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    Review: Channeling Anger in ‘A Girl Is a Half-Formed Thing’

    Annie Ryan’s stage adaptation of the Eimear McBride novel is given a lucid and intimate revival at the Irish Repertory Theater.The girl is 5, doing somersaults in a skirt, her little-kid underwear showing as she tumbles.“It’s disgusting,” her scandalized grandfather huffs. “How is she supposed to be a child of Mary?”The Virgin Mary, that is. If you grew up Roman Catholic, the phrase “child of Mary” might already be familiar. Likewise the notion of moral purity it connotes, ingrained early in the narrator of Eimear McBride’s formidable rush of a novel “A Girl Is a Half-Formed Thing,” whose solo-show stage adaptation by Annie Ryan is getting a gorgeously lucid, intimate production at the Irish Repertory Theater.Both the novel, published in the United States in 2014, and the stage version, first seen in New York in 2016, predate the rise of the #MeToo movement. But they reflect an anger that was building and that McBride was able to articulate in the speed-of-thought story of a girl, whose name we never learn: a child who draws strength from what she has been taught to believe is her badness, but is left unguarded against others’ actual evil.Directed by Nicola Murphy on Irish Rep’s tiny second stage, Jenn Murray rides the current of the monologue like a river, navigating its rapids and eddies, and stretches of calm, with a deftness that easily brings the audience along. On a spare set by Chen-Wei Liao, abetted by Michael O’Connor’s lighting and underscored by Nathanael Brown’s subtle music and sound design, Murray slips in and out of a crowd of characters with near-total legibility.The girl is in utero when the play begins, but sentient all the same, and already fond of her toddler big brother. The whole play is spoken to him, her most precious person, who, by the time she is born, is surgery- scarred, with branches of a tumor left in his brain.Their mother, abandoned by her husband and frightened for her son, clings to religion. She might love her daughter. Mainly, she seems repelled by her.As a small child reveling in naughtiness, the girl races into the rain to swear lavishly — “My bad words best collection,” she calls it — where no one else can hear. Part of the pain of the play is watching that exuberant defiance ground down by shaming rules that dictate permissible female behavior and blame those who, by their own choice or someone else’s, don’t comply.She is 13 when her aunt and uncle come to visit. The others leave the house, and the uncle, stomach-lurchingly, seizes his chance. He goes to the girl’s room, charms her, kisses her. She thinks he wants more, but he protests: “I’m not that man.” He is, though, and he does. She is a child and he ought to be her protector. When sex hurts her, he says, “You’ll be fine.”This isn’t true then or in the years that follow, as his predation works its warping damage and what feels to the girl like her own sexual empowerment morphs into egregious, long-term self-harm.In college, she won’t speak the secret of her uncle’s abuse even to her best friend.“What is there to say?” she asks. She’s learned her lessons well.A Girl Is a Half-Formed ThingThrough Dec. 12 at the Irish Repertory Theater, Manhattan; irishrep.org. Running time: 1 hour 20 minutes. More

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    The Emails Behind the Opera ‘Eurydice’

    For several years, the composer Matthew Aucoin corresponded with Sarah Ruhl about how to adapt her play into the Met Opera’s latest premiere.In 2015, the composer Matthew Aucoin emailed the playwright Sarah Ruhl to ask whether she would be interested in working with him on a new opera inspired by the Orpheus myth.Instead they ended up adapting her 2003 play “Eurydice” — a yearning, fanciful treatment of the Orpheus story in which Eurydice is reunited with her dead father in the underworld. The result premiered at Los Angeles Opera in February 2020, and arrives at the Metropolitan Opera on Tuesday, directed by Mary Zimmerman and conducted by Yannick Nézet-Séguin.Aucoin and Ruhl wrote to each other for several years about turning the poetry of her play into a libretto, building character through music, and understanding the strengths and limitations of opera. They recently looked back at those messages and discussed them in a joint interview. These are edited excerpts from their correspondence and their present-day reflections.SEPT. 29, 2015, 10:45 A.M.Dear Sarah,Hi — my name’s Matt Aucoin. Your plays “Eurydice” and “The Clean House” recently reduced me to a blubbering awe-struck wreck. And then I happened to read an interview with you in which you said, “Everyone has a great, horrible opera inside him.” I thought, “I really want to make a great, horrible opera with this person.”Pardon my forwardness — and my ignorance, for not knowing your work until now! — but I’m overwhelmed by your lucid musicality. I sensed instantly that you’re a poet — not in any highfalutin’ sense, but in a more practical one: It’s clear that you wrote (and write) poetry, and that poetry is a native tongue for you.Oh, about “longing looks back”: I have the same gene as every composer EVER, and I need to write an Orpheus opera.Might you be interested in creating one together?SEPT. 29, 2015, 11:59 A.M.Dear Matt,Thank you so much for the kind words about my plays. I also read an article about you and was struck by a phrase someone wrote about you — language becoming music, and music becoming language. I’m interested in that nexus, too. It’s true I used to write and still dabble in poetry, and it’s true I’d love to collaborate on an opera sometime. I listened to a very small clip of your music on your website and found it quite beautiful; I’d love to listen to more.I feel it might be awkward for me to retread the Orpheus territory from his point of view having already written “Eurydice.” My gut is that I’m more interested in adapting “Eurydice” into a musical piece. But it’s silly for me to make any pronouncements in an email without first talking. So let’s meet and talk.MATTHEW AUCOIN I had a separate Orpheus opera in mind that was entirely different, that was in a way an expansion of my piece “The Orphic Moment” — much darker, much more twisted. It took a meeting or two for me to be like, you know what, adapting “Eurydice” makes more sense. I tried to inject a bunch of my ideas into “Eurydice”; then I felt that the skeleton of the play was so strong that it resisted the foreign energy. So I very quickly decided that we could create a more unified world if we stuck to the play.SARAH RUHL I don’t remember it taking you very long to say, “Yes, let’s do that.” Always you were trying to make Orpheus more complex, since that was your way in. But Eurydice was so present for me as a character, and it wouldn’t make sense to retread the material from his perspective.AUCOIN I think the core of this piece, for me, is: What would you say to someone you lost if you could meet them again in this other space?RUHL It’s myth as container, as vehicle — rather than myth for myth’s sake.OCT. 15, 2015Some thoughts …Opera as magical realism: I think we should indulge our every magical-realist impulse in this piece. I tend to think opera works better when its creators embrace this quality, since it’s probably inescapable: If opera is real, its realism is magical. (It just doesn’t work when people try to house train it or to convince the audience that opera is no weirder or scarier or more surreal than, like, a sitcom.)— MattAUCOIN In opera, all speech is dream speech. That’s a law of nature on Planet Opera. Simply because everything is sung, what’s communicated will tend to have a dreamlike or surreal quality, no matter how much you might want it to sound like “Seinfeld.”RUHL I love what you say about dream speech. I’ve been wanting to write a piece about the idea that art is a dream we have together. When we’re sleeping, we dream alone at night. Art becomes an incredible vehicle in which we can have the same dream at the same time, while awake.APRIL 29, 2016It occurs to me that Orpheus has no parents; his lineage is disputed and totally confusing. I’m sensing that one difference between O + E is that even though Eurydice’s father is dead, she was deeply close to him, whereas Orpheus was always an orphan.We might see him first happily singing to himself, and then expressing his pre-wedding anxieties: He’s torn between his love for Eurydice and his overwhelming need to make music; he’s not sure where he came from; he’s never felt 100 percent human; and he’s unsure if he can give and accept the love he feels so powerfully for Eurydice.— MattAUCOIN I think there are two implied love triangles in the “Eurydice” dramaturgy. Eurydice is torn between her connection to her father and her relationship to Orpheus. And Orpheus is also kind of torn between Eurydice and music itself. I think that’s where the idea of the double [adding a countertenor’s halo of sound to the baritone role] came from.JULY 19, 2016, 7:43 P.M.I’ve been doing a lot of thinking about Hades. The main thing, from my perspective, is that he’s a sociopath. He has a total lack of interiority and yet he is alone. Sounds like hell to me. So he feeds off Orpheus and Eurydice, both of whom have (if anything) too much interior life; they’re too likely to withdraw into their own worlds, and he knows that. He’s a parasite who sinks his teeth into Eurydice’s intellect and Orpheus’s music.I think it’s important that Hades’s lines are simple and direct — and emotionally wrong, awkward and unnatural, but in a way that’s unsettling rather than comical. I think the repetitions of “interesting” risk being a little too funny, especially when they’re sung.— MattJULY 19, 2016, 8:51 P.M.Do we care that we somewhat lose his absurdity (“It was delivered to my elegant high-rise apartment by mistake”)? The question about humor is maybe a larger question tonally about the piece. I use humor in the play to deflect and deepen the tragedy — it could be that doesn’t play the same in an operatic piece. I don’t want to totally excise the humor, but in the nasty man it just might not be singable.— SarahJULY 20, 2016, 4:20 P.M.I definitely want to keep the humor!!! I just think Hades needs to be dangerous — dangerously deadpan, at first. Which could be funny in its own right. For me the absurdity emerges when we see his gigantic empty loft. But at first, I’d love him to be eerily nondescript.— MattRUHL I’m so happy that Matt has been able to rhythmicize lines and retain their humor.AUCOIN The challenge with Hades is that it lies at an extreme of the male voice, but he should also sound quite deadpan. The music is absurdly high, but I wanted to create the sense that for him it’s completely normal.RUHL I love this idea that Hades is impersonating a person. And I think it’s wonderful how you figured that out in the singing of it.AUCOIN It’s a matter of rhythm and range. Hades’s music is the exact opposite of proper, correct text setting. When he says “How interesting,” he sings the word “how” on a high D flat for an entire bar. And in certain sections, every syllable is accented in this horrible way. It’s not human.JAN. 31, 2017I think what we are going for is condensing stage time, while distending mythic time … if that makes ANY sense!— SarahRUHL It takes longer to sing than to speak, so everything has to be shorter. But you want the mythic scope of it to still feel big. It’s a bit of a puzzle. How much can you feel like time is moving slowly in the underworld without actually subjecting the audience to a kind of slowness that they don’t want to be subjected to?AUG. 8, 2019FATHEREurydice is gone.This is a second death for me.I wonder about cutting “This is a second death for me.” It’s a little self-pitying. Might be more moving just: “Eurydice is gone. How do you remember to forget?”— SarahAUCOIN This is part of a longer scene where Eurydice’s father remembers the directions to his childhood home. In an early version of the score, he sang those directions very slowly, and it felt totally wrong — like moving through molasses. Sarah, Mary and I all independently came to the conclusion that he had to speak these lines, not sing them. The words carry so much emotion that, unusually for opera, song proved superfluous.RUHL I had the experience in writing the play as well. I had written a soliloquy that I would describe as an operatic soliloquy; it was poeticized and emotional. And it felt all wrong for who he was as a person.AUCOIN I think the shape of the drama is so devastating.RUHL The ending is very sad. I hope it gives people catharsis after this two years of not being able to grieve with others. I’ve watched two funerals on Zoom. It’s hard for me to have a good cry on Zoom; I’m not with other people, and I feel self-conscious with people watching me cry on video. It’s not that I’m inviting people to come and cry at “Eurydice” — but in a way, I am. More

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    What’s on TV This Week: ‘Dancing With the Stars’ and the Soul Train Awards

    The season finale of “Dancing With the Stars” airs on ABC. And Tisha Campbell and Tichina Arnold return to host the 2021 Soul Train Awards on BET.Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, Nov. 22-28. Details and times are subject to change.MondayDANCING WITH THE STARS 8 p.m. on ABC. The contestants on the 30th season of “Dancing With the Stars” have danced their way through nine emotional weeks. Expect a captivating conclusion with its final four pairings of celebrities and professional dancers: The “Dance Moms” alum and TikTok star JoJo Siwa with the dancer Jenna Johnson; the N.B.A. player Iman Shumpert with Daniella Karagach; the Peloton star Cody Rigsby with Cheryl Burke; and the TV host Amanda Kloots of CBS’s “The Talk” with Alan Bersten. The youngest competitor of the season, Siwa, 18, has already made “Dancing With the Stars” history: she is the first contestant on the show to be in a same-sex pairing. “I want to be a role model for people who love love,” Siwa said in an interview with The New York Times in September.THE RED SHOES (1948) 8 p.m. on TCM. “There has never been a picture in which the ballet and its special, magic world have been so beautifully and dreamily presented,” Bosley Crowther wrote in his Times review of the film in 1948. “Here is the color and the excitement, the strange intoxication of the dancer’s life.” Based on an 1845 Hans Christian Andersen fairy tale of the same name, “The Red Shoes” follows the journey of Vicky (Moira Shearer), a young ballet dancer toeing the line between two passions: true love and becoming a prima ballerina. The film, which won several Oscars, including honors for its art direction and music, glows in Technicolor, an appropriate fit for this whimsical tale of temptation, passion, obsession and sacrifice.TuesdayAn archival image as seen in “Home From School: The Children of Carlisle.”National Archives and Records AdministrationINDEPENDENT LENS: HOME FROM SCHOOL: THE CHILDREN OF CARLISLE 9 p.m. on PBS (check local listings). The filmmakers Geoffrey O’Gara and Sophie Barksdale bring to light the stories of Arapaho children who, in the 1800s, were taken from their homes and brought to a federal boarding school in Carlisle, Pa. There, they were stripped of their culture. The filmmakers follow a group of Northern Arapaho tribal members who traveled to the school grounds in 2017 to seek answers for their people, who have spent generations fighting to bring the remains of their lost children home. In July, the children who died at Carlisle Indian Boarding School were laid to rest in their ancestral home land. While many tribes, including the Ute and Navajo, are still uncovering their own truths about similar violent histories, this documentary follows this Arapaho journey in 2017, sharing true accounts of loss, love and healing.LEADBELLY (1976) 9:45 p.m. on TCM. In this biopic, Gordon Parks, the director of “Shaft” (1971), explores a true story of Black history and exploitation, one that occurred many years before the fictional private eye John Shaft ran through the streets of Harlem. “Leadbelly” follows the life of the titular folk singer (played by Roger E. Mosley), who was known for his mastery of the 12-string guitar — and for singing a song for a Texas governor that led to his pardon from prison, or so the story goes. “He was always refining his music, which provided the order in a life that was in every other respect chaotic,” Vincent Canby wrote in his 1976 Times review of the film. (Parks’s own life was recently examined in the director John Maggio’s “A Choice of Weapons: Inspired by Gordon Parks,” a film that, in its own way, also captures a Black artist’s journey through America.)WednesdaySPACE JAM (1996) 5 p.m. on VH1. Michael Jordan stars alongside Bugs Bunny, Daffy Duck and the rest of the Looney Tunes entourage in this comedic amalgamation of mid-’90s live action and animation. Classic cartoon shenanigans ensue as Jordan is (literally) sucked into the world of Looney Tunes through a sand trap and called upon by the Tune Squad to help save the day (by playing a basketball game, naturally). The battle royale pins the Nerdlucks, an alien team led by the Tunes’s arch nemesis, Swackhammer (voiced by Danny DeVito), against Jordan and the Tune Squad. The good guys are assisted by Bill Murray, who looks slightly out of place but very ready to rumble in a Tune Squad jersey. Can the Tune Squad defend their home? Is that all, folks? (The gang reappeared in “Space Jam: A New Legacy,” starring LeBron James, this year.)ThursdayBACK TO THE FUTURE (1985) 7:30 p.m. on Syfy. This blast from the past — to the future — takes us for a ride with the high schooler Marty McFly (Michael J. Fox) in his DeLorean turned time machine, built by the witty and unconventional scientist Doc Brown (Christopher Lloyd). After a shocking encounter in an abandoned mall parking lot, McFly puts the pedal to the time-flying metal. He lands in a 1955 brimming with wiseguys and high school ne’er-do-wells.FridayGal Gadot in “Wonder Woman.”Clay Enos/DC Comics and Warner Bros.WONDER WOMAN (2017) 7 p.m. on TNT. Patty Jenkins’s interpretation of “Wonder Woman” gives the beloved DC Comics warrior an origin story with weight. The soon-to-be superhero, Diana Prince (Gal Gadot), is raised by an all-female warrior clan that is hidden away from humans on a mystical island. Diana, though, has felt a deep connection to the outside world since her youth. The veil between her world and the world of the humans is torn open when a World War I-era plane crashes into the water near the island and Diana saves its pilot, Steve Trevor (Chris Pine), from drowning. Afterward, Diana finds herself facing “the war to end all wars” head on.Five Movies to Watch This WinterCard 1 of 51. “The Power of the Dog”: More

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    Review: ‘The Alchemist,’ a Play in Search of Comedy Gold

    Red Bull Theater brings on the cons and their marks in this adaptation of the 17th-century Ben Jonson work.Let’s face it: Some people don’t just ask to be conned, they practically beg for it. Their greed, be it for money, sex or power, makes them vulnerable to the most extraordinary fabrications: the more outlandish the promises, the harder they fall for them. Conveniently, their hubris and self-confidence shelter them from the fact that they are gullible idiots.Such perfect marks are matched with perfect swindlers — shrewd, resourceful, prone to fart jokes — in the Ben Jonson comedy “The Alchemist,” now being revived by the Red Bull company. Naturally, shenanigans and slapstick ensue, spiced with an abundance of saucy double, and sometimes single entendres.For the occasion, Red Bull has reunited the team behind its 2017 hit adaptation of Nikolai Gogol’s “The Government Inspector”: the playwright Jeffrey Hatcher, who translated Jonson’s dense Jacobean text into a vernacular that is easier on 21st-century New York ears, and the director Jesse Berger, who seems to have never met a door that could not be slammed in a hurry. The pairing is felicitous, though the result is not as consistently funny as their earlier show, especially in the slack second act. Admittedly, very little is.After his master leaves plague-infested London for his home in the country, “for he could well afford to,” the butler, Face (Manoel Felciano), and his accomplices Subtle (Reg Rogers) and Dol Common (Jennifer Sánchez) use the now-empty city house to entertain a series of visitors ripe for the fleecing.There is, for example, Dapper, who wants a good-luck charm to improve his gambling odds and is made to believe a simple flea, conveniently near-invisible, will do the trick. The expert comic actor Carson Elrod fleshes out Dapper with a veritable arsenal of mimicry and affectations that make his every appearance a delight.Other targets are more satirically pointed, like the pious Ananias (Stephen DeRosa), who is from “a Protestant sect banished to Holland for the crime of being perfect,” or the excellently named Sir Epicure Mammon (Jacob Ming-Trent, in fine form), who covets the philosopher’s stone that could turn any metal into gold — Jonson’s approach is here very similar to that of Molière.From left, Jacob Ming-Trent and Manoel Felciano in “The Alchemist.”Carol RoseggSir Mammon’s appetites are boundless, and he is bewitched by the suggestion that a single mystery word can trigger the comely Dol into a carnal frenzy. “He that makes the stone must be virtuous, he that buys it, not really,” he says. “Tis the genius of Capitalism.”Hatcher dispenses such anachronisms judiciously — a joke referring to the James Bond universe is milked for all it’s worth, especially visually — but mostly he avoids the trap of over-relying on them for easy laughs. (The modern model of a classic play being jolted into the present remains David Ives’s “The School for Lies,” a dizzying rewriting of Molière’s “The Misanthrope.”)The dialogue often zings, and Berger orchestrates the farcical comings and goings on Alexis Distler’s bi-level set at the requisite madcap pace — at the performance I attended, the excellent Rogers (who played the director of the musical-within-the-musical in “Tootsie”) ad-libbed a line about all the stairs he had to climb.But the show is better at setting up the plot than at resolving it when we return from intermission — it is, after all, easier to throw a bunch of pins up in the air than it is to juggle them.Luckily, the cast members continue to exert themselves relentlessly in the service of laughter, from mere exaggerated inflections to all-out clowning. If acting is a form of conning, theatergoers, too, are willing victims.The AlchemistThrough Dec. 19 at the Red Bull Theater, Manhattan; redbulltheater.com. Running time: 2 hours. More

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    ‘Insecure’ Recap, Season 5, Episode 5: Out of Control

    As Molly deals with a family emergency, Issa finds a new relationship moving faster than she planned.Season 5, Episode 5: ‘Surviving, Okay?!’We all have a friend who is obsessed with control. They are the ones who ask who is invited to a party before agreeing to attend. They make all the reservations. In “Insecure,” that friend is Molly.Molly needs to know who, what, where and why before she even picks out an outfit. She has gotten better about this as the show has progressed, but this week the control freak returns. This episode, which was directed by Kerry Washington, starts out near the end of a tryst, when suddenly Molly’s phone gets a flurry of incoming messages. Her mother, Carol, has been hospitalized.Yes, Molly showed up to the hospital in her freakum dress, but in her defense, she left in a rush. After the doctor first confuses Carol with another, much older Black woman, the family finally finds her. It was only slightly comical — there are plenty of real-life reports that suggest that doctors give less consideration to Black patients.Molly’s mother has had a stroke and is unresponsive. It has caught Molly, Ms. In Control, off guard. Throughout the episode, the Carter family waits to see how much the stroke has affected Carol. Molly doesn’t leave the hospital, and soon Issa stops by to offer support and help.Issa had just woken up in Nathan’s bed, to a cup of coffee, when she got the news about Carol. She asks Nathan to take her to the hospital, where she offers to bring Molly a more appropriate outfit. In the meantime, she gives Molly the clothes off her back so that she can be more comfortable while tending to her family — that kind of sisterhood and care is beautiful to see onscreen. (Issa is also a vision in that dress.)After Molly and Issa exchange clothes, they look at themselves together in the mirror. It is briefly as if each has become the other — Issa in the party dress and Molly in the killer sweatshirt and jeans. It’s nice to see the relationship reach this level of quiet, shared love, where a nod and a hug communicates more than words can.At the hospital, Molly, her brothers, Curtis and Jerome, and her father, David, are all shocked to see their matriarch in such bad shape. David is incapable of even speaking to the nurse but Molly picks up the ball, asking the nurse to keep her updated.Before this emergency hospitalization, Molly’s parents had omitted key details about her mother’s health, including the fact that Carol had had a stroke before. Molly is shocked and her sense of control takes another hit — she didn’t even know what all was going on with her own parents.Meanwhile, Issa has her own, less profound problems: She loses Molly’s dog, Flavor Flav, during a walk. She had been distracted by Nathan, who had just met her mother over FaceTime, when the dog got loose. They set out to find him with a bizarre lack of urgency: They were basically just kicking it and hoping Flav would come back to them, which I found strange. But eventually he did.After Issa essentially hangs up on her mother, who was doing the most, she explains to Nathan that it is OK if he thinks it’s too soon for them to be meeting one another’s parents. But Nathan says no, with that darling smile. Their bond is deepening and soon Issa is learning more about Nathan’s family, though as is often the case with his past, it’s pretty dark. (His father sounds at least somewhat abusive.)Almost as soon as they stop looking for Flav and take a break on a bench, he finds them on his own. (In Los Angeles?!) Nathan sees an opportunity for a metaphor.“Smarter than you gave him credit for,” he says to Issa, who doubted the dog would make it back. But really he is talking about himself.“I honestly could not have done today without you. You’re so patient with me, that’s why I love you,” Issa says to Nathan, almost accidentally. It’s another unplanned step forward in their relationship and again Nathan responds favorably, this time with a warm kiss.After returning Flavor Flav, Issa heads back to the hospital, where Molly had just been informed that her mother will likely be at least partially paralyzed by the stroke. Though the doctor offers to inform the family, Molly volunteers to do it herself. It seemed like an effort to recover some semblance of the control she is used to having.Talking to Issa, Molly beats herself up, as if allowing herself to have a good time was somehow linked to her mother’s affliction.“I was hooking up with some random guy when my mom was busy having a stroke,” she says.“All of this stuff is out of our control anyway,” Issa replies.The truth of Issa’s own words is almost immediately demonstrated to her, when she unexpectedly glimpses Lawrence with his new family. Heading out for coffee, Issa sees him with Condola and Elijah — they are at the hospital, presumably for a pediatric appointment. Issa looks at the baby’s face and then at Lawrence’s. It’s the image of a life she once was ready to have, but one that is distant from who she is today.Lawrence looks up and they lock eyes. (Condola does not notice.) Then Issa slips down the hall and Lawrence heads into his appointment. They both saw what could have been and had to walk past it, Lawrence with disappointment on his face.Issa stops when she gets out of view, frozen by what she has seen until the episode cuts to black. I hope that she is strong enough to look at what could have been and walk toward what is. More

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    ‘Succession’ Recap, Season 3, Episode 6: Pretenders to the Throne

    Kendall had hoped to be the kingmaker, but we all know whom that role belongs to.Season 3, Episode 6: ‘What It Takes’“Succession” is sometimes described as a political satire, but politics is more the show’s milieu than its subject. The Roys run a right-wing media empire, so they spend a lot of time around politicians; and the family members themselves, at least on a performative level, have fiercely held ideals. (Or fluidly held in the case of Kendall and Shiv, who have lately sort of switched sides.) Rarely has this series engaged in as much sustained commentary on the sorry state of modern politics as occurs in this week’s episode.The title, “What It Takes,” is likely a reference to Richard Ben-Cramer’s nonfiction account of the 1988 U.S. presidential race, in which he examined in-depth the biographies and the campaigns of two Republicans and four Democrats, considering what drove these men to run. The book explores the gulf that often opens up between the candidates’ impressive credentials and how they sell themselves to voters and the media.In the “Succession” version, the guys vying for the Republican nomination at a Virginia gathering of conservative thought leaders aren’t exactly the best and the brightest. Up for consideration at an emergency meeting of the Future Freedom Summit are: Vice President Dave Boyer (Reed Birney), the “steady old plow-horse,” who’s like a second-rate copy of his retiring boss; Rick Salgado (Yul Vazquez), a moderate Reaganite elitist trying to convince the base that he’s now a big tent, blue collar populist; and Jeryd Mencken (Justin Kirk), a slick-talking nativist who says of a diversifying America that he supports integrating “new elements” but, “C’mon man, slowly.”Bringing up the rear is Connor Roy, about whom his own brother Roman says: “Sure, I dunno, yeah. Wait, but like, really?”This meet-up in Virginia has been called “the ATN primary,” hastily arranged after the cable news network tossed out the Raisin. Next on the ATN agenda: telling their largely Republican viewers which puppet they should be devoted to now. (Cue Greg: “But is that, like, constitutional?”)Logan shrugs off the hype and drama, saying, “I need to keep my spoon in the soup.” But he clearly has more on his mind than just deciding, as an ordinary American citizen, who would make a great president. He wants someone who will throw some administrative roadblocks in front of the tech companies who are stealing ATN’s audience. More important, he wants someone who’ll squelch the Justice Department’s investigation into Brightstar.So the Roys gather in their suite, debating their options and seeing which candidate will be the most pliable. Maybe it’s Boyer, who hustles when Logan calls him up and asks him — not entirely jokingly — to “run me over a Coke” and also to “fire the deputy attorney general.” Maybe it’s Salgado, who can go deep into the weeds on policy. Maybe it’s the up-and-coming firebrand Mencken, who calls ATN “dead” and compares it to an afternoon pudding cup in a nursing home. Or maybe it’s Connor, who … OK, who are we kidding? It’s not Connor. (Although Greg does politely say, “I think I could see myself spoiling my ballot in his favor.”)Logan will make the final call, as Roman (a Mencken man) and Shiv (a Salgado supporter) play the devil and angel on his shoulder, whispering suggestions. Connor is in the room, unwaveringly backing himself. And Tom and Greg are there ostensibly as “family,” though both know that no one will pay attention to what a couple of potential jailbirds say. (Greg stays mostly quiet, “minimizing the Greg window.” But he does stick around because while he’s a registered voter, “I just feel like you maybe get a bigger vote in here.”)Tom and Greg — especially Tom — are responsible for some much-needed comic relief in what is otherwise a fairly dark and occasionally disturbing episode. Tom at first default to poking fun at Greg, saying the young man will like this summit because, “It’s a nice safe space where you don’t have to pretend to like ‘Hamilton.’” But the truth is that Tom genuinely appreciates being able to talk with someone who understands his prison anxieties — unlike Shiv, who is sick of hearing him obsess about it.Tom and Greg grab a meal at a local diner because Tom has been trying to get used to the bland, starchy food he has been told he will be served behind bars. Greg spills his fears that, “Because of my physical length, I could be a target for all kinds of misadventure.” He also mentions the rumor he has heard that sometimes prisoners humiliate their cellmates by using their pillowcases as toilet paper. (“I know,” Tom interjects. “I’ve read the prison blogs.”)Later, Tom returns to what appears to be the same diner with Kendall, who has stealthily rolled into Virginia in hopes of sowing dissension in the Roy ranks. Kendall thinks he can flip Tom, who is in dire need of an ally. He warns his brother-in-law that while Logan may seem all-powerful and that Shiv may seem loyal, Tom can’t really count on either of them to save him from incarceration. Tom appears too resigned to his fate to fight. (“I have of late decided not to tarry too much with hope.”) But he does listen to Kendall … and maybe he actually hears him.What Tom doesn’t know, though, is that Kendall right now is flailing. He bombed at the shareholders’ meeting. He is not welcome at the Future Freedom Summit, given that he accuses the attendees of “burning books and measuring skulls down in Nuremberg, Virginia.” And he has just fired Lisa Arthur, “the best lawyer in town” (a designation he puts in quotation marks himself), because she seems more interested in cooperating with the feds than with aggressively countering Waystar. “Turns out she’s a toxic person,” he says to his assistants in explaining his decision to cut Lisa loose.Kendall had hoped to be the kingmaker whom future presidential candidates would have to court. Instead, it’s Roman who gets to corner Mencken in the bathroom of the Roys’ suite, in an absolutely riveting and more than a little terrifying scene. In a few intense minutes, Roman takes the measure of this man, to see just how committed he is to the whole neo-fascist agenda. Is he really willing to borrow ideas from Franco or Travis Bickle or “a very naughty boy named H?”Roman would like Mencken to be just obnoxious enough to fire up the base, but with a little bit of a wink so as not to scare off the center. His ideal is “Deep State Conspiracy Hour” but, “y’know, funny.” He also reminds Mencken that while ATN may seem like yesterdays news, they did just topple a President — and then immediately rattled the Justice Department with a rumor that the deputy A.G. is pursuing a personal grudge.Shiv is appalled that Roman and Logan would even consider Mencken, especially when Salgado is more palatable and less potentially dangerous to the whole American experiment. Roman of course belittles her choice. (“I think you’re so brave for picking the brown man.”) And when she tells her dad that Mencken is widely hated and begs him to “look at the climate,” Logan wryly replies: “The climate said I should step aside. I guess I’m a climate denier.”The episode ends with an echo of the “Succession” opening credits as the Roys gather for a group photo with their new Chosen One. Shiv tries to refuse, but Logan presses her until she relents and says, “I’ll be in the photo but not right next to him.” He sighs, “You win, Pinky.” But this is not even remotely true. Not wanting to be exiled like Kendall, Shiv has edged closer toward supporting a political philosophy she genuinely thinks is dangerous.What it takes, indeed.Due DiligenceIs it possible that Roman orchestrates the whole Mencken-anointing maneuver because his mother hurt his feelings? At the convention, a guest congratulates him on some news that catches him by surprise: His mom just got engaged to some British rando. (“A crooked-tooth turnip-man,” Roman speculates.) Shut out by one parent, perhaps he felt all the more compelled to impress the other. In the meantime, he takes comfort in learning that at least neither Shiv nor Kendall knew that “new dad just dropped.”Roman and Shiv spend some time on the plane down to Virginia engaging in their favorite pastime: Is Dad sleeping with the help? The latest possibility is Logan’s assistant Kerry (Zoë Winters), who is unusually comfortable with sharing her opinions about which candidate ATN should back. She also laughs with Logan about memes he shows her on his phone. (Trying to join in, Roman says: “Oh yeah, yeah. Well-played, the internet.”)Apparently a convict’s toilet is a stair-machine, a bench, a fridge, a lover, a brother and a priest. It’s also a toilet. (“So that’s a big part of prison?” Greg asks.)In addition to choking down bad food, Tom endures a shipment of funky-tasting wine in screw-top bottles. (“You kind of have to meet it halfway,” he says, hopefully. “There’s lots to unpack.”)Ever wondered what kind of movies Waystar’s entertainment division produces? Apparently it’s schlock like “Dr. Honk,” a comedy Roman once greenlighted about a man who can talk to cars. These are the people who are picking the next president. More

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    in Television

    ‘Saturday Night Live’ Weighs In on the Kyle Rittenhouse Verdict

    This weekend’s broadcast, hosted by Simu Liu, also included some helpful Thanksgiving tips and, uh, Dog Head Man.About a half-hour into this weekend’s broadcast, “Saturday Night Live” would devote an entire sketch to a character with a dog’s head and neck attached to a human body. But first, the show addressed the acquittal of Kyle Rittenhouse.In its opening segment, “S.N.L.” returned to the familiar format of a “Justice with Judge Jeanine” parody, with Cecily Strong playing the program’s vociferous host, Jeanine Pirro.Reflecting on the highly charged Rittenhouse proceedings, Strong said, “That lovable scamp was put through a nightmare of a trial just for doing the bravest thing any American can do: protecting an empty used car lot in someone else’s town.”She then introduced Mikey Day as Judge Bruce Schroeder, who oversaw the trial, saying that he had been “as impartial as a dance mom clapping harder than anyone.”Day said that the rules he followed during the trial were “all standard procedure.”“That’s why I ordered that the prosecution not use the word ‘victims,’” he said. “They were rioters. And they weren’t shot. They were ‘gadoinked.’ But that did not give my client an unfair advantage in any way.”Strong asked him, “Do you mean the defendant?”“Oh yeah, sure, I keep doing that,” Day replied.Strong brought out two liberal commentators, played by Chloe Fineman and Chris Redd, who saw the verdict from very different perspectives.“I was shocked,” Fineman said. (“You were?” Redd responded. “‘Cause I wasn’t.”)“I’ve never seen anything like it before,” she said. (“I have,” he answered. “Many, many times.”)“This is not who we are,” Fineman declared. (“I feel like it kind of is,” Redd answered.)The sketch also featured Alex Moffat as Representative Kevin McCarthy, the House minority leader, in a brief sendup of the eight-hour speech he gave from Thursday night into Friday morning. Strong said of him, “And that brave man stopped the Build Back Better bill from being passed. Until the next day, when it passed in two minutes.”As in its previous iteration, the segment concluded with an appearance from James Austin Johnson as former President Donald J. Trump. He delivered a couple of free-association riffs on Chris Christie, Bill Maher, Dua Lipa and “Gossip Girl,” and boasted that he had “built it back even better.”“I did wall,” Johnson said. “Big, beautiful wall. But it’s not just wall, because when you put wall down through a grass field, frankly, that’s road. And if you take wall and lay it across the river, frankly, Jeanine, you are doing bridge.”Game Show Parody of the WeekWhat constitutes a Republican or Democratic viewpoint anymore? Efforts to answer that question may prove elusive but they at least provide “S.N.L.” with the foundations of this satirical game show titled “Republican or Not.”Hosted by Kenan Thompson, the show asks contestants played by Liu and Ego Nwodim to answer that question about panelists including Kyle Mooney, who says he hates cops and thinks Facebook is evil; Sarah Sherman, who says her favorite comic is Dave Chappelle; and Strong, who is playing Representative Liz Cheney of Wyoming. (“You are the Rachel Dolezal of the Republican Party,” Thompson told her. “We will see you on MSNBC in about a week.”)Fake Commercial of the WeekIf you’re short on supplies for an upcoming Thanksgiving feast in your household, Target has you covered: not just turkeys, sides and sauces but (in this “S.N.L.” commercial parody) the highly specific items you’ll need to placate the more challenging members of your family.That includes a football for your uncle who takes the outdoor pigskin game too seriously; motion sensors so your dirtbag cousin can smoke in the driveway; and toys for kids left unsupervised. However briefly, this sketch also provides Liu with one of his better roles for the night: an annoying boyfriend who will only eat Tofurkey because, as he explains, “I won’t eat anything with feathers anymore.” (Needless to say, he’s also extremely enthusiastic about crypto.)Music Video of the WeekPete Davidson has been famous for a while now but, as you may have noticed recently, he’s gotten really famous. This apparently affords him the clout to create oddities like this segment, a parody of the video for Marc Cohn’s 1991 hit single “Walking in Memphis,” reframed so that it’s about Davidson’s home borough of Staten Island.Instead of the Sun Records studio and a statue of Elvis Presley, Davidson’s take features appearances from Method Man and the real-life Cohn, as well as bagel stores, pizzerias and a strip club that possibly used to be a McDonald’s.Weekend Update Jokes of the WeekOver at the Weekend Update desk, the anchors Colin Jost and Michael Che continued to riff on the Rittenhouse trial as well as other political developments from the past weekJost began:Yesterday was a weird one for President Biden. He went under anesthesia for a colonoscopy and when he woke up, the House had passed a $2 trillion social safety-net bill. The Rittenhouse verdict was announced. And a woman had technically been president for the first time ever. And while Biden was processing all that, he was rushed off to pardon a turkey named Peanut Butter. I mean, come on, the guy just turned 79. Half the country already thinks he’s senile. You can’t drop all that on him the second he comes out of the gas. I honestly can’t believe how well it went. Remember David after the dentist? I’m surprised we didn’t get Biden after the colonoscopy.Che continued:On Friday, Kyle Rittenhouse was found not guilty in the murder of two men during a Black Lives Matter protest. So hopefully he got all that shooting out of his system before he becomes a cop. Protests are being held all around the country in response to the acquittal of Kyle Rittenhouse. Which is brave because Kyle Rittenhouse just got off for shooting protesters. I don’t know, maybe don’t tempt him?The Sketch About a Man’s Body With the Head and Neck of a DogHere it is, Dog Head Man. Have a happy Thanksgiving. More

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    in Theater

    In 'Tick, Tick … Boom!,' Robin de Jesús Showcases His Range

    In the film, this queer Puerto Rican actor gets to showcase his range, stepping into a more mature role as Michael.The T-shirt says it all: “This body was built on arroz con gandules.”Arroz con gandules, or rice with pigeon peas, is a Puerto Rican classic, and Robin de Jesús wears the shirt with pride under a burnt orange jacket. When mounds of maduros (fried sweet plantains) arrive with our entrees, each is topped with a tiny Puerto Rican flag. De Jesús, 37, approves.The actor’s family is from rural Puerto Rico, and he grew up in a working-class community in Norwalk, Conn. Known for larger-than-life roles like a gay teenager who dabbles in drag in the movie “Camp,” a spirited maid in the Broadway revival of “La Cage aux Folles” and a boisterous interior decorator in both the play and film versions of “The Boys in the Band,” he wanted to diversify his work.Then along came “Tick, Tick … Boom!.” De Jesús was deeply intentional in auditioning for the role of Michael, an actor turned advertiser, in the film, directed by Lin-Manuel Miranda.“What kept coming up for me was, ‘I want a quiet performance.’ I want a quiet, subtle, nuance,” de Jesús said at lunch. “And I know that, if I do that, I can showcase maturity.”The movie (in theaters and on Netflix) is an adaptation of a musical about the writing of a musical. The original “Tick, Tick … Boom!” was written by Jonathan Larson — who would later go on to write the rock musical “Rent” — and first performed in 1990. The film tells the tale of an aspiring composer (also named Jonathan and played by Andrew Garfield) pouring himself into yet another musical, this one called “Superbia.” It takes place in the early ’90s, against the stark backdrop of the AIDS epidemic.As his 30th birthday looms, Jonathan’s anxiety manifests as a persistent ticking. He worries about the upcoming workshop of “Superbia,” upon which everything seemingly hinges — and about whether he can succeed in the performing arts at all.Michael, his former roommate and best friend since childhood, has tapped out of the threadbare artist lifestyle, opting instead for a plush career in advertising and a glittering high-rise apartment. He was tired of waiting for hours in line for an audition, just to be cut off after six measures of a song and called the wrong name: “Juan, Pedro, Carlos, lo que sea.”De Jesús with Andrew Garfield in “Tick, Tick … Boom!”Macall Polay/NetflixThat’s not to say that Michael has hardened into a formal shell; he stays playful and supportive of Jonathan’s dreams. We first meet him visiting Jonathan at work in the Moondance Diner, where he drops off copies he made of the “Superbia” script.“Boo-boo, you need to ask yourself,” Michael tells Jonathan, “In this moment, are you letting yourself be led by fear? Or love?”De Jesús said, “I knew that Michael did not have to be pulled and buttoned up, that he was someone who navigated being an artist, a creative, someone who was down and hip, and cool with also doing advertising.”“It didn’t have to just be one thing,” he continued.Although de Jesús has appeared in many major movies, he assumed some other, bigger film star might snag the role of Michael. So he took a risk in his audition. Miranda was impressed.“I’ve seen a lot of productions of ‘Tick, Tick … Boom!’ and a lot of the time the guy that gets cast as Michael is someone who looks very at home being a business guy, very dapper, very smooth,” Miranda said in a phone call. “What’s fun about Robin as a choice is that you 100 percent believe this is an artist who thrives in this world. It’s an artist with a business suit on.”Miranda and de Jesús go way back. (So far, in fact, that de Jesús sang at Miranda’s wedding.) In 2005, de Jesús made his Broadway debut in “Rent” as a member of the ensemble and an understudy for Angel, a young drag queen. That same year, he joined the original cast of “In the Heights,” Miranda’s first musical, with a book by Quiara Alegría Hudes.“Quiara and I realized every time he had the ball, he just put a crazy spin on it and knocked it out of the park,” Miranda said of de Jesús. “I am mixing my tennis and baseball metaphors, but so would Robin.”De Jesús earned a Tony nomination for his role as Sonny in “In the Heights.” He received subsequent nominations for “La Cage aux Folles” in 2010 and “The Boys in the Band” in 2019. This year, he presented at the Tony Awards with Andrew Garfield.But so many of his roles came across as youthful or outsize. De Jesús was ready for something fresh.Five Movies to Watch This WinterCard 1 of 51. “The Power of the Dog”: More