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    A Play Revisits the Making of ‘Death of a Salesman’ in Mandarin

    A new Off Broadway production explores how Arthur Miller led a 1983 collaboration in Beijing that brought his work to a new audience.In 1983, Arthur Miller faced a herculean task: staging his 1949 Pulitzer Prize-winning play, “Death of a Salesman,” in Chinese, with an all-Chinese cast and crew, in Beijing.But questions kept popping up: Would this drama about the American dream translate for a Chinese audience? Would concepts like “traveling salesman” or “life insurance” make sense to a people who had little exposure to either?Rehearsals became exercises in cross-cultural exchange. At one point, Miller instructed his cast to abandon the wigs — he didn’t need them to impersonate Americans.“The way to make this play most American is to make it most Chinese,” he told them, according to his 1984 book about the undertaking, “Salesman in Beijing.” He added, “One of my main motives in coming here is to try to show that there is only one humanity.”The play eventually drew rapturous audiences to dozens of performances in Beijing, Hong Kong and Singapore, and was a watershed for U.S.-China cultural relations.Forty years later, the process of staging that production is the subject of the Off Broadway play “Salesman之死,” running through Oct. 28 at the Connelly Theater in the East Village. (The 之死 of the title, pronounced Zhisi, means “death of.”) Directed by Michael Leibenluft and written by Jeremy Tiang, the bilingual play centers on a young Chinese professor, Shen Huihui, who interprets for Miller during rehearsals, trying to translate for the cast ideas like “the American dream.”“What would happen if we did try to find a way to work together, rather than just sticking to our own patch of language and culture?” said the playwright Jeremy Tiang, left, with the director Michael Leibenluft.Ye Fan for The New York TimesBy spotlighting the linguistic and cultural misunderstandings between the American playwright and his Chinese collaborators, the new play explores the challenging dynamics that arose when the two cultures converged.“This play is an example of international cross-cultural collaboration I fear we don’t see enough of,” Tiang said during a video call. “What would happen if we did try to find a way to work together, rather than just sticking to our own patch of language and culture?”Tiang drew on interviews with the original production’s cast and crew, as well as the book in which Miller recounts traveling to China at the invitation of Ying Ruocheng, one of China’s leading actors and directors, and the playwright Cao Yu.China had only recently emerged from its Cultural Revolution — the Maoist movement that targeted intellectuals and resulted in the deaths of hundreds of thousands of people — and its government had adopted a new foreign policy of openness to the West. Artistic projects once unthinkable under Mao Zedong suddenly become achievable.The playwright said he wrote the script based on interviews with the cast and crew of the original 1983 production as well as Miller’s memoir “Salesman in Beijing.” Ye Fan for The New York TimesThe real-life Shen Huihui was among the first group of students to attend graduate school after the Cultural Revolution. At Peking University, Shen wrote her dissertation about Miller’s books and plays and published one of the first journal articles about Miller in Chinese. When Miller arrived in China to direct “Salesman,” Ying, who translated the script and played the protagonist, Willy Loman, asked Shen to be the rehearsal interpreter.“I was shocked,” Shen said in a recent phone interview. “Why me? There were plenty of people who were professional interpreters, and I was not a professional interpreter.”Meeting Miller was both thrilling and intimidating, said Shen, who now lives and teaches writing in Canada. She recalled a tall, broad-shouldered man who seldom smiled.Rehearsals started in March and by opening night on May 7, Miller and his collaborators had worked through numerous adjustments (and endured many a misunderstanding) on the way to staging this tale about the perils of the American dream.The show is in English and Mandarin, with supertitles for both languages.Ye Fan for The New York TimesThose cross-cultural encounters are the core of “Salesman之死,” which is being produced by Yangtze Repertory Theater in association with Gung Ho Projects; much of the play’s plot centers on the bilingual and often chaotic exchanges within the 1983 rehearsal room.Leibenluft first read “Salesman in Beijing” as an undergraduate studying theater and Chinese at Yale University. He later moved to Shanghai and began directing adaptations of American plays in China.Sandia Ang, center, as the actor Zhu Lin, who played Linda Loman in the 1983 production.Ye Fan for The New York TimesIn 2017, he hosted a workshop to explore possibilities for turning “Salesman in Beijing” into a play. Tiang was among the writers and directors who attended, and he soon started writing a script.The show eventually opted for an all-female cast, which “highlights the women who are part of this history and who are often overlooked,” Leibenluft said on a video call. On a recent Thursday, cast members huddled around a table in a rehearsal room in Midtown Manhattan. (Five of the six actors are immigrants from China and Taiwan and are fluent in English and Chinese.) Sonnie Brown, a Korean American actor who plays Arthur Miller, barked out instructions, while Jo Mei, who plays Shen Huihui, translated them into Chinese. (The show, in English and Mandarin, has supertitles in both languages.)The play is “so hopeful,” Mei said, describing it as a reminder of people’s common humanity: Everyone, whether Willy Loman or a shopkeeper in China, suffers the same disappointments, shares the same dreams.“It says so much about how as different as you think you are, the themes and humanity are so similar and universal,” she said. “The more different or specific, the more universal is what I think Miller and Ying were trying to get at.” More

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    Tituss Burgess Thinks ‘Golden Girls’ Reruns Get Funnier as You Age

    Returning to Broadway for “Moulin Rouge! The Musical,” the actor shares his love for dishing during a haircut and comes out as a pluviophile.When he was a child, Tituss Burgess went with his mother to see “Your Arms Too Short to Box With God” at the Fox Theater in Atlanta. The musical made a lasting impression. “The sheer exhilaration and reckless abandon with which Stephanie Mills performed has stayed with me forever,” he said in a video interview from his New Jersey apartment, across the Hudson River from Harlem.Similarly formative experiences included “The Wiz” on a VHS tape and “Rent.” Burgess has not forgotten how they made him feel. “Every time I’m onstage, it’s someone’s first time experiencing the magic that all those greats gave me,” he said, “and I must deliver the way that they did.”Burgess certainly has plenty to work with in “Moulin Rouge! The Musical,” in which he is playing the master of ceremony Harold Zidler through Dec. 17. It is, he said, “one of the wackiest, most conniving, most fun roles I’ve ever seen outside of Fagin in ‘Oliver!’”This is his first Broadway outing since his stint as Nicely-Nicely Johnson in the 2009 revival of “Guys and Dolls.” But that does not mean that he stayed away from theatrical roles in the interim: He earned five Emmy Award nominations for his performance as the Broadway-aspiring actor Titus Andromedon in “Unbreakable Kimmy Schmidt” and played the slightly sinister narrator in Season 2 of “Schmigadoon!” — a perfect segue into his new job in “Moulin Rouge!”Burgess, 44, talked about some of his pick-me-ups and revealed his secret ingredient in the kitchen. These are edited excerpts from the conversation.1NapsIt’s a lost art form. I have no troubles taking naps: It could be on the train, it could be in an Uber. I suspect when I get the show’s schedule under my belt, some delicious naptime will be built into it.2RainI’ve been a pluviophile all my life. I don’t know what it is about rain, but I just feel my most calm, my most connected to source. I love it so much. From my balcony when there’s a gust of wind with some water in it — woof! It’s exciting. It doesn’t inconvenience me the way some people experience precipitation.3‘The Golden Girls’Those four ladies and the writers together made television magic. It’s like a fine wine: The jokes somehow are even funnier now, or I’m just getting older and maybe I understand the references a little more. On some level, every creator can reference it as a source of inspiration. For me, TV’s never been funnier.4N.Y.C.’s SkylineFew things excite me and calm me down as when the plane is descending into one of our local airports and that beautiful skyline is there waiting, saying, “Welcome home.”5Renée FlemingThere aren’t enough superlatives to describe her magic and her seamless approach to every genre. The first thing I saw her do, with the San Francisco Opera, was André Previn’s adaptation of “A Streetcar Named Desire.” She has this one aria called “I Want Magic”: Oh, dear Lord. She brings me a great deal of joy, and each listen is a lesson.6BroadwayThere’s something unique about the intersection of all of these art forms coming together to tell different stories. And then to watch Broadway transform and remake itself again and again and again — I don’t know anything outside of cinema that has the ability to recreate itself so seamlessly.7My DogsMy babies. Micah is 10, and Hans is 8, and they have the energy of puppies — I guess it’s all the love. They’ve been keeping me sane. [Hans climbs over Burgess on the couch.] He thinks he’s a star. He is the center of attention. Both of them are from the ASPCA. I much prefer my furry friends to humans.8Truffle OilI don’t claim to be some master chef, and I hate to follow directions, both recipes and in life, but I love to cook. A dash of truffle goes a very, very long way, and I put it on just about anything. It can turn a disaster into a masterpiece.9My Barbers (Both of Them)I always know when I’m due for a haircut, and it’s not the length of my hair — it’s when my heart is full and I have a lot to talk about. I highly recommend finding a barber that knows your heart as well as your head. I will admit I have two that I rotate and I tell each one different things.10Gospel MusicI grew up in the church. Being in New York, I got in and out of relationships, but at the end of the day, the one thing that seems to serve as a reminder of who I am and how I got here, and what formed my earliest connections to source material and to humans, is gospel music. So I return to it as often as I can. It’s a great reset for me. When I’m done talking to you, I’ll probably put some on. More

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    Mark Goddard, a Star of the ’60s Series ‘Lost in Space,’ Dies at 87

    For three seasons, he and a family of five, a wily (and annoying) saboteur and a talking robot were marooned on a distant planet in the far-off future: 1997.Mark Goddard, the actor best known for playing Maj. Don West on the fanciful and popular 1960s science-fiction series “Lost in Space,” died on Tuesday at a hospice center in Hingham, Mass. He was 87.His son John said the cause was pulmonary fibrosis. Major West was the pilot of a spaceship carrying a family of five, a stowaway and a robot in the far distant future — the year 1997. On their way to help colonize a planet in the Alpha Centauri system, their ship went seriously off course, leaving the cast marooned on a different, inhospitable one (though luckily the atmosphere was suitable for human life).That set the stage for encounters with giant spiders, rock monsters, frog people, cyborg armies, space hippies, alien prisons, intergalactic beauty pageants and titanium shortages.The show — created by Irwin Allen, a producer later known for popular disaster films like “The Towering Inferno” — ran for three seasons (1965-68) on CBS. Major West was theoretically the romantic lead, a handsome single man in a uniform, and the first season hinted at a budding romantic relationship between him and the family’s oldest child, Judy (Marta Kristen). But that subplot soon faded into the background.For various reasons, including being scheduled opposite the new comic-book-like “Batman,” “Lost in Space” changed in the second and third seasons from a science-fiction project to a campy series that was more comedy than adventure.Mr. Goddard’s character no longer found himself setting up force fields, aiming his ray gun at rock-throwing giants, navigating rugged new planetary terrain or fending off kidnappers from another dimension. He was more likely to be left behind analyzing soil samples while Dr. Smith (Jonathan Harris), the saboteur stowaway, little Will (Billy Mumy) and the robot (Bob May, with the voice of Dick Tufeld) were off getting into trouble with a new creature or machine.Mr. Goddard’s co-stars on “Lost in Space” included, from left, Marta Kristen, Billy Mumy and Angela Cartwright.20th Century Fox Film Corp./Everett CollectionThe other regulars in the cast were Guy Williams and June Lockhart as the space-traveling parents and Angela Cartwright as their other daughter.Don was always the character most annoyed by Dr. Smith, and least sympathetic to him. He could be both hot-tempered and coldhearted, but he dutifully took a spacewalk, against his better judgment, to rescue Smith from the clutches of a seductive alien creature. If it had been up to him alone, he admitted, he would have let Dr. Smith drift through space for eternity.Major West was a role Mr. Goddard had taken reluctantly, not being a fan of science fiction. In his 2008 memoir, “To Space and Back,” he referred to his space uniform, his wardrobe for the show, as “silver lamé pajamas and my pretty silver ski boots.”Charles Harvey Goddard was born in Lowell, Mass., on July 24, 1936. He was the youngest of five children of Clarence and Ruth (Delaronde) Goddard. He grew up in nearby Scituate, Mass., where his father owned and managed the local five-and-ten-cent store.Chuck, as he was known at the time, attended Holy Cross College in Worcester, about 70 miles away, with no particular career ambition. He became interested in acting after appearing in one college play, George M. Cohan’s “Seven Keys to Baldpate.” In 1957, in the middle of his junior year, he transferred to the American Academy of Dramatic Arts in New York. Two years later, he moved to Los Angeles.He made his screen debut in a 1959 television movie that was meant to be a pilot for “The Joan Crawford Show.” (The series never happened.) He changed his first name to Mark at the suggestion of Chuck Connors, the star of “The Rifleman,” a western series on which Mr. Goddard made a guest appearance — no need to have two Chucks in the show’s credits.After only three weeks in town, Mr. Goddard was cast in a network series. He played Cully, the young deputy sheriff in the short-lived western “Johnny Ringo” (1959-60). A former sharpshooter at a carnival, Cully was brave enough to stand up to armed robbers and bloodthirsty bounty hunters but sensitive enough to be traumatized after killing a man for the first time.“All this time I’ve been handling guns and not knowing what they do,” Cully said after shooting a man dead in a saloon, in self-defense.From left, Mr. Goddard, Robert Taylor and Tige Andrews in a publicity photo for the crime series “The Detectives.” The New York Times described Mr. Goddard’s character as “a brash but efficient young police lieutenant.”Everett CollectionWhen “Johnny Ringo” ended after a year, Mr. Goddard joined the second season of “The Detectives,” a crime drama starring Robert Taylor. Mr. Goddard’s character, Sgt. Chris Ballard, was described by The New York Times as “a brash but efficient young police lieutenant.” “The Detectives” ended its run in 1962. Mr. Goddard’s next series, “Many Happy Returns” (1964-65), a comedy with Elinor Donahue, was also canceled after just a year. Then “Lost in Space” came along.When the show ended in 1968, he had difficulty finding acting jobs. He worked as an actors’ agent for a while, then had the opportunity to make his Broadway debut — in “The Act,” with Liza Minnelli, in 1977. Richard Eder of The Times said the production was “a first-rate cabaret show” but not really theater. It ran for eight months on star power alone.After that, Mr. Goddard appeared in a horror movie, “Blue Sunshine” (1978), and made guest appearances on several series. He entered the world of soap operas in the 1980s, appearing briefly on “One Life to Live” in 1981 and “General Hospital” in 1985 and 1986.Mr. Goddard was married three times. His marriage to Marcia Rogers (1960-68), a press agent at the time, ended in divorce, as did his marriage to the actress Susan Anspach (1970-78). In 1994 he married Evelyn Pezzulich, an English professor, who survives him. In addition to his son John, from that marriage, his survivors include two children from his marriage to Ms. Rogers, Melissa and Michael Goddard; two stepchildren from his marriage to Susan Anspach, Caleb and Catherine Goddard; two sisters, June Merrill and Patricia Panet-Raymond; and several grandchildren.In his 50s, Mr. Goddard went home again. Returning to college after 30 years, he earned a bachelor’s degree in communications and a master’s degree in education from Bridgewater State College in Massachusetts. In 1991, he became a special-education teacher in Middleborough, Mass.Even after he began teaching, he took a screen acting job every now and then. He made a cameo appearance in the movie version of “Lost in Space” (1998) and was seen in the more movie dramas “Overnight Sensation” (2000) and “Soupernatural” (2010). But he no longer thought of himself as an actor.“I had a wonderful life as an actor,” he told The Houston Chronicle in 1997. “But I didn’t want to be sitting around in Hollywood, kind of a halfway celebrity looking for his next job.”Bernard Mokam More

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    ‘Gutenberg! The Musical!’ Review: Revenge of the Broadway Nerds

    The history of movable type is a terrible idea for a show. Which is why it’s so on brand for this satire of theater and its eternal hopefuls.I know we could all use a good laugh nowadays. But would you settle for a thousand chuckles?Because that’s what “Gutenberg! The Musical!” is offering. In the two-man, 20-character skit of a show that opened Thursday evening on Broadway, the jokes are abundant, interchangeable and lightweight: comedy as packing peanuts.If that suggests an inconsequential payload, well, perhaps consequential was not what the writers, Scott Brown and Anthony King, and the director, Alex Timbers, were after. Silliness crossed with satire seems to be their target, and with the help of two expert farceurs, Josh Gad and Andrew Rannells, they do hit the silliness bull’s-eye. The satire, I’m not so sure.But let’s enjoy what we can. Gad plays Bud Davenport and Rannells is Doug Simon, loserish 40-something co-workers at a nursing home in New Jersey. Bitten by the Broadway bug, they decide to collaborate on a musical, despite a rudimentary knowledge of the genre and an advanced lack of talent. When Bud, the sweaty, impulsive one, inherits money from an uncle who recently started (and then suddenly stopped) hang gliding, they get their chance: They rent the James Earl Jones Theater for a bare-bones reading in hopes of acquiring a backer. Doug, the button-down one with the toggle-switch smile, chips in by selling his parents’ house.What we see on the stage of the Jones is the deliberately horrible result. Bud has written the music and Doug the book (and both of them the lyrics) for a show about the 15th-century German inventor who gives the show its title. Having discovered from a Google search that reliable information about Gutenberg is “scant,” Bud and Doug are relieved of the responsibility to historical truth that is apparently so burdensome to the creators of most biomusicals. About the inventor of movable type, they can make everything — not just most of it — up.So their Gutenberg is, counterfactually, a “wine presser” in the nonexistent town of Schlimmer; his wine press is what inspires his printing press. (“I’m gonna take the grapes out and put letters in,” he sings. “Put letters where them grapes have been.”) But a mad monk who is not a fan of literacy denounces the new technology and leads the townsfolk to burn its inventor at the stake. A familiar moral is drawn from that fake history: “Gutenberg’s death did not stop his dream,” a laborer steps out of time to tell us.Or rather, Doug does, because he and Bud, having spent all their money on the rental of the theater, were unable to afford a cast. Instead, with the help of 99 custom-printed trucker hats to identify the dramatis personae, and another 25 that become a kind of puppet chorus line, they narrate the show and play all the characters in it. These include Dead Baby, Beef Fat Trimmer, Feces, Two Drunks, Antisemitic Flower Girl and of course the printer’s love interest, a wench named Helvetica. Her big number (sung by Bud, petting his imaginary tresses) is “I Can’t Read.”Rannells and Gad are expert farceurs, but the show’s silliness eventually wears itself out.Sara Krulwich/The New York TimesGad and Rannells, a Mutt and Jeff team since they starred in “The Book of Mormon” in 2011, couldn’t be better. Gad’s weird combination of bluster and insecurity (he twitches a lot) makes Bud almost two-dimensional; Rannells, with his golden retriever gloss and whirring-computer energy, takes Doug most of the way from conceit to character. Together they land every joke.But with more than two hours of can-you-bottom-this yucks, it’s exhausting work — for them and for us. As a distraction, Timbers provides innumerable bits of clever stage business, seldom involving anything fancier than mime, sound effects and simple props. At one point the two men, just by switching hats and poses, somehow perform a four-part chorale. At another, Gutenberg’s big moment of inspiration is capped with the firing of what you might call a confetti popper, except that “confetti” implies plural. Here there is approximately one confett.Even so, the nifty bits soon start to seem compensatory. (When in doubt, hit the big red “Fog” button.) Even the hats wear out their welcome as we wait for a turn in the story that will have some meaningful effect on the cheery, woebegone souls who wear them.That turn never comes. Despite the arrival of a third character played at most performances by a guest star — Cynthia Erivo, Jonathan Groff and F. Murray Abraham so far among them — Bud and Doug are still the same sad sacks at the end as they were at the beginning. Perhaps that wouldn’t be a problem if the show were just 45 minutes long, as it was in its original one-act incarnation, at the Upright Citizens Brigade in 2003. (By 2006, when it ran for a few months Off Broadway, it had grown a second act.) Pythonesque sketch comedy thrives in a tight, humble frame.Without it, the silliness wears itself out. And since the printing press story was never more than a beaten-to-death MacGuffin, that leaves “Gutenberg! The Musical!” as just another satire of musical theater and its eternal hopefuls. Here the problem is not excess but triteness; the tropes of sincere incompetence and pathetic ambition are too familiar, if expertly carried out. They have been flogged so much — and often more wittily, in musicals like “[title of show]” — that they do not respond much to the whip anymore.This problem partly stems from what may have been a deliberate form-fails-function choice to put nothing onstage that would seem more skillful than what Bud and Doug could have written themselves. So the songs, accompanied by a trio called the Middlesex Six, are never more than the dittyish retreads you might expect from an untrained doodler like Bud. And aside from the jokes, which exist only outside of the “Gutenberg” story, and at the expense of the two men within it, this Broadway musical’s book might as well be Doug’s.For better or worse, that’s the writers’ premise — “We tried to come up with, like, what’s a terrible idea for a musical?” King told Alexis Soloski in The New York Times. And you can’t say that premise isn’t maintained with discipline from top to bottom: the dollar-store stage set by Scott Pask, the clumsy high school movement by Nancy Renee Braun and especially the on-the-nose costumes by Emily Rebholz. Gad in a dad tie and Rannells with his argyle sweater vest tucked into his cuffed pants are somehow funny without further elaboration.Alas, everything else does get elaborated: “We fell in love with our own dumb stuff,” King also told The Times.Fair enough, but two hours is a tad long for lovemaking. If I cannot therefore give “Gutenberg! The Musical!” my heart, I’ll at least give it a confett.Gutenberg! The Musical!Through Jan. 28 at the James Earl Jones Theater, Manhattan; gutenbergbway.com. Running time: 2 hours 5 minutes. More

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    ‘Annika’ Review: The Detective Would Like to Have a Word With You

    Nicola Walker plays a cop who works out her issues by talking to the audience in a “Masterpiece” mystery on PBS.A detective whose unit investigates waterborne crimes walks onto a bridge, looks into the camera and says, “Call me Annika.” She then proceeds to chat with the audience about Ahab and his white whale while she watches a murder victim being pulled from the River Clyde.That was our introduction to the British crime drama “Annika,” and through two seasons (the second premieres Sunday as part of PBS’s “Masterpiece”) the heroine has continued to talk to the audience: agonizing over her complicated relationships, thinking through her cases, delivering deadpan ripostes unheard by the other characters onscreen. And in each episode she invokes a literary work — “Twelfth Night,” “Dr. Jekyll and Mr. Hyde,” a Scottish ballad about a kidnapped child — that ties into that week’s story in subtle or, somewhat more often, obvious ways.That might sound like a double deal-breaker, and I clicked away from “Annika” the first time I heard the words “Moby-Dick.” But I knew I would return to it, because Annika Strandhed, the Norwegian-born, Glasgow-based cop, is played by Nicola Walker — an actress whose ubiquity on British television is entirely justified by the wry, layered humanity she brings to all her characters. Walker’s ability to flesh out the emotions lurking beneath self-consciousness and awkwardness makes the first-person conceit of “Annika” not just tolerable but apt and engaging.The prominence of her voice in the series also flows naturally from the show’s source, “Annika Stranded,” a BBC drama podcast about an Oslo homicide detective that was a solo showcase for Walker. (Both shows were created by Nick Walker, who is no relation to Nicola Walker, if you can believe it.) The television show supplies Annika, who relocates to Glasgow to lead a fictional outfit called the Marine Homicide Unit, with a three-person investigative team, a lonely but good-humored teenage daughter and a sometime love interest, who happens to be the daughter’s therapist.That’s a standard complement for a series of this type, and aside from the protagonist’s fourth-wall-breaking, “Annika” is a typical British cop show, in the categories of regional and serio-comic. It boasts lovely Scottish scenery, with side trips to places like Edinburgh and the Hebrides, and spends a lot of its time on or near the water. It’s a dead-body-of-the-week show with a sense of humor that is perched comfortably between dark and twee; it could be a more literate, more serious cousin of “Midsomer Murders” or “Monk.”The homicide cases mostly have the eccentric origins that this subgenre calls for — a tech billionaire drowned in his basement aquarium; a body pulled out of the North Sea encased in a block of ice — and their solutions can seem almost beside the point, an impression that grows stronger in the new season. The forensics sessions and computer searches and sudden flashes of deduction have a cookie-cutter familiarity; the most invigorating aspect of the police work is the show’s fetish for slapstick foot chases, which commence about twice an episode.A little perfunctoriness in the mysteries can be excused, though, given the overall pleasure to be had from Walker’s performance. Annika tends to her team more or less ably, but her work suffers from the strain she puts on herself by making a hash of her personal life. She is buoyant and fun-loving beneath a heavy mantle of fierce Nordic repression, and Walker’s mastery of stumbles, stammers and brief, piercing embarrassment keeps us on the character’s side.Walker has a natural genius for establishing rapport with an audience, demonstrated in domestic melodramas like “The Split” and “Last Tango in Halifax” and in a succession of crime dramas. The best of those was the wonderful cold-case series “Unforgotten,” which she led for four seasons until her character was killed off in an arbitrary and dramatically unsatisfying fashion. “Unforgotten” returned for a fifth season last month (also on “Masterpiece”) with a new detective played by Sinead Keenan, and it was still very good — taken as a whole, it’s superior in writing (by Chris Lang) and direction (by Andy Wilson) to “Annika.” But without Walker, it doesn’t speak to us in quite the same way. More

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    Roberta Pereira to Lead New York Performing Arts Library

    Roberta Pereira, the director of the Playwrights Realm, will lead the library, which is home to more than eight million items relating to music, theater and dance.Roberta Pereira has had a career-long goal to make the performing arts accessible for all.So when she saw a posting for an executive director position at the New York Public Library for the Performing Arts, one of the country’s leading repositories relating to music, theater and dance, she had an immediate thought: dream job.“I believe the arts are stronger when more people can participate,” said Pereira, 43, who will become the first Latino person to lead the institution, which is home to more than eight million items. “And the library’s mission is free access and knowledge for all.”Pereira, currently the executive director of the Playwrights Realm, an Off Broadway theater company devoted to early-career playwrights, will start the position in January. She succeeds Jennifer Schantz, who left the library in 2022 after two years. (Linda Murray, the curator of the Performing Arts Library’s Jerome Robbins Dance Division and the associate director of its collections and research services, filled in as interim director.)Brent Reidy, the New York Public Library’s director for the research libraries who led the search for Schantz’s replacement, said that the library had received dozens of applications, but that Pereira stood “head and shoulders” above the other candidates.She had a track record, he said, of innovation. During her eight years at the Playwrights Realm, the organization became a leader in the field of offering caretaker support to audiences and theater workers, which included matinees with free child care and stipends for employees with caretaking responsibilities of both children and adult dependents. She has produced nine Off Broadway premieres, including Sarah DeLappe’s play “The Wolves,” which was a finalist for the 2017 Pulitzer Prize for drama.In 2017, Pereira co-founded the Artists’ Anti-Racist Coalition, a grass-roots group working to make the theater industry more diverse.“It’s clear that she has dedicated her career in the performing arts to engaging the public, increasing access and focusing on how to make more people part of the theater community,” Reidy said.The performing arts library, located in Lincoln Center, is one of the New York Public Library’s four research divisions, with a collection that includes not only books, but also manuscripts, photographs, scores, sheet music, stage designs, costume designs, video and film.Among its collections are its expansive archive of recorded sound, which includes symphonic recordings, radio plays, political speeches, and its Theater on Film and Tape Archive, which includes more than 8,000 recordings of Broadway, Off Broadway and regional theater productions, such as a filmed performance by the original Broadway cast of “The Phantom of the Opera.” (The archive, which has led to similar efforts at other institutions, received a special Tony Award in 2001.)Pereira, who was born in Brazil, was a classmate of Lin-Manuel Miranda at Wesleyan University, a liberal arts college in Connecticut, where she earned a bachelor’s degree in theater. She later earned a master’s degree in theater management from the Yale School of Drama. She previously worked as a commercial theater producer, including on the Broadway premiere of “Grace,” which starred Paul Rudd, Michael Shannon and Ed Asner, in 2012, and the Olivier Award-winning revival of Stephen Sondheim’s “Merrily We Roll Along” in the West End in 2013.She said she had made frequent use of the library’s holdings over the years. And now, she said, her goal is to tell others about the “undiscovered jewel” on the Upper West Side.“I want to show people that this incredible archive is open to all, not just researchers,” she said. More

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    ‘Billions’ Season 7, Episode 10: Mutually Assured Destruction

    Axe’s fixer skills are tested after Prince issues an order.Season 7, Episode 10: ‘Enemies List’To borrow some terminology from professional wrestling, an art form much beloved by the traders and lawyers of “Billions” (to say nothing of the show’s writers), Mike Prince is a monster heel champion. He is a bad guy at the top of the heap, gold around his waist and his last defeat a distant memory. Seemingly impervious to attack, Prince steamrolls every babyface contender who comes his way. He is an effective villain because he has been booked to be unstoppable — all to better set up the moment when he is stopped.This week’s episode of “Billions” is that moment. And the babyface responsible for handing Prince his first real setback? Bobby Axelrod.It takes some doing to get Axe in position to block Prince’s progress. But eventually he literally blocks Prince’s progress, standing in the man’s way wearing a leather jacket and Slayer T-shirt as the tuxedoed Mike strides to a campaign kickoff party at the Met. (U2’s “Beautiful Day” cuts off so hard the moment Axe appears that your brain will supply the needle-scratch sound effect.) The look of not just surprise, but anger on Prince’s face as he realizes he is being defied speaks volumes.Indeed, Axe defies Prince’s direct order not to make a move against him under the threat that Prince would destroy Wendy’s life. When Wendy signed on as chief executive of that mental health start-up, neither she nor her adviser, Rian, realized Mike had hidden reams of financial misconduct behind the scenes. With her name on the contract, those crimes are hers to own. Decades of prison time are facing Wendy if the truth comes out.With Taylor by his side and Chuck pestering him to come through with his promised aid in the anti-Prince efforts, Axe tries and fails to extricate Wendy through financial means. It isn’t until he takes Taylor’s advice to come up with a play no other Wall Street brain could see coming that he succeeds.Axe figures out a play using a forgotten bargaining chip: the imprisoned son of one of Prince’s Taiwanese business partners. Jailed by Chuck over an NFT scam earlier in the season, Chuck “releases” him to Taiwanese authorities with this maneuver in mind. Axe sets up a prisoner swap, instead delivering the scammer to China in order to secure the release of Derek (Derek Wilson), the mountaineer Prince left to be captured there. More to the point, Derek is the former lover of Prince’s wife, Andy, and he will tell all if Prince rats out Wendy. That wouldn’t just hurt Andy, it would hurt Prince’s chances; as Axe puts it, no one will vote for “a man who couldn’t satisfy his own wife.”So no, the monster heel isn’t down for the count. This is less a victory than a mutually assured destruction pact, in which Axe and Prince have neutralized the people they love most as potential lines of attack. But the behemoth has been staggered for the first time in a long time, and Axe is now back in the United States and free to plot with Chuck, Wendy, Wags and Ira.Things get nearly as cutthroat inside Prince Cap as outside it this week. After confronting Axe with his knowledge of the conspiracy against him within MPC, Prince reveals the company’s new organizational chart to the traders. If the marginalization of Wendy and Wags, and the complete absence of Taylor, weren’t alarming enough, the creation of three new partner slots is announced — good for the group in theory, but bad in practice, as the competition will be brutal.This is music to the ears of a killer like Victor, and he happily swipes a strong idea from the timid Tuk to burnish his own chances. By contrast, Rian, disgusted by how Prince duped her and Wendy, rejects the job when Philip all but hands it to her. Ironically, it’s a pep talk from Victor, who tells her she is afraid of her own killer nature, that persuades her to just walk right in and demand the partnership. Her self-confidence convinces Philip she’s right for it, after all.It’s too bad, really. Just when it seemed like the likable Rian might extricate herself from Mike Prince’s moral morass, perhaps even joining the fight against him, she joins his brain trust. Or is that precisely the idea? Could she be the insider Chuck’s cabal needs, now that Wendy, Wags and Taylor have all been frozen out?Think too hard about “Billions,” and you will be thinking like a “Billions” character before too long, looking for attacks from all quarters at once.Loose change:The use of Slayer’s “Angel of Death” as the episode’s climactic needle drop made my metalhead night. I like how Bobby Axelrod has his own trademark musical genre on this show.In a revealing moment, Kate tells Chuck’s new up-and-comer, Amanda, why she ultimately left the Southern District for the greener pastures of Prince Capital: Unlike Chuck, Prince is honest about who and what he is. So does that mean this Kate, the new Kate, is being honest about who and what she is? Yikes. If you want evidence that learning Chuck’s methods can make you a monster, Kate is exhibit A.“Whimsy has a half life, and you’ve reached it,” Philip tells Rian regarding her general vibe of wisecrackery. I prefer the Rian who laughs off the insult to the one who winds up taking it into consideration.We get a price tag for how much Taylor stands to lose if Prince makes good on his threats: $650 million. That is a price Taylor is willing to pay, which tells Axe an awful lot.A common criticism of “Billions” is that its constant pop-culture references can seem forced. This time around, that’s the idea, as Prince bobbles two separate Quentin Tarantino references during the standoffs with Bobby that begin and end the show. Axe goes so far as to point this out — sure, it’s the show hanging a lampshade on what is either a tic or a signature, but it makes sense.Mike Prince’s Bobby Axelrod impression: not half bad!As Axe’s exile period concludes, it’s worth considering how he continued to live like a winner even after his big loss to Prince. The man’s home is, in fact, his castle, and from there he has built a new financial empire, expanding it like a conquering king reclaiming his rightful territory. His only concessions of defeat were fleeing the United States and leaving Prince unpunished. Now, thanks to Chuck, Axe is back on American soil, leaving just one more item, or should I say person, on his to-do list. More

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    Nicole Scherzinger is Captivating in ‘Sunset Boulevard’

    A stripped-back revival in London, directed by Jamie Lloyd, brings the classic musical into the present day, and gives Scherzinger a career-defining performance.The 1993 Andrew Lloyd Webber musical “Sunset Boulevard” is about a former screen star’s descent into madness. So it seems appropriate that its bravura new West End revival should, in creative terms, itself be a bit mad: reckless and daring, stretching its source material to the limit and beyond.The production, starring the singer Nicole Scherzinger in a career-defining performance, opened Thursday at the Savoy Theater and runs through Jan. 6, 2024. I can’t imagine another London show generating comparable buzz this season.For that, credit the maverick director Jamie Lloyd, whose tightly focused, stripped-back aesthetic is on full view here. Purists may balk at a “Sunset Boulevard” without the visual splendor of Norma Desmond’s baroque Hollywood palazzo, as we have previously seen onstage and in the original 1950 feature film.But Lloyd’s streamlined approach has a power of its own. The cast as often as not wear contemporary street clothes — or sometimes not much at all — and rather than Norma preening in a turban and flowing garments, Scherzinger prowls the stage, barefoot and feline in a black slip. (Scherzinger’s sole previous London stage credit was Grizabella in a perfunctory 2014 revival of “Cats.”)Scherzinger finds a predatory allure in the character that is both captivating and chilling, and it is easy to see why the hapless young screenwriter Joe Gillis (an excellent Tom Francis) succumbs to Norma’s entreaties to help craft a screen comeback as Salome.Joe Gillis (Tom Francis) is the young screenwriter wooed by Scherzinger’s Norma.Marc BrennerOnce she has Joe in her grip and resident in her home, Norma can go in for the (literal) kill: a bloodstained finale of which Salome herself would approve. Keeping watchful eye on the pair are Joe’s girlfriend Betty (the sweet-faced Grace Hodgett Young) and Norma’s butler and ex-husband Max, whom the firm-voiced David Thaxton plays with a glowering mien that, you feel, the character learned from his former wife.The vocals throughout are impressive, and the lyrics’ cynical musings on Hollywood (“This stinking town”) are lushly served by the musical director Alan Williams’s orchestra. In keeping with the somber mood, more frivolous songs like “The Lady’s Paying” have been cut.Scherzinger nails Norma’s two showstoppers — one in each act — shedding sunglasses as she lifts the defiant “With One Look” to the rafters and beyond. That number’s second-act equivalent, “As If We Never Said Goodbye,” sung during a deluded Norma’s return to Paramount Pictures, begins plaintively, even tenderly, before building to a mighty roar. Scherzinger extends her long, sinuous arms in the direction of the audience like talons toward prey.The musical’s London premiere in 1993, and subsequent runs in Los Angeles and New York, were notable for a parade of Normas (Patti LuPone, Glenn Close and Betty Buckley, among them) and for a levitating set from the designer John Napier that was a remarkable engineering feat. Here, a different technology is at play, one suited to the Instagram era, in which everyone is always on show.Hand-held cameras spotlight characters at key moments, their faces projected on a huge screen that broadcasts every emotion (and facial pore). On Soutra Gilmour’s largely bare set, brilliantly lit by Jack Knowles, Scherzinger’s Norma is already impressive. But her image projected above us amplifies her sense of feral grandeur.The production includes handheld cameras that follow key characters around, and off, the stage.Marc BrennerNorma — who was 50 in Billy Wilder’s classic film — is now said to be 40, and was in her prime at 17. Showbiz discards personalities even earlier now, and Scherzinger, 45, who first came to prominence in the 2000s girl group the Pussycat Dolls, has a shivery command over a part that requires her to plunge headfirst into a psychic abyss.The restless cameras also zoom in on Joe, who is followed backstage and out the theater by a live feed as he sings the show’s sardonic title number before returning center-stage in precisely calibrated time for the resounding final note. Nathan Amzi and Joe Ransom’s video design pulls off a real coup with this sequence, though followers of the Belgian director Ivo van Hove will recognize the technique of folding celluloid into the theater.The prevailing intensity extends to the choreographer Fabian Aloise’s tightly drilled ensemble, which suggests a writhing, restless mass of Hollywood wannabes. And Aloise is gifted, in Scherzinger, with a rare Norma who can really dance, and who joins Joe for some sizzling two-steps — even, at one point, doing the splits.There’s fun to be had amid the show’s atmosphere of fury. As the cameras roam backstage, we briefly glimpse a life-size cutout of Lloyd Webber, and a shot of Gloria Swanson, the film’s Norma, playing on TV. The Noël Coward song title “Mad about the boy” is written in lipstick on a mirror in Scherzinger’s dressing room — which is one way of describing our heroine.But for all its nods to the past, this “Sunset Boulevard” belongs to the here and now. There’s not a whiff of nostalgia to the production, which takes an established musical by the scruff of the neck and sends it careering into the modern day.Sunset BoulevardThrough Jan. 6 at the Savoy Theater in London; thesavoytheatre.com More