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    Pete Davidson to Join Next Blue Origin Space Flight

    The “Saturday Night Live” comedian will be one of six passengers to fly to the edge of space this month with Blue Origin, the rocket company founded by Jeff Bezos.The “Saturday Night Live” actor Pete Davidson will travel to the edge of space next week on the next Blue Origin spaceflight, the company said on Monday.Blue Origin, the rocket company founded by Jeff Bezos, said on Monday that it would launch its fourth flight with human passengers on March 23. Mr. Davidson will be one of six passengers on the company’s New Shepard rocket for its 20th flight.Mr. Bezos, the founder of Amazon and one of the richest people in the world, was a passenger on the company’s first flight with humans on board last July. Earlier that month, another private spaceflight company, Virgin Galactic, took its founder, Richard Branson, to the edge of space and back.Mr. Davidson, 28, joined the cast of “Saturday Night Live” in 2014. He has also appeared in movies, including the 2020 semi-autobiographical film “The King of Staten Island.” He could not immediately be reached for comment on Monday.A Blue Origin spokeswoman said Monday that Mr. Davidson would fly as “an honorary guest,” while the other five passengers were paying customers. The spokeswoman did not say how much the others had been charged to join the flight.Mr. Davidson will be the latest celebrity passenger to travel to the edge of space with Blue Origin.In October, the “Star Trek” actor William Shatner, 90, became the oldest person to travel to space and cross the Kármán line, the widely recognized boundary between Earth’s atmosphere and space that is about 62 miles above the planet’s surface. Mr. Shatner shared the New Shepard rocket with three other passengers on a mission that lasted about 10 minutes.In December, Michael Strahan, the “Good Morning America” co-host, joined a Blue Origin flight with five others.The flight carrying Mr. Davidson is scheduled to lift off from Blue Origin’s launch site in West Texas at 8:30 a.m. local time on March 23.In addition to Mr. Davidson, Blue Origin said on Monday, the flight will have five other passengers: Marty Allen, Sharon and Marc Hagle, Jim Kitchen and George Nield.Mr. Allen is a former chief executive of Party America, the party-supply store. Mr. Hagle is the president and chief executive of Tricor International, a residential and commercial property development company. Ms. Hagle founded the nonprofit group SpaceKids Global. Mr. Kitchen is a professor of the practice of strategy and entrepreneurship at the Kenan-Flagler Business School at the University of North Carolina at Chapel Hill.Dr. Nield is the president of Commercial Space Technologies. From 2008 to 2018, he was associate administrator for commercial space transportation at the Federal Aviation Administration, the agency that regulates commercial launches like Blue Origin’s.Kenneth Chang More

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    What’s on TV This Week: ‘Phoenix Rising’ and ‘Welcome to Flatch’

    A two-part documentary about Evan Rachel Wood’s activism around domestic violence debuts on HBO. And a new comedy series begins on Fox.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, March 14-20. Details and times are subject to change.MondayTHE JULIA CHILD CHALLENGE 9 p.m. on Food Network. A group of talented amateur chefs compete to recreate Julia Child dishes — and to cook up their own Child-inspired recipes — in this new reality competition series. The winner receives comprehensive courses at the French-cooking institution Le Cordon Bleu, where Child once trained.TuesdayPHOENIX RISING 9 p.m. on HBO. This new two-part documentary looks at the performer Evan Rachel Wood’s advocacy on behalf of survivors of domestic violence. The program covers Wood’s work on the Phoenix Act — a California bill passed in 2019 that lengthened the statute of limitations for domestic abuse felonies and expanded training for police officers working on domestic violence cases — and Wood’s experience of publicly stating, in early 2021, that the musician Marilyn Manson had abused her. Amy Berg (“An Open Secret”) directs.WednesdayShahadi Wright Joseph and Winston Duke in “Us.”Claudette Barius/Universal PicturesUS (2019) 4:15 p.m. on FXM. “Nope,” the latest movie from the horror auteur Jordan Peele, had its first trailer released last month, offering a look at the setting for its supernatural story: a ranch in a dry, isolated slice of California. Peele’s previous movie, “Us,” was set in a wetter, saltier part of the state: Monterey Bay, at the Santa Cruz Beach Boardwalk. In “Us,” Peele focuses on a four-person family that encounters their doppelgängers while on vacation. (The cast includes Lupita Nyong’o, Winston Duke, Evan Alex and Shahadi Wright Joseph.) The results, Manohla Dargis wrote in her review for The New York Times, are “messy, brilliant, sobering, even bleak.”OLD HENRY (2021) 6:15 p.m. on Showtime 2. Tim Blake Nelson stars as a farmer whose grizzled looks conceal a very particular set of skills in this throwback western. The plot kicks into a gallop after Nelson’s character, Henry, stumbles on a wounded man (Scott Haze) lying near a satchel of money. Henry and his son (Gavin Lewis) take the man in, inadvertently putting themselves between him and a trio of brutes. The film “makes a solid, honorable go of proving once again that the foursquare western isn’t dead,” Ben Kenigsberg wrote in his review for The Times, “though in paying homage to its forebears, it inevitably stands in their very long shadows.”ThursdaySeann William Scott in “Welcome to Flatch.”Brownie Harris/FoxWELCOME TO FLATCH 9:30 p.m. on Fox. A minister who used to be part of a Christian boy band, a lovesick newspaper editor, and a pair of cousins whose claim to fame involves bear spray and tears are among the weird characters in this new comedy series, set in a fictional Midwestern town called Flatch. Thursday night’s debut episode, which revolves around a town fair, was directed by Paul Feig (“Bridesmaids”), an executive producer of the series.FridayVIOLET (2021) 8 p.m. on Showtime. In “Violet,” her directorial debut, Justine Bateman brandishes a potpourri of cinematic tricks — voice-overs, overlaid text — to delve into the anxious psyche of a film production executive played by Olivia Munn. Munn’s character, Violet, lives in Los Angeles, but she’s often living in her head: As she goes through her routines, a trio of internal voices that Violet calls “the committee” (one of which is voiced by Justin Theroux) bears down on her. In other words, her self-consciousness comes to life. The highlight here, Jeannette Catsoulis wrote in her review for The Times, is Munn, who gives a “terrific performance,” even as the film at large “experiments with so many cinematic frills and fancies that Munn’s touching work is too often obscured.”SaturdayMichael Gandolfini, left, Alessandro Nivola in “The Many Saints of Newark.” Barry Wetcher/Warner Bros.THE MANY SAINTS OF NEWARK (2021) 7 p.m. on HBO. Michael Gandolfini, the son of the actor James Gandolfini, plays a younger version of his father’s most famous character in this “Sopranos” prequel. That character is, of course, Tony Soprano, the overwhelmed mob boss, father and husband whose middle-age troubles were the focus of the original show’s six seasons. This movie is an origin story that imagines a teenage Tony, and his descent into organized crime. It’s also an interesting opportunity to see a young actor grapple with his father’s legacy. “I remember asking my dad, maybe at 13, what the hell is this? Why do I hear about this all the time? What is this about?” Michael Gandolfini said in an interview with The Times last year. “He’s like, ‘It’s about this mobster who goes to therapy and I don’t know, that’s about it.’”SundayBEFORE WE DIE 10 p.m. on PBS (check local listings). This British remake of a Swedish series centers on a police detective (Lesley Sharp) whose partner — professional and romantic — goes missing under mysterious circumstances. The hunt for answers leads her to a Croatian organized-crime family, but is complicated by her son’s (Patrick Gibson) own work as an undercover informant.WHEN WE WERE KINGS (1996) 10:15 p.m. on TCM. Spike Lee and Norman Mailer are among the interviewees in this Oscar-winning documentary about the 1974 boxing match known as the Rumble in the Jungle, in which Muhammad Ali pulled an upset against George Foreman. The director Leon Gast spent about two decades making the film — though the way Gast once told it, Ali — a famous virtuoso of braggadocio whose self-confidence is on full, over-the-top display here — might deserve a co-directing credit. “One day,” Gast said in an interview with The Times in 1997, “Muhammad told us: ‘In the morning when I run, I come around that corner with the sun and the river behind me. Put your camera over there. It’ll be a great shot.’ He was right. It was a great shot.” More

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    Review: In ‘Misdemeanor Dream,’ Speaking to the Unseen

    This experimental work, presented by La MaMa and the Indigenous theater ensemble Spiderwoman Theater, is full of enchanting stories but is missing a few threads.The fairies have stories to share. At least the ones in “Misdemeanor Dream,” who tell tales in English and Native languages, but also via movement and dance, of the births of constellations, the celestial romance that begets all sentient life. But the thicket of music, overlapping dialogue, sounds and projections in this experimental work, presented by La MaMa and the Indigenous feminist theater ensemble Spiderwoman Theater, doesn’t always come together to convey these enchanting stories; in fact, this patchwork often makes the show indecipherable.At that start of the play, a group of fairies from this realm and other realms emerge from the bowels of a large, multicolored cloth tunnel that leads from backstage to the front. They dance around a red cardboard tree that commands the center of the stage; it seems like an artifact of a mythical world, with multipatterned and brightly colored leaves that hang like shimmering Christmas ornaments. (The set and installation design is by Sherry Guppy, Penny Couchie, Sid Bobb and Mona Damian, in collaboration with Aanmitaagzi, an Indigenous company from Nipissing First Nation in northeastern Ontario, and in partnership with Loose Change Productions.)The fairies, dressed just as eclectically as the leaves, with red capes, feather boas, blue tutus, pink wings and light-up sneakers (costumes by Damian), go from recounting traditional Native creation myths, sometimes in the original languages of the cast’s nations (including Algonkian, Ilocano and Ojibwe), to personal stories. The ensemble members, who wrote the script together and are directed by Muriel Miguel, comprise 12 Indigenous actors of different ages, performing onstage and via projections. All the while they interrupt each other with fragmented thoughts and exclamations, that is, when the storytellers aren’t being interrupted by sudden blasts of pop music.This collage-style of storytelling is called “story weaving,” a method that Spiderwoman Theater developed in the 1970s. The technique is just one example of the influence of the company, which has been a pillar of New York’s experimental theater scene for decades. After all, attending a theatrical production whose cast members are of different ages and genders and are from Indigenous nations across the United States, Canada and the Philippines is, unfortunately, a novelty in a predominantly white art form.Clockwise, from bottom left, Matt C. Cross, Donna Couteau, Marjolaine Mckenzie, Henu Josephine Tarrant and  Gloria Miguel.Lou MontesanoHowever, the story weaving in this production leaves too many loosely tied or unconnected threads, and the heart of the show — accounts of communal traditions and personal experiences — ends up getting lost. This isn’t helped when the performance elements don’t readily cohere around a narrative structure. We aren’t grounded in specific settings, or much acquainted with particular characters; everything is so free-floating that there’s not much to hold onto.Some more structure would serve the production well in other areas too. The choreography, by Couchie, could be more fluid in its transitions from traditional dancing to the more contemporary, impressionistic gestures. The movement could also better suit the range of ages and abilities of the actors onstage; there are no one-size-fits-all solutions to a show whose performers represent several generations.The costumes, music and projections similarly seem to function more as pastiche than the means toward illuminating or furthering the story. That would explain the ungainly juxtaposition of, say, a mythic story about a lynx woman and a story about a woman’s love for the actress Julia Roberts, Native round dancing and air guitar, or a reflection on the sounds a decapitated body makes scored to Gene Autry’s performance of “Peter Cottontail.”From left, Tarrant, Mckenzie, Cross and Villalon.Richard TermineThe result is a show that undercuts itself, as in one of the final scenes, when Nisgwamala (Gloria Miguel) delivers a monologue that suddenly breaks from the show’s allegorical and abstract style and lands with an explicit plea for us to love each other in our troubled contemporary world. Any resonance the monologue may have is challenged by what comes next: lively pop songs by the Bee Gees and Cher.The costumes are showy, though if one of the performers could be voted Best Dressed it would be Gloria, Muriel Miguel’s sister and one of the co-founders of Spiderwoman. At a spry 95, she is a dazzling participant, wearing a cosmic star-spangled dress with sleeves adorned with what look like tiny wind chimes hanging from her wrists; every movement of her arms is accented with an airy tinkle and chime.“Misdemeanor Dream,” which runs a brief 85 minutes, is supposedly inspired by “A Midsummer Night’s Dream,” though the influence of Shakespeare seems to be another thread lost in this story weaving. The work attempts to use a fluid approach to storytelling to reflect stories that have transcendent themes: bodies change, spaces shift and we slip from one realm to the next like one slips from the waking world into the province of dreams. This kind of storytelling, and these Native stories, are essential in theater, but if you’re going to introduce the audience to the reports, fabrications and hearsay of the fairies and spirits of those alternate realms, make sure there’s some tether — even the faintest little thread — to keep us from getting lost in the magic.Misdemeanor DreamThrough March 27 at La MaMa Experimental Theater Club, Manhattan; lamama.org. Running time: 1 hour 25 minutes. More

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    Review: ‘A Song of Songs’ Makes a Sacrament of Remembrance

    Grief for a lost love is the unhealed wound at the core of this play by Agnes Borinsky, which takes a disquieting turn into the underworld.A few sheets of colored tissue paper, weighted down by a trinket to keep them from fluttering off. This is what audience members find on their seats upon arrival at “A Song of Songs,” Agnes Borinsky’s new theater piece inspired by the biblical Song of Songs, and it’s something of a puzzle. What to do with them?The answer comes at the top of the show, when Borinsky — one of a cast of three in this production, staged in a former Roman Catholic church in Williamsburg, Brooklyn — mimes instructions to us for a quick craft project. Following along, we form our sheaves into simple offerings for the altar in front of us. Then row by row, we walk up and place them there, in a shrine to the dead.It feels awkward and uncertain, stumbling through these prescribed motions of lamentation. But grief for a lost beloved turns out to be the unhealed wound at the aching core of “A Song of Songs.” We are, it appears, merely re-enacting it.Directed by Machel Ross and presented by the Bushwick Starr and the playwright Jeremy O. Harris, this play-as-ritual is meant as a kind of remix of the Song of Songs, which my Oxford World’s Classics edition of the King James Bible calls “notoriously, the one piece of erotic literature in the Bible.” But its carnality is drenched in joy, and in the comfort of lavished affection. Its verses revel in love and cherishing.So does “A Song of Songs,” at least at first. Though it’s too stylized to be sexy, its lovers, Nadine (Borinsky) and Sarah (Sekai Abeni), fall for each other in an all-consuming way, besotted to the point of unreason.“I took a pair of your gym shorts so I could smell them at work,” Sarah confesses, hiding her face. “This is completely terrifying.”Their fragmented story, and the loss of their transformative love, constitute the main narrative of “A Song of Songs.” Performed in brief scenes of monologue and dialogue, with occasional voice-overs and snatches of song, it makes a sacrament of remembrance. The set (by Frank Oliva, who also designed the lushly atmospheric lighting) takes full advantage of the architecture of a once-sacred space, and the actors’ flowing robes hint at religious garb. (Ross also designed the costumes.)Agnes Borinsky, Ching Valdes-Aran and Abeni. The set, by Frank Oliva, takes full advantage of the architecture of a once-sacred space.Luke OhlsonIn Sarah’s steady love for her only child, and Nadine’s abundant love for her many friends, Borinsky’s script considers more than just romantic attachment. Nadine’s godmother, Trudy (Ching Valdes-Aran), a revolutionary who loves with abandon, represents a fourth and more diffuse kind of passion: for society as a whole.Onstage at El Puente’s Williamsburg Leadership Center, Trudy’s is the most tentative thread of a production that does not entirely cohere. Patches of it can be hard to follow, and the acoustics sometimes swallow lines before they can land. Yet “A Song of Songs” possesses a surprising ritual power.As the play takes a disquieting turn into the underworld of Greek mythology, it stealthily leads each person in the audience toward a meditative consideration of their own mourning for those they have lost, to death or otherwise.The evening’s first participatory moment, when we placed our offerings on the altar, was preparing us for this: a second interlude when we are all asked to join in — wordlessly, each adding a token of love and sorrow to the set. (I’m not telling you what.) Delicately done, it is far more personal this time, and because of that, deeply affecting.“A Song of Songs” is a communal rite about the void left by the absence of people we love, and the universality of the pain that brings. More consolingly, it’s also about the beauty that can grow because of love, even if that love comes to grief.A Song of SongsThrough March 27 at El Puente’s Williamsburg Leadership Center, Brooklyn; thebushwickstarr.org. Running time: 1 hour 15 minutes. More

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    Radio Drama for a Podcast Age: How Amazon’s Audible Moved Into Theater

    A company known for audiobooks is mounting starry live productions — and recording them, too.Elizabeth Marvel took off her shoes, stretched out her arms and started describing her horrible dreams. Ato Blankson-Wood offered thoughts on astrology. Bill Camp, cradling a guitar in his lap, asked if someone could go get coffee, while Jason Bowen adjusted his chair.Then, after a bit of banter about the sounds of snacking, the actors nimbly slipped into character, adapting the mien of the four troubled Tyrones in Eugene O’Neill’s Pulitzer Prize and Tony Award-winning classic, “Long Day’s Journey Into Night.”With just a few performances left of their intimate, searing revival at the Minetta Lane Theater, a small Off Broadway house in Greenwich Village, they were now a half mile east, at the Cutting Room Studios, futzing with headsets and repositioning microphones as they recorded the production for the company that had underwritten it: Audible.The cast staged an abridged version of the classic play before live audiences at the Minetta Lane Theater, then recorded an audio version for distribution by Audible.Amir Hamja for The New York TimesIn a move that echoes the radio dramas of yore, and at a moment when audio is enjoying an unexpected boom, Audible, a subsidiary of Amazon, is making a bold push into theater.The company, which created its theater division just five years ago, has already released 93 audio theater works, and this month it added a theater tab to its app.Along the way, it has become a big player in the theater world: commissioning new work from 55 playwrights; presenting 25 shows in person at the Minetta Lane, which it is leasing; and becoming one of the most active commercial producers in the city. In 2020, Audible took on the entire season of the prestigious Williamstown Theater Festival, remotely rehearsing and recording all seven shows when the pandemic made it impossible to stage them in person.It also has producing credits on two Broadway shows, “Sea Wall/A Life” and “Latin History for Morons,” both of which the company also recorded and released on audio.The pace of production has been quickening — Audible released 24 theater works last year, up from nine in 2018 — and the complexity of its theater work is increasing, as the company becomes more technically sure-footed and more confident in its audience’s openness to multicharacter soundscapes.From “Coal Country”This documentary play, written by Jessica Blank and Erik Jensen and with songs by Steve Earle, explores the 2010 Upper Big Branch mine disaster through the words of survivors and family members. The Public Theater presented the play in person prior to the pandemic; then Audible recorded and streamed it, and now Audible is producing a return in-person engagement at the Cherry Lane Theater.The Audible effort is a descendant of the old-fashioned radio drama, which began in the 1920s and featured work from playwrights including Samuel Beckett and Arthur Miller and directors such as Orson Welles. The form has continued to thrive in Britain, thanks largely to the BBC, but it faded in America after the mid-20th century, becoming a niche sustained by organizations including National Public Radio, which aired Earplay from the 1970s through the 1990s, and L.A. Theater Works, which has more than 600 audio titles in an expanding catalog featuring works by Dominique Morisseau and Tom Stoppard, as well as Miller and Ibsen.The pandemic renewed flirtation with the form: When theaters were closed to protect public health, many turned to audio, as well as video, to continue making work and reaching audiences. But Audible, which says it has subscribers in 175 countries who listened to 3.4 billion hours of audio last year, has the potential to have much further reach because of its huge base of subscribers, and the deep pockets of Amazon.“There’s a lot of audio drama being made by independent people for love, not money, but Audible is able to invest a lot more than independent productions are,” said Neil Verma, an assistant professor of sound studies at Northwestern University who has written about radio drama. “They have the opportunity to experiment, to attract more expensive talent if they want, and they also have the ability to distribute in a way that other entities don’t.”Audible has released plays in Spanish and Hindi, as well as in English. “Our theater titles have been listened to by millions globally,” said Kate Navin, the artistic producer of Audible’s theater division, which has five full-time employees. “We end up getting in front of a lot of people.”Verma said that one looming question is how long Audible will stay committed to theater. “They’re a tech company, so they try a lot of new things that survive or dissolve,” he said. “Radio drama has never been central to the mandate of any of the entities that have made it — it’s always been a side element of whatever the larger project is — so in that sense it’s always a little vulnerable.”Ato Blankson-Wood, the fourth member of the cast, as seen from the control room.Amir Hamja for The New York TimesHeadquartered in Newark, Audible was founded in 1995 by Don Katz, and was purchased by Amazon in 2008 for $300 million. Katz is an avid theatergoer, and Audible quickly turned to actors to voice audiobooks; then, when Audible started creating original content, Katz thought playwrights were better suited than screenwriters to crafting purely narrative stories. And he knew they could use the money.“There was always a purely aesthetic vision, and also a business idea that lives in parallel, which includes the fact that theater is without a really sophisticated electronic analog to supplement its existence,” he said. “Because we were able to have the person in the seat be multiplied, we could inject a new revenue stream into the world, and one that would go directly to writers and actors.”Katz hired Navin, a former theater agent, to run Audible’s theater division. To begin, the company announced that it would allocate $5 million to commission audio plays from emerging writers; since then it has commissioned plays from established ones as well.From “Evil Eye”“Evil Eye” is one of dozens of audio plays commissioned by Audible. Written by Madhuri Shekar, it is an epistolary dramedy about a woman determined to find a husband for her daughter. Amazon, which owns Audible, adapted the audio play for film.“I had seen firsthand how hard it was for playwrights to stay in theater,” Navin said. “So many playwrights were leaving for film and TV. I was struck that this might be an opportunity that would give them more options.”Audible’s initial audio-bound, in-person productions were starry solo shows, including “Harry Clarke,” featuring Billy Crudup, and “Girls & Boys,” featuring Carey Mulligan. But the Williamstown season forced a faster-than-expected reckoning with complexity — the slate of productions included “Chonburi International Hotel and Butterfly Club,” a 13-performer play, and “Row,” a new musical.Some of Audible’s offerings, like “Long Day’s Journey,” are recorded in studios; others, particularly comedies like Faith Salie’s “Approval Junkie,” are recorded before live audiences.During the pandemic, when theaters were closed, Audible’s theater division employed more than 300 artists, Navin said. Now, she said, it must figure out what role to play in a post-lockdown world. “We don’t want volume for the sake of volume,” Navin said.For now, the company has been upgrading its technology, outfitting the Minetta Lane for 3-D audio recording. And it is beginning to imagine whether it could produce a musical. “Interest is high,” Navin said. “But that’s a post-pandemic conversation.”After the actors recorded the play, sound effects would be added in post-production.Amir Hamja for The New York TimesJason Bowen, shown here, and Ato Blankson-Wood played Jamie and Edmund, the two sons in the Tyrone family.Amir Hamja for The New York TimesAudible is an unusual player in the theater world because it is not primarily a theater company. The company’s main source of revenue is from members who pay to listen to audio titles.That means box office revenue is not a make-or-break factor for Audible’s theater productions, which allows the company to do risky work, and, even more distinctively, to stage short-run productions, which in turn allows them to attract film and television stars who have limited time in their schedules. The economics of most commercial play productions generally require stars to commit to runs of at least 15 weeks; because Audible isn’t looking to recoup costs from ticket sales, it can accept fewer. “Long Day’s Journey,” for example, had planned only a six-week run, which was shortened to five when the start of performances was delayed by concerns about the Omicron variant.“They don’t need to make a profit off of everything they do,” said Oskar Eustis, the artistic director of the Public Theater. “What they need is for each project to elevate the brand, and that means they can look with a less bottom-line-driving frame at the works they create.”The “Long Day’s Journey” director, Robert O’Hara, was piped in to the recording session to give feedback. Amir Hamja for The New York TimesAnother upside: Artists are paid more for shows that are recorded as well as staged in person.“The pay is wonderful, and the reach is grand,” said Robert O’Hara, whose planned Williamstown production of “A Streetcar Named Desire” wound up being made for audio by Audible, and who went on to direct the “Long Day’s Journey” at the Minetta Lane and on audio.O’Hara, like other artists interviewed for this story, said Audible has been admirably hands-off. “I’m not getting dramaturgical notes from Audible,” he said. “They don’t have a take on ‘Long Day’s Journey.’ They allow the artists to be the artists.”His “Long Day’s Journey” staging, although backed by an audio company, had a number of striking visual moments, from its quiet opening to projections used onstage. “For me, audio was not the end destination,” he said. “Audio was the gravy on top. I was doing a stage production.”Marvel, who compared Audible to the Medicis, the historic Italian banking family associated with arts patronage, said the shorter run of an Audible production was a plus for her: “It’s a wonderful time model, where you’re not giving four to six months of your life to a play. It’s a reasonable amount of time to give, which, as an actor who is a parent and has to make income in other ways, is realistic and helpful.”There were other pluses. Marvel said she wanted to be part of trying new forms for theatrical storytelling. “We all have to look forward and just keep opening the iris for new ideas and new ways to work and new ways for people to access work,” she said.Marvel and O’Hara also both said that they weren’t sure other producers, either commercial or nonprofit, would have taken on the risk of the abbreviated, contemporary version of “Long Day’s Journey” that Marvel had long wanted to make. “I don’t think there’s another place I could have gone,” O’Hara said. “No one in their right mind would let me cut this play and modernize it.”Kate Navin, center, the head of Audible Theater, conferred with Erik Jensen, one of the writers of “Coal Country,” as that play, already recorded for audio, rehearsed for an in-person production at the Cherry Lane Theater.Amir Hamja for The New York Times“Long Day’s Journey,” with four actors and a rich soundscape, is being followed by a live production of “Coal Country,” the first show Audible is presenting in-person outside the Minetta Lane. The show is an eight-actor documentary play, with music written and performed by the singer-songwriter Steve Earle, about the Upper Big Branch mine disaster in West Virginia. It was first produced by the Public and opened in March 2020, but a week later the pandemic cut short the run.“It was heartbreaking for us,” Earle said. “It was four years of work, and we got it up and had great reviews and were selling out, and then we opened and closed.”While live performances were almost entirely shut down, Audible reassembled the cast and recorded the show, to the relief of its creators. “For us, it has always been incredibly important that this play be seen, heard and experienced outside of New York, and particularly in Appalachia,” said Jessica Blank, the production’s director. “Audible immediately made the play accessible to people who wouldn’t have had access to it otherwise.”Now Audible is presenting a second in-person run of the Public’s “Coal Country” production at the Cherry Lane Theater, through April 17. Earle, who moved to New York hoping to break into the theater business, and who is working on a musical adaptation of the film “Tender Mercies,” said he was relieved to have Audible’s support.“I have long experience with taking corporate money to make art, because I come from the record business,” he said. “Anything that makes theater available to everybody, I’m all for.” More

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    How to Watch the Critics Choice Awards 2022: Date, Time and Streaming

    It could be a big night for “Belfast” and “West Side Story” — and might finally bring some clarity to the best actress race at the Oscars.If Peter Dinklage’s Cyrano stirred your soul, you’re a fan of Lady Gaga’s over-the-top accent in “House of Gucci,” or you fell hard for “Belfast” cutie Jude Hill, you’ll want to catch the Critics Choice Awards on Sunday night to see if any of them get their due after they were snubbed in the Oscar nominations last month.Postponed from their original Jan. 9 date, the 27th annual Critics Choice Awards will now take place on two continents, with the main ceremony at the Fairmont Century Plaza Hotel in Los Angeles and a simultaneous, late-night celebration at the Savoy Hotel in London. That is the organization’s way of dealing with the fact that the EE British Academy Film Awards, or BAFTAs, are the same night. And with less than two weeks before the Oscars, the outcome of the Critics Choice may provide some clarity on the most hotly contested races at the Academy Awards.Will Jessica Chastain or Penélope Cruz rise to the top of the best actress pool? Can Troy Kotsur continue building Oscar momentum by notching a win in the best supporting actor category? Will “Belfast” or “West Side Story,” both of which have a pack-leading 11 nominations, pull off a win for best ensemble?There’s drama on the TV side, too, with Emmy favorite “Mare of Easttown” squaring off against “The Underground Railroad” and “WandaVision” for best limited series, and contenders like “Squid Game,” “Succession” and “Yellowjackets” duking it out for best drama series.Here’s a look at how and what to watch for on Sunday night (and, if you have five hours, how to watch both the Critics Choice Awards and the BAFTAs).What time do the Critics Choice Awards start?The three-hour broadcast begins Sunday at 7 p.m. Eastern simultaneously on the CW and TBS. It will be delayed on the West Coast, so check your local listings. If you’ve cut the cord, you can also stream it on Hulu with live TV, FuboTV and Sling TV.Is there a red carpet?Yes. Your best bet for catching all the looks is social media, but many CW stations will be broadcasting a red-carpet show before the ceremony. Check your local listings.Who votes on the awards?Critics of course; also entertainment journalists. They’re all members of the Critics Choice Association, which has a little more than 500 members.Who will be hosting?Taye Diggs, the “Empire” actor and Broadway star has been the host for the last three years. This time he will team up with Nicole Byer, a judge on the Netflix competition series “Nailed It!,” to lead the show from Los Angeles.Who will be presenting?Of course, there’ll be the usual slate of film and television notables — Ava DuVernay, Carey Mulligan, Lin-Manuel Miranda and Mayim Bialik, to name just a few — but look for some big stars from the sports world this year, too. Serena Williams, whose story is featured in the biopic “King Richard,” and Sean McVay, the Los Angeles Rams coach whose team won the Super Bowl last month, will also hand out awards.Who will receive special awards?The Critics Choice Association gives out the #SeeHer Award each year, which honors a woman who pushes “boundaries on changing stereotypes” and furthers “authentic portrayals of women across the entertainment landscape.” This year’s honoree is Halle Berry, who 20 years ago became the first — and only — Black woman to win an Academy Award for best actress. The comedian Billy Crystal will also receive the Lifetime Achievement Award.What should I watch for?With the Oscars just around the corner, on March 27, films will be looking to bolster their cases for best picture — or make them. “Belfast,” whose cast hasn’t taken home many prizes during awards season so far, could mount a best picture comeback if it wins big at the Critics Choice Awards. The best actress category is once again a tossup — as it has been at every awards show this year — with the potential for Jessica Chastain to build momentum after her big win at the Screen Actors Guild Awards for “The Eyes of Tammy Faye.”On the television side, the hit Netflix series “Squid Game” is up for both best foreign language series and best drama series, though it’ll have stiff competition in the latter category from “Succession,” which leads all shows with eight nominations.Who do we think will win?Ariana DeBose, who played Anita in the Steven Spielberg remake of “West Side Story,” is essentially a sure thing for best supporting actress. In the supporting actor category, it’s a two-man race between Kotsur and Kodi Smit-McPhee of “The Power of the Dog.” And best picture? It’s probably between “Belfast” and “The Power of the Dog.”Why are the Critics Choice Awards happening the same night as the BAFTAs?Well, the BAFTAs got here first. But after the pandemic forced the Critics Choice Association to scrap the January date, Joey Berlin, the organization’s chief executive, said at the time that there was only one Sunday between the Super Bowl and the Oscars that the show could move to and still honor contractual obligations with networks, sponsors and venues.Aargh, I want to watch both!You’re in luck! (Thank you, time difference.) The BAFTAs, which will take place at 5 p.m. London time at the Royal Albert Hall and be hosted by Rebel Wilson, will be streamable for American audiences on BritBox beginning at 2 p.m. Eastern, giving you plenty of time to watch before the Critics Choice Awards.Approximate time investment: five hours. More

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    Jussie Smollett, Once an ‘Empire’ Star, Is Now in the Cook County Jail

    On Thursday evening, Mr. Smollett began serving a five-month sentence for falsely reporting a hate crime, a conviction he plans to appeal.It was an extraordinary ending to an unusual hearing.Jussie Smollett, sentenced to five months in a Chicago jail, stood up, defiantly declared his innocence and repeatedly warned the room that he was not suicidal and, if anything should befall him while incarcerated, it would not be his own doing.Then, with his right fist raised, Mr. Smollett was led off to become likely the most famous of the 6,000 inmates at the Cook County Jail.The jail primarily houses defendants awaiting trial, but also convicts serving shorter sentences, like Mr. Smollett, 39, who was booked into Division 8, a facility that is used to administer medical and mental health treatment, as well as house inmates who require protective custody.Mr. Smollett has a private cell, which is monitored by security cameras and an officer stationed at the entrance, according to the Cook County Sheriff’s Office. He will be allowed “substantial time” outside of his cell to talk on the phone, watch television and interact with staff members in common areas, but only when other detainees are not present, the office said.Judge James B. Linn, who presided over the trial at which the actor was convicted of falsely reporting a hate crime, had ordered that Mr. Smollett serve his jail term under protective custody.Mr. Smollett’s lawyer Nenye Uche had said after Thursday’s hearing that his client was vulnerable and deserved special protective measures. “All you need to do is log onto various media, social media, to see some of the nasty things said about him,” Mr. Uche said. “Of course someone like that should be in protective custody.”Supporters have said the actor is particularly vulnerable to being targeted because he is a gay man and a recognizable celebrity.Understand the Jussie Smollett CaseThe actor Jussie Smollett was found guilty in December of falsely reporting that he had been the victim of a racist and homophobic assault in 2019.Timeline: The case began with the actor’s police report and led to a trial in which he was accused of staging the attack himself.Smollett’s Testimony: Mr. Smollett was self-deprecating and animated as he sought to convince a Chicago jury he was the victim of a real attack.What the Evidence Shows: Explore some of the documents and security camera footage related to the case.His Sentence: The actor was sentenced to five months in jail on March 10. His supporters had made impassioned pleas for leniency ahead of the sentencing hearing.In arguing for leniency at the hearing, Mr. Smollett’s lawyers had emphasized evidence of Mr. Smollett’s good character and said they supported his contention of innocence, urging he be given a new trial or, at the least, probation. They did not mention in their arguments a concern about the specific realities of incarceration at the Chicago jail, which some social justice advocates have described as having a “culture of brutality and violence” in the highest security units.Mr. Smollett’s unit is not among those cited.Criminal defense experts said they thought the jail would likely do everything it could to isolate Mr. Smollett from other prisoners, considering his fame and potential to disrupt day-to-day activities there, which for many inmates include communal meals in the commissary.“They’re going to put him wherever they would have the least amount of disruptions to the rest of the facility,” said Steve Greenberg, a defense attorney in Chicago who represents the singer R. Kelly against sex crime charges in Illinois. Mr. Kelly was once held in the division where Mr. Smollett resides.Mr. Smollett’s lawyers had asked the judge to defer Mr. Smollett’s sentence until after they have appealed his conviction. But Judge Linn swiftly denied their request. In addition to the jail time, Mr. Smollett was sentenced to more than two years of probation, plus a fine of $25,000 and restitution of more than $120,000 to offset the city’s cost in investigating the case.The maximum sentence allowed for the offense for which Mr. Smollett was charged, felony disorderly conduct, is three years in prison, but many of those convicted are given probation. Judge Linn cited several factors, including Mr. Smollett’s testimony on the witness stand, which the judge described as “pure perjury,” in explaining why he ordered some jail time.Sam Mendenhall, a prosecutor on the case, said on Friday that he believed Mr. Smollett would not have the option of reducing his jail time for good behavior because Judge Linn ordered it as a condition of probation.Mr. Smollett in a photo taken after he was incarcerated Thursday. He was sentenced to five months at the Cook County jail. Cook County Sheriff’s Office, via Associated PressThe Cook County Sheriff’s Office said in a statement on Thursday that Mr. Smollett would receive a “comprehensive medical, mental health and security assessment.” Mr. Smollett’s sentencing hearing at Leighton Criminal Courthouse was unusual in its length — about five hours — and its intensity, with the defense, the prosecution and even the judge making impassioned speeches about the case.Mr. Smollett’s supporters, including his 92-year-old grandmother and his former boss at a nonprofit organization, made glowing remarks about his commitment to social justice as they pleaded for leniency.In his own extensive remarks, Judge Linn took another tack, sharply condemning Mr. Smollett as a narcissistic attention seeker who wasted precious police hours with his “stunt” and made it more difficult for real hate crime victims to be taken seriously.“Your very name has become an adverb for lying,” Judge Linn said. “And I cannot imagine what could be worse than that.”Mr. Uche later said he was “offended” by the remarks, and outside the courtroom, one of Mr. Smollett’s brothers, Jocqui Smollett, sharply criticized the judge.“He chastised my brother,” Mr. Smollett said. “He does not deserve this. He was attacked.”Cook County Jail has drawn criticism for conditions in some of its units, but Mr. Smollett will be held in protective custody by order of the judge who sentenced him. Kamil Krzaczynski/Agence France-Presse — Getty ImagesThe police believed initially that Mr. Smollett, best known for starring in the music-industry drama “Empire,” had been the victim of a hate crime when he reported on Jan. 29, 2019, that he had been attacked by two men who hurled racist and homophobic slurs at him, put a rope around his neck like a noose and shouted “this is MAGA country.” But prosecutors presented evidence that Mr. Smollett had orchestrated the hoax himself, including testimony from two brothers, Abimbola Osundairo and Olabinjo Osundairo, who said they had mildly assaulted Mr. Smollett according to his directions.The defense had argued that the brothers carried out the attack to scare Mr. Smollett into hiring them as his security detail. Mr. Smollett’s appeal is likely to follow the arguments raised by his lawyers Thursday, in which they cited what they described as errors by the judge and the prosecutors, and suggested Mr. Smollett’s case had already been adjudicated once and he could not be punished twice — a violation of the legal concept of double jeopardy.In 2019, when prosecutors dropped the original charges, Mr. Smollett did some community service and surrendered his $10,000 bond payment, punishment that seemed insufficient to some critics.Kim Foxx, the state’s attorney whose office negotiated that initial outcome, sharply criticized the prosecutors who handled the second indictment in an op-ed for The Chicago Sun-Times on Thursday, calling it a “kangaroo prosecution” and “mob justice.” (After an investigation of Ms. Foxx’s office, Daniel K. Webb, the special prosecutor who handled the case, found the office had abused its discretion, but did not violate the law, in deciding to drop the charges.)Lori Lightfoot, the mayor of Chicago, struck a very different tone, saying in a statement that the city had been “vindicated” by the judge’s sentence.Mr. Webb said after the sentencing that he was struck by the extent to which Mr. Smollett was unwilling to express any remorse for the damage he had done.“Again today,” he said, “after he’s been convicted by a jury of five felony counts, after he heard a judge today excoriate his conduct as being reprehensible, he still stood up in the courtroom and insisted that he’s not going to ever admit or accept any responsibility for what he did.” More

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    Rupert Grint of ‘Harry Potter’ Gets His Own Glasses

    The former child actor, who stars in the creepy drama “Servant,” shops at Moscot.Rupert Grint covered his left eye with his hand and attempted to read the top few lines. “E, D, F, C, E, F,” he said slowly.“Close!” said Marilyn Blumengold, a sales associate at Moscot, the eyewear shop on the Lower East Side.This was on a recent snowy afternoon. Mr. Grint, currently shooting the fourth season of the Apple TV+ horror drama “Servant,” had driven in for the weekend from his temporary home in Philadelphia to take in the sights and maybe also have his eyes checked. He had noticed a blur in the right one, he said.But Moscot, which has been in business for more than 100 years, didn’t have an optometrist on-site on Sundays, so Mr. Grint, 33, improvised his own test, standing about 20 feet away from an eye chart at the back of the store.“Almost 20/20,” Ms. Blumengold said encouragingly.Satisfied for the moment, Mr. Grint turned his attention to picking an eyeglass frame, moving through the store shyly, unassumingly, never asking for help, but also never declining it.“I’m a very private person, an introvert,” he said. He slouched through the store in a black Issey Miyake suit that a stylist had picked out for the outing. “Strange pajamas,” he called them. “Surprisingly, I think they look good.” His red hair flopped over the top of some frames.Mr. Grint seemed overwhelmed. “There’s just so much choice,” he said, as he surveyed the rows of display cases. He said it twice. “It’s quite ‘Harry Potter,’” he added without any prompting. “Like choosing a wand.”Mr. Grint stars in the “Servant,” alongside Lauren Ambrose, left, and Toby Kebbell. The show is in its third season.Apple TV+Mr. Grint should know. He starred as Ron Weasley in all eight “Harry Potter” films. (Ron’s wand? Willow. With a core of unicorn hair.) Ms. Blumengold may or may not have known that — at one point she steered him toward a pair of round black glasses, a $300 model called the Zolman, which looked very Harry-esque.“No,” Mr. Grint said politely.When the “Harry Potter” films ended, Mr. Grint was worried that he may not make it as an adult actor. He knew how to play Ron, Harry’s brave, anxious sidekick. He didn’t know if he could play anyone else. “I definitely did think, ‘Is it too late to pick something else?’” he said.He bought a pink-and-white ice cream van, which he drove back to his family home just north of London on his last day of shooting. He thought briefly that he could make a go of that.But after taking a year off, he tried acting again. He had been sent a lot of “Potter” adjacent material — more sidekicks — but he held on for edgier, more serious, more adult work. He took a part in a Jez Butterworth play, enjoying the discipline of theater, and starred in the Crackle crime dramedy “Snatch.”His most significant post-“Potter” role has been in M. Night Shyamalan’s “Servant,” a creepy drama on Apple TV+ about a Philadelphia couple who hire a nanny to care for a baby that is actually a therapy doll. (The real baby had died in an accident.) Mr. Grint plays Julian, the baby’s supercilious uncle. “It’s quite a difficult subject, especially if you’ve got a baby,” he said.Halfway through the series, in the spring of 2020, his partner, the actress Georgia Groome, gave birth to their daughter, Wednesday G. Grint. “Having a child midway through definitely made me understand what a loss that would be,” he said.Wednesday had made him into a bit of a hypochondriac, he added. (Working on a show in which terrible things happen to bodies in nearly every episode — self-harm, self-flagellation, being buried alive — probably hasn’t helped.)“That’s why I wanted to have an eye test,” he said. “I’m slowly becoming more aware that there’s lots of moving parts in the body.”This season’s finale airs on March 25, but Mr. Grint has already begun filming the show’s fourth and final season. And, no, he has no idea what the twist will be. “It’s quite a thrill to work that way.” (It must be. He has signed on for Mr. Shyamalan’s next film, “Knock at the Cabin.”)Ms. Blumengold started him off with a classic Moscot model, the Lemtosh, a brown acetate oval frame with a slight 1950s vibe. Many of the frames have Yiddish names, though “Lemtosh” just sounds like one. Mr. Grint looked confused as he squinted at himself in the mirror. “It changes your appearance,” he said. “It changes your personality.” Into what, he wasn’t sure. But he felt that he could already see a bit better.“Very nice,” Ms. Blumengold said. “Very handsome.”“I do struggle with making decisions,” Mr. Grint said, as he tried on a pair of sunglasses.Mark Sommerfeld for The New York TimesThen he tried on a dozen more acetate frames, toggling between rounder models including the Genug (Yiddish for “enough”) and Frankie, and rectangular ones like Kitzel (“tickle”) and Shindig, a retro unisex model. Most cost around $300.“I do struggle with making decisions,” he said. “It’s quite a responsibility, choosing.”After 40 minutes, he settled on the Yukel (“buffoon”) a clubmaster style with a thick tortoiseshell browline and a thinner gunmetal bottom.Ms. Blumengold created a customer profile and added it to his file, in case he does end up needing eyeglasses. He could always call in his eye test results and have the glasses made.But Mr. Grint didn’t want to leave empty-handed, so he set his sights on the sunglasses. After flirting with the Boychik (a term of endearment for a little boy), he turned back to the Lemtosh, this one in brown acetate frames and dark brown lens. After all, Mr. Grint is now a man.As he waited for Ms. Blumengold to box the glasses up, he popped outside for a quick vape hit. When he returned, she handed him a chamois cloth to clean them with. “This is your last Yiddish word for the day,” she said. “‘Shmatte,’ a rag.” More