulwich/The New York Times“No diss to Shakespeare, no diss to Ibsen, to Chekhov, to Shaw; they’re all at the table,” he said. “But the table’s got to be bigger.”The outcome in the best play category was startling enough that gasps could be heard in the theater when the winner was announced. “Slave Play,” with 12 nominations, had been the most nominated play in history, and a win would have made it the first play by a Black writer to claim the Tony since 1987, but the play won no prizes. “The Inheritance,” which had been hailed in London but then greeted tepidly in New York, won four, including for Stephen Daldry as director, Andrew Burnap as an actor, and for 90-year-old Lois Smith as a featured actress. Smith is now the oldest person ever to win a Tony Award for acting, a record previously held by Cicely Tyson, who won at 88.The best leading actress in a play award went to Mary-Louise Parker for her spellbinding performance as a writing professor with cancer in Adam Rapp’s “The Sound Inside.”The Tonys also bestowed a number of noncompetitive awards. Special Tony Awards were given to “American Utopia,” David Byrne’s concert show; “Freestyle Love Supreme,” an improv troupe co-founded by Lin-Manuel Miranda, and the Broadway Advocacy Coalition, a group pushing for racial justice.“I want to acknowledge that I’m only standing here because George Floyd and a global pandemic stopped all of us, brought us to our knees and reminded us that beyond costume, beyond glamour, beyond design was pain that we weren’t yet seeing,” said the coalition’s president, Britton Smith. “It created this beautiful opening that allowed us to say ‘Enough.’”Sarah Bahr, Nancy Coleman, Julia Jacobs and Matt Stevens contributed reporting. More

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      Adrienne Warren Wins Her First Tony Award, for 'Tina'

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      Adrienne Warren is only staying in “Tina — The Tina Turner Musical” for a few weeks. But now, when she leaves, she can take a Tony Award with her.Warren’s performance as Turner, a role she originated in London and then again when the show opened in New York in 2019, has thrilled audiences. Jesse Green, a theater critic for The New York Times, wrote, “In a performance that is part possession, part workout and part wig, Adrienne Warren rocks the rafters and dissolves your doubts about anyone daring to step into the diva’s high heels.”“I really look forward to the day that the bodies and souls and spirits of those that are involved in these shows that we’re celebrating can be invited and join the celebration with us,” she said in her acceptance speech. “Because those bodies, those bodies, those souls, those spirits, they are what makes Broadway.” “And the second we started making this business,” she continued, “and creating the business and working through the business through the lens of humanity and honoring those, those bodies and those souls and those spirits, the more the art will be transformative. The more the art will change lives, the more the art will change this world because the world has been screaming for us to change.”“I am so grateful for this,” she concluded, “it means the world to me, thank you so, so much.“Tina,” which has been closed since the start of the pandemic shutdown, is scheduled to resume performances on Oct. 8 with Warren in the title role; she is planning to depart the production on Oct. 31, and will be succeeded by Nkeki Obi-Melekwe.Warren is starring as Mamie Till-Mobley, the mother of Emmett Till, in an upcoming ABC series, “Women of the Movement,” with a producing team that includes Jay-Z and Will Smith. And she recently signed a development deal with another of the show’s producers, Kapital Entertainment.Warren, 34, grew up in Virginia and studied acting at Marymount Manhattan College. She made her Broadway debut in 2012 in “Bring It On: The Musical,” and then four years later had a breakthrough role with her Tony-nominated performance in “Shuffle Along, Or The Making of the Musical Sensation of 1921 and All That Followed.”In 2016, Warren was among the founders of the Broadway Advocacy Coalition, which seeks to to combat racism. The organization is being honored this year with a special Tony Award. More

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      The Breakout Stars of 2020

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyThe Breakout Stars of 2020Here are the 12 stars and trends that managed to thrive and shine in an impossible year.Clockwise from bottom left: Sarah Cooper, Maria Bakalova, the hand of the artist Salman Toor, Jonathan Majors and Radha Blank.Credit…Clockwise from bottom left: Lacey Terrell/Netflix; Elizabeth Weinberg for The New York Times; Peter Fisher for The New York Times; Adria Malcolm for The New York Times; Douglas Segars for The New York Times Dec. 23, 2020Updated 7:44 a.m. ETWhile plenty of us felt trapped this year, wandering through the same spaces and talking to the same people, it was the artists and entertainers who kicked open windows to new sights, sounds and experiences. Yes, the pandemic dealt a significant hit to the culture world, but nothing could derail its creativity. So, despite the limitations, stars in a variety of disciplines managed to thrive and shine, and by doing so, made a difficult year more tolerable for most everyone. Here are 12 artists and trends who gave us a fresh perspective in 2020.Radha Blank wrote, directed and starred in the autobiographical satire “The 40-Year-Old Version.”Credit…Douglas Segars for The New York TimesFilmRadha BlankRadha Blank was the hero many of us needed in 2020, when the concept of time got an overdue interrogation. In her autobiographical satire “The Forty-Year-Old Version,” which was on Netflix, she portrays a playwright who — refusing to believe that her dreams have an expiration date — pivots to rap as a grown woman. Like her character, Blank, who grew up Brooklyn, is a 40-something playwright who knows what it’s like to fight to elevate her voice.And elevate it she did. She wrote, directed and starred in the film, her first feature, a New York Times Critic’s Pick that A.O. Scott called “a catalog of burdens and also a heroic act of unburdening.”In “I May Destroy You,” Michaela Cole explores sexual assault, truth, revenge and trauma; she also created the HBO series.Credit…Natalie Seery/HBOTelevisionMichaela CoelMichaela Coel may have created the most important TV show of 2020: “I May Destroy You.” The series, which premiered on HBO in June, is inspired by Coel’s own experience with sexual assault, and in it, she deftly plucks apart ideas around truth, revenge, anxiety, trauma and fear.Coel, a 33-year-old British-Ghanaian writer and actor, plays a writer who is drugged and raped in a bathroom stall. The assault leaves her traumatized and grappling with hazy, fragmented memories. “Coel brings a superb discipline to the portrayal of distress,” wrote Mike Hale, a TV critic at The Times.In a critic’s notebook, Salamishah Tillet, a professor and contributing critic at large for The Times, noted that the show could be considered “part of a larger cultural trend in which Black women’s experiences with sexual assault are appearing with greater frequency and treated with more sensitivity.” (She pointed to the documentary “Surviving R. Kelly” and TV shows like “Queen Sugar,” “The Chi” and “Lovecraft Country” as examples.)“By offering multifaceted endings,” Tillet went on, “Coel gives victims of sexual assault, particularly Black women who have survived rape, some of the most radical and cathartic moments of television I have ever witnessed.”ComedySarah CooperSarah Cooper, 43-year-old comedian, made her mark in 2020 by pantomiming the words of President Trump in viral videos that have been viewed tens of millions of times across social media. Jim Poniewozik called her first Trump lip-sync, “How to Medical,” a “49-second tour de force” and said Cooper was helping to develop “a kind of live-action political cartooning.”“Cooper’s Trumpian drag is partly a caricature of performative masculinity,” Poniewozik wrote.The success of her videos helped land Cooper a Netflix special, “Everything’s Fine,” directed by Natasha Lyonne. “This special shows that she can do much more than lip-sync,” Jason Zinoman, a comedy columnist at The Times, said of the production. “She has a promising future as an actor in television or movies.” She currently has a show in the works for CBS.Maria Bakalova, the Bulgarian actress who plays Borat’s teenage daughter in “Borat Subsequent Moviefilm.” Credit…Elizabeth Weinberg for The New York TimesFilmMaria BakalovaIt’s no easy feat to stand out next to the unabashed actor-prankster Sacha Baron Cohen, but Maria Bakalova, a 24-year-old from Bulgaria, was riveting as the teenage daughter of his Borat character in his most recent mockumentary film. As the culture reporter Dave Itzkoff put it in The Times: “Sacha Baron Cohen may be the star of ‘Borat Subsequent Moviefilm,’ but it is Maria Bakalova who has emerged its hero.”Her performance also grabbed headlines for an edited scene involving President Trump’s personal lawyer Rudolph W. Giuliani, who is seen putting his hands down his pants in a hotel room, where Bakalova, impersonating a TV journalist, is interviewing him. He later denied any wrongdoing.About the opportunity to star in a major American film, Bakalova said: “I will be really grateful to Sacha for giving this platform to an Eastern European, to play a strong and complicated character who’s not just one thing.”Adrienne Warren was nominated for a Tony for her starring role in “Tina — The Tina Turner Musical.” Credit…Molly Matalon for The New York TimesTheaterAdrienne WarrenAdrienne Warren’s starring role in “Tina — The Tina Turner Musical” earned her a Tony nomination in October for best actress in a musical. But it was her vocal and steadfast stand on racial injustice, including in the arts world, that brought Warren, 33, more deeply into one of the most urgent conversations of 2020. In an impassioned, impromptu speech this summer — during the Times event Offstage: Opening Night on the subject of being Black on Broadway — she questioned whether she even wanted to continue performing as part of an institution that didn’t stand up for people like her.“The last thing on my mind right now is me going back to Broadway,” Warren said. But in an interview with The Times after her nomination, she said, “I know this is what I’m supposed to do, but the question is whether I want to do it at the address I’ve been doing it.”As for what a dream role might look like for her in the future: “I want to make sure that I’m telling stories that represent me as a Black woman and also push the needle forward in ways that resonate with people, both in this nation and abroad,” she said.Jonathan Majors made a mark in both HBO’s “Lovecraft Country” and the Spike Lee drama “Da 5 Bloods.”Credit…Adria Malcolm for The New York TimesTelevisionJonathan MajorsJonathan Majors isn’t afraid of pain, and that may just be his secret to success. “I’m willing to hurt more,” he told Alexis Soloski in The Times over the summer. “It doesn’t bother me.”The 31-year-old star had a big year doing just that to great effect onscreen, as a Korean War veteran in the supernatural HBO thriller “Lovecraft Country,” set in 1950s Jim Crow America, and the son of a Vietnam War veteran in “Da 5 Bloods,” Spike Lee’s drama for Netflix that was named a Critic’s Pick in The Times by A.O. Scott.“Emotions in the men in my family run deep,” Majors told Soloski — who described him as “an actor of precision and intensity.” When asked if acting gave him a place to put those big emotions, he said: “With acting, it was almost like I was in a corridor, and it just appeared to me and said, ‘Go that way, son.’ I didn’t get in trouble once I started acting. I had a place to put the energy, to put my focus.”The artist Christine Sun Kim performing in American Sign Language at the Super Bowl in Miami in February.Credit…A J Mast for The New York TimesArtChristine Sun KimIn February, just minutes ahead of the Super Bowl in Miami, the artist Christine Sun Kim stood at the 40-yard line performing in American Sign Language as Yolanda Adams sang “America the Beautiful” and Demi Lovato sang the national anthem.“As a child of immigrants, a grandchild of refugees, a Deaf woman of color, an artist and a mother, I was proud to perform,” she wrote in an Op-Ed for The Times afterward. But because only a fraction of her performance was aired, she called the experience “a huge disappointment — a missed opportunity in the struggle for media inclusiveness on a large scale.”“Being deaf in America has always been political,” she wrote.Kim, 40, who was born in California and is now based in Berlin, has spent years channeling this perspective into her art. At the Whitney Biennial in New York last year, she exhibited hand-drawn charcoal drawings from her “Degrees of Deaf Rage in the Art World,” and in 2013, the Museum of Modern Art selected her for its exhibition “Soundings: A Contemporary Score,” dedicated to sound art.“I want people to start thinking about what deafness means,” she told Vogue this year, “and maybe that will reduce the stigma and society will be more inclusive of people with disabilities.”MusicVerzuzYou could call it a battle, a face-off, a showdown. But Verzuz is also something else entirely: a pandemic pivot, cutting right to the very core of quarantine entertainment by combining livestreaming and nostalgia while filling a hole left by canceled live shows and shuttered clubs.Since April, Verzuz, the creation of Swizz Beatz and Timbaland, has streamed over 20 battles. Each one has brought together two hip-hop or R&B heavyweights: Gladys Knight vs. Patti LaBelle, Erykah Badu vs. Jill Scott, Gucci Mane vs. Jeezy, Babyface vs. Teddy Riley, Snoop Dogg vs. DMX, Ludacris vs. Nelly, to name a few. Millions of people have tuned in.Initially, Verzuz was streamed on Instagram Live. In July, Verzuz and Apple Music announced they’d struck a partnership which allowed the videos to be viewed live and on-demand on that platform, too.Jon Caramanica, a pop music critic for The Times, called the events staples of this era and “less battles in the conventional sense than choreographed chest-puffing combined with bows of respect.” To that point, there is no winner winner. As Swizz Beatz told ABC News: “The people won, the culture won, the music won.”The artist Salman Toor has his first solo museum show, “How Will I Know,” up at the Whitney Museum of American Art.Credit…Peter Fisher for The New York TimesArtSalman ToorThe painter Salman Toor was about to have his first solo museum show, “How Will I Know,” at the Whitney Museum of American Art early this year when the shutdown thwarted the whole thing. He took it pretty well. “My first reaction was, thank God,” he told The Times in June. “I’m not a social animal.” But disappointment inevitably crept in as he realized the exhibition might never happen.Thankfully for him and fans of figurative and queer art, the show eventually did go up at the Whitney, where it will appear through April. And that’s only the start for Toor. Over the summer, he joined the gallery Luhring Augustine, which will open an exhibition of his work in the next few years.Toor, 37 — who was born and raised in Lahore, Pakistan, and moved to the United States in 2002 — primarily depicts gay men of South Asian descent. In The Times, the writer Ted Loos described Toor’s contemporary settings: “iPhones appear here and there, the glow emanating from them emphasized with bright lines.” Toor said that he aspired to represent “what this new free space is like,” referring to living an openly queer life. In Pakistan, gay sex is illegal. “People are curious to know what it means to have the freedom of so much choice, and what is the nature of that freedom and what is the cost of that.”TheaterElizabeth StanleyUp against Adrienne Warren for that Tony is Elizabeth Stanley, who was nominated for her gutting performance as Mary Jane — “a brittle tiger mom suppressing secret trauma,” as Jesse Green, a theater critic for The Times, put it — in “Jagged Little Pill,” based on Alanis Morissette’s smash album from 1995. When Broadway shut down, Stanley, 42, did not take too long before shifting her energy toward digital performances.In April, she told Deadline that she’d already been wondering about what else she could do during the pandemic: “How can I twist to this and find something new and exciting out of this time?”What came of that question epitomized what much of theater looked like in 2020: creating new digital spaces for live performance.In April, she delivered a jaw-dropping rendition of “The Miller’s Son” from “A Little Night Music,” for the acclaimed event “Take Me to the World: A Sondheim 90th Birthday Celebration.” In June, she sang her wrenching rendition of “You Learn,” from “Jagged Little Pill,” for an Opening Night Times event on the future of Broadway. On Dec. 13, Stanley and her “Jagged Little Pill” co-stars reunited for “Jagged Live In NYC: A Broadway Reunion Concert.”Kali Uchis performing in Atlanta in 2018. She recently released the album “Sin Miedo (del Amor y Otros Demonios).”Credit…Paul R. Giunta/Invision, via Associated PressMusicKali UchisIn 2018, Kali Uchis released a debut album titled “Isolation.” Clearly she was ahead of her time. In November, the Colombian-American artist — with a moody, seductive, dance-inducing style — dropped her second studio album, this time predominantly in Spanish, “Sin Miedo (del Amor y Otros Demonios).” (Its lead single, “Aquí Yo Mando,” features the up-and-coming rapper Rico Nasty.) The album “goes genre-hopping and era-hopping, from romantically retro orchestral bolero to brittle reggaeton,” Jon Pareles, the chief pop music critic of The Times, wrote this month.Having grown up between Colombia and the D.C.-Maryland-Virginia area, Uchis, 26, had many inspirations and influences, she told Interview magazine. “The last thing I ever want to do is be a predictable artist. I love that my fans never know what to expect when I drop a song.”DanceThe Year of the SoloIt wasn’t just that the coronavirus put an end to live performance in March. The need for social isolation uprooted every part of what gets a dance onto a stage: Suddenly, there were no more classes, no more rehearsals. How to fill that void? The solo.This solitary form has provided an outlet for frustration, for sadness and even for euphoria as dance artists continue to find meaning through movement. It’s true that some attempts have been sentimental and aimless, but much good has emerged from it, too. Instagram, from the start, illuminated these explorations in a steady stream of posts; choreographers worked with dancers remotely to create films in which the body could be fearless and free. “State of Darkness,” Molissa Fenley’s 1988 solo revived for seven dancers, was a glittering, harrowing reminder of the achievement that comes from strength, both internal and external.One of its interpreters, the dancer Sara Mearns, said that she saw herself as “someone that has gone through really, really hard times, but then in the end has come out stronger and on top.” Yes, dance and dancers are suffering right now. But the solo has given it — and them — a powerful voice. — Gia Kourlas, dance critic for The New York TimesAdvertisementContinue reading the main story More