Broadway

Think you haven't heard of Max Martin? Think again. You're more familiar with the Swedish music executive than you know if you've heard Britney Spears's "...Baby One More Time," Bon Jovi's "It's My Life," The Backstreet Boys' "I Want It That Way," or dozens of other chart-toppers the five-time Grammy Award winner wrote and/or produced over the past three decades.

He is, to be fair, a famously private person. And unless they also perform their tunes, songwriters don't often get public attention for their work. Or, for that matter, dedicated Broadway musicals a la Carole King, ABBA, or [Neil Diamond](https://www.newyorktheatreguide.com/show/24254-a-beautiful-noise-tickets).

But Martin, with an extensive catalog of 250-plus songs, has made just as seismic an impact on popular music as any performer. He had the idea to fashion his songs into a musical years ago — and in 2019, that thought became a reality with the world premiere of [*& Juliet*](https://www.newyorktheatreguide.com/show/25598-and-juliet-tickets) in London. The pop musical has now earned nine Tony nominations, including Best Musical, for its 2022 Broadway transfer.

The *& Juliet* team has called him the "Shakespeare of pop," so it's fitting that 30 of his songs score a show inspired by a Shakespeare play: *Romeo & Juliet*. The musical picks up just before that play's end, when Juliet suddenly decides not to die and instead ditches Verona in search of new life, new friends, and new loves.

Shakespeare's play has been around centuries longer than Martin's songs, but those were the true genesis of *& Juliet*. He remained closely and enthusiastically involved every subsequent step of the way — Tony nominee Betsy Wolfe, who plays Shakespeare's wife Anne Hathaway, described him as "a kid in a candy store during this whole process."

The cast and creatives' excitement to work with Martin, in turn, was mutual, and they shared how Martin's influence lives in everything the audience hears. The journey begins in fair Canada, where we lay our scene...

Get [*& Juliet* tickets](https://www.newyorktheatreguide.com/show/25598-and-juliet-tickets) now.

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![& juliet shakespeare-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/53RTUI6GyKgRnImtcjcY3E/bb30b4fbd06964fe678c5d7549bd4a73/__juliet_shakespeare-1200x600-NYTG.jpg)

## Two writers, alike in dignity

Technically, it begins in the Martin family home, where Jenny Petersson, Martin's wife, said, "We should make a musical," Martin recalled. "And a long journey ahead started."

But Martin is an expert songwriter, not a scriptwriter. "I was insecure about how this is going to [be]," Martin admitted. "I really wanted it to be a great story, not just a bunch of songs — to have a purpose, so to speak."

One would expect someone with as prolific a career as Martin to take on the job. But it was Canadian writer David West Read — a relatively unknown name who hadn't won his Emmy Award for *Schitt's Creek* yet — who came up with the winning idea at the unlikeliest of times.

"I suffered a concussion, which worked out well because I couldn't look at screens or anything, so I was lying in a dark room listening to the playlist [of Martin's songs]," Read said. "There's so many songs about heartbreak and young love, and I thought, 'How do you put a brand to this?' Because Max Martin wasn't really known by anyone, even though he's the most successful songwriter [after] the Beatles." (That's statistically true — only Paul McCartney and John Lennon notched more Billboard Hot 100 number-one singles.)

"So I came up with the idea of Juliet from *Romeo & Juliet*," Read continued. "We're going to repurpose and reinvent these pop songs and it'll be great, but also reinvent a classic love story."

His idea won over the production team and Martin. "When he created this story and gave me an example of how the songs could actually work to tell this story, that's really when it started to come to life," Martin said.

![1 & juliet-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/49EUJ9kZqURbfXB5E6ptGQ/d797e6c8d37da845daafe20015083944/1___juliet-1200x600-NYTG.jpg)

## Arise, fair sound

In *& Juliet*, Juliet first enlists her nurse, Angelique, to hit the road with her, but it takes a crew of friends old and new to enliven her adventure. Similarly, West and Martin couldn't refashion pop songs for the stage alone. Their crew included sound designer Gareth Owen, music director/orchestrator Dominic Fallacaro, and orchestrator/arranger Bill Sherman. (All three are Tony-nominated.)

When asked what convinced them to work on *& Juliet*, they all had the same answer: Martin. "The possibility of collaborating with the greatest songwriter of the last 25 years on songs that define your life is impossible to pass up," Sherman said. Fallacaro similarly called the opportunity a "no-brainer."

"I’d never met the guy [before *& Juliet*], but everyone behind the scenes in the music industry knows he’s a genius," Owen said. "Then I met him and realised he was nice as well as talented - frankly, between Max, Bill Sherman, and I? Well, it was a bit of a bromance!"

Sherman recalled a different kind of nervousness — not the bromantic kind — defining his and Martin's first meeting. "Max said two things: 'If a song is going to be a departure from the original version, go all the way. Don't half-ass it,'" Sherman remembered.

"The second thing that Max said was, "If it's not perfect, it goes in the trash." You can imagine me eight years ago, having no idea what the hell is going on in the world, and the greatest songwriter of our time looks at you dead in the eye in a very humbly Swedish way and goes, 'If it's not perfect, it goes in the trash.' I can safely say that was one of the most terrifying days of my life."

Having Martin on hand during London and Broadway rehearsals, though, helped ensure the sound of *& Juliet* was to his liking. "One of the coolest parts about getting this was getting access to the vault of Max," Fallacaro said. "We're not approximating what the synth sounds like. We're running it past someone who knows exactly what it's supposed to sound like."

"It's been so fun and rewarding reimagining and bringing some of the greatest songs of our generation onto a theatre stage, and to put a narrative force behind them," he added in a separate interview. "The challenge of fusing the traditional orchestral and band components of Broadway with the studio 'pixie dust' of synthesizers and drum machines was a tremendously rewarding experience."

"It might not be perfect," Sherman said of the final result, "but it's pretty damn close."

![2 & juliet-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/4uRxS4JCAwq28qRsfLQYse/a3e7a49d37437ce5ce8b0c37b59d75ed/2___juliet-1200x600-NYTG.jpg)

## What's in a cast?

The final piece of Martin's songs' journey from studio to stage is the Broadway cast that sings them live every night. He worked directly with them in rehearsals, too, even scheduling one-on-one sessions to coach them on their singing performances. It didn't take long for him to become a familiar, friendly face — Wolfe said the cast's reactions to seeing him shifted from awe to "Oh yeah, it's Max."

"It was so scary, but at the same time, he's become a proud papa," said Lorna Courtney, a Best Actress Tony nominee for playing Juliet. "He wants us to succeed and do well, and the notes that he would give — it's all expertise, and it's all to better ourselves and the overall longevity of what we're doing."

"It's both exciting and not exciting, because he's there the whole time. You can't get rid of him!" joked Melanie La Barrie, who originated the role of Angelique in London and New York. "He's in the fabric of this musical. Because when we were making it in London, and again when we were making it here, he is here. He's giving us all of his energy and all of his insight and everything that he knows about his world, and now this world, because he knows this musical like his own skin."

Get [*& Juliet* tickets](https://www.newyorktheatreguide.com/show/25598-and-juliet-tickets) now.

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How Max Martin shaped '& Juliet' on its road to Broadway

& juliet review-1200x600-NYTG

Contains some strong language. Recommended for ages 6+. Children age 4 and under will not be admitted into the theatre. Everyone must have a ticket, regardless of age.

& Juliet on Broadway - NYC 

& Juliet on Broadway

The Grammy-winning songwriter/music producer is behind the biggest pop hits of the '90s onward, and 30 of his songs fuel this Tony-nominated Broadway musical.

A Broadway designer's challenge is to immerse audiences in another place and time, conjuring it well enough that they feel a part of it even if they've never been. For the team behind [*Leopoldstadt*](https://www.newyorktheatreguide.com/show/26003-leopoldstadt-tickets), a 2023 Best Play nominee by Tom Stoppard, that's a loaded task.

On the one hand, *Leopoldstadt* is a lively drama about an extended Jewish family in 20th-century Austria, and its success comes from the fact that "we're invited into the Merz-Jacobowitzes' commonplace gatherings, debates, trysts, squabbles, and playtimes as though we, too, are kin," as [New York Theatre Guide's critic observed](https://www.newyorktheatreguide.com/reviews/leopoldstadt-broadway-review-tom-stoppard). Tony-nominated designers Richard Hudson (set), Brigitte Reiffenstuel (costumes), and Neil Austin (lighting) are integral to achieving that effect, sparing no detail on the well-to-do family's warmly lit, inviting manor with clothing to match.

On the other hand, the play quickly darkens as it inches ever closer to World War II, and Jewish Austria soon becomes the last place any audience member would want to be. But that feeling is also key to *Leopoldstadt*'s emotional heft. The design follows suit, with the house gradually deteriorating, the clothing getting simpler, and the warm lighting subtly becoming starkly cool.

The designers first undertook this task in 2020 when they mounted the world premiere of *Leopoldstadt* in London. "The production for Broadway was created from scratch, based on the London design," said Reiffenstuel. "We had the opportunity to sharpen the design and heighten some design ideas."

They made some of these changes out of necessity — the lighting equipment Austin used in London, for example, was no longer available by the time of the 2022 Broadway transfer. But the shift to new technology ended up deepening the storytelling. "The final act of the play is really enhanced by the ability of the [new] LED rig to produce strong cold blues," Austin noted, as the chilling light sets a melancholy, empty mood.

"Hopefully, [my lighting] supports the actors and Tom's story invisibly — subtly steering the audience’s focus and emotions to create a seamless whole of storytelling narrative," he continued.

![2 leopoldstadt-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/xRyCjmpDUeiKnh86mS1fh/21f4fd224d860b73f7d242e94e3dcbb5/2_leopoldstadt-1200x600-NYTG.jpg)

Other tweaks were made with the audience in mind — Hudson amended his sets to better "facilitate quick, seamless scene changes," as *Leopoldstadt* has no intermission. On the costuming end, Reiffenstuel recognized that the play's dozens of characters are difficult to keep straight. That's partly intentional on Stoppard's part — a major theme of the play is how people and memories fade away in history — but the Broadway transfer allowed her to clarify things.

"[Director] Patrick Marber and I decided to color-code some of the characters’ clothing to make it easier for the audience to follow the character through the ages," she said. Rosa is in blue in 1899, in 1924, and in 1955. Sally is in brown in 1899, 1924, and 1938, and so on. We enhanced this idea in New York."

Their efforts have clearly succeeded. *Leopoldstadt* extended on Broadway multiple times (now through July 2) and has six total Tony nominations.

"I think the play has landed with so much more resonance on Broadway," said Austin. "That’s partly because we’ve had time to adapt and tweak the production, but it’s also undoubtedly the understanding and innate affinity the New York audience[s] have to the story."

It's unfortunate, of course, that this understanding is due to the wide-reaching effects of the Holocaust. But though the play is tragic, its reception in both the U.K. and the U.S. has made working on it a positive experience, reminding the designers — and audiences — of the unifying power of theatre. As Reiffenstuel said, "Art is a global language that communicates and connects us."

"Broadway and West End audiences for a Stoppard play are by and large the same," Hudson observed. "The intense concentration, the appreciation of the profundity of the ideas and words, the humour and the essential importance of the shared experience are the same on both sides of the pond.

"Different cities and collaborators, different cultures and traditions, all linked by one common objective – to make theatre that speaks to everyone."

Get [*Leopoldstadt* tickets](https://www.newyorktheatreguide.com/show/26003-leopoldstadt-tickets) now.

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*Photo credit: The cast of Leopoldstadt on Broadway. (Photo by Joan Marcus)*

'Leopoldstadt' designers on how the play resonates across time and space

leopoldstadt-1200x600-NYTG

Recommended for 10 +. Children under the age of 4 are not permitted in the theatre.

Leopoldstadt on Broadway - NYC

Leopoldstadt on Broadway

The set, costume, and lighting designers of Tom Stoppard's family epic, all 2023 Tony nominees, spoke about how the show evolved from London to Broadway.

Start spreading the news! [*New York, New York*](https://www.newyorktheatreguide.com/show/26043-new-york-new-york-tickets) has released a new ticket block, with Broadway performances now on sale through January 14, 2024. Get *New York, New York* tickets now.

*New York, New York* centers on the against-all-odds love story between Jimmy and Francine, two young musicians in 1946 Manhattan. The show also follows various other young artists as they seek success, or just survival, in the city.

The show is loosely based on the 1977 Martin Scorsese film, which features songs by John Kander and Fred Ebb. All those songs, including the iconic title theme, are in the show, alongside cut songs from Kander and Ebb's other shows and new songs by Kander and Lin-Manuel Miranda. [Learn more about all the songs in *New York, New York*.](https://www.newyorktheatreguide.com/theatre-news/news/all-the-songs-in-new-york-new-york-on-broadway)

*New York, New York* is currently nominated for nine Tony Awards, including Best Musical, Best Book of a Musical, and multiple design awards. [Discover how the designers recreated 1946 New York.](https://www.newyorktheatreguide.com/theatre-news/news/how-the-new-york-new-york-designers-recreated-the-city-on-stage)

Get [*New York, New York* tickets](https://www.newyorktheatreguide.com/show/26043-new-york-new-york-tickets) now.

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*Photo credit: New York, New York on Broadway. (Photo by Paul Solnik)*

'New York, New York' tickets on sale through January 2024

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New York, New York on Broadway - NYC

New York, New York on Broadway

The new Broadway musical, set in 1946 Manhattan, is nominated for nine 2023 Tony Awards and features a score by John Kander, Fred Ebb, and Lin-Manuel Miranda.

For the past 105 years, the Pulitzer Prizes have highlighted achievements in the arts, journalism, and literature. Many notable and impactful plays have been awarded the Pulitzer Prize for Drama, but that’s not the be-all-end-all of their recognition. Six Pulitzer-winning plays, classic and new, went up this Broadway season alone. What’s more, they all earned Tony nominations: [*Fat Ham*](https://www.newyorktheatreguide.com/show/27141-fat-ham-tickets), [*Topdog/Underdog*](https://www.newyorktheatreguide.com/show/25558-topdog-underdog-tickets), [*Between Riverside and Crazy*](https://www.newyorktheatreguide.com/show/26311-between-riverside-and-crazy-tickets), [*Cost of Living*](https://www.newyorktheatreguide.com/show/25892-cost-of-living-tickets), [*The Piano Lesson*](https://www.newyorktheatreguide.com/show/24256-the-piano-lesson-tickets), and [*Death of a Salesman*](https://www.newyorktheatreguide.com/show/25459-death-of-a-salesman-tickets). 

Whether a recent Pulitzer winner or a Pulitzer winner of decades past, each play explores the truths, struggles, and joys of being human. They examine queerness, race, sexuality, disability, legacy, and other deeply resonant themes. Each performance allowed audiences to see themselves represented, opened their eyes to aspects of the world they may not have considered before, or a little bit of both. New York Theatre Guide spoke with actors, writers, and producers from the six Pulitzer-winning plays up for Tony honors this year. 

![fat ham bway-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/zOOvFoV23sUWGl2zDgTZt/f1b5e13cb6f10404cf37736c43087393/fat_ham_bway-1200x600-NYTG.jpg)

## *Fat Ham*

Throughout the years, many variations of Shakespeare's world-renowned Hamlet have premiered on stage, on screen, and even in books. [James Ijames](https://www.newyorktheatreguide.com/theatre-news/interviews/james-ijames-shares-the-ingredients-from-his-life-that-make-up-fat-ham)'s play *Fat Ham*, which won the 2022 Pulitzer Prize for Drama, is the most recent Hamlet adaptation to take theatre by storm. In fact, *Fat Ham* earned an impressive five nominations this award season, including one for Best Play. 

The comedic drama is a Black, queer, contemporary retelling of *Hamlet*, taking place at a modern backyard barbecue. Ijames first read *Hamlet* in college for a student production and fell in love with the play; he started to work on what would become *Fat Ham* about eight years ago with the goal of making a variation of *Hamlet* set in the South. 

"There are a lot of queer people that live in the South; there are a lot of people that are surviving. And if I can give them a mirror of what their life is, that means a lot to me because I didn't have any mirrors," Ijames said. 

Over the pandemic, producer Mandy Hackett read the play and immediately knew it was something special. "I can remember exactly where I was, and when I read it for the first time, and still right now, I can just picture myself holding that script in my hands, and it was like James's words were just popping off the page to me," Hackett said.

The cookout is going on at the American Airlines Theatre through June 25. 

Get [*Fat Ham* tickets](https://www.newyorktheatreguide.com/show/27141-fat-ham-tickets) now.

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![between riverside review-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/48qHFrUfO8m51en6GiCEov/d182b89d40cf7f6919ab5d314350e6ff/between_riverside_review-1200x600-NYTG.jpg)

## *Between Riverside and Crazy*

Stephen Adly Guirgis’s *Between Riverside and Crazy* debuted off Broadway in 2014, and it won the Pulitzer the following year. In 2022, the show’s Broadway debut earned two Tony nominations: one for Best Play and one for Stephen McKinley Henderson for Best Performance by an Actor in a Leading Role in a Play. 

McKinley Henderson was in a hotel room in Toronto when he found out he was nominated for his role as gruff patriarch Walter “Pops” Washington. “Sitting alone just makes you think of all the people who believed in you for so long,” he said. 

One of those people is Guirgis, Henderson’s longtime friend who wrote *Riverside*’s leading role specifically for him. The drama tells the story of how Pops, a retired New York City policeman, battles to keep his rent-controlled apartment on Riverside Drive, where he lives with his son and has unofficially taken in other down-and-outs that come to represent home as much as the apartment does. The play explores family and relationship dynamics, race, addiction, and more. 

This play is personal for Guirgis, and his choice to make the apartment its own character was reflective of his experiences. “When I was growing up, my parents didn't have a lot of money,” he said. “When my father died, I had, like, $2,500 in the bank, but he had that apartment. And it meant the world."

![topdog-1200x600-NYTG 2](//images.ctfassets.net/6pezt69ih962/4DnW7uRSz8LTWuu2VuIE7H/a6c7db1e1781c46c45da66ba0e39c2b3/topdog-1200x600-NYTG_2.jpg)

## *Topdog/Underdog*

In 2002, the dark comedy *Topdog/Underdog* debuted on Broadway to rave reviews, and playwright [Suzan-Lori Parks](https://www.newyorktheatreguide.com/theatre-news/interviews/suzan-lori-parks-reflects-on-20-years-of-topdog-underdog) won the drama Pulitzer for the play that same year. Parks wrote the play in 1999 and said of the writing process, "It was as if someone was pouring silver liquid down the back of my head. I've never had that experience in writing before; it just flowed through me." 

The show, which closed in January, is set in a rundown room at a boarding house and tells the story of two brothers, comically and infamously named Lincoln and Booth, and their struggle to make enough money to survive. 

After 20 years, the show's highly anticipated return to Broadway was a hit once more. It has been nominated for three Tony awards for Best Revival of a Play and both actors in the production, onstage brothers Yahya Abdul-Mateen II and Corey Hawkins, were nominated for Best Performance by an Actor in a Leading Role in a Play. 

Parks explained that the audience was incredibly receptive to the play, saying, "When we embrace those two men in their broken, troubled, loving, striving state, we embrace that part of ourselves that is the same. People get it now in a way that they wanted to get it, maybe, 20 years ago." 

![piano lesson-1200x600-NYTG 5](//images.ctfassets.net/6pezt69ih962/3HhYMMBUjaVNj6R0LbAlZF/8180b3a904e1aee149d9838eace3111d/piano_lesson-1200x600-NYTG_5.jpg)

## *The Piano Lesson*

Playwright August Wilson had a storied career writing numerous heart-touching and award-winning plays, and his work continues to make an impact. Wilson’s *The Piano Lesson*, which initially premiered in 1987 and won the 1990 Pulitzer, came back to Broadway in the fall and was nominated for Best Play Revival. 

“We're very lucky that August Wilson's words are timeless, very lucky *The Piano Lesson* is this type of show that really speaks to a brand-new audience of people,” producer Brian Moreland said. 

*The Piano Lesson* is set in 1936 Pittsburgh, focusing on the Charles family as they decide what to do with their family heirloom piano, which has carvings from an enslaved ancestor. The show takes place in the home of elder Uncle Doaker Charles, the unofficial family historian played by Samuel L. Jackson, who received a Tony nomination for the role. 

Moreland explained two main reasons for reviving this show on Broadway, and the two are married — literally. One was getting to work with director LaTanya Richardson Jackson, and the other was Samuel L. Jackson. “This character of Doaker Charles is the heartbeat of the play, and it's such a quiet, graceful, layered performance,” Moreland said.

![doas 3-750](//images.ctfassets.net/6pezt69ih962/3sUfbyCyOo8XhGxt42OCWR/ee9acd2032526b851d92fb92e20f1f70/doas_3-750.jpg)

## *Death of a Salesman*

*Death of a Salesman* is a timeless classic tragedy by Arthur Miller, which first debuted on Broadway in 1949 and received the Pulitzer Prize for Drama that year. Broadway revivals took the stage in 1975, 1984, 1999, 2012, and 2022. Each revival has received award nominations and wins, and this revival is no different. Its two Tony Award nominations are Best Lighting and Best Performance by a Lead Actor in a Play by Wendell Pierce. 

“I was having feelings of considering whether my best days were behind me as an artist and questioning myself,” Pierce admitted. “Then I was presented this opportunity to play Willy Loman, which is one of the great challenges in the American canon of the theatre, and I leaped at the opportunity.”

The play, set in 1949 in the Loman home in Brooklyn, New York, looks back on failed salesman Willy Loman’s life through a montage of dreams, memories, and arguments on the cusp of his death. The play explores the idea of the American dream of success — also Loman’s dream — and how that differed so strongly from how his life turned out. Pierce, who previously played Willy in London, became the first Black man to play him on Broadway.

“I knew that I had a unique experience to connect with the play as an African American," Pierce said. “Who better to depict and explore how the American dream can be denied and turned into the American nightmare?”

![cost of living-1200x600 1-NYTG](//images.ctfassets.net/6pezt69ih962/4sx5ql7dATb87hJnXSnBFl/bec3162b5864b0ddb49bfe69345e6efa/cost_of_living-1200x600_1-NYTG.jpg)

## *Cost of Living*

The 2018 Pulitzer Prize-winning play, *Cost of Living*, had its Broadway debut in the fall of 2022 after its Lucille Lortel Award-winning Off-Broadway run at New York City Center in 2017. The Broadway performance, with the original director and two original cast members, was also a hit. *Cost of Living* has been nominated for five Tony Awards, including Best Play and Best Direction for Jo Bonney. Three actors, including original cast member Katy Sullivan, were nominated for their roles. 

Martyna Majok’s one-act drama examines two relationships, one between a graduate student with cerebral palsy, John, and his caregiver, Jess. The other relationship is between Ani, who became a quadriplegic following an accident, and her ex-husband, Eddie. This show explores the overlap between caregiving and being cared for and the intersections of oppression due to financial status, gender, and race.

Something of utmost importance to Majok is having disabled characters played by disabled actors. Sullivan, a quadriplegic, is nominated for her role as Ani. “My hope is, by the love that this piece is getting, it will hopefully make other producers and decision-makers understand the impact that authentic casting can make,” said Sullivan.

"I hope that this means that there's going to be more disabled playwrights and disabled actors on Broadway,” Majok added. “These shows belong on Broadway. These stories, these performances belong on Broadway.”

*In-article photo credits: Fat Ham, Between Riverside and Crazy, Topdog/Underdog, The Piano Lesson, Death of a Salesman, and Cost of Living. (Photos by Joan Marcus, Joan Marcus, Marc J. Franklin, Julieta Cervantes,Joan Marcus, and Jeremy Daniel.)*

Six Pulitzer-Prize winning plays are nominated for Tony Awards this season

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Fat Ham on Broadway - NYC

Fat Ham on Broadway

This season, six classic and contemporary Pulitzer Prize-winning plays, including new premieres and revivals, have earned at least one Tony Award nomination.

The official start of summer isn't until later in June, but you can get in the summer mood all month by planning an escape — at the theatre, that is! Theatre is a great way to travel to new worlds and escape the routine of daily life without jet lag or carsickness. And if you've already traveled just to get to New York, then make sure a show or two is a must-see item on your itinerary.

Broadway and Off-Broadway shows in June will whisk you away to places near and far, real and fantastical. Discover theatre shows opening in June below, and read our roundup of [top May theatre](https://www.newyorktheatreguide.com/theatre-news/news/new-york-theatre-to-see-in-may) to discover shows from last month that you can still see in June. You can also check out more fan-favorite [Off-Broadway and Broadway shows that will be around all summer](https://www.newyorktheatreguide.com/theatre-news/news/top-theatre-to-see-in-new-york-this-summer).

Plus, don't forget that the Tony Awards take place in June! Get [theatre tickets to the hottest Tony-nominated shows](https://www.newyorktheatreguide.com/whats-on/tony-award-nominees) now before they win. 

Get tickets to a New York show on New York Theatre Guide.

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## *Prima Facie*

Don't miss [Jodie Comer](https://www.newyorktheatreguide.com/stars-on-stage/jodie-comer)'s Broadway debut in this tour-de-force one-woman show through June 18. Comer commands the stage as Tessa, a brilliant defense attorney who reevaluates her entire profession after suffering an assault. She won an Olivier and an Evening Standard Award for her performance in London, and the show remains just as urgent and unmissable in New York.

Get [*Prima Facie* tickets](https://www.newyorktheatreguide.com/show/25983-prima-facie-tickets) now.

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## *Fat Ham*

Join the cookout before it fizzles out on June 25! James Ijames Pulitzer-winning play *Fat Ham* takes Shakespeare's *Hamlet* and flips it on its head. Juicy, a queer, Black college student, is tasked with revenge, Hamlet-style — but he's not up for murder, so what's the alternative? The show serves up a healthy dose of comedy with sides of karaoke, charades, and healing. 

Get [*Fat Ham* tickets](https://www.newyorktheatreguide.com/show/27141-fat-ham-tickets) now.

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## *Summer, 1976*

Summer doesn't start until June 21, but *Summer, 1976* is over on June 18. Don't miss your chance to see Tony nominees [Laura Linney](https://www.newyorktheatreguide.com/stars-on-stage/laura-linney) and [Jessica Hecht](https://www.newyorktheatreguide.com/stars-on-stage/jessica-hecht) on stage together, starring as two mothers who strike up an unlikely and life-changing friendship one summer.

Get [*Summer, 1976* tickets](https://www.newyorktheatreguide.com/show/25993-summer-1976-tickets) now.

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## *Here Lies Love*

Love finally lies on Broadway — 10 years after its critically acclaimed premiere at The Public Theater, [David Byrne](https://www.newyorktheatreguide.com/stars-on-stage/david-byrne) and Fatboy Slim's musical *Here Lies Love* takes the Broadway stage from June 17. In an immersive disco setting with music to match, the show tells the true story of how Imelda and Ferdinand Marcos's regime rose in the Philippines and fell just as quickly at the hands of the People Power Revolution.

Get [*Here Lies Love* tickets](https://www.newyorktheatreguide.com/show/27415-here-lies-love-on-broadway) now.

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## *Alex Edelman: Just For Us*

He's returning to New York just for us. Comedian Alex Edelman brings his hilarious stand-up show to Broadway after having three sold-out Off-Broadway runs last year. From June 22 to August 19 only, you can hear how he, a Jewish man, infiltrated a local neo-Nazi meeting after getting hate from the group online. A [five-star New York Theatre Guide review](https://www.newyorktheatreguide.com/reviews/alex-edelman-just-for-us-review-cherry-lane-theatre) called Edelman and the show "top-notch."

Get [*Alex Edelman: Just For Us* tickets](https://www.newyorktheatreguide.com/show/24281-alex-edelman-just-for-us) now.

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## *The Doctor*

Juliet Stevenson reprises her acclaimed title role from London in Robert Icke's show. Adapted from Arthur Schnitzler's 1912 play *Professor Bernhardi*, *The Doctor* follows a Viennese doctor who refuses last rites for a girl who does not know she is dying, sparking a national public debate on ethics. See Stevenson's tour-de-force performance at the [Park Avenue Armory](https://www.newyorktheatreguide.com/theatres/park-avenue-armory) from June 3 to August 19.

Get [*The Doctor* tickets](https://www.newyorktheatreguide.com/show/28148-the-doctor-tickets) now.

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## *A Simulacrum*

What happens when a playwright/director and a magician team up to create a show together? Find out at *A Simulacrum*, playing through June 24. Tony-nominated playwright Lucas Hnath directs this show he created with sleight-of-hand artist Steve Cuiffo, who Hnath once asked to show him a few tricks. Cuiffo performs what happened next, and the result is sure to be magical.

Get [*A Simulacrum* tickets](https://www.newyorktheatreguide.com/show/26024-a-simulacrum-tickets) now.

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## *One Woman Show*

Fans of *Fleabag* will love this performance by Liz Kingsman, off Broadway from June 14 after a lauded London run. Kingsman adopts a Fleabag-esque alter ego to lovingly spoof not only that series, but the slew of "messy woman" media that followed it. Moreso, though, she provides witty and hilarious commentary on why these types of "one woman shows" seem to be the only way funny women can succeed.

Get [*One Woman Show* tickets](https://www.newyorktheatreguide.com/show/28502-one-woman-show) now.

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## *Rock & Roll Man*

You may not know the name Alan Freed, but you definitely know the rock and roll songs he popularized on his radio stations: "Tutti Frutti," "Great Balls of Fire," "I Put a Spell on You," and many more. In this musical set to these classic hits and more, discover the contentious but undeniably impactful legacy of the man who pioneered, and integrated, rock and roll as we know it. The show plays at [New World Stages](https://www.newyorktheatreguide.com/theatres/new-world-stages) through September 3.

Get [*Rock & Roll Man* tickets](https://www.newyorktheatreguide.com/show/28348-rock-and-roll-man-tickets) now.

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## *Hamlet*

The Public Theater's Free Shakespeare in the Park program returns this summer with *Hamlet*, directed by Tony Award winner Kenny Leon and starring Tony nominee Ato Blankson-Wood in the title role. See the classic story of the title prince, tasked with avenging his father by killing his uncle, under the stars at Central Park's Delacorte Theater. All tickets to *Hamlet* are free and are distributed across a variety of in-person and digital channels.

Top theatre to see in New York in June

fat ham broadway-1200x600-NYTG

Discover our top picks for Broadway shows and Off-Broadway shows to see this month, including new shows premiering and last-chance shows closing this month.

Top theatre to see in New York in June | New York Theatre Guide

Discover our top picks of New York theatre to check out in June 2023, including new, exciting Broadway and Off-Broadway shows to see all across the city.

The old adage says lightning doesn’t strike the same place twice, but this year, some [Tony Award nominees](https://www.newyorktheatreguide.com/theatre-news/news/2023-tony-award-nominees-announced) are defying that logic.

“Anything is possible!” said Natasha Katz, who is nominated for her lighting designs for both [*Sweeney Todd*](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets) and [*Some Like It Hot*](https://www.newyorktheatreguide.com/show/24262-some-like-it-hot-tickets). While the recognition is undoubtedly nice, per Katz, “It’s the community that I cherish so much. To be embraced like this feels incredible.”

Katz has long been a Broadway mainstay, first earning a Tony nod for *Beauty and the Beast* in 1994 before winning seven across her illustrious career. “I try to design every show with an open mind, starting with a blank slate. Every show is different,” she said. 

This season, she’s working on tonal opposites. “In *Sweeney*, I hope the lighting helps tell the tale of the light and dark of humanity through the visual of shadow and light. And the glorious Sondheim music! The lighting varies in tone with the score, from spooky and eerie, to light and airy,” she said. 

![5 some like it hot-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/4xXLSOfbiq73wS9e3skTJH/db46491d33d6e9170c91cff7be6a26a0/5_some_like_it_hot-1200x600-NYTG.jpg)

“On the other hand, *Some Like It Hot* has bright, colorful lighting that constantly changes with every musical key change, accentuating the choreography, the music, and the story," she continued. "I’m proud that I was able to dig deep into two shows that required such different skills as a lighting designer.”

Katz isn’t the only designer pulling double duty this awards season: Scott Pask is up for the Best Scenic Design of a Musical award for both [*Shucked*](https://www.newyorktheatreguide.com/show/26987-shucked-tickets) and *Some Like It Hot*. And while Pask is technically competing with himself in the same category, that’s not how the esteemed designer sees it. 

“I don't have that inner competition anymore; I’m more wanting each project to be bettering itself, and that's why I'm so lucky and blessed to be working with this incredible director and these teams,” he said. “[Their] collaborations and conversations allow me to do the best work and to be recognized for these two shows.”

![1 shucked-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/1sRWPx9CnFY77Dc8QPcpPy/ba2c5cb94d87f7d89935cec82c38a3f9/1_shucked-1200x600-NYTG.jpg)

[Jennifer Weber](https://www.newyorktheatreguide.com/theatre-news/interviews/choreographer-jennifer-weber-proves-her-versatility-on-broadway) is also doubly nominated in the same category: Best Choreography. Her dance moves for [*KPOP*](https://www.newyorktheatreguide.com/show/24236-kpop-tickets) and [*& Juliet*](https://www.newyorktheatreguide.com/show/25598-and-juliet-tickets)
were informed by separate sources — *KPOP* by the world of Korean pop and her collaborator MJ Choi, and *& Juliet* by her own recollection of the '90s American pop scene — with the goal being to “just make each show authentic to itself,” she shared. 

Unlike Pask and Katz, Weber is a first-time nominee — and the two nominations made for a double surprise. “I was so nervous, and I woke up early, and I had coffee with my girlfriend — we were watching the livestream, and my heart was beating out of my chest,” she recalled. “And then they’re going through the names listing people like Steven Hoggett, Casey Nicholaw, and Susan Stroman, and these are my idols. To hear those three names and then hear my name, I literally jumped up out of my chair. And then I heard my name a second time, and I fell back down.”

![& juliet review-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/4KooXN8L2Xz1gBBX1wixi4/53e5d190aa813cdfed2be4ac783ceb49/__juliet_review-1200x600-NYTG.jpg)

One of her role models joins her as a double nominee. Nicholaw, who's been double-nominated in four previous seasons, is now representing *Some Like It Hot* in the Best Direction and Choreographer categories. “I love doing both jobs because I’m able to create the whole show as one piece and blend the numbers and scenes seamlessly with one voice,” he said. 

Rounding out the count of this year's dual nominees are David Lindsay-Abaire (book and lyrics for *Kimberly Akimbo*) Emilio Sosa (costume design for [*Ain't No Mo'*](https://www.newyorktheatreguide.com/show/25907-aint-no-mo-tickets) and [*Good Night, Oscar*](https://www.newyorktheatreguide.com/show/26390-good-night-oscar-tickets)), Jordan E. Cooper (for writing and starring in *Ain't No Mo'*), and Ben and Max Ringham (sound design for [*A Doll's House*](https://www.newyorktheatreguide.com/show/26989-a-dolls-house-tickets) and [*Prima Facie*](https://www.newyorktheatreguide.com/show/25983-prima-facie-tickets)). As with all the other nominees, Nicholaw sees the recognition as an engine “to just keep doing what you love to do and keep striving to get better at it,” he said.

The audience’s warm response doesn’t hurt, either. “The sheer number of people who have been writing me about how much they enjoyed and admired the show is what is really moving to me,” he said. “That makes me feel extremely proud.”

Get *[Sweeney Todd](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets)* tickets now.

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*Top image credit: Sweeney Todd on Broadway. (Photo by Matthew Murphy and Evan Zimmerman)*
*In-article images credit: Some Like It Hot, Shucked, and & Juliet on Broadway. (Photos by Marc J. Franklin, Matthew Murphy, and Evan Zimmerman)*

Tonys times two: Meet the Broadway artists nominated for two Tonys this season

sweeney todd-1200x600-NYTG

2 sweeney-1200x600-NYTG

This season, several Tony Award nominees earned two acknowledgments across categories and productions for their exceptional work on multiple shows.

The United States has long seen cultural divides between its North and South. However, this Broadway season, Tony-nominated shows remind audiences that the Bible Belt is not a monolith — many peoples, traditions, and politics inhabit the American South.

“There are a lot of queer people that live in the South,” said [James Ijames](https://www.newyorktheatreguide.com/theatre-news/interviews/james-ijames-shares-the-ingredients-from-his-life-that-make-up-fat-ham), whose Pulitzer Prize-winning play [*Fat Ham*](https://www.newyorktheatreguide.com/show/27141-fat-ham-tickets), a riff on *Hamlet* that centers Black queerness in a culture of toxic masculinity, is now nominated for the Tony Award for Best Play. “There are a lot of people that are surviving down there. If I can give them a mirror of what their life is, that means a lot to me because I didn't have any mirrors.” 

*Fat Ham* is not alone in gifting a reflection: While Ijames’s show offers Southern, Black queer folks visibility on stage, [*Shucked*](https://www.newyorktheatreguide.com/show/26987-shucked-tickets) (up for nine Tonys including Best Musical) is also showing Midwesterners and Southerners — traveling from afar to see these shows — that they, too, can be the main characters in a story and not the butt of its jokes.

![fat ham cast-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/41lt1exAkpZ0vCWxwKODsZ/242b1de10752f6f09ac094ed51b942b4/fat_ham_cast-1200x600-NYTG.jpg)

“I'm from Texas, from a rodeo background, so I know the people — my kinfolk are scattered all over that stage at the Nederlander,” said [Kevin Cahoon](https://www.newyorktheatreguide.com/theatre-news/interviews/kevin-cahoon-taps-into-his-hometown-heart-in-shucked-on-broadway), who is nominated for Best Featured Actor in a Musical for his side-splitting turn as Peanut. Cahoon may be earning laughs as Cob County's witty jack of all trades, but he also knows *Shucked* can reveal more than just corn puns and an entertaining love story.

“When I was researching the role and thinking about these country comedians that came out in the Dust Bowl of the Great Depression, like Minnie Pearl and Jerry Clower, they were speaking to rural America,” Cahoon shared. “Rural Americans were not seeing themselves in popular culture. So to see a simple, truthful, honest, heartfelt representation — I've had so many people at the line signing at the end of the night say, ‘We're from Nebraska, we're from Ohio, we're from Iowa, and we have never felt like we had been seen in a Broadway show like we are being seen in this.’ That’s special, and it's what keeps Broadway alive, right?”

Tony-nominated librettist Robert Horn has similarly witnessed the show’s gravitational pull.

“Every night, people come up to us and say, I never thought I'd see myself represented on a Broadway stage,” he shared. “I felt that way when I saw *Rent* for the first time. I was like, here I am, a gay man. I've never really seen musicals [like] that. Granted, there were some dark themes in that because of the times, but I felt seen and represented.” 

Horn, whose own in-laws are from the South, wrote *Shucked* from a knowing but loving place. He knew a way to bridge gaps would be to create a story that “never condescends,” he said. “It never looks down on these characters. It never makes them tropes — they really are characters in the community and you take that journey with them. It was really important to me not to make fun.”

He named his mother-in-law as one person who helped him find the heart of his characters and reframe one Southern stereotype, religiousness, in a positive light. "She's got this devout faith, which I don't," Horn said. "I am envious of the fact that she has something that she believes in that gets her through dark times.

"A lot of that is what inspired me... [The characters have] this belief in each other, this solidarity, this family that truly comes from their faith." 

Horn’s effort to create “a deeper message,” in which, he said, “you can't just do comedy,” parallels Ijames’s in *Fat Ham*, where a family barbecue becomes a powder keg for unearthing past traumas and a homophobic lineage. 

“Black stories are important in and of themselves, queer stories are important in and of themselves, Southern stories are important in and of themselves, and so the combination is important,” he said. 

*Shucked* also wins hearts by exploring the combination of identities. “I'm married to a Southern man whose family is Southern Baptist, very conservative, and I’m a Jew from Brooklyn,” Horn said. “But we break bread. I love my in-laws and I love my family. They’re just different. Not worse, not better. They're just different. And I wanted to connect those two worlds.”

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*Top image credit: The Broadway cast of Shucked. (Photo by Matthew Murphy and Evan Zimmerman)*  
*In-article image credit: The Broadway cast of Fat Ham. (Photo by Joan Marcus)

Tony-nominated shows shatter stereotypes of the American South

Shucked Cast

Shucked-NYTG-1200X600

*Shucked*, set in a fictional rural town, and *Fat Ham*, set in the modern South, bridge cultural divides and offer an affirming portrayal of the region on Broadway.

The [novel-turned-film-turned-play](https://www.newyorktheatreguide.com/theatre-news/news/everything-you-need-to-know-about-life-of-pi-on-broadway) [*Life of Pi*](https://www.newyorktheatreguide.com/show/26712-life-of-pi-tickets) comes to life on stage with the help of [lifelike puppets and immersive design](https://www.newyorktheatreguide.com/theatre-news/news/how-the-life-of-pi-broadway-puppets-make-animals-come-alive) elements that transport audiences from a zoo in Pondicherry, India, to the open waters of the Pacific Ocean to a Mexican hospital room.

The imaginative story follows 16-year-old Pi, the sole human survivor of a shipwreck, who must fend for himself while traversing the ocean in a lifeboat with a Bengal tiger, orangutan, zebra, and hyena. Their survival journey is mind-bending and magical.

In many ways, the story’s puppetry design — and stage success — hinged on Richard Parker, the tiger. Finn Caldwell and Nick Barnes, the show’s co-puppet designers, built a prototype for an early workshop informed by research on tigers’ muscular anatomy. 

“We needed to know if it could move like a tiger — walk, jump on the edge of the boat, move around,” said Caldwell. “But the real question was, can we make the audience and the actor playing Pi actually frightened and scared?”

When the tiger prototype charged toward actor Hiran Abeysekera in rehearsal, and Abeysekera ran away in fear, the puppeteers knew they were on the right track. And while the puppet design may be the linchpin of the show’s magic, the set, costumes, and seamlessly integrated projection and lighting design are equally transportive.

The show first bowed at the Crucible Theatre in 2019 in Sheffield, England, before transferring to Wyndham’s Theatre in London’s West End in 2021. After winning five Olivier Awards, Lolita Chakrabarti’s stage adaptation made its way across the pond to Broadway in 2023, where it earned five Tony Award nominations, including for scenic design, lighting design, and costumes. 

![life of pi puppets 2-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/Z2FLwaRpICs4rAL9kQYpm/08955cd17b3a6c9dc40986c2da8502ce/life_of_pi_puppets_2-1200x600-NYTG.jpg)

The Broadway transfer gave the cast and creative team the opportunity to make changes. "We were able to make some positive adjustments to the story based on the feedback from the West End," said director Max Webster, noting the first act was tightened. 

The move also gave the deisgners the opportunity to expand the design elements of the show. “It is always good to get the opportunity to work on a show for a second (or third, or fourth...) time,” said scenic and costume designer Tim Hatley. “In my experience designing for theatre and film over the past 30 years, I have never walked away from a production thinking I have managed to get it all right.”

Most importantly, the design teams needed to adjust the scope and scale of the scenic design to fit the [Gerald Schoenfeld Theatre](https://www.newyorktheatreguide.com/theatres/gerald-schoenfeld-theatre) in New York, which is wider and shallower than Wyndham’s. “This has, of course, had a knock-on effect, and video and lighting have had to adapt their designs to work with the new dimensions,” Hatley said.

For his part, video designer Andrzej Goulding (co-nominated with Hatley in the scenic design category) upgraded the show’s simulations. He also worked with lighting designer Tim Lutkin to recolor some scenes for the Broadway run and blend his projections, which naturally light the set, with Lutkin's lighting of the actors. The designers also had to adjust certain visual elements to accommodate different sight lines. 

“The heart of the design is the ability to transition seamlessly from the hospital into Pi’s story, which is, for the most part, at sea,” said Hatley. The split-second transitions, which happen in full view of the audience, are integral to the narrative. “This was my challenge as the designer of the show, and I am pleased to have pulled it off.”

![life of pi puppets 4-1200x600](//images.ctfassets.net/6pezt69ih962/37kjOUuzH47izI5ZhIgsDi/b03d00e4f4a0fe1636261f369701c29f/life_of_pi_puppets_4-1200x600.jpg)

The puppets did not undergo a major transformation from London to New York, but the big question was whether Broadway audiences would be receptive to the animals, especially since shows involving puppetry are increasingly popular in British theatre and less mainstream in New York. 

“Audiences have all been very positive towards the production," said Hatley. "I think the staging and the puppets make it stand out as something that is very different from a regular play. Audiences on both sides of the Atlantic have gone out of their way to congratulate me on the ingenuity of the designs.”

Webster agreed. "There is something very special in this story that touches people and that somehow resonated in a similar way in both countries... I feel a surge of excitement and gratitude every time I hear that roar at the end of the show and the audience stands up!" 

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*Photo credit: Hiran Abeysekera and Richard Parker (Fred Davis, Scarlet Wildernik, Andrew Wilson) in Life of Pi on Broadway. (Photo by Matthew Murphy & Evan Zimmerman for MurphyMade)

How ‘Life of Pi’ found its roar on Broadway

life of pi puppets-1200x600-NYTG

life of pi puppets 1-1200x600-NYTG

Life of Pi on Broadway - NYC

Life of Pi on Broadway

The Tony-nominated design team and director of the adventure play talk about how the production design, including puppetry, transformed from London to Broadway.

The 2023 Drama League Awards winners were announced today in a ceremony hosted at the Ziegfeld Ballroom by Emmy Award-winning NY1 theatre reporter Frank DiLella.

The Drama League gives out seven awards each year: four to productions, two for direction, and one to a distinguished performer, an honor an actor can only win once in their lifetime. The awards recognize Broadway and Off-Broadway productions in the same categories.

This year, all seven prizes went to Broadway productions and actors. Two awards went to the revival of *Into the Woods*, while five other productions got one prize each.

Find out all the nominees and winners of this year's awards below. Winners are denoted with an asterisk.

__Outstanding Production of a Broadway or Off-Broadway Play__

- [*Leopoldstadt*](https://www.newyorktheatreguide.com/show/26003-leopoldstadt-tickets)*
- *the bandaged place*
- *Cost of Living*
- *Dark Disabled Stories*
- *Downstate*
- *Elyria*
- [*Fat Ham*](https://www.newyorktheatreguide.com/show/27141-fat-ham-tickets)
- [*Good Night, Oscar*](https://www.newyorktheatreguide.com/show/26390-good-night-oscar-tickets)
- [*Life of Pi*](https://www.newyorktheatreguide.com/show/26712-life-of-pi-tickets)
- [*Peter Pan Goes Wrong*](https://www.newyorktheatreguide.com/show/27336-peter-pan-goes-wrong-tickets)
- [*Prima Facie*](https://www.newyorktheatreguide.com/show/25983-prima-facie-tickets)
- *Public Obscenities*
- [*Summer, 1976*](https://www.newyorktheatreguide.com/show/25993-summer-1976-tickets)

Get [*Leopoldstadt* tickets](https://www.newyorktheatreguide.com/show/26003-leopoldstadt-tickets) now.

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__Outstanding Revival of a Broadway or Off-Broadway Play__

- [*A Doll’s House*](https://www.newyorktheatreguide.com/show/26989-a-dolls-house-tickets)*
- *Ohio State Murders*
- *Hamlet/Oresteia*
- *The Piano Lesson*
- *A Raisin in the Sun*
- [*The Sign in Sidney Brustein’s Window*](https://www.newyorktheatreguide.com/show/26553-the-sign-in-sidney-brusteins-window-tickets)
- [*The Thanksgiving Play*](https://www.newyorktheatreguide.com/show/26005-the-thanksgiving-play-tickets)
- *Topdog/Underdog*
- *Wedding Band: A Love/Hate Story in Black and White*
- *Wolf Play*

Get [*A Doll's House* tickets](https://www.newyorktheatreguide.com/show/26989-a-dolls-house-tickets) now.

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__Outstanding Production of a Broadway or Off-Broadway Musical__

- [*Some Like It Hot*](https://www.newyorktheatreguide.com/show/24262-some-like-it-hot-tickets)*
- [*& Juliet*](https://www.newyorktheatreguide.com/show/25598-and-juliet-tickets)
- [*A Beautiful Noise, The Neil Diamond Musical*](https://www.newyorktheatreguide.com/show/24254-a-beautiful-noise-tickets)
- *Dreaming Zenzile*
- [*New York, New York*](https://www.newyorktheatreguide.com/show/26043-new-york-new-york-tickets)
- [*Shucked*](https://www.newyorktheatreguide.com/show/26987-shucked-tickets)
- [*Titanique*](https://www.newyorktheatreguide.com/show/25241-titanique-tickets)
- *White Girl in Danger*
- *Wise Children’s Wuthering Heights*

Get [*Some Like It Hot* tickets](https://www.newyorktheatreguide.com/show/24262-some-like-it-hot-tickets) now.

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__Outstanding Revival of a Broadway or Off-Broadway Musical__

- *Into the Woods**
- *Bob Fosse’s Dancin’*
- [*Camelot*](https://www.newyorktheatreguide.com/show/25210-camelot-tickets)
- *A Man of No Importance*
- [*Parade*](https://www.newyorktheatreguide.com/show/26500-parade)
- *1776*
- [*Sweeney Todd: The Demon Barber of Fleet Street*](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets)

__Outstanding Direction of a Play__

- Anne Kauffman, [*The Sign in Sidney Brustein’s Window*](https://www.newyorktheatreguide.com/show/26553-the-sign-in-sidney-brusteins-window-tickets)*
- Jo Bonney, *Cost of Living*
- Shayok Misha Chowdhury, *Public Obscenities*
- Kenny Leon, *Topdog/Underdog*
- Jamie Lloyd, [*A Doll’s House*](https://www.newyorktheatreguide.com/show/26989-a-dolls-house-tickets)
- David Mendizábal, *the bandaged place*
- Awoye Timpo, *Elyria* and *Wedding Band: A Love/Hate Story in Black and White*
- Dustin Wills, *Wolf Play*

Get [*The Sign in Sidney Brustein's Window* tickets](https://www.newyorktheatreguide.com/show/26553-the-sign-in-sidney-brusteins-window-tickets) now.

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__Outstanding Direction of a Musical__

- Lear deBessonet, *Into the Woods**
- Lileana Blain-Cruz, *Dreaming Zenzile* and *White Girl In Danger*
- Thomas Kail, [*Sweeney Todd: The Demon Barber of Fleet Street*](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets)
- Casey Nicholaw, [*Some Like It Hot*](https://www.newyorktheatreguide.com/show/24262-some-like-it-hot-tickets)
- Jack O’Brien, [*Shucked*](https://www.newyorktheatreguide.com/show/26987-shucked-tickets)
- Bartlett Sher, [*Camelot*](https://www.newyorktheatreguide.com/show/25210-camelot-tickets)
- Susan Stroman, [*New York, New York*](https://www.newyorktheatreguide.com/show/26043-new-york-new-york-tickets)

__Distinguished Performance Award__

- [Annaleigh Ashford](https://www.newyorktheatreguide.com/stars-on-stage/annaleigh-ashford), [*Sweeney Todd: The Demon Barber of Fleet Street*](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets)*
- Yahya Abdul-Mateen II, *Topdog/Underdog*
- Hiran Abeysekera, [*Life of Pi*](https://www.newyorktheatreguide.com/show/26712-life-of-pi-tickets)
- [Sara Bareilles](https://www.newyorktheatreguide.com/stars-on-stage/sara-bareilles), *Into the Woods*
- Stephanie Berry, *the bandaged place*
- Brittany Bradford, *Wedding Band: A Love/Hate Story In Black And White*
- Danielle Brooks, *The Piano Lesson*
- [Rachel Brosnahan](https://www.newyorktheatreguide.com/stars-on-stage/rachel-brosnahan), [*The Sign in Sidney Brustein’s Window*](https://www.newyorktheatreguide.com/show/26553-the-sign-in-sidney-brusteins-window-tickets)
- Marylouise Burke, *Epiphany*
- D’Arcy Carden, [*The Thanksgiving Play*](https://www.newyorktheatreguide.com/show/26005-the-thanksgiving-play-tickets)
- [Jessica Chastain](https://www.newyorktheatreguide.com/stars-on-stage/jessica-chastain), [*A Doll’s House*](https://www.newyorktheatreguide.com/show/26989-a-dolls-house-tickets)
- [Sharon D Clarke](https://www.newyorktheatreguide.com/stars-on-stage/sharon-d-clarke), *Death of a Salesman*
- [Jodie Comer](https://www.newyorktheatreguide.com/stars-on-stage/jodie-comer), [*Prima Facie*](https://www.newyorktheatreguide.com/show/25983-prima-facie-tickets)
- Jordan E. Cooper, *Ain’t No Mo’*
- Lorna Courtney, [*& Juliet*](https://www.newyorktheatreguide.com/show/25598-and-juliet-tickets)
- Micaela Diamond, [*Parade*](https://www.newyorktheatreguide.com/show/26500-parade)
- K. Todd Freeman, *Downstate*
- J. Harrison Ghee, [*Some Like It Hot*](https://www.newyorktheatreguide.com/show/24262-some-like-it-hot-tickets)
- [Josh Groban](https://www.newyorktheatreguide.com/stars-on-stage/josh-groban), [*Sweeney Todd: The Demon Barber of Fleet Street*](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets)
- Ryan J. Haddad, *Dark Disabled Stories*
- Corey Hawkins, *Topdog/Underdog*
- [Sean Hayes](https://www.newyorktheatreguide.com/stars-on-stage/sean-hayes), [*Good Night, Oscar*](https://www.newyorktheatreguide.com/show/26390-good-night-oscar-tickets)
- Stephen McKinley Henderson, *Between Riverside and Crazy*
- [Oscar Isaac](https://www.newyorktheatreguide.com/stars-on-stage/oscar-isaac), [*The Sign in Sidney Brustein’s Window*](https://www.newyorktheatreguide.com/show/26553-the-sign-in-sidney-brusteins-window-tickets)
- Tarra Conner Jones, *White Girl in Danger*
- Esco Jouléy, *Wolf Play*
- Somi Kakoma, *Dreaming Zenzile*
- David Krumholtz, [*Leopoldstadt*](https://www.newyorktheatreguide.com/show/26003-leopoldstadt-tickets)
- Linda Lavin, *You Will Get Sick*
- [Laura Linney](https://www.newyorktheatreguide.com/stars-on-stage/laura-linney), [*Summer, 1976*](https://www.newyorktheatreguide.com/show/25993-summer-1976-tickets)
- Jefferson Mays, *A Christmas Carol*
- Patina Miller, *Into the Woods*
- Marla Mindelle, [*Titanique*](https://www.newyorktheatreguide.com/show/25241-titanique-tickets)
- Arian Moayed, [*A Doll’s House*](https://www.newyorktheatreguide.com/show/26989-a-dolls-house-tickets)
- Gargi Mukherjee, *Public Obscenities*
- Alex Newell, [*Shucked*](https://www.newyorktheatreguide.com/show/26987-shucked-tickets)
- Jeremy Pope, *The Collaboration*
- Colton Ryan, [*New York, New York*](https://www.newyorktheatreguide.com/show/26043-new-york-new-york-tickets)
- Phillipa Soo, [*Camelot*](https://www.newyorktheatreguide.com/show/25210-camelot-tickets)
- Marcel Spears, [*Fat Ham*](https://www.newyorktheatreguide.com/show/27141-fat-ham-tickets)
- Katy Sullivan, *Cost of Living*
- Will Swenson, [*A Beautiful Noise, The Neil Diamond Musical*](https://www.newyorktheatreguide.com/show/24254-a-beautiful-noise-tickets)
- John Douglas Thompson, *Endgame*
- Anna Uzele, [*New York, New York*](https://www.newyorktheatreguide.com/show/26043-new-york-new-york-tickets)
- John David Washington, *The Piano Lesson*
- Betsy Wolfe, [*& Juliet*](https://www.newyorktheatreguide.com/show/25598-and-juliet-tickets)
- David Zayas, *Cost of Living*

Get [*Sweeney Todd* tickets](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets) now.

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2023 Drama League Award winners announced

The Drama League

The annual awards honor outstanding Broadway and Off-Broadway productions, as well as one distinguished performer in a play or musical from the season.

Designing costume pieces for a big, brassy musical with a 26-person ensemble is a tall order. Sourcing vintage pieces for a 1930s show spanning multiple seasons and locations, from winter in Chicago to summer in Tijuana, is another level of challenge. Costume designer Gregg Barnes was up to the task with [*Some Like It Hot*](https://www.newyorktheatreguide.com/show/24262-some-like-it-hot-tickets), and his colorful, authentic design garnered a [2023 Tony nomination](https://www.newyorktheatreguide.com/theatre-news/news/2023-tony-award-nominees-announced) — one of the musical’s 13 nods, the most of any show this season. His work on the musical already won him the [Outer Critics Circle Award](https://www.newyorktheatreguide.com/theatre-news/news/some-like-it-hot-leads-2023-outer-critics-circle-award-winners) for Outstanding Costume Design.

“Doing what I do, people see the frosting, but really, you have to bake the cake first,” said Barnes. “How do we get from A to B? And how do we fit it into the budget? How do we serve the story?”

The *Some Like It Hot* musical, based on the same-named 1959 film, starts in Prohibition-era Chicago and follows two jazz musicians, Joe (Christian Borle) and Jerry ([J. Harrison Ghee](https://www.newyorktheatreguide.com/theatre-news/interviews/j-harrison-ghee-contains-multitudes-in-some-like-it-hot-on-broadway)). When the duo witnesses a mob crime, they flee in disguise as part of an all-female swing band called Sweet Sue and Her Society Syncopators. 

![2 some like it hot-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/2Tw6BBa1k8OK21tSASJS5Z/940b9a1a33392e8a89336dc34aecc1f3/2_some_like_it_hot-1200x600-NYTG.jpg)

The musical takes audiences on a journey from a Chicago nightclub on a cross-country train ride to San Diego, and there are a lot of frills, furs, and fedoras on the way. The costume design process “was complicated, but in a good way, by the fact that we wanted to put as much vintage [on stage] so that the heart of it was actually rooted in real things people would associate as being from the ‘30s,” said Barnes.

The 1930s decade, “in many ways, is the standard of elegance,” said Barnes. But sourcing authentic period clothing is labor-intensive and involves lots of research. For his part, Barnes grappled with several questions about the integrity and value of vintage wear. “Is it going to hold up? Is anybody even going to care?” recalled Barnes.

The hardest part of the research process was finding inspiration for everyday wear for the African American characters. “There's a lot [of photos] in the ‘20s, there's a lot in the ‘40s,” said Barnes. “But in the ‘30s, except for the Harlem Renaissance… I had a terrible time finding just folks on the train. It speaks to the time — it speaks to many things.” As such, costumes inspired by the Harlem Renaissance research take center stage with glittering, bias-cut dresses and cloche hats.

The end result of all his research was worth the effort. “It’s a lot of paperwork to keep it in order, but I have an amazing team!” Barnes said. 

![4 some like it hot-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/21NCzYg5BDRB6leVTF45Xd/92494463ce6fdd47120ffda5dbfa46bb/4_some_like_it_hot-1200x600-NYTG.jpg)

*Some Like It Hot* marks Barnes’s ninth Tony nomination — he won for *The Drowsy Chaperone* and *Follies* — but it isn’t old hat. “I’m always surprised,” said Barnes of his nominations. He’s heartened to see that a younger generation is coming up in the theatre design community, but that there’s still space where the “older generation can still flourish.”

Throughout Barnes’s decades-long career, he’s learned that the collaborative efforts of an enthusiastic cast and crew are more important than accolades. The silver bullet, though, is when the two collide, like in *Some Like It Hot*.

“It's the team — that is what's important because if it's something that really has your heart, but it's with the wrong family, it's a double letdown,” said Barnes. “When it's with the right people, it can be a joy ride for the entire journey.”

Get [*Some Like It Hot* tickets](https://www.newyorktheatreguide.com/show/24262-some-like-it-hot-tickets) now.

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Costume designer Gregg Barnes on fashioning the 1930s in 'Some Like It Hot'

3 some like it hot-1200x600-NYTG

Recommended for 12 + Children under the age of 4 are not permitted in the theatre.

Some Like It Hot on Broadway - NYC

Some Like It Hot on Broadway

Costume designer Gregg Barnes talks about the extensive process of sourcing vintage costume pieces for the Broadway musical, which received 13 Tony nominations.

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New York Theatre Workshop presents the return of Martyna Majok's&nbsp;Sanctuary City&nbsp;at the Lucille Lortel Theatre&nbsp;as part of its 2021/2022 season. The production originally ran in the&nbsp;2019-2020 Off-Broadway&nbsp;season, but was forced to suspend performances from Mar. 12, 2020, due to the pandemic.&nbsp;2018 Pulitzer Prize winner, NYTW Usual Suspect and former 2050 Fellow&nbsp;Martyna Majok&nbsp;brings us an unforgettable story that asks what we're willing to sacrifice for someone we love.&nbsp;Rebecca Frecknall, director of the 2019 Olivier Award-winning&nbsp;Summer and Smoke, helms the&nbsp;highly anticipated production.

Lucille Lortel Theatre

Unless eating or drinking, all guests are required to wear a mask at all times while inside this venue.

Mask

This venue has additional Covid-19 safety measures in place to ensure the health and well-being of the staff, performers, and guests.

Covid safety

Sanctuary City - NYC - New York Theatre Guide

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Opening Soon

Sanctuary City

We're all searching for some version of safety. A place where one is free to think, speak, live, and love that is exempt of judgement and ridicule. <a href="https://www.newyorktheatreguide.com/show/sanctuary-city" target="_blank">Sanctuary City</a>, a new play from Pulitzer Prize winner Martyna Majok, questions if this sort of place exists, and if it does, is everyone welcome.Imagine being transported, as a child, to a strange new country and being ignorant of its language, culture, and people. Picture yourself, as a result of this "forced" situation in the land of opportunity, but scared, stifled, and alone. Under the remarkable direction of Rebecca Frecknall, Sanctuary City gives focus to two immigrant teenagers, living through their lonesomeness in Newark, New Jersey and searching for security, companionship, and acceptance. The audience is so completely immersed in their world, that it's hard to look away and not feel empathetic.&nbsp;Purposefully never given complete names, B (Jasai Chase-Owens), and G (Sharlene Cruz), are best-friends. These single letters identifiers help to label them as simply human. Their gender identity — an inner feeling and awareness of whether a person is female or male, both, or neither — is never revealed, though one might assume it simply stands for Boy and Girl. Yet, in this story about platonic love, gender labels are not what matters.We learn more about B and G through their friendly care for one another that develops over several years. B's mother wants to return home (somewhere not in America, though we never learn where) while G's mother stays in an abusive relationship that makes G's life miserable. Through perfectly symmetrical choreography — side by side, front to back, up and down — we travel with B and G through their four-year high school journey, and beyond. The friends grow closer through a cherished mutual understanding. They bond intimately, but never sexually, while offering each other support, shelter, food, security, and companionship. Before G moves on to college, they plan to marry, not for romance, but to secure B's green card. A third character&nbsp;Henry (Austin Smith), the only character given a name, turns the play around in many ways completely in Act II. Chase-Owens, Cruz, and Smith are a stellar trio together. Their acting never seems forced or over-done. I often wondered how much they've worked together before.Tom Scutt's minimal set and costume design leaves much to the imagination. The stage, a slanted elevated plank, remains bare throughout the show. The costumes rarely change, and yet, nothing feels like it's lacking. However, it is Isabella Byrd's impressive lighting design that served as this show's highlight. During the first half of the play, Byrd created a warmer setting with spotlights directly on the actors, leaving the rest of the stage dark. Colors moved systematically from flashes of dark oranges to bright yellow hues to symbolically translate time, connection, and intimacy. Everything works in tandem in New York Theatre Workshop's first play of the season. This play forces its audience to ask themselves the necessary questions about equality and sacrifice, and how far they would go to feel safe.<a href="https://www.newyorktheatreguide.com/show/sanctuary-city">Sanctuary City is running at New York Theatre Workshop through October 10. Get tickets to Sanctuary City on New York Theatre Guide.&nbsp;</a>Photo credit:&nbsp;Sharlene Cruz and Jasai Chase-Owens in Sanctuary City (Photo by Joan Marcus)

'Sanctuary City' review - powerful new play questions who is allowed to feel safe

Sharlene Cruz and Jasai Chase-Owens in Sanctuary City (Photo by Joan Marcus)

Off-Broadway

Sanctuary City - NYC

Located in the West Village in Manhattan, the Lucille Lortel Theatre was first built 1926 as a 590-seat movie theatre. Converted into an Off-Broadway theatre in the early 1950s, the venue opened with *Maya* in June 1953.

In 1955, Louis Schweitzer acquired the building as an anniversary present for his wife, actress/producer Lucille Lortel. To celebrate her 81st birthday, the theatre was rechristened the Lucille Lortel Theatre in 1981. Since Lortel’s death, the Lucille Lortel Foundation has owned the theatre.

The Off-Broadway theatre company MCC Theater used the Lortel as its home base until it acquired its own venue in Hell's Kitchen.

## How to get to the Lucille Lortel Theatre off Broadway

The Lucille Lortel Theatre is closest to the Christopher Street station on the 1 line. The closest bus stop is Christopher St./Bleecker St. on the M8 line.