Eliana Willis

More stories

  • 100 Shares149 Views

    in Television

    HBO Max Gains Traction in a Crowded Field

    AT&T, HBO’s parent company, reported that HBO and the new streamer added 2.7 million subscribers in the first quarter.AT&T added 2.7 million new customers to HBO and HBO Max in the first quarter, a boost for the company’s new streaming effort in an increasingly crowded field.The company’s WarnerMedia division, which includes HBO, recorded $8.5 billion in revenue for the period, a 9.8 percent jump over last year, when theater sales and advertising revenue plummeted during the pandemic. Led by the chief executive Jason Kilar, WarnerMedia also includes the cable networks CNN and Turner and the Warner Bros. film studios.HBO is the cornerstone of AT&T’s media strategy, and the company sees HBO Max as a way to keep its mobile customers from fleeing, offering the streaming platform at a discount to its phone subscribers.In its report on the year’s first quarter, AT&T stopped disclosing the number of active HBO Max users, obscuring how many people are actually tuned into the new streaming service.Over all, AT&T counted 44.1 million subscribers to HBO and HBO Max in the United States at the end of March, a gain of 2.7 million from the previous quarter. Before it stopped breaking out the HBO Max subscriptions, in December, it said it had 41.5 million subscribers: 17.1 million for the streaming service, 20 million for HBO on cable and the rest from hotels or other deals.HBO Max most likely drove the gain in the quarter, which is notable given how competitive the streaming universe has become. HBO Max is also the most expensive of the major streaming platforms, at $15 a month. Netflix, which reported earnings on Tuesday, remains the leader, with 67 million customers in the United States and nearly 208 million in total.Netflix’s dominance has started to wane, in part because of newer entrants like HBO Max and Disney+. Netflix added four million new subscribers in the quarter, with a little more than 400,000 in the United States. Netflix chalked up the comparatively sluggish growth to the production slowdown when Hollywood studios largely stopped making shows and films during the pandemic. The company said it expected a more successful second half of the year, when returning favorites and highly anticipated films become available.HBO Max most likely got a boost from an unorthodox strategy championed by Mr. Kilar: The sibling company Warner Bros. plans to release its entire lineup of 2021 films on HBO Max on the same day they’re scheduled to appear in theaters. The announcement rumbled throughout Hollywood, angering agents and filmmakers who stood to lose out on crucial bonuses and commissions by short-circuiting the old theatrical release schedule.Mr. Kilar has said the company was likely to go back to a more traditional distribution plan next year. For the rest of 2021, he is counting on the film slate — which included the recent releases of “Zack Snyder’s Justice League” and “Godzilla vs. Kong,” as well as the Friday premiere of “Mortal Kombat” — to help drive people to HBO Max.The company also plans a global expansion of HBO Max starting in June, along with a lower-cost version of the service that will include commercials. The company has about 19.7 million HBO customers overseas who it hopes to convert into HBO Max subscribers. More

  • 138 Shares99 Views

    in Television

    Review: ‘Romeo and Juliet,’ Cut in Half and Twice as Good

    Josh O’Connor and Jessie Buckley star as the star-crossed lovers in a compelling stage-film hybrid adaptation.What’s written in haste may be repaired in haste. Or so the fine and fleet new “Romeo and Juliet” from Britain’s National Theater, available here on PBS’s “Great Performances,” convinces me.At 90 minutes, it is even shorter than the “two hours’ traffic of our stage” promised in its first lines but rarely honored in performance. (The entire play normally takes about three hours.) Yet as directed by Simon Godwin, this emotionally satisfying and highly theatrical filmed version scores point after point while whizzing past, or outright cutting, the elements that can make you think it was written not by Shakespeare but by O. Henry on a bender.If the cutting merely left what remains with a much higher proportion of penetrating insight and powerful feeling, that would be enough; “Romeo and Juliet,” at its best, anticipates the great later works in which complexity and ambivalence are made real and gorgeous in language. But the speed serves another function here: telling a story that’s mostly about teenagers with a teenage intensity and recklessness.Not that the stars are anywhere near their adolescence. Though Romeo is 17 or so and Juliet, 13, Josh O’Connor, who played mopey young Prince Charles in “The Crown,” is 30, and Jessie Buckley, the mysterious star of “I’m Thinking of Ending Things,” 31. Still, there’s a reason they’re called actors: They can perform the acts a play requires of them. Onstage, at any rate, that would be sufficient.Under Simon Godwin’s direction, the masked ball in this “Romeo and Juliet” is closer to a rave.Rob YoungsonOn film, we need an extra push, which Godwin and Emily Burns, who adapted the text, provide by grounding us in a theatrical world before escorting us into a filmic one. The production begins unceremoniously with the cast in street clothes, entering a theater, unmasked and vulnerable, none more so than O’Connor, with the low-slung, “sticky-out” ears he says earned him his role on “The Crown.” Sitting on three sides of a small, square, scuffed playing space, the actors are barely past the greeting phase — O’Connor and Buckley smile shyly at one another, as if across a Veronese piazza — when the play leaps out of the gate.Purists not already offended will soon have plenty to set them off. The masked ball at which the lovers meet is not exactly courtly; it’s more like a rave, and Romeo is given just two lines (instead of 10) to fall for Juliet, who is moaning at the mic like Lana Del Rey.But impurists will be satisfied that the erotic intensity between them is so palpable, even when Godwin dissipates it by cutting away from the theatrical moment to a filmed montage in some other dimension. Similarly, the introduction of a passionate gay pairing among the supporting roles makes up in thematic coherence — the plot turns on forbidden love — what it lacks in textual fidelity.The trade-offs continue throughout. The most fascinating one finds Juliet’s parents inverted, Lady Capulet (Tamsin Greig) getting most of the lines Shakespeare wrote for her Lord (Lloyd Hutchinson). Greig, so funny on the Showtime series “Episodes,” is spectacularly entertaining as she explores what besides the habitual assertion of male power might motivate a parent to threaten a daughter with expulsion. Her interpretation, underlined by “evil” music, nevertheless denatures one key feature of the play, which now suggests that the Capulets are monsters when the really terrifying thing is that they’re not. They are upstanding citizens doing what’s expected.It is that atmosphere of immutable custom and inherited hatred that the lovers are desperate to escape. But Godwin’s staging makes clear by physical proximity and by judicious intercutting that these elements are related: Romeo and Juliet’s passion is as rash and irrational as the other characters’ repression and violence. As the outlines of their love are filled in, so is the hatred around them — and so are the set (by Soutra Gilmour) and props; swords that were simple wooden dowels in Act I by Act III are knives that look menacingly real. In youth, it seems, enmity precedes an enemy just as love precedes a lover.Tamsin Greig as Lady Capulet and Lloyd Hutchinson as Lord Capulet.Rob YoungsonAt every turn we are offered insights like that until, suddenly, we aren’t. Nothing Godwin can do to make the play rough and unfamiliar — whether by having Tybalt (David Judge) urinate on a wall or by excising greatest hits like “parting is such sweet sorrow” — can help it get past the place where the lovers’ ingenuity fails along with Shakespeare’s. The plot thread by which Juliet’s fake death prompts Romeo’s real one is so absurdly flimsy that adaptations have tried for centuries to fix it; Arthur Laurents’s workaround for “West Side Story” is especially strong.For me, though, no production of “Romeo and Juliet” survives the potions of Friar Laurence; they are a lot of magick to swallow in a play about such real and serious things. That Laurence is portrayed here (by Lucian Msamati) with great dignity, not as a nutty professor, helps, raising the profound if wishful idea that faith can correct for society’s failings. Even more movingly, Deborah Findlay, as Juliet’s fond nurse, is able to temper the role’s comic elements with an immutable loyalty to her mistress, and then temper that with something darker and arguably in fact disloyal. It’s a perfect trifold performance.That’s the thing about Shakespeare, at least for me: There comes a moment in many of his plays when only the actors can preserve the emotion the plot keeps leaking. Happily, that happens here: As the tragedy narrows, O’Connor and Buckley flood with feeling.Stars will do that. In the same way an enemy is just a receptacle for enmity that already exists, a starring role is whatever a star can pour ambient emotion into. O’Connor’s essence is a silent yearning — the kind that is not extinguished but fanned by satisfaction. (This is what made his otherwise insufferable Charles almost sympathetic in “The Crown” and the nearly silent young farmer in his breakthrough film, “God’s Own Country,” so expressive.) Buckley, whose face seems transparent at times, is more about wonder; her Juliet clearly wants Romeo but, more than that, is amazed by her good fortune in getting him.Even in a more conventional production — this one was meant to be performed live onstage but was retooled for the pandemic — you need that kind of incandescence to make the play make sense. Remember that Shakespeare was a young star, too, albeit 30 or so himself, when he wrote “Romeo and Juliet.” Indeed, it often seems that his title characters, in haste and passion, wrote it for him.Romeo & JulietThrough May 21; pbs.org/gperf More

  • 163 Shares169 Views

    in Theater

    'Living Newspaper' at the Royal Court Theater Stirs Up Stories of Our Time

    Tired of reading the headlines? You can watch artistic interpretations of the stories of our era by trailing actors in a Living Newspaper production, section by section.LONDON — Have you had enough of wading through newsprint or scrolling online? The Royal Court Theater has a bracing online alternative that refracts current events through a vibrant and eclectic array of plays that give many of today’s hot-button topics a piquant spin.The self-evident inspiration for “Living Newspaper” is the project of the same name from Depression-era America, a federally funded response to the social concerns of the day that had its origins in the Russian Revolution and saw art as an agency for change.That immediacy tallies with the history of engagement at the Court, a theater that prides itself on taking the temperature of the times. Not for nothing is one of the makeshift spaces adapted for this collection of plays referred to as the Weather Room. (The idea was to reconfigure the Court so that its spaces, onstage or off, approximated the sections of a newspaper.)Kayla Meikle in the solo play “And Now, the Weather,” written by Nina Segal. Helen MurrayAnd what, you might ask, is the forecast? “Unpredictability, volatility and destruction,” announces the actress Kayla Meikle in a solo play by Nina Segal, her reply hinting at a sense of uncertainty, or worse, common to much of the writing here. Its tone cheerful, then chilling, Segal’s play runs less than six minutes and forms part of Edition 5 of an ambitious seven-part venture. The Court is due to reopen to the public in June.The playhouse in Sloane Square, long devoted to new writing, has put the pandemic to culturally productive use. At a time when theater professionals have been reeling from an absence of work, the Living Newspaper has employed over 300 freelancers, two-thirds of them writers and actors. The first four “editions” are no longer available, but Editions 5 and 6 are, with the final one to be available beginning Monday for two weeks. That one will be devoted to writers ages 14 to 21.How can a building work as a newspaper? Surprisingly easily. We experience the stories in different physical places much as we might flick through the news pages. Each “edition” comes with an obituary and advice “pages,” for instance, into which are slotted plays to match. The front page tends to be reserved for a larger-scale piece with music to get the proceedings off to a rousing start.The result has allowed as varied a range of expression as you could imagine, sometimes cheeky and satirical, just as often pointed and polemical. (The Living Newspaper of legend knew a thing or two about agitprop.) The writers include regulars like E.V. Crowe, whose teasing “Shoe Lady” was at the Court last spring just as London theaters were shut down, and Tim Crouch, a maverick actor-writer whose solo play “Horoscopes” shows him at his most wicked as he eviscerates the 12 signs of the zodiac.Nando Messias outside the Royal Court performing a work by Hester Chillingworth.Helen MurrayThemes of empowerment and self-identity recur, just as various forms of the word “apocalypse” betray a prevailing unease. Normalcy exists only to be upended, not least in Crowe’s “The Tree, the Leg and the Axe,” in which two women (Letty Thomas and Alana Jackson, both terrific) sit cozily in the theater bookstore and exult in being “safe ones” far removed from the virus — no masks for them! — only to reveal a landscape marked by savagery.Several plays embrace the environment of the Court. Maud Dromgoole’s witty “Museum of Agony,” a solo piece delivered with sustained brio by Jackson, folds its simmering anger into a discussion about what to order from the theater bar. Episode 6 features an arresting turn from the performance artist Nando Messias, whose “Mi Casa Es Su Casa,” by Hester Chillingworth, concludes with the elegantly clad Messias rising from the outdoor steps of the Court and entering the playhouse, an invitation for us to follow scrawled on the performer’s back.Any of these themes could fuel an entire season in nonpandemic times, especially at the Court, known for keeping an eye on the mood of the moment. It has a history of plays embracing political tensions (one was Jez Butterworth’s “The Ferryman,” set during the Troubles in Northern Ireland) and of casting a wide geographic net. The theater also introduced the notion of the “angry young man” in 1956 with John Osborne’s “Look Back in Anger,” and it courses with palpable emotion here.Tensions in the Middle East fuel several of the plays, like Dalia Taha’s “A Warning,” about planting the seed for revolution in Ramallah in the West Bank. The renewed violence in Northern Ireland propels the bitterly funny “Flicking the Shamrock” by Stacey Gregg. At four minutes, it is beautifully performed by Amanda Coogan and Rachael Merry as women whose preferred forms of sign language (BSL versus ISL) indicate a power-sharing that may not be going according to plan.Cian Binchy in Amy Bethan Evans’s “Neurodiverge-Aunt.” Helen MurrayThe Living Newspaper offers a theatrical potpourri comparable to the Lockdown Plays, which were a highlight of pandemic-era writing and folded in many a recognized name from the Court. As with any newspaper, you can dip in and out, alighting on whichever play catches the eye. I would happily return to Amy Bethan Evans’s cheekily titled “Neurodiverge-Aunt,” in which the wonderful Cian Binchy, who is autistic, ponders the limits of compassion allowed by an advice columnist: “I can’t be your friend because that’s unprofessional.”I laughed out loud at Leo Butler’s “In Memoriam (With Helen Peacock),” in which the actress Nathalie Armin looks back dispassionately at a forbidding list of recent deaths that includes “nuance” and “debate,” which has made it all the way from ancient Greece only to surrender to modern-day trolling.And cheers for Rory Mullarkey’s “This Play,” which describes theater of all styles and structures, including those that have been impossible during the pandemic. At one point, the actress Millicent Wong demands, “Just give me plays again now,” her voice rising. Any devotee of the Court, and its downstairs bar, would surely drink to that.The Living Newspaper continues online through May 9. More

  • 150 Shares129 Views

    in Television

    Seth Meyers: Chauvin Verdict Confirms ‘What We Saw With Our Own Eyes’

    “As we’ve explained on this show many times before, the culture and system of policing in this country must be dismantled and reformed,” Meyers said on Wednesday.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. We’re all stuck at home at the moment, so here are the 50 best movies on Netflix right now.Holding Out for Justice for AllOn Wednesday, as Derek Chauvin’s conviction in the killing of George Floyd continued to reverberate around the country, Seth Meyers said it was “at the very least a relief to have what we saw with our own eyes confirmed by a court of law, even if it’s still a sorrow moment for grief and mourning, because this one verdict alone does not mean justice is done.”“True justice would mean George Floyd would still be alive today. True justice would mean Black people no longer having to live in fear of being killed by police. But there was at least accountability, which is hopefully a comfort to George Floyd’s family, and all those mourning his death, and a first step toward true justice and the reform we so desperately need, because it is undeniably the case that this is not the end of the story. As we’ve explained on this show many times before, the culture and system of policing in this country must be dismantled and reformed.” — SETH MEYERSSamantha Bee and Stephen Colbert also described Chauvin’s conviction on all charges as just a step in the right direction on a long path to righting generations of injustice.“While yesterday’s guilty verdicts are a step toward justice, they don’t change the fact that a man was murdered and Black people are still being killed by police. We have a long way to go to make this a country that, I don’t know, actually treats everybody like human [expletive] beings?” — SAMANTHA BEE“Americans are still emotionally processing yesterday’s verdict by a Minnesota jury that found Derek Chauvin guilty on three counts in the murder of George Floyd. It brings up a lot of complex feelings, because no jury verdict can bring George Floyd back, but the news of this accountability was celebrated across the nation, in Minnesota, New York and across the street from the White House, in Black Lives Matter Plaza, where people were dancing and crying with relief. What a difference 11 months make: Last time they were crying from tear gas and rubber bullets.” — STEPHEN COLBERT“Now, the problem of police violence against people of color is still far from solved. While this is a welcome verdict, it’s like wiping up a spill on the Titanic: Good job, now let’s focus on the water pooling around our ankles.” — STEPHEN COLBERT“Yeah, it should not take nine minutes of damning video to get some accountability. There’s a reason the Pledge of Allegiance doesn’t say, ‘With liberty and justice for all who are being filmed on an iPhone. Otherwise, sucks to be you!’” — STEPHEN COLBERTThe Punchiest Punchlines (Misleaders Edition)“We can see the injustice with our own eyes, but there’s a whole industry of people, from police unions, to private prisons, to cable pundits, whose very lucrative job is to try to convince us that what we can see and hear with our own eyes and ears is not real. In fact, it’s worth going back and reading the initial police description of Floyd’s murder before the video came out to see just how deeply detached from reality it was. Here’s the official headline: ‘Man dies after medical incident during police interaction.’ It’s shocking. It’s hard to fathom. It’s like writing a book report about ‘Lord of the Flies’ called, ‘Kids successfully cooperate during tropical vacation, remain lifelong friends.’” — SETH MEYERS“Many Americans on Twitter, on various platforms, have spoken passionately, powerfully, about the verdicts and their significance yesterday, but none spoke less eloquently than Tucker Carlson of Fox News.” — JIMMY KIMMEL“After former Minneapolis police officer Derek Chauvin was found guilty yesterday, Fox News host Tucker Carlson claimed the jury was intimidated into the guilty verdict by the protests and the Black Lives Matter movement, which is frustrating for Carlson, because he put a lot of work into intimidating that jury.” — SETH MEYERSThe Bits Worth WatchingSamantha Bee made the case for federal legalization of marijuana on Wednesday’s “Full Frontal.”What We’re Excited About on Thursday NightThe Olympic champion gymnast Simone Biles will join Jimmy Fallon on Thursday’s “Tonight Show.”Also, Check This OutIn “Minari,” Steven Yeun, front, portrays a Korean immigrant who moves with his family to rural Arkansas in the 1980s; Lee Isaac Chung directed.David Bornfriend/A24With more female directors and people of color nominated for Oscars, the coronavirus pandemic seemed to have a positive effect on the diversity of this year’s Academy Awards. More

  • 138 Shares169 Views

    in Television

    LeVar Burton Will Guest Host ‘Jeopardy!’ Fans Are Over the Rainbow.

    After a fervent online campaign to get the “Reading Rainbow” star a slot, it’s finally happening.This is “Jeopardy!” — with your host, LeVar Burton.After a social media campaign to get Burton, a star of “Reading Rainbow” and “Star Trek: The Next Generation,” into a guest-host slot on “Jeopardy!,” the show announced Wednesday that he would indeed step up in the last week of July.“Our goal has been to present a wide variety of guest hosts with different skill sets and backgrounds on our path to finding a permanent host,” the show’s executive producer, Mike Richards, said in a statement. “Our passionate fans are telling us what they like, and we are listening.”Fans were predictably thrilled.“Butterfly in the sky, I’m twice as high about the @levarburton news!” one Twitter post read.But there may have been one person even more excited than Burton’s fans: the actor himself.“THANK YOU… to all y’all for your passionate support!” he tweeted.Since the death of the show’s beloved former host Alex Trebek after a battle with pancreatic cancer last November, “Jeopardy!” has been cycling through a roster of guest hosts that has included celebrities like Katie Couric, Dr. Oz and Aaron Rodgers, and former champions like Ken Jennings.In addition to Burton, the final group will also include the “Good Morning America” anchors George Stephanopoulos and Robin Roberts; the former “Celebrity Jeopardy!” champion David Faber; and the sportscaster Joe Buck, the show announced Wednesday. Each will host a week of episodes this summer, and the show will make a donation in the amount of the cumulative winnings during that host’s week to a charity of their choice.“Jeopardy!” has not yet named a permanent replacement for Trebek, and Anderson Cooper is currently filling the role through the end of April. But Burton is many fans’ choice, and a Change.org petition backing him for the permanent job has more than 246,000 signatures.Burton hosted 21 seasons of the educational PBS series “Reading Rainbow,” from 1983 through 2006, in addition to serving as the program’s executive producer. He also starred as Lt. Cmdr. Geordi LaForge on “Star Trek: The Next Generation” and currently hosts the podcast “LeVar Burton Reads.”For some, Wednesday’s announcement was just the tip of the iceberg of what they hope will soon be even more good news.“We did it everybody!” one fan tweeted. “Now keep doing it until we’re all hearing ‘Welcome to Jeopardy! with your host LeVar Burton’ for the next few decades.” More

  • 125 Shares189 Views

    in Theater

    How a Multimedia Whiz Became the Go-To for Virtual Productions

    The projection designer Jared Mezzocchi has become a go-to guy for ambitious virtual productions. Next up: Starring in his own haunted house play.In March 2020, live venues closed, and the theater industry was shocked into numbness. But for the multimedia designer and director Jared Mezzocchi, the moment felt like a ringing alarm.Mezzocchi warmed up in early May by co-directing a livestreamed student production of the Qui Nguyen play “She Kills Monsters” at the University of Maryland, where he is associate professor of dance and theater design and production. The show made imaginative use of filters in Zoom. Who knew that you could generate creature features in an app conceived for office meetings?Numerous projects of diverse sizes and genres followed, playing to strengths Mezzocchi had developed as a projection designer, the person making new images or fashioning existing footage to be shown onstage. He is comfortable in the digital realm, can create a visual environment to tell a story, and has the technical know-how to handle virtual live performances — he is a whiz with Isadora, a software that allows users to mix and edit Zoom on the spot.Highlights have included Sarah Gancher’s acclaimed “Russian Troll Farm: A Workplace Comedy,” which Mezzocchi directed with Elizabeth Williamson; video and web design for “The Manic Monologues”; and multimedia design and direction on Mélisande Short-Colomb’s recent “Here I Am.”Next, Mezzocchi is starring in his own interactive virtual play, “Someone Else’s House,” which starts previews Friday at the Geffen Playhouse in Los Angeles.To be sure, Mezzocchi, 35, didn’t wait for March 2020 to get busy. In 2017, for example, he won Obie and Lucille Lortel Awards for his projection design on the Manhattan Theater Club production of Nguyen’s “Vietgone.”But his workload and influence have exploded over the past 13 months. Last September, he further extended his reach by creating the Virtual Design Collective (ViDCo), a think tank, networking hub and problem-solving resource (watch it in action during the live event “Word. Sound. Power. 2021” at the Brooklyn Academy of Music on Friday).“He’s unafraid to ask bigger questions and push what’s really possible theatrically,” May Adrales, the “Vietgone” director, said over video.“Someone Else’s House,” produced in association with ViDCo, is yet another experiment for Mezzocchi, who is stepping in front of the camera to recount a haunting story that happened to his family in their home state of New Hampshire.“I’ve never seen myself as a tech person,” he said in an email. “Hell, I was an actor my whole childhood and through grad school. Multimedia became an extension of myself as a storyteller — not the other way around. So this is a really thrilling moment of convergence for me.”Based in Silver Spring, Md., Mezzocchi maintains strong ties to New Hampshire: Since 2015, he has been the producing artistic director at Andy’s Summer Playhouse in Wilton, which he attended as a kid and where he now implements many of his ideas about the interconnection of community, art and technology.He discussed them and more in a pair of conversations conducted on — what else? — Zoom.Mezzocchi described the chance to perform “Someone Else’s House,” an interactive play about his family, as a “thrilling moment of convergence for me.” Greg Kahn for The New York TimesDo you think the disappearance of live theater has changed the way we approach storytelling?Without getting into better or worse, I think this period has allowed for more strategies to emerge. Think of TikTok or Snapchat: We hear words with visuals in a way that we weren’t 10 years ago — we’re now telling full stories with a series of memes online. The most successful works I’ve seen this year had technology as a scene partner, not as lipstick and blush. I hope that remains when we get back to in-person.Ideally, what should happen when in-person performances return?First, everyone’s like, “I can’t wait for theater to be back.” I don’t want to nitpick, but I would love us to say: “I can’t wait for in-person theater to allow us to create story inside of a venue again.” People are making performance right now, and we need to embrace that. A lot of theaters are not going to stop the digital marketplace because they’ve seen great value in the accessibility to it. I’m excited for where that takes us when digital performance is a choice rather than survival.Haskell King in “Russian Troll Farm: A Workplace Comedy,” which Mezzocchi co-directed.via TheaterWorks HartfordYou were a video projectionist at the Manhattan nightclub Santos Party House for a few years starting in 2008. How did that influence your theater work?I would spend hours making the perfect thing, and no one would care, and then I would put up a cat video and everyone would cheer! Learning pop culture, learning how to engage with an audience, how to listen to a D.J., how to engage with a band — it became much more musical to me. Sarah Gancher comes from a musical background, and on “Russian Troll Farm” we found ourselves talking about cadence, tempo, percussiveness. It’s not about, “This is what it’s going to look like,” but, “Here’s the energy we’re trying to generate.”In an essay for Howlround Theater Commons, you wrote that “theater must stop making films during the pandemic.” Ouch! Do you think being live defines theater?Absolutely, and that’s unchangeable for me. You make different decisions when you have to make them in the moment, and I think it has to do with audience engagement. If an audience feels like it’s important that they’re there and listening, they’re going to listen differently. And if the performer knows there’s an audience listening in a particular way, it’s going to be different. Is it perfect? Totally not [laughs]. Digital technology’s value system, for whatever reason, is married to spectacle and a different kind of quality. I’ve noticed a lot of people running from liveness so they can get a higher spectacle at a higher quality. I’d rather be rough and dirty and maintain liveness.You often talk about community-building, which has included instituting talkbacks at Andy’s Summer Playhouse. Why is that important to you?It’s important to leverage localism so that we can really understand communities. Right now the only way into a community is often a national tragedy, and that’s too late. How can art help? Well, there’s no tragedy involved when you’re creating something. I love Andy’s because it reminds people that debate is important, and that kids can and should lead a lot of conversations in local environments. They are the reminder that change is beautiful and necessary. More

  • 100 Shares189 Views

    in Television

    ‘Skate Kitchen,’ ‘Night Moves’ and More Streaming Gems

    Enjoy these options that are off the beaten path.This month’s under-the-radar streaming picks include clever riffs on the police procedural and the crime thriller; a handful of relationship stories, in keys both comic and tragic; and a pair of memorable (and upsetting) documentaries.‘The Wailing’ (2016)Stream it on Amazon.What begins as a “Memories of Murder”-style police procedural veers into darker, wilder territory in this unnerving and occasionally stomach-churning horror thriller from the writer and director Na Hong-jin. Jong-goo (Kwak Do-won) is a policeman whose investigation of a string of grisly killings is influenced by the gossip around him: “All this happened,” he is told, “after that Japanese man arrived.” When his family is drawn into the investigation, Jong-goo discovers exactly what he’s capable of — and then, things get really horrifying. The expansive 156-minute running time allows leisurely detours into character drama and bleak humor, but the picture never goes slack; there is something sinister in the air of this village, and Na builds that sense of inescapable dread with patience and power.‘Night Moves’ (2014)Stream it on Amazon.Many of Kelly Reichardt’s acolytes consider this eco-thriller to be among the director’s lesser efforts, and when placed against “Wendy and Lucy” or “First Cow,” perhaps that’s true. But Reichardt on her worst day surpasses most of her contemporaries on their best, and there’s much to recommend in this morally thorny story of a trio of radical environmentalists (Jesse Eisenberg, Dakota Fanning and Peter Sarsgaard) as they meticulously plot and execute a dangerous act of protest. Reichardt hits the thriller beats, but casually and modestly; her emphasis, as ever, is on character, and she finds as much suspense in interactions as in the action itself.‘Skate Kitchen’ (2018)Stream it on Hulu.A preview of the film.The filmmaker Crystal Moselle’s roots are in documentary — she directed the 2015 Sundance sensation “The Wolfpack” — and that ear for the rhythms and routines of real life are apparent in this hybrid feature, in which a group of female New York City skateboarders play fictionalized versions of themselves. Rachelle Vinberg stars as the outsider looking in, a would-be skater who idolizes this all-girl crew from social media, and works her way into their midst. The details are contemporary (and keenly observed), but “Skate Kitchen” is a good old-fashioned coming-of-age story, in which norms are challenged, lessons are learned and young people must decide which version of their possible selves they want to be.‘Pink Wall’ (2019)Stream it on Hulu.The writer and director Tom Cullen lays out the methodology for his relationship drama clearly and early with a loose two-shot of the couple at its center, in the fourth year of their union, out with family and making little jokes about very real issues between them. This predictably escalates into a knock-down-drag-out fight when the two are alone together. Cullen’s wise and observant script is, in many ways, about that divergence: the difference between a couple’s actions in public and in private. And the narrative structure — skipping throughout the six years of their relationship, with signaling shifts in film stock and aspect ratio — allows Cullen to maximize that contrast. He’ll go from their first night together to their last, but not as a gimmick; he seems fascinated by the fact that two people who share such hope can eventually cause each other such pain. It’s a tough, perceptive movie, and also a funny, sexy one.‘Man Up’ (2015)Stream it on HBO Max.Countless contemporary romantic comedies have built their plots on deceptions, secret motives, false identities and so on, carried out long past the point of anything resembling plausibility. This London-set boy-meets-girl tale from the director Ben Palmer and the writer Tess Morris sets up that sort of duplicity. When Nancy (Lake Bell) is mistaken by Jack (Simon Pegg) for his blind date, she chooses to go along with his error. What’s ingenious is how the film unexpectedly implodes the chicanery early on, and then watches the fireworks. The result is both a winking critique of the genre and a fine example of it. Bell and Pegg puncture conventions while still generating genuine chemistry and comic byplay.‘The Boy Downstairs’ (2018)Stream it on Hulu.Zosia Mamet was the scene-stealer supreme of the HBO comedy “Girls,” her side plots often more compelling than the main narrative, so it’s no surprise that this starring vehicle is such a charmer. She is Diana, an intelligent but insecure young woman trying to piece her life together; the title character is her ex-boyfriend (Matthew Shear), who returns to her proximity when she unwittingly moves into his apartment building. Mamet plays Diana’s dilemma with the right mix of pathos and discomfort, while the writer and director Sophie Brooks crafts emotional stakes high enough to prevent the story from veering into sitcom territory.‘White Boy’ (2017)Stream it on Netflix.In 2018, Matthew McConaughey starred in “White Boy Rick,” a dramatization of the early life of the teenage drug dealer Richard Wershe Jr. But this documentary account was made first, and is the superior telling. The director Shawn Rech uses archival footage, contemporary interviews and re-enactments to tell the story of Wershe’s rise and fall, drawing heavily on the impressions of the rich cast of colorful (and, mostly, scary) characters around him. But it’s not just his story — it’s steeped in the history of Wershe’s home turf of Detroit, and how it fell on hard times in the late 1980s thanks not only to the drug trade but also to corruption in the police department and at City Hall. The filmmaking is mostly by the numbers, but this is such a compelling story, it hardly matters.‘The Last Cruise’ (2021)Stream it on HBO Max.On Jan. 20, 2020, the Diamond Princess cruise ship departed the Port of Yokohama, with 2,666 passengers and 1,045 crew members on board. By the time it returned after two weeks of stops throughout Southeast Asia, it had become a petri dish for Covid-19, with passengers quarantined in their staterooms as the number of positive cases ticked worrisomely upward every day. Hannah Olson’s mini-documentary augments the memories of a handful of passengers and crew with their own video recordings of the ordeal, from their early, carefree (and, in retrospect, infectious) group activities to the days of worry and fear. It becomes a story of the haves and have-nots; since someone has to feed the guests, the crew has to keep working, and watching them do so (in close quarters, with no support) is as upsetting as any horror movie. “The Last Cruise” is a tough watch, but a necessary reminder of how, from the very beginning, the pandemic brought ongoing issues of class inequality to the fore. More

  • 100 Shares99 Views

    in Theater

    Dark. Messy. Assaultive. Inscrutable. Even From Your Couch.

    Without international tours, streaming high-concept, director-driven European theater is the next best thing to being there.In October 1973, Arena Stage in Washington took its productions of “Inherit the Wind” and “Our Town” to Moscow and Leningrad for “the first American theatrical performances on the Soviet stage in memory,” according to The New York Times.A teenager named Dmitry Krymov was so bowled over by “Our Town” that he returned the next day. He grew up to become one of the world’s finest theatermakers, and “Our Town” plays a pivotal role in his wonderfully evocative recent memory play, “We Are All Here,” which tracks Krymov’s relationship with Grover’s Corners over the course of his life, and peaks in an emotional gut punch doubling as a visual masterstroke, with the cast lined up on a slowly rising bridge.The good news is that I was able to take in Krymov’s show earlier this month. The less-good news is that I saw it online.And that, in a nutshell, is what the past year has been for fans of border- and boundary-crossing theater: increased access, curtailed experience.Audiences in New York (and other cities that regularly host international companies) have long been able to discover theatrical ideas, techniques and aesthetics that can be radically different from the ones we encounter in the United States.Indeed, American theatergoers can be taken aback by another culture’s conception of the art form. Very roughly, if the playwright, dead or alive, rules in the United States, in Europe it’s the director who is the focus.But as Krymov learned in 1973, opening one’s mind to different possibilities is also incredibly exciting.The main problem is that travel was even harder this past year than it was between the United States and the Soviet Union in the 1970s. And sharing a physical space has always been a key to the more adventurous experiences, the ones that make us question our artistic assumptions: The impact of a show by Italy’s Romeo Castellucci, France’s Ariane Mnouchkine or Poland’s Krystian Lupa can only be fully felt in real life.When you are in the room, you can see how Mnouchkine reconfigures the very idea of the theatrical space by placing movable sets on casters or having the actors get ready for a performance in full view of the audience.In the room, Scott Gibbons’s tectonic soundscapes, which are an integral part of Castellucci productions, feel as if they are pressing on your chest. Audiences entering “The Four Seasons Restaurant” at Philadelphia’s FringeArts festival, in 2014, were handed earplugs, and no, raising the volume on headphones at home just isn’t the same (you can try with another Castellucci show, “Inferno,” available in full on Vimeo).In the room, you can be awed by the supersize scope and the way live and videotaped perspectives intermingle in Ivo van Hove’s “The Damned.”The impact of oversized video imagery, as in this 2018 production of “The Damned,” can’t easily be replicated in a production watched at home.Sara Krulwich/The New York TimesAnd in the room, you can thrill to an audience’s response to the moment. It’s possibly even more exciting when you’re in the enthusiastic minority in a sea of haters, “Rite of Spring”-style: I can still hear the slaps of seats springing back up as enraged patrons left in the middle of Jan Lauwers’s berserk “King Lear” at the Brooklyn Academy of Music, and that was 20 years ago.But just like that, the pandemic closed borders: we will have to do without outré tableaus from visiting companies for the foreseeable future. The sudden disappearance of international theatrical touring did not make headlines in America last year: Our shellshocked stages went into survival mode, and a much needed discussion of racism in theater took precedence.Obviously I am not begrudging any of that — the reckoning was overdue — but I couldn’t deny the dull ache I felt for what was missing.It was somewhat alleviated, at least, when we switched from glaring at supertitles to glaring at subtitles, as the digital floodgates opened and theaters all over the world began streaming both shows in their repertoires and new projects.Krymov’s “We Are All Here,” for example, was just one of 15 subtitled captures I binged over five days of watching this year’s Golden Mask Festival. These were part of the Moscow-based festival’s showcase section, called Russian Case, which offers works available for tour bookings.Some of them were entrancing even on a screen, like Mihhail Plutahhin’s hypnotic “The Observers,” which consisted of handlers wordlessly moving objects rescued from forced-labor camps this way and that on a table.Yury Butusov’s staging of the Florian Zeller drama “The Son” was so bizarre that it was compelling on its own terms — the actors’ histrionic line readings were refreshingly free of any attempt at psychologizing. The popular writer Vladimir Sorokin’s “Spin” was staged by Yury Kvyatkovsky in a glass house, where we spied a rich family reveling in a decadent boozy brunch via surveillance cameras.Not everything worked, especially the shows that illustrated Regietheater (or director’s theater) run amok, like the incomprehensible commedia dell’arte-influenced production “Pinocchio. Theater.”“Investigation of Horror,” which recreated a soiree of 1930s avant-garde philosophers, complete with real-time potato-peeling and intense debates, looked at times like a “Saturday Night Live” parody. After I admitted, in a postfestival debrief on Zoom, to having been bewildered by a modern-dress adaptation of Dostoyevsky’s “The Idiot,” another viewer reassured me by saying, “I’m Russian, I read the book, and I had no idea what was going on.”None of the Russian Case shows I watched were of the naturalistic bent most common in the United States. I never caught a glimpse of characters desultorily chit-chatting on a couch plopped center stage.Come to think of it, there was not much desultory chitchat at all.Yevgeny Mironov, left, as Mikhail Gorbachev and Chulpan Khamatova as his wife, Raisa, in “Gorbachev.” Ira Polyarnaya, via Theatre of Nations, MoscowIn her introductory note to “Investigation of Horror,” the Russian Case curator Marina Davydova wrote: “Watching relationships between characters is getting boring — it is much more interesting to observe ideas fleshing out.”This applied even to the most traditional productions, which always had a twist, like “The Son” and its outré Expressionism, or the Latvian director Alvis Hermanis’s brilliant bioplay “Gorbachev” having the virtuosic Yevgeny Mironov in the title role as Mikhail Gorbachev and Chulpan Khamatova as his wife, Raisa, change costumes and wigs in full view as their characters age over the course of the show.And Russian Case was just the apex of a year in which I gorged on non-English-speaking theater.It all started last spring, when major companies scrambled to put catalog productions online as soon as their venues shut down — many of them stuck to traditional curtain times and eschewed on-demand, which meant appointment matinees for American viewers.Suddenly, it became easier to see work by directors we have come to know over the years. Berlin’s Schaubühne dug into its archive for full-length shows, including a healthy selection from the artistic director Thomas Ostermeier — a treat for those of us who have loyally trekked to St. Ann’s Warehouse and the Brooklyn Academy of Music for his live productions. As of this writing, the prestigious Odéon-Théâtre de l’Europe in Paris was still streaming a subtitled capture of a contemporary take on Molière’s “The School for Wives.”The most ambitious institution may well have been the Comédie-Française, also in Paris, which started by offering a slew of weekly archival captures (without subtitles) in the spring of 2020. I was finally able to see the 1974 production of Jean Giraudoux’s “Ondine” that starred a teenage Isabelle Adjani and has attracted a cult following; I laughed alone in front of my computer watching a zippy staging of the Feydeau farce “Le Système Ribadier.”The Comédie-Française’s virtual programming has evolved over the past year as regulations changed, and this 341-year-old grande dame has exhibited enviable verve. When in-person rehearsals were authorized again, the company put its troupe to great use with new initiatives like the table read series “Théâtre à la Table,” which has become increasingly sophisticated (and will remain on YouTube, unlike the full captures).The Comédie-Française’s reading of “The Seagull,” part of a series that is available on YouTube.via Théâtre à la tableThose familiar with “The Seagull” could be tempted by the Comédie-Française’s dynamic reading, led by Guillaume Gallienne as Trigorin and Elsa Lepoivre as Arkadina (they also played the terrible lovers Friedrich and Sophie in “The Damned” at the Park Avenue Armory).Choices of source material show inventiveness, too, as with a fantastic re-enactment of Delphine Seyrig’s “Sois Belle et Tais Toi” (“Be Pretty and Shut Up”), a prescient feminist documentary from 1981 in which actresses including Ellen Burstyn, Maria Schneider and Jane Fonda talked about sexism in the film industry.Other companies have taken to appointment, blink-and-you-miss-it livestreaming, most notably Internationaal Theater Amsterdam — the company led by van Hove, whose staging of “The Things That Pass” you can catch on April 25.Not long before my Russian immersion, I was on the edge of my, er, couch during the British director Robert Icke’s take on “Oedipus” for the Amsterdam theater. Even though there was no doubt as to the outcome, the modern-dress production had the intensity of a thriller and I caught myself yelping “no no no no no” out loud as the characters headed toward their fate like asteroids pulled into a black hole by an irresistible gravitational force.Hans Kesting as the title character in Robert Icke’s production of “Oedipus.”Jan VersweyveldThere have even been actual online festivals such as “Stories From Europe,” which presented subtitled captures from members of the theater network mitos21. For a few days in January, we could pretend we were at the Berliner Ensemble, Moscow’s Theater of Nations or the Teatro Stabile Torino. In dark wintertime, that escape felt precious, a window onto a world of possibilities rather than restrictions.In an article for The Times recounting that trip to the Soviet Union in 1973, the Arena Stage associate director Alan Schneider quoted an account in the Literaturnaya Gazeta newspaper. “Truly,” it said, “the exchange of theater experience, of theater groups, is one of the finest proofs of the willingness of peoples to live in peace, to seek mutual understanding.”If that understanding must happen online for now, so be it. The glass, at least, is half full. More