Adam Feldman Time Out Profile (2024)

Sushi, platitos asiáticos y postres que la itamae prepara ante tus ojos, en un menú de pasos con lo mejor de la pesca, los mariscos y las algas de la costa argentina.También te puede interesar:Sushi omakase: los mejores restaurantes secretos de Buenos AiresLos 56 mejores restaurantes de Buenos Aires3 hamburguesas especiales para probar en Buenos AiresLa música siempre encendida. Ni este ni ningún detalle se le pasa a Romina Roux. De los caracoles -que ya nos hablan de la oda al mar agentino que practica aquí- a la vajilla, hecha en cerámica por su mamá y su hija (algunos cubiertos son del abuelo). O la puerta de tela oriental, que se corre para que empiece la función.De miércoles a sábados, a las 20.30 puntual, la chef deleita con su omakase atlántico. Esta experiencia nipona que se afianza en Palermo tiene la propuesta más original en RŪ: el primer restaurante en un domo de Buenos Aires. El hecho de que esté en manos de una mujer también lo hace peculiar, porque desafía la tradición japonesa. La estructura que lo aloja es singular para la ciudad y fue montada en el patio del hotel Pleno Palermo, para crear un espacio súper íntimo para 12 comensales que tienen el privilegio de ver trabajar a Romina. Es magnética. Toma las técnicas, los sabores, el detalle y la sutileza de la culinaria japonesa en una versión libre de los pescados y frutos de nuestro océano. “En cada paso utilizamos un producto, pueden ser vieiras, almejas, lo mejor que haya en el mercado. No es un omak

Para salir en la semana, para volver bien tarde, para trasladarte en un cóctel a una playa o a otra época. Descubrir tragos de autor y revivir los de siempre. Nos sentamos en las mejores barras de la ciudad para contarte cuáles son. ¿Estás para tomar algo?

Omakase, que en japonés significa “lo dejo en tus manos”, implica justamente confiar en la manos del “itamae”, cocinero de cocina japonesa, quien estudia la materia prima disponible de cada día para preparar su mejor versión. Ese es el juego en un restaurante omakase: hay que entregarse.Este formato es el nuevo rey del sushi en Buenos Aires. El ritual consiste en sentarse en la barra, abierto a recibir. Vos le das tu voto de confianza, y el itamae te devuelve lo mejor que puede darte esa noche: una pieza hecha en ese mismo instante, que está al máximo de sabor. Lisa, chernia, mero, besugo, bonito, trucha, calamar, langostino, pulpo, vieira, centolla, anchoas, pacú, surubí. Mar, lagos, ríos y hasta campo, porque también sirven Wagyu. Destacar el producto local con técnicas japonesas, en una interpretación propia, es el pacto.Para que sea verdaderamente autoral, los omakase se ubican en salones pequeños; y ahora también, a puertas cerradas. Los lugares son contados. La experiencia es tête à tête. Por eso, es un planazo para salir a comer solo. O para evadir conversaciones con tu acompañante: no da pasársela cuchicheando, estás en primera fila. Para conocer las destrezas del itamae y para que él o ella te puedan conocer a vos: te va a estar mirando para saber qué te gustó y si se debe ajustar algo. Si te animás a este mano a mano, estos son los mejores 10 restaurantes secretos de sushi omakase en Buenos Aires.También te puede interesar:Los 56 mejores restaurantes de Bueno

Buenos Aires no para, su movida gastronómica tampoco. De una parrilla de lujo a un galpón vegetariano, un bodegón de 1952 , alta cocina botánica, fine dining de autor, charcutería en la vereda y comida porteña nostálgica en un mercado. Te lo ponemos fácil o te la hacemos corta: estos son sus restaurantes esenciales.

Thirty days of summer is a pretty paltry window of time to celebrate the LGBTQ+ community, and Pride is so much more than a month of parades and celebrations – it’s life. And while we’d never baulk at an excuse to celebrate everything that Pride stands for, we also believe that any time is the perfect time to crank up these gay songs and fly that rainbow flag.That’s why we’ve assembled a 50-song playlist perfectly calibrated for Pride Month and beyond, featuring some of history’s greatest queer artists and LGBTQ+ allies who pay more than lip service. You’ll find party anthems, pop songs, disco infernos and punk-rock proclamations, so there’s no need to wait for the parade. This is your all-seasons, all-time-great Pride playlist. Grab the aux cable and blast it loud and proud.Listen to these songs on Amazon MusicRECOMMENDED:🎤The bestkaraoke songs🍻The bestdrinking songs🎉The bestparty songs🎶The best’80s songs💖The bestpop songs

Public spaces come alive with free outdoor theater in New York City in the summer, and especially with the plays of William Shakespeare. The top destination, of course, is usually the Delacorte Theater in Central Park, where the Public Theater’s Shakespeare in the Park presents excellent productions that among New York's best things to do in the summer. That series is on hold this year for long-needed Delacorte renovations, but luckily you can still enjoy plays by Shakespeare and other classical masters elsewhere in the city: in Harlem and Brooklyn, at Battery and Riverside Parks, even in a Lower East Side parking lot. You might be surprised by the magic that can come from wonderful words, inventive actors and a mild summer breeze.RECOMMENDED: Full guide to things to do outside in NYC

Note: Shakespeare in the Park is on hiatus in 2024 while the Delacorte Theater is being renovated. It is scheduled to return in 2025.Every summer, people flock to Central Park in New York to score Shakespeare in the Park tickets. This beloved free annual tradition is produced by the Public Theater at the open-air Delacorte Theater. Sure, you could stay at home and stream Shakespeare movies, but the live outdoor theater experience is unique—and certainly one of the best free things to do in NYC.As has been the case since Shakespeare in the Park began in 1962, the Public distributes free tickets, but it takes some dedication to get your hands on them. After two years in which distribution shifted largely to a digital lottery, thetraditional in-person lineup in Central Park has returned as one of six different ways to get tickets.RECOMMENDED: Complete guide toShakespeare in the Park1. In Central Park at the DelacorteTickets are distributed in front of the Delacorte Theater on a first-come, first-served basis at 12pm on the day of the show, so you’ll have to wait in line—likely for a long time—if you want to get in. But it's worth it.Before you go, you'll need to register for a Public Theater Patron ID. Click here do that.Central Park doesn’t open until 6am, and although the Public Theater doesn’t condone it, it is legal to camp out before then by the park entrance at Central Park West and 81st Street. A line monitor from the Public will escort any early birds in when t

“Si querés picante, pedinos”. Dice el menú de Oli, y me conquistó. Para una fana del Bloody Mary, esto es muy importante: en este local de Palermo, vale personalizar el picor a tu gusto. ¡Vos decidís hasta dónde querés prenderte fuego! Con mi lengua de dragón, yo lo probé junto a la tostada de hongos a la plancha con Sriracha de la casa y duxelle de setas. El guiño parisino está en este picadillo típico de la gastronomía francesa, en la biblioteca -con el libro Tartine- y en la french toast, cuya versión salada viene con polenta a la plancha, humita, choclo ahumado, ensalada fresca con granada y hierbas.También, en la preponderancia que tiene la pâtisserie en esta casa: el mostrador no tiene techo. En cuanto a la calidad y la variedad de todo lo que ofrece cada día. “El mostrador es parte de nuestra identidad. Nuestro cimiento. Es muy lúdico. Venís a almorzar, te comés una milanesa de lomo con mac & cheese, unas papas fritas y elegís algo dulce de ahí. En Buenos Aires, no hay tantos lugares all day que tengan esta combinación”, me dice Olivia Saal, la chef propietaria, quien integra la nueva generación de restaurateurs de Buenos Aires.OliDe “chica pájaro” a referente de la nueva era de cocinerosPrecisamente, lo que le interesa más que nunca es la hospitalidad. “Este año, el protagonista es el servicio. En el salón se puede perder todo el trabajo de la cocina. Para mí, lo que va a destacar sobre el producto, es la hospitalidad. El tacto. La delicadeza. La información s

A Tres Monos le llueven premios internacionales: no solo está en el puesto 11 de The World 's 50 Best Bars (por lo que se podría decir que es el mejor bar de Palermo), sino que recibió un premio por su servicio relajado (fue el primer bar sudamericano en ganar el Michter' s Art of Hospitality Award).También te puede interesar:Los mejores bares de Buenos AiresDónde tomar cerveza en Buenos Aires: nuestro top 15Los mejores happy hour de Buenos AiresSu coctelería es suprema y también inclusiva: tienen una escuela de bartenders en el Barrio Mugica -ex Villa 31- para capacitación e inserción laboral, ya que luego los “graduados” vienen a trabajar a Tres Monos.El proyecto de los amigos Sebastián Atienza, Gus Vocke y Charly Aguinsky no queda relegado a lo que sucede en este local de Guatemala y Thames. Ellos quieren compartir su trabajo y generar un cambio en la comunidad, a la vez que potencian el talento de los habitantes del Barrio Mugica y les enseñan un oficio, el que aman.Tres monosApenas llegás a Tres Monos, te van a convidar agua fresca y te van a invitar ponche de bienvenida, para abrir el paladar. Aunque a primera vista la estética punk te haga pensar otra cosa, son unos dulces, y te van a hacer sentir como en tu casa.La música está al volumen perfecto, lo suficientemente alta como para crear el clima, y así y todo, conversar. ¡Está claro que no vinimos para charlar! La luz también en su justa medida, para dar con la vibra de bar. Ya es momento de pedir un Pl

También te puede interesar:Sushi omakase: los mejores restaurantes secretos de Buenos Aires10 restaurantes coreanos de Buenos Aires fuera de KoreatownTodo lo que sucede tras tocar el timbre es una grata sorpresa. Te reciben por tu nombre, cruzás una puerta corrediza y te dan la bienvenida al unísono en japonés. Irasshaimase. “En este punto comienza una experiencia donde perdés la noción del tiempo y el lugar. Te van bajando uno por uno diferentes bocados a un ritmo que te permite disfrutar y apreciar, sabores, aromas, texturas y la sencillez visual de cada pieza”, nos describe Damián Shiizu.Uni OmakaseLa noche está guiada por la filosofía de dar sin esperar nada a cambio: Omotenashi. Aunque no sepas japonés y no puedas leer lo que está escrito en el lienzo sobre la barra, lo vas a sentir en todo el rato. “La escritura en Japón es una forma de arte que se llama Shodō. Esto lo escribió una calígrafa japonesa para Uni. Además de Omotenashi, menciona las palabras que están ligadas: respeto, invitado de honor, hospitalidad, cordialidad, armonía”, explica el chef, que tuvo la fortuna de aprender de los pioneros de la gastronomía japonesa en la Argentina. “Empecé con Hatsuko Komiyama y Takeo Komiyama. Además mi papá y mi mamá son japoneses, con lo cual mi relación con Japón viene desde la crianza”.Uni OmakaseCuando están todos los comensales -compartís la barra con turistas extranjeros, asiáticos y fieles seguidores de Damián- arranca la función, con edemame marinado y

The best Broadway shows attract millions of people to enjoy thepinnacle of live entertainment in New York City. Every season brings anew crop ofBroadway musicals, plays and revivals, some of which go on to glory at the Tony Awards. Some are only limited runs; others stick around for years. And the choices are varied: Alongside star-driven dramas and family-oriented blockbusters,you may findthe kind of artistically ambitious offeringsthat are more commonto the smaller venues of Off Broadway. Here are our theater critics' top choices among the shows that are currently playing on the Great White Way.RECOMMENDED: Complete A–Z Listings of All Broadway Shows in NYC

Buenos Aires never stops, and its gastronomic scene doesn't either. From a luxury grill to a vegetarian warehouse, a 1952 diner, botanical haute cuisine, signature fine dining, charcuterie on the sidewalk, and nostalgic Porteño food in a market. We make it easy for you or we make it short: these are its essential restaurants.

Sushi, platitos asiáticos y postres que la itamae prepara ante tus ojos, en un menú de pasos con lo mejor de la pesca, los mariscos y las algas de la costa argentina.La música siempre encendida. Ni este ni ningún detalle se le pasa aRomina Roux.De los caracoles -que ya nos hablan de la oda al mar agentino que practica aquí- a la vajilla, hecha en cerámica por su mamá y su hija (algunos cubiertos son del abuelo). O la puerta de tela oriental, que se corre para que empiece la función.De miércoles a sábados, a las 20.30 puntual, la chef deleita con su omakase atlántico. Esta experiencianipona que se afianza en Palermo tiene la propuesta más original enRŪ: el primer restaurante en un domo de Buenos Aires.El hecho de que esté en manos de una mujer también lo hace peculiar, porque desafía la tradición japonesa. La estructura que lo aloja es singular para la ciudad y fue montadaen el patio del hotel Pleno Palermo, para crear un espacio súper íntimo para12 comensalesquetienen el privilegio de ver trabajar a Romina. Es magnética. Toma las técnicas, los sabores, el detalle y la sutileza de la culinaria japonesa en una versión libre de los pescados y frutos de nuestro océano. “En cada paso utilizamos un producto, pueden servieiras, almejas,lo mejor que haya en el mercado.No es un omakase tradicional, no ofrecemos solamente piezas de sushi ni bajamos nigiris uno por uno. Fusionamos la cocina japonesa con otras técnicas, de alta cocina o de la gastronomía francesa, por ejem

Broadwayreview by Adam FeldmanThe revivals that Kenny Leon has directed on Broadway form something like a syllabus of modern African-American drama, from Loraine Hansberry to August Wilson to Suzan-Lori Parks. Last season, that project brought him to Purlie Victorious, in which a Black man travels to his birthplace in the South to reclaim his place there in triumph; now Leon follows it with a play in which a different rural homecoming seems less happy, at least at first. But don’t give up too fast: Home, after all, is where the heart is.Cephus Miles (Tory Kittles) is a broken man at the start of Samm-Art Williams’s play, which is now at the Roundabout’s Todd Haimes Theatre. After a long exile—first in prison, then in a big city up north—Cephus is back in his not-so-subtly-named hometown of Cross Roads, North Carolina. In a rocking chair on the porch of his childhood home, he seems to have nowhere to go; his right hand has a tremor, and the noisy local kids think he’s a ghost. (Like all of the roles except Cephus, these taunting brats are played by the gifted duo of Brittany Inge and Stori Ayers, who move among dozens of characters with big swings of affect and voice.)But for Home, which debuted downtown in 1979 under the aegis of the Negro Ensemble Company before moving to a successful Broadway run the next year, Cephus’s weary return after many trials is not a defeat. Like Cephus himself, the play has an abiding faith in the eventual goodness of the Lord above—despite a

A Tres Monos le llueven premios internacionales: no solo está en el puesto 11 de The World 's 50 Best Bars (por lo que se podría decir que es el mejor bar de Palermo), sino que recibió un premio por su servicio relajado (fue el primer bar sudamericano en ganar el Michter' s Art of Hospitality Award).Su coctelería es suprema y también inclusiva: tienen una escuela de bartenders en el Barrio Mugica -ex Villa 31- para capacitación e inserción laboral, ya que luego los “graduados” vienen a trabajar a Tres Monos.El proyecto de los amigos Sebastián Atienza, Gus Vocke y Charly Aguinsky no queda relegado a lo que sucede en este local de Guatemala y Thames. Ellos quieren compartir su trabajo y generar un cambio en la comunidad, a la vez que potencian el talento de los habitantes del Barrio Mugica y les enseñan un oficio, el que aman.Leé la nota completa.

Todo lo que sucede tras tocar el timbre es una grata sorpresa. Te reciben por tu nombre, cruzás una puerta corrediza y te dan la bienvenida al unísono en japonés. Irasshaimase. “En este punto comienza una experiencia donde perdés la noción del tiempo y el lugar. Te van bajando uno por uno diferentes bocados a un ritmo que te permite disfrutar y apreciar, sabores, aromas, texturas y la sencillez visual de cada pieza”, nos describe Damián Shiizu.La noche está guiada por la filosofía de dar sin esperar nada a cambio: Omotenashi. Aunque no sepas japonés y no puedas leer lo que está escrito en el lienzo sobre la barra, lo vas a sentir en todo el rato. “La escritura en Japón es una forma de arte que se llama Shodō. Esto lo escribió una calígrafa japonesa para Uni. Además de Omotenashi, menciona las palabras que están ligadas: respeto, invitado de honor, hospitalidad, cordialidad, armonía”, explica el chef, que tuvo la fortuna de aprender de los pioneros de la gastronomía japonesa en la Argentina. “Empecé con Hatsuko Komiyama y Takeo Komiyama. Además mi papá y mi mamá son japoneses, con lo cual mi relación con Japón viene desde la crianza”.Leé la nota completa.

Broadway review by Adam FeldmanPaula Vogel has tapped into veins of autobiography throughout her distinguished career, and in her latest work she hits the big one: the mother lode. As its wryly categorical title suggests,Mother Playis an I-remember-mama drama in a time-honored mode; it carries a hint of resignation—as though it were in some sense an act of obligation, a rite through which every playwright must pass. And to drive home its place in the matrilineal succession, the play’s world premiere at Second Stage stars the supreme Jessica Lange, whose two most recent Broadway appearances were as the preeminent ghost moms of American drama: Amanda Wingfield inThe Glass Menagerieand Mary Tyrone inLong Day’s Journey Into Night.Mother Play’s Phylliscombines aspects of both. She’s an impoverished single mother from the South who tries to live up to outmoded standards (and spends a lot of time on the phone); she’s also an addict whose children must ultimately take care of her. A gin-swilling divorcée in thrift-store Chanel who mails dead bugs to her landlord with the rent, Phyllis is a real character—and a character openly based on the real Phyllis Vogel. The play is a slice of life, served raw. It’s a savage but grudgingly loving portrait of two women stuck together with blood: one who never wanted to be a mother, and one who never chose to be her daughter. “It is never over,” as Phyllis says. “It’s a life sentence.”Mother Play: A Play in Five Evictions | Photograph:

Broadway reviewby Adam FeldmanThe Great Gatsby looks great. If you want production values, this adaptation of F. Scott Fitzgerald’s 1925 novel, directed by Marc Bruni, delivers more than any other new musical of the overstuffed Broadway season. It’s the Roaring Twenties, after all—now as well as then—so why not be loud? Let other shows make do with skeletal, functional multipurpose scenic design; these sets and projections, by Paul Tate de Poo III, offer grandly scaled Art Deco instead. Linda Cho’s costumes are Vegas shiny for the party people and elegant for the monied types. The production wears excess on its sleeveless flapper dresses.The Great Gatsby | Photograph: Courtesy Evan ZimmermanThe Great Gatsby often sounds great, too. Its lead actors, Jeremy Jordan as the self-made millionaire Jay Gatsby and Eva Noblezada as his dream girl, Daisy Buchanan, have deluxe voices, and the score gives them plenty to sing. Jason Howland’s music dips into period pastiche for the group numbers—there are lots of them, set to caffeinated choreography by Dominique Kelley—but favors Miss Saigon levels of sweeping pop emotionality for the main lovers; the old-fashioned craft of Nathan Tysen’s lyrics sits comfortably, sometimes even cleverly, on the melodies.In other regards, this Gatsby is less great. Book writer Kait Kerrigan has taken some admirably ambitious swings in adapting material that has defeated many would-be adapters before her. She cuts much of Gatsby’s backstory, and m

Broadway review by Adam FeldmanThe fraying country estate where Uncle Vanya unfolds is peopled, in the main, by thwarted souls. Its characters wallow in regret, especially the loveless Vanya (Steve Carell). He has sacrificed his money and time, and what he believes to have been his great potential—”I could have been a Schopenhauer, or a Dostoevsky,” he sputters—to support his pompous brother-in-law, Alexander (Alfred Molina), an academic who once enjoyed a great reputation. But now, in middle age, Vanya feels that his reverence for the professor was misplaced. His dutiful work has taken him nowhere, and now he has nowhere to go.Uncle Vanya is set in Russia at the end of the 19th century, but it is perhaps the Chekhov play that feels closest to 21st-century sensibilities, and it is sometimes strikingly prescient of today’s concerns: Vanya’s doctor friend Astrov (William Jackson Harper), for example, is an environmentalist who plants trees to replace those mowed down by industrial loggers, and his artwork paints a worrisome picture of impending “total obliteration.” It’s relatable. There is logic, then, to the decision to dispense with fidelity to Chekhov’s period and update the play to a contemporary setting for Lincoln Center Theater's new production, adapted by Heidi Schreck and directed by Lila Neugebauer. To some extent, the gambit succeeds: Many of the production’s most pleasurable moments are connected to this modernization. But it’s also, I think, where the producti

Broadway review by Adam Feldman“Nothing to do except wait,” explains Mary Jane (Rachel McAdams) to Amelia (Lily Santiago), a college student visiting her small Queens apartment. “I’m glad to have your company.” Mary Jane is a single mother with a severely disabled toddler named Alex; he is running a fever, and Amelia’s aunt Sherry (April Mathis), a nurse, is tending to him in the back room. Exactly what they might be waiting for is a question that hangs with gray menace in Amy Herzog’s exquisite and deeply moving Mary Jane: Alex is almost certainly not getting better, and even the best-case scenarios break your heart. Yet the play does not dwell in helplessness; it’s more interested in how people try to help. In addition to Mary Jane, there are eight other characters onstage. Mathis and Santiago reappear as, respectively, a doctor and a music therapist. Brenda Wehle is both Mary Jane’s sturdy superintendent and a Buddhist nun; Susan Pourfar plays two other mothers with disabled children. (The second, a blunt Hasidic woman, adds a welcome dash of comic relief.) There are no villains here, only people doing their best under sometimes crushing circ*mstances.Mary Jane | Photograph: Courtesy Matthew MurphyAll are rendered in lovely detail by Herzog and the five women of the cast, directed by Anne Kauffman with characteristic attention to the importance of offhand nuance. Information is revealed in a steady drip of medical jargon, bureaucratic obstacles and personal history; t

Broadway review by Adam FeldmanGreat expectations can be a problem when you’re seeing a Broadway show: You don’t always get what you hope for. It’s all too easy to expect great things when the show is a masterpiece like Cabaret: an exhilarating and ultimately chilling depiction of Berlin in the early 1930s that has been made into a classic movie and was revived exquisitely less than a decade ago. The risk of disappointment is even larger when the cast includes many actors you admire—led by Eddie Redmayne as the Emcee of the show’s decadent Kit Kat Club—and when the production arrives, as this one has, on a wave of raves from London. To guard against this problem, I made an active effort to lower my expectations before seeing the latest version of Cabaret. But my lowered expectations failed. They weren’t low enough.Cabaret | Photograph: Courtesy Marc BrennerSo it is in the spirit of helpfulness that I offer the following thoughts on expectation management to anyone planning to see the much-hyped and very pricey new Cabaret, which is currently selling out with the highest average ticket price on Broadway. There are things to enjoy in this production, to be sure, but they’re not necessarily the usual things. Don’t expect an emotionally compelling account of Joe Masteroff’s script (based on stories by Christopher Isherwood and John Van Druten’s nonmusical adaptation of them, I Am a Camera); this production’s focus is elsewhere. Don’t expect appealing versions of the songs in

Broadway review by Adam FeldmanHell’s Kitchen, whose score is drawn from the pop catalog of Alicia Keys, could easily have gone down in flames. Jukebox musicals often do; songs that sound great on the radio can’t always pull their weight onstage. Butplaywright Kristoffer Diaz, director Michael Greif and choreographer Camille A. Brown have found the right recipe for this show—and, in its vivid dancers and magnificent singers, just the right ingredients—and they've cooked up aheck of ablock party.Loosely inspired by Keys’s life,Hell’s Kitchenhas the sensibly narrow scope of a short story. Newcomer Maleah Joi Moon—in a stunningly assured debut—plays Ali, a beautiful but directionless mixed-race teenager growing up in midtown’s artist-friendly Manhattan Plaza in the 1990s, a period conjured winsomely and wittily by Dede Ayite’s costumes. The issues Ali faces are realistic ones: tensions with her protective single mother, Jersey (Shoshana Bean); disappointment with the charming musician father, Davis (Brandon Victor Dixon), who yo-yos in and out of their lives; a crush on a thicc, slightly older street drummer, Knuck (Chris Lee); a desire to impress a stately pianist, Miss Liza Jane (Kecia Lewis), who lives in the building.Hell’s Kitchen | Photograph: Courtesy Marc J. FranklinThe show’s chain of Keys songs is its most obvious selling point, but it could also have been a limitation. Musically, the tunes are not built for drama—they tend to sit in a leisurely R&B groove

Broadwayreview by Adam FeldmanDavid Adjmi’s intimately epic behind-the-music dramaStereophonichas now moved to Broadway after a hit fall run at Playwrights Horizons. At the smaller venue, the audience felt almost immersed in the room where the show takes place: a wood-paneled 1970s recording studio—decked out by set designer David Zinn as a plush vision of brown, orange, mustard, sage and rust—where a rock band is trying to perfect what could be its definitive album. Some fans of the play have wondered if it could work as well on a larger stage, but that question has a happy answer: Daniel Aukin’s superb production navigates the change without missing a beat. The jam has been preserved.With the greater sense of distance provided at the Golden Theatre,Stereophonicfeels more than ever like watching a wide-screen film from the heyday of Robert Altman, complete with excellent ensemble cast, overlapping dialogue and a generous running time: Adjmi divides the play into four acts, which take more than three hours to unfold. This length is essential in conveying the sprawl of a recording process that goes on far longer than anyone involved had planned, but the play itself never drags. As the band cracks up along artistic, romantic and pharmaceutical fault lines—fueled by a constant flow of booze, weed and co*ke, often late into the night—we follow along, riveted by the details and the music that emerges from them. There’s nary a false note.Stereophonic | Photograph: Courtes

La comida entra por los ojos, y en el caso de la de Tomás Treschanski, también entra por la cabeza. Comer una idea es la propuesta de este jovencísimo chef revelación.”Un embajador de la próxima generación” lo llamó Michelin y le dio el Young Chef Award. El restaurante de cocina conceptual del cocinero más joven de América en recibir el premio es también una estrella Michelin. Un revolucionario del fine dining. Cuando creíamos que este formato de alta cocina estaba agonizando en Buenos Aires, él lo hizo resucitar. O mejor dicho, renacer, porque le otorgó una nueva vida disruptiva, en una casa recuperada de Villa Crespo, donde hasta las paredes transmiten sensaciones.Leé la nota completa.

Michael Greif has had a prodigious Broadway career as the director of landmark musicals including Rent, Next to Normal and Dear Evan Hansen. Even by that standard, however, his 2023–24 Broadway season has been astonishing. Without much fanfare, Greif pulled off a feat that may well be unprecedented, at least in recent decades: He directed or co-directed not one, not two, but three new Broadway musicals in a single season. Each is very different from the others: Hell’s Kitchen is a jukebox musical built around the hits of Alicia Keys; The Notebook is a transhistorical romance adapted from a well-loved novel and film; and Days of Wine and Roses, which closed in March, was a chamber-operatic portrait of an alcoholic couple in the 1950s.We recently talked with Greif for an hour via Zoom, during which time his eyes welled twice with tears at the memory of pivotal moments in developing his shows. Greif’s greatest strength as a director is perhaps his ability to elicit performances that lift actors to the best they can be onstage: apotheosis performances that make you feel like these exact actors were born to play these exact roles. It’s no accident that he has shepherded so many of the 21st century’s most indelible musical turns,such as Christine Ebersole in Grey Gardens, Alice Ripley in Next to Normal, Ben Platt in Dear Evan Hansen and Kelli O’Hara in Days of Wine and Roses. In focusing on making the shows and actors shine, however, his style is fundamentally self-effacing. Per

The nominations for the2024 Tony Awardswere announced this morning,honoring productions from the 2023–24 Broadway season. The awards are given out annually by the Broadway League and the American Theatre Wing tosalute outstanding achievements in 26 categories of Broadway artistry.Actors Jesse Tyler Ferguson and Renée Elise Goldsberryrevealed the full list of nominees live on YouTubeat 9am.Among the 2023-24Broadway productionsearning the most nominationsare the new musicalHell's Kitchen(13) and the new playStereophonic(13); reaping the next mostare the new musicalsThe Outsiders(12),Water for Elephants (7) andSuffs(6)andthe revivalsCabaret at the Kit Kat Club(9),Merrily We Roll Along(7),Appropriate (8)andPurlie Victorious(6).RECOMMENDED:A full guide to the 2024 Tony AwardsThe Tony Awards ceremony, hosted this year by Ariana DeBose, will be held atLincoln Center's David H. Koch Theateron Sunday, June 16, 2024, and the main part will be televised on CBS in a three-hour broadcast starting at 8pm ET.(The event can also be watched live throughout the country by premium subscribers to thestreaming serviceParamount+.)Hereis acomplete list ofthe official nominations for the 2024 Tony Awards (not to be confused withthe 2024TONY*nominations, which we published yesterday!).BestPlayJaja’s African Hair Braiding by Jocelyn BiohMary Jane by Amy HerzogMother Play: A Play in Five Evictions by Paula VogelPrayer for the French Republic by Joshu

Dolly Parton will return to Broadway in 2026as the author of a new musical based on her life, the widely beloved singer announced today.In a full-circle touch,the show will be titledHello, I'm Dolly, after the title ofParton's first album—which was itself, of course, a nod to a Broadway musical.“I lived my whole life to see this show on stage," saidParton."I’ve written many original songs for the show and included all your favorites in it as well. You’ll laugh, you’ll cry, you’ll clap, you’ll stomp, it truly is a Grand Ol’ Opera. Pun and fun intended. Don’t miss it!”Though Broadway fans have long fantasized that Parton wouldhit the Street as a performer—perhaps in a revival ofAnnie Get Your Gun,The Best Little whor*house in Texas or, yes,Hello, Dolly!—she has ventured onto the Great White Way only once before, when she wrote the score for the short-lived9 to 5 the Musicalin 2009. It was in a 2019 London revivalof that show that brought her into contact with producer Adam Speers, who is leading the charge forHello, I'm Dolly."I had always heard she wanted to do a musical based on her life, so when she asked if I would be interested in producing it, I was bowled over," said Speers. "As the world knows, Dolly is a magical blend of talent, hard work, intelligence, charm, wit, and a gigantically big heart. I’m thrilled we’re going to bring her inspiring story to Broadway.”In addition to writing the new musical's score, Parton will co-writeits book with Maria S

Hello, Louis!James Monroe Iglehart will star as the raspy jazz titan Louis Armstrong in A Wonderful World: The Louis Armstrong Musicalon Broadway this fall, producers of the show announced today. The new musicalwill begin previews at Studio 54 on October 16, and open officially on November 11.With a bookby stage and TV writer Aurin Squire (This Is Us),A Wonderful Worlddivides the story of theiconic trumpeter and singerintofour sections, one for each of his wives, and incorporates some of the Great American Songbook standards thatArmstrong helped make famous. Expect classicslike the title song and “It Don’t Mean A Thing It Ain’t Got That Swing”—with perhaps a lean toward songs that are already in the public domain, such as “I Can’t Give You Anything But Love, Baby."Iglehart, who won a Tony for his performance as the Genie in Aladdin and currentlyplays King Arthur in Spamalot,earned strong reviewsasSatchmo in trial runs of the show in New Orleans and Chicago last year. Director Christopher Renshaw is credited, with Andrew Delaplaine, as the show's co-conceiver; the other members of the cast and creative team have not yet been confirmed.Tickets forA Wonderful Worldare on sale now, so pick them up here.Photograph: Courtesy Jeremy DanielA Wonderful World: The Louis Armstrong Musical

Michael Urie will reprise his role as the pampered Prince Dauntless opposite Sutton Foster's scrappy Princess Winnifred in this summer's Broadway revival of the fairy-tale musicalOnce Upon a Mattress, the productionannounced today. The two actors also led the show's brief staged-concertrun in City Center's Encores! series earlier this year.Foster, of course, has been the hardest-working woman on Broadway for decades now, working her way up from teenageStar Search contestantto replacement and chorus roles in the 1990s (including inGrease andAnnie)to starring in original musicals in the 2000s (including Thoroughly Modern Millie andShrek) and working her way through the musical-theater canon in revivals ever since (includingAnything Goes,Violet and The Music Man). Urie, meanwhile, hasparlayed his early fame on TV'sUgly Betty into a stage career of great variety and charm, whether in Off Broadway showcases likeBuyer and SellerandThe Government Inspectoror in Broadway comedies likeTorch Song Trilogyand Grand Horizons.Once Upon a Mattress, a jaunty riff on Hans Christian Andersen’s "The Princess and the Pea," made its Broadway debut in 1959 with Carol Burnett as Winnifred, and returned in 1996 starring Sarah Jessica Parker. The score, by Mary Rodgers and Marshall Barer, includes such charmers as "Shy" and "Happily Ever After"; for this production, directed by the astute Lear DeBessonet, the show's original book (by Barer,Jay Thompson andDean Fuller) has been

George Clooney will make his Broadway debut nextspring ina world-premiere stage adaptation ofhis own 2005 filmGood Night, and Good Luck, aportrait of the storied CBS journalistEdward R. Murrow, who helped turned the tide against McCarthyism in the 1950s.In the movie version—which was nominated for six Academy Awards, including Best Picture and Best Director—Clooney played Murrow's colleague Fred Friendly. This time around, he willstep into the lead role originated by David Strathairn. “I am honored, after all these years, to be coming back to the stage and especially to Broadway, the art form and the venue that every actor aspires to,” Clooney said.Clooney will cowrite the play withGrant Heslov, his screenwriting partner for the film.He will not, however, be directing the Broadway production;it will be helmed instead by David Cromer (The Band's Visit), one of the theater world's most reliably intelligent and insightful directors.“Edward R. Murrow operated from a kind of moral clarity that feels vanishingly rare in today’s media landscape," Cromer said. "There was an immediacy in those early live television broadcasts that today can only be effectively captured on stage, in front of a live audience."The film was released in black and white. The Broadway production will be in color.Good Night, and Good Luckwill open in Spring 2025 at one of the 17 Broadway theatersownedby the Shubert Organization. Additional details about the production have not yet been a

The nominations for the 2024 Tony Awards have now been announced, setting off a six-week period of campaigning, complaining and arguing before Broadway’s biggest prizes get handed out on June 16. We’ll have more Tonys coverage for you before then, including our predictions of who will win. But here are a fewquick reactions to today’s crop of nominations.RECOMMENDED: A full guide to the 2024 Tony AwardsThe Tonys have Stereophonic fever.David Adjmi’s long, beautiful play about a 1970s British-American rock band that is definitely not Fleetwood Mac recording an album that is totally not Rumours racked up an astonishing 13 nominations—the most of any play in Tony Award history. In large part, this accomplishment was made possible by the original music that Will Butler created for the show, which put it in two races usually reserved for musicals: Best Score and Best Orchestrations. (It’s the first play ever nominated in the latter category.) But Stereophonic also dominated elsewhere, earning noms in all four design categories as well as featured acting nominations for five of its seven cast members.Photograph: Courtesy Julieta CervantesStereophonicThere are now two front-runners in the race for Best Musical.The 2023–24 season was notable for its large number of new musicals: 15 in all, the most of any season in decades. The Tony nominations have put two of them at the front of the pack in the race for Best Musical, the biggest prize of the season: Hell’s Kitchen, a jukeb

Julianna Margulies and Peter Gallagher are set toreturn to Broadway this fallinLeft on Tenth, a stage adaptation of Delia Ephron's bestselling memoir about a late-in-life love connection.Helmed by two of Broadway's most powerful women, producer Daryl Roth and director Susan Stroman (The Producers), the play is scheduled to premiere onthe Great White Way this fall, at a theater to be determined.“I am grateful and thrilled to be working with these champions of theater,” said Ephron. “Left on Tenth is about a perilous and wondrous time of my life. We invite you to join our team of warriors and become believers yourselves.”Ephron's husband died of cancer in 2015, just three years afterthe cancer death ofher sister Nora, with whom she cowrotethe scripts for the movieYou've Got Mail and the long-running Off Broadway playLove, Loss, and What I Wore.Her 2022 bookLeft on Tenth: a Second Chance at Life chroniclesher surprise reconnection, in the wake of those deaths, with a man she had dated half a century earlier—only to find herself in acancer struggle of her own.“When Delia first spoke to me about her manuscript of Left on Tenth, I felt that her story would make a magnificent play,” said Roth. “It is heartfelt, deeply personal yet universal, and full of hope. But it is also a classic romantic comedy for a certain generation, showing us that we can all be blessed with a second chance at life and love.”Margulies's previous New York stage credits include Ten Unknowns

“Let Me Tell You”is a series of columns from our expert editors about NYC living, including the best things to do, where to eat and drink, and what to see at the theater. They are published every week.Dear members of the Tony Awards Nominating Committee for the 2023-2024 Broadway season,First of all: Hi. Hi to all 60 of you, though probably about a third of you will have to recuse yourselves from service this year becauseof some connection to an eligible production. (It’s a small community!) All of you are professionals whose opinions I respect. I’ve met many of you in person; I’ve had long conversations with several of you, and Ithink my girlfriend when I was a teenager babysat for one of you. Some of you I’ve only admired from afar. But I hope you won’t mind if I address you all as friends.As you know, my friends, Broadway’s dam is about to break. Only five weeksare left before the cutoff date for Tony Award eligibility on April 25, yetwe are barely over the hump when it comes to new productions. Sixteen shows have yet to open—nearly half of the 36 that will compete for Tony nominations this year—and 12 of those 16 will be crammed into the final nine days of the season.Photograph: Courtesy Matthew Murphy and Evan ZimmermanLeslie Rodriguez Kritzer in SpamalotThis year’s scramble to the finish line is particularly bonkers, yes, but it’s consistent with the trend that I analyzed in January: Broadway seasons are getting more and more bottom-heavy, and April is getti

ブロードウェイシーズンの最終週は信じられないほど忙しいものだが、今年はいつもよりバタバタしそうだ。「イリノイズ」のプロデューサーが同作を、シーズン終了のギリギリのタイミングとなる2024年4月24日（水）の午後に「セント・ジェームズ・シアター」で上演開始することを発表したのだ。この作品は、シンガーソングライターのスフィアン・スティーヴンスが2005年に発表したムーディーなコンセプトアルバム「Illinois」の楽曲を中心に構成されたダンスミュージカル。トワイラ・サープが2002年に手がけたビリー・ジョエルのダンスミュージカル「ムーヴィング・アウト」と、ほぼ同じ手法で作られているといえる。演出・振付はニューヨーク・シティ・バレエ団の常任振付家であるジャスティン・ペック。彼は2018年のブロードウェイリバイバル版「回転木馬」や、2021年にリメイクされた映画「ウエスト・サイド・ストーリー」の振付も担当している。ペックが劇作家ジャッキー・サブブリーズ・ドーリーとともに考案した物語は、ハートブレイクとコミュニティーがテーマ。それを3人のボーカリストと11人編成のバンド、16人のダンサーで表現する。キャストはリッキー・ウベダ、ベン・クック、ギャビー・ディアス、アーマッド・シモンズ、そして「An American in Paris」のスター、ロビー・フェアチャイルドなどで、ボーカリストはまだ決定していない。Photograph: Courtesy Liz LaurenIllinoise「イリノイズ」がこれほど急いで公演を実現しようと躍起になっているのは、今年のトニー賞の受賞資格を得るための最終開幕日が25日（木）だから。ただ、セント・ジェームズ・シアターは7日（日）まで「SPAMALOT」のリバイバル公演で埋まっている。そのため、極めて異例なことだがプレビューは一切なく、「イリノイズ」は劇場で「慣れる」前に初演で開幕となるのだ。この4月後半のブロードウェイは、どれほど「混雑」しているのだろうか。17日（水）から25日（木）までの間に、「イリノイズ」のほかに12作品が上演されるが、それを踏まえて見てみよう。2023〜24年の1年間でトニー賞候補となるブロードウェイ作品は36作品。つまり、なんとその3分の1がこの最後の9日間に開幕するのだ。さらに、ミュージカル作品賞のわずか5枠しかないノミネーションを争うオリジナルミュージカルは15作品（過去数十年で最多で、6つのリバイバル作品は除く数）となる。だから、あなたの良き友人である演劇評論家のために、優しい心遣いを惜しまないでほしい。我々もこの忙しい時期に備え、身を引き締めている。「イリノイズ」のチケットはこのページで購入できる。関連記事『The Sufjan Stevens dance musical Illinoise will open on Broadway next month（原文）』『舞台を支える名裏方、徳永泰子にインタビュー』『映画「52ヘルツのクジラたち」​​インタビュー：志尊淳、若林佑真』『文楽×アニメーションが生み出す新たな「曾根崎心中」』『大井競馬場の駐車場跡地に新たな劇場「シアターH」が誕生』『ニューヨークでカジノ併設の超高層ビルを建設するプランが発表』東京の最新情報をタイムアウト東京のメールマガジンでチェックしよう。登録はこちら

Update:Sleep No More has been extended by four weeks to April 28, 2024. According to The McKittrick Hotel, the extension comes as a way to accommodate “the outpouring of admiration,” it has received since announcing its closure.The McKittrick Hotel will soonaccept no new reservations: The remarkableimmersive experience Sleep No More, New York City’s premiere live attraction since 2011, announced today that it willshut its doors for good on January 28, 2024. An unsettling and sexy dance-theater piece lodged in an extravagantly detailed mock hotel complex on West 27th Street, the show was created by the British company Punchdrunk and produced in NYC byEmursive. When it closes, it will have played exactly 5,000 performances and entertained some two million spectator-participants."A multitude of searing sights crowd the spectator's gaze at the bedazzling and uncanny theater installation Sleep No More," wrote David Cotein hisTime Out review. "Your sense of space and depth—already compromised by the half mask that audience members must don—is further blurred as you wend through more than 90 discrete spaces, ranging from a cloistral chapel to a vast ballroom floor. Directors Felix Barrett and Maxine Doyle, of the U.K. troupe Punchdrunk, have orchestrated a true astonishment, turning six warehouse floors and approximately 100,000 square feet into a purgatorial maze that blends images from the Scottish play with ones derived from Hitchco*ck movies—all liberally doused in a dis

The already unbelievably busy final week of the Broadway seasonjust got even busier: The producers ofIllinoiseannounced today that the show will sneak under the wire to open at the St. James Theatre onthe afternoon of Wednesday, April 24.A dance musical built around songs from singer-songwriter Sufjan Stevens's moody 2005 concept albumIllinois—roughly in the mode of Twyla Tharp's 2002 Billy Joel dance musical Movin' Out—the showhas been a sold-out hit in its current Off Broadway run at the Park Avenue Armory, where it closes this weekend. It is directed and choreographed by New York City Ballet resident choreographer Justin Peck, who also created the dances for the 2018 Broadway revival of Carouseland the 2021 film remake of West Side Story.Three vocalists and an 11-piece band perform the music while 16 dancers move througha story of heartbreak and community, devised by Peck with playwrightJackie Subblies Drury. The cast includesRicky Ubeda, Ben Cook, Gaby Diaz, Ahmad Simmons and An American in Parisstar Robbie Fairchild. Singers for the Broadway run have not yet been confirmed.The reasonIllinoise is scrambling to transfer so quickly is that the cutoff date for Tony Awards eligibility this year is April 25.Since the St. James Theatre is occupied by theSpamalot revivalthrough April 7, Illinoise will have very almost no time to adjust to its new venue. In a highly unusual move, it will open cold on its first performance, with no previewson Broadway at all.