A free performance of The Prince of Egypt in Sag Harbor, New York, has been cancelled following significant complaints about the production’s lack of diversity. The stage musical adaptation — which is based on DreamWorks’ popular 1998 animated film about Moses’ life in Ancient Egypt as detailed in the Book of Exodus — is currently in early stages of production at the nonprofit Bay Street Theater, but received a large amount of backlash for the majority of the cast being white. (Popular theater actresses Cynthia Erivo and Denée Benton were among those who voiced concern.) "DreamWorks and Bay Street today announced that the planned free concert reading of The Prince of Egypt has been canceled," a statement on the theater’s Facebook page read. "We regret any inconvenience or disappointment this may cause the audience that was planning to attend this free one-night community event." The theater noted that it made no long-term commitments to its casting decisions, and that around two-thirds of the actors for the staged reading were going to be white.
Harry Potter and the Cursed Child officially opens on London's West End this Saturday, and in case you were worried that the new theater production couldn't possibly live up to the magic of the original books (and therefore somehow mar your childhood memories of them), fear not. So far, critics are raving about Jack Thorne's five-hour, two-part epic. Cursed Child picks up where readers last saw Harry and company in the epilogue of the seventh and final novel: in their thirties, sending their own children off to Hogwarts. By all accounts, audience members young and old, Potterhead and Potter-novice alike will leave the theater impressed and enchanted. Below, a sampling of their thoughts:
British theatergoers will soon get the chance to sit in the seats with the clearest view: Lazarus, the David Bowie musical that played the New York Theater Workshop earlier this year, is coming to the musician's hometown of London in October. The show, a spiritual sequel to Nicolas Roeg's The Man Who Fell to Earth, stars Michael C. Hall as the space traveler Thomas Newton, originally played by Bowie in the 1976 film; Hall will reprise the role in the London production, which will play at the King's Cross Theatre. Its New York performance space became the site of an impromptu Bowie memorial after the music legend's death in February.
Whenever I’d hear critics describe musical theater as one of the few truly American art forms, I would think, well, at least one of those words is right. It’s a form. I suppose it is also, at its rare best, an art, but American it never fully was, except in having, like bastard America itself, plenty of European and African roots. Recently, though, I’ve been changing my mind, and not just because most non-American musicals are so wretched. As the operetta format and literary tone of the so-called Golden Age continue to recede in favor of more domestic subjects and more vernacular styles, musicals do begin to seem more intrinsically local, a phenomenon that may be playing a role in the popularity of Hamilton. (It is, after all, subtitled An American Musical.) But what has now really clinched the case for the Americanness of the form, for me, is the bizarre hall-of-mirrors production of Chicago that opened last night at the Lincoln Center Festival. This Chicago, produced by a 103-year-old, all-female Japanese troupe called the Takarazuka Revue, is so minutely faithful to the Broadway version playing a mile away at the Ambassador that its complete cluelessness left me feeling shocked and a bit demented. How could something so intensely familiar, copied so precisely, turn out so utterly foreign?
Abstract-noun titles are usually deceptive, or at least under-determined; Doubt, Democracy, and Plenty, good plays though they are, might each just as easily have been named something else. Not so for Privacy, which opens tonight at the Public in a production starring Daniel Radcliffe. It is so specifically and solely a discussion of privacy in the age of smartphones — from cookies and Uber ratings to Big Data and Edward Snowden — that it barely functions as anything else.
Excuse us, but Daveed Diggs's last Hamilton performance is going to send us headfirst, into the abyss with sadness. Diggs ended his Tony-winning tenure in the dual role of Marquis de Lafayette and Thomas Jefferson — which he originated — on Friday night. But the sun comes up and the world still spins despite his departure, which follows Lin-Manuel Miranda, Leslie Odom Jr., and Phillipa Soo leaving last week. Hamilton's formidable cast took to social media to send Diggs various fond farewells and well wishes. No one will ever work that purple-velvet suit as good as you, man. (As for Diggs himself, how did he celebrate? By taking 40 shots out of a Grammy.)
Aside from an occasional unicorn like The Humans, Off and Off–Off Broadway plays almost never dare transfer to Broadway anymore, which means that New Yorkers who miss them in their original limited runs don’t get a second chance. Bess Wohl’s Small Mouth Sounds seemed to be one such play: Despite rave reviews for its premiere in March of last year, it closed as scheduled after six weeks and basically disappeared. How many people saw it in Ars Nova’s 99-seat space? Perhaps 5,000. (Thanks to end-stage Tony-mania, I wasn’t one of them.) And yet here it is again, in the 199-seat Linney Courtyard Theatre at the Signature Center, where it opens tonight for a three-month commercial run. Should it succeed, that would be great news, and not just because the theater industry needs to find a fruitful middle ground between tiny not-for-profit stages and Broadway, with middle-ground prices to match. Over the course of its run, some 20,000 people, typically paying $75, could catch Small Mouth Sounds at the Signature.
If the video of Rory O'Malley's Ham4Ham hosting debut is any indication, he's going to make a fine, fine emcee. But this week's Ham4Ham was overshadowed by some somber news — Daveed Diggs, Hamilton's flamboyantly wonderful Marquis de Lafayette and Thomas Jefferson, will be leaving the production on July 15. Don't weep, though! Diggs is here for one last Ham4Ham appearance, and he brought his top-notch dabbing skills with him. "I fucking love y'all," Diggs said. "Thank you so much everybody who has been a part of making this the most incredible few years of my life. It has been such an honor to perform for y'all. This is the most important thing about Hamilton to me. The way that you guys come out here and reclaim this area, that I didn't come to at all before I was in Hamilton, is the most important thing to me. This is public space, and it belongs to all of you." Travel the wide, wide world and come back to us soon, Daveed.
After making a bunch of people very rich and winning a whopping 11 Tony Awards, what comes next for Hamilton? This summer marks the end of act one for the smash Broadway hit: Unlike Alexander Hamilton himself, many of the people involved are taking a break from the production now that their yearlong contracts are up. With the change in administration, we thought this would be a good time to check in on the future of Hamilton, from cast departures to filmed versions to non-Broadway productions. Take a look below to see what you missed.
Renée Elise Goldsberry is getting ready to work, work for Netflix. Goldsberry, known for her Tony Award–winning role as Angelica Schuyler in Hamilton, will be leaving the musical at an unspecified date in the fall to join the streaming service's newest sci-fi drama, Altered Carbon, according to The Hollywood Reporter. She'll be playing a master strategist and revolutionary named Quellcrist Falconer in the ten-episode series, which is set in the 25th century and described as "what happens when the human mind becomes digitized and the soul is transferable from one body to another." (It's based on Richard Morgan's 2002 novel of the same name.) She'll be starring opposite Joel Kinnaman, who plays "an ex–elite interstellar warrior" named Takeshi Kovacs who has been "imprisoned for 500 years and is downloaded into a future he had tried to stop." The two are also lovers. Laeta Kalogridis will write, executive produce, and be the series showrunner.
Every action has an equal opposite reaction: Now that co-stars Lin-Manuel Miranda, Leslie Odom Jr., and Phillipa Soo have said goodbye to Hamilton, Daveed Diggs will leave the record-breaking musical as well. Diggs won a Tony for his dual role of Lafayette and Thomas Jefferson; his last day in both parts will come July 15. The departure comes as a slight surprise, as Diggs was reported to be among the original cast members who renewed their contracts in early July, but his rep tells Vulture his inclusion was an "error."
It’s not often I think a three-hour play could profitably be longer, but J. T. Rogers’s gripping, big-boned Oslo, which opened last night at Lincoln Center Theater, needs all the meat and muscle it can pack on its frame. It is, generically, a “secret history” drama, which means there’s a lot of context to provide: in this case, the long trail of sad events and unheralded personalities that made the 1993 Oslo “accord” between Israel and the Palestinian Liberation Organization such a surprise. The agreement, really a framework for future peace rather than an actual treaty, was negotiated through a back channel almost entirely unknown to the diplomats engaged in the hopeless official process in Washington, London, and elsewhere. Organized by Terje Rød Larsen, a rogue Norwegian sociologist, and his wife, Mona Juul, an official in the Norwegian foreign ministry, it involved nine months of covert meetings in a remote manor house about 60 miles south of the title city. The scheme was based on the audacious proposition that if these enemies, some of them legally forbidden to meet the others, could break bread in dinner-party-sized gatherings rather than huge delegations, if they could get to know one another as people rather than as vessels for hardened positions, they might find a way forward.
A Meowth on 46th and 6th almost made me miss a historic night on Broadway, the last performance of Hamilton for star/creator Lin-Manuel Miranda, as well as Tony winner Leslie Odom Jr. (Aaron Burr), Phillipa Soo (Eliza Hamilton), and ensemble member Ariana DeBose. I was blocks away from the Richard Rogers Theatre, with my head down, looking at my Pokémon Go screen, and out of nowhere, one of my favorite Pokémon shows up. I needed to get to the theater, because I knew the scene outside would be a biblical shit-show, but this was Meowth. So I turned and walked the opposite direction from the theater, in an attempt to catch it.
It took seven Pokéballs, one slight stumble off the curb, and dirty looks from a family that thought I was creepily taking pictures of them when in reality they were just standing right behind this beautiful Pokémon, but I got it.
You're probably well aware by now that three of Hamilton's stars — Lin-Manuel Miranda, Phillipa Soo, and Leslie Odom Jr. — performed their last show at the Richard Rodgers Theatre last night. Tributes dedicated to the formidable thespian trio began pouring in well before the curtain call, with collaborators, fans, celebrities, and the cast themselves taking to social media to celebrate their Tony-winning tenure. In honor of their final hoorah, we went ahead and rounded up how the Hamiltonians celebrated the original cast's final performance. History has its eyes on all of you, without a doubt.
Look Around, Look Around, at How Lucky We Are to Watch Hamilton’s Tribute Video to the Original CastBy Devon Ivie
Have you heard the news? Alexander Hamilton, Eliza Schuyler Hamilton, and Aaron Burr — commonly referred to by their given names of Lin-Manuel Miranda, Phillipa Soo, and Leslie Odom Jr. — gave their final performance of Hamilton last night, much to the massive dismay of theater enthusiasts everywhere. To celebrate the original cast's long tenure in the smash musical, the official Hamilton YouTube page released a short video that highlights some touching behind-the-scenes moments they experienced throughout the past year. So, now, "What Comes Next?"
You might get a little weepy watching Hamilton's original Schuyler Sisters — Phillipa Soo, Renée Elise Goldsberry, and Jasmine Cephas Jones — perform one last song before the departure of their dear onstage Eliza. (Soo's final show was last night.) If some Billy Joel doo-wop classics don't bring on the waterworks, we really don't know what will. Work, work!
Lin-Manuel Miranda’s Final Hamilton Curtain Call Was to the West Wing Theme Song; That Man Sure Loves His Political Narratives!By Devon Ivie
The room where it happens just lost a core trio. Leads Lin-Manuel Miranda, Phillipa Soo, and Leslie Odom Jr. ended their exceptional Hamilton tenures last night, taking their final curtain calls following the July 9 evening performance. (It was also the last show for Ariana DeBose, an ensemble member best known as "the bullet.") Miranda, of course, took some additional time for his emotional final bow — no speech, though — which was accompanied by the orchestra playing the West Wing theme song. You really did "Blow Us All Away," you three. Until next time.
The Encores! Off-Center series, which opened its fourth season last night, is meant to do for Off Broadway in summer what the main Encores! season does for Broadway in spring: recall to our attention worthy musicals that were underappreciated in their time or are on the verge of oblivion now. Runaways, Elizabeth Swados’s revue about the plight of street kids, is both an unorthodox and a perfect choice for the series. Unorthodox because it had an eight-month Broadway run in 1978 — though it did begin Off Broadway, at the Public Theater, earlier that year. And perfect because it was indeed underappreciated and largely forgotten. Many of the original production’s reviews condescended to its earnestness, perhaps because Swados was 27 and female and outside the songwriting mainstream. What those reviews missed was the necessity of her outsiderness in developing and presenting outsider subject matter. In this, Runaways was part of a movement that in the 1970s achieved modest commercial traction: works like The Me Nobody Knows (1970), for colored girls who have considered suicide/when the rainbow is enuf (1976), and Working (1978). For a while these first-person-plural tone poems and dystopian, underclass vaudevilles seemed to represent the future of the form. But the form went another way, in part the result of another Public Theater musical — A Chorus Line — that adapted many of the same presentational techniques while applying megadoses of gloss and spectacle.
Alexander Hamilton, Aaron Burr, and Elizabeth Schuyler Hamilton — er, Lin-Manuel Miranda, Leslie Odom Jr., and Phillipa Soo — are leaving Hamilton at the end of the week, and with their departures also comes the sad end of the eclectic Miranda-hosted weekly Ham4Ham performances. (Don't worry, King George III will continue the legacy.) Ending his Ham4Ham tenure with a bang, Miranda chose to recite a Fifty Shades of Grey–esque letter that Alexander wrote to Eliza before they were married, while also instigating a group "Happy Trails" sing-along to Odom and Soo. Until we meet again, you three ... keep smiling until then ...
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