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    Dominique Morisseau Asks: ‘What Does Freedom Look Like Now?’

    Her new play, “Confederates,” straddles two eras, exploring what liberation means to a present-day academic and an enslaved woman in the 1860s.In 2016, Penumbra Theater and the Oregon Shakespeare Festival commissioned Dominique Morisseau to write a play as part of the American Revolutions: the United States History Cycle. The remit: to create a work about the Black experience of the Civil War.Morisseau had one question: “What were the Black women doing?”“Confederates,” her new play at the Signature Theater, is one answer. Toggling between the present day and the 1860s, the play — now in previews, with a premiere on March 27 — follows Sandra, a superstar academic played by Michelle Wilson, and Sara (Kristolyn Lloyd), an enslaved woman who spies for the Union Army. While the title evokes the Confederacy, it also teases a bond between the two women.“This is what it means to be at this institution,” Sandra says. “To know deep in your core that there will never be justice for you here.”From left: Andrea Patterson, Kristolyn Lloyd and Elijah Jones in “Confederates,” opening March 27 at the Signature Theater in Manhattan.Sara Krulwich/The New York TimesSara echoes her: “This what it means to be in a peculiar institution. Under its boot, everybody yo’ enemy.”Even as “Confederates” evokes dramatic works as varied as Branden Jacobs-Jenkins’s postmodern drama “An Octoroon,” Adrienne Kennedy’s devastating tragedy “The Ohio State Murders” and David Mamet’s academic two-hander “Oleanna,” Morisseau renders each scene in her distinctive empathetic, tragicomic style.Rather than focusing on oppression, the play explores Black women’s agency and the different forms that liberation can take from one era to the next.“Getting free in the past, it’s just getting free,” Morisseau said. “Like, you’re literally in bondage. Getting free in the present is a very different thing. What does freedom look like now?”Morisseau was speaking from an apartment in Midtown Manhattan, near both the Signature and Broadway’s Samuel J. Friedman Theater, where her play “Skeleton Crew,” part of a trilogy of works set in her native Detroit, recently wrapped. Her 15-month-old son napped in the next room.During a 90-minute video call, she discussed “Confederates,” which will also be presented at the Oregon Shakespeare Festival in August, as well as microaggressions, macroaggressions and what empowerment looks like for her. These are edited excerpts from the conversation.In “Confederates,” Sandra and Sara are living about 160 years apart. What joins them?They’re united in the history of Black women fighting for freedom. They’re united in being the most socially expendable.Sandra, the professor, is subject to frequent microaggressions. For Sara, the enslaved woman, the danger is physical and more overt. Do you understand these threats as related?The kind of racism that Sara experiences — you could be hanged, you could be dragged, you could be murdered — that overt racism is not most people’s experience of racism. There is the kind of racism that breaks the body, that attacks the body. Then there’s the other kind that kills the spirit. The one I engage with the most often is the latter. But the micro always leads to the macro. Microaggressions lead into aggressive actions.Eventually, all of these are harmful and deadly.In your research, did you find many examples of Black women spying for the Union?I did not find lots of examples. I would find little pieces. Those kinds of stories are under-told. But they tell me that we were not passive. We were never passive.Brandon J. Dirden and Phylicia Rashad in Morisseau’s “Skeleton Crew,” whose run just ended at the Samuel J. Friedman Theater.Sara Krulwich/The New York TimesYou have written plays set in the 1940s, the 1950s, the 1960s, the ’00s. Did you know that you would eventually write about the 1860s?I never thought about it, to be honest. When I was approached to specifically write about this era, I said to myself, I don’t want to just write about slavery. That’s not what I’m interested in. I am, however, interested in Post Traumatic Slave Syndrome, the phrase coined by Dr. Joy DeGruy, which is the impact of being descendants of the enslaved and the traumas that have happened since, without treatment or healing.When you accepted the commission, were there certain stories or stereotypes that you wanted to avoid?I didn’t want to show defeat or agreement with the enslaved culture. There is no agreement.As an undergraduate, did you experience institutional racism?My experience at school taught me that no one’s here to protect me. There’s no agency for me here. I’m going to have to do for me in school, if I want to not be squashed, if I want to see myself as an artist.Theater can also be a racist space. I remember an essay you wrote in 2015 about white privilege, with the headline: “Why I Almost Slapped a Fellow Theater Patron, and What That Says About Our Theaters.” Has theater changed since then?I have actively worked to shift that culture at least around my own work. I have a Playwright’s Rules of Engagement insert that I put inside the program of every show that I do. Because I was policed for my own laughter. [The insert includes instructions such as, “You are allowed to laugh audibly” and “This can be church for some of us, and testifying is allowed.”]I have seen attempts to diversify boards, to have a wider outreach to donors. Then there’s the bottom-up approach: I would like to see more artists taking more agency over themselves and their art. There’s a culture of silence that has been perpetuated. There’s this feeling of expendability that artists get. Like, you cannot speak up, because you will then not have jobs anymore. And that’s crazy.“There are young artists looking at me, watching me. I’m trying to bring up those artists,” Morisseau said, referring to efforts she’s made to counter harmful behavior in the industry.Lanna Apisukh for The New York TimesLate last year, you spoke up. You pulled your play “Paradise Blue” from the Geffen Playhouse, saying that Black women who worked on the show had been “verbally abused and diminished.” What empowered you to do that?I’ve always been an activist. I just inherently have not ever been OK with things that aren’t right. What made me feel even more empowered in this moment is that I am now visible. And there are young artists looking at me, watching me. I’m trying to bring up those artists. So there is not a chance in hell that I can watch harmful behavior happen and be unaccountable. I will not write about Black women being harmed and learning to take agency for themselves — that’s what “Paradise Blue” is about — I’m not going to have that onstage and the opposite happening for them offstage.I’m not trying to create a culture of people pulling their plays. This is one of the hardest decisions you should have to make as a playwright. It was brutal. It was exhausting for me. I never want to have to do that again.Before the pandemic you made your Broadway debut, writing the book for “Ain’t Too Proud.” Did that change anything for you?“Ain’t Too Proud” happened, a MacArthur happened, quite a few things happened, right at the same time. It’s brought more faith about me as an artist from institutions. I don’t know if I’m a safe bet. I don’t think I’m a safe bet. But I’m worthy of a bet in general. I’m enough of an interesting voice. I’m definitely asked to write more musicals.And what did it mean to have “Skeleton Crew” move to Broadway?With Broadway comes more resources behind your work. I remember when I first saw “Ain’t Too Proud” staged, I was like, everybody deserves all those resources behind their imaginations, just once in their life. To be able to get it twice in my life is amazing.“Skeleton Crew” will always be one of my favorites because I know where it came from. I know where I was when I wrote it and I know who I wrote it for. The biggest thing for me, as a Detroiter, is to make Detroit visible. We had Detroit night on Broadway. It was like a family reunion up in there. It was the most Detroit behavior I’ve ever seen on Broadway. It was epic. More

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    ‘This Space Between Us’ Review: A Do-Gooder Faces a Chorus of Resistance

    Peter Gil-Sheridan’s comedy for Keen Company raises a range of topical issues but fails to cover new ground.Liberals are often criticized for their hand-wringing and failure to walk the walk. But the progressive lawyer at the center of Peter Gil-Sheridan’s “This Space Between Us” intends to lead a life of purpose. “Maybe we could all stand to feel a little more guilty,” he says, without telling us exactly why.His career move from cushy corporate job to international aid work, which rattles his loved ones, could be a compelling, if familiar, indictment of modern-day complacency. But there is neither urgency nor bite in the fallout of his decision, which the playwright uses as a jumping-off point for tired topical debates that rarely get off the ground.“This Space Between Us,” an occasionally amusing but stalled new comedy that opened on Wednesday night at Theater Row, begins, ironically enough, at the races, where Jamie (Ryan Garbayo) delivers the news to his family. His dad (Anthony Ruiz), a conservative Cuban immigrant whose small business recently went bankrupt, doesn’t get how Jamie could give up easy money. Neither does his mom (Joyce Cohen), who says that if they fall on hard times she and her husband may have to work at Home Depot to get by without his help. His boyfriend, Ted (Tommy Heleringer), and his best friend Gillian (Alex Chester) selfishly don’t want to lose him when he is ultimately relocated to Nairobi. His aunt Pat (Glynis Bell), both supportive and wise, tells him to go with God (she’s a nun).Subsequent scenes offer different contexts for clashing opinions, mostly cross-generational, about what people are allowed to say these days and why others might be offended. The play’s title largely seems to refer to the gap in understanding that widens as history barrels forward and people scramble to keep up.“I’m from another time,” Jamie’s father says as he tinkers with his broken watch. “Why doesn’t anyone know how to laugh anymore?”Various points of view collide but these moments fail to generate tension or momentum. Ted is hospitalized with a bad cold, seemingly for the sake of revealing to Jamie’s family that Ted is H.I.V. positive, and explaining what it means that his viral load is undetectable. Jamie and Gillian, who are both mixed race, briefly argue about what it means to pass as white but not identify with white culture. Sister Pat is made to answer for the homophobia of the Roman Catholic Church.All the while, Jamie’s motivation for changing careers doesn’t seem to get much deeper than his vague desire to do good. He even goes as far as to ask, in so many words, how anyone could throw a party when there are people starving in Africa, the continent often serving here as a stand-in for global misfortunes.This Keen Company production, directed by its artistic director, Jonathan Silverstein, is pleasantly modest but almost too straightforward. Though the furniture changes, one hulking constant is a racetrack scoreboard that spans the back of the stage, limiting an already tight playing space with a too obvious metaphor. (The set design is by Steven Kemp.) Between scenes, chyrons on the scoreboard display an assortment of headlines — a natural disaster in Bangladesh, racist remarks from Mitch McConnell — that contribute to the generalized atmosphere of bad news.The theater sporadically goes dark as Jamie is spotlighted mid-action, looking out at the audience to the sound of a heart beating (lighting design is by Daisy Long, sound by Luqman Brown). It’s a play for drama and connection, for the audience to identify with someone who’s voiced a general dissatisfaction with the status quo.But real-world problems, overwhelming as they may be, have stakes, specificity and individual flavor. Bridging the space between us takes not just naming, but inhabiting them.This Space Between UsThrough April 2 at Theater Row, Manhattan; bfany.org. Running time: 1 hour 40 minutes. More

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    ‘Star Trek: Picard’ Recap: Q Is the Worst Friend Ever

    Everyone’s favorite omnipotent being is back to reveal yet another alternate universe. But this time, he’s not giving out an education.Season 2, Episode 2: ‘Penance’“Show them a world of their own making and they ask you what you’ve done,” John de Lancie’s Q asks Jean-Luc Picard at the top of the second episode of this season’s “Picard.”This has been the modus operandi of our favorite omnipotent being who has long toyed with Picard as his guinea pig. Q causes a significant disruption, but it’s mostly to teach pitiful humans a stern lesson and get some yuks while doing it. This version of Q seems angrier — even slapping Picard in the face once, which seems a bit out of character, but this is Gritty Trek. (Recall that when Q appears in “Deep Space Nine,” Captain Sisko punches him in the face, which shocks Q, because he can’t conceive of one of his playthings turning to violence.)Q says that this time, he’s not giving out an education.“This is not a lesson,” Q barks. “It’s a penance.”A quick digression: Picard tells Q that he’s too old for his, you know, stuff. There’s a lingering issue from the first season of “Picard” that bothers me. It’s that Picard isn’t actually too old for anything. He’s no longer human. You might remember that Picard died last season! Then he woke up as some sort of aging synthetic being. This is the danger in messing with audience expectations with a fake death. There’s always a technological out for Picard, so he’s never really in any danger. That precedent the show has set for itself will affect the dramatic tension going forward.That doesn’t mean it can’t work. Spock died in “Wrath of Khan” and was brought back to life in the next movie. He remained a compelling character for several more films.In this case, Q places Picard and the rest of his friends in what initially appears to be a Mirror Universe, but turns out to be an altered reality. Several “Trek” franchises have taken on the Mirror Universe, but Picard’s “Next Generation” was never one of them.It’s not, however, the first time Q has revealed an alternate reality to Picard. In the “Next Generation” episode “Tapestry,” Q shows Picard that if a younger version of him hadn’t taken risks, he would have been unsatisfied for the rest of his life. There was also the series finale of “The Next Generation,” where Q goads Picard into creating an anomaly across several different timelines as part of the trial of humanity. Someone please get Q a job or a show to binge watch, for the galaxy’s sake.The stakes in this reality, though, are much higher. Q shows Picard a world in which the Federation were bloodthirsty conquerors. There’s even a Museum of Conquest! We see the remains of some classic “Trek” characters, like Gul Dukat, General Martok and Sarek — all apparently murdered by a Confederation force led by Picard, who wants a “pure” world according a recording of a speech. Subtle!“This is the only life you understand,” Q tells Picard. But maybe Q is crankier than usual because, as Picard points out, he’s not well.It’s not clear what exactly Q is trying to show Picard, because Picard has never been particularly violent. For the most part, he’s always tried to find peaceful solutions. But “Trek” has never shied away from politics. The parallels between white nationalists who have been in the news in the past few years and what Evil Picard describes is apparent. Separately, it hardly seems incidental that the Eradication Day rally near the end of the episode recalls rallies led by former president Donald J. Trump, complete with the crowd chanting Picard’s name.Seven of Nine is married and the leader of the Confederation. (Hey, at least she got a promotion.) Rios is a colonel. Elnor is a rebel. Raffi is somewhere in between. Jurati runs the “eradication” process — and has a digital cat named after Data’s, Spot. She deduces that there’s been a corruption in the timeline. One wonders if Whoopi Goldberg’s Guinan will make another appearance this season, since Guinan and Q have their own history.Elnor’s appearance gave me a chuckle because when he appears in the new reality, he is 100 percent on board with the uprising, despite not knowing anything about it or why he is there to begin with. This pretty much fits with his character. He has a keen moral sense, regardless of how much information he has.The Borg Queen made the trip, too. She tells Picard that one single decision made in 2024 had lasting consequences for the entire galaxy. (I wonder if there’s something happening in our 2024 that the show is alluding to!) Incidentally, Q is the entire reason that the Enterprise ever encountered the Borg to begin with, so thanks for that, man.A weird moment comes when Picard is deducing ways to go back in time and mentions that Kirk’s Enterprise did it “on more than one occasion.” Why didn’t he mention that his own Enterprise went back in time in “First Contact,” the best “Next Generation” movie?The occasional head-scratcher aside, the first two chapters of this season have been ambitious and compelling. It’s good to see Picard can still handle a phaser. The episode ends with Seven of Nine’s faux husband discovering that Picard’s merry band is too merry for this timeline. He fell in love with Seven’s cruelty, not her compassion! His idea of date night is genocide, which must’ve made for an interesting Bumble profile.’ More

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    Onstage, the French Election Is a Landslide Win for Cynicism

    As the presidential vote approaches, theaters and comedy venues are addressing the campaign. Many shows reach a similar conclusion: Don’t trust politicians.PARIS — If elections are spectacles, France’s presidential campaign, caught between voter apathy and war in Europe, has so far struggled to connect with its audience. Yet on French stages, a number of artists are making hay out of the upcoming vote — and the picture is hardly flattering.Across comedy and drama, performers and directors of varied backgrounds seem to agree on one thing: The country’s politicians are uniformly terrible and their performances a little too close to theater to be trusted.Not that the political calendar is headline material in every playhouse. While many prestigious French theaters that receive public funding pride themselves on staging political works, they tend to refer to current events only obliquely. For highbrow theatergoers here, a lack of intellectual distance suggests a lack of taste. Shows actually addressing the presidential campaign are mostly found elsewhere, in smaller venues that rely on box-office revenues.Two of them, the Café de la Gare and the Théâtre des Deux Ânes, are comedy venues. On the nights I attended, they drew large, albeit different, crowds. While visitors to the Café de la Gare skewed younger, the silver-haired audience at the Théâtre des Deux Ânes, in the Pigalle district of Paris, appeared to include many regulars, who cheered for several comedians as soon as they appeared onstage.The jokes were dissimilar, too. At the Deux Ânes, the show “Elect Us” strings together five comic and musical acts, ranging from witty (Florence Brunold’s parody of a history lesson, with “Macron the First” as a Jupiterian king) to downright misogynistic. Every female politician mentioned throughout the performance was described as either an airhead or physically unattractive. Some of their male peers, on the other hand, were more gratifyingly characterized as “too smart” (Macron) or as a Casanova (the far-right candidate Éric Zemmour).Guillaume Meurice in “Meurice 2022” at the Café de la Gare.MagaliThe shows on offer at the Café de la Gare, on the other hand, tried to turn these tropes on their head. “We’ve Reached That Point!,” written by Jérémy Manesse and directed by Odile Huleux, envisions a television debate between two fictional contenders during the next presidential election, in 2027. One of them is a woman, well played by the deadpan Florence Savignat, who maintains a purposely bland persona to avoid personal attacks. In another show at the venue, “Meurice 2022,” the well-known comic Guillaume Meurice — a daily presence on a popular radio station, France Inter — plays a presidential candidate whose patronizing rhetoric is ultimately undermined by the feminist manager in charge of running his events, played by Julie Duquenoy.Still, despite their contrasting values, all these shows portray the French political class as far removed from the audience and its concerns. The historical left-right divide, which has been in flux since Macron won office as a centrist and far-right figures started gaining ground, often gave way onstage to an “us versus them” dynamic, with acts that riffed on the public’s perceived disdain for every presidential candidate.Meurice’s cartoonishly out-of-touch character, for instance, isn’t affiliated with any party. One recurring gag is that every time he mentions another politician, he describes that person as “a personal friend,” from far-left figures to Macron and Zemmour — the implication being that they all belong to the same social group. By way of parody, “Meurice 2022” also offers empty slogans like “The future is already tomorrow” and “Winning now.”From a comedy perspective, it works. Yet “Meurice 2022” speaks to a larger malaise in the country, which “We’ve Reached That Point!” makes even more explicit. The plot revolves around the improbable notion that the two 2027 contenders, unbeknown to them, have been given a newly discovered truth serum before the start of their live debate. When the serum kicks in, suddenly they find themselves blurting out their real feelings about the hot issues of the campaign.Manesse, a shrewd writer, inserts several coups de théâtre along the way, which makes for a genuinely entertaining play. Yet the premise remains that no politician could possibly be telling the truth.From left, Emmanuel Dechartre, Alexandra Ansidei, Christophe Barbier and Adrien Melin in “Elysée” at the Petit Montparnasse theater.Fabienne RappeneauWhen politicians are portrayed as liars, the age-old comparison between politics and theater is never far away — and in Paris, two plays about former French presidents are also leaning into it. “The Life and Death of J. Chirac, King of the French,” directed by Léo Cohen-Paperman, shows Jacques Chirac, the French head of state from 1995 to 2007, as a deeply theatrical figure, as does “Élysée,” a play about the relationship between Chirac and his predecessor, François Mitterrand, who was elected president in 1981.Audience members looking for policy analysis will be disappointed. “Elysée,” directed by Jean-Claude Idée at the Petit Montparnasse theater, is mostly uninterested in Chirac’s and Mitterrand’s politics. The playwright, Hervé Bentégéat, focuses on what they have in common: a wandering eye, for starters, in some cringe-inducing scenes with the only woman in the cast, and the fact that they are “good comedians.” Cue the unlikely bargain they reportedly struck in 1981 to help the left-wing Mitterrand get elected — a cynical long-term calculation for Chirac, a right-wing figure.Julien Campani as Jacques Chirac in “The Life and Death of J. Chirac, King of the French” at the Théâtre de Belleville.Simon Loiseau“The Life and Death of J. Chirac, King of the French,” at the Théâtre de Belleville, is the more compelling show, despite some inconsistencies. It is the first installment in a planned series of presidential portraits, “Eight Kings.” (The president-as-king metaphor has a life of its own in France.) In the opening scene, which manages to be brilliantly funny while recapping Chirac’s life, Julien Campani and Clovis Fouin play overenthusiastic Chirac fans who have created a zany 24-hour theater production about his life. Cohen-Paperman then segues into far more traditional vignettes drawn from Chirac’s youth and career.Campani is impressively convincing in the title role, but “The Life and Death of J. Chirac, King of the French” never really explores what Chirac achieved, or didn’t achieve, as a politician. Instead, it posits politics as a game of chess, with Chirac on the lookout for the next useful move.Learn More About France’s Presidential ElectionCard 1 of 6The campaign begins. More

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    Stephen Colbert: Major Food Brands Are ‘Russian’ for the Exits

    “Yesterday, Coca-Cola and Pepsi announced that they will suspend business in Russia. Your move, Shasta!” Colbert said.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 Good CompanyFood companies like Starbucks, McDonald’s and Coca-Cola said they would temporarily close their stores in Russia or stop distributing products in protest of Vladimir Putin’s invasion of Ukraine. Stephen Colbert joked on Wednesday that Putin has succeeded in “uniting the entire free world against” Russia.“One Kremlin spokesperson expressed it in this threatening way: ‘The United States has declared economic war on Russia.’ Thank you for noticing,” Colbert said. “We feel seen.”“And with the Golden Arches closing down, Russians are going to have to settle for their local chain, McDostoevsky’s, home of their kids’ meal: the box of sadness. [Sings to the tune of the McDonald’s theme song] ‘Ba, da, ba, ba, da — life’s meaningless.’” — STEPHEN COLBERT“It looks like all major food brands are ‘Russian’ for the exits. Yesterday, Coca-Cola and Pepsi announced that they will suspend business in Russia. Your move, Shasta!” — STEPHEN COLBERT“Coke is suspending all of their operations, but Pepsi Co. announced they would continue to sell potato chips and daily essentials such as ‘milk, cheese and baby formula,’ to which Russian babies said, ‘Are you sure you don’t have Coke?’” — STEPHEN COLBERTThe Punchiest Punchlines (Closing Time Edition)“As we told you yesterday, McDonald’s, Starbucks and now Coca-Cola have announced that they are suspending business in Russia. Yes, which means the Russian people are going to be forced to develop diabetes on their own now.” — TREVOR NOAH“One of the major companies is Starbucks. They just closed all 130 of their stores over there. Yeah, and that was just on one street.” — JIMMY FALLON“There’s always Dunkin’ Donuts, but Putin was like: ‘Nyet. That’s what America runs on.’” — JIMMY FALLON“And the company that owns Pizza Hut, KFC and Taco Bell suspended its operations in Russia. I had no idea Taco Bell was popular in Russia. I guess that explains why everyone sits 50 feet apart from each other.” — JIMMY FALLON“And then, facing growing public pressure, Papa John’s announced that it is halting all Russian business operations. Russians were like, ‘Finally, some good news.’” — JIMMY FALLONThe Bits Worth Watching“The Daily Show” caught people on the streets of New York revealing their uninformed opinions on the Cancel Cam.What We’re Excited About on Thursday NightThe “Severance” star Adam Scott will sit down with James Corden on Thursday’s “Late Late Show.”Also, Check This OutParamount PicturesTest your “Godfather” knowledge in celebration of the film’s 50th anniversary. More

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    Before Jussie Smollett Sentencing, His Supporters Ask for ‘Mercy’

    A judge must decide whether to send the actor to prison after a jury convicted him last year of falsely reporting that he was the victim of a racist and homophobic hate crime in 2019.Ahead of a sentencing hearing on Thursday, celebrities and racial justice advocates like Samuel L. Jackson and his wife, the actress LaTanya Richardson Jackson; the Rev. Jesse Jackson; and Derrick Johnson, the president of the N.A.A.C.P., have written letters pleading for leniency for Jussie Smollett, the actor convicted of falsely reporting that he was the victim of a racist and homophobic attack.“Jussie has already suffered,” the Rev. Jackson wrote to the judge handling the case. “He has been excoriated and vilified in the court of public opinion. His professional reputation has been severely damaged.”Mr. Smollett, 39, was convicted of felony disorderly conduct — which carries a maximum of three years in prison — relating to conversations he had with the police just after reporting the attack. But defendants convicted of similar crimes in the past have been sentenced to probation and community service.Many of the letters cite Mr. Smollett’s history of volunteer work, the nonviolent nature of his offense and the reputational damage he had already suffered following charges that the 2019 attack was actually a hoax that he had planned to drum up publicity. Others who have written on his behalf include the actress Alfre Woodard and Melina Abdullah, a founder of Black Lives Matter in Los Angeles.During the trial, the prosecution argued that Mr. Smollett had instructed two brothers, Abimbola Osundairo and Olabinjo Osundairo, to attack him near his Chicago apartment building, yelling racist and homophobic slurs at him, punching him hard enough to only create a bruise and placing a rope around his neck like a noose. Both brothers testified against him, acknowledging their role in the incident, which they said had been staged. The actor himself took the stand during seven hours of testimony over two days to deny that he had played any role.Prosecutors have not indicated whether they will push for prison time at the hearing.“It’s the judge who has the total and exclusive authority to impose a sentence,” said Daniel K. Webb, the special prosecutor who handled the case.Daniel K. Webb, the special prosecutor who handled the Smollett case, has not said whether he will recommend that the actor be sent to prison. Tannen Maury/EPA, via ShutterstockAt the outset of Thursday’s proceeding, Judge James B. Linn is expected to rule on a motion by lawyers for Mr. Smollett, who is best known for his role in the hip-hop drama “Empire,” that seeks to have the conviction thrown out or for the actor to gain a new trial.In papers filed with the court last month, the lawyers argued that Judge Linn displayed a “hostile attitude” toward the defense and acted inappropriately when the defense attempted to present evidence that one of the brothers had made homophobic statements and that the attack on Mr. Smollett, who is gay, could have been motivated by bias.In their motion, the defense lawyers cited an instance in which Judge Linn called a line of questioning about a homophobic comment by Olabinjo Osundairo “very collateral matters.”The defense argued that this comment could have swayed the jury and that the line of questioning was central to their argument that the Osundairo brothers perpetrated a “real attack” against Mr. Smollett “driven by homophobia.” (During testimony, Olabinjo Osundairo repeatedly denied being homophobic.)During the trial, Judge Linn rejected the defense’s request for a mistrial at the time, defending his use of the term “collateral” as simply referring to matters outside the direct facts of Mr. Smollett’s case.As part of their bid for a new trial, the defense also argued that during jury selection, prosecutors displayed a pattern of seeking to dismiss Black potential jurors — resulting in a final group that included one Black juror and a Black alternate.Prosecutors argued in court papers that the accusation of discrimination during jury selection was unfounded and that they had provided “race-neutral” explanations for challenging the inclusion of those jurors.Possibilities for Mr. Smollett’s sentence also include restitution, which, in his case, would likely mean paying the city of Chicago for the money it expended while investigating his hate crime report.In a court filing ahead of the sentencing, a city lawyer and the superintendent of the Chicago Police Department urged prosecutors to ask the court to order Mr. Smollett to pay them more than $130,000, explaining that police officers had “worked around the clock” to find the perpetrators of the attack.“The city is a victim of Mr. Smollett’s crimes because his false reports caused CPD to expend scarce resources that could have been devoted to solving actual crimes,” the filing said. The city currently has a pending lawsuit against Mr. Smollett in which they asked for the same amount of money.In their letter to Judge Linn, Samuel L. Jackson and LaTanya Richardson Jackson said they have known Mr. Smollett since he was a child and later through charitable work. The Jacksons asked Judge Linn for “mercy” and argued that Mr. Smollett “used his celebrity to impact community outreach work,” including to aid people in Flint, Mich., during the water crisis.In his letter, Rev. Jesse Jackson wrote that he worried about Mr. Smollett’s safety in prison as a “well-known, nonviolent, Black, gay man with Jewish heritage.”In making the sentencing decision, the court will consider Mr. Smollett’s criminal history, which involves a single incident from 2007 in California. He was convicted in that case of driving under the influence, driving without a license and giving false information to the police, all misdemeanors. Mr. Smollett was sentenced to probation and community service and was required to complete substance abuse treatment, according to a pre-sentencing report written by a probation officer and filed with the court.The report was based on an interview with Mr. Smollett after his conviction, in which the actor said he had been suffering from “excessive stress,” dealing with financial problems and asking to undergo substance abuse treatment for a few years. Mr. Smollett told the probation officer that he hoped to pursue directing.The actor, who is out of jail on bond, generally declined to discuss the specifics of his case during the interview with the probation officer. But when asked how his family had responded to the ordeal, he said, “They know me, and they know I did not do this.”Asked whether he planned to stay in his apartment in New York City, Mr. Smollet replied, “Everything is up in the air right now.” More

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    Tony Awards to Announce Prizes in June at Radio City Music Hall

    The 75th ceremony, honoring plays and musicals staged on Broadway, resumes its traditional calendar after a few years of pandemic disruption.This year’s Tony Awards will take place on June 12 at Radio City Music Hall as the theater industry seeks to settle in to some sort of new normal following the enormous disruption of the coronavirus pandemic.The ceremony — like the one last September that coincided with the reopening of many theaters after the lengthy lockdown — will be bisected, with one hour streamed by Paramount+, followed by a three-hour broadcast on CBS that is likely to be heavy on the razzle-dazzle.The Tonys, which honor plays and musicals staged on Broadway, are an important moment for the theater community because the awards are valued by artists and because the event serves to market the art form and the industry. The awards, formally known as the Antoinette Perry Awards, are presented by the Broadway League and the American Theater Wing.This year’s ceremony — the 75th since the Tonys were established in 1947 — will honor shows that opened between Feb. 20, 2020, and April 28, 2022. That unusually long eligibility window includes the 15 months when all theaters were shut down to protect public health. (Last year’s Tony Awards ceremony was a much-delayed event that considered only the reduced slate of shows that managed to open before the pandemic cut short the 2019-20 theater season.)The nominators, for the first time since 2019, will have a robust slate of options to consider in all categories.This season features nine new musicals, including the fan favorite “Six”; the critical darling “Girl From the North Country” (which opened one week before theaters shut down); the Michael Jackson jukebox musical, “MJ”; and the Pulitzer Prize-winning “A Strange Loop” (which arrives next month).In the play category, this season brought a record number of works by Black writers, the best reviewed of which were “Clyde’s,” by Lynn Nottage; “Pass Over,” by Antoinette Chinonye Nwandu; and “Skeleton Crew,” by Dominique Morisseau. They will face stiff competition from “The Lehman Trilogy,” a widely hailed exploration of the rise and fall of Lehman Brothers written by Stefano Massini and adapted by Ben Power.The musical and play revival categories are strong as well.Many of the contenders have yet to open. Because of concerns about when audiences would return in large numbers, and then the arrival of the Omicron variant, numerous producers opted to open as late as possible in the season: 16 shows are still to open before the eligibility period closes.The nominees are to be announced on May 3, determined by a nominating committee made up of about 37 actors, theater administrators and others with a close knowledge of the art form but no financial involvement in the eligible shows.Then voting will take place, electronically. There are about 800 Tony voters, many of whom work in the industry and some of whom are employed by or have invested in nominated shows; they can only vote in categories for which they have seen all the nominees, and there are a few specialized categories in which only some voters are allowed to vote.The show, directed by Glenn Weiss, will air live nationally, with the streaming portion starting at 7 p.m. Eastern and the broadcast portion (which will also be streamable) starting at 8 p.m. More

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    Review: ‘The Chinese Lady’ Casts a Long Look at Hate

    Lloyd Suh’s play is a riff on the arrival of the real Afong Moy, possibly the first woman from China in the United States, and a lens on contemporary racism.Afong Moy is known as “The Chinese Lady,” but really she is just a girl — 14 when she arrives alone in New York in 1834, brought by a pair of merchant brothers who struck a deal with her father in China to put her in a museum for two years, on display.Possibly the first Chinese woman in the United States, she is marketed as a curiosity. Crowds pay to ogle her as she brews tea, eats with chopsticks and walks around the room on her bound feet. It’s a performance of cultural identity, and she is happy to enact it — enthusiastic, even, at the start. Cheerfully naïve, unsuspecting of the world’s cruelty, she views herself as an educator, fostering understanding.“Thank you for coming to see me,” she says to her gawkers, who are also us: the audience at the Public Theater, watching Lloyd Suh’s play “The Chinese Lady,” a moving and often sharply funny riff on the story of the real Afong Moy, traversing 188 years of American ugliness and exoticization in 90 swift, heightened minutes. A two-hander, it hopes with all its battered heart that we will, by the end, see Afong in her full humanity, and through her see this nation with clearer eyes. But it is not optimistic.“The Chinese Lady” was first staged in New York in 2018, when Ralph B. Peña directed a profoundly affecting, smaller-scale production for his Ma-Yi Theater Company at Theater Row, on 42nd Street. That was of course before the pandemic — before an American president scapegoated an entire population by calling the coronavirus the “Chinese virus,” and before physical attacks on people of Asian descent became an ever-present threat in New York and across the country.Peña’s current Barrington Stage Company-Ma Yi production, presented by Ma-Yi and the Public, retains the same gorgeous cast, with Shannon Tyo as Afong and Daniel K. Isaac as Atung, her cynical, deadpan interpreter. (Cindy Im and Jon Norman Schneider play the roles at some performances.) On Junghyun Georgia Lee’s gilt-framed set — simpler and more capacious than the one she designed for Theater Row — the show is more anguished, more mournful, more urgent than before, and sometimes that makes it heavy-handed.History is told through the eyes of Tyo’s character, Afong Moy, who arrives in the United States to be on display at a museum.Sara Krulwich/The New York TimesTyo and Isaac’s chemistry, though, has only deepened. In their bickering, their loneliness, their not-quite-solidarity, they remain entirely winning and occasionally devastating. (From here, proceed with caution if you haven’t seen the show.)When they are cut loose from each other, after decades of symbiosis — and years at a P.T. Barnum museum — there is no more forlorn sight than Atung alone, a tiny cog in Barnum’s exploitative machine.Long gone by then are the glamorous days when Afong toured to far-flung American cities and met a president — “your emperor, Andrew Jackson,” she calls him, to us. (If that’s an endearing misunderstanding of his title, it’s also a pretty accurate read on his expansionism.) In a revolting re-enactment, we watch him touch her foot: a cowboy barbarian looking down on her even as he sexualizes her.Afong, for all her childlike naïveté when she first arrived, has always been hungry for knowledge of the United States. She speaks of the trans-Atlantic slave trade and Manifest Destiny; the Chinese men building the railroad out West; the people who were already living on these lands in 1492. She finds the country fascinating, and its self-mythologizing wildly overblown.It is not the place where she thought she would spend her life; she believed she would return to her family, not make a home in a place where she is not sure she belongs. When she realizes she will have to do that utterly on her own — breaking out of the box where American culture wants to keep her, under its hostile gaze — she becomes a roiling force of indignation and self-determination.That happens in the play’s penultimate scene, and Tyo absolutely kills it. So it’s unfortunate that the final scene undermines her with ill-conceived design.As Afong recounts horrific 19th-century acts of brutality against Chinese Americans, projections (by Shawn Duan) that had been subtle and mostly static throughout the show start flashing historical headlines and illustrations, then news coverage of contemporary anti-Asian attacks.The impulse is understandable — to make utterly clear that Chinese Americans, long the targets of racist violence, are still menaced as outsiders in their own country. But the intimate power of Suh’s text and Tyo’s performance would have made that connection potently on their own.The production’s final, upstaging image is a wall of disembodied eyes: a digital crowd, creepy and cold. It’s meant, presumably, to expand our sympathy into the wider world. But whatever moral reckoning the play sets in motion occurs between Afong — living, breathing avatar of generations — and the audience. Yet the lights go dark on her.We do, by the end of the play, fully see Afong Moy. In that last moment, let us look.The Chinese LadyThrough April 10 at the Public Theater, Manhattan; publictheater.org. Running time: 1 hour 30 minutes. More