Eliana Willis

More stories

  • 125 Shares99 Views

    in Theater

    In ‘The Picture of Dorian Gray,’ Sarah Snook Goes Digital

    About five minutes into “The Picture of Dorian Gray,” the stage adaptation of Oscar Wilde’s 1891 novel, the actress Sarah Snook, playing the louche aristocrat Lord Henry Wotton, reaches out and rests a hand on Dorian Gray’s shoulder. At nearly every performance, the audience gasps. Sometimes, from sheer delight, they giggle.The gesture itself is simple, but the execution is so demanding that two years ago, when Snook first tried it, she had a panic attack. Snook plays both Lord Henry and Dorian Gray — and two dozen other characters, too. So she is putting her own hand on her own shoulder by way of an elaborate synthesis of live action, live video and recorded video. “The Picture of Dorian Gray,” a Victorian Gothic trifle, can now be seen in portrait mode.Even after a celebrated London run and weeks of performances at the Music Box Theater on Broadway, that moment, in which a recorded Lord Henry joins a live Dorian onscreen, hasn’t become any easier. As it approaches, Snook said she will find herself thinking: What if I’m a millimeter off? What if the magic is spoiled? The recording doesn’t protect her from imprecision, from accident. “The thing is,” she said, “it’s live theater.”Live video merges with recorded sequences to create the image of Sarah Snook reaching out to touch her own shoulder, conjuring the moment in which Lord Henry seduces Dorian Gray into a life of pleasure.Kip Williams, the director of “Dorian Gray” and until recently the artistic director of the Sydney Theater Company, pioneered this technique, which he calls cinetheater, about a decade ago. Rehearsing a production of Tennessee Williams’s “Summer and Smoke,” he decided to stage a chase sequence in the bowels of the theater. Some colleagues encouraged him to record it, but Williams resisted.“Theater is a live art form,” he said. “The audience knows when it’s live and when it’s not. That transiency, that temporal quality of being in the present moment is at its core.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • 138 Shares189 Views

    in Television

    Late Night Debriefs After a ‘Tariff-fying’ Day at the White House

    Stephen Colbert said that, thanks to President Trump, “America is finally free from the tyranny of being able to buy stuff from other countries.”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.Just ‘Tariffic’On Wednesday, President Donald Trump held an event at the White House to announce new international tariffs during what he referred to as “Liberation Day.”Stephen Colbert said that, thanks to Trump, “America is finally free from the tyranny of being able to buy stuff from other countries.”“Who’s ready to learn how to make their own iPad from scratch?” — STEPHEN COLBERT“Right, ‘Liberation Day. That sounds like the fake holiday your friends make up after you get dumped: ‘No, man. Who needs that beautiful, smart, independently wealthy woman in your life, when you can die alone? This is your liberation day, bro!’” — MICHAEL KOSTA“OK, so Liberation Day is just the day that Trump announced new tariffs. I kind of doubt this day will be remembered for all of history, but if you give me a day off from work, you can call it whatever you want.” — MICHAEL KOSTA“Now, you might be thinking, ‘What am I even being liberated from? The ability to afford goods and services?’” — MICHAEL KOSTA“Reportedly, Trump was still weighing tariff options until late yesterday. Now, if you’re not steeped in the wonky language of Beltway insiders, that basically means they were spitballin’ ideas through the bathroom door at 3 a.m.: ‘[imitating Trump] Tell you what: What if Ireland has to pay extra to be, uh — to be on the Lucky Charms box? What about that? I’m just spitballin’ here. We stop Count Chocula at the border.’” — STEPHEN COLBERT“Yeah, in his speech, Trump said, ‘[imitating Trump] We’ll make America wealthy again, like it was at the start of my presidency. Six months ago.’” — JIMMY FALLON“Yeah, Trump announced tariffs on aluminum, steel and several other items that popped into his head mid-speech.” — JIMMY FALLON“He also expanded the tariffs on aluminum to include canned beer. Even Kid Rock was, like, ‘Um, what are we doing here, man?’” — JIMMY FALLON“The tariffs will raise prices for Americans, and costs could go up by $3,000 per year. Netflix was, like, ‘Game recognize game.’” — JIMMY FALLONThe Punchiest Punchlines (Holding It Edition)“Democratic Senator Cory Booker delivered a 25-hour, four-minute speech yesterday on the Senate floor, shattering Adrien Brody’s record.” — SETH MEYERS“That’s right, Senator Cory Booker broke the record last night for the longest speech ever delivered on the Senate floor. The previous record was held by Joe Biden after somebody asked, ‘What was it like growing up in Scranton?’” — SETH MEYERS“What an amazing day for Cory Booker. Not so great for the C-SPAN cameraman, who missed the birth of his first child and kindergarten graduation.” — MICHAEL KOSTA“After his speech, Booker said he hadn’t eaten since Friday and stopped drinking fluids on Sunday so he wouldn’t have to go to the bathroom. Meanwhile, Bernie Sanders went to the bathroom three different times during this joke.” — JIMMY FALLONWe 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

  • 113 Shares189 Views

    in Theater

    ‘The Cherry Orchard’ Review: A Captivating Take on Chekhov

    Nina Hoss stars as a melancholic matriarch in Benedict Andrews’s immersive rendition of the classic at St. Ann’s Warehouse in Brooklyn.Every time it feels as if we’re nearing a state of Chekhoverdose, a great production rolls around to remind us of the Russian writer’s uncanny power to pull us into his fold.Andrew Scott’s solo performance of “Vanya” at the Lucille Lortel Theater, which the New York Times’s critic Jesse Green called “a reset,” seems to have that effect on many.For me, it’s Benedict Andrews’s electric take on “The Cherry Orchard” at St. Ann’s Warehouse in Brooklyn, which left me so emotional, happy — from being reminded of the power of theater to surprise and thrill — and plain revved up that I struggled to fall asleep that night.A brief recap for those who can’t tell their sisters from their seagulls: “The Cherry Orchard” is the one in which the head of a once-wealthy family visits her estate for the first time in five years, and everybody confronts the reality that the beloved piece of land in the title must be sold to settle debts.Usually that matriarch, Ranevskaya is the play’s magnetic center, a grande dame whose efforts to come to terms with her world’s downfall embody the changes brewing in an entire society. In Andrews’s adaptation and staging, Ranevskaya (Nina Hoss, all melancholy grace and understated charisma) feels more like a part of a true ensemble. When not doing a scene, she and the other characters sit in the audience, calmly watching the proceedings. The in-the-round staging reinforces the feeling that we are them and they are us.Chekhov plays lend themselves to almost infinite variations and approaches, and Andrews’s is relatively mild compared to some radical deconstructions that mauled Chekhov beyond instant recognition.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • 138 Shares169 Views

    in Television

    Stephen Graham and Owen Cooper Talk About the Netflix Hit ‘Adolescence’

    In an interview, the actors Owen Cooper and Stephen Graham explore the social and personal impact of the Netflix hit about a teenager accused of murder.In the three weeks since “Adolescence” arrived on Netflix, the drama about a 13-year-old boy accused of killing a schoolgirl after seeing misogynistic content online has soared in popularity. It has also made a star out of Owen Cooper for his portrayal of the teenager, Jamie Miller.Even so, Cooper, 15, had to return to high school in northern England on Monday.In a video interview this week, Cooper said that his first day back was “a bit mad,” with lots of attention from younger children. Tuesday was better, he said, with only “a bit of bother.”As Cooper discussed the complexity of his newfound fame, Stephen Graham, the actor who plays Owen’s father and was also taking part in the interview, sat up, alert. “What kind of ‘bother’?” Graham said, sounding like a concerned parent.Cooper explained that it wasn’t anything serious, just children coming up to him, shouting his name, then rushing off. To which Graham replied with relief and a smile, “Ah, just some silly bollocks.”“The reason I wanted to be an actor,” said Graham, who co-created the show, was “to make dramas that made me think.”Suzie Howell for The New York TimesCritics have highlighted that sort of bond between the two actors’ characters as one of the reasons for the show’s success, although it has also drawn praise for stirring debate about whether children’s access to social media should be restricted or smartphones banned from schools.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

  • 75 Shares149 Views

    in Television

    ‘Truelove’ Explores Truth, Love and Endings

    This thoughtful British mini-series explores the complex bonds among a group of aging friends who are determined not to let one another suffer.“Truelove,” available now, on Acorn, is an ensemble drama about assisted suicide, about the bonds of friendship and the well-worn paths of regret. Later in its six-episode season, it is also a murder show, which feels a lot less special. But I guess by the time you’ve got morose British people walking by the seashore, you might as well throw in an investigation.The show centers on a group of old friends who gather at a funeral. In their grief and inebriation, they make a pact: We won’t let one another suffer. We’ll help one another die with dignity if that day comes. That’s what friends are for, right?When the first terminal diagnosis lands, the pals initially can’t bring themselves to help their compatriot die. But then he tries to hang himself, which he survives, and from his hospital bed he laments to the group, “I’m on suicide watch and ‘do not resuscitate.’” Maybe they will stick to the plan; maybe friendship means doing things together, the important things, even when they’re hard and sad and terrible.But if life is messy, death is doubly so, and confronting mortality sure has a way of changing one’s priorities. Phil (Lindsay Duncan, fantastic), still a little adrift after retiring from the police force, is incredibly loyal to her friends — and not only because she treasures them, etc. Her husband (Phil Davis) is not part of their clique. Her long-ago love (Clarke Peters) is. Maybe there’s a silver, silver-haired lining to all this heartache.Some of the needle drops here are perfect and lovely, while others are so on-the-nose they make your teeth ring. Understated, textured arguments exist alongside flat, dumb ones. The show becomes shallower but more propulsive as it goes, especially after a young police officer (Kiran Sonia Sawar) starts looking into this suspicious death cluster.At its highs, though, “Truelove” is a superb and knotty domestic drama. “Apart from blasting into space, divorce is the most expensive thing you can do,” Phil scolds her newly separated daughter, but she can’t ride that high horse for long. Where one partner accrues commitment, the other amasses boredom and resentment. It’s so easy to love what you don’t have. More

  • 150 Shares149 Views

    in Theater

    From Hasidic Brooklyn to Off Broadway: The Life of a Trans Rabbi

    After disavowing her strict religious upbringing, Abby Stein came out as transgender. She is now the subject of a new play by New York Theater Workshop.One morning in 2015, a few years after she had begun to separate herself from the ultra-Orthodox Jewish world in which she was raised, Abby Stein met with her father to come out as a woman.Raised in a Hasidic enclave in Williamsburg, Brooklyn, Stein was all but certain that her family was unfamiliar with the notion of being transgender. In their isolated community, gender roles were rigid, and the internet was blocked entirely or made “kosher” with software that restricted sites like Wikipedia.“Any modern gender theory wouldn’t speak to him,” Stein, 33, said of approaching her father. “I needed to find something that would work.”That high-stakes conversation is at the center of a new Off Broadway play, “Becoming Eve,” opening next week. In the lightly fictionalized play, the protagonist is called Chava, which is Stein’s middle name. She is portrayed by Tommy Dorfman, opposite Richard Schiff, the “West Wing” star who, playing her father, is transformed by the traditional garb of a Hasidic man, complete with a long beard and a black silken coat.The play ends shortly before the real events that turned Stein into a public figure.Dorfman, in the background, with a puppet version of the young Chava and Richard Schiff as her father in the New York Theater Workshop production.Sara Krulwich/The New York TimesThe same day that she had the conversation with her father, Stein, who was ordained as a Hasidic rabbi in 2011, came out to the larger world in a blog post. She woke up the next morning to find that the post on her typically lightly read blog had around 20,000 views.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

  • 125 Shares129 Views

    in Television

    Late Night Is Expecting Tariffs With a Side of Drama

    New tariffs will be unveiled at the White House Rose Garden — because “when you elect a reality TV star, you get all your economic policy via rose ceremony,” said Stephen Colbert. 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.‘Pack Your Lederhosen’President Trump plans to announce yet more tariffs in the White House Rose Garden on Wednesday (he’s calling it “Liberation Day”).“Like everything, he’s got to make it a spectacle,” Stephen Colbert said on Tuesday.“Because when you elect a reality TV star, you get all your economic policy via rose ceremony.” — STEPHEN COLBERT“[imitating Trump] Germany, I enjoyed our time in the fantasy suite, but your home visit left me cold. Thirty percent tariffs across the board. Pack your lederhosen, Fräulein.” — STEPHEN COLBERT“Yes, ‘Liberation Day.’ I’m reminded of the immortal words of Patrick Henry: ‘Give me liberty or charge me an extra $10,000 for a Hyundai Elantra.’” — STEPHEN COLBERT“President Trump is set to announce a new set of tariffs tomorrow in what he said will be ‘Liberation Day.’ Ah, yes, the day we’ll all finally be liberated from our 401(k)s.” — SETH MEYERS“Yep, Trump’s calling tomorrow ‘Liberation Day,’ while every stockbroker is calling it ‘Inebriation Day.’” — JIMMY FALLON“Right now, everyone who has invested their savings in Beanie Babies is like, ‘Well, well, well, who’s the idiot now?’” — JIMMY FALLONThe Punchiest Punchlines (Administrative Error Edition)“On Sunday night, President Trump deported more gang members to El Salvador, including child rapists and convicted killers. It’s all part of a bigger plan to make El Salvador more like Times Square.” — GREG GUTFELDWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

  • 100 Shares99 Views

    in Theater

    Fisher Center at Bard Announces Civis Hope Commissions

    The Fisher Center at Bard has announced a wave of works by artists including Suzan-Lori Parks, Courtney Bryan, Barrie Kosky and Lisa Kron.Hope may seem daring in this age of angst and uncertainty, but it is at the heart of three major new works coming to the Fisher Center at Bard, including a musical adaptation of “Yentl the Yeshiva Boy,” the performing arts center announced on Tuesday.With a $2.5 million gift from the Civis Foundation, matched by Bard College for an initial endowment of $5 million, the Fisher Center said it would create the Civis Hope Commissions, a program to support “contemporary artists who will examine, interrogate and transform American artifacts, archival materials or artworks from the past to imagine a more perfect, just and hopeful future.”Gideon Lester, the Fisher Center’s artistic director and chief executive, described the program in an interview as “a rallying cry for the possibility of art.”“Art can describe things as they might be,” he said, “and see things not only as they are framed by the current news cycle. Great art has the ability to shift our consciousness and show us what we might become if we were really inhabiting our best selves. That’s what these commissions are really about.”The Civis Hope Commissions are intended to continue in perpetuity, but the Fisher Center announced three projects to start: “Jubilee,” a new musical with a libretto by the Pulitzer Prize-winning playwright Suzan-Lori Parks, based on Scott Joplin’s opera “Treemonisha”; Courtney Bryan’s first opera, an adaptation of Tennessee Williams’s “Suddenly Last Summer”; and the “Yentl” musical, which will be the celebrated director Barrie Kosky’s first project developed in the United States.These commissions had already been in the works at the Fisher Center, but were chosen for the Civis program because they fit its mandate, Lester said, adding that working under the Civis umbrella allowed him and the artists “an opportunity to think about them in a new way.”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