Eliana Willis

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    in Theater

    ‘You’re Basically on a Broadway Stage, With New Friends’

    At the touring dance party Broadway Rave, the playlist is all show tunes. But don’t worry, no house remixes of “I Dreamed a Dream” here.Julia Cochrane drove for four hours, to New York from Boston, so she could spend last Saturday night immersed in all things Broadway. But not in Manhattan.Instead, she headed to Huntington, Long Island. There, over 100 people packed into Spotlight at the Paramount, a small bar attached to a concert hall, for a touring dance party called Broadway Rave, at which theater kids turned theater adults dance and sing onstage in between shots of tequila.“People who love this, they just want to come together,” said Cochrane, 22, who attended with her friend Hannah Opisso, 23, a Long Island resident who learned about the dance party via Instagram. “It’s like you’re basically on a Broadway stage, with new friends.”“You see these folks get onstage and have the courage to be up there,” said Ethan Maccoby, whose company presents Broadway Rave.Ye Fan for The New York TimesCochrane and Opisso met as students at the State University of New York, Plattsburgh, where Broadway cast albums were their pregame music of choice. Last weekend, Broadway musicals brought them together again, and at one point they took the stage to sing “Meet the Plastics” from the “Mean Girls” musical.Attendees don’t have microphones — this isn’t karaoke — but they are encouraged to rush the stage to sing and dance when their favorite songs come on. And the term “rave” is a misnomer: The playlist is mostly uncut cast album material — though last weekend those theater fans may have caught the remix flair at the beginning of “Jellicle Songs for Jellicle Cats.” Other songs that night included “Out Tonight” (“Rent”), “Popular” (“Wicked”), “Sincerely Me” (“Dear Evan Hansen”) and a few tracks from “Hamilton,” including “The Schuyler Sisters” and “Wait for It.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    in Television

    Is the Comedy-Club Booking Process Broken?

    The owners of a new spot say hiring comics based on referrals from other stand-ups is no guarantee the acts will be funny. Others say it’s all more nuanced.After three years doing standup roughly every night, the comic Jad Sleiman concluded that the system for finding and promoting new talent was broken.“Whether or not you get onstage at most clubs in the city has very little to do, at this point, with how funny you are,” he wrote me recently. Sleiman went on to say that the best way to get stage time is not to work at your craft, but to network, make connections and increase your online follower count. Most major clubs use a referral system, to varying degrees: That means to get onstage, you need other comics to vouch for you, he said.Performers, he added, naturally pick their friends, and there’s even a motivation to promote mediocrity. “Honestly,” he told me. “You don’t want to follow someone who buries you.”In comparison to the theater, live comedy has recovered from the pandemic in great commercial shape, with the help of podcasting and social media exposure. But with success comes the danger of insularity, and while more new artists are entering the field than ever, the gulf in influence between celebrity comics and gifted young unknowns grows. Sleiman’s polemical critique of the current club establishment gives voice to a real and justifiable anxiety that it’s becoming harder for comics with more talent than connections to break through.Young, hustling comedians have always bemoaned the choices of gatekeepers, but Sleiman is actually dedicating money and time to doing something about it. Along with fellow comics Brooks Tawil and Kyle Gillis, who share his frustration with the status quo, he recently started the Bushwick Comedy Club. One week before opening, sitting next to Tawil inside a former bodega that now houses a small stage, 50 seats and a sink held up by Goya cans, Sleiman described his plans for a more meritocratic comedy club.“Our main difference is going to sound stupid,” he explained, “but simply put, we’re going to actually watch submission tapes.” Referrals will not matter. Nor will social media followers. Only how funny you are on tape. On Instagram, Bushwick Comedy Club promotes itself as the “only club in New York who books its lineups purely off video submissions.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    in Television

    The Menendez Brothers: What to Know Ahead of the New Netflix Series

    “Monsters: The Lyle and Erik Menendez Story” chronicles the trials of two brothers who killed their parents in 1989, and their aftermath. Much has changed since then.On Aug. 20, 1989, Lyle and Erik Menendez, ages 21 and 18, shot and killed their parents in the family’s Beverly Hills mansion. Both were sentenced to life in prison in 1996 after two highly publicized trials, the first of which was broadcast on the then-nascent Court TV.But in the 35 years since the crime, the public has become increasingly divided on whether the brothers were merely the stone-cold opportunists the prosecution said they were. Now Ryan Murphy — who has a longstanding knack for taking on stories at the intersection of true crime, celebrity and media — is weighing in with a new scripted version of their story, premiering Thursday on Netflix.Titled “Monsters: The Lyle and Erik Menendez Story,” the series stars Nicholas Alexander Chavez and Cooper Koch as Lyle and Erik, with Javier Bardem and Chloë Sevigny playing their parents, Jose and Kitty Menendez. It is the second installment of the Monster anthology, created by Murphy with Ian Brennan. The first focused on the serial killer Jeffrey Dahmer.A lot has happened since 1989 — including numerous documentaries, podcasts and a “Law & Order” series — as the case and cultural attitudes have evolved. Need to get caught up? Here’s a brief refresher and an update on more recent developments.The Menendez family storyFrom left, Nicholas Chavez as Lyle Menendez, Cooper Koch as Erik and Javier Bardem as Jose in a scene from the scripted series “Monsters: The Lyle And Erik Menendez Story.” Miles Crist/NetflixJose Menendez was a successful entertainment executive who fled his native Cuba for the United States on his own at the age of 16, shortly after Fidel Castro took power. He married his college girlfriend, Mary Louise Andersen, better known as Kitty. They had two sons, and after some time on the East Coast, the family settled in the Los Angeles area.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Late Night Calls Out Violence Against Trump

    “Not only is it morally wrong, but you’re also just giving him more things to brag about,” Ronny Chieng said on Tuesday’s “Daily Show.”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.‘In His Natural Habitat’Late night returned in full on Tuesday, with a focus on what officials believe was a second assassination attempt on former President Donald Trump.“Yes, this weekend, a crazy person tried to hunt Donald Trump in his natural habitat, his golf course,” Ronny Chieng said on Tuesday’s “Daily Show.”“Now here’s how this craziness went down: A truly deranged man went to Mar-a-Lago’s golf course and spent nearly 12 hours hiding there before a Secret Service agent spotted his rifle sticking through the shrubbery. That sounds like an evil plot straight out of Looney Tunes.” — STEPHEN COLBERT“Yo, again? Will you people stop trying to assassinate Donald Trump? Not only is it morally wrong, but you’re also just giving him more things to brag about: ‘They only tried to kill Abraham Lincoln once; that makes me twice as great as him.’” — RONNY CHIENG“Given that Trump’s campaign hadn’t announced any public plans for Sunday, many wondered did the suspect know the former president would be coming to play golf or was it a guess? Yes, how could he possibly have guessed that Trump would be golfing?” — STEPHEN COLBERT“This guy managed to walk into Trump’s golf course and stay there undetected for 12 hours, OK? And I don’t know if you’ve thought about this, Trump, but maybe you should consider building, like, a wall?” — RONNY CHIENG“By the way, have you noticed that the news reports are all like ‘a harrowing near tragedy sending chills through our nation!’ and meanwhile, everyone you actually know is like, ‘Oh, yeah, yeah, I saw that, yeah.’ I mean, we have to act like it’s a big deal, but it doesn’t really have the same impact of the first one, you know? It’s kind of like ‘Black Panther 2.’ You’re like, ‘Yeah, I guess I’ll see it.’” — RONNY CHIENGThe Punchiest Punchlines (Swift Social Edition)“In a post to Truth Social over the weekend, former President Trump said, ‘I hate Taylor Swift!’ Sounds like he’s making a strong play for the 9-year-old brother vote.” — SETH MEYERS“Donald tweeting ‘I hate Taylor Swift?’ That’s dangerous. I mean, I would rather buy one of those Hezbollah pagers than tweet ‘I hate Taylor Swift.’” — RONNY CHIENG“I think Trump needs to stick to racism — it’s less divisive.” — RONNY CHIENG“But the assassin this weekend was probably not a Swiftie, OK? He doesn’t fit the M.O. Swifties are nonviolent — they prefer to cyberbully you until you kill yourself.” — RONNY CHIENGThe Bits Worth WatchingWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    in Television

    ‘American Sports Story: Aaron Hernandez’ Premieres on FX and Hulu

    The buzzy FX series delves into the N.F.L. star who murdered a friend less than a year after playing in the Super Bowl.The saga of Aaron Hernandez has riveted the sports world and beyond for more than a decade. An N.F.L. star on one of football’s best teams killed a man in 2013 even as he chased fame and glory on the field.Two years after his conviction in 2015, Hernandez hanged himself in prison, leaving unexplained his descent into crime, rumors about his sexuality, and how he was able to hide his off-field life while thriving at America’s most popular sport.Hernandez has been the subject of multiple books, true crime podcasts and documentaries. But his story is getting the Ryan Murphy treatment in a new 10-part anthology series, “American Sports Story: Aaron Hernandez,” premiering on Tuesday on FX and Hulu. Its showrunners are trying a playbook similar to one used for dramatizations of other well-known scandals like “The People v. O.J. Simpson” and “Impeachment,” about former President Bill Clinton’s sexual improprieties. But this time, they’re grappling with new terrain: pro football.Nina Jacobson, an executive producer of “American Sports Story,” said showrunners hoped to offer viewers a “more subjective experience,” rather than a rehashing of previously reported events.“I think we try, in all of these shows, to find a way to put people in the shoes of the characters and put themselves in the eye of the storm — not in a way to excuse anybody’s voices or behaviors,” she said, “but to give people a chance to maybe see them in a different light.”Ahead of the first installment, here are the key points to know about Aaron Hernandez’s football career and murder case, and the TV drama that will depict them.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    In ‘High Potential,’ Kaitlin Olson Gets Smart

    Earlier this month, the actress Kaitlin Olson was in her Los Angeles kitchen slicing a lemon.“I was really cutting it hard,” she said. “I put 100 percent of my effort into it.”The knife slipped, nearly severing her pinkie, which explained why, on a morning a few days later in Manhattan, Olson, 49, had accessorized her black silk blouse and black pants with a black finger splint. (She also wore an array of diamonds, one the size of a kumquat.) The look was working. A waiter asked if she was in town for fashion week.There are few things that Olson — tall and emphatically blond, with screwball energy — does lightly. As concerns comedy, physical stunts and also apparently cooking, her approach is full contact. On the set of “It’s Always Sunny in Philadelphia,” the cheeky FX comedy she has co-starred in for nearly 20 years, she has broken her foot, slashed open her calf and suffered at least one possible concussion. “Definitely worth it,” she said of the scene.This wasn’t her first food-prep injury, and she skipped the emergency room. She didn’t have the time. In addition to “Sunny,” she is a guest actor on the HBO show “Hacks” and the star of a new ABC procedural, “High Potential,” in which she plays a cleaning woman with savant-like tendencies who consults for the police. It premieres on Tuesday.In “High Potential,” Olson’s character cleans the police station … and soon helps the officers solve cases.David Bukach/DisneyWhile it is not Olson’s first series lead (that would be the Fox comedy “The Mick”) or her only chance to flaunt her aptitude for drama (see also: “Hacks”), “High Potential” showcases her dizzy, daffy, sardonic gifts. Which Olson appreciates.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘A Face in the Crowd’ Isn’t About Trump. It Just Seems Like It.

    Elvis Costello and Sarah Ruhl’s musical adaptation of the 1957 film, a satire about a hustler turned power-hungry TV personality, hits the London stage.Stop me if you think you have heard this one before: A man gains television fame on the strength of his purported connection to everyday Americans and their resentment of elites, and before long he converts that fame into political influence in a right-wing presidential campaign.That is the rough outline of the 1957 film “A Face in the Crowd,” which featured a pre-sitcom Andy Griffith as Lonesome Rhodes, a wild-eyed, guitar-slinging hustler who is discovered in an Arkansas jail by an ambitious radio producer and becomes a national phenomenon — until a hot mic moment reveals his bottomless contempt for his fans and they abandon him. Written by Budd Schulberg, based on a short story he had written years earlier, and directed maximally by Elia Kazan, “A Face in the Crowd” was an outlandish but eerily plausible speculative satire about the dangerous seductions of mass media.Now it has been adapted as a musical with a book by Sarah Ruhl and songs by Elvis Costello, which is scheduled to open at the Young Vic in London on Sept. 20. Ruhl and Costello, talking amid rehearsals last month, took pains to stress that they don’t see their show as directly addressing the rise of Donald Trump, who turned television fame into political capital. But there is no escaping that, much as Schulberg’s original was partly responding to the hysteria of the McCarthy era, their musical version began gestating during Trump’s 2016 campaign for president, and a large part of it was written during that year.“We’ve been careful not to tie the thing directly to Trump,” said Ruhl, “partly because it’s all there — Budd Schulberg was so prescient. There have been lines I’ve had to take out because they seemed too on the nose. At one point, some of the merch that Lonesome was selling included steak, something that Trump was also pushing.”The story is “about what is within us that we can be persuaded to desire, and the fact that we desire it means it’s within us in the first place,” said Elvis Costello, right, with the show’s director, Kwame Kwei-Armah.Ellie KurtzCostello also brushed aside a narrowly timely interpretation. “I’m resistant to the notion that this is an analogy,” he said. “It’s right in the title: It’s ‘A Face in the Crowd,’ not ‘The Face of Lonesome.’ It’s about what is within us that we can be persuaded to desire, and the fact that we desire it means it’s within us in the first place, like original sin.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    in Television

    Book Review: ‘Connie: A Memoir,’ by Connie Chung

    In a frank and entertaining new memoir, the TV newscaster recounts how sexism, and Dan Rather, sidelined her groundbreaking career.CONNIE: A Memoir, by Connie ChungThe day she was named co-anchor of the “ CBS Evening News” alongside Dan Rather, Connie Chung felt that she had reached the pinnacle of broadcast journalism.“Thursday, May 14, 1993, was the best day of my professional life. … I had my dream job,” she writes in an entertaining and revealing memoir that traces the triumphs and disappointments of her prominent career.The anchor appointment meant even more because she was a Chinese American woman, brought up by strict parents; in accordance with tradition, she lived with them until she was nearly 30, even as she was climbing the ladder — often wearing stiletto heels.In “Connie,” Chung writes breezily and with irreverent humor about the scoops, the internal politics and the pure hustle that eventually got her to the top. She worked the Watergate beat for CBS in Washington in the 1970s and moved to Los Angeles to anchor the CBS-owned local station before her big break came — and big, it certainly was.In her era, network newscasts ruled the airwaves, cable news was just beginning its rise and news flooding in via smartphone was more than a decade away. The evening anchors were household names.Rather had been named the immediate successor to the revered Walter Cronkite at what was nicknamed the Tiffany Network, so the promotion of an Asian American woman to work alongside him was quite a breakthrough.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More