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    ‘Opening Night’ Review: Ivo van Hove Makes a Stylish Movie Into a Sludgy Travesty

    Ivo van Hove’s stage adaptation of the 1977 John Cassavetes film, with music by Rufus Wainwright, turns a taut character study into a corny melodrama.In a London auditorium, a work of art is being desecrated. “Opening Night,” John Cassavetes’s understatedly stylish 1977 movie about an actress struggling with midlife ennui, has been reimagined as a musical by the Belgian director Ivo van Hove, and the result is a travesty.Its antiheroine, the Broadway superstar Myrtle Gordon (Sheridan Smith), has landed the lead role in a play about a middle-aged woman. But she isn’t feeling it: Though she is about 40, she insists she can’t relate. She stumbles through rehearsals, clashing with the director, Manny (Hadley Fraser), and the playwright, Sarah (Nicola Hughes), then goes rogue during previews, taking liberties with the script.To compound matters, the actress develops a neurotic fixation on Nancy (Shira Haas), a 17-year-old fan killed in a car crash moments after getting Myrtle’s autograph. Convinced that Nancy is a cipher for her own lost youth, Myrtle intermittently hallucinates the dead girl’s ghost, and even converses with it. Myrtle is unraveling, but the show — somehow — must go on.Smith with Shira Haas, who plays Nancy, a fan of Myrtle’s who was killed in a car crash after getting Myrtle’s autograph.Jan VersweyveldIt’s a compelling story line, filled with dramatic possibilities, but “Opening Night,” which runs at the Gielgud Theater through July 27, is scuppered by a series of poor choices. Smith is miscast as Myrtle, for a start: Her onstage bearing exudes a homely approachability rather than high-strung poise or inscrutable aloofness.Benjamin Walker is wooden as Maurice, Myrtle’s stage co-star and ex-partner, who Cassavetes himself played charmingly in the film. The estranged couple’s brittle onstage chemistry is an essential ingredient in the drama; here, they seem like actual strangers. Haas’s spectral Nancy is a disconcertingly cutesy symbol of youthful feminine vitality, a sprite-like figure who scurries around the stage in a short skirt, knee-high socks and platform boots — suggesting not so much a young woman as a pubescent child.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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    6 Terrific Comedy Specials Worth Streaming

    Jenny Slate, Dan Soder, Cara Connors, Tig Notaro, David Cross and Dave Attell stamp these hours with particularly rich sensibilities.Jenny Slate, ‘Seasoned Professional’(Amazon Prime Video)Wearing a bow tie, pocket handkerchief, crop top and shorts, Jenny Slate stands on a shiny circular platform on the distressed BAM Harvey theater stage. It’s an image of sharp contrasts, the kind you find in her comedy, where commonplace subjects are imbued with manic, absurd charisma. Her version of relatable is asking: “You know that one feeling when you can tell you’re going to pass away?”Whereas her debut special incorporated documentary elements, this hour effectively captures the improvisational eccentricity of her live act. Slate is blessed with a spectacularly nimble comic voice. She’s also a deft physical comedian, and her best bits show off both traits. When trying to describe the strangeness of giving birth, she likens it to the discomfort of being invited to audition for Pennywise the evil clown. Rattled, she expresses the shame at being considered for the part by flapping her hands, looking perplexed (“That couldn’t be the murdering, kidnapping, balding male clown, right?”), doing a creepy impression of the character as well as the meeting among producers that led to this offer. It’s a screeching, sputtering display of kvetching that builds runaway comic momentum.Dan Soder, ‘On the Road’(YouTube)While most specials go too long, this one, at 39 tightly funny minutes, is just right. Punchy, diverting, varied, it’s a perfect pick-me-up for your lunch hour. In clothes as casual as his delivery, Dan Soder presents himself as a laid-back people-pleaser, the kind of guy aiming for a specific kind of dumb. As he puts it, he wants to see a trailer for a new “Fast and Furious” movie and be shocked that they found a way to go faster. But make no mistake: His lightness requires heavy effort. And his comedic tool kit is full, featuring sharp impressions (Batman villain, Enrique Iglesias), melancholy notes and clever phrasemaking. In a story illustrating the childhood joy of curse words, he says this line with a genuine (and ridiculous) sense of nostalgia: “I was 8 years old, just out having a cuss.”Cara Connors, ‘Straight for Pay’(Apple TV+)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 British Scandal Intrigued J.T. Rogers, Then He Went Down the Rabbit Hole

    The playwright thought News International’s phone-hacking scandal could make for a sweeping thriller. Twelve years later, here it is.A now-faded note card taped above my desk reads: “Art, like light, needs distance.” Years ago, I wrote down that line from William Gass’s “On Being Blue,” and over the last few months it was a comforting reminder as I finished my new play “Corruption.” What was to be a history play about a media scandal in Britain has become a political thriller about some of the forces that seem to be upending our own country right now.The inspiration came in 2012, while reading “Dial M for Murdoch: News Corporation and the Corruption of Britain,” a book by Tom Watson and Martin Hickman. Watson, a former member of the British Parliament, and Hickman, a former reporter for The Independent, had written of how Rupert Murdoch’s British newspapers and tabloids, including News of the World, were illegally hacking the phones of thousands of citizens — from celebrities to former prime ministers and even a missing 13-year-old girl, who was later found dead — all to get sensational stories that would sell newspapers. As the book made clear, more papers sold meant more profit; more profit meant more power to influence the levers of government.The further I read, I realized that this could be a remarkable play. Like Bob Woodward and Carl Bernstein’s “All the President’s Men,” “Dial M” told a riveting story in granular detail about the use and abuse of power as a small group of vivid characters seeks to expose crimes that threaten their very democracy. Onstage it could become a sweeping tale in which the main characters take huge risks for their beliefs.In an effort to adapt the book, I sent the authors two of my plays — “The Overwhelming” and “Blood and Gifts” — that are also about politics and power. Then I flew to London, and went down the rabbit hole.Most of the key players would talk to me off the record only if they were certain that the Murdoch machine was unaware of our meeting. Even though News International, the British newspaper division of Murdoch’s media empire, was under investigation and Rupert and James Murdoch had apologized for their company’s actions in testimony before Parliament, people were afraid of speaking out because of the fear of retribution.Many public figures and politicians who spoke out against Murdoch’s papers have revealed that those same papers tried to destroy their careers and ruin their lives. One such case involved a member of Parliament named Chris Bryant. During a parliamentary hearing, he got Rebekah Brooks, then the chief executive of News International, to acknowledge that News International had made payments to the police for information. Soon after, a rival paper published a photograph of him in his underwear that he had posted on a dating site, and then the Murdoch press ran with the story.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: In ‘American Rot,’ the Painful Legacy of the Dred Scott Case

    Kate Taney Billingsley’s play starts with a fictional apology, but then segregated choirs and a racist waitress create tonal dissonance.In a greasy spoon just off the New Jersey Turnpike, two men sit down for coffee. One, Walter Scott (Count Stovall), is a descendant of Dred Scott, and the other, Jim Taney (John L. Payne), is a great-great nephew of Roger B. Taney, the Supreme Court chief justice who, in 1857, wrote the opinion in the Dred Scott decision, which declared that Black people could never be citizens.Jim requested this meeting with Walter in hopes of apologizing for “arguably the worst decision in Supreme Court history.” As a premise for a story, one could scarcely ask for richer material. But something was lost in the execution of “American Rot,” a flat-footed play by Kate Taney Billingsley, who is an actual descendant of the former chief justice.That this La MaMa production, directed by Estelle Parsons, is based on Billingsley’s fleet audio play, starring Sam Waterston and John Douglas Thompson, is especially puzzling. In just 30 minutes, that audio production, titled “A Man of His Time,” effectively dramatized two descendants of historic figures locking horns, interrogating their own biases and seeking middle ground.In expanding the story for the version now running at the Ellen Stewart Theater, Billingsley added 12 supporting characters, most of whom make up Black and white choruses, representing the woke commentariat and unreconstructed racists. Stationed in segregated sections of Christina Weppner’s barely-there diner, the two factions are served by an insufferable waitress (Suzanne DiDonna), who has placed a feather in her hair after snatching it from a Native American man in the opening sequence. She then proceeds to toss off white nationalist comments with alarming frequency, and is eager for something called “the Appropriation Festival,” which promises “feathers, fringe, fentanyl!”Run, Walter, run! Yet Walter and Jim stay put, seemingly unbothered — unlikely for a Black customer or a white man who “preaches equal rights.”“American Rot” is tonally dissonant in other ways, too. Though the historic forefathers sit onstage — Dred Scott (Leland Gantt) is upstage on a stool and a cadaverous Roger Taney (Timothy Doyle) is situated downstage — they are mostly quiet throughout the show. Occasionally they break the space-time continuum — theater’s fifth wall — to menace their descendants or buffalo them into honoring their legacies. Yet the moral seriousness of the descendants’ conversations with each other and their ancestors is too often undercut by silliness, including burlesque skits. At one point, the white chorus sings a peppy number called “The Land of the Oblivious,” with lyrics like “We like to deny what’s really going on/Throughout this country and way beyond!/Social media is where we belong!”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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    ‘Shogun’ Episode 6 Recap: Know Your Enemy

    Lord Toranaga finally gets a worthy opponent, while Lady Mariko’s true mission is revealed.Season 1, Episode 6: ‘Ladies of the Willow World’In this week’s episode, we get to know Lady Ochiba no Kata: daughter of a brutal warlord, consort to the Taiko who replaced him, mother to the Heir, commander of the Council of Regents (as of Episode 5), … and archnemesis of our heroes Lord Toranaga and Lady Mariko.In Lady Ochiba (Fumi Nikaido), Lord Toranaga finally has a worthy opponent. Lord Ishido is dangerous and cunning, but has not been able to avoid failures as a political operator and would-be strongman. No one has to suppress a shudder of fear when he enters the room or worry that this guy is going to somehow outfox them. With Ishido, what you see is what you get.Lady Ochiba, by contrast, is regarded with something like awe. (The show smartly inserts a show-within-the-show in this, her first big episode: a beautifully executed Noh performance dedicated to what a big deal she is.) Everyone seems to respect her heroism for enduring the aging Taiko to produce an heir, a feat that hundreds of other women had failed to accomplish. Ochiba still remains a powerful figure, a living bridge between the late Taiko and his son and future successor. Her word carries a lot of weight.This is why poor Lord Toranaga has been singled out and framed for trying to kill the Heir in the first place: Lady Ochiba has decreed it. Even Daiyoin (Ako), the Taiko’s wife and Ochiba’s mentor, can see that Toranaga would have been the wise choice for an alliance, instead of a piker like Ishido. Has the shrewd Ochiba made a fundamental error in judgment?Flashbacks offer the answer. In her youth, Ochiba, known as Ruri (Mila Miyagawa), is the daughter of a powerful ruler and fast friends with the young Mariko (Mana Nakamura). But Mariko’s father, the samurai Akechi Jinsai (Yukata Takeuchi), is aghast at the brutality of Ruri’s father, as are other prominent nobles, including Toranaga. Acting almost certainly as part of a conspiracy, Jinsai assassinates the rogue lord, the shattering event Mariko described for Blackthorne in Episode 5.The murder paves the way for the Taiko’s peaceful reign. But it is also a grave crime, one for which honor demands that Jinsai kill his family, then take his own life. As the only surviving family member, Mariko’s reputation is stained by her father’s treason.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 Doesn’t Think Trump’s Good News Is All That Good

    “It’s the first time someone’s ever heard, ‘Good news, you only owe $175 million,’” Jimmy Fallon said after the ex-president’s bond was reduced.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.The $175 Million LifelineOn Monday, a New York appeals court reduced Donald Trump’s bond in his civil fraud case — originally set at $454 million — to a mere $175 million. He has 10 days to come up with it.“It’s the first time someone’s ever heard, ‘Good news, you only owe $175 million,’” Jimmy Fallon said.“After his lawyers argued last week that he did not have the money for the $454 million bond in his civil fraud case, former President Trump posted in all caps on Truth Social, ‘I currently have almost $500 million in cash.’ Dude, they’re trying to help you. That’s like if O.J. tweeted, ‘The glove fits great.’” — SETH MEYERS“He’s not a real rich guy; he just plays one on TV. Donald Trump has a billion dollars the same way Patrick Stewart has a spaceship.” — STEPHEN COLBERT“Having 10 days to come up with $175 million doesn’t sound like good news; it sounds like the plot to a Jason Statham movie.” — JIMMY FALLON“In addition to cutting the bond by more than half and giving him an extension, the appeals court paused restrictions on Trump running any New York company or obtaining a loan from a New York bank, as well as the restrictions on his adult sons, which means now Don Jr. and Eric can still open their hot dog and cocaine cart.” — STEPHEN COLBERTThe Punchiest Punchlines (Golf Edition)“Now, with all this going on, yesterday Donald Trump kept laser-focused on what’s most important to this struggling nation: golf.” — STEPHEN COLBERT“Yesterday, he posted online about winning his own golf tournament. After winning, he was honored to receive a congratulatory phone call from himself.” — JIMMY FALLON“That’s right, woke libs! You think Donald Trump’s a loser? Well, would a loser brag about winning a golf tournament at his own course? I don’t think so!” — JON STEWART“Although, obviously, Trump has an advantage playing golf: It’s difficult for his opponents to stay focused when they spend all that time staring at that ass.” — JON STEWART“He truthed, ‘It is my great honor to be at Trump International Golf Club in West Palm Beach tonight, Awards Night, to receive the club championship trophy and the senior club championship trophy. I won both!’ Wow, he won both. You know what that means: Somebody else won both.” — STEPHEN COLBERTThe Bits Worth WatchingThe blues and rock musician Gary Clark Jr. performed his song “Habits” on Monday’s “Daily Show.”What We’re Excited About on Tuesday NightThe comedy legend Carol Burnett will appear on Tuesday’s “Late Show.”Also, Check This OutThe author Judith Butler ponders how gender became a scary topic in her latest book.Thirty-four years and 15 books after “Gender Trouble,” the theorist Judith Butler returns to familiar terrain with “Who’s Afraid of Gender?” More

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    Ilia Malinin Wins Skating Championship With ‘Succession’ Theme Song Routine

    Ilia Malinin, an American teenager, won the men’s World Figure Skating Championships with a performance set to the theme of the HBO series.Like the plot of “Succession,” Ilia Malinin’s winning program for the men’s singles competition at the World Figure Skating Championships on Saturday had a lot of twists: six quadruple jumps that included a quadruple axel, a feat involving four and a half rotations in the air.That those elements were set to the HBO series’ theme song only heightened the drama of Mr. Malinin’s performance.The moody string music that opens the song had only been playing for about 30 seconds when Mr. Malinin, a 19-year-old student at George Mason University in Fairfax, Va., executed a quad axel in a costume that resembled a classic tuxedo. Mr. Malinin, who grew up in Fairfax, is the only skater who has landed that jump in competition; he first did so in 2022.By the time of the “Succession” theme’s piano riffs, he had completed three more quads: a quad lutz, a quad loop and a quad salchow. (His knack for executing quadruple jumps has earned him the nickname Quad God.) Before the end of the roughly four-minute program, he landed two more.Mr. Malinin started skating to the “Succession” theme last fall, but he has yet to watch the show. “I don’t have a subscription to HBO,” he said in an interview. “But if I did get it, I’d definitely watch.”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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    ‘X-Men’ Is Back, but a Key Member Is Missing

    The animated Disney+ revival series “X-Men ’97,” has faced questions after its showrunner was mysteriously fired just ahead of the premiere.When the voice actor Alison Sealy-Smith first received an email asking if she’d be interested in reprising her role as Storm, from “X-Men: The Animated Series,” she nearly marked the message as spam, shrugging it off as either a joke or a mistake. It had been three decades since she had worked on the action-adventure cartoon, which ran on Fox from 1992 to 1997, and the idea that it would be returning, let alone returning with its original cast, seemed so unlikely that she could hardly entertain it.“At first, it was strictly disbelief,” she said in a video interview. “It can’t be true. Disney is doing this again? It didn’t make any sense.”Disney was indeed doing it again, and after three years in production, the original “X-Men: The Animated Series” has returned as “X-Men ’97,” a revival streaming on Disney+ that the studio is treating as a direct continuation of the ’90s show. The new series picks up where “The Animated Series” left off with its Season 5 finale in September 1997, with the loss of the X-Men leader Professor X after an attack by the anti-mutant lobbyist Henry Peter Gyrich. It is designed to look and feel, in essence, like Season 6, with the intervening 30-year gap hardly noticeable onscreen.“That was always the goal,” Jake Castorena, a supervising producer and director, said in an interview. “To go straight from the O.G. show to our show, and it feels connected.”The level of fidelity is impressive, and early reviews have been effusive, with one critic describing it as “nostalgia handled perfectly.”But the achievement has been slightly undermined by news that the showrunner, Beau DeMayo, had been fired by Marvel. The move was sudden: On March 11, publicists for Disney, Marvel’s corporate owner, canceled DeMayo’s planned interview for this article, saying his “scheduling has changed,” and the following day The Hollywood Reporter broke the news that he had been fired. Marvel and Disney did not provide an explanation for the move. DeMayo and his representatives did not respond to multiple requests for comment.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