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    9 Best Theater Moments of 2024

    “The Outsiders,” “Sunset Boulevard” and “Ragtime” were among the productions with stage moments that stood out this year.Climate protesters disrupting a performance of “An Enemy of the People,” the outdoor walking scene in “Sunset Boulevard” and the giggles prompted by a character’s reaction to a hunky celebrity’s glutes in “Hold On to Me Darling”: The rewards of live theater were aplenty this year. Here, nine other stage moments that especially stood out, listed chronologically. NICOLE HERRINGTONExpert FloppingSutton Foster does some playful mugging in “Once Upon a Mattress.”Sara Krulwich/The New York TimesSutton Foster’s performance as the unorthodox Princess Winnifred in “Once Upon a Mattress” was full of playful mugging. But it was in the show’s indelible scene that her best physical comedy shone through: sprawling atop a tower of mattresses stacked on a pea, flailing, flopping, hopping and then propped, rear-end up, like a fitful child protesting bedtime. It’s the kind of clowning that few can pull off with Foster’s ease and charm. MAYA PHILLIPSCoroner’s Cabaret ActAndrew Durand, left, and Thom Sesma in the musical “Dead Outlaw.”Sara Krulwich/The New York TimesThe beguilingly strange new Off Broadway musical “Dead Outlaw” retold the true tale of an Old West bank robber whose mummified corpse landed, in 1976, on the Los Angeles autopsy table of Thomas Noguchi, coroner to the stars. Noguchi is this dark comedy’s conscience — and in Thom Sesma’s performance, a fabulous showman, too. Grabbing the dangling microphone intended for postmortem notes, he delivered a slab-side nightclub number, boasting of celebrities he had cut up. Suddenly, surreally, death was a cabaret. LAURA COLLINS-HUGHESVirtuosic ViolenceA balletic rumble in “The Outsiders” is stagecraft at its best. Sara Krulwich/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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    Best Theater of 2024

    Broadway roared back, but the kitties were downtown and the prayer service was in Brooklyn.Broadway always looks its healthiest around the holidays, and indeed, right now, most of its 41 theaters are lit, with the rest soon set to load in new tenants. Box office grosses, if not quite back to prepandemic levels, seem likely to meet or exceed last year’s $1.6 billion. But the real health of the commercial theater, for me, is demonstrated by how much it offers its audiences, not its investors. That’s why, most years, my list of best shows is top-heavy with the provocative work being brewed Off Broadway. If my latest list tilts the other way, perhaps that reflects Broadway’s liberal borrowings from the noncommercial sector — borrowings and often improvements. My Top 10, listed chronologically and covering the period from December 2023 through the end of November, are therefore mostly shows that, wherever they started and wherever they wind up, put a premium on provocation, sure, but also entertainment. That’s what I call healthy.‘Appropriate’ by Branden Jacobs-JenkinsSarah Paulson, center, in her Tony Award-winning performance in “Appropriate.”Sara Krulwich/The New York TimesMost plays about racism dramatize the damage done to its victims. But “Appropriate,” which opened last December in a Second Stage Theater production, looks instead at the sickening effects that hatred can have on its perpetrators — and their heirs. On the surface a “dividing the estate” play, with the children of a good ol’ boy squabbling over their inherited real and unreal estate, Branden Jacobs-Jenkins’s uproarious tale of family guilt (directed by Lila Neugebauer and with a blistering, Tony-winning performance by Sarah Paulson) was in effect a corroded mirror reflecting America’s worst (and worst-kept) secrets. (Read our review of “Appropriate” and our profile of Paulson.)‘Terce: A Practical Breviary’ by Heather ChristianThe new year brought with it a new prayer, if you were willing to go to a former Sunday school in Brooklyn to find it. At the Irondale Center in Fort Greene, a large cast of “caregivers and makers” offered an unusual liturgy, performing Heather Christian’s ritual of praise for “the divine feminine.” The visionary composer’s typically catholic musical references — plainsong, gospel, electronica, soul and New Orleans funk — short-circuited rational analysis, inviting transcendence in much the way the rituals of the established church do. But this time, in Keenan Tyler Oliphant’s richly welcoming staging, the transcendence was for everyone, of any faith or none. (Read our review of “Terce.”)‘Dead Outlaw’ by David Yazbek, Erik Della Penna and Itamar MosesAndrew Durand, in the coffin, as the title character in the Off Broadway musical “Dead Outlaw.”Sara Krulwich/The New York TimesThe afterlife of a mummy sounds more like an “I dare you” literary project than a hook for a good-time musical. But the mostly true story of Elmer McCurdy — wastrel, roustabout, schnook and sideshow attraction — got a brilliant coda in this Off Broadway show at the Minetta Lane Theater. The lovingly serious direction by David Cromer tempered the absurdity of the tale with sweetness and humor, and the cast, let by Andrew Durand as McCurdy, responded to the tumbleweed of a score with gorgeous singing. It’s the kind of musical you’d never find on Broadway — except that you might, next year. (Read our review of “Dead Outlaw” and the story behind the show.)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 Creep Tapes’ Finale, Plus 6 Things to Watch on TV This Week

    Mark Duplass reprises his serial killer role in a new series. And reality TV royalty, Paris Hilton and Nicole Richie, reunite.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 broadcast live or available for streaming this week, Dec. 9 to Dec. 15. Details and times are subject to change.Christmas With the CreepsJust because Halloween has come and gone doesn’t mean you can’t keep enjoying some spooky content. (The holidays, after all, can be plenty scary.) Since I, a veritable horror nerd, am taking over the column this week, I am garnishing it with some ghouls.It may seem strange to call a serial killer character beloved, but Mark Duplass’s Josef is just that. Originally introduced in the found-footage horror movie “Creep,” from 2014, the eerie yet endearing villain returns in “The Creep Tapes,” which will air its season finale this week. “This is going to be a comfort show, weirdly, for people who love this character,” Duplass said in an interview with The New York Times. Consider me comforted. Streaming on Friday on Shudder and AMC+.In “The Creep Tapes,” Duplass reprises his role as Josef, a man who lures videographers to his home and kills them on camera.ShudderIf you’re tired of pleasant, family-friendly holiday specials, look no further: The comedian and critic Joe Bob Briggs is here to shake things up. The special “Joe Bob’s Christmas Carnage” will take his usual format of providing crude commentary alongside two gory B-movies (this time of the holiday variety). The films included will be kept secret until the show airs, but one thing’s for sure — there will be plenty of bloodshed. Friday at 9 p.m. on Shudder and AMC+.While I’m mentioning my favorite monsters, it’s worth noting that the latest season of “Dragula” (like the cooler, goth cousin of “RuPaul’s Drag Race”) is now streaming in its entirety. The artists competing this season were truly formidable, and it’s thrilling to see the freaky and gorgeous looks they construct. Plus, the hosts, the Boulet Brothers, subject the talented performers to twisted, “Survivor”-esque feats of courage, like jumping out of planes and swimming with sharks. Now on Shudder and AMC+.Reality RoundupIt’s no secret that the early 2000s — its fashion, its stars and its music trends — are back in a big way. But perhaps the strongest signal of their return is the reunion of Paris Hilton and Nicole Richie, 20 years after their reality show “The Simple Life.” Time to don your Juicy Couture sweatsuits and warm up your vocal fry for three-part limited series “Paris and Nicole: The Encore,” in which the aughts royalty attempt to stage an opera inspired by their inside-joke phrase “sanasa.” Lifelong friendship? Now that’s hot. Streaming Thursday on Peacock.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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    ‘Dune: Prophecy’: Travis Fimmel on His Character’s Fiery Rise to the Top

    Desmond Hart has been a wild card since he burned a young prince alive with his mind. The actor who plays him talked about what motivates Desmond’s drive for power.This interview contains mild spoilers for Season 1, Episode 4 of “Dune: Prophecy.”His character has used his supernatural powers to murder a child prince in the shadows and massacre an emperor’s enemies in public. But the “Dune: Prophecy” star Travis Fimmel doesn’t know if people hate him for it.“No idea,” said Fimmel, an Australian actor, whose friendly speech in an interview last week was sprinkled liberally with the word “mate.” “I’m on a little ranch, so I haven’t been anywhere, really. People could be hating on me. Wouldn’t be the first time, buddy.”Fimmel has portrayed men of great destiny and dubious morality before entering the Dune-iverse: a grasping young king in the historical epic “Vikings,” a mad messiah in the sci-fi mind-bender “Raised by Wolves.” Here, Fimmel stars as Desmond Hart, an ex-soldier returned from a near-fatal tour of duty on the resource-rich desert planet of Arrakis. Seemingly swallowed alive by one of the planet’s massive sandworms, he emerged supernaturally augmented — and wildly ambitious.Now an imperial adviser with deadly telepathic abilities, Desmond is a wild card in this highly structured fictional universe, which is set some 10,000 years before the events of the original “Dune” book by Frank Herbert and the two “Dune” films by Denis Villeneuve. As Fimmel put it, Desmond likes to mess with people’s heads.“Desmond acts like he knows what’s going on and what’s going to happen,” Fimmel said, “but he is unsure of himself, and he is unsure what the power he has can do to him.”Attila Szvacsek/HBO“I’m not in a position of power,” he said, speaking from Desmond’s point of view. “I’m not rich. I’ve got nothing. I’m from the other side of the tracks. Messing with people’s heads is the only power I can get.”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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    ‘Dune: Prophecy’ Season 1, Episode 4 Recap: Ol’ Blue Eyes

    The sisters have a terrifying vision. Desmond gives a terrifying display of his power and loyalty. Any connection?Season 1, Episode 4: ‘Twice Born’Two blue lights shine in the darkness, like the eyes of an insectoid machine. Guttural sounds, like speech in a language not yet invented, accompany them, but only for a second.Throughout “Dune: Prophecy,” this menacing pairing of sight and sound has recurred in dreams and visions. Are they the eyes of God, judging the Sisterhood, as Sister Emeline argues? Are they the eyes of the tyrannical force that Raquella, the Sisterhood’s first Mother Superior, warned about with her dying breaths? Are they the eyes of whatever entity gives Desmond Hart his “beautiful, terrible” power to burn people alive with his mind? Are all these things one and the same?I suspect we’ll get the answer eventually, but part of me thinks that’s a shame. Right now, the blue lights and the garbled grunts are the most Lynchian thing this franchise has served up since the director David Lynch himself was in charge of it 40 years ago. And as Lynch has demonstrated time and again, sometimes the mystery is its own reward.Not that the Sisterhood would agree. From Emeline on down, all of them — with the alleged exception of Sister Jen — experience simultaneous nightmares one night. They each begin differently, but they end in the same place: in the sands of Arrakis, standing before a sandworm’s maw, ready to fall in and meet that pitiless blue-eyed gaze. Mother Tula’s experiment with automatic drawing to uncover the meaning of the dreams almost ends in disaster when she completely loses control of the trance into which she places the acolytes, leaving them in the clutches of whatever force sent the dream in the first place.In a time of apocalypse, cults of personality spring up like fungus. So it is in the Sisterhood: Emeline revives the teachings of Valya’s rival, Mother Dorotea, whose death, we learn, was labeled a suicide by the Harkonnen sisters and their cronies. (In reality, Valya used the Voice to command Dorotea to kill herself.) In what appears to be a nightmare or a vision — though by the end of the episode, that distinction is slim indeed — Emeline confronts Tula with the truth, vowing to inform the Imperium; then Tula slits her throat. (This is the same fate Emeline met in her own nightmare, though in the dream it was she who wielded the blade against herself.)But the next thing Tula knows, she is sitting placidly by the side of Sister Lila’s stasis chamber once again, where Emeline found and confronted her. There’s no evidence Emeline has been there. But Lila is gone, broken free of her chamber; she emerges from the shadows, her eyes bright blue from overexposure to the psychoactive spice. Are those the eyes everyone is so afraid of?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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    Marvin Laird, Musical Presence on and Off Broadway, Dies at 85

    He conducted Broadway shows and worked with Bernadette Peters. But he was probably best known for writing the music for the darkly comic “Ruthless!”Marvin Laird, a conductor for Broadway musicals and for performers like Bernadette Peters who also composed the music for “Ruthless!,” the campy, award-winning Off Broadway show about a girl who will do anything — including kill — to star in a school play, died in a hospital on Dec. 2 in Bridgeport, Conn. He was 85.His partner in marriage, Joel Paley, said his death, in a hospital, was caused by complications of an infection.Mr. Laird was the assistant musical director for a summer stock production of “Gypsy” in Lambertville, N.J., in 1961 when he met Ms. Peters, who was 13 and was playing two small roles.“He was just the most energetic, charismatic fellow you’d ever want to meet,” Ms. Peters said in a phone interview.He later conducted the orchestras for her concerts and for two Broadway revivals in which she starred: “Annie Get Your Gun” in 1999 and “Gypsy” in 2003. When Ms. Peters appeared in a revival of “Follies” in 2011, he was the associate conductor.“The orchestras loved him,” Ms. Peters said. “He had a great sense of humor and they respected his musicianship.” She added: “He knew what I was going to do before I did it. I don’t sing a song the same way twice; it’s whatever happens to the song. And Marvin could get the whole orchestra to breathe with him.”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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    Hunter Biden and Matt Gaetz Are Church Lady’s Guests on ‘S.N.L’

    Playing his old familiar character, Dana Carvey talks about Jesus, tweaks celebrities for their sins and skewers Satan.A quick primer for the younger readers of this recap: The late 1980s were a creatively fruitful time for “Saturday Night Live” where for some reason every third sketch was a fake talk show. Among the most popular of these recurring bits was a segment called “Church Chat,” in which a piously persnickety host known simply as the Church Lady (played by Dana Carvey) would roast celebrities of the day and accuse pretty much everyone of working in the service of Satan.After a yearslong hiatus, “S.N.L.” brought back “Church Chat” to open this weekend’s broadcast, which was hosted by Paul Mescal and featured the musical guest Shaboozey. Carvey, once again clad in the prim attire of the Church Lady and seated in front of a stained-glass window, said he was back to “ring out the end of 2024, the most satanic year in history.”“Everywhere you look, you’ve got 11-year-olds dressing up like that vixen Sabrina Carpenter,” Carvey proclaimed. “You know who’s the best carpenter? Jesus.”Church Lady then introduced the first “Church Chat” guest, Matt Gaetz (Sarah Sherman), the former representative from Florida, who last month withdrew from consideration as President-elect Donald J. Trump’s attorney general.“Are you OK, Matt?” Carvey asked Sherman. “You look a little surprised to be here.”“No, this is just how my face is,” Sherman answered.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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    ‘Wicked’ Alumnae Class Notes: What They Learned at Shiz University

    The graduates of Shiz University are making their alma mater proud.In the 21 years since “Wicked” opened in New York, 43 women have starred full-time as Elphaba or Glinda — frenemies who meet as Shiz undergrads — and many more have taken on the vocally taxing roles in productions across the United States and around the world.Shiz has taught them well. After leaving the show, many have gone on to glittering careers, on Broadway and beyond. Three former Elphabas were nominated for Tony Awards this year, while four former Glindas have appeared in principal roles.As a smash-hit Hollywood adaptation introduces millions more to this revisionist history of Oz, we checked in with alumnae of the stage show to ask what they learned there. These are edited excerpts from our conversations.GlindaKristin ChenowethSara KrulwichChenoweth, who won a Tony Award in 1999 for “You’re a Good Man, Charlie Brown,” originated Glinda on Broadway in 2003. She is now one of Broadway’s most-loved stars and is planning to return next season in a musical adaptation of “The Queen of Versailles.”How did you first get involved with “Wicked”?I was called by [the composer] Stephen Schwartz himself, and he said, “Look, I’ve got this part I want you to do.” I didn’t know if I could work out the dates, but I went over to his apartment, and listened to “Popular.” I thought it was really cute and I could have some fun with it, so I was involved in a workshop in L.A., and that’s how it started. I remember the producer Marc Platt going, “Kristin, every once in a while a part comes along — maybe once in a lifetime — that is like a hand to a glove, and this is your part.” Glinda was very much the side character, but they started seeing how Idina and I were working together, and it evolved into a much bigger role. That first night we opened in San Francisco, for our out-of-town tryout, I told Idina, “It’s not going to matter what the critics say. There’s something very special here.” I just knew it.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