<p>After fully recovering from&nbsp;covid-19, Hugh Jackman has&nbsp;returned to the set of Broadway&nbsp;musical titled 'The Music Man' after the sudden&nbsp;halt.&nbsp;<br />
<br />
Jackman shared an update on his health and revealed that he's back with the Broadway show 'The Music Man', which was cancelled at the end of December following the covid diagnosis.&nbsp;</p>

<p><a href="https://www.wionews.com/entertainment/hollywood/news-benedict-cumberbatch-dev-patel-ben-kingsley-joins-wes-anderson%E2%80%99s-next-project-443152" hreflang="en">Benedict Cumberbatch, Dev Patel, Ben Kingsley joins Wes Anderson’s next project</a></p>

<p>“I can’t tell you how good this moment feels,” Jackman said in a video, while donning a mask. “I’m so excited to be back and to bring this show — which is just pure joy and full of hope and belief and faith — back to Broadway.”<br />
<br />
In the caption he tagged the official account @musicmanbway, saying, “We’re back!!!!”</p>

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<p>However, Jackman revealed late last month that he had tested positive for the covid-19 and was having minor symptoms.&nbsp;</p>

<p><a href="https://www.wionews.com/photos/feeling-like-march-2020-heres-how-covid-omicron-is-affecting-entertainment-again-438366" hreflang="en">Feeling like March 2020? Here's how Covid Omicron is affecting entertainment again</a><br />
<br />
"My symptoms are like a cold," he said in a video posted to Twitter and Instagram. "I have a scratchy throat and a bit of a runny nose, but I'm fine. And I'm just gonna do everything i can to get better ASAP. And as soon as I'm cleared, I'll be back on stage, heading to River City."<br />
Previously, Jackman's costar Sutton Foster also tested positive for the virus.<br />
<br />
'The Music Man' was among several Broadway shows forced to shut down last month due to a sudden surge of the covid-19 cases.&nbsp;</p>


After fully recovering from covid-19, Hugh Jackman has returned to the set of Broadway musical titled 'The Music Man' after the sudden halt. Jackman shared an update on his health and revealed that he's back with the Broadway show 'The Music Man', which was cancelled at the end of December following the covid diagnosis.

After fully recovering from covid-19, Hugh Jackman has returned to the set of Broadway musical titled 'The Music Man' after the sudden halt. Jackman shared an update on his health and revealed that he's back with the Broadway show 'The Music Man', which was cancelled at the end of December following the covid diagnosis. Benedict Cumberbatch, Dev Patel, Ben Kingsley joins Wes Anderson’s next project “I can’t tell you how good this moment feels,” Jackman said in a video, while donning a mask. “I’m so excited to be back and to bring this show — which is just pure joy and full of hope and belief and faith — back to Broadway.” In the caption he tagged the official account @musicmanbway, saying, “We’re back!!!!” View this post on Instagram A post shared by Hugh Jackman (@thehughjackman) × However, Jackman revealed late last month that he had tested positive for the covid-19 and was having minor symptoms. Feeling like March 2020? Here's how Covid Omicron is affecting entertainment again "My symptoms are like a cold," he said in a video posted to Twitter and Instagram. "I have a scratchy throat and a bit of a runny nose, but I'm fine. And I'm just gonna do everything i can to get better ASAP. And as soon as I'm cleared, I'll be back on stage, heading to River City." Previously, Jackman's costar Sutton Foster also tested positive for the virus. 'The Music Man' was among several Broadway shows forced to shut down last month due to a sudden surge of the covid-19 cases.

We're back! Hugh Jackman returns to Broadway's 'The Music Man' after covid recovery

<p>“Why we gotta wear black, huh? We already Black!”</p>

<p>So grouses Beverly, the kind of woman who features aquamarine hair and a peek-a-boo pushup bra at a funeral.</p>

<p>To be specific: her father’s funeral. “We should be honoring my Daddy in style, color!” she proclaims. Certainly the deceased — the pastor of a New Haven, Connecticut, church — has complied; he’s heading to the pearly gates in a canary-yellow tie.</p>

<p>“Canary yellow was his favorite,” Beverly explains. “And he wore it like a pimp!”</p>

<p>As I sat alternately laughing and cringing in the audience of “Chicken &amp;&nbsp;Biscuits,” a play by Douglas Lyons that opened on Sunday at Circle in the Square Theater, I couldn’t help thinking that Beverly was voicing more than a personal, sartorial truth. In her impatience with tragedy, her gaudy antics and her beeline for fun, she was also delivering what may be the play’s mission statement. This family comedy, with its cheek and secrets and eulogies and amens, wants to offer audiences living in bad times an old-fashioned good one.</p>

<p>Also Read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-money-is-the-real-reason-why-adele-shifted-from-london-to-los-angeles-read-details-inside-419975" hreflang="en">Money is the real reason why Adele shifted from London to Los Angeles; read details inside</a></p>

<p>Whether it succeeds for you will depend largely on your taste for Broadway comedies of a type that otherwise went out of style a few decades ago. These were supposedly heartwarming domestic stories in which “ethnic” families like the Italian American Geminianis in “Gemini” and the Jewish Chamberses in “Norman, Is That You?” aired dirty laundry (typically involving a gay son) while reaffirming the notion that love conquers all, among kin no less than country.</p>

<p>Sidestepping the traffic of somber, formally inventive new plays about Black life, “Chicken &amp;&nbsp;Biscuits” eagerly boards that rickety old bus. To start, there are the requisite squabbling siblings: Beverly (Ebony Marshall-Oliver) and her sister, Baneatta (Cleo King), representing opposite ends of the bawdy-to-churchy continuum. Beverly resents Baneatta’s attitude of superiority; Baneatta, whose tenured professorship seems to be in Disapproval Studies, scorns Beverly’s down-market outfits and outlook.</p>

<p>Also Read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-not-james-bond-or-marvel-this-chinese-film-is-the-worlds-fourth-largest-film-of-2021-419967" hreflang="en">Not James Bond or Marvel, this Chinese film is the world's fourth largest film of 2021</a></p>

<p>Theirs is but one of the thin and mild conflicts that the production, directed by Zhailon Levingston, stirs mightily to bring to a boil. On the day of the funeral, Baneatta’s husband, Reginald, will be delivering the eulogy, hoping to prove himself a suitable successor to his father-in-law in the pulpit. (With Norm Lewis in the role, could there ever be any doubt?) Reginald is also hoping that family hysteria will not overtake family healing in the process.</p>

<p>Apparently, he has not met his family, or even his own children: the tightly wound, high-achieving, 30-something Simone (Alana Raquel Bowers) and her younger brother, Kenny (Devere Rogers), a struggling actor and the de rigueur gay son. Each comes factory supplied with a pressing problem. Simone has recently been dumped by her fiancé, who took up with a white woman instead. Kenny’s problem is also white: Logan Leibowitz, the Jewish boyfriend (and fellow struggling actor) he has brought to the funeral unannounced.</p>

<p>Though Simone repeatedly refers to the couple, with a smirk, as “thespians,” and Baneatta simply ignores the interloper, no one disapproves of Kenny’s gayness deeply enough to prevent a happy hug of an ending. All of the characters’ characteristics are red herrings, and usually stale ones at that. Beverly’s outrageousness recalls that of innumerable stock characters from Tyler Perry’s plays, Black sitcoms of the 1970s and chitlin’ circuit farces. Logan (Michael Urie) is a gay stereotype so flittery he cannot follow the service; as he flips madly through the Bible, he asks: “Where’s Corinthians? Is this in alphabetical order?”</p>

<p>You will detect in Logan and Beverly — and in Beverly’s sarcastic Gen Z daughter, La’Trice (Aigner Mizzelle) — a kind of equal opportunity minstrelsy. In some ways, trotting out laughable stereotypes of a modern Black family and its white appendages seems almost daring on Broadway today. One of the highlights of Levingston’s production, which can otherwise feel bloated at two hours, comes when Simone, apologizing for her knee-jerk hostility toward Logan, says, “Since the breakup, it’s been real hard for me not to see red when I see white people.” Levingston lets this moment sit a good long time, waiting for the (mostly white) audience to get the joke. Also Read:&nbsp;<a href="https://www.wionews.com/opinions-blogs/squid-game-korean-web-series-netflix-Ali-anupam-tripathi-south-asians-419968" hreflang="en">Opinion | Squid Game reignites debate on stereotypical representation of South Asians</a></p>

<p>Such insight and provocation is otherwise rare in “Chicken &amp;&nbsp;Biscuits.” So is any real tension. Whether the family will accept Logan, whether the sisters will reconcile, whether the mystery guest at the funeral (NaTasha Yvette Williams) will be explained are barely even questions; they’re more like a packing list. In that sense, the play feels dramatically complacent and underdeveloped, suggesting that its trip to Broadway after a pandemic-foreshortened run at the Queens Theater in 2020 might have benefited from a stop along the way.</p>

<p>Yet it’s at least a little unfair to look at a family comedy that way. Lyons, an actor himself before turning to playwriting — this is his Broadway debut as an author, and Levingston’s as a director — is operating here in a different tradition from most contemporary fare, which is built on ideas and argumentation.</p>

<p>“Chicken &amp;&nbsp;Biscuits” is built on sensation, more like a musical or even an opera. In the long scene of the funeral itself, the eulogies by several family members function as arias, delivered in the old-school park-and-bark style. They are not concerned with forwarding the action so much as bringing aural pleasure, and indeed Lewis’s satire of a preacherly stemwinder, with drawn out vowels and pounced-on syncopations, is more than halfway to song.</p>

<p>In any case, Lyons is more interested in the family’s moment-by-moment byplay — its laugh track and tear track — than in drawing realistic character portraits or scoring sociological points. The cast, including five actors also making their Broadway debuts, for the most part fills in the characters’ outlines confidently. As for sociological points, you could hardly say more in a treatise than Dede Ayite does with the costumes and Nikiya Mathis with the wigs.</p>

<p>So if “Chicken &amp;&nbsp;Biscuits” isn’t a profound work, that doesn’t mean it’s pointless. Its gravy is just another name for schmaltz. Thinking back, as a Jew, on the Jewish families that Broadway audiences learned to love in not-very-sophisticated, high-cholesterol comedies, I have to admit that even as I alternately laughed and cringed at their caricatures, I felt relieved of the more pernicious problem of otherness.</p>

<p>Representation matters. I see many great and necessary new works about the problem of Blackness in a racist society — or rather, the problem of whiteness. They are filled with anguish and unfunny funerals. What I rarely get to see are works about Black American life that are defiantly not problem plays. Their sunniness is just as necessary, however garish the aquamarine and pimped-out the corpse.</p>

<p>&nbsp;</p>

<p>"Chicken &amp; Biscuits"</p>

<p>Tickets: Through Jan. 2 at Circle in the Square Theater, Manhattan; 212-239-6200, chickenandbiscuitsbway.com. Running time: 2 hours.</p>

<p>Credits: Written by Douglas Lyons; directed by Zhailon Levingston; sets by Lawrence E. Moten III; costumes by Dede Ayite; lighting by Adam Honoré; sound by Twi McCallum; hair/wig and makeup by Nikiya Mathis; associate director, Bianca Laverne Jones; production stage manager, lark hackshaw; company manager, Susan Keappock; technical supervision, Hudson Theatrical Associates; general manager, RCI Theatricals. Presented by Pamela Ross, Hunter Arnold, E. Clayton Cornelious, Leah Michalos, Kayla Greenspan, Priyanka Chopra Jonas, Nick Jonas, Mapleseed Productions, Curt Cronin, John Joseph, John Paterakis, Invisible Wall Productions/Blaine Hopkins.</p>

<p>Cast: Cleo King, Norm Lewis, Michael Urie, Alana Raquel Bowers, Ebony Marshall-Oliver, Aigner Mizzelle, Devere Rogers and NaTasha Yvette Williams.</p>


“Why we gotta wear black, huh? We already Black!” So grouses Beverly, the kind of woman who features aquamarine hair and a peek-a-boo pushup bra at a funeral. To be specific: her father’s funeral.

“Why we gotta wear black, huh? We already Black!” So grouses Beverly, the kind of woman who features aquamarine hair and a peek-a-boo pushup bra at a funeral. To be specific: her father’s funeral. “We should be honoring my Daddy in style, color!” she proclaims. Certainly the deceased — the pastor of a New Haven, Connecticut, church — has complied; he’s heading to the pearly gates in a canary-yellow tie. “Canary yellow was his favorite,” Beverly explains. “And he wore it like a pimp!” As I sat alternately laughing and cringing in the audience of “Chicken & Biscuits,” a play by Douglas Lyons that opened on Sunday at Circle in the Square Theater, I couldn’t help thinking that Beverly was voicing more than a personal, sartorial truth. In her impatience with tragedy, her gaudy antics and her beeline for fun, she was also delivering what may be the play’s mission statement. This family comedy, with its cheek and secrets and eulogies and amens, wants to offer audiences living in bad times an old-fashioned good one. Also Read: Money is the real reason why Adele shifted from London to Los Angeles; read details inside Whether it succeeds for you will depend largely on your taste for Broadway comedies of a type that otherwise went out of style a few decades ago. These were supposedly heartwarming domestic stories in which “ethnic” families like the Italian American Geminianis in “Gemini” and the Jewish Chamberses in “Norman, Is That You?” aired dirty laundry (typically involving a gay son) while reaffirming the notion that love conquers all, among kin no less than country. Sidestepping the traffic of somber, formally inventive new plays about Black life, “Chicken & Biscuits” eagerly boards that rickety old bus. To start, there are the requisite squabbling siblings: Beverly (Ebony Marshall-Oliver) and her sister, Baneatta (Cleo King), representing opposite ends of the bawdy-to-churchy continuum. Beverly resents Baneatta’s attitude of superiority; Baneatta, whose tenured professorship seems to be in Disapproval Studies, scorns Beverly’s down-market outfits and outlook. Also Read: Not James Bond or Marvel, this Chinese film is the world's fourth largest film of 2021 Theirs is but one of the thin and mild conflicts that the production, directed by Zhailon Levingston, stirs mightily to bring to a boil. On the day of the funeral, Baneatta’s husband, Reginald, will be delivering the eulogy, hoping to prove himself a suitable successor to his father-in-law in the pulpit. (With Norm Lewis in the role, could there ever be any doubt?) Reginald is also hoping that family hysteria will not overtake family healing in the process. Apparently, he has not met his family, or even his own children: the tightly wound, high-achieving, 30-something Simone (Alana Raquel Bowers) and her younger brother, Kenny (Devere Rogers), a struggling actor and the de rigueur gay son. Each comes factory supplied with a pressing problem. Simone has recently been dumped by her fiancé, who took up with a white woman instead. Kenny’s problem is also white: Logan Leibowitz, the Jewish boyfriend (and fellow struggling actor) he has brought to the funeral unannounced. Though Simone repeatedly refers to the couple, with a smirk, as “thespians,” and Baneatta simply ignores the interloper, no one disapproves of Kenny’s gayness deeply enough to prevent a happy hug of an ending. All of the characters’ characteristics are red herrings, and usually stale ones at that. Beverly’s outrageousness recalls that of innumerable stock characters from Tyler Perry’s plays, Black sitcoms of the 1970s and chitlin’ circuit farces. Logan (Michael Urie) is a gay stereotype so flittery he cannot follow the service; as he flips madly through the Bible, he asks: “Where’s Corinthians? Is this in alphabetical order?” You will detect in Logan and Beverly — and in Beverly’s sarcastic Gen Z daughter, La’Trice (Aigner Mizzelle) — a kind of equal opportunity minstrelsy. In some ways, trotting out laughable stereotypes of a modern Black family and its white appendages seems almost daring on Broadway today. One of the highlights of Levingston’s production, which can otherwise feel bloated at two hours, comes when Simone, apologizing for her knee-jerk hostility toward Logan, says, “Since the breakup, it’s been real hard for me not to see red when I see white people.” Levingston lets this moment sit a good long time, waiting for the (mostly white) audience to get the joke. Also Read: Opinion | Squid Game reignites debate on stereotypical representation of South Asians Such insight and provocation is otherwise rare in “Chicken & Biscuits.” So is any real tension. Whether the family will accept Logan, whether the sisters will reconcile, whether the mystery guest at the funeral (NaTasha Yvette Williams) will be explained are barely even questions; they’re more like a packing list. In that sense, the play feels dramatically complacent and underdeveloped, suggesting that its trip to Broadway after a pandemic-foreshortened run at the Queens Theater in 2020 might have benefited from a stop along the way. Yet it’s at least a little unfair to look at a family comedy that way. Lyons, an actor himself before turning to playwriting — this is his Broadway debut as an author, and Levingston’s as a director — is operating here in a different tradition from most contemporary fare, which is built on ideas and argumentation. “Chicken & Biscuits” is built on sensation, more like a musical or even an opera. In the long scene of the funeral itself, the eulogies by several family members function as arias, delivered in the old-school park-and-bark style. They are not concerned with forwarding the action so much as bringing aural pleasure, and indeed Lewis’s satire of a preacherly stemwinder, with drawn out vowels and pounced-on syncopations, is more than halfway to song. In any case, Lyons is more interested in the family’s moment-by-moment byplay — its laugh track and tear track — than in drawing realistic character portraits or scoring sociological points. The cast, including five actors also making their Broadway debuts, for the most part fills in the characters’ outlines confidently. As for sociological points, you could hardly say more in a treatise than Dede Ayite does with the costumes and Nikiya Mathis with the wigs. So if “Chicken & Biscuits” isn’t a profound work, that doesn’t mean it’s pointless. Its gravy is just another name for schmaltz. Thinking back, as a Jew, on the Jewish families that Broadway audiences learned to love in not-very-sophisticated, high-cholesterol comedies, I have to admit that even as I alternately laughed and cringed at their caricatures, I felt relieved of the more pernicious problem of otherness. Representation matters. I see many great and necessary new works about the problem of Blackness in a racist society — or rather, the problem of whiteness. They are filled with anguish and unfunny funerals. What I rarely get to see are works about Black American life that are defiantly not problem plays. Their sunniness is just as necessary, however garish the aquamarine and pimped-out the corpse. "Chicken & Biscuits" Tickets: Through Jan. 2 at Circle in the Square Theater, Manhattan; 212-239-6200, chickenandbiscuitsbway.com. Running time: 2 hours. Credits: Written by Douglas Lyons; directed by Zhailon Levingston; sets by Lawrence E. Moten III; costumes by Dede Ayite; lighting by Adam Honoré; sound by Twi McCallum; hair/wig and makeup by Nikiya Mathis; associate director, Bianca Laverne Jones; production stage manager, lark hackshaw; company manager, Susan Keappock; technical supervision, Hudson Theatrical Associates; general manager, RCI Theatricals. Presented by Pamela Ross, Hunter Arnold, E. Clayton Cornelious, Leah Michalos, Kayla Greenspan, Priyanka Chopra Jonas, Nick Jonas, Mapleseed Productions, Curt Cronin, John Joseph, John Paterakis, Invisible Wall Productions/Blaine Hopkins. Cast: Cleo King, Norm Lewis, Michael Urie, Alana Raquel Bowers, Ebony Marshall-Oliver, Aigner Mizzelle, Devere Rogers and NaTasha Yvette Williams.

Review: In ‘Chicken & Biscuits,’ a sweet but dated comedic recipe

<p>'Harry Potter and the Cursed Child' is now ready to make its return to Broadway and this time in a new show format that combines the two-part experience into a single-ticket performance.</p>

<p>Produced by Sonia Friedman Productions, Colin Callender and Harry Potter Theatrical Productions, the Broadway show will begin at Lyric Theatre in New York on November 16, 2021. Tickets will go on sale to the general public beginning July 12, 2021.</p>

<p>The play is based on an original new story by J.K. Rowling, Jack Thorne and John Tiffany. It is written by Jack Thorne and directed by John Tiffany. It acts as a stage sequel to JK Rowling’s original best-selling Harry Potter books and originally debuted in London in 2016 before opening on Broadway in 2018.</p>

<p>Rowling, in a statement, shared that “collaborating on Harry Potter and the Cursed Child has been one of the great joys of my professional life.”</p>

<p>The Broadway show will not only make its return to San Francisco but Toronto, Canada, which will shift to the new one-part format while the currently running and soon-to-return productions in Melbourne, Australia, London’s West End and Hamburg, Germany will continue in the original two-part format.</p>

<p>In a statement, producers Sonia Friedman and Colin Callender called Broadway’s reopening “an unprecedented moment in theatre history.” They said they were“delighted” to announce the debut of a re-imagined show “audiences can see in one afternoon or evening.”</p>

<p>“Given the challenges of remounting and running a two-part show in the U.S. on the scale of Harry Potter and the Cursed Child and the commercial challenges faced by the theatre and tourism industries emerging from the global shutdowns, we are excited to be able to move forward with a new version of the play that allows audiences to enjoy the complete Cursed Child adventure in one sitting eight times a week,” Friedman and Callender said.</p>

<p>Broadway had been shut down since March 2020 owing to the pandemic.&nbsp;</p>


'Harry Potter and the Cursed Child' is now ready to make its return to Broadway and this time in a new show format that combines the two-part experience into a single-ticket performance.

'Harry Potter and the Cursed Child' is now ready to make its return to Broadway and this time in a new show format that combines the two-part experience into a single-ticket performance. Produced by Sonia Friedman Productions, Colin Callender and Harry Potter Theatrical Productions, the Broadway show will begin at Lyric Theatre in New York on November 16, 2021. Tickets will go on sale to the general public beginning July 12, 2021. The play is based on an original new story by J.K. Rowling, Jack Thorne and John Tiffany. It is written by Jack Thorne and directed by John Tiffany. It acts as a stage sequel to JK Rowling’s original best-selling Harry Potter books and originally debuted in London in 2016 before opening on Broadway in 2018. Rowling, in a statement, shared that “collaborating on Harry Potter and the Cursed Child has been one of the great joys of my professional life.” The Broadway show will not only make its return to San Francisco but Toronto, Canada, which will shift to the new one-part format while the currently running and soon-to-return productions in Melbourne, Australia, London’s West End and Hamburg, Germany will continue in the original two-part format. In a statement, producers Sonia Friedman and Colin Callender called Broadway’s reopening “an unprecedented moment in theatre history.” They said they were“delighted” to announce the debut of a re-imagined show “audiences can see in one afternoon or evening.” “Given the challenges of remounting and running a two-part show in the U.S. on the scale of Harry Potter and the Cursed Child and the commercial challenges faced by the theatre and tourism industries emerging from the global shutdowns, we are excited to be able to move forward with a new version of the play that allows audiences to enjoy the complete Cursed Child adventure in one sitting eight times a week,” Friedman and Callender said. Broadway had been shut down since March 2020 owing to the pandemic.

'Harry Potter and the Cursed Child' to return to Broadway as single show

After a dark year, Broadway sees light at the end of the summer

Leslie Odom Jr, winner of the 2016 Tony Award for best leading actor in a musical for his role in the smash Broadway hit <em>Hamilton</em>,&nbsp;became on Sunday the latest member of the cast to announce his departure.<br />
<br />
Odom, 34, said on his Facebook page he would make his last performance in the show on July 9, the same day the show&#39;s co-star and creator, Lin-Manuel Miranda, bows out.<br />
<br />
Odom plays Aaron Burr in the musical, which blends hip-hop and other musical genres to tell the story of Alexander Hamilton, one of the US Founding Fathers and the first Treasury secretary. The show won 11 of Broadway&rsquo;s top honors at the Tony Awards on June 12.<br />
<br />
&ldquo;It has just been the most completely wonderful, totally healing and inspiring experience from beginning to end,&rdquo; Odom said in a video statement from his dressing room, posted on Facebook. &ldquo;I will never forget the people I have met. I will never forget you.&rdquo;<br />
<br />
Odom said rehearsals were the most exciting part of his work on <em>Hamilton</em>&nbsp;because the show held such great potential.<br />
<br />
&ldquo;I am excited to have a blank page now,&rdquo; Odom said. He said he was looking for something fresh to work on.<br />
<br />
In addition to Miranda, who plays the title character in the musical, Phillipa Soo, who plays Eliza Hamilton, is also leaving.<br />
(Reuters)

'I will never forget the people I have met' Odom said in a Facebook video, adding that he was looking for something fresh to work on

Leslie Odom Jr, winner of the 2016 Tony Award for best leading actor in a musical for his role in the smash Broadway hit Hamilton, became on Sunday the latest member of the cast to announce his departure. Odom, 34, said on his Facebook page he would make his last performance in the show on July 9, the same day the show's co-star and creator, Lin-Manuel Miranda, bows out. Odom plays Aaron Burr in the musical, which blends hip-hop and other musical genres to tell the story of Alexander Hamilton, one of the US Founding Fathers and the first Treasury secretary. The show won 11 of Broadway’s top honors at the Tony Awards on June 12. “It has just been the most completely wonderful, totally healing and inspiring experience from beginning to end,” Odom said in a video statement from his dressing room, posted on Facebook. “I will never forget the people I have met. I will never forget you.” Odom said rehearsals were the most exciting part of his work on Hamilton because the show held such great potential. “I am excited to have a blank page now,” Odom said. He said he was looking for something fresh to work on. In addition to Miranda, who plays the title character in the musical, Phillipa Soo, who plays Eliza Hamilton, is also leaving. (Reuters)

Actor Leslie Odom Jr to exit hit Broadway show 'Hamilton'

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Review: In ‘Chicken & Biscuits,’ a sweet but dated comedic recipe

'Harry Potter and the Cursed Child' to return to Broadway as single show

After a dark year, Broadway sees light at the end of the summer

Actor Leslie Odom Jr to exit hit Broadway show 'Hamilton'