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    ‘Love Life,’ the Lost Great American Musical, Returns Over 75 Years Later

    Kurt Weill and Alan Jay Lerner’s pioneering “Love Life” was thwarted by circumstance. Now, it is coming to Encores! at New York City Center.For some people, seeing the musical “Love Life” in 1948 was an eye-opening experience.As a new show with music by Kurt Weill, and a book and lyrics by Alan Jay Lerner, it was a major Broadway event. So Stephen Sondheim got himself a ticket, as did his future collaborator Hal Prince. One night Fred Ebb, of Kander and Ebb, was in the house; another night, Bob Fosse.All of them would be influenced by “Love Life,” which tells the story of an American marriage over 150 years through a series of vaudeville acts. It’s by no means a classic, but its form pioneered the concept musical, a genre that would blossom a generation later in shows like Kander and Ebb’s “Cabaret” and “Chicago,” and Sondheim’s “Company” and “Follies.”Ebb would look back on “Love Life” as “a marvelous piece of theater.” Yet it hasn’t been seen in New York since that original run. Because of a musicians’ union strike, it was never recorded, nor was it published. Some songs lived on, but eventually it gained a reputation as the lost great American musical.The 1948 production (with Nanette Fabray, center) was inspired, in part, by Alan Jay Lerner, who was recently divorced and interested in writing “a cavalcade of American marriage.”Billy Rose Theater Division, The New York Public Library for the Performing ArtsThat is about to change. “Love Life” is finally returning to Manhattan on Wednesday, after decades of neglect and a five-year pandemic delay, for an Encores! production at New York City Center, directed by Victoria Clark and starring Kate Baldwin and Brian Stokes Mitchell.“It’s always seemed that ‘Love Life’ was jinxed,” said the scholar Kim Kowalke, who runs the Kurt Weill Foundation. “Maybe the jinx is off now.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Takeaways From the ‘Severance’ Season 2 Finale

    Our critics and editors assess the new conflicts introduced by the Season 2 finale and whether it cleared up enough of the show’s many mysteries.The second season of “Severance” just wrapped up with its longest episode yet. We have thoughts. Spoilers abound.Whose Side Are We On?There are endings that give you what you want. There are endings that don’t give you what you want. There are endings that give you what you don’t want.Then there are endings that make you wonder what exactly you should want, which was what the “Severance” Season 2 finale did.The first season of “Severance” gave us some clear rooting interests. We wanted Mark Scout to find his not-dead-yet wife, Gemma. And we wanted Mark S. and the rest of his innie colleagues to find freedom, self-determination and love. But the finale hit a realization that the season had been building to: These two wants might not be compatible, at least not easily.The two Marks having the world’s weirdest Zoom conversation at the birthing cabin laid the conflict out. The series has shown them to date as twin protagonists wronged by the mighty Lumon corporation. But there’s a power dynamic between the two of them as well, as innie Mark says with growing frustration.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘Severance’ Season 2 Finale Recap: Mark vs. Mark

    The season ended with a bizarre but moving episode that found the Lumon employees’ inner and outer selves at cross purposes.Early in the Season 2 finale of the acclaimed, much-memed Apple TV+ series “Severance,” a man has a spirited debate that ends up encapsulating much of what keeps the show’s fans watching. The person he is talking to? Himself, via an old video camera. Mark (Adam Scott) records messages for Mark. And Mark replies.Created by the writer Dan Erickson in collaboration with the producer and frequent director Ben Stiller, “Severance,” which was just renewed for another season, is centered on a cultlike company named Lumon that allows employees to “sever” their work lives and their home lives via a chip surgically inserted into their brains. The people who clock in every day — the “innies” — have no idea what their “outies” do after quitting time, and vice versa.At the end of Season 1, Mark’s innie led his office-mates Dylan (Zach Cherry), Helly (Britt Lower) and Irving (John Turturro) in a mini-rebellion, executing “the overtime contingency,” which allowed them all, very briefly, to live their outies’ lives. This is how Mark learned that his outie’s wife Gemma (Dichen Lachman) — presumed dead in the outside world — was still alive as an innie at Lumon.Season 2 has been primarily driven by outie Mark’s efforts to reintegrate his consciousness with innie Mark, in hopes of rescuing Gemma from Lumon. In the finale, the two Marks argue over whose needs are more important: If Gemma leaves Lumon, will outie Mark terminate his employment there — and in the process terminate innie Mark?“Severance” Season 1 arrived not long after the pandemic, at a time when people were questioning how much of their lives were being spent in an office — and how much needed to be. As the story has expanded into more existential mysteries, it has spoken more to the “rise and grind” mind set sweeping through much of the modern world, where having relationships or hobbies — or even a good night’s sleep — is considered somewhat suspect. The Season 2 finale brings to a head some of the story lines inspired by our increasingly out-of-whack work-life balance.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    8 New Shows Our Theater Critics Are Talking About

    A British satirical comedy, a Tennessee Williams classic, a soundscape of Havana: These are productions worth knowing about.Critic’s PickAndrew Scott, Andrew Scott, Andrew Scott …‘Vanya’Directed by Sam Yates and adapted by Simon Stephens, this one-man “Vanya” — in which Andrew Scott delivers a tour-de-force performance — arrives Off Broadway after a run in London, where it won an Olivier for best play revival. Though faithful to the original material, the production offers not just modern touches, but also “a new way of seeing into the heart of its beauty,” our critic wrote.From Jesse Green’s review:What makes the production exemplary, like the play itself, is the emotion. I hate to think why Scott is such a sadness machine, but the tears (and blushes and glows and sneers) lie very shallow under his skin. He only rarely raises his voice. As the feelings are evidently coming directly and carefully from his heart, he narrowcasts them directly and carefully at yours.Through May 11 at the Lucille Lortel Theater. Read the full review.Critic’s PickThe lush sounds of Havana.“Buena Vista Social Club” at the Gerald Schoenfeld Theater features choreography by Patricia Delgado and Justin Peck.Sara Krulwich/The New York Times‘Buena Vista Social Club’The joyous horns and full-bodied voices that make up the beloved 1997 album come alive in this Broadway musical, with a book by Marco Ramirez, direction by Saheem Ali and choreography by Patricia Delgado and Justin Peck. Though the show offers a fictional back story for these veteran Cuban musicians who shot to global fame after recording the album, the thrill here is the music, exuberant and expansive, which fills in the beats of Cuba’s history, both in sorrow and in revelry.From Elisabeth Vincentelli’s review:The spirit of the musical “Buena Vista Social Club” is evident in its opening scene. … The music is center stage, and we immediately understand its power as a communal experience that binds people. Therein lies the production’s greatest achievement. For a place where music so often plays a crucial role, Broadway hardly ever highlights the thrill of music making itself.At the Gerald Schoenfeld Theater. Read the full review.A ferocious Paul Mescal in a Tennessee Williams classic.Downhill with no brakes: Patsy Ferran as Blanche and Paul Mescal as Stanley in “A Streetcar Named Desire” at the Brooklyn Academy of Music.Sara Krulwich/The New York Times‘A Streetcar Named Desire’Paul Mescal and Patsy Ferran dance with violence and desire as Stanley and Blanche in Rebecca Frecknall’s gritty revival of Tennessee Williams’s Pulitzer Prize-winning drama at the Brooklyn Academy of Music. In the absence of beauty, brutality pervades in Frecknall’s darker production, which features a utilitarian set and exhilarating performances that ratchet up the fury. From Jesse Green’s review:Mescal is best known and deservedly praised for excruciatingly sensitive portrayals of hurting hunks who can barely acknowledge their pain. (I can’t speak for “Gladiator II,” but he is superb in “Normal People,” “Aftersun” and “All of Us Strangers.”) It was therefore not immediately evident that he could do justice to a character, first played by Marlon Brando, that Arthur Miller described as a “sexual terrorist.” I am sorry to report that he can.Through April 6 at the Harvey Theater, Brooklyn Academy of Music. Read the full review.Critic’s PickThe vicious nature of the truth.Andrew Barth Feldman (on the floor) with Joanna Gleason in “We Had a World.”Jeremy Daniel We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘Yellowjackets’ Season 3, Episode 7 Recap: ‘Barbecue’

    Our new arrivals smell something sizzling in the woods. Here comes a meal with all the fixin’s.Season 3, Episode 7: ‘Croak’R.I.P. Edwin. We hardly knew you.The timid herpetologist (Nelson Franklin) who finds the Yellowjackets dancing by the fire in their cannibalistic ritual meets a quick end this week.Almost immediately after his cheery greeting — followed by his revulsion upon discovering Ben’s decapitated noggin — Lottie creeps up behind him and whacks him in the back of the head with a hatchet. That’s what the Wilderness wants, she declares. All the other Yellowjackets are rightfully upset. Finally, they have contact with the outside world, and she immediately goes and murders someone? What gives?But Edwin wasn’t the only visitor to the Yellowjackets camp. He arrived with two other souls who end up in the Yellowjackets’ custody: His girlfriend and fellow scientist, Hannah (Ashley Sutton), and their guide, the mysterious loner Kodiak (Joel McHale, even more sardonic and surly than usual). If the end of Episode 6 was a thrilling tease, Episode 7 is the confirmation that “Yellowjackets” is moving its plot forward both in the past and the present.All of that revolves around the arrival of these new figures, whom we’re introduced to in a prologue of sorts that begins three days before they meet our deranged soccer team. Edwin and Hannah are deep in the woods studying the mating habits of “Arctic banshee frogs.” The hilariously-named Kodiak is their guide.Hannah is intrigued and somewhat aroused by Kodiak. Edwin is deeply suspicious of him. One night, after smelling what he thinks is “barbecue,” Edwin goes wandering off looking for other souls in this forest. He finds the Yellowjackets.He instantly dies thanks to Lottie. Kodiak shoots Melissa with one of his arrows and he and Hannah start running, pursued by our girls and Travis with torches. Their hunt for Kodiak and Hannah has a double purpose. On one hand, they can’t leave any witnesses behind; on the other, they need people to get back to civilization.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘Operation Mincemeat’ Review: The Stiff Who Saved Europe

    A proudly silly British musical comedy about the “Trojan corpse” of World War II comes to Broadway.In 1943, in wartime England, a homeless person dies in the street after ingesting rat poison. Given a fake postmortem identity by British counterintelligence officers — no effort to find his family is made — he is dressed in a military uniform, sealed in a cooler, then ejected from a submarine near the coast of Spain. The papers planted on his corpse eventually make their way to Hitler, convincing him that the Allies will begin their invasion of Europe in Sardinia, when in fact they plan to do so in Sicily. As a result, Axis troops are diverted to the wrong Italian island.In short, Operation Mincemeat, as this real World War II operation was called, works.But is it funny?Whether “Operation Mincemeat,” the diverting if irksome musical comedy about the plan, works as well will depend a lot on your answer to that question. A hit in London, it has come to Broadway, where it opened on Thursday at the Golden Theater, having paid close attention to differences in accent, dialect and usage between British and American audiences. (Public school there is private school here.) But neither the authors, a collective called SpitLip, nor the director, Robert Hastie, appear to have given sufficient thought to our different senses of humor.Theirs you will recognize. It combines Oxbridge snootiness with panto ribaldry to create a self-canceling middlebrow snark. You may detect in the show’s DNA elements of Monty Python, Benny Hill, “The Play That Goes Wrong” and the Hitchcock stage spoof “The 39 Steps.” But if those influences have made you laugh, even as much as they have made me, you may still experience diminishing returns in the nonstop tickling of “Operation Mincemeat.” The Pythons kept their satire sharp and their sketches quick.Not so here. At more than two-and-a-half hours, the show is hardly svelte. Nor, with its aim so scattershot, is it clear what it is satirizing.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    When the Walls Close In on the ‘Wolf Hall’ Saga

    Viewers thrilled to the scheming Thomas Cromwell’s rise. Now, in the new TV series “The Mirror and the Light,” comes the fall.Mark Rylance sat quietly and alone, his black-capped head bowed, his eyes closed. Nearby in a grand chamber, Damian Lewis stood resplendent in a huge gold jacket, playing King Henry VIII, as the director Peter Kosminsky rearranged some actors playing courtiers.It was Shoot Day 77, last spring, at Bishop’s Palace in Wells, England, one of the locations for “The Mirror and the Light,” the second and final television series based on Hilary Mantel’s dazzling trilogy of novels. The books, and the show, chart the rise and fall of the energetic, inscrutable Thomas Cromwell — a blacksmith’s son who became chief minister and all-around fixer to the king before his astonishing career took a tragic turn.The six-part “Mirror and the Light,” which will air on PBS’s Masterpiece starting Sunday, begins exactly where the last one ended, in 1536, as Anne Boleyn (Claire Foy) is beheaded.That series, which aired on PBS in 2015, encompassed the trilogy’s first two novels: “Wolf Hall” and “Bring Up the Bodies.” It was a miracle of writerly and filmic compression, giving us Cromwell’s ascent to prominence; his successful negotiation of the king’s first divorce; the break with the Catholic church; and Anne Boleyn’s rise, and her fall, which is engineered by Cromwell at the king’s behest.“The Mirror and the Light” has a near-identical creative team: written by Peter Straughan (who recently won an Academy Award for best adapted screenplay for “Conclave”), directed by Kosminsky and starring Rylance and Lewis, with British acting royalty, including Alex Jennings, Timothy Spall and Harriet Walter, in small roles. (This time, though, there is no comparably meaty female role to equal Foy’s turn as Anne Boleyn.)Rylance and Damian Lewis, who plays King Henry VIII.Nick Briggs/Playground Television LtdWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Late Night Gives Trump’s Education Agency Shutdown a Failing Grade

    “Trump famously said he loves the poorly educated, and now he will have so many more people to love,” Jimmy Kimmel said on Thursday.Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.This Wasn’t on the SyllabusOn Thursday, President Trump signed an executive order gutting the Department of Education.“They say ignorance is bliss,” Jimmy Kimmel remarked during that night’s monologue.“I know it sounds like a joke, but it’s not. Trump famously said he loves the poorly educated, and now he will have so many more people to love.” — JIMMY KIMMEL“Trump signed the order during an event at the White House they invited a group of children to attend. They’re like ‘Hey, kids, who hates school?’ And they’re like ‘Well, we do!’ and they said, ‘Well, good news, it’s over.’” — JIMMY KIMMEL“The idea behind this is to let the states come up with their own educational standards. For instance, from here on, in order to receive a high school diploma in Florida, all you have to do is complete the maze on the back of the kids’ menu at Fuddruckers.” — JIMMY KIMMEL“Today, President Trump signed an executive order to shut down the Department of Education. It’s a historic move that years from now kids will not read about in history textbooks.” — JIMMY FALLON“President Trump signed an order today to dismantle the Department of Education. Yep. Soon employees will be reading their pink slips at a third-grade level.” — GREG GUTFELD“Meanwhile, one angry ex-employee claims it was the worst thing to happen since Nazis won the Civil War.” — GREG GUTFELDThe Punchiest Punchlines (D.E.I. Takedown Edition)“Yesterday, the Department of Defense, as part of their war against woke, removed a page about Jackie Robinson’s distinguished military career. They pulled it down. A spokesperson for the Pentagon said, ‘We do not view or highlight them’ — not sure what he means by them, but — ‘through the prism of immutable characteristics such as race, ethnicity or sex.’ Right, Jackie Robinson was just a baseball player; nothing special about him. Rosa Parks just loved to ride the bus. She was a commuter.” — JIMMY KIMMEL“Imagine how racist you have to be to be racist against Jackie Robinson today.” — JIMMY KIMMEL“Don’t blame us — blame our racist software. We should have never used ChatKKK. Classic mistake.” — JORDAN KLEPPER“I don’t get it: How can something like this happen under the president who’s done more for Black people than Abraham Lincoln?” — JIMMY KIMMELThe Bits Worth WatchingBob Mould performed his new single on Thursday’s “Tonight Show.”Also, Check This OutFlannery O’Connor’s caricature of an aristocratic couple. The darkly comic Southern writer Flannery O’Connor was (quietly) a visual artist, too. A new exhibition in Georgia showcases 70 of her pieces. More