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    Chita Rivera Found Her Emotional Voice for Shows Like ‘West Side Story’

    Her dancing sometimes overshadowed her thrillingly dramatic way with a song: husky yet clarion, unaffected but full of comment and character.Yes, the legs. Yes, the line. Yes, the look.But also, less commented on, the voice.Chita Rivera, who died on Tuesday at 91, was a Broadway star as long as anyone — and maybe longer. At first, making her way up in the 1950s, from the chorus of “Guys and Dolls” to Anita in “West Side Story,” dancing was her calling card. In the ’60s and ’70s, comedy and satire followed, with “Bye Bye Birdie” and “Chicago.” Later, in works like “The Rink” (1984), “Kiss of the Spider Woman” (1993) and “The Visit” (2015), her sense of drama prevailed.Yet for me, it’s her voice that remains indelible.It almost didn’t emerge. Back when she started, dancers stayed in their own lane. (There were often separate ensembles for dancers and singers.) Like many people exceptionally intent on mastery, Rivera was single-minded. At her audition for the School of American Ballet at 15, she kept tossing off fouetté turns despite a burst blister that was bleeding through her toe shoe. George Balanchine himself dressed the wound. (She was accepted.)Mastery is not what she felt about her singing. As she relates in “Chita: A Memoir,” written with Patrick Pacheco, she always “hung back” when cast members went out after shows to drink and flirt and belt out show tunes. But while she was on tour with “Call Me Madam” in the early 1950s, a piano player at a theatrical hangout in Chicago overheard her and offered lessons. “Chita, you can sing,” he said.“I could sing? Really? That was news to me.”There are singers who make sure it’s news — they’re great. And then there are those who just sing naturally, with little break from their speaking voices. Rivera, perhaps because she at first felt less confident in song than in movement, never got fussy about the border between dialogue and lyrics. She plowed right past it, sounding exactly alike in both: slightly reedy, husky yet clarion, unaffected but full of comment and character.You can hear all of that in her Anita, whose furious lyrics for “A Boy Like That” (by Stephen Sondheim) are essentially prose dialogue anyway. (“A boy like that, who’d kill your brother!”) And indeed, anger was always a good key for Rivera. Even in a comic role — even in a comic song — she worked the edge of the notes and emotions.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?  More

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    ‘Passport’ Review: A Master of Comedy in a Migrant Camp

    The new show by Alexis Michalik, a star of commercial theater, wades into political battles in France, where immigration restrictions have been at the forefront of the government’s agenda.Badly injured from a fight, a man wakes up in the Calais Jungle, a ramshackle camp for migrants in northern France. His memory is gone, and all he has on him is an Eritrean passport with the name “Issa.”That’s the premise of Alexis Michalik’s brisk, effective new play “Passport,” which was greeted with a standing ovation last weekend in Paris. Until it was demolished in 2016, the overcrowded Jungle encampment stood as a symbol of Europe’s refugee crisis, which hasn’t entirely subsided. While the site itself is gone, migrants still regularly attempt to cross the English Channel from the Calais area and reach Britain.Many in the French theater world publicly supported the people living in the Jungle, and a handful of small-scale productions in France took the camp as inspiration. Still, the first major play about it came from Britain, in 2017: Joe Murphy and Joe Robertson’s immersive “The Jungle” was inspired by the directors’ time in Calais, where they set up a theater with migrants. It went on to become a trans-Atlantic hit, and was revived last year at St. Ann’s Warehouse in Brooklyn.In some ways, Michalik was an unlikely name to follow suit. A star of the commercial theater sector in France, he has built his reputation on accessible, fast-paced comedy dramas like “Edmond,” a “Shakespeare in Love”-style spin on the life of the French playwright Edmond Rostand. His last stage endeavor was a French-language adaptation of the Mel Brooks musical “The Producers.”Yet Michalik has tiptoed into heavier subject matters in recent years — first with “Intra Muros,” a play set in a maximum-security prison, then with “A Love Story,” which centered on a lesbian couple’s I.V.F. journey.“Passport,” which is playing at the Théâtre de la Renaissance through June 30, wades even more openly into current political battles in France, where immigration restrictions have been at the forefront of President Emmanuel Macron’s agenda. In response, Michalik, who wrote and directed the play, invokes the audience’s empathy. “Imagine if a war started here, in your country,” one actor tells us near the beginning. “Your life is threatened, so logically, you decide to leave.”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?  More

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    The Women of ‘Feud: Capote vs. the Swans’ Are Birds of a Feather

    Famous women play the famous women in Ryan Murphy’s new period drama. In a group interview, they discuss the series and the burdens of public life.The first season of Ryan Murphy’s “Feud” aired in 2017. A juicy survey of the bitter rivalry between Bette Davis and Joan Crawford, the co-stars of “What Ever Happened to Baby Jane?,” the show earned 18 Emmy nominations, winning two. A second season, based on Prince Charles and Princess Diana’s troubled marriage, was developed then scrapped, mostly because Murphy felt that he could never outdo “The Crown.” Another iteration, centered on William F. Buckley and Gore Vidal, also fell apart. Murphy and his producers toyed with a half dozen other ideas, though never for very long.“It’s very easy to do a show where people are just nasty to each other,” Murphy said in a an interview earlier this month. “But feuds are never about hate. They’re about love.”Then Murphy read “Capote’s Women,” by Laurence Leamer, a gossipy, trenchant study of the novelist Truman Capote and the society women he befriended and later betrayed. Murphy had long been fascinated by Capote. He was equally entranced by the women Capote referred to as his Swans, self-created creatures whom he admired for their style, wealth and savoir faire. Their gift, as Capote wrote in his late collection “Portraits and Observations,” was to offer “the imaginary portrait precisely projected.”Tom Hollander plays Capote, whose betrayal of Babe Paley (Watts) was perhaps the most cutting.FX“It was a full-time job,” Moore said of the roles performed by the real-life women she and her co-stars play in “Feud.” “There were no casual sweatpants.”FXLeamer’s tale had luxury, treachery, artistry and spite. It had love, too, “the very fragile, wonderful relationships that exist many times between gay men and straight women,” Murphy said. With a script by Jon Robin Baitz and direction by Gus Van Sant, the story became “Feud: Capote vs. The Swans,” an eight-episode series that premieres on FX on Wednesday. (Episodes will stream on Hulu the day after they air.)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?  More

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    Stephen Colbert Is Hoping for a Taylor Swift Super Bowl

    With the Kansas City Chiefs in the game, Colbert can’t wait to see “the biggest star in the N.F.L.” (if she can get there from Japan in time).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 Taylor Swift Super Bowl’On Sunday, Travis Kelce and the other Kansas City Chiefs beat the Baltimore Ravens, securing a spot in what Stephen Colbert now calls “the Taylor Swift Super Bowl.”On Monday night, Colbert declared that Swift, who is dating Kelce and brought extra attention to the league all season, is “the biggest star in the N.F.L.” “The whole thing has been great for the N.F.L. and for dads who struggle to bond with their teenage daughters.” — STEPHEN COLBERT“Yeah, you’ve got the Super Bowl, and you have Taylor Swift. Ratings are going to be higher than Snoop Dogg at a Willie Nelson concert.” — JIMMY FALLON“But there are so many big questions about the Super Bowl. Can the 49ers contain Patrick Mahomes? Can the Chiefs stop Christian McCaffrey? And the one that most people care about: Can Taylor Swift make it there? ’Cause she has a concert in Japan the day before!” — JIMMY FALLON“It’s just too stressful. Why can’t she just do a concert somewhere closer, like Paris or Venice or New York? They’re all there in Vegas.” — STEPHEN COLBERT“Of course, I hope Taylor makes it, because I really want to watch the Apple Music Super Bowl LVIII Halftime Show starring Shaky Footage of Taylor Swift Cheering in a Skybox, featuring Usher.” — STEPHEN COLBERTThe Punchiest Punchlines ($83 Million Edition)“A jury in former President Trump’s defamation trial has ordered him to pay $83 million in damages. Yeah, in a related story, a bunch of classified documents just turned up on eBay.” — JIMMY FALLON“A Manhattan jury on Friday ordered former President Trump to pay nearly $84 million in his civil defamation case. Well, that explains the new fund-raising amounts.” — SETH MEYERS“Well, congratulations on the payday, Eric!” — STEPHEN COLBERT, on E. Jean Carroll saying she wants to give the money Trump owes her to something he hates“Former President Trump said at a rally in Las Vegas over the weekend that he feels ‘sharper now than I did 20 years ago.’ Of course, based on all of his testimony, he doesn’t remember a single thing from 20 years ago.” — SETH MEYERSThe Bits Worth WatchingThe “Tonight Show” guest James Corden shared what life is like after leaving “The Late Late Show.”What We’re Excited About on Tuesday NightElisabeth Moss, star of “The Veil,” will appear on Tuesday’s “Jimmy Kimmel Live.”Also, Check This OutJoni Mitchell onstage at the Gorge Amphitheater in George, Wash., in June 2023. On Sunday, she will perform at the Grammys.Justin J Wee for The New York TimesJoni Mitchell will make her Grammys debut during this Sunday’s broadcast. More

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    ‘Suits’ and ‘Friends’: Here’s What Americans Streamed in 2023

    Hollywood was on strike for much of the year. And yet the time viewers spent streaming shows and movies went up. A lot.Last year, studios continued to pull back how much they spend on new TV shows. A pair of strikes effectively shut down Hollywood for several months, disrupting new releases of television shows and movies.And yet Americans kept on streaming.The time that people watched streaming services from their TV sets last year jumped 21 percent from 2022, according to a year-end review on streaming trends by Nielsen, the media research firm. There were nearly a million television shows and movies for Americans to choose from on over 90 streaming services.What did they watch? A lot of reruns, it turns out.Here’s a look at some of the trends.‘Suits’ Bests ‘Stranger Things’From left, Gaten Matarazzo, Finn Wolfhard and Sadie Sink in a scene from “Stranger Things.”NetflixIt’s well established that “Suits,” the USA Network’s legal procedural that aired from 2011 to 2019, was an unexpected streaming hit last year. Netflix subscribers began devouring it over the summer. They shattered records in the process.“Suits,” with 57.7 billion minutes of viewing time in 2023, eclipsed both “The Office” in 2020 and “Stranger Things” in 2022 (when its fourth season was released) as the most-streamed show on television sets in a single year, according to Nielsen. (The research firm began releasing yearly figures in 2020.)“Suits” was probably new to most viewers who watched it on Netflix, said Brian Fuhrer, a senior vice president of product at Nielsen.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?  More

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    What’s on TV This Week: ‘Vanderpump Rules’ and the Grammys

    The Bravo hit returns for an 11th season, and the Recording Academy hands out awards.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, Jan. 29-Feb. 4. Details and times are subject to change.MondayBAD ROMANCE 10 p.m. on ABC. In February 2023, Becky Bliefnick was murdered in her home, and her estranged husband, Tim Bliefnick, was immediately the primary person of interest. Evidence was found in the home and online, but one of the creepiest parts of the case is an appearance Tim made on “Family Feud” years earlier. The question he was asked didn’t seem out of the ordinary: “What’s the biggest mistake you made at your wedding?” His answer: “Honey, I love you, but said, ‘I do.’” This special edition of “20/20” takes a deeper look at the case.TuesdayVANDERPUMP RULES 8 p.m. on Bravo. I will always choose “Below Deck” over anything else in the Bravo universe, but I can humbly admit that this season premiere is going to be one of the network’s biggest must-watch moments all year. After “Scandoval” set the reality-television world aflame, this is the first chance to check back in with Tom Sandoval and Ariana Madix (minus Rachel Leviss, who has left the show). With Madix headed to Broadway to play Roxie in “Chicago” and Tom Schwartz coming off a slight character-redeeming run on “Winter House,” I personally can’t wait to see more drama unfold.WednesdayNaomi Watts and Tom Hollander in “Feud.”FXFEUD 10 p.m. on FX. Ryan Murphy is back at it with another season of his anthology series. When the show debuted in 2017, it focused on a feud between the actresses Joan Crawford and Bette Davis that exploded when they filmed “What Ever Happened to Baby Jane?” This season, subtitled “Capote vs. the Swans,” focuses on the fallings-out that the writer Truman Capote had with New York City socialites, including Ann Woodward, Babe Paley and C.Z. Guest.ThursdayFARMER WANTS A WIFE 9 p.m. on Fox. The second season, hosted by the singer and actress Jennifer Nettles, is bringing 32 “city girls” to the countryside to meet four single farmers to hopefully create a match. Look, it’s definitely not conventional (and might not be particularly successful), but I’ve read enough novels with the “big city girl moves to a small town and falls in love” trope that I’m willing to suspend my disbelief — for now.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?  More

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    ‘True Detective’ Season 4, Episode 3 Recap: Toxicity

    Danvers and Navarro both must face some cold realities about who and what they represent in a community being poisoned by its biggest employer.Season 4, Episode 3: ‘Part 3’By Scott TobiasIn the first two episodes of “Night Country,” we knew Annie Kowtok as a dead person, a young Inupiaq activist who was stabbed 32 times and whose memory haunts the living every bit as much as the hallucinations that seem to slip in their minds during permanent darkness do.And so it’s especially powerful to meet Annie when she is associated with life, thanks to a stealthily placed flashback in the cold open in which she is helping an expectant mother through a water birth. Navarro has turned up to arrest her in connection with trespassing and destruction of private property at the mine, but the officer is literally disarmed by the scene she witnesses and is enlisted to help with: Annie is defiant about bringing an Inupiaq baby, the next generation, into the world.In perhaps the season’s strongest hour to date, the episode moves the procedural elements forward as expected, but the one common thread is the tug Annie and the town’s Indigenous population has on the consciences of our two lead characters. It starts with that flashback, in which Navarro has been put in the awkward spot of enforcing the law on the mine’s behalf, only to be put in a situation where she is disrupting an Inupiaq birth. For as much tension as we’ve witnessed in Danvers’s relationship with Ennis’s Native population, the show reminds us that Navarro, too, has complicated feelings about her place in the community. An Inupiaq herself, she has been hiding away from her own identity. Her sister has the kakiniit tattoo on her chin. Navarro, conspicuously, does not.To be a police officer in Ennis is often to represent the interests of the town’s biggest employer. Navarro and Danvers are not in the business of administering environmental justice or blowing the whistle on polluted groundwater. If there is tension around the mine, they’re the ones squelching protests or arresting activists like Annie for breaking the law. That, inevitably, puts them on one side of a stark racial line.The discomfort for Navarro is more acute, given her roots, but there is a lot of evidence in this episode that Danvers has been fighting her own conscience — and is perhaps starting to lose the battle. She rages at Leah to wipe the temporary tattoo marks off her face, perhaps as a protective instinct, but they’re on Annie’s face, too, and the weight of it seems to stir her sympathies.Meanwhile, the law is being administered much less delicately. It is a sharp narrative strategy to cut from the flashback with Navarro and Annie to a scene in which Hank is rounding up a civilian army to “search” for Raymond Clark, the missing scientist who had a secret affair with Annie. The term “search” is in scare quotes because Hank seems to have deliberately gathered a collection of armed-to-the-teeth yokels for a bounty hunt. He tells them that Clark is armed and dangerous and sends them on their way. When Navarro turns up to remind Hank that they want Clark alive, he replies, “Do we?”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?  More

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    ‘Days of Wine and Roses’ Review: Romance on the Rocks

    Kelli O’Hara and Brian d’Arcy James are superb as a midcentury-modern couple free-falling into addiction in Craig Lucas and Adam Guettel’s musical.Seldom have a pair of alcoholics looked as glamorous as they do in Craig Lucas and Adam Guettel’s bruised romance of a Broadway musical, “Days of Wine and Roses,” starring Kelli O’Hara and Brian d’Arcy James as midcentury-modern Manhattan lovers free-falling all the way to hell, drinks in hand.What’s astonishing about this show, though — aside from the central performances, which are superb, and Guettel’s anxious, spiky, sumptuous score, which grabs hold of us and doesn’t let go — is the way its devastating chic snuggles right up to catastrophic self-destruction.For all the glossy come-hither of Michael Greif’s tone-perfect production, which opened on Sunday night at Studio 54, not for an instant does it glamorize the boozing itself. And yet we can sense the allure: how alcohol might become the one true thing that matters, smoldering wreckage be damned.Adapted from JP Miller’s recovery-evangelizing 1958 teleplay and 1962 film of the same name, this “Days of Wine and Roses” is like a jazz opera melded seamlessly with a play. Deeper, wiser and warmer than it was in its premiere at Off Broadway’s Atlantic Theater Company last year, it is no longer so wary of melodrama that it’s afraid of feeling, too. Gone is the emotional aridity that kept the story at a strange remove.Granted, the opening scene is still perplexing, too sparely written and staged to situate the audience properly, or let us grasp the skin-crawling 1950s creepiness of what James’s Joe Clay is up to on a yacht in the East River. A public relations guy, Joe has arranged a corporate party onboard, and procured female guests for the pleasure of the male executives.So there is a certain rancidness to his mistaking O’Hara’s Kirsten Arnesen — the impeccable secretary to the boss at the firm where they both work — for one of the women in his Rolodex. Not exactly a meet-cute, even if she does set him straight, puncturing his condescension with a tight, nice-girl smile pasted to her face.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?  More