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    Review: Daniel Dae Kim as a Playwright Unmasked in ‘Yellow Face’

    David Henry Hwang’s 2007 play, now in a fine Broadway revival, is a pointed critique of identity, masquerading as a mockumentary.To write yourself into your own play is to put on a very curious mask. If it’s flattering, is it honest? If it’s honest, why bother?Those questions, both as artistic choices and as problems of social identity, are powerfully and hilariously engaged in the revival of David Henry Hwang’s “Yellow Face” that opened on Tuesday at the Todd Haimes Theater. The answers are deliberately equivocal. On one hand, this Roundabout production, directed (as was the 2007 original) by Leigh Silverman, stars the exceedingly likable and handsome Daniel Dae Kim as Hwang’s stand-in, called DHH. On the other, this DHH is a worm.So too is the sinuous story, which requires a ton of exposition to get on its way. DHH, exactly like Hwang, won a 1988 Tony Award for his Broadway debut, “M. Butterfly.” His 1993 follow-up, “Face Value,” won only notoriety. Closing before its official New York opening, it earned the nickname “M. Turkey.”From left, Kevin Del Aguila, Kim, Shannon Tyo and Marinda Anderson. The supporting cast, mismatched to roles without regard to gender or race, are all wonderfully inventive, our critic writes.Sara Krulwich/The New York Times“Face Value” was Hwang’s theatrical response to the “Miss Saigon” controversy, in which the producer Cameron Mackintosh, importing that megamusical from London in 1991, sought to import its star, Jonathan Pryce, as well. But because Pryce is white, and his character is Eurasian, protests against the casting ensued. Nevertheless, the show went on — and on and on — with Mackintosh dismissing the dispute as “a storm in an Oriental teacup.”Hence “Face Value”: a broad farce, set in part at the “Imperialist Theater,” about the casting of a white actor in the title role of a musical called “The Real Fu Manchu.”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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    Frank Fritz, a Host of the Antiques Show ‘American Pickers,’ Dies at 58

    He and his friend Mike Wolfe launched the treasure-hunting show in 2010, part of a wave of reality TV aimed at finding fortune in everyday items.Frank Fritz, a jocular Everyman who as one half of the duo behind the hit show “American Pickers” found ratings gold by unearthing fortunes in attics, basements and garage sales, died on Monday in Davenport, Iowa. He was 58.His manager, Bill Stankey, confirmed the death, in a hospice. He said that the cause had not been announced, but that Mr. Fritz had been dealing with a number of health issues, including Crohn’s disease and the effects of a stroke in 2022.Debuting on the History Channel in 2010, “American Pickers,” which Mr. Fritz hosted with his longtime friend Mike Wolfe, was part of a wave of reality TV shows that mined everyday Americana for stories, profit and no small amount of drama.Unlike older, more sedate shows like public television’s “Antiques Roadshow,” “American Pickers” blended serious appraisal with rough-edged personality and quirky flair.Each episode featured Mr. Fritz and Mr. Wolfe tooling around a small American town in their Sprinter van, trading quips in between visits to local homes and storage sheds, where they would pick through piles of junk to find diamonds in the rough.Mr. Fritz with his co-host, Mike Wolfe, in an “American Pickers” episode in 2011, a year after the series began. History ChannelWe 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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    John Amos, a Star of ‘Good Times’ and ‘Roots,’ Is Dead at 84

    He was the patriarch in one of the first sitcoms with an all-Black cast and an enslaved African as a grown man in the blockbuster TV mini-series.John Amos, who played a stern patriarch on “Good Times,” America’s first sitcom featuring a two-parent Black family, and who had a starring role in “Roots,” the slavery narrative that became America’s most watched show in the late 1970s, has died in Los Angeles. He was 84.His publicist, Belinda Foster, confirmed the death on Tuesday, saying he had died on Aug. 21. She did not specify the cause or say why the announcement of his death was delayed.Mr. Amos’s acting career spanned more than five decades, with his breakthrough coming in 1970 on the CBS comedy “The Mary Tyler Moore Show,” playing Gordy, the weatherman on a local television news program working alongside Ms. Moore’s Mary Richards, an associate producer. After three seasons, Mr. Amos left for “Good Times,” a Norman Lear production and a spinoff of the producer’s sitcom “Maude.” Chronicling the trials and tribulations of a Black working-class family living in the Chicago projects, “Good Times,” which ran from 1974-79, also on CBS, never shied away from the gritty realities of life in public housing, touching on topics like racial bigotry, drug abuse and poverty — but all with a sense of humor.Mr. Amos played James Evans Sr., a fierce disciplinarian with a tender heart who took on odd jobs to support his wife, Florida Evans (Esther Rolle), his sons Michael (Ralph Carter) and J.J. (Jimmie Walker), and his daughter, Thelma (Bern Nadette Stanis).Mr. Amos and Esther Rolle in a scene from “Good Times.” The show accrued high ratings and was notable for its all-Black cast.CBS Photo Archive/Getty ImagesWe 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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    ‘Water for Elephants’ to Close on Broadway

    The musical, based on the best-selling novel, featured dazzling acrobatics and puppetry. Its final performance will be Dec. 8.“Water for Elephants,” a circus romance adapted from Sara Gruen’s best-selling novel, will close on Broadway on Dec. 8, the latest big-budget musical to shutter during a challenging time for the theater business.The musical was capitalized for up to $25 million, according to a filing with the Securities and Exchange Commission. That’s at the upper end for Broadway musicals, although producing has generally become more expensive postpandemic; the show, with a large cast of actors and acrobats, is also costly to run, and it will close at a loss.At the time of its closing, it will have had 25 previews and 301 regular performances at the Imperial Theater. The show is planning a national tour to begin in Baltimore in the fall of 2025.“Water for Elephants” had an initial run last year at Alliance Theater in Atlanta; the Broadway production opened March 21 at the Imperial Theater. Jesse Green, the chief theater critic for The New York Times, gave it an enthusiastic review, calling it a “stunning, emotional production” and said “it leads with movement, eye candy and awe.” Most other reviews were also positive.The show has been struggling at the box office; last week it grossed $623,896, according to figures from the Broadway League, which is not enough to sustain a musical of this size. During that week the show played to houses that were, on average, just 62 percent occupied.The show was nominated for seven Tony Awards, including best musical; it won none. Reflecting a trend on Broadway, the show has a huge cadre of credited co-producers; the lead producer is Peter Schneider, a former Disney executive who was also among the lead producers of “The Lion King.”“Water for Elephants” features songs by PigPen Theater Co. and a book by Rick Elice; it is directed by Jessica Stone. The show makes heavy use not only of acrobatics, designed by Shana Carroll, but also puppetry (to depict animals), designed by Ray Wetmore, JR Goodman and Camille Labarre.The show is the fifth musical to announce closing dates since early May, following “Lempicka,” “The Heart of Rock and Roll,” “The Who’s Tommy” and “The Notebook.” Broadway is always a difficult industry, and most shows fail, but the odds of success are particularly long now that production costs have risen, audience size has fallen and a high volume of shows are competing for attention. More

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    Alicia Keys, LaChanze and Billy Porter Celebrate Black Theater

    The stage stars were among more than 600 people who turned out for an evening of dinner and performances to benefit Black Theater United.LaChanze was in the mood to celebrate.“I am so ready to party,” the actress, wearing a sequined red gown with a bold red lip, said on the red carpet before the second annual Black Theater United gala at the Ziegfeld Ballroom in Midtown Manhattan on Monday night.LaChanze is the president and a founding member of Black Theater United, a nonprofit that aims to combat racism in the theater community. She was one of more than 600 people — including the singer Alicia Keys, the actor Billy Porter, the actress Kristin Chenoweth and the pop-classical musician Josh Groban — who gathered at the grand event space for a live auction, dinner and performance on a night when most Broadway shows were dark.The gala raised money for the nonprofit founded by an all-star team of Black theater artists, including the Tony Award winners Audra McDonald, Brian Stokes Mitchell, Phylicia Rashad and LaChanze in the summer of 2020 in response to the murder of George Floyd by a white police officer in Minneapolis.Mr. Mitchell remembered a call at the time with Ms. McDonald, the director Schele Williams and LaChanze. “They just started saying, ‘We’ve got to do something,’” he said.The organization now offers programs for aspiring young Black theater artists including student internships, a panel and discussion series, a musical theater scholarship and a program that aims to educate artists of color about designing for the theater.From left: Nichelle Lewis, Stephanie Mills and Sydney Terry performing “Home” from “The Wiz.” Ms. Mills was the original Dorothy in the 1975 production of the musical, a retelling of the classic “Wizard of Oz” story.Nina Westervelt for 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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    3 Ambitious Song Cycles, but Only One Connects Mind and Heart

    Todd Almond’s “I’m Almost There” is a work of wonder, while Gabriel Kahane’s “Book of Travelers” and “Magnificent Bird” are less effective.Days and months, but also mere minutes, acquire outsize, perhaps even life-altering significance, in three song cycles currently playing intimate venues in Manhattan.Todd Almond’s “I’m Almost There,” at the Minetta Lane Theater through Oct. 5, takes place over just a few minutes, while Gabriel Kahane’s “Book of Travelers” and “Magnificent Bird,” upstairs at Playwrights Horizons through Oct. 13, cover periods that feel like distinct parentheses in his life.Under its goofy exterior, Almond’s “I’m Almost There” is a sneakily, formally daring experiment in pared-down musical theater that connects with both mind and heart. This 75-minute Audible production, directed by David Cromer, unfurls over the time it takes for Todd (Almond) to walk down the stairs from his apartment to the street, where Guy, who has just rung his buzzer, awaits. The two met at a brunch the day before and ended up walking around together, until an abrupt parting. Now this possible love interest has unexpectedly turned up, bearing coffee.An accomplished composer and music director (he collaborated with Laura Benanti on her recent Audible show, “Nobody Cares”), Almond has created something that feels like an interior monologue with the jumbled, digressive quality of a fever dream: Time and space unfold following their own surreal logic and Todd experiences jump cuts from one location to another as the mayhem escalates. “This is exactly what happens when you let someone talk you into brunch,” he says while trying to escape a vampire’s fangs.An undercurrent of anxiety runs through the show — Todd has a fear of falling from something (like his building’s rooftop when sleepwalking) or for someone (like a certain nice man with whom he just clicks) — but it fuels a self-deprecating, antic energy that keeps the story from lapsing into neurotic solipsism.Flanked by Erin Hill on harp and vocals and Luke McCrosson on bass, Almond, whose acting credits include “Girl From the North Country,” brings to life a gallery of eccentric characters, but does quite well on his own, enlivening his serviceable vocals with a vividly comic presence. Letting people in is tough, but Todd eventually answers that bell and opens up.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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    Musical Comedy ‘Operation Mincemeat’ to Open on Broadway Next Spring

    The show is about a real World War II episode in which British intelligence planted disinformation on a dead body to fool the Germans.“Operation Mincemeat,” an improbably successful British musical comedy, already has a truth-is-stranger-than-fiction quality to it: It’s about a World War II military ruse in which British intelligence planted fake information on a dead body to (successfully) mislead the Germans.Now the producers of “Operation Mincemeat” are hoping for another hard-to-believe turn of events: Finding success on Broadway at a time when many other shows have big stars or big brands.The oddball show began its life in a tiny London theater and then this year won the Olivier Award — Britain’s equivalent to the Tonys — for best new musical. On Tuesday, the show’s producers announced that the musical’s first production outside Britain will open on Broadway next spring, with previews beginning on Feb. 15 and an opening slated for March 20 at the John Golden Theater.A lead producer, Jon Thoday, said in an interview that he was concerned about opening in a climate dominated by celebrities, but also inspired by the success of plays like “Stereophonic” and “Oh, Mary!” that demonstrate it is still possible for unknown shows with little-known casts to break through.“It’s daunting, because you come here and you look at one show after another with a giant Hollywood star in it, and we’re doing a show with people who had never written a musical before,” said Thoday, whose company, Avalon, is producing the show. “We’re going to see whether it works here or not. We’re hoping it will, obviously, otherwise we wouldn’t be doing it.”“Operation Mincemeat” is set in 1943 and based on a true story that is seemingly so crazy it has repeatedly been adapted and written about. The musical was written and composed by a comedy group called SpitLip — David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts — which bills itself as “makers of big, dumb musicals.” Their show, directed by Robert Hastie, had several small productions around London before arriving on the West End in early 2023.Powered by heart and humor, the show has had strong word-of-mouth — it has a passionate group of fans and repeat attenders who are affectionately known as mincefluencers — and has become profitable in the West End, where it continues to run. Thoday said he hopes that the original cast will come to New York, but that that depends on whether they are able to get visas.Thoday said he expected that the show would be capitalized for about $11.5 million.“Operation Mincemeat” is not the only show to announce Broadway plans this week. On Monday, the producers of a musical adaptation of the book “Midnight in the Garden of Good and Evil” said their show would come to Broadway at an unspecified point next year. More

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    Late Night Slams Trump’s Plan to Adapt ‘The Purge’

    “Good news: He stopped talking about Hannibal Lecter,” Jimmy Fallon said. “Bad news: He suggested we do ‘The Purge’ instead.”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.Taking a Page from ‘The Purge’ PlaybookDuring a rally in Pennsylvania on Sunday, former President Donald Trump suggested that Americans have “one really violent day” to curtail crime.Late-night hosts likened Mr. Trump’s plans to the popular horror movie franchise, “The Purge.”“Yeah, Trump wants ‘The Purge,’ while his staff wishes he would re-enact ‘A Quiet Place,’” Jimmy Fallon said on Monday.“Good news: He stopped talking about Hannibal Lecter. Bad news: He suggested we do ‘The Purge’ instead.” — JIMMY FALLON“Did he just suggest ‘The Purge’ for stealing from CVS? [imitating Trump] ‘If that doesn’t work, I have other ideas, OK? We put all the shoplifters on a bus with Keanu Reeves. If it goes slower than 50 miles an hour, blammo!’” — STEPHEN COLBERT“He suggested that the way to end crime would be to have one really violent day, one rough hour that would solve everything, like ‘The Purge’ and so much more. If anyone in your life had, like, a weekend like this, you’d be concerned. Like if your dad had a series of similar outbursts, you’d call your siblings to figure out what to do.” — JIMMY KIMMELThe Punchiest Punchlines (V.P. Debate Prep Edition)“Tomorrow night in New York, the first and only debate between Tim Walz and JD Vance, this will be the first vice-presidential debate since 2008 in which the candidates will stand instead of sit. I guess they were worried JD Vance might get distracted by a sexy office chair.” — JIMMY KIMMEL“Honestly, I’m not even going to watch it, and I’m going to tell you why — because I already know who I’m voting for, vice-president-wise.” — JON STEWART“Actually, today Trump asked Vance if he needed any debate advice, and Vance was like, ‘Absolutely. Do you have Kamala’s number?’” — JIMMY FALLON“Voters were more likely to describe Walz as honest, trustworthy and caring, where they were more likely to describe Vance as nervous, unsettling and damp. But I disagree. You know, when I see JD Vance, I see a man who is grounded, who is rational and so humanlike, you could barely tell he isn’t one.” — JIMMY KIMMELThe Bits Worth WatchingThe best-selling author Ta-Nehisi Coates discussed his new book, “The Message,” with Jon Stewart on Monday’s “Daily Show.”What We’re Excited About on Tuesday NightThe musician-turned-movie star Lady Gaga will promote “Joker: Folie à Deux” on Tuesday’s “Jimmy Kimmel Live.”Also, Check This OutBillie Eilish onstage at the Videotron Center on Sunday night. Her new tour supports her most recent album, “Hit Me Hard and Soft.”Julia Spicer for The New York TimesA master class in intimacy and crowd engagement, Billie Eilish’s new Hit Me Hard and Soft tour debuted in Canada on Sunday. More