More stories

  • in

    In ‘Corsicana,’ Will Arbery Puts Art, Family and Down Syndrome Onstage

    Arbery, a Pulitzer finalist in 2020, is back with a play inspired by his relationship with his sister. But don’t call it an “issue” play.In 2019, Will Arbery scored an unlikely hit with “Heroes of the Fourth Turning,” his darkly comic, boundary-pushing play about young Catholic conservatives debating God, love, friendship and Donald Trump at a late-night party in a Wyoming backyard. A finalist for the 2020 Pulitzer Prize, it won praise both from the heavily liberal New York theater world and from traditionalist Christians who often feel caricatured by it, if they are depicted at all.“Heroes” was a play that, for all the idiosyncrasies of its characters, was hailed as being very much About Something. But on a recent morning, Arbery, 32, was sitting outside a cafe near his apartment in Brooklyn, alternately wrestling with and resisting the question of just what his new play, “Corsicana,” was about.Most simply, “Corsicana,” which runs until July 10 at Playwrights Horizons, is about four people in that small city in Texas, including a young woman with Down syndrome, her aspiring filmmaker brother and a reclusive self-taught artist who comes into their orbit. Inspired by Arbery’s relationship with his older sister Julia, it’s the rare play to feature both a lead character — and a lead actor — with Down syndrome.But it’s also, Arbery said, a play that “very stubbornly defies about-ness.”Will Dagger, left, in “Corsicana” with Deirdre O’Connell, center, and Jamie Brewer. The play, Arbery said, “very stubbornly defies about-ness.”Sara Krulwich/The New York Times“When you first walk in, you might say oh, this is a couch play, or an artist-on-the-edge-of-town play, or a Down syndrome play,” he said. “But it’s more of an accumulation. It’s not like any of those things are false — they’re all there — but something else is operating that can’t be named.”The goal, he said, was a “widening complexity.” If audiences could “categorize the play too easily, then they could categorize Julia too easily,” he said. “And that’s the opposite of what I want to do.”“Corsicana,” directed by Sam Gold at the same theater that first staged “Heroes,” is something of a homecoming for Arbery, who since 2019 has been living the life of a hot young playwright. There have been multiple productions around the world of “Heroes” and his previous play, “Plano,” also inspired by his family. Another play, “Evanston Salt Costs Climbing,” from 2018, will have its New York premiere in the fall with the New Group. And Hollywood has been calling. In February 2020, he spent a month in London consulting on HBO’s “Succession,” immersing himself in the acid-bath dynamics of a very different clan.“I just sat there and made a vow to myself to say at least one thing a day,” he said of the writers room. “It was an intimidatingly brilliant and funny group of people.” (Evidently, he passed muster. He recently wrapped work on Season 4, on which he’s credited as a co-producer.)“Corsicana,” which Arbery started before the pandemic, was inspired in part by an artists residency in the same small Texas city as the play is set. But it’s also, as he puts it, a play he has been writing his whole life.Arbery, who grew up in Dallas with seven sisters in a conservative Catholic milieu similar to that of “Heroes,” had always wanted to write a play about his relationship with Julia, who is two years older (as she likes to remind him). But he didn’t want to write, as he puts it, an “issue play.”“I wanted to do it in the way it felt like growing up,” he said, where Julia “was just part of the fabric of daily life, a member of the family and the team.”Julia Arbery, shown with Will in 2016, said they have always been able to talk “about our feelings, excitement, sadness” and “about our hearts.”via Will ArberyIn “Corsicana,” the young filmmaker, Christopher (Will Dagger), has put aside his own ambitions to come home and live with his sister Ginny (Jamie Brewer) after their mother’s death. Through their mother’s best friend (Deirdre O’Connell, a 2022 Tony winner for “Dana H”), Christopher arranges for Ginny to spend time with Lot (Harold Surratt), a reclusive self-taught artist who makes kaleidoscopic sculptures out of junk, and who bristles at the idea that people might see him, like Ginny, as “special.”Lot also makes tapes of his strange, homespun songs (reminiscent of the “outsider” Texas songwriter Daniel Johnston). The hope is that he and Ginny — whose tastes run more to Whitney Houston, Hilary Duff and the Chicks — will write a song together, to pull her out of her funk.“Corsicana” explores art, grief, privacy, gifts, family and community, and how the meanings of creative acts change depending on who witnesses them — and whether some things should have an audience at all. There are pop-culture one-liners and bigger philosophical talk, along with surreal riffs on dinosaurs, ghosts, history and books that never get read.Arbery described Julia, an ardent music fan who sings with a choir, as “a natural performer.” But like Lot in the play (whose work we never see), he said, she does much of her creation in her room, for “an audience of no one.”“If you’re lucky to walk by and the door’s ajar and you see her busting these moves that are just unbelievable,” he said. “I felt like that’s the most honest place to write from, outside that door, and having the audience outside too, but with the terms clearly set — you’re not allowed to look back there.”If Ginny mostly sings behind closed doors, Jamie Brewer, the actress who plays her, is a seasoned professional. Brewer, who has performed since she was a child, has appeared in several seasons of “American Horror Story.” In 2018, she became what is believed to be the first actor with Down syndrome to play the lead in a Broadway or Off Broadway play, in Lindsey Ferrentino’s “Amy and the Orphans.”“Amy” was about a group of siblings learning the fuller story of their sister, who had been institutionalized as a child and neglected by the family. “Corsicana,” which Brewer described as much “wordier” than “Amy,” offers a different window on the experience of living with Down syndrome, depicting Christopher and Ginny’s relationship as emotionally equal and ordinary, down to their private jokes and fights.“I love being part of a play that shows everyone who we are,” Brewer, 37, said in a video interview. “We’re all the same as everyone — we have the same wants and needs, the drive, the desire, the individual sense of self.”Julia Arbery in “Your Resources,” a 2016 short film by Will Arbery. The film “is a little embarrassing,” Will said. But Julia “is really good.”Will Arbery Julia Arbery, who turns 35 in July, lives with her parents in Wyoming, and works in the dining hall at Wyoming Catholic College, a small conservative liberal arts institution where their father, Glenn, is president, and their mother, Virginia, teaches political science.In a joint video interview with Will, Julia described him as “my favorite brother,” which wasn’t the only time they cracked each other up. (He’s her only brother.) She said they have always been able to talk “about our feelings, excitement, sadness” and “about our hearts.”Julia was about to make her first trip to New York, to see “Corsicana” — the first time she’s seen a professional production of one of his plays. Julia, a country music fan who used to sing in a choir, doesn’t know many details of the play. But she said she was especially excited to hear Ginny and Lot’s song (co-written by Arbery and the indie musician and artist Joanna Sternberg).There’s a scene in the play where Christopher, the would-be hipster auteur, asks Ginny (a “High School Musical” fan) if she wants to be in one of his movies. “Is it going to be good?” she shoots back. (So much of “Corsicana,” Arbery said, “is a tug of war about taste.”)In real life, Julia has acted in some of her brother’s short films, including the sci-fi-tinged “Your Resources,” shot in 2016 at their parents’ ranch-like home, starring Julia as a young woman who enters a contest to win a brain implant developed by a sinister futuristic corporation, so she can be “different” and help her ailing father (played by Glenn Arbery).“The short film is a little embarrassing,” Will said later by email. But “Julia is really good.”They have also been talking about making a hybrid documentary-feature, about Will filming Julia directing a mash-up of “The Princess Bride” (one of their favorites) and Liam Neeson’s “Taken.”Julia, he said, inspired not just this play, but his approach to writing.“From a very young age, she keyed me into this idea that a way a person uses language is a fingerprint,” he said. “It always felt very clear to me that she was the reason I was doing some of this.” More

  • in

    Trevor Noah Tricks His Audience Into Singing ‘Happy Birthday’ for Trump

    After the boos ceased, Noah joked that “the haters can’t even give the poor man a day off.”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.Birthday WishesDonald Trump turned 76 on Tuesday, and Trevor Noah tricked his “Daily Show” audience into singing “Happy Birthday” to the former president before saying whom they were signing it for. After the boos ceased, he remarked that “the haters can’t even give the poor man a day off.”“All week long the Jan. 6 committee has been riding his ass just because he tried to overthrow the government. And now — and now — they’re even accusing him of fraud, just because he asked his supporters for money to set up an election defense fund and didn’t set up an election defense fund,” Noah said.“Former President Trump turned 76 today, so now he’s really asking everyone to stop the count.” — SETH MEYERS“That’s right, today was former President Donald Trump’s 76th birthday. Pretty impressive — 76 and he can still get an insurrection.” — SETH MEYERS“Trump took some of the money he said he’s going to use to fight election fraud and paid his son’s fiancée $60,000 for a two-minute introduction speech, which is such a scam, I don’t care what anyone says. That’s an even bigger scam than tai chi. Yeah, oh I’m sorry who are you going to fight, an army of slow butterflies?” — TREVOR NOAH“They also skimmed off over $200,000 for the former president’s hotels — and that was just Giuliani’s bar tab.” — STEPHEN COLBERT“During yesterday’s congressional hearing, it was revealed that Donald Trump Jr.’s fiancée, Kimberly Guilfoyle, was paid $60,000 to speak at the rally before the Capitol attack. Well, technically, $20,000 to speak and then $40,000 to please stop.” — SETH MEYERS“This does prove that Donald Trump is a proud feminist ally. Yeah, that’s right, I said it. Everyone’s always complaining women get paid less for more work, but Trump, no, he is doing everything to close the wage gap. He paid Kimberly Guilfoyle for two minutes’ work. He paid Stormy Daniels for two minutes’ of work. Yeah, Trump isn’t breaking the law, he is breaking the glass ceiling.” — TREVOR NOAH“So he duped $250 million from his most passionate supporters and then watched as they all go to prison while he sat in Mar-a-Lago double-fisting coconut shrimp. And these aren’t wealthy people. You can always tell when they’re wearing nothing but giveaway merch from the losing team.” — STEPHEN COLBERT“As much as people want to be angry at Donald Trump, I feel like this is one of the instances where he is the black light on America’s democracy. Because he didn’t invent this scam — politicians from every party use their campaign funds to enrich their friends, it’s just Trump does it so egregiously that everyone notices it. All politicians are, like, ‘Donate, it’s for the fund, but nobody looks where the money goes. Yeah, it’s just something you pay attention to because of how he does it. It’s the same way all of us have eaten a grape or two at the grocery store, but Trump’s the guy who walks into Whole Foods with a fork and knife, you know? He’s like [imitating Trump] ‘You guys have the best raw chicken. So good. So good.’” — TREVOR NOAHThe Punchiest Punchlines (Sobering Advice Edition)“Rudy Giuliani is firing back on reports from the Jan. 6 hearings that he was inebriated on election night. He tweeted, ‘I refused all alcohol that evening. My favorite drink … Diet Pepsi.’ So, just to be clear, Rudy’s defense is that he gave the dumbest, most unethical advice in the history of America while stone-cold sober, got it.” — JAMES CORDEN“It can be very hard to tell, because sometimes he’s drunk, and sometimes he’s pretending he’s not.” — STEPHEN COLBERT“What an endorsement that is. You just know the people at Pepsi were like ‘Uh, he must mean Diet Coke. He means Coca-Cola, right? You mean Coca-Cola? Any brand of cola, really, RC Cola, Shasta, maybe a generic grocery store brand cola.’“ — JAMES CORDEN“[imitating Giuliani ] I love Diet Pepsi, especially a robust, red Diet Pepsi, or, in the summer, a diet Pepsi rosé. I also enjoy boxed Diet Pepsi.’” — STEPHEN COLBERTThe Bits Worth WatchingDakota Johnson played a game of “Mad Lib Karaoke” with Jimmy Fallon on Tuesday’s “Tonight Show.”What We’re Excited About on Wednesday NightPhoebe Bridgers will perform on Wednesday’s “Tonight Show.”Also, Check This OutThe actor Cheech Marin.Carlos Jaramillo for The New York TimesThe personal art collection of the actor Cheech Marin now has a public home at the Cheech Marin Center for Chicano Art and Culture in Riverside, Calif. More

  • in

    ‘Topdog/Underdog’ to Star Yahya Abdul-Mateen II and Corey Hawkins

    The 20th anniversary Broadway revival will be directed by Kenny Leon. Previews begin in September at the John Golden Theater.Corey Hawkins and Yahya Abdul-Mateen II will star this fall in a Broadway revival of Suzan-Lori Parks’s Pulitzer-winning comic drama “Topdog/Underdog.”The play, first staged on Broadway in 2002 after an Off Broadway run at the Public Theater, is a portrait of two brothers: One, named Lincoln (Hawkins), is an Abraham Lincoln impersonator and the other, named Booth (Abdul-Mateen), aspires to play three-card monte the way his brother once had.In 2018, The New York Times declared “Topdog/Underdog” the best American play of the previous 25 years. Explaining that choice, the critic Ben Brantley wrote that the play “plies the fine theatrical art of deception to convey the dangers of role-playing in a society in which race is a performance and prison.”Hawkins, 33, has been featured in a string of films, including “In the Heights,” “The Tragedy of Macbeth” and “Straight Outta Compton.” He has two previous Broadway credits, and picked up a Tony nomination in 2017 for his starring role in a revival of “Six Degrees of Separation.”Abdul-Mateen, 35, is best known for his work in the HBO series “Watchmen,” and he recently was featured in the films “Ambulance,” “The Matrix Resurrections” and “Candyman.” “Topdog/Underdog” will be his Broadway debut.The original Broadway production starred Jeffrey Wright and Yasiin Bey, who was known at the time as Mos Def.This 20th anniversary revival, scheduled to run for 16 weeks, is to begin previews Sept. 27 and to open Oct. 20 at the John Golden Theater. It will be directed by Kenny Leon, who in 2014 won a Tony Award for directing a revival of “A Raisin in the Sun.” The producers are David Stone, a lead producer of “Wicked,” as well as LaChanze, Rashad V. Chambers, Marc Platt, Debra Martin Chase and the Shubert Organization.This season is shaping up to be a big one for Parks. In addition to the Broadway revival of “Topdog/Underdog,” the Public Theater on Tuesday said it would stage productions of two new works she has written: “Plays for the Plague Year,” a series of playlets Parks wrote during the early pandemic, and “The Harder They Come,” a musical adaptation of the 1972 film, with a book by Parks and a score that includes songs by Jimmy Cliff. More

  • in

    City Center’s Season to Feature an International Fall for Dance

    The festival welcomes foreign troupes for the first time since 2019; other City Center highlights include Twyla Tharp and “The Light in the Piazza” at Encores!“Oliver!,” the return of the National Ballet of Canada and a Twyla Tharp program are among the offerings for New York City Center’s 2022-23 season, the theater announced on Tuesday.“Coming off the pandemic we had a really strong season,” said Arlene Shuler, City Center’s president and chief executive, adding, “I want audiences to take away that City Center is as strong as ever.”The 2022-23 season, Shuler’s last, opens with the Fall for Dance Festival, which for the first time since 2019 will have an international lineup, including the Kyiv City Ballet from Ukraine, as well as companies and artists from France, Germany, India and the Netherlands.Fall for Dance, which Shuler initiated in 2004, remains central to her legacy at the theater. The festival’s eclectic mix of dance companies and low-cost tickets has expanded accessibility to the public and solidified relationships with artists.Also in fall, Twyla Tharp returns to the theater, Oct. 19-23, with two works: “In the Upper Room” (1986) and “Nine Sinatra Songs” (1982), which Shuler called “masterworks — not just for Twyla but for the 20th century.” The program follows last year’s “Twyla Now.”The National Ballet of Canada will take the City Center stage for the first time in 15 years. The program, with live music by the National Ballet of Canada Orchestra, features three performances, including Crystal Pite’s “Angels’ Atlas.” It is set to run from March 30-April 1, 2023.City Center’s Encores! will present “The Light in the Piazza” (Feb. 1-5), Jerry Herman’s “Dear World” (March 15-19) and Lionel Bart’s “Oliver!” (May 3-14). And “Parade,” starring Micaela Diamond and Ben Platt in Alfred Uhry’s Tony Award-winning musical about the 1915 lynching of Leo Frank, a Jewish American in Georgia, will be City Center’s annual gala production, on Nov. 1-6.Dance programming at City Center will also include Sara Baras and her company at the annual Flamenco Festival (March 23-26), and Ballet Hispánico, which will perform “Club Havana 18+1” (June 1-3).This year’s City Center Dance Festival, titled “From the Street,” will celebrate the diversity of forms in contemporary hip-hop. The year will close with “Sugar Hill: The Ellington/Strayhorn Nutcracker” (Nov. 15-27), a jazz-infused retelling of the holiday classic, and the annual season of Alvin Ailey American Dance Theater (Nov. 30-Dec. 24), with new works by Kyle Abraham and Jamar Roberts. More

  • in

    Amber Heard: I ‘Stand by Every Word’ of Testimony in Defamation Trial

    In her first public interview since losing a defamation case brought against her by Johnny Depp, her ex-husband, Ms. Heard said she had told the truth when she accused him of abuse.Almost two weeks after losing a high-profile defamation trial, Amber Heard said in a television interview on Tuesday that she had told the truth on the stand about her accusations of abuse against her ex-husband, Johnny Depp. She also took issue with the judge’s handling of evidence that she said helps prove her account of the relationship.Ms. Heard told NBC’s “Today” show that she will “stand by every word” of her testimony to her “dying day.” She alleged repeated physical abuse by Mr. Depp, as well as several instances of sexual abuse, all of which Mr. Depp denied.In her first public interview since the jury verdict in Fairfax, Va., Ms. Heard acknowledged that she was responsible for “horrible, regrettable” behavior toward Mr. Depp, including demeaning insults that were aired in court, but maintained that any physical violence on her part was in response to his own. Mr. Depp testified that Ms. Heard was violent toward him, and not the other way around.“I behaved in horrible — almost unrecognizable to myself — ways,” Ms. Heard said. “It was very, very toxic. We were awful to each other.”But, she asserted, “I’ve always told the truth.”Ms. Heard, 36, lost the defamation case that Mr. Depp filed against her, alleging that she had “devastated” his career after The Washington Post published an op-ed in which she called herself a “public figure representing domestic abuse.” The article did not mention Mr. Depp by name, but he and his lawyers argued that it was clearly referring to a time in 2016 in which Ms. Heard told a court that Mr. Depp was physically abusive toward her.Our Coverage of the Johnny Depp-Amber Heard TrialA trial between the formerly married actors became a fierce battleground over the truth about their relationship. What to Know: Johnny Depp and Amber Heard sued each other with competing defamation claims, amid mutual accusations of domestic abuse.The Verdict: The jury ruled that Mr. Depp was defamed by Ms. Heard in her op-ed, but also that she had been defamed by one of his lawyers. Possible Effects: Lawyers say that the outcome of the trial could embolden others accused of sexual abuse to try their luck with juries, marking a new era for the #MeToo movement.The Media’s Role: As the trial demonstrates, by sharing claims of sexual abuse the press assumes the risks that come with antagonizing the rich, powerful and litigious.The $10.35 million award to Mr. Depp was offset by a $2 million award for Ms. Heard. The jury found that Mr. Depp had defamed Ms. Heard in one instance, when a lawyer who had previously represented him during the defamation proceedings made a statement to a British tabloid accusing her of damaging the couple’s penthouse and blaming it on Mr. Depp.A lawyer for Ms. Heard, Elaine Charlson Bredehoft, has said she plans to appeal the verdict.The six-week trial turned into an internet obsession fueled by courtroom sound bites made accessible by a pair of cameras filming the proceedings for livestreams and television broadcasts. Ms. Heard was on the receiving end of much of the online vitriol, with Depp fans mocking her testimony and calling her a liar.“Even if you think that I’m lying, you still couldn’t tell me — look me in the eye and tell me — that you think on social media there’s been a fair representation,” Ms. Heard said in the NBC interview, more of which will air later this week. She added that she had “never felt more removed from my own humanity.”In the days after the verdict, Ms. Heard’s legal team has argued that it would have been impossible for the jury, which was unsequestered, to completely shield themselves from the social media bias against their client.Ms. Heard said there had been “really important pieces of evidence” that a judge kept out of the Virginia trial, some of which were allowed in a separate trial in London. In that case, Mr. Depp sued when The Sun newspaper called him a “wife beater” in a headline. Mr. Depp lost that case, and the British judge was persuaded that Mr. Depp had physically abused Ms. Heard repeatedly throughout their relationship.Johnny Depp’s Libel Case Against Amber HeardCard 1 of 7In the courtroom. More

  • in

    Late Night Blames It on the Alcohol

    Rudy Giuliani’s intoxication on election night was the focus of Monday’s Jan. 6 hearings and late-night monologues.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.How Could They Tell?During the House committee hearing Monday on the Jan. 6 assault on the Capitol, Jason Miller, former aide to Donald Trump, told the panel that Rudy Giuliani was “definitely intoxicated” on election night when he told the former president that the election had been stolen.“You know, when you think about it, it makes sense that Trump would listen to a drunk person, because that’s the one time people probably sound like him,” Trevor Noah said.“The House committee investigating the Capitol attack today held its second public hearing. They weren’t going to, but then Rudy Giuliani said, ‘Make it a double!’” — SETH MEYERS“So we’re just going to blame this entire thing on the alcohol?” — JAMES CORDEN“Yeah, according to a former Trump aide, Rudy Giuliani was wasted on election night when he told Trump that the election was stolen from him. And I am just curious about how you even know when Rudy Giuliani is drunk. No, because when a normal person is drunk, they say crazy things, they yell, they sweat a lot. So how does that work with Rudy — does it work in reverse? Does he start talking normally, his hair dye sucks back into his hair? How does it work?” — TREVOR NOAH“They were all telling him, ‘You lost this election, sir,’ but Trump was like: ‘Yeah, yeah, whatever. Drunk vampire, what do you think?’” — TREVOR NOAH“It’s a bit of a leading question. They followed up by asking, ‘Do you notice anyone that night who was maybe farting while leaking hair dye and ranting in front of a dildo shop? Anyone like that? Could be anyone. Take your time — think back.’” — STEPHEN COLBERT, on Miller’s being asked if anyone was drunk on election night.“It’s so funny to me how in all these depositions, Trump aides are all hemming and hawing, pausing and taking their time to use the most precise legal language possible because they’re under oath, but then as soon as someone asks, ‘Was anyone drunk at the White House?’ they all immediately buzz in like the overeager uncle on ‘Family Feud’: ‘Rudy! It was Rudy!’” — SETH MEYERS“Let me help you out here. There are five levels of intoxication on the Rudy breathalyzer: over the legal limit, rooting around the dumpster for empties, rooting around in his pants in ‘Borat,’ planning coup in a blackout and ‘The Masked Singer.’” — STEPHEN COLBERT“I can’t believe this. A drunk Rudy Giuliani told Trump to claim he won the election. And then he said, ‘I love you, man’ six times and dropped his phone in the toilet.” — JAMES CORDENThe Punchiest Punchlines (Reality Show Ratings Edition)“Today was Episode 2 of the hot new reality show ‘The Jan. 6 Committee Hearings.’ We’re all waiting to find out if the former president gets to go to the fantasy suite with Lady Justice. She’s blind, so he’s got a shot.” — STEPHEN COLBERT“Episode 1 was a huge hit, because at least 20 million people watched Thursday’s hearing. We were live, OK? That’s the kind of audience usually reserved for ‘Sunday Night Football.’ Makes sense because Thursday’s hearing featured even more guys with brain damage.” — STEPHEN COLBERT“For the first hearing on Thursday, over 20 million people tuned in, which is higher than this year’s N.B.A. finals. Trump was torn — he didn’t know whether to worry about the hearing or brag about the ratings.” — JIMMY FALLON“Fox News today also aired coverage of the House Jan. 6 committee’s second hearing. Said viewers: ‘Babe! I’m on TV!’” — SETH MEYERSThe Bits Worth Watching“Jimmy Kimmel Live” hosted another segment of “Mean Tweets” featuring N.B.A. players like Andre Drummond and Russell Westbrook on Monday’s show.What We’re Excited About on Tuesday NightBonnie Raitt will perform on Tuesday’s “Late Show.”Also, Check This OutJennifer Hudson accepting a Grammy in 2009.Lucy Nicholson/ReutersJennifer Hudson, a producer of “A Strange Loop,” became an EGOT on Sunday when the musical won big at this year’s Tony Awards. More

  • in

    ‘Quince’ Review: A Mexican American Tale That Explains Too Much

    The new play, about a 15-year-old girl and her impending quinceañera, creates a fitting party vibe. If only the script didn’t clarify every cultural reference.In the backyard of a modest house with a thriving garden, a woman in a brimmed hat festooned with streamers bends over the flowers, tending to them silently. Her face a mask, she pays no attention to the pair of teenage sweethearts in the midst of a private talk.“That’s my grandma,” says Cindy, whose yard this is.“I thought your grandma was dead,” Kaitlyn says.She is, Cindy confirms: buried in Mexico and everything. But after her grandmother had a fight with her cousin, who was interred in a neighboring grave, “she left there, came here.” Now she hangs out in the garden, looking after the greenery.“This is why I don’t invite you over,” Cindy says, unsurprised by her girlfriend’s confusion; Kaitlyn is white, after all. “I can’t explain all this stuff all the time.”The creators of “Quince,” the shimmery immersive production that inaugurates the Bushwick Starr’s new theater in a former dairy plant in Brooklyn, have the opposite impulse. Written by Camilo Quiroz-Vázquez and directed by Ellpetha Tsivicos, this too-educative play — presented with their company, One Whale’s Tale — wants to invite all of us into its story of Cindy and her impending quinceañera, a coming-of-age celebration to mark her 15th birthday. To achieve that, it is more than willing to explicate Mexican and Mexican American culture for its audience every step of the way.To be fair, white American theatergoers have come to expect that kind of coddling, and no one wants to parade the complexity of their heritage in front of people who don’t understand it. But I’m with Cindy on this. Constant footnoting is exhausting — a drag on the festivities and also on the drama. Of which, in her life, she has plenty.Raised by her strict single mother, Maria (Brenda Flores), in a family so devoutly Roman Catholic that the parish priest is a regular presence in their home, Cindy (Sara Gutierrez) is squeamish about more than just explaining her grandmother’s ghost. She’s also embarrassed by her family’s lack of money, uncomfortable with her queerness and terrified of how Maria would react if she found out about it.Performed mostly in English, partly in Spanish, “Quince” traces Cindy’s journey toward self-acceptance — and Maria’s, too. Overworked and short on patience, Maria is carrying her own unwarranted shame that needs exorcising: the spiritual damage of having been branded sinful when she was 15 and pregnant with Cindy, half a lifetime ago.Salomon (José Pérez), Maria’s anxious brother, gives Cindy the gift of gentle allyship when she comes out to him, while the affable Father Joaquin (a charming Quiroz-Vázquez) tries to facilitate reconciliation all around. (When, over a beer in the kitchen with Salomon, this seemingly decent priest nearly violates the sanctity of the confessional by divulging what Cindy said to him there, his recklessness goes mystifyingly unremarked.)Gutierrez, center, with Saige Larmer, who plays her girlfriend. Drinks are for sale, and the audience sits at tables in a tinsel-curtained space. Maria BaranovaDuring the pandemic-stricken, pre-vaccine summer of 2020, when there was almost no live theater in New York, an earlier, much shorter version of “Quince” had a handful of open-air performances at the People’s Garden in Brooklyn. In the current incarnation, a Mexican food cart sits outside the theater preshow, and ticket holders are welcome to buy meals that they can eat during the performance. Drinks are for sale inside, where the audience sits at tables in a tinsel-curtained space decorated for Cindy’s celebration. (Scenic design is by Tanya Orellana; Tsivicos is credited as the creative director.)With a stage at one end of the long room for the terrific band (Marilyn Castillo, Andrés Fonseca, Juan Ospina and Sebastian Angel), an aisle down the center that lets the actors move among the audience and three mini-sets scattered throughout, it is a good-looking production, beguilingly lit by Mextly Couzin, with costumes by Scarlet Moreno.But the show feels inorganic and at odds with itself, straining toward mystical expression and physical abandon yet tethered to an earthbound script that meanders for too long before arriving at Cindy’s party. Occasionally it has the tone of an after-school special — albeit one that breaks into cumbia music and includes, toward the end, a Selena impersonator (Tsivicos). This play doesn’t dance nearly as much as it wants to, and its ghosts and apparitions (in beautiful masks by Quiroz-Vázquez, Zoë Batson and Courtney Escoto) fit awkwardly alongside the sometimes groan-worthy comedy.The romance between Cindy and Kaitlyn (Saige Larmer) is sweet; the healing that Maria eventually finds is a benevolence. But the show feels dumbed down, its magic dulled and focus diluted by a determination to be understood at an elementary level by people from the broader culture — even the ones who gravitate toward new work in industrial spaces in Bushwick.Trusting the audience is a risky undertaking. But we’re more curious, and more comfortable with artful ambiguity, than “Quince” gives us credit for.QuinceThrough June 26 at the Bushwick Starr, Brooklyn; thebushwickstarr.org. Running time: 1 hour 40 minutes. More

  • in

    Original ‘Spring Awakening’ Cast Reunites for 2022 Tonys Performance

    More than 15 years after they stormed Broadway as an angsty set of adolescents, the original cast of the musical “Spring Awakening” reunited Sunday night at the Tonys and offered a special rendition of one of the musical’s most enduring songs.One of the show’s stars, Lea Michele, introduced the cast alongside Zach Braff who, not coincidently, introduced the show to Tony audiences in 2007 when it won the award for best musical. Led by Skylar Astin, the cast sang a soulful edition of “Touch Me.”The 2006 Steven Sater musical, an adaptation of the Frank Wedekind play from the turn of the 20th century, is about German teenagers grappling with sexual desires, secret pain and parental pressure. It vaulted several of its stars — such as Michele, Jonathan Groff, John Gallagher Jr. — to wider fame, won eight Tony Awards, and played more than 850 performances.A scene from “Spring Awakening” in 2006.Sara Krulwich/The New York TimesThe Tony performance on Sunday appeared to book end a reunion that has played out over the last several months. In November, the original cast reunited for one night at the Imperial Theater for a 15th anniversary concert benefiting the Entertainment Community Fund (previously The Actors Fund). The performance was recorded by HBO and released earlier this year as a film: ‘Spring Awakening: Those You’ve Known.’ More