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    ‘Medicine’ Review: One Dose Reality, Two Doses Absurdity

    Domhnall Gleeson is surrounded by an eccentric cast of characters in Enda Walsh’s surreal play at St. Ann’s Warehouse.Mary, a woman dressed as an old man. Another Mary, a woman in a lobster suit. John Kane, a nervous mental patient in blue pajamas. And a nameless drummer who never speaks. These eccentric characters come together in Enda Walsh’s often baffling yet always arresting new play, “Medicine,” a presentation of Landmark Productions and the Galway International Arts Festival that opened at St. Ann’s Warehouse on Tuesday.John (Domhnall Gleeson) wanders onto the set, a drab room with the look of a community center hall (design by Jamie Vartan). It’s a mess — the aftermath of a staff party, with streamers and balloons — and John is concerned about it. He putters around, fidgeting and picking things up haphazardly.He’s preparing for the arrival of the two Marys (Aoife Duffin and Clare Barrett) and the drummer (Sean Carpio). They’re there at the institution to run through a script of John’s life, presumably as a kind of drama therapy.Once they arrive and their routine gets underway, the Marys don different costumes and lip sync a recording of dialogue from the people in John’s life, beginning with his parents on the day he was born. As John narrates, the Marys interrupt, to share notes and perform random dances while the drummer scores the scenes. But as John’s story unfolds, he becomes increasingly frazzled.Walsh, a celebrated playwright and director whose enigmatic works include “Grief Is the Thing with Feathers,” “Arlington” and “Rooms,” also writes and directs this play, which feels like a psychosexual absurdist fantasy. How long has John been here? What parts of this are real? Walsh is less concerned with providing answers than he is with making us sit with John’s mounting sense of desolation and shame. In this way, the work resembles a poem or an interpretive dance, resonating with symbols and gestures and feelings, and the rest is for the audience to puzzle through.Aoife Duffin as one of the Marys.Jeenah Moon for The New York TimesJohn recounts abuse by his parents and peers when he was a child, and maltreatment at the hands of a worker at the institution. He scrutinizes his mother’s negligence and overt sexuality, and conflates his budding erotic desires as a teen with his yearning for maternal love and attention. All the while the narcissistic Lobster Mary (or Mary 2, as the script calls her) controls the performance: She harasses Mary 1 and bullies John.If that weren’t Freudian enough, Walsh plants recurring images and themes throughout, implying connections between John’s version of his past and the present moment with the actors.What the two Marys are doing here is its own theater — a production that Mary 1 starts to suspect is cruel. As they step into and out of the personalities in John’s life, the lights shift with Earth, Wind & Fire’s “September” playing. (Adam Silverman handles the mercurial lighting.)Barrett gives a menacing performance as Mary 2, who embodies some of the more brutal characters in John’s tale and aims her own shots of hostility at Mary 1 (Duffin, who appeared as Ophelia opposite Ruth Negga in “Hamlet” at St. Ann’s Warehouse in 2020). Duffin’s Mary is empathetic, so much so that she inhabits John’s story, and at some point the voice-over of a character she’s playing overlaps with her voice as she speaks the same lines. The language here — which Walsh writes with aureate poeticism, full of vivid imagery and pointed symbolism — is what gives the show its melancholic beauty.Clare Barrett as the other Mary.Jeenah Moon for The New York TimesThen there’s Gleeson himself, with his impressive performance. He is a chameleonic TV and film star (“Harry Potter,” “Star Wars,” “Run”) who can convey anything from a villainous sneer to a sensitive whimper with his entire physical bearing. Despite his height, Gleeson seems to wilt like a flower in want of sun. He nervously shuffles around the stage or gets worked into a frenzy — huffing and flailing with explosive bravado, seamlessly accompanied by Carpio’s percussion. (Helen Atkinson handily controls the layered sound design.)There could easily be more Gleeson — and by that I mean more of John’s perspective, because we get only snapshots of his life. By the end, John reasserts that he’s “not like other people” and belongs in the institution. It seems John is a victim of a kind of manipulation; the drama therapy isn’t to help him but to gaslight him into believing he mustn’t ever try to seek freedom. Beneath all the oddities of Walsh’s script is a criticism of the ways in which society fails the mentally ill.It’s unclear whether Walsh is also indicting theater — this is, after all, a play in which a play is used toward devious ends. So perhaps “Medicine” is simply a work of fanciful mysteries. Honestly, it doesn’t really matter. The emotional core of the show is always prevalent.By the end, John’s dejection feels as familiar as a phantom pain. He may still be within the same sad four walls where he began, but Walsh’s production transforms the space from one of isolation into one of empathy that even the audience can share. Because ultimately, a couple of doses of human connection is the best medicine anyone can ask for.MedicineThrough Dec. 5 at St. Ann’s Warehouse, Brooklyn; stannswarehouse.org. Running time: 1 hour 30 minutes. More

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    On the Scene: ‘Spring Awakening’ Returns 🎭

    On the Scene: ‘Spring Awakening’ Returns �� Matt Stevens��Reporting from BroadwayMatt Stevens for The New York TimesTickets for the benefit, ranging from $50 to $5,000, sold out quickly. The line to enter the theater, on 45th Street near Eighth Avenue, would eventually stretch down the block.Because of delays seating attendees, the show started over an hour late. More

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    Lucy Hale’s Happy Place Is Graceland

    The actress, who stars in the gritty British crime drama “Ragdoll,” also has a soft spot for “Grease” and “I Love Lucy” reruns.When most kids try to swipe something while their parents aren’t looking, it’s a cookie or a bar of chocolate.For Lucy Hale, it was her mom’s nursing books.“Even as a little kid, I gravitated toward the darker things in life,” said Hale, 32, who stars in the gritty new British crime drama “Ragdoll,” which premieres on AMC+ on Nov. 11. “My mom was in nursing school, and I would steal her nursing books because I wanted to know about diseases and ailments. I was a very strange child.”Though she’s best known for teen dramas like “Pretty Little Liars” and the short-lived “Riverdale” spinoff, “Katy Keene,” her new venture into the macabre sees her starring as a recently recruited American detective — Lake Edmunds — tasked with tracking down a serial killer in London who sews parts of his victims’ dismembered bodies together into a grotesque creation referred to as “the Ragdoll.” The six-part series is based on Daniel Cole’s 2017 novel.“I’ve never played a detective,” she said. “But I had written in journals that I had wanted to play a character like this, so it definitely felt natural.”In a Zoom audio call from her home in Los Angeles earlier this month, Hale shared her admiration for Lucille Ball and “Forensic Files,” and explained why Graceland is her happy place. These are edited excerpts from the conversation.1. “Grease”Everyone always asks me, “Where did you get the bug for performing?” And it goes back to sitting on my grandmother’s living room table. She put on “Grease” for the first time when I was 6 or 7, and I was hypnotized. I’ve probably seen the movie 100 times, and even as an adult, I still enjoy it the way I did when I was a little kid — the music, the chemistry between John Travolta and Olivia Newton-John, the hair and the makeup. I heard a rumor that they’re remaking it — I’ll keep an open mind, but it’s so classic.2. The Pattern AppI first heard about it a couple of years ago when Channing Tatum posted about it on Instagram, and it’s now the most-used app on my phone. You type in the city where you were born, your name, your birth date, your birth year and the time of day. Then it calculates a birth chart for you, which is almost like a personality reading. It’s the most accurate one I’ve ever read. If you’re dating someone new, you can plug in their information and then compare how you guys are similar or different. It also gives you reminders; I checked mine first thing this morning, and it says I identify with being the giver in my relationships, and I derive my self-worth and identity from being the provider. And so today, my reminder is that I need to be sure to check in with myself.3. The Rose Bowl Flea MarketImagine the Rose Bowl, but with thousands and thousands and thousands of people with suitcases ready to buy vintage items. It’s incredible. It happens the second Sunday of every month at the Rose Bowl Stadium in Pasadena, and you have to get there at like 6 or 7 a.m. to find parking. There are hundreds of vendors; they have a clothing section categorized by era, and there’s an amazing vendor who has the most beautiful turquoise jewelry I’ve ever seen. You definitely have to devote a day to it, and you have to be willing to dig and be patient.4. “Jagged Little Pill” by Alanis MorissetteThis was the first album that I bought with my own money. I remember seeing the cover for the first time when I was really young, in vivid red and green and blue with her hair blowing everywhere. I would have been around 7, so I was too young to understand the angst. But I would put her CD in my boombox, and I just loved the tone of her voice — the honesty and the passion.5. “I Love Lucy” RerunsThere will never be anyone like Lucille Ball. She was big and bold and not afraid to make crazy faces and be physical, be wild and wacky. During that time, that just wasn’t what a lot of women entertainers were doing — she’s truly a comedic genius. And her and Ethel are one of my favorite duos of all time, so much so that I named my puppy for her. So we’re Lucy and Ethel. (I’m actually named after a grandmother of mine.)6. IkoyiThis is an African-inspired restaurant in London that was rated one of the top 50 restaurants in the world last year. I know about it because a friend’s brother, Jeremy [Chan], is the chef. I went there for the first time about a month ago, and it is, without a doubt, the most extraordinary culinary experience of my life. I’m just blown away by how people can think, like, “Oh, this would taste great with this.” For instance, there was a really nice white fish with vanilla bean foam. And another dish with a paste on the side that he said was inspired by Warheads candy. All these out-there flavors, but it all seamlessly works together, and the presentation is truly art.7. Frances BerryFrances Berry is this extraordinary painter out of Memphis, where I’m from. A lot of her paintings are these gorgeous female bodies with wacky colors and stripes and different textures. But she also does these cool Pop Art paintings — I have a custom Elvis Presley one here. A lot of her work is very feminist and supportive of women. She does sayings, like “Smokin’ Naked,” and then she has a female form with a cigarette. She’s just very cool — she wears roller skates to do her art in.8. GracelandMy grandmother was a huge Elvis Presley fan, as am I, and you definitely get a feel for the type of person he was walking through this home. There’s a room with like 10 TVs in it because he liked to watch different things at the same time, and there’s the animal room, which is all animal prints — floor, ceiling, furniture. It’s just very ’70s, very tacky in the best way.9. “Forensic Files”It was nighttime over 10 years ago, and I’m flicking through the channels, and I hear that creepy intro music — the “Forensic Files” theme song. I love the show because it’s not scripted — it’s purely about how detectives find the people who do horrible things to people. There’s hundreds of episodes, and you can always find “Forensic Files” on any given channel at nighttime. In a weird way, it’s like a comfort show for me.10. Yosemite National ParkThis is the place I go to when I feel like I need a break from everything. It’s five or six hours north of L.A., and for the last couple of years, I’ve taken these solo hiking trips there. You look at these waterfalls, and these mountains, and these cliffs, and it truly looks like a painting. More

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    Seth Meyers: Steve Bannon Fancies Himself to Be Logan Roy

    Meyers said Bannon was more like “a coked-up flunky who would get hired to help cousin Greg shred some documents and accidentally screw it up.”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.More Like Cousin SteveSteve Bannon turned himself in to the F.B.I. on Monday morning after refusing to provide information related to the events of Jan. 6. Bannon made a statement in which he referred to himself as “Captain Bannon” and promoted his political podcast.Seth Meyers, referring to the hit HBO series “Succession,” joked that Bannon “definitely likes to think of himself as a Logan Roy type, but he’s more like a coked-up flunky who would get hired to help cousin Greg shred some documents and accidentally screw it up.”“Right now, a congressional committee is trying to determine if President Trump and allies were involved in the violent attempt to overturn the election, and one of the people they most want to hear from is Steve Bannon, former Trump adviser and the only person who maybe should try horse dewormer. I mean, it couldn’t hurt.” — TREVOR NOAH“Steve Bannon might finally face justice and, if he goes to prison, take a shower.” — STEPHEN COLBERT“Bannon was indicted Friday on two charges of criminal contempt after he refused to show up for a deposition ordered by the House Jan. 6 committee. When he turned himself in, the F.B.I. were like, ‘Oh, really, do we have to? We have to take him?’” — JAMES CORDEN“And like any innocent person, Trump told his people not to cooperate with law enforcement at all. So Bannon defied a congressional subpoena to testify, and this morning, he turned himself in, arriving at an F.B.I. office looking like he’d already served 10 years in prison.” — TREVOR NOAH“Also, it really undercuts your attempt at defiance and bravado when there’s a guy right behind you holding up a sign that says ‘Coup plotter.’” — SETH MEYERS“Steve, did you hear what he said about you the second it was convenient? Respect yourself and move on!” — STEPHEN COLBERT, on Trump’s disparaging comments about Bannon“Bannon, though, already has a plan if he does get sent to prison. His first day there he is just going to go up to the biggest, meanest, worst guy in the entire yard and help him get elected president in 2024.” — JAMES CORDENThe Punchiest Punchlines (The P Word Edition)“Wow, Trump is gangster. [imitating Trump] ‘Why would I dispute it? The guy is a total [expletive] — why would I dispute it?’” — TREVOR NOAH, on Trump’s refusal to dispute that he told Mike Pence he “could be a patriot or he could be a [expletive]” on the morning of Jan. 6“Well, we all know the word for someone who does exactly what their bully tells them to do: patriot.” — STEPHEN COLBERT“You know what I love about Trump is that even if he didn’t say it, he’s the type of guy that would pretend he said it just because it sounded cool. [imitating Trump] ‘Yeah, yeah, that’s a good line. I totally said it, I said it. Patriot or [expletive], I love it.’” — TREVOR NOAH“Also, I love how the reporter says, ‘Excuse my language; excuse my language, sir,’ as if Donald Trump is going to be offended. My man, it’s Donald Trump — if anything, he would be like, [imitating Trump] ‘[Expletive], my favorite topic. Thank you for bringing this up, let’s talk about it.” — TREVOR NOAH“Sometimes it’s good to be a [expletive]. Oftentimes history is made by [expletive]. I mean Gandhi? total [expletive]. Yes. Britain was, like, ‘Are you going to fight us or are you a [expletive]? And Gandhi said, ‘I am a [expletive]. You must be the [expletive] you wish to see in the world — that is what we need more of.’” — TREVOR NOAH“What if he tried to grab Mike Pence by the patriot?” — JIMMY KIMMEL“Mike Pence now claims he has no problems at all with his former boss, so I guess Trump was right.” — JIMMY KIMMELThe Bits Worth WatchingBill Murray, Dan Aykroyd and Ernie Hudson talked with Jimmy Fallon on Monday’s “Tonight Show” about reuniting for the newest movie in the “Ghostbusters” franchise.What We’re Excited About on Tuesday NightThe retired N.B.A. star Dwyane Wade will talk about his new memoir on Tuesday’s “Late Show.”Also, Check This OutIn “The Sex Lives of College Girls,” Alyah Chanelle Scott, Pauline Chalamet and Amrit Kaur play three suite mates from diverse backgrounds at a prestigious university.HBOMindy Kaling’s new HBO Max series, “The Sex Lives of College Girls,” treats undergraduate intimacy with the friendly skepticism it deserves. More

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    First Asian American Muppet to Debut on ‘Sesame Street’

    Whether it’s reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, Times Video journalists provide a revealing and unforgettable view of the world.Whether it’s reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, Times Video journalists provide a revealing and unforgettable view of the world. More

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    Review: ‘Morning’s at Seven’ Awakens Again, Only to Hit Snooze

    Paul Osborn’s 1930s play is revived, with its thin psychology, predictable structure and somewhat bitter slice of small town life intact.Paul Osborn’s “Morning’s at Seven” debuted on Broadway in 1939, and has clung to the fringes of the theatrical canon ever since. A dyspeptic example of American realism, like an apple pie lightly dusted with arsenic, it plunks its audience into the adjoining backyards of two modest Victorian houses that a few sisters in their 60s and 70s call home. During a late afternoon and the following morning, marriages crumble, siblings quarrel, a brief affair surfaces, an engagement breaks, a mother smothers. Just one big not especially happy family.Old fashioned even when it opened, “Morning’s at Seven” became a regional theater darling and yielded two Broadway revivals, likely because it provides hefty roles for aging actors. Now, it is being staged at the Theater at St. Clement’s, where a new production by Dan Wackerman for his Peccadillo Theater Company opened Monday evening. It has a typically imposing cast — including Lindsay Crouse, Alma Cuervo, John Rubinstein, Tony Roberts — that would have been a bit starrier, but Judith Ivey tore a tendon during previews. Luckily, Alley Mills sidled in, reuniting with Dan Lauria, her spouse on “The Wonder Years.”Peccadillo provided the last show I saw, “Sideways: The Experience,” in March 2020, before theaters closed for the pandemic. It was a work written and staged with such casual and thoroughgoing sexism, I started to think that maybe shutting down some theater wasn’t so bad after all. So to say that “Morning’s at Seven” is an altogether more pleasurable experience is maybe not saying very much. With its thin psychology, predictable structure and characters to laugh at, not with, the play serves a snoozy, somewhat bitter slice of small town life. Imagine Thornton Wilder without the radicalism, William Inge without the melancholy, Lillian Hellman without the flash.Those neighboring Gibbs sisters — living with their husbands, except for Arry (Mills), who remains unmarried — have enjoyed relative contentment for 40 or so years. But one afternoon, Homer (Jonathan Spivey), the 40-year-old, failed-to-launch son of Ida (Cuervo), has come for an overnight visit and brought Myrtle (Keri Safran), his girlfriend of a dozen years. Somehow, that triggers the temporary cave-in of at least two marriages and considerable unrest in the home that Cora (Crouse) shares with her husband, Thor (Lauria), and kid sister, Arry.As expected, these practiced actors perform with relish and finesse. Crouse is nicely sour as Cora, the villain of the piece until she isn’t. And Cuervo neatly represses some of Ida’s hysteria. Roberts, as David — the husband of Esty (Patty McCormack), the eldest Gibbs sister and the only one who doesn’t effectively live with them — earns outsize laughs for some of the play’s meanest speeches. As the younger couple, Spivey and Safran overplay their roles, but seemingly with Wackerman’s encouragement.Mild yet ungentle, “Morning’s at Seven” — which borrows its title, ironically, from a cheery Robert Browning lyric — lets its characters politely abrade each other for the first two acts before tying up the story in a tidy comedic bow. What’s most distinct about the play is the acidity that runs through it, and the suggestion that maturity doesn’t necessarily breed content.“I always thought of getting old sort of like going to bed when you’re nice and drowsy,” Arry says. “But it isn’t that way at all.” In its grimmer moments, the play hints at something wormy at the heart of this American pastoral. But instead of offering a wake up call, it repairs its broken family and just goes back to sleep.Morning’s at SevenThrough Jan. 9 at Theater at St. Clement’s, Manhattan; morningsat7.com. Running time: 2 hours 10 minutes. More

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    If Remote Work Empties Downtowns, Can Theaters Fill Their Seats?

    Since the pandemic, San Francisco has embraced work-from-home policies. Now venues and concert halls are wondering if weeknight audiences are a thing of the past.SAN FRANCISCO — As live performance finally returns after the pandemic shutdown, cultural institutions are confronting a long list of unknowns.Will audiences feel safe returning to crowded theaters? Have people grown so accustomed to watching screens in their living rooms that they will not get back into the habit of attending live events? And how will the advent of work-from-home policies, which have emptied blocks of downtowns and business districts, affect weekday attendance at theaters and concert halls?Nowhere is that last question more urgent than here in San Francisco, where tech companies have led the way in embracing work-from-home policies and flexible schedules more than in almost any other city in the nation. Going to a weeknight show is no longer a matter of leaving the office and swinging by the War Memorial Opera House or the Louise M. Davies Symphony Hall.“As people work from home, it is going to change our demographics,” said Matthew Shilvock, the general director of the San Francisco Opera. “It’s something that could be a threat. We’re all trying to wait and see whether there’s a surge of interest in live activity again or is there a continuation of just being at home, not coming into the city from the suburbs.”Arts groups are trying to gauge what the embrace of more flexible work-from-home policies will mean for their ability to draw audiences in a city whose housing crunch has already driven many people to settle far from downtown. Close to 70 percent of the audiences at the San Francisco Opera and the San Francisco Symphony — two nationally recognized symbols of this city’s vibrant network of performing arts institutions — live outside the city, according to data collected by the two organizations.“As people work from home, it is going to change our demographics,” said Matthew Shilvock, the general director of the San Francisco Opera, which presented a new production of Beethoven’s “Fidelio” this fall.Cory Weaver/San Francisco OperaSome economists see the trend of remote work persisting. “It’s likely we are going to have more people working from home than other places,” said Ted Egan, the chief economist for the city and county of San Francisco. “The tech industry seems to be the most generous for work-from-home policy, and employees are expecting that.”Twitter announced in the early months of the pandemic that it would allow almost all of its 5,200 employees, most based at its San Francisco office, to work at home permanently. At Salesforce, which has 9,000 employees, employees will only have to come to work one to three days a week; many will be allowed to work at home full time. Dropbox, which has its headquarters in San Francisco, also has adopted a permanent work-from-home policy. Facebook and Google, both of which have a significant presence in San Francisco, have implemented work-from-home policies.Egan said that the trend might pose more of a problem for the city’s bars and restaurants than for its performing arts institutions. “My suspicion is that performing arts are going to be less sensitive to working from home than other sectors,” he said. “It’s not the kind of purchase you do after work on a whim, like going for happy hour.”Attendance has been spotty as this city’s art scene climbs back. Just 50 percent of the seats were filled the other night for a performance of “The Displaced,” a “gentrification horror play” by Isaac Gómez, at the Crowded Fire Theater. “We had sold-out houses on Friday, Saturday and Sunday and much lower participation on Wednesday and Thursday night,” said Mina Morita, the artistic director. “It’s hard to tell if this is the new normal.”There were some patches of empty seats across the Davies Symphony Hall the other night, as the San Francisco Symphony presented the United States premiere of a violin concerto by Bryce Dessner, even though it was the third week of the long-delayed (and long-anticipated) first season for Esa-Pekka Salonen, its new music director. The concerto, with an energetic performance by Pekka Kuusisto, the Finnish violinist, was greeted by repeated standing ovations and glowing reviews.Attendance in October was down 11 percent compared to before the pandemic, but the symphony said advance sales were strong, suggesting normal audiences might return in spring.Twitter announced in the early months of the pandemic that it would allow almost all of its 5,200 employees, most based at its San Francisco office, to work at home permanently.Tayfun Coskun/Anadolu Agency, via Getty Images“The audience is back,” Salonen said in an interview before he took the stage. “Not what it was, but they are back. Some nights have been a little thinner than others. By and large, the energy is good. Our worst fears have been dispelled.”The San Francisco Opera also began its new season with a splashy new hire: a new music director, Eun Sun Kim, who in August became the first woman to hold the position at one of the nation’s largest opera companies. She conducted a new production of Beethoven’s “Fidelio” this fall that incorporated chain-link fences and flickering video screens to update the story of the liberation of a political prisoner.Even so, the opera, which can seat 2,928 with Covid restrictions, sold an average of 1,912 tickets per show for “Fidelio,” its second production of this new season. That’s better than its second production in 2019, Britten’s “Billy Budd,” a searing work that does not always attract big crowds. But it drew fewer people than the opera’s second production in 2018, “Roberto Devereux,” which sold an average of 2,116 tickets a performance.“The urgency to be bold, to be innovative, to be compelling to get audiences to come back or give us a try for the first time has never been stronger,” Shilvock said. “There will be a hunger for things that have an energy, that have a vitality, that give a reason to come into the city.”Even before the pandemic, cultural organizations were dealing with challenges that threatened to discourage patrons, including a stressed public transportation system, traffic, parking constraints and the highly visible epidemic of homelessness. And many institutions were struggling to make inroads in attracting audiences and patrons from the tech industry, which now accounts for 19 percent of the private work force.Now, facing an uncertain future as they try to emerge from the pandemic shutdown, arts organizations are embracing a variety of tactics to fill seats..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-w739ur{margin:0 auto 5px;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-w739ur{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-w739ur{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-w739ur{font-size:1.25rem;line-height:1.4375rem;}}.css-9s9ecg{margin-bottom:15px;}.css-uf1ume{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-box-pack:justify;-webkit-justify-content:space-between;-ms-flex-pack:justify;justify-content:space-between;}.css-wxi1cx{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-flex-direction:column;-ms-flex-direction:column;flex-direction:column;-webkit-align-self:flex-end;-ms-flex-item-align:end;align-self:flex-end;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}Hope Mohr, the co-director of Hope Mohr Dance, said that her organization was spending $1,400 per night to livestream performances, so audiences could choose between coming into San Francisco or watching from their living rooms.“A hybrid experience — I have to do that from now on,” she said. “My company usually performs in San Francisco, and I have audience coming from all over the bay.”These calculations are taking place in an atmosphere of uncertainty and anxiety. It is not clear how much these early attendance figures represent a realignment, or are evidence of audiences temporarily trying to balance their hunger for live performances against concerns about the spread of the Delta variant — even in a city where 75 percent of the eligible population is fully vaccinated. Lower attendance figures have been reported by performing halls across the country.“The audience is back,” Esa-Pekka Salonen, the music director of the San Francisco Symphony, said. “Not what it was, but they are back. Some nights have been a little thinner than others. By and large the energy is good. Our worst fears have been dispelled.”Christopher M. Howard Opening nights have found performers relieved to be playing to real crowds again and audiences delighted to be back. “The convenience of at-home entertainment has made it not as desirable for some folks, ” said Ralph Remington, the director of cultural affairs for the San Francisco Arts Commission. “But that being said, even though the density of the numbers isn’t as great as it was prepandemic, the audiences that are coming are really enthusiastic.”Advance sales for “The Nutcracker” at the San Francisco Ballet, with one-third of the tickets going for just $19 a seat to help bring in new patrons (the average ticket price is $136), have been moving briskly.Danielle St. Germain-Gordon, the ballet’s interim executive director, said she hoped that working from home had made people eager to break out of their increasing isolation. “I would do anything to get out,” she said. “I hope that’s a good sign for our season.”At the height of the pandemic, about 85 percent of San Francisco-based employees worked from home; that number is about 50 percent now, said Enrico Moretti, an economics professor at the University of California, Berkeley.“I think it’s possible that people are not going to commute from Walnut Creek at night to go to downtown San Francisco for the opera to the same extent,” he said. “But I don’t expect those office buildings will sit empty. There will be other people moving into them.”The Magic Theater, a 145-seat-theater in Fort Mason, just beyond Fisherman’s Wharf, has been experimenting with different kinds of programming, such as a poetry reading, and pay-what-you-can seats to lure patrons who live — and now work — far from the theater.“This is going to be an interesting year for everyone,” said Sean San José, its artistic director. “Are people going to come back? The zeitgeist is telling us something. Maybe we should listen. This ain’t a pause. We have got to rethink it.” More

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    First Asian American Muppet Arrives on ‘Sesame Street’

    Ji-Young, a guitar-playing Korean American character, will bring rock music and conversations about racism to the long-running children’s show starting on Thanksgiving Day.“Sesame Street” is welcoming its first Asian American muppet to the neighborhood. Ji-Young, a Korean American 7-year-old who loves playing her electric guitar and skateboarding, will make her debut next week.Ji-Young won’t just be sharing her love for rock music and tteokbokki, or Korean rice cakes, on the show. She will also play a role in countering anti-Asian bias and harassment at a time of heightened awareness around the issue.Sesame Workshop, the nonprofit that produces “Sesame Street,” said it created Ji-Young to support families of Asian and Pacific Islander heritage as part of its racial justice initiative, Coming Together. Sesame Workshop introduced the initiative in the summer of 2020, after the murder of George Floyd and as racism and violence targeting Asians and Asian Americans surged during the pandemic.“Sesame Street” has been on air for more than 50 years, but Ji-Young is its first Asian American muppet.The show has had human characters and guests of Asian descent, including Alan Muraoka, who is Japanese American and owns the fictional Hooper’s Store. In June, “Sesame Street” released a video called “Proud of Your Eyes,” in which Mr. Muraoka helped Analyn, a Filipino American girl, after she was teased about the shape of her eyes. Muraoka and Wes, a muppet, told Analyn that her eyes were beautiful and part of what made her who she was.Nancy Wang Yuen, a sociology professor at Biola University in La Mirada, Calif., and an expert on race and racism in Hollywood, said that when she first immigrated to the United States from Taiwan at age 5, she learned more English from “Sesame Street” than from the E.S.L. classes at her school.The show was more diverse than most children’s programming of the time, but Ms. Yuen said it was missing characters who looked like her when she was growing up in the 1980s and early 1990s.“I think having this muppet who is more culturally specific and is able to speak another language, especially in the current time of rising anti-Asian hate, is so essential to representation,” she said.Kathleen Kim, Ji-Young’s puppeteer, with the finished muppet.Zach Hyman/Sesame WorkshopJi-Young made her television debut on the “Today” show on NBC on Monday. “You know what’s really cool about ‘Sesame Street’ is that no matter what you look like, or how you play or where you come from, you belong, and that’s really cool,” Ji-Young said.She will be introduced on “Sesame Street” during a special episode on Thanksgiving Day on HBO Max and on local PBS stations. The show, “See Us Coming Together: A Sesame Street Special,” will also feature Simu Liu and Naomi Osaka.Mr. Liu, who plays the title character in “Shang-Chi and the Legend of Ten Rings,” welcomed Ji-Young to “Sesame Street” on Twitter on Monday, after The Associated Press reported on the new muppet’s debut.“I’ve had the privilege of experiencing so many incredible things over the past couple of years, but this definitely sticks out,” Mr. Liu said. “Welcome to Sesame Street, Ji-Young! I’m so glad I got to hang out with you.”In the special episode, the residents of Sesame Street celebrate Neighbor Day, a community event with food, music and games. Someone offscreen tells Ji-Young to “go back home,” and then the other residents, guest stars and friends, like Elmo, offer her support.Ji-Young’s puppeteer is Kathleen Kim, who is Korean American. “My one hope, obviously, is to actually help teach what racism is, help teach kids to be able to recognize it and then speak out against it,” Ms. Kim, 41, told The A.P. “But then my other hope for Ji-Young is that she just normalizes seeing different kinds of looking kids on TV.” More