Eliana Willis

More stories

  • 88 Shares169 Views

    in Theater

    Stars Battle It Out on London Stages

    In West End productions, Jonathan Bailey and Taron Egerton play a fighting couple, and Kit Harington from “Game of Thrones” plays the warrior king in “Henry V.”LONDON — There’s no nudity in “Cock,” the 2009 Mike Bartlett play that opened Tuesday in a starry revival at the Ambassadors Theater here. But by the time its 105 minutes, no intermission, have come to an end, you’ve seen its characters stripped emotionally bare.The play has had quite a trajectory, from its London origins in the Royal Court’s 80-seat studio space to a run in New York (where it had the longer, less provocative title “The Cockfight Play”) and now to a commercial West End perch where tickets are going for three figures — prices you might find for a big musical like “Cabaret.”The show’s director, Marianne Elliott, is a significant force in London theater, and the cast is led by Jonathan Bailey and Taron Egerton, two theater-trained actors more widely known these days onscreen. Bailey came to prominence in the Netflix series “Bridgerton,” while Egerton was a hugely charismatic Elton John in the biopic “Rocketman” and has starred in several of the “Kingsman” films.The play’s author has enjoyed his own ascent. He won acclaim in London and on Broadway for “King Charles III,” which predicts how England’s monarchy might evolve after the queen dies, and has two new plays due in London this spring, one of which, “The 47th,” imagines Donald Trump’s 2024 campaign for the presidency. (That one opens next month at the Old Vic.)“Cock,” by contrast, features no real-life characters. Only one of them gets an actual name: John (Bailey), a young man in crisis as he pivots between the affections of his male partner of seven years, a broker known simply as M (Egerton), and a female teaching assistant, W. After John and W have sex, he begins contemplating a new life.Jade Anouka acquits herself beautifully as the outsider to a gay relationship on the ropes: a woman who asks for courtesy from M and is met with condescension and worse. He dismisses her job in the classroom as “babysitting,” and some of his euphemisms for the female anatomy will raise an eyebrow or two.Bailey and Jade Anouka in “Cock.”Brinkhoff-MoegenburgThis defining trio widens in a climactic dinner party scene to include M’s father, F (a feisty Phil Daniels), who arrives in time for his son’s home-cooked beef and a “goopy” cheesecake that hasn’t gone quite according to plan. Not that we ever see food or, indeed, props of any kind. In keeping with the stripped-back demands of the writing, the action plays out on a curved bare set, designed by Merle Hensel and illuminated from above by the tubular rods of Paule Constable’s lighting.The playbill credits a gender and sexuality consultant to the production, John Mercer, and includes a glossary of “LGBTQ+ terms,” such as “asexual” and “polyamory.” Some of those weren’t much in use when the play was written, but John would probably have rejected them, anyway: Asked repeatedly to decide who, or what, he is, he simply cannot answer, preferring an identity beyond labels.I must confess to wondering midway through whether John was worth all this fuss. If this production is less moving than the Royal Court original, that may owe something to a different emphasis in the casting. In that show, the wraithlike Ben Whishaw fit perfectly with John’s pencil-drawing wiriness as described in the text. A vigorous, muscular Bailey, by contrast, looks more than able to take care of himself, and he brings to the part the same manic energy that distinguished his bravura performance in Elliott’s 2018 West End production of “Company,” for which he won an Olivier.Egerton made headlines early in the show’s run when he fainted during the first preview, but he recovered quickly enough to joke about it on social media. Inheriting a part originated by Andrew Scott, Egerton brings a sad-eyed defensiveness to his role, reminding us that, in British parlance, to make a mess of things is “to cock things up.”Kit Harington in “Henry V,” directed by Max Webster at the Donmar Warehouse.Helen MurrayAnd things get really messy in the play’s final scene. “Off we go into battle,” remarks F as the episode begins. His readiness would be equally at home on the battlefield of “Henry V,” currently lit up by some star wattage of its own through April 9 at the Donmar Warehouse, where the “Game of Thrones” star Kit Harington is in firm command of the challenging title role.Presented in modern dress and with multiple gender flips (as is the Shakespeare norm in London these days), the production charts a neat path between the potential jingoism of a play celebrating England’s military prowess and the dubious aspects of its martial conquests. England’s success comes at sizable cost to France, whose princess, Katherine (Anoushka Lucas), is more or less ordered to be Henry’s bride, without much say in the matter.The play is from the same director, Max Webster, whose show “Life of Pi” received nine Olivier award nominations last week; that adaptation of the Yann Martel novel, still running in London, features inventive puppetry and stagecraft. In “Henry V,” however, the impact comes from the characters, particularly Henry, who abandons his drunken, carousing ways to become a man of war. If Harington finds a compelling ambivalence in the role, that’s because Henry, rather like John in “Cock,” discovers he is a man divided: a sensitive soul whose legacy, he comes to realize, is forever linked to slaughter.Cock. Directed by Marianne Elliott. Ambassadors Theater, through June 4.Henry V. Directed by Max Webster. Donmar Warehouse, through April 9. More

  • 100 Shares179 Views

    in Television

    Trevor Noah: Addressing Congress, Zelensky ‘Knew His Audience’

    Ukraine’s president must have researched American history before his speech, said Noah (who speculated about how it “could have gone very wrong”).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.Target AudiencePresident Volodymyr Zelensky of Ukraine addressed Congress by video link on Wednesday, pleading for more help in his country’s fight against Russia. On “The Daily Show,” Trevor Noah said that “based on his references to American history, it was clear that Zelensky knew his audience.”“Yeah, that’s right, Zelensky brought out all of America’s major moments: ‘I have a dream,’ 9/11, Mount Rushmore. You know he was on Wikipedia last night planning this out: [imitating Zelensky] ‘OK, Pearl Harbor, Boston Tea Party — should I mention Hulk Hogan sex tape, maybe?” — TREVOR NOAH“And by the way, props to him, I mean he knows way more about America than most U.S. senators know about his country. Like, can you imagine how they would sound if they had to give an inspiring speech using Ukrainian history? [imitating U.S. senator] ‘Uh, people of Ukraine, remember the vision of your founder — I want to say Daniel Ukraine?’” — TREVOR NOAH“I’m also impressed that Zelensky was able to dodge so many land mines in his research, because you realize this could have gone very wrong: [imitating Zelensky] ‘And now to 9/11, which as we all know from YouTube was inside job. I see you, Bush.’” — TREVOR NOAH“But Zelensky appealed directly to Congress. He said, ‘We need you right now.’ And Congress was like, ‘Listen, we’d love to help, but we just made daylight saving time permanent and we are wiped out, so.’” — JIMMY KIMMEL“Zelensky asked America to establish a no-fly zone over Ukraine, which we’re reluctant to do because it could result in nuclear war. But we are willing to wear blue and yellow lapel pins at all the awards shows this month, so that’s something, right?” — JIMMY KIMMELThe Punchiest Punchlines (Standing Ovation Edition)“Ukrainian President Volodymyr Zelensky delivered a virtual address to Congress this morning and received a standing ovation, making him the first comedian to actually deserve one.” — SETH MEYERS“I can say with absolute certainty, that’s the warmest reception anyone has ever received on Zoom.” — SETH MEYERS“You know it is powerful when that many old people jump to their feet. There are knees in that room that were alive during the Roosevelt administration.” — STEPHEN COLBERT“He got two standing ovations, which was nice. I think he’d rather get fighter jets, but the standing ovations were good.” — JIMMY KIMMEL“It was bipartisan. Republicans and Democrats stood for him, which is almost impossible. It’s like getting Kim and Kanye to agree on a day care situation — it’s very difficult.” — JIMMY KIMMELThe Bits Worth WatchingOn “The Late Show,” Michael Bublé and Stephen Colbert sang a Canadian sea shanty.What We’re Excited About on Thursday NightNormani will perform her new single on Thursday’s “Tonight Show.”Also, Check This Out“I think we Americans just love lead characters we can root for,” said Feig, who worked on the American adaptation of “The Office.” “We’re too young as a country to be overly cynical yet.”Todd Midler for The New York TimesThe director Paul Feig returns to television with the small-town mockumentary-style comedy series “Welcome to Flatch.” More

  • 138 Shares149 Views

    in Television

    Jussie Smollett to Be Released From Jail On Appeal, Court Orders

    The appellate court ruled that he be released on bond pending his appeal of a judge’s sentence that he serve five months in jail.An Illinois appellate court ruled Wednesday that the actor Jussie Smollett be released from jail on bond pending his appeal of his conviction for falsely reporting that he had been the victim of a hate crime.Mr. Smollett was sentenced last week to five months in jail, but his lawyers quickly asked a panel of judges to stay the sentence while they appealed the conviction.Mr. Smollett’s lawyers had argued in court papers that the sentence should be stayed because his term would likely be finished before his appeal was completed and that being incarcerated threatened his health and safety.Nenye Uche, Mr. Smollett’s lead lawyer, said in a video posted to his client’s Instagram account, “They released him and that says a lot about what the appellate court thinks of this case.”In the six days since Mr. Smollett was taken into custody, his family has been pleading for him to be freed and urging the public to call the county to seek his release.“It’s absolutely ridiculous that he’s in there,” said Jocqui Smollett, one of Mr. Smollett’s brothers, in an Instagram video. “You should be terrified of the precedent this sets.”Prosecutors, who had argued at sentencing that Mr. Smollett’s offense warranted incarceration, wrote in court papers that by the defense’s logic, every short term of imprisonment would be stayed pending appeal.“That simply is not, and cannot be, the rule,” wrote Sean Wieber, one of the prosecutors.Two out of three of the justices on the appellate panel agreed that Mr. Smollett should be released from custody after he posts a $150,000 recognizance bond, agreeing with the defense’s argument about the short sentence and acknowledging that Mr. Smollett’s offense was nonviolent. One justice dissented.Mr. Smollett’s incarceration on Thursday started with his announcement in the courtroom as he was led to jail that he was not suicidal and that if anything happened to him, it would not have been by his own hand, a statement that appeared to put the authorities on notice. He also repeatedly declared his innocence.Judge James B. Linn granted his lawyers’ request for protective custody, and according to the Cook County Sheriff’s Office, Mr. Smollett was being kept in a private cell in the Cook County Jail with security cameras and an officer stationed at the entrance.His family had been arguing on social media that he was the target of “vicious threats” on social media and was at risk. They expressed concerns about his treatment in the jail. Jocqui Smollett said on Tuesday that his brother had been sleeping in a “restraint bed” but had recently been moved to a cell that “actually has a bed.”Mr. Smollett’s appeal is based, in part, on the idea that the actor’s recent sentence violated the legal concept of double jeopardy because he had already surrendered a $10,000 bond and performed some community service in 2019. Prosecutors have argued that those measures were voluntary and not a punishment.The case drew national attention, and Mr. Smollett was initially widely viewed as the victim who had been beaten and targeted with racial and homophobic slurs. Then the police began to question his version of events.At the trial, prosecutors told the jury that Mr. Smollett had instructed two brothers, Abimbola Osundairo and Olabinjo Osundairo, to attack him near his apartment in Chicago, where they placed a rope around his neck like a noose and yelled, “This is MAGA country.”Both brothers testified. Abimbola Osundairo, the younger of the brothers, said Mr. Smollett had asked him to “fake beat him up.”The prosecution’s evidence included video surveillance of the men meeting up for what the brothers said was the “dry run” and Instagram messages from Mr. Smollett to Abimbola Osundairo shortly before the attack in which the actor provided updates on the timing of his flight back to Chicago.The defense disputed that Mr. Smollett had planned the attack, arguing that both the messages and the footage were evidence that he had been interacting with Abimbola Osundairo because he had been providing the actor with fitness training.Mr. Smollett, 39, who in 2019 was best known for starring in the music-industry drama “Empire,” maintained his innocence during the trial.During seven hours of testimony over two days, he insisted that the attack had occurred as he described. But both prosecutors and Judge Linn had cited Mr. Smollett’s testimony as an aggravating factor that led them to pursue incarceration.Judge Linn called Mr. Smollett’s hours on the witness stand, during which he denied planning the attack, “pure perjury.”Bob Chiarito contributed reporting. More

  • 138 Shares189 Views

    in Theater

    ‘Hart Island’ Gives Voice to Stories That Might Otherwise Be Lost

    Tracy Weller’s new multimedia theater piece focuses on those buried in New York City’s potter’s field and the inmates who dug the graves there.What we know about Hart Island, one of the largest mass grave sites in the country, we know from fragments. Fragments of history, memory, testimony.Since the 1800s, this potter’s field in Long Island Sound has been the final resting place for the marginalized, the unidentified and the sick. New York City’s homeless with no next of kin, stillborn babies and victims of epidemics, including yellow fever, tuberculosis, AIDS and Covid-19, have all been buried at the 100-acre cemetery.Until just a few years ago, the city’s Department of Correction used to send inmates from Rikers Island each week to dig trenches and heave pine boxes for 50 cents an hour at the site, half a mile east of the Bronx. That all changed in 2019, after Mayor Bill de Blasio signed a bill to transfer jurisdiction to the Department of Parks and Recreation; penal control of Hart Island officially ended on July 1, 2021.Inmates digging trenches for mass graves at potter’s field on Hart Island as correction oficers keep watch.Department of CorrectionThe story of Hart Island is the story of over one million lives anonymized by time and misfortune. How do you tell the stories of something unknowable, or of someone whose existence may no longer even be a memory?Kristjan Thor and Tracy Weller have found a way in their multimedia production, “Hart Island.” Thor, the director, recounted the vision Weller shared for the play. She said, “‘There are so many stories that need rescuing,’ and I thought it was such a beautiful way to think of it,” he explained. “There are so many stories that could be lost. The aim is to both rescue and revitalize and give voice to those stories,” he said.Several years in the making, “Hart Island” was inspired by an investigation into the mass graves by The New York Times in 2016. After reading it, Weller said, she stood in her kitchen holding the paper in her hand, heart pounding. She said she felt “an imperative” to create a piece of theater that “meditates upon some aspect of this place and the experiences connected to it.”The result, a collaboration with the immersive theater company Mason Holdings, opened this week at the Gym at Judson in Manhattan. With mantra-like narration, distorted audio, flashing visuals and an earthy set, it explores the connections between humans and islands as it aims to animate the loved ones of the buried and the inmates who dug their graves. Nora Cole, seated in the foreground, and Weller, as the narrator, in a recording studio above the stage.Maria BaranovaA mulch-filled lot scattered with memorabilia (a video game controller, a frayed yellow cooler, a tattered life vest) sits center stage, flanked by two ladders that seem to reach up and away from the cemetery, somewhere beyond the graves. A cast of seven tells the story: The narrator (Weller) presents cold, clinical facts (one plot can hold 150 adult corpses — or 1,000 infants), and six somber archetypes provide piecemeal anecdotes — including one about a Rikers correctional officer rallying his detainees for a day trip, another about the nurse of an elderly patient who passed away with no family to bury her and a third about a mother whose newborn died three days after birth.Thor said he was struck that the island was relatively unknown, despite its proximity. “It’s a huge piece of humanity that’s sitting inside of our city that nobody knows about,” he said. “That feels like a tragedy to me.”As the city continues to bury victims of Covid-19, the island’s history holds a mirror to pandemic quandaries of late. How do we isolate the diseased? How do we isolate ourselves from the diseased?Above all, how do we go on?In spring 2020, as Covid-19 overwhelmed morgues, interments on Hart Island increased about fivefold to 120 per week from 25. As many as one in 10 people who died from the virus in New York City may be buried in the mass graves, according to one analysis.Reflecting on the past two years, Weller said, “We know death in a way that we didn’t before; we know isolation in a way that we didn’t before.” She added, “We need to know death. The more we look at death, the more we understand life.”David Samuel and Daniel Kublick digging trenches in the play.Maria BaranovaIt wasn’t until April 2020 that the city began hiring hazard-suit-clad contractors to replace the incarcerated workers. Until that point, inmates exposed to the virus at Rikers could have potentially been digging their own graves — a point that stuck with Weller.The play poses a range of questions, about the dead and the living: among them, why is death an event so many cannot afford? But the backbone of “Hart Island” is the narrator, an actress played by Weller who arrives at an audition for a voice-over job she knows nothing about. She puts on her best smooth jazz radio timbre and falteringly reads a script on the history of New York City’s islands with the precision of a PowerPoint presentation.“In the East River tidal strait where New York Upper Bay, the Long Island Sound and the Harlem River meet, the turbulent convergence of tidal forces is responsible for thousands of shipwrecks and sailor ghosts.”From a recording studio that looms over the set like a guard tower, she calls up dark accounts of Rikers Island (“a troubled place built on troubled land”); Roosevelt Island (“a place of sickness but not necessarily of healing”); Randalls and Wards Islands (“islands of undesirables”), and the accompanying histories of psychiatric compounds, smallpox outbreaks and juvenile correctional facilities. Images of hospitals and penitentiaries flash in succession behind the narration, each fact interspersed with the click of a camera shutter or the blare of a jail cell buzzing to release an inmate.Both the narrator and the audience are left with information overload and a feeling of “‘It’s just too much,’” Thor said.The tale of survival, of coping with being alone, is all too familiar. A haunting line of the narration cuts to the core: “No matter how we might try to bury the past, it somehow always revisits us.” More

  • 125 Shares189 Views

    in Theater

    Margaret Atwood and Others Confront Grief in ‘The Nurse Antigone’

    A dramatic reading by Theater of War Productions will include the author and practicing nurses who have held the front line of the pandemic.It was a tragedy — an ancient Greek tragedy — that brought together three nurses on a Zoom call one night last week.Charlaine Lasse, 55, had rushed home to Bowie, Md., after a 12-hour shift at Johns Hopkins Hospital, propping open her laptop as soon as she got to her dining room table. Also on the call were Amy Smith, 52, a nurse practitioner at Northwell Health-GoHealth Urgent Care in New York who was winding down for the night, and Aliki Argiropoulos, 26, a registered nurse in Baltimore who was studying for an exam.After a few technical hiccups and brief introductions, they slipped into character, pretending to be elders in the city of Thebes.“Oh, Light of the Sun, / more beautiful and / radiant than any rays / that have ever graced / this seven-gated city!” Argiropoulos said, kicking things off.The three women were preparing for “The Nurse Antigone,” a dramatic reading of a translation of Sophocles’ “Antigone” that is to be presented on Zoom on Thursday by Theater of War Productions. It will include famous names like the actors Bill Camp (“The Queen’s Gambit,” “A Long Day’s Journey Into Night”) and Taylor Schilling (“Orange Is the New Black”). The nurses will make up the chorus, though they have no professional acting experience — a fact that they share with one other famous co-star: the author Margaret Atwood.Bryan Doerries, a founder of Theater of War Productions, said he wanted to present a play that specifically shined a light on the grief and anguish of nurses who have held the front line of the pandemic for the last two years. And “Antigone,” he added, touched on many of the themes that nurses around the world would be familiar with today. In the story, Antigone is determined to properly bury her brother — Polynices, the son of the former, disgraced king Oedipus — even though his burial has been forbidden by a decree from the new king, Creon. When she goes ahead and does what she thinks is right anyway, she is ordered to be buried alive.“It’s a play about not being able to live up to your own standards of care and about deferred grief, which I think is the moral injury of the pandemic,” Doerries explained. “It’s an injury that has been visited upon nurses, not just because they lost their own because of their profession, but because they were also proxy family members for people in isolation.”Clockwise from top left, Amy Smith, Charlaine Lasse and Aliki Argiropoulos.Theater of War ProductionsWhile most of the professional actors in this play have worked with Doerries on earlier projects, the addition of Atwood, who is portraying the blind prophet Tiresias, a character that pops up in several of Sophocles’ tragedies first as a man and then as a woman, was a fresh, last-minute addition. When the role opened up, Doerries said he turned to Atwood, who knows a thing or two about prophetic work. Her work, like “The Handmaid’s Tale,” “just seems so prescient,” he said. “One could see a Gilead easily emerging from the current climate.”It wasn’t a hard sell. She responded to Doerries over email. “You want me to play an old, blind transgender prophet? That’s a dream come true!” he recalled her writing.“We have a great admiration for nurses, and you just say yes to these things,” Atwood said later, during a call from her home in Toronto. “It’s like giving blood — you don’t say, ‘Well, on the one hand … and on the other.’”The actors, both professional and nonprofessional, will not be wearing costumes (an attempt by Doerries to keep things unpolished and raw) — except for Atwood, who is the only one who needs some indicator that her character is blind. Days before the performance, she was contemplating a hooded cape that covered most of her face and possibly a pair of skeleton gloves.The reading, which will be performed virtually and is the first in a yearlong initiative of 12 performances in collaboration with different nursing organizations around the country, comes about two years after the World Health Organization declared Covid-19 a pandemic. It’s a crisis that has left frontline medical workers so exhausted and traumatized that they are quitting their jobs in droves. And a recent survey of thousands of nurses by the American Association of Critical-Care Nurses found that 66 percent considered leaving their posts because of their experiences during the pandemic.“Nurses talk about how in the beginning everybody was clapping and cheering and calling us heroes,” said Cynda Rushton, a leader in clinical ethics who teaches at Johns Hopkins Berman Institute of Bioethics and at Johns Hopkins School of Nursing, who helped Doerries recruit nurses for the play. “But then as time has gone on and you think about the social unrest, the political divide, the anger that has developed in response to the pandemic, nurses — as the people who are closest to the patient — have been the recipient of that anger or that violence and frustration.”Theater of War Productions was founded in 2008 to take community-based performances of Greek tragedies to military bases, hospitals and other venues to help active service members and veterans, as well as their spouses and other military-adjacent workers, process and share war trauma. In the 14 years since its founding, the group has expanded its mission beyond military circles to other communities in crisis: the homeless, the incarcerated and survivors of addiction, abuse, natural disaster or racial violence.During the pandemic — as people across socioeconomic, racial and geographic lines were thrust into crisis, grief, isolation and sickness — Theater of War Productions pivoted to performances on Zoom, many exploring the “moral suffering of frontline health care workers,” Doerries said.Bryan Doerries, center bottom, with, clockwise from top left: Marjolaine Goldsmith, Frances McDormand, David Strathairn, Nyasha Hatendi and Frankie Faison in a reading Sophocles’ works in 2021.Theater of War ProductionsIn May 2020, the group presented a virtual reading of “Oedipus the King,” starring Oscar Isaac as Oedipus, as well as Frances McDormand, John Turturro and Jeffrey Wright. More than 15,000 people tuned in that night, Doerries said.For that production, Doerries worked with Rushton to find professionals to act in the virtual productions and participate in the post-performance panels. But the pandemic series has mostly centered on physicians. After that first performance on Zoom, Rushton proposed focusing solely on nurses.“I just kept at it like a little chihuahua on your heels, saying, ‘Bryan, the nurses! The nurses!’ We have to find a way to give voice to that experience.”After the “Antigone” reading, which will be broadcast live to groups of gathered nurses across the country, the actors will be removed from the screen. Lasse, Smith and Argiropoulos will remain to participate in a discussion with three other nurses and to engage with the audience.Smith, who works in emergency medical care, had worked with Doerries in February as a panelist. Returning as an actor, she said, felt like an opportunity to finally process some of the emotions and themes that she and nurses across the world have been too busy to tackle. “A lot of us, especially in nursing, have to keep moving,” Smith said. “There’s no time to stop and say, ‘Hey, let’s reflect on what just happened.’”“Hopefully, the play is healing for people,” she said. More

  • 150 Shares199 Views

    in Theater

    Review: In ‘Book of Mountains & Seas,’ Puppets Embark on Mythic Quests

    Huang Ruo and Basil Twist’s new choral-theater piece at St. Ann’s Warehouse borrows from traditional Chinese tales.The giant is immense and craggy-limbed, like some primordial creature hewed from the earth or forged from lava. His name is Kua Fu, and in Huang Ruo and Basil Twist’s new choral-theater piece “Book of Mountains & Seas” he is a puppet, towering above his team of puppeteers. When thirst strikes, he lies prostrate to lap up a whole river of white silk, which slips down his gullet and disappears.This is splendid puppetry, imbued with poignancy and the pulsing, drum-driven drama of mythic quest. A figure from Chinese legend, Kua Fu desires one thing above all, and he will chase it as far as he has to: He wants to capture the sun.We should be rooting against him, then, if we want the planet to survive. But at St. Ann’s Warehouse on Tuesday night, as “Book of Mountains & Seas” made its American premiere, I found myself solidly on Kua Fu’s side — and feeling consequently like I had aligned my sympathies with Thanos, the ultra-bad guy in Marvel’s “Avengers” movies, which also borrow from mythology to tap into something ancient in us.Originally scheduled for January at the now-postponed Prototype festival, “Book of Mountains & Seas” is the aesthetic opposite of that blockbuster film franchise — live and handmade, harnessing the power of music, puppetry and human gathering. With a dozen choral singers from the Choir of Trinity Wall Street, two percussionists and six puppeteers — excellent, all — the show retells four Chinese tales borrowed from “Shanhaijing,” a text that is often called in English “The Classic of Mountains and Seas.”If you’re not already versed in those legends, or fluent in Chinese, you may be lost if you don’t read up on them in advance. The physical program provides two pages of clear, concise synopses. Presented by St. Ann’s Warehouse and Beth Morrison Projects, the performance is sung half in Mandarin and half in a language of the composer-conductor-librettist Huang Ruo’s invention, without English supertitles. Projected Chinese titles give the full text of the stories, but the English text is much briefer — occasional plot updates that generally do the trick if you’ve absorbed those program notes.For non-Mandarin speakers, it makes for an impressionistic experience, your mind allowed to drift a bit as the vocal tones wash over you. Huang Ruo has said that the combination of song and percussion is as old as humankind, and certainly it feels that way in the first slender myth, about the birth of Pan Gu, who created the world: Out of the primal darkness come the voices, and softly lit faces, of the singers, with percussion sounding from both sides.Twist, the production’s director and designer, keeps the puppetry minimal in that opening scene, but the pieces he uses to make Pan Gu’s enormous visage — rice-paper lanterns; large, rough pieces of what look like driftwood or fossils or bones — recur throughout the evening. They are building blocks of this show’s world.The performance is sung half in Chinese and half in a language of the composer-conductor-librettist Huang Ruo’s invention.Sara Krulwich/The New York TimesThe second myth, “The Spirit Bird,” is about a princess who drowns, transforms into a bird and becomes consumed with her attempt to get revenge on the ocean. But the puppetry — a silken bird, a silken sky that becomes a silken sea — is too simple in its repetition. When an undulating sea creature (made of those driftwood-like bits) swims by, the variety is welcome.This is also the one section of the show where the precision of Ayumu Poe Saegusa’s otherwise extraordinarily meticulous lighting gives way, allowing an errant shadow — of a singer, possibly? — to break the illusion of the ocean.The last two myths are where “Book of Mountains & Seas” gets exciting. That’s partly because they, unlike the others, have built-in drama There is no conflict in the creation of the world, and the fight between the princess and the sea feels nebulous. But “The Ten Suns” and “Kua Fu Chasing the Sun” have stakes.Sara Krulwich/The New York TimesHow is it that the 10 puppet suns — rice-paper lanterns bobbing high in the air on long, slender stalks — are quite so charming and mesmeric? Glowing cherry-red when they first appear one by one, they are a happy band of siblings who share the duty of lighting the planet. Their fatal error is to go out together one day, which wreaks disaster. Twist makes it a menacing confrontation, with the suns aggressively approaching the audience — the show’s one real echo of climate change. Yet when nine of the suns are killed to save the Earth (the program, too, gives this away), the music and the moment have a mournful beauty.The pièce de résistance, though, is the appearance of Kua Fu, the giant we see awakening in the final myth. Never would anyone confuse this stony-looking creature with the mammoth King Kong puppet we saw on Broadway, yet as Kua Fu looks around, getting his bearings, that’s exactly who he resembles.With propulsive, high-tension music to match his urgency, Kua Fu runs in place at center stage, as the sun, a rice-paper lantern, moves around him, out of his long arms’ reach. It is mysteriously gripping: this huge, wordless being so filled with longing for what he cannot and should not have; this giant who, if he keeps going, will drink all of the fresh water of the Earth.He fails in his quest, of course; the program tells you that as well. But here the projected English text, at least, hedges a bit. Because in the legend, when Kua Fu dies, forests of peach blossom trees grow from his walking stick.The puppet has no walking stick, and no puppet peach blossom trees grow. But wouldn’t they have been magnificent?Book of Mountains & SeasThrough March 20 at St. Ann’s Warehouse, Brooklyn; stannswarehouse.org. Running time: 1 hour 15 minutes. More

  • 125 Shares189 Views

    in Television

    Late Night Is Wowed by the Senate Actually Doing Something

    “Various politicians have been trying to do this for years but they kept getting clock blocked,” Jimmy Kimmel said of the Sunshine Protection Act, which passed Tuesday in the Senate.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.Time Stands StillOn Tuesday, the Senate unanimously passed legislation making daylight saving time permanent.Jimmy Kimmel said in his monologue that he was “especially proud to be an American today.”“We finally agreed on something,” he said. “An idea that every sane American can get behind: that the sun shall never again set at lunchtime on Christmas Day, and may God bless us, every one.”“I have to say, this is a day that I’ve been waiting for almost my whole adult life: Something finally happened.” — JIMMY KIMMEL“The United States Senate today voted across party lines to make daylight saving time permanent, meaning we may never have to change the clock on the microwave again!” — JIMMY KIMMEL“Various politicians have been trying to do this for years but they kept getting clock blocked.” — JIMMY KIMMEL“When was the last time anything got a unanimous vote in the Senate? They couldn’t even agree unanimously to condemn Asian American hate crimes. Josh Hawley was like, ‘Let’s not rush into anything.” — JIMMY KIMMEL“Senator Marco Rubio of Florida, a Republican, was the lead sponsor of the bill. He said there’s ‘strong science’ behind it that is now showing and making people aware of the harm that clock-switching has. Well, good for you, Marco. Wait until you find out about all the other things that have strong science behind them. You’re going to be amazed. It’s going to be big for you.” — JIMMY KIMMELThe Punchiest Punchlines (Sunshine Protection Act Edition)“Today the Senate unanimously passed a bill to make daylight saving time permanent. Oh yes! I don’t think people were this happy when Pfizer announced they had a vaccine.” — JIMMY FALLON“They’re calling it the Sunshine Protection Act, which is actually my favorite Maroon 5 album.” — JAMES CORDEN“Today everyone in the Senate was like, ‘What happens now? We’ve never passed a bill before — this is weird.’” — JIMMY FALLON“Meanwhile, every wall clock said, ‘But that’s the only time you ever touch me.’” — JIMMY FALLONThe Bits Worth WatchingAmber Ruffin addressed Naomi Osaka’s heckler on Tuesday’s “Late Night with Seth Meyers.”What We’re Excited About on Wednesday NightQuinta Brunson, the creator and star of the ABC hit comedy “Abbott Elementary,” will appear on Wednesday’s “Daily Show.”Also, Check This OutJesse Williams is playing a superstar baseball player who comes out as gay in the Broadway revival of “Take Me Out.”Sabrina Santiago for The New York TimesThe “Grey’s Anatomy” star Jesse Williams is making his Broadway debut in the revival of the baseball musical “Take Me Out.” More

  • 138 Shares189 Views

    in Television

    Streaming Companies Are Looking to Britain for Studios to Meet Demand

    Netflix, Amazon Prime and other studios are snapping up soundstages in Britain and building more, drawn by an experienced labor pool and alluring tax incentives.LIVERPOOL, England — For two decades, the Littlewoods building in Liverpool, a long, low-slung and cavernous space built to house a betting and mail-order company in the 1930s, sat abandoned. No one wanted to take on this crumbling hulk looming on the outskirts of the city.Until Lynn Saunders. She is the driving force to make it the center of Liverpool’s first film and TV studio complex.“It’s a beast of a site,” said Ms. Saunders, the head of the Liverpool Film Office. It had been too intimidating for most prospective buyers. But amid a boom in TV and film production in Britain, Littlewoods Studios is now one of at least two dozen major plans to build or expand studio space across Britain.Streaming platforms like Netflix, Disney+ and Amazon Prime Video are racing to meet insatiable demand for content and have chosen Britain as their location to make it, countering the malaise of overall investment in the nation since it voted to leave the European Union. In 2021, a record 5.6 billion pounds ($7.4 billion) was spent on film and high-end TV productions in Britain, nearly 30 percent more than the previous high in 2019, according to the British Film Institute. More than 80 percent of that money was coming ashore from American studios or other foreign productions.Lynn Saunders, the head of the Liverpool Film Office, hopes that adding studios will keep productions in town and stimulate the local economy.Francesca Jones for The New York TimesAssured that there is no imminent end to the desire for binge-worthy shows and movies, studios, property developers and local authorities are rushing to build more production space. Blackstone, the world’s largest private equity company, and Hudson Pacific Properties, the owner of Sunset Studios, which include the former homes of Columbia Pictures and Warner Bros. off Sunset Boulevard in Hollywood, have said they will invest £700 million to build the first Sunset Studios facility outside Los Angeles, just north of London. With 21 soundstages, it will be larger than any of its Hollywood studios.“There is just such a massive need to produce content in markets that already have infrastructure,” said Victor Coleman, the chairman and chief executive of Hudson Pacific Properties. “And the infrastructure is not necessarily just the facilities but it’s also the talent both in front and behind the camera.”The once-abandoned Littlewoods building in Liverpool. The site is now one of about a dozen major plans to build or expand studio space across Britain.Francesca Jones for The New York TimesThe early “Star Wars” films and 10 years’ worth of Harry Potter movies helped Britain get here. Film productions were attracted by experienced labor and visual effects companies and, critically, generous tax breaks. In 2013, the incentives were extended to TV productions that cost more than £1 million per broadcast hour — so-called high-end TV series, like “The Crown” and “Game of Thrones.” In recent years, productions were offered a 25 percent cash rebate on qualifying expenditures, such as visual effects done in Britain. In the 2020-21 fiscal year, tax breaks for film, TV, video games, children’s television and animation exceeded £1.2 billion.In Britain, film gets a level of government attention that other creative industries, such as live theater, can only dream of.“I would not like to contemplate the loss of the tax incentive,” said Ben Roberts, the chief executive of the British Film Institute. Without it, Britain would become immediately uncompetitive, he added.Most of the growth in production in Britain comes from big-budget TV shows, a staple of streaming channels. Last year, 211 high-end TV productions filmed in Britain, such as “Ted Lasso” and “Good Omens,” and fewer than half of them were produced solely by British companies, according to the British Film Institute. Compared with 2019, the amount spent jumped by 85 percent to £4.1 billion.Buildings and streets in Liverpool were transformed into Gotham City for the filming of “The Batman.”Jonathan Olley/Warner Bros.St. George’s Hall in Liverpool was used in “The Batman.”Francesca Jones for The New York TimesA scene shows Batman jumping off the Liver building, in front of its clock.Francesca Jones for The New York TimesLiverpool already claims to be the second-most-filmed-in city in Britain after London. For a few weeks in late 2020, its streets became Gotham City for “The Batman,” and for years shows, including “Peaky Blinders,” have been shot there. The local authority is courting more TV shows by building four smaller studios.Property developers announced the plan for Littlewoods Studios in early 2018, but the grand ambitions were pushed off course a few months later by a fire in the building. Not wanting to miss out on the rising demand, Ms. Saunders convinced the City Council to spend £3 million building two soundstages adjacent to the site. They opened in October.And then at the end of last year, £8 million in public funding was approved for remedial work on the Littlewoods building to create two more sound stages. Ms. Saunders hopes that adding studios will keep productions in town for longer — occupying hotel rooms, ordering from restaurants and employing local people. The film office has also started investing in productions — so far to the tune of £2 million in six TV shows.Britain is already the largest production location for Netflix outside the United States and Canada. While plenty is filmed on location — such as “Bridgerton,” in Bath, and “Sex Education,” in Wales — Netflix committed to a permanent home in 2019 at the Pinewood Group’s Shepperton Studios in Surrey, just southwest of London, where “Dr. Strangelove” and “Oliver!” were made decades ago. Shepperton is now expanding, aiming to double the number of its soundstages to 31 by 2023, and Netflix plans to occupy much of that new space.“Ted Lasso” was one of 211 high-end TV productions filmed in Britain last year.Colin Hutton/Apple TV+, via Associated PressBut the descent of American streamers on British shores has brought its challenges, too. The industry is rife with stories of production crews leaving jobs for higher-paying gigs, long waits for studios and production costs that outpace inflation.Anna Mallett, Netflix’s vice president of physical production for the U.K., Europe, Middle East and Africa, resists the idea that the streamer’s voracious expansion is squeezing others out of studio space.“I do think there is enough for everyone,” she said. “There’s over six million square feet of production space coming onto the market in the next couple of years.”Amazon plans to move in next door. Last month, Prime Video agreed to lease 450,000 square feet in the new development at Shepperton Studios, including nine soundstages. The streaming service sent a ripple of excitement through Britain last year when it announced that it would film the second season of its “Lord of the Rings” series, “The Rings of Power,” in the country. It will move from New Zealand to the dismay of that country’s officials, who over two decades have offered hundreds of millions of dollars in financial incentives to the franchise.By 2023, Warner Bros. hopes to be underway with its plans to add 50 percent more soundstage space to its studios northwest of London.Warner Bros. was the first major Hollywood studio to set up a permanent location in Britain when it bought in 2010 the Leavesden studios, where it made Harry Potter.“It was a pretty huge leap for Warners to make that investment,” said Emily Stillman, the head of studio operations at Leavesden. After years of piecemeal expansion, the new development, if it gets planning approval, will be the studio’s biggest investment at the site.Away from more renowned studios surrounding London, there is hope that the production boom can bring job opportunities and investment to overlooked areas in Britain. New studios are being constructed out of an old industrial space in Dagenham, in east London, an area once synonymous with the manufacture of Ford cars in the 20th century. In Bristol, the local authority is investing £12 million to add three more soundstages to Bottle Yard Studios in an area that is economically struggling, said Laura Aviles, the head of the Bristol Film Office.A guide leading a tour of filiming areas in Liverpool, which are rapidly expanding as the industry invests in Britain.Francesca Jones for The New York Times“It’s been a struggle” to regenerate the area, she said, “and there are a lot of young people there who could be third-generation unemployed who have struggled to get into work.” The expansion will hopefully entice other businesses to the area.There is a risk that all this demand for studio space could become a blessing and a curse. Despite the skilled work force in the field, there are real concerns about whether Britain can train enough production crew and fill the associated roles to populate all this new studio space. The industry has committed millions of pounds to rapid training programs. Industry leaders hope to bring more people into the field and break the stereotype that the work — most of it freelance — is exclusively for the well off and well connected. This month, Prime Video said it would spend £10 million to fund courses in Britain focused on increasing diversity in the industry and positions in Prime Video-commissioned productions.And there is the fear that smaller independent productions by British filmmakers, who can’t as readily use debt to finance an expansion, will be left behind in this boom. Just 16 percent of the money spent on high-end TV shows in Britain last year went to solely domestic productions.The level of foreign investment “does run the risk of challenging the indigenous, independent sector in terms of its ability to retain talent, crew up, get finance, hire space, use locations,” Mr. Roberts of the British Film Institute said. “We are really alert to that not feeling like a squeeze too far.” More