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    ‘This Beautiful Future’ Review: Love Glows in War’s Shadow

    Theaterlab stages a gimlet-eyed romance involving a girl and a young Nazi soldier in Occupied France by the playwright Rita Kalnejais.In the tiny lobby of Theaterlab, on West 36th Street, you need to show proof of a booster vaccine before you can get your tickets. You have to wear a high-grade mask, too, though if you show up unequipped, the person at the box office will cheerfully hand one over.If the wartime teenagers at the center of Theaterlab’s current play, “This Beautiful Future,” could project themselves across the decades to our time, they might recognize that spirit of getting on with things, carefully.Not that Elodie (Francesca Carpanini), a 17-year-old in Chartres, France, has much patience for caution herself. It is August 1944, a critical point in World War II, but she is smitten with a boy, and that overrides everything big and scary that the grown-ups have set in motion in the world.Otto (Justin Mark) is 16 and new in town, bashful and awkward and easy to tease. The first time they speak, Elodie razzes him reflexively. But there is a sweetness to him that she falls for, and on the night when they meet in an abandoned house with thoughts of sex and romance swirling in their heads, she wants him to dance with her.“I don’t usually dance,” he says.“Why not?” she asks.“’Cause the girls say no.”Smart girls.Despite the enchanting haze of wistfulness that hangs over “This Beautiful Future,” by Rita Kalnejais, an Australian playwright based in London, the play is a gimlet-eyed romance. Its lovers are as young and unworldly as Liesl and her Nazi boyfriend, Rolfe, in “The Sound of Music.”“This Beautiful Future” achieves a remarkable, aching alchemy, not because Elodie and Otto are star-crossed but because they’re ordinary, and because if not for the war, they might have retained their innocence.Carpanini and Mark, with Austin Pendleton and Angelina Fiordellisi in their karaoke booth on Frank J. Oliva’s set.Emilio MadridOtto is a Nazi, a member of the occupying force; Elodie pushes away her discomfort at that. She is too naïve to realize that her Jewish neighbors who were arrested will not be coming back, or that Otto — the kind of wide-eyed, easily led soldier who fanboys the strongman he calls “Mr. Hitler” — has shot local people dead.Kalnejais frames their story with a benevolent pair of elders, played in Jack Serio’s wonderfully cast production by Angelina Fiordellisi and a rumpled-to-perfection Austin Pendleton. From their upstage karaoke booth on Frank J. Oliva’s set, they watch over the young couple with sympathy and concern. Between scenes, they sing (or, in Pendleton’s case, speak-sing) songs from Elodie and Otto’s time and our own, and utter laundry lists of simple things they would change if they got a do-over in life.“I wouldn’t lose sleep over money,” he says. “Or being unlovable.”“I’d sleep knowing it all changes by morning,” she says.Elodie and Otto, just starting out, don’t have that kind of wisdom yet. But they do have hope, and you can hear it in their plans for a sunny future together. They have no idea how vulnerable they are, or how brutal the world is prepared to be.Otto might have some clue, though, if only he would listen to himself.“There’s nothing cruel about choosing who lives and who dies,” he says, defending his mission. “We’re not just randomly picking people off. I couldn’t do that. This is about choosing a future where everyone’s clean.”What might this morally warped boy have been — what might the world have been — if Hitler had taken an office job instead of going into politics? “This Beautiful Future” wants to know.With an ending that’s gentle and wondrous and fragile as new life, it is a play about choosing, step by step, a genuinely better future — and about what might have been, what never should have been and what can’t ever be taken back.This Beautiful FutureThrough Jan. 30 at Theaterlab, Manhattan; theaterlabnyc.com. Running time: 1 hour 15 minutes. More

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    ‘The Kite Runner’ Is Coming to Broadway

    The 2007 play based on Khaled Hosseini’s novel has been widely produced, including on the West End in London. It will come to Broadway in July.A stage adaptation of the best-selling novel “The Kite Runner” will be presented on Broadway in July.The play, which began its life in California in 2007 and has been widely produced since, is planning a limited run, from July 6 to Oct. 30.The announcement is encouraging news for Broadway, which has been clobbered by closings as the coronavirus pandemic continues to roil the industry. But there remain many producers with the appetite and the financing to bring new shows to Broadway as others end their runs.The “Kite Runner” novel, written by Khaled Hosseini and published in 2003, is a coming-of-age story about a man born in Afghanistan whose life is haunted by his failure to protect a childhood friend. The novel, a surprise hit, has sold millions of copies worldwide, and was adapted into a film in 2007.The theatrical adaptation was written by Matthew Spangler, and was first staged in 2007 at San José State University, where Spangler teaches performance studies. It had an initial professional production in 2009 at the San Jose Repertory Theater, which no longer exists, and has since been staged in multiple countries around the world.The Broadway version will be directed by Giles Croft, who has been directing productions of the play since 2013, when he oversaw a run for the Nottingham Playhouse in Britain; he has since directed productions in the West End and on tour in Britain.The play is slated to run at the Hayes Theater, which, with 600 seats, is the smallest on Broadway. The theater is owned by the nonprofit Second Stage Theater, which will rent the space to “The Kite Runner.”The lead producers are Victoria Lang and Ryan Bogner; Daryl Roth will serve as executive producer. According to a filing with the Securities and Exchange Commission, the producers are seeking to raise up to $5.75 million, but a spokesman said that the actual Broadway capitalization is likely to be closer to $4.6 million. More

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    Jimmy Kimmel Recaps Trump’s Latest Rally

    “Thousands of people showed up, because there’s nothing to do in Florence, Arizona,” Kimmel said.Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.Rallying the TrumpersFormer President Donald Trump held a rally in Florence, Ariz., over the weekend, where Jimmy Kimmel joked, “thousands of people showed up, because there’s nothing to do in Florence, Arizona.”“He ranted for an hour and 35 minutes. Maybe it’s me, but the material doesn’t — it’s actually not working. It was kind of like watching the ‘Sex and the City’ reboot — it needed more Samantha or something.” — JIMMY KIMMELAt the rally, Trump falsely claimed that the left was forcing white people in New York State “to go to the back of the line to get medical help.”“White people are being sent to the back of the line? I guess Martin Luther King’s dream has been realized at last.” — JIMMY KIMMEL“Where does he even get this stuff? This is a man who hasn’t waited in a line since, like, hot lunch in the fourth grade.” — JIMMY KIMMELThe Punchiest Punchlines (‘Ron Dull-Santis’ Edition)“Well, guys, former President Trump is in the news. Apparently he’s been trashing Florida governor Ron DeSantis behind his back, calling him a ‘dull’ guy who has no chance of beating him in a potential 2024 matchup. Trump was like, ‘I have to insult him behind his back ’cause I can’t tweet it to his face.’” — JIMMY FALLON“Former President Trump has reportedly been complaining to confidants about Florida governor Ron DeSantis and said he has a, quote, ‘dull personality.’ I’m sorry, that’s suddenly a concern of yours? Your vice president was like if a rice cake went to Bible school.” — SETH MEYERS“I feel like Trump is slipping. A few years ago, he would have had, like, 10 nicknames for this guy by now. He’s, like, ‘Ron Dull-Santis.’” — JIMMY FALLON“I think this is actually a nice change, ’cause usually when two Florida guys get into a fight, they’re drunk and shirtless.” — JIMMY FALLON“But DeSantis doesn’t seem fazed. He said that he’s going to handle the insult just like Covid and completely ignore it.” — JIMMY FALLONThe Bits Worth WatchingJimmy Kimmel reconnected Denzel Washington with a superfan whose video went viral after their meeting was caught on camera.What We’re Excited About on Tuesday NightSamantha Bee will sit down with Stephen Colbert on Tuesday’s “Late Show.”Also, Check This OutMelanie Lynskey (with Jeff Holman) in the season finale of “Yellowjackets,” in which she plays a character who survived a plane crash 25 years before. Was there cannibalism? There was cannibalism. Kailey Schwerman/ShowtimeThe “Yellowjackets” star Melanie Lynskey shares her favorite fan theories at the end of Season 1. More

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    Review: In ‘Witness,’ Seeking a Haven for Jewish Refugees

    The experience of Jews who fled Germany in 1939 aboard the St. Louis luxury liner is the subject of a new production from the Arlekin Players Theater.Aboard the luxury liner St. Louis, more than 900 passengers waited helplessly at sea. In May 1939, on the eve of World War II, they were Jewish refugees fleeing post-Kristallnacht Germany. Despite having papers meant to let them into Cuba, they were barred from disembarking once they got there.Hoping for a haven, the boat lingered for a while off the Florida coast, while news stories chronicled the passengers’ increasing desperation. Yet the United States also refused the refugees. As the St. Louis carried them back to Hamburg in early June, The New York Times called it “the saddest ship afloat.”That ship is the setting for “Witness,” a livestreaming documentary theater piece from Arlekin Players Theater in Needham, Mass., where the cast performs in front of green screens. Conceived and directed by Igor Golyak, Arlekin’s artistic director, the production bears witness to stories from wave after wave of Jewish refugees over many decades, and to what it sees as the eternal outsider experience of Jews in the United States.But before its ghostly shipboard vaudeville begins, we watch the Emcee (Gene Ravvin) take a smoke break, venting about the wisdom of presenting this piece in this moment.“The Holocaust, the St. Louis,” he says. “I don’t know if this is my thing. I don’t know if we need to talk about it now. I don’t.”When I watched “Witness” on my laptop Friday night, that bit of fretful grousing had a very different feel than it surely would the next day, when a man in Texas took four hostages during a service at a synagogue, and a nearly 11-hour standoff with state and federal law enforcement officers ensued. Suddenly, once again, the urgency of discussing antisemitism was palpable, and not just to people who feel the menace of that bigotry all the time.Written by Nana Grinstein, with Blair Cadden and Golyak, “Witness” is part variety show, pitting passengers against one another for an unnamed “fabulous prize.” The contest results are decided by the audience members, who vote on their screens after each act. The winner, the night I saw it, was the remarkably graceful “Skating on Glass,” set to voice-over memories of Kristallnacht.With scenography and costumes by Anna Fedorova, virtual design by Daniel Cormino and excellent sound by Viktor Semenov, “Witness” often has the digitally buffed surreality of a video game, which might sound like an insult but is not. Like a lot of online theater, it also has a slight trying-too-hard feel.Before the show starts, audience members are urged repeatedly to allow their computer’s camera to show them onscreen with the rest of the crowd during the performance. (There is no hint that acquiescing is optional, but it is.) When the wall of viewers periodically appeared, though, it often looked like people were reading something on their screens — which they might have been, since “Witness” offers chances to click for more historical context. As a visual, it didn’t exactly foster a feeling of connection.“Witness” is an experimental production, with different energy to each of its three acts, the second of which is all audio, like a radio play. Where this multilayered show loses dramatic potency is in the last act, when contemporary characters take over. They talk about antisemitism in the 21st-century United States, but without depth, and only barely connect it to the hatred against other marginalized groups.Even so, this piece does indeed bear witness to what happens when danger threatens Jews for being Jewish, and the culture shrugs.“It was supposed to be different in America,” the Emcee says. “And now look.”WitnessLivestreaming through Jan. 23; zerogravity.art. Running time: 1 hour 30 minutes. More

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    In a Double Bill, the Avant-Garde Meets a Very Good Girl

    Excellent performances, including one by a well-behaved dog, warm up two experimental plays upstate.CHATHAM, N.Y. — There is nothing less avant-garde than a dog. Put one onstage and the artiest notions immediately dissolve into Instagram moments.Or at least that was my experience with a play called “The Art of Theater,” running through Sunday on a double bill with one called “With My Own Hands” at PS21 in this Hudson Valley town. “The Art of Theater” stars Jim Fletcher — a stalwart of the New York avant-garde scene — and Delia, a local newcomer best known (according to her owners) as “a smart if goofy black Labbish sort of beast.”You don’t have to be W.C. Fields to know who wipes the floor with whom.Even without canine competition, the avant-garde has been having a hard time of late. By “of late” I mean both the last several decades and the last two years. The political, aesthetic and social disruptions that have often bred theatrical experimentalism can just as easily suppress it; take a look at the plight of the Belarus Free Theater, banned by the Lukashenko government in its home country, forced into exile and now seeking a new base in Europe.But the Covid pandemic has done even more than dictators to push avant-garde theater off the map. In New York, the three big January showcases of experimental work were once again radically curtailed: the Exponential Festival retreating to online production; Prototype and the Public Theater’s Under the Radar festival folding entirely.Well, almost entirely. “The Art of Theater” and “With My Own Hands,” both by the French playwright, director and choreographer Pascal Rambert, survived the Under the Radar cancellation at this supercool avant-garde hothouse in Columbia County.And supercool it was on Saturday afternoon — just 4 degrees outside — when, despite free hot toddies and cocoa, an audience of about 25 sat not just masked but variously scarved, coated and hatted as the program began in PS21’s black box theater.“With My Own Hands,” which came first, is not exactly a warming experience. This 1993 specimen of the classic avant-garde — if that isn’t a paradox — consists of an intense, disturbing and mostly impenetrable 45-minute monologue delivered at breakneck speed by a character bent on suicide. At least that’s what I think was going on; the script, mimicking the disorderly and pressurized output of a mind in fatal distress, speeds right past pauses and punctation as it twists multiple points of view into a furious screed:“M. says to me you’re getting on everyone’s nerves you smother anyone’s slightest desire to listen stop bawling someday I won’t stand for it anymore and I’ll lock you up pants down in a dark room facing yourself facing myself I write to Hans facing myself here I am facing myself while the bombs come down around me I sunbathe here.”Ismaïl ibn Conner in “With My Own Hands.”Steven Taylor As a technical matter, speech like that cannot be easy to perform, but Ismaïl ibn Conner, under the playwright’s direction, shapes each clause, no matter how bewilderingly it butts up against others, into razor-edged shards of anguish. Grandiosity, paranoia and pathos flicker like pages in a flipbook, sometimes (in Nicholas Elliott’s suitably grim translation) coalescing into memorably awful images. “Tear all the memory wires out of your head,” the character begs himself, or perhaps the audience.But if the actor’s grasp on the character is astonishing, the character’s grasp on the audience — as is too often the case with the avant-garde — is weak. To make up for it, the playwright eventually brings out the gun you’ve been expecting all along.In a way, a gun onstage is not unlike a dog: It rips the fabric of theatrical artifice, replacing it with its own kind of drama. A gun’s drama, though, is usually dull, with only two possible outcomes: It gets used or it doesn’t. But as “With My Own Hands” transitioned (cleverly) into “The Art of Theater” — a 30-minute monologue from 2007, in which an actor played by Fletcher muses aloud to his dog about acting — it was the dog’s drama that took on living dimension.Not just because the script invests her with human intelligence. (“Theater is low,” the actor instructs. “Speak low. And if you bark — bark low.”) Rather, Delia, a 4-year-old rescue with a sweetheart face and very good manners, can’t help insisting on the canine kind of intelligence. Though she generally sits and listens as required, there is no suppressing her brilliant improvisational skills. Do I smell peanut butter? Let’s get some! Was that a noise in the audience? Let’s investigate! She is less the straight man in the actor’s tale than he is in hers.Fletcher, best known to New York playgoers as Jay Gatsby in the Elevator Repair Service production of “Gatz,” speaks beautifully and never barks. Still, I didn’t find the actual text of “The Art of Theater” — again translated by Elliott and directed by Rambert — very fascinating. The actor’s thoughts about his art, and the theater types he usually works with, are unsurprising except when occasionally off-putting.“I never liked old women,” he says. “Old women are so boring.”But the contrast Rambert draws between this self-involved sourpuss and a good girl like Delia is a brilliant way of making you think about performance. Not just what it costs the performer — though it’s poignantly true, as he says, that “as an actor you have understood that you are a dog and that you will be abandoned.” In that sense, all people are at the mercy of masters; even the character in “With My Own Hands” is “a man trapped in a dog’s body.”A dog is not trapped in a dog’s body, though. She is her body. She doesn’t have actorly affectations or a good side to turn to the light. She is simply happy to make her people happy; in a way, that’s her job, and Delia is very good at it. When, late in the play, Fletcher picks her up in his arms for a slow dance, she licks his face as they sway.On a very cold day in a rather cold genre, that was finally warmth enough. More

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    What’s on TV This Week: Michelle Obama and ‘Billions’

    A conversation with Michelle Obama airs on BET. And Showtime’s “Billions” begins a new season.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, Jan. 17-23. Details and times are subject to change.MondayBET HER PRESENTS … BECOMING: MICHELLE OBAMA IN CONVERSATION 7 p.m. on BET. Michelle Obama joins the stage to discuss some themes from her acclaimed 2018 memoir, “Becoming,” with students from about 20 colleges. Obama will speak on topical issues such as diversity and inclusion on college campuses and students’ mental wellness. The program will be moderated by Yara Shahidi.TuesdaySTORAGE WARS 9:30 p.m. on A&E. To bid, buy or sell? That is the question. The unbridled auction battles of “Storage Wars” return in the show’s 300th episode. The married auctioneer hosts, Dan and Laura Dotson, lead buyers through unpredictable storage units in hopes of hitting the jackpot rather than uncovering abandoned junk.PHILADELPHIA (1993) 8 p.m. on Showtime. If you’re looking for a quality classic, look no further. Andrew Beckett (Tom Hanks), a gay man with AIDS, is fired from his Philadelphia law firm because of his illness. He struggles to find a lawyer who will represent him in court. Joe Miller (Denzel Washington) is the only attorney willing to take on his case; the two team up to fight his wrongful dismissal. “Philadelphia” was one of the first Hollywood movies to take the AIDS epidemic seriously. The film “mostly succeeds in being forceful, impassioned and moving, sometimes even rising to the full range of emotion that its subject warrants,” Janet Maslin wrote in her review for The New York Times.WednesdaySandra Bullock and Quinton Aaron in “The Blind Side.”Ralph Nelson/Warner Bros.THE BLIND SIDE (2009) 7 p.m. on FX. This film, adapted from the nonfiction book “The Blind Side: Evolution of a Game,” by Michael Lewis, is likely to pull at heartstrings. It’s an atypical Cinderella story that follows a young African American man named Michael Oher (Quinton Aaron) who transcends a poverty-stricken childhood and becomes a N.F.L. lineman with the help of a wealthy, white evangelical couple (Sandra Bullock and Tim McGraw). Bullock won her only Academy Award for best actress for her performance, as well as a Screen Actors Guild award and a Golden Globe. The movie “plays this story straight down the middle, shedding nuance and complication in favor of maximum uplift,” A.O. Scott wrote in his review for The Times.THE PRICE IS RIGHT AT NIGHT 8 p.m. on CBS. Drew Carey hosts CBS’s one-hour spinoff special of the extremely long-running game show “The Price Is Right.” The hosts of “The Talk” play alongside contestants for the hunger-relief charity Feeding America.ThursdayCommon in “Let the World See.”ABC NewsLET THE WORLD SEE: SAY HIS NAME 10:30 p.m. on ABC. This limited docuseries will follow the powerful quest for justice that Mamie Till Mobley, the mother of Emmett Till, embarked on after her son’s vicious 1955 murder. Till Mobley’s activism, which included the decision to give her son an open-casket funeral, helped galvanize the civil rights movement. The series includes interviews with Till Mobley and Emmett Till’s cousins, along with the Rev. Jesse Jackson Sr., Michelle Obama, the former F.B.I. agent Lent Rice, the activist and recording artist Common and more. Jay-Z and Will Smith are among the series’s executive producers.FridaySTARS ON STAGE FROM WESTPORT COUNTRY PLAYHOUSE: BRANDON VICTOR DIXON 9 p.m. on PBS (check local listings). The Tony-, Emmy- and Grammy-nominated Broadway star Brandon Victor Dixon is the performer for this final installment of a three-part PBS concert special, filmed at the Westport Country Playhouse in Connecticut. Dixon sings both classic and contemporary songs. Previous installments of this series, including episodes with the singer-songwriter Shoshana Bean and the Tony-winning performer Gavin Creel, are available on the PBS website.Five Movies to Watch This WinterCard 1 of 51. “The Power of the Dog”: More

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    Melanie Lynskey on That Chilling ‘Yellowjackets’ Finale

    The actress discussed her character’s cool under pressure, her favorite fan theories and one thing she insisted to writers that Shauna would never do.This interview contains major spoilers from the season finale of “Yellowjackets.”Melanie Lynskey and I are going to talk about the tragic final twist in the “Yellowjackets” season finale in a moment. But first, I’m still reeling from the opening minutes.Shauna, with an electric carving knife, in the bathtub?“I know, right?” said Lynskey, 44, who plays the adult version of Shauna on Showtime’s buzzy psychological horror series “Yellowjackets,” about a high school girls soccer team that becomes stranded in the wilderness after a plane crash in 1996. We’ve seen just enough to know that their time in the woods didn’t end well, especially not for those who wound up literally butchered and eaten by the survivors. But it’s pretty clear that surviving — which is to say, having been reduced to murder and cannibalism — took a toll as well.Case in point: the relative calm with which the adult Shauna, in the present day, dismembers her new boyfriend … to hide the evidence of having accidentally stabbed him to death with a different, nonelectric knife.“There are moments with this character when we have to remember that she’s operating on Autopilot,” Lynskey said of Shauna. “There’s a problem, and she’s just like, OK, let me get through this part of the problem until another problem arises. She’s just trying to keep one foot in front of the other.”Lynskey, a New Zealand actress whose Kiwi twang morphs into a flawless American accent on “Yellowjackets,” was calling from her daughter’s bedroom last week in Atlanta (“I’m hiding,” she explained), the city where she’s shooting the coming Hulu series “Candy.” In that series, she plays a woman on the other end of a blade: Betty Gore, a Wylie, Tex., woman who was murdered with an ax by her best friend, Candy Montgomery, in 1980.Lynskey as Shauna with Warren Kole, who plays Shauna’s husband, Jeff. “She’s scared to look too closely at ‘Who is this person I’m with?,’” Lynksey said of her character’s decision to marry him.  Kailey Schwerman/Showtime“I like things with a little bit of darkness,” Lynskey said. “I like seeing how normal people can get to a desperate point.”Lynskey’s high-profile roles in “Yellowjackets,” for which she earned a Critics Choice Award nomination, and in Adam McKay’s star-studded apocalyptic Netflix satire, “Don’t Look Up,” are the latest successes in a career that, in recent years, has included major roles in the HBO series “Togetherness” (2015-16); in Macon Blair’s 2017 critically beloved film, “I Don’t Feel at Home in This World Anymore”; and in the FX on Hulu historical series “Mrs. America” (2020).But although the parts and the budgets keep getting bigger, the roles are still the kind she loves to play: real women, wrinkles, curves and all.“A lot of women out there look like me,” Lynskey said of Shauna’s come-as-you-are appearance. “That was really important to me.”In an interview, she discussed her favorite fan theories, Shauna’s uncanny resolve and the one thing she told the writers her character would never do. These are edited excerpts from the conversation.First things first: Where does Shauna find the resolve to chop up her lover’s body in a bathtub? We even see it when she’s in the wilderness in high school, volunteering to slit the deer’s throat.I’m hoping that we meet members of her family so we can see why she is who she is. She seems like a completely self-sufficient person even before she’s stranded in this situation. I think there’s something inside her that’s a little bit scary even to her, but it feels like the most honest part of herself.It’s not just young Shauna who butchers animals — as an adult, she guts a rabbit in the kitchen. Are you squeamish when it comes to blood?I’m a vegetarian — I haven’t eaten meat since I was 10 years old. I didn’t want to have to do that with a real rabbit, so they made me this crazy prop rabbit — it was all magnets, sticking pieces together. It looked so real!How else are you like and not like Shauna?She’s able to switch into a cold, calculating veneer that I don’t know if I have — I guess I must, because it can come out of me. But she’s also someone who has a great capacity for love, so we’re alike in that way. She’s a lot more confident than I am, but she still has moments of self-doubt, which can lead her to make some of her biggest mistakes.What about when it comes to survival skills?If I’m going anywhere, I have to read every single TripAdvisor and Yelp review just to make sure the hotel is going to be as nice as I need it to be. I’m very particular, very princess-y. When I was a child, I went to nature camp for a few days, and the entire thing was torture. At the end of it, everyone in the class had to write a letter to the person who impressed them the most, and I got every letter because people were like: “You got through it. You cried the entire time, but somehow, you did it.”The director Ariel Kleiman with Lynskey and Peter Gadiot during production of the series. Gadiot plays Shauna’s lover, whose affair with her becomes complicated by a kitchen knife. Michael Courtney/ShowtimeLet’s talk about Jeff (Warren Kole). Why does Shauna stay with him?Before the wilderness, there was chemistry, and they really liked each other, but Shauna felt like it was temporary. And then she came back from this experience with a ton of survivor’s guilt. But she’s not dealing with any of it — she’s just stuffing it all down, and she feels like the responsible thing to do is to now marry Jeff. She’s scared to look too closely at “Who is this person I’m with?” in case she has to do something difficult. It’s a similar situation with Adam [the former lover in the bathtub, played by Peter Gadiot], where she just kind of jumps into things. She’s so scared of finding out something she doesn’t want to know that she just lets things happen to her.How much did you know about Shauna’s character going into the series?The writers had told me what happened to Jackie [Ella Purnell], because when she started appearing in front of me in flashbacks, I said I needed to know specifics. And I knew the trajectory of the Adam relationship. I knew the trajectory of the Jeff relationship and that he was the blackmailer. I think sometimes writers are scared that if an actor has all the information, they’re going to give things away in their performance, but it’s helpful for me to have so I can do something layered that’s fun for people to go back and watch.Such as?When Jeff and I are driving back from brunch with Jackie’s parents [in Episode 6], we’re talking about Jackie, and I say, “Do you wish you had ended up with her?” And he says, “No, I was just the high school boyfriend.” We’d never had a conversation about that, and that’s something he knew Jackie had said because he read Shauna’s journals. And so I was able to react to that moment like, That’s a bit interesting. I don’t know why he said that or how he knows that.To clarify, Jackie is for sure dead — she’s not pulling a Van?As far as I know. I don’t see how she comes back from [freezing to death]. [Laughs.] And I think Ella’s contract was always just a year.A slew of fan theories about Shauna have cropped up on social media. Do you have any favorites?It was so interesting to me that nobody was like, “What if Adam just likes her?” Part of it is that it’s a mystery show, and he’s a suspicious character. And part of it is that it’s an unconventional relationship where he’s more conventionally attractive than me, he’s younger than me, he’s thinner than me. So it’s very hard for people to accept that that might just be a relationship that they’re witnessing. And then there were some theories that were just so nuts — so many people were like, “He’s Shauna’s wilderness baby.” I wish I could remember all the crazy ones. “He’s Jackie” was a funny one.What kind of input do you have into your character?It’s not often, but there are times when I read something and am just like, “This doesn’t feel real to me.” When I was about to go on a date with Adam, they had me stealing a pair of my daughter’s underwear — like a thong — to wear. And I just was like, “Guys, first of all, as a mother, no.” That’s so gross. I know that Shauna doesn’t have boundaries, but that’s, like, a step too far. And, realistically, they wouldn’t fit me. There’s no woman in the world that’s going to watch that scene and be like, “I believe that she’s comfortably wearing those underpants.” But they’re very good about listening to me!Have they told you anything about Season 2?I know they haven’t even gotten into the writers’ room yet, so I want to give them a minute. But I definitely want to ask questions. I really think I probably drive them crazy. More

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    Now Is the Winter of Broadway’s Discontent

    Curtains are rising again after the Omicron surge caused widespread cancellations, but attendance has fallen steeply. Nine shows are closing, at least temporarily.The reopening of Broadway last summer, following the longest shutdown in history, provided a jolt of energy to a city ready for a rebound: Bruce Springsteen and block parties, eager audiences and enthusiastic actors.But the Omicron variant that has barreled into the city, sending coronavirus case counts soaring, is now battering Broadway, leaving the industry facing an unexpected and enormous setback on its road back from the pandemic.In December, so many theater workers tested positive for the coronavirus that, on some nights, half of all shows were canceled — in a few troublesome instances after audiences were already in their seats.Now, producers have figured out how to keep shows running, thanks mainly to a small army of replacement workers filling in for infected colleagues. Heroic stories abound: When the two girls who alternate as the young lioness Nala in “The Lion King” were both out one night, a 10-year-old boy who usually plays the cub Simba went on in the role, saving the performance.Broadway shows have been using social media to remind potential ticket-buyers that performances are still happening. The revival of “Company” is among many using the hashtag #BroadwayIsOpen.An Rong Xu for The New York TimesBut there’s a new problem: Audiences are vanishing.During the week that ended Jan. 9, just 62 percent of seats were occupied. That’s the lowest attendance has been since a week in 2003 when musicians went on strike, and it’s a precipitous drop from the January before the pandemic, when 94 percent of seats were filled during the first week after the holidays.The casualty list is growing. Over the last month, nine shows have decided to close their doors, at least temporarily. “To Kill a Mockingbird,” a huge hit before the pandemic, announced last week that it would close until June; on Sunday “Ain’t Too Proud,” a successful jukebox musical about the Temptations, closed for good.Box-office grosses are falling off a cliff. The all-important Christmas and New Year’s weeks, which producers count on each year to fatten their coffers in anticipation of the lean weeks that follow, generated just $40 million this season, down from $99 million before the pandemic. Requests for ticket refunds are now so high that on some days some shows have negative wraps, meaning they are giving back more money than they are taking in.“This is the worst I have ever experienced,” said Jack Viertel, a longtime executive at Jujamcyn Theaters, which operates five Broadway houses.Over the long run, industry leaders say, there is every reason to remain bullish about Broadway. Until the pandemic, the industry had been enjoying a sustained boom, fueled by a rebound in the popularity of musicals and by New York’s gargantuan growth as a tourist destination. And this downturn might not last long: There is some evidence that the Omicron surge may be peaking, at least in some parts of the country, including New York.The musical “Ain’t Too Proud,” about the Temptations, was a hit before the pandemic, but decided to close after coronavirus cases forced the show to cancel multiple performances over the holidays.  An Rong Xu for The New York TimesBut before it eases, the slump will cost investors tens of millions of dollars, and will push theater workers back into unemployment, as dwindling attendance forces productions without abundant reserves to close. And the distress is not just financial: Artists spend years developing shows before they get to Broadway, so a premature closing is a crushing blow.“It’s harrowing, and there will be a lot of damage done,” Mr. Viertel said. “Some shows will be put out of business permanently, and this will be career ending for some individuals.”Dominique Morisseau, the playwright who wrote the book for “Ain’t Too Proud,” and whose new play, “Skeleton Crew,” is now in previews following two virus-related delays, called this moment “extremely painful.” “My play is about plants shutting down during the auto industry collapse, and factory workers wondering every day, ‘Is it shutting down?’” she said. “Now that’s how we’re coming to work.”The Broadway League, which represents producers, has asked labor unions to consider pay cuts to help shows survive this rough patch. At one point, in a step previously reported by The Daily Beast, the League asked workers to accept half-pay when Covid-19 forced performance cancellations; there have also been discussions about offering lower pay for scaled-back performance calendars.“We’re doing everything we can to keep as many shows open as possible,” said Charlotte St. Martin, the president of the Broadway League, citing safety protocols and marketing efforts as well as labor discussions.The talks stalled as unions sought more financial information.A revival of “The Music Man” canceled multiple performances just days after starting previews when both of its stars tested positive for the coronavirus, but it is now up and running again.An Rong Xu for The New York Times“It’s fair to say that all the unions recognize that shows remaining open is important — that represents jobs for actors and stage managers and everyone else who makes a living in the live theater,” said Kate Shindle, the president of Actors’ Equity. But Ms. Shindle noted that Broadway shows had received tens of millions of dollars in federal aid last year, and that the industry is no longer even disclosing weekly box-office grosses for individual shows, as it did before the pandemic. “Pretty universally, the unions’ response has been that if you want us to make financial concessions, we need financial transparency,” she said.Meanwhile, shows are collapsing. There are always closings in January, a soft time of year for Broadway, but this season a crush of announcements started in December, usually one of the most lucrative months. The musicals “Ain’t Too Proud,” “Diana,” “Flying Over Sunset,” “Jagged Little Pill” and “Waitress,” as well as the play “Thoughts of a Colored Man,” all decided to close earlier than planned after Omicron hit. And three other shows, including “Mrs. Doubtfire” and “Girl From the North Country” as well as “Mockingbird,” said they would close for a few months and then attempt to reopen.“If it means that shows get to come back, hooray,” said Jenn Gambatese, the lead actress in “Mrs. Doubtfire.” “The alternative was, run another week and buh-bye.”More and more theaters are now dark. By next Sunday, there will be only 19 shows running in the 41 Broadway theaters. Cast and crew members from shuttered productions are trying to figure out whether they even worked enough weeks to qualify for unemployment; those who do will get less assistance than they did earlier in the pandemic, because the maximum weekly benefit in New York is now $504, down from $1,104 when the federal government was offering a supplement.This is a good time for bargain hunters: Discounts are available for many shows at the TKTS booth, and NYC & Company’s annual Broadway Week, which offers 2-for-1 tickets to most shows, has been extended to 27 days. An Rong Xu for The New York TimesThe surviving shows seem to have figured out how to avert the cancellations that bedeviled the industry last month.One reason: So many workers have already tested positive, and are now back at work (and, notably, no performers are known to have been hospitalized during this latest round). More important: Productions have trained and hired additional replacement workers, including for crew members.Playbills are regularly stuffed with cast-change inserts. One night, Keenan Scott II, the playwright of “Thoughts of a Colored Man,” kept his show afloat by going on to replace an actor who tested positive. “Come From Away” saved a performance by deploying eight swings, including alumni and a touring performer who had never worked on Broadway. At “Wicked,” a longtime understudy who had left Broadway to become a software engineer in Chicago returned and performed as Elphaba.The Coronavirus Pandemic: Key Things to KnowCard 1 of 4Omicron in retreat. More