Tony Nominations: How to Watch, and What to Expect

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Credit…Sara Krulwich/The New York Times

“A Strange Loop,” a new musical that explores the doubts and disappointments facing an aspiring theater writer, picked up 11 Tony nominations on Monday, more than any other show in Broadway’s first post-shutdown season.

The musical, which had already won the Pulitzer Prize in drama, was written by Michael R. Jackson, and is now a leading contender in the race for the prize with the biggest economic impact, for best new musical.

The race is likely to be hard-fought and close. “A Strange Loop” will face off against five other musicals: “MJ,” a biographical jukebox musical about Michael Jackson; “Paradise Square,” about a turning point in race relations in 19th-century New York; “Six,” about the wives of Henry VIII; “Girl From the North Country,” about a boardinghouse in Depression-era Minnesota; and “Mr. Saturday Night,” a remake of the classic Billy Crystal film.

This year’s Tony Awards are the first to recognize shows that opened following the long pandemic shutdown of theaters, and come as the industry is still struggling to recover from the damage that the shutdown caused.

The Lehman Trilogy,” an ambitious look at the rise and fall of the Lehman Brothers financial empire, leaped to the lead in the race for best play, and “Company,” a gender-reversed revival of a musical by Stephen Sondheim and George Furth, in the race for best musical revival.

A number of well known performers also scored nominations, including Sam Rockwell, Mary-Louise Parker, Billy Crystal, Hugh Jackman, Uzo Aduba, Rachel Dratch, Phylicia Rashad, Ruth Negga and Patti LuPone. Among those overlooked by nominators: Sarah Jessica Parker, Matthew Broderick, Beanie Feldstein and Daniel Craig.

There were 34 eligible shows, 29 of which scored nominations. The nominations were chosen by a group of 29 people who saw all eligible shows and voted last Friday; next a group of 650 voters have until June 10 to vote for their favorites, and the winners will be announced at a ceremony on June 12.

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Credit…Photographs by Sara Krulwich/The New York Times

Tony nominations morning is always filled with joy for lots of performers, theater artists and producers who find themselves in contention for Broadway’s biggest recognition. But there are also always some who are overlooked, and others who are just gobsmacked.

Here are some of the snubs, surprises and observations about Monday’s list:

  • The nominators spread out their admiration quite widely: Of the 34 eligible shows, 29 got at least one nod, including the critically scorned “Diana.” But five new plays were completely overlooked. Most surprising: “Pass Over,” the well-reviewed and bracing drama by Antoinette Chinonye Nwandu, and also the first play to open after the pandemic lockdown. Also scoring no nominations: “Birthday Candles,” by Noah Haidle; “Chicken & Biscuits,” by Douglas Lyons; “Is This a Room,” by Tina Satter; and “Thoughts of a Colored Man,” by Keenan Scott II.

  • The Civil War-era musical “Paradise Square” has had an especially tortuous road to Broadway, and so far ticket sales have been quite weak. But the show’s fortunes on Monday had to offer comfort and hope: It snagged an impressive 10 nominations, tying for the second most of any show. Joaquina Kalukango was always a sure thing in the lead actress in a musical category, but nominators also singled out two of her supporting co-stars, Sidney DuPont and A.J. Shively. The show drew attention in most of the major technical categories as well, including for Bill T. Jones’s choreography, but one key member of the creative team was left out: the director, Moisés Kaufman.

  • Several major stars who are drawing big crowds to their shows failed to impress. Among them: the married couple Sarah Jessica Parker and Matthew Broderick, who are starring in a smash revival of “Plaza Suite” that scored just one nomination, for costume design, and Daniel Craig, who is playing the title role in a revival of “Macbeth.” (His co-star, Ruth Negga, did get nominated, and the production was also nominated for lighting and sound design.)

  • Tony nominators followed the critics, raining on the parade for the highly anticipated revival of “Funny Girl.” While it was the beloved musical’s first time back on Broadway in nearly 60 years, it scored only one nomination, for the tap-dancing supporting actor Jared Grimes. And Beanie Feldstein, who drew tepid notices filling Barbra Streisand’s shoes as Fanny Brice, did not receive a best actress nomination.

  • How to handle the many ensemble-driven shows was always going to be a challenge for the nominators. In the case of “The Lehman Trilogy,” they bestowed riches on everyone, nominating all three lead actors — Simon Russell Beale, Adam Godley and Adrian Lester — and expanding the category to make room for them all. For the musical “Six,” on the other hand, a cast twice the size proved hard to rank, and none of the actresses playing the six wives of Henry VIII were crowned.

  • That Jesse Tyler Ferguson would be nominated for his role in “Take Me Out” seemed a sure bet. And the suave star power of Jesse Williams, as the baseball demigod Darren Lemming, vaulted him to a nomination as well. But the big surprise was a third nod in the supporting actor category for the far less well-known Michael Oberholtzer, whose wounded ferocity as a racist teammate put him in (friendly?) competition with his co-stars.

  • Another show also struggling at the box office — a revival of the choreopoem “For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf” — also did quite well on Monday. The production had announced an early closing date of May 22, and must now decide whether its seven nominations, plus a social-media-fueled pay-it-forward campaign to get tickets into the hands of those who might not otherwise be able to afford them, are enough to extend the run.

Michael Paulson and Scott Heller

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On Monday morning Patti LuPone received her eighth Tony nomination, in recognition of her portrayal of Joanne, who brings the house down — up? — with the devastating anthem “The Ladies Who Lunch” in Stephen Sondheim and George Furth’s “Company. Marianne Elliott’s gender-flipped revival of the show, starring Katrina Lenk, opened in December after a long pandemic delay.

How did she make the song her own? “When I rehearsed with Marianne,” she said of the show’s director, “I saw the high bar stool and I went, ‘I’m not going to be able to get down off this bar stool and get back up. I’ll just sit here.’ And that’s what Marianne wanted.”

She continued: “So it’s all about direction. If you have a good director, your interpretation becomes unique to you. And you’re not imitating anybody else.”

Speaking from her New York City apartment, she took time to honor her co-stars (“Katrina Lenk, she holds our production together, she’s a brilliant leading lady”) and the audiences who come in to “Company,” too: “They are unbelievably respectful. They keep their masks on and there’s no phones going off.” Here are edited excerpts from the conversation.

Does being nominated for a Tony ever get old?

It’s something that we aspire to as actors. Because it’s a validation of our work. So no, it never gets old. How does this one feel? I don’t know. I just woke up. It feels great. I mean, it’s been a journey — a heartbreaking, confusing, joyful journey. Heartbreaking because of Covid and the lockdown and the effect that it had on all of us.

When we came back for our first rehearsal, everybody was raw. We were numb, we were scared, we were not sure if we would rehearse and perform and be shut down again. [The “Company” revival was in previews when Broadway shut down in March 2020.] But this is one of the most extraordinary companies I’ve ever been in, due to the fact that they’re all professionals. There’s no children in the show. There’s no first-timers in the show. These are veteran performers. And we bonded as human beings, recognizing in each other that we all felt the same way.

Who is Joanne?

She’s an unhappy East Side lady. She is a lady who lunches. I’m not of that class. I’m middle class, Long Island, working parents, there was never enough money. One day, way before I was ever thinking about Joanne, I went to Steve’s house in Connecticut with my musical director because somebody wanted me to sing “The Ladies Who Lunch” and I wanted his approval and his direction and his notes. At the end, he said, “I didn’t think you’d understand the song.” But I think that we’re all humans. And the lyrics are quite clear. So who do I think she is? I think she’s an acerbic, unhappy, rich woman who covers her flaws with a biting sense of humor.

Stephen Sondheim died in November, two weeks before opening. Did that change the show?

It’s intense. On the night we found out that he had passed, I said, “Who will make me better?” I don’t think there’s anybody that is as difficult, complex and exacting, as Steve. Steve made me better. Every time I performed a role, he made me better. He’s the taskmaster, he’s the ultimate. I know that sounds ridiculous, but the longer he’s not with us, the more I miss him.

What was it like knowing that your co-stars could be out with Covid-19 at any moment, that you could be out?

We had our understudies with us from the first day of rehearsal. And they are extremely well rehearsed. We had a moment where it really was who’s on first. There were more understudies onstage than there were principals. And they kept the lights on. They kept the show going forward. They are an extraordinary group of talented individuals who know their job. They’re just incredible. They deserve their own Tony Award. They really do. When I was out, I don’t know what happened. But I have really good covers. The thing is, do you embrace your responsibility? And these people did.

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Credit…Sara Krulwich/The New York Times

The Lehman Trilogy,” a sprawling and much-lauded play exploring the rise and fall of the Lehman Brothers financial empire, scored eight Tony nominations on Monday, making it the show to beat in the race for best play.

The play, which was written by Stefano Massini and Ben Power and ran on Broadway from October to January, will face off against four others in the prestigious best play category.

Two dark comedies — “Clyde’s” and “Hangmen” — scored five nominations each. “Clyde’s,” by Lynn Nottage, is set in a sandwich shop employing recently incarcerated individuals; “Hangmen” takes place at a bar run by Britain’s second-best executioner just after that country banned capital punishment.

Skeleton Crew,” Dominique Morisseau’s play about a group of workers at an automotive plant facing shutdown, scored three nominations. “The Minutes,” Tracy Letts’s look at the dark secrets kept by a small-town governing body, scored just one, but it, too, was for best play.

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Credit…Sara Krulwich/The New York Times

A Strange Loop,” a new meta-musical about an aspiring composer confronting his doubts and demons, scored 11 Tony nominations on Monday, making it the most nominated show of Broadway’s first season after the long coronavirus shutdown.

The musical, which opened in late April, now enters a tough race against five others for the best musical Tony Award, which traditionally is the prize with the biggest economic upside.

MJ,” a biographical jukebox musical that follows the pop star Michael Jackson as he prepares for a world tour, and “Paradise Square,” which explores shifting race relations — and dance styles — in a Civil War-rocked New York City neighborhood, picked up 10 nominations each.

They will face off against “Six,” a British pop musical about the wives of King Henry VIII, which scored eight nominations; “Girl From the North Country,” which uses the songs of Bob Dylan to imagine life in a Depression-era Minnesota boardinghouse, with seven nominations; and “Mr. Saturday Night,” Billy Crystal’s adaptation of the film with the same name, which landed five nominations.

There are six nominees in the category, meaning that the nominators were tied for their fifth choice.

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Credit…Sara Krulwich/The New York Times

A gender-swapped revival of “Company” that began performances on Broadway just before the death of its revered composer, Stephen Sondheim, racked up nine Tony nominations on Monday, more than any other show in the race for best musical revival.

The production will face off against two others — “The Music Man” and “Caroline, or Change.”

The only other musical revival of the season, “Funny Girl,” opened to poor reviews and scored only one nomination, in the supporting actor category.

“Company,” with a book by George Furth, is a 1970 musical comedy that originally imagined the life of a single man named Bobby turning 35. The new production, reconceived by the director Marianne Elliott, turns Bobby into Bobbie, and is still running on Broadway.

“The Music Man,” by Meredith Willson, first opened on Broadway in 1957; the current revival, directed by Jerry Zaks, stars Hugh Jackman and Sutton Foster and has been the best-selling show on Broadway for weeks.

“Caroline, or Change,” a 2004 musical by Tony Kushner and Jeanine Tesori, is about the relationship between a young boy and a maid in 1963 Louisiana. The revival, which ran from October to January, was directed by Michael Longhurst.

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Credit…Sara Krulwich/The New York Times

The playwright Paula Vogel was first nominated for a Tony in 2017, for “Indecent.” Now she has a second Tony nomination for “How I Learned to Drive,” which she wrote in two weeks, 25 years ago. A play about abuse, love and survival, it interrogates the relationship between Uncle Peck and his underage niece, Li’l Bit.

The actors who created the roles Off Broadway, Mary-Louise Parker and David Morse, have returned for the play’s Broadway debut, as has its director, Mark Brokaw. Both actors have been nominated, too. Speaking from her home in Wellfleet, Mass., Vogel said she planned to spend the day “doing all of my chores, so I can get on a train and come down to New York tomorrow, which will be exciting.” Here are edited excerpts from the conversation.

So how does it feel?

It’s more fun and lovely the second time around. This one feels like just a joint celebration with Mary-Louise Parker and David Morse and Mark Brokaw. I mean, we all came back 25 years later. So this is a real phenomenon to me. And I’m thrilled. I’m just thrilled.

Why do you think it took this long for the show to come to Broadway?

I mean, it’s interesting. Mary-Louise Parker was talking about The Village Voice. The cover was a photograph of that original production. And the headline said, “Too Tough for Uptown.” I remember seeing that and thinking, “That can’t be true.” We do tough things all the time on Broadway. I have to say that this season has made me so happy, with “Pass Over,” with “For Colored Girls.” It’s odd. I actually feel as if I’m home this season in a way that I never have before. I’m starting to accept that it took that much time for the play.

And then of course the pandemic meant a further delay.

I’m obstinate and stubborn. I held on. These actors have held on, Mark held on, we’ve all held on. We didn’t stop working even during the two years of Covid. We thought about it every day. We communicated our desire to each other every week. So it’s a miracle: that the entire community got through the two years and we’re back, that after 25 years this has transferred to Broadway.

You wrote this play as a younger woman and at a time in which our culture was having fewer conversations about abuse. Would you write it the same way now?

The difference between now and then is that I’ve grown comfortable with being a survivor. The play has been a gift to me in that it gets lighter every year. It gets farther away, that shore of adolescence and pain. It retreats in a certain way. Would I write it differently? I don’t think I would. There are certain plays in my life that have come out in two weeks. This is one of them. I sat down and didn’t stop. It was just straight from my heart. I don’t think those plays you rewrite.

What is it like to watch the same extraordinary actors do the same roles 25 years later?

The layers are incredible. You feel these actors processing every moment of their experience. And it makes it deeper and richer. I don’t have words to express how grateful I am to Mary-Louise Parker and David Morse.

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Credit…Sara Krulwich/The New York Times

A much-lauded revival of Ntozake Shange’s groundbreaking choreopoem, “For Colored Girls Who Have Considered Suicide/ When the Rainbow Is Enuf,” scored seven Tony nominations on Monday, a bittersweet triumph for a production that has been languishing at the box office and had already announced an early closing date.

The revival picked up more nominations than any other show in the race for best play revival — a strong category in which many eligible shows won positive reviews.

“For Colored Girls” will face four others in the play revival category: “American Buffalo,” David Mamet’s drama about a trio of scheming junk-shop denizens; “Take Me Out,” Richard Greenberg’s look at homophobia in baseball; “Trouble in Mind,” Alice Childress’s look at racism in theater; and “How I Learned to Drive,” Paula Vogel’s Pulitzer-winning drama about child sexual abuse.

“For Colored Girls,” which opened April 20, is scheduled to close May 22; it is not yet clear whether the bounty of Tony nominations could alter that plan.

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Forty years ago, the English actor David Threlfall was a young actor making his Broadway debut when he was nominated for his first Tony Award for “The Life and Adventures of Nicholas Nickleby.”

Threlfall, now a 68-year-old veteran stage and screen actor, received his second nomination on Monday, for his role as an executioner-turned-pub-owner in Martin McDonagh’s acclaimed dark comedy “Hangmen.”

“It sounds long, doesn’t it, when you put it that way?” Threlfall groaned, speaking in an interview after the nominations were announced on Monday.

In “Hangmen” — which received five nominations, including for best new play — Threlfall is onstage for much of the nearly two-and-a-half-hour show as a self-absorbed but secretly insecure bully. It is the final days of the death penalty in England in the 1960s, and Threlfall’s character, Harry Wade, is asked to recount his career as the country’s second most famous hangman, and to reckon with alleged injustices committed on his watch. The New York Times’s chief theater critic, Jesse Green, wrote that Threlfall’s “titanic” performance “offers the most terrifying incarnation yet of the author’s acid misanthropy.”

With slicked-down hair, a handlebar mustache and some assistance in giving him a portly figure, Threlfall looks like an entirely different person — certainly a far cry from Smike, the wretched and abused child that the actor played in “Nickleby” in 1981.

In a phone interview, Threlfall discussed his previous nomination; his transformation into Wade; and his desire to get back to Broadway after his most recent appearance in a 1996 revival of Jean Anouilh’s “The Rehearsal.” These are edited excerpts from the conversation.

How does it feel to be back performing in New York?

It’s nice, I’m only two doors down from the old Plymouth where we did “Nickleby.” But you know what I really like about this town? The theater community is so welcoming. We did a memorial for Liz McCann [a longtime theater producer who died last year at 90], who was involved both with the old “Nickleby” in the ’80s and originally with “Hangmen.” Just meeting up with some of the actors I hadn’t seen for a while down at Sardi’s — they were so welcoming. I’ve been wanting to come back and do something for a long while.

How has your career evolved since “Nickleby”?

I’ve just got my head down and been working. Whenever somebody says, “Do you want to do this?” or “Come and audition for this,” you go and do it if you think it’s a good idea. There’s been no game plan, except a genuine desire to come back to New York and do theater.

What do you remember about your Broadway debut?

We were here about three months, I think — it was just a roller coaster. At the time there was such a hoo-ha about it being $100 for a ticket, but it was like, yeah, it was eight and a half hours long so you’re getting four shows for $25. The ticket prices seem to have gone up somewhat since then.

The stuff I like doing is inhabiting other people and pretending to be them. Tony nod or not, it’s just been a highly satisfying process for me. I got to do what I like doing best — just sort of disappearing inside somebody else’s soul. It’s just dressing up and pretending on a basic level.

Speaking of dressing up, you transform physically for the role. How long does it take to get ready before each show?

Not long because I worked it out, got the process right. As I say, just trying to pretend and embody somebody else, I just get a kick out of it. It’s something in the text that gave me the idea, and I thought, “What if he’s more barrel-chested?,” which I’m not. But I don’t want people coming to see it thinking, “Oh yeah, I read that thing and he’s wearing a fat suit.” I like to maintain a little bit of mystery. There’s so little mystery in the world these days.

So it was your idea to play Harry as more “barrel-chested,” as you say?

Yeah. When you give an actor a chance to physically do something that alters your own state, they love it. Actors love a challenge. I imposed that on myself but that was really because, as I say, it was just something short that Martin had written in the play, and that was the image that I got.

Has this play changed how you view capital punishment?

Hardly at all. I don’t think capital punishment is the way to go in any state, in any town, in any country in the world. I think about it from Harry’s point of view, but I couldn’t do it. It’s not a job for me.

And this was your first time performing in front of an audience since the pandemic started? How does it feel to be back onstage?

It’s very moving to see that people still want to come out. To me that’s the biggest thing every night. I think, “Wow, there are people who want to come,” even though, looking at the figures here, they’re quite high at the moment. I didn’t work for 18 months, as most of the profession didn’t, and it’s just really, really nice to get out and do a play that people seem to be enjoying.

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Credit…OK McCausland for The New York Times

The pandemic has made this comeback theater season an unusually rocky one. After a joyous reopening following the long, painful shutdown, the Omicron surge led to a ton of holiday closings, and another spike in positive cases this spring led to a rolling wave of performer absences and occasional show cancellations.

That disruption was upsetting for artists and fans, and damaging for producers and investors.

It also posed an unprecedented complication for Tony nominators, who are not only required to see every eligible production, but also to see the performances of all Tony-eligible actors.

That’s always hard — most of the nominators have day jobs, and some of them live outside New York, and many shows have limited runs. But this season, two factors made it even harder: a higher-than-normal number of shows opened in April, just before the deadline to be eligible for a Tony, and the spike in spring cases meant that key actors often missed performances. (Among the possible nominees who tested positive for the coronavirus near the season’s end: Daniel Craig, Sarah Jessica Parker, Matthew Broderick, Laurence Fishburne and Ramin Karimloo. Plus: Billy Crystal canceled two performances of “Mr. Saturday Night,” citing the flu.)

For nominators, that made the ordinary complexity of end-of-season scheduling far trickier — so difficult, in fact, that the Tony administrators wound up delaying the nominations by six days to give the nominators more time to see shows.

Even so, the number of nominators who managed to get to the finish line is low. There are usually about 50 nominators per season, some of whom wind up recusing themselves when a conflict of interest develops; this season there were just 29 who were able to participate in the voting.

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Credit…John Taggart for The New York Times

Once the nominations have been announced, the spotlight shifts to the voters.

There are about 650 people who cast ballots for the Tony Awards, and most of them have some kind of stake in the theater industry: producers and performers, directors and designers, and even some journalists (though none from The New York Times, which views such involvement as a conflict of interest).

The deadline for the voters to cast their ballots is Friday, June 10, just two days before the awards ceremony. The voting is electronic, and the voters are only supposed to vote in categories in which they have seen all the nominees.

Between now and then there is a bit of campaigning. Shows often send voters scripts, or cast recordings, and sometimes a souvenir book or other form of promotional merchandise. And many of the nominees try to stay in the public eye during the voting period, by granting more interviews, performing at nonprofit galas, and presenting at theater-related conferences.

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This year’s Tony Awards ceremony will take place on Sunday, June 12.

The four-hour ceremony will take place at Radio City Music Hall. The first hour, starting at 7 p.m. Eastern, will be focused on awards, and will be streamed on Paramount+; the other three hours, which will be dominated by performance numbers, will be broadcast on CBS.

The ceremony will be hosted by Ariana DeBose, an actress who earlier this year won an Academy Award for playing Anita in last year’s remake of “West Side Story.” DeBose has also appeared in six Broadway shows, and was nominated for a Tony Award for her role in “Summer — The Donna Summer Musical.”

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Each year the Tonys give out some awards that are noncompetitive, in recognition of service to the theater.

Most of those have not yet been announced, but a few have:

Robert E. Wankel, the chairman and chief executive of the Shubert Organization, which operates 17 Broadway theaters, is being granted the 2022 Isabelle Stevenson Tony Award, which honors volunteerism. Wankel, one of the industry’s most powerful gatekeepers, is being honored for his service to charities including the Actors Fund, Broadway Cares/Equity Fights AIDS and the American Academy of Dramatic Arts.

This year’s Tony honors, which recognize “extraordinary achievement in theater” by organizations not eligible for Tony Awards, are going to four groups and one individual: the Asian American Performers Action Coalition, which seeks to increase onstage representation of Asian American actors; Broadway For All, a student training program; Emily Grishman, a music copyist; Feinstein’s/54 Below, a supper club; and Local 829 of the United Scenic Artists, which is the labor union representing a variety of designers who work in theater, including on set, costumes, lighting, sound and projections.

Still to come: The Tony Awards have yet to announce the recipients of several other noncompetitive honors, including the lifetime achievement award, the regional theater award and an award for a theater educator.

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Credit…Jon Burklund, via New York Theater Workshop

James C. Nicola, the longtime artistic director of New York Theater Workshop who is retiring next month, will receive a special Tony Award.

Nicola has spent more than 34 years at the off-Broadway theater, which was an early home to works such as “Rent”; “Hadestown”; the acclaimed personal-meets-political memoir “What the Constitution Means to Me”; and the provocative drama “Slave Play.”

“I’ve been around long enough to see some of my colleagues carried out of their jobs in a pine box,” Nicola, 71, told The New York Times after he announced his retirement last year. “I didn’t want to go that route.”

Nicola came to New York Theater Workshop in 1988 after stints in the New York Shakespeare Festival’s casting office and at Arena Stage in Washington. Under his leadership, New York Theater Workshop grew into a steady home for provocative fare by the likes of Caryl Churchill, the Five Lesbian Brothers and the director Ivo van Hove. The theater credits him with creating workshop opportunities for early- and midcareer theater artists that provide a space for experimentation and mentorship.

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Credit…John Taggart for The New York Times

A man had his photo I.D. out and in his hand as walked up to the Gerald Schoenfeld Theater on Broadway to see “Come From Away,” but no one checked it. The families streaming in to see “The Lion King” were told to have their tickets out and their masks on, but there was no mention of vaccine cards. And the Covid safety officers in neon yellow vests who used to patrol outside “Six” were gone.

Most Broadway theaters stopped checking the vaccination status of their patrons last week for the first time since they began to reopen last summer, easing safety protocols the same week rising coronavirus cases placed New York City into a higher risk level.

The industry hopes that doing away with vaccine checks — which have also been eliminated at New York City restaurants, movie theaters and other venues — will make theatergoing more attractive, and that the remaining mask mandate will help keep audiences safe as cases have risen, but hospitalizations and deaths remain low.

While some patrons welcomed the change, others said they felt uneasy about going into crowded theaters without the assurance that their seatmates were vaccinated, and several nonprofit Broadway theaters continue to require proof of vaccination.

“I just don’t feel as safe as I have the past several months,” said Lauren Broyles, 44, an executive assistant from Hershey, Pa., who visited New York to see shows several times last winter but said she had stopped planning a summer theater trip after reading that Broadway dropped its vaccine mandate. “I’m waiting to hear what’s next.”

But Michael Anderson, 48, of Hudson, N.Y., who was standing in line the other day to see “Hangmen,” said he thought that while vaccine checks had made sense earlier, he felt they were no longer necessary. “At this point, I’m vaccinated and boosted,” he said.

Matt Stevens and Rachel Sherman

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From new shows like “MJ” and “A Strange Loop” to long-running Tony Award winners, our guide breaks down everything you need to navigate Broadway.

Our guide offers an overview of the productions onstage now — including the bounty of comedies of all stripes this spring, from “POTUS” to “Plaza Suite” — along with some tips on planning your experience in a time of continued uncertainty, including how to buy tickets, for which refunds and exchanges are often possible, and navigating Covid-19 protocols. LAURA COLLINS-HUGHES

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