Eliana Willis

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    Disoriented in America: Two Political Plays Reflect a Changed Country

    The Off Broadway plays “Fatherland” and “Blood of the Lamb” explore the grief, anger and fear of no longer recognizing the country you love.When, in the course of human events, the political bands that have connected a people appear to be dissolving rapidly, it’s fair to ask: Who in their right mind would want to revisit the chaos of Jan. 6, 2021, in the form of a play?I wouldn’t have thought that I did. That history is too recent, too fraught, too unresolved. Yet the theater has always been a place in which to search the dark corners of a nation’s soul, and to sit with grief.That emotion figures palpably in “Fatherland,” a finely calibrated, surprisingly affecting new work of verbatim theater at New York City Center Stage II. It tells the true story of Guy Wesley Reffitt, a middle-aged rioter from a Dallas suburb who was sent to prison for his role in the Capitol attack, and his son, Jackson, who was an 18-year-old high schooler when he turned his father in to the F.B.I., and just 19 when he testified against him.Conceived and directed by Stephen Sachs for the Los Angeles-based Fountain Theater, where the play was staged earlier this year, it is on one level about the profound grief of no longer recognizing a parent you love, or a child you raised. But like another new Off Broadway drama — Arlene Hutton’s “Blood of the Lamb,” more on which below — “Fatherland” is also about the grief and anger, the fear and disorientation, of no longer recognizing your own country.Using text from the transcript of the elder Reffitt’s 2022 trial, and other publicly available sources, the play calls its central characters simply Father (Ron Bottitta) and Son (an exquisitely restrained Patrick Keleher). Their clash, for all its 21st-century Americanness, is as primal as any parent-child conflict from ancient Greek drama, or from Shakespeare.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: ‘Real Housewives’ and the Vice-Presidential Debate

    The Bravo franchise will air two different premieres. And on Tuesday is the first debate between JD Vance and Tim Walz.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, Sept. 30-Oct. 6. Details and times are subject to change.MondayALL AMERICAN: HOMECOMING 8 p.m. on The CW. This college-focused series is wrapping up its third season. The show follows a group of athletes as they juggle training, socializing and interpersonal relationships. This finale will hopefully tie up lose ends because the show, now canceled, won’t be coming back for a fourth season.TuesdayVICE-PRESIDENTIAL DEBATE 9 p.m. on various networks. For anyone counting, or bracing themselves, the election is under 40 days away. This will be the first debate between Senator JD Vance of Ohio and Governor Tim Walz of Minnesota. So far, the rules are pretty similar to those implemented at the presidential debate last month, but the candidates will likely be standing, a departure from the past couple of V.P. debates.REAL HOUSEWIVES OF NEW YORK CITY 9 p.m. on Bravo. The New York City gals are back on small screens, this time with the addition of the fashion designer Rebecca Minkoff and the art curator Racquel Chevremont. Lots of fights, glamour shots and not-so-subtle sharing are on the docket.WednesdayChad Michael Murray and Morgan Kohan in “Sullivan’s Crossing.”Chris Reardon/Freemantle, via CWSULLIVAN’S CROSSING 8 p.m. on the CW. It is officially fall a.k.a. “Gilmore Girls” rewatch season. But if you have already memorized all seven seasons of that show, then this series, coming back for its second season, is a great way to have Scott Patterson (Luke Danes in “Gilmore”) back on your screen. Patterson plays the father to Morgan Kohan’s Maggie Sullivan, who moves back home to get her life back together. Chad Michael Murray (“One Tree Hill”) is also there because what’s small-town charm without a mysterious and emotionally distant hunk?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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    Review: ‘The Hills of California,’ Alive With the Sound of Music

    In Jez Butterworth’s compelling new play, four girls trained to sing close harmony wind up as acrimonious adults.Two sounds greet you at the start of “The Hills of California,” Jez Butterworth’s relentlessly entertaining new play: the crashing of waves on the beaches of Blackpool and the tinkling of a tinny piano being tuned.Both are plot points: The story concerns a musical family operating a rundown resort on the west coast of England. “Boogie-Woogie Bugle Boy,” “It Never Entered My Mind,” “When I Fall in Love” and “Dream a Little Dream of Me” are among the marvelous oldies you’ll hear sung during the course of the action.But the crashing and tuning are thematic points, too. Though frequently funny and, even at nearly three hours, swift, “The Hills of California,” which opened on Sunday at the Broadhurst Theater, drops you deep into the devastations of time and lifts you gently into the consolations of song.It does so within a familiar stage format — familiar in life, alas, as well: the dying-parent drama. In 1976, the four Webb sisters reunite at the Seaview Luxury Guesthouse (which is neither luxurious nor within sight of the sea) as their mother, Veronica, who ran the place for decades, under several desperate versions of the name, expires upstairs.Jillian, the youngest, has failed to thrive; she’s a 32-year-old virgin who lives at home, chatters nervously and secretly smokes. The others have run as far from Blackpool as they could: Ruby and Gloria into unhappy marriages hours away; Joan, the oldest, toward a dream of fame in California. Whether she has achieved that dream is an open question; she has not been back home since she left at 15, and only Jillian believes she will return even now.All this is efficiently established in the play’s opening scene, which is so sharply and subtly directed by Sam Mendes, and so vividly performed by the cast, you hardly notice all the information you’re being fed: tics, conflicts, personalities, pecking order. Then, just as you’ve finally attached everyone’s names to their faces, Butterworth rewinds to 1955, when the sisters, played by a new set of actors, are teenagers and Veronica is a terror.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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    ‘Days of Our Lives’ Actor, Drake Hogestyn, Dies at 70

    Mr. Hogestyn was best known for playing John Black on the daytime soap opera and appeared in more than 4,200 episodes over 38 years.Drake Hogestyn, who played John Black, the sturdy and fiercely loyal character who by turns was a spy, private investigator and mercenary, for nearly 40 years on the long-running soap opera “Days of Our Lives,” died on Saturday, a day shy of his 71st birthday.Mr. Hogestyn had pancreatic cancer, according to a statement from his family shared by the show. He died in Los Angeles, according to a publicist for the show, Andrea McKinnon.In 1986, Mr. Hogestyn first appeared on “Days of Our Lives,” which premiered in 1965 on NBC and follows various characters in the fictional Midwestern town of Salem. For a few years, he played another character, Roman Brady, but came to be known best for his role as John Black.Mr. Hogestyn appeared in more than 4,200 episodes of the soap opera and became a fan favorite for his portrayal as the rugged, raspy-voiced and often heroic character who had the skills of an intelligence agent, a police officer and a private investigator.The character was also known for being married to Dr. Marlena Evans, a psychiatrist and the town’s de facto matriarch, played by Deidre Hall. In 2005, the actors won a Soap Opera Digest Award for Favorite Couple.“It’s, like, I’ll always love her,” Mr. Hogestyn said, at a gathering for the show’s fans in 2004, of the characters’ enduring romance.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 Perfect Couple’ Offers Signe Sejlund’s Take on Nantucket Style

    Scrutinizing the costumes in Netflix’s “The Perfect Couple.”“It’s not a documentary,” said Signe Sejlund, the costume designer for the Netflix limited series “The Perfect Couple.” “It’s a murder mystery.”Yet the compulsively watchable show is not merely a murder mystery. Set on Nantucket, a glorified sand dune 30 miles off the coast of Massachusetts — where superyachts bottleneck in the harbor every summer; the median home price has surpassed $3 million; and the guy in line at Something Natural, a favorite local sandwich stand, could well be a billionaire — the show is in some sense a travelogue offering a worm’s-eye view of rich people behaving appallingly. It is also a statement on our cultural fascination with the folkways of people with too much money to count.The series, adapted from a novel by Elin Hilderbrand, is a tale of “them” and “us.”Embodying “them” in this case is the fractious Winbury family: patriarch Tag (Liev Schreiber), matriarch Greer (Nicole Kidman) and their three sons. Everyone else is “us.”The Winburys have for generations vacationed at an oceanside mansion — putatively located in Monomoy, an enclave with some of Nantucket’s costliest real estate — among peers who attended the same private schools, belonged to the same country clubs and adopted the same form of garb that was once a tell for quiet wealth. Think modest A-line dresses; knotted-rope sailors’ bracelets; boat shoes so weathered they are patched together with duct tape; polos and T-shirts worn almost to transparency; and stiff Nantucket basket purses whose lids are topped with bone medallions incised like sailor’s scrimshaw.Signe Sejlund, the show’s costume designer, treated characters like Thomas Winbury (Jack Reynor) as “peacocks.”NetflixTag Winbury (Liev Schreiber) is from an old-money family that has for generations vacationed at an oceanside mansion on Nantucket.NetflixWe 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.’ Recap: Maya Rudolph Returns to Play Kamala Harris

    The 50th season began with several surprise guests and alumni — including Dana Carvey, Jim Gaffigan and Andy Samberg — playing figures in the 2024 election.“Saturday Night Live” dug deep into its contact list of celebrity alumni and friends in the comedy world as it kicked off its 50th season with an opening sketch that featured Maya Rudolph’s anticipated return as Vice President Kamala Harris.The sketch, for which the cast member James Austin Johnson returned in his recurring role as former President Donald Trump, also saw the debuts of the comedian Jim Gaffigan as Gov. Tim Walz of Minnesota and Bowen Yang, another “S.N.L.” performer, as Senator JD Vance of Ohio.And for good measure, the segment included appearances from “S.N.L.” alums Andy Samberg as Douglas Emhoff, the Second Gentleman, and Dana Carvey as President Joe Biden.Speculation had swirled all summer about who would play these roles on “S.N.L.,” which tends to receive increased attention during presidential election seasons. That curiosity was intensified by the reshuffling of the Democratic ticket in July, when President Biden announced that he was withdrawing from the 2024 race.In early August, when Harris chose Walz as her running mate, many fans wondered if Steve Martin, a frequent “S.N.L.” host and friend of the show, would be cast as the Minnesota governor and vice-presidential hopeful.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.’ Picks Maya Rudolph and Jim Gaffigan to Play Kamala Harris and Tim Walz

    The casting ended months of speculation after President Biden, played on Saturday by Dana Carvey, withdrew from the race. James Austin Johnson continued as Donald Trump.“Saturday Night Live” dug deep into its contact list of celebrity alumni and friends in the comedy world as it kicked off its 50th season with an opening sketch that featured Maya Rudolph’s anticipated return as Vice President Kamala Harris.The sketch, for which the cast member James Austin Johnson returned in his recurring role as former President Donald Trump, also saw the debuts of the comedian Jim Gaffigan as Gov. Tim Walz of Minnesota and Bowen Yang, another “S.N.L.” performer, as Senator JD Vance of Ohio.And for good measure, the segment included appearances from “S.N.L.” alums Andy Samberg as Douglas Emhoff, the Second Gentleman, and Dana Carvey as President Joe Biden.Speculation had swirled all summer about who would play these roles on “S.N.L.,” which tends to receive increased attention during presidential election seasons. That curiosity was intensified by the reshuffling of the Democratic ticket in July, when President Biden announced that he was withdrawing from the 2024 race.In early August, when Harris chose Walz as her running mate, many fans wondered if Steve Martin, a frequent “S.N.L.” host and friend of the show, would be cast as the Minnesota governor and vice-presidential hopeful.But Martin himself quickly nixed that, telling the Los Angeles Times that he did not consider himself an impressionist. “They’re going to find somebody really, really good,” Martin said at the time. “I’d be struggling.”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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    On ‘Downton Abbey,’ Maggie Smith Made an Icy Aristocrat Irresistible

    The hit melodrama brought Smith the kind of fame she never wanted, but it is easy to understand why it happened.In retrospect, Maggie Smith’s brilliant, high-wire career can be seen as a protest against celebrity.As an actor, Smith, who died on Friday at 89, favored characters into which she could disappear, and the rare interviews she agreed to were awkward, unrevealing, sometimes deliberately uningratiating. In a 2013 “60 Minutes” profile, she seems almost physically racked by the journalist’s curiosity. There was one personal detail, though, that she had no problem sharing in her final years: how much she despised the fame that her most recognized part had brought down on her.“It’s ridiculous,” she told one reporter. “I was able to live a somewhat normal life until I started doing ‘Downton Abbey.’ I know that sounds funny, but I am serious. Before that I could go to all the places I wanted and see all of the things that I like, but now I can’t, which I find incredibly awful.”“Flattering,” she added, “but awful.”Did she protest too much? Or was it the peculiar nature of the attention that afflicted her? As someone who began following her from my first viewing of “The Prime of Miss Jean Brodie” (1969), her Oscar-winning drama, I can say I would have recognized Maggie Smith on any street anywhere. (Among other mass-cultural acts, she guest-starred on “The Carol Burnett Show.”) But would I have hailed her? What was it about “Downton Abbey” that inspired perfect strangers to lay claim to her?We can start with the show itself. From the beginning, “Downton Abbey” was conceived as a Tory fantasy — a make-believe past in which aristocrats take a searching interest in their servants’ personal lives and subsidize their eye surgery — but it came to us through the democratic medium of broadcast television. To watch it in the United States, you had only to fire up your local PBS station, where it played every Sunday night at the same time, leaving you instantly positioned to spill tea the second it was over. (As The New York Times’s “Downton” recapper, I can attest to this.)Few TV shows achieve that kind of instant saturation, so we might all be excused for thinking that these characters were ours. But how exactly did we warm to Violet Crawley, the wary and imperious dowager who despises any intrusion of democracy (America, Ireland) or modernity (telephones, swivel chairs) and who sincerely wants to know what a weekend is?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