Lillian Hellman wrote the 1936 drama after she both had a hit on Broadway with The Children’s Hour and found herself dabbling with Hollywood screenplays. The thirty-year-old writer has set out to widen her dramatic playing field with her second project, aiming her tightly calibrated plot on a Depression-era America that was grasping with the personal and professional collisions in Capitalism. In Days To Come, the adults that at one time were childhood friends, become entangled deep inside a troubling conflict brewing at a small town factory between its workers and its owners. When this complex diorama first opening on Broadway, it was hit pretty hard by the critics, calling it excessive, overflowing with too many ideas, plots, and genres. Joseph Wood Crutch of The Nation stated: “One is not sure just where its center lies.” And in the Mint Theater Company‘s overdue revival, as directed unsteadily by J.R. Sullivan (Pearl Theatre’s Hard Times), that idea prevails. The plot points and traffic feel strongly crafted and intricately created, although the focus shifts numerous times and in many directions, with a great number of characters that add little to the movement forward. The central theme is dynamic but the focus unclear. One of the main problems residing within this production is that the feeling of 1936 small town Cleveland never fully resonates in terms of position and practicalities. It’s far too lax in its modern approach, failing to decipher status and place, while resting its approach in almost an old-fashioned English propriety. Fire and passion are substituted with dampness and polite behavior. The production fails to find the rise and fall within each scene, losing the rhythm that was fairly well constructed within the writing. It leaves us with a too even keeled emotional debate, without a dramatic central core or battle to fight about.

TCP_5897-X3 — Roderick Hill and Janie Brookshire
Photo by Todd Cerveris.

Beautifully designed by Harry Feiner (59E59’s The Violin), with lovely costumes by Andrea Varga (George Kelly’s The Fatal Weakness), subtle lighting by Christian Deangelis (Mint’s The Lucky One), and solid sound by Jane Shaw (Mint’s Hindle Wakes), the piece is well crafted and expertly presented. The well structured play is given a staging that opens up as easily as that gorgeously designed office space that expertly materializes before our eyes. Jane Brookshire (Roundabout’s The Philanthropist), as Julie, makes a fine well-off wife to the decent principal owner, Andrew Rodman, of the brush company at the center of the turmoil. She’s a complicated woman, unhappy and lost, carrying on an affair that never really rings true. She grasps for things that she hopes will change her life without really actively knowing what she really wants. It’s a calibrated performance, as the uncomfortable woman who doesn’t know who she is or what her place is in the world around her and could have been an intriguing subplot if the passion was more inspired. Her husband, played with steadfast restraint by Larry Bull (Encores’ 1776), is a very fine gentleman, struggling to keep his father and his grandfather’s brush company afloat in difficult times. With his grandfather’s grave and stoic portrait hanging over the procedural, he finds himself trapped in a way his predecessors never dreamed of. He can’t afford the wages his loyal workers and fellow town-folk need and want, and finds himself in a no-win situation that escalates once the workers, figure-headed by the solid Thomas Firth, played with solid conviction by Chris Henry Coffey (PH’s Frank’s Home), decide to strike.

TCP_6349-X3 — Larry Bull and Chris Henry Coffey
Photo by Todd Cerveris.

Arriving with the good hard-working and loyal Tom to try to solve a problem that is escalating, is the well-meaning union man, Leo Whalen, played by the handsome and subtle Roderick Hill (TFANA’s Cymbeline). He’s instantly the most solid object in the room, morally speaking. He arrives alongside Andrew Rodman, pleading for a resolution as the stereotypical heavies, lead by the determined Sam Wilkie, played by Dan Daily (Keen’s The Dining Room), and two card-playing tough-guy side-kicks, portrayed by Geoffery Allen Murphy (Broadway’s The Nance) and Evan Zes (Soho Playhouse’s Rent Control) as cutout creations of what a movie character thug looks like. Whalen doesn’t want this to escalate into something they will all (hopefully) live to regret, but he’s working against the darker urges of humanity here, and destiny has its own way of working. It’s also not surprising that Rodman’s wife, Julie is drawn to this fine man, desperate to explore something else beyond the sheltered and passionless life she says she has been living, although because her intent is not well displayed in emotional or mental turmoil, the action feels more plot point driven than authentic.

TCP_6527-X3 — Ted Deasy, Dan Daily, Evan Zes, and Geoffrey Allen Murphy
Photo by Todd Cerveris.

There are a few other characters mulling around this labor dispute, all taking on moral and societal roles to further dramatize the positions. There is the well-to-do slick lawyer, Henry Ellicott, played a bit too plainly by Ted Deasy (Clurman’s A Phoenix Too Frequent), who seems unfettered by the possible violence that may occur because of the stalled strike. He seems only mildly engaged with the affair he is having with his best-friend’s wife, more interested in the financials than personal relationships. He seems fine with that role, although why he is anyone’s friend or lover in the household of Days To Come is hard to say. It is only as disconcerting as the overly mean characterizations of the two diametrically opposed women within the home; the haughty sister of Rodman’s, Cora Rodman, played hilariously by Mary Bacon (Horton Foote’s The Roads to Home) and the head of the hired help household, Hannah, played to extremes by Kim Martin-Cotten (Broadway’s The Little Foxes) with some help by the young maid, Lucy, portrayed convincingly by Betsy Hogg (MTC’s Linda). They all seem to have their place in the social and economic hierarchy, although some real earth-bound and emotionally pure dynamics firing from their pistols would have created a more synergistic reality that we could find reason to invest in.

TCP_6275 — Mary Bacon and Ted Deasy
Photo by Todd Cerveris.

I was never really sure whose story we were really be asked to load ourselves within, as there are many social and political statements being presented and aimed at discussing, each encapsulated by usually two opposing fractions and personas. Each one is found to be compelling but slightly too modulated and emotionally polite to take in. A labor dispute in a small Ohio town rips apart these souls, pushing them into opposing camps within a war in which no winners will emerge, expect a few business men who get what they want in the end, without mercy or thought. There is an attempt to balance the competing claims and characters into the camps of owners and workers, but because both are represented as valid and true, the failure to find the dynamic rise and fall seems to flattened out the war.

TCP_6117-X3 — Janie Brookshire and Chris Henry Coffey
Photo by Todd Cerveris.

They all sit and chat as if the stakes aren’t that high and they are well aware how long this scene is. The blocking that these fine actors are given is just as awkward in purpose and style. They move around with very little purpose, sitting awkwardly and unnaturally against each other. When it first premiered on Broadway, Communist publications denounced Hellman’s failure to take sides as one of the more troubling structural elements. Publishing magnate (and the inspiration for “Citizen Kane“) William Randolph Hearst was said to have walked out quite loudly with his entourage in the middle of Act 2, with mainstream New York press punishing her with reviews that were equally as unkind, even when coming from the liberal left-wing critics. Maybe it was the timing and the presentation that caused such a firestorm, but this production is too well-mannered to be offended by. The actors all do their best, delivering well spoken lines in an intricate war, but the passion and purpose evades the director. This isn’t an old British drawing-room comedy, but as presented her at the Beckett Theatre on Theatre Row, it feels like one.

Roderick Hill and Dan Daily
Photo by Todd Cerveris.

For more go to frontmezzjunkies.com

Related Topics:BECKETT THEATRE Days to Come J.R. SULLIVAN Lillian Hellman Mint Theater Company New Ross Theatre Row

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Ross

My love for theater started when I first got involved in high school plays and children's theatre in London, Ontario, which led me—much to my mother’s chagrin—to study set design, directing, and arts administration at York University in Toronto. But rather than pursuing theater as a career (I did produce and design a wee bit), I became a self-proclaimed theater junkie and life-long supporter. I am not a writer by trade, but I hope to share my views and feelings about this amazing experience we are so lucky to be able to see here in NYC, and in my many trips to London, Enlgand, Chicago, Toronto, Washington, and beyond. Living in London, England from 1985 to 1986, NYC since 1994, and on my numerous theatrical obsessive trips to England, I've seen as much theater as I can possibly afford. I love seeing plays. I love seeing musicals. If I had to choose between a song or a dance, I'd always pick the song. Dance—especially ballet—is pretty and all, but it doesn’t excite me as, say, Sondheim lyrics. But that being said, the dancing in West Side Story is incredible! As it seems you all love a good list, here's two. FAVORITE MUSICALS (in no particular order): Sweeney Todd with Patti Lupone and Michael Cerveris in 2005. By far, my most favorite theatrical experience to date. Sunday in the Park with George with Jenna Russell (who made me sob hysterically each and every one of the three times I saw that production in England and here in NYC) in 2008 Spring Awakening with Jonathan Groff and Lea Michele in 2007 Hedwig and the Angry Inch (both off-Boadway in 1998 and on Broadway in 2014, with Neal Patrick Harris, but also with Michael C. Hall and John Cameron Mitchell, my first Hedwig and my last...so far), Next To Normal with Alice Ripley (who I wish I had seen in Side Show) in 2009 FAVORITE PLAYS (that’s more difficult—there have been so many and they are all so different): Angels in American, both on Broadway and off Lettice and Lovage with Dame Maggie Smith and Margaret Tyzack in 1987 Who's Afraid of Virginai Woolf with Tracy Letts and Amy Morton in 2012 Almost everything by Alan Ayckbourn, but especially Woman in Mind with Julia McKenzie in 1986 And to round out the five, maybe Proof with Mary Louise Parker in 2000. But ask me on a different day, and I might give you a different list. These are only ten theatre moments that I will remember for years to come, until I don’t have a memory anymore. There are many more that I didn't or couldn't remember, and I hope a tremendous number more to come. Thanks for reading. And remember: read, like, share, retweet, enjoy. For more go to frontmezzjunkies.com

Broadway

Theatre News: Smash, I Need That, Good Night, Oscar, Funny Girl, This Beautiful Lady and In The Trenches: A Parenting Musical

Published

4 days ago

March 23, 2023

Suzanna Bowling

The NBC television series Smash is coming to Broadway for the 2024-2025 season. Robert Greenblatt, Neil Meron and Steven Spielberg will produce. The musical will feature a book co-written by three-time Tony Award nominee Rick Elice and Tony winner Bob Martin. Tony and Grammy winners Marc Shaiman and Scott Wittman (Some Like It Hot). The team earned three Emmy nominations for their songs from the “Smash” series will pen the score, which will feature numbers from the TV show.

Five-time Tony winner Susan Stroman (New York, New York) will direct and Tony nominee and Emmy Award winner Joshua Bergasse will choreograph.

The series was created by Theresa Rebeck and Spielberg, launch the series. Spielberg is also one of the co-producers of Good Night, Oscar, which begins performances at the Belasco Theatre on April 7.

Official dates, theater, creative team and casting for the “Smash” stage musical will be announced at a later date.

Speaking of the Pulitzer Prize finalist playwright Theresa Rebeck, Danny DeVito and Lucy DeVito are set to star in her new play I Need That at the Roundabout. The new comedy will be directed by Tony nominee Moritz von Stuelpnagel which will open at the American Airlines Theatre in October. The cast will also include Ray Anthony Thomas. … Also newly announced for Roundabout’s new Broadway season is a spring 2024 revival of Samm-Art Williams’ 1980 Tony-nominated play “Home.” Tony winner Kenny Leon will direct

Speaking of Good Night, Oscar, Doug Wright’s play was named finalist for 2023 new play award by The American Theatre Critics Association. The other six finalists for the 2023 Harold and Mimi Steinberg/ATCA New Play Award include: Born With Teeth by Liz Duffy Adams, the ripple, the wave that carried me home by Christina Anderson, Sally & Tom by Suzan-Lori Parks, Spay by Madison Fiedler and
Swing State by Rebecca Gilman.

Paolo Montalban and Anne L. Nathan are joining Lea Michele in Funny Girl as Florenz Ziegfield and Mrs. Strakosh. Montalban and Nathan will replace original cast members Peter Francis James and Toni DiBuono, who take their final bows on March 26th.

Elizabeth Swados’ This Beautiful Lady will play at La MaMa this May. Previews will begin May 5 for the Off-Broadway run ahead of the May 8 press opening, with performances set through May 28 in the Ellen Stewart Theatre.

In The Trenches: A Parenting Musical, with book, music, and lyrics by Graham & Kristina Fuller, will receive industry readings on Friday, March 24th at 11am & 3pm at Ripley Grier Studios. The readings will be directed by Jen Wineman (Dog Man: The Musical) and will feature music direction by Rebekah Bruce (Mean Girls) and arrangements by Dan Graeber, Graham & Kristina Fuller.

The cast of In The Trenches features Amanda Jane Cooper (Wicked), Jelani Remy (The Lion King, Ain’t Too Proud), Christine Dwyer (Wicked), Caesar Samayoa (Come From Away), Max Crumm (Grease, Disaster!), and Vidushi Goyal.Join two bleary-eyed young parents as they trudge through the trenches and discover their new post-baby identities. In an evening of new-parent greatest hits, a foul-mouthed toddler zeroes in on “the most dangerous thing in the room”, tap dancing towards bleach, knives, and tide pods; a chronically-overlooked younger sibling sings the “second child blues”; a mom trio celebrates yoga pants in an R&B love song to the “official mom uniform”; dad discovers he’s not the “ice-cream and movie-night cool parent” but rather the “do your homework real parent” amid a kiddo sugar-crash; and mom retrieves a sticky, hair-covered pacifier from the floor of a LaGuardia bathroom while her baby screams bloody murder and her flight boards without her.

Events

Jason Robert Brown, Chuck Cooper, Janet Dacal, Sutton Foster, Lillias White and More To Perform at TheaterWorksUSA Spring Gala

Published

5 days ago

March 22, 2023

Suzanna Bowling

TheaterWorksUSA, currently presenting the hit family show Dog Man The Musical at New World Stages, will host its annual Spring Gala on Monday, April 24 (cocktails begin at 6 PM) at The Current at Chelsea Piers.

100% of the net proceeds from the event will support our mission to create exceptional, transformative theatrical experiences that are accessible to young and family audiences in diverse communities across New York City and North America.

This year TWUSA will honor Lisa Chanel (TWUSA Board Chair 2019-2022), Andréa Burns (Award-winning Broadway actress & educator), Peter Flynn (TWUSA alumnus and award-winning director, writer, and educator), and Holly McGhee (Founder and Creator of Pippin Properties, New York Times best selling author). The event will feature appearances by some of Broadway’s biggest stars, including Jason Robert Brown, Chuck Cooper, Janet Dacal, Kevin Del Aguila, Sutton Foster, Lillias White and more.

On behalf of TheaterWorksUSA’s Board of Directors, we are thrilled to celebrate the people who have generously supported our mission, making it possible for us to bring high-quality theater to young audiences of all backgrounds throughout the country. We look forward to recognizing Lisa, Andréa, Peter, and Holly publicly at this very special event. – Tracy A. Stein, Board Chair

It’s a privilege to honor these individuals for playing such an important role in the work we do. Their vision, creativity, and ongoing commitment to our mission is truly something to celebrate. They are very much a part of our TheaterworksUSA family.- Barbara Pasternack, Artistic Director

TheaterWorksUSA (Barbara Pasternack, Artistic Director; Michael Harrington, Executive Director) has led the Theater for Young and Family Audiences movement in New York City and across North America for over half a century. At TWUSA, we believe that access to art—and theater, in particular—is vital for our youth. Since 1961, the 501(c)3 not-for-profit has captured the imaginations of 100 million new and veteran theatergoers with an award-winning repertoire of over 140 original plays and musicals. Acclaimed alumni include Kristen Anderson-Lopez and Robert Lopez (Disney’s Frozen), Daphne Rubin-Vega (Rent), Jerry Zaks (The Music Man), Benj Pasek and Justin Paul (Dear Evan Hansen), Miguel Cervantes (Hamilton), Kathleen Chalfant (Angels in America), and Chuck Cooper (Tony award-winning actor, The Life). WWW.TWUSA.ORG

Broadway

Theatre News: Bob Fosse’s Dancin’, Parade, The Shubert Organization Donates to ECF and Millennials Are Killing Musicals,

Published

6 days ago

March 21, 2023

Suzanna Bowling

Tovah Feldshuh, Huma Abedin, Hillary Clinton at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid

Secretary Hillary Rodham Clinton at Bob Fosse’s DANCIN’. Photo by Bruce Glikas

The curtain was raised last night at The Music Box Theatre (239 West 45^th Street) as Bob Fosse’s Dancin’, the American showbusiness legend’s landmark musical tribute to the artform that defined his life, opened on Broadway 45 years after the original smash-hit production premiered. The production’s direction and musical staging is by Tony Award-winner Wayne Cilento, one of the stars of the original Broadway production, and is produced in cooperation with Nicole Fosse.

Wayne Cilento and Bernadette Peters. Photo by Emilio Madrid

Chita Rivera at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid

In attendance on opening night were Secretary Hillary Rodham Clinton, Nicole Fosse; original A Chorus Line cast members Baayork Lee, Donna McKechnie, Priscilla Lopez; Chita Rivera; Erich Bergen; Jordan E. Cooper; Tovah Feldshuh; J. Harrison Ghee; Jane Krakowski; Adam Lambert; Ralph Macchio; Abby Lee Miller; Audra McDonald; Casey Nicholaw; Justin Peck; Tiler Peck; Bernadette Peters; Tonya Pinkins; Tony Roberts; David Rockwell; Krysta Rodriguez; Christopher Sieber; Jennifer Simard; Will Swenson and more.

A CHORUS LINE original cast members Priscilla Lopez,Donna McKechnie Baayork Lee photo by Bruce Glikas

Priscilla Lopez at Opening Night of DANCIN. Photo by Emilio Madrid

Dancin’is Fosse’s full-throated, full-bodied celebration of dancers and dancing. Utterly reimagined for the 21st century, this Dancin’brims with a level of warmth, emotion, and color seldom seen in modern interpretations of Fosse’s influential style and features some of his most inventive and rarely performed choreography. With New York’s hottest cast performing wall-to-wall dance, including Fosse classics such as “Mr. Bojangles,” and “Sing Sing Sing.” Dancin’ delivers the quintessential Broadway experience for Fosse fans and first-timers alike. You think you’ve seen dancing, but you’ve never seen Dancin’like this.

Cast of Bob Fosse’s DANCIN’ Opening Night photo by Emilio Madrid

Curtain call of Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid

The cast, consisting of some of the best of Broadway’s elite dancers includes Ioana Alfonso (Hometown: Miami via DR/PR), Yeman Brown (Hometown: Tallahassee, FL), Peter John Chursin (Hometown: San Francisco, CA), Dylis Croman (Hometown: Dallas, TX), Jovan Dansberry (Hometown: St. Louis, MO), Karli Dinardo (Hometown: Melbourne, Australia), Tony d’Alelio (Hometown: Roanoke, VA), Aydin Eyikan (Hometown: Fairfield, CT), Pedro Garza (Hometown: Abilene, Texas), Jacob Guzman (Hometown: Brockton, MA), Manuel Herrera (Hometown: Charlotte, NC), Afra Hines (Hometown: Miami, FL), Gabriel Hyman (Hometown: Chesapeake, VA), Kolton Krouse (Hometown: Gilbert, Arizona), Mattie Love(Hometown: Layton, UT), Krystal Mackie (Hometown: Brooklyn, NY), Yani Marin (Hometown: Miami, FL), Nando Morland (Hometown: Colombia / Denver, CO), Khori Michelle Petinaud (Hometown: Centreville, VA), Ida Saki (Hometown: Dallas, TX), Ron Todorowski (Hometown: Pittsburgh, PA), and Neka Zang (Hometown: Scottsdale, AZ).

Adam Lambert at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid

Abby Lee Miller at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid

Bob Fosse’s Dancin’ is produced by Joey Parnes, Hunter Arnold, Kayla Greenspan, Rodger Hess & Michael Seago, Jay Alix & Una Jackman, Bob Boyett, The Shubert Organization, James L. Nederlander, Tim Forbes, Carson Gleberman, Park West Productions, McCabe Ventures, Fran Kirmser & Jodi Kaplan, Greg Young, The Fabulous Invalid, Julie Hess & Tommy Hess, and The Old Globe in cooperation with Nicole Fosse.

Wayne Cilento at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid

Nicole Fosse at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid

Bob Fosse’s Dancin’ originally opened on Broadway at the Broadhurst Theatre on March 27, 1978 and later transferred to the Ambassador Theatre. The production ran for 1,774 performances. Dancin’ was nominated for seven Tony Awards, including Best Musical, and brought Fosse his seventh Tony Award for Best Choreography.

Nicole Fosse and Wayne Cilento photo by Emilio Madrid

This production of Bob Fosse’s Dancin’ premiered at San Diego’s Old Globe Theatre from April 19, 2022, to June 5, 2022.

Interscope Records is proud to announce the cast album for the “brilliant” (Variety) 2023 revival of Parade — Alfred Uhry and Jason Robert Brown’s award-winning musical, which opened on March 16 at New York’s Bernard B. Jacobs Theatre to rave reviews. Parade (2023 Broadway Cast Recording) features the vocal talents of Tony, Grammy, and Emmy Award® winner Ben Platt and Micaela Diamond and conducted by composer Jason Robert Brown, and will be released on Thursday, March 23. Pre-order it HERE.

Leo and Lucille Frank (Ben Platt and Micaela Diamond) are a newlywed Jewish couple struggling to make a life in the old red hills of Georgia. When Leo is accused of an unspeakable crime, it propels them into an unimaginable test of faith, humanity, justice, and devotion. Riveting and gloriously hopeful, Parade reminds us that to love, we must truly see one another.

The current revival of Parade, which is directed by two-time Tony Award nominee Michael Arden, has received overwhelming acclaim since its debut. Entertainment Weekly called it “a phenomenal production that feels more poignant and powerful than ever,” while Variety said, “Ben Platt stuns in a powerful Broadway production of an essential American musical.”

Platt (Dear Evan Hansen, The Book of Mormon) and Diamond’s performances (The Cher Show) were singled out for praise. Deadline gushed “Ben Platt has no trouble reminding us just why he’s become one of Broadway’s most beloved performers. His vocals here are stunning in a pitch-perfect performance,” while The Guardian raved that “Micaela Diamond’s singing voice is luminous.” “Micaela Diamond, as Lucille Frank, breaks your heart with no affectation whatsoever, and a voice directly wired to her emotions,” wrote The New York Times in its Critic’s Pick review. Tickets are available now at www.paradebroadway.com.

Parade (2023 Broadway Cast Recording) showcases their voices, as well as other members of the all-star cast, while capturing the essence of a musical that, Entertainment Weekly writes, “is the most gorgeous production on Broadway.” Viewers will get a special preview of the musical on March 23 when Platt and Diamond perform its signature ballad “This Is Not Over Yet” on NBC’s Today accompanied by Jason Robert Brown on piano.

Out of the Box Theatrics (Elizabeth Flemming, Founder and Producing Artistic Director; Ethan Paulini, Associate Artistic Director) is pleased to announce that Grammy and Emmy Award winner Kristolyn Lloyd (Dear Evan Hansen) will star in the Off-Broadway developmental production of Millennials Are Killing Musicals, written by Drama League songwriting contest and NAMT Challenge winner Nico Juber. The production, to be directed by Ciara Renée(Waitress, Frozen), will play a limited engagement from May 7-28, 2023, at Theatre 71 at the Church of the Blessed Sacrament (152 West 71st Street). Opening night is May 15. Tickets are on sale now at Ovation Tix.

Bob Wankel Photo by Natalie Powers

The Entertainment Community Fund, formerly The Actors Fund, the national human services organization supporting the needs of those working in the entertainment and performing arts industry, today announced that The Shubert Organization has made a $5 million gift to the Fund to support expansion of The Samuel J. Friedman Health Center for the Performing Arts in New York City, the Actors Fund Home in Englewood, New Jersey, and affordable housing and a community arts center at The Hollywood Arts Collective in Los Angeles.

The $5 million gift will be used to expand doctors’ offices and services at The Samuel J. Friedman Health Center for the Performing Arts in New York City, with additional support to the Actors Fund Home in Englewood, NJ. Funds will also be used to bolster the construction and programs of The Hollywood Arts Collective, a new affordable housing and community arts center located in the heart of Hollywood where the Central Gardens will be named in honor of The Shubert Organization.

The Shubert Organization has long supported the Fund’s ongoing work to help people in performing arts and entertainment. In 2017, The Shubert Organization unveiled The Shubert Pavilion: an expansion to the Actors Fund Home, an assisted living and skilled nursing care facility located in Englewood, New Jersey. The Shubert Pavilion houses a 25-bed short-stay rehabilitation center available to the general public and intended for people who are recovering from illness or surgery, as well as 14 assisted living beds. The facility also includes a fully equipped gym for physical, occupational and speech therapies.

Robert E. Wankel, Chairman and CEO of The Shubert Organization, also serves as Chair of The Actors Fund Housing Development Corporation Board of Directors, a role in which he supports and guides the development of affordable housing for the performing arts and entertainment community to improve lives, create jobs, foster economic development and revitalize communities. In 2022, Wankel received the Entertainment Community Fund’s Medal of Honor, an award presented at the Fund’s annual gala that recognizes individuals who have had a profound impact on the entertainment community.

“The Entertainment Community Fund is honored by the long-standing commitment of The Shubert Organization and the countless ways it supports our work to provide a safety net for people in the performing arts community,” said Fund Board Chair Brian Stokes Mitchell. “A special thank you to Bob Wankel for his continued leadership not only at The Shubert Organization, but also with the Actors Fund Housing Development Corporation Board of Directors.”

“The Shubert Organization is proud to strengthen the Entertainment Community Fund’s ability to provide affordable housing, medical care, emergency financial assistance and so much more to those in our industry,” said Robert E. Wankel. “We look forward to all that’s to come in our ongoing collaborations, from Englewood to Times Square to Hollywood and beyond.”