Eliana Willis

More stories

  • 150 Shares169 Views

    in Television

    Kelsey Grammer Analyzes 40 Years of Frasier: ‘I Have Nothing to Regret’

    Kelsey Grammer likes his raw meat cut very fine. On a recent afternoon, at the restaurant of a Midtown hotel, he requested that his steak tartare be put through the grinder twice. He wanted it, he said, like velvet. The tartare, topped with its quail egg, was presented roughly chopped. “I’ll deal with it,” Grammer said uncomplainingly.Frasier Crane would never. On and off for 40 years on several different sitcoms, Grammer, 69, has played Frasier, a dyed-in-the-cashmere-wool snob and psychiatrist about town. The character is indelibly associated with Grammer. He can’t shake him, though Grammer mostly sees this as a boon.“It’s wonderful to spend your lifetime entertaining people,” he said.In 1984, Grammer, a stage actor who had studied at Juilliard, was cast on the sitcom “Cheers” as Frasier Crane, a love interest for Shelley Long’s waitress character, Diane Chambers. He stayed with the show until it ended in 1993.That same year, Grammer starred in a spinoff, “Frasier,” which saw the character move from Boston back to Seattle, where he lived with his father (John Mahoney) and brother (David Hyde Pierce). Grammer was often a tabloid fixture in those days, with an erratic personal life. Much married, he would eventually father seven children with four different women. He was arrested for drug possession and for driving under the influence. He now believes his chaotic behavior was a response to the trauma of his early life — in separate incidents, both his father and his sister were murdered.The revived “Frasier,” which premiered last year on Paramount+, has included other past characters like Frasier’s ex-wife Lilith, played by Bebe Neuwirth.Chris Haston/Paramount+But he stuck with the show until the 2004 finale. After that, Grammer moved on to other projects, but none lasted very long. And then in 2023, a “Frasier” reboot returned Frasier to Boston, reuniting him with his son, Freddy (Jack Cutmore-Scott), and his best friend, Alan (Nicholas Lyndhurst). The second season premiered Thursday on Paramount+.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 Theater

    Kate Mulgrew Walks the Creative and Emotional Plank in ‘The Beacon’

    Holding tightly to the Dublin accent of her character, the actress talks about starring in Nancy Harris’s feminist thriller at Irish Rep.Sitting in her dressing room on Tuesday at Irish Repertory Theater in Manhattan, talking to me about her latest role, the actress Kate Mulgrew initially sounded like herself: an American from Iowa who happens to share a voice with Kathryn Janeway, the Starfleet captain she played on “Star Trek: Voyager.”A minute or two into the interview, though, a Dublin accent started shading some of her phrases, and soon it was coloring all of them. That’s the first thing you need to know, because when you read her words here it helps to imagine their cadence as they hit the air.The second thing to know is why she would slip into that lilt and sustain it for nearly an hour. She was simply holding tight to Beiv Scanlon, the character she is playing in Nancy Harris’s thriller “The Beacon,” on the Irish Rep main stage.Not that Mulgrew, 69, has been speaking with that accent constantly, but she has been doing it “a lot,” she said. “Yesterday I didn’t. I had to go off and do some things, and I didn’t want to disconcert people who’ve known me for years. Right? That would be odd.”But if, offstage, the accent can be discombobulating even for those of us who don’t know her personally, it’s all in service of Beiv (rhymes with wave).Kate Mulgrew and Zach Appelman in “The Beacon,” at Irish Rep in Manhattan. The play opens Sunday, and is scheduled to run through Nov. 3.Carol RoseggWe 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 Shares199 Views

    in Television

    Norman Reedus, ‘Walking Dead’ Star and Hieronymus Bosch Fan

    “We wanted to reinvent the show,” the actor said of his spinoff, “The Walking Dead: Daryl Dixon.” Filming in Madrid gave him time to explore the Prado.When Daryl Dixon was introduced in the third episode of “The Walking Dead” in 2010, few viewers could have predicted this half-feral-looking character would end up leading the series. Or that Daryl, played by Norman Reedus, would headline a spinoff set in France.“We wanted to reinvent the show,” Reedus, 55, said in a video interview from Paris.“We just didn’t want to do the same storytelling as in Georgia,” he continued, referring to the location for most of the original series, “and we didn’t want to make an American tourist version of France. So we got French writers. We fought to have French as much as English.”Season 2 of “The Walking Dead: Daryl Dixon” premieres Sept. 29 on AMC, but the new franchise is so successful that Reedus (who also appeared this year in the film “The Bikeriders” and has a second career as a photographer) is already working on the next installment in Spain.He talked about his connection with rock, art and food, as well as his 5-year-old daughter’s influence on his reading. These are edited excerpts from the conversation.1‘Wild God’ by Nick Cave and the Bad SeedsNick Cave and Warren Ellis’s album “Carnage” was my go-to for the entire French filming portion of the first two seasons, and in Spain it’s this album. It just sings, full of life and stories and beautiful thundering bliss. I don’t know anyone that doesn’t love this band. Not one person.2‘Nina Simone’s Gum’ by Warren EllisI met Warren in Paris and we immediately hit it off. When he told me of this book, I immediately got it. I find it interesting to learn of the things that inspire the people that inspire me. He had noticed Nina Simone take out her gum before a show and stick it under the piano. As soon as the show was over, he bolted toward the piano and ripped the gum out. He had a gold cast made of it. He was wearing it as a necklace.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

    ‘The Penguin’ Review: The Dark Blight

    The HBO series starring an unrecognizable Colin Farrell is further proof that there is no fun in the Batman universe.When was fun banished from Batman’s world? Certainly the tide turned with “The Dark Knight Returns,” Frank Miller’s 1986 series of comics. As exciting as they were, Miller’s books enshrined a claustrophobic, dystopian approach that has smothered many subsequent screen treatments.In the immediate aftermath of the books, the Tim Burton films “Batman” and “Batman Returns” found thrills in the darkness. But when I sit through the subsequent Christopher Nolan blockbusters, or Todd Phillips’s “The Joker,” or even Matt Reeves’s recent reboot film, “The Batman,” I feel as if I were being punished for not being a serious enough (or depressed enough) viewer.Reeves (“Dawn of the Planet of the Apes”) is a very talented director, and “The Batman” was easier to sit through than some of its ballyhooed predecessors. But it was ruinously long at three hours, its small store of familiar ideas about revenge and social decay running dry well before the movie ended. And Reeves’s Batman was such a stone-faced mope that poor Robert Pattinson spent the whole movie looking as if he were wondering where the bathroom was, not that he would have been any happier had he found it.But the movie was beautifully shot, and Zoë Kravitz was the latest in a line (Julie Newmar, Eartha Kitt, Michelle Pfeiffer) of great Catwomen. And it had an odd, sideshow-like bonus: a beautiful movie star, Colin Farrell, rendering himself unrecognizable under a reported 50 pounds of latex to play a battered, ugly, all too human variation on a classic villain, the Penguin. The performance wasn’t fun, exactly, but it was definitely something to look at.Now Farrell and his latex are back in “The Penguin,” an HBO series spun off from “The Batman.” (It premiered on Thursday night; its second episode will not appear until Sept. 29.) Even though the show is set in the immediate aftermath of the film, and the story features large-scale chaos, Batman is nowhere to be seen; apparently he’s taking a long vacation. So “The Penguin” is not a superhero show.Instead, as developed by Lauren LeFranc (“Impulse,” “Agents of S.H.I.E.L.D.”) with Reeves as an executive producer, it is a particularly self-conscious gangster saga. Farrell’s Oswald Cobb (shortened from Cobblepot) is a midlevel mobster who sees an opportunity when his boss is killed and sets out to take over the Gotham City drug trade, peddling a new high called Bliss. Alternately opposed to him or allied with him is the boss’s daughter, Sofia Falcone (Cristin Milioti), recently released from Arkham Asylum with designs of her own on the top spot.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

  • 175 Shares169 Views

    in Theater

    Courting Dark Emotions in ‘See What I Wanna See’ and a Celine Song Play

    Revivals of a Michael John LaChiusa musical and an early work by the “Past Lives” filmmaker toy with and challenge audience expectations.The title of Michael John LaChiusa’s “See What I Wanna See” suggests a single perspective, but the show actually offers a kaleidoscopic approach to the truth. It ravels out one story about a murder and a rape only to follow it up, in Rashomon-like fashion, with variations on the same tale that features a businessman, his wife and a sociopath.In this Out of the Box Theatrics revival of LaChiusa’s 2005 musical, loosely adapted from short stories by Ryunosuke Akutagawa, the doomed husband is first represented by a puppet and is later played by Kelvin Moon Loh. In one version, he is knifed by the sociopath (Sam Simahk), and his wife (Marina Kondo) is raped; in another, his wife cheats on her “patronizing” husband, who kills himself out of grief.Indeterminacy — of the truth, of storytelling writ large — is the driving theme and it requires a precise balance. Happily, this production, directed by Emilio Ramos and featuring an Asian American and Pacific Islander cast, never lets us determine which multiverse is the “real” one. And having a puppet portray the husband before substituting a real actor (to play his spirit) is another clever way of shifting our certainties — or alliances.The second act centers on a priest (Zachary Noah Piser), whose faith is waning after 9/11. His life is like “a sentence in which every word seems to be missing a letter.” Tired of providing absolution, he posts a message about an imminent miracle. News spreads like wildfire — or a conspiracy theory — in the song “Gloryday.”As original as these stories are, “See What I Wanna See” is strewed with clichés: The thief sings about being the “devil in disguise,” and the husband, resuscitated as a ghost by a medium (a delightful Ann Sanders), needs “some sort of release.” If the lyrics are not on par with, say, the great, similarly macabre “Sweeney Todd,” the actors (especially the compelling Kondo) keep us on our toes through quicksilver changes in mood.Though tonally different, the two acts feel like different shows rather than two halves of the same musical. What binds them are sequences about two lovers in medieval Japan that precede each act. They are told first from the perspective of the woman, Kesa (Kondo), and then her lover, Morito (Simahk). Both end as Kesa is about to plunge a knife into Morito’s throat. Whose is the truer tale? It’s impossible to say.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

  • 113 Shares169 Views

    in Television

    ‘La Maison’: Like ‘Succession,’ but Better Dressed (and French)

    The new Apple TV+’s new series takes the viewer inside two rival Paris fashion houses, with gorgeous people in gorgeous clothes who will do anything for power.“Does she know our favorite dish is eating each other alive?”So one family member asks another in an early scene of “La Maison,” a glossy new drama from Apple TV+, about two rival high-end, family-owned French fashion houses: Ledu and Rovel.The show, which premieres on Friday, is filled with gorgeous people living in fabulous homes, fighting, scheming, flirting, plotting and betraying one another as they attempt to gain control of — everything!Yes, like “Succession,” but with more glamorous outfits and, well, Paris.Or akin to “a Shakespearean drama,” said Lambert Wilson, who plays Vincent Ledu, the longtime designer of the Ledu house, whose fall from power is fast and devastating when an unbridled rant about Asian clients goes viral, leading to his cancellation and unwilling resignation. Enter Paloma Castel (Zita Hanrot), a young, edgy designer with ideas about waste and sustainability, who is recruited by Perle Foster (Amira Casar), Vincent’s right-hand woman and former muse. (Amping up the tension and resentment, it turns out that Paloma’s dead father was Vincent’s lover.)Zita Hanrot as Paloma Castel, a young designer who comes onto the scene after Vincent Ledu’s fall from grace.Apple TV+In the other camp, the terrifying chief executive Diane Rovel (Carole Bouquet) schemes to have her company take over Ledu, helped by Vincent’s brother, Victor (Pierre Deladonchamps), who is married to Diane’s daughter (Florence Loiret Caille).“All the characters have scar tissue,” said Casar, “they are all damaged and lonely.” Her own character, Perle, is a watchful, lonely outsider. “On the one side, there is this old aristocratic family, the Ledus, who are hanging on to craft and tradition, on the other this nouveau riche bourgeoisie, the Rovels, who will destroy to have it all,” Casar said.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 Shares99 Views

    in Television

    Late Night Thinks It’s Unlikely That Neighbors Ate Your Cat

    Before starting rumors about Haitians, please make sure your cat is actually missing, Ronnie Chieng implored on “The Daily Show.” 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.‘My Bad!’Erika Lee, a resident of Springfield, Ohio, who spread a rumor on Facebook that a Haitian neighbor had eaten a missing cat, deleted her post and expressed regret (but not before Donald Trump and his running mate, JD Vance, made “cat-eating Haitians in Ohio” a campaign issue).“Oopsie doopsie! Sorry, I set off a race war in the middle of a presidential election,” Ronny Chieng mimicked on Thursday’s “Daily Show.” “That’s totally my bad!”Another Springfield resident, Anna Kilgore, who told the police that Haitians might have taken her cat Miss Sassy, later apologized to her Haitian neighbors after the animal turned up safe and sound.“Turned out, Miss Sassy — which is also my nickname for JD Vance — was in her basement.” — JIMMY KIMMEL“Well if that isn’t the most Miss Sassy move I could possibly — [imitating Miss Sassy] ‘I’m gonna go hide in the basement to start some rumors. You know why? ‘Cause I’m sassy.’” — SETH MEYERS“By the way, if your cat goes missing, why would your first guess be someone ate it?” — SETH MEYERS“Here’s a little tip for anyone out there with a missing pet, OK? Before you accuse your Haitian neighbors of stealing them, maybe you could first try looking around your house.” — RONNY CHIENGThe Punchiest Punchlines (Rudy Rudy Rudy Edition)“At the rally, Trump did his usual rant about how New York has turned into a third-world hellhole. And to prove his point, he brought out a New York icon that has decayed beyond all recognition, Rudy Giuliani.” — RONNY CHIENG“Yeah, Rudy wasn’t actually invited — someone just said his name three times and he appeared.” — JIMMY FALLON“Rudy is so feral, I’m worried R.F.K. Jr. will put him in his trunk.” — RONNY CHIENG“He’s going to get you, and good luck trying to outrun Rudy Giuliani on three whiskeys.” — RONNY CHIENG, on Giuliani’s threat to anyone “behind” attacks on Trump: “I’m going to get you.”“That’s right, the guy who can’t differentiate a Four Seasons from a dildo store is gonna find you. You’ve been warned.” — JIMMY KIMMELThe Bits Worth WatchingSting performed his new song “I Wrote Your Name (Upon My Heart)” on Thursday’s “Late Show.”Also, Check This OutDemi Moore in “The Substance.”MubiIn “The Substance,” Demi Moore stars as an aging actress who discovers a deadly cure for obscurity. More

  • 100 Shares149 Views

    in Theater

    ‘Forbidden Broadway’ Review: Let Them Somewhat Entertain You

    From its perch way Off Broadway, the long-running satire slings its affectionate arrows at Patti, Audra and the rest.At its best, topical satire, which is what the “Forbidden Broadway” franchise has been slinging for 42 years, is both timely and well targeted. The timeliness means that audience members know the material being ribbed; the targeting makes sure they know why.Admittedly, timeliness is a vague concept when your subject is Broadway, where the targets recur at regular intervals. It’s thus not a big problem that many of the songs in the show’s latest edition — which opened on Thursday at Theater 555 in the far west reaches of Hell’s Kitchen — send up musicals and performers that Gerard Alessandrini, who created, writes and directs the series, has sent up before.But the targeting in this outing, subtitled “Merrily We Stole a Song” in a nod to the flood of Sondheim revivals, including “Merrily We Roll Along,” is too often hazy. The opening number, repurposing “Sit Down, You’re Rockin’ the Boat” from “Guys and Dolls” as “Sit Down, You’re Blocking the Aisle,” feels like a title that went looking for a topic. (It’s about rude patrons.) A segment about the upcoming “Gypsy” revival posits the unlikely idea that Audra McDonald is haunted by the ghosts of previous Roses. (“Merman’s gotta let go!”) Having to admit that Lincoln Center’s revival of “South Pacific” was terrific (even if its “Camelot” was “horrific”) turns a Tchaikovsky-themed takedown of that institution into a shrug.To be sure, those numbers, and most of the others, are performed well by the four-person company, if rarely as well as they would be if performed by the people they are parodying. That’s a built-in problem when satire has little to satirize; if the worst snipe you can take at McDonald is that she’s a glorious soprano and Merman wasn’t, you’re not going to be able to throw much shade.Punching wild is also a problem here. Instead of using relevant songs to make his points, Alessandrini sometimes conscripts baffling outliers into service. A takeoff called “Great Gatsby for Dummies,” featuring a wicked Jeremy Jordan impersonation by Danny Hayward, is paired with the irrelevant song “Good Morning” from a 1939 movie. And a running gag in which Doc Brown and Marty McFly visit Broadway past and future, with a young Sondheim strangely in tow, is so in the weeds it has ticks. (It does, however, offer a glimpse of the 23rd century’s Ozempic Theater.)Punches perfectly thrown at the ripest subjects provide the evening’s better moments, even if some of the low blows are mere sideswipes. Of Ariana DeBose’s recent award show hosting, Alessandrini writes: “A girl like that/Could kill the Tonys.” Chris Collins-Pisano does a deadly Ben Platt channeling Liza at the Palace in his recent run there: “Everybody loves charisma/So nobody loves me.” And a rewrite of “The Ladies Who Lunch” provides Jenny Lee Stern, a longtime “Forbidden Broadway” standout, with the opportunity for a pithy comment on Patti LuPone’s extreme mannerisms in the 2021 “Company” revival: “I’ll sink to that.”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