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    Biden Tries to Turn the Tables on Trump: ‘He’s About as Old as I Am’

    In his first election-year appearance on a late-night television show, the president joshed with Seth Meyers and poked at former President Donald J. Trump’s own memory lapses.President Biden has come up with a new defense against claims that he is too old to run for another term: At least he knows who his wife is — as opposed to “the other guy.”As he expands his efforts to reassure voters that he is fit for another four years, Mr. Biden took a turn on the talk show circuit, using an appearance on “Late Night With Seth Meyers” on NBC to poke his challenger, former President Donald J. Trump, on his own struggles with memory.In a playful but pointed interview aired early Tuesday morning, Mr. Meyers sought to help the president address the age issue, which polls show is an important drawback in the minds of most voters. Mr. Meyers jokingly told the president that he had obtained classified information indicating that “you are currently 81 years old.”Mr. Biden went along with the joke. “Who the hell told you that?” he asked. “That’s classified!”He then went on to jab Mr. Trump, who is 77, over a video in which he seems to call his wife, Melania Trump, by another name. “You got to take a look at the other guy,” Mr. Biden said. “He’s about as old as I am, but he can’t remember his wife’s name.”Turning more serious, Mr. Biden added that the contest is not about how old the candidates are. “It’s about how old your ideas are,” he said. “Look, this is a guy who wants to take us back. He wants to take us back on Roe v. Wade. He wants to take us back on a whole range of issues that are — 50, 60 years, they’ve been solid American positions.”The president has been on the defensive about his memory in recent weeks, particularly since a special counsel, in a report on Mr. Biden’s handling of classified documents, explained that one reason he would not charge Mr. Biden is because he would come across to a jury as a “well-meaning, elderly man with a poor memory.” During his interview with the special counsel, the report said, Mr. Biden could not remember key dates of his vice presidency or the year his son Beau died. Mr. Biden’s defenders assailed the special counsel for mentioning that.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: Fiasco Theater’s ‘Pericles,’ the Cruise of a Lifetime

    If Fiasco Theater has mixed results in its production of this Shakespearean tragicomedy, it celebrates actors supporting and delighting in one another’s work.“Pericles” is a bit of a mess. Spanning decades and traversing the ancient Mediterranean like some deeply misbegotten Carnival Cruise, this Shakespeare play mingles comedy, tragedy and Christian allegory. There are two assassination plots, two shipwrecks, a brothel, a riddle, a tournament and some very convenient pirates. Deliberately anachronistic, it was described by Ben Jonson, a rival playwright, as a “mouldy tale” and “stale.”So, who better to face down this confusion than a company called Fiasco? A devised theater ensemble founded by half a dozen Brown MFA graduates, Fiasco has a soft spot for Shakespeare’s less loved works. The company broke out in 2011 with a production of “Cymbeline” and later staged “The Two Gentlemen of Verona.” (Fiasco’s 2017 production of a crowd-pleaser like “Twelfth Night”? An outlier.)Rather than relying on the published text of “Pericles,” Fiasco has set much of the poetry to music — sometimes supplying original words — and interpolated passages from a prose version by George Wilkins, a pamphleteer and publican. (Wilkins is often cited as the play’s co-author, mostly because scholars disbelieve that Shakespeare could have written anything as patchy as the first two acts.)Ben Steinfeld, a company member and the director, stages this revised text at Classic Stage Company using Fiasco’s poor-theater playbook — a mostly bare stage furnished with charisma, invention, spirit and song. “A miracle may come your way,” an early number promises.Through the hectic first half, this approach falters. Pericles (Paco Tolson at first, then Tatiana Wechsler, Noah Brody and finally Devin E. Haqq) goes to so many places in such a short time that characters and climes blur, especially without the help of scenery to differentiate each country. As Steinfeld’s narrator admits, “Now this is just an empty space/It’s hard to give a sense of place.” (No set designer is credited, though Ashley Rose Horton designed the vaguely Grecian costumes and Mextly Couzin the golden lighting.)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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    Chris Gauthier, ‘Once Upon a Time’ and Hallmark Movies Actor, Dies at 48

    Mr. Gauthier appeared in dozens of television shows and films, including “Freddy vs. Jason” and “Watchmen.”Chris Gauthier, a prolific actor known for his roles in the television shows “Once Upon a Time” and “Eureka,” died on Friday. He was 48.Tristar Appearances/Event Horizon Talent, which represented Mr. Gauthier, said in a statement that he died “after a brief illness.” His representatives did not say where he died.Mr. Gauthier, who was born in Britain and grew up in Canada, had roles in more than 20 movies, including “Freddy vs. Jason” in 2003 and “Watchmen” in 2009. He also appeared in dozens of television shows, including “Smallville,” “Charmed” and “A Series of Unfortunate Events,” according to IMDb, and in several short films.He was best known for playing William Smee in “Once Upon A Time,” a series that blended real life and fantasy in the fictional town of Storybrooke, Maine, where storybook characters live, trapped by an evil queen. Mr. Gauthier appeared in 14 episodes as Smee, who is based on the “Peter Pan” character Mr. Smee, Captain Hook’s first mate.Mr. Gauthier also played Vincent, a cafe owner, on the science fiction TV series “Eureka.” He appeared in 67 episodes of that show, from the pilot episode and through Season 5, according to IMDb.In an interview in 2021, Mr. Gauthier said that he started acting in school plays and that he acted in amateur and professional theater during high school.“I was always a ham, trying to be a funny guy,” he said.Chris Gauthier was born on Jan. 27, 1976, in Luton, England. He said in an interview in 2020 that he moved to Canada when he was 5 and grew up in a small town in British Columbia.“There wasn’t a lot going on there in terms of film and television,” he said. “So for me, it was about just the love of acting. It wasn’t about money. It wasn’t about anything but the sheer love of acting.”His acting career onscreen began in 2000, when he appeared in an episode of the TV series “Cold Squad.” His first two film credits were in 2002 for small roles in “40 Days and 40 Nights” and “Insomnia.”His television roles were largely limited to appearances in one or a few episodes until “Eureka” premiered in 2006. The show takes place in the fictional Pacific Northwest town of Eureka, where many of the world’s brightest minds live in an odd collective that produces technological inventions the rest of the world does not know about.Among his more recent credits, Mr. Gauthier had appeared in seven episodes of the western drama “Joe Pickett.”Information about his survivors was not immediately available.He said in the 2021 interview, his partner encouraged him to move to Vancouver to pursue an acting career in television and film.“I wasn’t super-duper motivated because I was happy doing plays,” he said of the move. “But I was like ‘OK,’ and it worked out.” More

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    Review: Cynthia Nixon Is Nowhere and Everywhere in ‘Seven Year Disappear’

    A sleekly designed production, starring Cynthia Nixon and Taylor Trensch, aims to skewer the art world but falls flat.The problem with writing a play about absence: How to fill the void? When a performance artist known as Miriam (Cynthia Nixon) vanishes in “The Seven Year Disappear,” a two-hander by Jordan Seavey that opened Monday at the Signature Center, we know only that she is a narcissist who steals the air from any room she enters.“The Whitney is mine,” she exclaims in the opening scene, after her adult son and manager, Naphtali (Taylor Trensch), informs her that the museum has made some sort of offer to Marina Abramovic. After seven years off the map, when Miriam returns, she has the gall to ask Naphtali whether he will help turn his abandonment into her next piece.Scenes following Miriam’s reappearance, which occurs on the heels of the 2016 election, are intercut with a reverse chronology of Naphtali’s search for her, which is really a quest to find himself — in a change of careers, a series of sexual liaisons and a lot of hard drugs.“The Seven Year Disappear” has the ostensible trappings of an art-world satire, and this New Group production, directed by Scott Elliott, appears sleekly designed to deliver one. But satire calls for a more distinct point of view, discernible targets, and a greater measure of specificity and insight. The staging here, with an emphasis on style and high-tech mediation, appears keen to make up for their lack.The production includes a mix of live and recorded footage displayed on flat screens suspended above the set.Sara Krulwich/The New York TimesA mix of live and recorded footage of the actors is displayed on flat-screen TVs suspended above the slick, black set (by Derek McLane); at times, their faces appear in close-up stills (projections by John Narun) that could be digital ads for Jil Sander. Onstage, the actors are dressed in black-canvas coveralls and combat boots (costumes are by Qween Jean), and intermittently speak into standing mics (sound is by Rob Milburn and Michael Bodeen). The cumulative effect is one of performance-art cosplay, which could be funny if it didn’t seem so earnest.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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    Joan Holden, 85, Playwright Who Skewered Rich and Powerful, Dies

    As the principal writer for the Obie-winning San Francisco Mime Troupe, she created iconoclastic left-wing satire that courted both chuckles and outrage.To Joan Holden, a fiercely left-wing playwright for the award-winning San Francisco Mime Troupe, life in a capitalist society offered almost too many targets: conniving politicians, labor-squashing industrialists and masters of war looking to profit by spreading conflict around the globe, to name just a few.As the theater collective’s principal playwright from 1967 to 2000, she largely trafficked in satire, collaborating on loose-limbed lampoons and melodramas like “Ripped Van Winkle,” about a 1960s hippie who conks out for decades after a monster L.S.D. trip and awakens to find himself trapped in a nightmare of yuppie greed and materialism in the 1980s.Even in the troupe’s broadest farces, the point was to make audiences chuckle their way to political enlightenment.Ms Holden during an event staged by her San Francisco Mime Troupe in 1969. Audiences needed little background to figure out the group’s leftist political leanings. via Holden family“I write plays about things I’m pissed off about, usually attacking people in power,” she said as part of a panel on humor in 1999, as reported in her obituary in The San Francisco Chronicle. She described humor as “the revenge of the powerless.”“Physically, I can’t get at these people,” she said, but she “can expose them to ridicule. Maybe I can’t slay the dragon, but I can make him look silly.”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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    John Patrick Shanley on ‘Doubt’ Revival and ‘Brooklyn Laundry’

    The playwright discusses the Broadway revival of “Doubt” and his latest, “Brooklyn Laundry.” “People are disagreeing violently with themselves,” he says.In a life of feeling things incredibly deeply, John Patrick Shanley has experienced some thrilling highs: the rapturous audience response in 1984 to “Danny and the Deep Blue Sea,” his first success as a playwright; accepting an Academy Award in 1988 for best screenplay for “Moonstruck.”Add to that list the thrill of discovering the luxury of drop-off laundry. “I was like 35 years old, and I was in Poughkeepsie,” Shanley said in a phone interview during a rehearsal break last month. “I went in to do my laundry, and after a couple of questions, I realized that they would do it for me, fold it and give it back to me. And I was like, ‘This is the greatest thing that’s ever happened in my life.’”Shanley’s latest play, “Brooklyn Laundry,” is about sacrifice and everyday heroism that begins with a character placing her “bag of rags” on the scale at a laundromat. Opening on Wednesday at New York City Center, it is the 13th play the playwright has premiered with the Manhattan Theater Club. “There’s an incredible flair, intelligence, grace and humor to his work,” said Lynne Meadow, the theater company’s artistic director. Most of all, she added, “he writes with such humanity, and so personally.”“Brooklyn Laundry,” whose cast includes Cecily Strong and David Zayas, is also part of an unofficial triptych of Shanley plays this season. In January, an Off Broadway revival of “Danny and the Deep Blue Sea,” starring Aubrey Plaza and Christopher Abbott, concluded a successful run at the Lucille Lortel Theater. On March 7, the first Broadway revival of his Pulitzer Prize-winning 2004 play, “Doubt,” about a priest who may or may not have molested a child, opens in a Roundabout Theater Company production led by Liev Schreiber and Amy Ryan.David Zayas and Cecily Strong in “Brooklyn Laundry,” Shanley’s latest play. It opens Wednesday in a Manhattan Theater Club production.Sara Krulwich/The New York TimesIn a conversation that touched on all three plays, Shanley revealed that the accidental retrospective isn’t the only reason his life has been flashing before his eyes recently. These are edited excerpts from the conversation.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’ Review: Rediscovering Japan

    The FX remake of the classic mini-series is classed up, retuned for contemporary sensibilities and still an epic soap opera.The new FX mini-series “Shogun” is getting a lot of credit simply for not being “Shogun,” the 1980 NBC mini-series also adapted from James Clavell’s best-selling novel about the last days of feudal Japan. But the new show stands and falls on the same terms as the old show: its success as an epic costumed soap opera. You can correct for wooden acting, dated production values and Eurocentrism, but you can’t really correct for the basic nature of the material.And on those terms, this “Shogun” — which premieres Tuesday on FX and Hulu with two of its 10 episodes — is perfectly successful. It is sumptuously produced, mostly well acted and not excessively sentimental or sensational. If its story seems to stop and start a bit, there are reasons for that, which become clear in a satisfying and moving ending; if there are major characters who don’t stand up to scrutiny, there are others who come alive and hold your interest. It may not live up to its hype, and it may leave you wondering why so much time (more than a decade) and money needed to be spent reanimating Clavell’s tale. But it delivers.Created by the husband-and-wife team of Justin Marks and Rachel Kondo, the FX “Shogun” is still the story of an English navigator, John Blackthorne, who arrives in Japan at the turn of the 17th century and becomes embroiled — to a startling degree — in the political, cultural and romantic life of the country. (Blackthorne, like most of the significant characters, is loosely based on a historical figure.)Kondo and Marks have recalibrated the narrative, however, moving Blackthorne’s point of view down in the mix and elevating the roles of many of the Japanese characters, particularly Toda Mariko, the noblewoman who becomes Blackthorne’s translator and love interest, and Yoshii Toranaga, the lord who both protects and manipulates him.That’s a notable change from the original “Shogun,” but 44 years down the road, it’s not as if the show should get a ton of credit — it’s an easy win. In the current global TV environment, the show’s emphasis on Japanese characters and language is welcome but not exceptional. (Tremendous effort reportedly also went into vetting the details of period costume and behavior; few viewers, even in Japan, are likely to know the difference, but what’s onscreen certainly looks credible to the rest of us.)As the plot, busy yet not all that complicated, unwinds — Toranaga and his rival Ishido jockeying for power, with Blackthorne as a reluctant pawn; Blackthorne being alternately repulsed and seduced by his new surroundings — the real difference between the old and new shows has less to do with cultural enlightenment than with a higher level of tastefulness and technique. Though there is a multicultural dimension there, too: Marks and Kondo’s show is informed by the craftsmanship of classic Japanese samurai films, which were in turn heavily influenced by the attitudes and styles of Hollywood westerns and swashbucklers. This “Shogun” sits in a polyglot comfort zone.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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    ‘Where Is Wendy Williams?’: 5 Takeaways From the Documentary

    The Lifetime series gave an inside look at the television star’s life and struggles since she last hosted her talk show in 2021.Since 2021, daytime television viewers and pop culture fanatics alike have been wondering, where is Wendy Williams?Over the weekend, a Lifetime documentary series tried to answer that question.For a while, Williams’s struggles were seen on air on multiple occasions. On a 2017 Halloween episode of “The Wendy Williams Show,” she fainted during a live taping, which she later attributed to her diagnosis of Graves’s disease, an immune system disorder.In 2019, Williams announced on the show that she was staying in a sober living home, and then a month later, she filed for divorce from her husband. She last filmed her talk show on July 23, 2021, and the following year, when a court appointed a legal guardianship to oversee Williams’s finances, the state of her mental and physical health was unclear.It turns out that, until Williams entered a facility to treat her cognitive issues in 2023, cameras had been following her and documenting it all for a series on which Williams and her son, Kevin Hunter Jr., are listed as executive producers.Last week, as Lifetime prepared to air the resulting footage in “Where Is Wendy Williams?,” Williams’s guardian, whose identity is redacted throughout the documentary, requested a temporary restraining order to block the network from airing it — but a judge turned down the request, citing the First Amendment.At the same time, Williams’s care team revealed that the host, 59, had been diagnosed with progressive aphasia and frontotemporal dementia, which affect language, communication behavior and cognitive function.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