Eliana Willis

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    Theater to Stream: David Tennant as ‘Macbeth,’ ‘Death of England’ and More

    Take in Shakespeare, experimental theater and a three-play series on the fallout of Brexit, all available to watch at home.‘Macbeth’Stream it on Marquee TV.In the 2023 production of Shakespeare’s “Macbeth” at the Donmar Warehouse in London, directed by Max Webster, an unusual request was made of audience members as they entered the theater: Wear headphones.The actors, too, wore headsets, their quips, shouts and whispers transmitted digitally into the audience’s ears, at times alternating between the left and right earphones. Writing for The New York Times, the critic Houman Barekat said that “the transmitted audio imbues the words with an added richness and immediacy.” The production conjures “just enough novelty,” he added, “to freshen things up, while still ensuring that the text remains center stage — in all its timeless glory.”Luckily for Shakespeare fans, the show, which was nominated for three Olivier awards, including best revival, best actor and best sound design, was recorded live.From Barekat’s critical notebook, which praised David Tennant’s turn as Macbeth, a “gaunt, energetic bundle of angst”:Tennant, with his slim-line physique and withdrawn, vaguely haunted-looking face, has a more expressive emotional energy that lends itself to treacherous intrigue and anguished remorse alike. He is frantic, almost from the get-go.The N.Y.C. Fringe FestivalAzhar Bande-Ali in “Bad Muslim.”Peter CooperStream it on frigid.nyc.Each year, the New York City Fringe Festival, presented by the nonprofit theater company Frigid, uses a lottery system to randomly select the plays it produces, giving less established theater makers a chance to stage their work.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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    Rick Levine, Who Gave Commercials Cinematic Flair, Dies at 94

    An award-winning director, he created ads for brands like Diet Pepsi (starring Michael J. Fox) and Wells Fargo by bringing a Hollywood sensibility to the small screen.Rick Levine, an award-winning television commercial director who brought a big-screen sensibility to the small screen with widely celebrated spots, like a Diet Pepsi Super Bowl ad from the 1980s featuring Michael J. Fox risking life and limb for love, died on March 11 at his home in Marina del Rey, Calif. He was 94.The death was confirmed by his daughter Abby LaRocca.Mr. Levine was a product of what is often called the golden age of advertising, rising in the business through the “Mad Men” era of the 1960s and founding his own company, Rick Levine Productions, in 1972. It was a time when network television held a hypnotic sway over the average American household, and advertising, like so many other cultural arenas of the era, was exploding in creativity.Often serving as his own cinematographer, Mr. Levine approached his big-budget commercials like a director of Hollywood blockbusters.“We decided to make our ads look as good as films,” he said in a 2009 interview with DGA Quarterly, published by the Directors Guild of America. “I would direct and shoot, so I would have complete control.”The Guild named him the best commercial director in 1981 and 1988, in particular for three specific spots.Most notable among them was the Diet Pepsi commercial with Mr. Fox, which Mr. Levine made for BBDO New York; it was one of many ads he shot for Pepsi.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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    Suzanne Rand, Half of a Once-Popular Comedy Team, Dies at 75

    Like Nichols and May before them, Monteith and Rand had their own Broadway show. Unlike Nichols and May, they faded from view after they broke up.Suzanne Rand, who worked with John Monteith in a comedy team that was often compared to the groundbreaking Mike Nichols and Elaine May — and that, like them, became the stars of a two-person Broadway show — died on April 2 in Manhattan. She was 75.Ruben Rand, her stepson, confirmed the death, in a rehabilitation facility. The cause was cardiopulmonary arrest.Ms. Rand and Mr. Monteith — she was the exuberant one; he was the more low-key partner — had backgrounds in improvisational comedy when they formed their act in 1976. Their sketches included Ms. Rand’s portrayal of a guilt-ridden fly killer who tries to revive a swatted pest, and the two of them as movie critics assigned to review a pornographic film who then mimic its action.They built sketches around suggestions from the audience — settings, pet peeves, objects, occupations, film and television genres — and performed scripted material.Their male-female partnership and their quick repartee led to comparisons with Nichols and May, who met in the 1950s and whose collection of wry, savvy and satirical improvisations, “An Evening With Mike Nichols and Elaine May,” reached Broadway in October 1960 and ran for 306 performances.Monteith and Rand in performance in Chicago in 1980, a year after they appeared on Broadway.Paul Natkin/Getty ImagesWe 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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    Trump and ‘The Residence’ Share a Fixation on Water Pressure

    Paul William Davies, the creator of “The Residence,” talks about overlapping themes between his series and the actual Trump administration.This week, as the global economy struggled to adjust to whipsawing tariff policies, President Trump signed an executive order to address another national crisis: weak shower head pressure.The order, aimed at reducing bureaucracy and regulation, reverses limits on how much water can pour out of a nozzle per minute, which were implemented by the Obama and Biden administrations in an attempt to conserve water.Mr. Trump, while signing the order, noted that, in particular, he doesn’t appreciate that weak pressure hinders him from getting a good hair wash.“In my case I like to take a nice shower, to take care of my beautiful hair,” he told reporters in the Oval Office on Wednesday. “I have to stand under the shower for 15 minutes until it gets wet. It comes out drip, drip, drip. It’s ridiculous.”Weak shower pressure has been one of Mr. Trump’s longstanding pet peeves. But the whole thing may have sounded familiar — a little too familiar — for anyone who has been watching Netflix’s recent screwball mystery series, “The Residence,” in which President Perry Morgan, played by Paul Fitzgerald, has a similar pet peeve, with a White House usher explaining that he demands “pressure like a fire hose.”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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    From ‘The Last of Us’ to ‘The Walking Dead,’ How Well Do You Know Your Zombies?

    <!–>“We were called contractors … We were cool. Everybody loved contractors.”—Joel Miller–> Victor, a former businessman in “Fear the Walking Dead” Sheila, a former realtor in “Santa Clarita Diet” Joel, a former contractor in “The Last of Us” Glenn, a former pizza delivery guy in “The Walking Dead” Source: Television – nytimes.com More

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    ‘Yellowjackets’ Season 3 Finale Recap: The Wilderness Is Hungry

    The episode finally revealed the full story behind the show’s very first scene. It also revealed even darker truths about Shauna.Season 3, Episode 10: ‘Full Circle’We’ve made it back to the beginning of “Yellowjackets.”The season finale gives us the extended version of the moment that hooked us from the pilot: A dark haired girl running through the snow as she is chased by a group of mask-wearing teens. She falls into a stake-filled pit and dies.Now we know for sure who the deceased is: It’s Mari, as many long suspected. After the survivors decide it is time for another hunt to appease the angry Wilderness, Mari draws the Queen of Hearts. Tai and Van’s attempts to make the newcomer Hannah the target are thwarted by a vindictive Shauna. Mari is the victim of Shauna’s meddling.While some suit up and join the chase without compunction, for others it’s painful to watch, as it is for the viewer. Mari is their close friend and teammate. Gen even tries to distract Tai in order to buy Mari some time. But the conclusion is predictable because we’ve seen it before. Mari dies, her fingers twitching as she bleeds out.Still, this familiar sequence is paired with something completely new, a cliffhanger that reshapes what a fourth season might look like. While Shauna is distracted, Natalie and Hannah outwit her. Hannah disguises herself as Nat, while Nat takes the almost-repaired satellite phone to the highest peak she can find and dials. At first, no one responds. But eventually, as Aerosmith’s “Livin’ on the Edge” cues on the soundtrack, she hears a voice. “I can hear you,” it says.Now there’s a real chance of rescue.Natalie’s moment of heroism, however, contrasts sharply with Shauna’s absolute descent into madness in both timelines. Teen Shauna is drunk on her own power, and it’s hard to know whether she truly believes in the Wilderness or is just out for blood to prove her dominance. Her cruellest moment comes when she demands to have Mari’s hair to affix like a medal to her robes. (She never really liked Mari anyway.)In the present, we get a glimpse into this mentality. Adult Shauna is done trying to bury the past or make apologies for it. It’s a bit of self acceptance that comes in the wake of this week’s other big revelation: Callie is Lottie’s killer, meaning that Shauna is not only a murderer but also the mother of a murderer. (I did not see this one coming at all.)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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    Review: In a Musical Comedy Makeover, ‘Smash’ Lives Up to Its Name

    En route to Broadway, the TV series about backstage shenanigans and Marilyn Monroe has been rejiggered, with the same great songs but a whole new plot.Great musical comedies are great mysteries, and not just because they’re so rare. They’re also mysteries in the way they operate. To succeed, they must keep far ahead of the audience, like thrillers with twists you can’t see coming. They are whodunits with songs instead of murders.“Smash,” which opened on Thursday at the Imperial Theater, is more of a who’ll-do-it, and when the big song comes, it’s a killer. But the effect is the same: It’s the great musical comedy no one saw coming.Or at least I didn’t. In 2012, I enjoyed the first season of the NBC television series, also called “Smash,” on which the musical is based. Its pilot, setting up a competition between two aspiring modern-day actresses to play Marilyn Monroe in a Broadway-bound musical, was terrific fun. But as the weeks wore on, the story becoming soapier and gloppier, the fizz fizzled out. Only the songs, by Marc Shaiman and Scott Wittman, and the dances, by Joshua Bergasse, sparked highs.So I wasn’t sure what to make of the announcement that the material was being retooled for Broadway as a comedy instead of a melodrama. A video of “Let Me Be Your Star,” the thrillingly emotional duet that was the high point of the pilot, left me baffled. Rearranged as a solo at the start of the new show, it sounded all wrong: too cool, too light, with a Las Vegas leer. Was the creative team, led by the director Susan Stroman, planning to fix the property by trashing the few things the series got right?That turned out to be a brilliant feint.The Broadway “Smash” being the kind of mystery I mentioned, I’ll try to be careful about spoilers. But there’s so much to enjoy at the Imperial that I could give away 10, and there would still be 20. In any case, I spoil nothing to say that “Smash” remains the story of a Monroe musical called “Bombshell.” But in this version the actresses are not midlevel hopefuls; rather Ivy Lynn (Robyn Hurder) is already a star, and Karen Cartwright (Caroline Bowman) her longtime understudy. They are not in competition — at first.That changes dramatically when Ivy reads a book about Method acting. No longer content to play a “bubbly, sparkly” Monroe, she insists on giving her character more depth. Even though this is exactly what the creative team has been trying to avoid — a show that wallows in tawdry tragedy — she hires a coach from the Actors Studio, keepers of the Method flame. When this strange, forbidding coach arrives, pushing absurd ideas and amphetamines, “Bombshell” begins to crater.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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    ‘The Pitt’ Is Concerned About Your Health, America

    The Max hospital drama is a TV throwback with an of-the-moment message about systems pushed to the breaking point.Ever have one of those endless days at work? For 15 hours in the Pitt, the emergency room that lends its name to the Max medical drama, a team of doctors and nurses, led by Dr. Michael Robinavitch (Noah Wyle), have been tackling every woe that human frailty and the city of Pittsburgh can throw at them.What do they treat? You name it. Mass-shooting injuries. Overdoses. Problem pregnancies. Heart attacks. Measles.What do they really treat? Despair. The flood of opioids. The lack of insurance. The lack of support networks. Male rage. Rage, in general. The breakdown of the public health system. The breakdown of the public.Over a long, stressful, yet reassuringly competent and entertaining first season, which wrapped up on Thursday, “The Pitt” generated old-school melodrama out of a simple understanding: The E.R. is where people end up when something goes wrong, either with the body individual or with the body politic.And what is wrong with the American corpus? Buddy, take a number; the waiting room is full.If the concerns of “The Pitt” are of-the-moment, its appeal is as old as rabbit-ear antennas. It’s a Big Fat Hospital Show, wringing suspense and jerking tears out of life and death weekly. It is a successor, almost a crypto-sequel, to a specific Big Fat Hospital Show — “ER,” the alma mater of Wyle; the “Pitt” creator, R. Scott Gemmill; and the producer John Wells. (The estate of Michael Crichton, the creator of “ER,” has filed a lawsuit accusing “The Pitt” of being an unauthorized reboot. Warner Bros. Television, the studio that produces “The Pitt,” has called the claims “baseless.”)Three decades ago, “ER” was itself a new spin on a hoary genre, and “The Pitt” shares some of its predecessor’s hallmarks. There’s the adrenaline pace, with the camera chasing doctors and nurses around a fully built-out hospital set. There is the dedication to technical realism. (“Does [show] get [factual detail] right?” is my least favorite standard for judging art, but if that’s your thing, medical professionals give it high marks.) The season even bookends its beginning and ending with scenes on the roof, calling back to the site of several high-drama “ER” moments.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