Theater Update: ‘Death Becomes Her’ takes its youth potion to Broadway
‘Swept Away,’ ‘Tammy Faye’ and ‘Romeo and Juliet’
Theater Update

November 20, 2024

Dear Theater Fans,

Now this is rare: A newsletter that notes our review of a newly opened show and gives its closing announcement. Though “Tammy Faye” was well-reviewed in London, its Broadway outing was not, Michael Paulson wrote in his report about the closing. (In her review, Elisabeth Vincentelli called it a “disjointed, strangely bland musical.”) For those curious about the production, you have until Dec. 8 to see it (and you can read Erik Piepenburg’s article about the musical here).

Notable openings: Jesse Green was “fully entertained and harrowed” by the new Avett Brothers musical “Swept Away,” which he made a Critic’s Pick; Laura Collins-Hughes called Grey Henson “enchanting in his silliness” as Buddy the elf in an otherwise “creaky” revival of “Elf the Musical”; and though Maya Phillips found Robert O’Hara’s “Shit. Meet. Fan.” entertaining, eventually the “drama has a saturation point.”

Shakespeare quiz: As if proving a point about the pervasiveness of “Romeo and Juliet” in pop culture, my 4-year-old, swinging in the park the other day, started belting “You’ll be the prince and I’ll be the princess.” Whether or not you know the song (or songwriter) this “Romeo and Juliet”-inspired lyric belongs to, you can test your “Romeo and Juliet” pop culture knowledge by taking this superfun quiz by Elisabeth — inspired by Sam Gold’s youthful Broadway adaptation of the Shakespearean tragedy. (You can listen to the answer — spoiler alert! — right here.)

Please reach out to me at theaterfeedback@nytimes.com with suggestions for stories or to offer your thoughts about our coverage. And urge your friends to subscribe to this newsletter.

Have a wonderful week,

Nicole Herrington

Theater Editor

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Forward it to your friends, and let them know they can sign up here.

NEWS AND FEATURES

Onstage, a group of people standing in knots, looking at a man in a long coat and top hat.

Violette Franchi for The New York Times

‘Les Misérables’ Returns Home

The most famous French musical has never been popular in Paris. A major new production hopes to change that, reworking it for a contemporary French audience.

By Laura Cappelle

Crowds of people congregate in Times Square under a sign that reads “TKTS.”

Sara Krulwich/The New York Times

TKTS to Open Booth in Philadelphia, Hoping to Boost Local Theaters

The first domestic TKTS outpost outside New York comes at a time of rising concern about ticket prices and theater economics.

By Michael Paulson

Actors in lab coats and suits strike poses during a scene from a play.

Greg Kessler

Uncovering Gay and Lesbian History in a 1941 ‘Sex Variants’ Study

The Civilians theater group has adapted a study of homosexuality into a work that explores the lives of lesbians and gay men in the early 20th century.

By Juan A. Ramírez

Ariana Grande as Glinda in “Wicked,” with a pink ruffly dress, holding a black witch’s hat.

Universal Pictures

‘Wicked’ Fans Singing in Movie Theaters Are Anything but Popular

Some fans who have attended early screenings of the film adaptation of the hit Broadway musical have treated it as a singalong. Not everyone is thrilled.

By Remy Tumin and Sara Ruberg

‘TAMMY FAYE’

A production image of a man and woman who are holding microphones while standing onstage. Their image is projected onto a large screen behind them.

Sara Krulwich/The New York Times

‘Tammy Faye’ Musical to Close After Failing to Find Broadway Audience

Well-reviewed in London but poorly received in New York, the musical with an Elton John score will end its run on Dec. 8.

By Michael Paulson

A portrait of a heavily made up woman with blonde hair, hot pink lipstick and large round earrings.

Frederick M. Brown/Getty Images

Why ‘Tammy Faye’ the Musical Feels Like a Redemption

The televangelist defended gay men during the AIDS crisis. Now she’s getting perhaps the gayest tribute: a Broadway show led by Elton John.

By Erik Piepenburg

A production image of a man and woman are sitting onstage and whose image is projected onto a large screen behind them.

Sara Krulwich/The New York Times

Review: Tammy Faye Was Over-the-Top. This Musical Makes Her Small.

“Tammy Faye,” a bland, tonal mishmash of a show opening on Broadway, seems afraid to lean into what made the televangelist so distinctive.

By Elisabeth Vincentelli

THEATER REVIEWS

A production image shows four men in a boat. Three are sitting and one is standing in the middle of the lifeboat with his right arm raised.

Sara Krulwich/The New York Times

Critic’s Pick

‘Swept Away’ Review: Lost at Sea, How Far Would You Sink?

A dark musical about a shipwreck and its aftermath, with songs by the Avett Brothers, anchors on Broadway.

By Jesse Green

A man in a green and red elf costume sings onstage, surrounded by other singing elves.

Sara Krulwich/The New York Times

Review: In ‘Elf’ on Broadway, Buddy Lands on the Very, Very Nice List

The musical, starring Grey Henson, has gotten Buddy delightfully, entirely right. But he is trapped inside a creaky adaptation.

By Laura Collins-Hughes

Six people stand and sit in a living room, with a man in the center holding a cellphone.

Richard Termine for The New York Times

Review: Everyone at the Party Sees Your Texts. A New Play Revels in the Chaos.

Neil Patrick Harris, Jane Krakowski, Debra Messing and Constance Wu star in the vulgar and entertaining new work from Robert O’Hara.

By Maya Phillips

A man in medieval dress with fur around his shoulders holds a large stick under a spotlight.

Sara Krulwich/The New York Times

Review: ‘King Lear,’ Faster and Less Furious

Kenneth Branagh’s production of the Shakespeare classic speeds through the material and can’t quite figure out its tone.

By Maya Phillips

A man in a black jacket and a woman in jeans and a gray blazer are sitting onstage on a set resembling a dimly lit bar.

Sara Krulwich/The New York Times

Theater Review

In the Slightly Dark ‘Strategic Love Play,’ a Not-Quite-Romance Blooms

In this first-date comedy, Michael Zegen and Heléne Yorke play people who might just be willing to settle for each other.

By Laura Collins-Hughes

Two women onstage in period costume, one with a glass in her hand, the other looking out of frame, in a production image.

Maria Baranova

Critic’s Pick

Murder as Family Tradition in ‘Catarina and the Beauty of Killing Fascists’