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    For Playwrights, Making It to Midcareer Is a Cliffhanger

    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?“Absolutely not,” Branden Jacobs-Jenkins declared.Leslye Headland chuckled. “Oh never, no.”“I don’t know anyone who could!” was Samuel D. Hunter’s astonished response.“Not really,” hedged Bess Wohl. “Until maybe last year.”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?”To win audiences and awards for your efforts is undoubtedly affirming, but the financial returns for dramatists are slim. Even after the premiere of “An Octoroon,” 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 her play “Bachelorette” made a splash Off Broadway in 2010, 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 “The Whale” and “A Case for the Existence of God” — was “less than $30,000.”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?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?Or so I have often worried.Katherine Waterston, Tracee Chimo and Celia Keenan-Bolger in Leslye Headland’s 2010 play “Bachelorette.”Joan MarcusWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Stephen Colbert Laughs Off New York Mayor’s Staffing Woes

    This week, Colbert said, Eric Adams’s problems “stopped being funny and started becoming hilarious.”Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.Rat RaceNew York City’s mayor, Eric Adams, has had a challenging start to his week, with four of his eight deputy mayors announcing their resignations. Stephen Colbert called it the moment when “Adams’s controversies stopped being funny and started becoming hilarious.”“The resignations were from the first deputy mayor, deputy mayor for health and human services, deputy mayor for operations, and deputy mayor for public safety. So, at this point, the city is evidently being run by the remaining deputy mayor: 100 rats in a trench coat.” — STEPHEN COLBERTThe resignations came after several federal prosecutors in the Southern District of New York quit, having come under pressure from the Trump administration to drop charges in the mayor’s corruption case.“That takes courage. Thankfully, all these lawyers found jobs at the new firm of Wegot, Balls & Howe.” — STEPHEN COLBERTColbert reminded viewers that Adams has “been involved in controversy for years now.”“For instance, while he was running to be the mayor of New York, no one could tell if he lived in New York or New Jersey; once he became mayor, he appointed, and later had to remove, his brother as deputy police commissioner. He announced a personal war on rats, introduced a Times Square RoboCop that failed as a police officer but thrived as a public urinal, and claims that the Big Apple is littered with unique crystals that give out a special energy. Yes, in fact, I saw a gentleman enjoying some of those unique crystals in the Port Authority bathroom yesterday. He definitely radiated a ‘special energy.’” — STEPHEN COLBERTThe Punchiest Punchlines (Reality Bites Edition)“This is the worst ad I have ever seen. It’s a virtual support group for singles, but it looks like an A.A. meeting for ‘Animal Crossing’ villagers.” — TAYLOR TOMLINSON on Meta’s new ad for its VR game, “Horizon Worlds”“CGI has gotten very good — ‘Avatar,’ ‘Planet of the Apes,’ ‘Sonic the Hedgehog’ — get it together! You’re telling me this is the best you can do? It looks like an animated show for children made by even younger children.” — TAYLOR TOMLINSONWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Jonathan Bailey’s Bratty, Bad-Boy ‘Richard II’ at the Bridge Theater

    The actor, on a hot streak after “Wicked,” takes on his biggest stage role to date. In London, he plays Shakespeare’s unfortunate king as a flouncing sociopath.The Bridge Theater is within walking distance of the Tower of London, where in 1399 King Richard II was imprisoned and forced to abdicate England’s throne in favor of his cousin, who became Henry IV. Where better to stage a new production of William Shakespeare’s play about Richard’s downfall? From the playhouse foyer, theatergoers can look out at the tower across the River Thames, and the distance of those 600 years shrinks to nothing.In this modern-dress take on “Richard II” directed by Nicholas Hytner and running through May 10, the hapless king is played by the English actor Jonathan Bailey, who is on a hot streak following recent high-profile screen roles — as Fiyero in “Wicked” and Anthony Bridgerton in “Bridgerton” — and is now taking on his biggest stage role to date.Bailey gives an engrossing performance as Richard, whose corrupt misrule fuels popular support for the usurper cousin, Henry Bolingbroke (Royce Pierreson), despite the medieval doctrine that the monarch is anointed by God and therefore untouchable. After making a series of strategic blunders, Richard is decisively outmaneuvered by Bolingbroke’s rebel army and meets a swift, brutal demise.Historical accounts remarked upon Richard’s effeminacy and in Bailey’s adroit rendering he is a capricious, flouncing sociopath whose every utterance is suffused with performative irony. He declares with mock solemnity that he has no choice but to raise taxes — and then gleefully helps himself to a line of cocaine. Moments after his uncle’s death, he hops onto the recently vacated hospital bed and blithely scoffs down grapes. When Richard finally agrees to hand over power, he proffers the crown and then retracts it — twice — like a petulant child refusing to part with a toy. All this badness is great fun to watch.Bailey with Royce Pierreson, whose Bolingbroke has the abstracted air of a man impelled by forces greater than himself.Manuel HarlanIn contrast, Pierreson’s Bolingbroke has the abstracted air of a man impelled by forces greater than himself. With his hulking frame, balled-up fists and blunt vocal delivery, he is a striking counterpoint to the dissipatedly charming Richard. (After one of the king’s more florid speeches, a bewildered Bolingbroke impatiently asks one of his cronies to translate: “What says his majesty?”) Michael Simkins is the pick of the supporting cast as the Duke of York, who tries in vain to straddle the warring factions. His finger-wagging exasperation, verging at times on slapstick, gives an audience-friendly commentary on the unfolding intrigue.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘Best Interests’ Is a Deeply Empathetic British Series

    Starring Sharon Horgan and Michael Sheen, the four-part series, on Acorn TV, is a heartbreaking look at two parents in an impossible situation.There are no villains in “Best Interests,” a heartbreaking limited series that arrives on Acorn TV on Monday. Instead, the series, a four-part British drama starring Sharon Horgan and Michael Sheen, is about two people in impossible circumstances who are trying to do what they think is right.The episodes follow Nicci (Horgan) and Andrew (Sheen), a married couple whose daughter Marnie (Niamh Moriarty) has a form of muscular dystrophy. Early on, the cheerful Marnie ends up in the hospital with an infection that leads ultimately to brain damage. Her doctor (Noma Dumezweni) recommends stopping treatment.This is where Nicci and Andrew, whom we immediately understand to be dedicated parents, diverge. Andrew looks at his child and believes the girl he once knew is gone; Nicci sees a callous system that wants her disabled daughter to die. The writer Jack Thorne, known for “His Dark Materials,” never allows one side to be the “right” one. Horgan’s passion convinces you there is a chance for Marnie; Sheen’s despair makes you believe there isn’t.In the middle there is Nicci and Andrew’s other daughter, Katie, played by Alison Oliver of “Conversations With Friends.” Katie is a teen who has always existed in the shadow of her high-needs sister. She copes by sneaking cigarettes and wants desperately to appease both her parents. While Oliver portrays Katie’s pain well, her story ends up being the weakest because of an ill-advised plotline involving a bad girlfriend and the theft of Marnie’s unused drugs. It is the most outlandish the series gets.“Best Interests” is at its most fascinating, though, when it invests in the emotional compromises all these people make as they try to fight for Marnie. Andrew is shocked, for instance, that Nicci would align herself with a Christian organization, which is likely anti-abortion, in order to pursue a court case against the hospital. Nicci, on the other hand, sees Andrew’s resistance as abandonment.Horgan and Sheen propel the show with their wonderfully complicated performances. Horgan, best known for sharp-edged comedies like “Catastrophe” and “Bad Sisters,” brings wry humor to Nicci even in her character’s darkest moments. But she also depicts the unimaginable agony of a parent in limbo. In Sheen’s dejected, empathetic depiction of Andrew, you see how crushed he is by the notion that Marnie is already gone.Sadly, the voice that is missing is Marnie’s. Her life is rendered through flashbacks that feel like rosy, one-dimensional glimpses of what once was. But as a depiction of what happens once she can no longer speak for herself, “Best Interests” is devastatingly complex. More

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    Hundreds of Artists Call on N.E.A. to Roll Back Trump’s Restrictions

    In one of the first signs of collective pushback to the Trump administration’s arts initiatives, several hundred American artists are calling on the National Endowment for the Arts to roll back restrictions on grants to institutions with programming that promotes diversity or “gender ideology.”Among the 463 writers, poets, dancers, visual artists and others who signed the letter are the Pulitzer Prize-winning playwrights Jackie Sibblies Drury, Lynn Nottage and Paula Vogel. There is also one name with striking historical resonance: Holly Hughes, a performance artist who in 1990 was one of the so-called N.E.A. Four, denied funding by the agency because of concern from conservative critics at the height of that era’s culture wars.“In some ways this just feels like déjà vu all over again,” Ms. Hughes, now a professor of art and design at the University of Michigan, said in a telephone interview. “These funding restrictions are a good barometer for who is the easy punching bag in American culture at the moment.”The artists on Tuesday sent a letter to the N.E.A. objecting to new requirements for grant applicants that the organization put in place this month to comply with executive orders signed by President Trump. One of the requirements is that applicants “not operate any programs promoting ‘diversity, equity, and inclusion’ that violate any applicable federal anti-discrimination laws”; the other is that federal funds not be used “to promote gender ideology,” referring to an executive order, prompted by Mr. Trump’s concern about public policy toward transgender people, that declares that American policy is “to recognize two sexes, male and female.”The artists’ letter asks the N.E.A. to “reverse” the changes, saying “abandoning our values is wrong, and it won’t protect us. Obedience in advance only feeds authoritarianism.”“Trump and his enablers may use doublespeak to claim that support for artists of color amounts to ‘discrimination’ and that funding the work of trans and women artists promotes ‘gender ideology’ (whatever that is),” the letter adds. “But we know better: the arts are for and represent everybody.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Barrie Kosky Is the Director New York Has Been Waiting For

    One of the busiest stage directors in Europe is fully arriving, at last, with “The Threepenny Opera” this spring.When “The Threepenny Opera” returns to New York this spring, for an all-too-brief visit to the Brooklyn Academy of Music, it will be notable for a few reasons.For one, it will be a homecoming. Although “Threepenny” was born in Berlin, an artifact of Weimar-era culture, with music by Kurt Weill and text by Bertolt Brecht and Elisabeth Hauptmann, it had a midcentury resurgence on the level of a pop-culture phenomenon when it was revived Off Broadway in 1954.And it will be performed by the Berliner Ensemble, which was founded by Brecht and still operates out of the theater where “Threepenny” had its premiere in 1928. The group is a trustworthy custodian of a work that is often mishandled today, especially in recent New York productions.But what is most important about this run of “Threepenny,” presented by BAM and St. Ann’s Warehouse April 3 through 6, is that it will be the first real opportunity for New York audiences to see the work of the director Barrie Kosky.Though Kosky, 58, graced local playbills once before, when his production of “The Magic Flute,” a collaboration with the company 1927, came to the Mostly Mozart Festival in 2019, “Threepenny” will be the first show that is purely his own. Which should come as a shock, since Kosky is one of the busiest and most brilliant, not to mention entertaining, directors working in Europe today.He is a director accomplished in theater and opera. His work could fit easily on Broadway and at the Metropolitan Opera, with a balance of intelligence and showmanship that would breathe new life into both. This “Threepenny” will be an opportunity for him to win over New York audiences. Will impresarios be watching?We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Hear How a ‘Smash’ Song Got a Broadway Makeover

    “Let Me Be Your Star,” which evokes an actor’s longing to shine, has come a long way from its TV days. Here’s how the song evolved on its way to the stage.On a recent morning at a rehearsal room on 42nd Street, the actress Robyn Hurder stood atop a pedestal, red lips parted, arms outstretched, blond curls vibrating as she sang the final notes of “Let Me Be Your Star.” Then she collapsed, breathless.“This number’s hard,” she said, her face glistening with sweat. “Who did this?”Well, plenty of people. “Let Me Be Your Star” was written over a dozen years ago for the pilot episode of NBC’s “Smash,” a backstage-set nighttime soap about the hectic creation of a Broadway musical, “Bombshell.” There were plans to bring “Bombshell,” a biomusical about Marilyn Monroe, to the real Broadway, but those plans never came to fruition. Neither did “Smash,” which was canceled after two seasons.But “Let Me Be Your Star,” a classic “I want” song that its composer and co-lyricist, Marc Shaiman, has described as a “neck-bursting showstopper,” endures. Originally sung at the close of the pilot by Megan Hilty and Katharine McPhee, the song, which was nominated for Grammy and Emmy Awards, has been covered by Andrew Rannells on “Girls,” by Jonathan Groff and Jeremy Jordan at MCC Theater’s Miscast benefit, by Ben Platt and Nicole Scherzinger in concert and by masses of fans (and the occasional Muppet, on Instagram, TikTok and YouTube. Ostensibly a song about Monroe’s life, it resonates for any actor — and really, anyone — who longs to shine.Now it’s been reimagined as the opening number of “Smash,” a new Broadway musical that riffs on the TV show. Hurder plays Ivy Lynn, a Broadway actress tasked with playing Marilyn in “Bombshell.” This opening version of “Let Me Be Your Star” is staged by the director Susan Stroman and the choreographer Joshua Bergasse (also a veteran of the TV “Smash”) as a Great White Way fever dream featuring elaborate harmonies, athletic dance and a brassy, big-band sound. The song recurs, in a very different style, at the end of the first act, though the producers are keeping those details secret. And it may return a third time.“It’s possible!” Stroman said.The stage version of “Smash” follows the backstage meltdown of a fictional show called “Bombshell” as it approaches opening night.Jutharat Pinyodoonyachet for The New York TimesAt that morning rehearsal, Stroman had Hurder and the ensemble run the number again. There were flips, lifts, mambo moves, thrilling vocal frills. More

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    Maher Knocks Trump’s Gutting of the Federal Work Force

    “America is in shock that the guy whose catchphrase was ‘You’re fired’ is firing everybody in government,” Bill Maher said of President Trump on “Real Time.”Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.Hulk SmashPresident Donald Trump’s first month in office has been eventful.On Friday’s episode of “Real Time,” the host Bill Maher referred to the last several days as “week four of Hulk smash,” saying that Trump’s administration “dissects a frog with a hand grenade — this is their method.”“We were so scared that the government was going to turn into ‘The Handmaid’s Tale’ that we didn’t see that the big threat was from the guys on ‘The Big Bang Theory.’” — BILL MAHER“America is in shock that the guy whose catchphrase was ‘You’re fired’ is firing everybody in government.” — BILL MAHER“He wants to suck our blood? That is not what I voted for when I voted for Dracula.” — BILL MAHER“Maybe this is why Gen Z’s approval rating of Trump has dropped 30 points in one month. Hey, kids, a little tip: The time to pay attention is before the election.” — BILL MAHER“Look, I believe government is too bloated, but the way they’re doing it is ridiculous and horrible and now they went — maybe this is the one that’s too far — they went and fired almost everybody in the agency that’s responsible for maintaining our nuclear weapons. Fired — and then, of course, they had to walk that back because somebody said, ‘This is a national security crisis.’ Duh.” — BILL MAHERThe Punchiest Punchlines (Presidents’ Day Edition)”It is Presidents’ Day, so to those who celebrate, why?” — STEPHEN COLBERT“All government offices will be closed, although I think that was the plan anyway.” — BILL MAHER“When I was a kid, it wasn’t Presidents’ Day; we celebrated Washington and Lincoln’s birthdays. Every February, we would hang our stockings and wait for Abraham Lincoln to fill them with wooden teeth.” — STEPHEN COLBERTThe Bits Worth WatchingThe comedian Andy Richter and the lawyer and activist George Conway joined the panelists to dog DOGE on the Season 2 premiere of “Have I Got News For You.”What We’re Excited About on Tuesday NightGeorge Clooney will discuss his Broadway debut in “Good Night, and Good Luck” on Tuesday’s “Late Show.”Also, Check This OutDozens of current and former “Saturday Night Live” cast members, along with dozens of former hosts and musicians, gathered onstage with the show’s creator, Lorne Michaels (front row, second from left), to close out the show.Theo Wargo/NBC, via Getty ImagesThe “Saturday Night Live” 50th anniversary special was sweet, self-satirizing and star-studded. More