April 23, 2021

Finally, A Few Reasons to Celebrate: Shakespeare's Birthday, Covid Vaccinations


People are getting vaccinated, some at a new site right in the middle of New York City's Theater District (click here to read more about that). Meanwhile, theaters are taking steps to reopen with distantly spaced performances, outdoor productions and even more robust plans for the fall. It’s still too soon to declare an end to this dreadful pandemic but I’m already looking forward to the creative work that it will inspire, the changes in what stories will be told, how they'll be told and the people who will get to tell them. As most theater lovers know, Shakespeare, whose 457th birthday we celebrate today, wrote King Lear, Macbeth and Antony and Cleopatra when the plague forced London theaters to close in 1606 (click here for more on that). So who knows what imaginative gifts await us? In the meantime, Happy Birthday to the Bard, and do keep wearing your masks. 


April 17, 2021

Introducing My New "All the Drama" podcast


As some of you know, I’m a contributor to BroadwayRadio and over the past few years, I’ve hosted “Stagecraft,” a show that talks to playwrights and musical book writers about their recent shows (click here to check out some of those episodes). I’ve also occasionally participated in “This Week on Broadway,” the network’s flagship Sunday show that, in normal times, reviews new productions and in recent times, has talked with all kinds of theater folks about the projects they’ve been developing while the theaters have been closed. But now I’ve got something else to share. 

I’m starting a brand new podcast called “All the Drama” that will go in-depth on all the shows that have won the Pulitzer Prize over the last 100+ years. Each episode will explore one of those plays or musicals (10 of the latter have won the prize). I’ll tell you a little about the show and the person (or persons) who created it and I’ll talk to people who have insights into why that show is so special and how it fits into the theatrical canon. 

The first episode on a comedy called Why Marry?, which was the very first show to win a Pulitzer back in 1918, is being released today to our Patreon subscribers (so please consider signing up for that at patreon.com/broadwayradio). A second on the 2004 winner I Am My Own Wife, including a conversation with its playwright Doug Wright, will be available for the Patreon folks next month. We’ll release both of those to the general public and begin our regular schedule when the Pulitzers are announced in June.  

I’m really excited about this so I hope you’ll join me on this new journey through the very best American shows ever produced. 


March 27, 2021

World Theatre Day

Even, or maybe especially, in these pandemic times, it's time to put on a good face and celebrate the theater that we all continue to love:



 


March 11, 2021

A Theatrical Anniversary None of Us Wanted

A year ago today, I was gearing up for the intense out-every-night theatergoing of awards season and, as I told my friend David Gordon who has been publishing a chronicle of this past pandemic year on the Theatermania site (click here to read some of it), I had already scheduled tickets for more than two dozen plays over the coming five weeks and was busy setting up others. Yet, I was also a bit nervous about this strange new virus that seemed to be spreading rapidly. And I wasn’t the only anxious one. Everywhere I went, the scent of Purell hung heavy in the air and friends made uneasy jokes about how often we all were washing our hands. 

Still my theatergoing buddy Bill and I met up at the Greenwich House Theater in the Village to see a preview of the Ars Nova production of the now-ironically named Oratorio for Living Things. We showgoers were forced to wait in the lobby until right before curtain time and were then ushered into a small space that had been outfitted with temporary risers. I remember watching the 94-year-old critic William Wolf and his wife Lillian clamber up to their seats as I thought about what intrepid theater lovers they were. But my nervousness intensified when the show began because the performers meandered through the audience as they sang and I couldn’t help wondering if that were safe for any of us.  

That was the last time I was in a theater. Bill and I were supposed to go to Playwrights Horizons to see Unknown Soldier, the late Michael Friedman’s final work, the next night, March 12, but I called and told him I had become too uneasy to sit in a theater. Later that day, Broadway shut down, supposedly only for a month. Smaller theaters around the city quickly did the same. Two weeks later, Bill Wolf died from complications brought on by the virus. Over the past 12 months, the virus has killed more than half a million other Americans, nearly one out of ten of them New Yorkers. 

So the theaters have remained closed and the pandemic has devastated New York’s theater community. The playwright Terrence McNally died from the virus. The actors Mark Blum and Nick Cordero died. Danny Burstein almost died and then lost his wife Rebecca Luker. And thousands of people were put out of work—not only actors, musicians and designers but those that work in the shops that make costumes and props and in the restaurants and bars that theatergoers frequented after seeing shows. By some estimates, 50,000 theater-related jobs were lost.

But theater folks like Rosie O’Donnell and Seth Rudetsky rallied to the call, organizing online fundraisers for groups like The Actors Fund, which has distributed more than $20 million to some 15,000 people this past year. Others celebrated Stephen Sondheim’s 90th birthday with a star-studded concert that uplifted more than just that master of the musical.  And still others wrote and recorded monologues and mini-plays chronicling the toll of the epidemic or exploring the racial fissures in the country revealed by last summer’s brutal suffocation of George Floyd by a white cop whose murder trial began this week. 

As the weeks went by, the productions got more and more sophisticated. Some companies like the Mint Theater raided their archives and streamed previously recorded productions for free. Others like New York’s Irish Repertory Theatre, Chicago’s Steppenwolf and London’s Old Vic created entire digital seasons. There’s been a revival of audioplays. And the platform TikTok has even got into the act with a few group-created musicals. Some of it has been so-so; some of it has been great. My blogger pal Jonathan Mandell has assembled a list of some of the very best, which you can find my clicking here.

It’s still too soon to know when we’ll all be able to return in person to the theater again but the possibility seems closer. People, including Sondheim, are getting vaccinated. Joe Biden’s economic recovery package has passed, providing money for individuals and venues to keep going until everyone is back on their feet. 

And this week has brought the announcement that a few Broadway theaters will open in April for performances as part of the city’s NY PopsUp program, which is designed to bring live entertainment back to the city. Venues with flexible spaces that can accommodate distanced seating are scheduling productions for this spring. Commercial producers are predicting that Broadway may open its doors in the fall and tickets for touring shows have begun to go on sale. Meanwhile Tony voting is underway.  

I haven’t written much here over the past year but I have tried to keep up with events in a special magazine, Theater in the Season of the Coronavirus, that I set up on the Flipboard site and I hope you will check it out, which you can do by clicking here.  I hope, too, that by this time next year, we’ll all be back in our seats in our favorite theaters and perhaps, if the theater gods smile on us, we can even do it without needing to wear masks.


February 15, 2021

Black History Portrayed in Civil Rights Plays


We’re in the middle of African American History Month, a commemoration made all the more urgent by the events of last summer that were prompted by the police murders of George Floyd and Brianna Taylor, which prompted a growing recognition not only that Black Lives Matter but that such concerns must translate into restorative action if this country is ever to live up to its ideals. 

The theater community has its own work to do in this area—we need more Black and Brown writers, directors, designers, stage manager, board members—but over the years, playwrights, both Black and white, have attempted to wrestle with some of the issues centered around race, particularly through the lens of the Civil Rights Movement.  Below is a list of some of those shows (with late entries highlighted in red) and I’d welcome any additional Movement-centered titles you might have:

All the Way by Robert Schenkkan
This 2014 Tony winner chronicles Lyndon Johnson’s campaign to pass the Civil Rights Act of 1964 and win the presidency in his own right following JFK’s assassination.
 
Blues for Mister Charlie by James Baldwin
Loosely based on the murder of Emmett Till and the acquittal of the white racists who killed him, this drama focuses on the reactions of both the white and Black resident in a small southern town in which a white man has twice killed black men.

Broadbend, Arkansas book and lyrics by Ellen Fitzhugh, Harrison David Rivers and music by Ted Shen
A working class father’s struggle to balance the needs of his family and his desire to join the Civil Rights Movement is at the heart of this chamber musical about two generations of a southern family.

Caroline, or Change book and lyrics by Tony Kushner and music by Jeanine Tesori
The lives of a southern Jewish family, their Black maid and her teenage daughter who is drawn to the activism of the Movement rub against one another in this ambitious musical.

Detroit ’67 by Dominique Morriseau
The hot summers of racial unrest in northern cities provide the backdrop for Morriseau’s drama about the owners of an underground nightclub who are brought into the struggles when a white woman seeks refuge in their place from angry demonstrators.
  
Fireflies by Donja R. Love
Set in the immediate aftermath of the bombing of the church in Birmingham that killed four young girls, this two-hander charts the personal toll that the struggle for equality takes on the lives of a charismatic young civil rights leader and his wife.

Freedom Riders by Richard Allen and Taran Gray
This musical account of the seven-month campaign to desegregate interstate buses in the south centers around Movement leaders John Lewis and Diane Nash and John Seigenthaler, the white Kennedy administration official who led the negotiations with the recalcitrant southern governors.

From the Mississippi Delta by Endesha Ida Mae Holland
Based on Holland’s memoir of the same name, this play tells the story of a young woman who by the age of 16 is a former inmate and an unwed mother but finds salvation through SNCC, or the Student Nonviolent Coordinating Committee which recruited young people for civil rights campaigns.

The Good Negro by Tracey Scott Wilson
Three civil rights leaders battle local segregationists, the FBI and their own personal demons as they offer competing strategies for how to protest the case of a young mother arrested for taking her 4-year-old into a whites-only bathroom when the “colored” bathroom was out of order.

Hairspray with book and lyrics by Mark O’Donnell  and Thomas Meehan and music and lyrics by Marc Shaiman and Scott Wittman
In this adaptation of the John Waters cult film, a chubby white teen finds love and purpose when she gains a spot on a popular TV show after a Black classmate teachers her how to dance and she then leads a campaign to integrate the show. 

Hallelujah, Baby! with a book by Arthur Laurents, music by Jule Styne and lyrics by Adolph Green and Betty Comden
A talented and ambitious singer is torn between two men: a white guy who can open doors for her and a Black civil rights worker who challenges her priorities.

Little Rock by Rajendra Ramoon Maharaj
The travails of the nine Black students who integrated the previously all-white Central High School in Little Rock, Arkansas are recounted in this docudrama that also mixes in the music that helped to hearten those courageous young pioneers, who, as the play reminds us, were just kids.

The Man in Room 306 by Craig Alan Edwards
Set on the eve of Martin Luther King’s death, this one-man show attempts to reveal the man behind the icon as King meditates on his life from his relationship with his father to his troubles with the FBI and muses about other roads he might have taken.

The Meeting by Jeff Stetson
This two-hander imagines a meeting between Martin Luther King, Jr. and Malcolm X shortly before Malcolm’s real-life assassination in which the two leaders debate the best way to advance the rights of Black people.

The Mountaintop by Katori Hall
Here MLK engages in a conversation with a mysterious woman he finds in his Memphis motel room. He thinks their back-and-forth may result in a romantic interlude but she turns out to be the angel of death with whom he must confront his legacy.
 
The Nacirema Society Requests the Honor of Your Presence at a Celebration of Their First One Hundred Years by Pearl Cleage
On the surface a romantic comedy centered around a cotillion for wealthy Black families, Cleage’s play takes a serious look at the class divisions within the Black community at the time of the Civil Rights Movement.
 
Party People by UNIVERSES
The Black Power movement takes centerstage as this docudrama chronicles the rise and fall of the Black Panther Party in the ‘60s.
 
Too Heavy for Your Pocket by Jireh Brion Holder
A poor country boy who has dreamed of a better life is faced with the choice of how best to achieve it: accepting a full scholarship to Fisk University or becoming a Freedom Rider.

Waiting to be Invited by S.M. Shephard-Massat
Four middle-aged female factory workers try to work up the courage to test their newly acquired right to eat at a previously "whites only" restaurant inside an Atlanta department store.



February 13, 2021

B&Me's Happy—and Sad—14th Anniversary

This is a bittersweet anniversary for me: I published the first Broadway & Me post 14 years ago on Valentine’s Day but it’s now been nearly a year since I’ve seen a show in person.  And of course that’s not the worst part of the pandemic that has shut down theaters, putting out of work thousands of people who make their living in the theater and killing scores of others, from the theater icon Terrence McNally to my friend Patti Bosworth, a writer, one-time actress and lifelong theater fan.

Like I suspect many of you, I’ve grieved all those losses and tried to find some solace in the varied productions that have sprung up on Zoom, YouTube, Audible and other digital platforms. Just this past week, I was knocked out by Playing Burton, a solo audio play in which Matthew Rhys brilliantly portrays Richard Burton (you can listen to it by clicking here); and All the Devils Are Here, Patrick Page’s magnificent deconstruction of some of Shakespeare’s most infamous villains (you can see it by clicking here).

They’ve scratched the itch familiar to all of us theater junkies and given some theater folks a way to make a few bucks to tide them over. But, of course, they’re no substitute for being in a theater, breathing, without fear, the same air as the performers and creating together that uniquely symbiotic experience that is live theater.

It’s still too soon to tell when “normalcy” will return and we can all gather together again safely but I feel blessed that my husband K and I have so far remained healthy (my theatergoing buddy Bill too) and grateful to those of you who continue to check in here. I'm also mindful that theater returned stronger than ever after the plague emptied stages during Shakespeare’s time. I’m hopeful that it will be the same for ours. In the meantime, stay safe and stay healthy.

January 29, 2021

In Memoriam: Cicely Tyson

 


Deeply mourning the death of the great Cicely Tyson, a trailblazer and role model in so many ways.

January 2, 2021

Raves for "Ratatouille: The Tik Tok Musical"

I had planned to write a review of Ratatouille: the Tik Tok Musical, the delicious online presentation that began as a 15-second video created by a fan of the Disney animated film about a rat who dreams of becoming a French chef and grew into a 60-minute show performed by a cast of Broadway regulars led by Titus Burgess and Andrew Barth Feldman that will be available online through the end of this holiday weekend.  But then I read my blogger pal Jonathan Mandell's review of the show and it said literally everything I intended to say so instead of trying to find new ways to express that, I'm going to (1) urge you to read Jonathan's review, which you can do by clicking here and (2) to see the show, which is also serving as a fundraiser for The Actors Fund, which you can do by clicking here.  Both are great ways to start off what we're all hoping will be a happy new year.