My new hosting reel is here!

Dear Friends and Family,

     Happy 2022! I know, you’re thinking “It’s the end of January, she must have written to us before now.” But no. I last wrote you in December—before Omicron, before Wordle, and before we talked about Bruno. And while these days, calling a new year happy might feel disingenuous (the world feels harder than happy right now), I believe it’s important to articulate what we want our year to be. I want it to be happy. So Happy 2022!

     Speaking of happiness, those of you who know me well know that I am in my happy place each night because it is the Australian Open. Two glorious weeks of tennis down under, I have been staying up so late my sleep schedule is a mess. But the tournament has produced an outstanding quality of tennis as well as inspiration. Rafael Nadal, my love, my forever favorite, has made it to the men’s singles finals. (Please cheer for him! VAMOS!) Rafa has been riddled with injuries throughout his career, but in the past six months the main problem—a dying bone in his foot—became insurmountable. He didn’t play for a long time and just appearing at the Australian is a huge deal, let alone his performance thus far. Tomorrow, he will attempt history. (I won’t say it here because I don’t want to jinx it so you can look it up here.) And yet, his mindset is, perhaps, the most admirable thing about him. In his most recent press conference he said:

“At the end of the day, and being very honest, for me it’s much more important to have the chance to play tennis than win the 21. No? Because that makes me more happy in terms of general life, no? Be able to do the thing that I like to do more than achieving another grand slam. At the end of the day, the life… it’s about happiness. And what make me happy is about have the chance to do what I like to do.” - Rafael Nadal

     He is so clear. Yes, Rafa wants to win, but really he just wants to play and he is thrilled he gets to. Which then reminded me of a Medium article I read that suggested shifting language to shift perspective. Instead of “I have to do X” say “I get to do X.” What do you “get to” do?

     These past nearly two years has caused all of us to reflect, reevaluate, and reprioritize. The potential trap is that we might ask ourselves what our goal is. Perhaps we can take a page out of Rafa’s book and say I want to achieve, but more importantly I want to play and I’m happy I get to.

     This past month, I got to curate programming and lead four panels as part of the first-ever global performing arts conference, known as EPIC. The 24-hour event was incredible. All of you theatre fans out there, go watch this programming on demand (through Feb 12). You can watch my talks with Tony-winning choreographer Sergio Trujillo (On Your Feet!), Tony-winning pair lyricist Lynn Ahrens and composer Stephen Flaherty (Ragtime, Anastasia), three-time Pulitzer finalist David Henry Hwang (M. Butterfly), and my Producer Panel with Daryl Roth (Kinky Boots, Indecent), Ben Holtzman (Gun & Powder) and Sammy Lopez (Gun & Powder). There are also panels on makeup design, puppetry, Cirque du Soleil, making theatre in a war zone...Billy Porter gave the keynote. Fantastic programming.

     I also got to update my host reel (see above, many thanks to my video editing sister Emma), record more amazing podcast panels episodes for Why We Theater, and take over Broadway Podcast Network’s Instagram (see below). Though I am busy, I am always open to paid work and I love it when I get to write, edit, copy edit, host, interview, moderate a panel, help someone with their cover letter, assist a student with their college essay, produce an event. If any of you are in need, please reach out. As always, links to the most recent podcast episodes (don’t forget to tell a friend, rate, and review!), my recommendations, the calendar of upcoming shows, and more are below. I'm happy I get to write this newsletter so I can thank you for your continued love and support. I could not have made it to 2022 without you. Love and all that jazz, Ruthie

Recommendations: 

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

1. Addressless: A Walk In Our Shoes. SEE. THIS. SHOW. All of you can no matter where you are because, yes, it is virtual. Hear me out! I am typically suspect of virtual theatre (though it is how I found The Killing of Kings, so it can be good). I am always suspect of virtual *interactive* theatre. And yet, Addressless is a triumph. The play chronicles three winter months in the lives of three people living unhoused in New York City. Structured like a “game,” every character is trying to make $1500 by the end of three months to get their own apartment. The choices they make (and some choices the gods make) determine if they get there. And you, the audience, will have the chance to weigh in on their choices. You’ll step into their shoes, debate the pros and cons, and see how the play unfolds based on your decisions. This is a powerful experience. Fighting homelessness is a cause I’m passionate about; those of you who have been following me and my annual Covenant House Sleep Outs know this. This show zooms in on homelessness with effervescence. It is impactful without rendering hopelessness. Enjoyable without trivializing. Now through February 13 in your own home.

2. MJ: The Musical. Dare I say: I loved this show? I do. Director-choreographer Christopher Wheeldon (who directed-choreographed An American in Paris) knows how to direct a dang show; he directs your eyes around the stage to tell this story through impeccable design on all fronts (costumes Paul Tazewell, scenic Derek McLane, lighting Natasha Katz, the best sound design I have heard on Broadway Gareth Owens). I screamed watching the choreography from him and Rich + Tone. The book is flawed (so is the person it’s about, as I note below). But the production as a whole rose to a level that I didn’t care about shortcomings in the script. (Remember: how much I love a show directly correlates to how much I love the choreography.) This ensemble slays. Myles Frost, who plays Michael, reincarnates him onstage through his speaking voice alone. I forgot how much I love MJ’s music. This is pure entertainment at an exceptional caliber.

NOTE: I considered this recommendation carefully and I do recommend this new Michael Jackson bio-musical. I struggle with the idea of a musical lauding the genius of this man—however undeniable—despite serious allegations of child molestation. (He was acquitted, but that is also controversial.) That said, the show didn’t feel like a total a free pass for Michael. Two-time Pulitzer Prize winner Lynn Nottage wrote the musical’s book and she is sure to remind us of the “allegations” regularly. The character Michael never answers to them, but they are lingering. They are neutral in the sense that audiences will imbue their own meaning. As someone who believes the victims, I felt “at least they’re not ignoring the harmful behavior.” Others who don’t believe it might take the term as a reference to “when people were saying all those things about him.” The musical takes place in 1992, before any investigation or trial. So it is historically accurate. The Estate is involved in the musical, so are you supporting it by buying a ticket? Yes. Are you also supporting hundreds (plural) of Broadway jobs? Yes. Are you going to have a fantastic time? Yes. Is life complicated? Hell yes. If you still want tickets here's the link.

3. Skeleton Crew. Phylicia Rashad is back on Broadway! More people need to know this. She returns in this intimate ensemble piece by Dominique Morisseau (Pipeline) and directed by Ruben Santiago-Hudson (Jitney, Lackawanna Blues). The play follows four Detroit factory workers—a veteran of 29 years, a skilled pregnant woman, a firey youngblood, and their supervisor—scrambling as the warehouses in the city shut down one by one. It’s a solid show—solid characters, solid grounded dialogue, solid story. I wouldn’t say it blew me away, but I did have a thoughtful, enjoyable day at the theatre. If you enjoyed Lynn Nottage’s Sweat, you’ll enjoy this. Tickets ($30 under 35 available).

4. Eight Perfect Hours. Continuing on my rom-com novel kick, I give you Lia Louis' Eight Perfect Hours. That is both the title and the experience reading it. It was a lovely jaunt. Noelle and Sam meet when a blizzard causes all traffic to stop on the motorway (what Brits call a highway) and their cars end up next to each other. Noelle’s phone needs a charge and she and Sam spend “eight perfect hours” sharing and laughing in his car. Even though they don’t exchange info, the universe has plans and keeps throwing them together. What I loved about this is that Noelle and Sam feel like real people. They’re both going through stuff (i.e. both grieving a friend, both trying to figure out their longtime relationships). There’s no contrived misunderstanding where one screws up and makes it so they're almost not together. Just two people trying to figure it out and getting to know each other deeply over time. Comforting as a warm cuppa tea.

5. How I Met Your Father. Hilary Duff fans rejoice! How I Met Your Mother fans, celebrate! HIMYF is finally here on Hulu. I was nervous, I was excited... now I am IN. The pilot was pretty good, the second episode slightly better, but this week’s third episode has me convinced this reboot is going to do right by us. Kim Cattrall is nailing as the older version of Sophie aka Hilary. And did I mention I love a good rom-com? It’s a half hour. It’s delightful. Watch on Hulu. 

6. On Being With Krista Tippett “Ocean Vuong - A Life Worthy of Our Breath.” Possibly the single best podcast hour I have ever listened to—and I listened to Judith Light’s "70 Over 70" episode. Ocean Vuong is a poet and author of On Earth We’re Briefly Gorgeous, which I have not read but clearly must. He is Vietnamese-American, born in Saigon, a product of war. He talks about faith, identity, being human, language, and emotion in a way I have never heard. He hit me in my heart. I can't do justice to this conversation here. (Thanks to my brother for recommending it.) Just listen to it.

7. Encanto. Listing Encanto feels redundant because if you haven’t seen it yet WHAT ARE YOU DOING? But it's for that reason it makes the list—to make sure you watch it and I didn't fail you by assuming you had. The story of La Familia Madrigal is magical and emotional. The score by Lin-Manuel Miranda has all the notes of Hamilton I wanted and all the notes of Colombia I needed. I listen to this album regularly. The animation is beautiful. The story is one for EVERY family—about expectations and pressures and wholeness. A must-watch. Find it on Disney+.

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.

Calendar - New York Openings and Re-Openings

BROADWAY

Encores! The Tap Dance Kid (February 2-6)

Directed by Kenny Leon, choreographed by Jared Grimes, starring Joshua Henry

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

Written by Meredith Willson; starring Sutton Foster and Hugh Jackman

Plaza Suite (Begins February 25)

Directed by John Benjamin Hickey, starring Matthew Broderick and Sarah Jessica Parker

OFF-BROADWAY

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

Intimate Apparel (Now in previews; 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)

English (Performances begin February 4; Closes March 13)

Atlantic Theater Company

By Sanaz Toosi and directed by Knud Adams

On Sugarland (Performances begin February 3; Closes March 13)

New York Theatre Workshop

By Aleasha Harris (What to Send Up When It Goes Down), directed by Whitney White

sandblasted  (Performances begin February 6; Closes March 6)

Vineyard Theatre

By Charly Evon Simpson, directed by Summer L. Williams

Shhh (Closes February 13)

Written and directed by Clare Barron (Dance Nation)

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.