Eliana Willis

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    in Theater

    ‘The Notebook’ Review: A Musical Tear-Jerker or Just All Wet?

    The 2004 weepie comes to Broadway with songs by Ingrid Michaelson and a $5 box of tissues.Romantic musicals are as personal as romance itself. What makes you sigh and weep may leave the person next to you bored and stony.At “The Notebook,” I was the person next to you.You were sniffling even before anything much happened onstage. As the lights came up, an old man dozed while a teenage boy and girl frisked nearby in an unconvincing body of water. A wispy song called “Time” wafted over the footlights: “Time time time time/It was never mine mine mine.”But having seen (I’m guessing more than once) the 2004 movie on which “The Notebook” is based, and possibly having read the 1996 novel by Nicholas Sparks, you perfectly well knew what was coming. That was the point of mounting the show, which opened on Thursday at the Gerald Schoenfeld Theater, in the first place.It therefore cannot be a spoiler — and anyway this block of cheese is impervious — to reveal that over the course of the 54 years covered by the musical, the frisky boy, Noah, turns into the dozing man. And that Allie, the frisky girl, having overcome various impediments to their love, winds up his wife. Nor does it give anything away to add that Allie, now 70 and in a nursing home with dementia, will not remember Noah until he recites their story from a notebook she prepared long ago for that purpose.So there’s a reason the producers are selling teeny $5 “Notebook”-themed boxes of tissues in the lobby. Love is powerful. Dementia is sad. The result can be heartbreaking.Or maybe, seen with a cold eye, meretricious.The movie, a super-slick Hollywood affair, did everything it could to keep the eye warm. Ryan Gosling and Rachel McAdams, as the young couple, could not have been glowier. The soundtrack relied on precision-crafted standards like “I’ll Be Seeing You” to yank at your tear ducts. The production design, like a montage of greeting cards come to life, celebrated valentine passion, anniversary tenderness and golden sympathy, releasing flocks of trained geese into a technicolor sunset to symbolize lifelong pair bonding.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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    in Television

    What to Watch this Weekend: A Fun Biographical Drama

    “Nolly,” premiering Sunday on PBS, stars Helena Bonham Carter as Noele Gordon, a pioneer of British television.Helena Bonham Carter stars in “Nolly.”Quay Street ProductionsHelena Bonham Carter stars in this three-part “Masterpiece” biographical drama about Noele Gordon, a pioneer of British television. “Stars in” might be understating it: She’s in nearly every scene, trembling, laughing, sobbing, scolding, scheming, singing “Rose’s Turn.” Her chin tilt is the very axis on which the show spins.Gordon, known as Nolly, was the first woman on color television, and she was a presenter, an early TV executive and eventually the lead of the long-running, low-budget soap opera “Crossroads.” “Nolly,” which premieres Sunday at 9 p.m. Eastern on PBS, focuses its story on her firing from “Crossroads” after nearly 20 years as its star and creative anchor. She’s blindsided, as are the show’s millions of fans. She’s also heartbroken: The end of her character and the end of her self are practically one and the same. She pleads with a producer not to kill her character off. “It’s not a real death,” he snaps. “But still,” she says. It is.“Nolly” makes good use of that overlap between on-camera and off-camera life, how people — women especially — are yanked around or cast out within their own lives. Nolly delivers multiple righteous monologues standing up for her maligned show, for soaps in general, for women’s interests, for those who are overlooked and rejected, especially her.Created and written by Russell T Davies and directed by Peter Hoar, “Nolly” is mercifully light on its feet. Corrective, finally-getting-their-due sagas can sometimes feel like cultural penance, a televised hair shirt to abrade us for our blind spots. “Nolly,” though, is fun and savvy, and its tone lands right between “Slings & Arrows” and “Hacks” — smart, cutting, with characters (and characters playing characters) who are simultaneously ridiculous and brilliant.What the show gains in affability it perhaps loses in scope and depth. At just three episodes, it feels like hearing only the beautiful coda of a fuller work. (“Fosse/Verdon,” for example, had eight episodes.) As Nolly pleads her case that she has more to give — more star power to share, more story to tell — so too does “Nolly.” More

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    in Television

    Michael Culver, ‘Star Wars’ Actor and Victim of Darth Vader, Dies at 85

    Mr. Culver, who was best known for his demise as Captain Needa in “The Empire Strikes Back,” was also a familiar actor on British TV and in theater.Michael Culver, the British actor best known for one of the memorable death scenes in the Star Wars franchise, died on February 27. He was 85.Mr. Culver’s death was confirmed by Alliance Agents, which posted a statement to social media on Tuesday, and his agent, Thomas Bowington. The agency did not give a cause of death, though Mr. Bowington said Mr. Culver had had cancer for several years.He had a long acting career onscreen and stage that spanned over 50 years and included roles in “The Return of Sherlock Holmes” on TV and the 1984 film “A Passage to India.”But his most lasting impact on popular culture came in 1980, with his brief role as Captain Needa in the second “Star Wars” film, “The Empire Strikes Back.” Needa, after losing track of Han Solo’s Millennium Falcon, apologizes to Darth Vader, who promptly chokes him to death telepathically.“Apology accepted, Captain Needa,” Vader says, walking around the captain’s body and motioning for others to take him away.Mr. Culver also appeared in two “James Bond” films with the actor Sean Connery, “From Russia With Love” and “Thunderball.”Michael John Edward Culver was born on June 16, 1938, in London to Daphne Rye, a theater casting director, and Ronald Culver, an actor, according to Mr. Bowington.Mr. Culver performed in several Shakespeare plays and worked regularly with the British director Anthony Page, his agent said.Mr. Culver is survived by his second wife, Amanda Ward Culver, and his children, Roderic, Sue and Justin Culver.His son, Roderic Culver, also became an actor, Mr. Bowington said.Later in his life, Mr. Culver mostly gave up acting to focus on politics and would have likely pursued a political career had he not been an actor, Mr. Bowington said.He still regularly visited Star Wars fan events, notably one in Chicago in 2019, when “he was lost for words” when he saw nearly 200 people waiting in line to see him, his agency said in its statement.In a 2023 interview on the “Making Tracks” podcast, he recalled that he “knew nothing about” the movie before auditioning, and marveled that its extraordinary appeal meant he was still asked about it well into his 80s.“When I did ‘Star Wars,’ it just seemed to be, ‘Oh, they’re doing a movie about starships.’ So I did it. I just thought, ‘Well, I hope it’s successful,’” he said, adding: “You don’t expect 40 years later to be still signing autographs for it.” More

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    in Television

    Paula Pell Is a Comic Scene-Stealer in ‘Girls5eva’

    Breastchester, the rustic upstate New York residence that is home to the “Girls5eva” star Paula Pell, is a two-hour drive from Manhattan, at the end of a long stretch of road where occasional yoga studios and art galleries eventually give way to a tranquil countryside. It is secluded, but its proprietor is hardly in need of companionship.Pell’s coterie here includes her wife, Janine Brito, the comedy writer and actor who gave their mini-estate its body-positive nickname. Then there is the congregation of rescue dogs that had overtaken the living room of the main house one recent Friday morning, all scratching and barking for attention. Eloise and Verbena, Pell’s horses, were in a stable on a hill above the house.“There’s two old mares up there and one old mare down here,” Pell said theatrically, running a hand through her long silver locks.Pell has been known to nurse stunned birds back to health. She volunteered at a nearby sanctuary, where she took care of neglected pets and farm animals. “I was called the pig whisperer,” she said. “I have pictures of me sleeping on the pigs. I’d lay there and sing to them.”Her love of animals is sincere and integral to her personality, as much a part of Pell as the brassy, oblivious characters she dreamed up on “Saturday Night Live,” where she spent 18 years as a writer, and which she continues to play in movies and on TV.“Humans, always, will be imperfect,” Pell said. “They will still say I love you when they don’t. Animals, to me, are the only ones that when they love you, you totally believe it.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Late Night Tackles the U.S. House Bill That Could Ban TikTok

    “This is like iPhone ‘Footloose,’ and there’s no Kevin Bacon to save us,” Jimmy Kimmel joked.Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.The Final CountdownOn Wednesday, the House passed a bill to ban TikTok in the United States unless the app’s parent company sells it to a non-Chinese owner in the next six months.“So now, the bill goes to the Senate, which means the fate of every tweenaged TikToker is in the hands of a bunch of old white people with Hotmail accounts,” Jimmy Kimmel said.“This is a big deal. This is like iPhone ‘Footloose,’ and there’s no Kevin Bacon to save us.” — JIMMY KIMMEL“But, yes, obviously, there is a problem with a Chinese app spying on Americans and feeding us propaganda. You want American apps doing that.” — MICHAEL KOSTA“Well, if you guys are worried about the Chinese gathering data on Americans, wait till you find out who makes the phones.” — SETH MEYERS“Only 50 Democrats and 15 Republicans voted ‘no.’ Three-hundred fifty-two voted ‘yes,’ which almost never happens anymore. Who would have guessed that this would be the thing that brings both sides together?” — JIMMY KIMMEL“I mean, Republicans voted against their own border bill because they were afraid it would make Joe Biden look good. They can’t even get it together to stand up to Vladimir Putin. But, by God, they will stand up to Charli D’Amelio and then some.” — JIMMY KIMMEL“Just to give you an idea of the pull this app has, they did a poll, and half the people who use TikTok said they do believe it poses a threat to national security but they still use it and keep it on their phones. I guess at this point, what the hell, right? I mean, half the country supports a national security threat for president, might as well dance.” — JIMMY KIMMEL“Well, apparently, both Democrats and Republicans are worried that China will steal the secrets of the tortilla slap.” — JIMMY FALLON“I don’t think we fully understand how crazy these kids are going to go if they kill TikTok. I mean, for teenagers today, losing TikTok is a bigger deal than losing your virginity. I’m not kidding, either. This is like taking away all of their imaginary friends at once.” — JIMMY KIMMEL“Can you imagine if TikTok was banned? I mean, just picture lying down in bed and then actually going to bed, you know what I’m saying?” — JIMMY FALLONThe Punchiest Punchlines (Losing Teams Edition)“Apparently, R.F.K. Jr. is seriously considering Aaron Rodgers and Jesse Ventura as potential picks for vice president. Yep, Kennedy confirmed that Rodgers and Ventura are at the top of his list, which really makes you wonder who’s at the bottom.” — JIMMY FALLON“Yesterday, we learned that he is reportedly considering Aaron Rodgers for veep. Now that is a risky move to pick Rodgers, because if we’ve learned one thing, it’s that the minute he starts running, he’s going to snap his Achilles’.” — STEPHEN COLBERTWe 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 Theater

    ‘The Effect’ Review: Dissecting the Science of Desire

    In Jamie Lloyd’s revival of Lucy Prebble’s play, Paapa Essiedu and Taylor Russell are a couple who fall in love during a pharmaceutical trial.A white plastic bucket sits on a spare stage at the Shed, where the director Jamie Lloyd’s stark, riveting production of “The Effect” opened on Wednesday night. By the time its content — a human brain — is revealed, Lucy Prebble’s heady and scintillating drama is already interrogating the biology of desire.What begins as the drug trial of an antidepressant shifts into more slippery territory when a flirtation develops between two of the participants. As they circle each other, neurons blazing, questions swirl about whether their attraction has been chemically engineered — and if love controls the mind or the other way around.The simplicity of a brain plopped in a pail for scientific research becomes something of a mordant sight gag.Previously staged Off Broadway in 2016, “The Effect” digs into what one of the study’s architects calls “nothing short of a revolution in medicine”: drug intervention that considers the psyche a plastic aspect of the self. Lloyd’s production, which premiered in August at the National Theater in London, poses the play’s philosophical inquiries on a stark and minimal plane that feels both cosmic and atomically intimate.During the experiment’s intake, we learn that Connie (Taylor Russell) gets sad but isn’t depressed (“when I’m sad, I’m sad,” she says) and that Tristan (Paapa Essiedu) has a playful swagger, half-flirting with the study’s administrator, Dr. Lorna James (a game and frank Michele Austin), while she asks about his medical history.Kobna Holdbrook-Smith, left, and Austin (with Essiedu and Russell seated onstage) portray the two psychiatrists running the pharmaceutical trial. Sara Krulwich/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

    Sofie Grabol Is TV’s Savior of Denmark

    Hunting murderers, delivering babies or guarding inmates, Sofie Grabol plays women who try to keep their country safe.If you watch much Danish television — and that is an option these days, wherever you happen to live — a question rises: How would Denmark function without Sofie Grabol?In “The Killing” (“Forbrydelsen”), which put Danish TV on the map and made Grabol a star back in 2007, the country’s justice system was held together by her morose detective, Sarah Lund. In her two most recent series, Grabol expands her public-service portfolio. In “The Shift” she plays Ella, the head midwife at Copenhagen’s best public pediatric hospital. And in “Prisoner” she’s Miriam, a reform-minded guard at a prison threatened with closing. Whether she is catching Denmark’s murderers, delivering its babies or minding its inmates, Grabol is indispensable.To follow Grabol’s progress through the Danish infrastructure, the American viewer will need the streaming service MHz Choice (free trials currently available), which carries “The Shift” (2022) and premiered “Prisoner” (2023) this week. The three seasons of “The Killing” are on the streamer Topic, which will merge with MHz Choice on April 1, consolidating this segment of Grabol’s catalog. (She also plays a public official in the eerie British series “Fortitude,” available on multiple streamers.)The shows centered on Sarah, Ella and Miriam are quite different — “The Killing” is a lurid crime thriller, “The Shift,” a big-hearted medical soap opera, “Prisoner,” a grim social-problem drama — but the characters have much in common.Each is aggrieved but indomitable, a working-class Sisyphus pushing ahead through institutional neglect and cowardice — a very squeaky wheel at work — while weighed down by personal trauma. Each is estranged from the only close family member still in her life; two become reluctant surrogate mothers to the women their troubled sons get pregnant. Perhaps Grabol has been typecast over the years, or has typecast herself. Or maybe the grouchy, standoffish, self-righteous pain in the butt is a character that resonates in Denmark.Grabol is an economical actor, able to communicate a world of emotion through her liquid eyes and seemingly offhand movements. (She’s also blessed with a notably dramatic pair of eyebrows.) She makes all of these bottled-up, difficult women believable and, even when they push everyone away, sympathetic — you can see the layers of pain and weariness that they shelter behind and occasionally break through.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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    in Television

    ‘Apples Never Fall’ Review: A Drama Wrapped in a Mystery Inside a Formula

    This Peacock mini-series about a bitter family and a missing woman is TV’s latest adaptation of a novel by the author of “Big Little Lies.”“Apples Never Fall,” premiering Thursday on Peacock, is the third Liane Moriarty book to be adapted for television, following HBO’s “Big Little Lies” and Hulu’s “Nine Perfect Strangers.” But if you told me it was the 10th, I’d believe you, given how familiar it all feels. The seven-episode mini-series is so well-oiled and unsurprising, it just glides on by.Annette Bening and Sam Neill star as Joy and Stan Delaney, pillars of West Palm Beach, Fla., who are, as the central couples in these kinds of shows always are, seemingly perfect but secretly damaged. They’ve just sold their tennis academy and are balking at the alleged freedoms of retirement, which Joy thought she’d spend with her four adult children.However, the kids don’t want to hang out with their hovering mom and volatile, bitter dad; they want to have their own lives of not-very-quiet desperation. Troy (Jake Lacy) is the clenched-jaw rich brother, at the tail end of a divorce from a woman everyone else really liked. Amy (Alison Brie) is the “searcher,” as her mother puts it, an aspiring life coach who would be perfectly at home on any show set in California. Logan (Conor Merrigan Turner) wants to be beachy, not sporty, so he works at a marina and does yoga. Brooke (Essie Randles) is a high-strung physical therapist who is supposed to be planning her wedding but may be getting cold feet.They probably would have kept on like that, except Joy has disappeared. And hmm, now that you mention it, there was that weird con artist, Savannah (Georgia Flood), who ingratiated herself into Joy and Stan’s life under very dubious circumstances. She couldn’t have something to do with it, could she? Well, we better bounce between two timelines to make sure: The days since Joy’s disappearance tick ahead in one timeline as we excavate all the mean family dinners from eight months ago in the other.The show hits its steady simmer with tense competence and with some good lines. “I didn’t know how to fix it, so I broke it,” Troy says of his marriage, though it applies to all the siblings and their behaviors pretty equally.Annette Bening plays a mother whose disappearance sparks suspicion and resentment within her family.Jasin Boland/PeacockWe 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