Me and Grandma Emma

Please forgive the resend and please read this version. I noticed a crucial typo that altered the meaning of my letter. This has been corrected and my sentiments, I hope, clarified. 

Dear Friends and Family,

     Happy April! Where did March go? I spent the first half of the month in California—Los Angeles and then Palm Desert for Indian Wells tennis tournament. Sadly, I spent the second half in bed with COVID—hence, the missed March email. This is the busiest time of year for theatre though, so I plan to send a second April newsletter towards the end of the month to make up for lost time. I am feeling a lot better and testing negative, thank goodness. Keep your immune systems up! Drink that OJ, take a Vitamin C tablet, keep hydrated and rested. I got hit when I was not rested (see: post cross-country flight, post adrenaline rush from nabbing Carlos Alcaraz's and Rafael Nadal’s autographs, post nerves from performing in my synagogue’s Purim cabaret, post dancing until wee hours at one of my best friend’s wedding). If I was going to get sick, that was the way to go. Now for healing.

     Speaking of "healing," I’ve been ruminating on this word over the past week. While holed up in bed, I watched the Oscars the day after the live broadcast. I know we’ve heard enough about “the moment,” and honestly, I'm nervous to write about it here. Still, I have always been able to share with you all, and I hope sharing my rollercoaster of emotions and pieces of one helpful conversation may illuminate different perspectives and offer what comes next.

     My immediate reaction was anger—damn near fury. My thoughts screamed, “Don’t you understand that this is what war is, just on a much smaller scale? Something pissed you off, you felt wronged, you responded with violence. You attacked.” I was angry for the children (and adults) who look up to Will Smith, who just witnessed a dangerous example of behavior and a dangerous justification for it. How many would now feel they could follow suit? My anger ceded within minutes to sadness and fear. The same grief that struck me after watching The Ferryman—that grief which begs “Why can’t we stop hurting each other?”—echoed in my skull. When will it be enough? When will we stop? That sadness then mixed with fear—the fear that accompanies the need to be constantly on guard because "you never know when a man will turn violent."

     In my sore-throated haze, I wrote to my dear friend Sarah Powell. Sarah is an incredible and singular person, someone I go to in these moments of confusion and despair and cultural woe; she is the Education Operations Director with the Harriet Tubman Effect Institute. (She also happened to be my date to The Ferryman.) She heard me, she validated my feelings, and she also challenged me to think of the layers in this conflict. She reminded me that we have no idea the intimate details of Will’s past or Will and Jada’s present. To boil down our much deeper conversation: what we saw was hurt people hurting people. I never condone violence and I do NOT condone Will’s actions. I advocate understanding and compassion, which I wrote about previously in my recommendation for MJ: The Musical. Understanding Michael Jackson’s history doesn’t excuse any harm he inflicted on anyone else; it is wrong every time. Victims feel pain and experience trauma every time and those who inflict it must take responsibility. We also must collectively acknowledge the cyclical nature of this behavior in order to break that cycle. After all, not all victims (aka survivors) become transgressors.

     There are many more things that can be dissected about that moment and Lord knows a deluge of think pieces have done it. Will should not have slapped Chris, and yet what does it mean for our world that he did? What have we learned needs healing? How do we heal, individually and collectively, so that it does not happen again? I believe to my core that the world can always use more compassion, more empathy; and yet, as I sit here typing, I wonder if there's such a thing as being too forgiving. Trust me, I'm going to think on this and process and think again. But I come back to one thing Sarah typed in the midst of our conversation that feels true no matter what you or I think of this Oscars moment: “People from a healed place will lead with dialogue. And we need more people in that state to lead that way.” We need more healed people in the world. We need healed people in leadership and as our role models. Because we need dialogue, not violence. That's the wisdom.

     I have no shortage of wise women in my life. April 4 was my Grandma Emma’s 97th birthday! My grandma is a force. She has weathered so much in her lifetime, including a car accident that crushed half her body and the rebuilding of that body. She has labored to lift up her community and raise her family (from her nine brothers and sisters to her three children, ten grandchildren, and 21 great grandchildren b”h). Now, she struggles with dementia; despite—or, perhaps because of—it, she has the best and most cheerful outlook on life. Her longterm memory is intact (ask her the address of her childhood home in Brooklyn), but her short term memory is more like Dory. And she knows it. One day she told me: I just enjoy whatever it is while it is because two seconds [cluck] and I don’t remember. So you make the best of what you got. Words to live by.

     Go out this month and make the best of what you got, it will be gone soon enough. Below you’ll find the ticket link to the Company panel I'm moderating with Patti LuPone(!), new episodes of Why We Theater, a link to the article about when the Hasidic rabbi grounded in Gander, Newfoundland on 9/11 met the actor who plays him in Come From Away, my plea to follow me on Medium (you’ll get an email notification when I publish a story—no extra newsletters or junk mail), photos from CA, the calendar of upcoming openings, and my recommendations for the month. Love and all that jazz, Ruthie

Glimpses at Indian Wells (flashing you with my autographed T-shirt!), the Getty Museum, and the Getty Villa in LA:

Looking Ahead

April is the busiest time of the theatrical season because the Tony Awards take place at the beginning of June each year (June 12 this year). Broadway productions must open by April 28 in order to be eligible. Nominators attend shows all year round as they open—as do I. Sixteen Broadway shows will open this month. That's only Broadway. I am a voting member of the Drama Desk, which includes Broadway as well as Off-Broadway and Off-Off-Broadway. Our deadline is fast-approaching, too, and there are dozens of OB and OOB shows opening. If you want to know what I have already seen and read my thoughts on those productions, check out my Instagram. I have not yet seen, but am excited to see:

Heartland at 59e59, Confederates at Signature (a Dominique Morisseau work and you know how I feel about her), Take Me Out at 2ST, Help at The Shed, SUFFS at The Public (Shaina Taub's music, the cast, WeHa native Andrea Grody music directing, the buzz has been building for years), The Skin of Our Teeth at LCT (directed by Lileana Blain-Cruz—one of my favorite directors). My curiosity is piqued by Islander at St. Luke's (intrigued by its festival wins), Golden Shield at MTC (interested because of its director, May Adrales), The Bedwetter at Atlantic (written by Sarah Silverman), Belfast Girls at Irish Rep (because I'm obsessed with The Troubles). Stay tuned....

Recommendations: 

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

1. Paradise Square. GRAB YOUR TICKETS TO THIS NOW. N-O-W. I predicted this could be the dark horse of the season and I am here to tell you: THIS is the musical this season has been DESPERATE for. I was moved to tears twice in Act I, pushed to sobs in Act II. This is a story about what is a “blip” on the great timeline of humanity, but a significant story of people. I feel better for having learned about this time, place, and community. This book manages so many storylines without making any feel like a distraction—each adds to this thick fabric. It so evenly offers up two sides of Paradise Square (a little neighborhood of NYC), Irish immigrant and Black, in a balanced argument, plus the intersection of the two sides. Like two lungs and a beating heart—and this show breathes and beats hard, deliberately, passionately, carefully. This is the first score in a long time where I am begging for this cast album. When?! Then there are the performances. I struggle to find the words to describe Joaquina Kalukango (Nettie in 2015 The Color Purple revival; Tony nominee for Slave Play). I cannot believe I had the honor of witnessing her originate this role. She makes it real. She is the real deal. She earns every inch of that stage and her star bow. The talent breams across the board—so many excellent voices in this supporting cast. And can we talk about this ensemble?! How refreshing to see such incredible performers create this world; not to mention all of them are new faces to me (and you know I am an ensemblist fan girl who tracks her favorites). I have a slew of new favorites and reinvigorated hope for the future of musical ensembles. I didn’t even mention Spring Awakening Tony winner Bill T. Jones’ choreography and Alex Sanchez’s musical staging. They bring competition to the category in a  season that includes Michael Jackson. Think about that. Paradise Square just opened April 3, which means reviews just came out. Get your tickets before word spreads and prices go up. (P.S. There is both Step and Irish Step in this. You’ve been told.)

Honorable Mentions - There wasn't much I saw or experienced this month (aside from Paradise Square) that made me want to jump up and down and tell the whole world. Still, there are some things I certainly enjoyed...

The Marvelous Mrs. Maisel Season 4. The best season of the original Amazon Prime series yet. I’m a middling fan of this fast-talking Amy Sherman-Palladino/Dan Palladino series. But this season was excellent. If you’re a fan who felt Seasons 2 and 3 slumped, come back. If you’ve never seen the show, honestly, you can pick up with Season 4 and all you need to know is: 1950s housewife Midge Maisel became an accidental standup comic when her husband Joel announced he was having an affair and she went to a comedy club to vent about it. This season thrives on quickness and wit with comedy a la Noises Off or Rumors. Tony Shalhoub should win all the awards. It really is all about him and Marin Hinkle as Midge’s parents. The neuroses, the comic timing, the outright Jewishness…it was truly a funny string of ten episodes. Watch it on Prime.

Better Nate Than Ever. Adapted by Tim Federle from the book by Tim Federle (High School Musical: The Musical: The Series creator), this movie musical is the ideal Broadway introduction for kids. I watch HSMTMTS completely unironically. I watched this endearing gem to support Tim and the community—and I'm glad I did. But (aside from some excellently timed Wicked jokes) this is something you'll enjoy more with little ones. I recommend ages 4 to 11—which a wide but realistic range. Nate is a Pittsburgh-dwelling, musical-obsessed tween who sneaks off to New York to audition for Lilo & Stitch The Musical while his parents are out of town. What is fun for musical-loving adults: the crazy number of cameos by Broadway veterans like Brooks Ashmanskas, Natasha Yvette Williams, Norbert Leo Butz and Michelle Federer, etc. Watch it on Disney+.

Abbott Elementary. A 20-minute cute and sweet comedy, this new ABC sitcom is peak chill-out TV. The mockumentary follows the teachers of this Philadelphia grade school as they navigate everyday challenges of being a public-school educator. As with any great series, it’s the characters. Sheryl Lee Ralph (aka the original Muzzy Van Hossmere in Millie and original Deena Jones in Dreamgirls) brings all her elevated Sheryl Lee Ralph-ness to Mrs. Howard, the church-going seasoned teacher at Abbott; Lisa Ann Walter (aka Chessy!!! from Parent Trap) brings her severe Italian-ness and instrusive-in-a-good-way attitude to Miss Schemmenti; and creator Quinta Brunson brings that bright-eyed go-getter mindset to Ms. Teagues. It’s a delight. Watch it on Hulu or ABC.

Geffen Playhouse. Last month I spent time in Los Angeles and visited the Geffen Playhouse for the second time to see Power of Sail, a new play starring Bryan Cranston. First of all, we should never underestimate how good that man is onstage. Second, I want to put this theatre on everyone’s radar. Whether you’re a local Angelino or a visitor, take a night to see a show here. Across the street from the UCLA campus, the Geffen puts on an excellent caliber of theatre with big talent—I don’t just mean big names (though sometimes that, too), I mean big talent. They’re run of the new play Trayf is sold out. I saw Dulé Hill and Daniel J. Watts star as Nat King Cole and Sammy Davis Jr., respectively, in a musical called Lights Out. Next up is a production of Who’s Afraid of Virginia Woolf? starring Zachary Quinto, Calista Flockhart, Graham Phillips (13 The Musical, The Good Wife), and Aimee Carrero (Young & Hungry). Click here for more information.

Cheaper By the Dozen. A remake of the 2003 Steve Martin-Bonnie Hunt film where the couple played the parents of 12 kids, this update stars Zach Braff and Gabrielle Union as the parents of a Brady Bunch-esque family. But the reason I’m putting this on my list is because of the way the film actually addressed the blended nature of this family and the unique challenges that come with it. What do you do when you have biological kids from previous marriages and biological kids from the new marriage in one house? How does co-parenting with exes work? Of course, in this version, we’re also looking at a racially blended family. How does a white dad parent a Black child that is not biologically his but certainly now his child and how does he parent his biracial biological children? How does a Black mom navigate the stereotypes thrown her way? Or raise her Black children safely in this world? These questions and lessons feel woven in to the story rather than hitting us over the head. Watch 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

Beginning Previews:

A Strange Loop (Original Musical - Begins previews April 6; Opens April 26)

Pulitzer Prize–winning musical by Michael R. Jackson

Hangmen (Original Play - Begins previews April 8, Opens April 21; Closes June 18)

By Martin McDonagh (Three Billboards, The Pillowman)

Now Playing

Paradise Square (Original Musical - Opened April 3)

Starring Joaquina Kalukango (Slave Play) and Chilina Kennedy (Beautiful: the Carole King Musical)

Directed by Moisés Kaufman (The Laramie Project); Written by Christina Anderson, Craig Lucas, Larry Kirwan; Music by Jason Howland; Lyrics by Nathan Tysen, Masi Asare

Take Me Out (Revival Play - In previews; Opens April 4; Closes May 29)

Second Stage Theater

Starring Jesse Tyler Ferguson (Modern Family, ...Spelling Bee), Jesse Williams (Grey's Anatomy), Patrick J. Adams (Suits), Brandon J. Dirden (Skeleton Crew), Julian Cihi (Only Murders in the Building)

Birthday Candles (Original Play - In previews; Opens April 10; Closes May 29)

Roundabout Theatre Company

Starring Debra Messing (Will & Grace)

Funny Girl (Revival Musical - In previews; Opens April 24)

Directed by Michael Mayer with a revised book by Harvey Fierstein

Starring Beanie Feldstein (Hello, Dolly!), Ramin Karimloo (Les Misérables), Jared Grimes (Manifest), Jane Lynch (Glee)

The Little Prince (Original Musical - In previews; Opens April 11; Closes August 14)

Adapted by Chris Mouron

American Buffalo (Revival Play - In previews; Opens April 14; Closes July)

Laurence Fishburne, Sam Rockwell, Darren Criss

The Minutes (Original Play - In previews; Opens April 17; Closes July 10)

By Tracy Letts (Pulitzer Prize winner August: Osage County)

Starring Letts, Jessie Mueller, Austin Pendleton, and more

How I Learned to Drive (Revival Play - In previews; Opens April 19; Closes May 29)

Manhattan Theatre Club

Starring Mary Louise Parker and David Morse (who originated the roles back in 1997 Off-Broadway)

for colored girls who have considered suicide/when the rainbow is enuf (Revival Play - In previews; Opens April 20; Closes August 14)

Directed and Choreographed by Camille A. Brown

Mr. Saturday Night (Original Musical - In previews; Opens April 27)
Starring Billy Crystal, Shoshana Bean (Wicked, Encores! Songs for a New World)

Written by Billy Crystal, Lowell Ganz, Babaloo Mandel; Music by Jason Robert Brown; Lyrics Amanda Green

The Skin of Our Teeth (Revival Play - In previews; Opens April 25; Closes May 29)

Lincoln Center Theater

Directed by Lileana Blain-Cruz

Starring Priscilla Lopez, Roslyn Ruff

Macbeth (Revival Play - In previews; Opens April 28; Closes July 10)

Starring Daniel Craig and Ruth Negga

OFF-BROADWAY

Help (Now playing; Closes April 10)

The Shed

Starring April Matthis (Toni Stone)

By Claudia Rankine; Directed by Taibi Magar

Heartland (Now playing; Closes April 10)

59E59

By Gabriel Jason Deane; Directed by Pirrone Yousefzadeh

7 Minutes (Now playing; Closes April 10)

HERE

By Stefano Massini (The Lehman Trilogy); Directed by Mei Ann Teo

Tickets on a sliding scale price beginning at $10

An Evening With Amber Iman (April 21–23)

Minetta Lane Theatre

Confederates (Now playing; Extended April 24)

Signature Theatre Center

By Dominique Morisseau (Pipeline, Skeleton Crew)

Just For Us (Now playing; Extended April 30)

Soho Playhouse

Encore engagement of Alex Edelman’s solo show; a must-see

SUFFS (Now playing; Extended May 15)

The Public Theater

Starring Jenn Colella (Come From Away), Nikki M. James (The Book of Mormon), Grace McLean (The Great Comet) Phillipa Soo (Hamilton) 

Book, music, lyrics by Shaina Taub; Directed by Leigh Silverman (The Lifespan of a Fact); Music direction and supervision by Andrea Grody (my friend, West Hartford native & MD of The Band's Visit)

Chasing Andy Warhol (Now playing; Closes June 12)

Immersive theatrical walking tour

Created and directed by Mara Lieberman

OUTSIDE NEW YORK

Something's Coming (April 8–10)

Axelrod Performing Arts Center, Deal, New Jersey

In between California and COVID, I managed to catch the fantastic production of The Bridges of Madison County at the Axelrod starring Tony nominee Kate Baldwin and Aaron Lazar. I was so impressed by the quality of the production and they’ve got this dance revue coming up this weekend! Axelrod Contemporary Ballet Theater director Gabriel Chajnik presents suites from ten legendary movie musicals such as West Side Story, An American in Paris, and The Sound of Music. The cast includes dancers from AXCBT and Sarasota Ballet, The Metropolitan Opera, The Ailey School. This is the real deal! (Pun not intended but enjoyed.)

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.