As “Liberation” approaches the end of its Broadway run, the production is making a small but pointed gesture.
Bess Wohl’s play will close February 1 at the James Earl Jones Theatre. Before it does, the producers are offering a “Broadway Babysitter Matinee” on Sunday, January 25, during which a limited number of audience members attending the afternoon performance will receive free, in-home childcare.
The service, provided in partnership with Broadway Babysitters and the Parent Artist Advocacy League, covers up to five hours of care for as many as three children per household. It’s not an on-site playroom or a symbolic perk; caregivers come to the family’s home, removing the need to arrange—and pay for—childcare in order to attend the show.
That choice mirrors the play itself. “Liberation” is set in the early 1970s and centers on a consciousness-raising group of women who meet to talk about equality, ambition, and change—only to discover how often those conversations collide with childcare, domestic labor, and the limits of time. Decades later, the story is revisited through the eyes of the organizer’s daughter, searching for what the movement achieved and what it left unfinished.
By briefly taking childcare out of the equation, the production addresses the same practical barrier the play keeps returning to: who actually gets to show up.
‘Magic Mike Live’ confirmed for New York
“Magic Mike Live”—the male dance revue and immersive nightlife experience spun off from the film franchise—is finally setting up shop in Midtown, though not in any form Broadway would traditionally claim.
Created and directed by Channing Tatum, the long-running global attraction will begin performances on Oct. 8, landing in a custom-built venue one block from Times Square. It is being positioned as an all-night destination: a 90-minute performance wrapped inside a larger ecosystem of lounges, cocktails, and late-night hospitality.
“This all started as a crazy idea 10 years ago and look at it now,” Tatum said in a statement. “When we were coming up with the concept for our original show, we first came to the streets of New York City where I hid in a secret confession booth we set up in Midtown and asked women what they really want. Not just in a show, but in life. They shared some deeply powerful things. That insight helped us create our shows in Vegas, London and all over the world. With 10 years of experience and surrounding ourselves with a team of strong and creative women, we’re now coming back to where it all started in New York.”
Carney and Noblezada reteam for ‘The Great Gatsby’
Broadway’s “The Great Gatsby” is about to reshuffle its leading players—and, in the process, lean into a bit of romantic symmetry.
As the production marks its second anniversary this spring, Eva Noblezada will return to the role of Daisy Buchanan beginning February 5, rejoining the show she helped launch in 2024. For several weeks, she’ll again star opposite Jeremy Jordan, the two-time Tony nominee who originated Jay Gatsby and will play his final performance on March 7.
On March 30, Reeve Carney will step into the role of Gatsby, playing opposite Noblezada, his wife and longtime collaborator. The pairing marks their first time sharing a Broadway stage together as a married couple, following recent runs together in London’s “Cabaret.” It also reunites them with the show that helped define their careers, after their earlier partnership in “Hadestown.” In between, Ryan McCartan will serve as a transitional Gatsby.
Matthew Broderick heads to another Off-Broadway show
Matthew Broderick is moving directly from one Off-Broadway stage to another.
As he wraps up his current run in “Tartuffe” at New York Theatre Workshop, Broderick will head to the Irish Repertory Theatre to lead the American premiere of David Ireland’s “Ulster American,” which begins previews March 6. Broderick previously appeared in Conor McPherson’s “Shining City” and “The Seafarer.”
“Ulster American” places a Hollywood star, an English director, and an Ulster-born playwright in a room on the eve of rehearsals—only for polite conversation to unravel into a bruising confrontation over ego, identity politics, and the unresolved legacy of the Northern Irish Troubles.
John Cameron Mitchell to take on title role in ‘Oh, Mary!’
Broadway’s “Oh, Mary!” is about to add another name to its rapidly growing roster of Mary Todd Lincolns.
Beginning February 3, John Cameron Mitchell will step into the unhinged title role for a 12-week engagement, running through April 26. Best known as the co-creator and original star of “Hedwig and the Angry Inch,” Mitchell will succeed a line of increasingly varied performers including playwright and original star Cole Escola, Jane Krakowski, Tituss Burgess, Betty Gilpin, Hannah Solow, and Jinkx Monsoon.
“As the most mature Mary yet, my days are filled with working the StairMaster, mainlining Ozempic and mastering my Brilliant Dialogue,” Mitchell said in a statement.
