For female musical theater composers, this season has been a mixed bag. Of eight original Broadway scores, just one, Anaïs Mitchell’s Hadestown, was written by a woman. Yet with its standing-room-only audiences and 14 Tony Award nominations, the folk opera appears to be a hit, a sign that non-traditional work — by a man or woman — can defy conventional wisdom of what belongs on Broadway.
It’s been a few years since an old-fashioned mainstream comedy won best musical at the Tony Awards. Tootsie could change that.
Its primary challenger appears to be the acclaimed New Orleans-infused folk opera Hadestown. But don’t count out the thriving Temptations musical, Ain’t Too Proud, or the inclusive comedy The Prom.Continue Reading
Students of Rupert Murdoch may wonder why an 88-year-old multi-billionaire would devote his last years to destabilizing democracy, promoting division and thwarting efforts to slow climate change.
“There is no why,” newspaper editor Larry Lamb (Jonny Lee Miller) says early in James Graham’s absorbing Ink, as part of a discussion with the young Murdoch about journalism’s five “W’s.” (Who, What, Where and When are the others.) “Sometimes shit just happens.”
Ever-so-timely, although ripped from headlines a half-century old, Ink chronicles The Sun‘s first year under Murdoch control, 1969-70.Continue Reading
Disturbing, timely and leavened by dry wit, What the Constitution Means to Me is an impassioned play about American governance that may renew your faith in Broadway.
Heidi Schreck, who wrote the autobiographical appraisal of U.S. democracy and appeal to improve upon it, plays herself, both at present day and at 15 years old.Continue Reading
Ain’t Too Proud isn’t too original, but it should appeal to fans of the Temptations, the most successful African-American recording group in history.
The musical’s five leads gorgeously harmonize on such hits as “Just My Imagination (Running Away With Me),” “My Girl” and “I Can’t Get Next to You.” Sergio Trujillo’s kinetic homage to the group’s original choreography includes dazzling splits, slides and spins. Continue Reading
Cementing his position as Broadway’s most prolific and arguably most powerful producer, Scott Rudin said today that he’s reviving The Music Man, starring Hugh Jackman, in October 2020.Continue Reading
Set in suburban Jersey and based on Ned Vizzini’s out-there 2004 novel, Be More Chill is about a frustrated high school junior named Jeremy (Will Roland, best-known for Dear Evan Hansen), who swallows a grey pill that’s a Japanese supercomputer called a SQUIP. It implants itself in his brain and guides him through the intricacies of teenage social protocol. Continue Reading
Morrissey’s seven-night engagement at the Lunt-Fontanne Theatre sold well in the first hour of general public availability, suggesting a bright future for rock stars on Broadway.
As of 11 am, scattered seats were available in the front orchestra for $399, or $424.70 with Ticketmaster fees, and for $279 in the mezzanine and rear orchestra. Tickets topped out at $850 for Bruce Springsteen, who ended 236 performances at the Walter Kerr in December. His shows went for thousands in the secondary market.Continue Reading
EXCLUSIVE: Ben Sprecher‘s six-year campaign to hold his former press agent accountable for the collapse of his musical and reputation has been cleared for another courtroom showdown.
Earlier this month, an appellate court declined to intervene in the producer’s lawsuit against publicist Marc Thibodeau, opening the door for a second trial relating to the aborted musical Rebecca. At issue are emails that the press agent sent to a prospective backer in September 2012, linking Sprecher to a fraud.
Sprecher is “radioactive in the theater community and unable to find work,” the producer’s lead lawyer, Erik Groothuis of Schlam Stone & Dolan, wrote in an October 2018 brief in New York Supreme Court. Thibodeau “torpedoed both the musical, and my career with it,” Sprecher said in a 2017 sworn statement.Continue Reading
After 33 days, Actors’ Equity has ended its limited strike against the Broadway League over how its members are compensated for developing new work.
Actors had sought profit share and a raise from the current $1,000 weekly salary when participating in a developmental lab, which are multi-week workshops to create new plays and musicals.Continue Reading