More stories

  • in

    Subway Product Placement Makes It a Star of Korean TV

    AdvertisementContinue reading the main storySupported byContinue reading the main storyKorean TV’s Unlikely Star: Subway SandwichesThe sandwich chain’s aggressive use of product placement has made it a ubiquitous presence on the country’s television shows.Subway has appeared in at least 17 Korean shows, according to an informal tally by The New York Times.March 14, 2021, 5:00 a.m. ETIn an episode of the Korean television show “The K2,” which takes place in a world of fugitives and bodyguards, a man is being treated with a defibrillator when he enters into a dream state. On the fringe of death, he recalls taking a past love to a Subway restaurant and to a park for a picnic, where he gently feeds her a sandwich and soft drink with the Subway logo facing the camera.The detail is not a narrative quirk. It is a result of South Korea’s broadcasting regulations and the aggressive use of product placement in the country’s shows by Subway, the American sandwich chain famous for its $5 foot-longs.“People joke, ‘If I had a drink every time Subway popped up, I’d be drunk before the first half is over,’” said Jae-Ha Kim, a journalist in Chicago who reviews Korean dramas. “Everyone here’s like, ‘I never got a Subway sandwich that looked that good, with that much meat.’”Product placement in TV shows is a reality the world over. But South Korea’s terrestrial stations are prevented from inserting commercial breaks during programming, meaning many Korean companies must be creative about getting their wares in front of viewers. As Korean dramas have become more popular with international audiences, global brands have pushed to be part of the action.And no company has pushed harder than Subway, which has grown into the world’s largest fast-food chain by store count since its founding in 1965 in Bridgeport, Conn.Colin Clark, the country director for Subway in South Korea, said product placements in popular dramas like “Descendants of the Sun” had a positive impact on global sales, specifically citing markets in China, Taiwan and Singapore.“I swear to you, it was a difference between night and day — before the product placement and after the product placement — the effect it had on the customers,” said Mr. Clark, who declined to provide specific sales figures.Subway’s country director in South Korea credits product placement in Korean dramas with a positive impact on global sales.Credit…Jean Chung for The New York TimesSubway did not provide a total of how many Korean dramas its products had appeared in, but an informal tally by The New York Times counted appearances on 17 shows. That can add up to a lot of people seeing the company’s cold cuts. Netflix, with over 203 million worldwide members, has become a leading portal for Korean dramas. When the highly anticipated Korean drama “Sweet Home” was released on Netflix in December, 22 million viewers watched the show in its first month.By sleekly presenting its products on Korean dramas as a harbinger of cool, Subway is also presenting a fresh image to American viewers who are increasingly watching the shows.Recently, the company has faced scrutiny of its bread, which an Irish court ruled is not bread, and its tuna, which a lawsuit claimed is “anything but tuna.”But on TV, pristinely clean Subway shops pop with bright colors serve as the setting for business meetings, social gossip and dates for beautiful couples. Instead of cookies and tea, elderly Korean TV characters keep freshly wrapped Subway sandwiches at the ready — you never can know when an unexpected guest will drop by and crave an Italian sub.On the popular Korean drama “Crash Landing on You,” North Korean soldiers and a South Korean businesswoman find common ground through Subway sandwiches.Product placement in Korean shows began in earnest in 2010, when South Korea’s stringent broadcasting laws eased restrictions on the practice in an effort to increase network revenues and promote Korean goods. In 2018, South Korea’s networks sold $114 million worth of product placement, up 15 percent from the previous year, according to Soobum Lee, a mass communication professor at Incheon National University.Shows collect an average of about $900,000 from product placements, although 2016’s “Descendants of the Sun” sold triple that amount, Mr. Lee said. It was also criticized by some viewers for excessive product placement.Other American companies, like Papa John’s Pizza, have used product placements in Korean dramas, but none are as ubiquitous as Subway.Ms. Kim said these kinds of shoehorned ads had become popular topics of discussion online, with some fans claiming they disrupt plots and threatening to stop watching altogether.She pointed to criticism of the show “Guardian: The Lonely and Great God” (also known as “Goblin”) and a scene where it’s inferred that the protagonist prevents a man from committing suicide; in an effort to cheer him up, the suicidal man is handed a Subway sandwich. Subway is also celebrated in death; in another episode, the Grim Reaper is shown enjoying a meal from the chain.“I know in the U.S. people are sick of it,” Ms. Kim said of the product placement. “We’ve had Subway, we know it’s not good. Stop trying to make it seem good.”While American viewers may roll their eyes at Subway’s being portrayed as haute cuisine, Seung-Chul Yoo, a communications professor at Ewha Womans University in Seoul, said product placement had been proved to work.Subway “tastes way better in South Korea,” said Seung-Chul Yoo, a communications professor at Ewha Womans University in Seoul.Credit…Jean Chung for The New York TimesWhen the actress Jun Ji-hyun wore red lipstick on the 2013 series “My Love From the Star,” similar products sold out in stores throughout Asia. Books featured on Korean dramas have become best sellers.Marja Vitti, who covers Korean television for the website Dramabeans, said some fans had watched dramas to spot new products from companies before they were released to the public.“I seem to notice a new Samsung feature in every drama,” Ms. Vitti said. “It’s like, ‘Oh, I guess we’re getting folding phones soon.’”Keeping up with trends, Subway has begun teasing new sandwiches on shows. In October, the company released its own mini-drama on YouTube, “Someway,” about a young woman who develops a crush on a Subway employee and regularly eats at his location to win his affection.Each episode begins with a character expressing fondness for a new sandwich variety, like one made with Altermeat, a meat substitute. The first episode of “Someway” has more than 1.3 million views.“There’s humor in the advertising we’re doing,” Subway’s Mr. Clark said. “As a brand, if you take yourself too seriously, you’re going to end up always getting into trouble.”Subway opened its first South Korea location in 1992. Now there are more than 430 Subways in the country, its second-largest footprint in Asia behind China.To continually appeal to its target demographic of 15- to 25-year-olds, Subway is also becoming more inventive with how it is presented. On the drama “Memories of the Alhambra,” gamers competing in an augmented reality game collected valuable swords and coins by going to Subway.In real life, newer restaurants with digital menu boards display the chain’s appearances on shows.Product placement “was a relatively cheap way to get us brand awareness,” said Mr. Clark, who has also overseen collaborations with the K-pop star Kang Daniel and a limited-edition Subway streetwear release with Fila. “It was something the other brands were doing, but weren’t really kind of owning that space the way Subway started doing.”Mr. Yoo said that in South Korea, Subway was generally viewed as a healthier option than burger chains, which added to its appeal. During the decade he lived in the United States he rarely ate at Subway, he said, but now he regularly enjoys its sandwiches in Seoul.“To be honest, it tastes way better in South Korea,” Mr. Yoo said.Brands like Subway will soon be able to do more traditional advertising on South Korean television. In January, the Korea Communications Commission announced plans to allow commercial breaks on terrestrial stations.Product placement is not likely to disappear, though.Mr. Clark said that terrestrial advertising was too expensive and that those stations didn’t reach Subway’s desired young customer base, who frequently stream episodes on their phones.Besides, the practice of product placement has already become a plot point.On the show “Because This Is My First Life,” the lead character dreams of becoming a television writer. When she lands a job in the industry, her assignment is to jam product placements into the scripts of popular Korean dramas.In Subway’s YouTube mini-drama, a young woman develops a crush on a Subway employee and regularly eats at his location to win his affection.Credit…Jean Chung for The New York TimesAdvertisementContinue reading the main story More

  • in

    Chris Harrison Replaced as ‘Bachelorette’ Host by 2 Female Ex-Contestants

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyChris Harrison Replaced as ‘Bachelorette’ Host by 2 Former ContestantsMr. Harrison, who acknowledged making comments dismissive of racism, will be replaced on the coming season by the first women to host the franchise, Tayshia Adams and Kaitlyn Bristowe.Tayshia Adams, above, will co-host the next season of “The Bachelorette” with Kaitlyn Bristowe. Both are former contestants of the show.Credit…Valerie Macon/Agence France-Presse — Getty ImagesMaria Cramer and March 13, 2021Updated 5:54 p.m. ETChris Harrison will not host the next season of “The Bachelorette” for the first time in the history of the franchise, which began as a guilty pleasure when it debuted in 2002 but has in recent years been criticized for its lack of diversity and insensitive handling of race.Mr. Harrison, 49, will be replaced by Tayshia Adams, who will become the first woman of color to host a season of the show, and Kaitlyn Bristowe. Both are former “Bachelorette” leads.In a statement, Warner Horizon and ABC Entertainment said they supported Mr. Harrison “in the work that he is committed to doing,” and pledged to continue to try achieve “greater equity and inclusion” within the franchise.“We are dedicated to improving the BIPOC representation of our crew, including among the executive producer ranks,” Warner Horizon and ABC Entertainment said, using an acronym meaning Black, Indigenous and people of color. “These are important steps in effecting fundamental change so that our franchise is a celebration of love that is reflective of our world.”Mr. Harrison announced last month that he was “stepping aside” from the current season of “The Bachelor” after acknowledging making remarks that dismissed the racist behavior of a contestant.The decision to feature two women as hosts also follows years of criticism of the show for its portrayal of women as being fixated on marriage or as petty and unstable. The show was also pressured for years by many of its fans, members of “Bachelor Nation,” to include nonwhite leads and more nonwhite contestants.Last month, ABC said that Emmanuel Acho, a former N.F.L. player and the author of the book “Uncomfortable Conversations With a Black Man,” would host an hourlong post-finale special of “The Bachelor” on March 15.The announcement that Mr. Harrison would not host “The Bachelorette” was the latest development in a tumultuous season, which had intended to break ground by featuring the first Black male lead, Matt James, in “Bachelor” history.Before Mr. James, there had been two Black leads on “The Bachelorette”: Rachel L. Lindsay, who was announced as the lead in 2017, and Ms. Adams, whose father is African-American and whose mother is Mexican, and who was a recent midseason replacement.Mr. James’s season was praised for its diverse cast, but many viewers became dismayed by the producers’ decision to focus on fights between the women instead of the relationships building between the contestants and Mr. James.That disillusionment grew into outrage as offensive social media posts and photos of one of the contestants, Rachael Kirkconnell, emerged.In one post, Ms. Kirkconnell had liked a photo with a Confederate flag. Another photo on social media showed her attending an “Old South” plantation-themed ball in 2018.Last month, Mr. Harrison defended Ms. Kirkconnell, who is one of the two finalists on the show, when Ms. Lindsay asked him about the ball during an interview on “Extra.” Mr. Harrison said that “50 million people did that in 2018.”“Rachel, is it a good look in 2018 or is it not a good look in 2021?” Mr. Harrison asked during the interview, suggesting that such parties might have been acceptable in 2018.Ms. Lindsay replied: “It’s not a good look, ever, because she’s celebrating the Old South. If I went to that party, what would I represent at that party?”Mr. Harrison, who frequently talked over Ms. Lindsay during the interview, accused the “woke police” of going after Ms. Kirkconnell and acting as “judge, jury, executioner.”“I don’t know how you’re equipped, when you’ve never done this before, to be woke enough, to be eloquent enough, to be ready to handle this,” he said.Kaitlyn Bristowe will co-host the next season of “The Bachelorette.”Credit…Jc Olivera/Getty ImagesMs. Kirkconnell has apologized. Mr. Harrison also apologized on Instagram after the interview and said that, by excusing historical racism, he had defended it.“I invoked the term ‘woke police,’ which is unacceptable,” Mr. Harrison wrote on Instagram. “I am ashamed over how uninformed I was. I was so wrong. To the Black community, to the BIPOC community: I am so sorry. My words were harmful.”AdvertisementContinue reading the main story More

  • in

    ‘We’ll Be Back,’ Broadway Says, on Shutdown Anniversary

    #masthead-section-label, #masthead-bar-one { display: none }At HomeRoast: Thick AsparagusVisit: National ParksRead: Shirley HazzardApologize: To Your KidsAndré De Shields, singing in Times Square at the “We Will Be Back” pop-up performance.Credit…Vincent Tullo for The New York Times‘We’ll Be Back,’ Broadway Says, on Shutdown AnniversaryA pop-up performance in Times Square on Friday, featuring stars like André De Shields, was full of excitement as reopenings may be on the horizon.André De Shields, singing in Times Square at the “We Will Be Back” pop-up performance.Credit…Vincent Tullo for The New York TimesSupported byContinue reading the main storyMarch 12, 2021, 5:50 p.m. ETOne year ago, the grim news that Broadway was shutting down was sweeping through the theater district. Performers were packing up their things and heading home; theater staff were stationed in lobbies to intercept ticket holders and explain to them that the show was canceled.As a return date was pushed further and further, performers and theater staff resigned themselves to finding work elsewhere.But on Friday, the anniversary of the day their beloved industry shut its doors, Broadway singers, dancers, actors and front-of-house staffers gathered in Times Square, just across from the TKTS discount ticket booth, to perform live for a small audience of industry insiders and passers-by.Chita Rivera spoke about the power of theater to heal society, at the pop-up show.Credit…Vincent Tullo for The New York TimesDancers at the show, on the anniversary of the theater shutdown in New York.Credit…Vincent Tullo for The New York TimesThe pop-up show was part concert, part rally. The Broadway legend Chita Rivera spoke about the power of theater to heal a beleaguered society, and then André De Shields, decked out in a glittering gold suit and a transparent face shield, sang the opening song from “Pippin” along with an array of Broadway stars, backup singers and dancers.“I’m just happy that we’re all trying to remind the world that we’re still here, and we will be back,” said Bre Jackson, a singer who belted out a solo in the “Pippin” number.One year ago, Jackson, 29, was returning to New York from a national tour of “The Book of Mormon,” and preparing herself for five auditions. Within 12 hours, she said, the auditions were all canceled, and suddenly she was thrust into a job market without much need for professional singers and actors. Jackson eventually found work as an office manager for a therapy practice, finding performing gigs every so often.Jackie Cox was in Times Square as Broadway singers, dancers, actors and front-of-house staffers gathered to perform for a small audience of industry insiders and passers-by.Credit…Vincent Tullo for The New York TimesA dancer at the show. Bre Jackson, a singer who belted out a solo in the “Pippin” number, said, “I’m just happy that we’re all trying to remind the world that we’re still here.”Credit…Vincent Tullo for The New York TimesHeath Saunders, singing at the show. The performance was funded by several organizations, including the nonprofits Broadway Cares/Equity Fights AIDS and NYCNext.Credit…Vincent Tullo for The New York TimesOne of the main purposes of these pop-up performances — of which there have been dozens across the city — is to provide paying gigs for people in the industry who have lost their entire incomes during the pandemic, said Blake Ross, one of the event’s producers. The performance was funded by a collection of organizations, including the nonprofits Broadway Cares/Equity Fights AIDS and NYCNext.Although they aren’t likely to perform inside theaters again until after Labor Day, the message of the show was that the end of the industry’s nightmare seemed to be getting closer. Last night, President Biden asked states to make all adults eligible to be vaccinated by May 1, a hopeful sign that shows might be able to start rehearsals over the summer.Lillias White, right, who, with Nikki M. James, Peppermint and Solea Pfeiffer, joined in “Home” from “The Wiz.”Credit…Vincent Tullo for The New York TimesJoel Grey, giving a speech in between numbers.Credit…Vincent Tullo for The New York TimesThe performance landed on one of the first warm springlike days of the year in New York City, adding a jolt of excitement. It felt like a reunion of sorts: After a long time working from home, some people shrieked when they saw each other, keeping their distance, but air-hugging or elbow-bumping. To make sure that crowds didn’t form in Father Duffy Square, the event planners made no public announcement of the performance, but passers-by gathered on the edges of the makeshift stage and stood on elevated surfaces to get better views.The actor Charl Brown, among the participants in the event, which was part rally.Credit…Vincent Tullo for The New York TimesCostumes from shows including “Wicked” and “Phantom of the Opera” lined the stage edges, glittering and gleaming on mannequins.Credit…Vincent Tullo for The New York TimesThere was no formal announcement of the pop-up show, and passers-by moved around to get better views, capturing it on cellphones.Credit…Vincent Tullo for The New York TimesPeppermint, center, taking a photo with Nikki M. James, left, and Lillias White.Credit…Vincent Tullo for The New York TimesThe cast started with a topical classic, George Benson’s “On Broadway,” with a group of high-energy sneaker-clad and masked backup dancers. (There had been barely any time to rehearse beforehand, so just before showtime, the dancers ran through their choreography just offstage on the concrete.) Next, the singers Lillias White, Nikki M. James, Peppermint and Solea Pfeiffer joined in “Home” from “The Wiz.” And a choir sang an original song written about the pandemic hiatus, “We Will Be Back,” by Allen René Louis. Costumes from shows like “Wicked” and “Phantom of the Opera” lined the stage edges, glittering and gleaming on mannequins.During the pandemic, two musicals, “Mean Girls” and “Frozen,” announced that they would not be returning to Broadway, as well as two plays that were in previews, Martin McDonagh’s “Hangmen” and a revival of Edward Albee’s “Who’s Afraid of Virginia Woolf?” On Friday, several shows promised that they would indeed be back, including “Mrs. Doubtfire,” which got through three performances before it was forced to close, and “Six,” which had been scheduled to open on March 12, 2020.Nikki M. James, in Times Square. She is among those who sang “Home” from “The Wiz.”Credit…Vincent Tullo for The New York TimesMembers of the media and other onlookers, capturing the midday show.Credit…Vincent Tullo for The New York TimesThat day, Judi Wilfore, the house manager for the Imperial Theater, remembers standing in the lobby before the scheduled evening performance of “Ain’t Too Proud” and breaking the news to ticketholders. Even though Broadway shut down on a Thursday, Wilfore came to work that weekend, too, in case any audience members showed up.Over the summer, Wilfore decided that she needed to find work elsewhere, so she took an online course at Health Education Services, to get certified as a Covid compliance officer. At Friday’s event in Times Square, it was her job to make sure people were following safety guidelines and to manage a team of front-of-house theater staffers who were hired to help run the event.Wilfore has been a compliance officer for gigs here and there — including the load-out of the “Beetlejuice” set from the Winter Garden Theater — but like many in the industry, she yearns for the eventual return to indoor theater, where she oversaw the bustling movements of staffers and audience members.“We love what we do,” she said, “and the fact that we haven’t been able to do it in a year is unfathomable.”AdvertisementContinue reading the main story More

  • in

    Rescuing an Off Off Broadway Theater With a Storied Past

    Preservationists hope to save the 13th Street Repertory Company building, with a little help from the Underground Railroad. When Edith O’Hara, the mother hen and indefatigable leader of the eclectic 13th Street Repertory Company for nearly half a century, died last fall at age 103, the future became decidedly shaky for one of Off Off Broadway’s longest-operating stages.In an effort to ensure that it’s not the end of the run as well for the antebellum brick house where both the theater and Ms. O’Hara made their homes, preservationists are urging the city to grant landmark protection to the three-story Greek Revival structure.The city Landmarks Preservation Commission told an advocacy group in January that the quaint 1840s rowhouse with the intricate cast-iron portico at 50 West 13th Street was not distinguished enough to warrant landmark protection on its architectural merits, noting that further study was needed to determine the building’s “cultural significance within the context of Off Off Broadway theater.” Consequently, the group, Village Preservation, has dived into the archives to try to demonstrate that the building is a worthy cultural landmark based not only on its theatrical history but also on an intriguing, newly unearthed piece of African-American history involving a prominent 19th-century Black businessman and abolitionist.The new research “is very helpful and we have added it to our records,” Kate Lemos McHale, the commission’s research director, wrote the group on Feb. 24.A commission spokeswoman added in a statement to The Times that the city “is absolutely committed to recognizing Black history in the urban landscape,” which is why the agency recently launched Preserving Significant Places of Black History, “a world-class story map and educational tool.” She said that the city would “continue to review” 50 West 13th Street.Edith O’Hara, the leader of the 13th Street Repertory Company for nearly half a century, at the theater in 2006. Ms. O’Hara died last fall at age 103.Ruby Washington/The New York TimesA place of opportunity for generations of theatrical neophytes of varying talents, the quirky, no-frills 13th Street Repertory Company was an early stop for such performers as Richard Dreyfuss and Chazz Palminteri. “Line,” a one-act play by Israel Horovitz, ran there for more than 40 years, an Off Off Broadway record. And “Boy Meets Boy,” New York’s first hit gay musical, was first staged there in 1974, the brainchild of Bill Solly, an Englishman whom Ms. O’Hara had taken in and allowed to live upstairs from the theater.Whether the show will go on is unknown. The building is owned by White Knight Ltd., of which Ms. O’Hara’s three children collectively own a little over a third. The balance of the shares are owned in equal proportion by Stephan Loewentheil, a bookseller, and his ex-wife, Beth Farber. The O’Haras and Mr. Loewentheil previously fought a bitter, yearslong real estate battle that ended, in 2010, with an agreement that allowed Ms. O’Hara and her theater to remain in the building until her death. There is no provision for what comes next.The Thirteenth Street Repertory Company has been placed in the hands of its artistic director, Joe John Battista, who has vowed to continue making theater under the group’s name. But whether that will happen on 13th Street or elsewhere — and whether the building will ultimately be sold — depends on the outcome of an offstage drama.Jill O’Hara, one of Edith O’Hara’s two daughters, at the theater in 2017. Ms. O’Hara is a minority shareholder of the company that owns the building.John Taggart for The New York Times“It’s all still in the air at this point,” said Jill O’Hara, one of Edith’s daughters, who sits on White Knight’s board. “It’s a complex situation that’s not made any easier by the history with this guy,” she added, referring to Mr. Loewentheil.The building is managed for White Knight by Nate Loewentheil, the son of Mr. Loewentheil and Ms. Farber.“As someone who cares deeply about cities, I appreciate the history of 50 West 13th Street,” Nate Loewentheil said, “but the building has fallen into very significant disrepair over the past 15 years, so we are trying to figure out our next steps.” (Both his parents declined to comment.)Ms. O’Hara said that her mother believed that the building was once part of the Underground Railroad, the network of activists who helped enslaved African-Americans flee north to freedom before the Civil War. That belief has been perpetuated in local lore because a trap door in the theater’s dressing room leads to a hidden basement chamber unconnected to the rest of the basement.Although no evidence has emerged to support the Underground Railroad rumor, new research, performed by Village Preservation and supplemented by an independent historian and a reporter, suggests that the claim may not be outlandish.From 1858 to 1884, city directories and other records show, the house was owned by Jacob Day, a prominent African-American businessman active in abolitionism and other civil rights efforts. By 1871, Day was one of the wealthiest Black residents of New York City, according to The New York Times, with a net worth of more than $75,000, or around $1.6 million in today’s dollars.The Greek Revival house has an intricate cast-iron portico.Katherine Marks for The New York TimesThe building has fallen into disrepair, and its future is uncertain.Katherine Marks for The New York TimesAn 1880 issue of The People’s Advocate called Day “the fashionable caterer of East Thirteenth Street” and identified him as a leading member of “a colored aristocracy” in the city. “Beginning as a waiter, by economy and thrift after years of struggle he saved money enough to go into business himself,” the paper noted, adding that Day owned “several fine houses.”Newspaper articles appear to document Day’s involvement in civil rights causes over more than 30 years. In 1885, the year after his death, his efforts to further African-American self-determination were recognized in a history of Black Americans. “The Colored population of New York was equal to the great emergency that required them to put forth their personal exertions,” wrote George Washington Williams, spotlighting Day, along with his fellow Greenwich Village resident and abolitionist Dr. Henry Highland Garnet, for doing “much to elevate the Negro in self-respect and self-support.”Born in New York around 1817 to parents who were also born in the city, Day appears to have been publicly active in Black civil-rights efforts as a young man. Along with such prominent abolitionists as the New York publisher and Underground Railroad leader David Ruggles, a man named Jacob Day was among a group in 1840 that called, in the pages of The National Anti-Slavery Standard, for a “National Reform Convention of the Colored Inhabitants of the United States of America,” an effort to combat the colonization movement that aimed to resettle Black Americans in Africa.Day was also a prominent member and the longtime treasurer of the Abyssinian Baptist Church, the city’s second oldest Black church, which moved to nearby 166 Waverly Place shortly after Day bought his house and place of business on 13th Street.Tom Calarco, the author of several books on the Underground Railroad, said that an 1852 article in The Standard suggested a strong connection between the church and leading Underground Railroad figures.The newspaper report detailed an anti-colonization meeting at the church that had been called by the Committee of Thirteen, a vigorous Underground Railroad organization. The Rev. John T. Raymond, the church’s pastor, was a member of the committee and served as president at the 1852 meeting.The entrance to the 13th Street Repertory Company, which was shuttered last March because of the coronavirus. Edith O’Hara lived upstairs until her death last fall, and tenants still occupy the building.Katherine Marks for The New York TimesDay was “a major leader of the Black community, and he was connected up with other important people that were in the abolitionist movement,” Mr. Calarco said. “We know for at least 26 years, he was still participating in these important meetings with people who were leaders of the movement, so you have to make that assumption that he, if not directly, was indirectly involved in the Underground Railroad.”Mr. Calarco also shared a document showing that in 1846, Day was one of a roster of African-Americans given land grants in the Adirondack region of upstate New York by Gerrit Smith, a major underwriter of the Underground Railroad.Mr. Calarco speculated that Day may have used his wealth to fund Underground Railroad operations, whose conductors were often pressed for cash. “They needed the money,” he said, “to pay for the food, to pay for the travel, to pay for the clothes, to pay for people who helped transport” fugitives on boats and trains.After the Civil War, with slavery abolished, Day worked to secure the vote for all Black people in New York State. In 1866, The Standard reported, he was one of a group that called for a convention to remove the discriminatory provision in the state constitution that barred Black people from voting unless they owned property valued at the considerable sum of $250. “The war of steel is over … but the war of ideas must go on until in this country true democratic principles shall prevail,” the group wrote, echoing today’s battles over voter suppression.In 1871, a year after the 15th Amendment to the United States Constitution finally prohibited the federal government and the states from denying or abridging the right to vote based on race or color, a massive jubilee parade of Black citizens wended its way uptown from Washington Square, with throngs of Black and white New Yorkers lining the route. At a “grand mass meeting” at the Cooper Union, The Times reported, Day was among the officers who issued a resolution declaring that the 15th Amendment could only improve the lot of Black Americans if “the exercise of the ballot shall at once be made safe, and our right to exercise it be maintained by civil authority.”In 1880, when the Black civil rights leader Frederick Douglass spoke at a rally for the Republican presidential candidate James A. Garfield at the Cooper Union, Day was among the prominent citizens, Black and white, assembled onstage around him.During the period Day lived on 13th Street, the city’s largest African-American neighborhood, known as Little Africa, had developed nearby south of Washington Square, around Minetta Lane and Minetta and Bleecker Streets. The Abyssinian Baptist Church, whose finances Day managed, had moved to the Village to serve this population. So did the Freedman’s Savings Bank, an institution founded to help former slaves after the Civil War. Day kept an account at the bank, perhaps to support its mission.Reflecting on Day’s house on 13th Street, Sylviane A. Diouf, a historian of the African Diaspora who curated a digital exhibit called “Black New Yorkers” for the Schomburg Center for Research in Black Culture, said: “It’s important to preserve and show that there was an African and then an African-American presence in that area from the Dutch years and that they had institutions and businesses. It’s important to stress that, contrary to what people think, African-Americans didn’t just arrive in Harlem during the Great Migration, but they had a presence for 300 years before that.”By the late 19th century, fierce competition for housing from Italian immigrants was already pushing Black residents uptown from the Village to the Tenderloin district. And some of the lingering physical remnants of Little Africa were demolished in the 1920s by the extension of Sixth Avenue from Carmine Street to Canal Street.“Virtually all of the great institutions and landmarks and homes of leading figures of the 19th-century African-American community of Greenwich Village have been lost or highly compromised,” said Andrew Berman, the executive director of Village Preservation. “50 west 13th Street is one of very few remaining homes of a leading African-American figure, not just in business but in the civil rights arena, that is largely intact from the many decades that he lived and worked there in the 19th century.”For weekly email updates on residential real estate news, sign up here. Follow us on Twitter: @nytrealestate. More

  • in

    ‘A Midsummer Night’s Dream,’ Sprinkled With High-Tech Fairy Dust

    AdvertisementContinue reading the main storySupported byContinue reading the main story‘A Midsummer Night’s Dream,’ Sprinkled With High-Tech Fairy DustA new online production from the Royal Shakespeare Company uses motion-capture and video game technology to create a virtual world.E.M. Williams performing in a motion-capture suit as Puck, in rehearsal for “Dream,” which will be performed live and streamed online starting Friday.Credit…Stuart Martin/Royal Shakespeare CompanyMarch 12, 2021, 7:29 a.m. ET“A Midsummer Night’s Dream” may be one of Shakespeare’s most performed plays — but its latest version from the Royal Shakespeare Company will be unlike any seen before. Titled “Dream,” the 50-minute streamed production fuses live performance with motion-capture technology, 3-D graphics, and interactive gaming techniques that let the audience remotely guide Puck through a virtual forest.As live theater sprinkled with some seriously high-tech fairy dust, “Dream” promises to bring “a most rare vision” of the play to our screens, to borrow a line from Shakespeare. It will be available to watch online once a day at various times from Friday through March 20.“It’s part of our ongoing engagement with this brave new world,” said Gregory Doran, the Royal Shakespeare Company’s artistic director. In 2016, the theater’s production of “The Tempest” used live motion-capture technology to create a 3-D digital avatar that was projected above the stage.The difference this time is that everything in the play — the performers and their surroundings — will be rendered virtually.A cast of seven will perform in a specially built studio in Portsmouth, southern England, wearing Lycra motion-capture suits outfitted with sensors. They will be surrounded by a 360-degree camera rig, made up of 47 cameras, with every movement almost instantaneously rendered by digital avatars, which are relayed to viewers via the stream. These magical figures move seamlessly through a computer-generated woodland, and the action is narrated in husky tones by the Australian singer-songwriter Nick Cave as the forest’s voice.For audiences watching at home, the virtual fairies moving through a digital forest will look more like a video game or a CGI blockbuster than your average Royal Shakespeare Company show. But the performances are delivered live and in real time. Every night’s performance will be unique.With its abridged running time and a much-reduced cast of characters, “Dream” is not a full-scale production of “A Midsummer Night’s Dream”; rather, it is a narrative inspired by it, focusing on Puck and the fairies. But don’t expect any cute digital wings: These are elemental, mysterious forces of nature.Naomi Gibbs, left, and Alex Counsell, right, fine-tune E.M. Williams’s motion-capture sensors.Credit…Stuart Martin/Royal Shakespeare CompanyThe arts collective Marshmallow Laser Feast, which works with virtual, mixed and augmented reality, has created digital avatars for the actors so they look sprung from the natural world. Puck is formed of pebbles and stones, while Titania’s fairies are made up of moth wings, cobwebs, earth or roots. The fairies are shape-shifters that coalesce into recognizable human and animal forms onscreen, and grow or shrink so that they are small enough to “creep into acorn-cups,” as Puck puts it.“It’s a form of puppetry,” said the Royal Shakespeare Company’s director of digital development, Sarah Ellis. “Those avatars come alive when they breathe, and how they breathe is through the live actor.”The software that drives the performance, called Unreal Engine, is used across the video games industry and is behind popular titles like “Gears of War” and “Fortnite.” Since 2013, the company that developed it, Epic Games, has been branching out to create interactive 3-D content with the tool for film and TV, and, increasingly, for live events such as music festivals, museum exhibitions and theater productions.Layering the tech with live performance, and relaying it instantly via a web player to thousands of devices, is an experiment for both Epic Games and the Royal Shakespeare Company. And then there’s the interactive component.Up to 2,000 audience members for each performance can become part of the show, and will be invited to guide Puck through the forest. Onscreen, the chosen spectators will appear as a cloud of tiny fireflies: By using their mouse, trackpad or finger on the screen of a smart device, they will be able to move their firefly around the screen, and Puck will follow their lead through the virtual space.“Without the fireflies — the audience — Puck wouldn’t be going anywhere,” said E.M. Williams, who plays the role. “The audience are very much the fuel, the energy, of the show.”Steve Keeley operating the technical platform in rehearsal.Credit…Stuart Martin/Royal Shakespeare CompanyIn a traditional stage production, the “tech” rehearsals come last, after weeks of work by the actors on character and narrative. For “Dream,” the process began with fittings for the motion-capture suits, so the players could calibrate their movements. Their digital avatars were refected on giant LED screens around the studio to orient the performers within the virtual environment.“It looks so 3-D, like it’s coming out the screen sometimes,” Williams said of the computer-generated forest. “There are times when if I touch it, I expect to feel it. It’s thinning the veil between the technological world and the real world.”The Royal Shakespeare Company has long been seen as a bastion of traditional British theater: reverent toward text and verse, powered by great actors. Did the company anticipate any resistance to its high-tech, experimental approach? Several reviewers said its motion-capture “Tempest” was gimmicky.“There’ll be some criticism, of course,” said Doran, the company’s artistic director. But, he added, he hoped “Dream” could speak to a traditional theater audience, as well as viewers drawn in by the technology.Besides, the genius of Shakespeare means his plays can take whatever new inventions are thrown at them. “It’s the same as an experimental production of any of these plays,” Doran said. “Shakespeare is robust: He’ll still be there.”DreamPresented online by the Royal Shakespeare Company, March 12-20; dream.online.AdvertisementContinue reading the main story More

  • in

    How a British Gardening Show Got People Through the Pandemic

    #masthead-section-label, #masthead-bar-one { display: none }At HomeFall in Love: With TenorsConsider: Miniature GroceriesSpend 24 Hours: With Andra DayGet: A Wildlife CameraCredit…Francesca Jones for The New York TimesHow a British Gardening Show Got People Through the PandemicCredit…Francesca Jones for The New York TimesSupported byContinue reading the main storyMarch 12, 2021, 5:00 a.m. ETThe television show “Gardeners’ World” is an institution in England, where it has aired for coming up on 54 seasons, having premiered way back in 1968. It broadcasts on Friday nights, welcomed by viewers as a gentle usher into the weekend.Monty Don, a British garden writer and author of some 21 books on the subject, has been the host since 2003. If Mr. Don’s sturdy appearance and deep, reassuring voice don’t comfort audiences, there’s the constant presence of his dogs napping at his feet.Last year, over the course of the 33-episode season, which follows the growing season from March through late October, something remarkable happened: “Gardeners’ World” went from being comfort TV to indispensable viewing.With restaurants, bars and theaters shut down and socializing at home (or anywhere else) risky, gardening was one of the few leisure activities the pandemic didn’t take away. Both the U.K. and the United States experienced a gardening boom last year, with sales of seeds way up and nurseries overrun on weekends. Judging by the 30 percent sales increase of Scotts Miracle-Gro, this spring promises another bumper crop.“Gardeners’ World,” which is available in the United States through streaming services like BritBox and on YouTube, rode the enthusiasm. Last year weekly viewership was the highest in five years and the BBC, which airs the show (produced by BBC Studios) deemed it essential public service broadcasting, said the executive producer, Gary Broadhurst. (The new season debuts March 19.)Crocuses on the cricket pitch at Longmeadow.Credit…Francesca Jones for The New York Times“It’s because of what gardening can do for people,” Mr. Broadhurst said. “The channel thought, and rightly so, that people would need the program. Because we were bombarded with news about coronavirus, and this was an opportunity for just an hour to have a release.”Nadifa Mohamed, a Somali-British novelist, wrote last April in the New Statesman that Monty Don and “his placid Labradors” offered viewers “29 minutes of televisual sedation,” adding that “the seasons turn in a neat and predictable way, each offering new shades of beauty and little lessons in how to survive.”To tune in each week and see the daffodils and bluebells coming up, to watch Mr. Don’s raised vegetable beds grow lush and abundant by high summer, was true counterprogramming: Life endures. The birdsong that begins each episode was an antidote to the trauma of the nightly news. In short, “Gardeners’ World” became an oasis of normalcy, a balm for frayed nerves — and not only for British viewers.Alex Yeske, an art director and graphic designer, turned to “Gardeners’ World” early in the pandemic when she felt cooped up in her New York apartment and fried from staring at screens. “So many of us have been reaching our limits,” Ms. Yeske said. “I spend way too much time on my computer, my phone. Getting to see all this greenery was relaxing.”As her anxiety mounted last spring, Alisha Ramos, who writes the newsletter Girls Night In, went looking for something to quell it. She tried meditation apps, but they lacked a storytelling component. Then she found “Gardeners’ World.” Ms. Ramos was living in an apartment in downtown Bethesda, Md., without any green space, and she had never gardened before, but she was instantly drawn in. “Every night before bed I would cue up an episode,” she said. “It’s very gentle in how the episodes are constructed. Even the sounds; the birds chirping, the rain. Those natural elements were really calming.”Mr. Don hosts “Gardeners’ World” from his own home and two-acre garden, Longmeadow, in the West Midlands of England. In last season’s Episode 1, there was no mention of Covid-19. By Episode 3, the United Kingdom was under enforced lockdown and Mr. Don was filming without a crew and getting camera tips from his director via Zoom.While his co-hosts visit London flower shows and the immaculate landscaped gardens of grand country estates, Mr. Don has his boots in the muck at Longmeadow, patching a fence or digging up the horned tulips he has over-planted in his jewel garden. At program’s end, Monty gives viewers jobs for the weekend. In his stretched wool sweaters and old blue work coat, he’s an unlikely style icon — a solid sort.Ms. Ramos mentioned a quote attributed to Lao Tzu, the Chinese philosopher: “Nature does not hurry, yet everything is accomplished.” Mr. Don, she said, espouses something of that eternal wisdom on “Gardeners’ World.”“He said something along the lines of, ‘The beauty of gardening and nature is it’s always here,’” Ms. Ramos said. “It’s a reminder that life goes on. It’s so great to be able to retreat into our gardens at a time like this.”Irises, hyacinths and muscari in pots.Credit…Francesca Jones for The New York TimesTeasel seed heads.Credit…Francesca Jones for The New York TimesPreparing for Spring“The snowdrops are coming, the aconites, the crocuses, the irises. You’re starting to see buds and shoots on the trees and shrubs,” Mr. Don said last month. He spoke via video chat, from Longmeadow, where the very wet winter was nearly over and he and the gardeners who assist him have been mulching the borders and digging up some box hedging hit by blight.Mr. Don, who is 65, was eagerly anticipating spring’s arrival — and with it his return to “Gardeners’ World.” “Particularly after this winter,” he said. “It’s been a long, hard winter here. People are pretty depressed and fed up. So they want to breathe again, and get outside, and have this sense of hope.”On his documentary specials, like “Monty Don’s Italian Gardens” and “Monty Don’s American Gardens,” and in interviews, Mr. Don imbues gardening with a drama and passion uniquely his. A water feature built for the garden of the Roman Emperor Hadrian is “extraordinary”; the lengthening spring days bring him “immense” excitement. He bites into adjectives like ripe plums.“Gardeners’ World,” by contrast, is more subdued, and without any of the hyperbole or busyness common to modern media. When Mr. Don is working in his garden, we never hear background music. Weather isn’t edited into — or out of — the show. If it rains, the host gets wet. Features on gardens and gardeners are given room to breathe; lingering close-ups of a flower or trees rustling in the breeze play between the segments.A Utah family, fans of Monty Don, Britain’s national gardener, replace their lawn with a bed of wildflowers.CreditCredit…BBC Studios“The basic rule is it has to take you away from whatever stresses and strains there are in your world,” Mr. Don said. “But at the same time, it has to be honest. Nothing is manufactured. We never layer birdsong on that wasn’t there.”While Covid-19 upended the show’s production last season, Mr. Don and his colleagues decided for the most part not to talk about the pandemic, apart from glancing mentions of “challenging times.” Freaking people out was the job of the news. “Gardeners’ World” reinforced the therapeutic power of gardening.When the show addressed Covid-19 head on, it did so movingly. Unable to travel widely to film, the producers asked viewers to share videos of what they were up to in their gardens during quarantine. A Utah family dug up their yard and planted a wildflower meadow; a young girl in Wales grew her own pumpkins and left them for strangers. The clips connected viewers at a time of social isolation and showcased gardeners’ creativity and resilience.It’s been a long, wet and cold winter at Longmeadow. Spring is eagerly awaited.Credit…Francesca Jones for The New York TimesDaffodils grown as cut flowers.Credit…Francesca Jones for The New York TimesOne of the more poignant segments paid a visit to Kate Garraway, a well-known TV presenter. Ms. Garraway’s husband, Derek, got Covid-19 last March, became critically ill and was in the hospital for months, and remains seriously ill today. Sitting in her London backyard, Ms. Garraway explained how she and her children planted a garden in hopes that he would return to see it bloom.“You don’t plant something unless you believe it’s going to come up,” Ms. Garraway said. “So by planting something and believing Derek will see it when it comes up, that gives us a sense of future.”When the camera cut back to Longmeadow, Mr. Don spoke in the comforting voice of a minister at bedside, saying, “Gardens can’t make our problems go away, they can’t solve them, but they can help us to deal with them.”Reflecting on the Kate Garraway segment now, Mr. Don said, “I’m old enough to know that if you have grief, if you have suffering, if you have loss, the garden is a solace.”From Jeweler to the Stars to Expert GardenerMr. Don’s parents cultivated a five-acre plot at the family’s home in south England, and growing up, he and his siblings were given gardening jobs to do. As a boy, he disliked weeding the strawberries or chopping wood, but, at 17, while sowing some seeds in spring, Mr. Don experienced what he called a “Dionysian moment.”“Suddenly I was awed by a kind of ecstasy of total happiness. Of complete sense of not wanting anything else,” he recalled. “And bearing in mind this was 1971. The most glamorous thing in the world was sex, drugs and rock n’ roll, not gardening.”Monty Don and his wife, Sarah, in their London jewelry studio, in 1983. Credit…Dafydd JonesMr. Don kept his hobby to himself. Luckily, his wife, Sarah, whom he met at Cambridge University, enjoyed gardening too. In 1981, the couple started a jewelry company, Monty Don. Their loud costume pieces became fashionable during the go-go ‘80s, worn by Princess Diana, Michael Jackson and others. Mr. Don led a glamorous life in London, draped in his own jewelry and knocking around with Boy George. He and his wife also gardened behind their townhome; when Elle magazine ran a feature, he was outed as a green thumb.In the early ’90s, the economy tanked, and with it, the couple’s jewelry business. Drowning in debt, with three young children to support, Mr. Don and his wife sold everything they owned to pay off creditors. He fell into a deep depression. Years later, Mr. Don still bears the scars of that financial failure, friends of his told the Prospect last year. Despite becoming Britain’s national gardener, he is a workaholic, never one to rest easy on his success.Mr. Don and his family left London and moved to Herefordshire, the most rural county in England, because his wife’s mother lived there and property was cheap. The historic house and land they bought was scrubby and untamed. Mr. Don threw himself into creating Longmeadow, in a sense his workplace and sanctuary both. It is no formal, restrained garden but crammed with plants, features and ideas, a canvas for his imagination and enthusiasm.Monty Don and one of his ever-present dogs, Nellie.Credit…Francesca Jones for The New York Times“I found the mixture of creativity and just sheer physical work completely satisfying,” Mr. Don said. “I remember making cuff links for David Bowie. It was as though the previous life was, not the wrong turn because it was fun, but it was a side event. And that what I was doing was getting back to my roots. I was doing what I was meant to be doing.”He began to write columns on gardening for newspapers, appear on TV and publish books, many of them centered on life at Longmeadow. As a passionate but amateur gardener, Mr. Don connected with those who shared his interest but were intimidated by what can be a fixation on expertise.On “Gardeners’ World,” Mr. Don emphasizes function, utility and sustainability. You don’t need to buy $200 pruning shears or memorize pH levels, he shows us. It’s about celebrating the harmony, well-being and richness of life to be found in gardens.To Everything There Is a SeasonLast August, Ms. Yeske and her husband left New York and moved to West Los Angeles, where they bought a house with a large yard. She plans to grow a garden of vegetables and flowers for the first time in her life.“This spring I’m starting things from seed and planning to have a couple of raised beds,” she said. “All of which I probably wouldn’t have done if I didn’t watch ‘Gardeners’ World.”Ms. Ramos also left her apartment behind during the pandemic. She and her husband moved to a suburb of Bethesda, and bought a house whose previous owner, a chef, had gardened in the backyard and even built a drip-irrigation system. Having outdoor space to garden was suddenly high on her list of priorities, Ms. Ramos said. Watching the casual, sometimes fumbling way that Mr. Don gardens had given her the confidence to try.“Gardeners’ World” usually begins each season with half-hour episodes, before expanding to one-hour broadcasts later on. But because of last year’s success, the network ordered one-hour broadcasts from the start. Audience anticipation is high. The pandemic is still with us, lockdowns have not yet lifted — and the garden beckons.“You plant a seed and the next spring it will grow. And next summer it will flower. And maybe next autumn it will bear fruit,” Mr. Don said. “That continuation of life is very powerful.”For weekly email updates on residential real estate news, sign up here. Follow us on Twitter: @nytrealestate.AdvertisementContinue reading the main story More

  • in

    Jimmy Kimmel Reminisces About One Year of ‘Living Contagiously’

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyBest of Late NightJimmy Kimmel Reminisces About One Year of ‘Living Contagiously’“If somebody said ‘N95’ to you one year ago, you’d think they were a bingo caller,” Kimmel joked on America’s “coronaversary.”“The traditional gift for a one-year anniversary is paper, so I figured toilet paper makes the most sense,” Kimmel said while throwing some to a socially distanced audience of employees.Credit…ABCMarch 12, 2021, 1:45 a.m. ETWelcome 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.One Year Later, Gifts for EveryoneJimmy Kimmel celebrated America’s “coronaversary” on Thursday night, referring to it as “one year of living contagiously.”“The traditional gift for a one-year anniversary is paper, so I figured toilet paper makes the most sense,” he said, while tossing the most in-demand item from last March to a sparse, socially distanced audience made up of “Jimmy Kimmel Live” employees.“I think we all remember where we were when we heard the news, because we’re all still there.” — STEPHEN COLBERT“Well, it’s been exactly one year since we’ve had an audience, and I’ve got to say, I really miss the laughs, the energy, and of course, keeping the lost wallets.” — SETH MEYERS“Yeah, it was a year ago today that we had our last show with a full audience. Six days later, I did the show from home, and six days after that, both my kids had agents.” — JIMMY FALLON“I remember that day like it was yesterday. Everything was shutting down, people were scared, grocery stores were ransacked, so I got up on a chair in the office and gave an inspirational speech where I said to my staff, ‘Gang, I know you’re terrified, but this is our moment. People are counting on us. So let’s get out there and put on the best [expletive] show of our lives!’ And then I looked down and the room was empty except for a tumbleweed that rolled past, stole a bottle of Purell off my desk and then left.” — SETH MEYERSThe Punchiest Punchlines (The Way We Were Edition)“And today marks one year since the World Health Organization declared Covid-19 a pandemic. Prior to that, it was actually categorized as a legume.” — STEPHEN COLBERT“If somebody said ‘N95’ to you one year ago, you’d think they were a bingo caller.” — JIMMY KIMMEL“Remember when we were carefully disassembling our Instacart deliveries like a munitions expert in ‘The Hurt Locker’? Watch out, the Chipotle could explode!” — JIMMY KIMMEL“Of course, it’s also the one-year anniversary of the first time I Lysol-ed a banana. But not the last.” — STEPHEN COLBERT“It’s also been one year since we all trapped ourselves inside our homes with stockpiles of gin and red wine, watching ‘Tiger King’ and ‘Love Is Blind’ while clinging to our last shreds of toilet paper like a plank floating in the water after a shipwreck.” — SETH MEYERS“I think we all remember where we were when we heard the news, because we’re all still there.” — STEPHEN COLBERT“Yeah, the past year was just like flying United Airlines. The engine fell off, but somehow we still made it.” — JIMMY FALLON“If you had told me a year ago that nearly 100 million Americans would be vaccinated for Covid by March 2021, I would have said, ‘What are you talking about? They said this will be over in two weeks. All we’ve got to do is flatten the curve, that’s it. When the warm weather comes, it will just disappear.’” — JAMES CORDENThe Bits Worth WatchingThe writer and chef Eddie Huang talked with Desus and Mero about his new movie, “Boogie,” and his feelings about recent racially driven attacks on Asian-Americans.Also, Check This OutCredit…Nathaniel Russell, Alex Kalman, Sinna NasseriSeventy-five musicians, authors, directors, comedians, painters and playwrights answer seven questions about creativity and productivity (or lack thereof) in the pandemic.AdvertisementContinue reading the main story More

  • in

    Battered but Unbowed: How Beckett Speaks to a New Era

    #masthead-section-label, #masthead-bar-one { display: none }At HomeFall in Love: With TenorsConsider: Miniature GroceriesSpend 24 Hours: With Andra DayGet: A Wildlife CameraAdvertisementContinue reading the main storySupported byContinue reading the main storyCritic’s NotebookBattered but Unbowed: How Beckett Speaks to a New EraAdaptations of “Happy Days” and “First Love,” works by the master of existential wheel-spinning, show us how to live in place.Tessa Albertson is a younger-than-usual Winnie in Samuel Beckett’s “Happy Days,” directed by Nico Krell.Credit…via The Wild ProjectPublished More