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    Filming Eugene O’Neill When the Elements (and Investors) Don’t Cooperate

    Starring Jessica Lange and Ed Harris, Jonathan Kent’s adaptation of “Long Day’s Journey Into Night” started production, only to lose key financing.WICKLOW, Ireland — “Strong winds, gradually subsiding” read the call sheet.Jessica Lange, Ed Harris and Jonathan Kent, the director of the forthcoming film version of Eugene O’Neill’s “Long Day’s Journey Into Night,” were standing in a rehearsal room here in early November, listlessly running through lines. Harris, playing James Tyrone, an aging former matinee idol, touched his toes and did squats as he spoke, while Lange, playing his fragile, morphine-addicted wife, Mary, flitted distractedly around the room.Producers and assistants, phones glued to ears, bustled in and out, anxiously monitoring the stormy weather that prevented the cast and crew from heading to the set: a house modeled on the Monte Cristo Cottage in Connecticut, the seaside home of O’Neill’s family that provides the setting of this autobiographical play. The go-ahead came several hours later. The shoot finished close to midnight as Kent and the cast tried to push through the day’s packed schedule.It wasn’t the first storm the production had weathered, literally and metaphorically. One day after filming began on Sept. 19, the lead producer, Gabrielle Tana, discovered that their biggest chunk of financing had fallen through. “I had to go to the set and tell them we were shutting down,” she said.On location in Ireland, the Tyrones’ home is based on Eugene O’Neill’s seaside family home in Connecticut.Patrick RedmondTana (whose credits include “Thirteen Lives” and “The Dig”) said it was one of the worst moments of her long career. “I let them know I wasn’t giving up, and was already in conversations with investors,” she said.During the nail-biting weeks that followed, she spent endless hours in meetings trying to drum up the money. Remarkably, the cast — including Ben Foster and Colin Morgan, playing the Tyrone sons — as well as most of the crew and production team, never wavered in their commitment to the project. A handful of staff members, including the director of photography and some production design workers, weren’t able to stay with the production. The rest waited it out in this coastal region about an hour south of Dublin.The Projectionist Chronicles the Awards SeasonThe Oscars aren’t until March, but the campaigns have begun. Kyle Buchanan is covering the films, personalities and events along the way.Meet the Newer, Bolder Michelle Williams: Why she made the surprising choice to skip the supporting actress category and run for best actress.Best-Actress Battle Royal: A banner crop of leading ladies like Michelle Yeoh and Cate Blanchett rule the Oscars’ deepest and most dynamic race.‘Glass Onion’ and Rian Johnson: The director explains why he sold the “Knives Out” franchise to Netflix, and how he feels about its theatrical test.A Supporting-Actress Underdog: In “Everything Everywhere All at Once,” don’t discount the pivotal presence of Stephanie Hsu.“We were shocked at first, of course,” said Lange, who played Mary Tyrone in 2000 in London, and won a Tony Award for the role in a production directed by Kent that transferred from the West End to Broadway in 2016. “But never once did we think it wasn’t going to happen. We just hung in, went to the pub, took long walks. We really became friends and cared deeply for one another, because we were going through the same thing.” She added, “I think that in some way it added to our intensity and passion for doing this.”Three weeks of waiting to restart, Harris said, allowed him “to sit back, think about the character, calm down, and just be this dude rather than worrying about playing such a classic, important role.”The actors also made calls. Foster made a connection to the British theater producer Bill Kenwright, who had worked with Lange on productions of “Long Day’s Journey,” “A Streetcar Named Desire” and “The Glass Menagerie” in the West End and on Broadway.Ben Foster, left, with Colin Morgan, helped make calls when crucial financing fell through.MGM“I knew we would figure it out,” Foster said. “If we had to do it as a sock puppet show, we’d do that till we raised the money.”The sock puppet show was averted; Kenwright came through. “He was our knight in shining armor,” Tana said. A few other knights had to be found too, including the film producer Gleb Fetisov.First adapted for the screen in 1962, “Long Day’s Journey” is Kent’s debut feature. “This is, probably, the greatest American play, the invention of the dysfunctional family drama, and when you do it in the theater, there is a sort of reverence from the audience,” Kent said. “I thought that perhaps with film, one could shred that reverence a bit and allow its rawness and immediacy through.”Then he factored in current events that coincided, like the opioid epidemic and the coronavirus lockdown. “Here are these four, addicted not just to drugs and alcohol, but to each other, endlessly going over the past, the missed opportunities and failure, trapped in a house by the sea,” he said. “Somehow it felt resonant.”Lange said that she and Kent first talked about a film version during the Broadway run. “I immediately thought, yes!” she said, adding that Mary Tyrone “gets under your skin like no other character I have ever played; you never come to the end of it. And because of the nature of filmmaking, there is so much more subtlety that can be brought to light: the expression in the eyes, the subtle shift in the voice.”Tana first heard about the idea when the actor Ralph Fiennes, a friend of Kent’s, asked her to help with the project, which is scheduled for release this fall. She was intrigued and engaged the Pulitzer Prize-winning playwright David Lindsay-Abaire — his “Good People” had been directed by Kent — to adapt the drama, which needed to shrink from an almost-four-hour theatrical event to an under-two-hour film.“There was never an agenda of ‘Let’s improve this,’” Lindsay-Abaire said in a video call from New York, adding that there isn’t a word of text in the film that wasn’t written by O’Neill. “It was the opposite: Let’s maintain what we love while telling the story in a different medium. It wasn’t using a machete as much as a scalpel. We took the dramatic Hippocratic oath: Do no harm to O’Neill!”Film, he pointed out, has communication tools that the stage doesn’t have. “You can sometimes replace four lines with a close-up,” he said. “We kept asking, does the character need to say that, or can they just act it?” He and Kent also discussed ways to make the drama more cinematic, by withholding some information that O’Neill reveals early. “Ghosts, hauntings, what is Mary doing up there? We wanted to lean into some mystery, to hint at things and reveal them more slowly,” Lindsay-Abaire said.Ed Harris joined the production when Gabriel Byrne had a scheduling conflict. Jessica Lange first discussed the idea of an adaptation when she performed the play on Broadway.MGMGabriel Byrne, who had starred opposite Lange onstage, was slated to reprise the role, but he fell out due to scheduling conflicts. Tana emailed Ed Harris, who had appeared with Lange in the movie “Sweet Dreams” almost 40 years earlier. He said yes immediately. “As tough as it was when the money fell out, it was the most rewarding film acting experience I’ve had in quite a while,” Harris said. Kent, he added, “gave us the freedom to just be those people — that it wasn’t a sacred text, that this was about human beings, not a dried-up historical piece.”Kent said that he had considered updating the 1912 setting, but had decided that too many fundamental details would have to be altered. Still, “to the designer’s chagrin, I asked that the costumes not be too ‘period,’” he said. “Whatever the setting, the text makes it a living, contemporary thing.”Two weeks of rehearsal before the start of the shoot allowed the four main actors to begin to build a family dynamic. “I immediately fell head over heels for my parents,” Foster said, adding that he had brought some foraged greenery from the actual Monte Cristo cottage as a talisman.“The rehearsal time was all about finding out what might work for character,” Morgan said. “A director who isn’t as theater-versed as Jonathan might work out camera angles first, then what the character does within. But I think the best directors work so that the camera is actor-led, and that’s how Jonathan approached it.”Then, almost immediately, came the hiatus and a roller coaster of emotions. “The bonding of that time was actually wonderful,” Foster said. “Historically I don’t socialize a lot with fellow actors. But in this case, it really did become a family.”The difficulty of making the film, Tana said, is indicative of the changing cinematic landscape. “It’s really hard now to make this kind of literary, straightforward, old-school independent movie,” she said. “There is so much value to this: these great, great actors doing a great American play that every kid studying literature will be able to watch. But it’s a sea change moment in our field in the way we access content, how it is monetized, where the resources are.”Kent agreed that the film goes against the current grain, but added: “We all have mothers, fathers, our terrible sense of failures and disappointments and guilt. I think what we crave from film or theater is truth about our human experience. There is an audience for that.” More

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    Samuel West Takes Comfort in D&D, Mendelssohn and Ron Swanson’s Whiskey

    The British actor, who appears in “All Creatures Great and Small” and “Slow Horses,” talks about bird-watching, history podcasts and why he stands up for rats.In the first episode of the current season of “All Creatures Great and Small,” Siegfried Farnon wins a rat in a drinking contest.The actor who plays him, Samuel West, felt victorious, too. He’d been angling for a rat to make its way into the PBS series — about a rural veterinary practice in England in the late 1930s — and has been a fan of them for even longer.“I’ve had five rats in my life, but they were sort of baby substitutes,” West said in a video interview last month from his family’s home in North London, which they share with a pair of kittens but no rats. “I can’t wait for my children to be old enough to have them again.”In addition to “All Creatures,” whose third season began in the United States this month, West can also be seen in Apple TV+’s spy thriller, “Slow Horses.” He spoke to us about the days he looks for 100 birds, the years he’s spent on a single stamp and why chamber music can feel more like acting than acting. These are edited excerpts from the conversation.1. Dungeons & Dragons I was a very early adopter of Dungeons & Dragons. I started around Christmas of 1977, when I was 11, playing on the floor of the boy’s loos at school, literally sitting down with paper and rolling dice before school. Now, I play every week online. The game has evolved so much over the years. The new edition has completely transformed the game: It’s much simpler, it’s full of mechanics that are easy to learn, and it’s very inclusive.2. Tom Phillips He painted, wrote books, made art for album covers, wrote an opera called “Irma.” I met him when I was 16. I’d never really met an artist before, and I didn’t really know what an artist’s life was like. Tom showed me that it didn’t really have to be like anything, or it could be like as many things as you wanted, because it was only really limited by his skill and his curiosity, both of which seemed to be infinite.3. Darcy Clothing This clothing retailer in the United Kingdom used to be a very well-kept secret among costume designers who needed to buy a large number of period shirts dating as far back as the 16th century. Anyone can shop there and it’s all very good quality. Siegfried Farnon and I both get shirts there. I particularly like shirts with long, pointed, soft collars without stiffeners, like men wore in the 1930s.4. Stamp Collecting At a party 20 years ago, a woman was trying to pretend to be interested in the fact that I collect stamps and asked me how many I had. It’s not a question that anybody who collects stamps would ask somebody else. I realized that what she was asking about was an accumulation. And I thought, What’s the difference between an accumulation and a collection? I suddenly realized that a collection is defined by what it leaves out. That was incredibly enabling.5. Bird-watching If we’ve got a full day to go birding, we almost always go to Norfolk, which is the best bird-watching county in Britain, bar none. And we try and do what’s called a Big Day, which means we start just before sunrise — usually in a wood on the Norfolk/Suffolk border — and we drive through Norfolk maybe with one stop. Then we go along the A149, which I call the birding Silk Road, and we finish just after sunset listening for owls. We try and get to 100 species.6. Gem There’s a great restaurant in our neighborhood called Gem that serves Greek, Kurdish and Turkish food. Twenty years ago, I went in and they said, Before you order, do you want this? Because we’ve made too many and it’s really nice. So, I sat down and I had this sort of chopped-up kebab with tomato sauce and bread and butter. It was absolutely delicious. I had nothing else for about eight years.7. Lagavulin 16-Year-Old I have about 15 different whiskeys upstairs on a shelf. It takes quite a long time to get through because I don’t drink quickly. But it’s very warming and lovely in the winter. The darker, the peatier, the smokier, the better. My favorite whiskey is probably Lagavulin 16-year-old, which is the Scotch that Nick Offerman’s Ron Swanson drank on “Parks and Recreation.”8. Sleeper Train to Penzance The train leaves Paddington at five minutes to midnight, but if you have a sleeper, you can get on at 10:30 p.m., check into your room, and go to the buffet car for a whiskey — crisps for the children — before wandering back to your berth. In the morning, they knock on your door and bring you coffee and croissants or bacon rolls. If you’re lucky, when you lift your curtain, you can see the sun rising behind St. Michael’s Mount, and you get to Penzance at about five past 8. We just took our children and they adored it.9. “The Rest Is History” Sometimes when you’re looking out of the window or reading the paper and thinking, “God, everything’s a bit of a bin fire,” it helps to go back and look at other times in history where things were also a bit of a bin fire or to just get a bit more perspective on the fact that things change and even terrible things pass. That’s one of the reasons I like the podcast “The Rest Is History,” hosted by the British historians Dominic Sandbrook and Tom Holland. They have a wonderful series on the American Civil War.10. Mendelssohn Octet Felix Mendelssohn wrote the first version when he was 16. The piece is so brilliant, so joyous, so full of energy, tunes, life and vivacity. When I was a teenager playing cello, it was my gateway drug to chamber music. The chamber music repertoire actually reminds me more of acting than acting does sometimes — the togetherness between a string quartet and the way you have to really listen to each other. I love working with musicians because, in addition to being talented, they also practice. Actors, on the whole, don’t practice. More

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    What’s on TV This Week: ‘The Bachelor’ and ‘American Masters: Roberta Flack’

    The ABC reality dating show returns for its 27th season, and the PBS series looks at the singer Roberta Flack.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. 23-29. Details and times are subject to change.MondayTHE BACHELOR 8 p.m. on ABC. This long-running reality dating series is back for its 27th season. This one includes visits to the Bahamas, England, Hungary and Thailand, as Zach Shallcross, a 26-year-old tech executive who has also appeared on “The Bachelorette,” dates 30 women.Christian Bale and Charlotte Le Bon in “The Promise.”Jose Haro/Open Road FilmsTHE PROMISE (2016) 6:45 p.m. on HBO Signature. Terry George, the director of the acclaimed 2004 film “Hotel Rwanda,” explores another genocide in “The Promise.” Set in 1915 in the final days of the Ottoman Empire, the film follows a love triangle between an Armenian medical student, Mikael (Oscar Isaac); a French-Armenian artist, Ana (Charlotte Le Bon); and an American journalist, Chris (Christian Bale). In her review for The New York Times, Jeannette Catsoulis called the film “a big, barren wartime romance that approaches the Armenian genocide with too much calculation and not nearly enough heat.” But viewers with an interest in the subject matter might still find the movie absorbing.TuesdayRoberta Flack in “American Masters: Roberta Flack.”Leroy Patton/Ebony Collection, via Warner Music GroupAMERICAN MASTERS: ROBERTA FLACK 9 p.m. on PBS (check local listings). “There isn’t another pop-soul singer around with the versatility and refinement of Roberta Flack,” the critic Stephen Holden wrote in The Times in 1981 after watching Flack perform at Carnegie Hall. Her music has topped Billboard charts with No. 1 singles like “The First Time Ever I Saw Your Face” and “Killing Me Softly With His Song,” and this special documents her rise to stardom and her experience as a Black woman both in and out of the studio. Along with home movies, archival photos and unreleased music, the documentary includes interviews with Flack herself, the Rev. Jesse Jackson, Clint Eastwood, Yoko Ono and Angela Davis.WednesdayNATIONAL GEOGRAPHIC INVESTIGATES: LSD & THE PSYCHEDELIC REVOLUTION 10:15 p.m. on National Geographic. On Jan. 1, Oregon became the first state to legalize the adult use of psilocybin mushrooms (long known as “magic” mushrooms) amid a rising recognition of their ability to improve the effects of a variety of mental health conditions, including depression and post-traumatic stress disorder. This timely special dives into exactly how psychedelics are being used to heal modern ills after a decades-long ban.ThursdayTHE CHOSEN (1981) 10 p.m. on TCM. Set in 1940s Brooklyn, “The Chosen” is a coming-of-age story that follows an unlikely friendship between Danny (Robby Benson), a Hasidic Jew, and Reuven (Barry Miller), a more secular Jewish schoolboy. In her review for The Times, Janet Maslin wrote that the film, based on the Chaim Potok book by the same name, is at its best when it “describes the Hasidic culture through Danny and his reactions to the secular world.”FridayIN THEIR OWN WORDS: CHUCK BERRY 10 p.m. on PBS (check local listings). Through a collection of original singles written and performed in the latter half of the 1950s, Chuck Berry shaped the nascent genre of rock ’n’ roll while staying true to his roots and experiences. Using interviews with his widow, son and grandson, along with Berry’s colleagues and other musicians, this documentary follows Berry’s journey from growing up in segregated St. Louis to becoming a foundational figure in 20th century popular music.SaturdayChadwick Boseman in “Black Panther.”Marvel StudiosBLACK PANTHER (2018) 7 p.m. and 10 p.m. on FX. “Black Panther” became the highest-grossing film of all time by a Black director when it was released in 2018. Featuring Chadwick Boseman (who died in 2020), Michael B. Jordan, Lupita Nyong’o and Daniel Kaluuya, the movie follows T’Challa (Boseman), the heir to the throne of the fictional African nation of Wakanda, as he and his allies defend against outside challengers. But the film is about much more than that. “Race matters in ‘Black Panther,’” Manohla Dargis wrote in her review for The Times, “and it matters deeply, not in terms of Manichaean good guys and bad but as a means to explore larger human concerns about the past, the present and the uses and abuses of power.” Its highly anticipated sequel, “Black Panther: Wakanda Forever,” is currently in theaters.SundayGOOD WILL HUNTING (1997) 5:50 p.m. on Showtime. This classic is what Janet Maslin described in her Times review in 1997 as a “Cinderella story.” The titular Will Hunting (Matt Damon) is working at the Massachusetts Institute of Technology when he solves a near-impossible math problem left on a chalkboard. The film follows Will as those around him, including a psychotherapist played by Robin Williams, learn of his genius, and he reckons with the direction of his future. “The script’s bare bones are familiar,” wrote Maslin, “yet the film also has fine acting, steady momentum, a sharp eye and a very warm heart.” More

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    ‘The Last of Us’ Season 1, Episode 2: Exit Through the Gift Shop

    This week brought a more in-depth look at post-apocalyptic Boston as well as more details about what exactly has happened to the planet.‘The Last of Us’ Season 1, Episode 2: ‘Cordyceps Ordo Seclorum’For a few tantalizing seconds in the middle of last week’s “The Last of Us,” we got a brief glimpse at how the post-apocalyptic Boston looks outside the Quarantine Zone. This week features more of a grand tour — and honestly, it’s kind of awesome. A big reason so many people are drawn to movies and TV shows about the End Times is that there’s something both exciting and eerie about seeing the bones of our world, gnarled and repurposed.As Joel and Tess escort Ellie on what they hope will be an uneventful hike up to a Firefly compound on Beacon Hill, they trek through a crumbling city, where some skyscrapers have collapsed and others have been overtaken by unchecked nature. In Ellie’s first appearance in this episode, she is curled up in a patch of grass, bathed in sunlight, with a butterfly fluttering by. Only when the camera angle changes can we see that she is actually asleep indoors, in one of those rotting old buildings.Ellie, of course, has never known anything but this. She grew up with it, was shaped by it and — perhaps more than anyone, given her immunity to the dreaded fungal infection — has figured out how to thrive within it.This episode offers several good “get to know you” scenes for Ellie, who was initially introduced as a sassy detainee, aloof and angry. She’s still sassy this week, teasing Joel and Tess about their plague-paranoia at one point by pretending to twitch like an infected person. But she also makes amusingly dry little jokes. (Asked where she learned to juggle a sharp knife, she cracks, “The circus.” Told that their path to Beacon Hill can go “the long way” or “the ‘we’re dead’ way,” she replies, “I vote ‘long way,’ just based on that limited information.”) Because she talks incessantly, by the time the travelers hit their first big roadblock, she has explained a lot about what her life has been like up until now: spending her days in classes with the other QZ kids, learning about the culture they can’t see firsthand and spending her free time exploring the places she’s not supposed to go.This is also in some ways a “moving pieces into place” episode, establishing more details about what the heck has happened to the planet Earth, while getting the characters to the next big pivot-point in the story — which will see Joel and Ellie leaving Boston on their own, with no Fireflies and no Tess.Inside the Dystopian World of ‘The Last of Us’The post-apocalyptic video game that inspired the TV series “The Last of Us” won over players with its photorealistic animation and a morally complex story.Game Review: “I found it hard to get past what it embraces with a depressing sameness, particularly its handling of its female characters,” our critic wrote of “The Last of Us” in 2013.‘Left Behind’: “The Last of Us: Left Behind,” a prologue designed to be played in a single sitting, was an unexpected hit in 2014.2020 Sequel: “The Last of Us Part II,” a tale of entrenched tribalism in a world undone by a pandemic, took a darker and unpredictable tone that left critics in awe.Playing the Game: Two Times reporters spent weeks playing the sequel in the run-up to its release. These were their first impressions.Once again there is a pre-opening credits prologue, set in Jakarta in 2003, revealing the origins of the mayhem we heard about on Joel’s radio in Austin last week. A professor of mycology, Ibu Ratna (Christine Hakim), is brought in by the government to examine the corpse of a woman who had gone on a murderous rampage under the apparent influence of “cordyceps” — a mushroom with bad vibes that is generally unpleasant to be around. The doctor warns there is no medicine for this, and that the best remedy is to bomb any city where the fungus takes hold.This is what happened in Boston, where the bombing “worked,” inasmuch as the government was able to stop the spread long enough to establish a safe area. But as Joel and Tess explain to Ellie — who only knows about the plague from what she has read in books and heard through the grapevine — there are still large numbers of mindless infected killing machines all across the city, writhing on their bellies in the streets in order to stay connected to an underground fungal network. And as they also explain, while Ellie may be the one person who can’t be “turned” by one of these humanoid beasts, “You’re not immune from being ripped apart.”So, with the risks well-established, this taut, tense episode follows what is meant to be a simple mission: Ellie is to be delivered to the Fireflies, who will then take her to a base out west to be a resource for a potential humanity-saving vaccine, while Joel and Tess will receive a gassed-up, battery-charged truck that they can use for their own personal business.An important point to keep in mind: Joel in particular has no altruistic impulse here. He would hand over Ellie to authorities in an instant if they offered a similar reward, or if he had to do it to save his own life. He has no bond with her — at least not yet. There is a scene about halfway through this episode when Tess leaves the other two behind to scout for a pathway behind some rubble, and Joel and Ellie’s awkward conversation is almost painful to witness.Not long after this moment, the plan goes haywire. When “the long way” proves impassable, the trio tries to sneak through an old museum, and in the process they awaken the mushroom hordes. Much of the second half of this episode features a nail-biting scramble through the Boston ruins, as everything previously mentioned about the monsters — including their ability to communicate via the ground — comes into play.When the gang does reach the Fireflies’ base at the gold-domed Massachusetts State House, they discover that everyone they were supposed to meet there has either been infected or slaughtered. Even worse: Tess herself was bit during one of their narrow escapes. She sacrifices herself by blowing up the capitol building, keeping the creatures at bay long enough for Joel and Ellie to get clear of the danger.There is some symbolism in this explosion, which destroys a classic piece of American architecture. In fact, throughout the episode, our heroes end up trashing a lot of the past. They knock over antiquities when they scramble through a museum, and it seems like with each step forward the road behind them closes off. In other words, there is no returning to the way things were. All that matters is what Tess says before she dies: “Save who you can save.” That’s “who” — not “what.”Side QuestsGiven how amazing this show’s devastated cityscapes look, let us throw some praise to the director Neil Druckmann, the cinematographer Ksenia Sereda and the camera crew for framing up some nice low-angle shots, giving Alex Wang’s visual effects team a proper backdrop to fill.The fungal origin of this zombie-style apocalypse has also inspired some spectacularly creepy imagery, from the tiny tendrils that snake out of the infected’s mouths to the darkness-dwelling creatures whose heads look like split mushrooms. Even in the Jakarta prologue, the first real sign that something isn’t right is when the professor cuts into a subject’s leg and no blood spills out — only a fibrous white substance. Ick!As someone who is perhaps unduly fascinated by what TV and movie characters eat, I hope we get more scenes like the one in this episode where Joel and Tess gnaw on bone-dry jerky while Ellie gets to enjoy a huge, moist chicken sandwich, smuggled into the QZ for her because she’s so special.And so we say farewell to Tess — and to Anna Torv. I shall miss them both. As a “Fringe” fan who wrote reviews for nearly every episode of that series way back when, I had missed seeing Torv on my TV; and Tess was a character worthy of her talents, capturing her gift for playing tough ladies with bruised souls. More

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    ‘The Immortal Jellyfish Girl’ Review: A 26th-Century Love Story

    Featuring a lobster telephone and a robot boy with wings, this puppet romance set in a future post-ecological collapse succeeds on its own weird terms.The first time Bug and Aurelia kiss is as romantic as can be, even if Bug has to get past his initial reaction. “That really hurts,” he says. “That stings so much!” Which is what you get when smooching a part-jellyfish humanoid.Aurelia is the title character of “The Immortal Jellyfish Girl,” though if 23andMe still exists in her postapocalyptic world, it might locate traces of kangaroo, frog, naked mole rat and other beasties in her makeup. Above all, “she is also 100 percent puppet,” as the narrator, a mischievous masked fox in shorts and red tails, informs us.Kirjan Waage and Gwendolyn Warnock’s play, devised with help from the ensemble and presented by Wakka Wakka Productions and the Norwegian company Nordland Visual Theater at 59E59 Theaters, is indeed a puppet show, and an ambitious one at that. It’s not just that the story is set in a poetically rendered 2555, but that Waage and Warnock, who also directed, blithely ignored the memo about coddling young audiences: Their show, for viewers age 10 and up, does not shy from the violence and death intertwined with life, and indeed several characters meet a tragic ending.We are on a future Earth that has been wrecked by ecological disaster and where humans have evolved into two groups at war with each other: the machine-enhanced Homo technalis and Homo animalis, who are mixed with animals. If you have any kind of familiarity with stories of star-crossed young lovers, it won’t come as a surprise to learn that Bug (voiced by Alexander Burnett at the performance I attended) is part of the first group while Aurelia (voiced by Dorothy James) is an Animalis. And not just any Animalis: She has the ability to generate polyps that grow into various animals, thus providing a ray of hope for a dying planet. The Fox (Waage) explains that “she is the first living DNA bank in the world.” (The title is inspired by the so-called immortal jellyfish, a real species that somehow can age in reverse.)As if ecological devastation weren’t enough, Bug and Aurelia must also deal with the machinations of the disembodied Technalis ruler, Doyenne, a featureless head floating above her lair.Like the earlier Wakka Wakka/Nordland collaboration “Baby Universe: A Puppet Odyssey” (2010), the production revolves around environmental concerns, which it mines with humor, emotion and storytelling verve — the Fox is prone to breaking the fourth wall and making jokes aimed at the adults in the crowd. (“Where are the clones? Send in the clones.”)Admittedly, it’s not always easy to follow, and the action hits some confusing potholes near the end, but “The Immortal Jellyfish Girl” does create an eerie, slightly morbid universe packed with bold strokes: a Lovecraftian squid and a lobster telephone that could have been dreamed up by Salvador Dalí; Bug suddenly sprouting a pair of wings from his back; Aurelia surrounded by odd animal forms floating in individual tanks. The sonic imagination is just as refined, with the composer and sound designer Thor Gunnar Thorvaldsson consistently delivering an array of expressive effects — he digitally assembled prerecorded vocals into a composite to create Doyenne’s voice, for example. Even if you can’t figure out what the heck that prophecy is all about or what’s meant to happen to Earth at the end, the show succeeds on its own weird terms.The Immortal Jellyfish GirlThrough Feb. 12 at 59E59 Theaters, Manhattan; 59e59.org. Running time: 1 hour 20 minutes. More

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    Review: ‘Drama,’ at the Volksbühne, Contains Many Things. But Drama Isn’t One.

    The choreographer Constanza Macras’s new work at the Volksbühne is a chaotic revue featuring dance, slapstick, spoken dialogue, pop music and heavy-handed monologues.The last thing the Volksbühne Berlin needs is more drama. That might sound like an odd thing to say about one of Germany’s most important theaters, but in recent years the company seems to have had all the histrionics it can take.It has been struggling to regain its artistic footing after the dismissal of its longtime leader Frank Castorf, in 2017, to make way for Chris Dercon, a tony Belgian impresario who didn’t last through his first season. Then Dercon’s replacement, Klaus Dörr, stepped down before the end of his term, after women in the company raised allegations of sexual harassment.When René Pollesch, one of Germany’s most acclaimed dramatists and a veteran of the Castorf years, was installed as artistic director in 2021, it was widely hoped he would be a purveyor of both stability and artistic excellence. However, Pollesch has struggled to restore the Volksbühne’s reputation as one of the most groundbreaking in Europe.Since Pollesch took the reins, the theater’s program has been a hot mess, with critical pans and poor box office returns. Against this background, it seemed inauspicious that the Argentine choreographer Constanza Macras titled her latest work for the theater “Drama.” The show had its premiere Thursday, and will run in repertory at the theater for the rest of the season.“Drama” is not a straightforward dance piece. Instead, Macras and her 10 performers — drawn from her own company, Dorky Park, plus some guest dancers — serve up a disjointed revue that is about theater itself, in the vaguest of senses. How is it that actors reciting lines written by someone else — often at a remove of centuries or millenniums — can ring true to audiences nowadays? Will they in the future? Using dance, movement — including Buster Keaton-esque slapstick — spoken dialogue and pop music, primarily in English and German, Macras’s intrepid and indefatigable troupe sets out to investigate.In the show’s opening minutes, Macras gives us a potpourri of Shakespearean scenes in a jittery pantomime. Toward the end, we get a three-minute version of Sophocles’s “Antigone.” In between, she treats us to a series of goofy scenarios, including a particularly zany one without dialogue, in which the dancers become life-size Playmobil figures with their helmet-like wigs and stiff limbs.In a zany scene from “Drama,” the players perform jerky movements, dressed as life-size Playmobil figures.Thomas AurinIn that scene, the performers’ controlled, jerky movements are impressive. Elsewhere, the cast display some startling physical feats. The most gob smacking is when the hunky dancer Campbell Caspary walks down a flight of stairs on his hands.The 10 performers that cavort across the large stage pretty much nonstop for two and a half hours are striking dancers, although the results are far more mixed when they are called on to recite texts or sing. With gusto but varying levels of musical skill, they belt out pop anthems backed by two onstage musicians, and when the entire cast launched into “I Sing the Body Electric,” from the 1980s musical “Fame,” joined onstage by a local amateur choir, that gaudy number felt like the show’s grand finale. Alas, we were only halfway through.As the evening wore on, cast members launched into heavy-handed soliloquies about cultural appropriation and artists’ poor pay. (“Dance is so intersectional,” is the worst line in a script with no shortage of clunkers.) Occasional self-deprecating references to the show’s own sloppiness come across as an unconvincing tactic to forestall criticism.From left: Caspary, Bas and Shoji in a musical number from “Drama.”Thomas AurinTaking in the entire spectacle is like following a sloppy brainstorming session through to its illogical conclusion. So why should we be surprised when Macras gives us a late-evening history lesson about Nélida Roca, the Argentine “vedette,” or showgirl, who held Buenos Aires enthralled from the 1950s to the 1970s. The real disappointment is that the burlesque show that follows is curiously low on razzle dazzle, despite all the feather headdresses and tassels.Here, as elsewhere in “Drama,” Macras’ choreography lacks distinction. It was deflating to watch the dancers give their all to exertions that hardly seemed worth the energy.As a chaotic vaudeville featuring dance, music, slapstick and confessional monologues, “Drama” bears more than a passing resemblance to Florentina Holzinger’s “Ophelia’s Got Talent,” a revue featuring an all-naked female dance troupe which is one of the Volksbühne’s only box office hits this season.Macras doesn’t go in for the shock tactics that are Holzinger’s stock in trade, but she still appears to take a page from the younger and more transgressive practitioner of dance theater. There’s even a monologue about suicide that will sound familiar to anyone who has suffered through “Ophelia’s Got Talent.” And although it’s blessedly shorter, “Drama” is similarly meandering, and feels endless.After two and a half hours, “Drama” leaves one exhausted, not exhilarated. It’s made up of many — far too many — ingredients, but drama isn’t one of them. More

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    in Theater

    Review: A Far-From-Revolutionary ‘Danton’s Death’ at the Comédie-Française

    A passé take on Georg Büchner’s 1835 play about the French Revolution leans into the worst instincts of the Comédie-Française, our critic writes.It was a surprising oversight in the centuries-old repertoire of the Comédie-Française, France’s foremost theater company. Until now, it had never performed Georg Büchner’s 1835 “Danton’s Death,” arguably the best-known play set during the French Revolution.A new production by the French director Simon Delétang tried to right that wrong this week, but it may have come too late. Given the Comédie-Française’s affinity for prestige period dramas, the feuding revolutionaries of “Danton’s Death” should be an easy fit. Yet Delétang, who was until recently the director of the indoor-outdoor Théâtre du Peuple in the Vosges Mountains, plays into the company’s worst instincts, with a staging that eschews historical insight for endless grandstanding in front of candelabras.The Comédie-Française’s actors undoubtedly look good in knee breeches, but you’d be hard-pressed to know what they, or Delétang, make of the revolution, based on this production. Part of the issue is that, from a French perspective, Büchner’s play feels dated. Büchner, a German playwright, wrote it at age 21, using the historical sources available to him in the 19th century.The result, which is laced with literary references, dramatizes the rivalry between two revolutionary leaders, Georges Danton and Maximilien Robespierre. Formerly friends, they are at odds when “Danton’s Death” starts, at the height of the Reign of Terror, in 1794. In the play, Danton is as hedonistic as Robespierre is inflexible; Robespierre is also ready to sacrifice anyone to the virtuous new republic — starting with Danton, whose relative moderation he has grown to despise. These are undoubtedly meaty roles, and other important historical figures make appearances, including Louis Antoine de Saint-Just and Camille Desmoulins.In true 19th-century fashion, “Danton’s Death” is a clash between “great men,” heroes and antiheroes, who frequently launch into lyrical monologues about blood and death. Yet much work has been done in France in recent decades to examine the blind spots of this narrative, including the oft-forgotten role of women during the revolution.There are only a handful of women in “Danton’s Death,” and when they appear, they talk about men, or listen to them. That’s hardly surprising, because Büchner was a writer of his time, but Delétang appears uninterested in finding an angle that might resonate with current audiences. Even the people — so central to the revolution — are excluded from his production: Aside from a few supporting actors appearing at a window, there is no sense of a popular uprising.A number of French directors have done great work to remedy some of these biases, starting with Ariane Mnouchkine, who focused on the people’s role in her play “1789,” which premiered in 1970. More recently, Joël Pommerat’s plainclothes “Ça ira (1) Fin de Louis” (“It Will Be Fine (1) End of Louis”) captured the events of the early years of the revolution in all of their messy complexity, down to town-hall-style debates, with actors positioned in the auditorium as if audience members were 18th-century citizens, too. It was such a success that it toured for seven years, from 2015 to 2022.Loïc Corbery, who plays the title role in “Danton’s Death.”Christophe Raynaud de LageIn the wake of these works, Büchner’s Danton, a drunk with a death wish who wallows in self-pity and ends up guillotined, is hardly captivating. It doesn’t help that Delétang cast one of the Comédie-Française’s heartthrobs, Loïc Corbery, in the role. Danton, a lawyer by training, was notoriously unattractive after catching smallpox as a child and having his face mauled by a bull. Corbery is much too smooth and seductive a presence; it’s as if Timothée Chalamet turned up to play Winston Churchill.Opposite Corbery, Clément Hervieu-Léger is prissy and repressed as a bewigged Robespierre, with a dancer’s ramrod posture throughout. Guillaume Gallienne makes a suitably scary Saint-Just, and Gaël Kamilindi is a highlight in the role of Desmoulins, here a youthful dreamer whose life is cut short alongside Danton’s.The action takes place almost entirely in a cold semicircular room designed by Delétang himself, which stands in turn for a bourgeois salon, France’s revolutionary assembly and a prison. “Danton’s Death” culminates with the appearance, center stage, of a gold-rimmed guillotine that is almost as high as the walls around it. No heads roll onstage, but by that point, over two hours in, you just hope it ends the proceedings swiftly.“Danton’s Death” isn’t the first misfire on the biggest of the Comédie-Française’s three stages, the Salle Richelieu, since the company’s return from its pandemic-enforced break. And while a company director, Éric Ruf, has done much to work toward greater diversity since his appointment in 2014, men continue to dominate main-stage programming. Out of 12 productions this season, only four are directed by women, and no works by female playwrights are scheduled.On paper, it makes sense to have “Danton’s Death” in the Comédie-Française repertoire. After all, the company’s own history is tied to France’s fluctuating political governments, and some actors from the (formerly royal) troupe barely escaped the guillotine. But in Delétang’s passé production, the past never speaks to the now. More

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    in Television

    Jimmy Fallon Finds the Funny in the Debt Ceiling

    Fallon says the news that the government has hit its debt cap explains why “Mitch McConnell started an OnlyFans.”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.‘So Broke’The United States reached its debt limit on Thursday, hitting a $31.4 trillion debt cap.“The country’s so strapped for cash, George Santos is emailing people pretending to be a Nigerian prince,” Jimmy Fallon joked.“Today, Treasury Secretary Janet Yellen said extraordinary measures are being taken to keep the government’s bills paid, which explains why tonight Mitch McConnell started an OnlyFans.” — JIMMY FALLON“America is so broke, the government might have to resort to extraordinary measures, like taxing the rich or not going to war all the time.” — LESLIE JONES, hosting “The Daily Show”“You know it’s not a good situation when the Treasury Department is like, ‘Hey man, could you — could you, could you wait until next week to cash that check?” — JAMES CORDEN“If you ask me, this is where we could use Donald Trump. Now look, I don’t — I didn’t like the guy, I don’t like the guy, I don’t. You’ve got to admit he is pretty good at not paying money that he owes.” — JAMES CORDENThe Punchiest Punchlines (Don’t Call It a Comeback Edition)“Trump, meanwhile, is desperately trying to get back on Facebook. You know, his team sent a letter to Mark Zuckerberg requesting that they unblock his account. I’m actually surprised Trump wants to get back on Facebook. Isn’t Facebook just an unpleasant annual reminder that Don Jr. and Eric were born?” — JIMMY KIMMEL“Facebook said they are going to ‘look to experts to assess whether the risk to public safety has receded.’ This is like Jurassic Park saying they’re going to ask around to see if it’s cool to let the raptors out again.” — JIMMY KIMMEL“Who needs Facebook when you reach almost a dozen people a day on Truth Social?” — JIMMY KIMMELThe Bits Worth WatchingHarvey Guillén, who stars in “Puss in Boots: The Last Wish,” satirized George Santos on Thursday’s “Late Show.”Also, Check This OutMadonna performing at the singer Maluma’s concert, “Medellín in the Map,” in Medellín, Colombia, in 2022.Fredy Builes/Agence France-Presse — Getty ImagesAt 64, Madonna has announced her 12th world tour with all of the fanfare that followers have come to expect. More