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    ‘House of the Dragon,’ Season 1, Episode 6 Recap: A Scandal Spills Over

    This week’s episode kicks off the next phase of the story as a long-simmering status quo finally becomes untenable.Season 1, Episode 6: ‘The Princess and the Queen’This week on “House of the Dragon,” we were reminded that a lot can happen in 10 years.For one thing, Alicent and Rhaenyra now seem like completely different people. The young queen, a callow peacemaker as a girl, has grown angry and aggrieved. Meanwhile, the princess’ former rebellious streak has hardened into a kind of royal court realpolitik, even as she keeps having Harwin Strong’s children.Daemon, the former rogue prince, settled down and even managed to have a couple of kids of his own with Laena. Laenor, the former sensitive young warrior, is now a dissipated playboy looking to get unsettled any way he can. Elsewhere in the Red Keep, the next generation of Targaryen men are gallivanting about, looking just as ill-suited for leadership as their predecessors.At the same time, there is plenty that hasn’t changed. Ser Criston is still hanging around. (What does a Kingsguard have to do to get fired anyway?) The Stepstones are a mess again. Somehow Viserys, last seen hitting the deck at Rhaenyra’s terrible wedding, is still alive. (Those leeches have been working overtime.)As we picked up the action a decade after said wedding, we found an unhappy family enduring in a kind of uneasy equipoise. How did we get here?Well, you might recall that Harwin Strong (Ryan Corr) had a couple of interactions with young Rhaenyra, encountering her during her night on the town with Daemon and later hauling her out of the wedding brawl. Apparently somewhere along the way sparks flew and then kept flying, at least three more times.The additional heirs exacerbated Alicent’s intense resentment of Rhaenyra’s position — born partly of Alicent’s legitimate fear about her family’s future safety — leading her to lash out at everyone and make alliances with dubious characters. She’s almost convinced herself that she is motivated by a hope that “honor and decency will prevail,” even though she’s teamed with the dishonorable likes of Ser Criston and Larys Strong to make it happen.The simmering status quo finally becomes untenable when the royal cousins square off during their combat training, in the process becoming pawns within the larger drama. Because when a sparring exercise results in their trainer, Ser Criston, goading Harwin into giving him the beating he’s long deserved, the incident throws a harsh spotlight on the ongoing scandal.“People have eyes, boy!” Lyonel Strong later shouted at his brazenly virile son. Soon the Strongs and Rhaenyra were on their way out of town, leaving Alicent to plot how to get her ousted father, Otto, back in to even the playing field.The events kicked off the next phase of the story, as the rivals for the Iron Throne gather their supporters and retreat to their corners while everyone waits for Viserys — now looking like the Crypt Keeper as he wanders from chair to chair, ignoring the growing discord around him — to die.Queen Alicent (Olivia Cooke) and Ser Criston (Fabien Frankel), bonded in resentment.Ollie Upton/HBOAlicent and Rhaenyra literally are different people, of course, now played by Olivia Cooke and Emma D’Arcy. Other additions included Nanna Blondell (briefly) as Laena, John Macmillan as Laenor and Ty Tennant as Aegon, an enjoyably feckless twit who’s about as ambitious as a ham sandwich.Alicent: “As things stand, Rhaenyra will ascend the throne and Jacaerys will be her heir!”Aegon: “So?”This week also saw the emergence of other prominent players, most notably Harwin (also briefly) and Larys. Heinous Act of the Week honors go to Larys, who freed a few condemned men in exchange for 1.) them torching his family home, along with his father and brother, and 2.) their tongues.Larys seems to be filling the shifty manipulator role occupied by Littlefinger and Varys in “Game of Thrones” — his name is even a portmanteau of theirs — though so far he lacks their depth, subtlety and slippery charisma. The murder of his father cleared the way for Otto to return as Hand — things seem to be heading that way, at least — even as it revealed to Alicent the quality of the company she’s keeping these days. The elimination of Lyonel and Harwin also make Larys the lord of House Strong, a real victory.It isn’t clear what effect Harwin’s death will have on the issue of his royal issue — is it better or worse for Rhaenyra, from an optics standpoint, now that he’s out of the picture? Could part of Larys’s plan be to create suspicion that the princess or her supporters had him killed to keep him quiet? With Rhaenyra and friends on their way to Dragonstone, she won’t be around to defend herself.Maybe we’ll learn more about this next week. We’ll also see how Daemon adapts to being a widower twice over — at least he didn’t kill his latest wife himself.Laena was a tragic figure, another illustration of the constraints that even women of privilege face in this story. We met her at 12, being offered up as a political child bride. She died in anguish as a young woman, another victim of the birthing bed.“I’ve reached the limits of my art,” the obstetrician told Daemon. The fact that he then just let his patient stagger off to commit Dracaryside suggests that those limits are quite profound. I do realize that Laena assessed the situation and sought the dragonrider’s death she foreshadowed earlier, but the mechanics of the scene, with an exhausted, doubled-over Laena somehow outpacing Daemon to the beach, were odd.What’s next for the suddenly re-eligible bachelor prince? I don’t see him committing to life as a stay-at-home single dad — it wouldn’t seem to suit him any more than being a pet dragon for Prince Reggio (Dean Nolan) in Pentos would have, as Laena perceived. (Reminder: Pentos is one of the Free Cities in Essos.)The turbulent Stepstones, the site of Daemon’s only real glory, could be tempting. Or maybe he’ll head back to Dragonstone, too. Many things change over the course of a decade, but I’m guessing his and Rhaenyra’s twisted mutual attraction isn’t one of them.A tragedy in the making: Matt Smith and Nanna Blondell in “House of the Dragon.”Ollie Upton/HBOA few thoughts while we wince“The childbed is our battlefield,” the late Queen Aemma noted in the premiere, and “Dragon” remains determined to show as well as tell us this fact. Miguel Sapochnik, the outgoing showrunner who directed this episode, was known on “Thrones” primarily for big combat episodes, and he’s been the go-to director for these battles, too. (When the episode opened on Rhaenyra’s exertions, I knew it was one of his without looking at the credits.) These grueling birth scenes are significant narratively and for what they reveal about the harrowing precariousness and lack of autonomy a woman endures in this time and place. But all the unsparing close-ups and vivid detail can start to feel like the show is fetishizing women’s agony. I greatly admire Sapochnik’s talent, but I also wondered how a female director might have presented some of these sequences.I was sorry to see Laena go so soon — as portrayed by Blondell, she radiated intelligence and nerve. At least Laena got to bond with Vhagar, the enormous ancient dragon she seemed fascinated by, as a girl, in her awkward chat with Viserys a few weeks ago.I love a good entitled doofus character, and Ty Tennant made a strong debut as the adolescent Aegon. Fun fact: He is the son of Georgia Tennant, a veteran actor and producer, and David Tennant, the electric Scottish star of “Doctor Who,” “Broadchurch” and “Jessica Jones,” among others.Harrenhal, the House Strong castle, has a long, colorful history in the lore. It was also the site of one of my favorite random “Thrones” subplots, when Tywin Lannister was based there during the War of the Five Kings and Arya was undercover as his cupbearer. I’ve said it before but so far in “Dragon,” I miss those kinds of delightful side trips.“The Triarchy” is to this show what “Meereen” was to “Thrones,” in that every time someone mentions it, my eyes glaze over. On the bright side, you can’t bring up a giant Tyroshi general “who dyes his beard purple and wears woman’s frocks” and not show him at some point, right? So that’s something to look forward to.What do you think? Does Larys fill the Littlefinger-sized hole in your heart? Did Rhaenyra make a mistake by leaving King’s Landing? And what’s with all the Red Keep rats? I assume they have some greater significance but am at a loss. Any theories? More

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    A Show With a Cryptic Title but No Code to Crack

    “300 el x 50 el x 30 el,” the Belgian troupe FC Bergman’s ambitious theatrical installation, will open BAM’s Next Wave festival with an elaborate set that recreates a rural settlement onstage.The Belgian theater collective FC Bergman was still young when it landed an invitation to a prestigious festival in its town, Antwerp, in 2011. “They said, ‘You have one evening — do something,’” Marie Vinck, a company member, recalled in a recent video conversation.The troupe members, who were finishing drama school, were thrilled — except that they had no money and no time. Still, in just a month, they hatched the sprawling “300 el x 50 el x 30 el,” an ambitious hybrid of theater, installation and live video, with an elaborate set that recreated a rural settlement onstage.“It was around Christmas time and we thought we could take the Christmas trees out of the streets to create this forest in the back of the theater,” Thomas Verstraeten, another member, said during the same Zoom conversation. “It was a very crazy experience, actually. We invited our friends to be onstage but also our parents, the father of a technician of ours,” he continued. “Marie’s old babysitter was in it. Because it was only once, they said, ‘OK, we’ll do it for free.’”From left: Thomas Verstraeten, Stef Aerts, Marie Vinck and Joé Agemans make up the theater collective FC Bergman.Paule JosepheDespite its abbreviated gestation, the show turned out to have legs: It has toured Europe, and this month will open the Brooklyn Academy of Music’s Next Wave festival on Sept. 28 and run through Oct. 1. It will be FC Bergman’s U.S. debut.“It’s funny, it’s thought-provoking, it sprang from biblical sources, but it’s 100 percent contemporary,” David Binder, the artistic director of BAM, said of the show in a phone interview. “On one hand it’s pushing boundaries, and on the other hand it has a level of accessibility for everyone.” Well, not quite everyone. Binder quickly added that the evening is unsuitable for children.The cryptic title refers to the dimensions of Noah’s ark as described in the Bible, and the scale is appropriately awe-inspiring: The village that New York audiences will discover in “300 el x 50 el x 30 el” will accommodate a cast of 15, supplemented by scores of locally hired extras, live pigeons and, of course, that forest. “It’s one of our smaller shows, actually,” Stef Aerts, another company member, said, laughing.The collective’s productions have drawn comparisons to the physicality and transcendence found in the work of European superstars like Romeo Castellucci and Pina Bausch.Kurt Van der ElstAerts, 34, Verstraeten, 36, and Vinck, 39, were talking from Stockholm, shortly before a performance of their 2021 production “The Sheep Song,” a poetic fable about a sheep dissatisfied with its fate, at the Royal Dramatic Theater, once the home base of the Belgian troupe’s namesake, Ingmar Bergman. (Missing from the call was Joé Agemans, 40, also part of the collective. The other two founding members left in 2018.) FC Bergman regularly travels to the finest European houses and festivals, and since 2013 it has been a resident company at Antwerp’s municipal theater, Toneelhuis. The group doesn’t need to scavenge discarded goods for its sets anymore, leaving extra time for hatching new concepts.Indeed, while FC Bergman has tackled existing works, including an adaptation of William Gaddis’s novel “J R” and the Bizet opera “Les Pêcheurs de Perles,” it usually conceives its own, typically wordless, material. For “The Land of Nod” (2015), the collective set a show inspired by Jean-Luc Godard movies and Flemish masters in a custom-built, full-scale replica of the Rubens room at the Royal Museum of Fine Arts in Antwerp, Belgium, garnering comparisons to the physicality and transcendence found in the work of European superstars like Romeo Castellucci and Pina Bausch.As for “300 el x 50 el x 30 el,” the troupe drew from the aesthetics of the Scandinavian crime series that were becoming popular at the turn of the 2010s. “That was also the period when we discovered the work of the great Swedish filmmaker Roy Andersson, who became a really big influence,” Aerts said, before mentioning “the other Scandinavian guy, Lars von Trier, and also, of course, the Catholic religion and lots of Flemish visual arts.”“It’s about people who are very much isolated in their mini-community,” Aerts said of the show, which uses live video to take audiences inside the homes of the villagers. Kurt Van der ElstRelatively little in this production happens in full view of audience members, who watch the proceedings via a live video feed. “It’s about people who are very much isolated in their mini-community — they live in the village but they don’t interact with each other, only in their little houses and with their little families,” Aerts said. “I think the use of the camera translates this feeling to the audience. You’re just presented the walls of locked houses, but you can peek through the keyhole.”This leaves viewers a lot of room to superimpose their own narratives and interpretations on the visuals. “We played in Greece in the middle of the Euro crisis and you felt that people saw the show as some kind of a metaphor for their situation,” Verstraeten said. “Now it will become something else. I love the idea that meaning is something that can change all the time.”The three company members also emphasized that there is no right or wrong way to read the show.“I hope that the audience permits itself to be very open and to not have the urge to analyze it or to find a key, to crack the code,” Aerts said. “You have to get underwater and let the performance flow over you.” More

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    Is Little Amal Getting Lost in New York?

    Parading down the middle of West 63rd Street last Saturday afternoon, we were following a giant puppet — a whole crowd of us, trekking along behind Little Amal.The 12-foot-tall Syrian refugee child, a creation of the renowned Handspring Puppet Company, was en route to Lincoln Center to greet more of her public, who would throng the wide plaza there to catch a glimpse of her with their own eyes, and capture proof of the encounter on their phones.Fueled by a savvy social media campaign — and surely also by recent headlines about migrants and asylum seekers being bused and flown north by Republican governors — Little Amal is the hottest celebrity in New York right now, drawing masses of admirers to her dozens of scheduled appearances.Since last year she has traveled across Europe, a sympathetic, high-profile emblem of the global migrant crisis. Her current 19-day tour of these five boroughs lasts only until Oct. 2, and as always with in-demand visitors, the time limit adds to her cachet.Making connections: Amal is in town through Oct. 2 and will be visiting all five boroughs over her 19-day stay in the city.For me, a puppetry fan with an interest in political theater, Little Amal — who is operated by one puppeteer strapped into stilts inside her torso and two others controlling her arms — should have been an almost automatic fascination. And yet she left me cold when I first went to scope her out, on Fifth Avenue in front of the New York Public Library’s Stephen A. Schwarzman Building, on Sept. 15, the day after she arrived. Even when she bent down to cuddle Patience, one of the famous marble lions, I was unmoved.Amal is a 10-year-old, but with her gargantuan hands and forceful jaw, she reminded me of one of those paintings of a child before painters figured out that children weren’t merely miniature adults. Worse, the event felt like barely more than a photo op. I wondered if she is truly meant to be experienced in person — if, in fact, she counts as theater — or if the main purpose of this wordless puppet is to be an object, recorded in photos and videos in glamorous locations that people all over the world will recognize.Then, last weekend, my heart abruptly cracked wide open. On that tree-lined stretch of West 63rd Street, the brass band accompanying Amal broke into a festive rendition of “When the Saints Go Marching In,” and she began to dance as she walked along. It was a gentle, reveling bounce, and it made her utterly enchanting.In Central Park last weekend, spectators of all ages followed Amal.Later that day, her path cleared by a police escort, Amal led another procession up Central Park West. As her band played, we trooped along in the street — grown-ups, little kids riding on shoulders, the occasional dog. The mood was buoyant, happy, kind.There is something to be said for what is, in effect, a citywide party in honor of a refugee — even if she is merely a puppet, even if she is so well-connected that St. Ann’s Warehouse helped to bring her here. Symbolic behavior matters.Up ahead, Amal’s long brown hair swayed in the breeze, adorned with a bright red ribbon that was a beacon for those farther back. A thought crossed my mind that took me entirely by surprise. Although I was raised Roman Catholic, I’m not religious, and definitely not accustomed to bits of Bible verses floating through my consciousness.Still, there it was, inescapably, a line from Isaiah: “and a little child shall lead them.”Gulp.This, of course, is the point of Little Amal — to use the visceral power of puppetry, and of theater at its most disarming, to make us feel, and cajole us into considering what we owe to the most vulnerable among us. And ultimately, presumably, to act on that moral imperative.She was greeted at Lincoln Center on Sept. 17.Amir Hamja for The New York TimesBut it is so easy for any message to get lost on the grand stage set that is New York, and maybe even more so when collaborations with the city’s cultural institutions can come across as mutually promotional opportunities, bereft of substance. When Amal visited Lincoln Center, she seemed more like a dignitary granting an audience than a child ambassador for a cause. Her context had disappeared; without it she registered as a buzzy spectacle, one you want to be able to say you saw.Still, the visuals were terrific — musicians serenading her from the balcony of the Metropolitan Opera House — and people strained to get near her, to touch those enormous hands. It is astonishing when she gets really close, looming right above you. Looking up, all you see is her huge face, with those big, brown, blinking eyes. (Makes a great photo, actually.)I followed Amal late on Sunday morning to St. Patrick’s Cathedral, where the vast front doorway posed no obstacle to her height, and where the lyrics of one hymn were particularly apt — not so much for her but for the rest of us: “Whatsoever you do to the least of my people, that you do unto me.”Some people are seeking out Amal around town, while others, instantly smitten, seem to be ditching their plans to tag along.And I followed her early on Monday morning to Coney Island, Brooklyn, where she wandered the wooden boardwalk forlornly, peering through the gates of rides not open just then for customers. The carnival colors popped, the moody clouds cast a flattering light and when she looked over the side of a pier into the water, the sound was of crashing waves and clicking shutters.If it seemed contrived — which, to be fair, it was; this was theater — there was no feigning the interest in her as she strode along with a gathering entourage, while a persistent drone hovered unnervingly overhead. Some people had made the pilgrimage to see Amal; others, like a smitten woman in a one-piece swimsuit and pink bathing cap, seemed to have ditched their beach plans to tag along.Amal’s performance that night, with its narrative of a weary child’s peregrination through Dumbo to the glass-walled carousel in Brooklyn Bridge Park, should have been delicate and gorgeous. But from the moment she set off from the walk’s starting point, a triangle in the shadow of the Manhattan Bridge, something was wrong.In Coney Island, on Sept. 19, Amal found the space she needed to stand out as she strode along with a gathering entourage. But later that night, in Dumbo, the crowd overwhelmed her event.It wasn’t only that the hundreds of us were too many for the narrow cobblestone streets; the spirit of the evening was off, too. In that most Instagrammable of the city’s neighborhoods, the focus of the crowd was palpably on getting the shot — and Amal, in that lighting, did look glorious. (She stopped, lingeringly, in precisely the ultra-photogenic spot that’s illustrated on the cover of the current issue of The New Yorker.)But this wasn’t the joyous welcome of an attentive audience; it felt like a flash mob that had gotten out of hand. And when we reached the carousel — an elevated and brilliantly illuminated space that should have made an ideal stage — it was so surrounded by people that the performance was impossible to see unless you were up front. Even being 12 feet tall couldn’t help Amal there.The creepiest thing about that evening’s walk, though, was the sense that allegiance had been replaced by pursuit. It had the feeling of a hunt, with the puppet refugee as quarry. People jostled for position, cut in front of one another, tried to anticipate where Amal was going and get there first.And so I wonder, a little worriedly, with Saturday’s walk across the Brooklyn Bridge coming right up: Are we ruining Little Amal for ourselves?There may be no solution to the problem of the sheer numbers she draws, especially when the vistas promise to be breathtaking. But one tenet of theater suggests a way to better experience her live.Be present.Shoot a few photos if you like, a snippet of video. But mostly, just put down your camera, put away your phone. Be there, in the moment, walking with her. And feel. More

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    Harvey Awards to Induct New Hall of Fame Members

    Neil Gaiman, Marjorie Henderson Buell, Gilbert Shelton and Roy Thomas will be honored for their comic book work at New York Comic Con on Oct. 7.The Harvey Awards, which honors exemplary comic book work, will be adding members to its Hall of Fame at New York Comic Con in October. The new inductees are Neil Gaiman, whose best-selling series The Sandman was recently adapted for Netflix, the underground cartoonist Gilbert Shelton, and Roy Thomas, a prolific writer and editor for DC Comics and Marvel Comics.Marjorie Henderson Buell, who died in 1993 and was the creator of Little Lulu, will be inducted posthumously. Little Lulu debuted in 1935 as a single-panel cartoon in The Saturday Evening Post. The character proved popular and Buell, who was known as Marge and who controlled the rights to Little Lulu, spun her into a syndicated newspaper strip and later, comics, cartoons and all manner of merchandise.“We’re thrilled to return to New York Comic Con for our first in-person Harvey Awards ceremony since 2019 and to induct four legendary creators into our Harvey Awards Hall of Fame,” said John Lind, a chairman of the Harvey Awards steering committee. The awards began in 1988 and were named after Harvey Kurtzman, the cartoonist who created and founded Mad magazine, who died in 1993.The Harvey Awards honor comic book work in six categories, including book of the year, best manga, and best adaptation. The nominees are determined via a survey of about 200 industry professionals, librarians, educators and creators who submit candidates for each of the categories. The selections are tallied and pulled into a ballot, which is then open to a vote by all industry professionals, creators and librarians.Looking back, Gaiman shared some fond memories of his Harvey experiences. “The first time I was given a Harvey award, it was 1991, 31 years ago, I had a whole career or two ahead of me and Harvey Kurtzman was still alive. It was the award that bore his name, and was thus the most important award I had ever received,” he said in a statement. “Now, with over three decades of comics career behind me, it’s just as thrilling to hear that I get to join a Hall of Fame named for Harvey. He was one of the greats, and so many of the people who have been inducted already have been people I looked up to over the years. So this is an unalloyed delight for me.” More

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    Jimmy Kimmel Jeers at Trump for Claiming to Declassify Documents With His Mind

    “Like Harry Whodummy,” Jimmy Kimmel quipped on Thursday night.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.Magical ThinkingIn an interview with Sean Hannity on Wednesday, former President Donald Trump said he could declassify documents with his mind.“Like Harry Whodummy,” Jimmy Kimmel joked in his Thursday night monologue.“He couldn’t even read documents with his brain — how does this happen?” — TREVOR NOAH“If Trump actually had the power to change things just by thinking about them, Don Jr. would have turned into a Big Mac 30 years ago.” — JIMMY KIMMEL“I felt like he was this close to using the word ‘abracadabra.’” — JIMMY FALLON“Trump’s argument is that you can just declassify things in your mind, it’s officially declassified as long as you believe it’s declassified. That’s according to Trump’s newest legal adviser, Tinkerbell.” — SETH MEYERS“So Trump is saying that he declassified these documents just by thinking about it, which I don’t even believe, because that would be the first time in his life that Trump has thought something and not said it out loud. Think about it. This is a man who thought to himself, ‘Ooh, if I wasn’t related to my daughter, I would date her,’ and then he told everyone on TV. He said it out of his mouth!” — TREVOR NOAH“Hannity was like, ‘Oh, I get it, you’re going to plead insanity.’” — JIMMY FALLON“I really hope that ‘I can make things happen with my mind’ is going to be the actual argument at the trial. That would be great: ‘Your Honor, the defendant pleads Jedi.” — TREVOR NOAHThe Punchiest Punchlines (But Her Emails Edition)“The F.B.I. came to his house looking for Hillary Clinton’s emails that were deleted, which, how could there even be emails if they were deleted, and how would they get into his house? Did Hillary sneak in after midnight and stuff them under his pillow like the email fairy or something?” — JIMMY KIMMEL“So is Trump saying the F.B.I. raided his house to find Hillary’s emails? So they didn’t want the documents he declassified with his mind? No, they wanted the emails he couldn’t find but that he actually had the whole time at his house? Because Donald Trump is Hillary Clinton?” — TREVOR NOAH“That’s so crazy, he confused Sean Hannity — and Sean comes pre-confused.” — STEPHEN COLBERT“At that point, even QAnon people were like, ‘OK, that conspiracy seems a little nuts.’” — JIMMY FALLON“You’ve got to give Trump credit, though. He knows how to say something so crazy that it actually makes the last crazy thing he said seem normal.” — JIMMY FALLONThe Bits Worth WatchingDulcé Sloan challenges New Yorkers on their beliefs about education on Thursday’s “Daily Show.”Also, Check This OutSinead O’Connor in the documentary “Nothing Compares,” directed by Kathryn Ferguson.Andrew Catlin/SHOWTIMEA new documentary about Sinead O’Connor highlights her career highs and lows as well as her genuinely incomparable voice. More

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    Making a Meal of the Philadelphia Fringe Festival

    A handful of works deal with the many questions of nourishment and nurture. How we feed. How we are fed.Last Friday night, a group of about a dozen of us walked into a woman’s vagina. It was red, French-accented and soft. This was near the climax of “The Path of Pins or the Path of Needles,” a cynosure of this year’s FringeArts Festival in Philadelphia, which began on Sept. 8 and runs until Oct. 2.Philadelphia’s Fringe began in 1997, the same year that the New York International Fringe Festival got started, both of them modeled, loosely, after Edinburgh’s Fringe. (The New York festival hasn’t been presented since 2019.) Most years, the Philadelphia Fringe has included several big names on the performance circuit — big enough to attract out-of-town ticket buyers — while also demonstrating a strong commitment to local artists like Pig Iron Theater Company, Lightning Rod Special, Thaddeus Phillips and others.Since the pandemic, the presence of artists from beyond Philadelphia appears to have diminished, but the festival still includes more than 180 theater, performance art, dance, circus and comedy shows. Last weekend I could have seen a musical about sleep apnea or an improvised Dungeons & Dragons adventure — aren’t all D&D adventures essentially improvised? — or, if I were less uptight, “Bath House,” which was advertised as “a deeply sensory immersive theatrical experience dripping with erotic energy.”Instead, I went with “The Path of Pins or the Path of Needles,” a collaboration between Pig Iron and the filmmaker Josephine Decker, and “Food,” a solo show from the Pig Iron member Geoff Sobelle (who also makes work with the theatrical group rainpan 43). And as a kind of palate cleanser in between, “Yes, We’re Ready, We’ll Split an Order of Fries for the Table — Does That Work for You? — Sure, One Check Is Fine,” an elegy for the American diner. At a late-night cabaret, I also caught a drag peep show with a butcher shop theme. Nothing I saw felt finished (in fact, I received a post-show email from “Path” clarifying it as a work in progress), but all seemed to take on questions of nourishment and nurturing. How we feed. How we are fed.Diners sharing French fries in “Yes, We’re Ready,” a tribute to the diner. Mike Durkin“Path,” a site-responsive piece staged in a shabby mansion to the north of the city, imagines its audience members as people in the late, sway-bellied stage of pregnancy. The cast, mostly women garbed in flamboyant thrift-store finery, is spread out across the lawn — jumbled with beds, lamps and clotheslines — and the first floor of the house. It is nearly sunset when the show begins and just after dark when it ends. This golden-hour gloaming lends the show a dreamy, fairy-tale quality. If some of its subject matter inclines toward the grisly, that’s true of fairy tales, too.As a filmmaker, Decker (“Madeline’s Madeline,” “Shirley”) favors intense psychology and surrealistic flights. For “Madeline’s Madeline,” a movie set in and around the world of experimental theater, she studied with Pig Iron. This new collaboration marries that company’s physical and metaphysical theatrics with Decker’s feminine, fevered aesthetic. There’s a sense of play here. And also a sense of danger.Some scenes are quiet and abstract, as when a pile of clothes is flung into the air, then carefully folded. Others are noisy and more pointed, as when audience members are given scraps of paper, each of which details a mother’s failures, and asked to recite them, loudly. Much of the show suggests an ambivalence — angry, funny, raucous, witchy — toward pregnancy and motherhood and the lived reality of the female body. A pumping bra is used to droll effect (though, honestly, I had hoped to never see a pumping bra again), and many of the lines have a comic anguish.“I used to be a woman who washed my hair!” one performer wails.It wasn’t always clear if we spectators had the freedom to explore the various locations or if we were constrained to follow where led. (The freedom that a pregnant body does or doesn’t have is a resonant theme, especially now, but this tension felt accidental rather than intended.) I’m relatively obedient, so I went where I was bid and read from Daphne Spain’s “Gendered Spaces” when asked. But late in the play, when a performer asked, “Does anyone feel like decomposing?” I veered elsewhere. Because feeding a baby is one thing. Being food for worms? That’s another.Geoff Sobelle in “Food,” a meditation on what and how and why we eat.Maria BaranovaThe next day I found myself seated at a long table at one end of the Broad Street Diner, sharing a bowl of crispy, salty, twice-fried French fries. This was a highlight of “Yes, We’re Ready,” Mike Durkin and Nick Schwasman’s daylight tribute to the diner. Gentle if haphazard, this show celebrates the phenomenon of the all-night eatery with jokes, stories, snacks and friendly audience participation. Its relationship to theater feels remote and its structure limp in the way of an abandoned onion ring, but it is unfailingly cheerful and kind. And maybe theater would be a happier place if more shows allowed ticket holders, like the ones seated near me, to happily demolish shared plates of chicken fingers and Belgian waffles while the action unrolls.This was an appropriate appetizer for Sobelle’s “Food.” As he proved in “The Object Lesson” and his work with rainpan 43 (“all wear bowlers,” “Elephant Room”), Sobelle is both a philosopher and a clown, and “Food” is his meditation on what and how and why we eat. It begins with the first multicelled creature to evolve a mouth and ends with the promise and devastation of the global food system, with a multicourse dinner served in between. Not served to you, of course. Though if you are seated at the table at which the action takes place (I was shunted to a balcony), Sobelle may pour you a glass of wine.For much of the show, Sobelle plays a harried waiter — attentive, dandified, arrogant. Using prompts and magic tricks and graceful physical comedy, he makes an enormous amount of food appear and then disappear, seemingly down his own gullet, as in the Monty Python skit. A point of concern: Should one man really drink that much ranch dressing? Each course has been prepared with care, though how those courses interrelate and whether they constitute a full meal is less certain. The show seemed to end about five different times before actually concluding, which suggests a disjointedness, a difficulty in translating so many ideas — good ideas! — into theater.And yet, I would watch Sobelle do just about anything — like, say eat half a dozen apples in just a minute, even from far away. (And for those at the table, there are opportunities to do more than merely watch and listen.) The ending, when it does come, doles out one final conundrum. Do you applaud? Or tip your waiter? More

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    At the End of Her Reign, the Queen Takes a Bow Onstage

    “Handbagged,” a play that opened in London a day after Queen Elizabeth II died, depicts a clever, compassionate monarch. But theatrical depictions haven’t always been so reverential.LONDON — When the Kiln Theater planned its current revival of “Handbagged,” nobody knew how extraordinary the timing would turn out to be.The 2013 play, by Moira Buffini, is one of a long line of dramas to put Queen Elizabeth II center stage. But its reopening during this period of mourning for the monarch turns out to serve the piece well, communicating a respect and affection for her memory that chime with the public mood. (The play’s first preview was Sept. 9, the day after the queen’s death.)Plays can catch a moment, which is what “Handbagged” has done. Seeing Indhu Rubasingham’s production several days before the queen’s state funeral, I felt an audience connecting with the play with an intensity I didn’t sense during its West End transfer in 2014. Theater, a live art, can seem especially vital at times like this. Would it have felt as moving to be watching “The Crown” on TV that recent afternoon? I doubt it.Several other playwrights have given voice to this essentially mysterious figure. Plays like Peter Morgan’s “The Audience” and Alan Bennett’s “A Question of Attribution” revealed the queen to be a great theatrical subject: wry and witty, her onstage intelligence feeding a sense among the public that so private a person always knew more than she let on.Some Key Moments in Queen Elizabeth’s ReignCard 1 of 9Becoming queen. More

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    ‘Beetlejuice’ to Close on Broadway

    The show had a bumpy, boisterous run, and will now begin a tour.“Beetlejuice,” an exuberantly ghoulish musical that was so on brand it came back from the dead, will end its Broadway run on Jan. 8, the show’s producers announced Tuesday.This is the latest in a string of closings as Broadway grapples with diminished tourism, fewer Manhattan office workers and an inflation-driven rise in production costs following the lengthy pandemic shutdown of theaters. Last week, “The Phantom of the Opera,” which is Broadway’s longest-running show, announced that it would close in February; over the weekend “Dear Evan Hansen” closed and “Come From Away” is closing early next month.“Beetlejuice,” adapted from the 1988 film, has had a bumpy ride on Broadway. It opened in 2019, but sales were weak enough that the Shubert Organization asked it to vacate the Winter Garden Theater; before it did so, sales rebounded thanks to a viral embrace of the show on social media, and then, while it was still trying to figure out its next steps, the pandemic shuttered all theaters.The show, produced by Warner Bros. Theater Ventures and Langley Park Productions, returned to Broadway last April, now at the Marquis Theater, and its grosses have been decent — $930,798 during the week that ended Sept. 18 — but apparently not good enough to sustain a long run for a large-scale musical. At the time of its closing it will have played 679 performances, including the runs at both theaters.The musical features songs by Eddie Perfect and a book by Scott Brown and Anthony King; it is directed by Alex Timbers. The show is planning a tour starting in December in San Francisco.“Beetlejuice” was originally capitalized for $21 million, according to a filing with the Securities and Exchange Commission. It has not recouped those costs. More