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I know you’ve gotta get back to prepping Priscilla, but before you go, what’s something you watched recently that you really enjoyed? I’m honestly so deep into Priscilla land that it’s kinda consumed my viewing habits. I’ve been so steeped in research. I watched a lot of documentaries just to familiarize myself with old footage of her and Elvis. And I love all of her home movies on YouTube. They shot so much footage where you can see their personalities and the Widespread panic nye nashville tn 2022 dec 30th and 31st poster shirt But I will love this way they interacted with each other. If you were spitballing ideas for a show that would make you the toast of Broadway, the story of a fat, Black, queer musical theater writer struggling to write a musical about a fat, Black, queer musical theater writer struggling to, etc., might not be at the top of your list. But when Michael R. Jackson’s dazzling A Strange Loop won best musical at the Tony Awards last June, it confirmed that there is a place—an appetite, even—for offbeat, challenging work on Broadway. Now, in the footsteps of A Strange Loop and such other less-than-obvious Tony winners as Fun Home and The Band’s Visit, comes a new contender, fresh from a sold-out off-Broadway run at the Atlantic Theater: Kimberly Akimbo. David Lindsay-Abaire and Jeanine Tesori’s gorgeous, tragicomic chamber musical stars Victoria Clark as a suburban teen with a medical condition similar to progeria that drastically accelerates her aging process and shortens her life. Clark classifies the show, which opens at the Booth Theatre on November 10, as “weird art.” “It’s not trying to be anything other than what it wants to be,” she says. “That is exactly how Kimberly ends up living her life—and it’s kind of a lesson for all of us, to get to the core of who we are and display those colors proudly.”

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As the Widespread panic nye nashville tn 2022 dec 30th and 31st poster shirt But I will love this idiosyncratic playwright of Fuddy Meers and the Pulitzer Prize–winning Rabbit Hole, Lindsay-Abaire has made a career exploring the intersection of laughter and heartbreak, anchoring surreal flights of fancy in emotional truth and a keen awareness of mortality. “Funny is a place to start, but it’s got to be grounded in something or it’s going to float away onstage,” he tells me. “More often than not, what I ground it in is a place of pain, and I should probably talk to my therapist about that.” In a season of new musicals, most of which are either of the jukebox variety (A Beautiful Noise; & Juliet) or based on a movie (Almost Famous; Some Like It Hot), Kimberly Akimbo is the rare example adapted from a play, in this case Lindsay-Abaire’s own 2003 drama of the same name. He got the idea after asking a friend how his newborn niece was doing. “He said, ‘Oh, she’s amazing—she’s like this little old woman trapped in a baby’s body,’ ” Lindsay-Abaire recalls. “I thought, Wow, that’s a very theatrical idea. And then, of course, I went to a very literal place with it. I loved the tension between a teenager having to deal with being a teenager and all that entails and, at the same time, having to deal with her own sped-up mortality. What is it like to have all the stressors of a young person combined with all the stressors of an old person?”