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    Ron Cephas Jones Has Something to Prove Again

    The Emmy-winning “This Is Us” actor received a double-lung transplant after a secret battle with chronic obstructive pulmonary disease. Now he’s back onstage in “Clyde’s” on Broadway.In the spring of 2020, a recurring nightmare began tormenting the actor Ron Cephas Jones. A theater veteran known for his work on the NBC drama “This Is Us,” Jones is 64 and wiry, with short waves of black hair and an almond-shaped face. In the dream, he is delivering a monologue onstage — darkened room, white backlights — when he notices something amiss. Everyone in the audience is looking elsewhere, in seemingly every direction but his. Jones waves and shouts, trying to draw the crowd’s attention. But no matter how desperately he screams, no one registers his presence. He is there but not there, a ghost among the living.In the new Broadway play “Clyde’s,” where Jones plays a kind of spiritual leader to a beleaguered crew of recently incarcerated sandwich cooks, he is the show’s transfixing center of gravity — the very opposite of ghostly incorporeality. But when the nightmares began, Jones really was in mortal peril.In May of last year, he received a double-lung transplant after years of suffering in secret from chronic obstructive pulmonary disease. Jones spent nearly two months at the Ronald Reagan U.C.L.A. Medical Center in Los Angeles on and off a ventilator, learning to breathe and then eat and then walk again. The hope of one day returning to the theater was the fire that fueled his recovery.Uzo Aduba as Clyde and Jones as Montrellous in Lynn Nottage’s new comedy, “Clyde’s,” in which ex-convicts working at a truck-stop sandwich shop dream of remaking their lives.Sara Krulwich/The New York Times“My whole life has been the stage,” Jones said recently, over lunch at a restaurant a few blocks from the theater where “Clyde’s” is running. “The idea of not performing again seemed worse to me than death.”Jones is the kind of actor who works like chipotle mayo — you don’t always think to look for him, but you’re happy when he shows up. About six years ago, after three decades of working on and off Broadway in New York, he began quietly lending credence to a crop of ambitious streaming-era dramas. He added a touch of warmth to Sam Esmail’s “Mr. Robot,” a note of vulnerability to Marvel’s “Luke Cage,” a foreboding undercurrent to Stephen King’s “Lisey’s Story.” But his biggest breakthrough — and two Emmy Awards, for outstanding guest actor — came from the ratings smash “This Is Us,” where Jones has played William, the biological father of Sterling K. Brown’s character, Randall, since 2016.On a series with no shortage of weepy story lines, William is a figure of singular pathos. The character, who is Black, bisexual, a former drug addict, an absentee father and has terminal cancer, would in lesser hands strain the limits of good taste. But Jones’s soulful performance — the weather-beaten brow, the voice like brushed wool — confers a lived-in texture and depth.The same year that Jones was cast as William, he complained to his doctor about difficulty breathing. An X-ray confirmed advanced emphysema, a pulmonary condition in which damage to the lungs deprives the blood of oxygen. Jones, who had been a two-packs-a-day smoker for most of his life, was told the disease was progressive — left untreated, his lungs would grow weaker and eventually collapse. He was advised to consider a transplant. But he shut down the idea after learning the risks involved. Even if his body accepted the new lungs, there was a 31 percent chance he would be permanently bound to an oxygen tank.From left, Jones, Bob Dishy, Tonya Pinkins and Zach Grenier in “Storefront Church,” about Bronx residents whose lives become tangled in unexpected ways, at the Atlantic Theater Company in 2012.Sara Krulwich/The New York Times“I was in total denial,” Jones said. “I told myself that it would pass, or that I was just getting older. I was afraid and didn’t want to change what I wasn’t ready to change.”For a year after his diagnosis, Jones continued smoking up to 12 cigarettes a day. He finally changed course in 2017, after an incident on the set of “This Is Us.” While filming a long outdoor scene with Susan Kelechi Watson, who plays William’s daughter-in-law, Jones became increasingly short of breath. He sensed his heart pounding and broke into a sweat. He felt as if he were underwater. After someone called an ambulance, an emergency responder resuscitated him using an oxygen tank. Denial was no longer an option.“You can see in his eyes that he made the right decision,” said the actress Jasmine Cephas Jones, Jones’s daughter and an original cast member of “Hamilton.” “I feel like I have my dad back.”Many of Jones’s characters, including Montrellous, the ex-convict he portrays in “Clyde’s,” are pacific, hard-luck men in pursuit of redemption. The playwright Lynn Nottage, who met Jones in the 2000s when both were members of the Labyrinth Theater Company, said she wrote Montrellous with Jones in mind.“He moves through the world like a cool jazz man, but is also generous and a nurturer,” Nottage said. “The same qualities that he brings to his acting are the qualities that he embodies in real life.”Jones at the Helen Hayes Theater, where “Clyde’s” is running through Jan. 16.Nina Westervelt for The New York TimesJones was first drawn to performance as a young man during the Black Arts Movement in the 1970s. Born and raised in Paterson, N.J., he took Route 4 to Harlem on weekends to see jazz at St. Nick’s Pub, or plays at the National Black Theater or Avery Fisher Hall (now David Geffen Hall) at Lincoln Center. After graduating with a theater degree from Ramapo College, in 1978, Jones immersed himself in the art scene in New York but was derailed when he developed a crippling heroin addiction. Encouraged by his mother, he moved to Los Angeles for a fresh start and spent four years working as a bus driver.Eventually, Jones turned to gambling and relapsed. He said he was arrested with 10 small bags of heroin and narrowly escaped a five-year prison sentence. A judge sent him back East — to a rehabilitation center in Albany, N.Y. — but the program didn’t take. Jones relapsed a second and third time. His mother, who had taken him in after Albany, kicked him out of the house and stopped answering his phone calls.“It was the tough love thing,” Jones said. “But it felt like everything I had loved was gone.”Jones hit rock bottom and said that for a while he slept on a bench in Eastside Park in Paterson. He was saved by an uncle who invited him to stay at his apartment in Harlem. It was there, in 1986, that he got clean for the last time.Jones and David Zayas in “Jesus Hopped the ‘A’ Train.” Stephen Adly Guirgis’s portrait of lives behind bars debuted at the East 13th Street Theater in 2000.Sara Krulwich/The New York TimesIn 1990, he starred in his first play, “Don’t Explain” by Samuel B. Harps, at the Nuyorican Poets Cafe on the Lower East Side. By then he was a father — Jasmine was born in 1989 — and went on to a wide-ranging stage career, starring in Stephen Adly Guirgis’s “Jesus Hopped the ‘A’ Train,” John Patrick Shanley’s “Storefront Church” and “Richard III.”“Clyde’s” is his first appearance on Broadway in seven years. After his lung transplant, Jones was determined to prove that he could still perform at the highest level, and for the standard eight shows per week. In his review of the play for The Times, Jesse Green wrote that Jones perfectly embodies his character, balancing a “Zen imperturbability with subtle dashes of pain and sacrifice.”“It was kind of miraculous to see him up there so full-bodied,” said Nottage, who, though aware of Jones’s operation, said it was never discussed during rehearsals this summer. “You would never know that he had any kind of struggle.”“Clyde’s” opens with a monologue, in which Montrellous attempts to persuade Clyde, played by Uzo Aduba, to change the menu at her restaurant. On opening night late last month, when the curtain lifted and revealed a packed crowd, including many of Jones’s friends and family, he said he was so overcome with emotion that he nearly screamed his first line.“I was so eager that all of the air from my diaphragm just came rushing out at once,” he said. “I wanted to make sure that I could be heard.” More

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    Jimmy Kimmel: Trump’s Covid Test Is the Only Positive Thing He’s Done

    Late-night hosts weighed in on Donald Trump’s initial results just three days before his debate with Joe Biden.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.On Whose Honor?In his new book, Mark Meadows, former President Donald Trump’s chief of staff, wrote that Trump tested positive for the coronavirus before his first debate with Joe Biden in 2020.“Sadly, testing positive for Covid was the only positive thing he did in four years as president,” Jimmy Kimmel joked on Wednesday night.Mark Meadows, left, has written a book about his time in the White House, where he served as chief of staff of Donald Trump when he was president.Al Drago/Reuters“Meadows wrote that when he informed Trump he’d tested positive, Trump replied, ‘Oh, [expletive], you gotta be [expletive] kidding me,’ which is what most of us said when he was elected president.” — JIMMY KIMMEL“Fox should not have let him debate. Joe Biden is 143 years old. The debate moderator, Chris Wallace, is no spring chicken, either. He said they were relying on the honor system, which, you’re relying on the honor system with Donald Trump? You might as well rely on the Dewey decimal system.” — JIMMY KIMMEL“The honor system? How can you rely on the honor system when you know he doesn’t have any? That’s like meeting with Vladimir Putin and relying on the shirt system.” — STEPHEN COLBERT“Have you met Donald Trump? ‘Do you promise you’re negative, guy who ran a fake university?’” — JIMMY KIMMEL“You can’t go wrong when you bet on the former president lying. It’s just one of those certainties in life — and him not paying taxes.” — STEPHEN COLBERT“And if you do the math on the Covid, it means Trump had it at that little soiree he threw for Judge Amy Coney Barrett, after which at least eight people who were there tested positive. I wonder who they got it from? I wonder whose tiny hand they all shook at that party?” — JIMMY KIMMEL“I’m not saying that Trump was trying to assassinate Joe Biden, but he definitely wasn’t going out of his way to avoid it.” — TREVOR NOAH“That explains why Trump originally wanted to end the Biden debate with a long, drawn-out kiss.” — JAMES CORDEN“Trump participated in the debate despite testing positive. Or, as Fox News is spinning it, ‘President Trump battled on heroically, and graciously shared his exclusive strain of Covid with a stage full of ungrateful libs.’” — JAMES CORDENThe Punchiest Punchlines (Signing Off Edition)“CNN has suspended Chris Cuomo indefinitely for his role in advising his brother, Andrew Cuomo, during his recent scandal. Yeah, Chris Cuomo knew something was up when CNN added a suspension countdown clock.” — JIMMY FALLON“On the one hand, this is a story about a guy helping his brother in a time of crisis. And, I mean, who wouldn’t do that for their brother? Because you’ve got to remember, brother is the top level of male relationship. Yeah, it goes brother, my dude, homey, this guy and stepdad.” — TREVOR NOAH“Of course, it does matter and it does make a difference how you help your brother and what you’re helping him with. Like, if your brother murdered somebody, you can either help him get the best lawyer in the country, or you can help him bury the body. I mean, both make you a good brother, but one makes you an accessory after the fact.” — TREVOR NOAH“And, people, that’s not what CNN is about. CNN is about sitting 12 people together at a desk and having them yell at each other about whether Adele’s Las Vegas residency is going to hurt Biden’s poll numbers or not.” — TREVOR NOAHThe Bits Worth WatchingThis week’s “Tonight Show” hashtags featured viewers’ travel fails.What We’re Excited About on Thursday NightMahershala Ali (a.k.a. Marvel’s new Blade) will chat with Stephen Colbert on Thursday’s “Late Show.”Also, Check This OutMel Brooks in “High Anxiety,” 1977.Jim Palmer/Associated PressMel Brooks keeps things light in his new memoir, “All About Me!” More

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    One of Jussie Smollett’s Attackers Tells Court It Was All Staged

    Abimbola Osundairo, testifying at Mr. Smollett’s trial on charges of filing a false police report, said “he wanted me to fake beat him up.”Jussie Smollett, frustrated by what he saw as a muted reaction to a death threat he had received in the mail, enlisted a friend in 2019 to stage a fake attack that would grab public attention, the friend testified on Wednesday at the actor’s trial.Abimbola Osundairo, the younger of the two brothers who have said they took part in what they describe as a hoax, said the strange request came after Mr. Smollett showed him an image of a threatening letter he had received. It featured a red stick figure hanging from a noose, a gun pointed at the figure, and the acronym MAGA on it.Mr. Smollett later arranged a meeting with him, Mr. Osundairo said, after sending him a text message in which Mr. Smollett said he needed help “on the low.” At the meeting they discussed how the television studio behind “Empire,” the show they both worked on, was not taking the letter seriously, Mr. Osundairo told the court.“He said he wanted me to beat him up,” Mr. Osundairo said. “I looked puzzled and then he explained he wanted me to fake beat him up.”Mr. Osundairo testified during the third day of Mr. Smollett’s trial on charges he filed a false police report about the attack, a case that largely relies on the accounts of Mr. Osundairo and his brother, Olabinjo Osundairo, who say Mr. Smollett devised the attack.Mr. Smollett has denied staging the Jan. 29 attack and his lawyers have suggested the brothers have fabricated the account to avoid prosecution.“He wanted me to tussle and throw him to the ground and give him a bruise while my brother Ola would pour bleach on him and put a rope around him and then we would run away,” Abimbola Osundairo testified.Mr. Osundairo, 28, said his friendship with the actor started in 2017 and grew to a place where Mr. Osundairo would refer to Mr. Smollett as his “big brother.” Mr. Osundairo said Mr. Smollett had helped him to secure a job as a stand-in for more prominent actors on “Empire,” a gesture that Mr. Osundairo said left him feeling “indebted” to Mr. Smollett. He said he ended up standing in for Mr. Smollett’s character’s love interest on the show.It is unclear whether the prosecutors will also seek testimony from Mr. Osundairo’s older brother, Olabinjo, 30, who also appeared on “Empire” and, though he was not as close to Mr. Smollett, has told investigators he was brought in to assist with the attack. Olabinjo Osundairo is on a list of potential witnesses.Jussie Smollett outside court Tuesday with supporters and family. His defense team has suggested that the Osundairo brothers made up an account of a fake attack while being questioned by the police. Charles Rex Arbogast/Associated PressThe brothers have told the police that on the day before the attack was supposed to take place, Mr. Smollett drove them around the Streeterville neighborhood of Chicago, where he lived, showing them where he wanted it to occur. The brothers say Mr. Smollett gave them a $100 bill to buy supplies for the attack, including ski masks, a rope and a red hat meant to indicate that the attackers were supporters of former President Donald J. Trump.The special prosecutor handling the case, Daniel K. Webb, said earlier in the trial that on Jan. 29, the brothers waited for Mr. Smollett near the proposed spot — in subzero temperatures — and when the actor arrived, they beat him lightly, put the rope around his neck and poured bleach on him from a hot sauce bottle.The defense has in its opening statement and cross-examination sought to undermine the brothers’ accounts. Mr. Smollett’s lead lawyer, Nenye Uche, called the brothers “self-confessed attackers” and said both men “did not like” Mr. Smollett.Mr. Uche said that a $3,500 check that Mr. Smollett made out to Abimbola Osundairo was for help with physical training for Mr. Smollett’s music video — not payment for helping with the attack as prosecutors contend. (Mr. Osundairo testified that at the time of reported attack he had been helping Mr. Smollett with diet and fitness plans to help him prepare for an upcoming music video, but that he intended to do the work for free because they were friends.)The defense has also said that Mr. Smollett’s text message asking for help “on the low” was in reference to getting herbal steroids from Nigeria, to which the brothers were soon traveling.On Tuesday, Mr. Uche suggested in his questioning of a detective, Michael Theis, who investigated Mr. Smollett’s hate crime report, that the police had not properly looked into accusations that Olabinjo Osundairo had a history of homophobia.Prosecutors sought on Wednesday to blunt that suggested motivation. Abimbola Osundairo was asked whether the fact that Mr. Smollett is gay had affected their friendship, and he said it had not. Mr. Osundairo said at one point that he had visited a gay bathhouse with Mr. Smollett in Chicago.Understand the Jussie Smollett TrialCard 1 of 5A staged hate crime? More

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    ‘A Sherlock Carol’ Review: Crime-Solving on Christmas Eve

    Mark Shanahan remixes Arthur Conan Doyle and Charles Dickens into a clever, crowd-pleasing holiday comedy that happens also to be a murder mystery.It’s been three years since the grim tussle on the cliff above Reichenbach Falls, where the criminal mastermind Professor Moriarty plunged to his death.But for Sherlock Holmes, the demise of his nemesis has proved unmooring. In London, lawlessness continues apace, yet the great detective has given up the fight. Adrift in ennui, he no longer bothers to ensnare the city’s evildoers. His faithful Dr. Watson, eager to get the band back together, can’t even entice Holmes to come to his house for Christmas.“There is no greater fool than one who shouts ‘Happy Christmas!’ in a city throughout which the foulest of mankind lurks ’round every corner,” Holmes growls. “I’ll thank you to leave me alone, Watson.”Bit of a Grinch, isn’t he. Bit of a Scrooge, even. In “A Sherlock Carol,” Mark Shanahan’s arch charmer of a holiday mash-up, Holmes — not Dickens’s Scrooge — is the one who is “solitary as an oyster.”At New World Stages, Shanahan directs a cast of six, wonderfully led by the Broadway veterans Drew McVety as Holmes and Thom Sesma as Scrooge. Remixing Arthur Conan Doyle and Charles Dickens, this is a clever, crowd-pleasing holiday comedy that happens also to be a murder mystery.It isn’t aiming for sumptuous elegance, like Matthew Warchus’s large-cast, high-design production of Jack Thorne’s “A Christmas Carol,” seen two seasons ago on Broadway. This is a simpler, streamlined affair looking for — and, crucially, finding — silly, festive fun.On Christmas Eve 1894, the grumpish Holmes is haunted by a spirit: Moriarty, whose presence he feels stalking him everywhere.And the beatific, reformed Scrooge? Found dead that very day by a doctor who believes there was foul play. A fan of Watson’s stories, the doctor entreats Holmes to investigate — and is thrilled when the uncannily observant detective, while refusing his appeal, says he’s known everything about him since the moment he walked in.McVety on the case.Evan Zimmerman for MurphyMadePartisans of “A Christmas Carol” get a sweet thrill as well when Holmes, too arrogant to resist, gives a quick rundown of his intel on this stranger: He was poor in early childhood, illness shadowed his first years of life, the dead man was his benefactor. In an instant, we recognize the doctor — Tiny Tim, all grown up and doing well.After he tells Holmes that a famous diamond had been on its way to Scrooge, who recently received a death threat, the detective relents and takes the case.“The game is afoot,” he says, suddenly saucy, tossing one end of his scarf around a shoulder.And off we go into a sprightly escape of a play with a fine, much-doubling ensemble and a design team trailing reams of Broadway credits: Anna Louizos, set; Linda Cho, costumes; Rui Rita, lighting; John Gromada, music and sound; Charles G. LaPointe, hair and wigs. This production is in very good hands, and so are we.There is a curious shortage lately of plays to make us laugh, let alone to tickle both children and adults. For admirers of Doyle and Dickens, here’s one.A Sherlock CarolThrough Jan. 2 at New World Stages, Manhattan; 212-239-6200, asherlockcarol.com. Running time: 1 hour 45 minutes. More

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    The Best Movies and TV Shows Coming to Amazon, HBO, Hulu and More in December

    Every month, streaming services add movies and TV shows to its library. Here are our picks for some of December’s most promising new titles.(Note: Streaming services occasionally change schedules without giving notice. For more recommendations on what to stream, sign up for our Watching newsletter here.)Temuera Morrison and Ming-Na Wen in “The Book of Boba Fett.”Disney+New to Disney+‘The Rescue’Starts streaming: Dec. 3In “The Rescue,” the documentary filmmaking team of Elizabeth Chai Vasarhelyi and Jimmy Chin — who won an Oscar for their film “Free Solo” — tell the stories of the skilled divers who worked to save a dozen young Thai soccer players trapped in a flooded Tham Luang Nang Non cave in the summer of 2018. The rescue operation drew volunteers from around the world and was covered in-depth by the broadcast and print media. Vasarhelyi and Chin incorporate some of that coverage into “The Rescue,” alongside new interviews with the rescue team, for a fuller view into what happened. But their primary focus is on what the divers experienced as they tried to puzzle out how to navigate through underground passages and how to extract survivors. The P.O.V. footage the divers shot themselves is often harrowing, capturing the claustrophobic pressure and the sense of panic that sets in when the waters rise.‘The Book of Boba Fett’Starts streaming: Dec. 29There are no new “The Mandalorian” episodes until 2022, so fans of the “Star Wars” universe’s bounty-hunter subculture will have to rely on this spinoff series to tide them over. Temuera Morrison reprises his role as Boba Fett, a storied mercenary who, alongside his colleague Fennec Shand (Ming-Na Wen), comes out of hiding and attempts to reestablish himself as someone to be feared and respected in the criminal underworld. A lot of the “Mandalorian” creative team also worked on “The Book of Boba Fett,” as did some of the supporting cast. This promises to be another action-packed throwback adventure series, exploring the difficult lives and the complicated ethical codes of characters whose jobs demand danger and violence.Also arriving:Dec. 3“Diary of a Wimpy Kid”Dec. 8“Welcome to Earth”Dec. 15“Foodtastic,” Season 1Dec. 17“Arendelle Castle Yule Log: Cut Paper Edition”From left, Glenn Howerton, Rob McElhenney and Kaitlin Olson in “It’s Always Sunny in Philadelphia.”Prashant Gupta/FXXNew to Hulu‘It’s Always Sunny in Philadelphia,’ Season 15Starts streaming: Dec. 2The longest-running sitcom in television history returns for a new season. As usual, it will combine the show’s lowlife high jinks with some episodes that directly engage with what’s going on in the world today. For example, the season’s first episode is about how the gang at Paddy’s Pub — Mac, Charlie, Dennis, Dee and Frank — try to make money off the pandemic. And episode two comments on the sometimes reckless political incorrectness of some older “It’s Always Sunny in Philadelphia” jokes. The series continues on from there, filtering reality through the skewed perspective of characters who hardly every change, even as society keeps shifting all around them.Also arriving:Dec. 1“Candified: Home for the Holidays,” Season 1Dec. 2“Godfather of Harlem,” Season 1Dec. 3“The New York Times Presents: To Live and Die in Alabama”“PEN15,” Season 2, Part 2“Trolls: Holiday in Harmony”Dec. 9“Bloods,” Season 1“Creamerie,” Season 1“Swan Song”Dec. 10“Crossing Swords,” Season 2Dec. 16“Dead Asleep”Dec. 17“Mother/Android”Dec. 23“Dragons: The Nine Realms” Season 1Dec. 26“Letterkenny” Season 10Nicole Kidman and Javier Bardem as Lucille Ball and Desi Arnaz in “Being the Ricardos.”GLEN WILSON/AmazonNew to Amazon‘Being the Ricardos’Starts streaming: Dec. 21The writer-director Aaron Sorkin follows up his American history lesson “The Trial of the Chicago 7” with another look back into our cultural past, this time exploring the world of television in its infancy as a mass medium. In “Being the Ricardos,” Nicole Kidman plays Lucille Ball and Javier Bardem plays Desi Arnaz during one week of production on the groundbreaking 1950s sitcom “I Love Lucy.” The setup frames a larger study of the celebrity couple’s tumultuous romantic, creative and business partnership. Expect to hear plenty of Sorkin’s rapid-fire dialogue, applied to a backstage melodrama with echoes of his TV series “Sports Night” and “Studio 60 on the Sunset Strip.”Also arriving:Dec. 3“Harlem”Dec. 9“The Ferragnez”Dec. 10“Encounter”“The Expanse,” Season 6Dec. 17“With Love”Dec. 23“Yearly Departed”New to HBO Max“Listening to Kenny G”Starts streaming: Dec. 2The “Music Box” docuseries debuts three new films on HBO this month, including “Mr. Saturday Night” (about the swaggering industry impresario Robert Stigwood) and “Juice WRLD: Into the Abyss” (about the rapper’s short life and influential career). But the movie likely to draw the most attention is Penny Lane’s slyly provocative “Listening to Kenny G.” This comprehensive biography of the wildly successful and deeply divisive pop-jazz saxophonist Kenneth Gorelick — made with his full participation — doubles as a sincere consideration of why some people love Kenny G’s music and why some think it is pandering schmaltz. Gorelick is a disarming interview subject, willing to defend himself but seemingly unconcerned about his critical reputation. It’s the critics featured in the documentary that add the most, as they wrestle honestly with the long-term effects — positive and negative — of middle-of-the-road popular music.Also arriving:Dec. 1“Adrienne”Dec. 2“Perfect Life”“Santa Inc”Dec. 5“Beforeigners”Dec. 6“Landscapers”Dec. 7“The Slow Hustle”Dec. 9“And Just Like That …”“Mr. Saturday Night”Dec. 13“Street Gang: How We Got to Sesame Street”Dec. 16“Finding Magic Mike”“Juice WRLD: Into the Abyss”“Station Eleven”Dec. 22“The Matrix Resurrections”New to Paramount+“1883”Starts streaming: Dec. 19Given that the modern western drama “Yellowstone” is one of the most-watched series on cable and streaming right now, it was probably inevitable that Paramount and the show’s creator, Taylor Sheridan, would try to expand the franchise. Sheridan — an accomplished writer, director and producer whose credits include the likes of “Sicario” and “Hell or High Water” — ventures back to the late 19th century to follow a grizzled adventurer (played by Sam Elliott) as he helps a pioneer couple (played by Tim McGraw and Faith Hill) find their way to Montana. There, they’ll establish the Dutton ranch that is the main setting of “Yellowstone” — though not without plenty of the obstacles and soul-searching that make the parent show so compelling.Also arriving:Dec. 2“Queen of the Universe”Dec. 23“Reno 911: The Hunt for QAnon”New to Peacock“Baking It”Starts streaming: Dec. 2The team behind the heartwarming reality competition show “Making It” offers as unique twist on the bake-off, in a series in which two-person teams cook in a homey kitchen and try to impress a judging panel of four opinionated grandmas. Maya Rudolph and Andy Samberg are the “Baking It” hosts, serving up playful banter and earnest support as contestants produce creative and delicious treats. The drama level is kept purposefully low, leaving room for lots of good holiday vibes.“MacGruber”Starts streaming: Dec. 16The comedian Will Forte and the “Saturday Night Live” writer-directors Jorma Taccone and John Solomon introduced the resourceful but easily distracted special agent MacGruber (played by Forte) in a series of “SNL” sketches that began in 2007. They spun the character off into a strange 2010 movie that has a fiercely devoted cult of fans; now they’re bringing MacGruber back to TV as a serialized action-adventure spoof, with the hero returning to work after a decade in prison. Kristen Wiig comes back as the superspy’s sidekick, for straight-faced, absurdist riffs on over-the-top ’80s and ’90s international thrillers.Also arriving:Dec. 4“Siwas Dance Pop Revolution”Dec. 9“The Housewives of the North Pole”Dec. 23“Vigil” More

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    ‘The Mood Room’ Review: 1980s Anomie, California Style

    In Big Dance Theater’s new work, premiering at BAM Fisher, Annie-B Parson melds her sensibility with that of the Conceptual artist Guy de Cointet.The first thing we learn about the five sisters gathering in their childhood home in Annie-B Parson’s “The Mood Room” is that it’s been a year since their parents died. One of the sisters tells us that. They all talk a lot, though very little about grief.Something is clearly wrong. The sisters are anxious and depressed. They can’t always tell one another apart; their own identities aren’t stable. One sister has become allergic to the sun. The water isn’t clean. They have many ideas about how to fix the problems: doctors and diets, new lighting and other purchases and changes of scene, vacations to exotic locales or just a retreat to the room of the title.Even without a program note, you might guess from the sisters’ speech and from the interior décor that we are in the early 1980s — a 1980s that hasn’t ended. The production, which Big Dance Theater debuted at BAM Fisher on Tuesday, takes its text from “Five Sisters,” a 1982 work by the Conceptual artist Guy de Cointet. Born and raised in France, he lived in Los Angeles and captured the self-absorption of some of the city’s inhabitants with a mixture of amusement and alarm.Michelle Sui and Moran.Julieta CervantesIn a program note, Parson calls de Cointet “an artistic soul mate,” and it is remarkable how much his text seems to call for her customary approach. Roaming an elegantly tacky interior of fringe curtains and beige carpeting (kudos to the designer Lauren Machen), the sisters emphasize the artificiality of their speech, drawn from commercials and soap operas and bits of Chekhov’s “Three Sisters,” all treated equally. Often before underlining a word, they pause and pose.That pausing and posing is pure Parson. The sisters dance a lot here, sometimes in girl-group formation, step-touching as a disco ball revolves. But every second of the show is tightly choreographed, tightly controlled, down to how they hold their water glasses and dangle their feet. The anxious mood derives from this exertion of control, especially as the sisters react to and remark upon shifts in light and sound.The addition of music by the experimental laptop artist Holly Herndon is an inspired choice. Full of vintage noises, it’s like a spliced memory reel of the era, echoing Laurie Anderson without sampling or recognizable quotation. The sisters keep characterizing it differently (“what odd music,” “what thoughtful music”) and yet accurately.The cast is also expert: Kate Moran as the sister with the sun allergy, Elizabeth DeMent as the sleepy-eyed workaholic, Myssi Robinson as the clean-lined dancer with hearing and hip problems, Michelle Sui as the painter. Theda Hammel, appearing briefly without the other sisters, introduces a welcome, looser humor — at once the most Chekhovian and contemporary, dishing about a guy she’s met, rearranging household objects before saying, “That’s how I remember it.”That earns a laugh, but otherwise, humor is thinly spread. Across an hour, sisters accumulate and one finally leaves, but nobody really changes. Which is the point, a static point perhaps more suited to museums and art galleries than a theater. The program note cites “the enduring damage of the Reagan era” and consumerism consuming civic engagement, but the production doesn’t carry that much political weight. Yes, such people as these sisters exist, in Los Angeles and in all of us. The question is: Are you in the mood to spend time with them?The Mood RoomThrough Sunday at BAM Fisher, Brooklyn; bam.org More

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    U.K. Theatergoers Cover Up Again, After Months Without Masks

    Since England’s theaters reopened without restrictions in July, one thing has been as notable as the action onstage: the lack of masks in the audience.Unlike in Broadway theaters, patrons here have not been required to wear face coverings, and many attendees have chosen to ignore preshow announcements encouraging them to mask up.Several visiting theater critics have been left aghast. Laura Collins-Hughes, writing in The New York Times in September, said that at “nearly every production I saw, there were loads — sometimes a majority — of barefaced people in the crowd, which felt reckless and delusional.”Peter Marks, writing in The Washington Post in November, called London’s theaters “consistently shocking these days.” That had nothing to do with the action onstage, he added; it was entirely down to the absence of masks.Now, that image may be about to change. On Saturday, Prime Minister Boris Johnson made masks mandatory in stores and on public transportation in England, responding to the newly discovered Omicron variant of the coronavirus.He did not make them mandatory in theaters, but several venues have now done so voluntarily. On Monday, the Royal Shakespeare Company said face coverings would be required at its theaters in Stratford-upon-Avon, England, unless an attendee is under age 12 or has a medical exemption.“We want to do all we can to ensure that we do not have to cancel performances and disappoint our audiences,” the company’s executive director, Catherine Mallyon, said in a news release.Other theaters quickly followed. On Monday, Andrew Lloyd Webber, the composer and theater impresario, quietly strengthened rules for the six theaters he owns in the West End. His company website was updated to say, “All audience members must wear a face covering throughout their visit, except when eating and drinking, or if they are medically exempt.” Previously, those theaters requested masks, but did not require them.On Tuesday, the National Theater, the Royal Opera House, the English National Opera and the Old Vic also said they would make masks mandatory.The rules might only last a few weeks. The National Theater’s website says the measure will be in place until Dec. 19, “when the next government review of Covid measures is due.”So far, there appears to be little resistance to the changes. Kate Evans, a spokeswoman for the Royal Shakespeare Company, said 45 people had asked for refunds or to exchange their tickets for vouchers to see a future show since the mandate was announced, out of 6,000 who had booked to see its current show, “The Magician’s Elephant.”“The majority of feedback we’ve received around the decision has been very positive,” she said. More

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    The Great ‘West Side Story’ Debate

    With the Steven Spielberg film coming soon, three critics, a playwright and a theater historian weigh in on whether the musical deserves a new hearing — and how.Since its Broadway premiere in 1957, “West Side Story” — a musical based on “Romeo and Juliet” and created by four white men — has been at once beloved and vexing.The score, featuring such Leonard Bernstein-Stephen Sondheim classics as “Somewhere” and “Maria,” is considered one of the best in Broadway history. The cast album was a No. 1 smash. The 1961 movie won best picture and nine other Oscars. The show has been regularly revived, most recently on Broadway last year in a short-lived radical rethinking by the Belgian director Ivo van Hove. And now, this month, a movie remake by none other than Steven Spielberg.And yet, from the beginning, the show (directed and choreographed by Jerome Robbins, with a book by Arthur Laurents) has discomfited some audience members and critics — for its violence, its mix of tones and, especially, for the way it underscores stereotypes of Puerto Ricans as gang members. Not to mention that the 1961 movie featured the white actress Natalie Wood playing the Latina role of Maria.Why does “West Side Story” continue to have such a large cultural footprint? Should it? Is it possible to be true to such richly emotional material and still be responsive to our moment?The dance-at-the-gym sequence in the new “West Side Story” film.20th Century StudiosWe asked five experts to weigh in: Jesse Green, the chief theater critic at The New York Times; Isabelia Herrera, a Times critic fellow; Carina del Valle Schorske, a contributing writer at the Times Magazine and the author of a 2020 Times Opinion piece challenging the show’s place in the culture; the Tony Award-winning playwright Matthew López (“The Inheritance”); and Misha Berson, the author of “Something’s Coming, Something Good: ‘West Side Story’ and the American Imagination.”They gathered before seeing the new film and just before news broke that Sondheim, the show’s lyricist and the last survivor from its creative team, had died at 91. Scott Heller, the interim editor of Arts & Leisure, kicked off the conversation, and it got going quickly from there.SCOTT HELLER What stays with you about the first time you saw “West Side Story”? Or the most memorable time?JESSE GREEN The first time I saw it was in a high school production featuring extremely clumsy dancing, warbly singing and an all-white (non-Latinx) cast. Memorable, but not in a good way. Luckily, I had already gotten to know it by then — from the music.MATTHEW LÓPEZ My relationship to “West Side Story” is a bit unusual in that my father was in the film as an extra. He’s clearly visible in the opening scene on the playground, just after the prologue. When I was perhaps 7, my parents showed it to me, and it was incredibly exciting to see my father at 14 years old. And it was the first time I’d ever seen any kind of popular entertainment with Puerto Rican characters. It was not until later that my relationship to the show changed. I saw the revival in 2009 (my first time seeing it onstage), and I was shocked at how thinly the Puerto Rican characters were drawn.MISHA BERSON I’m probably the one person here who saw the original — actually a Broadway tour that came through Detroit when I was 9 years old. I went with my dance class, and though it was something of a blur and I didn’t understand it much, I was captivated by the dancing, the music, the energy and excitement of the show. I became obsessed with it, but as an adult didn’t see another vibrant, fully realized production until the 5th Avenue Theater in Seattle did an excellent revival in 2007.ISABELIA HERRERA Unfortunately, my memories are wrapped up in a microaggression that has stayed with me since high school. My family is Dominican, from the city of Santiago de los Caballeros, and I am likely one of the only kids of Dominican descent who attended my high school. I remember when, in English class, a white classmate reprimanded me for not having seen “West Side Story” at the time, saying, “But aren’t you Puerto Rican?!”A scene from “West Side Story” on Broadway, starring Chita Rivera, foreground, as Anita.John Springer Collection/Corbis, via Getty ImagesCARINA DEL VALLE SCHORSKE Ugh, Isabelia, that’s such a familiar story! In a messed-up way, your classmate’s confusion makes sense, because the musical itself might just as well be about Dominicans — it’s that general. I first saw “West Side Story” on a VHS tape my mom and I rented from the public library when I was maybe 9 or 10. I grew up in California, away from my Puerto Rican family in Washington Heights, so I thought I might find something out about my culture that I didn’t know before. But nothing onscreen — beyond the latticework of fire escapes — reminded me of the people or neighborhood I knew from frequent visits to New York. I finished the movie feeling even more confused than I was before about what being Puerto Rican was supposed to mean — to me, and to the “average” American.“I finished the movie feeling even more confused than I was before about what being Puerto Rican was supposed to mean — to me, and to the ‘average’ American.”GREEN I’ve never seen musicals as documentaries. They often rely on stereotypes to make larger points than they could if they focused on specific, actual characteristics. Without the stereotypes, you probably couldn’t have ensembles. The question is whether the stereotypes are vile, destructive. As a white, non-Latinx person, I’m not the right person to judge that. But I would just say that the Jets are stereotyped, too, and, in the source material, so are the Veronese.BERSON Do you trust that everyone knows the source material is Shakespeare’s R&J? I wish I did!DEL VALLE SCHORSKE “The Jets are stereotyped, too,” but white teens are not harmed by such stereotypes because there have always been such a wealth of representations to choose from. And at the time of the musical’s debut, there wasn’t a general suspicion in the air that any white teen might be a gangster, so “West Side Story” wasn’t, for them, reinforcing an expectation of criminality that was already violently shaping the politics of the period.GREEN Would you say the Puerto Rican characters are less well characterized than the white ones: the Poles, Italians and others? My sense is that most characters in most musicals are poorly characterized in terms of their ethnic or racial or other identity because that’s not what those shows are really about. Don’t get me started on gay and Jewish stereotypes in musicals, which I guess I’m especially aware of as a gay Jew.BERSON The creators of the show, though they were all white men, were not simply oblivious to what actual Puerto Ricans were like in New York at the time. For instance, Jerome Robbins visited Puerto Rican youth dances and social gatherings, and tried to incorporate some of the popular dance movements he saw in his choreography. He also tried to recruit as many Latinx performers as possible, which was difficult because there were so few opportunities for them to get the Broadway experience and training the show demanded. Also, Bernstein had always loved and admired Latin music and tried to meld some of the rhythms into his score.“The creators of the show, though they were all white men, were not simply oblivious to what actual Puerto Ricans were like in New York at the time.”DEL VALLE SCHORSKE That’s interesting, about Robbins. I’m quite familiar with a broad range of Latin rhythms, and I don’t hear or see the influence — unless you’re counting the Spanish paso doble on the rooftop. I do love some of the choreography, especially the anxious, tightly coiled “Cool,” performed by the Jets. It’s good to know that someone was at least trying to do their homework after Sondheim confessed he’d “never even met a Puerto Rican.” In this conversation, I really hope we can move beyond the false binary: “documentary” versus “work of imagination.” Does a work of imagination really have to be so “superficial and sentimental,” which is how the Black Puerto Rican journalist Jesús Colón described West Side Story when it debuted?GREEN In musical theater, that isn’t a false binary. Some shows operate at a granular level, risking larger insignificance, and others work more broadly, risking stereotype. “West Side Story,” as Misha can tell us more definitively, was an idea looking for an ethnicity. And it does seem to me that in landing on Puerto Ricans vs. whites (instead of Jews vs. Catholics as originally imagined), it was taking advantage of a news hook of the time without any deep engagement in Puerto Rican-ness. I guess the question is whether it’s possible for a work to rise above that when it is primarily looking at the eternal paradigm of outsiders and insiders, and the tragedy of love that tries to cross those boundaries.Richard Beymer as Tony and Natalie Wood as Maria in the 1961 film, which won 10 Academy Awards including Best Picture.MGMBERSON That is “Romeo and Juliet,” Jesse, which one could say (as you indicated) had little to do with the actual Verona (which Shakespeare never visited) but still is a potent portrayal of love in the crossfire of hate. I also want to add that though characters in musicals tend not to be deeply complex and contoured, Bernardo and Anita are not portrayed simply as bad kids spoiling for a fight. They are more sympathetic than that, as leaders and lovers, at least to my understanding — in some ways more so than Jets members.And a moment of historical context may be helpful here: At the time of the show’s creation, there was national alarm about the growing “threat” of youth violence during the postwar malaise, and that was true of Black, Irish and other groups of kids. And there was also, among these liberal artists, a real concern about racial/ethnic prejudice and the rising backlash against immigrants of color. These things are still meaningful, and one of the reasons I think young people especially are still very much drawn to the material despite its flaws.DEL VALLE SCHORSKE I would be more sympathetic to the possibility of “West Side Story” rising above that fault if its creators, or re-creators, were not taking advantage of Puerto Ricans as the “news hook” for liberal street cred. If it’s supposed to be some universal and culturally interchangeable narrative, then it doesn’t get to count as a serious exploration of Puerto Rican or so-called Latinx life.GREEN I agree that “West Side Story” is not a serious exploration of those things. But that doesn’t mean it isn’t a serious exploration of something else. I say this even though I don’t actually think it’s the greatest musical ever written; it has plenty of aesthetic flaws beyond the political ones we’re discussing. My love for it comes mostly from the way the songs tell the story — though I know that too is a point of contention. For me, Sondheim’s lyrics get at the twitchy excitement (and anger) of youth like nothing else in musical theater ever has — as do Bernstein’s polyrhythms and percussion, whatever their actual sonic origin.HELLER Matthew, I’m going to circle back to you, as a theater artist whose response to the material has changed over time. Among other things, you wrote a play about the play and its impact on a Puerto Rican family. Tell us about it — and was it informed by your new insights into where the original fell short?LÓPEZ The movie did spark my nascent creative brain as a piece of drama — the music, the dancing — and as cinema. Seeing the revival, though, I realized how much the Puerto Rican characters — and thereby the performers playing them — were not invited to the party, so to speak. A meal had been laid out and half the cast seemed left to go hungry. My family loved “West Side Story,” but as I thought about it, I realized their love for the show wasn’t reciprocated by it.All of this led me to begin writing “Somewhere,” which is set in the neighborhood that was ultimately destroyed to build Lincoln Center. A Puerto Rican family of dancers and performers who dream of being cast in “West Side Story” (or anything Jerome Robbins created) but who, by the realities of their situation, are only left dreaming. I think in some ways, I was attempting to tell the offstage story that you don’t see.DEL VALLE SCHORSKE Matthew, it seems like “Somewhere” shows us how to engage with a “canonical” work without reproducing its limitations. I’m interested in the way Puerto Rican artists have creatively navigated the musical’s constraints, but I’m also hungry for … anything else! In her memoir, Rita Moreno wrote about how difficult it was to find substantial roles after “West Side Story”: I’m kind of depressed by the fact that she’s still defined by the show in 2021. I mean, Moreno performed in plays by Lorraine Hansberry, she spent decades in psychoanalysis — doesn’t she deserve to grow?LÓPEZ I do have to cop to a bifurcated mind on this. There’s a part of me that really loves “West Side Story” and a part of me that really hates that I love “West Side Story.” I think Lin-Manuel Miranda once called it “a blessing and a curse,” which is a sentiment I understand.BERSON It makes total sense to have a conflicted opinion of the show, especially if it speaks to you so personally. It’s not equivalent, but as a Jewish woman, “The Marvelous Mrs. Maisel” drives me up the wall! Meanwhile, I can readily imagine Latinx performers might both love and resent “West Side Story” — love the way it has given many employment and its exhilarating use of dancer-actor-singers, but resent it for all the reasons you, Carina and others have stated. Popular culture is often a double-edged sword that way.GREEN New work from new artists is the lifeblood of the theater. Yet engaging with the old ones, which were new once, can also be pleasurable and valuable — unless they have become the equivalent of Confederate statues that need to come down. Is “West Side Story” a Confederate statue? I don’t think so.“Is ‘West Side Story’ a Confederate statue? I don’t think so.”BERSON If we are now designating imperfect musicals as Confederate statues, I think that’s scary. “West Side Story” gets produced a lot because it can accommodate a teenage cast (there have been thousands of high school productions) and because it is a kind of cultural touchstone that still excites people. Confederate statues glorify bigotry and apartheid. There’s a difference.DEL VALLE SCHORSKE Audiences are taught what should resonate with them — nothing becomes a “cultural touchstone” by accident — and the more a certain narrative gets repeated, the more sentimental associations it accrues. “West Side Story” might not be a Confederate monument, but it is a monument to the authority of white Americans to dominate the conversation about who Puerto Ricans are. And each revival renews that authority and co-signs the narrative for a new generation.GREEN All art is political, yes, and deserves to be judged as such. But art is not just political, and deserves to be judged on other grounds, too. If there is no pleasure to be had in “West Side Story” then it cannot possibly overcome the problems we’re discussing. But if it does offer pleasure, then we, as individuals, are free to weigh it against those problems. The balance will be different for different people, not necessarily corresponding with identity.The most recent Broadway revival, directed by Ivo van Hove, featured video projections. It was critically divisive and had a short run, in part because of the pandemic.Sara Krulwich/The New York TimesHELLER Matthew, you and I had some provocative back-and-forths about critical responses to “The Inheritance” and its depictions of the gay community, and you were good enough to write a piece for us, in which you made this point: “No one piece of writing about our complex, sprawling community will ever tell the entire story, and I believe that is a good thing: It creates an unquenchable thirst for more and more narratives.” Does that hold for “West Side Story” as well?LÓPEZ I don’t think it’s an apt comparison. “The Inheritance” is a gay play written by a gay man whereas “West Side Story” is purported to be about Puerto Ricans and was written by white men. And while there are heterosexual characters in “The Inheritance,” they aren’t serving the same dramatic function in my play that the Puerto Rican characters do in “West Side Story.” And I used the word “function” purposefully, for that is what they feel in the story. I’d love to see a “Rosencrantz and Guildenstern Are Dead”-style rethinking one day.DEL VALLE SCHORSKE I agree that any future engagement with “West Side Story” that actually deepens the material would have to abandon all loyalty to the show as written, the way “Rosencrantz and Guildenstern” completely reimagines “Hamlet.” It’s an independent work of art that deconstructs the canonical play. I doubt the creators of “West Side Story” gave a single thought to “new narratives” that might emerge from their musical, let alone new Puerto Rican narratives. And it doesn’t seem like the power brokers of Broadway or Hollywood are really thirsting for them, otherwise the same material wouldn’t get recycled over and over.HELLER So we are getting to the Spielberg movie.HERRERA I’m also skeptical of how much the thirst for new narratives comes from a genuine place, rather than a response to an industry that is clearly grappling with questions of racism and struggling to navigate critiques about representation. Honestly, I think there is something sinister about capitalizing on the nostalgia of a Hollywood artifact, casting an all-Latinx Sharks cast, while still using the liberal language of “inclusion” and “diversity” as armor against critique. The fact that “West Side Story” is being remade with these issues in mind doesn’t necessarily absolve it of its original missteps.BERSON So is there no place for “West Side Story,” even with the best of intentions? Does that mean there’s no place for “Othello” or “Merchant of Venice,” which are problematic but still dramatically vital works? Can we still see the show, or not see it, and have fruitful debate about it?DEL VALLE SCHORSKE I’m not advocating the wholesale erasure of “West Side Story.” I’m saying, let’s stop pouring literally hundreds of millions of dollars into propping up its relevance, and let’s stop minimizing its flaws.HERRERA Misha, I think we can certainly still have a fruitful debate about it! When discussions around colorism mushroomed online surrounding the film adaptation of “In the Heights,” I mentioned in our roundtable that criticism emerges from a place of love — a desire to make art, life and politics better. I don’t see these critiques as mutually exclusive.BERSON That is very well said. And just my awareness of the politics of librettist Arthur Laurents and composer Leonard Bernstein especially — who were both blacklisted in the ’50s for their civil rights and other activism — makes me think they would probably share some of these concerns and find them meaningful. But the show has intrinsic artistic power, and I think will survive. It is encouraging to me that someone with the skill and sensitivity of Tony Kushner is the screenwriter/adapter. I hope it’s great, and I hope it’s the last!HELLER Do others hope the remake is great?HERRERA I don’t know if there is such a thing as a great remake, but I’m certainly hoping this version releases its grip on stereotypes, offers its more underdeveloped characters a bit of autonomy and perhaps provides more texture about the actual life and experiences of Puerto Rican migration at the time. And please, give us at least a few songs with actual Afro-Caribbean rhythms! A plena take on “I Feel Pretty”?GREEN Authenticity isn’t the goal; if “Hamilton” were authentic, it would be mostly minuets. I want the new movie of “West Side Story” to succeed if it’s good, if it manages to move people. But if only white people are moved, it will be a failure.LÓPEZ I’m excited to see what Spielberg, Kushner and [the choreographer Justin] Peck do with the material for a 21st-century audience. It’s a perfect opportunity to honor what’s glorious about the show, and address what is flawed.DEL VALLE SCHORSKE I want it to flop so we can move on. More