Theater Update: Michelle Williams to star in O’Neill play
Billy Porter returns to Broadway, Jordan Tannahill’s “thrilling” play
Theater Update
June 18, 2025

Dear Theater Fans,

Jordan Tannahill’s Off Broadway play puts a spotlight on a fictional gay, college-age Prince George in order to make a dramatic argument about sexuality and monarchy. Since the real Prince George is only 11, the premise initially seemed troubling — and may remain so for some theatergoers. But, to his surprise, Jesse Green found it thrilling to watch the play, which has the pearl-clutching title of “Prince Faggot.” Jesse described it as an “inflammatory” work that is “wild and undisciplined” yet “finds its way to splendor.” (Jesse also reviewed two starry solo productions: “Call Me Izzy,” featuring Jean Smart, and “Angry Alan,” with John Krasinski.)

Instead of clutching pearls, the 7 Fingers company members performing in “Passengers” clutch ankles, juggle hacky-sack-like balls and toss hula hoops. Elisabeth Vincentelli’s reporting on the train travel-themed show took a turn when a performer was injured during rehearsal. She wrote about how the production retooled at the last minute.

Also on the front lines was Laura Collins-Hughes. Like the other attendees at an immersive theater experiment called “Fight Back,” she was asked to assume the persona of an actual AIDS activist taking part in a 1989 Act Up meeting. The aim: to recreate the meeting as an exercise in empathy.

From Michael Paulson:

On the (Brooklyn) waterfront: Michelle Williams and Mike Faist will lead an Off Broadway revival of Eugene O’Neill’s 1921 drama “Anna Christie” at St. Ann’s Warehouse in the fall.

At the Kit Kat Club: Billy Porter will return to Broadway as the Emcee in the revival of “Cabaret,” reuniting with his London “Cabaret” co-star Marisha Wallace as Sally Bowles. They are scheduled to join the New York show, starting July 22 and running until Oct. 19, when the production plans to close.

On Broadway: The immigrant-themed musical “Real Women Have Curves,” which featured the Tony-nominated actress Justina Machado, announced that it will play its final performance on June 29.

Please reach out to me at theaterfeedback@nytimes.com with suggestions for stories or to offer your thoughts about our coverage. And urge your friends to subscribe to this newsletter.

Have a wonderful week,
Nicole Herrington
Theater Editor

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FEATURES AND NEWS

A man hanging upside down from a trapeze holds a woman by the ankles. The woman, also upside down, is swinging backward while a group of performers standing underneath her prepare to catch her.

Amir Hamja for The New York Times

How ‘Passengers’ Retooled After a Performer’s Injury

The company presenting the train travel-themed show at the Perelman Performing Arts Center faced a stressful predicament when a performer was suddenly sidelined.

By Elisabeth Vincentelli

Billy Porter and Marisha Wallace dressed in black-and-white finery pose in front a of step and repeat that reads: “Bafta Television Awards.”

Stuart C. Wilson/Getty Images

Broadway ‘Cabaret’ Will Feature Billy Porter as One Final Emcee

The show’s producers said they plan to end the New York run at the end of the actor’s run, on Oct. 19.

By Michael Paulson

Michelle Williams and Mike Faist, in two separate portraits, side by side.

From left: Richard Shotwell/Invision, via Associated Press; Matt Winkelmeyer/Getty Images

Michelle Williams to Star in O’Neill Play on Brooklyn Waterfront

The actress will lead a revival of “Anna Christie” at St. Ann’s Warehouse, directed by her husband, Thomas Kail, and co-starring Mike Faist.

By Michael Paulson

Six women stand in a semicircle around a table with a sewing machine, all of them pointing to it.

Sara Krulwich/The New York Times

Broadway’s ‘Real Women Have Curves’ to Close Because of Soft Sales

The immigration-themed musical is the second show to announce a plan to close in the aftermath of this year’s Tony Awards.

By Michael Paulson

FROM THE CRITICS

John McCrea and Mihir Kumar embrace and look as if they are about to kiss while standing against a wall on a darkened set with an elaborate chandelier hanging low behind them.

Richard Termine for The New York Times

Critic’s Pick

Review: He’s Here, He’s Queer, He’s the Future King of England

The Off Broadway play “Prince Faggot” aims to shock. But the real surprise is how good it is anyway.

By Jesse Green

A woman with curly dark blond hair and in a pink plaid shirt gesticulates on a darkened stage.

Sara Krulwich/The New York Times

Review: Jean Smart, Gritty and Poetic in ‘Call Me Izzy’

The “Hacks” star returns to Broadway after 25 years in a triumph for her, if not for the old-fashioned, flowery play about spouse abuse.

By Jesse Green

A man in dress shirt and khakis sits on the edge of a bed.

Sara Krulwich/The New York Times

‘Angry Alan’ Review: John Krasinski Explores the Manosphere

In an Off Broadway play, the former Jim Halpert of Dunder Mifflin dives into a darker world of male grievance.

By Jesse Green

Onstage, a woman dressed as a French maid embraces a man wearing a yellow nightshirt and a white nightcap with a dismayed look on his face.

Carol Rosegg

Critic’s Notebook

Casting Is the Brightest Light of Two Molière Shows

Red Bull Theater’s smart “The Imaginary Invalid” and Taylor Mac’s dismaying “Prosperous Fools” attempt to engage with the French writer’s comedy.

By Elisabeth Vincentelli

A man in shorts and an unbuttoned red shirt over a white shirt stands on a table. Eight people surround the table while singing.

Daniel Rader

Critic’s Notebook

American Mythmakers, Revisited: Hunter S. Thompson and John Wilkes Booth

Two shows attempt to make sense of the gonzo journalist and Lincoln’s assassin, cultural figures forever intertwined with American history.

By Rhoda Feng

On an outdoor stage, a group of actors dressed in shabby 19th-century costumes singing. The woman in the foreground has her hands out like a beggar.

Nina Westervelt

Review: Macheath, Polly and the Gang Wash Up in Five Points

At Little Island, “The Counterfeit Opera” falls short of its wildly successful historical models.

By Corinna da Fonseca-Wollheim