Right here’s every part to see and hearken to on NYC’s phases this fall.
Even in a season when The Boss involves city — “Springsteen on Broadway” (previews Oct. three, Walter Kerr) — it’s at all times good when beloved outdated exhibits come alive once more. Look no additional than Bette Midler’s “Hi there, Dolly!” to see what occurs when the well-known meets the acquainted: blockbuster!
In a fall filled with starry revivals, probably the most hotly anticipated is “M. Butterfly” (Oct. 7, Cort). This Tony-winning thriller a few French diplomat and the Chinese language opera star who seduces him opened in 1988 and ran 777 performances. Now Clive Owen performs the deluded Frenchman and Julie Taymor — the “Lion King” lioness, returning to Broadway for the primary time because the “Spider-Man: Flip off the Darkish” debacle — directs.
Those that’ve seen “M. Butterfly” earlier than, both on Broadway or within the 1993 movie, will always remember its stunning reveal. However David Henry Hwang says his ripped-from-real-life story is greater than its sensational twist. Perhaps now, he tells The Publish, we’re capable of study “the intimacy and fervour of this love story” higher than we did the primary time round.
Again once more, too, is “Time and the Conways” (by way of Nov. 26, American Airways), which final performed right here in 1938. J.B. Priestley’s drama about well-to-do Britishers now stars Elizabeth McGovern, who ought to really feel proper at residence after her years on “Downton Abbey.” Becoming a member of her are “True Blood” star Anna Camp and Anna Baryshnikov, the daughter of you-know-who.
“As soon as on This Island” (Nov. 19, Circle within the Sq.), which in 1990 posed the musical query, “Can a poor island woman discover real love with a wealthy younger man?” will ask it once more, this time with a forged that features former “Porgy and Bess” powerhouse Phillip Boykin and Lea Salonga, the unique heroine of “Miss Saigon.”
Extra cheering casting information: “The Band’s Go to” (Oct. 7, Barrymore), David Yazbek’s wistful gem of a musical, is arriving with its off-Broadway forged intact. Tony Shalhoub returns because the chief of an Egyptian police orchestra stranded in a tiny Israeli city; Katrina Lenk, girl of many accents (“As soon as,” “Indecent”), is the sultry cafe proprietor who befriends him. When all is claimed and sung, “meals, music, love and the fundamental want for human connection to be understood crosses all obstacles,” says guide author Itamar Moses. “Come From Away” followers, take word.
Harvey Fierstein’s made that “fundamental want for human connection” the center of each undertaking he’s ever labored on, starting with 1982’s “Torch Track Trilogy.” Now that semi-autobiographical Tony winner is coming again, in barely abridged kind, as “Torch Track” (Second Stage, Sept. 25), with Michael Urie because the drag queen who longs to begin a household, and Mercedes Ruehl because the mother from hell (or, at the very least, Florida).
A lot for revivals. New this season is Steve Martin’s “Meteor Bathe” (Nov. 1, Sales space), starring beginner Amy Schumer and Laura Benanti as two halves of California in disaster. One other disaster, this of the monetary selection, is the topic of Ayad Akhtar’s “Junk” (Oct. 5, Vivian Beaumont), whereas “Home of Playing cards” creator Beau Willimon provides us “The Parisian Girl” (Nov. 7, Hudson), with Uma Thurman as a scheming Washington socialite within the age of Trump.
Then once more, possibly you come to Broadway to flee. In that case, sink into the cartoon world of “SpongeBobSquarePants” (Nov. 6, Palace). With music by Cyndi Lauper, John Legend and David Bowie, it could effectively give us one thing to sing about.
Earlier than “Black Swan,” there was “The Crimson Footwear,” the primary nice, demented dance film. Now Matthew Bourne, the British choreographer behind the all-male “Swan Lake,” is staging his tackle Hans Christian Andersen’s story of a possessed dancer (Metropolis Middle, Oct. 2-Nov. 5), with a British ballerina alternating with New York Metropolis Ballet’s Sara Mearns.
NYCB itself is that includes Peter Martins’ extra conventional “Swan Lake” (by way of Oct. 1, David H. Koch Theater). Nonetheless to come back: its Sept. 28 Fall Trend Gala pairs choreographers with designers; nycb.org. Just a few steps behind is American Ballet Theatre, residence to Misty Copeland, which opens its season Oct. 18 with one thing outdated (Christopher Wheeldon’s “13 Diversions”) and one thing new (an Alexei Ratmanski premiere) (tickets right here).
Lastly, the indefatigable Twyla Tharp is again on the Joyce Theater by way of Oct. eight, this time with a world premiere: “Dylan Love Songs.” When you’ve ever needed to see dancers tackle “Shelter from the Storm,” now’s your likelihood (tickets right here).
A genius like Leonard Bernstein comes round possibly as soon as in a century. That is his centennial yr, and town will ring with the sounds of his music, from “West Aspect Story” to “On the Waterfront,” plus symphonies, music cycles and psalms. Main the cost is Carnegie Corridor, whose season opener Oct. four is heavy on Lenny and that different New York genius, George Gershwin. Pianists Lang Lang and Chick Corea will crew for “Rhapsody in Blue” alongside the Philadelphia Orchestra (tickets right here).
His hometown band, the New York Philharmonic, is planning a bunch of Bernstein evenings, too (Oct. 25-Nov. 14), certainly one of which options narration by Jeremy Irons. For now, although, the Phil is in the midst of its “Star Wars” movie concert events, with visitor star R2D2 and Stormtroopers out there for images throughout intermission. The specialty cocktail of the night time? A Cantina Margarita (tickets right here).
The Metropolitan Opera springs into life Sept. 25, with Sondra Radvanovsky and Joyce DiDonato because the dueling divas of “Norma,” adopted by loads of Puccini: Zeffirelli’s crowd-pleasing stagings of “La Boheme” and “Turandot,” and Anthony Minghella’s “Madama Butterfly.” Opening Oct. 26 is one thing new: “The Exterminating Angel,” an English-language opera based mostly on the Luis Bunuel movie. Composer Thomas Ades conducts (tickets right here).