Showing Bette Midler my work (about her) at the Kennedy Center Honors

Dear Friends and Family,

     I know we are on edge today. This new phase of the pandemic—yet another phase—feels like it went from a dot-in-the-rearview-that-might-just-pass-by to our backseat. The whiplash from progress and safety to uncertainty and anxiety is intense. Still, we are not back to square one. We know a lot more than we did in March 2020. We know what this virus is. We know masking is an easy and extremely effective preventative method—and we have masks. We have testing (PCR, rapid, rapid-at-home). We have vaccines and boosters. We also know how to generally boost our immune systems with exercise, sleep, hydration, vitamins, a healthy diet. (A combination of all things can decrease risk.) So yes, this is sad and upsetting and wearisome and worrisome; but all progress is not lost. This winter sadly may not look like that of 2019, but it also won’t be a carbon-copy of 2020. This piece from The Washington Post (thanks for sending, Suzanne) felt comforting.

     This pandemic has smacked us in the face with so many realizations. Life is short. Life is uncertain. I think the gift of that uncertainty is that it forces us to live in the present. As you all know, I left Playbill 13 months ago. I'm still finding my way, trying to figure it out my career path. As my friend Sara tole me, “I think we’re all still finding our way all the time.” “Day by day” is the new universal mantra.

     Because of uncertainty, we can only choose for right now. I’ve been preoccupied by the future since I came out of the womb. This pandemic hasn’t cured me of that entirely, but it dials down the pressure. I only have today. So, if after a Monday night Shoshana Bean concert at the Apollo I’m awake and alive and feel like going salsa dancing, I will go salsa dancing (with my double-mask on in a vaccine-mandatory venue). I won’t wait until next Monday. Who the heck knows what next Monday will bring?!

     I will say, the past few weeks have brought a lot of excitement for me. For those who follow me on social, you know that last week I went to Washington, D.C., for the Kennedy Center Honors. The Kennedy Center Honors are my favorite awards show of the year. There’s no competition, it’s just legends honoring legends. Aretha Franklin once sang in tribute to Carole King. THINK ABOUT THAT.

     This year the honorees are: Joni Mitchell, Justino Diaz, Lorne Michaels, Bette Midler, and Berry Gordy. It’s a hell of a show. (Tune in December 22 9/8c on CBS.) The reason I went is because: In addition to the onstage performance tributes we see on the broadcast, there is a tribute booklet with photographic retrospectives and written tributes. The Kennedy Center asked Bette Midler “Who would you like to write your tribute?” (For perspective, Tina Fey wrote Lorne’s, Cameron Crowe wrote Joni’s.) Bette said, “How about Fran Lebowitz?” So they asked Fran who basically said, anything for Bette but I don’t write anymore so can I do it as an interview? Enter moi. I interviewed Fran Lebowitz about Bette Midler for 45 minutes and crafted this piece based on our conversation. See it below.

     As cool as that was, the real privilege was editing the piece and cutting down the word count with Fran. Apparently, her pieces always came in under word count. Mine…well, you’re still reading this letter. Since this tribute “By Fran Lebowitz as told to Ruthie Fierberg” would be in the program, I wanted to attend. I attended as a seatfiller. Unreal. Joe and Jill were there. Kamala and Doug were there. The biggest names in arts, entertainment, and politics filled that room. I got to sit next to Fred Armisen during the first-half of the Lorne Michaels tribute (!) and in front of Dan Levy for the second half (catch me on camera!). I sat front row for Bette’s entire tribute (thanks to Kelli O’Hara who had to give up her seat in order to be onstage). Later in the evening, I introduced myself to The Divine Ms. M and told her I helped write her tribute with Fran. That was a moment.

     But…if I’m being honest, I was more excited the next morning to meet Jenn White in the flesh! She’s the creator of Making (i.e. Making Oprah, Making Obama, Making Beyoncé) and an incredible journalist. Now, she’s the host of 1a on NPR. Though I’ve spoken on the show before, my previous appearances have been remote. This time, I was in D.C. for the Honors, so I could go into the studio in person! We discussed the legacy of Stephen Sondheim after his Thanksgiving passing. That hour was glorious. Listen here. One week later (a.k.a. this past Monday), I was back on the show to discuss the new West Side Story from Steven Spielberg and Tony Kushner. (Read my full recommendation for the movie below.) It was a rough room—the other panelists were not fans. I was particularly proud to be the voice of theatre in the room and the voice of praise in the room.

     I’m also proud of the writing I’ve done recently. In the past three weeks, I published two pieces on Medium. (Be sure to follow me there if you want to get immediate notifications when I publish). In the wake of Sondheim’s death, my newsfeeds were nothing but Sondheim tributes. (You could say I run in a theatrical crowd.) Sondheim’s death didn’t hit me as personally as, say, Hal Prince’s; rather, the gravitas and woe I felt came from what his death means for musical theatre—the art form and the community. So I wrote about that. If you don’t understand why Sondheim’s death is such a big deal, my piece will help you understand. I aim to take stock of his legacy and use it as a lesson. His career can teach us how to better produce groundbreaking art. Read it here.

     Finally, I wrote a piece about the advertisement we need to bring Broadway back FOR REAL. I know it sounds skeptical right now, but attending theatre is one of the safer activities you can participate in. The problem is no one knows that. I lay out all the safety precautions Broadway has taken and outline the commercial I want to see that will let you, the public, know about it. Our message has not been clear and it needs to be.

     What is clear is how tenuous our situation is; I don’t want to belittle that. I long for the day when a new strain of COVID is like a new strain of the flu. Until then, the best thing we can do is live for now. If you want to stay at home, I have recommendations for books, movies, and TV series to enjoy from your couch. If you want to go to the theatre (where there are lots of safety precautions), I have recommendations for Broadway and Off-Broadway below. Anecdotally, if it’s helpful to know, I’ve been going to the theatre (masked and boosted) about four times a week and continue to test negative. No matter what, we have ways to keep art in our lives. As 2021 comes to a close, I need to thank you for being a part of my life. I wish health, happiness, hope, and peace for you and all your loved ones with this new year.

Love and all that jazz, Ruthie

As always, if you need show recommendations or if you have theatre questions, please get in touch! I LOVE to answer. Keep tabs on RuthieFierberg.com. 

Thank you for your enduring support.

Recommendations: 

*If these recommendations inspire you to check out something new, I’d love to know! Tag your post about it with #ruthierecommends.

1. Company. The official reviews were way more mixed than I expected because from where I sat (Row H, Seat 108—sit THERE if you can) this is a perfect production. I don’t consider myself a Sondheim-ite (though my awe of him is great). Company doesn’t hold a particular place in my heart. But holy moly. Marianne Elliott is simply one of our greatest living directors. (She’s in my Top 3.) You may have seen her Curious Incident of the Dog in the Night-Time or the most recent revival of Angels in America, starring Andrew Garfield. She is an A++ dramatist. She understands the stage. She creates a forward momentum in this musical that has always been a plotless compilation of vignettes. For those who don’t know, Stephen Sondheim and George Furth debuted Company on Broadway in 1970. The musical takes place on the brink of perpetual bachelor Bobby’s 35th birthday and all of his married friends want him to partner up already. The series of scenes with each couple illustrates marriage—mostly the misery of it. And yet, all of these people choose marriage and want Bobby to do the same. Elliott’s version centers on Bobbie, now an almost-35 New York single woman. Few know this, but the gender-swaps don’t end there. Jenny is a sophisticated working woman and David is a square stay-at-home dad. Paul and Amy are now Paul and Jaime. It gives the piece such renewed life—which is what a revival should be. Katrina Lenk acts the sh*t out of it as Bobbie. Patti LuPone is legendary. Her pronunciation of the word “Ladies” alone is iconic. I could make an argument for a Tony nomination for nearly every actor up there. The orchestra is divine. The DESIGN! This is storytelling through design and I’m obsessed. The choreography could win the Tony. Moral: Go see it. It will make you alive.

2. West Side Story. The newest iteration of West Side Story is a movie everyone should see 1. because West Side Story is a story worth knowing and 2. it's worth seeing as beautifully as Steven Spielberg shoots it and hearing as lushly as this massive orchestra plays it (conducted by Gustavo Dudamel) and this cast sings it in this version. There are some brilliant “additions” to the backstories of these characters. It took this version for me to really understand the relationship between Riff and Tony, why they’re even friends. Tony Kushner’s screenplay digs way deeper for Riff (and why keeping the Jets on top is life-or-death for him) and rounds out Tony (and why he steers so clear of a gang he allegedly co-founded). Mike Faist is the definitive Riff in my view; he should win all the Awards. Rachel Zegler is a damn star as Maria. WOW. The change from white man Doc to Latina Valentina (Rita Moreno) as the owner of the Jet’s drugstore hangout surprisingly works very well. Justin Peck’s choreography honors the original by Jerome Robbins and, yet, is very Justin Peck. Vibrant and colorful, Spielberg proves why he’s Spielberg: he captures fragile details and great swaths in equal measure.This version is far more violent than the original. It’s a movie, so it’s more realistic—less dance-fighting and more beating the crap out of each other. It gets very real. There’s merit to that. Of course, there’s merit to the idea that you don’t have to be literal to convey violence and hate. I do miss “Somewhere” as a ballet. But my niggles are few. It is a stunning addition to the canon, a gorgeous introduction for a new generation, and a worthwhile night out. (Just sit as far back as you can so you can take it all in.)

3. Dopesick. Hulu's original series about the American opioid epidemic and the Sackler family is outstanding television. The story is heart-rending and sickening. Though fictional, it is based on the true story and a powerful teaching tool about how the opioid crisis began and how it was permitted to continue. Michael Keaton should win an Emmy. Kaitlyn Dever is phenomenal. You'll also see theatre faces like Will Chase, Mare Winningham, Raúl Esparza, and Phillipa Soo. Michael Stuhlbarg who plays Richard Sackler is a pitch-perfect duality of sinister and slighted. You won't be able to look away and you shouldn't.  

4. The Sum of Us: What Racism Costs Everyone and How We Can Prosper Together. Heather McGhee’s latest is THE book every American (and anyone who wants to understand America) needs to read. Data drives this book. (How McGhee compiled, analyzed, and wrote this in just a few years makes no sense.) The Sum of Us illustrates sector by sector—housing, healthcare, education, etc.—how racism influenced policies, laws, and mindset to lead us to where we are today and why that’s not just bad for Black people and other POC. This hurts white people. McGhee’s book proves that when society disadvantages one group, it disadvantages us all. But this is also good news for our future; as the old adage goes “a rising tide lifts all boats.” I’ve heard people say that offering opportunity to one group does not take opportunity away from another group. In fact, Dominique Morisseau said it on my podcast. If I’m being honest, I wanted to believe that but didn’t understand how it could be true. McGhee’s book showed me how it is true. A vital history lesson and utilitarian future one.

5. The Sex Lives of College Girls. HBOMax gives us what we wanted from the Sex and the City reboot in this new series. The title says it all. Four college suitemates navigate their first few months of school. The main quartet: Whitney, the new star of the soccer team; Leighton, practically plucked from Gossip Girl’s Upper East Side; Kimberly, a sheltered bookworm; and Bela, an aspiring comedy writer, former nerd, and current party animal. This is another series from Mindy Kaling and I love it. Plus theatre talent! Renee Rapp (winner of the National High School Musical Theatre Awards and Broadway’s former Regina George; Midori Francis (star of Usual Girls and The Wolves); and Broadway director Lila Neugebauer helms the seventh episode. It’s sexy, surprising, substantive, and funny. I binged Season 1 in a day.

6. Mrs. Doubtfire. I recommend this specifically for Rob McClure, who plays the titular nanny. Rob is a ridiculously talented performer whose skills are so many, I forgot them all until they were on display in this musical. I forgot what a fantastic dancer he is—not just a singer who dances. I forgot he can "do voices.” He’s a talented puppeteer. He’s a unique vocalist. He’s a divine actor. He is Mrs. Doubtfire, and damn if he doesn’t win that Tony. It’s an ideal family show—though not exclusively “a family show.” The musical oozes with old-school showmanship (think a kickline of Doubtfires in a dream sequence). At times, it’s a little too silly for a story that is so genuine, but if you can let go and just want to be entertained, you will leave the theatre beaming. (Open-ended Broadway run.)

7. Kimberly Akimbo. From Pulitzer winner David Lindsay-Abaire (Rabbit Hole) and Pulitzer finalist and Tony winner Jeanine Tesori (Fun Home, Shrek the Musical, Thoroughly Modern Millie), this new musical is a delight. Endearing and sweet, the story—about Kimberly, a teen with progeria—is original. The score is great. Tony winner Victoria Clark is wonderful as Kimberly. Justin Cooley is irresistibly charming as her friend/crush. I left the theatre joyful, satisfied, and so pleasantly surprised. (Through January 5 at Atlantic Theatre Company Off-Broadway.)

8. If I Was Your Girl. A Stonewall Book Award Winner, Meredith Russo’s book follows Amanda Hardy who, after years of bullying and assaults, moves away from her mother to go live with her father. Amanda gets a fresh start where nobody knows she used to be Andrew. The book was extremely helpful to me as a cis, straight woman. Seeing things from Amanda’s perspective, I understood gender in a whole new light. I better understood the separation between gender and sexuality. More than a perspective-giving tool, the book is a total high-school-drama page-turner.

9. While We Were Dating. For an easy, sexy read over the holidays, check out Jasmine Guillory’s latest. Anna is a famous actress. Ben is an ad exec. When Anna chooses Ben’s agency to spearhead the campaign of a product with her celebrity endorsement, sparks fly. Sure, it’s a little cheesy, but their relationship is also refreshing. There’s a realistic tentativeness in each of them as they share with each other and respect for boundaries! This is the new era of rom-com.

Calendar - New York Openings and Re-Openings

BROADWAY

The Music Man (Begins previews December 20; Opens February 10)

Written by Meredith Willson; starring Sutton Foster and Hugh Jackman

Skeleton Crew (Begins previews December 21; Opens January 12)

Written by Dominique Morisseau (remember her from my Pipeline episode?); starring Phylicia Rashad

Scheduled to Close
Diana the Musical - December 19

Caroline, or Change - January 9

Trouble in Mind - January 9

OFF-BROADWAY

Kimberly Akimbo

Atlantic Theater Company (Now in previews; Opens December 8; Closes December 26)

Written by David Lindsay-Abaire (Shrek), music by Jeanine Tesori (Fun Home, Shrek, ...Millie); starring Steven Boyer (Hand to God), Victoria Clark (The Light in the Piazza), Bonnie Milligan (Head Over Heels)

The Search for Signs of Intelligent Life in the Universe (Begins December 21)

The Shed

Originally performed by Lily Tomlin, now starring Cecily Strong, directed by Leigh Silverman (from my episodes on The Lifespan of a Fact and Soft Power)

Space Dogs (Begins previews January 11; Opens January 30; Closes February 20)

MCC Theater

New musical by Nick Blaemire and Van Hughes

Whisper House (Begins previews January 11; Opens January 20; Closes February 6)

59E59

Written by Kyle Jarrow (SpongeBob the Musical), music by Duncan Sheik (Spring Awakening)

Prayer for the French Republic (Begins previews January 11; Opens February 1)

Manhattan Theatre Club

Written by Josh Harmon (Bad Jews, Significant Other, Admissions); directed by David Cromer (The Band’s Visit)

Black No More (Performances begin January 11; Closes February 27)

Signature Theatre Center

Written by John Ridley (12 Years a Slave); music and lyrics by Tariq Trotter (aka Black Thought); choreography by Bill T. Jones (Spring Awakening); directed by Scott Elliott (She Loves Me); with Brandon Victor-Dixon, Ephraim Sykes, Lillias White, and more

Shhh

Atlantic Theatre Company (Begins previews January 12; Opens January 24; Closes February 13)

Written and directed by Clare Barron (Dance Nation)

Intimate Apparel (Begins previews January 13; Opens January 27; On sale through March 6)

Lincoln Center Theater

Libretto by Lynn Nottage (Sweat, Ruined); music by Ricky Ian Gordon; directed by Bartlett Sher (My Fair Lady)

Sneak Preview: Once Upon a One More Time

During my trip to D.C., I visited Shakespeare Theatre Company to see the new Britney Spears musical Once Upon a One More Time. I expected it to be fun—which it absolutely was. I did not expect it to be smart—yet it was! The musical steps inside the backstage world of fairy tales. The show kicks off when a little girl begins flipping through her anthology and the Narrator gathers all the princesses (Sleeping Beauty, Snow White, Rapunzel,etc.) in preparation of the reader's choice. (Very Toy Story.) She chooses Cinderella and the fairy tale players adopt their roles and perform the story as usual. But when they get to the end, Cin feels unsatisfied. Is this really all there is to happy ever after?

The show recasts classic fairy tales and princesses in a feminist light—which sounds like it would be overwrought, but instead it’s just funny and true. Keone and Mari Madrid (of my Beyond Babel rave) direct and choreograph. Honestly, the choreography is great but I want way more. We’ll see what happens between D.C. and New York. Justin Guarini is aces as Prince Charming. Made for this role. Aisha Jackson (Frozen) is incredible as Snow White. The music is Britney, so it's great—though I think the arrangements needs some tweaking to hit that Britney power. If you’re in D.C., go see it (only through January 9). Whether you live in the capital or visit, keep Shakespeare Theatre Company in mind. I love this space. It’s a beautiful and spacious theatre with a rich history.

My Philosophy

I believe in art's power to create change. Art—particularly theatre—can help us reflect, determine, and, sometimes, change our beliefs. I hope that you all continue to engage with the storytelling and art around you—wherever you are and whatever level—and that you entertain different points of view. Advocate for your principles while always leaving room to hear others and evolve. Let's stay engaged, thoughtful, and active.