Eliana Willis

More stories

  • 138 Shares169 Views

    in Theater

    Shaw Festival Presents ‘The Orphan of Chao’ and ‘Snow in Midsummer’

    By presenting “The Orphan of Chao” and “Snow in Midsummer,” the Shaw Festival is helping “the past to smash its way into the modern world.”For 35 years, the Shaw Festival had one central criterion for its programming: Any and all plays had to have been written during George Bernard Shaw’s lifetime.This is not as confining as it sounds. Shaw, after all, was born in 1856 — when Abraham Lincoln was still an Illinois lawyer — and died a few months after Charles Schulz’s “Peanuts” hit the comics pages in 1950.Nonetheless, two of the festival’s nine productions this season fall well before that time period. “The Orphan of Chao” and “Snow in Midsummer” are adaptations of perhaps the two best-known plays from the Yuan period of classical Chinese drama, which stretched from 1279 to 1368.“To twin ‘Orphan’ with ‘Snow’ gives our audience the chance to see two very different approaches to legendary material,” said Tim Carroll, the Shaw Festival’s artistic director. “Both pieces, in very different ways, allow the past to smash its way into the modern world.”At the center of this confluence is Nina Lee Aquino, one of the most significant figures in Canadian theater. The festival not only enlisted Aquino to direct “Snow” (her debut there), but also cast her husband, Richard Lee, an actor and fight director, and their 17-year-old actress daughter, Eponine Lee, in both plays.The director Nina Lee Aquino, center, with her husband, Richard Lee, and their daughter, Eponine.Katie GalvinWe 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

  • 125 Shares139 Views

    in Theater

    ‘Real Women Have Curves’ Musical Plans Broadway Bow Next Year

    The show, adapted from the play and movie, was first staged last winter at the American Repertory Theater in Cambridge, Mass.A musical adaptation of “Real Women Have Curves,” Josefina López’s exploration of immigrant experiences through the story of a group of Latina women working at a Los Angeles garment factory, will run on Broadway next year, the show’s producers said Thursday.The story began its life as a play, which had an initial production in San Francisco in 1990, and has been staged many times since. In 2002, a film adaptation was released, starring America Ferrera.Directed and choreographed by Sergio Trujillo, the musical was first staged last December and January at the American Repertory Theater in Cambridge, Mass. It features music and lyrics by Joy Huerta and Benjamin Velez and a book by Lisa Loomer, with additional material by Nell Benjamin.The musical is set in 1987 in the Boyle Heights neighborhood of Los Angeles, and focuses on an 18-year-old woman who is torn between staying home to work at the family factory and relocating to New York to enroll at Columbia. In addition to its immigration theme, the show also deals with body image issues.The critic Don Aucoin, writing in The Boston Globe, called the show “outstanding,” but Laura Collins-Hughes, in The New York Times, was less impressed, deeming it “ungainly.”The Broadway run is being produced by Barry and Fran Weissler, the lead producers of the long-running Broadway “Chicago” revival, along with the actor Jack Noseworthy, who is married to Trujillo. In a news release, the producers said the play would open on Broadway in 2025; they did not specify whether it would be during the current Tony Awards eligibility season, which ends in April, or the following season, and a spokeswoman said no further information was available.The musical is being capitalized for $16.5 million, according to a filing with the Securities and Exchange Commission. More

  • 138 Shares199 Views

    in Theater

    Hollywood Is Heading for Broadway (and Off). Here’s a Cheat Sheet.

    New York’s stages have long drawn talent from Hollywood, but this is shaping up to be an exceptionally starry season. Why? Producers have determined that limited-run plays with celebrities are more likely than new musicals to make money. And some musicals are also hoping big names will help at the box office. Here’s a sampling of stars onstage this season.This Fall★ ON BROADWAY ★Mia Farrowin ‘The Roommate’Farrow, who made her stage debut when she was 18 and had a breakout role in the 1968 film “Rosemary’s Baby,” thought she was happily retired until she read the script for this Jen Silverman comedy about two women with not much in common other than their living quarters. Now, at 79, she’s returning to the stage, opposite the three-time Tony winner Patti LuPone, for what she says may be the last time. Now running at the Booth.★ ON BROADWAY ★Robert Downey Jr.in ‘McNeal’One of Hollywood’s most successful stars, Downey has a bevy of superhero movies under his belt (he played Iron Man) and an Oscar for “Oppenheimer” (he was the antagonist, Lewis Strauss). He’s making his Broadway debut in a new Ayad Akhtar play, portraying a famous novelist with a potentially problematic interest in A.I. Now running at the Vivian Beaumont.Clockwise from top left: Nicole Scherzinger, Katie Holmes, Jim Parsons, Adam Driver and Mia Farrow (center).Photographs via Associated Press; Getty Images; Reuters★ ON BROADWAY ★Daniel Dae Kimin ‘Yellow Face’Talk about meta! This is David Henry Hwang’s play about a play about a musical, sort of. Kim, known for “Lost” and the rebooted “Hawaii Five-0,” portrays a playwright named DHH (get it?) who mistakenly casts a white actor as an Asian character in a Broadway flop inspired by his own protests against the casting of a white actor as a Eurasian character in “Miss Saigon.” Previews begin Sept. 13 at the Todd Haimes.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

  • 100 Shares129 Views

    in Television

    Jimmy Kimmel Chides Trump for His Debate Performance

    “More than 67 million Americans watched the debate on television last night, and of that 67 million, the only one who seems to think Trump did a good job is Donald Trump,” Kimmel 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.67 Million to 1Despite public sentiment suggesting otherwise, Donald Trump said he came out on top after Tuesday’s debate, while also asserting it was rigged against him.On Wednesday, Jimmy Kimmel said that more than 67 million Americans watched the debate on television last night — “and of that 67 million, the only one who seems to think Trump did a good job is Donald Trump.”“I had a liberal elite day today. I woke up, I ate a big cat for breakfast, then I had a baby, then I had an abortion right after that, and then I went to pick up my kids from their mandatory transgender surgery operations after school. And now, I’m back here spreading Marxist propaganda on TV. That’s how we do it.” — JIMMY KIMMEL“This morning, Trump said the debate was rigged and that ABC should be shut down for fact-checking him, but that he still thought he did great. Then ABC fact-checked him again and said, ‘You did not.’” — JIMMY FALLON“Yeah, everyone thought Harris seemed really prepared while Trump was like, ‘My homework was eaten by a dog that was eaten by people in Ohio.’” — JIMMY FALLON“This pet-eating brain worm got into Trump’s skull through JD Vance, who’s been spreading a racist rumor that Haitian immigrants are abducting people’s pets and eating them in Ohio. This is a good time to remind you: please remember to spay or neuter your JD Vance. We don’t want more of that.” — STEPHEN COLBERT“It looks like Operation ‘I’m Not Weird’ isn’t going well.” — JIMMY FALLONThe Punchiest Punchlines (Childless Cat Lady Edition)“Last night, Kamala Harris and Donald Trump took to the debate stage to make their cases to Taylor Alison Swift and whoever else happened to be watching.” — JORDAN KLEPPER“Trump was like, ‘See? She’s eating her cat.’” — JIMMY FALLON“Trump this morning responded to the Taylor Swift endorsement and said, ‘Not a fan.’ But I have some bad news: his granddaughter, Arabella, Ivanka’s daughter, two months ago had a Taylor Swift cake for her birthday. So eat that, Grandpa.” — JIMMY KIMMEL“Really, Donald? You prefer Brittany Mahomes? What’s your top five Brittany Mahomes songs? Is this really his angle? ‘Well, I don’t care, Taylor, because I like your boyfriend’s co-worker’s wife better.” — JORDAN KLEPPERThe Bits Worth WatchingThe “Late Night” writers Amber Ruffin and Jenny Hagel returned for another “Jokes Seth Can’t Tell” segment on Wednesday.What We’re Excited About on Thursday NightThe “Agatha All Along” star Sasheer Zamata will appear on Thursday’s “Daily Show.”Also, Check This OutThe documentary “Brandy Hellville & The Cult of Fast Fashion,” streaming on Max, turns a sharp eye to the Gen Z fashion brand Brandy Melville.Courtesy of HBOTrue crime stories about brands like Brandy Melville and Lululemon explore the dark side of trendy clothing. More

  • 138 Shares99 Views

    in Television

    In the Presidential Debate, Kamala Harris Produced the Show She Wanted

    In Tuesday’s debate, the vice president made herself the studio audience for a cringe comedy starring her opponent.At the ABC presidential debate, Kamala Harris had a programming challenge. Working against an experienced reality-TV professional, a savant of live broadcasts, she had to pull off a successful reboot of Democrats’ least-favorite TV show of the 2024 season: the June debate that saw the self-immolation of President Biden.There were some hurdles. The same rules in place on CNN in June still held. There was no studio audience, and each candidate’s microphone would be turned off when the other was speaking. When Mr. Biden was still running, these guardrails were meant to avoid the dumpster fire of cross-talk and shouting that marked the first 2020 debate. But that would frustrate Ms. Harris’s campaign goal, which was to encourage Mr. Trump to be his own worst enemy.So she, and whoever prepared her for Tuesday’s showdown, did what prime-time producers have done since TV’s early days: They worked within the constraints of the medium to produce the show they wanted.If Mr. Trump could not bluster and shout over her, she would need to get him to melt down on his own time. If he could not stalk her onstage, as he did with Hillary Clinton in 2016, she would have to use the staging and the split-screen to create a dominance contest on her own terms.It began before the first question was asked. Ms. Harris crossed the stage toward Mr. Trump and offered her hand. The handshake was a small exercise of control, designed to be seen by a prime-time audience: She was the active party, initiating the encounter, and he the reactive one, accepting. She introduced herself — “Kamala Harris” — as if to anticipate his habit of mispronouncing her first name. Visually, she made herself the focus of attention, the protagonist of the drama.Then she set about making Mr. Trump into the antagonist she wanted, needling and baiting him, pulling his levers and pushing his buttons.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

  • 138 Shares99 Views

    in Theater

    Wendell Pierce and Courtney B. Vance on James Earl Jones’s Influence

    The two actors talk about how the stage and screen great was a one-of-a-kind inspiration to them, and many others.James Earl Jones had already made a lifetime impression on Wendell Pierce by the time Pierce patiently waited in a receiving line to meet Jones after his opening night performance of August Wilson’s “Fences” nearly 40 years ago.Years earlier, Jones had mesmerized Pierce in the 1970 film “The Great White Hope,” embodying integrity, creativity and dignity in the role of the boxer Jack Jefferson. The performance inspired a teenage Pierce as he began his studies at the New Orleans Center for Creative Arts. That, he decided, was the type of actor he yearned to be.Pierce told Jones of his impact. “Are you an actor?” Pierce recalled Jones asking in his barreling baritone of a voice. Delighted to learn that he was, Jones discussed how he enjoyed the night, but was glad it was over. There was shared energy between the actors and audience except the hole where the critics sat stoic and unmoved. They wouldn’t be there after opening night.“Now that it’s over, there won’t be that hole there,” Jones said. “People can just respond to the play. That’s the great thing about doing theater. It’s that energy between the audience and the performance. Don’t you find that?”It’s a moment Pierce cherishes after carving his own impactful career by starring in television shows like “The Wire” and “Treme” and on Broadway in “Death of a Salesman.”“I knew I was part of a collective whole of the people who had seen it that would have this unique, seminal experience that would be something that you had to be there to see,” Pierce said. “And I feel privileged that I was a part of that very few, especially in theater performances with Mr. Jones, that got to see it.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • 138 Shares99 Views

    in Theater

    Kit Connor and Rachel Zegler Are Star Crossed in Central Park

    On a morning in mid-August, a breeze stirred Central Park’s midsummer leaves. Children skipped, dogs lolloped, a bunny peeked out from a hedge near the Great Lawn while a nearby saxophone ruined “Isn’t She Lovely.” It was a very nice day to fall in love.The actors Kit Connor and Rachel Zegler were there, hiking up to Belvedere Castle and then down to the Shakespeare Garden. Connor, 20, and Zegler, 23, don’t plan to fall in love. But the next day, at rehearsal, in Brooklyn they would discover how to make the characters they play fall desperately, terribly in love.As the stars of the “Romeo + Juliet” that opens on Broadway on Oct. 24, they will die for love, they will die for each other, eight times a week. Both are making their Broadway debuts and both have the not exactly enviable task of making a 16th-century play with (apologies for centuries-old spoilers) a famously grim ending feel breath-catchingly new and vital.Daunting? Not at all.“It should be fun,” Connor said, not without some anxiety. Zegler gave him a sardonic look. “It will be fun,” he said. Connor, a British star of the Netflix teen romance “Heartstopper,” and Zegler, an American who made a thrilling film debut in Steven Spielberg’s “West Side Story,” had never met until March, shortly after they each agreed to star in the revival, dreamed up by the Tony-winning director Sam Gold, with music by Jack Antonoff. They had been offered the roles separately, without the benefit of a chemistry read. That spring day, Gold brought them to Circle in the Square Theater, where previews will start Sept. 26, then bought them cups of coffee at the Cosmic Diner.Kit Connor, right, on the Netflix series “Heartstopper” opposite Joe Locke.Teddy Cavendish/NetflixWe 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

  • 125 Shares119 Views

    in Television

    Late Night Hosts Declare Harris the Winner in the Debate

    Stephen Colbert said that the vice president needed to “rattle Trump’s cage. And now that it is over, they are still looking for pieces of his cage in low orbit.”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.Best in ShowOn Tuesday, Vice President Kamala Harris and former President Donald Trump met for their only scheduled debate before the election. Three of the five late-night shows went live after it ended, with Stephen Colbert, Jimmy Kimmel and Jon Stewart offering their takes.Colbert said that Harris “came out swinging,” looking to “rattle Trump’s cage.”“And now that it is over, they are still looking for pieces of his cage in low orbit.” — STEPHEN COLBERT“Harris got under his skin like she was stuffing in butter and rosemary. It was beautiful. By the end of the debate, the meat was falling off the bone.” — STEPHEN COLBERT“Usually when Donald Trump gets a spanking like this from a woman, it’s with a Forbes magazine. Kamala was pushing his buttons like a 12-year-old playing Fortnite.” — JIMMY KIMMEL“He was so nonsensical that she looked at him the way a parent looks at a kid giving a presentation on why they should be allowed to get a pet tiger.” — STEPHEN COLBERTOn “The Daily Show,” Jon Stewart called out Trump for his answer to a question about his involvement in the Jan. 6. insurrection.“You spent two months riling up your base that our country had literally been stolen from them through fraudulent means, that you could never even get a whiff of in a court of law, and let — let yourself just abuse them. You pressed on. You abused their trust. You showed up for a speech? You [expletive] tweeted ‘Join me on Jan. 6. It will be wild.’ But suddenly now: ‘I was just a hired magician to do the bar mitzvah! I didn’t do anything. I showed up with a hat and a rabbit and then the whole party went out of control!’” — JON STEWART“And this is it, ladies and gentlemen. I don’t know if this debate is going to change anything. I really don’t. People are awfully set in the manner that they view these proceedings. What I think is a home-run answer for one candidate, someone else views as a dodge or a lie or any of those other things. In some ways, it doesn’t matter what they say anymore, but one thing will always be true, and it is the quality of the former president I respect the least: Whenever he is cornered and forced to face even the smallest of consequences for his own mendacity and scheming, he reverts to the greatest refuge of scoundrels. As Shaggy would say, ‘It wasn’t me!’” — JON STEWART“[imitating Trump] OK, but you can’t believe a thing I say. I’m crazy! Everybody knows that! I’m the Hannibal Lecter whale guy. Immigrants are taking our cats and giving them operations to turn them into dogs and then eating the dogs. Whale!” — STEPHEN COLBERTThe Punchiest Punchlines (Lock Up Your Dogs Edition)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