Dear Theater Fans, The Olivier Awards, Britain’s equivalent to the Tony Awards, were given out on Sunday and, to no one’s surprise, “Paddington: The Musical” was the big winner. And perhaps to everyone’s surprise (including our critics in London), Jack Holden, a star and co-writer of the small solo show “Kenrex,” beat out the likes of Tom Hiddleston and Bryan Cranston to win the best actor award. It just so happens that “Kenrex,” a true-crime thriller (more on this one soon), will begin performances tomorrow night at the Lucille Lortel Theater in Manhattan. How’s that for timing? But that is not the only London transfer about real-life criminal justice playing in New York. “The Fear of 13,” starring Adrien Brody and Tessa Thompson, is based on a documentary about Nick Yarris, a former inmate who was exonerated after more than two decades on death row. The play, which ran in 2024 in London, opens tonight on Broadway. (Be on the lookout for Helen Shaw’s review at nytimes.com/theater.) Interested in seeing Brody and Thompson in action? Check out this video. Or, if you’re curious about the true story, the documentary is on YouTube. While I’m on the subject of theater plucked from the real world, here’s another one: “Rheology,” Shayok Misha Chowdhury’s follow-up to “Public Obscenities,” which has transferred to Playwrights Horizons from the Bushwick Starr. According to Juan Ramírez, wrote about the show last year, “Rheology” is a sort of performance memoir that Chowdhury created with his mother, the physicist Bulbul Chakraborty. “How this all unfolds is its own delight,” Juan wrote. And then there’s “Dear Everything: A Musical Uprising for the Earth,” in which Jane Fonda will narrate a song cycle exploring how young people are navigating the climate crisis. The one-night-only performance, created by V, Diane Paulus and others, will be performed next Wednesday at the Brooklyn Academy of Music. (Laura Collins-Hughes reviewed an earlier version of the work.) There’s more: Helen Shaw calls the latest Broadway revival of “Death of a Salesman,” with Nathan Lane and Laurie Metcalf, a “triumph,” and Elisabeth Vincentelli found the Broadway transfer of the “Titanic” spoof, “Titaníque,” to be a bit uneven, perhaps, she wrote, “illustrating the fact that sometimes too much is not enough.” Also, Alexis Soloski explained how Daniel Radcliffe and his two associates help enlist audience members to participate in his interactive show, “Every Brilliant Thing.” And Sarah Bahr did a deep dive into the archives to separate fact from fiction in the new play “Giant,” which explores Roald Dahl’s antisemitism. In other news, Michael Paulson reported that Billy Crystal is returning to Broadway next fall in a solo show, “860,” which he wrote after the Los Angeles fires destroyed his home last year. Pink will host this year’s Tony Awards (on June 7), and the legal drama “Inter Alia,” featuring an Olivier-winning performance by Rosamund Pike, will also be coming to Broadway next fall. Please reach out to me at theaterfeedback@nytimes.com with suggestions for articles or to offer your thoughts about our coverage. And urge your friends to subscribe to this newsletter. Have a wonderful week, Like this email?Forward it to your friends, and let them know they can sign up here.
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