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Capsule Reviews

An Enemy of the People

By Ben Togut

After a doctor makes a discovery that threatens the livelihood of his small town, all hell breaks loose in An Enemy of the People, now playing at Circle in the Square Theater. Returning to Broadway in a new adaptation from Amy Herzog and directed by Sam Gold, Ibsen’s drama shines as a result of its ensemble, who powerfully evoke a community struggling with a terrible truth.

Jeremy Strong delivers an impassioned performance as Thomas Stockmann, a doctor steadfast in his pursuit of justice. Strong brings such commitment and pathos to the role that audiences can’t help but root for Dr. Stockmann in his battle for the truth, even when his methods are suspect. Michael Imperioli is wonderfully despicable as Peter Stockmann, the town mayor who condemns his own brother for exposing a secret that might cause the town’s ruin. The complexity with which Imperioli navigates his character’s loyalties as both Dr. Stockmann’s sibling and the town’s mayor makes his performance a pleasure to watch.

Another strength of the production is its faithfulness to the setting of Ibsen’s drama. The lighting design by Isabella Byrd and production design by dots effortlessly transport audiences to 19th century Scandinavia through rustic, candle-lit chandeliers and the blue and white Norwegian patterning in Dr. Stockmann’s home. The Norwegian folk music sung throughout the production gives the play a homey authenticity that invites audiences into Ibsen’s world.

With performances that illuminate the complex social dynamics at the heart of Ibsen’s melodrama, An Enemy of the People is as provocative and timely as ever.

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Creative

Jesus Christ on Broadway

In celebration of Easter, let’s take a look at some of the representations of Jesus Christ on the Main Stem!

Godspell 

Godspell had a circuitous journey to becoming one of the most beloved Broadway musicals of all time. It premiered off-Broadway in 1971, a movie version was released in 1973, and the production was performed as far and wide as Tehran, Iran, before finally coming to Broadway in 1976. It also has an uncanny ability to create stars – its original Toronto production featured Victor Garber, Andrea Martin, Eugene Levy, Gilda Radner, and Martin Short before they all became legends. The 2011 revival was the launchpad for Emmy winner Uzo Aduba, was Tony winner Joaquina Kalukango’s Broadway debut, and featured Lindsay Mendez before her Tony win and before her Elphaba days. 

Jesus Christ Superstar 

Andrew Lloyd Webber’s first Broadway show might also be his strangest. A psychedelic rock musical about the final days of Jesus’ life, it took Broadway and the West End by storm in 1971. (a surprising bit of apocrypha in the show’s original program credits – gay rights pioneer Harvey Milk worked as the director’s assistant before moving back to San Francisco and running for office.) The show has been revived on Broadway three times, most recently in 2012 with Paul Alexander Nolan in the title role. Along with the 1973 Norman Jewison film, it was also adapted to television in 2018 with an all-star Broadway cast including Sara Bareilles, John Legend, and Brandon Victor Dixon.

The 25th Annual Putnam County Spelling Bee 

Jesus makes a quick cameo in this 2005 Tony-winning musical, inspiring constant overachiever Marcy Park to screw up a word and free herself from the pressures of the Bee. After getting eliminated in the Bee, the actor playing Chip Tolentino quickly swaps into a Biblical robe – in the original Broadway cast that was Here Lies Loves’ Jose Llana. 

The Book of Mormon 

The show’s prologue features a quick primer on Mormon theology, and Christ himself appears briefly. But Jesus shows back up in the act-2 showstopper “Spooky Mormon Hell Dream”, to scare Elder Price into doing the right thing. The dance number also includes cameos from Adolf Hitler, Genghis Khan, Jeffrey Dahmer, and Jonnie Cochran (it’s a bit of doozy.) 

And a special mention for Corpus Christi –

The late Terrence McNally, known for Broadway classics like Master Class and Ragtime, faced a great deal of backlash when he premiered his play Corpus Christi off-Broadway in 1998 at Manhattan Theatre Club. Similar to Jesus Christ Superstar, McNally mapped the story of the Gospels and the Crucifiction onto a modern day setting. To explore themes of homophobia and bigotry in Christianity, McNally imagines Jesus, Judas, and other disciples as gay men. A scene in which Jesus/”Joshua” and Judas kiss prompted protestors to picket the show’s opening night. (Norman Lear, Tony Kushner, and David Henry Hwang organized a counter-protest in support of McNally and MTC.) The original off-Broadway cast featured such future stars as Michael C. Hall, Anson Mount, Christopher Fitzgerald, and Jeremy Shamos. Productions of the play continue to face backlash, as recently as 2023. 

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Capsule Reviews

The Who’s Tommy

By Lulu Diamond

The 2024 revival of The Who’s Tommy, directed by Des McAnuff, is a triumphant return to the Broadway stage.

Pete Townshend’s multifaceted talent shines through with his stellar book, music, and lyrics still intact. David Korins’ set design creates a visually captivating world, complemented by Sarafina Bush’s imaginative costume design. Amanda Zieve’s lighting design electrifies the stage, while Gareth Owen’s sound design amplifies the iconic music of The Who throughout the booming Nederlander Theatre. Lorin Latarro’s fresh choreography adds a dynamic twist to this classic tale. 

Ali Louis Bourzgui’s Broadway debut as Tommy Walker is nothing short of sensational, marking him as a rising star in the theatrical world. 

This production delivers a thrilling experience, blending nostalgia with innovation, making it a must-see for both fans and newcomers alike.

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Capsule Reviews

Doubt

Doubt1597 (l to r): Amy Ryan (Sister Aloysius) and Quincy Tyler Bernstine (Mrs. Muller) in Roundabout Theatre Company’s new Broadway production of Doubt: A Parable by John Patrick Shanley, directed by Scott Ellis.

By Ben Togut

At a Bronx Catholic school, questions of moral authority loom large in Doubt, now playing at the Todd Haimes Theatre. Back on Broadway, the revival’s star-studded cast leans into the wit and melodrama at the heart of John Patrick Shanley’s Pulitzer Prize-winning 2004 play, and finds new points of resonance under the direction of Scott Ellis. 

Amy Ryan lends a steely conviction to the role of Sister Aloysius, taking over in short order for Tyne Daly, who was forced to withdraw from the production for medical reasons before the start of previews. Ryan embodies Doubt’s wry sense of humor as she drolly volleys with Zoe Kazan as Sister James, who serves as the perfect foil to Sister Aloysius’s cold as ice, no-nonsense persona. Throughout the play, whether she is chastising Sister James for being too innocent or taking Father Flynn, a stoic Liev Schrieber, to task for his perceived wrongdoings, Ryan is a joy to watch.

Though her time on stage is brief, Quincy Tyler Bernstine steals the show as Mrs. Muller, delivering a performance that is at once quiet and forceful. Bernstein expertly balances Mrs. Muller’s maternal tenderness with her indignance with Sister Aloysius’ actions, challenging the nun with a feistiness that makes her performance an undeniable highlight.

David Rockwell’s scenic design is another one of the show’s assets. While Doubt’s set design is minimal, its starkness complements the mood of the plot. As the set transforms from a church, to Sister Aloysius’ office, to a barren courtyard, audiences are firmly rooted in the play’s setting and somber atmosphere.

With nuanced performances that breathe new life into a modern classic, Doubt makes for a thought-provoking night at the theater. 

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Capsule Reviews

Appropriate

By Ben Togut

This Capsule Review was originally published on December 18, 2023, when Appropriate opened at the Hayes Theater.

On March 25, 2024, the production begins a return Broadway engagement at the Belasco Theatre through June 23, 2024. Ella Beatty replaces Elle Fanning in the role of River.

On the occasion of their father’s death, three siblings return to a dilapidated plantation home where they must battle with dysfunctional relationships and their own demons in Appropriate. Returning to the Broadway stage, Sarah Paulson takes no prisoners. As Toni, Paulson is unrelenting yet vulnerable, delivering a masterclass in emotional volatility, especially as tensions run high in the second act. 

You would be hard-pressed to find a weak link in the cast of Appropriate. Under the direction of Lila Neugebauer, the actors shine both individually and as a whole, tackling Branden Jacobs-Jenkins’ tragicomic narrative of a dysfunctional family with both humor and heart. Michael Esper delivers an affecting performance as Franz, estranged and desperate to reconcile with his siblings over the harm he caused them in the past, while Elle Fanning is eccentric yet grounded as his younger girlfriend River.

Another highlight of Appropriate is its sound design by Bray Poor and Will Pickens. Throughout the show, an anxious chorus of cicadas pervades the theater, overwhelming audiences with the feeling that something terrible is about to happen. Just as impressive is scenic design by dots, especially in the play’s last five minutes, when rapid set changes take place as the plantation house falls into disarray and is overrun by vegetation. Together, these elements add to the play’s dramatic tension, creating an environment of dread that leaves audiences on the edge of their seats.

A riveting portrait of family dysfunction and prejudice, Appropriate is not to be missed.

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Creative

Where’s That Cast Now? Cabaret Edition


The iconic Kander & Ebb musical Cabaret makes its triumphant return to Broadway this month at the August Wilson Theatre, with Eddie Redmayne reprising his Olivier Award-winning performance as the Emcee. So now is the perfect time to catch up with the stars who have dazzled us over the years in this groundbreaking show. This being the show’s fourth Broadway outing, several of Broadway’s (and even Hollywood’s) brightest stars have stepped into the Berlinian dance shoes of these characters.

Joel Grey

The Master of Ceremonies who set the bar, Joel Grey’s performance in Cabaret is etched in Broadway history. But that was just the beginning. Grey twirled from the Kit Kat Club to directing the Tony-winning revival of The Normal Heart, and even donned the wizard’s hat back onstage in Wicked. His magic extends beyond the stage with roles in TV shows like Grey’s Anatomy and films such as Dancer in the Dark, not to mention the film version of Cabaret itself!

Liza Minnelli

The quintessential Sally Bowles, Liza Minnelli’s performance is Broadway royalty. An EGOT holder, she’s dazzled audiences in The Act and shared her legendary talents in Liza’s at The Palace…, among so many others. Her film career is just as sparkling, with the iconic Cabaret movie and the charming Arthur.

Photo by Joan Marcus.

Alan Cumming

Alan Cumming’s portrayal of the Emcee was nothing short of a sensation, snagging him a Tony for the 1998 revival, before he reprised the role in the 2014 revival. Cumming’s charisma has lit up the stage in productions like Design for Living and Macbeth, while his screen presence has captivated audiences in The Good Wife and charmed families in Spy Kids.

Photo by Joan Marcus.

Michelle Williams

Stepping into the shoes of Sally Bowles in 2014, Michelle Williams brought a fresh vulnerability to the role. Her Broadway journey continued with a Tony-nominated performance in Blackbird. On screen, she’s garnered critical acclaim and Oscar nods for roles in films like Manchester by the Sea and My Week with Marilyn.

Photo by Joan Marcus.

Emma Stone

Emma Stone’s Broadway debut as Sally Bowles was a standing ovation-worthy affair. The recently minted two-time Oscar winner has danced her way between the stage and the silver screen, clinching an Oscar for La La Land and exploring complex characters in Birdman and The Favourite. She has not yet returned to the stage and has since hinted that the intense performance schedule might keep her from doing so anytime soon.

With the spotlight ready to shine on Eddie Redmayne and Gayle Rankin in the latest Cabaret revival, we tip our bowler hats to these past performers who’ve given us unforgettable moments both on Broadway and beyond.

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Creative

Irish Theatre on Broadway

By Jordan Levinson

Irish theatre has a long and storied history on Broadway, dating back to the early 20th century. From the works of great Irish playwrights like George Bernard Shaw and Sean O’Casey to contemporary productions like “The Ferryman” and “Hangmen” Irish theatre has made a significant impact on the Broadway stage.

George Bernard Shaw at Shaw’s Corner, his home for 44 years (photo: Granger Historical Picture Archive / Alamy Stock Photo)

One of the earliest examples of Irish theatre on Broadway was George Bernard Shaw’s “John Bull’s Other Island,” which premiered in 1904. The play tells the story of an Englishman who travels to Ireland to build a hydroelectric power plant, but finds himself at odds with the locals and their way of life. The play was a success and helped establish Shaw as one of the leading playwrights of his time.

From left, Adam Petherbridge, Clare O’Malley, John Keating and Ed Malone in “The Plough and the Stars.”

Another notable Irish playwright who made an impact on Broadway was Sean O’Casey. His plays, including “Juno and the Paycock” and “The Plough and the Stars,” dealt with the struggles of working-class Irish families during the early 20th century. These plays were praised for their realistic depictions of life in Ireland and helped introduce American audiences to the political and social issues of the time.

The Weir 1999 Broadway Production Photo

A new generation of Irish playwrights emerged, including Brian Friel and Conor McPherson. Friel’s “Dancing at Lughnasa” (1991) tells the story of five unmarried sisters living in rural Ireland in 1936, while McPherson’s “The Weir” (1999) is a ghost story set in a remote Irish pub. Both plays were critical and commercial successes on Broadway, and helped establish Ireland as a major force in contemporary theatre.

In recent years, Irish theatre has continued to make an impact on Broadway. In 2012, “Once,” a musical based on the 2006 film of the same name, premiered on Broadway and went on to win eight Tony Awards, including Best Musical. The show, which tells the story of a Dublin street musician and a Czech immigrant who fall in love, was praised for its heartfelt music and authentic portrayal of life in Dublin.

Another recent Irish production that made waves on Broadway was “The Ferryman,” a play by Jez Butterworth that premiered in 2018. Set in rural Northern Ireland during the Troubles, the play tells the story of a family caught up in the conflict. “The Ferryman” was praised for its powerful performances and gripping storytelling, and won four Tony Awards, including Best Play.

(Mel Melcon/Los Angeles Times)

You cannot write a piece about Irish theatre without playwright Martin McDonagh, a renowned Irish playwright and screenwriter who has made significant contributions to Broadway. He is best known for his dark comedies and exploration of human nature through his works. McDonagh made his Broadway debut in 1998 with “The Beauty Queen of Leenane,” which was critically acclaimed and won four Tony Awards, including Best Play. He followed this up with “The Lonesome West,” “The Pillowman” and “Hangmen,” all of which were also well-received by audiences and critics. McDonagh’s works have brought a unique voice to Broadway, with their dark humor and complex characters. His contributions to the world of theater have helped to shape and define the modern stage, and his influence continues to be felt in productions around the world.

Gabriel Byrne’s “Walking With Ghosts”

Irish theatre on Broadway has also provided a platform for Irish actors to showcase their talent. Actors like Liam Neeson, Gabriel Byrne, and Saoirse Ronan have all appeared in Irish productions on Broadway, helping to raise the profile of Irish theatre in the United States.

Irish plays have captivated audiences with their poignant storytelling and authentic depictions of Irish life. As long as there are talented Irish playwrights and actors, Irish theatre will continue to thrive on the Broadway stage.

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Creative

Broadway’s Best Book Adaptations

Broadway has a long-standing tradition of transforming beloved books into mesmerizing theater. Alongside plays and films, novels offer great inspiration for stage adaptation as the characters, settings, and stories are expanded to their most expressive form. From Porgy & Bess (adapted from the 1925 novel “Porgy”) to Les Misérables (adapted from Victor Hugo’s novel), this has been a constant for decades of Broadway history.

This season, Broadway is brimming with literary magic, as several new musicals and revivals, all from the page to the stage, join the lineup of shows that promise to captivate audiences. Here’s a roundup of the current must-see Broadway shows adapted from books:

Water for Elephants

The touching tale of “Water for Elephants,” based on Sara Gruen’s novel, comes to life on stage with a spectacle-filled production. Set during the Great Depression, it follows a young man who finds love and purpose within a second-rate traveling circus.

The Notebook

Nicholas Sparks’s “The Notebook” is known for its heart-wrenching love story, now sung on stage. The musical adaptation explores the enduring love between Noah and Allie, spanning decades and defying the challenges of memory and time.

The Outsiders

S.E. Hinton’s novel “The Outsiders” captures the strife and solidarity among a group of teenagers in 1960s Oklahoma. The musical adaptation brings the battle between the Greasers and the Socs to the stage with a dynamic original score by Jamestown Revival.

The Great Gatsby

F. Scott Fitzgerald’s classic novel about the enigmatic Jay Gatsby and the excesses of the Jazz Age has been adapted into a stage production, starring Jeremy Jordan and Eva Noblezada. Following a successful premiere at Papermill Playhouse, the musical is just the first adaptation of Fitzgerald’s iconic tale.

Cabaret

The latest revival of “Cabaret,” the Kander & Ebb musical based on Christopher Isherwood’s “Berlin Stories” is set to open its doors soon starring Eddie Redmayne and Gayle Rankin. The musical is set in Berlin during the rise of the Nazi party and focuses on the patrons and performers of the Kit Kat Club.

The Wiz

A retelling of L. Frank Baum’s “The Wonderful Wizard of Oz,” “The Wiz” infuses Dorothy’s journey to Oz with a dazzling mix of rock, gospel, and soul. The musical returns to Broadway 40 years after it was first revived in 1984, following a national tour.

Wicked

Adapted from Gregory Maguire’s novel, which reimagines the land of Oz, “Wicked” tells the untold story of the witches of Oz. The musical, which has been running at Broadway’s Gershwin theatre for over 20 years, delves into the complex relationship between Elphaba, the Wicked Witch of the West, and Glinda, the Good Witch. A film adaptation of the show is set to hit theaters in 2024 and 2025, starring Cynthia Erivo and Ariana Grande.

Hamilton

Lin-Manuel Miranda’s “Hamilton” is a revolutionary musical based on Ron Chernow’s biography of Alexander Hamilton. It blends hip-hop, jazz, and R&B to recount the tale of America’s Founding Father with a diverse cast that mirrors America today.

Harry Potter and the Cursed Child

While not a musical, this play continues the story of J.K. Rowling’s beloved wizarding world, focusing on the next generation of Hogwarts students. It is en evolution of the iconic book series, landing it a spot on this list.

Sweeney Todd: The Demon Barber of Fleet Street

This thrilling musical tells the dark tale of a vengeful barber and is adapted from the Victorian penny dreadful serial. Stephen Sondheim and George Furth used the stories as inspiration in creating the murderous musical.

From the green lands of Oz to the tumultuous streets of Tulsa, these adaptations offer a diverse array of narratives that are as enchanting as they are thought-provoking. Whether you’re a book lover or a theater enthusiast, these shows are sure to leave an indelible mark on your Broadway experience.

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Broadway's Best Cover Story

Broadway’s Best Guide to Spring 2024

It is an absolutely packed spring ahead on Broadway, with 18 new plays and musicals set to open in March and April ahead of the cutoff date for this year’s Tony Awards! 

Here is Broadway’s best guide to all the first previews, opening nights, and closing nights in the near term:

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Water for Elephants

Where: Imperial Theatre

Opening: March 21

This circus-centric musical, based on the best-selling novel, combines emotional highs and lows of musical theater with the literal highs and lows of trapeze and aerial stunts. Starring Grant Gustin and Isabella McCalla, with direction by Jessica Stone and music by PigPen Theatre Co. For more information, click here.

The Who’s Tommy

Where: Nederlander Theatre

Opening: March 28

The rock opera that changed music history. The Who’s Tommy arrives on Broadway, pushing the boundaries of musical theater to the tunes of ‘Pinball Wizard,’ ‘Amazing Journey,’ and more iconic classic rock. For more information, click here.

The Outsiders

Where: Bernard B. Jacobs Theatre

Opening: April 11

The all-American tale comes to the stage. Set in 1967 Tulsa, this thrilling musical portrays the battle between the Greasers and the affluent Socs. A story of friendship, family, and self-discovery, with a Roots Rock-infused score by Jamestown Revival. For more information, click here.

Lempicka

Where: Longacre Theatre

Opening: April 14

A sweeping musical portrait of Polish artist Tamara de Lempicka, who changed art and culture forever. Directed by Tony winner Rachel Chavkin and starring Eden Espinosa as the title artist. For more information, click here.

The Wiz

Where: Marquis Theatre

Opening: April 17

A reimagined version of the beloved musical, following Dorothy’s journey through Oz. Soulful music, vibrant characters, and a fresh twist on a classic tale starring Wayne Brady and Nichelle Lewis. For more information, click here.

Suffs

Where: Music Box Theatre

Opening: April 18

A captivating exploration of the women’s suffrage movement, set against a backdrop of courage and determination. Written by and starring Shaina Taub, this historical retelling is transferring to Broadway following its sold-out run at Off-Broadway’s Public Theater (sounds familiar…). For more information, click here.

Stereophonic

Where: John Golden Theatre

Opening: April 19

Closing: July 7

Blending song and story in a totally new way, Stereophonic by David Adjmi chronicles the making of our central band’s new album. Very Fleetwood Mac/Daisy Jones & The Six-coded, the play is every music lover’s dream. A limited engagement, so catch it while you can! For more information, click here.

Hell’s Kitchen

Where: Shubert Theatre

Opening: April 20

A gritty, intense semi-autobiographical musical set in New York’s Hell’s Kitchen neighborhood, written by one of our biggest pop stars. Exploring loyalty, betrayal, and survival, Alicia Keys combines her hits with new music to tell her own story, in her own words. For more information, click here.

Cabaret

Where: August Wilson Theatre

Opening: April 21

The iconic Kander & Ebb musical set in pre-World War II Berlin, featuring memorable songs and captivating characters, is back on Broadway ten years after its latest revival. Starring Eddie Redmayne as the Emcee reviving the role following its run across the pond, Gayle Rakin joins as Sally Bowles for the Broadway transfer. For more information, click here.

The Heart of Rock and Roll

Where: James Earl Jones Theatre

Opening: April 22

A high-energy celebration of rock music, love, and chasing dreams, this brand new musical features the music of Huey Lewis and the News. For more information, click here.

Patriots

Where: Ethel Barrymore Theatre

Opening: April 22

Closing: June 23

Set in post-Soviet Russia, this history play portrays the power struggle between billionaire Boris Berezovsky and the rising politician Vladimir Putin. Tony and Emmy Award nominee Michael Stuhlbarg stars as Berezovsky, with direction by Rupert Goold. For more information, click here.

Mary Jane

Where: Samuel J. Friedman Theatre

Opening: April 23

Closing: June 2

Academy Award nominee Rachel McAdams leads this compassionate story of a single mother facing impossible family circumstances. Written by Pulitzer Prize finalist Amy Herzog, it explores inner strength, friendship, and unflagging optimism. For more information, click here.

Uncle Vanya

Where: Vivian Beaumont Theater

Opening: April 24

Closing: June 16

Anton Chekhov’s masterpiece comes back to life in this new adaptation from Heidi Schreck, starring Steve Carrell alongside a who’s who of top-notch Broadway talent. It delves into unrequited love, aging, and disappointment. For more information, click here.

The Great Gatsby

Where: Broadway Theatre

Opening: April 25

Based on F. Scott Fitzgerald’s iconic novel, this new musical features music and lyrics by Jason Howland and Nathan Tysen, and stars Jeremy Jordan and Eva Noblezada. Follow the impassioned tale of eccentric millionaire Jay Gatsby and his tragic pursuit of Daisy Buchanan. For more information, click here.

Mother Play

Where: Hayes Theater

Opening: April 25

Pulitzer Prize winner Paula Vogel brings her latest to Broadway in a new production for the non-profit Second Stage. The memory play stars Jessica Lange, Jim Parsons, and Celia Keenan-Bolger for this limited run. For more information, click here.

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Interviews Long Form

Beowulf Boritt and Stephanie Bulbarella on The 1/52 Project, Diversifying Broadway Design Teams, and What Makes Good Creative Collaboration

Launched in 2021, the 1/52 Project is a nonprofit that raises funds from theater designers, asking them to donate just one week’s worth of royalties a year, and then distributes the funds to early career designers from marginalized backgrounds. Below, the program’s creator, Tony-winning set designer Beowulf Boritt, and projection designer Stephania Bulbarella, who received a grant in 2021 and made her Broadway debut in fall 2023 on Jaja’s African Hair Braiding, discuss the necessity of the project, the forces that make life precarious for young theater designers, and their creative processes.

This Q&A has been edited for concision and clarity.

Broadway’s Best Shows

I would love to just start by asking, why is the 1/52 Project necessary?

Beowulf Boritt

My quick answer is, I don’t think anyone is owed a career in the theater, but it shouldn’t be harder to have a career in the theater because you’re a woman or because you’re not white. And it is apparent and true that both of those things make it harder. My slightly longer answer is that my father came here as a refugee from Hungary in 1956, with no money at all, and got to live out the American dream. And by the time my brothers and I came along, he was able to provide a decent middle-class living for us. And it just feels, to me, that that should be possible for everybody. 

Stephania Bulbarella

As an emerging projections and video designer– before the grant, I was living month to month, meaning I did not have any savings at the end of the year, or the end of the month. It felt like there were moments where I could not breathe. And then suddenly, this grant gave me the possibility of having savings, for the first time in my life I could be comfortable. I could pay my rent. That felt really incredible and safe.

At the same time, I would get some associate designer gigs, and the associate fee would be much more than a design fee for an Off Broadway show. So [with the grant] I could take on more design gigs, and be the [lead] designer. 

Another key element, thanks to the grant, there were two celebrations each year, a little ceremony for giving the grant, where an incredible group of designers that I had always admired were all in the same room. It was all about presenting myself and saying hi. And it’s two years since I’ve gotten the grant and I’ve built some relationships with some of the most incredible designers in this world. Which if it was not for the grant, maybe I would have met them eventually, I don’t know, but it would have taken much more time. 

BB

It was not in my head when we started doing this, but the networking part of it is valuable. our business is all about networking. Initially, I wasn’t even going to do a ceremony like that. I didn’t, I hate the fundraising! But the first year we were doing it, and it was the end of year “hooray, I got the grant!” [moment,] the rest of the committee was like no, we have to do it. We have to do it. You have to raise some money to do it. Thank god Hudson Scenic Studios agreed to just sponsor the whole thing. They just paid for the party, they have for the past two years, and they’ve already offered to again this year. It’s the generosity of the community. Neil Mazzella, [CEO of Hudson Scenic Studios], specifically saying, ‘I will pay for this thing.’ And it allows us to have a party at the West Bank Cafe, and invite everybody who contributed and get everybody into a room together.

BBS

Absolutely! It’s all about the schmoozing. Is it different being an emerging designer in 2024, as opposed to when you were starting out, Beowulf? 

BB

I think it’s harder now. Because when I started out in the 1990s, there was a lot of money in the city and it meant there was a lot more small theater, [so] I got my start doing a lot of really small plays that didn’t pay very much. There were so many opportunities that I could cobble together a living doing them. It was hard work and a lot of hours, but there were more options.

I feel like –and I might be wrong about this– there are not hundreds of options for early career designers right now. And the pay gap [between assistant jobs and lead designer jobs] that Stephanie mentioned has always been true. But if you want to build a career as a designer, you have to take the [lead] design gigs. 

BBS

It can be surprising to learn that being an assistant on a Broadway show actually pays more than being the lead designer of a show in a smaller theater. Building off of that, how is the path of a designer different from paths people might know, like being an auditioning actor? 

BB

Part of it is, as designers, we’re responsible for big chunks of money. And if we screw it up, we’re wasting a lot of money. I think that is part of the fear of hiring people who you don’t know yet. But the result of that is it makes people likely to go back to the tried and true people and not give someone else a chance. I can sort of see both sides of the equation– a lighting designer said to me, that shows are less likely to take a chance on a set designer in particular, because on a Broadway show, I’m responsible for $1.5 million, $2 million of the budget. And if it’s not done properly, it starts taking too long [to build], and that’s also a huge part of the budget. At the same time, it also is the thing that can block people who haven’t had the chance to prove they can do it yet. And it’s that part of the pipeline issue we’re unsure how to solve.

BBS

Stephania,  congratulations on making your Broadway debut, on Jaja’s African Hair Braiding! What surprised you about the Broadway experience?

SB

Well, it’s funny, but –it’s not that it feels easier. But, I’m very used to working in the Off Broadway world where the budget and crew is limited. On Broadway, suddenly there was a huge team! For example, if the system breaks on an Off Broadway show, there might be an engineer, but there might not be an engineer, and then who’s the engineer? Me. But on [Jaja], the TVs would stop working, and I would not do anything! There was a whole team to fix [it]! So in that sense, it did feel a little bit easier. 

BBS

We have both a really exciting set designer and a really exciting projection and video designer here on the zoom call. I’m not saying it’s Sharks versus Jets, but I think it’s a really cool opportunity to talk about how these two different disciplines can work together. I’m curious what you think of the– not the tension between projections versus sets, but how you see them working together as technology changes and as Broadway changes.

BB

I mean, I think there honestly is a tension between them, or there can be. Almost every show I do I end up, at the end, apologizing to the projection designer because I’ve been so heavy handed with them, because I have a lot of opinions. It’s a tricky line. In general, I’m the one who’s hired first, so I’ve probably put something out there that the projection designer is then becoming a part of. And, if I’m doing a set that has a big projection element, I’ve probably conceived the set that way. Honestly, I will draw into my scenic sketches what [my] projection ideas are. Then, someone like Stefania, the projection designer, comes on board, and suddenly is faced with that. I try not to ever say, like, ‘this is what I want you to do.’ There’s no point in that because you want the collaboration! The projection designer should bring themselves and their ideas to it.

When it works well, it’s the most wonderful collaboration. My take on good collaboration is when the end result is something that neither I nor the projection designer nor the director would have come up with on their own. That’s the magic of theater and theater design. But getting there can be tricky and can lead to some hurt feelings and lots of opinions. We’re all in this because we’re passionate about it. We all have strong feelings about it. I’m very curious to hear Stephania’s take.

SB

The director will first meet with a set designer. And what I try to ask is that once I get onboarded into a project is, can I be present on those meetings? Because I really want to listen to where it starts, because after all, then we’re going to be projecting over that set or integrating video into that set. It feels really important to get involved from the beginning.

BBS

Beowulf, you’ve created this program to, as you’ve said, reduce the barriers to becoming a theater designer. Besides supporting the 1/52 Project financially, what are other actions that you would hope the design community could take in making the theater world–but particularly the highest levels, on Broadway– more welcoming to people who aren’t white, people who aren’t men?

BB

Well, it’s a big question. I don’t know if I have an answer for it. Broadway seems to have become a little more aware that this is an issue, morally, that it shouldn’t just be a white man’s club. The diversity that is appearing on Broadway right now, I hope it lasts. One of the reasons I started [the project] is I feel like the theater in general has a slightly shorter attention span. We’re always chasing the new shiny object. For about a year and a half we were all [working on getting] more women on Broadway. And then after George Floyd, we switched to, we have to get more BIPOC people on Broadway. And the thing before seems to get forgotten. And it doesn’t mean that the thing before is not still an issue! That’s why I keep pushing that this is about historically excluded groups. It’s women, and it is people of color. [The goal] is to diversify and strengthen the Broadway community and I genuinely believe that the broader the perspectives, the more interesting our storytelling goes. 

BBS

I’m curious if there is some aspect of design that you want to challenge yourself with, or what project you’d love to do next. 

SB

I don’t have a specific one, but one dream is doing a big Broadway musical. One that has lots of video from beginning to end.

BB

I mean, I’ve been, like, stupidly lucky in my career. So a lot of my, kind of ‘bucket list’ things I’ve already gotten to do…I do want to do Guys and Dolls on Broadway, and I want to do West Side Story on Broadway. I’ve done pieces of West Side Story, in multiple compilation shows: Prince of Broadway had a West Side Story section, Sondheim on Sondheim had a West Side Story section, Jerome Robbins: Something to Dance About had a West Side Story section.

BBS

Oh my god, let Beowulf do a complete West Side Story!