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    Choreographer’s ‘Dog Poop Attack’ on a Critic Inspired This New Play

    At this year’s Theatertreffen drama festival, one production explores an incident that shocked the German theater world last year.On Feb. 11, 2023, the choreographer Marco Goecke cornered a dance critic, Wiebke Hüster, during intermission of a performance at the Hanover State Opera in northern Germany. After asking her about negative reviews that she had written about his past productions, Goecke took out a bag of dog feces and smeared her face with it.That shocking incident, which generated headlines around the world, is the starting point for “The Dog Poop Attack,” a production at this year’s Theatertreffen festival in Berlin.Of the 10 shows at the event, a celebration of German-language theater, “The Dog Poop Attack” has arguably generated the most excitement, thanks to its explosive subject matter and its unlikely place of origin: Jena, a city in eastern Germany that is hardly known as a theatrical capital.After the incident, Goecke gave up his position as Hanover company’s ballet director “by mutual agreement.” He was later suspended from the Nederlands Dans Theater, the Dutch company where he was an associate choreographer. Hüster filed a criminal complaint against him; Goecke was ordered to pay 5.000 euros in damages. And while he has issued public apologies, Goecke has remained more defiant than contrite, and disturbingly equivocal: He has both admitted to overreacting and also tried to justify his behavior.“The Dog Poop Attack” mulls over the incident, the attention it generated and what it says about the state of the performing arts in Germany. The play’s premise is simple: A troupe of actors at a provincial theater hope that mounting a production has the idea of making a production about the infamous affair will help them gain wider attention. This meta-conceit recalls backstage farces like “Noises Off” and “Waiting for Guffman,” but this show, devised and written collectively by the six performers, the director Walter Bart and the dramaturg Hannah Baumann, does something so straightforward yet daring that it’s a minor miracle that it works.The production’s gambit is to dramatize the creative process itself. For the bulk of the evening, the actors — playing themselves, or thinly fictionalized versions of themselves — dramatically narrate their email exchanges about how to stage the show. The lively way they put their brainstorming, discussions and quarrels onstage, along with a healthy dose of irony, makes for provocative and absorbing 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.’ Season 49 Highlights: Trump Trolling, ‘Dune’ Buckets and Beavis Breakdowns

    Season 49 of “Saturday Night Live” has just ended. Here’s a look back at its most memorable monologues, sketches, product parodies and impressions.Season 49 of “Saturday Night Live” is barely in the history books, and everyone seems ready to turn the page to next season, when this long-running NBC sketch comedy series will tackle the 2024 presidential election and celebrate its golden anniversary.But “S.N.L.” did much more than simply mark the time in its 49th season: It gave us some memorable monologues, catchy comic songs and preposterous commercial parodies; it found the best argument in favor of nepotism; and it tried, yet again, to find someone to impersonate President Joseph R. Biden on a regular basis. And, when no one was expecting it, it served up a sketch so silly that its own cast members profoundly lost it.Join us now as we look back the best of the past season of “S.NL.”Cold open of the seasonWith its premiere delayed by the Writers Guild of America strike, “S.N.L.” started its season only a few days after the Oct. 7 Hamas attack on Israel — a topic that seemed far too fraught and tragic for the program to comment on, and surely not in the wheelhouse of its host, Pete Davidson, who is no one’s idea of an astute political comedian.Yet “S.N.L.” and Davidson rose unexpectedly to the occasion, and the host addressed the topic at the start of the show, even before the customary monologue segment. Reminding the audience that his father, a firefighter, had been killed in the 9/11 attack on New York, Davidson said:“I saw so many terrible pictures this week of children suffering, Israeli children and Palestinian children. And it took me back to a really horrible, horrible place. No one in this world deserves to suffer like that, especially not kids.”Davidson added, “I’m going to do what I’ve always done in the face of tragedy, and that’s try to be funny. Remember, I said ‘try.’”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 Emerson Still Reigns as TV’s King of Creepy

    The actor has played unsettling men on shows like “Lost” and “Fallout.” In the new season of “Evil,” he might be raising the Antichrist.On one wall of the actor Michael Emerson’s Manhattan apartment hangs a large self portrait he drew about 40 years ago. In the intentionally distorted image, Emerson peers out menacingly from behind his circular glasses. His wife, the actor Carrie Preston, thinks it serves as a fitting summation of his career.“You know, Carrie brought this up recently saying, ‘There’s the template for so much of what you have done as an actor,’” he said. “For me it was just a laugh. It’s still the same mix of having fun and yet being a little, what’s the word, terrifying.”It’s true: If you want someone to be creepy on television, you call Michael Emerson. The 69-year-old actor had his breakout role in 2000 playing a serial killer in “The Practice,” a performance so memorably distressing it won him a guest actor Emmy. He went on to unsettle viewers for years as the unpredictable Ben Linus in “Lost,” and as the computer wizard Harold Finch on “Person of Interest.” This year he showed up for one episode of the Prime Video series “Fallout,” from the “Person of Interest” creator Jonathan Nolan, as a quietly menacing scientist. They aren’t all bad guys, but you’re never quite sure.Emerson is currently inhabiting his most ghoulish role yet, in the aptly named Paramount+ show “Evil,” returning for its fourth and final season on May 23. Emerson plays Leland Townsend, a demonic emissary who constantly torments the heroes, a group of investigators played by Mike Colter, Katja Herbers and Aasif Mandvi. This trio works for the Roman Catholic Church to determine whether various strange goings-on are the result of satanic forces or more mundane phenomena. Leland’s main goal is to promote the forces of darkness by any means possible.In Emerson’s hands, Leland is a captivating, often frightening agent of chaos who is surprisingly goofy for someone who is OK with child murder. In the new season, he is raising his biological son — he nefariously arranged the baby’s conception earlier in the series — and believes the child is the Antichrist.“I don’t know anyone that does unsettling better than Michael Emerson,” Michelle King, who created “Evil” with her husband, Robert, said in a video interview.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 on TV This Week: ‘Abbott Elementary’ and ‘The Good Doctor’

    The ABC comedy wraps up its third season. The medical show airs its series finale.For those who still enjoy a cable subscription, here is a selection of cable and network TV shows, movies and specials that broadcast this week, May 20-26. Details and times are subject to change.MondaySTAX: SOULSVILLE, U.S.A. 9 p.m. on HBO. Satellite Records in Memphis (now Stax Records), which opened its doors in 1957, helped start the careers of Otis Redding, Isaac Hayes, Sam & Dave and more. This documentary series uses archival footage and interviews to look back on the relationships shared by musicians, songwriters and producers and highlights the work they all did in pushing the racial barriers of the time.SO YOU THINK YOU CAN DANCE 9 p.m. on Fox. All season the judges Allison Holker, Maksim Chmerkovskiy and JoJo Siwa have been sharing feedback with the dancers in this competition show with episode themes including Broadway, music videos and movies — and now it is time to crown a winner.TuesdayTHE ROOKIE 9 p.m. on ABC. This show, staring Nathan Fillion as the oldest rookie in the Los Angeles Police Department, is wrapping up its 6th season this week. The penultimate episode left things on a cliffhanger, with Dr. London on the run, potentially endangering her immunity deal. Will we have to wait a year for loose ends to be tied up?Freddie Highmore in “The Good Doctor.”Disney/Jeff WeddellTHE GOOD DOCTOR 10 p.m. on ABC. Over the seven seasons of this show, we have really seen Shaun Murphy (Freddie Highmore) go on a full journey. He started as a nervous young surgeon and has blossomed into a top guy in his field, a husband and a father. Highmore told Deadline that he hadn’t expected the show to run seven seasons, “but one of the things that I have always appreciated about the show — and saw as potential from the very beginning — is the opportunity for Shaun to evolve and learn and grow and change,” he said.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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    ‘Nobody Cares’ About Laura Benanti, but They Let Her Entertain Them

    While poking fun at her own agreeable malleability, Benanti flexes her talents in a show that will be available on Audible, without the physical dimension.Laura Benanti’s show “Nobody Cares,” at the Minetta Lane Theater, is being recorded and will soon be available from the comfort of your home. Future audiences are likely to enjoy Benanti’s autobiographical romp through her family life, her romantic and professional travails, her insecurities (see the title) and her often overwhelming need to please. They will appreciate the handful of original songs, which she wrote with the music director Todd Almond — Benanti is a fabulous singer, with a Tony Award on her mantel for her sultry turn as Louise in “Gypsy.”But because the show will be on Audible, those audiences will be made up of listeners, and they will miss out on the physical comedy of a woman who can communicate more with one raised eyebrow than most actors can with a lengthy monologue. Benanti dramatically throws herself on the floor during the number “Give It to Me” before effortlessly slithering back up. This might be an exorcism of the time she broke her neck while doing a pratfall as Cinderella in the 2002 revival of “Into the Woods.”Did that accident make her change her reflexive compliance? Nope: “There wasn’t a strong enough neck brace in the world that could have kept me from nodding ‘yes’ to something I strongly disagreed with,” she says in the show.That Benanti is a terrific all-around comedienne won’t surprise those who have seen, say, the musical “Women on the Verge of a Nervous Breakdown,” her impersonation of Melania Trump on “The Late Show With Stephen Colbert,” or videos like the one in which she reimagined the obsessive Fosca from Stephen Sondheim’s “Passion” as a Times Square mascot. Now she’s exploring new-ish terrain in an evening-length show, directed by Annie Tippe, that stands out from her past solo projects by relying more on narration and embracing a confessional mode. The general approach is a little reminiscent of Sherie Rene Scott’s “Everyday Rapture,” from 2009 (though that piece had more songs, and they were covers).After a beginning that feels stiffly self-conscious, Benanti loosens into her comedic rhythm and packs a lot into 90 minutes: a childhood as a theater nerd, three marriages, two daughters, perimenopause, shooting a nude scene in a recent prestige TV series. The production’s biggest missed opportunity might lie in how little Benanti interacts with Almond, who leads the five-piece band and occasionally pipes up with impeccably timed rejoinders, or with her backup singers, Barrie Lobo McLain and Chelsea Lee Williams.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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    Dolores Rosedale, Sidekick on ‘Beat the Clock,’ Dies at 95

    The model and actress, who went by Roxanne, had a modest role on the game show, appeared on numerous magazine covers and inspired the creation of a doll.Dolores Rosedale, a model known as Roxanne whose burst of fame in the early 1950s as the hostess of the wacky game show “Beat the Clock” led to the creation of a doll in her image and to appearances on the covers of magazines like Life and TV Guide, died on May 2 in Spring Park, Minn., near Minneapolis. She was 95.Her daughter Ann Roddy confirmed the death, at an assisted living facility.Roxanne joined “Beat the Clock” in 1950 when it made its transition to television from radio. Bud Collyer, the host, presided over the weekly program, in which contestants raced to finish stunts against time limits.Roxanne’s role didn’t require her to say much at first. She posed with the prizes and took pictures of contestants as they carried out their stunts. She later gave introductions of the contestants.Ms. Rosedale, second from left, with Bud Collyer, left, the host of “Beat the Clock.” On the show, she posed with prizes, took pictures of contestants and gave introductions.CBS, via Everett CollectionBut her poise and glamour — and, perhaps, the polka-dot ballet costume she sometimes wore — helped her break out.In 1951, she donned a costume for a Life magazine cover story about chorus girls. Inside, a photograph that identified her as the show’s “stunt mistress” showed her guiding a blindfolded Boy Scout as he tried to identify an elephant.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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    A Times Reporter Visits the Latest Broadway Shows

    What’s it like to attend twelve productions in nine days? Michael Paulson, the Times theater reporter, shared his sprint around Midtown Manhattan.Times Insider explains who we are and what we do and delivers behind-the-scenes insights into how our journalism comes together.I’m the theater reporter at The New York Times, which means I see a lot of plays and musicals — about 100 a year. But I don’t often go to opening nights. Those evenings are celebratory, and audiences are filled with the productions’ friends and supporters. The press is generally invited to attend performances on the nights just before (those are called previews) or after the openings.This year was different. My colleagues and I noticed some months ago that April — always a busy time for Broadway as shows scramble to open by the deadline to be eligible for the Tony Awards — was shaping up to be more congested than usual. Twelve shows were opening in a nine-day stretch.Oprah Winfrey attends the opening night performance of “Hell’s Kitchen.”Landon Nordeman for The New York TimesThis is a tough time for Broadway. Production costs have risen and overall attendance has fallen since the pandemic. I suggested to the Culture desk’s editors that it might be interesting if we sent a reporter and photographer to every opening, chronicling these moments of hope at a time of challenge.As the saying goes, be careful what you wish for.That’s how I wound up spending nine days with the photographer Landon Nordeman, lurching from show to show; watching as many performances as I could; hanging out on red (and yellow, and pink, and blue) carpets; listening to curtain call speeches; and even popping in to a few after-parties.I worked with two photo editors, Jolie Ruben and Amanda Webster; a visual storytelling editor, Josephine Sedgwick; the theater editor, Nicole Herrington; and the Arts & Leisure editor, Andrew LaVallee, to hash out a strategy. We asked ourselves: How would we differentiate the openings from one another? And how could we use the sea of events to help our readers, most of whom live far from Broadway, understand more about this industry and this art form?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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    ‘Saturday Night Live’ Signs Off for the Season With Jake Gyllenhaal as Host

    Jake Gyllenhaal hosted the final episode of the show’s 49th season. Sabrina Carpenter was the musical guest.In its final episode of the season, just before its cast members pack up their fright wigs and false teeth to head out on their summer vacations, “Saturday Night Live” gave its viewers what they presumably wanted: an opening sketch featuring James Austin Johnson as former President Donald J. Trump.This weekend’s broadcast, which was hosted by Jake Gyllenhaal and featured the musical guest Sabrina Carpenter, began with Johnson recreating one of the many public statements that Trump has made during his criminal hush-money trial.“I don’t like being in court because they say very mean things about me while I am trying to sleep,” Johnson said. “But I love being out here, in the hallway outside court, daring judge to imprison me. He gave me a gag order. I said, ‘That sounds like a challenge on RuPaul.’”Describing the trial as “very eye-closening,” Johnson said it would likely end with him “being sent to a horrible place I do not want to go to — the White House.”He added, “For me, much better to not win and say it was rigged and then get very rich raising money to stop the steal, and you never have to do president again. I like that a lot.”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