broadway

Josh Grisetti, the Broadway actor who charmed audiences with roles in “Something Rotten!” and TV’s “The Marvelous Mrs. Maisel,” has died, a family member confirmed to The Times on Monday. He was 44.

Grisetti died by suicide Friday, his “Something Rotten!” co-star Rob McClure first announced Sunday on Instagram, adding he is heartbroken and “not ready to even attempt to understand.” McClure also expressed his condolences to Grisetti’s wife and family. The Instagram post included photos of Grisetti and McClure over the years, including at Grisetti’s wedding. The actor married Mackenzie Perpich in 2020.

“Communities around the world will never be the same without him. We love you Josh,” McClure wrote in his caption. “Just a cataclysmic loss.”

On Broadway, Grisetti was best known for starring as Bottom brother Nigel alongside McClure’s Nick. The play follows the pair of brothers as they strive for success in the theatrical world amid William Shakespeare’s unstoppable rise. Grisetti portrayed Nigel Bottom from 2017 to 2018 for the show’s national tour. Grisetti also starred in musical comedies “It Shoulda Been You” and “Broadway Bound.” He appeared in award-winning off-Broadway productions including “Rent,” “Peter and the Starcatcher” and “Enter Laughing,” among others.

Grisetti’s regional credits also include “Spamalot” in Las Vegas, “How to Succeed in Business Without Really Trying” at the Reprise Theatre, “Beauty & the Beast” and “Peter Pan Goes Wrong” in La Mirada.

“Thank you, Josh, for sharing your beautiful energy and immense talent with us,” the La Mirada Theatre said on Instagram.

The actor, in what would be his final Instagram post, announced he departed a production of “Legally Blonde” at the Trentino Music Festival for “personal reasons” before the show’s opening.

The festival also mourned Grisetti in an Instagram post Monday: “Josh was a loving and caring person who was deeply dedicated to his friends, his students, and his colleagues. He was beloved by all who knew him, and he will be deeply missed by our students, faculty, and staff.”

Grisetti, born in December 1981 in Roanoke, Va., acted throughout childhood and performed in a variety of productions, including a kindergarten production of “Peter Rabbit” and high school productions of “Anything Goes” and “Flowers for Algernon.” He officially earned his Actors’ Equity card in 2004 for a production of “Where’s Charley?” at the Goodspeed Opera House, he told Playbill in 2009.

He also pursued a career in TV and film, most notably appearing in the Emmy-winning series “The Marvelous Mrs. Maisel.” He appeared as comedy writer Ralph Emerson in the series’ fifth season. He also had roles in shows “The Knights of Prosperity,” “Nurse Jackie” and “The Good Fight.”

He appeared in the film adaptation of Jhumpa Lahiri’s “The Namesake,” “The Immigrant,” “The Revolutionary Road” and “Men in Black 3,” among other movies, according to IMDb.

Grisetti, who also directed various musical productions, notably brought his talent and experience to Cal State Fullerton and Loyola Marymount University, teaching acting, musical theater and business. He also authored “God in My Head” in 2016, an “irreverent spiritual memoir” that details his accidental meeting with God through a “hallucinogenic journey.”

During his time on “Price of Broadway” in 2015, Grisetti reflected on luck and breaking into the industry. “Luck is required to kind of spark some things in this business a lot of the time, but then talent is what keeps you there,” he told Playbill.

“You start making your own luck, you start forging your own connections and making it happen.”

TO the untrained eye, he was just a bloke in a shiny police helmet singing about staying at the YMCA.

But behind the tight trousers and macho character in disco group ­Village People, Victor Willis was a musical hitmaker who co-wrote songs that will provide the soundtrack to every wedding, birthday and office party for years to come.

Yesterday, in a Facebook post, his wife Karen Huff-Willis announced Victor’s death, aged 74.

“It is with profound sadness that I must announce the death of my husband,” she said.

“Victor passed away on Tuesday, June 30, 2026, as a result of a short but aggressive illness.”

Long before he was commanding crowds to put their hands in the air to anthems that defined an era, including YMCA, Go West and In The Navy, Victor was singing gospel music in his Baptist minister father’s church.

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He grew up in San Francisco and his high school band, The Ballads, supported The Temptations.

He sat in on sessions with American jazz trumpeter Dizzy Gillespie, before becoming an actor and singer.

A role in the Las Vegas production of musical Hair earned him a place in Broadway productions of Two Gentlemen Of Verona and The Wiz.

In the late Seventies, he caught the attention of flamboyant French producer Jacques Morali, who was creating a musical group based on the macho stereotypes and gay pin-ups of New York’s Greenwich Village.

Their four-track demo, called The Village People, earned the group a record deal, and Jacques asked ­Victor to become the frontman.

While the rest of the line-up were recruited from dance studios and clubs for the roles of the cowboy, the Native American, the biker, the construction worker and the soldier, Victor was thought to be the only straight member.

After albums Macho Man in 1978, and Cruisin’ in ’79 which gave us YMCA, they put out Go West and its title track became a gay anthem, later covered by The Pet Shop Boys.

It also featured In The Navy, which the US Navy co-opted for a recruitment campaign, before realising they were using the ultimate camp parody.

It was around then that Victor met and married his first wife, future Cosby Show star Phylicia Rashad.

They split in 1982.

After battling growing frustrations within the group, Victor walked out in 1979.

But his departure triggered a downward spiral.

He struggled to escape the group’s flamboyant reputation and establish credibility on his own.

His 1979 solo project, Solo Man, remained unreleased for more than 30 years until 2015.

The Eighties and Nineties became a blur of substance abuse, addiction, and brushes with the law.

In 2015, he said: “I got very depressed over the years.

“I got kind of drugged out, because I was disappointed with the way things were and got frustrated, and gave up for a bit.”

He began to turn things around in 2006 after he received court-ordered substance abuse treatment and completed three years of probation.

After getting clean, he turned his energy towards a battleground between him and ruthless record executives who had pocketed the lion’s share of the royalties from the Village People’s catalogue.

This led Victor to meet his second wife Karen, an attorney who helped him fight his copyright case against the companies who controlled Village People’s hits.

They ­married in 2007.

Victor, armed with a gritty determination, launched a historic, multi-year lawsuit under a loophole in the 1976 US Copyright Act, which allows artists to reclaim their work after 35 years.

In a legal victory that sent shockwaves through the music industry, the US courts ruled in his favour in 2013.

Victor clawed back up to 50 per cent of the lucrative copyright percentages for YMCA and his other hits, becoming a hero to older musicians everywhere.

The resolution paved the way for his return to the group in 2017.

Older, wiser, but with that same thunderous voice, he toured the world to packed arenas, watching three generations of families throw their arms in the air to spell out those four famous letters.

By then, YMCA was being regularly played at Donald Trump’s political rallies, a use Victor was unhappy with.

“I don’t endorse Trump, I’ve never endorsed Trump, nor have the Village People,” he told the BBC in 2020.

However, he surprised fans last year by agreeing to take part in the politician’s second inauguration saying: “Our song YMCA is a global anthem that hopefully helps bring the country together after a tumultuous and divided campaign where our preferred candidate lost.”

In his tribute yesterday, Trump claimed: “He was a great and happy guy who loved that I used YMCA at my rallies.”

Regardless, YMCA remains Victors’ biggest hit, reaching No1 in 17 countries.

The star may have hung up his police helmet for the final time, but his legacy is firmly etched into global nightlife.

As long as there is a wedding with a dancefloor, people will be ready to fling their arms up in the air in the shape of a “Y”.

The show that has had everyone clamoring for tickets this spring, Joe Mantello’s cobweb-clearing production of Arthur Miller’s “Death of a Salesman,” won, as expected, for best revival.

Mantello, who received a Tony for his direction (his third such award), swept away the cliches that have accumulated around this American classic to reveal a “Salesman” like none we’ve experienced before. The Loman family home isn’t depicted in a literal fashion but instead fluidly suggested in a warehouse space that allows the actors to move unfetteredly between past and present. (The physical production was honored with awards for Mikaal Sulaiman’s sound design, Jack Knowles’ lighting and Chloe Lamford’s scenic design.)

Laurie Metcalf, confirming her standing as the First Lady of the American Theater, won for her portrayal of Linda Loman, a more formidable than usual interpretation of Willy’s stalwart wife. Metcalf, who endowed her characterization with a sharp-edged autonomy and transfixing gravitas, added another Tony to her two previous acting wins (“Three Tall Women,” “A Doll’s House, Part II”).

Joe Mantello wins the Tony for his direction of “Death of a Salesman.”

(Evelyn Freja / For The Times)

Nathan Lane was in a tight race with John Lithgow, who won for his ruthlessly uncompromising portrayal of a wrathful and dyspeptic Roald Dahl in Mark Rosenblatt’s “Giant.” Lane’s Willy leaves a lasting memory in “Salesman,” but it would be hard to imagine “Giant” having the same impact without Lithgow, who provides a terrifying human foundation to this explosive play about a writer’s political commitments tipping over into toxic antisemitism. (The performance slips into a sinkhole of animus in the uncanny way of one of Dahl’s recognizably terrifying, psychologically plausible stories.) In his almost but not quite valedictory acceptance speech, the 80-year-old Lithgow acknowledged that this Tony win, his third, comes 53 years after his first — and feels every bit as satisfying.

Aya Cash and John Lithgow in “Giant.”

(Joan Marcus)

Rather than a slight to Lane, Lithgow’s win is a sign of the dramatic depth that characterized this otherwise squirrely season. Indeed, Lithgow’s performance was as thrilling to experience as that of British powerhouse Lesley Manville, who won for her portrayal of Jocasta in Robert Icke’s modern reworking of “Oedipus.” The play was categorized by the Tony committee as a revival, but it’s really an original drama — one that gave rise to one of the most enthralling productions of the year.

In a season lifted up by Bess Wohl’s magnificent “Liberation” and capacious enough to include a first-rate “Salesman,” a searing “Oedipus” and a smartly contentious “Giant,” it should be no surprise that there were more great performances than statuettes to dole out.

It was a strange year on Broadway, but then it’s been strange everywhere. Our world at times seems downright unrecognizable, with politicians acting like mob bosses, AI transforming not just the internet but potentially the entire economy, the cost of living leaving only the super rich able to keep up, and I won’t even mention the climate crisis, but the forecast calls for more doom and gloom.

Good work, however, won’t be denied, even if Broadway producers have perhaps overlearned the lesson of last year’s sleeper, Cole Escola’s “Oh, Mary!” Parody with a heavy dose of camp has become all the rage in a theatrical season in which the best musical winner, “Schmigadoon!,” is an affectionate sendup of golden age classics by Rodgers and Hammerstein, Lerner and Loewe and their inspired descendants.

If Broadway is changing faster than the old guard can keep pace, the same is true for the culture in general. The economics of producing have scrambled the old playbooks. Unusual risk has occasionally brought unexpected rewards. “Schmigadoon!” fended off the competition to take the night’s top prize along with awards for both its book and score by Cinco Paul.

Michael Arden’s spectacular production of “The Lost Boys” — the staging won awards for Dane Laffrey’s scenic design and Jen Schriever and Arden’s lighting — enriched the 1980s cult film on which the show is based with human substance and high-flying showmanship. Shoshana Bean’s win for her featured performance as a persevering single mom, is a testament to the musical’s capacious heart. Ali Louis Bourzgui’s somewhat unexpected yet eminently worthy triumph for his featured performance as the vampire with front-man magnetism, catalyzed the production’s thrilling virtuosity. But few would describe this year’s ragtag selection of new musicals as robust.

The only overriding lesson may be that there are no overriding lessons. Two-time Oscar winner Adrien Brody made his Broadway debut in “The Fear of 13,” reprising his acclaimed Olivier-nominated London performance. But he didn’t even receive a nomination for his work — a snub that I found unaccountable.

Spoofs like best musical nominee “Titanique,” a zany burlesque of James Cameron’s “Titanic” and all things Celine Dion, found new respectability on Broadway. And “Two Strangers (Carry a Cake Across New York”), the two-person British musical by Jim Barne and Kit Buchan, endeared itself to audiences (if not so much to Tony voters) with its rom-com appeal. But what does it say about a season in which musical revivals upstaged new work?

“Ragtime,” the Lincoln Center Theatre production directed by Lear deBessonet that originated at New York City Center, was not only the most operatic offering of the season but was all the most emotionally stirring and dramatically ambitious. The show, which justly received the Tony for best musical revival contained perhaps the season’s most seismic tour de force. Joshua Henry’s Tony-winning lead performance as Coalhouse Walker Jr., the path-breaking pianist tragically ahead of his time, was astonishing in both its theatrical might and its generosity, which allowed everyone around him to shine, especially Caissie Levy, who picked up a Tony for her lead performance as a white matriarch whose political consciousness courageously awakens.

“Cats: The Jellicle Ball” pulled off the seemingly impossible by making Andrew Lloyd Webber’s megamusical look cool on Broadway. The production’s radical concept brings the queer audacity of Harlem Ballroom culture to these feline proceedings. For their imaginative daring, co-directors Zhailon Levingston and Bill Rauch were justly honored as were costume designer Qween Jean and choreographers Omari Wiles and Arturo Lyons, among the production’s notable awards.

“Chess,” which was strangely overlooked in the best musical revival category (“The Rocky Horror Show” strutted in instead), may not have managed to overcome the challenge of this over-elaborate geopolitical tale, even with a puckish new book. But the production made Nicholas Christopher a likely future Tony winner star.

What was old was new again on Broadway, but let’s hope that producers can still believe that the best is ahead of us.

It’s Broadway’s time to shine Sunday when the 79th Tony Awards take New York City.

Broadcast live from Radio City Music Hall, the night promises plenty of onstage drama and hopefully some real-life intrigue. The number of new Broadway productions this year — 30 — shrunk from last year’s 42, but there are still some standout shows and performances to watch out for, from flashy revivals like “Cats: The Jellicle Ball” to Laurie Metcalf’s stunning turns in both “Death of a Salesman” and “Little Bear Ridge Road.”

Grammy Award winner Pink is hosting for the first time, and though the pop star lacks direct Broadway roots, her songs have been featured in the jukebox musicals “Moulin Rouge!” and “& Juliet.”

Here’s everything else you should know about this year’s ceremony, including how to tune in.

How can I watch?

The three-hour awards ceremony will air live on CBS on Sunday at 5 p.m. Paramount+ premium-level subscribers can also stream it on the app, while those with other membership tiers can watch the show on-demand after it airs.

The annual pre-show, “The Tony Awards: Act One,” will stream live on free service Pluto TV at 3:35 p.m. that same day. It is hosted by Tony Award nominee Laura Benanti and actor Tituss Burgess and includes the first round of Tony Award presentations.

Who is performing?

This year’s opening number, a show-stopping Tonys tradition, will feature more than 170 Broadway performers. It’s choreographed by Sarah O’Gleby and written by Benj Pasek, Justin Paul and Mark Sonnenblick.

As always, casts from the productions nominated for best musical — “The Lost Boys,” “Schmigadoon!,” “Titaníque” and “Two Strangers (Carry a Cake Across New York)” — and for best revival of a musical — “Cats: The Jellicle Ball,” “Ragtime” and Richard O’Brien’s “The Rocky Horror Show” — will perform during the ceremony.

Rachel Zegler will pay tribute to “A Chorus Line” and Tony Award winner Leslie Odom Jr. will perform “Without You” from “Rent” to honor the show’s 30th anniversary as well as those in the theater community who have died this year.

The “Chicago” revival will also celebrate its 30th anniversary on Broadway with a performance from stars including Queen Latifah, who was nominated for an Academy Award for her portrayal of Matron Mama Morton in the show’s 2002 film adaptation, and Tony Awards host Pink. The entire original cast of “The Book of Mormon,” including Tony Award nominees Josh Gad, Andrew Rannells and Rory O’Malley and Tony winner Nikki M. James, will also perform in celebration of the show’s 15th anniversary on Broadway.

Who is presenting?

Notable stars of stage, screen and music presenting awards include Grammy Award winner Megan Thee Stallion, who made her Broadway debut this year in “Moulin Rouge!”; Nicole Scherzinger, who won a Tony last year for her performance in the revival of “Sunset Boulevard”; and Academy Award winner Adrien Brody.

You can find the star-studded presenter lineup here.

What is nominated?

“Schmigadoon!” and “The Lost Boys,” both nominated for best musical, lead the pack with 12 nominations each going into Sunday’s awards ceremony. The “Ragtime” revival trails with 11 nominations, and lauded revivals “Death of a Salesman,” “Cats: The Jellicle Ball” and “The Rocky Horror Show” are each nominated for nine awards.

Find a full list of nominees here.

RAPPER Megan Thee Stallion has QUIT her role on Broadway amid a very tumultuous period in her personal life.

The Hot Girl Summer hitmaker has been appearing in Moulin Rouge in New York but her stint has been plagued by a number of difficulties.

Now, it has been confirmed that Megan has pulled out of her role days after splitting from her boyfriend and suggesting he ‘cheated’ on her.

Megan had been scheduled to appear in the performance until May 17 but confirmed she would be exiting the role this week – leaving on May 1.

She had made history as the first ever female Zidler in the production.

Confirming her rather abrupt exit, Megan wrote on “Hotties, my last performance as Zidler in @moulinrougebway will be May 1.

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“It’s been such an honor to be part of thee Moulin Rouge family and I’ve met so many amazing people in this theater!

“Y’all work so hard and I have so much respect for the dedication, the stamina, the work ethic, the time and the effort y’all put into the work!

“I’m so grateful for the cast and crew that made this experience so meaningful. And to all the Hotties that showed up or planned to attend, thank you for supporting me during this incredible journey!

“I love y’all! See you soon.”

Megan was previously seen in tears during the curtain call of the performance last week, sparking rumours the end was nigh.

Her emotional display came after Megan confirmed her split with NBA star, Klay Thompson.

In a statement, Megan confirmed the end of her romance, saying: ‘I’ve made the decision to end my relationship with Klay.

“Trust, fidelity and respect are non-negotiable for me in a relationship, and when those values are compromised, there’s no real path forward.

“I’m taking this time to prioritize myself and move ahead with peace and clarity.”

Megan has previously faced a hospital dash which had forced her to pull out of one of the performances.

The 31-year-old rap star managed to get through the opening scenes of the hit musical in New York before the show had to be halted so she could be checked over by a medic.

A representative of the Savage rapper told TMZ: “During Tuesday night’s production, Megan started feeling very ill and was promptly transported to a local hospital, where her symptoms are currently being evaluated.”

Megan later clarified that she had pushed herself to her limits and needed to reset.