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    How Do You Adapt James Baldwin? Very Carefully.

    His works have been slow to come to stage and screen. But a new production of the novel “Giovanni’s Room” shows how rewarding it can be when done right.Few writers turn out their career-defining work on the first try. But that was James Baldwin with his 1953 debut novel, “Go Tell It on the Mountain.” The semi-autobiographical book, about a day in the life of a Black teen whose stepfather is a minister of a Harlem Pentecostal church, was received by critics with glowing praise. Today it remains lauded as one of the great novels of modern American literature.Baldwin’s second novel, “Giovanni’s Room,” was quite a different story — literally and figuratively. A thematic departure from its predecessor, the novel was about two gay white men: David, a closeted American man, who falls in love with Giovanni, an Italian bartender, in Paris. In the book Baldwin unpacks motifs related to masculinity and queerness, classism and American exceptionalism all through sparkling dialogue and robust, deeply ruminative prose.Though now considered a significant work of the 20th-century queer literary canon, “Giovanni’s Room” didn’t share the immediate adoration and popularity of its predecessor. In fact, it was rejected by his publisher, Knopf, when first submitted. “We think that publishing this book, not because of its subject but because of its failure, will set the wrong kind of cachet on your writing and estrange many of your readers,” the editor Henry Carlisle wrote in a letter to Baldwin in 1955. But Dial Press published the book in 1958, and almost immediately Baldwin had further plans for it.First there was the stage. In 1958 he produced a dramatization of “Giovanni’s Room” for the Actors Studio starring the Turkish actor Engin Cezzar as Giovanni. The play didn’t make it to Broadway, but Baldwin intended to return “Giovanni’s Room” to the stage, or even adapt it to film. He insisted on creative control, which hindered some potential efforts from other artists.James Baldwin in 1973.Jack Manning/The New York TimesIn the late ’70s he collaborated with the South African filmmaker Michael Raeburn on a screenplay, with hopes of big names like Robert De Niro and Marlon Brando taking part. The project never got off the ground, though; Baldwin’s literary agent requested $100,000 for the book option, which the writer couldn’t afford.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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    Seth Meyers Wishes Tucker Carlson and Ted Cruz Could Both Lose

    The clash of conservative titans had Meyers feeling like a Roman emperor: “I just want someone to feed me grapes while I say, ‘Let them fight.’”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.‘Rooting for a Sinkhole’In a heated exchange on Tucker Carlson’s show, the host grilled Ted Cruz about Iran’s population and ethnic makeup, suggesting that the Republican senator was ignorant about the country whose government he wanted the United States to help overthrow.Seth Meyers was amused by the standoff, saying he’d never “felt more like a Roman emperor.”“I just want someone to feed me grapes while I say, ‘Let them fight.’” — SETH MEYERS“It’s like watching a sequel to ‘Alien vs. Predator’ called ‘I Can’t Believe I’m Saying This, but the Predator is Making Some Very Salient Points.’” — SETH MEYERS“Oh, damn, Ted Cruz. Are you a pair of $800 Ferragamo boat shoes? Because Tucker Carlson owned you, buddy.” — JORDAN KLEPPER“And Ted Cruz was like, ‘I know the population, just give me a second to count, OK? Let’s see, there’s the ayatollah, that’s one. Uh, the Iron Sheik, two. Is Aladdin one? No? No?” — JORDAN KLEPPER“It’s so wild to see these two fighting. But I gotta say, in an argument between Tucker Carlson and Ted Cruz, I’m rooting for a sinkhole.” — STEPHEN COLBERTThe Punchiest Punchlines (Flagpole Edition)“Not now, dude! This is like your boyfriend getting down on one knee and saying, ‘Kelly, will you make me the happiest man in the world and look at these two beautiful flagpoles?’” — STEPHEN COLBERT, on Trump’s announcement that new flagpoles would be installed at the White House“What’s going on here? It feels like someone told him, ‘Sir, you’re not doing well in the polls.’ And he was like, ‘I hear you, I’m on it.’” — JORDAN KLEPPER“Now personally, I think it’s cool that Trump found a new use for the 50-foot pole that Melania refuses to touch him with.” — JORDAN KLEPPER“Wow, ‘tall, tapered, rustproof’ flagpoles. You know he must love them ’cause that’s the same way he describes his son Barron.” — JIMMY KIMMEL“What a president. He spent 48 minutes yammering about flagpoles. He spent more time raising these flags than he did raising Eric and Don Jr. combined today.” — JIMMY KIMMELThe Bits Worth Watching“Jimmy Kimmel Live” timed how long it took fans to start eating from a bowl of nachos left on top of a garbage can at the N.B.A. Finals.What We’re Excited About on Thursday NightPaul Simon will discuss coming out of retirement on “The Late Show.”Also, Check This OutSteven Spielberg, holding the camera, and his cinematographer Bill Butler during the filming of “Jaws.”Peacock/Universal Pictures, via Associated PressFifty years ago, “Jaws” established a template that blockbuster movies have been following ever since. More

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    ‘Fight Back’ Recreates an Act Up Meeting From 1989

    This immersive theater experiment enlists attendees to help recreate an AIDS activist meeting from 1989 as an exercise in empathy.On Monday evening at the Lesbian, Gay, Bisexual & Transgender Community Center, in Manhattan’s Greenwich Village, anyone entering Room 101 would step directly into March 13, 1989.Thirty-six years ago, the AIDS activist group Act Up New York had the space that night for its weekly meeting — an event that David Wise’s immersive theater experiment “Fight Back” seeks to recreate.Audience members are by definition participants, too. Each has been assigned the persona of someone who was involved with the organization early on. Act Up was in emergency mode then, trying desperately to get the culture to treat the catastrophic epidemic with greater urgency.Just days before the meeting, AIDS had killed Robert Mapplethorpe at 42. Within a year, it would claim Alvin Ailey at 58, Keith Haring at 31 and many thousands more. For the people in the room, death had become a far too frequent part of life.That is the cauldron in which the real meeting took place, and into which “Fight Back” means to drop its audience, as an exercise in empathy. As Wise, 47, explained by phone, he doesn’t expect people in 2025 to be able to access the breadth of emotions the activists felt in 1989.“But I do think that there’s something about inhabiting with your body,” he said, “and doing the actions that someone was doing, and saying the words that someone might have been saying, that is really effective, and affecting.”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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    Michelle Williams to Star in Off Broadway Revival of ‘Anna Christie’ With Mike Faist

    The actress will lead a revival of “Anna Christie” at St. Ann’s Warehouse, directed by her husband, Thomas Kail, and co-starring Mike Faist.A big star is coming to the small stage: Michelle Williams, the Emmy-winning, Oscar- and Tony-nominated actress, will return to New York theater this fall to lead an Off Broadway revival of Eugene O’Neill’s Pulitzer Prize-winning 1921 drama “Anna Christie.”Williams, who was last on Broadway in 2016, will play the main character, a former prostitute who falls in love with a seaman. The seaman will be played by Mike Faist, who was nominated for a Tony Award for originating the role of Connor Murphy in “Dear Evan Hansen” and who then had a supporting role in Steven Spielberg’s film adaptation of “West Side Story.”The production is scheduled to run from Nov. 25 to Feb. 1, with a two-week break during the winter holidays, in a 450-seat theater at St. Ann’s Warehouse in Brooklyn Bridge Park. It will be directed by Thomas Kail, the Tony-winning director of “Hamilton,” who is married to Williams. The two previously collaborated on the 2019 streaming series “Fosse/Verdon.”“We met making TV about theater, and we always thought it would be fun to make theater together,” Kail said in an interview. He said he had long been interested in O’Neill — he wrote his college thesis on the playwright — and that Williams had long been interested in the role, which was originated on Broadway a century ago by Pauline Lord, and has been played since on Broadway by Celeste Holm, Liv Ullmann and Natasha Richardson, and on film by Greta Garbo.“Taking something that has existed in various forms, with multiple terrific productions over the years, and having the chance to be part of a lineage is something that I love about the theater,” Kail said, “and that’s certainly something that sparked when I started having conversations with Michelle about it.”Williams has had a varied career since her breakout role in the television series “Dawson’s Creek.” She won the Emmy for “Fosse/Verdon,” was nominated for a Tony for the play “Blackbird,” and has been nominated five times for Academy Awards, for “Brokeback Mountain,” “Blue Valentine,” “My Week With Marilyn,” “Manchester by the Sea” and “The Fabelmans.”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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    Billy Porter to Star in ‘Cabaret’ on Broadway

    The show’s producers said they plan to end the New York run at the end of the actor’s run, on Oct. 19.Billy Porter, who won a Tony Award for the musical “Kinky Boots” and starred in the television series “Pose,” will return to Broadway as the Emcee in the revival of “Cabaret.”And then, that revival is planning to close.Earlier this year, Porter portrayed the Emcee in the London production of “Cabaret,” opposite Marisha Wallace as Sally Bowles. On Wednesday, the revival’s producers announced that Porter and Wallace would reprise their performances in New York, starting July 22 and running until Oct. 19.The show’s producers said they plan to end the New York run at that point, though it will continue in London. The New York production opened in the spring of 2024, starring Eddie Redmayne; it was nominated for nine Tony Awards, and won one, for its scenic design. (The August Wilson Theater was converted into a club-like setting with preshow performances in the lobby spaces and rings of seats, some with small cafe tables, around the stage.)The show is a hit in London, and it swept the Olivier Awards there. But the initial reception was much cooler in New York. Reviews were mixed — in The New York Times, the critic Jesse Green called the director Rebecca Frecknall’s staging “misguided.” Although it sold well with Redmayne in the lead role, it has struggled since — its weekly grosses peaked at $2 million in May 2024, but last week they were $763,000.Set in Berlin in 1929 and 1930, it depicts a group of people linked by a nightclub whose livelihoods and lives are threatened by the rise of Naziism. The show has had a succession of performers in the lead roles, starting with Redmayne and Gayle Rankin, followed by Adam Lambert and Auli’i Cravalho; and now Orville Peck and Eva Noblezada.The show is expensive to stage — it cost up to $26 million to capitalize, according to a filing with the Securities and Exchange Commission — and has been expensive to run as well. It has not recouped its capitalization costs.With music by John Kander, a book by Joe Masteroff, and lyrics by Fred Ebb, the show is a classic, first staged on Broadway in 1966 and revived three times previously. It was adapted into a Hollywood film in 1972; both the film and the first two Broadway productions starred Joel Grey as the Emcee. More

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    Where to Go in Philadelphia, According to Brian Tyree Henry

    If your memories of summer camp don’t involve eight-course tasting menus and vintage fashion shopping sprees, well, perhaps you weren’t doing it right. Or you were never in a stalled Apple TV+ production with Brian Tyree Henry.Mr. Henry, 43, who recently received the Gotham Television Awards’ first Performer Tribute for his role in “Dope Thief,” is the star and an executive producer of this crime drama about two friends who try to earn a living as fake drug enforcement agents. The limited series was not quite halfway through filming in Philadelphia when Hollywood writers went on strike in 2023, soon followed by actors. He decided to make the best of a bad situation by staying put and diving as deeply as possible into his character’s hometown.Mr. Henry rose to prominence as Alfred “Paper Boi” Miles in the FX show “Atlanta.” He currently stars in the limited Apple TV+ series “Dope Thief,” which is set in Philadelphia.Taylor Jewell/Invision, via Associated PressDuring the work stoppage, which lasted six months, “the Philly crew was still there, and they were my friends,” Mr. Henry said in a video interview. “So my time in Philly felt like sleep-away camp.” He learned a lot. For starters: “Philly natives love Philly,” he said. “If I walked out of my house in anything green and white, it had better have an eagle on it.”Mr. Henry and his co-star, Wagner Moura, play friends who try to earn a living as fake D.E.A. agents in “Dope Thief.”Jessica Kourkounis/Apple TV+, via Associated PressHe also discovered that he didn’t need to stray far from his Center City rental to find a happy place: the tiny 17th-century Rittenhouse Square. “You can sit in the park and read a book, and then go and chill out and have a good meal across the street,” he said, citing the steak, popovers and tater tots at Barclay Prime among his favorite examples. Another neighborhood staple was the Rittenhouse Spa & Club, where regular facials helped mitigate the “sweat, blood, smoke and gunpowder” he was covered in during filming. “They would be like, ‘What did you go through this week?’” 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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    ‘America’s Sweethearts’ Reveals 400 Percent Raise for Cowboys Cheerleaders

    The second season of the docuseries “America’s Sweethearts” reveals the squad’s successful effort to push for greater financial stability.In what amounts to the biggest reveal of the second season of the Netflix docuseries “America’s Sweethearts,” the Dallas Cowboys Cheerleaders will receive a pay raise of roughly 400 percent for the 2025 season.It is a huge increase in a profession known for its low wages, and one that a former cheerleader for the team, Jada McLean, described in an interview with The New York Times as “a drastic change” that could give the cheerleaders more financial security.The pay bump is announced in Episode 7 of the show’s second season, which began streaming on Wednesday. It caps a yearslong effort for higher pay that drew a great deal of attention in 2018 when the former cheerleader Erica Wilkins sued the team for unfair pay. She claimed in her lawsuit that she received roughly $7 per hour with no overtime pay and a flat rate of $200 per game, which, in total, ended up being less than the annual pay for the team’s mascot, Rowdy. Her case was settled out of court in 2019 and, since then, hourly wages for the squad remained low.Missing from the announcement of the raise in the show were any specifics of what the cheerleaders were making previously, or how much they would be paid under their new deal.But in a rare instance of a Cowboys cheerleader, past or present, discussing her compensation, Ms. McLean told The Times that in 2024, her fifth year with the squad, she had made $15 an hour and $500 for each appearance, and that compensation varies based on experience. With the increased wages, she said veteran cheerleaders could now be making more than $75 an hour. The new contract also changes the structure around pay for game day and other appearances, though Ms. McLean said it still does not provide health insurance.In an emailed statement, the franchise would not confirm the new wages or if the new rates apply to rookies on the team as well.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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    Jordan Klepper Calls Trump Out for His ‘Irish Exit’ at G7

    The president left the Group of 7 summit in Canada a day ahead of schedule, and Tuesday’s “Daily Show” host thinks he knows why.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.‘Stay Tuned’President Trump left the G7 summit in Canada a day earlier than planned, flying back to Washington to deal with the Iran-Israel conflict, according to the White House.On Tuesday’s “Daily Show,” Jordan Klepper called Trump out for his “Irish exit.”“Now, this is an important G7 for Trump, because he had to prove that he had the discipline and wherewithal to fix the global economy after he [expletive] up the global economy.” — JORDAN KLEPPER“We all know what this is, right? You’re at an event, you have to rush home because ‘something came up’? Look, I get it — none of us like to poop in an unfamiliar place. Sometimes, when you have a big matchup coming up, you just need that home-field advantage.” — JORDAN KLEPPER“After a few days with Trump, the Canadian prime minister was like, ‘I hate to see you go, but I also hate to see you here.’” — JIMMY FALLON“When French president Emmanuel Macron told the press that Trump left the G7 to work on a cease-fire, Trump attacked Macron, posting, ‘He has no idea why I am now on my way to Washington, but it certainly has nothing to do with a cease-fire. Much bigger than that. Stay tuned!’ Much bigger than that? Not a cease-fire? Maybe not the most subtle messaging from the commander in chief. It’s like when F.D.R. said, ‘Gotta get me some sleep. Tomorrow is Big D-Day. Can’t say much more, but it rhymes with Shmormandy.” — STEPHEN COLBERT“So either the United States is about to jump in or he just got bored during the G7 icebreakers.” — STEPHEN COLBERT“‘Stay tuned.’ Like it’s the season finale of ‘Celebrity Apprentice’ or something.” — JIMMY KIMMEL“Oh, great! Yeah, better than a cease-fire! Cease-fire plus! That’s great — I hate watching ads.” — JORDAN KLEPPERThe Punchiest Punchlines (Trade Deal Drop Edition)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