Eliana Willis

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    ‘Good Bones’ Review: A Gentrification Drama at Public Theater

    A new play from James Ijames, who won a Pulitzer for his “Fat Ham,” has intriguing ideas about identity and community that never fully take shape.In the immortal words of Joni Mitchell, “They paved paradise and put up a parking lot.” In James Ijames’s “Good Bones,” which opened on Tuesday at the Public Theater in Manhattan, it’s not a parking lot that’s the issue but a sports complex. This project is being nudged along by Aisha (Susan Kelechi Watson), a former local who is promoting the arena and building a luxe new home in her old hood as a way to revitalize it.Still, “Joni Mitchell never lies,” at least according to Earl (Khris Davis), the contractor working on Aisha’s house. Earl has fond memories of the housing project (in an unspecified city) known to its residents as the Heat. Aisha doesn’t; she sees the Heat as a place of fear, crime and lost prospects, and doesn’t mourn its potential replacement. Now, with her husband, Travis (Mamoudou Athie), she has returned to help transform the Heat into the up-and-coming neighborhood of Fennbrook. Oh, but their fabulous home may be haunted.“Good Bones” has great foundations: It’s a play about property and community exclusively featuring Black characters, and Black characters from different ends of the economic spectrum. How often do we see stories featuring the gentrified and the gentrifiers, all of whom are the same skin color? But “Good Bones” is meager with its plot and noncommittal in its intrigue, so even when the play offers its wry charms and astute reflections, it feels largely stuck in place.This production, directed by Saheem Ali, opens with a Brontë vibe; Aisha wanders in a shift dress through her in-progress modern mansion, with plastic sheets draping down from the high ceilings so the characters move through a haze of construction material. (Don’t worry, the sheets are gradually ripped down throughout the play to expose an Ikea showcase-worthy kitchen and dining room, beautifully designed by Maruti Evans.) The follow-through is a little less impressive.There’s an argument about kitchen knobs (Travis wants the handcrafted $40 ones; Aisha wants to stick to their budget) and whether they should have kids. Earl brings his sister Carmen (Téa Guarino) over for dinner. Occasionally Aisha hears a ghoulish giggle or watches her French doors spookily open on their own. But even our protagonist comically shrugs off these humble hauntings. (“I ain’t got time for this,” she snaps, turning on her heel.)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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    Vance and Walz’s Battle of the Network Co-Stars

    In what could be the last prime-time showdown of the 2024 campaign, the supporting players performed against type.If a presidential election is a TV series — and partly it is, like it or not — then the vice-presidential debate is usually a departure episode: an installment that briefly shifts focus to a couple of side characters. It might be memorable or forgettable, but it is generally skippable.Tuesday’s debate between Senator JD Vance of Ohio and Gov. Tim Walz of Minnesota was a bit different. With only Kamala Harris having committed to an Oct. 23 debate proffered by CNN and Donald J. Trump having thus far declined, it may well have been the last big prime-time moment until election night.It was not, however, a bombshell-packed season-ender. The change in cast produced a change in style, in a spirited but often surprisingly collegial debate whose attacks were largely aimed offstage, at the leaders of the ticket.This was not the debate one might have expected from these candidates, each chosen in part for his media presence. Mr. Vance has been combative in TV interviews, embodying the trolling spirit of Mr. Trump’s most extremely online surrogates. Mr. Walz shot to fame on the strength of his cable news appearances and quirky viral videos, playing the down-to-earth happy warrior who mocked opponents as “weird.”Neither performed to type on the CBS stage. Mr. Vance, who can be cutting and snide in TV interviews (and has been notorious for insults like “childless cat ladies”), answered smoothly and kept mainly cordial to his opponent. Mr. Walz, while peppering his answers with folksy touches — “My pro tip of the day is this” — spoke in a nervous rush, with fewer flashes of “Coach Walz” pep.A decade of Trump has conditioned us to think of debates as rounds of Mortal Kombat, with dire rhetoric and imagery to match. Here, there was a lot of “I agree” and “I think this is a healthy conversation” amid the factual disputes and prepared critiques of the top of the ticket. You might briefly have forgotten this was America in the year 2024.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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    Sarah Snook to Make Broadway Debut in One-Woman ‘Dorian Gray’

    The “Succession” actress will play all 26 characters in a stage production of the Oscar Wilde novel.Sarah Snook, the Australian actress who captivated and chilled television audiences as Siobhan Roy on “Succession,” will make her Broadway debut next year in a much-praised and technologically innovative adaptation of “The Picture of Dorian Gray.”Snook plays all 26 characters in the play, which she previously performed to great acclaim earlier this year in London, winning an Olivier Award for best actress.The play will transfer to New York in March, playing at a Shubert theater. The specific dates and theater have not yet been announced.“The Picture of Dorian Gray” is a late 19th-century novel by Oscar Wilde about a man who sells his soul so that he may remain young and beautiful, while the titular artwork ages. The story has repeatedly been adapted for stage and screen.This new “Dorian Gray” is adapted and directed by Kip Williams, who is the artistic director of Australia’s Sydney Theater Company, where the show began its life with another actress. Although Snook will be the only actor onstage, there is an onstage camera crew that captures, projects, and plays with her image.The lead producers are Michael Cassel, an Australian producer who has become increasingly active on the global stage, and Adam Kenwright, a British producer who was previously an executive at Ambassador Theater Group.Snook is one of many members of the “Succession” cast to turn to the stage following the end of the HBO series. Among them: Jeremy Strong, who played her brother Kendall, starred on Broadway earlier this year in a revival of “An Enemy of the People” and won a Tony Award for his performance; Kieran Culkin, who played her brother Roman, is also scheduled to come to Broadway in the spring for a revival of “Glengarry Glen Ross.” More

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    ‘Love Is Blind’: Body Language Expert Offers Clues for Season 7

    As Season 7 begins, an expert says figuring out a participant’s motivation is both an art and a science.Grab a golden goblet. The Netflix series “Love Is Blind” is back, with the first episode of its seventh season having been released on Wednesday, with the host Nick Lachey learning what a situationship is. The series that inspired drinking games (take a sip every time someone says the phrase “genuine connection”) — and is both a reality show and a social experiment — set up shop in Washington, D.C., this time to help 29 singles find love.The premise, of course, is that the singles can’t see whom they are dating because of a glowing blue wall between them intended to eliminate all of the superficial things that might get in the way of love. Once a couple decides to get engaged, they see each other for the first time and attempt to make their relationship work, with all of the complications that phones, work and physical attraction bring.Over the past few seasons, the nagging question concerning the show’s participants was: Are they here for love or for clout? (The recent season, “Love Is Blind: U.K.,” was hailed by many as a return to the show’s original vibe, for its generally emotionally healthy and low-drama cast.)CC Rice, a voice teacher, associate professor and energy reader who posts body language breakdowns of the show under the social media handle @guidedinspiration, says that figuring out a participant’s motivation is both an art and a science.“‘Love is Blind’ is this incredible opportunity to see people in private,” she said. “I’m listening for all of the cues: What do they bring up? Where do they look while they’re speaking? Are they avoidant? Are they trying to connect?”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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    Late Night Goes Live After a ‘Dull’ Vice-Presidential Debate

    Stephen Colbert was unenthused by Tuesday’s discourse between Tim Walz and JD Vance.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.Two ‘Different Flavors of Dull’“The Late Show” went live Tuesday night after the vice-presidential debate.Stephen Colbert found the debate boring, saying that JD Vance and Tim Walz “were both different flavors of dull.”“JD Vance looked like a business lemur on beta-blockers, and Tim Walz was, you know, the old likable coach but appeared to be way overcaffeinated. I think the governor done overdid doing the Dew.” — STEPHEN COLBERT“It was the ultimate showdown tonight between two very different Midwestern vibes. Hillbilly vs. Minnesota nice; attack dog vs. folk hero; America’s dad vs. America’s ‘Dad, could you come pick me up? JD Vance just walked in here.’” — STEPHEN COLBERT“These two men were both a heartbeat away from being interesting this evening.” — STEPHEN COLBERT“In the end, it was 90 minutes of constant talk that made one thing clear: Tonight was like having Thanksgiving with your most nervous uncle and your smuggest nephew. It was unpleasant, awkward and, thankfully, you only have to do it once every four years.” — STEPHEN COLBERTThe Punchiest Punchlines (Almost Famous Edition)“Yep, people you’ve barely heard of on a national stage. Usually we call that ‘Dancing With the Stars.’” — JIMMY FALLON“One of these men will lose, and we’ll never hear from him again, and the other one will become V.P. and we’ll never hear from him again.” — MICHAEL KOSTA“The only other V.P. debate anyone remembers is the time that fly got stuck on Mike Pence’s head. The bar is low.” — MICHAEL KOSTA“They showed each other a lot of respect. It was — it was very boring. I’ll be honest: I like these better with Trump.” — JIMMY KIMMEL“I don’t know that anyone’s vote was changed tonight. Watching a vice-presidential debate — it’s like taking your kids apple picking: About halfway through, you’re like, ‘OK, you know what? This sounded like it was going to be fun, but what’s the point?’” — JIMMY KIMMEL“I read that ahead of the debate, Tim Walz has been nervous that he was going to let Kamala Harris down. Yeah, Harris was like, ‘Don’t worry — if Joe Biden can be replaced, so can you.’” — JIMMY FALLONThe Bits Worth WatchingThe “Hold Your Breath” star Sarah Paulson faced off against Jimmy Fallon in a new game called “Mute!” on Tuesday’s “Tonight Show.”What We’re Excited About on Wednesday NightBen Platt and Brandy Clark will perform their new song “Treehouse” on Wednesday’s “Jimmy Kimmel Live.”Also, Check This OutRobert Downey Jr. goes dark in “McNeal,” a thought experiment about art and A.I., at the Vivian Beaumont Theater in Manhattan.Sara Krulwich/The New York TimesRobert Downey Jr. made his Broadway debut in Ayad Akhtar’s new play, “McNeal.” More

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    Review: Daniel Dae Kim as a Playwright Unmasked in ‘Yellow Face’

    David Henry Hwang’s 2007 play, now in a fine Broadway revival, is a pointed critique of identity, masquerading as a mockumentary.To write yourself into your own play is to put on a very curious mask. If it’s flattering, is it honest? If it’s honest, why bother?Those questions, both as artistic choices and as problems of social identity, are powerfully and hilariously engaged in the revival of David Henry Hwang’s “Yellow Face” that opened on Tuesday at the Todd Haimes Theater. The answers are deliberately equivocal. On one hand, this Roundabout production, directed (as was the 2007 original) by Leigh Silverman, stars the exceedingly likable and handsome Daniel Dae Kim as Hwang’s stand-in, called DHH. On the other, this DHH is a worm.So too is the sinuous story, which requires a ton of exposition to get on its way. DHH, exactly like Hwang, won a 1988 Tony Award for his Broadway debut, “M. Butterfly.” His 1993 follow-up, “Face Value,” won only notoriety. Closing before its official New York opening, it earned the nickname “M. Turkey.”From left, Kevin Del Aguila, Kim, Shannon Tyo and Marinda Anderson. The supporting cast, mismatched to roles without regard to gender or race, are all wonderfully inventive, our critic writes.Sara Krulwich/The New York Times“Face Value” was Hwang’s theatrical response to the “Miss Saigon” controversy, in which the producer Cameron Mackintosh, importing that megamusical from London in 1991, sought to import its star, Jonathan Pryce, as well. But because Pryce is white, and his character is Eurasian, protests against the casting ensued. Nevertheless, the show went on — and on and on — with Mackintosh dismissing the dispute as “a storm in an Oriental teacup.”Hence “Face Value”: a broad farce, set in part at the “Imperialist Theater,” about the casting of a white actor in the title role of a musical called “The Real Fu Manchu.”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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    Frank Fritz, a Host of the Antiques Show ‘American Pickers,’ Dies at 58

    He and his friend Mike Wolfe launched the treasure-hunting show in 2010, part of a wave of reality TV aimed at finding fortune in everyday items.Frank Fritz, a jocular Everyman who as one half of the duo behind the hit show “American Pickers” found ratings gold by unearthing fortunes in attics, basements and garage sales, died on Monday in Davenport, Iowa. He was 58.His manager, Bill Stankey, confirmed the death, in a hospice. He said that the cause had not been announced, but that Mr. Fritz had been dealing with a number of health issues, including Crohn’s disease and the effects of a stroke in 2022.Debuting on the History Channel in 2010, “American Pickers,” which Mr. Fritz hosted with his longtime friend Mike Wolfe, was part of a wave of reality TV shows that mined everyday Americana for stories, profit and no small amount of drama.Unlike older, more sedate shows like public television’s “Antiques Roadshow,” “American Pickers” blended serious appraisal with rough-edged personality and quirky flair.Each episode featured Mr. Fritz and Mr. Wolfe tooling around a small American town in their Sprinter van, trading quips in between visits to local homes and storage sheds, where they would pick through piles of junk to find diamonds in the rough.Mr. Fritz with his co-host, Mike Wolfe, in an “American Pickers” episode in 2011, a year after the series began. History ChannelWe 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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    John Amos, a Star of ‘Good Times’ and ‘Roots,’ Is Dead at 84

    He was the patriarch in one of the first sitcoms with an all-Black cast and an enslaved African as a grown man in the blockbuster TV mini-series.John Amos, who played a stern patriarch on “Good Times,” America’s first sitcom featuring a two-parent Black family, and who had a starring role in “Roots,” the slavery narrative that became America’s most watched show in the late 1970s, has died in Los Angeles. He was 84.His publicist, Belinda Foster, confirmed the death on Tuesday, saying he had died on Aug. 21. She did not specify the cause or say why the announcement of his death was delayed.Mr. Amos’s acting career spanned more than five decades, with his breakthrough coming in 1970 on the CBS comedy “The Mary Tyler Moore Show,” playing Gordy, the weatherman on a local television news program working alongside Ms. Moore’s Mary Richards, an associate producer. After three seasons, Mr. Amos left for “Good Times,” a Norman Lear production and a spinoff of the producer’s sitcom “Maude.” Chronicling the trials and tribulations of a Black working-class family living in the Chicago projects, “Good Times,” which ran from 1974-79, also on CBS, never shied away from the gritty realities of life in public housing, touching on topics like racial bigotry, drug abuse and poverty — but all with a sense of humor.Mr. Amos played James Evans Sr., a fierce disciplinarian with a tender heart who took on odd jobs to support his wife, Florida Evans (Esther Rolle), his sons Michael (Ralph Carter) and J.J. (Jimmie Walker), and his daughter, Thelma (Bern Nadette Stanis).Mr. Amos and Esther Rolle in a scene from “Good Times.” The show accrued high ratings and was notable for its all-Black cast.CBS Photo Archive/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