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    Helen Gallagher, Winner of Two Tonys and Three Emmys, Dies at 98

    She was honored on Broadway for roles in “Pal Joey” and “No, No, Nanette” and then turned to TV, where she won three Daytime Emmys for her work on “Ryan’s Hope.”Helen Gallagher, who parlayed her song-and-dance skills into Tony Award-winning performances in revivals of the musicals “Pal Joey” and “No, No, Nanette,” and who turned to television to play the matriarch on the long-running soap opera “Ryan’s Hope” when theater no longer provided her a living, died on Sunday in Manhattan. She was 98.Her death, in a hospital, was confirmed by Patti Specht, a friend and the executor of her will.Ms. Gallagher was 18 when she made her Broadway debut in 1944, in the chorus of a Cole Porter revue, “Seven Lively Arts.” Over the next several decades, she worked with an A-list group of choreographers, including Jerome Robbins (“High Button Shoes”), Agnes de Mille (“Brigadoon”), Bob Fosse (“Sweet Charity”) and Donald Saddler (“No, No, Nanette”).Ms. de Mille nearly fired her from “Brigadoon” in 1947. “Agnes wanted very lyrical work, and I’d just done ‘Billion Dollar Baby’ and everything came out bumps and grinds,” Ms. Gallagher told The New York Times in 1971.But in 1958, when she played Ado Annie, her favorite role, in a revival of Rodgers and Hammerstein’s “Oklahoma!” at New York City Center, she unexpectedly earned Ms. de Mille’s praise.“She came in and restaged ‘All Er Nuthin’ for me, and she made it a little dance beside the song,” Ms. Gallagher said on the Behind the Curtain theater podcast in 2017.“She sent me an orchid on opening night,” she added, with a note saying, “‘You are truly a star.’”By then, Ms. Gallagher had been a Tony Award winner for six years. In 1952, she had portrayed the bitter chorus girl Gladys Bumps in a revival of “Pal Joey,” the Richard Rodgers-Lorenz Hart musical about a notorious, womanizing nightclub owner, Joey Evans (Harold Lang), who is targeted by Ms. Gallagher’s character and a mobster in a revenge scheme.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Rain Expected at Macy’s Thanksgiving Parade

    Over half an inch of rain could accumulate throughout Thursday in Manhattan.Spectators attending Macy’s Thanksgiving Day Parade on Thursday can expect light, steady rain throughout the event, according to the National Weather Service.Rain will begin before dawn, accompanied by light winds, as the parade travels south through Manhattan, according to William Churchill, a forecaster at the National Weather Service. Rain is expected to end around noon, the same time the parade will come to a close.“We can say confidently it will be more than the average amount for Thanksgiving,” Mr. Churchill said, but mainly because it’s a typically dry time of year.With windchill factored in, temperatures are expected to be in the 30s and 40s. So dress accordingly, and bring a raincoat. (Macy’s said in a statement that spectators should avoid bringing umbrellas.)Early morning rainfall for the area is expected to be less than a tenth of an inch, with a total accumulation of just over a half inch.A light easterly wind of about 10 miles per hour was forecast to become more gusty after the parade, reaching as high as 25 or 30 m.p.h. More

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    Holiday Shows to See in N.Y.C.: ‘Elf,’ ‘A Christmas Carol’ and More

    “Elf the Musical,” inventive spins on “A Christmas Carol” and classic family fare: Here are some of our favorite shows of the season.The end of the year marks the return of eggnog and latkes, gifting and regifting — and holiday-themed shows to bask in tradition, communal spirit and, yes, fun. In New York, we can always count on well-timed offerings on stages of all sizes.One of the biggest, the Marquis Theater, is hosting “Elf the Musical” (through Jan. 4) in which Grey Henson gets the title role “delightfully, entirely right,” according to Laura Collins-Hughes’s review for The New York Times. And then, at the cavernous Theater at Madison Square Garden, Whoopi Goldberg’s Miss Hannigan will do her darnedest to prevent the darling orphan girls of “Annie” from enjoying Christmas at Oliver Warbucks’s mansion (Dec. 4-Jan. 4, with Goldberg joining the cast on Dec. 11).In the middle is the Big Apple Circus, which once again pitched its tent in Damrosch Park at Lincoln Center. The company members may come from all over the globe, but the new show, “Hometown Playground,” is about New York City (through Jan. 5). And don’t overlook the jewel box New Victory Theater, which is presenting “Yuletide Factory” (through Dec. 29) by Cirque Mechanics, a Las Vegas troupe with, as Alexis Soloski described it in her review, “a giddily steampunk aesthetic.”And there is more, so much more — with some selections from around the country because New York can’t have all the fun.From left, Una Clancy, Mary Beth Peil, Kate Baldwin and Christopher Innvar in Irish Rep’s immersive, site-specific production of “The Dead, 1904.”Carol RoseggWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    In ‘Yuletide Factory,’ Cirque Mechanics Manufactures a Family Holiday Show

    It’s Christmas at the sweatshop, but the mood fluctuates between ho ho ho and ho hum.Since the 1840s, some people have complained about the commercialization of Christmas. Others have embraced it. “Yuletide Factory,” a circus show at the New Victory Theater, splits the difference, locating its cheer inside a sweatshop churning out seasonal doodads. Nothing says Christmas like a repetitive stress injury?Cirque Mechanics, a troupe with a giddy steampunk aesthetic, has produced five previous shows at the New Victory. This wordless entertainment is an adaptation, not especially inspired, of its first, “Birdhouse Factory (2008).” The holiday version, conceived by the Cirque Mechanics creative director, Chris Lashua, stages its circus acts on and around the factory floor — and the ceiling and occasionally a back wall. While the performers are all indisputably on the nice list, there’s a certain lack of spirit to the show, Christmas or otherwise. The mood fluctuates between ho ho ho and ho hum.In the first act, the workers arrive at a Depression Era plant. They’re an exuberant bunch, especially Chase Culp’s shambling clown. But their somber boss (Steven Ragatz, also a writer and a co-director) quashes any holiday revelry. (This is the 1930s, which means that human resources departments that can address religious discrimination haven’t been invented yet.) Still, the employees sneak in a rope act (Jeremy Cifonie and Erika Radcliffe) and a contortionist routine (Mariama Kouyate). And the boss might not be such a killjoy after all. In a sweet sequence — and the rare circus act that kids absolutely should try at home — he juggles several balls and then his own hat, briefcase and cane. Alas, juggling skills don’t guarantee solvency and the factory goes under, which allows for an intermission.Still, this is a circus, so bankruptcy doesn’t last long. In the second act the clown has bailed out the factory (too flexible to fail?) and the unusually nimble workers can now celebrate without fear of management reprisal. Some of the subsequent routines too closely echo the ones in the first act, though there is a delightful German wheel number (Cifione again), the only sequence that meaningfully exploits the eclectic machinery that Cirque Mechanics is known for.Apparently it’s hard to be the boss. There are a couple of entr’actes in which the clown, teased by his former supervisor, inclines toward the Grinchy. If this sophisticated critique of the corrupting power of capitalism goes over the heads of some of the New Victory’s littler attendees, they may yet intuit that seizing the means of production is even better with a few back handsprings.Jeremy Cifonie, on the German wheel, in the Cirque Mechanics’ production.Maike SchulzWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Jimmy Kimmel Doubts Trump’s Grasp of Economics

    Kimmel called the president-elect’s plan to hit Mexico, Canada and China with sweeping tariffs “the dumbest thing he’s come up with since Don Jr.”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.Just Tariff-icPresident-elect Donald J. Trump said he would impose sweeping tariffs on all goods from Canada, Mexico and China on his first day in office.As Jimmy Kimmel noted, economists say that would lead to higher prices. “Almost everyone who knows anything about economics believes these tariffs to be a terrible idea,” Kimmel said.“Some say this is the dumbest thing he’s come up with since Don Jr.” — JIMMY KIMMEL“Whoever would have guessed that the mail-order steak salesman who declared bankruptcy six times would be so bad with money?” — JIMMY KIMMEL“If you want to purchase a tie from the Donald J. Trump collection, you’d better get it immediately, or it’s going to cost an extra 10 percent.” — JIMMY KIMMEL“Apparently, Trump’s tariffs on Mexico will cause the price of Modelo and Corona beer to go up. Every MAGA supporter heard and was like, ‘Well, guess it’s time to forgive Bud Light.’” — JIMMY FALLON“So by next year, if you want extra guacamole, it’ll be cheaper to go get it.” — SETH MEYERS“And poor Canada is like, ‘What did we do? I mean, be honest: Is this because of Drake?’” — JIMMY KIMMELThe Punchiest Punchlines (Thanksgiving Edition)“Over the next 48 hours, millions of Americans will travel back to their family homes to be reminded once again of why they left in the first place.” — JIMMY KIMMEL“I read that the most popular time to eat Thanksgiving dinner is between 2 and 3 p.m. It’s strange. It’s like for one day we all become President Biden.” — JIMMY FALLON“Serving dinner at 2 p.m. is a polite way of telling your guests, ‘We’d love to get you out of here as soon as possible.’” — JIMMY FALLON“Luckily, there’s no turkey shortage this year, though. Yeah. I remember the year Biden had to walk up to the turkeys he’d just pardoned and said, ‘Fellas, I’ve got some bad news.’” — JIMMY FALLONThe Bits Worth WatchingGwen Stefani joined Jimmy Fallon and the Roots for a spirited rendition of her hit “Hollaback Girl,” played on classroom instruments.What We’re Excited About on Wednesday NightJennifer Hudson will appear on Wednesday’s “Late Night with Seth Meyers.”Also, Check This OutMattel’s version of Glinda from “Wicked.”MattelThe “Wicked” merchandising juggernaut includes Barbies, Crocs and hair dryers. More

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    Raise Your Glass High to the New Cast of ‘Vanderpump Rules’

    The Bravo reality show is getting an entirely new cast for its 12th season. Lisa Vanderpump, for whom the show is named, will continue at its helm.For more than a decade, the staff members at the West Hollywood restaurant SUR have defined a corner of the Bravo reality show universe in “Vanderpump Rules,” which has followed their cheating scandals, workplace drama and … did we say cheating scandals?But, in the words of Lisa Vanderpump, the proprietor of SUR, “in the restaurant business, one shift always gives way to another.”Vanderpump will be joined by an entirely new group of employees for the show’s 12th season, Bravo said on Tuesday, a final goodbye to fans who have followed as its original stars went from the birthday party dramas of their early 20s to marriages, children and divorces.If this season is anything like the others, the new waiters and bartenders will be obligated to provide gossip and fight in the parking lot of SUR while they’re on the clock. Restaurant work is likely to be minimal.“The last 12 years of filming have been an extraordinary run full of laughter, tears and everything in between,” Vanderpump said in a statement. “I can’t thank enough those who have shared their lives. How I love you all. Cheers to the next generation of ‘Vanderpump Rules.’”The SURvers, as the restaurant’s staff members are known, all started as waiters and bartenders. Some later moved on to other parts of Vanderpump’s operations; many were fired (and rehired, and then fired again). A few moved on to other ventures, including attempts at restaurants and spinoff shows of their own.The “Vanderpump” franchise dates back to 2010, when Vanderpump made her Bravo debut as an original cast member of “The Real Housewives of Beverly Hills,” a role she held until 2019.She got her own spinoff, “Vanderpump Rules,” in 2013, with a cast of characters that have lingered for much of the show’s run, including Jax Taylor, Stassi Schroeder, Kristen Doute, Tom Schwartz, Lala Kent, Ariana Madix and Tom Sandoval. One of the many cheating scandals involving members of that group made Sandoval, who had an affair with a fellow castmate, one of the most hated men in America last year. “Scandoval,” as it was nicknamed, was the shot heard around the reality television universe.But the announcement by Bravo on Tuesday officially ushered in the next wave of reality television hopefuls. It was not immediately clear when filming would begin.“What a thrill it is to build on the legacy of this series by doing it all over again,” Alex Baskin, the show’s executive producer, said in a statement. “With profound appreciation for the original group and their iconic run, we can’t wait for the audience to see a dynamic new group of co-workers and friends make their way through life together.”Alexandra McGuffie More

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    Colman Domingo Makes Sense of ‘The Madness’

    The Netflix thriller uses a murder mystery to explore the dangers of misinformation and conspiracy theories. “It’s this flood of not knowing what to believe,” the actor says.The actor Colman Domingo had recently finished back-to-back shoots for the films “Rustin” and “The Color Purple.” He was not looking to star in a series, let alone a series in which the main character seemingly never stops talking. “I’ll be very honest,” he said. “I was trying to rest.” But when his agent sent him the scripts for “The Madness,” he couldn’t help himself.“I thought, Yeah, this is just too good,” he said.This was on a recent evening, and Domingo had joined a video call to discuss “The Madness,” an eight-episode thriller that premieres Thursday on Netflix. Domingo stars as Muncie Daniels, a CNN pundit who has become increasingly alienated from his family, his community and even his own beliefs. When a white supremacist is murdered and Muncie is falsely accused of the crime, he goes on the run, embarking on a journey that reconnects him with what he values. (It also connects him to television’s current favorite villain: a shady billionaire.)A suspenseful series, set largely in Philadelphia and the Poconos, “The Madness” is a showcase for Domingo and a meditation on the dangers of misinformation, disinformation and conspiracy theories, though some of those theories turn out to be true. Domingo, who is currently shooting a new project in Beacon, N.Y. (he is bad at resting), joined the showrunners Stephen Belber, based in New York, and V.J. Boyd, who called in from Los Angeles, to discuss conflict, repair and why cable news is never the answer. These are edited excerpts from the conversation.Why did you want Colman?STEPHEN BELBER I’ve been a fan since his theater days. I wanted this weirdly beautiful blend of grace and force that Colman brings to everything he touches. It was what Muncie required. There’s a certain bombast to him, but there’s a certain vulnerability. And then remembering that Colman is from West Philly, the universe was speaking to us.V.J. BOYD It was very important that we had someone who had great presence, because this is a show where the protagonist is front and center.And Colman, why did you want to do the series?COLMAN DOMINGO I had questions about our society, about who’s pulling the strings, about disinformation, about why we’re so divided. All these questions that I had, they were uncovering. They were saying, “Let’s bring this to the forefront.” I wanted to be the instrument. I understand this character deeply.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Review: ‘We Are Your Robots,’ Still Tuning Up

    In Ethan Lipton’s musings on A.I., Mozart has a place alongside humpback whales.Are they not men? The members of the onstage combo in Ethan Lipton’s new show are, in fact, robots, despite looking like middle-aged male representatives of the human species. They may play tunes for the benefit of the audience members, but their main purpose, Lipton informs us, is to find out “what you want from your machines, so we can make your lives better.” (Lipton narrates the show and performs lead vocals.) The purpose of the evening, it appears, is for these sophisticated high-tech creatures in gray suits to undergo deep learning.And as the title “We Are Your Robots” implies, our humble servants are respectful of boundaries. “I know, for example, that it is illegal for a robot to tell a human being what to do with their own body,” Lipton says. “Because only other humans are allowed to do that.”That line is sneakily effective because Lipton’s wry delivery and hangdog mien have a way of softening blows and prompting double takes. The agreeable, light-on-their feet songs, have a similar effect, lulling us into the kind of complacent comfort that tech companies gamble on. But taken as a whole, the show, which is directed by Leigh Silverman, feels stifled by slightly monotonous whimsy.Produced by Theater for a New Audience and Rattlestick Theater, “We Are Your Robots,” which just opened at Polonsky Shakespeare Center, is described as a musical. But it is closer to a loosely articulated song cycle that feels like a souped-up evening at Joe’s Pub.Over the past couple of decades, Lipton has carved an idiosyncratic niche of one in the New York theatrical ecosystem with such shows as “No Place to Go” and “The Outer Space.” He is at his best with a firmer narrative structure, as in the zany western “Tumacho,” which had the tough luck of reopening in March 2020 after a short earlier run.“We Are Your Robots,” on the other hand, is held together not so much by its theme as by its retrofuturist space-age aesthetic; a clean-cut art pop redolent of They Might Be Giants and David Byrne’s literate, faux-naïf sensibilities; and Lipton’s turn as a ham-on-wry narrator. (Lee Jellinek did the set, dominated by a stylized visual that recalls both a face and a cassette tape; Alejo Vietti conceived the costumes; Nevin Steinberg handled the sound design.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More