Broadway and the world of classical music rarely intersect, but this October, both have found themselves at the heart of vibrant discussions about the enduring relevance of the performing arts. On one side of the Atlantic, the Music Box Theatre in New York City is abuzz with excitement over the revival of Yasmina Reza’s acclaimed play Art. Meanwhile, in Leeds, Opera North’s new production of Handel’s 1749 oratorio Susanna is drawing attention for its timely themes and innovative staging. Both productions, though separated by centuries and genres, are sparking conversations about the power of performance to reflect—and challenge—contemporary society.
The Broadway revival of Art officially opened on October 4, 2025, with a star-studded cast that includes Tony Award winners James Corden as Yvan and Neil Patrick Harris as Serge, alongside two-time Tony nominee Bobby Cannavale as Marc. The play, written by Yasmina Reza in 1994, centers on the purchase of an avant-garde painting—described by Cannavale’s character as “just a white square on a canvas”—that ignites both humor and conflict among three lifelong friends. The simplicity of the artwork becomes a catalyst for deep-seated tensions, exposing the fragility of male friendship and the complex interplay between ego and loyalty.
Director Scott Ellis, whose previous credits include explorations of male relationships in works like Take Me Out and 12 Angry Men, brings a fresh perspective to the revival. According to el-balad.com, Ellis’s direction emphasizes the play’s continued resonance with modern audiences. “It feels like it could have been written two months ago,” James Corden observed, underscoring the timelessness of the script. The actors themselves noted how the arguments and banter on stage mirror real-life dynamics, with Cannavale remarking, “I think anybody can recognize themselves in this play.”
The production’s comedic timing is a standout feature. The dialogue-driven script allows the actors’ talents to shine, with Corden referencing the play’s “epic speech” and Cannavale hinting at unexpected twists that keep the audience engaged. Harris, reflecting on the experience, noted, “What you think you’re starting to see is not what you wind up leaving with,” suggesting that the play’s surface-level humor belies deeper truths about friendship, art, and the human condition.
Since its original Broadway premiere in 1998, where it won the Tony Award for Best Play, Art has been celebrated for its ability to provoke thought and laughter in equal measure. This latest revival not only reaffirms Broadway’s role as a platform for meaningful discourse but also highlights the enduring relevance of theater in an age of rapid cultural change.
Across the ocean, another classic work is finding new resonance in the present day. Opera North’s production of Handel’s Susanna, reviewed on October 5, 2025, is being hailed for its unexpected relevance in the era of MeToo. The oratorio, first performed in 1749, tells the biblical story of a woman who resists two would-be rapists and is subsequently falsely accused of promiscuity, facing a death sentence as a result. In an era where issues of gender, power, and justice are hotly debated, Susanna feels strikingly contemporary.
Director Olivia Fuchs, according to Opera North, sought to animate the work’s sometimes austere narrative by incorporating the Leeds-based Phoenix Dance Company. Choreographer Marcus Jarrell Willis’s graceful movement adds another layer of interpretation, with dancers doubling as characters and infusing choral scenes with swirling energy. While some critics noted that the choreography could be distracting at times, the integration of dance was intended to “enrich” the production and draw out the emotional undercurrents of the story.
The cast’s performances have been widely praised. Anna Dennis, in the title role, was described as “moving” and her “small but perfectly honed voice” was deemed perfectly suited to Susanna’s plight. James Hall brought expressive anguish to the role of Joacim, Susanna’s husband, while Colin Judson and Karl Muml provided comic yet sinister portrayals of the two Elders. Perhaps most notable was Claire Lees, whose portrayal of the boy Daniel—who ultimately exposes the Elders’ lies—was described as “touchingly innocent.”
The musical forces behind the production were equally lauded. The chorus and orchestra, enriched with the sounds of harpsichord and bass lute, performed under the direction of conductor Johanna Soller. Her “judicious tempos” allowed the passion and stateliness of Handel’s music to come to the fore, ensuring that the score’s emotional impact was not lost amid the visual spectacle.
Yet, as Opera North’s review pointed out, the very elements designed to invigorate the production—particularly the dance—occasionally threatened to overshadow the music and singing. “At length it becomes distracting, and shows a lack of faith in the ability of Handel’s music and the singers to bring the drama to life,” one reviewer commented. This tension between innovation and tradition is hardly new in the world of opera and theater, but it remains a point of lively debate among audiences and critics alike.
Opera North’s Susanna runs at the Grand Theatre Leeds until November 21, 2025, before embarking on a tour. Its reception thus far suggests that even works centuries old can speak powerfully to the present moment, especially when directors and performers are willing to take creative risks and engage with contemporary issues.
Both Art and Susanna offer compelling evidence that the performing arts are far from relics of the past. Whether through laughter or solemn reflection, these productions invite audiences to grapple with questions of identity, morality, and the nature of art itself. As Neil Patrick Harris put it, “What you think you’re starting to see is not what you wind up leaving with”—a sentiment that could just as easily apply to the experience of live performance in any era.
In a world where attention spans are short and entertainment options are endless, it’s heartening to see the stage remain a place for both joy and provocation. This season’s standout productions on Broadway and in Leeds are a testament to the enduring—and ever-evolving—relevance of theater and opera in our cultural lives.
