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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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    in Theater

    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

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    In ‘The Years,’ an Abortion Scene Is Causing Audience Members to Pass Out

    “The Years,” running in London, dramatizes a woman’s life from teenage thrills to later-life sex. One intense scene is causing audience members to pass out.About 40 minutes into a recent performance of “The Years” in London, Stephanie Schwartz suddenly felt ill and had to put her head between her legs.Onstage at the Harold Pinter Theater, the actress Romola Garai was holding two knitting needles while portraying a young Frenchwoman trying to give herself an abortion. The scene was set in 1964, a time when medical abortions were illegal in France, and Garai’s character wasn’t ready for motherhood.Schwartz, 39, said she had started feeling faint as Garai’s character, Annie, described her attempt to carry out the procedure in stark, if brief, detail. But then, Schwartz recalled, there was a commotion in the balcony above. An audience member had actually passed out.Since opening last summer for a short run at the Almeida Theater, then again last month on the West End, “The Years” has been the talk of London’s theaterland. That has as much to do with audience reactions to the six-minute abortion scene as the near-universal critical acclaim that the production and its five actresses received for their powerful portrayal of one woman’s life.While fainting theatergoers are nothing new — several passed out over the onstage torture in Sarah Kane’s “Cleansed” at the National Theater almost a decade ago — the sheer number keeling over at “The Years” stands out. Sonia Friedman, the show’s producer, said that at least one person has fainted at every performance despite a warning to ticketholders.Romola Garai assumed that British theatergoers were so accustomed to viewing bloody productions of Shakespeare that they were unlikely to have a strong reaction to the play’s abortion scene.Helen MurrayWe 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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    Live Performance in New York City: Here’s What to See This Spring

    Onstage, Denzel Washington is Othello, and Paul Mescal is Stanley Kowalski as stars illuminate the theater marquees. Plus: FKA twigs takes “Eusexua” on tour. Bang on a Can, Twyla Tharp, and much more.BroadwayOPERATION MINCEMEAT A sneaky compassion lies at the heart of this caper of a show, a deliciously eccentric London import that won the 2024 Olivier Award for best new musical. Starring the original West End cast, it’s a riff on a bizarre true story from World War II, when British Intelligence, keen to misdirect the Germans, dressed up a dead man as a Royal Marines major, planted a fake invasion plan on him and dropped him in the sea for the enemy to find. Through June 15 at the Golden Theater. (All theater listings by LAURA COLLINS-HUGHES)Mel Semé and Natalie Venetia Belcon in the musical “Buena Vista Social Club.”Sara Krulwich/The New York TimesBUENA VISTA SOCIAL CLUB This jukebox musical about the Cuban artists who made the Grammy Award-winning 1997 album of the title isn’t straight biography. Developed and directed by Saheem Ali (“Fat Ham”), it uses real people and events as a jumping-off point for its storytelling. Rooted in the recording sessions, and choreographed by Patricia Delgado and the Tony winner Justin Peck (“Illinoise”), it was an Off Broadway hit last season for Atlantic Theater Company. Performances begin Feb. 21 at the Gerald Schoenfeld Theater.OTHELLO Denzel Washington made a Broadway box-office hit out of “Julius Caesar” two decades ago. On the big screen, he has played Macbeth. Now he takes on Shakespeare’s Othello — the honorable general and smitten newlywed. Jake Gyllenhaal is his foil as the perfidious Iago, who goads Othello into unreasoning jealousy with lies about his beloved Desdemona (Molly Osborne). Directed by Kenny Leon, a Tony winner for his revival of “A Raisin in the Sun,” which also starred Washington. Feb. 24-June 8 at the Barrymore Theater.PURPOSE Fresh off his Tony win for “Appropriate,” the playwright Branden Jacobs-Jenkins returns with a new drama about the members of a famous, albeit fictional, Black political dynasty in Chicago, reckoning with history, morality and legacy as they gather for a celebration. Phylicia Rashad directs this Steppenwolf Theater production, whose ensemble cast includes Alana Arenas, Glenn Davis, Jon Michael Hill, LaTanya Richardson Jackson, Harry Lennix and another 2024 Tony winner, Kara Young. Feb. 25-July 6 at the Helen Hayes Theater.GLENGARRY GLEN ROSS David 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, 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? March 10-May 31 at the Palace 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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    ‘S.N.L.’ Celebrates 50 Years With Star-Studded Prime-Time Special

    Stage and audience alike at Studio 8H were packed with cast, alumni and other celebrities in a night that was in turns sweet and self-satirizing.After a half-century of comedy and music (and what at times felt like an equal amount of buildup and hype), how do you at last kick off a prime-time 50th anniversary special for “Saturday Night Live”? Calmly and serenely, it turns out.The long-awaited “SNL50: The Anniversary Special” opened on Sunday with the musicians Paul Simon (an “S.N.L.” stalwart through the decades) and Sabrina Carpenter (who was its musical guest in May 2024) sharing the stage at the show’s familiar home base at Studio 8H at 30 Rockefeller Plaza.They exchanged a simple joke, setting a theme that would recur for the rest of the night: Time passes, whether you like it or not. Simon said they were about to play a song that he had performed on the show with George Harrison in 1976. “I was not born then,” Carpenter said, “and neither were my parents.”“I’m glad they’ll get the chance to hear it tonight,” Simon replied. And together he and Carpenter performed Simon & Garfunkel’s “Homeward Bound,” the first musical number in a night that also included performances by Paul McCartney, Miley Cyrus with Brittany Howard and Lil Wayne with the Roots.And who else could perform the opening monologue on this occasion but Steve Martin, a 16-time host whose own rising star in the 1970s imparted some needed credibility and momentum to “S.N.L.” when it was just starting out.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