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    ‘Manahatta,’ Mary Kathryn Nagle’s Play About the Lenape, Comes Home

    The show, which toggles between the 17th century and the early 21st, arrives on the island on which it is largely set.Mary Kathryn Nagle moved to Manhattan in 2010. Back then, she would often run to work along a path that skirted the East River, absorbing the city and its history from the shoreline.“I was interested in learning more about whose lands I was on,” she said.Nagle, a lawyer and a playwright, grew up in Oklahoma, an enrolled citizen of the Cherokee Nation. She had not known much about the Lenape, Manhattan’s original residents, though Lenape tribes (some of whom refer to themselves as Delaware Indians) lived in Anadarko and Bartlesville, not far from her hometown. That year, through contacts at the National Museum of the American Indian in New York, she discovered more, including details of the purchase of Manhattan, which was then part of the Lenape’s homeland, Lenapehoking, by Dutch colonists.This was not long after the 2008 financial crisis. Nagle’s firm, Quinn Emanuel, was engaged in litigation, suing banks implicated in that crisis. The ceding of Manhattan and the subprime mortgage catastrophe began to mingle in her mind, especially once she discovered that Wall Street, a fulcrum of the subprime collapse, was named for the wall built by the Dutch to keep the Lenape out.These dueling histories, recent and long ago, inspired Nagle’s play “Manahatta.” Now in previews at the Public Theater, it will run through Dec. 23. Named for the Lenape word for Manhattan, which translates to “island of many hills,” the drama volleys between the 17th century and the early 21st, and between Manahatta and Manhattan and Anadarko. The seven actors in the cast each play a character in each period. This is the play’s third production, but the first on the island on which it is largely set.“It got really real when we all descended upon Manhattan,” said Rainbow Dickerson, an actress who has been with the play since 2018. “We feel it. We feel it every day.”I met with Nagle, who was nine months pregnant, earlier this month on a warmish Saturday evening just after rehearsal. She had agreed to walk around Lower Manhattan, along streets that pertain to the play. We began on Pearl Street, named, Nagle said, for the mounds of oyster shells the Lenape had left there.Then she moved past Beaver Street, named to reflect the fur trade, and onto Wall Street, where no trace of a wall remained, and then to Broadway, which runs at an oblique angle, reflecting a Lenape trading route. “It is not a street created by the colonizers,” she said.It was dark by then. And any vestiges of the Lenape were long paved over. “At the end of the day, even when you do see grass in Manhattan, it was probably concrete and then changed back to grass,” she said. But she could still feel some remnant, she said, particularly at the island’s tip.Rainbow Dickerson, standing, and Sheila Tousey in “Manahatta” at the Public Theater in Manhattan.Sara Krulwich/The New York Times“They had ceremony, they had prayer at the water’s edge,” she said. “So even though we have changed the outline of the island in terms of where it meets the water, that shoreline is still here.” So is the sun, she continued. And the moon. “We’ve imposed so much on top of this island,” she added. “But in a way nature is still here.”Nagle, 40, has the focused, no-nonsense demeanor one might expect of a lawyer specializing in federal Indian law and appellate litigation, and the occasional flights of lyricism fitting for a playwright. She wrote the first draft of “Manahatta” in 2013, as part of the Public Theater’s Emerging Writers Group. She moved back to Oklahoma in 2015, but the play stayed with her. “Manahatta” had its world premiere in 2018 at the Oregon Shakespeare Festival and was produced in 2020 by Yale Repertory Theater.“Nagle,” one reviewer of the Oregon production wrote, “weaves the stories together skillfully, one mirroring the other, often using the same language, to drive home the point that the American story has always been one of putting commerce above people, especially when those people aren’t white. It’s devastating.”As “Manahatta” evolved, it came to center on Jane Snake, a Lenape econometrics whiz hired by a Manhattan investment bank. (The same actress also plays Le-le-wa’-you, a 17th-century Lenape woman.) Through Jane’s conflicting ambitions, desires and loyalties, Nagle explores questions of ownership and allegiance. Jane reminds her in some ways of herself, a young woman who believed she had to leave Oklahoma to make her way in the world. The character’s choices are not always ones that Nagle, who has since relocated to Washington, D.C., might have made, but it was important to her that Jane felt real and active, not merely the victim of a wider, non-Indigenous world.“Probably every play of mine is critiquing a white system of power that has been forced on us,” she said. “But also, it’s 2023, we’re all living in it now. So how are we responsible? How are we involved?”The director Laurie Woolery has been with the play since its premiere in Oregon. She was initially attracted to the challenge of the play and how it demanded that the actors move back and forth in time without any major change of scene.“I’m really drawn to work that feels impossible to stage,” she said during a recent interview at the Public Theater.But traveling between two eras was only one difficulty. Avoiding stereotypes was just as important. “There’s so many different ways in which we have been depicted in American culture not based on fact, reality or truth,” Nagle said. “If you want to present the truth, you’re doing that in a space where your representation has been not authentic. So you’ve got to deconstruct that before you can fully introduce the authentic, and that’s a challenge.”While there is no Lenape performer among the cast (casting directors would not have asked about particular tribal enrollment during auditions), the production has hired Joe Baker, a co-founder and the executive director of the Lenape Center in New York, as a cultural consultant.Baker has advised the production on matters of costume, props, language and Lenape aesthetics. “We’ve had many conversations about different traditions, different characters,” he said in a phone interview. Asked if Nagle’s play felt truthful to the Lenape experience, he said that it did.“There is clarity there,” he said. “She totally understands the protocol, the practice.”Lenape artists have also contributed some of the show’s props and design elements, including a wampum necklace, which Woolery shared as she led a recent technical rehearsal. “It’s a gift for us,” she said, holding out the three-strand necklace, “to keep us rooted.”Avoiding stereotypes is perhaps slightly easier now than it was a decade ago, when Nagle began her playwriting career. (Her other plays include “Sliver of a Full Moon,” Sovereignty” and “Crossing Mnisose.”) Recent years have brought many more depictions of Native Americans onscreen, often in projects created by or with Native writers and directors. And Native playwrights are experiencing more prominence, too. Nagle mentioned peers like DeLanna Studi (“Flight”), Madeline Sayet (“Where We Belong”) and, particularly, Larissa FastHorse, whose “Thanksgiving Play” had its Broadway debut last season.“The whole landscape has changed,” Nagle said. “It’s not enough. It’s definitely not enough. But we had our first Native woman on Broadway, which is a big deal.”What would be enough?“When we’re as much in the American theater canon as any other group,” she said.Nagle’s ambitions have always been as political as they are literary. If she has a need to tell stories, she also has the canny understanding that stories can be more persuasive than any number of appellate briefs.“In playwriting you can make an argument and force people to listen to it and hear it, in a way that they will never listen to it or hear it in a legal argument,” she said.The arguments here have to do with how history repeats itself and the dangers of making homes into tradable commodities. And as the play began preview performances just before Thanksgiving — the rare holiday that involves Indigenous history, however mythologized — and opens just after, it is also intended as a corrective to previous forms of representation.“My hope with ‘Manahatta’ is that we can provide non-Native Americans with a genuine narrative about Native people that just might supplant one or more of the false narratives American society has ingrained in them,” Nagle said.The significance of telling this particular story only a mile or two from where it happened has not been lost on any of the “Manahatta” cast or crew. “How do we recognize that we are standing on the ground of Lenapehoking and the genocide and forced removal of that tribe?” Woolery asked just before a rehearsal. “That’s a lot to hold.”Baker, the Lenape cultural consultant, was glad to see the play come home. He sees traces of the Lenape everywhere in Manhattan. “Everything you see is Lenape,” he said. “The breath and vitality of this place continues.” He hopes that audiences will learn something of the place’s history and its Indigenous people.“It’s a significant, significant moment,” he said. “And it’s exciting to share this moment.” More

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    Suzanne Shepherd, Actress Known for Playing Mothers, Dies at 89

    After establishing herself as a teacher, she started a prolific screen acting career in her 50s that included roles in “Goodfellas” and “The Sopranos.”Suzanne Shepherd, an influential New York acting teacher who found success in midlife as a character actress, including memorable turns as the mothers of Edie Falco’s character on “The Sopranos” and Lorraine Bracco’s character in “Goodfellas,” died on Friday at her home in Manhattan. She was 89.Her daughter, Kate Shepherd, said the cause was chronic obstructive pulmonary disease and kidney failure.After establishing herself as a stage actress and director, Ms. Shepherd became well known as an acting instructor — her students included Gregory Hines, Bebe Neuwirth and Christopher Meloni — before she began acting in film and on television when she was in her mid-50s.She began her big-screen career with two 1988 romantic comedies: “Working Girl,” in which she secured a role from its director, her old friend Mike Nichols, appearing alongside Melanie Griffith and Harrison Ford; and “Mystic Pizza,” playing an aunt of Julia Roberts’s character. She would accumulate about 40 film and television credits in the decades to come, with maternal roles a signature.In Martin Scorsese’s “Goodfellas” (1990), Ms. Shepherd turned in a fiery performance as a protective suburban Jewish mother who is horrified when her daughter Karen (Ms. Bracco) starts dating Henry Hill (Ray Liotta), a charming young associate of Italian American mobsters from Brooklyn. “You’re here a month, and sometimes I know he doesn’t come home at all,” her character seethes to Karen in a memorable scene in the family’s living room. “What kind of people are these?”Her other films include the John Candy comedy “Uncle Buck” (1989), the Tim Robbins psychological thriller “Jacob’s Ladder” (1990) and the 1997 film version of Vladimir Nabokov’s “Lolita,” starring Jeremy Irons and Dominique Swain.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.We are confirming your access to this article, this will take just a moment. However, if you are using Reader mode please log in, subscribe, or exit Reader mode since we are unable to verify access in that state.Confirming article access.If you are a subscriber, please  More

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    ‘L.A. Law’ Meets Millennials and Gen Z-ers

    Thanks to a splashy relaunch on Hulu, new generations have their first encounter with the soapy, sax-heavy legal drama that made its debut in 1986.“L.A. Law,” an Emmy-winning NBC drama that generated almost constant buzz during its run three decades ago, returned to the cultural spotlight this month when Hulu rereleased its 172 episodes in remastered high-definition format.Until the streaming relaunch, the show was hard to find, existing in DVDs at junk shops and in the depths of Amazon Prime Video. And so, unlike “The Golden Girls,” “Friends,” “Seinfeld” and a few other series from the 1980s and 1990s, it had remained all but unknown to anyone born in the last 40 years or so.In recent days the Styles journalists Melissa Guerrero, Sadiba Hasan, Callie Holtermann and Louis Lucero — all members of the Millennial or Gen Z generations who had never seen “L.A. Law,” much less heard of it — watched the first three episodes on Hulu. They shared their observations with the editors Minju Pak and Jim Windolf, who were fans of the show in its heyday.Produced by Steven Bochco and Terry Louise Fisher, and starring Harry Hamlin (Michael Kuzak), Corbin Bernsen (Arnie Becker), Jill Eikenberry (Ann Kelsey), Jimmy Smits (Victor Sifuentes) and Susan Dey (Grace Van Owen), “L.A. Law” made its debut in September 1986. It was the subject of workplace conversation and countless think pieces, and it won 15 Emmys before the final gavel in 1994.So how does it hold up for viewers in the 2020s? Is it just a time capsule of the Reagan-Bush-Clinton years, or something more? The conversation below has been edited for length and clarity.Louis Lucero It’s “Law & Order,” minus the order. Doozies abound. “You didn’t need a lift — you hardly had anything to drink!” I was thrilled to encounter that charming line at the end of the third episode.Jim Windolf Buzzed driving was apparently not drunken driving in the 1980s.Minju Pak Did anyone else notice the saxophone and all the silk?Callie Holtermann Sorry, I was too busy learning about smoking indoors.Melissa Guerrero And car phones. Someone please bring them back, if only for the aesthetic.JW The sax in the opening credits really sets a mood. Along with the vanity plates.LL That saxophone should be licensed by the A.T.F.!Sadiba Hasan The theme song alone made me want to turn off the TV.MP I do love the depiction of L.A. traffic, which is now decidedly worse. Can I ask the younger people here, was there anything about the show that you liked? Did the office politics horrify you?LL To the second question, a hard yes, obviously. But in spite of myself, there was a lot that I found delightful. It’s always intoxicating to see an analog office, for starters — the visual equivalent of ASMR for the Slack-addled millennial brain.JW It’s hard to imagine what people did in their offices when there’s no computer on the desk.LL People running around with manila envelopes and little slips of paper that say who called? Literally unimaginable. Too cute for words! Did people realize how adorable they were being?JW They did not.MP I did find that network television moved really quickly.MG I appreciated how, from the initial scene onward, the show made the characters’ fatal flaws very apparent.JW The first few episodes pack in a lot of issues we’re still dealing with. There’s a “doozy” factor in how they’re treated, but they’re there. A trans woman; a woman denied a promotion after she sleeps with a partner; bosses botching workplace diversity; and heartless insurance companies. How did all that strike you?SH I was worried that an ’80s law show would have aged terribly, but many of the issues that came up are still very much relevant, like victim blaming in sexual assault cases and racism in the workplace. And while there are lawyers at the firm who are greedy and seemingly heartless, there are also lawyers with a conscience.MG Truthfully, I held my breath when some of these themes came up. It played into the assumption that old TV shows wouldn’t address this well.CH At one point Kuzak says something like, “I don’t always believe my client, but I have to believe in the system.” Every generation rails against “the system” in a way it believes is unique, but I doubt that line is going to draw in Gen Z viewers.Mr. Hamlin, shown here in a scene from “L.A. Law,” is known to some modern-day viewers as the husband of the reality television star Lisa Rinna.Frank Carroll/NBCU Photo Bank/NBCUniversal, via Getty ImagesLL At least once an act break in the first three episodes, I was reminded that today’s progressivism may prove to be tomorrow’s cringe. Obviously, the reveal of Georgia’s trans identity was played for shock, but it’s not difficult to imagine the writers patting themselves on the back for affording the character a nominal bit of dignity of explaining herself on several occasions.JW Before “L.A. Law,” that kind of thing was played for laughs. I’m thinking of Klinger on “M*A*S*H,” or Flip Wilson as Geraldine on “The Flip Wilson Show.” Can we take a look at the style? Did any of the fashion jump out at you?SH So much blonde hair. Blonde hair everywhere.LL And in such different arrangements!MP Did people age worse back then? Or maybe they just dressed old.JW The men’s suits were incredibly roomy.MP I kept hoping for a good tailor to show up.MG Susan Dey’s character reminded me of C.C. Babcock from “The Nanny.” The blonde bob! The pantsuit! The power! Iconic.CH I Googled some of the actors to see if any of them were the Jacob Elordi of their day. And Harry Hamlin was People’s Sexiest Man Alive in 1987!LL Harry Hamlin was a reveallllll. To me, he has always been Lisa Rinna’s unseen, Godot-like husband. The fact that he was as ’80s-hot as promised? Bless up.MG I’m sorry to Jimmy Smits, but he will always be Senator Organa to me — Princess Leia’s adoptive father.JW What does an old show need to make an impression now? Why have “Friends,” “Seinfeld,” “The Golden Girls” and a few others from decades ago hung on in the streaming age?SH A big part of that is, it just needs to be a sitcom. A show that makes you laugh stands the test of time.CH I want to put forth the “Suits” theory. Netflix just had a huge hit with resurging interest in the 2010s legal drama. So I think Hulu tried to say, Hey, we have an even older legal drama. But “Suits” has the advantage of Meghan Markle taking the LSAT over and over.LL Speaking of Jimmy Smits, I just wrapped my second rewatch of “The West Wing”MP Smits is one of those actors who’s the same in every character he plays, but it works. A cop, a lawyer, the president. He always has the same haircut, which I’ve never been able to describe. Is it a mullet? Is it feathered?Jimmy Smits played the brash Victor Sifuentes on “L.A. Law.”Charles Bush/NBCU Photo Bank, via NBCUniversal, via Getty ImagesLL What it certainly is, on this show, at least, is a few inches above a stud earring.MP Yes! Truly subversive.MG I would describe that haircut as, “My Tito’s haircut when they stop caring about their hair and decide they want a motorcycle for their 50th birthday.”LL For the number of micro-, macro- and in-between aggressions poor Victor put up with, he should’ve been able to have his septum pierced, if he wanted.MP Can I ask the younger folks here, what are some of the older shows you’re watching?SH I always turn to “Girlfriends” and “The Fresh Prince of Bel-Air.” Sitcoms! My comfort shows!MG I’m diving into “The Nanny.” I grew up watching that show with my mom, but we didn’t have the luxury of streaming, and the story line was completely out of order.JW So what’s the verdict on “L.A. Law”?CH I liked it more than I thought I would. There are parts that made me go, “Yikes!”, but it helped me understand where soapy dramas, “Succession” included, come from. I doubt I’ll watch more but I don’t feel like “L.A. Law” and its schmaltzy saxophone should be swept into the dustbin of time.LL It’s an artifact. A trapped-in-amber, predictably problematic, genuinely funny artifact, one that I’m leaning toward giving a few more episodes. Even if only to see more memos being jotted down for people “leaving word”! More

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    Stephen Colbert Mocks the Fox News Tradition of Blaming Biden

    “Thanks to Joe Biden’s greed, it’s even more expensive than ever to buy a raw turkey, cover it in stamps, and send it to a relative,” Colbert said.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.Turkey InflationThursday’s holiday was the big topic on “Thanksgiving Eve.”Stephen Colbert focused on Fox News’s coverage of the rising price of raw turkey, saying the network has “a festive tradition over there, and it’s blaming everything on Joe Biden.” This year, it was the former Congressman Jason Chaffetz’s claims that inflation under the president has driven up the price of turkeys and postage stamps.“That’s right. Thanks to Joe Biden’s greed, it’s even more expensive than ever to buy a raw turkey, cover it in stamps and send it to a relative,” Colbert said. “Thanks a lot, Joe.”“I have no reason to doubt Jason Chaffetz other than the fact that I’ve met him. But according to the latest data from the Department of Agriculture, the average cost of a frozen turkey is $1.25 a pound. OK, so if Jason Chaffetz spent — if he spent $90, if he spent $90 at $1.25 a pound, that means he must have gotten … a 72-pound turkey. Jason, Jason, that wasn’t a turkey you put in the oven. For the love of God — for the love of God, where’s your niece?” — STEPHEN COLBERTThe Punchiest Punchlines (Drinksgiving Edition)“Tonight is actually known as Drinksgiving, and a lot of people are going to reconnect with their high school ex. If you watch closely tomorrow, you’ll notice half the parade is just people doing the walk of shame.” — JIMMY FALLON“Of course, the difference between Drinksgiving and Thanksgiving is drinking for fun versus drinking for survival.” — JIMMY FALLON“Yeah, it’s nice to let loose on Drinksgiving, but it’s not good when your friend’s, like, ‘I also celebrate Drinksmas, Drinkakah, Drinkwanzaa, Drinko de Mayo.’” — JIMMY FALLON“That’s right, Thanksgiving is almost here. it’s one of my favorite holidays, but let’s be honest: It can be a little tense. I mean, that’s why for the turkey, I use a dry rub made of crushed Xanax.” — JIMMY FALLONThe Bits Worth WatchingWednesday night’s “Daily Show” co-hosts Jordan Klepper and Desi Lydic investigated the War on Christmas at Fox News headquarters.What We’re Excited About on Thursday Night“Late Night” will be the only show airing on Thursday, with host Seth Meyers’ family as special guests.Also, Check This OutBradley Cooper as Leonard Bernstein and Carey Mulligan as his wife, Felicia Montealegre, in “Maestro.”Jason McDonald/NetflixBradley Cooper directs and stars in “Maestro,” an intimate portrait of the composer Leonard Bernstein. More

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    Joss Ackland, Busy, Versatile Actor on Stage and Screen, Dies at 95

    He was a villain in “Lethal Weapon 2,” C.S. Lewis on TV in “Shadowlands” and Falstaff onstage in “Henry IV” — and had a cameo in a Pet Shop Boys video.Joss Ackland, a self-described workaholic actor who appeared in more than 130 movies, TV shows and radio programs, most notably — for American audiences, at least — as a villainous South African diplomat in “Lethal Weapon 2,” died on Sunday at his home in Clovelly, a village in southwestern England. He was 95.His agent, Paul Pearson, confirmed the death.He was a renowned character actor onscreen, having held memorable supporting roles in movies like the Cold War thriller “The Hunt for Red October” (1990) and the hockey comedy “The Mighty Ducks” (1992). He also earned a British Academy Film Awards nomination for “White Mischief” (1987), a drama set in colonial Kenya. But Mr. Ackland’s true home was the London stage.He was among the actors who provided the firm foundation of English theater during the postwar years, ranking alongside Ian Holm, Maggie Smith and Claire Bloom. Many in that generation, like Mr. Ackland, later found success in Hollywood.A bear of a man with a gravelly voice and a gregarious, opinionated presence onstage and off, Mr. Ackland was prolific and versatile. He played Falstaff, Shakespeare’s great comic character in “Henry IV, Part 1” and Henry IV, Part 2”; the writer C.S. Lewis in the British TV version of “Shadowlands”; and Juan Perón in the original London cast of Tim Rice and Andrew Lloyd Weber’s “Evita” (1978), opposite Elaine Paige in the title role.“I don’t think I’ve made any role my own,” he told The Evening Standard in 2006. “My quality is variation. I’m a hit- and-run actor. I get to do a lot of villains, but that’s because I’m English.”Mr. Ackland was Juan Perón in the original London cast of Tim Rice and Andrew Lloyd Weber’s “Evita” (1978), opposite Elaine Paige in the title role.Donald Cooper/AlamyMr. Ackland could be self-disparaging about his willingness to take work wherever it became available, a predilection driven less by money than a need to be constantly on the move.He came to regret many of his nontheatrical roles, like those in the comedy “Bill and Ted’s Bogus Journey” (1991) and a meaty cameo in the video for the song “Always on My Mind” by the English pop band the Pet Shop Boys.“I do an awful lot of crap, but if it’s not immoral, I don’t mind,” he told The Guardian in 2001. “I’m a workaholic. Sometimes it’s a form of masochism.”He was even ambivalent about his role in “Lethal Weapon 2” (1989) as Arjen Rudd, the oily, racist South African who battles two Los Angeles police detectives, Martin Riggs (Mel Gibson) and Roger Murtaugh (Danny Glover).Rudd, a consul-general dealing drugs on the side, gets away with murder by claiming diplomatic immunity, even at the point where he appears to kill Riggs — just before Murtaugh shoots him in the head.“It’s just been revoked,” Murtaugh says, a punchline that became a catchphrase of the late 1980s, much to Mr. Ackland’s chagrin.“Not a day goes by without someone across the street going ‘diplomatic immunity,’” he said in a BBC interview in 2013. “It drives you up the wall.”Mr. Ackland as the “Lethal Weapon 2” villain Arjen Rudd, the oily, racist South African who battles two Los Angeles police detectives.Moviestore Collection Ltd/AlamySidney Edmond Jocelyn Ackland was born on Feb. 29, 1928 — a leap day — in the North Kensington neighborhood of London. His father, Sydney Ackland, was a journalist from Ireland whose serial philandering kept him largely out of his son’s life, leaving him to be raised by his mother, Ruth Izod, a maid.He gravitated to acting as a child, inspired, he later said, by the mysterious smoke and fog of Depression-era London.“To be in the fog was to be in an adventure where the imagination could stretch itself, allowing me to be anywhere in the world,” he told The Independent in 1997. “Houses and streets would disappear, and a lamppost would faintly emerge from the gloom and become a pirate ship.”He attended the Royal Central School of Speech and Drama in London, paying his way by cleaning barracks for U.S. Army troops stationed there during World War II. He graduated in 1945, the same year he started acting professionally.Mr. Ackland spent decades performing in repertory and small-town theater. In 1951, he traveled to Pitlochry, a small town in the Scottish Highlands, to appear in J.M. Barrie’s play “Mary Rose.” Among his fellow actors was Rosemary Kirkcaldy.Though she was engaged at the time, the two fell in love and married later that year.With a growing family — the couple eventually had seven children — Mr. Ackland despaired of making a career in acting. In 1955, he and his wife, with two infants in tow, moved to East Africa, where he spent six months running a tea plantation in Malawi.But the stage beckoned, and they spent two years in South Africa picking up acting work. The country’s intrusive apartheid regime disgusted them; at one point the police raided their home looking for subversive material and left with a copy of the novel “Black Beauty,” the tale of a horse by Anna Sewell, which investigators thought might be anti-apartheid.After returning to Britain, the couple restarted their careers, even as their family was growing rapidly.One evening in 1963, when Mr. Ackland was performing as the lead in Bertolt Brecht’s “Life of Galileo,” a fire broke out in their London home. Ms. Kirkcaldy, pregnant with their sixth child, managed to get the other five out of the house but broke her back when she leaped from an upper floor.Doctors said that she would miscarry and never walk again; instead, she delivered a healthy child and was on her feet again within 18 months.Ms. Kirkcaldy was diagnosed with motor neuron disease in 1999 and died in 2002. Mr. Ackland is survived by his daughters Sammy Greene, Penny Macdougall, Kirsty Baring, Melanie Ackland and Toni Ackland; his son Toby; 32 grandchildren; and eight great-grandchildren. Another son, Paul, died in 1982.Mr. Ackland in the role of King George V of Britain in a London stage production of “The King’s Speech” in 2012. Ferdaus Shamim/WireImage, via Getty ImagesAfter his wife’s death, Mr. Ackland developed stage fright and stayed away from theater for 12 years, he said. During that time, he edited her diaries, a project she had encouraged him to pursue, and published them in 2009 as “My Better Half and Me: A Love Affair That Lasted Fifty Years.”He returned to the theater in 2012 to play King George V in David Seidler’s play “The King’s Speech” (later adapted as a movie). By then, he had soured on the turns that his profession had taken toward instant stardom and pyrotechnic productions.“They give them all these car chases, the villain dying twice, and they play down to the audience,” Mr. Ackland told Strand magazine in 2002. “But I believe you should never give people what they want. Give them something a little more than what they want and that way they grow up.” More

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    Best Thanksgiving Episodes to Stream: ‘Friends,’ ‘Succession’ and More

    Thanksgiving episodes are an underrated TV staple. Here are some of the best to enjoy while you cook, eat or fade away on the couch.Note: This is an updated version of a list that originally ran in 2017.Preparing for the big binge? Whether you call the upcoming holiday Friendsgiving, Slapsgiving, the Feast of Feasts — or just, you know, Thanksgiving — this year, you can be thankful that there is plenty of TV to keep you company. Join these fictional families and friend groups while they break bread or break each other’s spirits, depending on which feels more comforting as you cook, eat and fade away on the couch. Yes, you may have seconds.‘Friends’Matthew Perry, who died last month, at 54, was the king of many a “Friends” Thanksgiving episode. Or as his character Chandler put it, the king of bad Thanksgivings. Or, as Monica’s mother put it, the Boy Who Hates Thanksgiving. (His disdain for the holiday stemmed from learning about his parents’ divorce one Thanksgiving as a child and vomiting in response.) Gradually, though, Chandler conquered his aversion, bailing out the gang with cheese sandwiches at the first Friendsgiving and later helping to prepare a batch of cranberry sauce (made, in his parlance, of tasty Chanberries). Fans with only enough room for one episode should seek out “The One With the Thanksgiving Flashbacks,” from Season 5. (Streaming on Max.)‘Rick and Morty’For the mad scientist Rick Sanchez (Justin Roiland), Thanksgiving is an ideal time to break into the National Archives and try to steal the Constitution. So what if some other national treasures are destroyed in the process? “Rick and Morty’s Thanksploitation Spectacular,” from Season 5, finds Rick on the outs with federal authorities and fomenting an elaborate scheme to score a presidential pardon. Pretty soon people start turning into turkeys while turkeys turn into humans. Your job, if you choose to accept this episode, is to make sense of all the gobbledygook. (Streaming on Max.)Lena Waithe won an Emmy for writing a “Master of None” Thanksgiving episode that tracked her character’s efforts to come out to her mother.Netflix‘Master of None’This series’s Thanksgiving episode is one of its very best. Shifting the focus from our indecisive hero, Dev (Aziz Ansari), to his lifelong friend Denise (Lena Waithe), it presents a sequence of vignettes following her through two decades of Thanksgiving dinners as she struggles to come out to her mother as a lesbian. Every element of this touching half-hour feels carefully crafted, from Angela Bassett’s emotional guest performance as Denise’s mother to the nostalgic 1990s R&B soundtrack. Waithe won an Emmy for the script — which was inspired by her own family history — becoming the first Black woman to win the award for writing in a comedy. (Streaming on Netflix.)‘Chilling Adventures of Sabrina’For mere mortals, Thanksgiving is a harvest festival. For witches, however, the equivalent Feast of Feasts is a very different celebration, with a very different main course — human rather than avian. In “Feast of Feasts,” from Season 1, the young witch Sabrina Spellman (Kiernan Shipka) is shocked to learn about this barbaric holiday ritual. (“Are we seriously taking about cannibalism?” she asks in horror.) Her rejection of this ancient tradition puts a damper on any festive feelings. (Streaming on Netflix.)‘Bob’s Burgers’A Season 3 episode is titled “An Indecent Thanksgiving Proposal,” but don’t worry — Bob and Linda Belcher’s marriage is safe. The proposal in question comes from the rich landlord, Mr. Fischoeder, who offers the Belchers five months’ free rent for a chaste evening with Linda and the family’s three children, with Bob on hand to cook. Like other schemes on the show, this one is a disaster. But Studio Ghibli fans should look out for a lovely dream sequence that pays tribute to “My Neighbor Totoro.” (Streaming on Hulu.)‘The Sopranos’Most of the episodes on this list are somewhat uplifting and work well as stand-alones. This one, titled “He Is Risen,” won’t make sense if you’ve never seen “The Sopranos,” and it is no more uplifting than any other hour of the show. But if you’re already a Tony Soprano (James Gandolfini) fan, you probably don’t mind a dark holiday tale. This Season 3 episode features a car wreck, a funeral and the beginning of an extramarital relationship, along with a Soprano family Thanksgiving dinner that is surprisingly pleasant, thanks to the conspicuous absence of Tony’s most reprehensible associate, Ralph Cifaretto (Joe Pantoliano). (Streaming on Max.)James Cromwell, left, and Brian Cox in a Thanksgiving episode of “Succession,” which offered extra helpings of recrimination.Peter Kramer/HBO‘Succession’The Roys serve up the usual feast of familial animosity at their Thanksgiving bash. The patriarch Logan Roy (Brian Cox) is especially disruptive, culminating with his lashing out at an innocent child. In “I Went to Market,” from Season 1, party chat includes touchy but relatable topics such as political ideologies and movie selections, but business concerns naturally trump everything. Cousin Greg (Nicholas Braun) has to skip most of the festivities — it seems there are some sensitive documents at the office in need of shredding. (Streaming on Max.)‘black-ish’It’s always fun to watch Laurence Fishburne and Jenifer Lewis on “black-ish,” picking at each other as the divorced grandparents Pops and Ruby. The Season 3 Thanksgiving episode, “Auntsgiving,” threw a third veteran actor into the fray, casting Lorraine Toussaint (“Orange Is the New Black”) as Pops’s older sister, Aunt A.V. — whom Ruby hates. (Streaming on Hulu.)‘Gilmore Girls’Lorelai Gilmore (Lauren Graham) and her teenage daughter, Rory (Alexis Bledel), can barely boil water, but they do love to eat. In “A Deep-Fried Korean Thanksgiving,” from Season 3, they make cameos at no fewer than four different dinners. Rory’s friend Lane (Keiko Agena) offers a meal featuring Tofurky and a budding relationship. The perfectionist chef Sookie (Melissa McCarthy) watches in horror as her husband deep-fries a turkey. Romantic tensions for both mother and daughter are on the menu at the local diner. Lorelai’s parents serve up the usual stew of guilt and resentment. Just like Thanksgiving dinner itself, the episode is a plate piled high with sweet, salty and deliciously tart moments. (Streaming on Netflix.)‘Happy Endings’Midway through the third and final season of this zany hangout comedy, in an episode called “More Like Stanksgiving,” we finally learn how the crew’s resident married couple got together. It turns out that Jane (Eliza Coupe) and Brad (Damon Wayans Jr.) met when he and her friend Max (Adam Pally) were castmates on an unaired season of MTV’s “The Real World” in 2002. A decade later, Max still has the scrapped footage. In just over 20 minutes, the reliably lightning-paced “Happy Endings” pulls off a perfect reality-TV parody and sheds new light on a few longstanding relationships. (Streaming on Hulu.)“Big Mouth” used a turkey dispute to explore issues of generational trauma.Netflix‘Big Mouth’Nothing says love more warmly than a perfectly roasted turkey (or even tofurkey). Such is the lesson learned by Andrew (John Mulaney) in this Season 5 episode. Andrew’s father (Richard Kind) has anger-management issues related to prepping poultry — he believes insulting the bird is the key to keeping its juices inside. Andrew decries this “turkey tyranny” and refuses to eat. In the end, though, he and his father have a heart-to-heart about their troubled family history. Despite the usual gross-out humor, there is a genuine attempt to address issues of generational trauma — and of course the power of sharing food. (Streaming on Netflix.)‘Buffy the Vampire Slayer’Many Thanksgiving episodes sprinkle in references to the holiday’s complicated history. “Buffy” takes the reckoning to an extreme in “Pangs,” from Season 4, in which the bumbling Xander (Nicholas Brendon) inadvertently unleashes the spirit of an Indigenous warrior. As the ghost starts murdering people who disrupted his sacred burial ground, the Slayer (Sarah Michelle Gellar) and her friends debate whether it’s right to kill a “vengeance demon” whose grievances are legitimate. The result is a reasonably nuanced debate about whether Americans are responsible for the sins of their ancestors. (Streaming on Hulu.)‘Gossip Girl’Forget, for a moment, the way “Gossip Girl” fell apart at the end. Its first season was a sublime confection sweetened with glamorous costumes and forbidden love, and tempered by heated conflict. All of those elements come together in the Thanksgiving episode, “Blair Waldorf Must Pie!,” which jumps back in time to compare the previous year’s festivities with those of the present. In the past, the beautiful and troubled Serena van der Woodsen (Blake Lively) got wasted before a dinner with the family of her best friend, Blair Waldorf (Leighton Meester). A year later, Serena has cleaned up and Blair is struggling with bulimia. Although the girls are often framed as frenemies, this unusually sentimental episode is a tribute to the way they take care of each other. (Streaming on Max.)‘South Park’If a long weekend of family togetherness makes you desperate for a triple dose of irreverence, Season 17 of “South Park” has you covered. In a trilogy of episodes that begins with “Black Friday,” a local mall braces for the yearly blood bath that begins as soon as the plates are in the dishwasher. For Cartman, that means assembling an army of pint-size gamers to procure the new Xbox at a deep discount. When a pro-Playstation faction splinters off, South Park’s own “Game of Thrones” breaks out, complete with Kenny as Daenerys and a Red Robin Wedding. (Streaming on Max.)“How I Met Your Mother” turned Slapsgiving into one of TV’s abiding holiday traditions.Monty Brinton/CBS‘How I Met Your Mother’It is a holiday of firsts in “Slapsgiving,” the Thanksgiving episode from the third season of this beloved CBS sitcom. Lily (Alyson Hannigan) and Marshall (Jason Segel) are hosting their first Thanksgiving as a married couple. Ted (Josh Radnor) and Robin (Cobie Smulders) have just broken up and are figuring out how to be friends for the first time. This is the first of three Slapsgivings (the others are in Seasons 5 and 9), named for a bet in which Marshall wins the right to slap his obnoxious pal Barney (Neil Patrick Harris) that culminates in the glorious original song “You Just Got Slapped.” Be sure to read Entertainment Weekly’s oral history of the episode after watching. (Streaming on Hulu.)‘Family Ties’This quintessential 1980s family sitcom outdid itself with “No Nukes Is Good Nukes” from Season 1. As the Keaton kids endure their grandmother’s awful cooking, Elyse (Meredith Baxter) and Steven (Michael Gross) relive their hippie youth at a festive Thanksgiving Day nuclear disarmament protest. Of course, the boomer parents end up in jail and their Gen-X children couldn’t be more mortified. It’s a dated story line, but the episode’s message about standing up for your beliefs never gets old. (Streaming on Paramount+.)‘Adam Ruins Everything’Need some ammunition for semi-friendly arguments around the Thanksgiving table? This animated episode, called “The First Factsgiving,” helps dispel many of the beloved myths that have grown around the holiday, including the role of the Native warrior Tisquantum — commonly known as Squanto — in the original Thanksgiving feast in 1621. And about that date: The celebration of Thanksgiving as a fixed, nationwide holiday didn’t come about until the Civil War — a day of mourning for turkeys everywhere. (Streaming on Max.) More

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    Theater to See in N.Y.C. This Holiday Season

    Christmas classics, comedic musicals and a star-studded Sondheim revival: a guide to the shows to see this season.The holiday season is upon us, which means it’s an excellent time for theatergoers to pack into cozy venues for a feast of the eyes. Our critics have selected a handful of options for tourists and locals looking to catch up on Broadway and Off Broadway shows this holiday season. And we’ve included some other choices as well.For those who prefer to be entertained from home, the Macy’s Thanksgiving Day Parade this year will feature performances by Broadway shows like “& Juliet,” “Back to the Future: The Musical,” “How to Dance in Ohio,” “Shucked” and “Spamalot,” along with an appearance by Josh Gad and Andrew Rannells of “Gutenberg! The Musical!”Other theater-related streaming options include “Dicks: The Musical,” with Nathan Lane, and the 2015 documentary that the “How to Dance in Ohio” musical is based on.Here is a selection of notable shows onstage in New York City.Fun for the Whole FamilyBig Apple CircusStraw hats thrown like Frisbees. Death-defying aerial acts. Dizzying foot juggling routines. All accompany the contortionist, trapeze and tightrope circus classics that spectators young and old have come to ooh and aah at. This year, Big Apple presents “Journey to the Rainbow,” a collaboration with the German troupe Circus Theater Roncalli, complete with humans dressed as polar bears and cotton candy galore. Through Jan. 1 at Damrosch Park, Lincoln Center, Manhattan. Read the review.Christmas Spectacular Starring the Radio City RockettesIt’s a New York City classic. It’s a Christmas classic. The Rockettes are back with sensational high kicks set to state-of-the-art lighting and projections. Little ones will be dazzled by animated trains, ribbons and wintry displays. Their adult companions will delight in a Nativity procession and holiday maximalism. Through Jan. 1 at Radio City Music Hall, Manhattan. Read the review.A Christmas CarolSet in a home built in 1862, in an intimate parlor room, this telling of the timeless Christmas tale stars John Kevin Jones as Charles Dickens. Audience members, surrounded by 19th-century holiday décor and candlelight, will travel back more than a century, to when Dickens wrote the story. The production also features a streaming version. Through Dec. 24 at the Merchant House, Manhattan.Craving Song and DanceSweeney ToddJosh Groban stars on Broadway as everyone’s favorite tall, dark and handsome throat slitter. Opposite the demon barber is a superbly zany Annaleigh Ashford as the murder-accomplice-baker Mrs. Lovett (our critic called her “a brilliant comic for whom comedy is not the end but the means”). The two stars will leave the production after the Jan. 14 performance, so be sure to catch them in full bloody glory before they go. Come for the meat pies and Stephen Sondheim’s gigantic score, stay for the shadowy lighting, which won Natasha Katz her eighth Tony Award. At the Lunt-Fontanne Theater, Manhattan. Read the review.Merrily We Roll AlongJonathan Groff stars alongside Daniel Radcliffe and Lindsay Mendez in this acclaimed revival of the former Sondheim flop, directed by Maria Friedman. Our critic called the show, which sweetly and gravely warns of the dangers of great ambition, “a palpable hit,” with “a thrillingly fierce central performance” by Groff and “high-wattage, laser-focused performances” by Radcliffe and Mendez. Through March 24 at the Hudson Theater, Manhattan. Read the review.Jonathan Groff, obscured, Daniel Radcliffe, aloft, and Katie Rose Clarke in the musical “Merrily We Roll Along” at the Hudson Theater.Sara Krulwich/The New York TimesHere We AreUnderfed and yet very full: Will the people who have it all ever find something to eat? Inspired by two Luis Buñuel films, David Ives’s chic, surrealist musical was one of the most anticipated Off Broadway shows of the year, and a star-studded farewell to Sondheim’s final work. Through Jan. 21 at the Shed, Manhattan. Read the review.StereophonicFive members of a rock band try to record a studio album. That’s the premise, which hinges upon heartache, copious drug use and fragile rock star egos, of David Adjmi’s first New York production since 2013, set entirely in a recording studio. It’s a play, not a musical, so it’s not squarely in the song-and-dance category, but the music, written by Will Butler (formerly of Arcade Fire), is chock-full of captivating pop songs and gripping ballads. Through Dec. 17 at Playwrights Horizons, Manhattan. Read the review.For the FaithfulPurlie VictoriousLeslie Odom Jr. and Kara Young star in Ossie Davis’s raucous 1961 comedy, directed by Kenny Leon, about a charismatic preacher who must outwit a plantation owner to buy and restore the local church. The play exposes racism as laughably absurd in a Broadway revival our critic called “scathingly funny.” Through Feb. 4 at the Music Box, Manhattan. Read the review.Leslie Odom Jr. and Kara Young, center, lead the ensemble cast in a revival of Ossie Davis’s 1961 play, “Purlie Victorious,” at the Music Box Theater.Sara Krulwich/The New York TimesCovenantIn his New York debut, the playwright York Walker’s Southern gothic, directed by Tiffany Nichole Greene, follows a small Georgia town’s reaction to a bluesman’s homecoming. The potent little Off Broadway play, about communing with God and making deals with the Devil, is based on the real-life bluesman Robert Johnson, whose technique inspired rumors that he had traded his soul for musical genius. Through Dec. 17 at Roundabout Underground, Manhattan. Read the review.Nearing ExpirationShuckedIf a cornucopia of puns is your thing, this lowbrow comedic musical about a small-town woman who leaves home to save her corn just might scratch the itch. With a book by Robert Horn, songs by the country music songwriters Brandy Clark and Shane McAnally and campy scenes — including a mini-kickline of plastic corncobs — directed by Jack O’Brien, our critic called the show low humor “but hard not to laugh at.” Through Jan. 14 at the Nederlander Theater, Manhattan. Read the review.Sleep No MoreArguably one of New York City’s crown jewels of immersive theater, the Hitchcock-style take on Shakespeare’s “Macbeth” is set to close on Jan. 28 after 12 years. In an enchanting act of voyeurism, audiences members wear masks — the Venetian type, not the health-protecting kind (those are optional) — and follow characters from room to room, into densely packed apothecary dens, eerie miniature forests and dark, elaborate dining halls. Through Jan. 28 at the McKittrick Hotel, Manhattan. Read the review. More

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    ‘Squid Game: The Challenge’ Is More Depressing Than the Original

    “Squid Game: The Challenge” keeps the slick design of the dystopian drama but loses the point.Late in the first season of Netflix’s “Squid Game” — two-year-old spoiler alert, I guess — an elaborate, deadly contest among 456 needy contestants is revealed to be an entertainment for the viewing pleasure of a handful of crass, wealthy “VIPs,” who watch the gruesome proceedings wearing golden animal masks.You could look at that situation and see a dramatization of the way a decadent system exploits desperate souls. Or you could look at it and say: All that production effort and they couldn’t monetize the show for a bigger audience?For everyone in the latter group, there is now “Squid Game: The Challenge.” The reality spinoff, whose first five episodes premiered Wednesday on Netflix, keeps the drama’s kaleidoscopic set design, its outfits and many of its competitions. It gets rid of the messy murder business — sort of — along with most of the uncomfortable ideas.What’s left is a beautifully designed but empty game box, a creepy dystopia cosplay, an answer to the question of what happens when you take a darkly pointed TV satire and remove its brains.The worldview of the original “Squid Game,” written and directed by Hwang Dong-hyuk, was as subtle as a gunshot. Debtors, criminals and sundry other last-chancers are recruited by a mysterious organization to compete in scaled-up versions of playground games. One player will win a life-changing sum; the penalty for losing is death.Through the protagonist, Seong Gi-hun (Lee Jung-jae), we confront the question of whether one can survive the game, and by extension a ruthless economic system, and still keep one’s soul. The commentary could be blunt and obvious; “there’s a difference between making reference to something and actually illuminating it,” my colleague Mike Hale wrote. But the show had something to say and said it with style.“The Challenge” keeps the style, with the copycat precision of an A.I. image generator. It opens with a montage of colorful re-created “Squid Game” sets and the singsong of the giant robo-doll that presided over the opening game of Red Light, Green Light.That game opens “The Challenge,” with the full mob of contestants, dressed in familiar green track suits, stop-start racing to a finish line. Those who fail, by moving when they are supposed to be frozen, are eliminated faux-execution-style; tiny squibs explode under their shirts, spattering them with black ink. (Apparently a simulated shooting massacre is tasteful as long as you don’t use red.) They fall “dead,” like war re-enactors. The survivors are brought to a re-creation of the cavernous prison-dorm and burst out in cheers. “Best slumber party ever!” one says.The stakes are real, if not life-or-death. For every player fake-murdered, $10,000 is added to the prize pot, represented as in the drama by a giant piggy bank, up to $4.56 million.The idea of basing a real game on a brutal fake one isn’t inherently bad. (The reports of “inhumane” filming conditions are another matter; Netflix has said that “all appropriate health and safety measures were taken.”) Plenty of great reality shows gamify deadly situations. “Survivor” is a stylized shipwreck. “The Traitors,” from the same studio as “The Challenge,” is essentially a murder mystery.The problem with “The Challenge” is symbolized by those little pops of black “blood.” It’s painfully literal, yet colorless.Between contests, the players stay in a hangar-like dormitory as in the original.Pete Dadds/NetflixIt doesn’t want you to forget for a second that you’re visiting the wonderful world of “Squid Game” — that I.P. is too valuable to abstractify. Besides rebuilding the sets, it tries to reproduce characters from the series, finding contestants to fill the roles of hard villains, doomed softies and sympathetic elders. One group of allies dub themselves the “Gganbu Gang,” using the Korean word for a close friend that was a key term in the series.But “The Challenge” shies away from everything in “Squid Game” that cut to the jugular — in particular, the commentary about how capitalism pits ordinary people in gladiatorial combat. Like a lot of reality shows, it peppers in interviews with players who want to win the prize to support family or achieve dreams. But the competition is cast as opportunity, not exploitation. “The Challenge” does not want to bum you out.Why does it matter? Great games don’t just have good mechanics. They have ideas, like Monopoly, the family rainy-day pastime originally conceived to disseminate Georgist concepts about land use and equity. Reality shows have ideas, too, uplifting or cynical or even satirical. A game’s rules are an expression of values; the kind of play that works in a certain game says something about the kind of behavior that works, or should work, in the world.So if you take a reality competition — even a fictional one — and keep its aesthetics while stripping its foundational ideas, you’re left with, in this case, a well-produced, boring version of “Big Brother.” There’s a lot of generic conflict, a lot of stultifying downtime in the bunk room and way too many characters to try to build investment in.And because “The Challenge” wants to reproduce the look and gameplay of “Squid Game” while staying all in good fun (a producer likened it to a theme-park ride based on a movie), it’s a tonal mess.At times, it offers a bleak view of human nature. Players are disdained for cracking under pressure and one contestant, an early “villain” in the narrative, says, “sympathy, it’s only a weakness.” Other times, it is stickily sentimental and heartwarming. Sometimes the show encourages, or at least allows, cooperation; sometimes it forbids it.“The Challenge” does pull off some exciting set pieces. There’s a wicked twist to set up the pairings in the one-on-one marble game (which was also the dramatic high point of the original series). It even manages to improve on the glass-bridge hopscotch game. (Other events, like a board-game-based replacement for the drama’s tug of war segment, feel interminable.) But even at its best, you’re always conscious of watching an escape-room simulacrum of a famous TV show.And that’s where there is a kind of message in “Squid Game: The Challenge,” if an inadvertent one: It is an object lesson in how entertainment can appropriate any artistic or political statement. There is no dystopia so chilling that, with the right production values, you can’t sell it back to the audience as escapist fun.Since “The Challenge” does depend on being escapist fun, though, it can’t embrace this meta idea either. Maybe the biggest loss in this adaptation is the tension between the players and the competition itself. In the original drama, the game was the ultimate villain, and we saw the hero finally rebel against its shadowy makers.In the reality show, I’d expect no such satisfaction. The only way to win is not to watch. More