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    in Theater

    Jonathan Haze, Star of ‘The Little Shop of Horrors,’ Dies at 95

    Best known for his star turn in the cult film about a flesh-eating plant, he was a go-to member of the low-budget auteur Roger Corman’s repertory company.Jonathan Haze, a prince of the B-movie who appeared in nearly 20 pulp cinema popcorn munchers by the king of the B-movie, the low-budget auteur Roger Corman — most notably as Seymour, the sniveling flower shop assistant in the original “The Little Shop of Horrors” — died on Saturday at his home in Los Angeles. He was 95.His death was confirmed by his daughter Rebecca Haze.Mr. Haze, a fledgling actor who had hitchhiked to Los Angeles to chase his screen dreams, was working at a Hollywood gas station in 1952 when he was discovered by Wyott Ordung, a young actor and aspiring director affiliated with Mr. Corman.Mr. Corman at that point was just starting a career in which he would produce more than 300 exploitation films and direct roughly 50, with titles like “The Beast With a Million Eyes” and “Teenage Cave Man.” He was also known for his eye for talent: He gave early opportunities to Francis Ford Coppola, Martin Scorsese and Jack Nicholson, among many others.Mr. Corman cast Mr. Haze in two movies in 1954: “Monster From the Ocean Floor,” directed by Mr. Ordung, and “The Fast and the Furious,” whose title would be licensed decades later for the Vin Diesel car-frenzy franchise, in which he had an uncredited role.Among the many other Corman movies in which Mr. Haze appeared was “Not of This Earth” (1957), with Paul Birch, center, and Beverly Garland.MGMMr. Haze, left, and Ms. Garland were also in Mr. Corman’s “Gunslinger” (1956), along with Chris Alcaide, center, and Martin Kingsley.MGMAs the Tumblr site Know Your B Movie Actors observed: “Haze was a small, slight man with boyish good looks, and it was a virtual certainty that he would never be a leading man, even in Corman’s universe. Instead, he devoted himself to playing an assortment of oddballs and losers.”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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    Broadway’s ‘Maybe Happy Ending’ Asks: Can Robots Fall in Love?

    “Maybe Happy Ending” had an initial Korean-language production in Seoul in 2016. Here are five things to know about the show.Hue Park was sitting in a Brooklyn coffee shop in the spring of 2014 when “Everyday Robots,” an indie pop ballad by Damon Albarn, floated over the speakers: “We are everyday robots on our phones / In the process of getting home.”What if, Park thought, there were a whole world filled with robots who looked just look humans?The result: a one-act Korean-language musical about a pair of abandoned robots who fall in love in Seoul in 2064. The show, which Park wrote with Will Aronson, a former New York University classmate, found success with its premiere in Seoul in 2016, and five subsequent commercial productions there.The New York Times critic Jesse Green, who saw an English-language production at Atlanta’s Alliance Theater in 2020, called it “charming” and “Broadway-ready.” Now that version will open at Broadway’s Belasco Theater on Nov. 12, starring Darren Criss and Helen J Shen.The story is about two outcast helperbots who meet at a robot retirement home and build a relationship while grappling with their own obsolescence, and Park thinks it is especially relatable after the coronavirus pandemic. “People have become so comfortable staying alone in their rooms and connecting to each other through a screen,” he said in a recent interview in Midtown Manhattan.Shortly after previews began last month, Park, 41, a former K-pop lyricist who wrote the show’s lyrics, and Aronson, 43, who wrote the music — both collaborated on the book — talked about their inspirations and the different approaches to developing the show’s Korean and English versions. In a separate video call, Criss, 37, and Shen, 24, discussed the challenges of playing robots who look like humans.Here are five things to know.Shen and Criss star alongside two other actors in the musical, which is at the Belasco Theater in Manhattan.Jeenah Moon for The New York TimesWe 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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    in Television

    ‘Dune: Prophecy’ Faced a Pitiless Terrain: Adapting Anything ‘Dune’

    The novels were famously tough to adapt until Denis Villeneuve came along. Can an HBO prequel about the origins of the Bene Gesserit follow suit?For over 50 years, Frank Herbert’s best-selling science-fiction novel “Dune” was a puzzle no one in show business seemed able to solve. Published in 1965, the book had inspired a shelf full of sequels and prequels — along with scores of imitators — yet it defied every attempt to turn it into a blockbuster film or TV series.In the 1970s, the beloved avant-garde filmmaker Alejandro Jodorowsky spent two years and millions of dollars developing a movie and never shot a single frame. David Lynch tried next, but the resulting film, released in 1984, was a personal and box-office catastrophe. The story’s vastness and exoticism proved as perilous to storytellers as the fictional planet Arrakis, whose hostile deserts inspired the franchise’s name.When the HBO series “Dune: Prophecy” was announced, in 2019, its prospects seemed just as murky. Indeed the production struggled to find its footing. By the premiere, it will have seen four showrunners, three lead directors and high-level cast changes — not to mention a pandemic and two crippling industry strikes.But then in 2021, the French Canadian filmmaker Denis Villeneuve, who was set to direct the pilot, released Part 1 of his two-part adaptation of “Dune.” Critics were ecstatic, and the film grossed over $400 million worldwide. Suddenly a “Dune” franchise looked viable. Villeneuve’s team had offered a blueprint for other creators to work from, tonally, aesthetically and narratively. (The studios behind the film, Legendary and Warner, which owns HBO, are also behind the series.)Perhaps more important, there was now a huge audience that had never read Herbert’s famously dense novels but had become invested in the story and characters. The resounding critical and financial success of “Dune: Part Two,” released in February, indicates viewers are still invested in the franchise.“I think Denis really unlocked this universe for people in a way that was relatable,” said Alison Schapker, a “Westworld” veteran who took over as the sole showrunner of “Dune: Prophecy” in 2022. “He grounded it. We wanted to tell a story that takes place in that universe.”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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    Don’t Say ‘Macbeth’ and Other Strange Rituals of the Theater World

    Pulling back the curtain on the peculiar customs and enduring superstitions that help define life backstage.You may not have realized it, but there’s little chance you’ve heard anyone whistle inside a theater. In the old days, sailors often worked the ropes backstage, bringing to show business codes like command whistles. So a whistle meant as a compliment, or to get a person’s attention, might have landed a piece of scenery on someone’s head.Theater is full of these customs — many arising, like most rituals, from hazy origins. Still, show people hold on to them. In an industry that hopes to conjure the same wonder every night (with wildly different results), there’s comfort in tradition, especially if it reaches back decades or even centuries. Some, as the 56-year-old Broadway wardrobe supervisor and costume designer Patrick Bevilacqua says, are “rituals of consistency” — the private fist bumps or helpful Listerine sprays during a backstage quick change, which must be “choreographed within an inch of its life” to keep the show running smoothly. Others are spiritual; according to the actress Lea Salonga, 53, “any practice where everyone can see each other as human” is necessarily grounding.Some are individual: The actor Hugh Jackman, 56, last seen as the lead in “The Music Man” on Broadway in 2023, buys scratch-off lottery tickets for each production member every Friday; occasionally, someone wins a few hundred dollars. Some are secretive, like stealing costumes after a show closes, while others are blared through the house, as when stage managers announce on loudspeakers before a performance, “It’s Saturday night on Broadway,” a reminder that the wearying workweek is almost over.The curio cabinet that the actress Patti LuPone keeps at her Connecticut home filled with gifts from her shows over the years, including an “Evita” (1979) doll, an egg made by an “Anything Goes” (1987) crew member on top of a music box and a Mrs. Lovett bobblehead from when she appeared in “Sweeney Todd: The Demon Barber of Fleet Street” (2005).Daniel TernaLength dictates quantity: Longer-running productions are more likely to develop more idiosyncratic traditions. This means that in New York, Broadway is more ritualistic than Off, and musicals outmatch straight plays for the same reason. The 64-year-old actress Amra-Faye Wright, for example, has for about a decade been painting murals each season backstage for “Chicago,” the second-longest-running musical in Broadway history, which opened in 1975 and has been up since its 1996 revival. All agree that London is more laid-back, despite having some quirks, such as everyone in the cast and crew banging on the windows facing the National Theatre’s interior courtyard on opening night; or the Baddeley cake, an intricately decorated and frosted dessert that varies from show to show but has been served with punch at the Theatre Royal, Drury Lane, every Jan. 6 since 1795. It’s named after Robert Baddeley, an actor who played minor roles there and who in his will bequeathed funds for the annual festivity.As the 43-year-old British director Michael Longhurst says, most are “a mix of the practical and superstitious.” Actors tell one another to break a leg — maybe because “good luck” is gauche; maybe because they’re an understudy wishing a principal would just bow out; maybe because a theater’s “legs” are the thin drapes that frame the stage, which you’d cross if receiving an ovation; or maybe just because they know it’s a phrase they ought to keep alive.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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    Jimmy Fallon Relays Biden’s Promise of a Peaceful Transfer of Power

    “Democrats were like, ‘Well, I guess at this point we can let him speak again,’” the “Tonight Show” host said.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.Getting Back UpPresident Biden spoke from the White House on Thursday, promising a peaceful transfer of power to President-elect Donald J. Trump in January.“Democrats were like, ‘Well, I guess at this point we can let him speak again,’” Jimmy Fallon said.“During his speech, Biden said, ‘You can’t love your country only when you win.’ Yeah. Then he said, ‘But since I didn’t win or lose, I can do whatever the hell I want.’” — JIMMY FALLON“Biden also tried to comfort Democrats by saying, ‘The America of your dreams is calling for you to get back up.’ Then Biden said, ‘Now if you’ll excuse me, I need to go take a nap.’” — JIMMY FALLON“But he said ‘The America of your dreams is calling for you to get back up’ is based on a quote from his favorite British poet, Chumbawamba.” — JIMMY FALLON“He only spoke for a few minutes — didn’t want to miss the Showcase Showdown on ‘Price is Right.’” — JIMMY KIMMEL“The president gave a gracious speech. He told the nation, ‘You can’t love your country only when you win,’ which got a huge laugh in the lunchroom at Mar-a-Lago.” — JIMMY KIMMEL“We’re going to be talking about Trump again every day for another four years, I guess. And I, for one, did not think that when I came out of the jungles of Malaysia to do comedy that I would be making jokes about Donald Trump every day for 13 years straight. Thirteen years! I don’t talk about anybody as much — I don’t talk about my mom as much as I talk about this guy. I don’t talk about my wife as much as I talk about this guy. My wife thinks I’m having an emotional affair with him. I’m going to be talking about this guy on my [expletive] deathbed, OK? Which I assume will be in three years, when he somehow brings back the bubonic plague.” — RONNY CHIENGThe Punchiest Punchlines (Expat 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

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    ‘Walden’ Review: My Sister! My Twin! My Astronaut!

    Emmy Rossum and Zoë Winters star in a new Off Broadway play that’s a climate disaster drama cohabiting with a domestic soap opera.Despite its name and original mission, Second Stage Theater, founded in 1979, has in recent years expanded its reach to include many new works by early-career playwrights.The latest beneficiary of that expansion is Amy Berryman, who makes her professional New York debut with “Walden,” the promising but unconvincing story of twin astronaut sisters on opposite sides of a philosophical divide in a devastating climate dystopia. It opened Thursday at Second Stage’s Off Broadway space, the Tony Kiser Theater in Midtown Manhattan.The promising part of the play is the new angle it offers on an old sci-fi setup. In Berryman’s vision of the near future, Earth has reached what the sisters call P.O.N.R., for “point of no return.” NASA, having (like Second Stage) expanded its original mission, decides to accelerate plans to build habitations on Mars. But unlike movies with a similar premise, the prime movers here are women.That makes for fresh takes on the usual questions of home and hearth and the fate of humanity. It’s nice to see that, at least at first, Cassie (Zoë Winters) is a gung-ho adventurer. Having just returned from a year on the moon, where she became the first person to “grow something from nothing” on its inhospitable surface, she has now been asked to lead an epochal mission to Mars.Not that Earth’s surface is much more hospitable, with violent weather and rising tides killing millions and causing wars. In response, Cassie’s skittish sister, Stella, has retreated to the American interior to nest in a corrugated but strangely chic wilderness cabin. Stella (Emmy Rossum) is also an astronaut — or was. Though she left NASA under mysterious circumstances, her design for a new habitation called Walden will be the one used on Mars. Cassie will likely live there for the rest of her life.On the weekend before she begins training for that future, Cassie visits Stella after a long estrangement. Inevitably, a debate breaks out between them about whether to prioritize saving the planet (as Stella favors) or preparing an escape route (as Cassie does). Encouraging Stella’s view is her boyfriend, Bryan (Motell Foster), a so-called Earth Advocate for whom expanding the reach of human depravity to virgin new worlds is a poor excuse for not cleaning up the old one.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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    ‘Alan Cumming’s Paradise Homes’ Is a Cheeky and Fabulous Distraction

    Need a healthy does of escapism right about now? Look no further than this series on BritBox.There are certain television shows that seem as if they were created as an excuse for famous people to take nice vacations. “Alan Cumming’s Paradise Homes” is one such program. But that doesn’t mean the series, streaming now on BritBox, isn’t a charming, escapist watch.Cumming is the Scottish actor known for his work on Broadway in the likes of “Cabaret” and his stint on “The Good Wife,” but recently he has been using his thick brogue for reality TV hosting gigs. His stint lording over the bickering competitors of Peacock’s “The Traitors” won him an Emmy earlier this year. “Paradise Homes” continues the trend, but it features far less back stabbing.In the five-episode first season, Cumming travels around Europe and North America, poking his nose into extraordinarily designed homes. Cumming bills himself as an architecture buff who has designed several building projects of his own, and as he tours each spot, he evaluates it based partly on whether it is the type of place he picture himself in. It makes the entire enterprise feel like “Architectural Digest” by way of your most fabulous friend with a judgmental side.While I’m no expert, the houses really are incredible, mostly modernist palaces in unusual locales. Still, as is the case with most shows like this, the entertainment value varies based on who is living in the homes. The best subjects have the most curious houses, like the couple in rural Ontario who revamped a 19th century cabin with sleek and contemporary additions, painted black. The couple also get Cumming’s sense of humor, and they invite him to sing karaoke in their hot tub with them.For all the gorgeous scenery, Cumming, with his penchant for snooping and his stylish suits, is really the main attraction. He wants to have a good time, and when he vibes with the homeowners, the show sparks. He is also delightfully thrilled by tasty (vegan) food and splendid (alcoholic) beverages.“Paradise Homes” is light on the nitty-gritty of how these living spaces are funded and built, leaving the financial details vague. The lack of transparency can at times feel a little tone-deaf, but maybe it’s better that the show doesn’t get too bogged down in reality: “Paradise Homes” is an excellent distraction. For a couple of hours you can imagine you’re living the good life, sipping on wine with a amusingly cheeky guide. More

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    New York Comedy Festival Recommendations

    The intriguing options range from well-known names like Bill Maher and Tracy Morgan to under-the-radar standups like Chloe Radcliffe and Jay Jurden.When the New York Comedy Festival started in 2004, it was a modest affair, with only a dozen standup shows. Twenty years later, it has grown into a bustling, sprawling staple of the comedy season, featuring more than 100 shows, big and small, in every borough. The festival begins Thursday and runs through Nov. 17. Here are a few promising options.‘Chloe Radcliffe: Cheat’Chelsea Music Hall, SundayMore than a decade ago, a Hollywood producer told me you couldn’t make a movie about a woman who cheats on her boyfriend or spouse and still retain the audience’s sympathy. The stand-up Chloe Radcliffe proves him wrong in this personal solo show that explores infidelity (her own and the subject broadly) with a refreshing candor and open-mindedness. “Cheat” finds a new take on an old subject while delivering hard-hitting punchlines.Bill Maher: The WTF TourBeacon Theater, Nov. 16In a festival that doesn’t seem especially packed with political comics, Bill Maher, who has performed at the event more than any other comic, stands out. He has talked about giving up standup and focusing on his weekly HBO show and podcast, so who knows if this will be his swan song. In September he predicted Donald J. Trump would lose. What will he say now?Jay JurdenGramercy Theater, MondayWe 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