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    Jason Alexander Will Direct a Comedy on Broadway This Summer

    “The Cottage,” written by Sandy Rustin, will star Eric McCormack, Laura Bell Bundy and Lilli Cooper.“The Cottage,” a farce inspired by and also sending up the work of Noël Coward, will come to Broadway this summer in a new production directed by the “Seinfeld” alum Jason Alexander.The play, which has had several productions in small theaters over the last decade, will star Eric McCormack (“Will & Grace”), Laura Bell Bundy (“Legally Blonde”) and Lilli Cooper (“Tootsie”).“The Cottage” is a British farce by an American writer, Sandy Rustin, whose murder mystery drama, “Clue” (adapted from the board-game-based film), is now among the most-produced plays in the United States.Set in England in 1923, the comedy is set off by the revelation of an extramarital affair that brings a group of interconnected people together at a country house.It was first staged in 2013 at the Astoria Performing Arts Center in Queens, and has since had productions in Massachusetts, Arizona, Colorado, Virginia, and Florida, as well as on Long Island, and it has been optioned for television.Alexander directed a reading of the play in 2016 and led a developmental workshop in 2017. This production will be his Broadway directing debut, but he has appeared on Broadway in six shows and won a Tony Award for starring in “Jerome Robbins’ Broadway.”“The Cottage” is scheduled to begin performances July 7 at the Hayes Theater, with the opening scheduled for July 24. It is a commercial production, renting space from a nonprofit; the lead producers are Victoria Lang and Ryan Bogner, who last collaborated on the stage adaptation of “The Kite Runner” that ran on Broadway last year.This summer is shaping up to be an unusually busy one for Broadway: “The Cottage” is the fifth show to announce a summer opening thus far, joining the musicals “Back to the Future,” “Here Lies Love” and “Once Upon a One More Time” and the play “Purlie Victorious.” More

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    ‘Party Down’ Is Back. Did You R.S.V.P.?

    The invitations have been sent, the appetizers plated, the bottles opened. Rows of glasses gleam like baby stars. And somewhere, on the fringes of the celebration, a cater waiter is about to do something very wrong.This was the template of “Party Down,” a Starz comedy that ran for two 10-episode seasons, debuting in the spring of 2009. Canceled just as critics and niche audiences were beginning to catch on, the show followed the disaffected employees of a mid-tier catering company as they moved from party to party, one per episode, filching booze, seducing guests, snorting coke,  flirting with Nazism and accidentally poisoning George Takei.The original 20 episodes never included a surprise party. But get your streamers and party blowers ready. Because in a surprise to just about everyone — most likely including the folks at Nielsen, who once awarded the show’s finale a 0.0 rating among 18- to 49-year-olds — “Party Down” is back. A six-episode revival will premiere on Starz on Feb. 24, with new episodes arriving weekly.Martin Starr, a returning cast member, seemed to genuinely marvel at the development.“This was the only show I’ve worked on where people came to work when they weren’t working,” he said in a group video call. “It’s crazy that we get to come back and do it again.”“Truth be told,” his co-star Ken Marino said, “the reason I came back to set when I wasn’t working is I was between homes.”Starr: “I do remember you were finding places to go to the bathroom that maybe didn’t have your name.”Marino: “I still do. I’m going to the bathroom right now.”Is this the same “Party Down” that failed to dominate cable television over a dozen years ago? Mostly. The show’s original creators, John Enbom, Dan Etheridge, Rob Thomas and Paul Rudd, remain, as executive producers, and Enbom oversees a small staff of writers. The party-a-week structure also endures, as does the original cast — with the exception, based on the five episodes provided in advance, of Lizzy Caplan.In the revival, all of the original main characters (except for Casey, played by Lizzy Caplan, not pictured) are either pulled back into cater waiting or never stopped. Starz“All of us, for the entire 13 years since we stopped shooting the show, all we wanted to do is make more ‘Party Down,’” the show’s lead, Adam Scott (“Parks and Recreation,” “Severance”), said in a separate interview last month. “We all would have been there for free.”But the world has changed in the dozen or so years since the original run was canceled. So have the actors. Unknowns or barely knowns when the show debuted, most have since become household names. (The others? Depends on the household.) And they’ve all seen the current crop of disappointing reboots and reprises. “Party Down” could just be the rare show to get it right, mixing the perfect cocktail of star power, nostalgia, growth and gags.Then again, the characters never put a lot of muscle into bartending. So here’s a Zen koan for a deeply un-Zen show: Can you throw the same party twice?Are we having fun yet?The first run of “Party Down” was both structural marvel and joke spectacular. Each episode was simultaneously a workplace comedy, a hangout comedy and a procedural — a sitcom that never sat down. The celebrations it featured — birthdays, after parties — typically bordered the entertainment industry and nearly all of the cater waiters harbored industry dreams of their own.Those dreams eluded them, which fueled the philosophical inquiry at the show’s center.“What we were asking was: How long do you chase the dream?” Thomas, one of the creators, said. “When do you grow up? When do you quit banging your head against the wall?”The “Party Down” staff are all trying to make it, as actors, screenwriters and comedians. (Marino’s Ron, the manager, has a different dream: a Soup ’R Crackers franchise.) Only Henry (Scott), who has traded beer-commercial celebrity for free-floating despair, has opted out. The actors were trying back then to make it, too. None of the original cast — Caplan, Ryan Hansen, Jane Lynch, Marino, Scott, Starr — were anything like famous when the show began. Acting in a comedy about the entertainment industry’s has-beens, also-rans and never-wills resonated with the cast, sometimes uncomfortably.“It felt so close to home, this show, because I felt like I could be a caterer the next day easily,” Hansen said.Scott, who at the time had yet to play a lead, then shared that sense of career tenuousness. The cast felt deeply connected to the show in those first seasons, he said, and protective of it. “We just wanted to do it forever, because it made us feel better,” he said. “It really did.”“All of us, for the entire 13 years since we stopped shooting the show, all we wanted to do is make more ‘Party Down,’” Scott, fourth from left, said.Chantal Anderson for The New York TimesThe salaries, though small, kept a few of the actors on the sunny side of financial precarity. The camaraderie helped, too. (That camaraderie remains; I had four of the actors together on a video call, and I have never heard grown men exchange so many “Love yous.”) Several actors separately compared the original shoot to summer camp.That genuine affection altered the show’s tone. Some first season episodes included “edgy” humor — gay jokes, post-racial jokes. (“It’s cringey, yeah,” Starr said.) But the creators quickly realized they didn’t need that edge. The show was sadder than that. Funnier, too. The characters are screw-ups, sure, but the show suggests that everyone is a screw-up, especially after an hour at an open bar. So maybe the best thing is to find common cause as you pass the hors d’oeuvres.“It’s about people who think that they’re going to find happiness in something out there,” Lynch said. “But what they have right in front of them is really quite sweet.”Lynch shot the first eight episodes. Then she had to leave for the Fox show “Glee.” Marino hired a stripper for her wrap party. The stripper, Lynch recalled, smelled of French fries. The show went on, with Jennifer Coolidge replacing Lynch for two episodes and Megan Mullally, the only actor who was already well-known, coming in for the final 10.The creators believed that it would keep going, even though, according to Nielsen, the Season 2 finale attracted only 74,000 viewers. Starz had other plans. Those plans didn’t involve letting the creators take the show elsewhere. “Party Down” languished.One decade, zero dinnersIf the original run argued that it’s healthier to let some dreams die, the creators and the cast could never quite manage that. There were talks, every year or so, of getting the crew back together — for a special, for a movie, for a move to another network. Friends and fans often asked Marino about it.“I was like, ‘They’re working on it,’” he said. “‘It’s going to happen! Right around the corner!’” It took him eight or nine years to accept that maybe that corner wasn’t coming.Then in 2019, Starz appointed Jeffrey Hirsch as its new president and chief executive. Thomas reached out to Hirsch and began pitching the show again. Hard. This time, Starz said yes.That was only the first hurdle. The actors had conflicts and prior commitments now. The revival was approved in the summer of 2021, with production scheduled for early 2022. Lynch was to begin rehearsing a Broadway musical. Scott was making the Apple TV+ show “Severance.” Mullally had booked a movie being shot in Idaho.Somehow a six-week window was found, even though that window involved flying Mullally to Los Angeles every weekend and back to Sun Valley by Monday.When “Party Down” debuted in 2009, none of the main cast were anything like famous.StarzIn the new season, the main cast has become more diverse, with the inclusion of two new regulars: Zoë Chao, second from left, and Tyrel Jackson Williams, far right.Starz“We could never get together for dinner for a decade,” Etheridge, a creator, said. “But when we came to shoot the show, everybody was there.”Everybody except for Caplan, who had signed onto the FX series “Fleishman Is in Trouble.” (Asked whether Caplan might make a surprise appearance in Episode 6, Starz declined to comment.) Enbom had originally structured this new season around the on-again-off-again relationship between Henry and Caplan’s Casey. He had to restructure it, adding a new character, a studio executive played by Jennifer Garner. The revival’s first episode takes time out to heckle Caplan: Casey, now a successful comedian, can’t make a crew reunion.“She’s shooting in New York,” Starr’s Roman, still an aspiring “hard sci-fi” writer, says. “Too big time for the likes of us.”There were fewer jokes in real life. Hansen tried to make light of the situation. “Listen, we get it,” he said. “She had a job, whatever. I mean, I personally turned down a Marvel movie to do ‘Party Down.’”“Tell that to everybody,” he added.But just about everyone described themselves as heartbroken, including Caplan. “If I think about it for too long, I start to cry,” she wrote in an email. She sent cupcakes to the shoot.The bow tie abidesHollywood has transformed in the years since “Party Down” first concluded, and in some ways the show has, too. Gratuitous boobs are gone now. And the catering crew, once blindingly white, has become more diverse with the inclusion of two new regulars: Sackson, a YouTube-style content creator played by Tyrel Jackson Williams, and Lucy, a chef played by Zoë Chao who styles herself as a “food artist.”Yet, the sweet-sour, slightly funky flavor of “Party Down” — like a margarita made with off-brand liquor — is mostly unaltered. This seems to be the rare revival that understands what made the original work, yet can still move (or move just enough to include the occasional TikTok dance challenge) with the times.“We kept doing what we’d always been doing, just with new details,” Enbom said. “Because society certainly has not changed into a more wholesome place.”Have the returning characters changed? That depends on how much you and your therapist believe that change is possible. “They’re still the same lovable knuckleheads,” Mullally said. “Most of these people haven’t really moved on, or they haven’t really become any happier, or more fulfilled in their lives.”Friends and fans often asked Marino, top left, whether the series would be revived. “I was like, They’re working on it!,” he said. “Right around the corner!” It took nearly 13 years.Chantal Anderson for The New York TimesSlinging hors d’oeuvres hits different and more darkly in midlife. Still, the creators and the cast didn’t want the revival to feel like a bummer.“It’s going to be fun watching the characters try to claw their way toward something other than their current circumstances,” Scott promised.And if not exactly “fun,” then certainly relatable. “Really who gets what they want in this life?” Lynch said.She probably meant that rhetorically. But the “Party Down” die-hards, Lynch included, did get what they wanted, a third season. And they seem to have delighted in making it, though Marino joked that he’d had to slim down before he could fit into his signature pink bow tie.“Had to work off that neck fat,” he said. “Got my neck nice and lean.”Slipping on that outfit was a little more stressful for Chao, a newcomer. She had watched the show, years after its debut, while working a food-service survival job herself. “Party Down” had made her feel less alone. She didn’t want to ruin it. “I whispered to myself every day, going onto set, ‘Be the least funny, but by as little as possible,’” she said.Williams expressed similar gratitude and anxiety. “Everyone was so sweet and welcoming from the very beginning,” he said. “It never felt like an intimidating environment.” And yet, he added, “there was still like this insane fear.”The returning cast faced related, if less acute, worries. They have been in the business long enough to understand how revivals can go wrong. (A few of them had even appeared in revivals that flopped.) But they were reassured by the scripts, written by Enbom and a small staff, which suggested a continuity of character and tone and food-poisoning-induced body horror. There was also the pleasure of being together again — a little older, a little grayer, but still able to drop a tray on cue.Will the ratings for this coming season be better? Comfortingly, they can’t get much worse. But the cast and creative team are counting on the show’s turning enough heads that Starz will greenlight a fourth season. (“You better believe I’m not missing that one,” Caplan wrote.)Though Starr is inclined to cynicism, he sounded only mildly sardonic in discussing this ambition. “I really do hope we’re allowed to come back and do it again and keep up this little charade we’ve got going,” he said.Hansen put it a bit more pragmatically. “In 12 years, people are going to love Season 3.” More

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    ‘Star Trek: Picard,’ Season 3, Episode 1: Reunion Engage

    The new season of “Picard” reunites the admiral with his old crewmates, something fans have been hoping for since the series began.Season 3, Episode 1: ‘The Next Generation’[Takes deep breaths]I’m being told it is against the Times stylebook for me to yell out a scream of anticipation for this season of “Picard,” which is essentially a catch up with the “Next Generation” cast.So I guess I’ll just write instead.This is easily the most anticipated offering of the new era of “Trek” since, well, the first season of “Picard,” which many fans were hoping would be exactly what the third season is billing itself to be — a reunion of the old show.But before we get to all that, some housekeeping.The last time we saw the crew of the Enterprise all together was in “Star Trek: Nemesis” in 2002, one of the more critically reviled offerings of the “Star Trek” franchise, in part because it needlessly killed off the beloved Data. (It wasn’t disliked only by audiences: Several of the main cast members weren’t fans either, as they told me in our group interview earlier this month.) When “Picard” arrived 18 years later, we learned that our favorite captain had become a retired admiral withering away at his vineyard. Riker and Troi were also mostly retired after serving on the U.S.S. Titan, and Data was killed off again, but this time next to a classy fireplace.The first two seasons of “Picard” have followed a similar trajectory. They’ve started off strong and tailed off as the season went on, leaning heavily into nostalgia as the basis for ambitious plot lines. That would be fine, except the writers have often opted for short-term payoffs rather than long-term storytelling.That nostalgia has sometimes led to some odd choices — such as Picard not being human anymore after becoming an android in Season 1. The show has also sometimes seemed to forget who the characters are, as with last season’s use of Young Guinan.So my excitement about another offering of the “Next Generation” cast is mixed with trepidation.As expected, the season premiere is promising. It’s the 25th century (the onscreen text here is an homage to “Wrath of Khan”). The opening scene includes a large dose of fan service, such as audio of a captain’s log from way back when Picard encountered the Borg for the first time and a plaque referencing Cor Caroli V, a planet where a third season “Next Generation” episode takes place.But the scene doesn’t feature our old friend Jean-Luc but rather our other old friend, Dr. Beverly Crusher. She appears to be on the run from some shady looking aliens. Beverly has developed skills with a phaser, which is contrary to what we saw in her younger days, as Riker points out later. She’s vaporizing enemies now! (Who says you can’t pick up new hobbies as you get older?) And she sends a message to her old captain and sort of crush, Jean-Luc, to say that she needs him — but she does so through his old comm badge using a secret code.Gates McFadden in “Star Trek: Picard.”Trae Patton/Paramount+The fact that “Picard” gives Beverly something to do other than stand around and scan things was a big reason Gates McFadden came back to reprise the role, and it’s a welcome sight.Meanwhile, Jean-Luc finally, after all these decades, seems content in retirement. He is in love with Laris. He might write a book. He’s ready to move to Chaltok IV, a Romulan planet, where he’ll sip Saurian brandy and wind down his life. He’s earned it. But again, he’s an android now, so he can’t die. Not really. Can he even taste brandy? See where the long-term plot issues are? (Fun reference here: Picard holding the flute from the classic “Next Generation” episode “Inner Light.”)But Beverly needs saving. She sends Jean-Luc a coded message telling him to trust nobody. For some reason, Jean-Luc tells Laris, Beverly hasn’t spoken to member of the Enterprise crew for 20 years. (This would mean that shortly after the events of “Nemesis,” Crusher cut off her closest friends. Excited to find out why!) Props to Laris — a Romulan intelligence operative — for being totally chill with one of Jean-Luc’s exes reaching out for a secret rendezvous. True love.Riker and Picard meet up at Guinan’s bar during Frontier Day celebrations, where Picard tells Riker about the secret message.“I wouldn’t have asked to meet you like this if it hadn’t been very important,” Jean-Luc tells his old first officer. (At a crowded bar? Where people could easily eavesdrop? Of course, moments later, we see someone doing exactly that.)Jonathan Frakes and Patrick Stewart have instant chemistry, borne of decades of working together. But Riker suggests to Picard that he is on the outs with his wife, Troi — another member of the old crew. (This raises a question: Troi and Crusher were close friends on the Enterprise, why wouldn’t Jean-Luc want to tell her too? Why just Riker?)Riker instantly agrees on a scheme to hit the road to the Ryton system, like Jake and Elroy. That’s what bros do, after all. They hatch a scheme to commander the sleek looking U.S.S. Titan, Riker’s old command. Another nice traditional “Trek” moment: glamour shots of the exterior. (I hate to be that guy, but Beverly’s message specifically said not to involve Starfleet. So why would Riker and Picard center their plan on using a Starfleet ship? Surely, they can find another deep space charter. OK, I admit it: I don’t hate being that guy.)The Titan is commanded by Captain Shaw, played by the charming Todd Stashwick. He is a magnetic presence, but Shaw’s previous post appears have been on the U.S.S. Jerkface, because he is, without explanation, rude and dismissive of two legendary Starfleet officers. He doesn’t even greet them when they arrive, instead sending Seven of Nine — er, Commander Annika Hansen. Shaw also isn’t on the bridge to greet visitors for what is apparently an inspection or giving orders when the ship leaves spacedock. (Picard gives the order to Seven to take out the ship. Why isn’t Shaw doing that?) Almost every single sentence uttered by Shaw is dripping with condescending rudeness.“Captain Shaw prefers I use Hansen,” Seven tells Jean-Luc. Since when does a Starfleet captain in the 25th century get to decide what your name is? (We’re going to use Seven for now, since that’s what she’s known as mostly throughout the “Trek” universe.)It’s a strange dynamic and here’s the problem: Shaw is painted as the unlikable villain of the episode. Seven even says that Shaw’s behavior is making her reconsider joining Starfleet. But Shaw’s stance is absolutely correct. When Riker says he wants to unexpectedly divert the ship to the Ryton system, Shaw says, “That’s at the edge of Federation space at the opposite direction of our intended course — twice the time.”He’s been given no heads up on this mission. Jean-Luc may be an admiral, but he is retired. Riker doesn’t even outrank Shaw. Why would he follow this clearly suspicious order that comes out of nowhere with no real explanation other than “bragging rights?” Picard makes it all the more weird when he says they’ll end up at Deep Space 4, which, as Shaw notes, has been shut down. (Picard should know better. In the “Next Generation” episode “The Pegasus,” Picard defies an admiral who tries to take command of the Enterprise.) As far as Seven goes, seen through another lens, Shaw trusting her to take the ship out of spacedock without him needing to be there is an example of him having faith in her.Seven quickly breaks Shaw’s faith by sending the ship to the Ryton section anyway. This area of space is outside the Federation’s jurisdiction and far away from Earth, so it must have taken a long time to get there, even at maximum warp. Is Shaw such a detached captain that he doesn’t notice when his ship goes in the opposite direction? Especially given his fondness for rules and regulations? Despite Shaw’s personality flaws, all his actions showed me in this episode is that he’s a competent Starfleet captain who can see through blatant lies.The episode ends with intrigue on Beverly’s ship when Riker and Picard meet — dun, dun, dun — her son. (There is an explicit reference that Picard and Crusher actually were lovers, when Picard says that he made her a mixtape.)All in all, a fun episode. Seeing Riker and Jean-Luc interact like the old friends that they are went down easy like a glass of Chateau Picard. My excitement — and my trepidation — remains high. More

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    Sarah Silverman Defines ‘Woke’ for Newsmax

    “The Daily Show” guest host Sarah Silverman called Newsmax “basically an even more far-right Fox News — like if your crazy uncle had a crazy uncle.”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.Sick Burn, BroOn Tuesday, a reporter for Newsmax asked Karine Jean-Pierre, the White House press secretary, if President Biden was “woke.”Sarah Silverman, guest host for “The Daily Show,” called Newsmax “basically an even more far-right Fox News — like if your crazy uncle had a crazy uncle.”“I think we’re just communicating wrong, because, like, what I know ‘woke’ to mean is, like, learning new things about people or the world, and then acting accordingly. Like, basic kindness. Maybe a gesture of care to people who are more vulnerable than you. You know what, actually you wouldn’t like it — it’s Jesus stuff.” — SARAH SILVERMAN“This guy really thinks, ‘Is Joe Biden woke’ was like a hard-hitting question. The real hard-hitting question would be, ‘Is Joe Biden awake?’” — SARAH SILVERMAN“It feels cooler to say, ‘I’m not woke’ than the truth, which is, ‘I’m terrified of what I don’t understand and I only know how to process that as anger because I can’t look inward.’” — SARAH SILVERMANThe Punchiest Punchlines (Probably Not Aliens Edition)“And there’s still confusion about the three unidentified objects the United States government shot down over the weekend. Intelligence officials now say that they do not believe the objects were from China or posed any kind of national security threat. This is all a very evasive way of saying that they shot down three Bud Light blimps.” — JAMES CORDEN“No aliens. Nothing to see here. In a totally unrelated story, Monday, the United States has set up a new task force on U.F.Os.” — STEPHEN COLBERT“According to Axios, the military didn’t classify what the objects were, but they don’t think they were aliens or Chinese spy balloons. Best guess right now is that there are some overly aggressive Re/Max agents on the loose.” — JIMMY KIMMEL“China is sticking to their claim that the first one we shot down was a weather balloon that got blown 12,000 miles off course. How ‘off course’ can you get? You missed by an ocean, if that’s the case.” — JIMMY KIMMEL“The Pentagon this week described the unidentified object shot down over Canada on Saturday as a ‘small, metallic balloon.’ So it was either a dire national security threat or a wasted 25 cents at a county fair.” — SETH MEYERSThe Bits Worth Watching“Jimmy Kimmel Live” found a bunch of people who lied on camera about seeing a fictional U.F.O. on Wednesday’s “Lie Witness News.”What We’re Excited About on Thursday NightTina Fey will hang out with her old friend Seth Meyers on Thursday’s “Late Night.”Also, Check This OutStephan DybusPodcast companies are feeling the strain of oversaturation and overspending. More

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    Stephen Colbert is Underwhelmed by Nikki Haley’s Big Announcement

    “As she said in her campaign announcement tweet, ‘Get excited,’” Colbert said on Tuesday.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.‘Nicky Fail-y’Former Gov. Nikki Haley of South Carolina announced she’s running for president early Tuesday morning.“Of course, any campaign veteran will tell you there is no better time to drop the biggest political news of your life than on Valentine’s Day at 6:48 a.m.” Stephen Colbert said. “Yeah, a day everyone’s thinking about something else at a time when no one is awake.”“The only way this could make a smaller splash is if Haley had whispered it into a bowl of soup.” — STEPHEN COLBERT“As she said in her campaign announcement tweet ‘Get excited.’ A grateful pass.” — STEPHEN COLBERT“But this is going to be a tough race for Nikki Haley. Right now, she’s polling at just one percent, and that’s pretty bad. I mean, you know, even Mike Pence is at two percent. Mike Pence’s noose rope is at five percent, which is V.P. material.” — SARAH SILVERMAN“She said she believes the Republican Party needs to go in a new direction. I think you’d have more luck convincing a swarm of moths to go in a new direction. The whole ‘towards the light’ thing isn’t really working.” — JIMMY KIMMEL“Haley is the first prominent Republican to challenge Donald Trump, she’s the first female governor of South Carolina and the first candidate to spell her name like the bass player from Mötley Crüe, so …” — JIMMY KIMMEL“Now I guess this means Trump has to come up with a mean nickname for her. ‘Cuz right now he’s pacing around Mar-a-Lago going ‘Sicky Nikki? Nikki Fail-y? Oh, Nikki Epic Fail-y?’” — JIMMY KIMMEL“Today, former Trump cabinet member Nikki Haley announced that she is running for president. Yep. She served in Trump’s cabinet, which is listed on her website in very, very small font.” — JIMMY FALLONThe Punchiest Punchlines (Folder Enthusiast Edition)“A lawyer for former President Trump said recently that Trump was using a manila folder marked ‘classified’ to block a small light on a landline phone next to his bed. Even weirder: all the ones that he taped up to use in place of curtains.” — SETH MEYERS“I don’t know, maybe use an eye mask, get a, you know, a different bedside phone, put a Post-it on it?” — JAMES CORDEN“Basically, he’s saying, ‘I’m not a traitor, I’m a hoarder!’” — JIMMY KIMMEL“Which is more embarrassing for Trump: the fact that he kept top-secret documents or admitting he collects folders? I mean, how dull do you have to be to be a folder enthusiast?” — JIMMY KIMMEL“The worst thing about this story is now I’m picturing Trump in bed on a landline phone talking to Tucker Carlson, sort of twirling the cord around his finger going, ‘No, you hang up!’” — JAMES CORDENThe Bits Worth WatchingThe actress Alison Brie recreated a Valentine’s Day memory from high school on Tuesday’s “Late Late Show.”What We’re Excited About on Wednesday NightThe NBA legend Kareem Abdul-Jabbar will sit down with Sarah Silverman on Wednesday’s “Daily Show.”Also, Check This OutA museum in Croatia displays mementos and stories of people’s failed relationships.via Museum of Broken RelationshipsThe Museum of Broken Relationships in Croatia collects mementos people around the world send in symbolizing their failed romances. More

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    ‘Cornelia Street’ Review: A Musical With Local Ambitions

    An affectionate elegy to a Greenwich Village restaurant, Neil Pepe’s production at Atlantic Theater orders everything on the menu.The midcentury novelist Dawn Powell, Greenwich Village’s great chronicler, wrote that there are three stages a person goes through when negotiating its twisty streets — first enthusiasm (“Bohemia — oh thrills!”), then cynicism (“Bah! Village theatricals!”), then resigned acceptance (“After all the Village is the Village when all’s said and done”).“Cornelia Street,” a fidgety, aimless new musical, is set on one of the Village’s quainter lanes. It goes through every stage, all at once. Written by Simon Stephens with music and lyrics by Mark Eitzel and directed by Neil Pepe for the Atlantic Theater’s subterranean space, the show is simultaneously celebration, deflation and a neighborhood elegy in a minor key. It plays out amid and atop the rickety tables and sturdier bar of Marty’s Café, a struggling Village restaurant. The show has deep affection for this (mostly) invented place and for the majority of its habitués. But like a lot of tourists who have walked these winding streets, it loses its way.At the play’s diffuse center is Jacob (Norbert Leo Butz), a onetime punk who has spent 28 years as the cafe’s chef. Jacob lives above the storefront with his teenage daughter, Patti (Lena Pepe, the director’s own daughter), and has recently developed higher culinary ambitions, trying to sneak orders for Iberico ham and venison under the crotchety nose of the cafe’s owner, Marty (Kevyn Morrow). How the empty restaurant has remained solvent long enough for Jacob to turn gourmet is one of the play’s many mysteries. Scott Pask’s set and Stacey Derosier’s lighting suggest a snug, homey, stay-all-day space of tin ceilings and mismatched wood. But no one frequents it, save for Mary Beth Peil’s former opera singer, Ben Rosenfield’s puppyish tech bro and George Abud’s preening cabdriver.The first act finds Marty’s suddenly threatened: The landlord wants to sell. Meanwhile, Patti has trouble at school. Philip (Esteban Andres Cruz), the sole waiter, has an audition. Misty (Gizel Jiménez), a woman from Jacob’s past, fleeing her own demons, turns up, too. Jacob embroils himself in a drug-dealing scheme that also demands embezzlement. If landlord disputes, lost souls and white-collar crime seem like too much story to stir into a chamber musical, well, yes. This is before the complications of the second act: a death, a disappearance, a musical number devoted to the glory days of Studio 54. (For some of us, this will conjure unhappy memories of the Atlantic’s last musical flop, “This Ain’t No Disco.”)Stephens doesn’t seem to believe in all this action, often stopping it cold so that characters can offer some blue-plate philosophizing.Here is Jacob’s: “You ever get one of those days when you really thought you knew where you were and what you were doing with your life and then you realize you had no [expletive] idea?”And here is Misty’s: “Life, huh?”This is the third collaboration between Stephens and the singer-songwriter Eitzel, the founder of the mordant alternative rock band American Music Club, following 2010’s “Marine Parade” and 2015’s “Song From Far Away.” Neither show has played New York, but reviews suggest that these previous partnerships have been successful ones. Which makes sense. Stephens’s enduring concern, in plays from “Punk Rock” to last year’s “Morning Sun,” is with people who don’t feel at home in the world or who must learn that any home they thought they had was made of straw and sticks. And the characters in Eitzel’s songs are very rarely anything like satisfied or secure.Scott Pask’s set and Stacey Derosier’s lighting suggest a snug, homey, stay-all-day space, our critic writes.Sara Krulwich/The New York TimesBut here, under Pepe’s makeshift direction, the songs and the book scenes feel at odds. (Pepe is another frequent collaborator of Stephens, though only his straight plays.) Whatever its contrivances, “Cornelia Street” is ultimately a work of naturalism, whereas the dreamy, gloomy musical interludes suggest something more abstract and symbolic. Instead of swelling during the musical numbers, the show seems to shrink, embarrassed. The arrangements and orchestrations are expansive and surprising, but the staging feels apologetic. Butz, with his rocker voice and dad vibes, and Jiménez, an ingénue with edge, are supple performers, singing as casually as they might speak. They manage these tonal shifts with ease. The rest of the cast, moving to Hope Boykin’s swishing, slashing choreography, seem to struggle. That their characters feel less like people and more like types can’t help.The Atlantic has a productive history of investing in small, off-center musicals — “The Bedwetter,” “Kimberly Akimbo,” “The Secret Life of Bees,” and most significantly “The Band’s Visit” and “Spring Awakening.” This wants to be one more. (In its more creditable moments, it also gestures toward another intimate, single-set musical, “Once.”) Here, the approach feels tentative. Sometimes offstage voices are used, sometimes not. Lighting transforms the space during a song or remains constant. Pepe seems like a man who is not enjoying what he has ordered, but can’t bring himself to send it back.“Cornelia Street” owes an obvious debt to the Cornelia Street Cafe, a Village institution that shuttered in 2019 because of rent hikes. (This homage had apparently upset Robin Hirsch, one of the cafe’s founders. But Hirsch, invited to lead a storytelling event alongside Stephens and Eitzel on one of the show’s dark nights, has since been brought into the fold.) Friendly and unpretentious, the place made you feel like a local, even if you could never afford an apartment nearby. If only “Cornelia Street” could offer some of that same welcome and sense of purpose. If ever a musical needed to stop and ask for directions, it is this one.Cornelia StreetThrough March 5 at Atlantic Theater Company Stage 2, Manhattan; atlantictheater.org. Running time: 2 hours 20 minutes. More

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    Broadway and West End Theater Owners Agree to Join Forces

    A major British theater company, Ambassador Theater Group, says it is “combining operations” with Jujamcyn, the smallest of Broadway’s three big landlords.Jujamcyn Theaters, the smallest of the three big Broadway landlords, is combining its operations with a large British company, the Ambassador Theater Group, or A.T.G.The transaction, confirmed Tuesday by Jujamcyn and International Entertainment Holdings Limited, which is A.T.G.’s parent company, would give A.T.G., which already operates two of the 41 Broadway houses, a more sizable foothold in the heart of America’s theater industry, and would give Jordan Roth, the Jujamcyn president, more resources for showcasing his creative ambitions. Jujamcyn operates five Broadway houses; A.T.G. has 58 venues in Britain, Germany, and the United States.The companies said that the transaction is subject to regulatory approval, but did not say by what entity and in which country. No financial terms were specified.Roth, one of the most colorful characters on Broadway’s business side, will become the creative director of the combined company and its largest individual shareholder, with a seat on the board. There are also significant institutional shareholders: A large Rhode Island-based private equity firm, Providence Equity Partners, has for the last decade been A.T.G.’s majority shareholder, and at the height of the pandemic, when theaters were being financially squeezed by a lengthy shutdown, an Australian company, T.E.G., acquired a minority share of the company.Roth, the 47-year-old son of the real estate titan Steven Roth and the Broadway producer Daryl Roth, has been a singular force in a staid industry, with a disruptive emphasis on customer service in his theaters, a fondness for couture, an exuberant presence on social media, and left-leaning politics sharply at odds with those of his Trump-supporting father.The transaction portends a potential shift from the quirky to the corporate: A.T.G. is a large company, run by a former wine industry executive, Mark Cornell, who will remain as chief executive of the combined company. A.T.G. is fundamentally British, which could be a cause for concern on Broadway, where there is occasional worry about too many London shows — often developed with British government support — swamping work by American theater artists. (After Second Stage Theater, a nonprofit that focuses on work by living American writers, finally acquired a Broadway house in 2015, its artistic director, Carole Rothman, proudly proclaimed that her organization’s Broadway programming would feature “No Brits.”)The companies, which would not make anyone available for comment, did not describe the transaction as either an acquisition or a merger, and it is not immediately clear what “combining operations” will mean for the employees or operations at the five Jujamcyn houses or the two A.T.G. Broadway houses.The Jujamcyn theaters include the Eugene O’Neill, which is the long-term home of “The Book of Mormon,” as well as the Al Hirschfeld (“Moulin Rouge!”), the Walter Kerr (“Hadestown”), the August Wilson (“Funny Girl”) and the St. James (awaiting a new musical called “New York, New York”). Roth is expected to continue to decide what shows run in those five theaters, and he has previously shown a strong interest in work by American writers: Four of the five current Jujamcyn musicals have American origins; “Moulin Rouge!” has Australian roots, but the stage musical was developed in the United States.A.T.G. has an ambitious Broadway track record thus far. The company has for a decade operated one of the biggest Broadway houses, the Lyric, which, lavishly reconfigured for 1,622 seats, has for the last five years been home to “Harry Potter and the Cursed Child.” A.T.G. has since 2017 also operated one of Broadway’s smaller houses, the Hudson, which with just under 1,000 seats often presents plays; the latest, a revival of “A Doll’s House” starring Jessica Chastain, began previews Monday night. Among the hallmarks of the company’s Broadway presence: fancier food and drink than at most of the American-operated houses.Notably, both “Harry Potter and the Cursed Child” and “A Doll’s House” are produced by companies financed by A.T.G. A lead producer of “Cursed Child” is Sonia Friedman, a prolific and powerful London-based producer whose production company is an A.T.G. affiliate; the director of “A Doll’s House” is Jamie Lloyd, a British director whose production company is also affiliated with the group. (Friedman is also a lead producer of “Funny Girl” and “New York, New York,” both running at Jujamcyn theaters.)The combination of A.T.G. and Jujamcyn — it is not clear what the amalgamated venture will be called — will still be the smallest of the three big Broadway landlords, but now with seven of the 41 theaters. The Shubert Organization has 17 theaters and the Nederlander Organization has nine. Six theaters are operated by nonprofits, one by Disney, and one (Circle in the Square) is independently owned.Jujamcyn, founded in the late 1950s, was named for Judy, James and Cynthia Binger, the grandchildren of the company’s founder. The Binger family sold the company to Rocco Landesman in 2005; Jordan Roth bought a stake in the company in 2009.Roth has been an activist theater owner. In the buildings, he has overseen everything from a redesign of the ice cubes (to reduce the clinking noise) to bringing in a new ticket seller, SeatGeek, to manage ticket sales.He has presented multiple hit shows, among the biggest of which has been “The Book of Mormon,” which has been running since 2011. He also landed “Springsteen on Broadway,” an enormously successful Bruce Springsteen concert show that had runs both before and after the pandemic shutdown.Roth has also been active as a producer, most recently transferring a concert-style production of “Into the Woods” from City Center to the St. James; he was also a producer of the Tony-winning 2018 revival of “Angels in America.”A.T.G. has been expanding its presence in the United States, where it now owns, operates or manages 16 theaters, including not only the two Broadway houses, but also the King’s Theater in Brooklyn, the Colonial Theater in Boston, and theaters in Detroit, New Orleans, San Antonio, San Francisco and Sugar Land, Texas. More

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    New Ohio Theater Announces It Will Close After Three Decades

    Robert Lyons, the founding artistic director, said it was time for a new generation to take over the West Village stage.At a time when theaters are struggling to reach prepandemic audience levels, the New Ohio Theater, a staple for artists and independent theater companies for 30 years, announced it would present its final Manhattan performance in August.The shifting theater landscape and increased financial pressures led to the decision, said the founding artistic director, Robert Lyons, who is also a playwright and director. “It’s just a good time to step aside and pass the baton,” he added, explaining that he envisioned a new generation taking on the space.The closing will end programs like the Ice Factory, Now in Process, Theater for Young Minds, New Ohio Presents and New Ohio Hosts. The Archive Residency program will conclude in the spring of 2024.The theater, originally known as the Ohio Theater and located off Wooster Street in SoHo, was founded as a nonprofit in 1993, and before that provided a shared space for independent companies and artists to brainstorm and perform. In 2011, the company moved to 154 Christopher Street in the West Village as the New Ohio Theater, and continued to operate as a hub for independent theater. Over time, New Ohio oversaw a renovation project at the theater that included the installation of a new sprung stage, new risers, an HVAC system and a bathroom in the dressing room.For 16 years, Edward Einhorn, the artistic director of the Untitled Theater Company No. 61, has collaborated with the theater; he plans to present his absurdist dark comedy “The Shylock and the Shakespeareans” there in June. Einhorn said theaters like the New Ohio have been essential to the development of indie performance works since the late ’90s.“I’m slowly losing my homes,” Einhorn said. “There are a few left, but it’s a hard time still, hard to get audiences, hard to know what to do next.”The “Moulin Rouge!” director Alex Timbers and the “Hadestown” director Rachel Chavkin are among those who worked at the theater early in their careers.Kristin Marting, the founding artistic director of HERE Arts Center, who was part of a company that booked a season at the theater when she was 21, said it was the first theater she worked in. Marting said it greenlighted less conventional works, like an immersive “Alice in Wonderland” she directed in the late ’80s, and served as a sanctuary for generations of emerging theater makers.The plan is to reserve the 74-seat space for use by nonprofit companies. The building’s landlord, Rockrose Development, will accept proposals from theater companies looking for a home beginning Wednesday.Marting said the New Ohio would be sorely missed.“I hope that the new entity that comes in embraces the same level of experimentation and inclusion and invites a broad spectrum of the community to make work,” she said. More