Eliana Willis

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    As Avignon Festival Turns to Dance, It Trips Up Some Onlookers

    The festival opener “Nôt,” from Marlene Monteiro Freitas, drew both boos and applause. Elsewhere, for Anne Teresa De Keersmaeker, the spectacle was kept to the stage.The Avignon Festival, in the south of France, has long had an ambivalent relationship with dance.The monthlong event, founded in 1947, is a European theater mecca where the reputation of directors and actors are made every July, while choreographers have tended to remain on the margins. In recent years, they have frequently been relegated to the festival’s later dates, when many audience members and professionals have already left.Not this year. For the first time since 2011, dance took center stage on the festival’s biggest night: the opening performance in the monumental Cour d’Honneur, the open-air courtyard of the city’s Papal Palace. And the reaction from the theater-inclined audience was mixed on Saturday: Many looked bewildered, some left midway through, and others stayed long enough to boo as soon as the lights went down — though they were quickly drowned out by applause.The choreographer for the show was Marlene Monteiro Freitas, from Cape Verde, whose absurdist, carnivalesque work has become a phenomenon of European contemporary dance in recent years. Still, with her Avignon opener, “Nôt,” which means “night” in Cape Verdean Creole, she arguably overpromised.The production was billed as inspired by “One Thousand and One Nights,” the collection of Middle Eastern tales — a nod, Freitas said in the playbill, to the focus placed on Arabic at this year’s festival. (For the first time, preshow announcements were delivered in Arabic, the second-most-spoken language in France, as well as in French and English.) Yet Freitas is no conventional storyteller, and “Nôt” is more like a loose collage of scenes, with overt references to “One Thousand and One Nights” few and far between.Mariana Tembe, a standout performer in “Nôt.”Christophe Raynaud de LageThe style she has honed with her excellent performers relies heavily on stilted, puppetlike movements and clownish mime; for “Nôt,” Freitas has added whimsical full-face masks. Hidden behind, one performer shuffles across the stage, awkwardly cleaning the props. Another goes into the vast auditorium with a chamber pot, which he hand around the audience members while pretending to relieve himself in their laps.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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    Laurie Metcalf to Star in Broadway Play Produced by Scott Rudin

    The production, of the Samuel D. Hunter play “Little Bear Ridge Road” that got strong reviews in Chicago will be the first produced by Rudin since news reports of his bullying behavior in 2021.“Little Bear Ridge Road,” Samuel D. Hunter’s acclaimed small-cast play about loneliness, compassion and a search for connection between an aunt and her nephew in rural Idaho, will come to Broadway this fall in a production starring Laurie Metcalf and Micah Stock.The production, directed by Joe Mantello (“Wicked”), will mark the return to Broadway of the producer Scott Rudin, who in 2021 paused his producing activities and resigned from the Broadway League amid reports of bullying behavior toward assistants and others.Rudin is producing the show with Barry Diller, the billionaire media mogul who has frequently backed his shows.The play is scheduled to begin previews Oct. 7 and to open Oct. 30 at the Booth Theater for an 18-week limited run.Hunter, the playwright, is best known for “The Whale,” which was adapted into a 2022 film. He was raised in Idaho and many of his plays are set there and feature socially isolated working-class characters. This will be Hunter’s first play staged on Broadway.“My initial impulse for writing the play — which I told to Joe and Laurie, and I credit them that they still had faith in me after I said this — is that I wanted to write a play about people watching television,” Hunter said in a telephone interview. “That was the platform for the play, but the play became this story of this aunt and this nephew who have almost no relationship, and a lot of painful history between them, hunkering down together during the pandemic, and both of them trying to figure out a path forward in a deeply complicated reality.”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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    How a Show About Truly Terrible People Became the Defining American Sitcom

    As one of my last acts as a suburban teenager, about two weeks before moving out of my parents’ house for college, I watched the pilot episode of “It’s Always Sunny in Philadelphia” in my family’s living room. This would have been Aug. 4, 2005, a Thursday. A comedy about a group of malignant narcissists who own a trashy bar in Philly called Paddy’s, “Always Sunny” was, from Day 1, offensive even for an era in which offensiveness was so ingrained in our culture that it went largely unremarked upon. George W. Bush was seven months into his second term as president. You could still smoke in most bars. If you watched cable TV past 9 p.m., you would reliably see long infomercials for direct-to-video series like “Girls Gone Wild” or “Bumfights,” both of which were somehow less offensive than “Entourage,” then considered one of the smarter shows on HBO.Listen to this article, read by Robert PetkoffMy high school friends and I had all just received .edu email addresses from the colleges that accepted us, which was a prerequisite for joining a new social network called The Facebook, a website founded only the year before by a computer-science major in his Harvard dorm room; he made it shortly after creating another website, Facemash, a campuswide ranking system of female coeds by order of attractiveness. In a parking lot at NBC’s studios in Los Angeles, Donald Trump, who was the host of a reality show on that network, spoke into a hot mic during an interview with a host from “Access Hollywood” — who was George W. Bush’s first cousin — and remarked upon how he treats the women he encounters: “I just start kissing them. It’s like a magnet. Just kiss. I don’t even wait. And when you’re a star, they let you do it. You can do anything.”You can do anything. That was just how it was then. “Always Sunny” stood out to me immediately as the greatest sendup of a time when the bad guys kept getting away with it and the ignorance of an American culture that was happy to let them. Being so young, I didn’t know at the time that this would remain an evergreen topic 20 years later. Nor did I realize that “Always Sunny” would become — as it begins its 17th season this month on FX — the longest-running live-action sitcom ever to appear on television by a fairly wide margin.Our very method of viewing TV has changed immeasurably and continually over this period. Being a chronic “Always Sunny” watcher, I can track time, in a big-picture sort of way, by recalling how I viewed certain seasons of the show — basic cable, DVD box set, pirated online, streaming. And I’ll forever remember the spring of 2025 as the year I interviewed the show’s main cast over a series of Zoom calls and watched its 17th season in an early-look unfinished copy somewhere deep in the bowels of the Disney corporation’s online library. Through everything — mergers, acquisitions, wars, a life-altering pandemic, seismic technological and ideological shifts — the show remained itself, on the same network, using the same sets and writers and production staff, with the same actors doing the same characters.The series creator, Rob McElhenney, plays Mac, a closeted and deeply insecure man who serves, poorly and unnecessarily (because there are rarely any customers), as the bar’s bouncer. Last month, McElhenney legally changed his last name to Mac. But Charlie Day has always shared a name with his character, Charlie, the bar’s janitor, an illiterate stalker who suffers from what the DSM-5 has labeled pica, or the compulsive consumption of inedible objects, especially viscous chemicals like paint, bleach and suntan lotion. Working behind the bar are Dee (Kaitlin Olson), a failed actress with no self-worth, and her fraternal twin, Dennis (Glenn Howerton), who is the closest thing the group has to a true leader but is also a Ted Bundy-esque tyrant who keeps a kill kit in a hidden compartment in the trunk of his car. Worst of all is Dennis and Dee’s father, Frank, played against type by national treasure Danny DeVito, who is a little bit of all of the above. In his first appearance on the show, as part of a story line in which all members of the main cast fake being disabled, each for a distinctly idiotic reason, he pretends to be paraplegic in order to receive special treatment from the dancers at a strip club.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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    The ‘First Celebrity Athlete,’ a Century Before Social Media

    A new project by the History Channel explores the triumphs and injustices of Jim Thorpe’s career. “He’s one of the greatest Americans,” the director Chris Eyre said.Before Deion Sanders or Bo Jackson, there was Jim Thorpe.More than a century ago, Thorpe was a multisport star, excelling in football, baseball and lacrosse, and winning gold medals in the decathlon and pentathlon at the 1912 Stockholm Games. But as a Native American, he faced what many historians considered racial bias when those medals were stripped because he had previously earned modest payment for playing baseball, which the International Olympic Committee said violated amateurism rules.The I.O.C. agreed to return Thorpe’s medals in 1982, almost 30 years after his death, and last year President Joseph R. Biden Jr. awarded him the Presidential Medal of Freedom, which was accepted by Thorpe’s granddaughter.On Monday, a new project by the History Channel, “Jim Thorpe: Lit by Lightning,” explores the triumphs and injustices of Thorpe’s athletic career. The two-hour documentary was directed by Chris Eyre, a Native American filmmaker, and produced by Uninterrupted, a media company co-founded by LeBron James.In an interview with The New York Times, Eyre discussed the creative process and how he sees Thorpe’s legacy playing out today. Excerpts from the conversation have been edited for length and clarity.Why was now a good time to do this project?I had heard about Jim Thorpe ever since I was a kid, and I felt like his name — I didn’t want it to fade from the consciousness because he’s one of the greatest Americans that ever lived and he’s the greatest athlete ever. I jumped at getting to make something.Thorpe, known for his athletic abilities in many sports, played football professionally from 1919 to 1926.Bettmann Archive, via Getty ImagesWe 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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    11 Off Broadway Plays to See in July

    Here’s what’s onstage in New York: a new musical about Joy Mangano of Miracle Mop fame, and two plays from the “Oh, Mary!” director Sam Pinkleton.‘Out of Order’In his new show, staged in an intimate basement space, the playwright and actor Carl Holder shuffles the autobiographical-solo genre by picking out prompts and questions written on a bunch of index cards and enacting them. The result is, by turns, emotional, funny, wrenching, not adverse to interpretive dancing and occasionally interactive. Decked out in an Adidas tracksuit, Holder holds the 90-minute production together thanks to a performance that feels openhearted. “Out of Order” is underground in every sense of the word, and unexpectedly heartbreaking. (Through July 22, East Village Basement)Hot FestivalCreated in 1992 by Dixon Place’s founding director, El Covan, the Hot Festival would be a miracle of longevity by any standards, but it’s particularly impressive by Off Off Broadway ones — all the more since the annual event focuses on queer theater, which lands the double whammy of being perennially underfunded and under attack. The festival presents queer-focused shows at various stages of their artistic lives. Among the ones likely to be further along the creative journey are the New York Neo-Futurists’ “The Infinite Pride” (July 9), a special edition of their long-running show “The Infinite Wrench” — an ever-evolving patchwork of 30 very short plays performed in about an hour. Another promising entry is David Dean Bottrell’s “Teenage Wasteland: Thirteen Fourteen Fifteen” (July 16), in which the actor recounts his coming of age in the Bible Belt of the 1970s (Through July 25, Dixon Place)‘Berlindia!’A production whose credits includes an entry for “choreography and techno” may well pique the interest of adventurous theatergoers. Here said choreography and techno (by Mia Pak and Nicholas Webster) are deployed in a new play with an absurdist tinge by Daniel Holzman, directed by Noah Latty and produced by Emma Richmond (who also worked on Kallan Dana’s buzzy recent show, “Lobster”). The cast of “Berlindia!” includes Mike Iveson (“What the Constitution Means to Me”) and Pete Simpson (“Is This a Room”). Add that this is playing at the Tank, a haven for hard-to-describe theater that’s steps from Penn Station, and most tickets cost under $40, and you have something worth gambling on. (Through July 27, the Tank)Megan Hill in Crystal Skillman’s “Open.”Maria Baranova‘Open’In one of the summer’s most welcome surprises, Crystal Skillman’s wondrous monologue returns six years after its premiere at the Tank. It’s not so much a revival as a reprise, since the production brings back the original team of star Megan Hill (“Eddie and Dave”) and director Jessi D. Hill. The first easily holds our attention as Kristen, a woman who attempts to channel her anguish and grief through magic tricks. “Open” is a love story with an aching heart — let’s welcome back this delicate slice of summertime sadness. (July 8-27, WP Theater)‘Joy: A New True Musical’There is something inspiring about Joy Mangano’s life and entrepreneurial spirit: A decade after the movie “Joy,” in which she was played by Jennifer Lawrence, comes this new musical starring Betsy Wolfe (most recently of “& Juliet”). Wait, you haven’t heard of Mangano? She is most famous for unleashing the self-wringing Miracle Mop onto America’s dirty floors. The musical’s book is by Ken Davenport and its score by AnnMarie Milazzo (best known for her orchestrations and vocal arrangements on Broadway). Intriguingly, the choreographer Lorin Latarro directs, while Joshua Bergasse (a recent Tony nominee for “Smash”) handles the choreography (Through Aug. 17, Laura Pels Theater)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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    in Television

    ‘Too Much,’ Plus 7 Things on TV this Week

    Lena Dunham’s new rom-com comes to Netflix, and two reality shows air.Between streaming and cable, there is a seemingly endless variety of things to watch. Here is a selection of TV shows and specials that are airing or streaming this week, July 7- 13. Details and times are subject to change.Fresh starts.For many millennial women, despite the fact that the finale of “Girls” aired in 2017, it’s never been too far out of the cultural zeitgeist. But now there will be fresh characters, plots and content to analyze with Lena Dunham’s new show, “Too Much.” The story follows Jessica (Megan Stalter), who, fresh off a breakup, moves to London for a new job and ends up falling for Felix (Will Sharpe), an indie musician who has seemingly countless red flags (I am having Adam flashbacks). The story is loosely based on Dunham’s real life — after working in Britain and meeting her now-husband, Luis Felber, there, she said she wanted to examine American expats’ fantasy of London versus the actual experience. All 10 episodes will be released at once. Streaming Thursday on Netflix.Kat Sadler, left, and Lizzie Davidson in “Such Brave Girls.”Courtesy of HuluThe real-life sisters Kat Sadler and Lizzie Davidson created a British sitcom in which they star as … sisters. The first season of “Such Brave Girls” tells the story of a mother, Deb (Louise Brealey), and her two daughters, Josie (Sadler) and Billie (Davidson), who navigate life after their father (Deb’s husband) leaves. In the second season, coming out this week, no topic is off limits — depression, medication, sex and affairs are all on the table. Streaming Monday on Hulu.Does he love me? Does he love me not?After a two-year hiatus, “Bachelor in Paradise” is back this week. The show features former contestants who head to a beach, this time in Costa Rica, for a second (or third, or fourth) chance at love. This season, the contestants from “The Golden Bachelor” franchise are also joining, but it’s unclear if there will be intergenerational dating. Jesse Palmer will serve as host, Wells Adams is returning as the bartender and for a new addition, the former “Bachelorette” Hannah Brown is taking on a role entitled “paradise relations,” in which she will help with rose ceremonies. Monday at 8 p.m. on ABC and streaming the next day on Hulu.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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    Julian McMahon, ‘Nip/Tuck’ and ‘Fantastic Four’ Star, Dies at 56

    He played the half-human, half-demon Cole Turner in the WB supernatural series “Charmed” and a self-destructive playboy in the FX series “Nip/Tuck.”Julian McMahon, an actor known for playing the promiscuous plastic surgeon Dr. Christian Troy in the television show “Nip/Tuck,” as well as the egoistical evil scientist Dr. Victor Von Doom in two “Fantastic Four” movies, died on Wednesday in Florida. He was 56.His death was confirmed by his wife, Kelly McMahon, who said in a statement that the cause was cancer.Mr. McMahon began acting in Australian soap operas in the early 1990s and first found success in the United States on the NBC soap opera “Another World” in 1993.After switching to prime-time television, his breakout role came when he played the half-human, half-demon Cole Turner on three seasons of the WB supernatural series “Charmed.”Mr. McMahon achieved leading-man status when he began starring in the FX series “Nip/Tuck” in 2003.His performance as Dr. Christian Troy, a self-destructive playboy, contrasted with Dr. Troy’s strait-laced best friend, Dr. Sean McNamara, played by Dylan Walsh.On the show, which ran from 2003-10, the pair ran a plastic surgery practice, first in Miami and later in Los Angeles, and frequently sparred over the morality of their profession.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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    Paul Libin, a Forceful Presence On and Off Broadway, Dies at 94

    He staged a revival of “The Crucible” in a Manhattan hotel ballroom in 1958, helped run Circle in the Square and oversaw the operations of Jujamcyn Theaters.Paul Libin, a prolific producer and respected Broadway theater executive whose first major endeavor was an Off Broadway revival of Arthur Miller’s play “The Crucible” that he staged in the ballroom of a Manhattan hotel in 1958, died on June 27 in Manhattan. He was 94.His death, in a hospital, was confirmed by his son, Charles.In his nearly 70-year career, Mr. Libin ran Circle in the Square Theater with Theodore Mann, one of its founders, and together they produced more than 100 shows. Later, Mr. Libin was in charge of operations at Jujamcyn Theaters, the owner of several Broadway houses.Rocco Landesman, the former president and owner of Jujamcyn, said Mr. Libin had a wall-penetrating voice, a forceful presence and enormous energy.“I depended on Paul entirely,” Mr. Landesman said in an interview. “Someone had to run the company. But I wouldn’t describe his role as corporate. He was as likely to be climbing into the air-conditioning ducts at the St. James Theater as he was to be sitting at his desk. He came in every day with enthusiasm.”That enthusiasm dated to Mr. Libin’s early days as an assistant to Jo Mielziner, a Tony-winning scenic designer and producer. When Mr. Mielziner produced the Broadway musical “Happy Hunting,” which opened in late 1956, he promoted Mr. Libin to stage manager.In 1958, on his way to a dentist appointment, Mr. Libin passed the Hotel Martinique, on West 32nd Street near Broadway, and saw a sign advertising the ballroom’s availability. He thought of it as a space that he and the director Word Baker could turn into a theater-in-the-round for a production of “The Crucible,” the 1953 Tony-winning Broadway play about the Salem witch trials and an allegory of the McCarthy-era Red Scare.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