Looking forward to a big Broadway Season

But where will find the time?  Matinees I suppose….

Stolen from the New York Times here are excerpts



file     broadway plays NYTimes 2018 season

Lucas Hedges, Daniel Radcliffe, Mercedes Ruehl and Kerry Washington are already in previews; still to come are Annette Bening, Bryan Cranston, Jeff Daniels, Adam Driver, Ethan Hawke, Glenda Jackson, Nathan Lane, John Lithgow and Keri Russell;

at “American Son,”  It’s a drama, set in a Florida police station, about an estranged interracial couple worried about their missing, mixed-race, adolescent son.

The Lifespan of a Fact,” a timely look at variable understandings of truth, in this case by a magazine writer and a fact-checker.

“Lifespan” is one of the three journalism plays on the docket — the others are an adaptation of “Network,” the 1976 television industry satire, and “Ink,” about an early chapter in Rupert Murdoch’s career.

Like “American Son,” “Straight White Men,” which ran earlier in the season, and a new adaptation of “To Kill a Mockingbird,” coming later this fall, tackle race in America. “The Boys in the Band,” which ran over the summer, “Torch Song,” which is now in previews, and the upcoming “Choir Boy” deal with challenges faced by gay men in three different eras.

Shakespeare: the current “Bernhardt/Hamlet,” about Sarah Bernhardt’s portrayal of the tormented prince of Denmark, and “King Lear,” coming next spring, in which Glenda Jackson plays the maddening British monarch.

British plays are a Broadway staple, and this season there are four — commercial productions of “The Ferryman” and “Network” and nonprofit productions of “The Nap,” the snooker comedy, and “Ink.”

The biggest bettor is Mr. Rudin, whose projects include plays by Lucas Hnath (“Hillary and Clinton,” which imagines the relationship between a woman who would be president and the husband who once was); and Taylor Mac (“Gary: A Sequel to Titus Andronicus,” which ponders those who clean up after political conflict).

The three others that have opened thus far have all been nonprofit productions that do not have investors — “Straight White Men,” from Second Stage, “Bernhardt/Hamlet” from Roundabout, and “The Nap” from Manhattan Theater Club.

Young Jean Lee’s “Straight White Men” was the first play by an Asian-American woman ever on Broadway, and even so, needed a starry cast (led by Armie Hammer and Josh Charles) to help find an audience (which it did). Manhattan Theater Club is presenting “Choir Boy,” the Broadway debut for Tarell Alvin McCraney, a prominent African-American playwright who won an Oscar for his work on the film “Moonlight.”

Boundaries between commercial and nonprofit productions are blurring. Ms. Friedman has helped the transfer of “Ink” to Manhattan Theater Club; the nonprofit Lincoln Center Theater is co-producing “To Kill a Mockingbird”; and “Torch Song” is at the Helen Hayes, owned by Second Stage

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