Eliana Willis

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    ‘Cymbeline’ and F. Murray Abraham in ‘Beckett Briefs’ Delight Off Broadway

    Shakespeare’s overstuffed late play gets an entertaining refresh Off Broadway, where Irish Rep is also offering a program of Samuel Beckett shorts.“Cymbeline,” really? But why?That tends to be my reaction whenever I hear that the overstuffed late Shakespeare play is getting a revival. Surely there must be something to stage that’s less of a slog?Now along comes a “Cymbeline” to prove me wrong. The National Asian American Theater Company’s production, using a lucid modern verse translation by Andrea Thome, is frankly a delight: funny, absorbing, even affecting. And with not a single man among its wonderfully strong cast, it has both a sense of frolic in satirizing macho pride and an in-the-bones understanding of male menace.Directed by Stephen Brown-Fried at the Lynn F. Angelson Theater in Greenwich Village, with dramaturgy by John Dias, this “Cymbeline” is presented with Play on Shakespeare, a project dedicated to creating versions of Shakespeare’s plays in modern English. The freedom of that approach makes it a striking contrast to “Beckett Briefs,” slightly uptown at Irish Repertory Theater, where another dead canonical playwright, Samuel Beckett, retains his customary tight control to fine effect. More on that below.Thome imbues her translation with a light, graceful touch; her “Cymbeline” feels like Shakespeare, but our 21st-century ears acclimate to it faster. The plot is still, of course, ridiculous, and less about the title character, a British king (Amy Hill), than about his daughter, Imogen (Jennifer Lim), who has secretly wed her beloved Posthumus (KK Moggie). Cymbeline wanted Imogen to marry the son of his dreadful new queen (Maria-Christina Oliveras), the doltish Cloten (Jeena Yi), whose one selling point is the amusingly puckish lord (Purva Bedi) who makes up his retinue.The exiled Posthumus, tricked into believing Imogen has been unfaithful, commands his servant, Pisanio (Julyana Soelistyo), to murder her. The honorable Pisanio secretly defies him. Adventure ensues, involving Imogen’s brothers, Arviragus (Annie Fang) and the heroic Guiderius (Sarah Suzuki), who were kidnapped as tiny children 20 years earlier and raised as rustics by Belarius (again the excellent Oliveras).There is also a war with the Romans. I defy you to care about that, even here.The rest of the performance is awfully entertaining, though, despite the fact that Imogen doesn’t deem Posthumus’s attempt to have her killed a marital deal breaker. She still considers him a prize.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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    What’s the ‘S.N.L.’ Line That You and Your Friends Use?

    “Making copies”? “Don’t make me sing”? “Wouldn’t be prudent”? We want to know. Talk amongst yourselves.My earliest memories of “Saturday Night Live” were hearing my parents incorporate catchphrases from Dana Carvey’s Church Lady — “Could it be … Satan?” or “Well isn’t that special?” — into casual conversation.Once I was allowed to stay up late enough to watch, I started doing the same thing — and looking for friends who didn’t think it was weird to respond to someone winning a video game with “We’re not worthy!”For the 50 years it has been on the air, “S.N.L.” has changed how we talk. That was the basis of our roundup of 50 catchphrases the show has popularized.Now we want to hear from you. Is there a catchphrase you’ve found yourself saying? Tell us about it and what your connection to it is.We will read every response and plan to publish a selection of them, but we won’t publish yours without following up with and hearing back from you. We won’t share your contact info outside the Times newsroom, and we won’t use it for any reason other than to get in touch. More

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    Melissa Rauch, ‘Night Court’ Star, on Her 10 Favorite Things

    The “Night Court” star loves community theater and the “distilled joy” of watching people who perform just for fun.After almost a decade playing the microbiologist Bernadette on “The Big Bang Theory,” Melissa Rauch knew exactly what she wanted to do when the show ended in 2019.“I just fell in love with the format,” she said of the traditional style of filming in front of an audience. “It was my goal to bring more multicamera sitcoms to the landscape.”Rauch already had a production company at Warner Bros. And she had been a huge fan of the 1980s NBC comedy “Night Court,” starring Harry Anderson as Judge Harry T. Stone. Its irreverence. Its moments of heart. Its cranked-up, almost vaudevillian humor.So she set out to produce what she called a “newboot,” this time about Judge Abby Stone, Harry’s daughter. She just didn’t want to star in it. But the network was asking her to. So was John Larroquette, who was hemming and hawing about reprising his role as the lawyer Dan Fielding.“And I was like, ‘What am I doing?’” Rauch recalled. “If this script came to me, I’d be fighting for it. I’m being such a dummy.”Rauch finally told Larroquette that she was in as Abby.“I believe his words were, ‘Oh [expletive], now we’ve got to do this thing,’” Rauch said. (New episodes from Season 3 began airing last month on NBC.)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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    TikTok True Crime to Stream: ‘Dancing for the Devil’ and More

    Across television, film and social media itself, here are four picks that explore crime stories associated in some way with the imperiled app.TikTok continues to be on shaky ground in the United States. Earlier this month, the Supreme Court upheld a law passed by Congress last year that required a ban of the Chinese-owned app unless it was sold to a government-approved buyer.Hours before the law took effect, TikTok went dark briefly, then flickered back to life when President Trump, a day before his inauguration, indicated support for the app. He then signed an executive order stalling the ban for 75 days.Whether the app will disappear for good is unclear, but in the meantime, here are four true-crime stories associated with TikTok — the most downloaded app in the United States and the world in 2020, 2021 and 2022 — that captured broader attention.Documentary Series“Dancing for the Devil: The 7M TikTok Cult”It’s of course no secret that the glossy dance videos that have populated TikTok since its inception, along with much online content, is more fantasy than reality. But that’s little comfort to the revelations uncovered in this 2024 Netflix series.“Dancing for the Devil” primarily spends time with dancers who were managed by the talent company 7M Films and were members of Shekinah Church — both entities founded and led by Pastor Robert Shinn — as well as desperate family members of those still involved with 7M. These families claim that their loved ones are essentially trapped.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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    Michael Palin on His Diaries and Adventurous Life

    In 1969, the British comedy writer and performer Michael Palin, then building a career out of being extremely silly, did something utterly sensible: He quit his 40-cigarettes-a-day smoking habit and began keeping a diary instead.Over the years, his meticulously maintained journals captured the rise of Monty Python — the hallowed sketch troupe he formed with Graham Chapman, John Cleese, Terry Gilliam, Eric Idle and Terry Jones — including the creation of “Monty Python and the Holy Grail” and “Life of Brian.” Later, they chronicled a surprising career development, when Palin reinvented himself as an amiable presenter of travel documentaries, crossing the globe for acclaimed series like “Around the World in 80 Days.”The first volume of his diaries, “The Python Years,” was published in 2006. The fourth, “There and Back,” will be released in the United States on Tuesday. In a video interview from his home in northwest London, Palin, 81, fielded questions about the four decades’ worth of life covered in his diaries and more. He’s come to expect this sort of inquisition.“That’s the thing about publishing your diaries,” Palin said. “I have to be able to justify my behavior in my life in a way.” These are edited excerpts from the conversation.How did quitting smoking lead you to start keeping a diary?When I gave up smoking — it was virtually overnight — it was a quite extraordinary feeling of effective use of willpower. In the back of my mind, I thought, how else can I use this newly enlivened willpower? Keeping a diary must have been the first thing that came into my head.Palin started keeping a diary in 1969, the same year Monty Python began. “The diaries constantly surprise me, how I completely contradict myself,” he said.Max Miechowski for The New York TimesWe 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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    In ‘Eureka Day,’ a Scene About Vaccines Devolves, Hilariously

    In “Eureka Day,” changes were made to a scene because “the laughter was so robust backstage, they couldn’t hear the cues.”The third scene of the new Broadway production of “Eureka Day” could be titled The Way We Discourse Now. As written by the playwright Jonathan Spector, the scene reliably has audiences laughing so loudly that the actors are drowned out.The situation is this: It is 2018. The principal of the progressive private school Eureka Day in Berkeley, Calif., and the four members of its executive committee must inform the other parents that a student has mumps, and therefore by law any students who have not been vaccinated must stay home to avoid exposure. (Vaccine skepticism was not uncommon in this milieu, particularly pre-pandemic.)The school leaders, an optimistic bunch dedicated to diversity and inclusion, hold a town hall-style meeting “to see,” says the principal, Don, “how we can come together as a community and exchange ideas around a difficult issue.”At the meeting, which is being held remotely, Don speaks while sitting in front of a laptop in the school library, addressing parents on a Zoom-like video app. The executive committee members are behind him. The rest of the school’s parents weigh in on a chat-like function. Their messages — 144 of them — are projected above the actors for the audience to read.The online conversation quickly descends into vicious attacks. “Typical behavior from the Executive Committee of FASCISM.” “Sorry, chiropractors are not doctors.” “That’s child abuse!!!”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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    Blue Man Group’s 34-Year New York Run Comes to an End

    After 17,800 shows and 82,150 gallons of paint, Blue Man Group is hanging up its bald caps at the Astor Place Theater for good on Sunday. It arrived there in 1991, when George H.W. Bush was president, cellphones were rare and the World Wide Web was two years away. (The group’s first profile in The New York Times existed only on paper.) In the generation since, the trio of hairless, earless, silent, blue-and-black clad performers, who spit paint and sculpt marshmallows, gobble Twinkies and drum in primary colors, unexpectedly became a culture-infiltrating sensation.They achieved this — along with shows in more than a dozen cities across the globe, multiple concert tours, three studio albums, a Grammy nomination, many TV appearances, a book and one indelible sitcom story line — without changing much about their approach. Throughout one of the longest runs in Off Broadway history, they remained proudly on the silly side of performance art. Even without a narrative, they also connected viscerally with audiences, earning a legion of megafans. “We love the idea of a show that is sublime and ridiculous,” said Chris Wink, one of the founding performers.Blue Man Group, which has been owned by Cirque du Soleil since 2017, is not disappearing: long-running shows remain open in Boston, Las Vegas and Berlin, and a return gig is planned for Orlando, Fla. But closing the New York production, where it all began — along with another decades-old production in Chicago — is the end of a chapter. (In a statement, a spokeswoman said Cirque du Soleil was proud of Blue Man Group’s track record, and that it made the “difficult decision” to shutter after “we re-evaluated our current standings.” After declaring bankruptcy in 2020, Cirque du Soleil, the Montreal-based live entertainment behemoth, is controlled by private equity firms.)Paint gets everywhere, often by design and to the delight of fans.The splatter has built up on lighting equipment over the years.Emerging from the East Village arts scene, the original Blue Man Group served as a monument to possibility: D.I.Y. creativity — or unfettered lunacy — could still flourish in New York. That for 34 years it occupied the same bit of desirable real estate, near the downtown mecca of Astor Place, and across from the landmark Public Theater, gave it a stately foundation — even if its 281-seat subterranean space was, almost by design, a little dank. Photos of the bald and the blue loomed outside, part of the urban architecture.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: In ‘Common Side Effects,’ It’s Fungus vs. Them

    A weird, deadpan animated thriller finds a new timeliness in ancient medicine.From “The Last of Us” to athlete’s foot commercials, fungus does not have the best of reputations on television. But what if it could save us all?“Common Side Effects,” a wryly funny animated conspiracy thriller beginning Sunday on Adult Swim, suggests that not everybody would be pleased.Marshall Cuso (Dave King), an eccentric environmentalist and self-employed scientist, discovers a rare mushroom on an expedition to Peru. The fungus, a ghostly specimen called the Blue Angel, can cure almost any illness and heal seemingly fatal injuries — including the ones Marshall sustains when he is attacked by gunmen immediately after making his discovery.Back in the States, pursued by the Drug Enforcement Administration and other, more mysterious figures, Marshall runs into Frances Applewhite (Emily Pendergast), his former school lab partner who is now unhappily working for a pharmaceutical giant. Together, they make a pact to bring the magic mushroom to the people and protect it from the forces who would like to erase all traces of its existence.Who are those forces? Them. And who’s them? “Big Pharma, the insurance companies, the government,” Marshall explains. “All the people who make tons of money just from keeping us sick.”A figure like Marshall — nerdy, neckbearded, with a prominent belly hanging from his Hawaiian shirt and one big theory that explains it all — would usually be portrayed on TV as, at best, a well-meaning kook, a side character who exists for laughs and exposition. Even in the conspiracy-riddled world of “The X-Files,” he would be more of a Lone Gunman than a Fox Mulder.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