Eliana Willis

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    ‘Khovanshchina’ Is Finished in Time to Be Newly Resonant

    Mussorgsky’s “Khovanshchina” has been added onto by Rimsky-Korsakov, Stravinsky and Shostakovich. Now, another composer gets to have his say.Instead of finishing his masterpiece “Khovanshchina,” Modest Mussorgsky is drunk in a ditch. His friend Nikolai Rimsky-Korsakov urges him to compose, using a walking stick to tickle him awake. But Mussorgsky would rather stay in the ditch, drunk.That’s fiction: a scene from “Moscow-Petushki,” a 1969 satire by the Soviet writer Venedikt Yerofeyev. But, said the composer, musicologist and author Gerard McBurney, who completed a new version of “Khovanshchina” that premieres at the Salzburg Easter Festival on Saturday, the moment shows the mythic place of the unfinished opera in Russian history.“Yerofeyev, writing to an audience who had probably never been into the opera in their life — they know this story about this great genius who is the emblematic Russian failure,” McBurney said in an interview.In real life, Mussorgsky “embarked on this monstrous piece which was supposed to sum up the whole disaster of Russian history from beginning to end,” McBurney added. “And he couldn’t finish it.”A scene from Simon McBurney’s production, which will travel to the Metropolitan Opera.Inés BacherMcBurney has created a new, completed “Khovanshchina,” and he joins a long line of composers and musicologists who did the same. Mussorgsky died in 1881, leaving key scenes in the final act unfinished. Rimsky-Korsakov made the first performance edition of the opera (which Mussorgsky preferred to call a “musical folk drama”), and it premiered at the Mariinsky Theater in 1886. In 1913, Sergei Diaghilev enlisted Stravinsky (and possibly Ravel) to prepare another version for performance in Paris, and Shostakovich reorchestrated the score for a 1959 film.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Bernadette Peters Loves a Day Out in New York

    Back on Broadway for “Old Friends,” the actress reflects on the art she saw with Sondheim and the delights of the High Line and Central Park.Growing up in Queens, Bernadette Peters was enraptured by trips into Manhattan to see the dinosaurs at the American Museum of Natural History.“There’s something special about revisiting them as an adult, with fresh eyes,” said Peters, 77, a two-time Tony-winning actress who originated the roles of the Witch in “Into the Woods” and Dot in “Sunday in the Park With George.”She’s doing much the same thing in her latest turn on Broadway — her first in nearly seven years — in “Stephen Sondheim’s Old Friends,” a concert-style revue of songs by the acclaimed composer and lyricist who died in 2021, in which she stars opposite Lea Salonga.Though Peters has played a number of the featured roles, her song choices are surprising — singing “I Know Things Now” as Little Red Riding Hood, for instance, in the “Into the Woods” segment.“I like a challenge,” said Peters, who put her stamp on half a dozen Sondheim characters, including Momma Rose in “Gypsy,” Desirée Armfeldt in “A Little Night Music” and Sally Durant Plummer in “Follies.”In a phone interview last month from Los Angeles, where “Old Friends” was wrapping up a pre-Broadway run, Peters, who was anxious to get back to home to New York City and her rescue dogs Charlie and Rosalie, shared 10 of her Big Apple-inspired cultural essentials.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    How Brandon Kazen-Maddox, an American Sign Language Artist, Spends Their Sundays

    Brandon Kazen-Maddox has always felt an affinity with mermaids.“We both straddle two worlds,” said Mx. Kazen-Maddox, 36, an American Sign Language dancer, choreographer and filmmaker who is nonbinary and uses they/them pronouns.Mx. Kazen-Maddox, like both their parents, is hearing. But they grew up living with their mother at her parents’ home in Washington State, where their maternal grandparents, both of whom are deaf, spoke with their hands.Soon, Mx. Kazen-Maddox learned to do the same. “I like to say my words are just along for the ride,” they said.Mx. Kazen-Maddox said they enjoyed spending time at Riverside Park, dancing and listening to music, near their home on the Upper West Side of Manhattan.Amir Hamja for The New York TimesMx. Kazen-Maddox has been interpreting professionally since 2012 and has worked on the Broadway production of “Aladdin” and for former President Joe Biden, the composer Lin-Manuel Miranda and the actress Marlee Matlin.In a half-hour PBS special scheduled for Tuesday, “SOUL(SIGNS): Making Music Visible,” Mx. Kazen-Maddox documented the process of choreographing, filming and performing an A.S.L. music video for Morgan James’s “Drown,” shedding light on their own relationship with music and sign language.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Theater to Stream: David Tennant as ‘Macbeth,’ ‘Death of England’ and More

    Take in Shakespeare, experimental theater and a three-play series on the fallout of Brexit, all available to watch at home.‘Macbeth’Stream it on Marquee TV.In the 2023 production of Shakespeare’s “Macbeth” at the Donmar Warehouse in London, directed by Max Webster, an unusual request was made of audience members as they entered the theater: Wear headphones.The actors, too, wore headsets, their quips, shouts and whispers transmitted digitally into the audience’s ears, at times alternating between the left and right earphones. Writing for The New York Times, the critic Houman Barekat said that “the transmitted audio imbues the words with an added richness and immediacy.” The production conjures “just enough novelty,” he added, “to freshen things up, while still ensuring that the text remains center stage — in all its timeless glory.”Luckily for Shakespeare fans, the show, which was nominated for three Olivier awards, including best revival, best actor and best sound design, was recorded live.From Barekat’s critical notebook, which praised David Tennant’s turn as Macbeth, a “gaunt, energetic bundle of angst”:Tennant, with his slim-line physique and withdrawn, vaguely haunted-looking face, has a more expressive emotional energy that lends itself to treacherous intrigue and anguished remorse alike. He is frantic, almost from the get-go.The N.Y.C. Fringe FestivalAzhar Bande-Ali in “Bad Muslim.”Peter CooperStream it on frigid.nyc.Each year, the New York City Fringe Festival, presented by the nonprofit theater company Frigid, uses a lottery system to randomly select the plays it produces, giving less established theater makers a chance to stage their work.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Rick Levine, Who Gave Commercials Cinematic Flair, Dies at 94

    An award-winning director, he created ads for brands like Diet Pepsi (starring Michael J. Fox) and Wells Fargo by bringing a Hollywood sensibility to the small screen.Rick Levine, an award-winning television commercial director who brought a big-screen sensibility to the small screen with widely celebrated spots, like a Diet Pepsi Super Bowl ad from the 1980s featuring Michael J. Fox risking life and limb for love, died on March 11 at his home in Marina del Rey, Calif. He was 94.The death was confirmed by his daughter Abby LaRocca.Mr. Levine was a product of what is often called the golden age of advertising, rising in the business through the “Mad Men” era of the 1960s and founding his own company, Rick Levine Productions, in 1972. It was a time when network television held a hypnotic sway over the average American household, and advertising, like so many other cultural arenas of the era, was exploding in creativity.Often serving as his own cinematographer, Mr. Levine approached his big-budget commercials like a director of Hollywood blockbusters.“We decided to make our ads look as good as films,” he said in a 2009 interview with DGA Quarterly, published by the Directors Guild of America. “I would direct and shoot, so I would have complete control.”The Guild named him the best commercial director in 1981 and 1988, in particular for three specific spots.Most notable among them was the Diet Pepsi commercial with Mr. Fox, which Mr. Levine made for BBDO New York; it was one of many ads he shot for Pepsi.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Suzanne Rand, Half of a Once-Popular Comedy Team, Dies at 75

    Like Nichols and May before them, Monteith and Rand had their own Broadway show. Unlike Nichols and May, they faded from view after they broke up.Suzanne Rand, who worked with John Monteith in a comedy team that was often compared to the groundbreaking Mike Nichols and Elaine May — and that, like them, became the stars of a two-person Broadway show — died on April 2 in Manhattan. She was 75.Ruben Rand, her stepson, confirmed the death, in a rehabilitation facility. The cause was cardiopulmonary arrest.Ms. Rand and Mr. Monteith — she was the exuberant one; he was the more low-key partner — had backgrounds in improvisational comedy when they formed their act in 1976. Their sketches included Ms. Rand’s portrayal of a guilt-ridden fly killer who tries to revive a swatted pest, and the two of them as movie critics assigned to review a pornographic film who then mimic its action.They built sketches around suggestions from the audience — settings, pet peeves, objects, occupations, film and television genres — and performed scripted material.Their male-female partnership and their quick repartee led to comparisons with Nichols and May, who met in the 1950s and whose collection of wry, savvy and satirical improvisations, “An Evening With Mike Nichols and Elaine May,” reached Broadway in October 1960 and ran for 306 performances.Monteith and Rand in performance in Chicago in 1980, a year after they appeared on Broadway.Paul Natkin/Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Trump and ‘The Residence’ Share a Fixation on Water Pressure

    Paul William Davies, the creator of “The Residence,” talks about overlapping themes between his series and the actual Trump administration.This week, as the global economy struggled to adjust to whipsawing tariff policies, President Trump signed an executive order to address another national crisis: weak shower head pressure.The order, aimed at reducing bureaucracy and regulation, reverses limits on how much water can pour out of a nozzle per minute, which were implemented by the Obama and Biden administrations in an attempt to conserve water.Mr. Trump, while signing the order, noted that, in particular, he doesn’t appreciate that weak pressure hinders him from getting a good hair wash.“In my case I like to take a nice shower, to take care of my beautiful hair,” he told reporters in the Oval Office on Wednesday. “I have to stand under the shower for 15 minutes until it gets wet. It comes out drip, drip, drip. It’s ridiculous.”Weak shower pressure has been one of Mr. Trump’s longstanding pet peeves. But the whole thing may have sounded familiar — a little too familiar — for anyone who has been watching Netflix’s recent screwball mystery series, “The Residence,” in which President Perry Morgan, played by Paul Fitzgerald, has a similar pet peeve, with a White House usher explaining that he demands “pressure like a fire hose.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    From ‘The Last of Us’ to ‘The Walking Dead,’ How Well Do You Know Your Zombies?

    <!–>“We were called contractors … We were cool. Everybody loved contractors.”—Joel Miller–> Victor, a former businessman in “Fear the Walking Dead” Sheila, a former realtor in “Santa Clarita Diet” Joel, a former contractor in “The Last of Us” Glenn, a former pizza delivery guy in “The Walking Dead” Source: Television – nytimes.com More