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<!DOCTYPE html> <html lang="en" class=" story nytapp-vi-article " xmlns:og="http://opengraphprotocol.org/schema/"> <head> <meta charset="utf-8" /> <title data-rh="true">For Playwrights, Making It to Midcareer Is a Cliffhanger - The New York Times</title> <meta data-rh="true" name="robots" content="noarchive, max-image-preview:large"/><meta data-rh="true" name="description" content="Act 1 was a constant struggle for rent and opportunity. But now that these emerging dramatists have emerged, what will they make of Act 2?"/><meta data-rh="true" property="twitter:url" content="https://www.nytimes.com/2025/02/19/theater/midcareer-playwrights-broadway.html"/><meta data-rh="true" property="twitter:title" content="For Playwrights, Making It to Midcareer Is a Cliffhanger"/><meta data-rh="true" property="twitter:description" content="Act 1 was a constant struggle for rent and opportunity. 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(min-device-pixel-ratio: 2),(max-width: 599px) and (min-resolution: 2dppx),(max-width: 599px) and (min-resolution: 192dpi)" srcSet="https://static01.nyt.com/images/2025/02/22/arts/22SPRING-PLAYWRIGHTS/22SPRING-PLAYWRIGHTS-mobileMasterAt3x.jpg?quality=75&auto=webp&disable=upscale&width=1200"/><source media="(max-width: 599px) and (min-device-pixel-ratio: 1),(max-width: 599px) and (min-resolution: 1dppx),(max-width: 599px) and (min-resolution: 96dpi)" srcSet="https://static01.nyt.com/images/2025/02/22/arts/22SPRING-PLAYWRIGHTS/22SPRING-PLAYWRIGHTS-mobileMasterAt3x.jpg?quality=75&auto=webp&disable=upscale&width=600"/><img alt="Four separate portraits of playwrights in a grid." class="css-rq4mmj" src="https://static01.nyt.com/images/2025/02/22/arts/22SPRING-PLAYWRIGHTS/22SPRING-PLAYWRIGHTS-articleLarge.jpg?quality=75&auto=webp&disable=upscale" srcSet="https://static01.nyt.com/images/2025/02/22/arts/22SPRING-PLAYWRIGHTS/22SPRING-PLAYWRIGHTS-articleLarge.jpg?quality=75&auto=webp 600w,https://static01.nyt.com/images/2025/02/22/arts/22SPRING-PLAYWRIGHTS/22SPRING-PLAYWRIGHTS-jumbo.jpg?quality=75&auto=webp 683w,https://static01.nyt.com/images/2025/02/22/arts/22SPRING-PLAYWRIGHTS/22SPRING-PLAYWRIGHTS-superJumbo.jpg?quality=75&auto=webp 1366w" sizes="((min-width: 600px) and (max-width: 1004px)) 84vw, (min-width: 1005px) 80vw, 100vw" decoding="async" width="600" height="900"/></picture></div><figcaption data-testid="photoviewer-children-ImageCaption" class="css-ktho12 e3rygrp0"><span class="css-jevhma e13ogyst0">Playwrights in their 40s with new work premiering this season include, clockwise from top left: Jordan Harrison, Leslye Headland, Tarell Alvin McCraney and Bess Wohl.</span><span class="css-14fe1uy e1z0qqy90"><span class="css-1ly73wi e1tej78p0">Credit...</span><span><span aria-hidden="false">Clockwise from top left: Chelcie Parry; Lila Barth for The New York Times; Philip Cheung for The New York Times; Jeenah Moon for The New York Times</span></span></span></figcaption></figure></div><div class="css-p6m5rf"><div class="byline-container css-1u5onbp epjyd6m2"><div class="css-165eim7 ey68jwv0" aria-hidden="true"><a href="https://www.nytimes.com/by/jesse-green" class="css-uwwqev"><img alt="Jesse Green" title="Jesse Green" src="https://static01.nyt.com/images/2018/02/16/multimedia/author-jesse-green/author-jesse-green-thumbLarge-v3.png" class="css-dc6zx6 ey68jwv2"/></a></div><div class="css-233int epjyd6m1"><p class="css-4anu6l e1jsehar1"><span class="byline-prefix">By </span><a href="https://www.nytimes.com/by/jesse-green" class="last-byline css-ojhyzr e1jsehar0" itemProp="name">Jesse Green</a></p><div class="css-gqryk5 epjyd6m0"></div></div></div></div><div class="css-1c72mta"><time class="css-kx0gap e16638kd0" dateTime="2025-02-19T05:01:03-05:00">Feb. 19, 2025</time></div></header><section name="articleBody" class="meteredContent css-1r7ky0e"><div class="css-s99gbd StoryBodyCompanionColumn" data-testid="companionColumn-0"><div class="css-53u6y8"><p class="css-at9mc1 evys1bk0">“Absolutely not,” Branden Jacobs-Jenkins declared.</p><p class="css-at9mc1 evys1bk0">Leslye Headland chuckled. “Oh never, no.”</p><p class="css-at9mc1 evys1bk0">“I don’t know anyone who could!” was Samuel D. Hunter’s astonished response.</p><p class="css-at9mc1 evys1bk0">“Not really,” hedged Bess Wohl. “Until maybe last year.”</p><p class="css-at9mc1 evys1bk0">The question that brought such universal denials from four frequently produced, much-awarded American playwrights was: “Have you ever made enough to live on from your plays?”</p><p class="css-at9mc1 evys1bk0">To win audiences and awards for your efforts is undoubtedly affirming, but the financial returns for dramatists are slim. Even after the premiere of <a class="css-yywogo" href="https://www.nytimes.com/2014/05/05/theater/an-octoroon-a-slave-era-tale-at-soho-rep.html" title="">“An Octoroon,”</a> which would later win an Obie Award for best new American play, Jacobs-Jenkins was living in a “horrible sublet on an air shaft,” with a possible case of whooping cough and a definite lack of health insurance. Headland considered herself a success not when <a class="css-yywogo" href="https://www.nytimes.com/2010/07/27/theater/reviews/27bachelorette.html" title="">her play “Bachelorette” made a splash Off Broadway in 2010</a>, but when she no longer had to work at Rocket Video to make ends meet. And Hunter told me that the most he’d earned in any one year from his plays — including <a class="css-yywogo" href="https://www.nytimes.com/2012/11/06/theater/reviews/shuler-hensley-in-the-whale-by-samuel-d-hunter.html" title="">“The Whale”</a> and <a class="css-yywogo" href="https://www.nytimes.com/2022/05/02/theater/review-a-case-for-the-existence-of-god-samuel-hunter.html" title="">“A Case for the Existence of God”</a> — was “less than $30,000.”</p><p class="css-at9mc1 evys1bk0">Playwriting has never been a golden ticket, or even, for most, a subway pass. It’s hard enough to get a first play written and produced; getting a second and third off the ground, let alone a 10th, has in recent decades seemed just about impossible. Who knows how many rich voices we never got to hear in maturity?</p></div><aside class="css-ew4tgv" aria-label="companion column"></aside></div><div data-testid="Dropzone-1"></div><div class="css-s99gbd StoryBodyCompanionColumn" data-testid="companionColumn-1"><div class="css-53u6y8"><p class="css-at9mc1 evys1bk0">Especially since the Covid pandemic wiped out a host of emerging artist programs and career development grants, the problem has reached existential proportions. Theater, after all, depends on good plays, and good plays depend on authors with long professional horizons. Many of the greatest works of dramatic literature are neither early nor late but in between. (“Hamlet,” “Twelfth Night” and “Othello” are dead center in Shakespeare’s professional timeline.) But how can playwrights have a midcareer if they can’t survive the start?</p><p class="css-at9mc1 evys1bk0">Or so I have often worried.</p></div><aside class="css-ew4tgv" aria-label="companion column"></aside></div><div data-testid="ImageBlock-3"><div data-testid="imageblock-wrapper"><figure class="img-sz-medium css-d754w4 e1g7ppur0" aria-label="media" role="group"><div class="css-1xdhyk6 erfvjey0" data-testid="photoviewer-children-figure"><span class="css-1ly73wi e1tej78p0">Image</span><div class="css-nwd8t8" data-testid="lazy-image"><div data-testid="lazyimage-container" style="height:257.77777777777777px"></div></div></div><figcaption data-testid="photoviewer-children-caption" class="css-gbc9ki ewdxa0s0"><span class="css-jevhma e13ogyst0">Katherine Waterston, Tracee Chimo and Celia Keenan-Bolger in Leslye Headland’s 2010 play “Bachelorette.”</span><span class="css-14fe1uy e1z0qqy90"><span class="css-1ly73wi e1tej78p0">Credit...</span><span><span aria-hidden="false">Joan Marcus</span></span></span></figcaption></figure></div></div><div data-testid="Optimistic-4"><div class="css-1336jj"><div class="css-121kum4"><div class="css-171quhb"></div><div class="css-asuuk5"><noscript><div class="css-7axq9l" data-testid="optimistic-truncator-noscript"><svg width="24" height="24" viewBox="0 0 24 24" aria-hidden="true" class="css-1b5b8u1"><path fill="currentColor" fill-rule="evenodd" d="M2.5 12a9.5 9.5 0 1 1 19 0 9.5 9.5 0 0 1-19 0Zm8.5 1.75v-7.5h2v7.5h-2Zm0 2v2h2v-2h-2Z" clip-rule="evenodd"></path></svg><div data-testid="optimistic-truncator-noscript-message" class="css-6yo1no"><p class="css-3kpklk">We are having trouble retrieving the article content.</p><p class="css-3kpklk">Please enable JavaScript in your browser settings.</p></div></div></noscript><div class="css-1dv1kvn" id="optimistic-truncator-a11y" tabindex="-1"><hr/><p>Thank you for your patience while we verify access. 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Hunter’s astonished response."}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":false,"index":0},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"“Not really,” hedged Bess Wohl. “Until maybe last year.”"}],"textAlign":"LEFT"},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"The question that brought such universal denials from four frequently produced, much-awarded American playwrights was: “Have you ever made enough to live on from your plays?”"}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":false,"index":1},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"To win audiences and awards for your efforts is undoubtedly affirming, but the financial returns for dramatists are slim. Even after the premiere of "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"","uri":null,"url":"https:\u002F\u002Fwww.nytimes.com\u002F2014\u002F05\u002F05\u002Ftheater\u002Fan-octoroon-a-slave-era-tale-at-soho-rep.html"}],"text":"“An Octoroon,”"},{"__typename":"TextInline","formats":[],"text":" which would later win an Obie Award for best new American play, Jacobs-Jenkins was living in a “horrible sublet on an air shaft,” with a possible case of whooping cough and a definite lack of health insurance. Headland considered herself a success not when "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"","uri":null,"url":"https:\u002F\u002Fwww.nytimes.com\u002F2010\u002F07\u002F27\u002Ftheater\u002Freviews\u002F27bachelorette.html"}],"text":"her play “Bachelorette” made a splash Off Broadway in 2010"},{"__typename":"TextInline","formats":[],"text":", but when she no longer had to work at Rocket Video to make ends meet. And Hunter told me that the most he’d earned in any one year from his plays — including "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"","uri":null,"url":"https:\u002F\u002Fwww.nytimes.com\u002F2012\u002F11\u002F06\u002Ftheater\u002Freviews\u002Fshuler-hensley-in-the-whale-by-samuel-d-hunter.html"}],"text":"“The Whale”"},{"__typename":"TextInline","formats":[],"text":" and "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"","uri":null,"url":"https:\u002F\u002Fwww.nytimes.com\u002F2022\u002F05\u002F02\u002Ftheater\u002Freview-a-case-for-the-existence-of-god-samuel-hunter.html"}],"text":"“A Case for the Existence of God”"},{"__typename":"TextInline","formats":[],"text":" — was “less than $30,000.”"}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":true,"bad":false,"index":2},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"Playwriting has never been a golden ticket, or even, for most, a subway pass. It’s hard enough to get a first play written and produced; getting a second and third off the ground, let alone a 10th, has in recent decades seemed just about impossible. Who knows how many rich voices we never got to hear in maturity?"}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":true,"adsDesktopHoldout":true,"adsHybrid":true,"adsMobile":true,"adsMobileHoldout":false,"bad":false,"index":3},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"Especially since the Covid pandemic wiped out a host of emerging artist programs and career development grants, the problem has reached existential proportions. Theater, after all, depends on good plays, and good plays depend on authors with long professional horizons. Many of the greatest works of dramatic literature are neither early nor late but in between. (“Hamlet,” “Twelfth Night” and “Othello” are dead center in Shakespeare’s professional timeline.) But how can playwrights have a midcareer if they can’t survive the start?"}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":false,"index":4},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"Or so I have often worried."}],"textAlign":"LEFT"},{"__typename":"ImageBlock","media":{"__typename":"Image","altText":"Three women appear to be scuffling in an elegant room.","caption":{"__typename":"TextOnlyDocumentBlock","content":[{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"Katherine Waterston, Tracee Chimo and Celia Keenan-Bolger in Leslye Headland’s 2010 play “Bachelorette.”"}]}],"text":"Katherine Waterston, Tracee Chimo and Celia Keenan-Bolger in Leslye Headland’s 2010 play “Bachelorette.”"},"credit":"Joan Marcus","crops":[{"__typename":"ImageCrop","renditions":[{"__typename":"ImageRendition","height":400,"name":"articleLarge","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-ljwv\u002F23SPRING-PLAYWRIGHTS-ljwv-articleLarge.jpg","width":600},{"__typename":"ImageRendition","height":433,"name":"popup","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-ljwv\u002F23SPRING-PLAYWRIGHTS-ljwv-popup.jpg","width":650},{"__typename":"ImageRendition","height":683,"name":"jumbo","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-ljwv\u002F23SPRING-PLAYWRIGHTS-ljwv-jumbo.jpg","width":1024},{"__typename":"ImageRendition","height":1365,"name":"superJumbo","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-ljwv\u002F23SPRING-PLAYWRIGHTS-ljwv-superJumbo.jpg","width":2048}]},{"__typename":"ImageCrop","renditions":[{"__typename":"ImageRendition","height":150,"name":"thumbLarge","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-ljwv\u002F23SPRING-PLAYWRIGHTS-ljwv-thumbLarge.jpg","width":150}]},{"__typename":"ImageCrop","renditions":[{"__typename":"ImageRendition","height":127,"name":"articleInline","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-ljwv\u002F23SPRING-PLAYWRIGHTS-ljwv-articleInline.jpg","width":190}]},{"__typename":"ImageCrop","renditions":[{"__typename":"ImageRendition","height":1200,"name":"mobileMasterAt3x","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-ljwv\u002F23SPRING-PLAYWRIGHTS-ljwv-mobileMasterAt3x.jpg","width":1800}]}],"id":"SW1hZ2U6bnl0Oi8vaW1hZ2UvNWQzODZmNDgtOGZlNi01ZjdiLWE5OGEtMGRmMGE3NGQ5Yzdh","imageType":"photo","legacyHtmlCaption":"Katherine Waterston, Tracee Chimo and Celia Keenan-Bolger in Leslye Headland’s 2010 play “Bachelorette.”","timesTags":[],"uri":"nyt:\u002F\u002Fimage\u002F5d386f48-8fe6-5f7b-a98a-0df0a74d9c7a","url":"\u002Fimagepages\u002F2025\u002F02\u002F19\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-ljwv.html"},"size":"MEDIUM"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":true,"index":5},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"Yet as I previewed the 2025 schedules of leading American theaters, I was delighted to find new work from more than a dozen writers I’d been following with great interest for years. Not just Jacobs-Jenkins, Headland, Hunter and Wohl, but also "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"","uri":null,"url":"https:\u002F\u002Fwww.manhattantheatreclub.com\u002Fshows\u002F24-25-season\u002Fwe-had-a-world\u002F"}],"text":"Joshua Harmon"},{"__typename":"TextInline","formats":[],"text":", "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"","uri":null,"url":"https:\u002F\u002Fwww.59e59.org\u002Fshows\u002Fshow-detail\u002Famerikin\u002F"}],"text":"Chisa Hutchinson"},{"__typename":"TextInline","formats":[],"text":", "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"","uri":null,"url":"https:\u002F\u002Fwww.arenastage.org\u002Fgathered"}],"text":"Tarell Alvin McCraney"},{"__typename":"TextInline","formats":[],"text":" and "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"","uri":null,"url":"https:\u002F\u002Fwww.playwrightshorizons.org\u002Fabout\u002Fproduction-history\u002F2020s\u002F2425-season\u002Fthe-antiquities-jordan-harrison"}],"text":"Jordan Harrison"},{"__typename":"TextInline","formats":[],"text":" are premiering new plays this season. All are well established in the field, with six or more major stage works on their résumés — in Hunter’s case, 19. And all are in their 40s, though if I’d extended the range by just a year or two, I could have netted at least another four."}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":true,"bad":false,"index":6},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"Together they constitute an unusual cohort, bucking the bad news of the American theater by having made it past emerging to emerged. Granted, pretty much all of them did so with the help of other industries. Jacobs-Jenkins and Hunter have both taught extensively, Hunter at one point covering Theater 101 for a football team. Headland has worked steadily in movies and television, including as "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"","uri":null,"url":"https:\u002F\u002Fwww.nytimes.com\u002F2019\u002F01\u002F31\u002Farts\u002Ftelevision\u002Frussian-doll-netflix-review.html"}],"text":"a creator of the series “Russian Doll.”"},{"__typename":"TextInline","formats":[],"text":" In 2015, Wohl had to rush from rehearsals of "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"","uri":null,"url":"https:\u002F\u002Fwww.nytimes.com\u002F2015\u002F03\u002F24\u002Ftheater\u002Freview-small-mouth-sounds-silence-at-a-spiritual-spa.html"}],"text":"her breakthrough play “Small Mouth Sounds”"},{"__typename":"TextInline","formats":[],"text":" to shoot a pilot she’d written for a series about “lady cops.”"}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":true,"adsMobile":true,"adsMobileHoldout":false,"bad":false,"index":7},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"These nontheater jobs are, even now, how playwrights make real money and get health insurance. Still, Jacobs-Jenkins, 40, calls his cohort a “weird bumper crop” of success and a “guinea-pig generation.” He and the others were beneficiaries, he says, of a network of programs that arose in the late aughts specifically to make such careers less impossible. Bouncing from "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"","uri":null,"url":"https:\u002F\u002Fsohorep.org\u002Fwriter-director-lab\u002F"}],"text":"Soho Rep’s Writer Director Lab"},{"__typename":"TextInline","formats":[],"text":" to the "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"","uri":null,"url":"https:\u002F\u002Fpublictheater.org\u002Fprograms\u002Femerging-writers-group\u002F"}],"text":"Public Theater’s Emerging Writers Group"},{"__typename":"TextInline","formats":[],"text":" to the "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"","uri":null,"url":"https:\u002F\u002Farsnovanyc.com\u002Fplay-group\u002F"}],"text":"Ars Nova Play Group"},{"__typename":"TextInline","formats":[],"text":" to the "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"","uri":null,"url":"https:\u002F\u002Fwww.nytimes.com\u002F2002\u002F11\u002F28\u002Ftheater\u002Fwhere-new-playwrights-are-heard-and-helped.html"}],"text":"Lark Playwrights Workshop"},{"__typename":"TextInline","formats":[],"text":", they could keep turning out pages, if not yet afford their rent, thanks to the availability of stipends, grants, the occasional place to live and regular helpings of pizza."}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":true,"adsDesktopHoldout":true,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":false,"index":8},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[{"__typename":"BoldFormat","type":null}],"text":"JACOBS-JENKINS MAY WELL "},{"__typename":"TextInline","formats":[],"text":"be the poster child for that guinea-pig generation, having recently achieved several midcareer highs. One, impossible without having a body of work to retrospect, is retrospective: "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"","uri":null,"url":"https:\u002F\u002Fwww.nytimes.com\u002F2023\u002F12\u002F18\u002Ftheater\u002Fappropriate-broadway-review.html"}],"text":"His scathing comic drama “Appropriate,”"},{"__typename":"TextInline","formats":[],"text":" first produced Off Broadway in 2014, won the 2024 Tony Award for best revival of a play. Another is prospective; he says he could not have written "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"","uri":null,"url":"https:\u002F\u002Fpurposeonbroadway.com\u002F"}],"text":"“Purpose,”"},{"__typename":"TextInline","formats":[],"text":" a play about a large, blended political family that begins previews on Broadway this month, until he became a parent in 2021: “I didn’t have the authority.”"}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":true,"index":9},{"__typename":"ImageBlock","media":{"__typename":"Image","altText":"Branden Jacobs-Jenkins is dressed in a dark-colored suit and is posing for a photographer to his right.","caption":{"__typename":"TextOnlyDocumentBlock","content":[{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"Branden Jacobs-Jenkins, center, won the Tony Award for best revival of a play last year for “Appropriate.” His next one, “Purpose,” begins previews on Broadway this month."}]}],"text":"Branden Jacobs-Jenkins, center, won the Tony Award for best revival of a play last year for “Appropriate.” His next one, “Purpose,” begins previews on Broadway this month."},"credit":"Nina Westervelt for The New York Times","crops":[{"__typename":"ImageCrop","renditions":[{"__typename":"ImageRendition","height":400,"name":"articleLarge","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-tfvg\u002F23SPRING-PLAYWRIGHTS-tfvg-articleLarge.jpg","width":600},{"__typename":"ImageRendition","height":433,"name":"popup","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-tfvg\u002F23SPRING-PLAYWRIGHTS-tfvg-popup.jpg","width":650},{"__typename":"ImageRendition","height":683,"name":"jumbo","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-tfvg\u002F23SPRING-PLAYWRIGHTS-tfvg-jumbo.jpg","width":1024},{"__typename":"ImageRendition","height":1365,"name":"superJumbo","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-tfvg\u002F23SPRING-PLAYWRIGHTS-tfvg-superJumbo.jpg","width":2048}]},{"__typename":"ImageCrop","renditions":[{"__typename":"ImageRendition","height":150,"name":"thumbLarge","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-tfvg\u002F23SPRING-PLAYWRIGHTS-tfvg-thumbLarge.jpg","width":150}]},{"__typename":"ImageCrop","renditions":[{"__typename":"ImageRendition","height":127,"name":"articleInline","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-tfvg\u002F23SPRING-PLAYWRIGHTS-tfvg-articleInline.jpg","width":190}]},{"__typename":"ImageCrop","renditions":[{"__typename":"ImageRendition","height":1200,"name":"mobileMasterAt3x","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-tfvg\u002F23SPRING-PLAYWRIGHTS-tfvg-mobileMasterAt3x.jpg","width":1800}]}],"id":"SW1hZ2U6bnl0Oi8vaW1hZ2UvMjFkNTc3YjktMzI5OS01YjliLTk0YzktNjQ3MjZmNzQyNTdh","imageType":"photo","legacyHtmlCaption":"Branden Jacobs-Jenkins, center, won the Tony Award for best revival of a play last year for “Appropriate.” His next one, “Purpose,” begins previews on Broadway this month.","timesTags":[],"uri":"nyt:\u002F\u002Fimage\u002F21d577b9-3299-5b9b-94c9-64726f74257a","url":"\u002Fimagepages\u002F2025\u002F02\u002F19\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-tfvg.html"},"size":"MEDIUM"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":true,"index":10},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"Though moving toward the center of the culture can feel peculiar when you have defined yourself as a useful outsider, Jacobs-Jenkins is learning to accept what it means to be midcareer — though he prefers to think of himself as a “journeyman” on a journey of unknown duration. When he won the Tony, he says, “there were a lot of us first-time nominees, realizing that we’re not the brat pack anymore, that there’s this vacuum pulling us forward. And it would be irresponsible to resist it because of all those institutions that helped us get there.”"}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":true,"adsMobile":true,"adsMobileHoldout":true,"bad":false,"index":11},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"Wohl, 49, is also ambivalent about the idea of a midcareer. “I embrace the optimism of that term, but I don’t take anything for granted,” she says. “We all have encountered people who got successful early and became complacent.”"}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":false,"index":12},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"Wohl’s work strikes me as the opposite of complacent, as each new piece explores new ways to “break the box” of formal expectation. “Small Mouth Sounds” took place at a silent retreat, of the kind she had been attending at the time. In "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"","uri":null,"url":"https:\u002F\u002Fwww.nytimes.com\u002F2019\u002F08\u002F15\u002Ftheater\u002Fmake-believe-review-bess-wohl.html"}],"text":"the harrowing “Make Believe,”"},{"__typename":"TextInline","formats":[],"text":" which debuted in 2019, she challenged herself, in defiance of ancient theatrical wisdom, to put children onstage and expect them to carry the drama."}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":true,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":false,"index":13},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"But with her latest play, "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"","uri":null,"url":"https:\u002F\u002Fwww.roundabouttheatre.org\u002Fget-tickets\u002F2024-2025\u002Fliberation"}],"text":"“Liberation,”"},{"__typename":"TextInline","formats":[],"text":" which opens this month at the Roundabout Theater Company, the box she’s breaking is not just formal (though blended timelines are involved). She is also trying to break the box of her own reserve — a reserve common among early-career playwrights. “Liberation,” about mothers and daughters, tests that reserve with its autobiographical aspects."}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":true,"adsDesktopHoldout":false,"adsHybrid":true,"adsMobile":true,"adsMobileHoldout":true,"bad":false,"index":14},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"Feeling exposed, Wohl threw several early drafts away, even some that were offered production. “I only cracked it,” she says, “by putting myself into the work in a more direct and legible way, which is something I couldn’t have done when I was younger. I wouldn’t have had the bravery. Now it’s ‘welcome to my journal!’”"}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":true,"index":15},{"__typename":"ImageBlock","media":{"__typename":"Image","altText":"A woman and man are shown in profile, with the man kneeling at the woman’s feet while clutching her left hand.","caption":{"__typename":"TextOnlyDocumentBlock","content":[{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"Kayla Davion, left, and Charlie Thurston in Bess Wohl’s play “Liberation” at the Laura Pels Theater."}]}],"text":"Kayla Davion, left, and Charlie Thurston in Bess Wohl’s play “Liberation” at the Laura Pels Theater."},"credit":"Sara Krulwich\u002FThe New York Times","crops":[{"__typename":"ImageCrop","renditions":[{"__typename":"ImageRendition","height":666,"name":"articleLarge","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-wglk\u002F23SPRING-PLAYWRIGHTS-wglk-articleLarge.jpg","width":600},{"__typename":"ImageRendition","height":500,"name":"popup","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-wglk\u002F23SPRING-PLAYWRIGHTS-wglk-popup.jpg","width":451},{"__typename":"ImageRendition","height":1024,"name":"jumbo","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-wglk\u002F23SPRING-PLAYWRIGHTS-wglk-jumbo.jpg","width":923},{"__typename":"ImageRendition","height":2048,"name":"superJumbo","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-wglk\u002F23SPRING-PLAYWRIGHTS-wglk-superJumbo.jpg","width":1845}]},{"__typename":"ImageCrop","renditions":[{"__typename":"ImageRendition","height":150,"name":"thumbLarge","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-wglk\u002F23SPRING-PLAYWRIGHTS-wglk-thumbLarge.jpg","width":150}]},{"__typename":"ImageCrop","renditions":[{"__typename":"ImageRendition","height":211,"name":"articleInline","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-wglk\u002F23SPRING-PLAYWRIGHTS-wglk-articleInline.jpg","width":190}]},{"__typename":"ImageCrop","renditions":[{"__typename":"ImageRendition","height":1998,"name":"mobileMasterAt3x","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-wglk\u002F23SPRING-PLAYWRIGHTS-wglk-mobileMasterAt3x.jpg","width":1800}]}],"id":"SW1hZ2U6bnl0Oi8vaW1hZ2UvOGRjMjcxMzgtMGYxMS01ZmRkLTk4NDQtZjFlNmExZGU1YmFm","imageType":"photo","legacyHtmlCaption":"Kayla Davion, left, and Charlie Thurston in Bess Wohl’s play “Liberation” at the Laura Pels Theater.","timesTags":[],"uri":"nyt:\u002F\u002Fimage\u002F8dc27138-0f11-5fdd-9844-f1e6a1de5baf","url":"\u002Fimagepages\u002F2025\u002F02\u002F19\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-wglk.html"},"size":"MEDIUM"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":true,"index":16},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"All the midcareer playwrights I spoke to mentioned a newfound confidence: not just in the value of their lives as worthy subjects for drama but also in their ability to make them into good theater. That they could write with at least a reasonable expectation of being produced was part of that confidence, but so was a deeper faith in their vocation. When you’ve won a bunch of playwriting awards, no one can say you’re not a playwright."}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":false,"index":17},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"“The biggest fear as a younger person is: What if the artistic impulse goes out?” Wohl says. “And now I know that it won’t.”"}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":true,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":true,"bad":false,"index":18},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"Or at any rate, can’t. Somewhere between early and midcareer, not just Jacobs-Jenkins but also Wohl and Headland and Hunter became parents. The costs and the constant emergency of caring for a child that drives some people out of the arts drove them deeper in."}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":true,"adsMobile":true,"adsMobileHoldout":false,"bad":false,"index":19},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[{"__typename":"BoldFormat","type":null}],"text":"FOR HUNTER, IT WAS "},{"__typename":"TextInline","formats":[],"text":"a relief. “In your 20s, you write from such a place of anxiety,” he says. “At 43, I’m a dad, we got a puppy, and we’re finally in an apartment we really love. Once you have those middle-class things you never thought you were going to have, your shoulders drop a little bit.”"}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":false,"index":20},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"Neither he nor the others feel that the hunched shoulders and housing insecurity of their youth were good for their art. The “La Bohème” portrait of impoverished painters and poets was after all a description, not a prescription. “And at least they could afford the garret,” Jacobs-Jenkins says. “In New York, forget it.”"}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":false,"index":21},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"Yet for Hunter especially, the arc of the concerns of his plays closely traces the arc of the concerns of his life, starting with “a solidarity with people who are suffering” that stems from his upbringing in Idaho. When I ask about the obese protagonist of “The Whale,” he says, “At one point I weighed 375 pounds and was self-medicating with food.” And being outed at a fundamentalist Christian high school like the main character in "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"","uri":null,"url":"https:\u002F\u002Fwww.vulture.com\u002F2016\u002F10\u002Freviews-les-liaisons-dangereuses-the-harvest.html"}],"text":"“The Harvest”"},{"__typename":"TextInline","formats":[],"text":"?"}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":true,"adsDesktopHoldout":true,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":true,"bad":false,"index":22},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"“I was that guy!”"}],"textAlign":"LEFT"},{"__typename":"ImageBlock","media":{"__typename":"Image","altText":"Brendan Fraser holds an Oscar statuette, flanked by Samuel Hunter on his left and a man in a light blue tuxedo on his right.","caption":{"__typename":"TextOnlyDocumentBlock","content":[{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"The film adaptation of “The Whale,” based on the play written by Samuel D. Hunter, above right, won Brendan Fraser, center, an Oscar for his performance."}]}],"text":"The film adaptation of “The Whale,” based on the play written by Samuel D. Hunter, above right, won Brendan Fraser, center, an Oscar for his performance."},"credit":"Sinna Nasseri for The New York Times","crops":[{"__typename":"ImageCrop","renditions":[{"__typename":"ImageRendition","height":429,"name":"articleLarge","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-hmcv\u002F23SPRING-PLAYWRIGHTS-hmcv-articleLarge.jpg","width":600},{"__typename":"ImageRendition","height":464,"name":"popup","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-hmcv\u002F23SPRING-PLAYWRIGHTS-hmcv-popup.jpg","width":650},{"__typename":"ImageRendition","height":731,"name":"jumbo","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-hmcv\u002F23SPRING-PLAYWRIGHTS-hmcv-jumbo.jpg","width":1024},{"__typename":"ImageRendition","height":1463,"name":"superJumbo","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-hmcv\u002F23SPRING-PLAYWRIGHTS-hmcv-superJumbo.jpg","width":2048}]},{"__typename":"ImageCrop","renditions":[{"__typename":"ImageRendition","height":150,"name":"thumbLarge","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-hmcv\u002F23SPRING-PLAYWRIGHTS-hmcv-thumbLarge.jpg","width":150}]},{"__typename":"ImageCrop","renditions":[{"__typename":"ImageRendition","height":136,"name":"articleInline","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-hmcv\u002F23SPRING-PLAYWRIGHTS-hmcv-articleInline.jpg","width":190}]},{"__typename":"ImageCrop","renditions":[{"__typename":"ImageRendition","height":1286,"name":"mobileMasterAt3x","url":"https:\u002F\u002Fstatic01.nyt.com\u002Fimages\u002F2025\u002F02\u002F23\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-hmcv\u002F23SPRING-PLAYWRIGHTS-hmcv-mobileMasterAt3x.jpg","width":1800}]}],"id":"SW1hZ2U6bnl0Oi8vaW1hZ2UvNTNiYzc4NWMtNTNjMi01NTRjLWEyZWMtM2ZmYTcwZWNlMWRh","imageType":"photo","legacyHtmlCaption":"The film adaptation of “The Whale,” based on the play written by Samuel D. Hunter, above right, won Brendan Fraser, center, an Oscar for his performance.","timesTags":[],"uri":"nyt:\u002F\u002Fimage\u002F53bc785c-53c2-554c-a2ec-3ffa70ece1da","url":"\u002Fimagepages\u002F2025\u002F02\u002F19\u002Fmultimedia\u002F23SPRING-PLAYWRIGHTS-hmcv.html"},"size":"MEDIUM"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":true,"adsMobileHoldout":false,"bad":true,"index":23},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"That these characters are, as Hunter puts it, “versions of me had I not found offramps” does not make them less dramatically valid. In a way, as he has been discovering ever since, it makes them more so. If “A Case for the Existence of God,” from 2022, is about the struggle to have children, "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"","uri":null,"url":"https:\u002F\u002Fsignaturetheatre.org\u002Fshow\u002Fgrangeville\u002F"}],"text":"his latest play, “Grangeville,”"},{"__typename":"TextInline","formats":[],"text":" which opens this month at the Signature Theater, is about the struggle to care for parents. “I’m now in the sandwich generation,” he says."}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":false,"index":24},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"Like Wohl and Jacobs-Jenkins, Hunter feels he could not have written his newer plays, with their newer concerns, sooner — nor, for that matter, his earlier plays now. One of the benefits of reaching midcareer is that a new life stage offers new stories to tell and a larger reserve of craft with which to tell them. Another benefit is that midcareers are obviously a prerequisite to late careers, with their witchy, molten qualities. You don’t get to write “The Tempest” unless you’ve already written “Hamlet.”"}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":false,"index":25},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"The question of what comes next for these playwrights is in any case no longer an anxious one, as it was in their youth. For Headland, 44, it seems to be pleasantly unanswerable. A cycle she calls "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"","uri":null,"url":"https:\u002F\u002Fwww.nytimes.com\u002F2010\u002F07\u002F18\u002Ftheater\u002F18headland.html"}],"text":"the Seven Deadly Plays"},{"__typename":"TextInline","formats":[],"text":", which began with “Cinephilia” in 2008 and continued with “Bachelorette” in 2010, came to a close this season with "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"","uri":null,"url":"https:\u002F\u002Fwww.nytimes.com\u002F2024\u002F12\u002F12\u002Ftheater\u002Fcult-of-love-broadway-review.html"}],"text":"“Cult of Love,”"},{"__typename":"TextInline","formats":[],"text":" the first to make it to Broadway."}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":true,"bad":false,"index":26},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"The sins were “such a good container,” Headland says, like breadcrumbs leading forward instead of backward. But despite having run through them all (“Bachelorette” was gluttony; “Cult of Love” was pride), she in no way feels at loose ends."}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":true,"adsMobileHoldout":false,"bad":false,"index":27},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"A highly praised TV series like “Russian Doll” and a “Star Wars” spinoff (“The Acolyte”) will do that. And perhaps it helps too that, atypically among the midcareer cohort, Headland’s dramatic interests have been “the same from day one”: addiction, God, the female experience “and some version of how those things conflate to make you grow or die.”"}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":true,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":false,"index":28},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"“Cult of Love” is about all three, like tornadoes inside tornadoes. That it was also a critical success is of course a nice capper, but Headland is less concerned about the fate of any one play than with overall output. Some will hit, some will flop, she says, but always “more will be revealed.”"}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":true,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":false,"index":29},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"Which seems to be the greatest gift of the guinea-pig experiment. Those emerging playwright programs not only opened doors for their beneficiaries but helped them develop the stamina and wherewithal to trust that they can keep the doors open. Members of early Ars Nova Play Group cohorts, including Jacobs-Jenkins and Hunter, still meet 15 years later."}],"textAlign":"LEFT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":false,"index":30},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"That they thus write with less anxiety (and more health insurance) is a boon for us too, allowing them to bring us newer, weirder ideas as they plow through their midcareers. It is entirely a good thing, despite “La Bohème,” that the panic (as Headland puts it) is not there anymore — “but the curiosity still is.”"}],"textAlign":"LEFT"}]},"storyFormat":"Explanatory - Other","storylines":[{"__typename":"AssociatedStoryline","ruleName":"styln-broadway","storyline":{"__typename":"Storyline","context":null,"displayName":"Performances in N.Y.C.","experimentalJsonBlob":"{\"data\":[{\"version\":1,\"type\":\"experimentalJsonBlob\",\"data\":[{\"version\":1,\"type\":\"guide\",\"data\":{\"title\":\"More on N.Y.C. Theater, Music and Dance\",\"leadIn\":\"\",\"sections\":[{\"section\":[{\"type\":\"bulletedList\",\"value\":[\"\u003Cstrong\u003EVinny DePonto Wants to Bring More Awe:\u003C\u002Fstrong\u003E In “Mindplay,” a mentalist show, the magician asks his audience: “\u003Ca href=\\\"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F02\u002F12\u002Ftheater\u002Fmindplay-vinny-deponto-mentalist.html\\\"\u003EWhat is most meaningful to you\u003C\u002Fa\u003E?”\",\"\u003Cstrong\u003ETaking Up the Banner of Sidelined Artists:\u003C\u002Fstrong\u003E With their Tent Theater Company, Tim Sanford and Aimée Hayes want to \u003Ca href=\\\"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F02\u002F10\u002Ftheater\u002Ftent-theater-company-older-playwrights.html\\\"\u003Eraise the profiles of older artists\u003C\u002Fa\u003E.\",\"\u003Cstrong\u003EKeeping ‘The Lion King’ in Motion:\u003C\u002Fstrong\u003E “Everything in the show moves,” said Ruthlyn Salomons, whose job for 25 years has been to \u003Ca href=\\\"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F02\u002F10\u002Farts\u002Fdance\u002Fruthlyn-salomons-lion-king-broadway.html\\\"\u003Eoversee all the parts, people and puppets\u003C\u002Fa\u003E of this kinetic musical.\",\"\u003Cstrong\u003EThe Orchestra of St. Luke’s Turns 50:\u003C\u002Fstrong\u003E The ensemble, a New York original, keeps its players busy with \u003Ca href=\\\"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F01\u002F31\u002Farts\u002Fmusic\u002Fst-lukes-orchestra-carnegie-classical-music.html\\\"\u003Ework off the beaten path\u003C\u002Fa\u003E, whether Schubert rarities or “The Lord of the Rings.”\",\"\u003Cstrong\u003EA Blue Man Group Farewell:\u003C\u002Fstrong\u003E Over 34 years, the show gave Fred Armisen a drumming gig, “Arrested Development” a hilarious story line and more. \u003Ca href=\\\"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F01\u002F30\u002Ftheater\u002Fblue-man-group-new-york-closing-off-broadway.html\\\"\u003ENow the cultural sensation comes to an end in New York\u003C\u002Fa\u003E.\"]}]}]}}]}]}","guide":{"__typename":"StorylineGuide","displayName":"More on N.Y.C. Theater, Music and Dance","leadIn":null,"sections":[{"__typename":"StorylineGuideSection","items":[{"__typename":"StorylineGuideItem","content":{"__typename":"ListBlock","content":[{"__typename":"ListItemBlock","content":[{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[{"__typename":"BoldFormat"}],"text":"Vinny DePonto Wants to Bring More Awe:"},{"__typename":"TextInline","formats":[],"text":" In “Mindplay,” a mentalist show, the magician asks his audience: “"},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","uri":"nyt:\u002F\u002Farticle\u002F165ec20f-3665-59e9-b4ae-17f4b6206295","url":"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F02\u002F12\u002Ftheater\u002Fmindplay-vinny-deponto-mentalist.html"}],"text":"What is most meaningful to you"},{"__typename":"TextInline","formats":[],"text":"?”"}]}]},{"__typename":"ListItemBlock","content":[{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[{"__typename":"BoldFormat"}],"text":"Taking Up the Banner of Sidelined Artists:"},{"__typename":"TextInline","formats":[],"text":" With their Tent Theater Company, Tim Sanford and Aimée Hayes want to "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","uri":"nyt:\u002F\u002Farticle\u002F5c4eab06-a25f-5603-9d40-8cd8bed53864","url":"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F02\u002F10\u002Ftheater\u002Ftent-theater-company-older-playwrights.html"}],"text":"raise the profiles of older artists"},{"__typename":"TextInline","formats":[],"text":"."}]}]},{"__typename":"ListItemBlock","content":[{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[{"__typename":"BoldFormat"}],"text":"Keeping ‘The Lion King’ in Motion:"},{"__typename":"TextInline","formats":[],"text":" “Everything in the show moves,” said Ruthlyn Salomons, whose job for 25 years has been to "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","uri":"nyt:\u002F\u002Farticle\u002Fd3b2727a-4057-5d93-9ca6-d59425a557a0","url":"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F02\u002F10\u002Farts\u002Fdance\u002Fruthlyn-salomons-lion-king-broadway.html"}],"text":"oversee all the parts, people and puppets"},{"__typename":"TextInline","formats":[],"text":" of this kinetic musical."}]}]},{"__typename":"ListItemBlock","content":[{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[{"__typename":"BoldFormat"}],"text":"The Orchestra of St. Luke’s Turns 50:"},{"__typename":"TextInline","formats":[],"text":" The ensemble, a New York original, keeps its players busy with "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","uri":"nyt:\u002F\u002Farticle\u002F7386f6bc-2774-5639-86c9-24b2d04384b3","url":"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F01\u002F31\u002Farts\u002Fmusic\u002Fst-lukes-orchestra-carnegie-classical-music.html"}],"text":"work off the beaten path"},{"__typename":"TextInline","formats":[],"text":", whether Schubert rarities or “The Lord of the Rings.”"}]}]},{"__typename":"ListItemBlock","content":[{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[{"__typename":"BoldFormat"}],"text":"A Blue Man Group Farewell:"},{"__typename":"TextInline","formats":[],"text":" Over 34 years, the show gave Fred Armisen a drumming gig, “Arrested Development” a hilarious story line and more. 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