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    ‘Some Like It Hot’ Wins Grammy for Best Musical Theater Album

    “Some Like It Hot,” a new jazz age musical adaptation of the classic 1959 Billy Wilder film, won a Grammy Award on Sunday for best musical theater album.It was adapted from the classic movie comedy in which Jack Lemmon and Tony Curtis play two musicians who dress as women to escape the mob.The show, a big and lush production, had a hard time on Broadway and closed in December at a loss after a one-year run. But the score was praised, with the New York Times theater critic Jesse Green writing that the first-act songs “are pretty much all knockouts.”The award was given to the show’s principal vocalists, Christian Borle, J. Harrison Ghee, Adrianna Hicks and NaTasha Yvette Williams; the songwriting team of Scott Wittman and Marc Shaiman; and five album producers. Wittman and Shaiman also won a musical show album Grammy in 2003 for “Hairspray.”This year’s five Grammy-nominated cast albums were all for musicals that opened on Broadway during the 2022-23 season.The other nominees were “Kimberly Akimbo,” a poignant comedy about a high school student with a genetic disorder and a criminally dysfunctional family; “Parade,” a revival of a 1998 musical exploring the true story of Leo Frank, a Jewish factory manager who was lynched in early 20th-century Georgia; “Shucked,” a romantic comedy with a country sound and a lot of corn-based puns; and “Sweeney Todd: The Demon Barber of Fleet Street,” a revival of the 1979 Stephen Sondheim musical about a wronged barber who conspires with an amoral baker on a giddily gruesome vengeance spree.“Kimberly Akimbo” won last year’s Tony Award for best musical, and “Parade” won the Tony for best musical revival.Only “Kimberly Akimbo” and “Sweeney Todd” are still running on Broadway, and if you want to see them in New York, now’s the time: “Kimberly Akimbo” has announced plans to close on April 28 and “Sweeney Todd” is expected to end its run on May 5.“Kimberly Akimbo” is planning a national tour that is scheduled to start in Denver in September. A “Shucked” tour is to begin in Nashville in November, and a “Parade” tour is to begin in January in Schenectady, N.Y., and then Minneapolis. “Some Like It Hot” had announced an intention to tour starting this fall but has not announced any venues. More

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    The Musical Force Behind the Communal, Queer ‘Bark of Millions’

    Matt Ray is a prolific songwriter and the musical nexus of New York’s alt-cabaret scene. His next project: Taylor Mac’s latest marathon performance.“It’s the last hour, and I’m feeling the energy draining,” Taylor Mac, the performing arts polymath, announced near the end of a recent rehearsal at the Brooklyn Academy of Music.If the artists — an ensemble of a dozen singers, as well as several instrumentalists — were exhausted, it was because of the sheer scale of what they were working on: “Bark of Millions,” a show by Mac and the musician Matt Ray, which has its American premiere on Monday at BAM’s Harvey Theater. Essential to that scale is Ray’s score of 55 original songs that add up to four hours of performance.That would be enough to fill several albums by any recording artist, and yet it’s business as usual for Ray. He has been not only the musical core of Mac’s recent shows — the daylong marathon “A 24-Decade History of Popular Music,” for which he arranged over 240 songs with the purpose of queering the American canon, and “The Hang,” for which he wrote 26 — but he has also been the force behind much of New York’s alt-cabaret scene, with collaborators including Justin Vivian Bond, Joey Arias and Bridget Everett.“This is a community of risk-takers and rule-breakers,” Everett said in an interview. “It’s a really exciting, vital scene. And there’s one person who’s the musical nexus of that. It’s Matt. His heart is beating at the center of all of it.”The performer Justin Vivian Bond called Ray “such a sensitive artist,” and said, “for being a consummate Leo, he’s just great at letting other people shine.”Sara Krulwich/The New York TimesRAY, 51, has had expansive taste in music since his childhood growing up on the East Coast. Whether as a player — he started learning the piano when he was 2 years old — or as a listener, he never limited himself to any one genre. “I really admire monochromatic types of work,” he said, “but I just don’t work that way.”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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    Nikki Haley Appears on ‘Saturday Night Live’

    Ayo Edebiri hosted in a show that focused much of its energy on politics, along with Taylor Swift conspiracy theories and a “Dune” popcorn bucket.“Saturday Night Live” resumed its election-season tradition of bringing on political candidates to play themselves, inviting Nikki Haley for a cameo in its opening sketches this weekend.Haley, who has tried to make use of comedy and popular culture as she trails former President Donald J. Trump in the race for the 2024 Republican presidential nomination, appeared in a segment that was presented as a CNN town hall event with Trump (played by the show’s resident Trump impersonator, James Austin Johnson).Johnson fielded questions from other “S.N.L.” cast members, explaining how he planned to beat President Biden and would “stop Taylor Swift from infiltrating the Super Bowl.” The town hall moderators then introduced a question from an audience member “who describes herself as a concerned South Carolina voter.”That voter turned out to be Haley, the former governor of South Carolina (as well as an ambassador to the United Nations during the Trump administration). “Yes, hello,” Haley said to Johnson. “My question is, why won’t you debate Nikki Haley?”“Oh my God, it’s her!” Johnson said. “The woman who was in charge of security on Jan. 6. It’s Nancy Pelosi.”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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    Jesse L. Martin Is Watching You

    The classically trained actor taps into his powers of observation to play a behavioral science professor in the NBC series “The Irrational.”Jesse L. Martin can tell when you’re lying. You might look away, he said. You might look down. Your nose will perspire and you will feel compelled to touch it. “There’s also intense eye contact,” he said, demonstrating this across a low table in the bar of a downtown hotel last week.Martin, an actor who spent his young adulthood in New York but has since relocated to Vancouver, British Columbia, was in town for a few days to promote “The Irrational,” the NBC procedural in which he stars. (The final episodes of its first season are now airing; the network has already renewed it for a second.) Martin, 55, plays Alec Mercer, a professor of behavioral science at a fictional university. Somehow Alec spends more time assisting the F.B.I. than he does in the classroom. (That’s tenure for you.) He solves each week’s case by applying one or more behavioral science concepts — the halo effect, the Barnum effect, paradoxical persuasion.Almost pathologically observant, Alec is based on Dan Ariely, a superstar in the field of behavioral science, and Martin has absorbed a morsel of those powers. Looking around the room over the top of a club sandwich, he could tell at a glance who was an artist, who was wealthy (“It has everything to do with all the ways they don’t show it,” he said.). The chicken, he observed, was “kind of dry.”That day, he was dressed elegantly, if playfully, in jeans, a white shirt, a black blazer, a burgundy pocket square and the knit golfing cap he often favors. (Martin has always been a hat guy.) His other accessories: an easy smile and a gleam in his eye that softens many of his characters. Acting is arguably lying for a living. Martin — a member of the original Broadway company of “Rent” who then spent nine seasons on NBC’s “Law & Order” and eight on the CW series “The Flash” — does it cleanly, candidly, without tells.“The spirit’s different,” he said of the kind of fabrication that acting requires. “It’s joy for me, so it would never feel like a lie.” If he lied during our conversation — about the work, about the chicken — I couldn’t detect it. “The Irrational” is inspired by and named for Ariely’s book “Predictably Irrational: The Hidden Forces That Shape Our Decisions.” A classically trained actor, Martin has always dreamed of going from one stage role to the next. “Every time I think about doing any play, a whole different part of me gets jazzed,” he said. But he also describes himself as highly rational, and so has instead spent most of his career on television procedurals.“I’ve always been practical to a fault,” he said, not without some regret.Martin, right, was lured to the role for the chance to finally play a lead rather than a sidekick.Sergei Bachlakov/NBCWe 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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    Violett Beane Doesn’t Mind Some Uncomfortable Silence

    The actor, who stars with Mandy Patinkin in “Death and Other Details,” says such moments happen “right before you get to that place with somebody, when the pause is no longer as awkward.”Violett Beane doesn’t know if she believes in ghosts.But there was that incident aboard the Queen Mary — the retired British ocean liner reported to be haunted — while she was shooting “Death and Other Details,” her new Hulu murder mystery set at sea.“Our hair artist at the time said that she felt, like, a hand come across her and wind on her neck,” Beane said. “She ran out of the room and just freaked out.”There’s no freaking-out onscreen when Beane’s character, Imogene Scott, is thrown together with Rufus Cotesworth, once the world’s greatest detective, played by Mandy Patinkin.“He’s a legend,” Beane said of Patinkin. “He brings this sort of magnitude with him, and he never misses. You just learn so much from that.”When she felt momentarily overwhelmed during the pilot, she turned to Patinkin for advice.“He sat me down and talked me through it,” she added. “It was like art imitating life, and it was really, really sweet.”In a video interview from her home in Los Angeles, her own artwork on the wall behind her, Beane spoke about her affection for Charlie Kaufman, René Magritte and the band Big Thief. 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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    Don Murray, a Star in Films That Took on Social Issues, Dies at 94

    An Oscar-nominated role opposite Marilyn Monroe in “Bus Stop” led to a long career in film and TV and onstage, in productions that grappled with race, drugs, homosexuality and more.Don Murray, the boy-next-door actor who made his film debut as Marilyn Monroe’s infatuated cowboy in “Bus Stop” in 1956 and played a priest, a drug addict, a gay senator and myriad other roles in movies, on television and onstage over six decades, has died at 94. His son Christopher on Friday confirmed the death but provided no other details.In the postwar 1950s, when being sensitive, responsible and a “nice guy” were important attributes in a young man, Mr. Murray was a churchgoing pacifist who became a conscientious objector during the Korean War. He fulfilled his service obligation by working for two and a half years in German and Italian refugee camps for $10 a month, assisting orphans, the injured and the displaced.Back from Europe in 1954, he settled on an acting career focused on socially responsible themes. He appeared in a television drama about lawyers serving poor clients, and he had a part in the 1955 Broadway production of “The Skin of Our Teeth,” Thornton Wilder’s comedic vote of confidence in mankind’s narrow ability to survive, which starred Helen Hayes and Mary Martin.Mr. Murray, far right, in the 1955 Broadway production of Thornton Wilder’s “The Skin of Our Teeth” with, from left, George Abbott, Mary Martin, Helen Hayes and Heller Halliday.ANTA Playhouse, via Everett CollectionThe director Joshua Logan saw that production and cast Mr. Murray in “Bus Stop,” his adaptation of William Inge’s play about a singer who is pursued by a cowpoke from a Phoenix clip joint to a snowbound Arizona bus stop, where a spark of dignity and character flame into a moving and humbling love. The film established Marilyn Monroe as a legitimate actress and Mr. Murray as an up-and-coming star.“With a wondrous new actor named Don Murray playing the stupid, stubborn poke and with the clutter of broncos, blondes and busters beautifully tangled, Mr. Logan has a booming comedy going before he gets to the romance,” Bosley Crowther wrote in a review for The New York Times. “And the fact that she fitfully but firmly summons the will and strength to humble him — to make him say ‘please,’ which is the point of the whole thing — attests to her new acting skill.”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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    Remembering Chita Rivera’s Unique Voice

    Chita Rivera died on Jan. 30, at age 91. Over her seven decades performing onstage and onscreen, Rivera established herself as one of the 20th century’s great dancers. “But to think of her only as a dancer,” says our chief theater critic, Jesse Green, “is to miss a really important part of what made her one of the most compelling stage performers of the last 70 years. And that is her voice.” Listen in as he presents some of Rivera’s great vocal performances.On today’s episodeJesse Green, chief theater critic for The Times.Photo illustration by The New York Times; Photo: Ted Streshinsky/Corbis, via Getty ImagesFurther reading Read Jesse’s appraisal of Chita Rivera’s gifts as a singerThe New York Times Audio app is home to journalism and storytelling, and provides news, depth and serendipity. If you haven’t already, download it here — available to Times news subscribers on iOS — and sign up for our weekly newsletter. More

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    ‘Curb Your Enthusiasm’ Made Something Out of Nothing

    At the end of his 1999 HBO special, “Larry David: Curb Your Enthusiasm,” David wraps up a stand-up comedy set by telling his audience he has no more material for them. “This is what happens when you run out of nothing,” he says.The joke refers to the famous description of “Seinfeld,” the sitcom that David created with Jerry Seinfeld, as “a show about nothing.” It is also a bit of a lie.For starters, it was always misleading to say that “Seinfeld” was about nothing. Yes, it was militantly anti-message, building small-bore farces around four single, child-free New Yorkers who had an inordinate amount of time to sit in a diner. But its allergy to making statements was a statement in itself; it made the show emblematic of the sanguine, end-of-history 1990s.Second, David hadn’t really run out of anything. “Curb Your Enthusiasm,” the comedy of ill manners that emerged from David’s special, began on HBO in 2000. It has run off and on for nearly a quarter-century, and Season 12, beginning on Sunday, will be its last.On “Curb,” David starred as “Larry David,” simultaneously the world’s most comfortable and uncomfortable man, registering his complaints to a cast of sounding boards: Cheryl (Cheryl Hines), his wife and later ex-wife; Jeff (Jeff Garlin), his manager; Leon (J.B. Smoove), his permanent houseguest, who joined the series in mid-run and filled the chaos-demon role that Kramer (Michael Richards) did on “Seinfeld.”On “Curb,” David has starred as “Larry David,” simultaneously the world’s most comfortable and uncomfortable man.John Johnson/HBOWe 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