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    What’s on TV This Week: ‘Grown-ish’ and ‘The Old Man’

    One show, on Freeform, begins its fifth season while the other, on FX, wraps up its first.Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, July 18-24. Details and times are subject to change.Monday2022 MLB HOME RUN DERBY 8 p.m. on ESPN. As part of Major League Baseball’s All-Star Week, which includes its All-Star Game and the M.L.B. draft, it will be hosting its annual Home Run Derby. For the past two years Pete Alonso has been the winner of this event and the $1 million cash prize that goes along with it. With Alonso competing again this year, he is the one to beat.SID AND NANCY (1986) 10 p.m. on TCM. This movie, which centers on the Sex Pistols, Sid Vicious and Nancy Spungen, tells a fictionalized tale of the breakdown of the relationship between Sid (Gary Oldman) and Nancy (Chloe Webb). Though the film is somewhat of a love story, the couple’s actual relationship ended in 1978 when Spungen died at age 20 and Vicious died months later of an overdose while awaiting trial for her murder. The New York Times critic Janet Maslin wrote in her 1986 review of the film that “what it does best is to generate odd, unexpected images that epitomize the characters’ affectlessness and rage.”TuesdayFrom left: Nick Jonas, Shakira and Liza Koshy in “Dancing With Myself.”Fernando Decillis/NBCDANCING WITH MYSELF 10 p.m. on NBC. This show featuring viral dancing challenges, a live studio audience and the celebrity judges Nick Jonas, Shakira and Liza Koshy is wrapping up its first season this week. Each episode features 12 contestants who learn short dances, often similar to TikTok dances, and then the live audience members vote for their favorites. “This is a show that is for everyone,” Shakira told The Times for an article in June. “It’s about celebrating the love of dance and personal stories among all people, not just professionals.”Wednesday2022 ESPY AWARDS 8 p.m. on ABC. The ESPY awards are going to be held on Wednesday night in Los Angeles. Steph Curry is stepping into the host role and he is up for three awards. (He has previously won two: Best Male Athlete in 2015 and Best N.B.A. Player in 2021.) The ESPYs announced the nominees in late June and the public voting period ended on Sunday. Other nominees include Tom Brady, Aaron Rodgers and Katie Ledecky.GROWN-ISH 10 p.m. on Freeform. “Grown-ish” is coming back for a fifth season this week, with familiar faces, new faces and minus some characters. Season 4 of the show ended with a high school graduation which was a farewell to six characters: Ana, Nomi, Jazz, Luca, Sky and Vivek. Yara Shahidi (Zoey), Trevor Jackson (Aaron) and Diggy Simmons (Doug) are all returning to the show as their characters move from high school to college. Six new cast members — Matthew Sato, Tara Raani, Justine Skye, Amelie Zilber, Ceyair Wright and Slick Woods — are joining the show. This season will have an eight-episode run.ThursdayPrince during his Purple Rain Tour.Nancy Bundt/PBSPRINCE AND THE REVOLUTION: THE PURPLE RAIN TOUR 8:30 p.m. on PBS (check local listings). On March 30, 1985, at the Carrier Dome in Syracuse, N.Y., Prince took the stage. Though it was previously available in 2017, the video recording of the concert has been remastered. The PBS broadcast of the show features performances of “Delirious,” “1999,” “Little Red Corvette,” and an 18-minute version of “Purple Rain.”THE OLD MAN 10 p.m. on FX. “The Old Man,” based on the novel by Thomas Perry of the same name, is wrapping up its first season this week. The show, which stars Jeff Bridges (Dan Chase), John Lithgow (Harold Harper) and Amy Brenneman (Zoe), follows a man who left the C.I.A. and has since been living off the grid. “The seriousness of the show’s approach to Chase, and Bridges’s excellence in the role, are what set ‘The Old Man’ apart,” Mike Hale wrote in his review for the Times, “but it’s also (through Week 4) a well-above-average if unusually pensive and introspective spy thriller.” The completion of this season has been a long time coming — the show first paused production at the start of the pandemic and then again when Bridges began chemotherapy for lymphoma and contracted the coronavirus while undergoing treatment.FridayKILLER’S KISS (1955) 8 p.m. on TCM. After his feature film debut “Fear and Desire” in 1953, Stanley Kubrick followed it up with this film noir. After a budding romance begins to form between Davey Gordon (Jamie Smith) and Gloria Price (Irene Kane), Gordon must search the city for Price after her evil boss kidnaps her. “Using Times Square and even the subway as his backdrop, Mr. Kubrick worked in an uncharacteristically naturalistic style despite the genre material, with mixed but still fascinating results,” the New York Times critic Janet Maslin wrote in her 1994 review of the film.SaturdaySUPERSTAR RACING EXPERIENCE 8 p.m. on CBS. This show, which aired its first season last summer, is finishing up a second season this Saturday. Every Saturday since mid-June, CBS has aired one race of the six-race, short-track racing series. The season began this year at the Five Flags Speedway in Pensacola, Fla., and finishes up Saturday at the Sharon Speedway in Hartford, Ohio. For the season finale, Dave Blaney, alongside his son Ryan Blaney, will represent Sharon Speedway.SundayJACKASS SHARK WEEK 2.0 9 p.m. on Discovery. Shark Week is back this Sunday and it will kick off with a collaboration with the cast of “Jackass,” for a second year in a row. Last year, the cast members performed stunts with the sharks that led to the guest star Sean McInerney, a.k.a. Poopies, getting bitten by a shark and rushed to the hospital. This year, McInerney is heading back into the shark-infested waters, alongside Chris Pontius, Wee Man, Jasper Dolphin, Dark Shark and Zach Holmes to overcome his fear of sharks. More

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    Billy Crystal’s ‘Mr. Saturday Night’ Will End Its Broadway Run

    The stage musical, adapted from a 1992 film, will close Labor Day weekend after five months at the Nederlander Theater.“Mr. Saturday Night,” Billy Crystal’s musical about an aging comedian trying to reboot his career, will end its Broadway run on Labor Day weekend.The production, which, like many during this challenging time on Broadway, has been facing soft sales at the box office, began previews March 29 and opened April 27 at the Nederlander Theater. The production announced Sunday evening that its final performance will take place on Sept. 4; at the time of its closing, it is expected to have had 28 previews and 116 regular performances.The musical is about a fictional comedian, Buddy Young Jr., whom Crystal has been portraying off and on for decades, first for sketches in HBO specials and on “Saturday Night Live,” and then in a 1992 Hollywood movie. The musical, like the film, was written by Crystal, Lowell Ganz and Babaloo Mandel; it features music by Jason Robert Brown and lyrics by Amanda Green, and is directed by John Rando.Crystal, 74, once again stars as Young, who is a septuagenarian insult comic, employing jokes honed in the Jewish resorts of the so-called Borscht Belt in the mid-20th-century Catskills, trying to reclaim his relevance in a world that has moved on. Crystal had previously succeeded on Broadway with a solo show, “700 Sundays,” that first opened in 2004.“Crystal is utterly in his element performing live,” wrote the critic Laura Collins-Hughes in a review of “Mr. Saturday Night” for The New York Times. “If you are a fan of his, or simply someone who has missed that kind of symbiosis between actor and audience, it’s a pleasure to watch.”The show was nominated for five Tony Awards, including for best musical, book and score as well as for the performances by Crystal and Shoshana Bean, who plays his daughter, but won none. Crystal and Bean both tested positive for the coronavirus in May, and a few performances were canceled; similar health challenges have plagued many shows in recent months.The show has generally been staged just seven times a week — one fewer than the industry standard of eight — and its box office grosses have been middling, and dropping this summer. During the week that ended July 10 — the most recent for which data is available — the show grossed $542,696 for a six-performance week, playing to houses that were 61 percent full, according to the Broadway League.The musical, with James L. Nederlander as lead producer, was capitalized for $10 million, according to a filing with the Securities and Exchange Commission. That money has not been recouped.Crystal is turning from Broadway back to television — he plans next to star in an Apple+ series, “Before,” which he will also executive produce. More

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    Review: In ‘Between the Lines,’ Romance Is Thwarted by Reality

    A new Off Broadway musical, based on the best-selling young adult novel by Jodi Picoult and Samantha van Leer, is uneven but sweet, our critic writes.What a tricky business adaptations are. A musical based on a novel can never be the same as its source material, and it isn’t meant to be. But throw out too many of the original elements and you leave an audience wondering how you lost your way.Case in point: “Between the Lines,” the new Off Broadway musical based on the best-selling young adult novel of the same name, about a teenage romance thwarted by stubborn reality. The novel’s heroine, Delilah, lives in the same world we do, while Oliver, the boy she loves, is a fairy-tale prince trapped inside a book, forced to perform a princess-rescuing adventure each time a reader opens it.He and the other characters spend their lives on perpetual standby, waiting to be called to speak their lines. They are actors, in other words, and everything that happens in Oliver’s world when the book is shut is essentially a backstage drama. But that theatrical setup, so vital to Jodi Picoult and Samantha van Leer’s 2012 novel, gets hardly a glance in the musical, directed by Jeff Calhoun (“Newsies”) at the Tony Kiser Theater.The musical rebalances the story to center Delilah and her troubles. She’s a little older here — 17, not 15 — so her sudden interest in a children’s book is even more peculiar, but then again, she’s lonely. At school, she’s the friendless new kid; at home, she argues with her overwhelmed mother and misses her father, who left them and has a new family. It’s no wonder that her strongest impulse is to lose herself in fantasy.When Oliver starts speaking to her, she thinks she’s imagining it, but he swiftly becomes the ideal boyfriend — if only she could figure out how to bring him into her world.With a book by Timothy Allen McDonald and an innocuous score by Elyssa Samsel and Kate Anderson, “Between the Lines” has significant assets in Arielle Jacobs, who brings a savvy-sweet appeal to Delilah, and Jake David Smith, who makes Oliver a comically good-hearted naïf.“I had a fight with my mom,” Delilah tells him one night, the fairy tale open to the only page where he’s alone and can speak freely. “She loses it every time I mention my dad.”“Ah!” Oliver says, all sympathy. “Was he taken by a dragon?”These two are adorable, and so is Frump (Will Burton), Oliver’s floppy-haired best friend — a human transformed by a curse into a dog, which does not help his chances with the princess he adores, Seraphima (cleverly played at the performance I saw by an understudy, Aubrey Matalon). Also winning: Wren Rivera as Jules, who in the novel is Delilah’s closest friend but here is a fellow outcast she’s only just met.From left, Vicki Lewis, Wren Rivera and Jerusha Cavazos in “Between the Lines.”Richard Termine for The New York TimesThese characters leave you wanting more of them, while the musical spends time on the fractured relationship between Delilah and her mother, Grace (Julia Murney), who is made to look unaccountably drab when all she needs to look is tired. (Costumes are by Gregg Barnes; wigs, hair and makeup are by J. Jared Janas.) Too much oxygen is also given to the popular kids at Delilah’s school, in what feels like an attempt to lure theater’s “Mean Girls” demographic.Jules, who is nonbinary here, isn’t permitted simply to be a cool person the way they might be in life. Instead, the show uses the character as an occasion for teachable moments about what it means to be nonbinary. It’s well intended but demeaning.The musical makes a big deal of Delilah rejecting the fairy-tale notion of happily ever after in favor of shaping a more deeply fulfilling life. But the script forces antediluvian clichés on some of the grown-up female characters. Ms. Winx (Vicki Lewis), the school librarian, is a tragic spinster, warning Delilah not to end up in the same situation; Mrs. Brown (Lewis), the chemistry teacher, “has more plastic in her than the ocean” and is evidently sleeping with the principal. When Queen Maureen (Murney), Oliver’s fairy-tale mother, and the Lady in Waiting (Lewis) trade insults, they go like this: “Spinster.” “Wench.” “Lush.”The musical does nail its very sweet ending, which is different from the ending of the novel. The show also gives Frump, the dog, a darling tap dance (choreography is by Paul McGill), and has fun with its book-lined set (by Tobin Ost).But one of the show’s most enchanting visual effects — tableaus of Oliver and other fairy-tale characters upstage, as if illustrated on the page — has an unfortunate flaw: Faintly behind the scrim, we can see the actors clambering into and out of position. It doesn’t seem deliberate, just distracting. (Lighting is by Jason Lyons; projections are by Caite Hevner.)For Delilah and Oliver to be together, it seems, they need to change the story he’s in so that they can follow their own narrative. “Between the Lines,” then, is an empowerment musical about using the agency you have to shape the existence you want.This show’s creators certainly have used their own agency to rewrite a story. Alas, for them and the audience, the results are decidedly mixed.Between the LinesThrough Oct. 2 at the Tony Kiser Theater, Manhattan; betweenthelinesmusical.com. Running time: 2 hours 20 minutes. More

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    Jak Knight, Known for ‘Big Mouth’ Netflix Series, Dies at 28

    Mr. Knight, who was a stand-up comedian, died on Thursday in Los Angeles, his family said.Jak Knight, a stand-up comedian, writer and actor known for his role on the animated Netflix series “Big Mouth,” died on Thursday in Los Angeles. He was 28.His family on Saturday confirmed his death in a statement that did not provide a cause of death.Mr. Knight had recently finished filming as an actor in the movie “First Time Female Director,” written and directed by Chelsea Peretti.Starting in March, Mr. Knight starred with Chris Redd, Sam Jay and Langston Kerman in the Peacock series “Bust Down,” which he also helped to create. He was also an executive producer on the HBO talk show “Pause with Sam Jay” and was nominated this year for a Writers Guild of America award for his work on the show.From 2017-21, he was a writer and producer for the hit animated sitcom “Big Mouth” and voiced the character Devon. Mr. Knight worked as a writer for the ABC comedy “Black-ish” from 2019-20. His 30-minute Netflix stand-up special aired in 2018 as part of “The Comedy Lineup” series.He was named a 2014 Comedy Central Comic to Watch, a 2015 New Face at the Montreal Just for Laughs Festival and an L.A. Comic to Watch by TimeOut in 2018.He opened for various stand-up comedians, including Dave Chappelle, Joel McHale, Eric Andre, Moshe Kasher and Hannibal Buress.Details about his surviving relatives were not immediately available.As news of his death spread, tributes to Mr. Knight appeared on social media.The comedian James Adomian said on Twitter that whenever he was performing with Mr. Knight, he knew it would be a “wildly funny night.”“He was winning big, all of it well deserved, so witty and memorable every moment on stage and off,” he wrote. More

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    Medieval Times Employees Vote to Unionize in New Jersey

    The horsemen, courtiers, stablehands and other performers at ye olde New Jersey tourist attraction formed a new kind of medieval guild when they voted to unionize.LYNDHURST, N.J. — In 11th-century Spain, a nobleman trying to put his hand up the queen’s skirt after a royal feast might be subjected to medieval torture methods.But at the Medieval Times just off Route 3, dealing with that kind of behavior has been accepted as part of the job for too long, said Monica Garza, one of several actresses who plays the queen at the dinner-and-a-tournament attraction.Garza said management made her feel like a “diva” for requesting additional security protocols after she pointed out increasingly bold behavior from guests. It was only after an incident in which a rowdy ticket holder got close to her throne and tried to shout into her microphone, Garza said, that management installed a chain to block access to her.The desire for bolstered security and other safety measures at the castle — where falling off horses can be part of the job description — was one reason that queens, knights, squires and stablehands at the Lyndhurst castle voted on Friday to unionize.The unionization effort, first reported by The Huffington Post, prevailed on Friday, when the employees voted, 26 to 11, to join the American Guild of Variety Artists. The medievalists will join a wide array of performers represented by the guild, including the Radio City Rockettes, some circus performers, and the character actors who perform at Disneyland — including Mulan and Aladdin, for example — in California.The employees are also seeking higher pay (Garza receives $20 per hour, and squires start at about $14 per hour), and for higher-ups to treat them more like skilled workers — trained stuntmen who perform intricate fights with lances, swords and axes, and experienced actors who do more than just read lines. Medieval Times management did not respond to requests for comment.A knight, Sinan Logan, with one of the horses backstage in 2007. Sylwia Kapuscinski for The New York Times“A huge point of the union is just basic respect,” said Garza, 25, a trained actor and self-described history nerd. “People will always exploit you when it’s something you love, because they know you’ll do it for nothing.”Many performers ultimately fall in love with the job, even if they didn’t initially dream of working at the concrete castle, with its vast hall of arms and seemingly endless supply of tomato bisque. The two-hour shows are staffed by a motley crew that includes an ex-Marine, an erstwhile Elton John backup singer, a musical theater student turned stuntman, a former zookeeper and an actor known for his voice work on the video game “Grand Theft Auto.”“We are a bunch of misfits,” laughs Sean Quigley, 33, the backup singer who is also a classically trained actor from London, giving him no need to fake a British accent. (The show is technically set in Spain, but New Jersey audiences aren’t picky.)Read More on Organized Labor in the U.S.Apple: Employees at a Baltimore-area Apple store voted to unionize, making it the first of the company’s 270-plus U.S. stores to do so. The result provides a foothold for a budding movement among Apple retail employees.Starbucks: When a Rhodes scholar joined Starbucks in 2020, none of the company’s 9,000 U.S. locations had a union. She hoped to change that by helping to unionize its stores in Buffalo. Improbably, she and her co-workers have far exceeded their goal.Amazon: A little-known independent union scored a stunning victory at an Amazon warehouse on Staten Island. But unlike at Starbucks, where organizing efforts spread in a matter of weeks, unionizing workers at Amazon has been a longer, messier slog.A Shrinking Movement: Although high-profile unionization efforts have dominated headlines recently, union membership has seen a decades-long decline in the United States.Taking orders from their corporate headquarters in Texas, the Lyndhurst shows are engineered to follow the same structure each night. Visitors here put on the same paper crowns and eat the same four-course meal as in Atlanta and Baltimore. The queens are paid to say the same lines as in the company’s other nine castles, where a reported 1.5 million guests visited last year.“Good nobles, welcome to the hall of my forefathers,” Garza says as she rides atop a white Andalusian into an arena of shrieking children wielding light-up swords.The queen hasn’t been in charge of the realm for long. The show had always cast a king as the lead, but about five years ago the company rewrote the script, putting a queen on the throne to accommodate requests for more substantive roles for women.The new story goes something like this: After inheriting the realm, the queen stages a tournament in which six knights on horseback compete for a vaunted title, but her power is threatened by a sleazy adviser who plots to marry her off. The dialogue is often drowned out by the aforementioned shrieks and the bustle of the “serfs and wenches” (Medieval Times-speak for waiters), who are known to end the evening with, “Cash or card, milady?”For the actors, who can perform the same script several times a week, year after year, the lines start to feel tattooed on their brains — so they find ways to entertain themselves.Paper crowns have long been de rigueur at the castle, as seen in 2007. Sylwia Kapuscinski for The New York Time“I’ll do a show where I’m pretending I’m secretly in love with the queen; I’ll do a show where I’m secretly in love with one of the knights,” said Quigley, who plays Lord Marshal, the show’s emcee. “In order to keep it fresh, you can tell a different story in your head.”Quigley, who auditioned for a job at Medieval Times after struggling to make a smooth transition between London’s West End and New York’s theater scene, also amuses himself by assuming various accents. He’s tried a cockney drawl, performed the whole show as if he were Sean Connery and put on a voice like Jon Snow from “Games of Thrones” — it was only when he tried doing the entire performance with a lisp that the sound department sent a runner to tell him to cut it out.For Christopher Lucas, the video-game voice actor who has also appeared in daytime soap operas, his improvisational frisson comes during a scene where, as the queen’s slimy adviser, he goes on and on about his adoration for oranges from Valencia in an oration that verges on the unhinged. For reasons that even Lucas can’t quite understand, the audience loves it, sometimes starting a chant — “Oranges! Oranges! Oranges!” — and bringing him fresh fruit on their next visit.“As a performer, these are the types of things you live for,” Lucas said.Ultimately, the enterprise of Medieval Times, which started in Spain and came to the United States in 1983, revolves around the knights, who parade around the arena on horseback before jousting and dueling for the queen.One of New Jersey’s most veteran knights, Antonio Sanchez, 31, had grown disillusioned with the idea of a long-term career in the U.S. Marines when he saw on Facebook that Medieval Times was hiring. On a whim in 2014, he drove to the Lyndhurst castle, walked into the horse stables, and soon, he was mucking out stalls and saddling up the steeds before showtime.“From the back of the stables, you could hear the crowd roaring,” Sanchez said, recalling the moment he started dreaming of becoming a knight.To get the job, no experience with horses is required. As knights’ apprentices, the men undergo hundreds of hours of training, learning both how to ride and how to roll off into the sand safely when rival knights “knock” them off.Employees at the castle in Lyndhurst, N.J., are now unionized.Amir Hamja for The New York Times“I don’t think I had ever been face to face with a horse before,” said Joe Devlin, 28, who started as a squire after he returned home from a stint as a touring musician and was in desperate need of a job.Protecting themselves with aluminum shields, the apprentices learn fight choreography that will gradually become committed to muscle memory.Still, accidents happen. The fact that the show is dependent on a stable of about two dozen horses adds an element of constant danger, said Purnell Thompson, a stablehand who was hired after losing his job taking care of farm animals at a local zoo. In an arena of boisterous revelers, there are many potential triggers for a horse to spook, including if audience members flout the rules and bang their metal plates and bowls onto the tables.Once, when Devlin was in training, he fractured his ankle learning how to jump off a horse. And Jonathan Beckas, a knight of two years, has dealt with an injured knee and two head injuries, including one that involved taking a wooden lance to the head. (Full-time workers receive health insurance.)One reason the knights are unionizing, said Beckas — a 27-year-old trained stuntman who is paid $21.50 per hour, up from $12 when he started working as a squire — is that they feel acutely underpaid considering the risks they take at work. “I am a knight, but I’m also a human,” he said.This isn’t the first time a union vote was held at this castle. There was a similar effort in 2006, where complaints largely centered around a lack of job security and fears that squires were becoming knights too quickly. That vote narrowly went against forming a union.Even before the vote on Friday’, employees said, they were seeing changes. After news of the unionization effort went public, garnering support from Gov. Phil Murphy, management installed a more robust barrier to her throne, Garza said.Now, the knights have bargaining power, and they plan on using it.“Being a knight is every little kid’s dream,” Sanchez said. “But I got older, and fun doesn’t pay the bills.” More

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    Using Comedy to Push for Abortion Rights

    Lizz Winstead, the “Daily Show” co-creator, has marshaled her contacts in the standup world to help supporters turn protest into action.“Things are awesome — never better!” joked Lizz Winstead, the comedian, producer and abortion rights activist. “Sleeping well; no diarrhea. Things are awesome.”Things are decidedly not awesome, but comic misdirection might as well be oxygen for Winstead, who has banked her career on satirizing politics and media and calling out hypocrisy, as the co-creator of “The Daily Show” and a host and director on the now-defunct left-wing radio network Air America. For most of the last decade or so, though, she has been singularly, steadfastly focused on one issue, abortion. Her preferred method for delivering her message is the variety show: a little schtick, a little song, a little taboo talk.“Don’t be ashamed of having an abortion,” the comedian Joyelle Nicole Johnson said onstage at “Bro v. Wade,” a benefit show in Brooklyn that Winstead organized recently with her group Abortion Access Front. “Maybe be ashamed of how you got pregnant. I got pregnant the classy way: On the floor. On an Amtrak train. In the handicapped restroom, babeeey!”Joking about abortion is nothing new; George Carlin went there, among many others. But Winstead’s goal is sharper: with righteous fervor and a Rolodex of comic all-stars, she leads a nonprofit that uses unexpected tools — like humor and men — to advocate for abortion as health care and as a fundamental human right.She told her own abortion story on a Comedy Central special in 1992, and in the decades since, has been warning, on stages across the country and in social media campaigns, that reproductive rights were in jeopardy. Long before the Supreme Court overturned Roe v. Wade last month, Abortion Access Front was preparing. Now, it is mobilizing as never before: On Sunday it will host “Operation Save Abortion,” a livestreamed daylong training session, with more than 60 partners and 25 panelists from local and national care, funding and policy organizations, and secure ways for viewers to plan direct, on-the-ground action. It will be capped off by a set from Johnson, a board member and ride-or-die touring performer, who lately has become accustomed to delivering punch lines to an audience that has spent the day weeping.Joyelle Nicole Johnson, left, with Winstead, is a board member and ride-or-die touring performer for Abortion Access Front. Nina Westervelt for The New York Times“Politicians aren’t going to save us,” Winstead, 60, said. Laughter won’t either. But with her network of grassroots advocates, abortion providers and entertainers, she hopes to change the narrative around abortion, eliminate the shame and give newly fired-up supporters the tools to get involved. “If people have to march one more time, and rage and feel helpless and hopeless, they win,” she said of her anti-abortion opponents. “We need to give people who are, like, ‘What can we do?’ an answer,” she added.That includes the people responsible for 50 percent of a pregnancy — men. On the eve of Father’s Day last month, Abortion Access Front produced a “Dads for Choice” video starring W. Kamau Bell, the comedian, CNN host and commentator, and inviting men to consider who bears the monetary costs of contraception: “Nobody ever got pregnant from a vibrator!”“The more complicated the issues are, the more humor can break things down to their basic points, and clarify things,” Bell said. Especially for topics that have traditionally been deemed uncomfortable, “humor can invite people in.”Why might comedy be an especially effective tool now? “Well, the other stuff hasn’t worked,” said David Cross, who was part of the all-male “Bro v. Wade” lineup. “Look where we find ourselves.”Abortion Access Front performances feature sketch comedy; music; standups like Sarah Silverman, Michelle Buteau, Jenny Yang, Aida Rodriguez and Negin Farsad and notables like the writer Dan Savage and filmmaker Mark Duplass; and on the road, conversations with local abortion providers, to highlight their needs. Even pro-abortion-rights crowds are often edified and galvanized, according to audience surveys collected by a researcher from the University of California, Los Angeles.“To give you the joy and then the information and then give you something to do, that trifecta of an evening is magic,” Winstead said. Beginning in 2016, the showcases toured annually across dozens of cities, including in states hostile to abortion.David Cross performing at “Bro v. Wade.”Nina Westervelt for The New York TimesOne of the group’s messages is that everybody can find a way to contribute; abortion rights supporters need not march in every street protest or continually reach into their overstretched wallets. “If you have 10 minutes a month to give, I can give you something to do that’s meaningful,” Winstead said. “And I don’t want you to feel bad that that’s all you can give. Life is too messed up right now.”At one clinic, in Huntsville, Ala., Abortion Access Front and its volunteers planted hedges out front, to help block anti-abortion protesters. In Detroit, at the request of another clinic, they threw a block party as a gesture of welcome and gratitude to the community.“For a lot of these folks, in the only clinic in their state, they feel really isolated,” said Amy Elizabeth Alterman, an abortion scholar, ethnographer and public health researcher at U.C.L.A. Out of safety concerns or for social reasons, “many abortion providers don’t tell friends and family what they do.”Winstead’s organization, which has a full-time staff of 10 and many volunteers, served as a much-needed balm. “When a band of feminists explodes out of a van, wearing pro-abortion swag and saying, ‘Thank you for what you do. What can we do and how can we celebrate you?’ it’s often very emotional,” Alterman said. “Sometimes providers cry.”Winstead and the group are not trying to reach across the aisle to change anti-abortion evangelists’ minds. Since she became outspoken on the issue, she has personally experienced a backlash. “My parents, when they were alive, got calls constantly saying, your daughter’s a baby murderer,” she said. They were Catholic — “it really scared them.” Her shows were boycotted; old employers were called in efforts at intimidation. She “paid a lot of money,” she said, to erase her personal data from the internet.Now, “there’s no place I can get fired from — come at me, I don’t care,” she said. Fomenting any cultural shift requires real dedication, said Dean Obeidallah, the comic and radio host, who was on the “Bro v. Wade” bill and performed at Winstead’s first abortion-rights benefit a decade ago. “I can tell you from years of doing comedy, and trying to dispel stereotypes about Arab Americans, it’s never a light-bulb moment,” he said. “For people on your side already, you have to make them feel like they’re in the right place. For people who aren’t on the right side, or even have hate, it’s chipping away.”“To give you the joy and then the information and then give you something to do, that trifecta of an evening is magic,” Winstead said of her group’s performances.Nina Westervelt for The New York TimesFor those in the Minnesota-born Winstead’s orbit, it’s not surprising that she rose from a politically minded standup to an activist leader. “She’s just one of those — you meet them throughout life — boundless energy, high-strung, talk very quickly, gesticulate wildly, kind of people,” said Cross, a friend for more than 30 years.Johnson, the comic who has been with the organization since it started, said, “I think she’s a non-somniac, like Obama’s a non-somniac, to be able to do all the things she does. Her brain is constantly worrying — since 2016, her hair has turned white.”Even for Abortion Access Front, whose allies long knew that reproductive care and women’s rights were under attack, the weeks since Roe v. Wade was overturned have been, as Winstead said, gut-churningly surreal and destabilizing. “I’ve always felt unsafe in this country,” said Johnson, who is Black, “but now it’s almost a slapstick level of unsafe. It’s chaos.”Winstead said, “This is almost our last shot, because we’re burned out — and that’s by design.”But this moment has also sharpened activists’ focus, and expanded their tent. Since Roe was overturned, “I talk about it every chance — you’re going to hear abortion, abortion, abortion out of Joyelle’s mouth,” Johnson said. “I do it for the women in the audience who are not as liberated as me, those women who cannot tell their closest family members. I hope it liberates some people.” Viva Ruiz, a performer and activist whose group, Thank God For Abortion, is involved in the training session Sunday, said, “Everybody needs to use their way — the more variance there is, the more tactics there are, the more successful we can be.” She added, “The thing is, to just not stop. To keep showing up.”Together, Winstead agreed, “we are more motivated to fight and stay in the fight. And be relentless.” More

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    in Theater

    Review: In ‘Sex, Grift and Death,’ One-Acts That Test Perceptions

    PTP/NYC, celebrating its 35th repertory season, returns to New York with short works by Steven Berkoff and Caryl Churchill.Two strangers on a park bench by the beach, partnering in a vicious dance of seduction. A woman from a family of swindlers, lying her way through dates with a wealthy new beau. Mourners at a funeral, and the deceased man himself, facing the frightening notion of the future and the afterlife to come.These scenarios, explored in three short, wily plays — “Lunch” (1983), by Steven Berkoff, and “Hot Fudge” (1989) and “Here We Go” (2015), by Caryl Churchill — create a triptych about the ways we love, lie or steal, and how we may act when the realities of the world don’t suit our expectations. Produced by PTP/NYC (Potomac Theater Project), the one-acts are being staged together at Atlantic Stage 2, where they recently opened under the title “Sex, Grift and Death.”In the first play, “Lunch,” directed by Richard Romagnoli for this New York premiere, a lonely salesman (Bill Army) spots a woman (Jackie Sanders) sitting on a park bench. The man approaches and begins an exchange — verbal but also physical, a pantomime of sex and combat — that reveals the primal urges that underlie courtship rituals.Army makes a virtue of his character’s sleaziness, so that even his outpouring of distasteful stream-of-consciousness thoughts, mixed with his desperate cajolery and odious asides, take on a kind of charm as he conspiratorially winks and nudges in the audience’s direction. Sanders’s character is aloof — calculating and willing to play the mating game but only on her terms. She’s both a player and an umpire, engaging him one moment and enforcing imaginary calls the next. Their verbal attacks feel like barbarous blows: “Your expressions are the buried side of a stone, moving with strange fetid life,” she fires at him. He describes her as a “lump of fornicatory stew.”A British playwright, director and actor, Berkoff is a kind of Shakespeare of invective, writing with a savagery of scorched earth warfare but also an alluring eloquence and imagination. A mad scramble of metaphors that activate the senses, Berkoff’s text for the two characters contains such indelicate imagery as “various succubi and incubi swarming” in a woman’s underwear, and boorish men in suits who “stream out like diarrhea” from their offices at 5 p.m.Berkoff’s script is written in a kind of speedy Morse code with asides, dashes and ellipses, all delivered in an unrelenting pace onstage. Under Romagnoli’s direction, the play moves like a speeding train — so fast that it throws you off, making it hard to get back onboard, which is unfortunate, given the compelling content and performances. Romagnoli incorporates physical theater — the kind of interpretive range of movement that characterizes much of Berkoff’s work — but even the more daring choreography and tableau, like the woman ripping open her shirt or straddling the man like a pony on a horse ranch, feels tame in comparison to the language.There’s a similar lack of punch in the Churchill works, both of which felt narratively incomplete and directionally imbalanced. “Hot Fudge,” the second play of the evening, begins with a family drinking in a pub and debating the best strategy for hustling banks out of money. Sonia (Molly Dorion) and her partner Matt (Gibson Grimm) lay out a convoluted scheme of deposits and withdrawals under fake names, but Sonia’s father, the cantankerous Charlie (Chris Marshall), praises the old tried-and-true stickup while his sloshed wife (Danielle Skraastad) makes crude jokes.This band of thieves is fascinating — enough to carry a whole play — and the perfect example of Churchill characters, who are often eccentric and inhabit unpredictable worlds. But there’s a bait and switch: The introduction of these relatives only for them to be forgotten doesn’t surprise as much as the shift to the character with the least amount of lines in that first scene — Sonia’s sister Ruby (Tara Giordano), who is thinking of getting out. Still, that doesn’t mean Ruby’s coming clean to her suitor, Colin (David Barlow), who thinks she’s the owner of a successful travel agency. Instead she doubles down on the lies as they go clubbing with his pretentious rich friends.From left: Chris Marshall, David Barlow, Tara Giordano, Teddy Best and Wynn McClenahan in Caryl Churchill’s “Hot Fudge,” directed by Cheryl Faraone.Stan BarouhThe last play, “Here We Go,” in its New York premiere, is similarly missing some bite. It begins at a funeral with several of the chatting mourners gossiping about petty matters and occasionally describing, in abrupt asides, when and how they’re going to die — whether in their sleep, by suicide or in a homicide. Then we hear from the dead man (Barlow, who gives a convincing performance, particularly in the ending), in a breathless existential monologue about life and death. The last scene, a solemn yet matter-of-fact couple of minutes of pure realism, is performed in total silence.As with “Hot Fudge,” this play seems at first to pull us toward the mourners, and their fascinating moments of prophecy, but quickly disposes of them. Cheryl Faraone, who directs both Churchill plays, tackles them with an even hand, though the tone and pacing could do a better job of helping to steer us to an understanding of each play’s priorities. As presented, it is hard to discern which moments and characters should most grab our attention. And Churchill’s overlapping dialogue could be smoothed out in some of the production’s choppier moments. (Under tighter direction it can move in a satisfying rhythm of interrupted sentences, outbursts and exclamations.)This production of short plays, which runs just under two hours, has hints of the remarkable among the more conventional moments. PTP/NYC (celebrating its 35th repertory season) goes for understatement here, aided by Mark Evancho’s minimal staging (one large projector screen; a bench and a lamppost in “Lunch”; and three smaller vertically hung projector screens, some stools and chairs for “Hot Fudge” and “Here We Go,” all on a stage roughly the size of a small New York City apartment living room).Still, the text could be enlivened, even challenged, with more forceful direction. A night of sensual play, manipulation, machinations and tragedy courtesy of two fiery playwrights like Berkoff and Churchill should never leave a room as cool as it does here.Sex, Grift and DeathThrough July 31 at Atlantic Stage 2, Manhattan; ptpnyc.org. Running time: 1 hour 55 minutes. More

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    in Television

    Daisy Edgar-Jones Would Like the Ingénue Phase of Her Career to End Now

    Daisy Edgar-Jones bravely walked onstage, her face a ghastly white. Under her arm, a human head.“How could you do this to me!” she bellowed at Henry VIII.As the ghost of Anne Boleyn, Edgar-Jones, the hitherto quiet child, now slathered in face paint and clutching a homemade severed body part, found herself suddenly enamored with the spotlight.“That was the first time I remember being aware of the joy of departing from yourself,” Edgar-Jones said.She recounted this pivotal school-play memory on a breezy June afternoon, perched on a cream-colored couch in a cream-colored luxury hotel suite in West Hollywood. The cream-colored dress she’d been wearing for a series of engagements earlier that day had begun to unravel, prompting a change into an oversize black blazer, T-shirt, shorts and chunky G.H. Bass loafers, all of which now stood in cool contrast to the generic palette around her.At 24, the British actress is proving a reliable standout. In a string of major roles over the past two years, she’s morphed from brooding lover (“Normal People”) to cannibal-horror heroine (“Fresh”) to defiant Mormon (“Under the Banner of Heaven”). Her latest venture, the lead in the movie adaptation of “Where the Crawdads Sing,” arrives in theaters on July 15.In the romantic drama based on the best-selling novel by Delia Owens, Edgar-Jones play Kya, an abandoned girl who raised herself in the marshes of North Carolina and eventually lands in court, accused of murder.Clockwise from top left: “Where the Crawdads Sing,” “Normal People,” “Under the Banner of Heaven” and “Fresh.”Clockwise from top left: Michele K. Short/Sony Pictures, via Associated Press; Enda Bowe/Hulu; Michelle Faye/FX; Searchlight PicturesDuring her audition for the part via video, in 2020, Edgar-Jones brought the director Olivia Newman to tears and hooked one of the producers, Reese Witherspoon.“From her first screen test, she felt every moment of abandonment and loneliness that was written on the page,” Witherspoon wrote in an email. “Her work is so honest, it breaks my heart every time I watch it.”The film, shot in Louisiana, required Edgar-Jones to take boating and drawing lessons, and work with a dialect coach to hone a Carolina drawl. Her own accent is a soft-spoken mash-up of vernaculars, thanks to her Northern Irish mother and Scottish father.She was raised in the north London suburb of Muswell Hill, the only child of Wendy, a film and TV editor, and Philip, the head of entertainment at Sky, the British TV broadcaster. A few years after her Boleyn awakening, Edgar-Jones auditioned at age 15 for the National Youth Theater with a monologue from “Romeo and Juliet” — a loving tribute to Claire Danes’s performance in the Baz Luhrmann iteration.A perk of the prestigious program, which counts Helen Mirren and Daniel Day-Lewis among its alumni, was the members-only open casting calls, including one for Sofia Coppola’s planned adaptation of “The Little Mermaid.” While the project fizzled before Edgar-Jones got very far, the casting director introduced her to the talent agent Christopher Farrar, thus giving her representation and the confidence to continue. She considered college but ultimately turned down several universities, instead taking odd jobs as a barista and a waiter while she soldiered on with auditions.“I give Daisy a hell of a lot more credit than I’d give myself at 24,” said her “Fresh” co-star Sebastian Stan. “There’s an awareness to her that I think, at that age, is hard to find.”Chantal Anderson for The New York Times“I had some income and some semblance of hope,” she said. “It was, at first, a gap year, and then it became a gap life.”After a string of smaller roles in British productions, her big break came playing Marianne opposite Paul Mescal’s Connell in “Normal People.” When the series premiered in April 2020, it was the early days of the pandemic, and the Sally Rooney adaptation provided an intimate escape for viewers muddling their way through a shutdown world. Mescal’s chain necklace and Edgar-Jones’s bangs — an impulsive salon decision after a string of failed auditions — became overnight sensations.“I watched Daisy in ‘Normal People’ and was blown away by the subtlety of her performance and the impact of her choices,” Witherspoon wrote, praising “the most utterly honest performance that made me lean in and say, ‘Who is that?’”But as enthralled as viewers were with the actors playing the show’s laconic lovers, the fanfare was kept at a literal distance from Edgar-Jones, locked down in London.“I was being told that things were significant or changing, but I was just in my bedroom,” she said. “I was having this odd experience of being on Zoom the whole time having interviews, and then I’d go on my once-daily walk and someone would stare at me, but I didn’t know if it was just because they hadn’t seen another human being or if they had seen me in a show. It was really strange.”She garnered Critics Choice and Golden Globe nominations while spending the next year and a half isolated on sets in Calgary, Vancouver and New Orleans. Then, this past spring, she went through what she terms a “baptism of fire,” bouncing from her first red-carpet premiere (for “Fresh”) to her first Vanity Fair Oscar party and her first Met Gala in quick succession.“You know how a swan, when they’re on the river, they’re floating along really gracefully but underneath their legs are ——” she mimicked paddling furiously. Her crescendo on the Met steps wearing Oscar de la Renta “was like that,” she said. “Perhaps I looked calm, but I was terrified.”Her de facto societal debut coincided with the release of “Under the Banner of Heaven,” a true-crime drama series in which she played Brenda Lafferty, a Mormon woman who, along with her 15-month-old baby, was brutally murdered by religious extremists in 1984.In flashbacks, we see Brenda perform “The Rose,” pursue a broadcast journalism career and embolden other Mormon wives. But despite the heinous crimes at the show’s center, we never see Brenda’s actual killing or her lifeless visage onscreen. Compare that with, say, “The Staircase,” which took every opportunity to show Toni Collette meeting a graphic end.“That was something I felt was really important,” Edgar-Jones said of the omission. “Why would you want to capture the worst thing that could happen to somebody? Instead, you let their life be what’s defining.”Edgar-Jones is aiming for the career of a Jamie Lee Curtis, a Tilda Swinton or a Frances McDormand, women with an “unconventional idea of what a lead female should be.”Chantal Anderson for The New York TimesShe took the responsibility of playing a real person “incredibly seriously,” her co-star Andrew Garfield said, noting a certain “brilliance and joy” that he sees emanating from Edgar-Jones, onscreen and off.“There’s something unnameable that certain people have,” he said. “And, yeah, it’s talent. But it’s also a charisma and the kind of instant identification that you feel as an audience member where you go, Oh, I know this person, and I love this person. Even without them saying anything, you can feel their soul moving in a certain way and you want to follow whatever journey they’re on.”The two actors became fast friends while shooting in Canada. Off the clock, Edgar-Jones took a particular liking to electric bike and scooter rentals. “She would ride those scooters into the bitter winter months in Calgary until her hair started to freeze,” Garfield said. “She’s all about fun.”That includes routinely importing her own DJ equipment to spin house and disco tracks for her co-stars after work. Edgar-Jones is blissfully passionate about music in general: She often makes playlists for her characters (Kya’s involved a lot of Bat for Lashes and Blood Orange’s “Coastal Grooves” album) and plays guitar. She’s also developed a bond with the singer Phoebe Bridgers, who is in a relationship with Mescal of “Normal People.” Despite having, as Bridgers put it, “every opportunity to have the world’s craziest ego,” Edgar-Jones exudes wide-eyed enthusiasm. She is exceedingly polite — and perhaps a gentle liar — cheerfully telling the waiter who brought her a Pepsi instead of her requested Coke during our talk, “That’s fine. They taste the same.” And although she describes herself as shy, those who know her say she can also be uproariously off-color.In the past, her fair skin and brunette bangs have led some to describe her as the love child of Anne Hathaway and Dakota Johnson. More recently, “Stranger Things” fans have delighted in her perceived resemblance to Eddie Munson, the beloved Season 4 character played by Joseph Quinn. “I do see it,” she said, adding that she and Quinn once met by chance at a “Soul Train”-themed club night in London. “I think I now know what I’m wearing for Halloween.”During off-hours on the “Heaven” shoot, Edgar-Jones rode electric scooters and bonded with her co-star Andrew Garfield, who said: “She would ride those scooters into the bitter winter months in Calgary until her hair started to freeze. She’s all about fun.”Chantal Anderson for The New York TimesBut career-wise, she hopes to emulate Jamie Lee Curtis, Tilda Swinton or Frances McDormand: women who have forged careers in Hollywood built on longevity and who found some of their greatest successes once they’d shed any trace of the ingénue.“These women are able to really transform,” she said, “and also play characters that are funny and complicated and, at times, the unconventional idea of what a lead female should be.”Sebastian Stan, who co-starred with Edgar-Jones in the twisty comedy-thriller “Fresh,” sees echoes of another screen legend in her work.“I give Daisy a hell of a lot more credit than I’d give myself at 24. There’s an awareness to her that, I think at that age, is hard to find,” he said and compared her to a young Meryl Streep. “I’d like to think that as she gets older, her performances are only going to get more and more rich.”Edgar-Jones has a plan to make that happen. Her bucket list includes working with Wes Anderson, Barry Jenkins, the Coen brothers, the Daniels and Greta Gerwig. And she hopes to stretch herself into the unexpected, perhaps by playing “someone really evil,” doing more comedy or directing.“I really want to just learn and learn and learn and make mistakes and learn from them,” she said, “and be free to play and ride the journey wherever it goes.” More