With costume designer William Ivey Long at his downtown studio

Dearest Friends and Family,

     Happy 2020! January was a wildly busy, yet fulfilling month, one that led me to think about the cycle of inspiration. As 2020 began, I felt my tank running low. Writing a feature a day, it’s a constant challenge to write something fresh, ask something new. And then, I visited William Ivey Long’s studio. William is a 17-time Tony-nominated costume designer who has worked on 77 Broadway shows. 77! You may know his work from Cinderella or Beetlejuice or Chicago. I visited him to talk about Diana, the upcoming Princess Di musical. His studio is an explosion of creativity. Descending the stairs to his basement is like falling down the rabbit hole to design Wonderland. His floor-to-ceiling pin-boards showcase giant ink drawings of Diana, cut-outs from press clippings for research, paper doll sketches. Dried paint splatters his work station and fabric swatches dangle from easels. I bounced back to the office after our chat; that space was a jolt of imagination straight to the vein. That afternoon, I spoke to a college student looking to explore arts journalism, and I know that my wonderment at William influenced my conversation with her, and the writing I did later that day. That’s what I mean by cycle.

     In this cycle, inspiration flows fluidly—it's not just the older and more seasoned professionals to the younger and the novice. At this year’s BroadwayCon, I led four panels (video and video links below!). During my Choreographers Panel, I feel like I sparked magic. I want audiences to understand that choreography is storytelling through dance, movement with meaning. So I asked Sonya Tayeh, Sergio Trujillo, and Camille A. Brown to trust me with an experiment to conclude our talk. I gave them a prompt and asked them to dance it. What resulted was mesmerizing, and I hope you’ll watch it. These choreographers light a fire within me every time I see their work; my stomach flips, my heart races, my hands smack my face in disbelief. That pushed me to investigate, which pushed them to create in this moment, which pushed audiences to react and—I hope—feel inspired.

     During BroadwayCon, I also met a young man named Greg. He approached me in his electric wheelchair with his mother. He suffered a tragic health anomaly that left him paralyzed from the throat down, but, working relentlessly, he’s regained some speech and movement in his arms. He told me he had been at my Directors Panel and that he was about to assistant direct his first production. The panel gave him ideas. What a warrior. I was humbled that I had any effect on this young man; he certainly made a lasting impression on me.

     My month continued like this—this communal sparking, nourishing, catalyzing. A panel on Women in Media at Barnard. A meeting with Woolly Mammoth Theatre Company’s artistic director Maria Goyanes. A lunch and learn with Brigham Young students. An interview on Camp Broadway's podcast Develop Your Character for young theatre enthusiasts and their parents, furthering my goal to engage and educate audiences of every age, especially youngsters.

     It’s a given that artists inspire me. While I aim to inspire others, I’m still unaccustomed to feeling I have. But when I’m told by an aspiring journalist or a current Barnard student that they admire my career, or when a young person sees me at BroadwayCon and shouts “I love your work!”—that’s when I know it’s working. I hope this newsletter inspires you. Thank you, as always, for reading, watching, listening, and motivating me. And if you know someone who might be inspired by this email, pass it along! With love and gratitude, Ruthie

On Your Radar: February isn't for closings, so instead of "Last Chance" here are shows to put On Your Radar. Company is coming starring Katrina Lenk (The Band’s Visit) and Patti LuPone (Patti LuPone) in a gender-bent version of the Sondheim opus. This cast is no joke, and it’s directed by two-time Tony-winning genius Marianne Elliott (Angels in America, War Horse, Curious Incident). Previews start March 2. Six is the high-octane extravaganza of the season. It’s a pop score to die for, musicalizing the stories of the six ex-wives of Henry VIII. It’s gonna be a smash. Now in previews (and they’re offering 60 rush tickets per show through opening on March 12). Flying Over Sunset, an entirely original musical from James Lapine (Falsettos, Into the Woods) that posits what would happen if Aldous Huxley, Cary Grant, and Claire Booth Luce tripped on LSD together. Music by Tom Kitt (Next to Normal). Based on the press preview, I think it will be beautiful. The LincTix ($32 for those under 35) will go quickly once word gets out. Previews begin March 12.

Recommendations: 

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

1. A Soldier’s Play. The play by Charles Fuller didn’t win the 1982 Pulitzer Prize for Drama for nothing. Though the work played Off-Broadways’ Negro Ensemble Company in the ’80s with a cast that featured little names like Samuel L. Jackson, Adolph Caesar, and Denzel Washington, this current production marks its Broadway debut. It’s director Kenny Leon at his finest. The story begins the night of Sergeant Vernon Waters’ murder; a Sergeant of a black battalion at Fort Neal, Waters wasn’t necessarily well-liked by whites around the base or by his black underlings. When military police officer Captain Davenport comes to investigate the crime, he blows the case wide open to unexpected results. David Alan Grier is biting as the controversial Waters; Blair Underwood holds a regal presence in the story and a gentle one as our narrator. Both should be nominated. But it’s the play’s examination of racism—black on white and black on black—that reveals an ugly truth we all need to deal with. The full ensemble is PHENOMENAL; each serving a performance that proves no race is a monolith—and the incredible singing and choreography doesn’t hurt. Go see it. And, as a Roundabout Theatre Company show, there are $25 tickets available for patrons 40 and under. Through March 15.

2. Medea. If you think you’ve seen the best of Rose Byrne, you haven’t seen anything. The actor, who I am now convinced can do anything, stars in this modern adaptation of the Greek tragedy. In this version, Anna has just returned home to her family after a stay at in-patient psychotherapy—we have an idea that what she did to get there was violent and shocking, but the details come later. She tries to manipulate her ex Lucas (her real-life partner Bobby Cannavale) to re-establish their life with their two kids (FANTASTIC young actors Jolly Swag and Orson Hong in the performance I saw). The spare staging by Simone Stone, who also wrote the adaptation, creates a haunting intensity and an unrelenting focus on these performances. Byrne’s descent into madness is both inconceivable and understandable. And the tasteful staging of a typically violent play breathes poetically. This one is worth the trip to Brooklyn. Through March 8.

3. Get On Your Knees. Ok. I’m devastated to say that this solo comedy closed February 16. BUT, I put it on this list because I cannot imagine this is the last we’ll hear of it. Whether it ends up touring the country or becoming a Netflix special, you NEED to be aware of this title and mark it on your must-see list. MUST. SEE. Jacqueline Novak is a savant of comedy. Produced by John Mulaney, Natasha Lyone, and Mike Birbiglia—and directed by John Early—the show earns its spot among the Oh, Hello’s and Nanettes of the world. In fact, it’s better than both. Based on the title, the show is exactly what you think. Yes, it’s just over an hour about the penis and blow jobs and sex (without being crass) and it is one of the most intelligent, literary pieces of theatre I’ve seen. Not to mention, it perfectly encapsulates the way in which American culture relates to sexuality versus how we should relate to sexuality. I could not stop cracking up. If you wondered what feminist brilliance looks like, this is it.

4. SCENERY. My dear friend, Jennifer Kahn, is a genius. A former stage manager, she knows that after a show closed (be it a local professional production, a tour, Broadway) the company tosses the set. Because of the durability of curtains and fire codes that require flame-retardant materials, these fabrics are practically indestructible (a.k.a. non-biodegradable). Jen started SCENERY, a company that collects show curtains and theatre masking (the generic black curtains in the wings) and manufactures the fabric into bags. (Or, in the case of Billy Porter: a 2019 Tonys look.) You can own a piece of Mamma Mia! or The Lion King. And, she sells bracelets and earrings made out of show deck (the thick flooring that goes on top of the stage). More exciting accessories and products coming soon. I promised I’d keep it quiet until she’s ready, but you can keep tabs here. What’s more? A portion of proceeds supports TDF’s educational initiatives. Read more from our interview here.

5. National Museum of African American History and Culture. I had the most incredible time in Washington, D.C. to close out January and kick off February. In fact, I visited this in-demand museum on February 1, the first day of Black History Month. The museum is incredible and, if you’re like me, you will need a full day to enjoy it. You enter on a relatively empty lobby floor before going three stories underground. The lowest level begins with the Middle Passage and Slavery (and includes objects from Harriet Tubman’s life, and an actual slave cabin from the South); then, you walk up to Reconstruction; followed by exhibits on the modern-day Civil Rights movement. The three upstairs levels include displays about African Americans in sports, media, music, Broadway, television. The details and care with which the curators march us through history is so impressive. But it’s also important to consider the museum—upper and lower—as a whole. This is the story of a people oppressed to the point of dehumanization who still chose to rise, create, innovate, inspire, and contribute to a country and culture that had discarded them. Something to contemplate—and witness in person in D.C. 

6. Wicked. It’s not new, but I have to put this on the list. We take long-running shows for granted and we shouldn’t. I went back to Oz for the first time in 13 years to see my friend Hannah Corneau (who I met through my brother because they both went to Syracuse!) play Elphaba. If you can get there before February 23 before she leaves, DO IT. I’ve never seen or heard an Elphaba like her. If you can’t see her, the strength of this show endures. New company members bring a fresh energy and sharpness. The story resonates with chilling relevance, and reminds us how easy it can be to get sucked into the immoral, but how worthwhile it is to stand strong. Wicked balances spectacle and substance. Not many shows do these days, but Wicked is as visually delicious as it is emotionally compelling. If you still haven’t seen it, what are you waiting for?

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. 

As always, if you need show recommendations or if you have theatre questions, please get in touch! I LOVE to answer. Keep tabs on Playbill.com and RuthieFierberg.com, and thank you for your enduring support.