Eliana Willis

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    Scott Rudin, Producer Exiled for Bad Behavior, Plans Return to Broadway

    Rudin stepped away from show business four years ago amid reports that he had bullied assistants. He says he has “a lot more self-control” now.Scott Rudin, the powerful producer who was exiled from Broadway and Hollywood four years ago after allegations of bullying led to widespread denunciations and even protesters in the streets, has been quietly preparing to return to show business.After what he called “a decent amount of therapy,” apologies to many people and a period of reading and reflection holed up on Long Island, Rudin said that he had decided he wanted to make theater again. He is at peace, he said, with the reality that not everyone is likely to welcome him back.He called his previous behavior, particularly toward subordinates, “bone-headed” and “narcissistic.” He acknowledged that he had long yelled at his assistants (“Yes, of course”) and that he had on occasion thrown things at people (“Very, very rarely”).“I was just too rough on people,” he said.But Rudin — who produced films including “No Country for Old Men” and “The Social Network” and Broadway shows including “The Book of Mormon” and “To Kill a Mockingbird” — said he was confident that from now on he would be able to maintain his exacting standards without terrorizing others.“I have a lot more self-control than I had four years ago,” he said. “I learned I don’t matter that much, and I think that’s very healthy.” Also, he added, “I don’t want to let anybody down. Not just myself. My husband, my family and collaborators.”Rudin, 66, agreed to discuss his ambitious plans in response to requests to talk about indications that he was planning to return to producing. The result was his first detailed interview about his downfall, his time away from Broadway and his hopes to mount a comeback. His return is likely to be controversial, given that reports of the ways in which he berated and mistreated assistants helped lead to a reconsideration of workplace culture in theater.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

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    Through Tears, ‘Mid-Century Modern’ Makes Them Laugh

    On an evening in mid-January, there were bouquets piled outside of Linda Lavin’s trailer on the Disney lot in Burbank, Calif. Nearby, on a soundstage, a black ribbon was wrapped around her caricature.Lavin had died on Dec. 29, at age 87. Now the creators and cast of “Mid-Century Modern,” a Hulu sitcom that shoots in front of a live studio audience, had returned to work to honor her. That night, they would film a half-hour episode designed to pay tribute to her character, Sibyl Schneiderman, while also eulogizing an actress with an outstanding seven-decade career.That was hard enough. Even harder: They had to make it funny.“The job is to make sure it doesn’t get too sad and too sentimental,” said James Burrows, the multicamera-sitcom legend who directed the episode. “You have to remember it’s a comedy, and you’ve got to make the audience laugh.”I had reached out to the sitcom’s creators back in the fall. A new sitcom set among gay men in later life — think “Golden Girls” for the marriage equality set — it sounded like a hoot. It also offered a chance to explore how depictions of queer relationships have changed since the 1990s.But when Lavin died unexpectedly after most of the season had been shot, an irreverent sitcom with an impressive zingers-per-minute rate suddenly had to pivot. So the reporting assignment pivoted, too. (All 10 episodes arrived on Friday.)The ensemble of “Mid-Century Modern” played a group of gay men living in Palm Springs, Calif., with the mother of Lane’s character, played by Lavin.Chris Haston/DisneyWe 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

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    Jimmy Kimmel Updates the Never-Ending Story of the Signal Leak

    “There are many books and stories to come,” Kimmel said of the Trump administration’s leaky-group-chat scandal, comparing it to the Harry Potter saga.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.Incredibly TransparentThe Trump administration’s high-level Signal group chat to which a journalist was somehow invited continued to dominate late night on Thursday.Jimmy Kimmel called the scandal “the never-ending story” and compared it to the Harry Potter saga, saying, “There are many books and stories to come.” News outlets found some of the key players’ personal information online, including the Venmo contacts of Michael Waltz, the national security adviser.“You know how some people feel the need to share their Venmo transactions with everyone they know? Michael Waltz is one of them. He shares his name, there’s a picture of him, and all of his contacts up on Venmo. Even Matt Gaetz was, like, ‘How could you be so careless?’” — JIMMY KIMMEL“And security issues aside, isn’t it a little bit disturbing that a guy overseeing our national defense, our weapons — our nuclear weapons — is still in the ‘Dude, you owe me $14 for tacos’ phase of his life?” — JIMMY KIMMEL“He’s Venmo-ing his doctor? My man, if your doctor takes Venmo, that ain’t a doctor.” — STEPHEN COLBERT“This story won’t be going away anytime soon, because Mike Waltz has made a key strategic error: being an idiot everywhere at all times.” — STEPHEN COLBERT“Because of how incredibly sloppy they are, a German newspaper, Der Spiegel, was able to find personal email addresses, phone numbers and passwords — some of which seem to be still in use — for Mike Waltz, Tulsi Gabbard and Pete Hegseth. What a group. We have a national security adviser who doesn’t know how to secure, a defensive secretary of defense, a pro-measles secretary of health, and a secretary of education who wants to close the Department of Education.” — JIMMY KIMMEL“White House press secretary Karoline Leavitt, she’s standing firm. She said today the administration has been ‘incredibly transparent about this entire situation.’ Yeah, that’s the problem — they’ve been so transparent, we’ve seen all their information.” — JIMMY KIMMEL“Pete Hegseth and Mike Waltz have said and done so many stupid things this week, Trump might have to start calling them Eric and Don Jr.” — JIMMY KIMMELThe Punchiest Punchlines (McRib 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

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    Review: ‘Picture of Dorian Gray,’ Starring Sarah Snook and 3 Million Pixels

    The “Succession” actress plays all 26 roles in this Oscar Wilde classic reimagined as a video spectacle. If only there were less screen time and more IRL contact.An LED screen more than 16 feet tall. Four smaller ones drifting like clouds. Another that has a kind of walk-on cameo. Five camera operators with their electronic burdens. Nine people dashing every which way with wardrobe, wigs and whatnot. Three million pixels, in case you’re counting. Sixteen million colors. Two cellphones, at least on a recent glitchy night when the first malfunctioned. And one Sarah Snook.Or rather a multitude of Snooks.These are among the many wonders you’ll find onstage at the Music Box Theater, where a technologically spectacular adaptation of “The Picture of Dorian Gray,” with Snook playing 26 roles, opened on Thursday.What you won’t find is “The Picture of Dorian Gray.”The 1890 magazine story by Oscar Wilde, which he novelized in 1891, has proved irresistible to adapters, thanks to its nifty plot device: a portrait that ages instead of the sitter. The more the gorgeous Dorian Gray falls under the decadent influence of Lord Henry Wotton, the uglier the painting by Basil Hallward becomes.To get to that plot, though, adapters have to adapt out a lot because what Wilde wrote is less the psychological thriller they imagine than a perfumed treatise on aesthetic philosophy. Another thing usually sacrificed is the homosexual undercurrent, which, even after expurgation by the story’s first editors, was deep enough to drown in. Convicted of “gross indecency” in 1895, Wilde was sentenced to two years’ imprisonment, with hard labor, and died, just 46, in 1900. “Dorian Gray” was part of the evidence.Like the 1945 M-G-M movie, the current adaptation, written and directed by Kip Williams, downplays the treatise aspects. The queerness, though, is frank if complicated, in part because Snook, an Emmy-winning star of “Succession,” is still a woman while playing a man. Or not even a man. Her cherubic, shiny-cheeked Dorian is less the godlike 20-year-old of the novel than a barely pubescent boy.Snook provides specificity for each character: Her Wotton has a wonderful slouchy physicality, her Hallward nervous and twitchy, her Dorian (top of image) beamish.Sara Krulwich/The New York TimesWe 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

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    ‘Fight for Glory’ Is an Ecstatic Treat

    This three-part documentary about the 2024 World Series has an interesting task: Retell a story that is already pretty good and pretty legible.A lot of TV sports documentaries in the post-“Drive to Survive” world take a broad, rudimentary and personality-driven approach: Make the sport welcoming to new viewers, and give extant fans new access to their faves. After “The Last Dance,” we also got a wave of sit-down interviews and ostensible introspection — the stories behind the story.“Fight for Glory: 2024 World Series,” a three-part documentary that arrives Friday, on Apple TV+, is playing a different game.This mini-series, directed by R.J. Cutler (“The September Issue,” “Martha”), is almost all on the field. Rather than cutting away to seated talking-head interviews, the additional intel and commentary is delivered in voice-over, while the camera stays on the game. Only a few players get any back story, and only one, the Dodgers’ Freddie Freeman, drives the emotional arc of the show.“Glory” has an interesting task, which is to retell a story that is already a pretty good, pretty legible story without the documentary. Championships have built-in stakes; the Yankees and the Dodgers are internationally known legacy franchises; many of the players here are already huge, huge stars; and some of the contextualizing footage is from news conferences. There is no excavation of the unknown. The games have been played.Instead, “Glory” is a distillation, an ecstatic highlighting of highlights in their most alluring form. Sure, there’s a brief interlude about the battle between a batter and a pitcher, but that takes all of one at-bat. The hero here is home runs, and not just any home runs but grand slams — and not just any grand slams but a walk-off grand slam from Freeman, the World Series M.V.P.The Yankees fan in me was of course writhing in agony while I watched this. But the sports hedonist in me was dancing a jig. Just the good parts, please, and make them extra good. Never let me go more than a few minutes without hearing the crack of a bat and the roar of a crowd — a Yankee Stadium crowd, when possible. Feature only super-duper fans, and show them only losing their minds. Replay the injuries in slow motion. Frame the errors as egregious and the homers as a symbol of processing personal tragedy. Show us some loving families so that we may experience their joy as well. Take us all out to the ballgame, why don’t you. More

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    Review: Long-Lost ‘Love Life’ Still Has a Lot to Say About America

    Brian Stokes Mitchell, Kate Baldwin and other top-shelf singers star in an overly sentimental production of the long-lost Kurt Weill and Alan Jay Lerner show.In recent years, Encores! has presented productions of musicals with good name recognition, including “Into the Woods,” “Titanic” and “Urinetown.” With its latest offering, “Love Life,” the series returns to its original mission statement by presenting an obscure show, one devoid of standards at that — nothing in it would start a singalong at even the most hard-core piano bar.Kurt Weill and Alan Jay Lerner’s musical opened on Broadway in 1948, ran for 252 performances and over the years has developed a cult following largely thanks to its daring storytelling. It touched on what constitutes the fabric of American life and integrated vaudevillian interludes, thus paving the way for the likes of “Cabaret” and “Chicago.”Yet the show has been absent from New York stages in the intervening decades. There wasn’t even an original cast recording to help popularize the score. There is grainy footage of one of its original stars, Nanette Fabray, performing “Green-Up Time” on “The Ed Sullivan Show,” and some numbers have popped up on various albums, like Bryn Terfel’s cover of “Here I’ll Stay.” But for the most part, “Love Life” is fairly unknown these days.Naturally, this made it a desirable target for Encores!, which is presenting a semi-staged production through Sunday at New York City Center.As directed by Victoria Clark, this “Love Life” gives us only glimpses of the musical’s potential. The vocals are top-shelf, with particularly thrilling ensemble singing and harmonies, especially on “Susan’s Dream,” which almost gets within reach of the Encores! high-water mark of “Sing for Your Supper” in its 1997 production of “The Boys From Syracuse.” (Rob Berman conducts the onstage orchestra.)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

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    At 50, the Wooster Group Is Experimenting on Itself

    Elizabeth LeCompte and Kate Valk reflect on their decades of making daring theater together. Just don’t call it a nostalgic exercise.The short brick building that crouches at 33 Wooster Street is known to be a haunted house. How could it not be? For this is the location of the Performing Garage, home for nearly half a century to that most storied of experimental theater troupes in New York, the Wooster Group.Performers who have acquired legendary status both among the exacting aesthetes of downtown Manhattan (Ron Vawter, Kate Valk) and on a more far-reaching level (Willem Dafoe, Spalding Gray) have acted, acted out, danced, got high, stripped down, camped out, built sets, trashed sets, fallen in and out of love, and recorded and videotaped one another exhaustively in the Garage’s small but exceedingly fertile space.As for the shows themselves — usually overseen by the group’s ever-present, ever-elusive artistic director, Elizabeth LeCompte — they have always had a touch of the numinous. Bending, mixing and exploding genres and media, they dissolve the boundaries between high and low, hazy memory and hard facts, reality and its representations and, yes, the living and the dead.Classic writers — Chekhov, Racine, Eugene O’Neill, Gertrude Stein — have been resurrected in conversation with a tumultuous, shape-shifting present for an astonishing 50 years. When I first arrived in New York in the late 1970s, these shows — which played to select audiences of 100 or less — were the ones that the coolest of experimental theatergoers swooned over, gossiped about and pretended to have seen even if they hadn’t. (I can’t be on lower Wooster Street today without walking into vaporous memories of Valk and Dafoe eerily channeling and transforming O’Neill in “The Hairy Ape,” or Valk splintering into multiple simulcast selves as a soulless, preternatural femme fatale in “House/Lights.”)Scott Shepherd, foreground, in the group’s latest production, “Nayatt School Redux,” which incorporates a recording of the original.Gianmarco BresadolaWith its latest production, “Nayatt School Redux,” the group has trained its retrospective lens on itself — specifically on a play first staged at the Garage in 1978. (This reincarnation, which runs through Saturday, is completely sold out.) The result, its creators agree, is a kind of a séance.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

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    How ‘Buena Vista Social Club’ Brings a Beloved Song to Life on Broadway

    One night in 1984, Compay Segundo, the Cuban singer and guitarist, heard in his dreams what would become his signature song.“I woke up hearing those four sensitive notes,” Segundo recalled later on. “I gave them a lyric inspired by a children’s tale from my childhood, ‘Juanica y Chan Chan.’”A hypnotic account of peasant life in Cuba, “Chan Chan” has a peculiar power, with four circular, mesmerizing opening chords that make it instantly recognizable. It gained a regional following when it was cut by the guitarist and singer Eliades Ochoa. But a recording of the song, in 1996, by a group of celebrated Cuban musicians who had been assembled for an album to be called “Buena Vista Social Club,” would become a phenomenon.Now more than 25 years after its release, the best-selling world music album of all time has made it to Broadway in a new musical also titled “Buena Vista Social Club.” “Chan Chan” is among eight of the album’s 10 songs featured in the show and, perhaps not surprising for such a dramatic and mysterious track, it plays a crucial role in a pivotal moment in the story.During the “Chan Chan” number, the young singer Omara (Isa Antonetti) is deciding whether to leave Cuba with her sister or remain in Havana and perform the traditional music that has a hold on her heart.Sara Krulwich/The New York TimesAs the album of mostly older Cuban standards became a global sensation upon its release in 1997, Segundo’s song — about sifting sand by the sea and clearing a straw path along a journey to Cuban towns — became a standout all its own. “Chan Chan” was never released as a single, but the opening track has been streamed more than 250 million times on Spotify, almost three times more than anything else on the album. (That number is roughly the same as Toni Braxton’s “Un-Break My Heart” and Hanson’s “MMMBop,” both No. 1 hits in 1997.) More