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Tag: Theater

  • Met Opera’s 2026-27 season has 17 productions, its fewest in at least 60 years

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    NEW YORK — Despite encouraging box office figures for the season’s first half, the financially strapped Metropolitan Opera scaled back its 2026-27 schedule with its fewest productions in at least 60 years.

    The Met announced Thursday it will present 17 productions, its lowest total in a non-truncated season since the company moved to Lincoln Center in 1966. There are just five new stagings, and revivals of three popular operas account for 71 of the 187 individual opera performances (38%): Puccini’s “Tosca” and “La Bohème,” and Verdi’s “Aida.”

    “It makes more sense for us, and this is an experiment — to present these works in extended runs,” Met general manager Peter Gelb said. “And by double-casting them, it also is more economic in terms of how many different shows are playing in one week.”

    Ticket sales of 72% this season are up from 70% in the first half of 2024-25.

    “Basically, it’s back to pre-pandemic levels,” Gelb said. “We’re not grossing as much money because the average price per ticket is slightly less than it was, because we have a younger audience and more discounted tickets.”

    Mason Bates’ “The Amazing Adventures of Kavalier & Clay,” which opened the current season in its world premiere, sold 84% of tickets in a success rate that prompted the Met to schedule an extra four performances this month.

    “One of my goals at the Met is to stimulate new audiences with new works,” Gelb said. “This one was one of the most successful we’ve presented so far.”

    “Kavalier” was followed by an English-language holiday time staging of Mozart’s “The Magic Flute” (83%), Bellini’s “I Puritani” (82%), Puccini’s “Turandot” (77%), Puccini’s “Madama Butterfly” (74%), “The Gershwin’s Porgy and Bess” (73%), and Donizetti’s “La Fille du Régiment,” Bizet’s “Carmen,” Bellini’s “La Sonnambula” and “Bohème” (68% each).

    Lagging were Mozart’s “Don Giovanni” and Strauss’ “Arabella” (64% each) and Giordano’s “Andrea Chenier” (57%).

    Next season opens on Sept. 22 with a new production of Verdi’s “Macbeth” starring soprano Lise Davidsen and directed by Louisa Proske.

    Composer Missy Mazzoli’s “Lincoln in the Bardo,” based on George Saunders’ novel, has its world premiere on Oct. 19 and stars Christine Goerke, Stephanie Blythe, Anthony Roth Costanzo and Peter Mattei in a staging directed by Lileana Blain-Cruz.

    There are three new-to-the Met productions: Janáček’s “Jenůfa” starring Asmik Grigorian in a Claus Guth staging that debuted at London’s Royal Opera in 2021 (Nov. 16); Puccini’s “La Fanciulla del West” with Sondra Radvanovsky and SeokJong Baek in a Richard Jones staging that premiered at the English National Opera in 2014 (Dec. 31); and the company premiere of Kevin Puts’ “Silent Night” featuring Elza van den Heever and Rolando Villazon in a James Robinson staging first seen at the Houston Grand Opera last month (March 8, 2027).

    A gala with more than two dozen stars is scheduled for May 25, 2027, to mark the company’s 60th season at Lincoln Center.

    “We’re in a kind of golden age of opera singing,” Gelb said. “The only difference between today and 30 or 40 years ago is that 30 or 40 years ago opera was much more in the cultural mainstream.”

    “Lincoln” was not included among the eight simulcasts to move theaters due to a post-pandemic drop in audience.

    “A title that is unknown, even with whatever maximum efforts of marketing and publicity that are done, will underperform to a degree where it is not really financially viable for the movie theaters or for us,” Gelb said.

    A Simon McBurney staging of Mussorgsky’s “Khovanshchina” was postponed as part of budget tightening that included 22 layoffs and 4-15% temporary salary cuts.

    “Unfortunately, I have to wear two hats,” Gelb said. “I have to wear my artistic hat, and I have to wear my financial hat.”

    Next season will be Gelb’s 20th as general manager, and he says he intends to retire when his current contract expires in 2030.

    “That certainly is our current plan,” Gelb said.

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  • Dylan Mulvaney Is Finally a Broadway Leading Lady, Haters Be Damned

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    “Once I stepped into my womanhood, I felt like the main character of my life,” Dylan Mulvaney tells me, while sipping her lemon drop. “So now that means that I can be the main character on stage.” The social media star and I are dining at Arno, a traditional Italian restaurant, on a frigid evening in January in lower Midtown, a stone’s throw from Penn Station. There’s a good reason we’re dining in a less-than-ideal location—Arno is blocks away from Ripley-Grier Studios, where Mulvaney has just spent the day rehearsing for her Broadway debut as the second, and most infamous, of Henry VIII’s wives, Anne Boleyn, in the Tony-winning musical Six.

    Mulvaney’s penchant for girlish giggles and squeals between bites of her spaghetti pomodoro stand out in Arno, especially when juxtaposed against the sea of older gentlemen in an assortment of ill-fitting grey blazers sitting behind her at the bar. She’s wearing a black ballet dress with her long brown hair half up, half down, instantly reminiscent of Audrey Hepburn—something that was by design. “I noticed if I look good for rehearsal, if I fuck up, I’m like, Oh, well, at least I look good,” she says. After years of living in Los Angeles, she’s adjusting to life in NYC. “I feel like if I walk outside for five seconds, I run into somebody that I’ve slept with or somebody that I want to sleep with. You kind of have to look good all the time.”

    Mulvaney’s about a week into a four-week rehearsal process to fulfill a lifelong dream of hers—starring in a Broadway musical. It’s not an understatement to say that the world has watched her reach this moment. Her legion of social media followers—1.5 million on Instagram and 9 million on TikTok, as of publishing—have been hooked on Mulvaney’s confessional online content since she began her series “365 Days of Girlhood” on March 13, 2022, which served as a daily chronicle of her gender-affirming transition from male to female. Mulvaney left nothing off the table—the highs, the lows, and the messy in-betweens of becoming the woman she always knew that she was.

    But even pre–social media fame and pre-transition, the San Diego native had grease paint roaring through her veins, but didn’t necessarily know where to put that energy as she struggled with her gender identity. Her theatrical dreams “were so small because I hadn’t found my true self. In order to confine myself to a gender that I knew that I wasn’t,” Mulvaney shares. “I had to be like, ‘Oh, I want to be in the ensemble. I want to be in the back. I want to be tree number three.’” Looking back, she could count on one hand the roles that she felt even partially represented in as a child struggling with their gender identity—Kurt from Glee, Ernst from Spring Awakening. “There were so few roles that I could even find femininity in,” she says

    Despite her misgivings, she persisted, studying musical theater at the University of Cincinnati College of Music, a prestigious musical theater program, and even playing Elder White in the national tour of Book of Mormon. There, again, her ambition and dreams were stifled by her present-day reality, trapped in a body that was anathema to her. “When I was doing Book of Mormon, I was like, ‘Well, hopefully I’ll just do this for the rest of my life, and I get a lot of Botox,’” she says, wryly.

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    Chris Murphy

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  • A theater legacy continues in Schaumburg with Maurice Proffit and Dreamscape Theatre

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    For Maurice Proffit, the arts were always an itch that he had to scratch. As a child, he wanted to be a cartoonist. As a teen, he wanted to enter the music industry, with aspirations of owning a record label and managing artists. Little did he know that his trajectory would be forever changed when his mother, Valerie Proffit, moved the family from Chicago to Schaumburg in 1981.

    There wasn’t a big Black population in the northwest suburb at that time, so his mom would have to take Maurice and his older brother into Chicago to see any type of Black theater. With more Black residents coming to the suburbs by the mid-to-late ‘90s, Valerie Proffit was asking the question: How come there isn’t a Black arts presence in the Schaumburg area? By 1999, she founded Powerhouse Productions, a theater company that brought that missing piece of Black artistry to the Al Larson Prairie Center for the Arts in Schaumburg in the form of plays every February, in celebration of Black History Month.

    As a youth, his mom brought him into the theatrical fold to help fill whatever gaps needed to be filled for the annual productions — whether that was as an emcee, helping with ticket sales or stage management. With no formal training in theater, he wore all the hats, including directing, producing and writing (he wrote original plays for the Black history event in Schaumburg for 12 years). When his mom passed the Powerhouse Productions baton to him (she died in 2019), he folded its legacy into his Chicago-based B-Side Studios, an entertainment and media company that specializes in film, TV, podcasting and theater. The last play he directed was 2023’s “And Then There Was Hip Hop” to commemorate the 50th anniversary of hip hop.

    Decades of the Proffit presence in the northwest suburbs continued in 2025 with the creation of the nonprofit Dreamscape Theatre. Their first work, a production of “School Girls; Or, The African Mean Girls Play,” is scheduled for Feb. 27 at the Al Larson Prairie Center for the Arts.

    “What sparked the birth of B-Side and Dreamscape is to give non-traditional artists an opportunity to be able to shine, an opportunity to be able to grow,” Proffit said. “The artists who didn’t necessarily go to art school, the people who knew they had it in them, but they didn’t have the traditional schooling for it. That’s what we’re all about — giving them opportunity.”

    Dreamscape specializes in providing inclusive, accessible opportunities for non-traditional and emerging artists to express their creativity on stage because in doing so, Proffit says, “we can all grow together and go further together.”

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From left, Dajzané Meadows-Sanderlin, Jewel Ifeguni, Sarah Sisay, Daryn McElroy, Keneisha Richards and Peyton Clark act out a scene while rehearsing for Dreamscape Theatre’s “School Girls; Or, The African Mean Girls Play” in Elk Grove Village on Feb. 10, 2026. (Chris Sweda/Chicago Tribune)

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Aspiring directors, actors and those with an idea, a spark, a vision of what they want to see on stage now have a platform in which Proffit will work with them to bring it to fruition. That includes teaching young people how to code and offering a safe space for young artists. He calls it “a platinum opportunity that aims to boost artists to the next level.”

That growth doesn’t just encompass theatrical performances, but includes educational workshops that move past entertainment and lean toward empowerment — whether you are a comedian (606 MANIA is a stand-up comedy event), hosting a podcast on mental health, or hosting a show on nerd and geek culture that airs on CAN TV. “We’re always producing something.b… we’re always busy,” Proffit said.

Director Crissy Johnston, right, works with Jewel Ifeguni and others as they rehearse a scene for Dreamscape Theatre's "School Girls; Or, The African Mean Girls Play" in Elk Grove Village on Feb. 10, 2026. (Chris Sweda/Chicago Tribune)
Director Crissy Johnston, right, works with Jewel Ifeguni and others as they rehearse a scene for Dreamscape Theatre’s “School Girls; Or, The African Mean Girls Play” in Elk Grove Village on Feb. 10, 2026. (Chris Sweda/Chicago Tribune)

With 26 years of work on the Schaumburg stage and the majority of the projects centering the Black experience, Proffit is excited to add to the foundation and legacy of the Proffit name when it comes to the arts — regardless of the current presidential administration.

“We’re looking down the barrel right now of a threat on an everyday basis, when it comes to what’s happening with us personally, artistically, psychologically, emotionally, but you have to continue to be persistent, resilient,” Proffit said. “That’s what I exude when it comes to these productions. There’s a lot of fire around this, but it’s not going to stop us. We know we are sitting on our own truth, and our truth can never be defeated.

We ensure that you are going to get Black representation in the northwest suburbs when it was originally lacking, but now it’s embedded out there, and we’re absolutely proud of being able to continue that tradition.”

“School Girls; Or, The African Mean Girls Play” is 7 p.m. Feb. 27 at the Al Larson Prairie Center for the Arts, 201 Schaumburg Court, Schaumburg; tickets from $25 at dreamscapetheatre.com/schoolgirls and prairiecenter.org

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Darcel Rockett

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  • South Broadway theater in Denver exits bankruptcy, foreclosure

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    The owner of a renovated theater along South Broadway is back on good terms with its lender.

    Sonquist LLC, which owns the Jewel Theater at 1912 S. Broadway in Denver, exited bankruptcy Feb. 6.

    The entity managed by real estate attorney Doug Norberg and business partner Paul Yaft filed for Chapter 11 on Jan. 23 to prevent the building’s lender, MidWestOne Bank, from foreclosing.

    MidWestOne, which took over the building’s $2.3 million loan when it acquired Bank of Denver in 2024, withdrew its foreclosure effort Feb. 3, records show.

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    Thomas Gounley

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  • Love on the big stage: Couples star in Broadway’s ‘Aladdin’ and ‘The Lion King’

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    NEW YORK — This Valentine’s Day, Rodney Ingram will be doing what he loves with the one he loves. All on Broadway.

    The newlywed plays the title role in Disney’s “Aladdin” alongside his wife, Sonia, who covers multiple roles. It’s a workplace romance at the pinnacle of musical theater.

    “This is so rare,” he says. “This is such a gift and a dream. I couldn’t have thought to have even prayed for it.”

    The couple first met in Mexico City on the first day of rehearsal of “Aladdin” in 2021. She joined the Broadway show in 2024, and they were married last December.

    Then the call came this winter for Ingram to step into the role of Aladdin permanently. He didn’t have to think about it. Plus, his favorite person was there.

    “This is her show,” he jokes. “I’m just living in it.”

    The Ingrams aren’t the only couple working together on Broadway. They’re not even the only Disney couple. A few blocks away, Mduduzi Madela and Nteliseng Nkhela are both in “The Lion King.”

    “It’s beyond any of my wildest dreams,” says Madela, who was raised in South Africa and has been picked to step into the role of Simba permanently later this month. “My wife is the one who’s the proudest and she’s the very first person to announce it to anyone.”

    He joined the Broadway company in 2013, following several years in other productions around the world. She joined the Broadway ensemble in 2010 and understudies Rafiki. They got married in 2021 and have two daughters.

    Madela met his future wife at a workshop for “The Lion King” in South Africa in 2003. Their friendship lasted a decade until things took a turn into more serious territory.

    Both have been onstage as Simba and Rafiki as their daughters watched in the Minskoff Theatre seats, an astonishingly rare moment. “It’s not a usual phenomenon to see both your parents on the Broadway stage at the same time,” he says, laughing.

    Back at “Aladdin,” Rodney Ingram’s rise to the title role caps a remarkable ascension for a young actor who was raised in the tiny Mexican fishing village of Sayulita and fell in love with DVDs of musicals.

    It started with a love of music. Ingram recalls always wanting to sing with the mariachi bands and falling in love with “My Fair Lady” and “Fiddler on the Roof.”

    “I just remember imitating them on screen and just watching over and over, becoming kind of obsessed with musicals. That same passion still exists today,” he says.

    When it came time to audition for musical theater schools in New York, a rude awakening awaited. “I had no formal training, only the love of the game,” he says.

    He found himself competing against trained actors who knew their way around a pirouette. He had never taken a dance class. Ingram faced rejection but vowed to get better.

    “I think that motivated me even more. I didn’t get accepted into any musical theater school that first year and I don’t blame them. I wouldn’t have accepted me either,” he says.

    After months of training, he tried again and landed a spot at New York’s Collaborative Arts Project 21, a professional theater company with a conservatory. This time, he nailed a pirouette.

    He credits his parents for always supporting his vision. “They’ve seen ‘Aladdin’ more than most people ought,” he says, laughing.

    After school came regional theater — “Little Mermaid” at the White Plains Performing Arts Center in New York, “Little Women” at Theatre Aspen in Colorado and “Kiss Me Kate” at Gretna Theatre in Pennsylvania.

    Ingram made his Broadway debut as an understudy for Aladdin in 2015, a year after he had scored a discounted, same-day ticket for the last row of the balcony to see the show for the first time.

    “I thought, ‘Wow, this is incredible, really remarkable.’ But still such a nebulous dream that I could possibly end up there one day,” he recalls.

    He spent two years as an understudy, going on maybe 20 or so times. He then played Raoul in “The Phantom of the Opera” for a year and returned to “Aladdin” just as the pandemic shut shows down.

    When the world restarted, Ingram was tapped to lead a production in Mexico City, performing the role in Spanish from 2021-23. “Aladdin” would change his life again.

    “I got to meet my wife on the very first day of rehearsal. We started off as friends,” he says. “I had no idea, obviously, that we’d get married four or so years later.”

    The couple endured a long-distance relationship when she joined the “Aladdin” North American tour. “She said, ‘It’s going to be OK, honey. It’s not like I’m going to Alaska.’ And I look at her schedule and I’m like, ‘I think you are going to Alaska.’”

    Now they take the subway to work together, on the same schedule, in the same city and in the same show.

    “We’re exactly where we’re supposed to be right now,” he says.

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  • Busy Phillips, Chad Michael Murray and more react to the death of James Van Der Beek

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    The American actor James Van Der Beek, best known for his role as the titular character of the ’90s and early ’00s teen drama “Dawson’s Creek,” has died

    Notable reaction to the death of actor James Van Der Beek at age 48.

    “James Van Der Beek was one in a billion and he will be forever missed and I don’t know what else to say. I am just so so sad. He was my friend and i loved him and I’m so grateful for our friendship all these years.” — the actor and “Dawson’s Creek” co-star, on Instagram.

    “Sending love and light to your beautiful family. James was a giant. We’re so so so sorry for what you’re going through. His words, art and humanity inspired all of us- he inspired us to be better in all ways. God bless you guys.” — the actor, in an Instagram comment.

    “James, you created a legacy of love and light, wrapping your beautiful family in love and protection.” — the actor and dancer, on her Instagram story.

    “I’m so sad for your beautiful family. While James’ legacy will always live on, this is a huge loss to not just your family but the world. (Expletive) Cancer.” — the actor, in an Instagram comment.

    “Love you, James. I know you’re in Heaven being pampered with love. The Van Der Beeks will be in our daily prayers and we’ll be drumming up some money to support your beautiful family. Thanks for the body of work and for being one of the good guys.” — the actor, on Instagram.

    “A vibrant young man. A father and husband and friend. A generational icon. RIP JVDB. Sleep now, Dawson.” — the producer, screenwriter and director, on Instagram.

    “James always brought heart, vulnerability and authenticity to the screen… and later, in his courageous battle, he showed that same quiet strength in real life. For so many of us, he was a part of our youth… a face and a voice tied to moments we’ll never forget, woven into the soundtrack of growing up. Beyond the public image, it was obvious his most cherished role was that of a husband and a father, and it’s impossible not to think of Kimberly and the children, whose loss is far deeper than anything the rest of us can measure.” — the photographer, in an Instagram comment.

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  • What to Stream: ‘The Smashing Machine,’ Louis Tomlinson, ‘The Beauty’ and Bruce Springsteen biopic

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    Dwayne Johnson transforming into MMA pioneer Mark Kerr for “The Smashing Machine” and Louis Tomlinson releasing his third solo album are some of the new television, films, music and games headed to a device near you.

    Also among the streaming offerings worth your time this week, as selected by The Associated Press’ entertainment journalists: Ryan Murphy’s new series “The Beauty” tackles beauty standards with some horror mixed in, Jeremy Allen White plays The Boss in “Springsteen: Deliver Me From Nowhere” and Megadeth going out with a bang with their final, self-titled album.

    — Dwayne Johnson transformed into MMA pioneer Mark Kerr for “The Smashing Machine,” a surprisingly gentle drama about winning, addiction and self-worth, which is set to debut on HBO Max on Friday, Jan. 23. In his review, Associated Press Film Writer Jake Coyle wrote that the potency of Johnson’s performance is “let down by a movie that fails to really grapple with the violent world around Mark, resorting instead for a blander appreciation of these MMA combatants. What does resonate, though, is the portrait of a human colossus who learns to accept defeat.” Filmmaker Benny Safdie won a directing prize for his efforts at the Venice Film Festival, though the awards season spotlight has shifted to his brother, Josh, who made “Marty Supreme.”

    — HBO Max also has Judd Apatow’s “Mel Brooks: The 99-Year-Old Man!” arriving on Thursday. The two-part documentary includes interviews with Brooks himself as well as the likes of Ben Stiller, Jerry Seinfeld, Adam Sandler and Conan O’Brien.

    — The Bruce Springsteen biopic “Springsteen: Deliver Me From Nowhere” is also making its streaming debut on Hulu and Disney+ on Friday, Jan. 23. Written and directed by Scott Cooper, the film stars Jeremy Allen White as The Boss during the making of the soulful “Nebraska” album. In his review for the AP, Mark Kennedy called it “an endearing, humbling portrait of an icon,” adding that it is almost a mirror of the album itself, “unexpected, complicated and very American gothic.”

    — A few other film festival gems are coming to more niche streamers too. The documentary “Mr. Nobody Against Putin,” a 2025 Sundance selection about a Russian teacher who secretly documents his classroom’s transformation into a military recruitment center during the invasion of Ukraine, is streaming on KINO Film on Thursday. And Mubi has Paolo Sorrentino’s “La Grazia” starting on Friday, Jan. 23. Star Toni Servillo won the best actor prize at Venice for his turn as a fictional Italian president.

    — AP Film Writer Lindsey Bahr

    — You’d be right to call it a symphony for dissolution. Last summer, American thrash metal giants Megadeth announced they were going out with a bang. They’ll soon embark on a farewell tour, but before that, they will release their final album, the self-titled “Megadeth.” Pressure’s on, and they’re answering the call with their characteristically complex guitar work.

    — Perhaps best known as a candid and cool force in the gargantuan boy band One Direction, the Englishman Louis Tomlinson will release his third solo album on Friday, the existential “How Did I Get Here?” His work usually pulls from his most direct influences, Britpop chiefly among them on 2020’s “Walls” and 2022’s “Faith in the Future.” The “How Did I Get Here?” singles “Lemonade” and “Palaces” seem to suggest those influences are still present, but subtle now in favor of sunny, pop-rock choruses.

    — The great Lucinda Williams has returned with a new one titled “World’s Gone Wrong.” It is, of course, uniquely Williams — at the intersection of rock, Americana, country and folk — and stacked with inspirational collaborations from Norah Jones, Brittney Spencer and more. Those, partnered with a powerful rendition of Bob Marley’s “So Much Trouble In The World” with Mavis Staples, makes for a must-listen.

    — AP Music Writer Maria Sherman

    — FX’s new series cocreated by Ryan Murphy tackles beauty standards with some horror mixed in. “The Beauty” features an all-star cast including Evan Peters, Ashton Kutcher, Rebecca Hall, Jeremy Pope, Anthony Ramos and Isabella Rossellini. Bella Hadid also guest stars. Kutcher plays a tech billionaire who has created a drug that can lead to so-called physical perfection but not without dangerous consequences. “The Beauty” is based on a comic book of the same name and premieres Wednesday on Hulu and Disney+ internationally.

    — “Drops of God” also returns Wednesday to Apple TV for its second season. It’s about two estranged siblings (played by Fleur Geffrier and Tomohisa Yamashita) competing to inherit their late father’s estate that comes with a massive wine collection. In Season 2, they must search for the source of an unlabelled bottle of wine believed to be the best in the world.

    — On the heels of the “Heated Rivalry” phenomenon, Netflix has its own love story to heat up the ice that premieres on Thursday. Where “Heated Rivalry” is based on a steamy romance book series, “Finding Her Edge” is adapted from a YA novel. It’s about a figure skater training for the world championships, who finds herself in a love triangle with her current and former skating partners.

    — Scott Foley and Erinn Hayes star in a new faith-based family drama called “It’s Not Like That,” coming to Prime Video on Sunday, January 25. Foley plays Malcolm, a pastor and father of three whose wife recently died and Hayes is Lori, a divorced mother of teenagers. Their families were always close but Malcolm and Lori find themselves relying on each other more and more as they navigate being single parents.

    — Alicia Rancilio

    — Flynt Buckler, the hero of Escape from Ever After, lives in a storybook world. But that fantasy goes sour when a greedy corporation invades those books, turning them into cyberpunk dystopias and Lovecraftian nightmares. Can Flynt swashbuckle his way to the top, or will he settle for a crummy office cubicle? Developer Sleepy Castle Studio says it was inspired by Nintendo’s classic Paper Mario games, and the cartoonish 2D settings show off that influence. Turn the page Friday, Jan. 23, on Switch, Xbox X/S, PlayStation 5 or PC.

    — MIO: Memories in Orbit is another 2D adventure rooted in a Nintendo classic — in this case, Metroid, the mother of an entire subgenre. You are a small robot in an enormous starship called the Vessel, but your AI bosses have stopped working. It’s up to you to figure out what went wrong while fighting off rogue machines, and the more you explore, the more skills you gain. The ship’s sprawling innards have a hand-drawn, pastel look that you might not expect in a sci-fi game. Blast off Tuesday on Switch, Xbox X/S, PlayStation 5 or PC.

    — Lou Kesten

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  • What to Stream: Kid Laroi, ‘The Pitt’ and ‘Tron: Ares’

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    Returns to “The Pitt,” the Grid and music of Kid Laroi are some of the new television, films and music headed to a device near you

    Returns to “The Pitt,” the Grid and music of Kid Laroi are some of the new television, films and music headed to a device near you.

    The first week of January brings a pair of sophomore efforts: Laroi’s album “Before I Forget” and the second season of the Emmy-winning hospital drama “The Pitt.” This week’s streaming offerings, as selected by The Associated Press’ entertainment journalists, also include the return of “The Night Manager” after nearly a decade.

    — Audiences can reenter the Grid when “Tron: Ares” hits Disney+ on Wednesday. The franchise’s third film stars Jared Leto, Greta Lee and Jodie Turner-Smith and features a return of Jeff Bridges. The 1982 original starred Bridges as a hacker who’s transported into a dangerous digital world and kicked off the cult franchise with then-state-of-the-art computer graphics and special effects. AP critic Mark Kennedy praised Leto and Lee’s performances and said despite being a movie that “bites off too much,” it was worth a watch. A bonus for music fans? The film’s Nine Inch Nails soundtrack with some throwbacks to the original film’s score.

    — AP film team

    — Grammy-nominated artist the Kid Laroi — a direct inheritor of Justin Bieber’s glossy R&B-informed pop — will release his sophomore album, “Before I Forget,” on Friday. Judging by the previously released singles, listeners can expect slow-burn breakup reflections (“A Perfect World”) and high-hat heavy tracks with lovelorn lyrics (“A Cold Play”). It’s frictionless listening to start the new year.

    — AP Music Writer Maria Sherman

    — In what counts as a quick turnaround these days in the world of prestige TV, “The Pitt” returns for its second season, and second day in the life of a frenetic Pittsburgh emergency room run by Noah Wyle’s beleaguered and beloved Dr. Robby. The first episode of Season 2 premieres Thursday on HBO Max at 9 p.m. Eastern. Expectations will be a lot higher this time. In the 10 months since Season 1 ended, “The Pitt” won the best drama Emmy along with four others, including best actor for Wyle and supporting actress for Katherine LaNasa, who will be returning despite her character vowing to quit after taking a punch. Ten months have also passed in the world of the show, which will again follow a single ER shift, this time on a July Fourth weekend.

    — After a much, much longer absence, “The Night Manager” will return for a second season. It’s been nearly a decade since Tom Hiddleston’s hotel worker-turned-spy stalked a dirty arms dealer on the show based on a novel by John le Carré. It was meant to be a limited series for the BBC and AMC, but its creators are now bringing it back with a new and original story. This time, its airing on Prime Video in the U.S., beginning with a three-episode drop on Sunday.

    — AP Entertainment Writer Andrew Dalton

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  • Things to do in Denver this weekend, Jan. 2-4

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    By Cassidy Ritter, Special to Denverite

    Happy New Year!

    Ring in 2026 this weekend by attending a vision board party, intention-setting event or a Colorado Mammoth game.

    This weekend is also your last chance to explore several holiday- and winter-themed events and exhibits, such as Magical Winter Nights at Denver Museum of Nature & Science and Zoo Lights.

    Whatever you do, make it a great weekend! 

    (P.S.: Next week, Thursday, Jan. 8, the National Western Stock Show gets underway with a parade in downtown Denver near Union Station.)

    Notes: Events with an * are taking place virtually or outdoors.

    Friday, Jan. 2

    Just for fun

    Magical Winter Nights. Denver Museum of Nature & Science, 2001 Colorado Blvd. 4:15-9 p.m. Free (guests ages 2 and under), $19.95 (guests ages 3-18), $21.95 (guests ages 65 and older), $24.95 (adults). Discounted rates for members.

    *Blossom of Lights. Denver Botanic Gardens – York Street, 1007 York St. 4:30-9 p.m. Free (children ages 2 and under), $20-$29 (members), $24-$33 (non-members).

    Elitch Holidays (formerly Luminova Holidays). Elitch Gardens, 2000 Elitch Circle. 5-9 p.m. Free (children ages 2 and under), $20.26 (adults, when purchased online).

    *Christmas in Color. Red Rocks Park and Amphitheatre, 18300 W. Alameda Parkway, Morrison. 5-9:30 p.m. Starting at $34.99.

    New Year’s Sound Bath. Dandy Lion Coffee Co., 5225 E. 38th Ave. 6-7:30 p.m. $33.85. Advance registration recommended.

    *Trail of Lights. Denver Botanic Gardens – Chatfield Farms, 8500 W. Deer Creek Canyon Road. 5-8 p.m. Free (children ages 2 and under), $10-$12 (children ages 3-15), $16-$18 (ages 65 and older), $18-$20 (adults).

    *Hudson Holidays. Hudson Gardens, 6115 S. Santa Fe Dr., Littleton. 5-9:30 p.m. Free (children ages 2 and under), $17.06 (ages 3-12), $20.26 (ages 65 and older), $22.40 (adults).  

    Kids and family

    ICE! Featuring Dr. Seuss’ How the Grinch Stole Christmas – Last Day. Gaylord Rockies, 6700 N. Gaylord Rockies Blvd., Aurora. 9 a.m.-8:45 p.m. Starting at $31. 

    *Snow Days. Children’s Museum of Denver, 2121 Children’s Museum Dr. Opens at 9 a.m. Free (children under 1 year of age and members), $17.75 (1-year-olds and visitors ages 60 and older), $19.75 (ages 2-59). All ages.

    *Zoo Lights. Denver Zoo Conservation Alliance, 2300 Steele St. 4:30-8:30 p.m. Free (ages 2 and under), $19 (ages 3-15), $26 (ages 16 and older).

    Comedy and theater

    Emo Philips. Comedy Works Downtown, 1226 15th St. 6:30 p.m. and 8:45 p.m. $25-$30.

    Eddie Ifft. Comedy Works South, 5345 Landmark Place, Greenwood Village. 7:15 p.m. and 9:45 p.m. $25-$30. 

    Rotating Tap Comedy. River North Brewery – Blake Street Taproom, 3400 Blake St. 7:30-9:30 p.m. Free.

    Secret Late Night Comedy Show and Free Pizza. Denver Comedy Underground, 675 22nd St. 7:30 p.m. and 9:45 p.m. $25 (in advance), $30 (at the door). 

    Art, culture, and media

    Moments That Made US. History Colorado, 1200 Broadway. 10 a.m.-5 p.m. Free (children ages 18 and under), $15 (adults).

    The Honest Eye: Camille Pissarro’s Impressionism. Denver Art Museum, 100 W. 14th Ave. Parkway. 10 a.m.-5 p.m. Free (members and children age 18 and younger), $22-$27 (students, teachers, active military members, veterans, seniors ages 65 and older), $25-$30 (adults). 

    Perfectly Lost. Walker Fine Art, 300 W. 11th Ave., Unit A. 11 a.m.-5 p.m. Free.

    Lumonics Immersed. Lumonics Light & Sound Gallery, 800 E. 73rd Ave., Unit 11. 8-10 p.m. $15-$25. Advance registration required.

    Eat and drink

    Blitzen’s at Shep’s. Omni Interlocken, 500 Interlocken Blvd., Broomfield. 11 a.m.-midnight. No cover.

    Jingle Bao Rock. Bao Brewhouse, 1317 14th St. Noon-midnight. No cover.

    Italian Regional Cooking: Tuscany. Cook Street, 43 W. 9th Ave. 6-9:30 p.m. $132 (per person). Advance registration required.

    Grabados Y Gustación: Printmaking & Mezcal. Manos Sagrados, 9975 E. Colfax Ave., Aurora. 6-11 p.m. $8 (workshop only), $15 (workshop and tasting).

    Chocolate & Wine Pairing Class. The Chocolate Therapist, 2560 W. Main St., Littleton. 6:30-7:30 p.m. $44.52. Advance registration required.

    Music and nightlife

    Laser Billie Eilish. Denver Museum of Nature & Science, 2001 Colorado Blvd. 3 p.m. and 6 p.m. Prices vary.

    Paloma Rose: Tribute to Nina Simone. Dazzle at The Arts Complex, 1080 14th St. 6:30 p.m. Prices vary.

    Worakls. Bluebird Theater, 3317 E. Colfax Ave. 9 p.m. $30.66-$39.94.

    Sports and fitness

    *Denver Nuggets at Cleveland Cavaliers. Watch on Altitude or Prime Video, or listen at 92.5 FM. 5:30 p.m.

    *Ice Skating. Throughout the Denver metro, locations listed here. Times vary. Costs vary.

    Saturday, Jan. 3

    Just for fun

    Coffee & Donuts for the Coworking-Curious. The Process, 1060 Bannock St., Suite 200. 8-10 a.m. Free.

    Clock Tower Self-Guided Tours. Denver Clocktower, 1601 Arapahoe St. 10 a.m.-3 p.m. Free (children ages 5 and under), $8 (Historic Denver and Molly Brown House Museum members), $10 (general public).

    Manifest your 2026 – Vision Board Party. West + Main Homes office, 2010 Youngfield St., Lakewood. 11 a.m.-1 p.m. Free. Advance registration required.

    2026 Vision Boards. Hazel, 1581 S. Pearl St. 1-3 p.m. $33.85 (includes craft supplies and one cocktail).

    Journal Workshop. Ember and Stitch, 918 W. Eights Ave. 1 p.m. $119.22.

    Elitch Holidays (formerly Luminova Holidays). Elitch Gardens, 2000 Elitch Circle. 4-9 p.m. Free (children ages 2 and under), $20.26 (adults, when purchased online).

    Magical Winter Nights. Denver Museum of Nature & Science, 2001 Colorado Blvd. 4:15-9 p.m. Free (guests ages 2 and under), $19.95 (guests ages 3-18), $21.95 (guests ages 65 and older), $24.95 (adults). Discounted rates for members.

    *Zoo Lights. Denver Zoo Conservation Alliance, 2300 Steele St. 4:30-8:30 p.m. Free (ages 2 and under), $19 (ages 3-15), $26 (ages 16 and older).

    *Blossom of Lights. Denver Botanic Gardens – York Street, 1007 York St. 4:30-9 p.m. Free (children ages 2 and under), $20-$29 (members), $24-$33 (non-members).

    *Christmas in Color. Red Rocks Park and Amphitheatre, 18300 W. Alameda Parkway, Morrison. 5-9:30 p.m. Starting at $34.99.

    *Hudson Holidays. Hudson Gardens, 6115 S. Santa Fe Dr., Littleton. 5-9:30 p.m. Free (children ages 2 and under), $17.06 (ages 3-12), $20.26 (ages 65 and older), $22.40 (adults). 

    *Trail of Lights. Denver Botanic Gardens – Chatfield Farms, 8500 W. Deer Creek Canyon Road. 5-8 p.m. Free (children ages 2 and under), $10-$12 (children ages 3-15), $16-$18 (ages 65 and older), $18-$20 (adults).

    1/3 Look on the Flipside LIVE! with Ian Gibbs. Flipside Theatre, 502 Center Dr., Unit M, Superior. 7-9 p.m. $12.

    Kids and family

    *Snow Days. Children’s Museum of Denver, 2121 Children’s Museum Dr. Opens at 9 a.m. Free (children under 1 year of age and members), $17.75 (1-year-olds and visitors ages 60 and older), $19.75 (ages 2-59). All ages.

    Brick Planet: A Magical Journey Made with LEGO Bricks. Denver Museum of Nature & Science, 2001 Colorado Blvd. 9 a.m.-5 p.m. Free (guests ages 2 and under and members), $20.95 (guests ages 3-18), $22.95 (guests ages 65 and older), $25.95 (adults). (Learn more about the exhibit here.)

    Arabic Stories & Language Hour. 10:30-11:30 a.m. Virginia Village Branch Library, 1500 Dahlia St. Free. Ideal for ages 12 and under, when accompanied by an adult.

    Kids’ Matinee: The Playmakers, Snow White & The Dazzle Dwarves, An Interactive Event. Dazzle at The Arts Complex, 1080 14th St. Noon. $6.45. All ages.

    Comedy and theater

    Kibbles ‘N Bits: An Animal Rescue Comedy Show. Denver Comedy Underground, 675 22nd St. 4 p.m. $17.50 (in advance), $25 (at the door). 

    Eddie Ifft. Comedy Works South, 5345 Landmark Place, Greenwood Village. 6 p.m. and 8:30 p.m. $25-$30. 

    Emo Philips. Comedy Works Downtown, 1226 15th St. 6 p.m. and 8:15 p.m. $25-$30.

    Art, culture, and media

    Moments That Made US. History Colorado, 1200 Broadway. 10 a.m.-5 p.m. Free (children ages 18 and under), $15 (adults).

    Perfectly Lost. Walker Fine Art, 300 W. 11th Ave., Unit A. 11 a.m.-5 p.m. Free.

    Demo Artist: Miriam Dubinsky. Denver Art Museum, 100 W. 14th Ave. Parkway. Noon-3 p.m. Free (members and children age 18 and younger), $22-$27 (students, teachers, active military members, veterans, seniors ages 65 and older), $25-$30 (adults). 

    She Makes an Impression: Colorado Women Take a Look at Themselves – Artist Panel Discussion. D’art Gallery, 900 Santa Fe Dr. 1-3 p.m. No cover.

    Lumonics Immersed. Lumonics Light & Sound Gallery, 800 E. 73rd Ave., Unit 11. 8-10 p.m. $15-$25. Advance registration required.

    Eat and drink

    Blitzen’s at Shep’s. Omni Interlocken, 500 Interlocken Blvd., Broomfield. 11 a.m.-midnight. No cover.

    Anchors Aweigh – Off to the Next Dock Celebration. Dry Dock Brewing Co., 15120 E. Hampden Ave., Aurora. Noon-8 p.m. No cover.

    Jingle Bao Rock. Bao Brewhouse, 1317 14th St. Noon-midnight. No cover.

    French Regional Cooking: Provence. Cook Street, 43 W. 9th Ave. 6-9:30 p.m. $132 (per person). Advance registration required.

    Chocolate & Wine Pairing Class. The Chocolate Therapist, 2560 W. Main St., Littleton. 6:30-7:30 p.m. $44.52. Advance registration required.

    Music and nightlife

    Dub Wub Wonky Bass January. River, 3759 Chestnut Place. 7 p.m.-2 a.m. $19.63.

    Dolly Parton’s Threads: My Songs in Symphony. Boettcher Concert Hall, 1000 14th St., Unit 15. 7:30 p.m. $19.20-$131.84.

    Nora en Pure. Mission Ballroom, 4242 Wynkoop St. 8 p.m. Prices vary.

    Want more live music? Check out the Indie 102.3 concert calendar.

    Sports and fitness

    New Year’s Intention Setting: Morning Sound Healing & Slow Flow Yoga. Dairy Block, 1800 Wazee St., Suite 100. 9-11:30 a.m. Pay what you can. Advance registration recommended.

    Coffee & Free Meditation Class. Kadampa Meditation Center Colorado, 4840 W. 29th Ave. 11 a.m.-12:30 p.m. Free.

    *Colorado Avalanche at Carolina Hurricanes. Watch on Altitude. 5 p.m. 

    Rochester Knighthawks at Colorado Mammoth. Ball Arena, 1000 Chopper Circle. Watch on ESPN+. 7 p.m. Prices vary.

    *Ice Skating. Throughout the Denver metro, locations listed here. Times vary. Costs vary.

    Sunday, Jan. 4

    Just for fun 

    Magical Winter Nights – Last Day. Denver Museum of Nature & Science, 2001 Colorado Blvd. 4:15-9 p.m. Free (guests ages 2 and under), $19.95 (guests ages 3-18), $21.95 (guests ages 65 and older), $24.95 (adults). Discounted rates for members.

    *Zoo Lights. Denver Zoo Conservation Alliance, 2300 Steele St. 4:30-8:30 p.m. Free (ages 2 and under), $19 (ages 3-15), $26 (ages 16 and older).

    *Blossom of Lights. Denver Botanic Gardens – York Street, 1007 York St. 4:30-9 p.m. Free (children ages 2 and under), $20-$29 (members), $24-$33 (non-members).

    *Trail of Lights. Denver Botanic Gardens – Chatfield Farms, 8500 W. Deer Creek Canyon Road. 5-8 p.m. Free (children ages 2 and under), $10-$12 (children ages 3-15), $16-$18 (ages 65 and older), $18-$20 (adults).

    Elitch Holidays (formerly Luminova Holidays). Elitch Gardens, 2000 Elitch Circle. 5-9 p.m. Free (children ages 2 and under), $20.26 (adults, when purchased online).

    *Hudson Holidays. Hudson Gardens, 6115 S. Santa Fe Dr., Littleton. 5-9:30 p.m. Free (children ages 2 and under), $17.06 (ages 3-12), $20.26 (ages 65 and older), $22.40 (adults).  

    Comedy and theater

    Georgia Comstock and Friends. Comedy Works Downtown, 1226 15th St. 7 p.m. $14.

    Art, culture, and media

    Moments That Made US. History Colorado, 1200 Broadway. 10 a.m.-5 p.m. Free (children ages 18 and under), $15 (adults).

    The Honest Eye: Camille Pissarro’s Impressionism. Denver Art Museum, 100 W. 14th Ave. Parkway. 10 a.m.-5 p.m. Free (members and children age 18 and younger), $22-$27 (students, teachers, active military members, veterans, seniors ages 65 and older), $25-$30 (adults). 

    What We’ve Been Up To: Landscape – Last Day. Denver Art Museum, 100 W. 14th Ave. Parkway. 10 a.m.-5 p.m. Free (members and children age 18 and younger), $22-$27 (students, teachers, active military members, veterans, seniors ages 65 and older), $25-$30 (adults). 

    Eat and drink

    Drag Queen Bingo Brunch. Denver Milk Market, 1800 Wazee St., Suite 100. 11 a.m.-2 p.m. No cover.

    Blitzen’s at Shep’s. Omni Interlocken, 500 Interlocken Blvd., Broomfield. 11 a.m.-midnight. No cover.

    Jingle Bao Rock – Last Day. Bao Brewhouse, 1317 14th St. Noon-midnight. No cover.

    Date Night: Garlic Lover’s Feast. Stir to Learn, 3215 Zuni St. 5-8 p.m. $240 (for two). Advance registration required.

    Music and nightlife

    Laser Billie Eilish. Denver Museum of Nature & Science, 2001 Colorado Blvd. 4 p.m. Prices vary.

    Neighborhood Music Jazz Jam. Stanley Marketplace, 2501 N. Dallas St., Aurora. 6-9 p.m. Free.

    Sports and fitness

    Rainforest Yoga. Butterfly Pavilion, 6252 W. 104th Ave., Westminster. 7:45 a.m. $12 (member), $15 (non-member). Advance registration required.

    Mother–Daughter Bodyweight Bootcamp + Craft Class. Athleta, 3000 E. First Ave. 9:30-10:30 a.m. Free.

    *Denver Nuggets at Brooklyn Nets. Watch on Altitude2, or listen at 950 AM. 1:30 p.m.

    *Los Angeles Chargers at Denver Broncos. Empower Field at Mile High, 1701 Bryant St. Watch on CBS. 2:25 p.m. Prices vary.

    *Colorado Avalanche at Florida Panthers. Watch on Altitude. 3 p.m. 

    *Ice Skating. Throughout the Denver metro, locations listed here. Times vary. Costs vary.

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  • About 40 people dead and 115 injured in fire at Swiss Alpine bar during New Year’s celebration

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    Axel Clavier felt like he was suffocating inside the Swiss Alpine bar where moments before he’d been ringing in the new year with friends and dozens of other revelers.The 16-year-old from Paris escaped the inferno, which broke out after midnight Thursday, by forcing a window open with a table. But about 40 other partygoers died, including one of Clavier’s friends, falling victim to one of the worst tragedies in Switzerland’s history.The blaze also injured about 115 people, most of them seriously, as it ripped through the crowded Le Constellation bar at the ski resort of Crans-Montana, police said.Clavier told The Associated Press that “two or three” of his friends remained missing hours after the disaster.Fire’s cause remains under investigationValais Canton police commander Frédéric Gisler said during a news conference that work is underway to identify the victims and inform their families, adding that the community is “devastated.”Authorities did not immediately have an exact count of the deceased.Beatrice Pilloud, Valais Canton attorney general, said it was too early to determine the cause of the fire.“At no moment is there a question of any kind of attack,” Pilloud said.She later said the number of people who were in the bar is “unknown,” and its maximum capacity will be part of the investigation.“For the time being, we don’t have any suspects,” she added, when asked if anyone had been arrested over the fire. “An investigation has been opened, not against anyone, but to better understand the circumstances of this dramatic fire.”An evening of celebration turns tragicClavier, the Parisian teenager, said he didn’t see the fire start, but did see waitresses arrive with Champagne bottles with burning sparklers. He lost his jacket, shoes, phone and bank card while fleeing, but “I am still alive and it’s just stuff.”“I’m still in shock,” he added.Two women told French broadcaster BFMTV they were inside when they saw a male bartender lifting a female bartender on his shoulders as she held a lit candle in a bottle. The flames spread, collapsing the wooden ceiling, they told the broadcaster.One of the women described a crowd surge as people frantically tried to escape from a basement nightclub up a narrow flight of stairs and through a narrow door.Another witness speaking to BFMTV described people smashing windows to escape the blaze, some gravely injured, and panicked parents rushing to the scene in cars to see whether their children were trapped inside. The young man said he saw about 20 people scrambling to get out of the smoke and flames and likened what he saw to a horror movie as he watched from across the street.“This evening should have been a moment of celebration and coming together, but it turned into a nightmare,” said Mathias Reynard, head of the regional government of the Valais Canton.Crans-Montana is less than 5 kilometers (3 miles) from Sierre, where 28 people, including many children, were killed when a bus from Belgium crashed inside a Swiss tunnel in 2012.Resort town sits in the heart of the AlpsIn a region busy with tourists skiing on the slopes, the authorities have called on the local population to show caution in the coming days to avoid accidents that could further strain athe area’s lready overwhelmed medical resources.With high-altitude ski runs rising around 3,000 meters (nearly 9,850 feet) in the heart of the Valais region’s snowy peaks and pine forests, Crans-Montana is one of the top venues on the World Cup circuit. The resort will host the best men’s and women’s downhill racers, including Lindsey Vonn, for their final events before the Milan-Cortina Olympics in February. The town’s Crans-sur-Sierre golf club stages the European Masters each August on a picturesque course.Swiss President Guy Parmelin, speaking on his first day in office, said many emergency staff had been “confronted by scenes of indescribable violence and distress.”“This Thursday must be the time of prayer, unity and dignity,” he said. “Switzerland is a strong country not because it is sheltered from drama, but because it knows how to face them with courage and a spirit of mutual help.”___Dazio reported from Berlin and Leicester reported from Paris. Geir Moulson in Berlin and Graham Dunbar in Geneva contributed to this report.

    CRANS-MONTANA, Switzerland —

    Axel Clavier felt like he was suffocating inside the Swiss Alpine bar where moments before he’d been ringing in the new year with friends and dozens of other revelers.

    The 16-year-old from Paris escaped the inferno, which broke out after midnight Thursday, by forcing a window open with a table. But about 40 other partygoers died, including one of Clavier’s friends, falling victim to one of the worst tragedies in Switzerland’s history.

    The blaze also injured about 115 people, most of them seriously, as it ripped through the crowded Le Constellation bar at the ski resort of Crans-Montana, police said.

    Clavier told The Associated Press that “two or three” of his friends remained missing hours after the disaster.

    Fire’s cause remains under investigation

    Valais Canton police commander Frédéric Gisler said during a news conference that work is underway to identify the victims and inform their families, adding that the community is “devastated.”

    Authorities did not immediately have an exact count of the deceased.

    Beatrice Pilloud, Valais Canton attorney general, said it was too early to determine the cause of the fire.

    “At no moment is there a question of any kind of attack,” Pilloud said.

    She later said the number of people who were in the bar is “unknown,” and its maximum capacity will be part of the investigation.

    “For the time being, we don’t have any suspects,” she added, when asked if anyone had been arrested over the fire. “An investigation has been opened, not against anyone, but to better understand the circumstances of this dramatic fire.”

    An evening of celebration turns tragic

    Clavier, the Parisian teenager, said he didn’t see the fire start, but did see waitresses arrive with Champagne bottles with burning sparklers. He lost his jacket, shoes, phone and bank card while fleeing, but “I am still alive and it’s just stuff.”

    “I’m still in shock,” he added.

    Two women told French broadcaster BFMTV they were inside when they saw a male bartender lifting a female bartender on his shoulders as she held a lit candle in a bottle. The flames spread, collapsing the wooden ceiling, they told the broadcaster.

    One of the women described a crowd surge as people frantically tried to escape from a basement nightclub up a narrow flight of stairs and through a narrow door.

    Another witness speaking to BFMTV described people smashing windows to escape the blaze, some gravely injured, and panicked parents rushing to the scene in cars to see whether their children were trapped inside. The young man said he saw about 20 people scrambling to get out of the smoke and flames and likened what he saw to a horror movie as he watched from across the street.

    “This evening should have been a moment of celebration and coming together, but it turned into a nightmare,” said Mathias Reynard, head of the regional government of the Valais Canton.

    Crans-Montana is less than 5 kilometers (3 miles) from Sierre, where 28 people, including many children, were killed when a bus from Belgium crashed inside a Swiss tunnel in 2012.

    Resort town sits in the heart of the Alps

    In a region busy with tourists skiing on the slopes, the authorities have called on the local population to show caution in the coming days to avoid accidents that could further strain athe area’s lready overwhelmed medical resources.

    With high-altitude ski runs rising around 3,000 meters (nearly 9,850 feet) in the heart of the Valais region’s snowy peaks and pine forests, Crans-Montana is one of the top venues on the World Cup circuit. The resort will host the best men’s and women’s downhill racers, including Lindsey Vonn, for their final events before the Milan-Cortina Olympics in February. The town’s Crans-sur-Sierre golf club stages the European Masters each August on a picturesque course.

    Swiss President Guy Parmelin, speaking on his first day in office, said many emergency staff had been “confronted by scenes of indescribable violence and distress.”

    “This Thursday must be the time of prayer, unity and dignity,” he said. “Switzerland is a strong country not because it is sheltered from drama, but because it knows how to face them with courage and a spirit of mutual help.”

    ___

    Dazio reported from Berlin and Leicester reported from Paris. Geir Moulson in Berlin and Graham Dunbar in Geneva contributed to this report.

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  • Dozens presumed dead, about 100 injured in fire at Swiss Alps bar during New Year’s celebration

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    Dozens of people are presumed dead and about 100 injured, most of them seriously, following a fire at a bar in a Swiss Alps resort town during a New Year’s celebration, police said Thursday.“Several tens of people” were killed at the bar, Le Constellation, Valais Canton police commander Frédéric Gisler said during a news conference.Work is underway to identify the victims and inform their families but “that will take time and for the time being it is premature to give you a more precise figure,” Gisler said, adding that the community is “devastated.”Beatrice Pilloud, Valais Canton attorney general, said it was too early to determine the cause of the fire. Experts have not yet been able to go inside the wreckage.“At no moment is there a question of any kind of attack,” Pilloud said.An evening of celebration turns tragicOfficials called the blaze an “embrasement généralisé,” a firefighting term describing how a blaze can trigger the release of combustible gases that can then ignite violently and cause what English-speaking firefighters would call a flashover or a backdraft.“This evening should have been a moment of celebration and coming together, but it turned into a nightmare,” said Mathias Rénard, head of the regional government.The injured were so numerous that the intensive care unit and operating theater at the regional hospital quickly hit full capacity, Rénard said.Helicopters and ambulances rushed to the scene to assist victims, including some from different countries, officials said.Swiss President Guy Parmelin said in a social media post that the government’s “thoughts go to the victims, to the injured and their relatives, to whom it addresses its sincere condolences.”Thursday was Parmelin’s first day in office as president as the seven members of Switzerland’s government take turns holding the presidency for one year. Out of respect for the families of the victims, he delayed a traditional New Year address to the nation meant to be broadcast Thursday afternoon, Swiss broadcasters SRF and RTS reported.A witness who spoke to French broadcaster BFMTV described people smashing windows to escape the blaze, some gravely injured, and panicked parents rushing to the scene in cars to see whether their children were trapped inside. The young man said he saw about 20 people scrambling to get out of the smoke and flames and likened what he saw to a horror movie as he watched from across the street.Resort town sits in the heart of the AlpsIn a region busy with tourists skiing on the slopes, the authorities have called on the local population to show caution in the coming days to avoid any accidents that could require medical resources that are already overwhelmed.With high-altitude ski runs at around 1.86 miles in the heart of the Swiss Alps, Crans-Montana is one of the winter sports centers of Switzerland’s ski-crazy Valais region, also home to Zermatt, Verbier and other resorts nestled in the snowy peaks and pine forests drawing winter sports enthusiasts from across the planet. The resort is one of the top race venues on the World Cup circuit in Alpine skiing and will host the next world championships over two weeks in February 2027.In four weeks’ time, the resort will host the best men’s and women’s downhill racers for their last events before going to the Milan Cortina Olympics, which open Feb. 6.Crans-Montana also is a premium venue in international golf. The Crans-sur-Sierre club stages the European Masters each August on a picturesque course with stunning mountains views. Le Constellation bar is about 273 yards down the street from the golf club.Crans-Montana is less than 3 miles from Sierre, Switzerland, where 28 people including many children were killed when a bus from Belgium crashed inside a Swiss tunnel in 2012.The Swiss blaze on Thursday came 25 years after an inferno in the Dutch fishing town of Volendam on New Year’s Eve, which killed 14 people and injured more than 200 as they celebrated in a cafe.

    CRANS-MONTANA, Switzerland —

    Dozens of people are presumed dead and about 100 injured, most of them seriously, following a fire at a bar in a Swiss Alps resort town during a New Year’s celebration, police said Thursday.

    “Several tens of people” were killed at the bar, Le Constellation, Valais Canton police commander Frédéric Gisler said during a news conference.

    Work is underway to identify the victims and inform their families but “that will take time and for the time being it is premature to give you a more precise figure,” Gisler said, adding that the community is “devastated.”

    Beatrice Pilloud, Valais Canton attorney general, said it was too early to determine the cause of the fire. Experts have not yet been able to go inside the wreckage.

    “At no moment is there a question of any kind of attack,” Pilloud said.

    An evening of celebration turns tragic

    Officials called the blaze an “embrasement généralisé,” a firefighting term describing how a blaze can trigger the release of combustible gases that can then ignite violently and cause what English-speaking firefighters would call a flashover or a backdraft.

    “This evening should have been a moment of celebration and coming together, but it turned into a nightmare,” said Mathias Rénard, head of the regional government.

    The injured were so numerous that the intensive care unit and operating theater at the regional hospital quickly hit full capacity, Rénard said.

    Helicopters and ambulances rushed to the scene to assist victims, including some from different countries, officials said.

    Swiss President Guy Parmelin said in a social media post that the government’s “thoughts go to the victims, to the injured and their relatives, to whom it addresses its sincere condolences.”

    Thursday was Parmelin’s first day in office as president as the seven members of Switzerland’s government take turns holding the presidency for one year. Out of respect for the families of the victims, he delayed a traditional New Year address to the nation meant to be broadcast Thursday afternoon, Swiss broadcasters SRF and RTS reported.

    A witness who spoke to French broadcaster BFMTV described people smashing windows to escape the blaze, some gravely injured, and panicked parents rushing to the scene in cars to see whether their children were trapped inside. The young man said he saw about 20 people scrambling to get out of the smoke and flames and likened what he saw to a horror movie as he watched from across the street.

    Resort town sits in the heart of the Alps

    In a region busy with tourists skiing on the slopes, the authorities have called on the local population to show caution in the coming days to avoid any accidents that could require medical resources that are already overwhelmed.

    With high-altitude ski runs at around 1.86 miles in the heart of the Swiss Alps, Crans-Montana is one of the winter sports centers of Switzerland’s ski-crazy Valais region, also home to Zermatt, Verbier and other resorts nestled in the snowy peaks and pine forests drawing winter sports enthusiasts from across the planet. The resort is one of the top race venues on the World Cup circuit in Alpine skiing and will host the next world championships over two weeks in February 2027.

    In four weeks’ time, the resort will host the best men’s and women’s downhill racers for their last events before going to the Milan Cortina Olympics, which open Feb. 6.

    Crans-Montana also is a premium venue in international golf. The Crans-sur-Sierre club stages the European Masters each August on a picturesque course with stunning mountains views. Le Constellation bar is about 273 yards down the street from the golf club.

    Crans-Montana is less than 3 miles from Sierre, Switzerland, where 28 people including many children were killed when a bus from Belgium crashed inside a Swiss tunnel in 2012.

    The Swiss blaze on Thursday came 25 years after an inferno in the Dutch fishing town of Volendam on New Year’s Eve, which killed 14 people and injured more than 200 as they celebrated in a cafe.

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  • English actors Tom Hiddleston and Zawe Ashton welcome their second child

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    NEW YORK — NEW YORK (AP) — English actors Tom Hiddleston and Zawe Ashton have welcomed their second child.

    Hiddleston confirmed the news to GQ in a feature published Monday. He described birth as the “most beautiful, profound, earth-shattering, life-altering” experience. He did not share his child’s birthday, but according to the feature, the interview took place in early December, and the birth was “just the other day.”

    Hiddleston, 44, and Ashton, 41, first met while starring in a 2019 revival of the play “Betrayal.” They confirmed their engagement in 2022 and welcomed their first child later that year.

    “Becoming a father is the most important and meaningful thing that’s ever happened to me, and the most important thing I will ever do,” Hiddleston told The Associated Press earlier this year.

    Both Hiddleston and Ashton were born in London. Hiddleston is best known for his portrayal of Loki in the Marvel Cinematic Universe (MCU), beginning with the 2011 blockbuster “Thor” and continuing in the Disney+ series, “Loki.”

    Ashton is also a member of the MCU, having portrayed Dar-Benn in the 2023 film “The Marvels.” She’s also known for roles in “Fresh Meat,” “Not Safe for Work,” Netflix’s “Velvet Buzzsaw” and other projects.

    Representatives for Hiddleston and Ashton did not immediately reply to AP’s request for comment.

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  • 2026 PREVIEW: Broadway and Off-Broadway shows to check out in 2026 – amNewYork

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    Alex Brightman and the cast of “Schmigadoon”

    Photo by Matthew Murphy and Evan Zimmerman

    As Broadway shakes off the confetti of another holiday season, the first half of 2026 is taking shape as a cautious but telling moment for New York theater. Ongoing financial pressures have narrowed the field—particularly for new musicals—shifting attention toward star-driven revivals, acclaimed imports, and familiar titles returning in reworked forms. Against that backdrop, below are 10 Broadway and Off-Broadway productions and series to look forward to in the months ahead.

    1.      City Center Encores!: The 2026 Encores! season at City Center will include new stagings of “High Spirits,” the rarely seen 1964 musical adaptation of Noël Coward’s comedy “Blithe Spirit”; “The Wild Party,” Michael John LaChiusa’s explosive 2000 musical of jazz, drugs, sex and violence; and Jerry Herman’s “La Cage aux Folles” with Billy Porter. “High Spirits” begins performances on Feb. 4 at City Center. nycitycenter.org.

    2.      Marcel on the Train: Tony nominee Ethan Slater (who just played Boq in the “Wicked” films) will star as Marcel Marceau in a new play which traces the legendary mime’s quiet courage in Nazi-occupied France as he helped Jewish children escape. Begins performances on Feb. 5 at Lynn F. Angelson Theater. classicstage.org.

    Daniel Radcliffe, who appears in "Every Brilliant Thing."
    Daniel Radcliffe, who appears in “Every Brilliant Thing.”

    3.      Every Brilliant Thing: Fresh off his Tony Award–winning performance in “Merrily We Roll Along,” Daniel Radcliffe will headline the Broadway premiere of Duncan Macmillan and Jonny Donahoe’s acclaimed solo play about finding light in life’s darkest moments, which has been performed in more than 80 countries and captured in an HBO special. Begins previews on Feb. 21 at the Hudson Theatre. everybrilliantthingbway.com.

    4.      Death of a Salesman: Broadway will get a new look at Willy Loman this spring when Nathan Lane steps into the role in a revival of the classic Arthur Miller drama directed by Joe Mantello. Laurie Metcalf will star opposite him as Linda Loman, alongside Christopher Abbott as Biff Loman. Begins previews on March 6 at the Winter Garden Theatre. salesmanbroadway.com.

    5.      Giant: Broadway will get an acclaimed import with the Olivier Award–winning West End hit that puts literary legend Roald Dahl on trial. John Lithgow will return to Broadway to reprise his lauded turn as Dahl, under the direction of Nicholas Hytner. Begins previews on March 11 at the Music Box Theatre. gianttheplay.com.

    The cast of "Cats: The Jellicle Ball"
    The cast of “Cats: The Jellicle Ball”

    6.      Cats: The Jellicle Ball: The Jellicle cats are ready to strut, spin, and vogue their way onto Broadway. Four decades after “Cats” first prowled Broadway, the ballroom-infused reimagining that premiered at the Perelman Performing Arts Center in 2024 will move to Broadway. Co-directors Zhailon Levingston and Bill Rauch have turned Andrew Lloyd Webber’s feline spectacle into an immersive runway competition inspired by New York’s ballroom culture. Tony Award winner André De Shields will return as Old Deuteronomy. Begins previews on March 18 at the Broadhurst Theatre. catsthejellicleball.com.

    7.      The Rocky Horror Show: On its 50th anniversary, Richard O’Brien’s cult musical will land where it practically belongs: Studio 54, the former disco palace synonymous with glamour, excess, and rule-breaking. With Luke Evans (“Beauty and the Beast”) stepping into Frank-N-Furter’s heels and Sam Pinkleton (“Oh, Mary!”) directing, this revival promises to turn Broadway’s most notorious address into a midnight playground once again. Begins previews on March 26 at Studio 54. roundabouttheatre.org.

    The cast of "Schmigadoon!"
    The cast of “Schmigadoon!”Photo by Matthew Murphy and Evan Zimmerman

    8.      Schmigadoon!: The town where no one can stop singing is packing up its pastel suitcases and moving to New York. Following a well-received premiere a year ago at the Kennedy Center, the stage musical adaptation of the Apple TV+ series will arrive on Broadway in the spring. The television series aired for two seasons, including the 2021 debut, which affectionately parodied Rodgers and Hammerstein-era musicals. Begins previews on April 4 at the Nederlander Theatre. schmigadoonbroadway.com.

    9.      The Last Ship: After a 2014 Broadway run that struggled to find its audience, Sting will return to his original musical drama “The Last Ship” with something closer to a second draft—and a grander canvas. The newly adapted version will dock at the Metropolitan Opera House for a strictly limited nine-performance engagement, with Sting leading the cast as shipyard foreman Jackie White. Begins performances on June 9 at the Metropolitan Opera. metopera.org.

    10.  Shakespeare in the Park: After reopening the Delacorte Theatre last summer following a major renovation, the Public Theater is doubling down on tradition by restoring the long-standing two-show summer lineup. Free Shakespeare in the Park will return with “Romeo and Juliet,” directed by Saheem Ali, followed by “The Winter’s Tale,” helmed by Daniel Sullivan. Summer dates TBA at the Delacorte Theatre in Central Park. publictheater.org.

    Sting will bring "The Last Ship" to the Met Opera.
    Sting will bring “The Last Ship” to the Met Opera.Photo by Bruce Glikas @bruglikas @broadwaybruce_

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    Matt Windman

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  • Old French Bores: Molière Is Blasphemed in This Tin-Eared ‘Tartuffe’

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    Matthew Broderick and David Cross. Photo: Marc J. Franklin

    One is tempted to execute a stunt review of the new Tartuffe in heroic couplets, as the late, great Richard Wilbur translated Molière’s comedies for six decades, beginning with The Misanthrope in 1955. For example, I could open with:

    This shoddy Tartuffe with its lazy rhymes

    Is a cracked church bell that gratingly chimes.

    But I won’t subject you to my doggerel; I had to choke down so much already at New York Theatre Workshop. Lucas Hnath’s version of the 1669 French classic adopts a defiantly dopey attitude to the original Alexandrine verse, spitting out countless false rhymes (special/medal), pointless recycling (bastard/disaster—twice!) and triplets that seem to relish their own insipidity (“to touch your ass is no more crass than worshipping at holy mass”). Wilbur opted for a sleek line of iambic pentameter, and his bouncy euphony, highly playable and delightful on the ear, remains the gold standard. Hnath’s effort, by contrast, is a collegiate prank, a hectic hash of profanity, stoner chuckles and feints at moral philosophy. He seems unconcerned if his rhyming falls flat or his characters sound like idiots. The outraged matriarch Mme Pernelle (Bianca del Rio, haute camp) lambastes her relatives for being louche and uncouth:

    I am stunned you think it’s okay that the cleaning woman has so much say, be that as it may,
     go ahead and let the maid just have her way, I can no longer stay and watch you all fall into
     moral decay.

    I’m not cosplaying rhyme police; this is cheap stuff. Once you hear Hnath’s weakness for flat or tinny notes, you can’t un-hear it, and it will bug you for two hours sans intermission. For some reason, he formats his script in prose, as if to bury the juvenile wordplay.

    What a misguided affair from such an accomplished team. Director Sarah Benson has collaborated intensely with living or modern playwrights (her productions of An Octoroon, Fairview, and Blasted were unforgettable) but sinks under the weight of a hyper-stylized design and resolutely unfunny text. Hnath has been justly celebrated for form-bending in weird, metatheatrical dazzlers such as Dana H. and A Public Reading of an Unproduced Screenplay About the Death of Walt Disney (which Benson staged at Soho Rep). It’s unclear what the goal was here. Drunk Theatre does French Baroque? Hip-hop Molière without actual rapping?

    A woman in a richly patterned red and purple period dress raises one hand as if making a point while standing alone against a plain green theatrical backdrop.A woman in a richly patterned red and purple period dress raises one hand as if making a point while standing alone against a plain green theatrical backdrop.
    Amber Gray. Photo: Marc J. Franklin

    Tartuffe is a clockwork farce about the hypocrisy of moralizers and the credulity of followers. Wealthy patriarch Orgon (David Cross) has fallen under the spell of Tartuffe (Matthew Broderick), a nondenominational preacher who espouses a vaguely Catholic credo of sexual abstinence and mortification of the flesh. Naturally, this doesn’t prevent Tartuffe from gorging on Orgon’s larder or lusting after his attractive wife, Elmire (Amber Gray, glamour and grace). Orgon’s son, Damis (Ryan J. Haddad, petulant delight) sees through the hypocrite—as does mouthy maid Dorine (Lisa Kron) and mousy daughter Mariane (Emily Davis). Perpetually posing with a frozen smile and singsong delivery, Ikechukwu Ufomadu pops in now and then as Mariane’s nincompoop suitor Valère. There’s a tasting menu of acting styles clashing onstage, but Ufomadu really seemed to be in his own play. I kinda wish I’d been at that one.

    To be sure, it’s a murderer’s row of gifted actors, and David Cross (Arrested Development) cannot not get laughs playing a confident dolt. Davis simpers and grimaces deliciously as Orgon tries to arrange a marriage between her and Tartuffe, and Haddad throws very amusing tantrums. Kron seems baffled by the world around her, but manages dry one-liners. As Elmire’s brother and a voice of reason, Francis Jue may not have the flashiest role, but he finds a pleasing balance of witty restraint and outrage. About Matthew Broderick, I don’t know what to say. After seeing umpteenth performances from him on Broadway and Off-Broadway, I’m still shocked by his limited range and strangulated physical vocabulary. His Tartuffe talks (and walks) like Kermit the Frog in a frock coat. His understated squeaks render some lines droll, but on the whole, Broderick recedes into the muted green walls (mock-Louis XIV furnishings by set collective dots).

    A woman in an elaborate pink 18th-century-style gown leans against an ornate table clutching her chest while a man in a green period costume gestures toward her from the background on a stage set with muted green walls.A woman in an elaborate pink 18th-century-style gown leans against an ornate table clutching her chest while a man in a green period costume gestures toward her from the background on a stage set with muted green walls.
    Emily Davis and Ikechukwu Ufomadu. Photo: Marc J. Franklin

    Benson and her designers deserve credit for not setting Tartuffe in a modern-day megachurch or MAGA country. Her actors are arranged in a hermetically sealed, cartoon version of 17th-century France, with sumptuous costuming by Enver Chakartash so colorful and candied it’s like a crate of macarons on legs. Sound design by Peter Mills Weiss mixes boxing-match bells and industrial droning, and interstitial dances by Raja Feather Kelly gesture (superfluously) toward the characters’ lives of leisure, like mimed ballroom dancing and tennis. Heather Christian contributes a dirge at the end that seems to point out everyone is guilty of moral certitude, which kills the already decomposing satirical vibe.

    Look, finding comic gold in Molière is famously hard. The antique Gallic humor is refined and mannered, the Wilbur translations, as mentioned, are hard to beat, and the structured nature of the farce needs a super-deft, well-directed group of clowns to keep it popping. This past summer, Red Bull Theater’s The Imaginary Invalid actually worked. Adapter Jeffrey Hatcher opted for a prose translation that went straight for the funny bone. It was all there: visual gags, silly accents, runaway mugging, jokes about Les Misérables. Punch lines that punched. At New York Theatre Workshop, it’s style without substance—which Molière mocked in the first place.

    Tartuffe | 2 hrs. No intermission. | New York Theatre Workshop | 79 East 4th Street | 212-460-5475 | Click Here For Tickets  

    A woman dressed as a maid in a gray dress and white apron sits beside an ornate table while another woman in a pink floral gown collapses against her lap on a brightly lit stage.A woman dressed as a maid in a gray dress and white apron sits beside an ornate table while another woman in a pink floral gown collapses against her lap on a brightly lit stage.
    Lisa Kron and Emilty Davis. Photo: Marc J. Franklin

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    Old French Bores: Molière Is Blasphemed in This Tin-Eared ‘Tartuffe’

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  • Pageant of the Masters Brings Art’s Greatest to Life With 2026 Production ‘The Greatest of All Time’

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    An Unforgettable Tribute to the G.O.A.T.s of Art History July 9 – Sept. 4, 2026


    LAGUNA BEACH, Calif., December 4, 2025 (Newswire.com)
    –
    In today’s culture, the term “G.O.A.T.” – greatest of all time – is everywhere, from sports to entertainment. For the 2026 Pageant of the Masters, the question is: Who are the G.O.A.T.s of art? The Festival of Arts of Laguna Beach proudly announces the 2026 Pageant of the Masters theme, “The Greatest of All Time,” will celebrate the artists, innovators, and masterpieces that have defined the history of art. Running nightly from July 9 through Sept. 4, 2026, next summer’s Pageant will invite audiences on a global journey through the timeless works and legendary creators to discover for themselves who truly deserves the title “G.O.A.T.” in a show filled with surprises, spectacle, and magic. Tickets are on sale now and may be purchased online at www.foapom.com or by phone at (800) 487-3378.

    Masterpieces won’t just hang on walls – they’ll come alive in breathtaking tableaux vivants, blending art, music, and theatrical illusion. Audiences can expect a high-energy experience that celebrates not only the genius of the artists, but also the enduring power of their work to move and inspire.

    “Do I really think the history of art has one artwork that can be considered the greatest of all time? No!” laughed longtime Pageant Director, Diane Challis Davy. “But that’s exactly what makes this show so exciting. We’ve taken on the challenge of finding 40 works that could each make their case for being one of the greatest: whether for their technique, their influence or their power to move us centuries later.”

    The 2026 Pageant will feature legendary works from Michelangelo, Diego Velázquez, Claude Monet, Vincent van Gogh, Pablo Picasso, Frida Kahlo, and Norman Rockwell. “My personal favorites are John Singer Sargent and Winslow Homer,” Davy added, “but works from around the world will also be given their due.”

    Presented under the stars in the Pageant’s 2,600-seat Irvine Bowl amphitheater, real people will step into the spotlight, perfectly posing as their counterparts in larger-than-life works of art. Each living picture will unfold with the Pageant’s signature fusion of stage magic, original music performed by a live orchestra, and captivating narration.

    Challis Davy concluded, “I like to think that’s also what we do here at the Pageant. Just as the Festival supports art in our community, I hope to see this year’s Pageant encouraging everyone’s greater appreciation for art.”

    The 2026 Pageant of the Masters production “The Greatest of All Time” will run nightly from July 9 through Sept. 4, 2026. Early ticket purchase is recommended, the Pageant is highly sought after and draws art enthusiasts from around the world. For updates, follow the Festival on social media @FestivalPageant and visit www.foapom.com.

    Source: Festival of Arts of Laguna Beach

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  • On Stage in December: ‘A Christmas Story,’ ‘Hadestown’ and ‘Little Women’

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    Philadelphia theaters are closing out the year strong with Broadway hits, holiday shows and staged retellings of famous books. 

    For the Christmas lovers, multiple theaters are putting on performances of “A Christmas Carol,” plus the Walnut Street Theatre has “A Christmas Story” on its schedule and Philly actor and writer Chris Davis is back with his one-man version of “The Nutcracker.” 

    MORE: Fiber Craft Holiday Market returns to South Philly with 50+ vendors on Dec. 6

    Anyone looking for a break from the holidays can hit the books with Hedgerow’s version of “Little Women” and the Arden’s “A Wrinkle in Time.” Plus, Quintessence is putting on “The Pirates of Penzance,” and 1812 brings back its annual comedy show “This is the Week That Is.” 

    Here are 11 performances coming to local stages in December. 

    A Christmas Carol

    Now-Jan. 4 | Various locations

    Multiple Philly-area theaters are staging versions of the Charles Dickens’ classic. Catch performances from Lantern Theater Co. from Dec. 13-28, People’s Light in Malvern from now until Jan. 4 and “A Sherlock Carol,” adding in a twist with a story of Sherlock Holmes, at the Stagecrafters Theater from now until Dec. 14. 

    Little Women

    Now-Dec. 28 | Hedgerow Theatre Co. | Media, Delaware County

    The musical version of Louisa May Alcott’s famous book reimagines the stories of Meg, Jo, Beth and Amy in song. The four sisters come of age during the Civil War and navigate love, friendship and loss. Tickets are $35. 

    The Pirates of Penzance

    Now-Jan. 4 | Quintessence Theatre | 7137 Germantown Ave. 

    A young pirate plans to marry his true love following his 21st birthday, when believes he’s free from his life of servitude. But a twist of fate regarding his birthday throws a wrench in his plans. Tickets are $65. 

    A Christmas Story

    Now-Jan. 4 | Walnut Street Theatre | 825 Walnut St. 

    All Ralphie wants for Christmas is a BB gun, but a series of comedic, unfortunate events including turkey-stealing dogs, a frozen flagpole and pink bunny pajamas get in the way. The stage show is a musical version of the 1983 holiday movie. Tickets start at $31. 

    This is the Week That Is

    Nov. 28-Dec. 31 | 1812 Productions | 1714 Delancey Place

    The annual political comedy from 1812 Productions is completely improv, so every night brings a new show mocking public figures. This year is the 20th anniversary of the performance. Tickets start at $55. 

    The Greatest Play in the History of the World

    Nov. 29-Dec. 14 | Inis Nua Theatre Co. | 302 S. Hicks St. 

    At 4:40 a.m., time stops for everyone in the world except young singles Tom and Sara and a longtime married couple, the Forshaws. While the world remains at a standstill, the four neighbors connect and get to know one another. Tickets are $33. 

    Hadestown

    Dec. 2-7 | Ensemble Arts Philly | 1114 Walnut St.

    This award-winning musical is a modern retelling of the Greek myth of Eurydice, a young girl who goes to work in the Underworld, and Orpheus, her lover who comes to save her. The show, which is playing at the Forrest Theater, won eight Tonys and a Grammy. Tickets start at $59. 

    A Wrinkle in Time

    Dec. 3-Jan. 25 | Arden Theatre Co. | 40 N. 2nd St. 

    Madeleine L’Engle’s famous children’s novel is reimagined for the stage, telling the story of siblings Meg and Charles Wallace, their friend Calvin and three witches who help the children travel through time and space. Tickets start at $40. 

    Sunset Baby

    Dec. 5-14 | Playhouse West Philadelphia | 1218 Wallace St. 

    In modern-day Brooklyn, Nina’s estranged father, a former activist and Black Panther, reappears in her life. Throughout the show, the father and daughter unpack grief, betrayal and the lingering impact of political opposition. Tickets start at $15. 

    One-man Nutcracker

    Dec. 9-Jan. 5 | The Drake | 302 S. Hicks St. 

    Chris Davis, a Philadelphia actor and writer, performs his annual performance that condenses the ensemble-cast Christmas ballet into a one-man show. Davis plays the titular character, as well as the mouse king, sugar plum fairy and Clara. Tickets start at $18. 

    Ordinary People

    Dec. 12-21 | Theatre in the X | 1340 S. 13th St. 

    In North Philadelphia during the 1950s, a Christmas-loving young girl named Amy finds a man in the snow outside her home. The characters later examine their beliefs as the stranger, named J.C., is later revealed as Jesus. Tickets are pay what you can. 

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    Michaela Althouse

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  • Broadway and beyond heat up the cold months | amNewYork

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    The Company in “A Christmas Carol at The Old Vic (2023)”

    Photo by Manuel Harlan

    Winter may not be prime time for New York theater—at least not compared to the star-studded fall openings and the awards-hungry spring rush—but this season is unusually robust, with a mix of high-profile revivals, adventurous downtown premieres, and unexpected celebrity turns. From June Squibb’s Broadway bow in “Marjorie Prime” to Michelle Williams leading a new “Anna Christie” and Elevator Repair Service taking on “Ulysses,” the cold months are offering more heat than usual. Here are the productions worth stepping out for.

    Marjorie Prime: Jordan Harrison’s Pulitzer-finalist sci-fi drama finally lands on Broadway with 95-year-old Oscar nominee June Squibb in the title role, backed by Cynthia Nixon, Danny Burstein, and Christopher Lowell. Its 2017 film version featured Lois Smith, Jon Hamm, and Geena Davis. In previews at the Hayes Theater, 240 W. 44th St., 2st.com.

    A Christmas Carol: Tony Award winner Michael Cerveris plays the miserly Ebenezer Scrooge in the New York return of Matthew Warchus’ handsome and festive production of the Charles Dickens classic, which was seen on Broadway in 2019. In previews at the Perelman Performing Arts Center, 251 Fulton St., pacnyc.org.

    Anna Christie: Thomas Kail (“Hamilton”) directs a star-packed revival of “Anna Christie” at St. Ann’s Warehouse, with Michelle Williams taking on one of Eugene O’Neill’s toughest heroines opposite Tom Sturridge, Brian d’Arcy James, and Mare Winningham. Begins performances on Nov. 25 at St. Ann’s Warehouse, 45 Water St., stannswarehouse.org.

    Tartuffe: New York Theatre Workshop will present Lucas Hnath’s (“A Doll’s House, Part 2”) new adaptation of Molière’s classic French satire attacking religious hypocrisy. The starry ensemble includes Matthew Broderick, David Cross, Bianca Del Rio, Amber Gray, Lisa Kron, and Francis Jue. Begins performances on Nov. 28 at New York Theatre Workshop, 79 E. 4th St., nytw.org.

    The Rest of Our Lives by Jo Fong and George Orange, as seen at the Under the Radar Festival.
    The Rest of Our Lives by Jo Fong and George Orange, as seen at the Under the Radar Festival.Photo by Sara Teresa

    All Out: Comedy About Ambition: After scoring a surprise Broadway hit last season with “All In: Comedy About Love” — in which rotating casts of celebrities performed live readings of Simon Rich’s comic short stories — Rich and director Alex Timbers are back with a follow-up. The rotating lineup includes Jon Stewart, Sarah Silverman, Mike Birbiglia, Ray Romano, Cecily Strong, Jim Gaffigan, Abbi Jacobson, Wayne Brady, Heidi Gardner, Nicholas Braun, Craig Robinson, and Ashley Park, among others. Begins performances on Dec. 12 at the Nederlander Theatre, 208 W. 41st St., alloutbroadway.com.

    Bug: Tracy Letts’ cult thriller, in which fragile romance in a dingy motel room between two damaged outsiders quickly mutates into a paranoia-soaked spiral of delusion, danger, and conspiracy, finally reaches Broadway in David Cromer’s acclaimed Steppenwolf staging, with Carrie Coon and Namir Smallwood leading the cast. Begins performances on Dec. 16 at the Samuel J. Friedman Theatre, 261 W. 47th St., manhattantheatreclub.com.

    Under the Radar: The annual citywide festival, which showcases international, experimental and multidisciplinary theater, returns for its 21st edition with a diverse new lineup involving more than 20 local cultural institutions. Jan. 7 to 25 at multiple venues, utrfest.org.

    Ulysses: Elevator Repair Service (“Gatz”) takes on James Joyce’s literary mountain with seven performers soberly reading the text—until the pints, brawls and debaucheries kick in. Begins performances on Jan. 13 at the Public Theater, 425 Lafayette St., publictheater.org.

    The company of "Ulysses"
    The company of “Ulysses” Photo courtesy of Elevator Repair Service 

    Coriolanus: This staging of Shakespeare’s political war drama promises to juxtapose live performance against a media-saturated environment, exploring gaming violence and screen combat. Begins performances on Feb. 1 at Polonsky Shakespeare Center, 262 Ashland Place, tfana.org.

    Mother Russia: Set in St. Petersburg right after the collapse of the Soviet Union, Lauren Yee’s dark comedy follows two aimless young men who end up surveilling a former pop singer while trying to make sense of capitalism, freedom, and fast food. Begins performances on Feb. 3 at Pershing Square Signature Center, 480 W. 42nd St., signaturetheatre.org.

    High Spirits: The rarely seen 1964 musical adaptation of Noël Coward’s “Blithe Spirit” returns to New York via the Encores! series, with real-life Broadway duo Phillipa Soo and Steven Pasquale playing the beleaguered couple whose séance-invited ghost (Tony winner Katrina Lenk) sends their life spinning, with Andrea Martin as the eccentric medium Madame Arcati. Begins performances on Feb. 4 at City Center, 131 W. 55th St., nycitycenter.org.

    Marcel on the Train: Tony nominee Ethan Slater (who just played Boq in the “Wicked” film) stars as Marcel Marceau in a new play which traces the legendary mime’s quiet courage in Nazi-occupied France as he helped Jewish children escape. Begins performances on Feb. 5 at Lynn F. Angelson Theater, 136 E. 13th St., classicstage.org.

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    Matt Windman

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  • ‘Wicked: For Good’ is even more popular than the first, soaring to a $226 million global debut

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    Universal Pictures’ two-part “Wicked” gamble continues to defy gravity at the box office. Just a year after part one brought droves of audiences to movie theaters around the country, even more people bought opening weekend tickets to see the epic conclusion, “Wicked: For Good.” According to studio estimates on Sunday, “Wicked: For Good” earned $150 million from North American theaters in its first days in theaters and $226 million globally.Not only is it the biggest opening ever for a Broadway musical adaptation, unseating the record set by the first film’s $112 million launch, it’s also the second biggest debut of the year behind “A Minecraft Movie’s” $162 million.”The results are just fantastic,” said Jim Orr, who heads domestic distribution for Universal. “Some films can deliver a false positive when tickets go on sale early but these results speak for themselves.”Universal began rolling out “Wicked: For Good” in theaters earlier this week, with previews on Monday ($6.1 million from 1,050 theaters) and Wednesday ($6.5 million from 2,300 theaters). By Friday it was playing in 4,115 North American locations and had raked in $68.6 million. IMAX showings accounted for $15.5 million, or 11%, of its domestic haul — a November record for the company.IMAX CEO Rich Gelfond said in a statement that the strong market share shows, “our momentum carries into demos and genres beyond our traditional core, including families.”As with the first film, women powered opening weekend, making up around 71% of ticket buyers according to PostTrak exit polls. Critics were somewhat mixed on the final chapter, but audiences weren’t: An overwhelming 83% of audiences said it was one they would “definitely recommend” to friends. As far as foot traffic is concerned, the box office tracker EntTelligence estimates that about 2 million more people came out for “Wicked: For Good’s” first weekend than for “Wicked’s.”Jon M. Chu directed both “Wicked” films, starring Cynthia Ervio and Ariana Grande. The first film made over $758.7 million worldwide and received 10 Oscar nominations (winning two, for costume and production design ). The question is how high “Wicked: For Good” can soar. Combined, the two films cost around $300 million to produce, not including marketing and promotion costs.”The first film paved the way,” Orr said. “It’s really become a cultural event I think audiences are going to be flocking to theaters for quite some time to come.”Two other films also opened in wide release this weekend, but further down on the charts behind a buffet of holdovers. Searchlight Pictures opened its Brendan Fraser film “Rental Family” in 1,925 theaters where it earned $3.3 million. The Finnish action film “Sisu: Road to Revenge,” a Sony release, also played in 2,222 theaters. It earned an estimated $2.6 million.Second place went to “Now You See Me: Now You Don’t” with $9.1 million in its second weekend, followed by “Predator: Badlands” with $6.3 million in weekend three. “The Running Man” followed in fourth place with $5.8 million, down 65% from its debut last weekend.Although this weekend the box office was more of a winner takes all scenario, “Wicked: For Good’s” success is vitally important for the exhibition industry as a whole as it enters the final weeks of the year.”It sets up a very strong final homestretch of the year,” said Paul Dergarabedian, Comscore’s head of marketplace trends.After the slow fall season, the Thanksgiving blockbusters could not arrive soon enough. Early next week, “Zootopia 2” enters the mix and is also expected to drive big crowds to the cineplex over the holiday break.Thanksgiving is often one of the biggest moviegoing frames of the year, Dergarabedian said, and both “Wicked 2” and “Zootopia 2” will benefit. Last year “Wicked,” “Moana 2” and “Gladiator II” helped power a record five-day frame.The running domestic box office is currently hovering around $7.5 billion, according to Comscore. Before the pandemic, the annual box office would regularly hit $11 billion, but the post-pandemic goal has lessened to $9 billion. The big question now is whether titles like “Wicked: For Good,” “Zootopia 2” and “Avatar:Fire and Ash” can push the industry over that threshold.Top 10 movies by domestic box officeWith final domestic figures being released Monday, this list factors in the estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore:1. “Wicked: For Good,” $150 million.2. “Now You See Me: Now You Don’t,” $9.1 million.3. “Predator: Badlands,” $6.3 million.4. “The Running Man,” $5.8 million.5. “Rental Family,” $3.3 million.6. “Sisu: Road to Revenge,” $2.6 million.7. “Regretting You,” $1.5 million.8. “Nuremberg,” $1.2 million.9. “Black Phone 2,” $1 million.10. “Sarah’s Oil,” $711,542.

    Universal Pictures’ two-part “Wicked” gamble continues to defy gravity at the box office. Just a year after part one brought droves of audiences to movie theaters around the country, even more people bought opening weekend tickets to see the epic conclusion, “Wicked: For Good.” According to studio estimates on Sunday, “Wicked: For Good” earned $150 million from North American theaters in its first days in theaters and $226 million globally.

    Not only is it the biggest opening ever for a Broadway musical adaptation, unseating the record set by the first film’s $112 million launch, it’s also the second biggest debut of the year behind “A Minecraft Movie’s” $162 million.

    “The results are just fantastic,” said Jim Orr, who heads domestic distribution for Universal. “Some films can deliver a false positive when tickets go on sale early but these results speak for themselves.”

    Universal began rolling out “Wicked: For Good” in theaters earlier this week, with previews on Monday ($6.1 million from 1,050 theaters) and Wednesday ($6.5 million from 2,300 theaters). By Friday it was playing in 4,115 North American locations and had raked in $68.6 million. IMAX showings accounted for $15.5 million, or 11%, of its domestic haul — a November record for the company.

    IMAX CEO Rich Gelfond said in a statement that the strong market share shows, “our momentum carries into demos and genres beyond our traditional core, including families.”

    As with the first film, women powered opening weekend, making up around 71% of ticket buyers according to PostTrak exit polls. Critics were somewhat mixed on the final chapter, but audiences weren’t: An overwhelming 83% of audiences said it was one they would “definitely recommend” to friends. As far as foot traffic is concerned, the box office tracker EntTelligence estimates that about 2 million more people came out for “Wicked: For Good’s” first weekend than for “Wicked’s.”

    Jon M. Chu directed both “Wicked” films, starring Cynthia Ervio and Ariana Grande. The first film made over $758.7 million worldwide and received 10 Oscar nominations (winning two, for costume and production design ). The question is how high “Wicked: For Good” can soar. Combined, the two films cost around $300 million to produce, not including marketing and promotion costs.

    “The first film paved the way,” Orr said. “It’s really become a cultural event I think audiences are going to be flocking to theaters for quite some time to come.”

    Two other films also opened in wide release this weekend, but further down on the charts behind a buffet of holdovers. Searchlight Pictures opened its Brendan Fraser film “Rental Family” in 1,925 theaters where it earned $3.3 million. The Finnish action film “Sisu: Road to Revenge,” a Sony release, also played in 2,222 theaters. It earned an estimated $2.6 million.

    Second place went to “Now You See Me: Now You Don’t” with $9.1 million in its second weekend, followed by “Predator: Badlands” with $6.3 million in weekend three. “The Running Man” followed in fourth place with $5.8 million, down 65% from its debut last weekend.

    Although this weekend the box office was more of a winner takes all scenario, “Wicked: For Good’s” success is vitally important for the exhibition industry as a whole as it enters the final weeks of the year.

    “It sets up a very strong final homestretch of the year,” said Paul Dergarabedian, Comscore’s head of marketplace trends.

    After the slow fall season, the Thanksgiving blockbusters could not arrive soon enough. Early next week, “Zootopia 2” enters the mix and is also expected to drive big crowds to the cineplex over the holiday break.

    Thanksgiving is often one of the biggest moviegoing frames of the year, Dergarabedian said, and both “Wicked 2” and “Zootopia 2” will benefit. Last year “Wicked,” “Moana 2” and “Gladiator II” helped power a record five-day frame.

    The running domestic box office is currently hovering around $7.5 billion, according to Comscore. Before the pandemic, the annual box office would regularly hit $11 billion, but the post-pandemic goal has lessened to $9 billion. The big question now is whether titles like “Wicked: For Good,” “Zootopia 2” and “Avatar:Fire and Ash” can push the industry over that threshold.

    Top 10 movies by domestic box office

    With final domestic figures being released Monday, this list factors in the estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore:

    1. “Wicked: For Good,” $150 million.

    2. “Now You See Me: Now You Don’t,” $9.1 million.

    3. “Predator: Badlands,” $6.3 million.

    4. “The Running Man,” $5.8 million.

    5. “Rental Family,” $3.3 million.

    6. “Sisu: Road to Revenge,” $2.6 million.

    7. “Regretting You,” $1.5 million.

    8. “Nuremberg,” $1.2 million.

    9. “Black Phone 2,” $1 million.

    10. “Sarah’s Oil,” $711,542.

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  • Warmth and Nostalgia Define Our Town at 4th Wall – Houston Press

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    “So – people a thousand years from now – this is the way we were…” says the Stage Manager in Thornton Wilder’s Our Town as he imagines including the story of the people of Grover’s Corners, New Hampshire, in a time capsule.

    It hasn’t been a thousand years, not since Wilder wrote the play nor since its early 20th-century setting, but we can still open that time capsule and visit that small New England town, as the play is now running at 4th Wall Theatre Company.

    The play takes us to Grover’s Corners across three acts. In the first act, we meet two families, the Webb and Gibbs families, and get a sense of the rhythms of daily life in this small town in 1901. The second tells the story of Emily Webb and George Gibbs, detailing the moment they fell in love and their wedding three years later. In the final act, set in 1913, we visit the cemetery in Grover’s Corners.

    That’s “Daily Life,” “Love and Marriage,” and finally “Death and Eternity.”

    Our Town premiered in 1938, and it is not only a Pulitzer Prize-winning play, but a highly regarded work widely considered to be one of the best American plays ever written (if not the best). It was revolutionary and challenging to audiences in its form and staging, presenting a deceptively simple portrait of small-town America that reveals a profound mediation on themes of mortality and impermanence. Its first two acts build up to a devastatingly emotional third act, which, when it lands, can be one of the most affecting experiences in theater.

    Director Jennifer Dean approaches Our Town with a gentle hand, favoring an interpretation that leans more toward sentimental Americana than Wilder’s stark, existential minimalism – something especially apparent in the production’s visual language.

    OUR TOWN_2 – Skyler Sinclair and Elijah Eliakim Hernandez in 4th Wall Theatre Co.’s production of Our Town. Credit: Gabriella Nissen

    The scenery, for those who think they need it, is a woodsy backdrop by Kirk A. Domer that gives the impression of a carved, handcrafted miniature town, with cut-out houses and glowing windows set within geometrically arranged planks. It lends the production a rustic, storybook-like quality that is reinforced by Rosa Cano’s overwhelmingly warm lighting designs.

    Cano gives Grover’s Corners a sepia-amber glow, a choice that evokes a nostalgic aesthetic. Cano also makes good use of the slats in Domer’s set to let light spill through the beams, adding a dimensionality and weight to it, and makes striking use of a circular disk that becomes, in turn, the glowing sun and moon. When Act III opens, Cano shifts to cooler blue tones and shadows. It’s an effective contrast, though one that remains consistent with the production’s overall visual softness.

    Yezminne Zepeda’s sound design is intentionally minimal. Dialogue is crisp, and the ensemble supplies a bit of the ambient soundscape, doing their best impressions of chickens, train whistles, and birds. This choice enhances the handcrafted, communal quality of the staging, and these touches earned charmed smiles and light chuckles from the audience, underscoring the homespun tone. Schmidt’s costumes, period-specific, with turn-of-the-century staples like high collars, straw hats, vests and coats for men, etc., add to the sense of nostalgia, too.

    Together, these design choices create a production that is undeniably lovely to look at, pretty and rich with crafted detail. At times, though, they feel at odds with Wilder’s emphasis on sparseness and open space. The stage remains bare with only tables, chairs, ladders, and crates present throughout the first two acts, but the abstraction slips in Act III. When Emily revisits her twelfth birthday, the introduction of literal props (including milk bottles, birthday packages, and toy food) breaks the previously established visual vocabulary. While understandable, this sudden materiality proves to be distracting in an act that already feels rushed, pulling focus from Emily’s emotional realization.

    The overall effect is a production that feels safe, its sharpest edges sanded down. The warmth, charm, and aesthetic coherence are there, but they dull the play’s existential teeth. As a result, Act III’s heartbreak lands with less force than expected, its customary gut punch missing. It’s worth noting that within this invitingly drawn world, the actors are left to navigate Wilder’s shifts in tone, starting with Philip Lehl’s Stage Manager.

    Actors in 4th Wall Theatre Co.’s production of Our Town.
    Christy Watkins, Algy Alfred, Patricia Duran, Joshua Percy, and Christian Tannous in 4th Wall Theatre Co.’s production of Our Town. Credit: Gabriella Nissen

    Lehl is excellent as the Stage Manager. From an omniscient perch, Lehl tours the audience around Grover’s Corners, down family trees, and through personal histories and eventual futures, with ease. His presence is kind and steady, deceptively hiding how deft Lehl is at controlling the audience’s attention. At times, his hand lands lightly on an actor’s back, giving them a subtle nudge toward their place, and it’s a gesture that mirrors the way he shepherds the audience through the story. Calm, wry, and subtly authoritative, Lehl beautifully sets and maintains the production’s tone.

    Through the first two acts, Skyler Sinclair is a luminous Emily Webb. Sinclair is tender with Emily, capturing the brightness the script tells us all about. But in Act III, the scene rushes forward with little space for emotional breath, meaning we don’t get to feel the enormity of Emily’s realization.

    As George Gibbs, Elijah Eliakim Hernandez brings an earnest, slightly immature charm that is well-matched with Sinclair. He is the son of Kregg Dailey’s Dr. Gibbs, who comes across like a fair, mid-century sitcom father, and Christy Watkins’ Mrs. Gibbs, who blends tiredness with a quiet, wistful longing. Faith Fossett’s Mrs. Webb is likewise overworked, warm, and brisk. She is a woman who expresses affection through her household activities rather than softness. Philip Hays gives Mr. Webb a playful dynamic with his daughter and plays the awkward early moments with George the morning of the wedding delightfully.

    Several supporting players add memorable texture to Grover’s Corners. Patricia Duran draws attention in all the right ways as Mrs. Soames, the town’s wide-eyed wedding lover, and Christian Tannous tackles three distinct roles: the pedantic, giggle-prone Professor Willard; the friendly milkman Howie Newsome; and the bitter Simon Stimson. As the youngest Webb and Gibbs siblings, Joshua Percy adds a boyish energy as both Wally Webb and the paperboys, and Ellis Holden is sweet and curious as Rebecca Gibbs, grounding her scenes with unaffected charm. Algy Alfred rounds out the cast as a brusque questioner of Mr. Webb and Mr. Carter, who quietly reminisces about his son’s knowledge of the stars in the third act.

    So, that’s the way they were, in their growing up, and in their marrying, and in their living, and in their dying. Though this handsome production is full of warmth and crafted beauty, and imbued with tenderness, it doesn’t always let us feel the full weight of that cycle.

    Performances will continue at 7:30 p.m. Thursdays through Saturdays and 2:30 p.m. Sundays through December 20 at Spring Street Studios, 1824 Spring. For more information, call 832-767-4991 or visit 4thwalltheatreco.com. $40-$70. Ticket discounts are available for those under 25 and seniors 65 and older.

    This article appears in Jan 1 – Dec 31, 2025.

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    Natalie de la Garza

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  • How Wicked: For Good’s Ending Differs From the Broadway Show

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    Wicked: For Good, starring Cynthia Erivo and Ariana Grande as frenemy witches Elphaba and Glinda, stays fairly faithful to its source material. But fans of the Broadway musical may be surprised to find that Wicked: For Good also makes a few unexpected left turns not found in the second half of composer Stephen Schwartz and writer Winnie Holzman’s stage musical. Those changes—which the film’s creative team discussed with me for Universal and VF’s official Wicked: For Good podcast—mostly have to do with Grande’s Glinda the Good, who closes her character arc by stepping into her power in a new way. (Warning: Spoilers for Wicked: For Good are below.)

    Wicked: Part One focused on Elphaba’s journey from green-skinned Shiz University student to the Wicked Witch of the West. But while Erivo’s Elphaba is still front and center in Wicked: For Good, the sequel is more focused on Glinda’s turn from powerless figurehead and brand ambassador for the Wizard (Jeff Goldblum) to a truly good witch who has her own magical powers. In a departure from the stage show, director Jon M. Chu includes a flashback to little Glinda, played by Scarlett Spears, at her birthday party, attempting to convince her guests that she has magical powers. It’s a moment meant to mirror the flashback scene from the first Wicked when little Elphaba, Karis Musongole, discovers her innate magical powers.

    Over the course of Wicked: For Good, written by Holzman and Dana Fox, Glinda’s perfectly manicured facade cracks as Elphaba’s power grows. In another change from the stage play, Erivo has a new song—a rousing ballad called “No Place Like Home”—which underlines her commitment to Oz. Schwartz also added a new song for Glinda, the eleven o’clock number “The Girl in the Bubble,” in which Grande’s character wrestles with her complicity in the hunt for Elphaba—and finally, actively, makes the choice to make good on her promise to truly be Glinda the Good.

    Before the end of the film, the estranged witches reconnect to sing the titular song, “For Good.” The stage show ends shortly after this number, with Elphaba “melting” after Dorothy Gale throws a bucket of water on her and Glinda pledging to the Ozians that she will try to be good. Wicked: For Good follows similar beats: After Elphaba has seemingly melted, Glinda stands up to both the Wizard and Madame Morrible (Michelle Yeoh), imprisoning Morrible and revealing to the Wizard that Elphaba was, in fact, his daughter, after discovering they both drank the same green elixir. All of this happens on stage as well.

    What’s new, though, is that in the final act of the film, both Elphaba and Glinda each get what they desire. Glinda ends the film by closing the arc on the story’s persecuted talking-animal subplot, asking for all of the Ozians to join her in inviting the recently excommunicated creatures to return to Oz. The stage play leaves this thread dangling, while in the film it’s clear that Elphaba’s sacrifice was not in vain, and that Glinda will carry through on her efforts to make Oz a safe space for all. We even see Elphaba’s favorite mammalian professor, Dr. Dillamond (Peter Dinklage), and his tiny goat glasses return to his classroom.

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    Chris Murphy

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