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    Arnold Schwarzenegger Is Busy Caring for a Pony, Pig, Donkey and Malamute

    The longtime actor, now starring in “FUBAR,” on his many animals, good cigars and wanting his kids to outshine him.Arnold Schwarzenegger was smoking a cigar on his patio in the Los Angeles neighborhood of Brentwood, lamenting all the things that he had decided to trim from his list of 10 essentials. Most of all his five kids.“I cannot live without my children,” he said on a video call as his pet pig, Schnelly, wandered around. “I need to be in touch daily.”Schwarzenegger was sounding a lot like Luke Brunner, his character in the Netflix series “FUBAR,” which just began streaming its second season. In it, he plays the world’s best spy, and perhaps its most overprotective father, who learns that his daughter is a C.I.A. operative with an ego, just like Dad is.“She says, ‘When they say Brunner, I don’t want them just to talk about you. I want them also to talk about me,’” he said. “It’s the same thing as it is in real life with Patrick, my son, being an actor now and being big time and doing fantastic shows,” including a star turn this year in Season 3 of “The White Lotus.”Was the elder Schwarzenegger feeling a bit competitive? “I hope and wish that he will do bigger things than I’ve ever done,” he said before elaborating on his love of chess and driving his M47 tank. “It’s fantastic when kids are performing better than their parents because that is largely because of them, and it’s also because of you. It’s upbringing.”These are edited excerpts from the conversation.ChessI learned to play chess with my father and did that pretty much every day. I have collected chess sets from all over the world, but now 99 percent of the time you play on an app with your friends in Austria or Germany or Hungary or Russia — wherever they are.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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    Harris Yulin, Actor Who Perpetually Played the Bad Guy, Dies at 87

    As an award-winning actor and director, he appeared in scores of stage plays, movies and TV shows over six decades, most often as unsavory characters.Harris Yulin, a chameleonic character actor who for more than six decades portrayed guys whom critics described as unsympathetic, soulful, menacing, corrupt and glowering, both onstage and onscreen, died on Tuesday in Manhattan. He was 87.His wife, Kristen Lowman, said the cause of death, in a hospital, was cardiac arrest.Inspired to pursue an acting career when he first took center stage at his bar mitzvah, Mr. Yulin never became a marquee name. But to many audiences he was instantly recognizable, even as a man of a hundred faces. He played at least as many parts, including J. Edgar Hoover, Hamlet and Senator Joseph McCarthy. Other roles ranged from crooked cops and politicians to a lecherous TV anchorman.“I’m not always the bad guy,” he told The New York Times in 2000. “It just seems to be what I’m known for.”Mr. Yulin, left, earned an Emmy nomination for his portrayal of a mobster in a 1996 episode of the sitcom “Frasier,” with David Hyde Pierce, center, and Kelsey Grammer. Gale M. Adler/NBCU Photo Bank, via Getty ImagesHe wasn’t just any bad guy. One reviewer characterized him as “an eloquent growler.” Another wrote that “his whiskeyed voice sounds just like that of John Huston.”Honors followed. Mr. Yulin was nominated in 1996 for a prime time Emmy Award for playing a crime boss in the TV comedy series “Frasier.” For his work in theater, he won the Lucille Lortel Award from the League of Off Broadway Theaters for his direction of Horton Foote’s “The Trip to Bountiful” in 2006. In the late 1990s he won Drama Desk nominations for acting on Broadway in “The Diary of Anne Frank” and Arthur Miller’s “The Price.”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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    Two Fresh Looks at Molière: ‘Imaginary Invalid’ and ‘Prosperous Fools’

    Red Bull Theater’s smart “The Imaginary Invalid” and Taylor Mac’s dismaying “Prosperous Fools” attempt to engage with the French writer’s comedy.Based on. An adaptation of. After. Inspired by.When these words precede the title of a new production of a classic play or the name of a long-dead writer, chances are good you’ll be in for a ride. Now two shows drawing from Molière — Red Bull Theater’s revival of “The Imaginary Invalid” and the Taylor Mac play “Prosperous Fools,” both running through June 29 — illustrate, with widely diverging degrees of success, how far that ride can go.In “The Imaginary Invalid,” Jeffrey Hatcher compresses the plot of Molière’s three-act comedy, from 1673, into a 90-minute romp, and rewrites the jokes but preserves the essence of the story and characters.The production, now running at New World Stages, reunites Hatcher with the director Jesse Berger, with whom he had cooked up marvelously funny takes on Nikolai Gogol (“The Government Inspector”) and Ben Jonson (“The Alchemist”). Happily, lightning can strike thrice.Aside from nods to “Les Misérables” and Édith Piaf, the play’s structure is intact, and still revolves around the hypochondriac Argan (Mark Linn-Baker). The doctors administering the treatments he constantly requests (all played by Arnie Burton) appear to have graduated from Quack U. “All these things they do to you, it’s like you donated your body to science but they couldn’t wait,” Argan’s no-nonsense maid, Toinette (Sarah Stiles), tells him.He does not listen, of course — though Molière and Hatcher aim their arrows at Argan, they also skewer profit-driven snake-oil peddlers and greedy bad agents.Much of the plot involves efforts to fleece or deceive Argan, and much of the production is shamelessly focused on making the audience laugh. Which it does, thanks to a company of expert farceurs who look to be tremendously enjoying themselves — like “Oh, Mary!,” this show understands that perfect silliness requires perfect execution.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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    Broadway Shows Closing Soon: ‘Dorian Gray,’ ‘Sunset Boulevard’ and More

    Catch two Tony-winning performances, Sarah Snook in the Oscar Wilde classic and Nicole Scherzinger as Norma Desmond, before these productions and others wrap up.Floyd CollinsBased on true events, this musical drama by Tina Landau (“Redwood”) and Adam Guettel (“Days of Wine and Roses”) stars Jeremy Jordan in the title role of a cave owner and explorer in 1925 Kentucky who creates a national media sensation when he is trapped deep underground. Taylor Trensch plays Skeets Miller, the diminutive cub reporter who descends into the cave to conduct a series of interviews with Floyd and help get him out. Landau directs. (Through June 22 at Lincoln Center Theater’s Vivian Beaumont Theater.) Read the review.The Last Five YearsJason Robert Brown’s two-character musical of doomed romance, which arrived Off Broadway in 2002 and later became a movie starring Anna Kendrick and Jeremy Jordan, comes to Broadway for the first time. Adrienne Warren, a Tony winner for “Tina,” stars as Cathy opposite Nick Jonas as Jamie, New Yorkers whose marriage can’t bear the tension between his swift success as a novelist and her lack of it as an actress. Whitney White (“Jaja’s African Hair Braiding”) directs. (Through June 22 at the Hudson Theater.) Read the review.SmashThe TV series about the making of a Broadway musical has itself become a Broadway musical: a backstage comedy leading up to the opening of “Bombshell,” a musical about Marilyn Monroe. Directed by the five-time Tony winner Susan Stroman, it has a score by Marc Shaiman and Scott Wittman (“Hairspray”), whose dozens of songs for the series include “Let Me Be Your Star,” and choreography by Joshua Bergasse. The book is by Rick Elice and Bob Martin; Brooks Ashmanskas, Krysta Rodriguez and Kristine Nielsen are among the cast. (Through June 22 at the Imperial Theater.) Read the review.Glengarry Glen RossDavid Mamet’s luxuriantly crude, bare-knuckled real estate drama, which won the 1984 Pulitzer Prize, gets its third Broadway revival. Kieran Culkin, last on Broadway a decade ago in “This Is Our Youth,” stars as Richard Roma — the Al Pacino role in the movie adaptation — opposite Bob Odenkirk (as Shelley Levene, the Jack Lemmon role), Bill Burr, Michael McKean, Donald Webber Jr., Howard W. Overshown and John Pirruccello. Patrick Marber, a 2023 Tony winner for his production of “Leopoldstadt,” directs. How’s that for a lead? (Through June 28 at the Palace Theater.) Read the review.The Picture of Dorian GrayWe 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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    Late Night Reviews Trump’s Night at the Theater

    Jimmy Kimmel said that Trump “going to see ‘Les Misérables’ right now is like Kanye going to ‘Fiddler on the Roof.’”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.Master of the HousePresident Donald Trump attended the opening night of “Les Misérables” at the Kennedy Center on Wednesday.“Usually, when Trump watches a staged rebellion, it’s Fox News coverage of the ‘riots’ here in L.A.,” Jimmy Kimmel said on Thursday.“It’s a musical largely about a revolution. It’s the people standing up against their king. The rebellion happens in Act 2 — or, I should say, it usually happens in Act 2. After Act 1 last night, Trump called in the National Guard and squashed the whole thing.” — JIMMY KIMMEL“I have to say, Trump going to see ‘Les Misérables’ right now is like Kanye going to ‘Fiddler on the Roof.’ ” — JIMMY KIMMEL“Some cast members from ‘Les Mis’ decided to boycott the performance because President Trump was there. Right now, the only person less popular than Trump in the world of theater is Patti LuPone.” — JIMMY KIMMEL“Napoleon Bona-spurs was accompanied by Melania, as is required under Section B Subsection 3 of their prenup, which states, ‘Mrs. Trump shall accompany her husband to no fewer than two public appearances per calendar year during which she shall refrain from open displays of revulsion, disgust, and/or hatred, regardless of current mood or events.’ Also known as ‘date night’ for them.” — JIMMY KIMMEL“But Melania, from all accounts, she loved the show. Her favorite song was ‘On My Own.’” — JIMMY KIMMELOn the red carpet, a reporter asked the president if he was more of a Jean Valjean or Javert. “Oh, that’s a tough one,” he replied, and did not supply an answer.“I don’t know what’s worse: that a reporter thought it was a good idea to ask Trump if he’s the hero or the villain, or that Trump’s response was ‘Oof, that’s a tough question.’” — DESI LYDIC“All right, that’s famously not a tough one. There’s a pretty clear good guy and bad guy, but then I think Trump would have the same problem after a screening of ‘Star Wars.’ [imitating Trump] ‘Oh, that’s a tough one. Darth Vader is a mean guy, but also the Skywalker kid was very rude to the gay robot.’” — SETH MEYERS“What do you mean you don’t know? Javert is the bad guy. You just said you’ve seen the show a number of times. Is that number zero?” — STEPHEN COLBERT“[imitating Trump] The character I identify with most is Les. Les — Lester Miserables. Big, tough guy. Built that castle on a cloud. Not happy about it.” — STEPHEN COLBERTWe 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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    Review: ‘The Counterfeit Opera’ on Little Island Falls Short

    At Little Island, “The Counterfeit Opera” falls short of its wildly successful historical models.After weeks of rain that interrupted rehearsals, conditions seemed perfect at the start of “The Counterfeit Opera” Wednesday on Little Island, with balmy temperatures and zero chance of precipitation. As members of the cast swarmed the stage shouting questions into the steeply raked rows of the amphitheater, conditions also seemed ripe for some political rabble-rousing.After all, this show with a libretto by Kate Tarker and music by Dan Schlosberg was billed as a new take on John Gay’s “Beggar’s Opera,” which punctured the cultural pretensions of 18th-century London and inspired Brecht’s darker indictment of social inequality in “The Threepenny Opera” (1928).“Can you afford your rent?”“No!” the audience shouted back.“Can you afford health insurance?”“No!”“Can you afford to support a lawless, self-serving government of con men?”This time, the “no” came out as a roar.At that point, it almost seemed possible that a revolution might start up right here on this artificial island developed by the billionaire Barry Diller. But as the sun set, the heat drained out of the day and with it the performance. With toothless satire, goofy humor and an absence of memorable tunes, “The Counterfeit Opera” falls short of its wildly successful historical models.The closing chorus — “Class wars repeat. Con men don’t sleep. Fight to break the dark spell of a world made of deceit!” — was met with mild-mannered applause and a version of a standing ovation that masks competition for the exits. The meteorological chance of political action breaking out was back to zero.More unforgivably, perhaps, the piece fails to infuse the material with a distinct New York flavor. Aside from a few quips at the expense of Boston and New Jersey, this self-declared “Beggar’s Opera for a Grifter’s City” feels like it could unfold anywhere.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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    Review: Jean Smart, Gritty and Poetic in ‘Call Me Izzy’

    The “Hacks” star returns to Broadway after 25 years in a triumph for her, if not for the old-fashioned, flowery play about spouse abuse.Two things can happen when a big star appears in a small play. She can crush it, or she can crush it.The first is almost literal: She leaves the story in smithereens beneath her glamorous feet. The second is colloquial: She’s a triumph, lifting the story to her level.Returning to Broadway after 25 years in “Call Me Izzy,” which opened Thursday at Studio 54, Jean Smart crushes it in the good way.Naturally, Smart plays the title character, a poor Louisiana housewife who writes poems on the sly. In the manner of such vehicles, she also plays everyone else, including Ferd (her abusive husband), Rosalie (a nosy neighbor), Professor Heckerling (a community college instructor) and the Levitsbergs (a couple who have endowed a poetry fellowship).You could probably write the play from that information alone, but I’m not sure you’d achieve the level of old-fashioned floweriness and deep-dish pathos that the actual author, Jamie Wax, has achieved.For this is quite self-consciously a weepie, one that with its allusions to Melville’s lyrical prose (“Moby-Dick” begins with the phrase “Call me Ishmael”) aspires to poetry itself. The play’s first words are an incantation: six synonyms for “blue” as Izzy drops toilet cleaner tablets in the tank. (“Swirlin’ cerulean” is one.) Shakespeare comes next, after a visit to a local library she didn’t know existed. Ears opened, she is soon devising sonnets of her own.This she does in secret, lest Ferd, who sees her hobby as a betrayal, should discover the evidence and beat her up. (He has been doing that with some regularity since their infant son died years earlier.) In a detail that’s a few orders of magnitude too cute, Izzy’s sanctum is the bathroom, where she scratches out her lines in eyebrow pencil, on reams of toilet paper.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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    ‘And Just Like That …’ Season 3, Episode 3 Recap: An Expensive Date

    Carrie flies to Virginia for a lunch with her “boyfriend,” Aidan. Seema tags along. It is unclear why either is really going.Season 3, Episode 3: ‘Carrie Golightly’They say Virginia is for lovers. They do not say Virginia is for casual lunches and sleeping alone in a guesthouse.In Episode 3, it is Carrie who visits Aidan at his home, but not because her “boyfriend” (I’m still using quotes around that word and you can’t stop me) did something crazy like invite her. It is because Virginia is on a list of locations Carrie could go to promote her work, along with sexier options like Google’s Palo Alto office and Austin’s South by Southwest festival.First of all, why does Carrie even have to choose? She is a childless cat lady with no looming deadlines. What is stopping her from hitting up all three to boost her clout in preparation for an upcoming foray into historical fiction?But Williamsburg, Va. is the only place our gal wants to go because it’s vaguely near Aidan, and she thinks that if she pops down south, cool as a cucumber, “easy breezy,” with no expectations, Aidan might be willing to meet her for a quick meal. Because the bar for this relationship is in the basement.The saddest part about all this is that Carrie feels she needs a cover story in the first place. She can say, “I love you,” to Aidan, but apparently, she can’t simply say, “I want to see you.” And that’s really Aidan’s fault; she is just playing by his rules. But this game sucks.Thankfully, Miranda is in touch with her judgy side, as she can’t stop cracking jokes about Carrie venturing over the river and through the woods for merely a bite to eat with her beau. Yet, Miranda is concocting a cover story of her own. After some bad luck in the romance department this season that included a tryst with a nun and a snub from a straight “guacamole girl,” Miranda is finally sweet on someone she would make sense with: Joy (Dolly Wells) the BBC producer.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