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    In ‘Succession,’ Democracy Goes Up in Smoke

    On Sunday night, the Roys pondered whether to sell out democracy in exchange for their father’s kingdom. In the real world, the going rate is usually cheaper.This article includes spoilers for the most recent episode of “Succession.”In Sunday’s episode of “Succession,” a TV network sold out democracy. The most implausible part of the story was how high a price the sellers got for it.In the episode “America Decides,” the heirs to the conservative media empire Waystar Royco helped Jeryd Mencken, a Nazi-curious presidential candidate, claim a violence-tainted election by ordering their cable-news network to call it for him. The multibillion-dollar reward: Mencken would kill Waystar’s pending sale to a Swedish tech bro, handing Kendall and Roman Roy the kingdom after their father’s death.In reality, cable news favors for antidemocratic political forces come much cheaper. But let’s deal with the fake news network first.In the “Succession” episode — which probably should have carried a content warning for anyone who has followed the last couple of presidential elections — the night begins with the Democrat, Daniel Jimenez, ahead in the polls. The results end up tight enough to be decided by a highly convenient, apparently intentional fire in a Milwaukee vote counting station, which incinerates enough pro-Democratic ballots to swing Wisconsin to the Republican Mencken.After watching the previous episode, I sketched out a scenario in which the Roys’ network, ATN, has to take sides in a contested election, with the fate of the deal at stake. This doesn’t make me Nostradamus. “Succession” is predictable in the best way. It simply sets up conditions, gives characters motivations, then lets them act in their interests. It’s only as unpredictable as you fool yourself into believing it is.So there’s chaos and opportunity. There’s a fire and an election call that, while not carrying the force of law, would determine the narrative advantage in a legal (or extralegal) showdown.For America, it’s the choice between remaining a country where elections are won with ballots or becoming one where they’re won with torches. For the Roy siblings (minus Connor, conceding the end of his libertarian vanity campaign), it’s a golden jump ball, and each one of them reacts in character.Roman, who has always vibed with Mencken’s edgelord energy, sees no reason not to get on the good side of a history-smashing win. Roman knows who Mencken is, better than any of the Roys do; in Season 3, it was to him that Mencken expressed his openness to borrowing ideas from “H,” his pet name for Hitler. But what’s a little fascism between friends?This had to be a rough episode for Team Roman, the “Succession” fans who love his broken-toy impishness and “Clockwork Orange” banter. He is funny, even while electing a white nationalist, telling his sister, Shiv, “It’s only spicy because if my team wins, they’re going to shoot your team.” That’s exactly what has always made him dangerous. Does he endorse Mencken’s worldview sincerely or ironically? Does it matter? Does an ironic arson fire burn any cooler?His siblings respond with different flavors of ineffectiveness. Shiv, once a Democratic operative, is horrified at the “nightmare” of a President Mencken. But not horrified enough to sabotage her own schemes. Given the chance to ask the Jimenez campaign to promise to kill the Waystar sale — a deal she has been secretly working against her brothers to make happen — she fakes a call instead, and gets caught out. It’s a double-or-nothing bet with democracy as her stake, and she loses.Kendall, meanwhile, resists with the force of a wall of Jell-O, telling Roman, “I don’t necessarily feel good about this.” Necessarily: On “Succession,” statements of principle are always hedged.Kendall knows the stakes too. He wants to be good, or to be seen as good, and his daughter recently had an upsetting run-in on the street with an alt-right racist. But he also wants to win his company back. As often happens when he can’t reconcile his self-interest with his self-conception, he shuts down like a glitching robot, until learning of Shiv’s betrayal pushes him to push ATN to call the election.Respecting their viewership: Nicholas Braun, left, and Matthew Macfadyen in “Succession.”Macall Polay/HBOHis anger at Shiv is a reason, but it’s not the reason. As usual on “Succession,” this is about the money, and the dysfunctional family competition in which the money keeps score. As the brothers argue, Roman accuses Kendall of “big brother”-ing the election call, using seniority to get his way, just as Kendall did at dinner time when they were kids.If only little Roman had gotten steak, we might have gotten democracy.In our reality, of course, the ordinary pressures of the cable news business might have sufficed to force the call, deal or no deal, steak or chicken. As we just saw in the Dominion voting machines libel trial, Fox News — the none-too-subtle real-life analogue to ATN — indulged election theft hoaxes simply to try to hang on to its existing audience (at an eventual cost of hundreds of millions of dollars so far and potentially more).“America Decides” plays as if the writers committed the pretrial discovery file to memory. The episode follows Tom Wambsgans, Shiv’s estranged husband and ATN’s head, through an ulcer-making election night. He is sleep deprived and coked up, under pressure to deliver big ratings for the Roys and scary antifa stories for his audience, which is getting raw, uncut propaganda from ATN’s farther-right competitors.This was much the dynamic at work in the internal messages disclosed in the Dominion suit, which showed Fox stars and executives freaking out over competitors like Newsmax, who were gaining traction by embracing the election-fraud lie. (And of course, Fox’s worries stemmed from viewers’ fury over election night, particularly about the network calling Arizona for soon-to-be President Biden.)Asked why ATN isn’t reporting the evidence that the ballots were torched by Menckenite brownshirts, Tom says, “We need to respect our viewership” — phrasing almost verbatim from the Fox messages. “Respecting this audience whether we agree or not is critical,” the host Sean Hannity texted after the 2020 election.So ATN brings out its sneering alt-rightist, Mark Ravenhead, to insinuate that the fire was a false flag, while Tom suggests booking an egghead historian to tell viewers that everything is fine and normal. “Succession” has always had a feel for how the shamelessness of extremists defeats, and is enabled by, the flaccid reasonableness of centrists.Of course, ATN, like Fox, operates in a larger media environment, and the episode is less clear on how election night is playing elsewhere, especially on PGN, the in-world analog to CNN. There’s a brief clip suggesting that PGN, and presumably other mainstream news, is treating the election as undecided while the legal process plays out. (On a story level, this suggests that the election and Waystar Royco’s fate may have a few turns yet to take.)In our reality, mainstream outlets have their own pressures and owners. CNN, which is part of Warner Bros. Discovery, has a new head, Chris Licht, and a reported new corporate mandate to reposition after years of pugilistically covering President Trump.CNN spent the 2020 campaign trying to learn the lessons of 2016 by scaling back on airing live Trump rallies and assertively fact-checking him in detail. Now — knowing full well that the former president tried to overturn a democratic election — it seems determined to spend the 2024 campaign unlearning the lessons of 2020.Thus last week, CNN granted Donald J. Trump an hour of live TV to be as dishonest about the attempts to overturn the last election as you knew he would be if, at any point in the last few years, you watched CNN. While the town hall moderator, Kaitlan Collins, interjected corrections, he boisterously played his “rigged election” hits to a cheering crowd.CNN got a spectacle; the former president got a live platform for another dominance-politics performance. The morning after the town hall, Licht reportedly told the CNN staff: “Kaitlan pressed him again and again and again and made news. Made a lot of news.” And, he said, “that is our job.”Here, life echoes “Succession” once more. At the end of election night, with ballots burning and Mencken delivering a dog-whistley speech about making America “clean,” Roman insists that nothing he or ATN did that night was that bad or consequential. “We just made a night of good TV,” he says. When the smoke clears, you can always tell yourself that you didn’t start the fire. More

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    What’s on TV This Week: ‘Ghosts of Beirut’ and ‘The Secrets of Hillsong’

    A spy drama based on a decades-long manhunt comes to Showtime, and a new FX documentary brings back former Hillsong pastors to reflect on the church’s scandal.Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, May 15-21. Details and times are subject to change.MondaySTREET OUTLAWS: LOCALS ONLY 8 p.m. on DISCOVERY. This new series in Discovery Channel’s “Street Outlaws” universe follows the street-racing duo Farmtruck and AZN, previously introduced in “Street Outlaws: OKC,” as they journey across the U.S. in search of the speediest local street racers. The chance to race against a veteran Street Outlaw driver (and a $5,000 prize) await the racers in an elimination process that spans ten episodes and both coasts.SUMMER BAKING CHAMPIONSHIP 9 p.m. on FOOD NETWORK. Just in time for barbecue season, this new whimsical cooking competition show hosted by Jesse Palmer asks contestants to bring their best warm-weather recipes to the table. For a $25,000 cash prize, ten chefs will compete in a series of summer-themed challenges.TuesdayFrom left, Angel City Football Club players Ali Riley, Sydney Leroux, Lily Nabet, and Jun Endo in “Angel City.”Will Navarro/Angel City Football Club/HBOANGEL CITY 9 p.m. on HBO. This new docuseries explores the infancy and rise of Angel City Football Club, the Los Angeles-based, female-founded soccer team whose early investors include the tennis star Serena Williams and the World Cup winners Mia Hamm and Abby Wambach.WednesdayClint Eastwood, left, and Bee Vang in “Gran Torino.”Anthony Michael Rivetti/Warner BrothersGRAN TORINO (2008) 11 p.m. on AMC. The Academy Award-winning director Clint Eastwood’s “vitality as an artist shows no sign of waning,” Manohla Dargis pronounced in her review for The New York Times. Set in Detroit, the film follows the unlikely friendship between Walt Kowalski (Eastwood), a cantankerous and bigoted retired factory worker who served in Vietnam and has just buried his wife, and Thao (Bee Vang), Walt’s teenage neighbor of Hmong descent.ThursdayTHE ONE 9 p.m. on TV ONE. The Grammy Award-winning gospel singer Kirk Franklin and his wife, Tammy, host a new competition dating show that adds a soul-searching element to the matchmaking process. Two Atlanta singles will meet with eligible bachelors and bachelorettes in hopes of finally finding “the one” in a series of adventurous dates. The Franklins are there to provide love and life advice along the whole way.DOCTOR ZHIVAGO (1965) 9:45 p.m. on TCM. This Oscar-winning historical romance, a dramatization of Boris Pasternak’s 1957 classic but controversial novel of the same name, follows a decades-long, star-crossed love affair set against the backdrop of the Russian Revolution. Bosley Crowther praised the director David Lean’s mise-en-scène in his 1965 review for The Times, in scenes ranging from “a snow-filled Moscow street” to “a country cottage frosted with shimmering ice.” Omar Sharif earned a Golden Globe for best actor for his performance as the titular Doctor Zhivago.FridayBELLE COLLECTIVE 8 p.m. on OWN. In the third season of this reality series, six glamorous businesswomen in Jackson, Miss., grapple with issues in their personal and professional lives as they’re tasked with redefining what it means to be Black, female and successful.Danai Gurira in “Great Performances: Richard III.”Joe SinnottGREAT PERFORMANCES: RICHARD III 9 p.m. on PBS. Recorded at the outdoor Delacorte Theater in Manhattan during a 2022 “Shakespeare in the Park” performance, the Public Theater’s rendition of Shakespeare’s tragedy is now available for all to watch. The play’s verse is “extraordinarily pungent and the questions obviously eternal,” Jesse Green described in his review for The Times, lauding the “Black Panther” star Danai Gurira’s portrayal of the ruthless titular character as “unflaggingly energetic” and “vocally thrilling.”Carl Lentz in “The Secrets of Hillsong.”FXTHE SECRETS OF HILLSONG 10 p.m. on FX. This four-part investigative docuseries recalls the rise and fall of Hillsong, the megachurch that counted actors, athletes and musicians on its roster before it became embroiled in a sex-abuse scandal. Though not the first documentary to tackle Hillsong’s fall from grace, this series will feature interviews with former pastors Laura and Carl Lentz, speaking for the first time since their public expulsion from the church.SaturdayLOVE TO LOVE YOU, DONNA SUMMER 8 p.m. on HBO. This love letter to the life and legacy of the Grammy Award-winning singer Donna Summer is directed by the Academy Award-winning filmmaker, Roger Ross Williams, and Brooklyn Sudano, Summer’s daughter. Through the recollections of those closest to her, photographs and home video footage (much shot by Summer herself), the film follows the artist from her career beginnings as a musical theater vocalist to her rise as the “Queen of Disco.”SundayGHOSTS OF BEIRUT 10 p.m. on SHOWTIME. From the creators of the Israeli espionage thriller series “Fauda,” this four-part spy drama is based on the decades-long global manhunt for Imad Mughniyeh, a Lebanese military commander who is believed to be the mastermind behind a string of high-profile terrorist attacks in the 1980s and 1990s. More

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    Striking Writers’ Union Denies Waiver, Imperiling Tony Awards Telecast

    The Writers Guild of America indicated it would not grant a waiver to allow a live telecast of the Tonys on June 11, threatening one of Broadway’s biggest marketing moments.The union representing thousands of striking television and movie writers denied a waiver that Broadway officials had sought that would have allowed the Tony Awards ceremony to proceed with a live televised broadcast on its scheduled date of June 11, two people briefed on the decision said on Friday night.The denial by the union, the Writers Guild of America, described by people who were granted anonymity to disclose confidential discussions, is imperiling one of Broadway’s biggest nights — a key marketing opportunity that is even more crucial in the fragile post-shutdown theater economy. Industry leaders say that without the ability to reach the broad audience that tunes into a Tony Awards broadcast, several of the newest musicals are likely to close.Broadway boosters are still hoping that over the weekend the writers’ guild might be persuaded to change its mind. But industry leaders are acknowledging that such a reversal seems unlikely. Without a waiver from the writers’ guild, a live broadcast ceremony is essentially impossible because much of Broadway, including nominees and presenters, would refuse to cross a picket line.The management committee of the Tony Awards, which is the group charged with overseeing the broadcast, has scheduled an emergency meeting on Monday at which it will discuss how to proceed.One option would be to postpone the entire event until after the strike is settled, in which case some money-losing Broadway shows would most likely close rather than hang on in the hopes of an eventual boost from a broadcast. Another would be to hand out the awards in June in some non-televised fashion, which would significantly reduce the marketing value of the awards. But they could try to make up for that by staging some kind of razzle-dazzle song-and-dance-heavy broadcast after the strike ends.None of the parties would speak on the record on Friday night, but several people close to the discussions described the state of affairs after The Hollywood Reporter reported that the waiver had been denied.For Hollywood, the Tony Awards are not a front-burner issue — it is a niche ceremony watched last year by 3.9 million people, which is fewer than other awards ceremonies like the Oscars (18.7 million) or the Grammys (12.5 million).But for Broadway, the stakes are enormous. The Tony Awards are the industry’s biggest marketing moment — a chance to introduce viewers to shows they have not heard of, and to remind them of the joys of musical theater — and that kind of reach is especially important now, with Broadway attendance yet to reach prepandemic levels. Four of the five nominees for best new musical are not selling enough tickets to cover their running costs many weeks, and all could use the box office boost that a win, or even a well-performed number on the awards show, often provides.“Shucked,” which is also in contention for the best new musical Tony, hoped to get national exposure from a ceremony, its lead producer said.Sara Krulwich/The New York Times“The Tony Awards is the biggest commercial for the industry at large, and for a show like mine, which is unbranded and just at the stage where we are finally starting to see some lifeblood, it would be devastating to not be able to be part of this,” Mike Bosner, the lead producer of “Shucked,” one of the five shows vying for the coveted best new musical award, said before the denial was announced.“Our whole timing of when we opened the show was based on being part of the ramp-up to the awards season, when there are a lot of eyeballs on the show and there’s national exposure,” he said.The Tony Awards are one of Broadway’s biggest marketing opportunities. Renée Elise Goldsberry and Phillipa Soo appeared on last year’s broadcast. Sara Krulwich/The New York TimesEven before news of the W.G.A.’s decision to deny the waiver spread, some producers were pessimistic. “My guess is that there won’t be a broadcast,” Robert Greenblatt, one of the producers of “Some Like It Hot,” which is also a nominee for best new musical, said earlier. Greenblatt is familiar with all sides of the issue — he is not only a frequent Broadway producer, but also a former chairman of NBC Entertainment and WarnerMedia.If the Tonys are delayed or derailed, it will damage many shows. “Particularly this season, when we’re still recovering from the Covid shutdown, it would be especially devastating to not have that opportunity — to not be able to showcase how many great and diverse plays and musicals are on Broadway right now,” said Eva Price, a lead producer of “& Juliet,” another contender for best new musical.Already, the W.G.A. strike has affected one awards show — last weekend’s MTV Movie & TV Awards. The host, Drew Barrymore, dropped out in solidarity with the union and the ceremony turned into a pretaped affair after the W.G.A. said it would picket.On Wednesday, with the prospect of hundreds of demonstrators marching on picket lines, Netflix abruptly announced it was canceling a major in-person Manhattan showcase it was staging for advertisers next week, and turning it into a virtual event instead.Ted Sarandos, the co-chief executive of Netflix, also said he would not attend the upcoming PEN America Literary Gala at the American Museum of Natural History, a marquee event for the literary world that was scheduled to honor him. In a statement, Mr. Sarandos said it was best if he pulled out “given the threat to disrupt this wonderful evening.”In 2008, the last time the writers were on strike, organizers of the Golden Globes were forced to cancel the awards ceremony after the W.G.A. was actively organizing demonstrations and actors said they would not cross any picket lines. Winners were revealed in a news conference instead. But during that strike the W.G.A. did grant waivers to some televised ceremonies, including the Screen Actors Guild Awards.The organizations that present the Tony Awards, the Broadway League and the American Theater Wing, declined to comment; they are said to be closely monitoring the situation but unsure of how to proceed. Representatives for the W.G.A., and CBS, the Tonys’ longtime broadcaster, also declined to comment. More

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    Review: Despite the Primping, ‘The Cotillion’ Is Far From Flawless

    Colette Robert’s play takes aim at antiquated rites of passage, and how they can promote classism, colorism and retrograde gender politics.The enterprising president of the Harriet Holland Social Club just wants the cotillion to be successful. The floral centerpieces are in place, a band is onstage, and the draperies are neatly tucked in and tied. The debutantes are primped and primed. By night’s end, she hopes, these young women will set off into their bright futures.Presented by New Georges and the Movement Theater Company at A.R.T./New York Theaters, “The Harriet Holland Social Club Presents the 84th Annual Star-Burst Cotillion in the Grand Ballroom of the Renaissance Hotel,” written and directed by Colette Robert, mimics the proceedings of debutante balls. There’s the introduction of the debutantes, the father-daughter dance and a multicourse dinner, but this cotillion — and the production — is far from flawless.Madam President (Akyiaa Wilson), a 2-D villain, encourages the debutantes (Claire Fort, Caturah Brown, Starr Kirkland, Aigner Mizzelle, Monique St. Cyr, Portland Thomas) to prioritize appearances and wealth, hurling critiques with no regard for them as individuals. The more enlightened vice president (a hilarious Jehan O. Young, with priceless passive-aggressive expressions and line reads) pushes for more substance, like community outreach, and less of the superficial focus on style and status.The script clearly has something to say about these antiquated rites of passage. But Robert doesn’t go beyond the obvious: Instead of being a source of uplift and empowerment, the script says, Black debutante balls often promote classism, colorism and retrograde gender politics, like the objectification of Black women’s bodies. And yet, cotillions aren’t the source of the problem; they’re a symptom of a more nuanced social and cultural infrastructure. The play’s lack of deeper inquiry and character-building leaves us feeling unsated — even as the debutantes begin to question the whole affair.Structurally, the play never finds its footing. It mostly takes place in real time, but sometimes it veers off into a kind of choreopoem, with the girls speaking from the future, posing as if on an auction block or tearing off their dresses. And the uneven direction results in scenes in which the actors’ delivery is stilted — full of anticipatory pauses, not the naturalistic flow of conversation.More graceful is Teresa L. Williams’s set design, transforming the theater into a ballroom, and Stacey Derosier’s snazzy lighting, which creates a party atmosphere. And the fabulous Harriet Holland Social Club singers (Kayla Coleman, Cherrye J. Davis, Cristina Pitter, Montria Walker) give Marvelettes and Ronettes vibes, with their shimmery dresses (fantastic all-around costume design by Mika Eubanks) and choreography (nicHi douglas). The music (Dionne McClain-Freeney) expounds on the show’s themes via clever lyrics and a catchy score, played by the band on piano, upright bass and drums.It seems as if “The Cotillion” is trying to replicate what the writer Jocelyn Bioh did so well in “School Girls; or, the African Mean Girls Play,” which didn’t critique beauty pageants as much as the culture that created them.Robert’s show did inspire me to ask my mother about her cotillion. I was expecting embarrassment. “I enjoyed it,” she said. Her experience didn’t change her life for better or for worse. “The Cotillion” forgets: This is also just a party.The Harriet Holland Social Club Presents the 84th Annual Star-Burst Cotillion in the Grand Ballroom of the Renaissance HotelThrough May 27 at A.R.T./New York Theaters, Manhattan; newgeorges.org. Running time: 1 hour 40 minutes. More

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    ‘The Beautiful Lady’ Review: A Cabaret for the New Order

    Artists and dreamers sing of revolution in a musical set on the cusp of the birth of the Soviet Union.A few minutes into “The Beautiful Lady,” you might find yourself thinking the show owes a little something to “Natasha, Pierre & the Great Comet of 1812”: After all, here are, again, a bunch of exalted Russians in a cabaret, singing of life, loss, hope and love.But “The Beautiful Lady,” a musical by Elizabeth Swados from 1984, is actually the artistic forebear of Dave Malloy’s “Great Comet,” even though it is only just now getting a New York premiere at La MaMa, under Anne Bogart’s evocative direction.Swados is best remembered for her 1978 show “Runaways” (briefly revived by Encores! Off-Center in 2016, a few months after her death); “The Beautiful Lady” adds to the mounting evidence that she was among the most idiosyncratic and creative composer-lyricists of her generation. (A few years ago Malloy joined the likes of Michael R. Jackson, Taylor Mac and Shaina Taub on the tribute album “The Liz Swados Project.”)More of a song cycle than a traditionally structured, plot-driven musical, “The Beautiful Lady” is set at the Stray Dog Café, a real-life St. Petersburg cabaret where the owner, Boris Pronin (Starr Busby), hosted such literary luminaries as Anna Akhmatova (Kate Fuglei), Osip Mandelstam (Henry Stram), Marina Tsvetaeva (Ashley Pérez Flanagan) and Alexander Blok (George Abud, from “The Band’s Visit”) in the years leading up to World War I. They’re high on ideas and ideals — and, for some of them, on each other — and dream of a political, sexual and artistic revolution.Swados and Paul Schmidt, who translated many of those writers’ poems (large chunks of which are incorporated into the show), wrote the book, which was revised by Jocelyn Clarke and serves mostly as a thread linking the songs. And, oh, what wonders those are: vibrant and funny, desperate and elegiac, with some so lovely they will shatter your heart.Bogart makes the most of La MaMa’s deep stage and creates striking tableaus with little more than a few chairs and tables (Andromache Chalfant did the scenic design) and bold lighting (designed by Brian H. Scott) that focuses on blue and red. The effect is powerfully stark and never overwhelms the humans at the heart of the story.When they change into gray jumpsuits about midway through, we are reminded how often dreams of revolution have ended in repressive regimes. In the musical’s dreamlike world, the Stray Dog remains open long enough that its denizens face that reality and must resort to gallows humor, telling each other jokes that mine the cruel absurdity of life under Stalinist rule, with its Orwellian Newspeak and thought crimes. (Some of those jokes have been repurposed for Putin; they still work.)“My lady made of silk and sighs,” Sergei Yesenin (Andrew Polec, a long way from “Bat Out of Hell”) sings in an ode to the American dancer Isadora Duncan, yearning and helpless as his world comes crashing down. “My lady full of laughs and goodbyes.” He might as well be describing — poetically, of course — the spirit of this show.The Beautiful LadyThrough May 28 at La MaMa, Manhattan; lamama.org. Running time: 1 hour 30 minutes. More

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    Jeremy Strong to Star in Broadway Revival of ‘An Enemy of the People’

    The production, with a new script by Amy Herzog and directed by Sam Gold, will begin early next year.“Succession” is ending. So what’s next for Jeremy Strong? He’s returning to Broadway.Strong, whose celebrity has skyrocketed with his portrayal of the scheming Kendall Roy in HBO’s “Succession,” will star next year in a Broadway revival of the classic play “An Enemy of the People.” Strong will portray the title character, Dr. Thomas Stockmann, a physician who becomes a pariah when he decides to reveal that the water in local spa baths is contaminated.The play was written in 1882 by Henrik Ibsen and has been staged on Broadway 10 times, most recently in 2012. There have been other New York productions, too; a socially distanced one-woman version of the show was staged at the Park Avenue Armory in 2021, while the coronavirus pandemic was raging.This new production will feature a script rewritten by the playwright Amy Herzog, who is no stranger to reimagining Ibsen: Her revised version of Ibsen’s “A Doll’s House” is now on Broadway, with Jessica Chastain in the starring role.Strong, who won an Emmy award for his work on “Succession,” previously appeared on Broadway in a 2008 revival of “A Man for All Seasons.” He has also appeared in several Off Broadway productions.The “Enemy of the People” revival will be directed by Herzog’s husband, Sam Gold, who won a Tony Award for directing the musical “Fun Home,” and whose more recent Broadway ventures have been polarizing productions of Shakespeare’s “King Lear” and “Macbeth.”“An Enemy of the People” is scheduled to run for 16 weeks in early 2024; an announcement on Friday did not specify the exact dates or the theater, and did not reveal any further casting. The producers are Seaview (Greg Nobile and Jana Shea) and Patrick Catullo, who previously collaborated on Mike Birbiglia’s one-man show “The Old Man & the Pool.” More

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    How Liverpool Put on a Song Contest for Ukraine

    This year’s event would be “Ukraine’s party,” a broadcasting official said. It just happens to be taking place in Britain.When Ukraine won last year’s Eurovision Song Contest, it gained the right to hold this year’s event. And despite Russia’s invasion, it insisted it would do it.Ukraine’s public broadcaster issued plans to host the spectacle in the west of the country, out of reach of Russian missiles, while politicians, including President Volodymyr Zelensky, said the nation would make it work.Even some foreign leaders backed its cause. Last summer, Boris Johnson, Britain’s prime minister at the time, told reporters that Ukraine won Eurovision “fair and square,” so it should host, regardless of the war.“It’s a year away,” Johnson said. “It’s going to be fine.”But Ukraine’s dream of staging this year’s Eurovision has failed to materialize. On Saturday night, the final of the glitzy contest — which is expected to draw a television audience of around 160 million — will take place 1,600 miles from Kyiv, in Liverpool, England.Last summer, after months of discussions, the European Broadcasting Union, which oversees the contest, agreed with Ukrainian authorities to the change of location. With Britain finishing second in last year’s contest, it was an obvious choice. Its public broadcaster, the BBC, agreed to organize the event.This is Britain’s ninth time hosting the contest since it began in 1956, but the BBC team knew this year would be different. Broadcasters that host Eurovision normally use the contest to advertise their country and its culture to a global television audience. This time, Britain would need to take a back seat.Commemorative merchandise on sale in central Liverpool.Mary Turner for The New York TimesThe Ukrainian flag displayed in a Liverpool branch of McDonald’s.Mary Turner for The New York TimesThe historic buildings on Liverpool’s waterfront were lit up in the colors of the Ukrainian flag on Wednesday.Mary Turner for The New York TimesMartin Osterdahl, the executive supervisor for Eurovision at the European Broadcasting Union, said in an interview that this year’s event would be “Ukraine’s party.” Britain just happened to be hosting it, he added, echoing a sentiment made by a British pop act.Shortly after the switch was announced, the BBC introduced a contest to select a city to stage the finals, eventually picking Liverpool over six other contenders. In October, the BBC hired Martin Green, an event producer who oversaw the opening and closing ceremonies of the 2012 London Olympics, to oversee the event.In a recent video interview, Green, 51, said he flew immediately to Warsaw and met with Ukrainian broadcasting officials.Those officials said they wanted a Eurovision that was a huge “celebration of great Ukrainian culture — past, present and future,” Green recalled. They also wanted the reality of Russia’s invasion shown onscreen — something with the potential to strike a downbeat tone for the traditionally campy, showy spectacle. But they insisted the contest should still be fun, Green said.Alyosha, who was Ukraine’s Eurovision entry in 2010, performing in Liverpool on Wednesday.Mary Turner for The New York Times“It was really important to have that blessing — that permission — about the nature and style of the show,” Green said.Back in Britain, Green had just eight months to arrange the contest. He assembled a team — including outside agencies — to work on the event. (Over 1,000 people have contributed, he said.) Every week, his staff had video calls with Ukrainian colleagues to discuss and agree on aspects of the competition. Those included this edition’s slogan, “United by Music”; its stage design; and the special performances that take place onstage during breaks from the competition.Sometimes, Green said, the Ukrainian side had to delay scheduled calls at the last minute “because an air raid siren had gone off,” or cancel meetings entirely because of power cuts.“Those were incredibly sobering moments,” Green said. “Ukrainians have such a sheer force of will to carry on, that sometimes you could easily forget.”German Nenov, a creative director with Ukraine’s public broadcaster, was a vital sounding board for the British team, Green said. In a recent interview, Nenov said it was sometimes “surreal” to be discussing sparkly outfits and dance performances as Russian bombs fell on Ukraine. “These past six months have probably been the most emotional of my life,” he said. “But thanks to Eurovision, I was able to stay strong. It gave me the ability to go on.”German Nenov, a creative director with Ukraine’s state broadcaster, in Liverpool. “These past six months have probably been the most emotional of my life,” he said.Mary Turner for The New York TimesNenov, 33, is overseeing several special performances by Ukrainian musicians that will play during competition breaks. With those, he said, he wanted to change viewers’ perceptions of his country. When Ukraine hosted Eurovision in 2005 and 2017, he added, those broadcasts featured clichés of traditional life, including embroidered outfits and dancing girls with flowers in their hair. “That’s not Ukraine,” Nenov said; this time, he would show a more modern vision of the country.Both Nenov and Green declined to give details of Saturday’s grand final, insisting it should come as a surprise for television viewers, but both said the show included Ukrainian and British pop stars. The war would be mentioned, Green said, but in an elegant fashion that was appropriate for “a great big singing competition.”Osterdahl, the European Broadcasting Union official, said that this year’s collaboration between two countries to host Eurovision was “unprecedented.” But if Ukraine wins again on Saturday, he would need another country to step up to host Ukraine’s next party. One day, he said, he hoped the war would end, and Ukraine could host for itself. More

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    New York Theater Workshop Announces New Artistic Director’s First Season

    The Off Broadway nonprofit will embrace risk, said Patricia McGregor, its leader, favoring fresh over established works.For New York Theater Workshop’s first season programmed after the departure of its longtime artistic director, the Off Broadway fixture plans to produce an intergenerational saga centered on a Black family in Illinois, a lesbian farce set on a naval base, a story about a mysterious album of Nazi-era photographs, and a play with an unusual star: a Microsoft text-to-speech tool.The slate of shows, announced on Friday, has been curated by Patricia McGregor, who replaced James C. Nicola as artistic director last year. The organization has a track record of producing influential work, including its biggest hit, “Rent,” as well as celebrated productions such as “Hadestown,” “Once,” “Slave Play” and “What the Constitution Means to Me.”The 2023-24 season includes three world premieres and one work that debuted last year, favoring fresh over recognizable work. (The most recent season featured the Broadway-bound “Merrily We Roll Along,” starring Daniel Radcliffe, Jonathan Groff and Lindsay Mendez.) McGregor said that while there is certainly a place for those kinds of entrenched works at New York Theater Workshop, her inaugural season is focused on embracing risk and supporting artists whose work could be lost if the theater world becomes overly focused on name recognition, trusted forms and trying to ensure commercial success.“We’re more of a laboratory than a factory,” McGregor said. “Part of what the workshop wants to be is a testing ground.”This fall, McGregor will direct “The Refuge Plays” by Nathan Alan Davis, whose play “Nat Turner in Jerusalem” was staged at New York Theater Workshop in 2016. Produced with and staged at Roundabout Theater Company, the work is about four generations of a Black family who live in a home that they built themselves in a forest. An earlier version of the production was scheduled to start rehearsing in 2020 and was delayed by the pandemic.Later in the year, the nonprofit will stage “Merry Me,” a new work by the South Korean playwright and director Hansol Jung (“Wolf Play”). In “Merry Me,” which will be directed by Leigh Silverman (who directed last year’s voting-rights musical “Suffs”), a restless lieutenant seeks to pleasure other women on the base — including the general’s wife — during a blackout.“I love you so much I could die,” slated for winter 2024 and directed by Lucas Hnath, employs a Microsoft text-to-speech product for the monologues, in between songs performed by the playwright, Mona Pirnot. (The Microsoft-fueled actor is funny and strange, McGregor said, but it also comes off as surprisingly human.)Next spring, the company will produce Tectonic Theater Project’s “Here There Are Blueberries,” a play by Moisés Kaufman and Amanda Gronich about a collection of Nazi-era photographs that is delivered to the desk of an archivist at the United States Holocaust Memorial Museum, making the news and setting a German businessman out on a journey of discovery about his family. Kaufman, who was behind “The Laramie Project,” will also direct the play, which premiered at La Jolla Playhouse in California and is currently onstage at the Shakespeare Theater Company in Washington, D.C. More