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    Gary Oldman Found James Dean and His Wife at a Gallery

    The Oscar-winning star of “Slow Horses” on Apple TV+ likes comedians in dramas, makes photos the hard way and is still discovering the Beatles.The actor Gary Oldman knows a few things about playing spies.He picked up the first of his three Oscar nominations for his portrayal of George Smiley, the agent at the heart of the 2011 movie “Tinker Tailor Soldier Spy,” which was adapted from John le Carré’s thriller by the same name. (He won in 2018, for “The Darkest Hour.”)In the Apple TV+ series “Slow Horses,” based on Mick Herron’s “Slough House” novels, Oldman is a similarly unglamorous spy, one of several dealing with divorce, alcoholism, gambling problems and other misfortunes. As Oldman said in a phone interview last month, they are far from “that rather sort of glossy world of Jason Bourne and James Bond.”There is certainly no gloss to Oldman’s character, Jackson Lamb, a perpetually rumpled and frequently drunk MI5 agent who oversees spies tucked away for being embarrassing or otherwise undesirable. But Oldman has decided to spend more time with him than with any other character in his more than 40-year career.“He publicly humiliates. He’s provocative. He’s deliberately confrontational. He’s all of those things,” he said. “And yet, he has an incredible sort of moral compass, and he’s very loyal, and I think that is sort of, if you like, redeeming.”Season 2 of “Slow Horses” premiered Friday, while the third season is in production. (A fourth has been ordered.) Oldman talked about the books he’s giving for Christmas, the music he makes on his iPhone and the plays he performs on Zoom. These are edited excerpts from the conversation.1. Richard Miller I collect photographs. Once, I was looking for a print of a photograph of James Dean on a break during the shooting of “Giant,” sitting on a sofa, reading a Look magazine with Elizabeth Taylor on the cover. Next to him on the sofa is Elizabeth Taylor, with her head on his arm, asleep. I went over to the Fahey/Klein Gallery in Los Angeles to see if they had a print. I described it but said I didn’t know who it was by. A voice behind me said, “Oh, that’s Richard Miller.” I turned around and met the gallery’s director, Gisele Schmidt, who is now my wife.2. “The Dumb Waiter” I’ve had a chance to work with a wonderful actor and a lovely man lately called Arliss Howard. We recently got onto Zoom and read “The Dumb Waiter,” a one-act play by Harold Pinter about a pair of hit men. We did it for ourselves — you know, just keeping your hand in the game. I don’t know if it’ll go anywhere. Maybe Arliss and I will do it one of these days.3. iPhone Music Recordings Again, purely for the hell of it, a friend in Canada and I have been recording songs by David Bowie, who was a very good friend of mine. We send tracks back and forth to each other by email and text. I’ll put down, say, the piano track, and he’ll put guitar on it. You’ll be amazed what you can do with an iPhone. When you hear these tracks put together, you would think they were recorded live in a studio with a band.4. London’s National Portrait Gallery The National Portrait Gallery, the Imperial War Museums, the National Gallery — these are all places that are part of growing up in England. They’ve always been there. Always been accessible. Every time I go back to the National Portrait Gallery, I see new things.5. The Beatles A friend of mine, the painter George Blacklock, always says that if you could look at a painting and get it all in five minutes, then it wouldn’t be worth painting it. They reveal new things to you over time. I feel that way about the Beatles. My God, the artistry. I am constantly in awe and total admiration for what they achieved.6. John le Carré John le Carré had an eye for detail that I think is quite remarkable. “Tinker, Tailor,” for me, is the jewel in the crown of his writing. But I liked one of his next George Smiley novels, “Smiley’s People,” very much. We were going to do it. It never happened, for a variety of reasons, but I would’ve loved to have revisited George again.7. Stella Adler The other day, I was talking to Saskia Reeves — who plays Catherine Standish on “Slow Horses” — about the many methods and techniques of acting. She’s sort of from the Stanislavski school, as many of us are, and she was talking about Uta Hagen and, I think, Sanford Meisner, but she was sort of unfamiliar with the great actor and teacher Stella Adler. So I think the book “Stella Adler on Ibsen, Strindberg and Chekhov” will be in Saskia’s Christmas stocking.8. Comedic Actors Working on Dramas I loved “The Patient” with Steve Carell and happen to think he’s a really wonderful dramatic actor. I also liked “Severance.” I was shocked to see that some episodes were directed by Ben Stiller. I knew he’d directed before, but it was really quite masterful. Sometimes we go: “Oh my God, this person can be funny and be dramatic!” And yet, for years, the wonderful Jack Lemmon bounced between the two.9. Family Christmas This year, we’re having Christmas at the house, and it’s our first big, big, big Christmas. We have 14 for Christmas Day and five dogs. So, it’s going to be a houseful. We’re going to try and coax my son Charlie into making his carbonara.10. Wet-Plate Photography I started learning about the wet-plate photography process when I was writing a script about the 19th-century photographer Eadweard Muybridge. I made one good plate and thought, “I’ve been searching all my life for this — why haven’t I discovered it earlier?” I find it incredibly satisfying, and it takes me away from my main job. More

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    What’s on TV This Week: ‘His Dark Materials’ and the People’s Choice Awards

    The third and final season of “His Dark Materials” begins on HBO. And the 2022 People’s Choice Awards air on NBC.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, Dec. 5 -11. Details and times are subject to change.MondayHIS DARK MATERIALS 9 p.m. on HBO. Following the trilogy structure of the Philip Pullman novels on which it is based, the fantasy series “His Dark Materials” is slated to end after its new, third season, which debuts on Monday. The first season introduced Lyra Belacqua (Dafne Keen), a runaway living in an authoritarian fantasy world who is pulled into a quest that involves multiple realities. The second season ended on the brink of a war. Reviewing the first season for The New York Times, James Poniewozik wrote that the show conjures a spectacle without losing sight of the weightier ideas of the source material. It “has a more rebellious, questioning outlook — adolescent, in a good way — than some other fantasy sagas,” he wrote. “Where the Harry Potter series and ‘The Lord of the Rings’ presumed that the ruling institutions were essentially good, if vulnerable to corruption, ‘His Dark Materials’ suggests that its theocracy is rotten all the way up.”TuesdayKenan Thompson at the 2021 People’s Choice Awards. He will return to host this year’s show.Alberto Rodriquez/E! Entertainment/NBCPEOPLE’S CHOICE AWARDS 9 p.m. on NBC. Kenan Thompson returns for a second consecutive year to host the People’s Choice Awards. The show casts a large net, handing out prizes in movies, TV, music and general pop-culture categories. It’s a looser affair than the Oscars, Grammys or Emmys: “Social celebrity of 2022” is one honor here, and nominees for the top movies category include “Jurassic World Dominion,” which you’re probably unlikely to find in the running for best picture at the Academy Awards.CASABLANCA (1942) 10:15 p.m. on TCM. The perennial best-of-list classic “Casablanca” premiered in New York on Nov. 26, 1942, but decades later, its story of wartime love and displacement still has plenty to say. New Yorkers can pair an 80th-anniversary viewing with a trip to the Neue Galerie in Manhattan, where a showcase of memorabilia spotlights the Central European exiles who made the movie.WednesdayTITANIC (1997) 8 p.m. on Paramount Network. James Cameron is set to return to theaters next week with the sci-fi sequel “Avatar: The Way of Water.” For a refresher on Cameron’s special ability to create a spectacle, revisit his “Titanic,” with Kate Winslet (who is also in “Avatar: The Way of Water”) and Leonardo DiCaprio.ThursdayFrom left, Emma Watson, Florence Pugh, Saoirse Ronan and Eliza Scanlen in “Little Women.”Wilson Webb/Columbia PicturesLITTLE WOMEN (2019) 3 p.m. on FXM. Greta Gerwig adapted Louisa May Alcott’s 19th-century novel “Little Women” for a new generation with this film version, in which Gerwig moves between the four March Sisters — played here by Emma Watson, Florence Pugh, Saoirse Ronan and Eliza Scanlen — as adults and as younger versions of themselves, creating something of a before and after coming-of-age story. In his review for The Times, A.O. Scott said that this adaptation can appeal to both fans of Alcott’s book and newcomers. “Without resorting to self-conscious anachronism or fussy antiquarianism,” Scott wrote, “Gerwig has fashioned a story that feels at once entirely true to its 19th-century origins and utterly modern.”OCEAN’S ELEVEN (2001) 5:15 p.m. on TNT. When the director Steven Soderbergh released this blockbuster heist movie remake in 2001, the review in The Times by the critic Elvis Mitchell referred to the film’s cast as “a Who’s Who of People magazine’s Sexiest Men Alive.” George Clooney and Brad Pitt were in it. Matt Damon, Don Cheadle and Andy Garcia, too. And of course, don’t forget Carl Reiner. These days, “Ocean’s Eleven,” which places a group of thieves in a Las Vegas casino-robbing plot, makes for a taut 2000s time capsule. TNT will show it on Thursday in a marathon alongside its contemporary sequels — though the more interesting pairing might involve watching this version with the 1960 original, which has Frank Sinatra, Sammy Davis Jr. and Dean Martin in its cast, and airs Friday on TCM at 3:45 p.m.CMA COUNTRY CHRISTMAS 9 p.m. on ABC. The country-pop singer-songwriter Carly Pearce will host the 13th edition of this annual Christmastime special. The lineup of performers includes Maren Morris, the War and Treaty, Molly Tuttle and Steven Curtis Chapman.FridayELLA WISHES YOU A SWINGING CHRISTMAS WITH VANESSA WILLIAMS 9 p.m. on PBS (check local listings). The singer Vanessa Williams and the American Pops Orchestra pay tribute to Ella Fitzgerald and her classic album of jazzy Christmas music in this hourlong special. The program originally aired in 2020, the 60th anniversary of the album, but, like the album it celebrates, it has evergreen appeal as a seasonal treat.SaturdayFrom left, Christian Bale, John David Washington, and Margot Robbie in “Amsterdam.”20th Century StudiosAMSTERDAM (2022) 7:45 p.m. on HBO. Christian Bale, Margot Robbie and John David Washington play three friends pulled into an over-the-top murder conspiracy in 1930s Europe in this crackpot mystery from David O. Russell (“American Hustle”). The plot kicks off with a dead man, and an autopsy that leaves questions unanswered. What follows is “a handsome period romp,” Manohla Dargis wrote in her review for The Times, “a 1930s screwball pastiche filled with mugging performers who charm and seduce as they run around chasing down a mystery, playing detective, tripping over their feet and navigating an international conspiracy that is best enjoyed if you don’t pay it too much attention.”SundayNATIONAL CHRISTMAS TREE LIGHTING: CELEBRATING 100 YEARS 8 p.m. on CBS. The annual Christmas tree lighting ceremony in Washington dates back to the presidency of Calvin Coolidge. The 2022 ceremony, which took place Nov. 30 and will be broadcast on Sunday, two weeks before the holiday, includes performances by LL Cool J, Shania Twain, Yolanda Adams, Ariana DeBose, the United States Marine Band and more.MASTER OF GLASS: THE ART OF DALE CHIHULY 9 p.m. on Smithsonian Channel. With colorful, dizzying glass works often installed far outside the walls of museums, the artist Dale Chihuly, 81, has for decades been one of the most recognizable artists of his generation. His life has also included well-documented physical and mental struggles. This program looks at Chihuly’s career. More

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    Bob McGrath, Longtime ‘Sesame Street’ Star, Dies at 90

    He was an original cast member who, for nearly half a century, played a sweater-clad and easygoing music teacher who dispensed advice.Bob McGrath, who played the sweater-clad neighborhood music teacher and general advice-giver on “Sesame Street” for almost half a century, died at his home in New Jersey on Sunday morning. He was 90.Mr. McGrath’s daughter Cathlin McGrath confirmed his death by email on Sunday. She said Mr. McGrath died from complications after a stroke. She said that the night before Mr. McGrath passed, his family had decorated his room for Christmas, and sung and danced around him. “We just knew that he wanted to go the way he lived.”Mr. McGrath wasn’t particularly interested when an old Phi Gamma Delta fraternity brother stopped him one night to tell him about his new project, a children’s show on public television. But then he had never heard of Jim Henson, the puppeteer, and he had never seen a Muppet. After his first meeting and a look at some of the animation, he knew this show would be different.“Sesame Street” had its premiere in November 1969, with Mr. McGrath and other cast members gathered around an urban brownstone stoop, in front of the building’s dark green doors, beside its omnipresent collection of metal garbage cans. His character, conveniently and coincidentally named Bob, was reliably smiling, easygoing and polite, whether he was singing about “People in Your Neighborhood” (the butcher, the baker, the lifeguard), discussing everyday concerns with young humans and Muppets, or taking a day trip to Grouchytown with Oscar the Grouch.Viewers were outraged when Mr. McGrath and two other longtime cast members — Emilio Delgado, who played Luis, and Roscoe Orman, who played Gordon — were fired in 2016. When HBO took over the broadcasting rights to “Sesame Street,” their contracts were not renewed.But Mr. McGrath took the news graciously, expressing gratitude for 47 years of “working with phenomenal people” and for a whole career beyond “Sesame Street” of doing family concerts with major symphony orchestras.“I’m really very happy to stay home with my wife and children a little bit more,” he said at Florida Supercon, an annual comic book and pop culture convention, later in 2016. “I’d be so greedy if I wanted five minutes more.”Robert Emmett McGrath was born on June 13, 1932, in Ottawa, Ill., about 80 miles southwest of Chicago. He was the youngest of five children of Edmund Thomas McGrath, a farmer, and Flora Agnes (Halligan) McGrath.Robert’s mother, who sang and played the piano, recognized his talent by the time he was 5. He was soon entering and winning competitions in Chicago and appearing on radio. He did musical plays and studied privately but, as a practical matter, intended to study engineering.But he was invited to attend a music camp outside Chicago the summer after his high school graduation. Teachers there encouraged him to change his plans, and he “did an about-face,” he remembered in a 2004 video interview for the Television Academy Foundation.He majored in voice at the University of Michigan, graduating in 1954. He spent the next two years in the Army, mostly in Stuttgart, Germany, where he worked with the Seventh Army Symphony. Then he went to New York, where he received a master’s degree from the Manhattan School of Music.He took a job with St. David’s, a private boys’ school in Manhattan. Freelance singing assignments, obtained through a vocal contractor, paid the bills until 1961, when “Sing Along With Mitch” came along. He was one of 25 male singers who appeared every week on that show, on NBC, performing traditional favorites like “Home on the Range,” “The Yellow Rose of Texas,” “It’s a Long Way to Tipperary” and “I’ll Take You Home Again, Kathleen.”As St. Patrick’s Day approached, the program’s host and producer, Mitch Miller, asked Mr. McGrath if he knew the song “Mother Machree.” He was so impressed with Mr. McGrath’s rendition and his light lyric tenor — he had been singing the sentimental Irish American number since he was a little boy — that he doubled his salary and made him the show’s featured male soloist.After “Sing Along With Mitch” ended in 1964, the cast played Las Vegas and did a 30-stop tour in Japan. That led to an unusual chapter in Mr. McGrath’s career: teenage idol.Schoolgirls chanted his name at concerts and organized fan clubs. Their demand brought him back to Japan nine times over the next three years, and he recorded nine albums there, singing in both English and Japanese. His repertoire included Japanese folk ballads on which he was accompanied by a shakuhachi, or bamboo flute. Back home, he amused American television viewers by singing “Danny Boy” in Japanese.When “Sesame Street” began, it led to a very different collection of albums for Mr. McGrath, with names like “Sing Along With Bob” and “Songs and Games for Toddlers.”He also learned American Sign Language, which he used regularly on camera with Linda Bove, a cast member who was born deaf.Asked about important memories of his years on the series, Mr. McGrath often named the 1983 episode devoted to children’s, adults’ and Muppets’ reactions to the death of Will Lee, who had played Mr. Hooper on the show for 13 years. Another favorite was the holiday special “Christmas Eve on Sesame Street” (1978), particularly the Bert and Ernie segment inspired by the O. Henry story “The Gift of the Magi.”In 1958, Mr. McGrath married Ann Logan Sperry, a preschool teacher whom he met on his first day in New York City. They had five children. He is survived by Ms. McGrath, who is 89, and their five children, Liam McGrath, Robert McGrath, Alison McGrath Osder, Lily McGrath and Cathlin McGrath, as well as eight grandchildren. He is also survived by an elder sister, Eileen Strobel.“It’s a very different kind of fame,” Mr. McGrath reflected in the Television Academy interview about his association with “Sesame Street.”He recalled a little boy in a store who came up to him and took his hand. At first he thought he had been mistaken for the child’s father. When he realized that the boy seemed to think they knew each other, Mr. McGrath asked, “Do you know my name?” “Bob.” “Do you know where I live?” “Sesame Street.” “Do you know any of my other friends on Sesame Street?”“Yep,” the boy answered and promptly gave an example: “Oh, the number 7.”Livia Albeck-Ripka More

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    A Previvor’s Tale

    A television writer deals with too much plot.A storyteller wants to know the future. That’s our job, after all: to map out the plot. We must keep a bird’s-eye view of the whole saga in mind — beginning, middle and end — while we make our way through each individual moment.This narrator’s drive to predict the future has always been so compulsive in me that it’s manifested in daily actions ranging from the practical (to-do lists, calendars) to the goofy (astrology, tarot). What happens next, I ask the cards, yearning for certainty, for control over my own story.Before I got married, all I did was wonder if I would ever get married. And soon after my wedding (a firm conclusion to that question), I visited a gynecologist, hoping to tackle the next big plot point. I was 35, a professional screenwriter, and I had always wanted children.Your Questions About Menopause, AnsweredCard 1 of 6What are perimenopause and menopause? More

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    Brad William Henke, N.F.L. Player Who Turned to Acting, Dies at 56

    A defensive lineman who played for the Denver Broncos, he later appeared in “Orange Is the New Black,” “Dexter” and “Lost.”Brad William Henke, a former N.F.L. player who later turned to acting and became known for his role as a prison guard on “Orange Is the New Black,” died on Tuesday. He was 56.His death was confirmed by his manager, Matt DelPiano, who said Mr. Henke died in his sleep but did not specify the location. He also did not cite a cause, but in May 2021 Mr. Henke posted on Instagram that he had a 90 percent blockage in an artery, and the next month he said he had received two stents in his heart.Mr. Henke played many roles in film and television across a 25-year career, but he was probably best known for his appearance on more than two dozen episodes of the Netflix series “Orange Is the New Black” from 2016 to 2018. His character, Desi Piscatella, a gay corrections officer at the penitentiary where the show was set, was an integral part of the drama in its fourth and fifth seasons, and in 2017 he shared in the cast’s Screen Actors Guild Award for outstanding performance by an ensemble in a comedy series.Although “Orange” could be considered Mr. Henke’s breakout role, it was far from his first. His acting career began in 1996 with the film “Mr. Wrong,” which starred Ellen DeGeneres, Bill Pullman and Joan Cusack. Among the dozens of television shows on which he was seen were “ER,” “Judging Amy,” “Dexter,” “October Road” and “Lost.” His movies included the original “Space Jam.”Mr. Henke was born on April 10, 1966, in Columbus, Neb., and raised in Littleton, Colo. He played football for the University of Arizona in the late 1980s. A 6-foot-3, 275-pound defensive lineman, he was drafted by the New York Giants in 1989 as but was cut, he told The Tucson Citizen in 1998, He went on to play for the Denver Broncos and was on the team when it lost the 1990 Super Bowl to the San Francisco 49ers.His football career ended in the early 1990s after several injuries, and he held a number of jobs, including assistant football coach at a community college in California. An unexpected encounter with Rod Martin, formerly of the Oakland Raiders, set him on a new path.“Rod mentioned there was a need for actors to play football players for commercials, so I tried out for it and got one for Pizza Hut,” Mr. Henke told The Citizen. “While I was there, a guy invited me to attend an acting class. I went and it hit me that this is what I wanted to do.”The depth and types of roles Mr. Henke landed progressed with each credit. In a 2021 interview with CGMagazine, Mr. Henke said that at the start of his career he was learning the business and was taking jobs to earn money, but that things changed. “Lately, I’ve just tried to do it for the love of it,” he said. “Just cause I love creating the characters — figuring out how they talk, how they stand, all the physical things and all the emotional things.”Mr. Henke told the website Tell-Tale TV in 2020 that his role as Tom Cullen on the mini-series “The Stand,” the most recent adaptation of Stephen King’s novel of the same title, which starred Whoopi Goldberg and Alexander Skarsgard, was challenging yet rewarding.“It was the best experience I’ve had in acting so far in my whole career,” he said. “I haven’t had very many opportunities in my career where I have been offered this job three months before it starts. So many times, it’s just right before it starts. So I had so much more time to work on it and prepare and just think about it, dream about it.”Complete information on survivors was not immediately available.Jesus Jiménez More

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    Gabriel Byrne Reflects on the End of His Broadway Show, and Tells T a Joke

    ‘Walking With Ghosts,’ which closed Nov. 20, allowed the Irish actor to showcase his passion for the humor of everyday life.Gabriel Byrne is well aware he is not a Disney franchise. “I’m just one person, writing about myself,” said Byrne, 72, in a video interview on a recent morning before one of the final performances of his autobiographical one-man Broadway show, “Walking With Ghosts,” which closed more than a month early on Nov. 20. “I understand the reality of the marketplace and at the same time feel profoundly grateful I got here at all.”Originally slated to run through the end of December at the Music Box Theater, the show closed after just 25 performances and eight previews amid — to put it kindly — ticket sales that were a few zeros away from “Hamilton” or “Lion King” territory. But Byrne, who with his tousled gray hair, serious face and bright blue eyes behind tortoiseshell glasses, cuts a grandfatherly figure — if the grandfather in question were a famous Irish actor with a Golden Globe and a tendency to quote James Joyce — is a good sport about his early eviction notice. “How long a thing lasts isn’t a reflection of its essential worth,” he said. “A relationship that lasts 18 months can contain more within it than relationships that last 10 or 15 years.”The show, which is based on Byrne’s 2020 memoir of the same name, certainly had its fans, particularly when he performed it to sold-out crowds in Ireland, where he was born and spent the first 11 years of his life, and then in London’s West End earlier this year. While the Broadway run received mixed reviews, the New York Times critic Alexis Soloski praised Byrne’s charisma and stage presence, calling him “compulsively watchable.” “Who wouldn’t want to spend a clinical hour with this man?” she wrote. “Or two, plus intermission.”Gabriel Byrne in his one-man show, “Walking With Ghosts,” at the Music Box Theater in New York.Sara Krulwich/The New York TimesByrne, who last appeared on Broadway in 2016 in a revival of Eugene O’Neill’s 1956 play “Long Day’s Journey Into Night,” is best known for his roles in the HBO show “In Treatment” and the 1995 film “The Usual Suspects.” Even after the latter became a sleeper hit, opening a new chapter in his career as a leading man — during which he starred in “Stigmata” (1999) and “End of Days” (1999) — he maintained the workmanlike ethos of his journeyman days, gaining a reputation as a fiercely private person reluctant to claim the spotlight.So it was perhaps surprising that he chose to publish a second memoir. (His first, “Pictures in my Head,” was published in 1994 and covered his childhood in Ireland and the start of his acting career.) The second book, which a Washington Post reviewer wrote “dazzles with unflinching honesty,” similarly focuses on Byrne’s upbringing in a working-class family on the rural outskirts of Dublin and his subsequent journey to Hollywood. But it also travels to darker places, like the period in the early 1960s when the 11-year-old Byrne was sexually abused by a priest at the Catholic seminary school he attended in England.The biggest challenge in adapting his latest memoir for the stage, he said, was trimming some of its reflective aspects to make space for moments that would be more compelling for a live audience. “If it doesn’t work dramatically — if it’s not propulsive, emotional — you get rid of it,” he said. “You can’t put big lumps of prose onstage.” He opted to perform the play on a nearly bare stage, wearing the same blue shirt, blue vest, blue blazer, gray slacks and black boots throughout and striding from one end to the other between scenes as the house went dark to indicate changes in time and location. “The anti-razzle dazzle allows you to concentrate on what’s being said,” he said.The cover of Byrne’s 2020 memoir, “Walking With Ghosts.”Courtesy of Grove PressGrowing up, Byrne wanted to be a priest. But after he was sexually abused, he renounced his faith, cycling through jobs as a dishwasher, a plumber and a toilet attendant before joining an amateur acting troupe in Dublin, where he rediscovered his boyhood love of theater.That led to his TV debut in 1978 in the soap opera “The Riordans,” then to his film debut in the 1981 retelling of the King Arthur legend “Excalibur,” and finally to Hollywood stardom, which brought him into the same circles as luminaries like Richard Burton and Vanessa Redgrave. But that’s not the part of his life he chose to highlight in either of his memoirs or his stage play, which essentially ignores the latter part of his life and acting career. “What you do is only a very small part of who you are,” he said. “Finding your identity through your work is a limited way of knowing yourself.”Instead, he said, he wanted to emphasize experiences people could relate to, themes that felt universal — for instance, that of searching for a sense of rootedness as an immigrant living away from his homeland (he moved to New York in the mid-1980s to be with his then partner, the actor Ellen Barkin; they divorced in 1999 but he remained in the States). “Every immigrant has a yearning to be at home,” he said. “But you can never be at home anywhere once you leave. You trade one place for another, but you don’t really belong in either.”Of course, he said, dredging up his memories of abuse or recounting the death of a boyhood friend every night is hardly enjoyable. But it is a willingness to explore those uncomfortable places, he said, that gives the show its power. “By going there, you’re opening the door for somebody else in the audience to maybe go there, too,” he explained.That is not to say there weren’t lighthearted moments. Among the dozens of characters from his past that Byrne embodies are friends, teachers, religious figures, family members and even the various actors in the amateur theater troupe he joined (Soloski wrote that the show “allows him to show a playful side and a gift, neglected in Hollywood, for physical comedy”). “You can’t just get up there and start telling serious stories,” Byrne said. “You have to leaven it with a spoonful of sugar.”Though he is finished with “Walking With Ghosts” — for now — he suggested that a return to the blue blazer and black boots may not be far off. He’s had offers to do the show in other cities — he has his eye on Boston, Chicago and San Francisco, he said — and international plans are in the works. “The producers want it to go to Australia and Canada,” said Byrne, who lives in Rockport, Maine, with his wife, Hannah Beth King, a documentary filmmaker, and their young daughter. (He has two adult children with Barkin.) “We’ll see. I don’t think Sunday night is the end of it.”In the meantime, he’s working on a new book, his first novel, which will explore themes of immigration and exile. He’s also looking forward to catching up on the movies he hasn’t had time to see and popping in and out of Broadway theaters — now as an audience member. (On his list: The recent revival of “Death of a Salesman.”) “I’ve been living in the world of books and the streets of New York, which is a continuous novel,” he said. “You never stop turning the pages.” More

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    ‘Ain’t No Mo’’ Review: After Great Tribulation, an Exodus of Black Citizens

    In Jordan E. Cooper’s biting satire, Black Americans descended from slaves are offered one-way airfare to Africa.Jordan E. Cooper’s new Broadway play starts with the kind of roof-raising scene most writers would have stashed away for a big bang of a finale. Pastor Freeman (Marchánt Davis) is standing by a coffin, about to give the eulogy for Brother Righttocomplain, a stalwart member of the African American community who embodied protest and grievances. Righttocomplain’s purpose has just ended, though, hence the funeral: It is Nov. 4, 2008, and Barack Obama has been elected president, ushering in a promising new era for Black Americans.“Ain’t no mo’ shot down dreams with its blood soaking the concrete outside room 306,” Pastor Freeman declares. “Ain’t no mo’ riots.” The list goes on as he revs up, whipping his congregation and the audience into a frenzy. By the time he asks, “Can I get a Chaka Khan?” it’s impossible not to answer back. Were the show a traditional musical, the scene would have been the 11 o’clock number.Instead it is the first exclamation point in an evening of many.Starting on such an expansive note is a bold move for Cooper, a 27-year-old writer making his Broadway debut, but “Ain’t No Mo’,” which opened on Thursday at the Belasco Theater, bursts with confidence. It is confident in its voice, in its beliefs, in its artistry, in its wicked humor and angry pain — or pain-laden anger. It is also confident that Stevie Walker-Webb’s production and the cast, both of which are largely unchanged from the play’s premiere at the Public Theater, in 2019, can handle it all.As the funeral concludes, we are abruptly transported to an airport, where a gate agent named Peaches (Cooper in high drag, a feather stuck in a hat jauntily pointing up) is on a Bluetooth call, trying to get stragglers to hurry up to Gate 1619: Just as that number refers to the arrival year of the first enslaved Africans in America, the U.S. government is now offering a one-way flight to Africa to those slaves’ descendants — and it’s about to depart.Peaches, with whom we check back at regular intervals, acts as a link between the vignettes that make up “Ain’t No Mo’,” a structure borrowed from George C. Wolfe’s epochal 1986 satire “The Colored Museum.” (Cooper is also the showrunner of the BET+ sitcom “The Ms. Pat Show,” which he created with Patricia Williams; coincidently, a flight attendant in “The Colored Museum” is called Miss Pat.)From left: Fedna Jacquet, Ebony Marshall-Oliver, Marchánt Davis, Crystal Lucas-Perry and Shannon Matesky in a scene titled “Real Baby Mamas of the South Side.”Sara Krulwich/The New York TimesWhile the segments are self-contained, that flight looms over them all, a statement of simultaneous hope and despair. Cooper deftly shuffles moods and emotions throughout the brisk one-act show, often within the same scene. He is playing with the idea of discomfort, and tries to not let the audience become too settled in either laughter or pathos, but the balance is not always as precise as it needs to be. “Ain’t No Mo’” has an immediate impact, but its biting commentary on race doesn’t leave a bruise: Though I loved it at the Public, I haven’t found myself thinking about it since, whereas I frequently flash back to, for example, “An Octoroon,” another sharp comedy about race.The most unabashedly parodic of the sections is “Real Baby Mamas of the South Side,” which takes place during the taping of a reality-TV show and features a quartet of guests hosted by the unctuous Tony (Davis, who handles all of the male-presenting characters). The most provocative panelist is the “transracial” Rachonda (played by the new cast member Shannon Matesky), whose real name is Rachel and who is actually white; she, too, is in drag, in this case Black drag, to establish the identity she craves.All of the women in this scene are pretending — watch them toggle out of exaggerated Black vernacular when the cameras aren’t rolling — but Rachel/Rachonda is usurping. Finally Tracy (Ebony Marshall-Oliver, last seen on Broadway giving a comedy master class in last season’s “Chicken & Biscuits”) just can’t take the posturing anymore and says that Blackness is not something you can just decide to put on, while Rachonda replies that she’s living her truth.The argument eventually ends with fisticuffs because Cooper doesn’t seem sure how to exit out of the premise any other way. This happens with a couple of other scenes — including the key final one — which start off strong and peter out.The dramatic counterweight to “Baby Mamas” is “Circle of Life,” which takes place in a waiting room — Scott Pask’s versatile set quickly adapts to a variety of locations. Trisha (Fedna Jacquet) is waiting for her number to be called for an abortion, though it may take a while because the electronic counter is currently at 73,543, which sounds bad enough until you learn it’s out of millions. Trisha is at a community center rather than a clinic, and one of the tweaks made to the script for the Broadway production explains that it’s because women can’t get abortions anymore. (Other updates include a mention in a news montage of the racist attack in a Buffalo supermarket, and Vice President Kamala Harris now being the co-pilot on the flight to Africa: “Be nice y’all, she has already made a promise that if you got weed on board, she will look the other way,” Peaches says, “so keep it cute.”)While Trisha is set on terminating her pregnancy, the father, Damien, is begging her to change her mind. It’s not long before we realize why he is so adamant, a wrenching revelation that Cooper can’t quite steer to port.Lucas-Perry, center, shines in a segment called “Green,” our critic writes. She plays Black, who has spent 40 years locked in the basement of the home of a wealthy family. Sara Krulwich/The New York TimesThe scene is a formidable opportunity for the actors, led by Cooper himself, and the play as a whole is a terrific showcase for them. They make a strong case for a Tony rewarding ensembles as they switch roles with striking ease — with help from Emilio Sosa’s costumes and Mia M. Neal’s wigs — and take charge when the script comes up a little short.Crystal Lucas-Perry, for instance, shines in two segments with tricky tonal shifts. In “Green,” she plays Black, who has spent 40 years locked in the basement of the home of a wealthy family who snicker at the Africa exodus. (“We’ve worked way too hard to end up sitting on a flight with the same destination as a Latoya.”) Black is the embodiment of something they have worked hard to purge, the portrait of Dorian Gray kept hidden away. And now it’s out, and it’s very angry — you might wonder what Jordan Peele would have made of this.Lucas-Perry also nails the evening’s single most poignant moment as an inmate being released, and realizing that some items are missing from her belongings. In a few seconds, we understand the cost of incarceration, the realization of what was lost. The protective armor of wisecracks has been pulled, and only the ache remains.Ain’t No Mo’Through Feb. 26 at the Belasco Theater, Manhattan; aintnomobway.com. Running time: 1 hour 45 minutes. More

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    ‘The Crown’ Could Have Damaged Charles. Becoming King Has Helped.

    The latest season of the Netflix drama depicts Charles’s contentious divorce from Diana, but in Britain, several prominent figures and the news media have rallied behind him.LONDON — Six months ago, the new season of “The Crown” was shaping up as another public-relations headache for Prince Charles. The timeline of the popular historical drama had reached the 1990s, which meant that it was going to dissect the collapse of his marriage to Diana, Princess of Wales, an unwelcome exhumation of the most painful, mortifying chapter of his adult life.Some advising the prince were pondering how to counter the narrative, according to people with knowledge of the workings of Buckingham Palace, worried that it could tarnish the reputation of a man who, in recent years, had come to be known less for his peccadilloes than for his embrace of worthy causes such as climate change.Yet now, as Season 5 of the Netflix series has unspooled, it is clear that “The Crown” has dealt Charles at worst a glancing blow. In a few cases, it has even cast him in a positive light — celebrating, for example, his philanthropy, in an episode that ended with a charmingly awkward Charles (played by Dominic West) break dancing at an event for his charity, the Prince’s Trust.What changed, of course, is that two months before the new season arrived, Prince Charles became King Charles III.His ascension transformed the star-crossed heir into a dignified sovereign and Britain’s head of state. London’s tabloid papers, which once dined out on every morsel of Charles’s messy personal life, now have little appetite for embarrassing the sitting monarch. On the contrary, most prefer to focus on how gracefully the new king has succeeded his revered mother, Queen Elizabeth II.King Charles III standing vigil with the coffin of his mother, Queen Elizabeth II, in London in September. He has been praised in the British news media for his handling of the transfer of power.Pool photo by Dominic LipinskiThen, too, there is the show’s unapologetic mixing of fact and fiction, which drew sporadic complaints when it dealt with events of the more distant past, but has reached a kind of critical mass when it comes to depicting the well-worn saga of Charles and Diana’s marriage.Their story was extravagantly covered at the time and is vividly remembered by millions of people, especially in Britain. Some of those actually involved in the events have voiced their outrage at the artistic license taken by the show’s creator, Peter Morgan, calling the most recent season a “barrel-load of nonsense” and “complete and utter rubbish.” Those critics — among them two former prime ministers, John Major and Tony Blair; a famous actress, Judi Dench; and one of Charles’s biographers, Jonathan Dimbleby (who called the show “nonsense on stilts”) — inoculated the king against some of the damage he might otherwise have suffered. Rather than keeping the spotlight on the tawdry events themselves, the critics shifted the focus to how “The Crown” had embellished them.“It is definitely the case that this series of ‘The Crown’ has come in for greater backlash than any previous series, particularly for its factual inaccuracies and the treatment of the current monarch,” said Ed Owens, a historian who has written about the interplay between the monarchy and the media.The Return of ‘The Crown’The hit drama’s fifth season premiered on Netflix on Nov. 9.The Royals and TV: The royal family’s experiences with sitting for television interviews have been fraught. The latest season of “The Crown” explores that rocky relationship.Meeting the Al-Fayeds: The new season includes portrayals of the Egyptian businessman Mohamed Al-Fayed, his son Dodi and his personal valet — who had all connections with the royal family.Republicanism on the Rise: Since “The Crown” debuted in 2016, there has been a steady increase in support for abolishing Britain’s monarchy. Has the show contributed to that change?Casting Choices: In a conversation with The Times, the casting director Robert Sterne told us how the drama has turned into a clearinghouse for some of Britain’s biggest stars.For the king, the chorus of outside detractors made it easier for him to ignore the series, according to the people with ties to Buckingham Palace, who spoke on condition of anonymity in line with royal protocol. That is how the royal family handled the show’s previous four seasons. The king’s communications secretary did not respond to a query about how the palace viewed the latest season.Whether the palace had a role in orchestrating the critiques is harder to establish. There are plenty of back-channel conversations — whether between palace officials and prominent outsiders or between aides to the king and royal correspondents and their editors.The season’s characters include the former prime ministers Tony Blair (Bertie Carvel), left, and John Major (Jonny Lee Miller), both of whom have criticized the show’s accuracy.Keith Bernstein/Netflix“It will doubtless have been clear to allies of the crown, including former prime ministers, that there was some discontent and anxiety about the new season of ‘The Crown’ before it first aired,” Owens said..css-1v2n82w{max-width:600px;width:calc(100% – 40px);margin-top:20px;margin-bottom:25px;height:auto;margin-left:auto;margin-right:auto;font-family:nyt-franklin;color:var(–color-content-secondary,#363636);}@media only screen and (max-width:480px){.css-1v2n82w{margin-left:20px;margin-right:20px;}}@media only screen and (min-width:1024px){.css-1v2n82w{width:600px;}}.css-161d8zr{width:40px;margin-bottom:18px;text-align:left;margin-left:0;color:var(–color-content-primary,#121212);border:1px solid var(–color-content-primary,#121212);}@media only screen and (max-width:480px){.css-161d8zr{width:30px;margin-bottom:15px;}}.css-tjtq43{line-height:25px;}@media only screen and (max-width:480px){.css-tjtq43{line-height:24px;}}.css-x1k33h{font-family:nyt-cheltenham;font-size:19px;font-weight:700;line-height:25px;}.css-1hvpcve{font-size:17px;font-weight:300;line-height:25px;}.css-1hvpcve em{font-style:italic;}.css-1hvpcve strong{font-weight:bold;}.css-1hvpcve a{font-weight:500;color:var(–color-content-secondary,#363636);}.css-1c013uz{margin-top:18px;margin-bottom:22px;}@media only screen and (max-width:480px){.css-1c013uz{font-size:14px;margin-top:15px;margin-bottom:20px;}}.css-1c013uz a{color:var(–color-signal-editorial,#326891);-webkit-text-decoration:underline;text-decoration:underline;font-weight:500;font-size:16px;}@media only screen and (max-width:480px){.css-1c013uz a{font-size:13px;}}.css-1c013uz a:hover{-webkit-text-decoration:none;text-decoration:none;}What we consider before using anonymous sources. Do the sources know the information? What’s their motivation for telling us? Have they proved reliable in the past? Can we corroborate the information? Even with these questions satisfied, The Times uses anonymous sources as a last resort. The reporter and at least one editor know the identity of the source.Learn more about our process.But public figures like Major also had an incentive to protect themselves. “The Crown” depicts him and Charles holding a private meeting in which a frustrated prince lobbies the prime minister for help in pushing the queen to abdicate because she is superannuated and poses a threat to the monarchy’s survival. Such a meeting would have raised constitutional issues, and Major says it never happened.“They’re not doing the palace’s work for it,” said Dickie Arbiter, who served as a spokesman for the queen from 1988 to 2000. “They are being besmirched and they are defending themselves.”But Arbiter said that the palace should steer clear of litigating the facts itself. “You start getting into ‘he said, she said,’” he noted. “You just give it oxygen.” British viewers, he added, would recognize the factual discrepancies without a warning.“The only difficulty is with the global audience, who will believe the royal family are like that,” Arbiter added. “It’s your lot on the other side of the Atlantic that believe every word of it.”Just in case there is any residual confusion at home, British papers, including the Daily Telegraph and the London Evening Standard, have published detailed fact-checking pieces. Some scenes, like the furtive tête-à-tête between Charles and Major, have been comprehensively debunked.In one scene in “The Crown,” a charmingly awkward Charles break dances at an event for his charity, the Prince’s Trust.NetflixOthers, like the underhanded tactics used by a BBC correspondent, Martin Bashir, to persuade Diana to give him an interview, were judged to be mostly accurate, if somewhat amped up for dramatic effect. Still others, like Charles’s attempt at break dancing, did happen, if not when the series said they did.Beyond the specific facts, some people with ties to the palace argue that “The Crown” is so obviously tilted against Charles that it is easy to dismiss. As evidence, they cite the unequal treatment of two particularly cringe-worthy 1990s scandals, named “Tampongate” and “Squidgygate” by the British news media.The series, they said, dwells on the prince’s extramarital affair with Camilla Parker-Bowles, most luridly in an episode about an overheard phone call between Charles and Camilla in which he tells her he wishes he could “live inside your trousers,” perhaps by being reincarnated as a tampon.But it ignores a similar episode involving Diana, then still married, and her close friend, James Gilbey, in which their intimate phone conversation was surreptitiously picked up and published in The Sun newspaper. In it, Gilbey called her by an instantly notorious nickname, Squidgy.To some who have worked in the palace, the season’s most glaring discrepancy involves not Charles, but the queen. Morgan, who wrote the current season, doctored her celebrated speech in November 1992, when she described that year as her “annus horribilis.” Even in a speech suffused with regret, the queen made no mention of the “errors of the past,” as Imelda Staunton does, in her portrayal of Elizabeth.Morgan, who declined a request for an interview, has never denied taking license with the facts in “The Crown.” Netflix describes the series as “fictionalized drama inspired by true events,” though it has resisted calls to put a disclaimer on each episode. Some critics have joked that if Morgan were serious about accuracy, he would not have cast a handsome actor, like West, in the role of Charles.But it’s not clear, even if the series were meticulously accurate, that the British news media would be in the mood to re-air the dirty laundry of a man who is Britain’s first new monarch since 1952. Charles has been widely praised for his performance since taking the throne, including when trouble brewed at the palace this past week.That trouble was set off by a royal aide when she repeatedly asked a Black woman born in Britain, who had been invited to a reception at Buckingham Palace, “Where are you from?” The reception guest, Ngozi Fulani, posted about the encounter on Twitter, and within hours, the royal aide, Susan Hussey, who had served as a lady-in-waiting to Queen Elizabeth, resigned with “profound apologies for the hurt caused.”As it happens, Hussey appears briefly as a character in “The Crown,” encouraging her husband, Marmaduke, then the chairman of the BBC, to ask the broadcaster to produce a laudatory program on the queen to cheer her up. (The BBC’s director general at the time, John Birt, instead greenlighted the infamous Bashir interview with Diana).Royal experts said that the palace’s swift reaction, and blunt condemnation, of Fulani’s treatment showed that Charles was intent on demonstrating that he would not tolerate any perception of racist behavior in the royal household. It averted what could have been another cycle of punishing headlines for the monarchy.According to Geordie Greig, a former editor of Tatler magazine and of The Daily Mail, “The only conversations about the king are, ‘Isn’t he doing a great job?’” More