Recent developments in New York’s theater scene have sparked hopeful anticipation among audiences, despite facing challenges such as public broadcasting defunding and notable changes at prominent institutions like the New York Times.
Two significant theaters, the Public Theater’s Delacorte in Central Park and the Cherry Lane Theater, are set to reopen shortly, with the Delacorte launching a star-studded production of “Twelfth Night” next month and the Cherry Lane Theater relaunching with festivities the week of September 8.
For many like me, these theaters are not just venues but places steeped in personal memories. I fondly recall working as an usher at the Delacorte during my high school years and living in close proximity to the Cherry Lane Theater, observing their journeys over the years as we both age together.
In the realm of new productions, theaters are offering a mix of hope and reflection. One notable entry is “Joy: A New True Musical,” which explores the story of Joy Mangano, a determined single mother from Long Island who revolutionized household products and became a successful entrepreneur. Previously depicted in the 2015 film “Joy” featuring Jennifer Lawrence, this musical version channels an eclectic blend of humor and inspiration, focusing on Mangano’s journey to success through a score composed by AnnMarie Milazzo.
While it promises a motivational experience, some theatergoers may find themselves feeling as though they are part of a marketing campaign focused on a woman who sold a mop.
On the opposite end of the thematic spectrum lies the provocative play “Transgression,” which delves into the ethical quagmire of art and morality through the lens of a renowned photographer’s troubling relationships. The story broaches serious subjects, including consent and exploitation, centering on a photographer’s interactions with a minor, exploring the dynamics of artist and subject through a challenging narrative.
Audiences witness an intense dialogue between Gina, the photographer’s widow, and Robin, the model whose life was impacted by the photographer’s actions, encapsulating the complex relationship between an artist’s output and their personal transgressions.
A fresh offering from the EdFest pre-Edinburgh festival is “Tell Me Where Home Is (I’m Starting to Forget)” by Michael DeBartolo. This solo play, based on DeBartolo’s childhood experiences as a gay youth grappling with identity and shame, captures the nuances of his journey, using a blend of humor and introspection to foster connections with the audience.
The EdFest also features “Furniture Boys,” in which Emily Weitzman humorously interacts with furniture personifying ex-boyfriends, creating a series of quirky commentary on relationships. This performance uses humor to weave through personal narratives and societal themes.
In literary news, the newly released biography “Baldwin: A Love Story” by Nicholas Boggs delves into the life of iconic writer James Baldwin, presenting a detailed examination of his relationships and influence on both literature and social justice. The biography focuses on Baldwin’s significant connection with Marlon Brando, offering insights into their friendship and speculating on the nature of their relationship.
Baldwin’s sexuality serves not only as a focal point but as a lens through which to interpret his extensive body of work, challenging readers to reevaluate the artist’s personal experiences vis-à-vis his monumental contributions to literature and civil rights.
This biography reveals Baldwin’s deep involvement with theater, highlighting his aspirations as a playwright and his connections with famous productions, thereby attesting to the influence of theater in his life.
In terms of theater news, “Gypsy” is set to close on August 17, finishing its run two months earlier than originally planned after 28 previews and 269 regular performances. This marks the shortest run for the sixth Broadway production of the musical, despite receiving five Tony Award nominations.
Meanwhile, “Sunset Blvd” has closed as scheduled, leaving the Broadway scene with 28 ongoing shows. The cast of “Oh, Mary” will welcome Kumail Nanjiani alongside Jinkx Monsoon in an upcoming performance.
Also noteworthy is the extension of “John Proctor is the Villain,” which has been extended for the final time until September 7, with exciting developments behind the scenes as Universal has secured film rights to the play, signaling a new chapter for the production.
After last month’s addition of a recording of the play to the Theater on Film and Tape archive at the Library for the Performing Arts, interest continues to grow.
The NYC Musical and Theatrical Production Tax Credit program is running low on funds, with expectations that the $400 million allocation may be fully utilized by October, raising concerns for the local theater community.
In a positive note, Lin-Manuel Miranda is leveraging a special tenth-anniversary performance of “Hamilton” on August 6 as a fundraising event for the newly established Immigrants: We Get the Job Done Coalition, comprising various leading immigration service and advocacy organizations.
Finally, the Cherry Lane Theater is poised for a grand reopening under new ownership by the A24 film studio, scheduling an inaugural block party and introducing a Sunday film series curated by Sofia Coppola, along with Natalie Palamides’ one-woman show “Weer.” The theater will adopt a flexible programming model, foregoing a formal season or a subscription structure to allow for diverse offerings.
Next month promises a vibrant return for New York theater as audiences prepare for an enticing a vibrant mix of revivals, debuts, and discussions that challenge societal norms, all converging to elevate the cultural landscape of the city.
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