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    Jez Butterworth’s ‘The Hills of California’ to Open on Broadway

    The play, about a group of English sisters who reunite at their mother’s deathbed, plans to open in New York in September. It ends a London run this month.“The Hills of California,” the latest darkly comedic drama from the acclaimed English playwright Jez Butterworth, will transfer to Broadway this fall after a well-received five-month run in London.The play, directed by Sam Mendes, is about a group of singing sisters — well, they sang together as kids — who have gathered at their childhood home in northwestern England because their mother is dying of cancer. The play is set in the 1970s, with flashbacks to the 1950s.The British press gave generally high marks to the play, which garnered five-star reviews in The Financial Times and The Stage, and four-star reviews in The Telegraph, The Evening Standard, The Observer and TimeOut.The London production is scheduled to end its run June 15. The New York production is to begin previews Sept. 11 and to open Sept. 29 at the Broadhurst Theater. Casting has not yet been announced.Butterworth’s last Broadway venture, “The Ferryman,” was also directed by Mendes, and won the Tony Award for best play in 2019. His first play on Broadway, “Jerusalem” in 2011, is a favorite among theater critics. He also wrote “The River,” which opened on Broadway in 2014.Mendes has worked frequently on Broadway, and won Tony Awards for directing “The Ferryman” and “The Lehman Trilogy.” He is also a film director, and won an Oscar for directing “American Beauty.”The lead producers of the Broadway run of “The Hills of California” include Sonia Friedman, a prolific and enormously successful British producer who also led the producing teams for Butterworth’s three previous plays on Broadway. The play’s other lead producers will be No Guarantees, which is led by Christine Schwarzman; Neal Street Productions, which is Mendes’s production company; Brian Spector; and Sand & Snow Entertainment. More

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    ‘The Acolyte’ Review: ‘Star Wars’ an Even Longer Time Ago

    The franchise’s latest series on Disney+ is set before there was even an empire to strike back.“The Acolyte,” the latest product off the Lucasfilm assembly line (it premieres Tuesday night on Disney+), enters territory unfamiliar to the casual follower of “Star Wars.” It is set during a prehistorical period known as the High Republic, until now depicted primarily in short stories, novels and comic books read only by serious fans. (The High Republic stories are to George Lucas’s central works somewhat as “The Silmarillion” is to “The Hobbit” and “The Lord of the Rings.”)Moving a “Star Wars” story out of the main time stream — no Empire, no R2-D2, a century before Luke Skywalker — has not liberated it from the franchise’s oldest conventions and clichés, however. “The Acolyte” tweaks the formulas here and there, but, to a greater degree than other Disney+ shows like “The Mandalorian” and “Andor,” it falls back on signature moves: the electronic whoosh of the light saber; the outstretched hand summoning the Force; lovable droids and fuzzy holograms; dark masters and chosen children.Created by a newcomer to the franchise, the writer and director Leslye Headland (“Russian Doll”), the show is focused on twin sisters in their mid-20s, Osha and Mae, both played by Amandla Stenberg. They share a tragedy in their childhoods that has left them with very different feelings about the Jedi knights, who in the High Republic time frame are comfortably ascendant across the galaxy, before their later tribulations in the “Star Wars” films.That critical moment, revealed in the season’s first half (four of eight episodes were available for review), involves one of Headland’s more noticeable creations: a coven of witches who tap into the Force with a holistic, communitarian ethos. (They feel borrowed from an early episode of “Star Trek,” with a swerve into unintentionally hilarious musical theater when they perform one of their ceremonies.) The nature-principle witches and the power-principle Jedi converge, spawning a vendetta plot centered on the grown twins that allows for plenty of planet hopping action. The fights are copious, and in another new twist for “Star Wars,” many of them take the form of balletic martial arts face-offs.But the storytelling force is not strong. Putting more female characters, and a stronger female point of view (even if it is sometimes redolent of 1960s earth mother), into an otherwise traditional “Star Wars” framework is worth the attempt. “The Acolyte” doesn’t bring enough energy or invention to the task, though.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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    Public Theater Takes Shakespeare in the Park Out on the Town

    The Delacorte Theater is being renovated, so a musical version of “The Comedy of Errors” is touring some of the city’s outdoor spaces.On a small stage, three actors practiced a sword fight — slowly, then faster. Behind them board operators ran a sound check and a wardrobe assistant shook out costumes.“This is the part of theater you never get to see,” Rebecca Martínez said.Martínez was speaking on Saturday in the southeast corner of Bryant Park. Behind her, the cast and crew of the Public Theater’s bilingual musical version of “The Comedy of Errors,” performed in Spanish and English, accomplished their preshow rituals. Martínez, who adapted the production with Julián Mesri, is also the show’s director and choreographer. Typically, routines like these are performed backstage, out of sight. But at Bryant Park, amid the birders, the tourists and the library patrons, a backstage was not available.With the Delacorte Theater closed for renovations, the Public is taking its summer production of “The Comedy of Errors” to parks and other outdoor sites in the city.Dolly Faibyshev for The New York TimesFor over 60 years, the Public Theater has offered summer Shakespeare in one place: Central Park’s Delacorte Theater. This year, the Delacorte is closed for renovations (it plans to reopen next summer, with “Twelfth Night”), so the Public has taken this free show to the streets, parks and plazas of the city’s five boroughs.This “Comedy of Errors” was seen last year, as a production of the Public’s Mobile Unit, which brings high-energy, low-tech versions of Shakespeare to venues like libraries, correctional facilities and community centers. The Unit travels light, with a rug in place of a set, which allows a simple set up and strike.“Like, boom! Rug! Let’s go!” Martínez said.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Vanderpump’s New Sandwich Shop Is One of Los Angeles’ Anticipated Openings

    The most hotly anticipated opening in the city this year might be a sandwich shop from two Bravo stars.The fans control everything in the “Vanderpump Rules” multiverse, and lately what the fans want are crisp, pressed turkey sandwiches and prebiotic sodas under the soft glow of shabby-chic chandeliers in West Hollywood.Something About Her, a new sandwich shop from the Bravo stars Ariana Madix and Katie Maloney, is a two-hour drive from Kim Mykitta’s home in Huntington Beach, so she took the day off from work as a social media manager and copywriter to turn up on its first day of business.Arriving an hour before the shop opened, Ms. Mykitta settled in as the 15th person in a line that grew steadily throughout the day, snaking down the block. And it wasn’t just a line, but a cultural phenomenon, tourist destination and social event covered in detailed play-by-plays in news stories, blog posts, podcast episodes and social media reels.Katie Maloney and Ariana Madix are fan favorites who opened their new sandwich shop in May.Dylan RileyMs. Mykitta runs Bravo Breaking News, an Instagram fan account that’s part of a complex cottage industry built around Bravo’s cultish reality shows and their stars. “We are die-hard and we are dedicated,” said Ms. Mykitta, who had been reporting on the ups and downs of the opening for about two years.It might seem hard to square the devotion of these crowds with a restaurant industry in crisis. The Los Angeles Times called 2023 “the year that killed L.A. restaurants.” The article mentioned, among the dozens and dozens of notable departed, the closing of Jean-Georges Beverly Hills and three spots from the acclaimed restaurateur Nancy Silverton.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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    Stephen Colbert Counts Down to Donald Trump’s Sentencing

    Colbert showed off his “Countdown to Sentencing Advent Calendar,” which contained a bottle of bourbon.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.‘Convicted Felon Trump’Most late night hosts were off last week after the Memorial Day holiday, which meant Monday was their first chance to discuss how Donald Trump had been found guilty on 34 counts in his hush money trial.Stephen Colbert continuously referred to the former president as “convicted felon Trump” and wheeled out his “Countdown to Sentencing Advent Calendar,” complete with Judge Juan M. Merchan’s face on each one of the 38 days until July 11, and a bottle of bourbon inside.“It’s going to be the R.N.C. live from Cell Block B with a keynote speech from his warden, his cellmate Spider, that one guard who smuggles in cellphones up his butt, and, for the cocktail hour, enjoy complimentary toilet wine.” — STEPHEN COLBERT“Former President Trump has been found guilty on all 34 charges in his criminal hush money trial and faces up to four years in prison. Well, for what it’s worth, all your friends are already there, you know? It’s like what my wife tells me on our way to a dinner party: ‘Don’t worry — you’ll know people.’” — SETH MEYERS“That’s right, Trump was found guilty. They were going to put him in an orange jumpsuit, but it felt redundant.” — JIMMY FALLON“Just because there’s ample evidence and a jury believes it, anyone could now be found guilty. Do we really want to live in an America where the law is applied equally regardless of how rich you are?” — STEPHEN COLBERT“We might now be facing a situation where if you can’t do the time, and I can’t believe I’m saying this: Don’t do the crime.” — STEPHEN COLBERT“The big question now is whether Trump will get jail time or house arrest. If he’s sentenced to jail, Melania will be inside the courtroom chanting, ‘Four more years!’” — JIMMY FALLON“Trump will be sentenced on July 11, and his lawyers told him, ‘You should get your affairs in order.’ Trump was like, ‘That’s what got me in trouble in the first place.’” — JIMMY FALLON“That’s right, former President Trump was found guilty last week on 34 counts of falsifying business records and faces up to 4 years in jail and a $5,000 fine. And I think I speak for all of us when I say, you can waive the fine.” — SETH MEYERSThe Punchiest Punchlines (Lock Her Up Edition)“The people said ‘Lock her up?’ That was your whole campaign — stop it! We remember; we were there. It’s like if Arby’s said ‘We never said we had the meats — the people said we had the meats.’” — STEPHEN COLBERT“[imitating Trump] Folks, I was talking about Hilary Swank, OK? No baby is worth a million dollars.” — STEPHEN COLBERTWe 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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    A Reporter Whose Beat Blends Sports and Culture

    Emmanuel Morgan is enticed by how athletes and sports leagues are increasingly dipping into music, television and other media.Times Insider explains who we are and what we do and delivers behind-the-scenes insights into how our journalism comes together.When Emmanuel Morgan was hired as a sports reporter covering the N.F.L. and combat sports for The New York Times in 2021, the job felt familiar. After all, Mr. Morgan, who grew up playing football, had been writing about the sport since high school. He went on to cover the N.F.L. for The Los Angeles Times for nearly two years.“I knew the N.F.L. and the U.F.C. and all these other sports so well,” said Mr. Morgan, 27, who also covered high school sports and basketball for The Los Angeles Times, including helping report on the death of Kobe Bryant in 2020.So when The Times disbanded its Sports department last year, he took the opportunity to stretch himself and pitch a new beat: the intersection of sports and pop culture.“I’m not a movie critic or a Broadway-goer, but I follow pop culture, I watch Netflix and I listen to music constantly — in the shower every day, on the subway,” he said. “I had my pulse on it.” Over the past eight months, Mr. Morgan, now on the Culture desk, has written about the pop culture phenomenon of Taylor Swift and Travis Kelce, the growing relationship between the N.F.L. and streaming services and the rise of athlete podcasts.In an interview, he discussed how his daily news consumption has changed and what his favorite reporting experience so far has been. These are edited excerpts from the conversation.You’ve been in the role for a little over eight months now. How is it going so far?I have definitely had to be a lot more creative when it comes to finding story ideas. When I was with the Sports desk, I knew the N.F.L. and the U.F.C. so well — covering sports is very formulaic. You know you have to have previews for big events like the Super Bowl and the N.F.L. draft, and as the season goes on the major story lines and the targets for profiles and features become pretty clear. But with this new beat, I’m reporting on stuff you don’t see on TV or Twitter, and there are a lot more options, since I’m not just focusing on the N.F.L. and U.F.C. anymore. I have to make a lot more phone calls and talk to more people.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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    Janis Paige, Star of Broadway’s ‘The Pajama Game,’ Is Dead at 101

    She first made her mark in the all-star 1944 movie “Hollywood Canteen” before finding acclaim on the musical stage. Movie and TV roles followed.Janis Paige, an entrancing singer, dancer and actress who starred in the original 1954 Broadway production of the hit musical “The Pajama Game,” died on Sunday at her home in Los Angeles. She was 101.Her death was confirmed by a longtime friend of hers, Stuart Lampert.Ms. Paige made her mark at 22 in the all-star 1944 film “Hollywood Canteen,” but exposure in a string of 17 movies over the next seven years left her with little more than a collection of minor beauty titles, like Miss Wingspread and Miss Naval Air Reserve. When she ran away to try the New York stage, however, it took her only three years to become the toast of Broadway.She was cast as Babe Williams, the feisty, romance-resistant union leader in “The Pajama Game,” opposite John Raitt. The production — involving theater luminaries like George Abbott (book), Richard Adler (music) and Hal Prince (one of the producers) — won three Tony Awards in 1955: for best musical, best featured actress in a musical (Carol Haney) and best choreography (Bob Fosse).When the show was adapted for a movie, the producers at the Warner Bros. studio decided that at least one big Hollywood name was needed. So while most of the New York cast, including Mr. Raitt, made the transition to film, Ms. Paige was replaced by Doris Day.Ms. Paige and John Raitt in “The Pajama Game.” She played the role of Babe Williams, the feisty, romance-resistant union leader.via Everett CollectionBroadway continued to be kind to Ms. Paige, with four other starring roles. Notably, she replaced the seemingly irreplaceable Angela Lansbury in “Mame” in 1968. Clive Barnes, reviewing her performance in The New York Times, wrote that Ms. Paige had made “an excellent job of it.”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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    In ‘Clipped,’ Cleopatra Coleman Spreads Her Wings

    The actor’s versatility has allowed her to stay relatively anonymous, but that may change with her new docudrama about an N.B.A. scandal.Cleopatra Coleman began with red, swirling it toward pink with a fine-tipped brush. An oval appeared on the paper, and then smaller marks joined it — ears, eyebrows, a line for a nose. “I always draw this woman,” Coleman said. “I don’t know why.”This was on a bright May morning and Coleman, a star of the FX limited series “Clipped,” premiering Tuesday on Hulu, was at Happy Medium, an art cafe around the corner from her temporary apartment in Greenpoint, Brooklyn. She had passed it on walks with her dog, George, a rescue Yorkiepoo, and had often felt jealous of the customers there at night, on dates. So this morning, on a day off from filming a new series, “Black Rabbit,” she had taken herself on a date. She had even dressed for the occasion, in a thrift-store T-shirt with a New York State Summer School for the Arts logo. Charcoal and pottery tempted her, but she settled on watercolor.To the picture, Coleman, 36, added a long neck, small breasts, two teeth. More colors came — purple, sunset orange, hints of green — all representing different emotions. Then she took a fresh sheet and began again, painting the same figure in different shades. Since the early days of the pandemic, she has drawn and painted this woman hundreds of times.“It’s always the same woman,” she said.In her professional life, Coleman is almost never the same woman. An actress since her teens, she has bounded among genres and forms. Though her look is distinct — high forehead, full lips, limpid brown eyes — she is often nearly unrecognizable from one role (“The Last Man on Earth,” say, or “Dopesick”) to the next (“Infinity Pool,” “Rebel Moon”). It’s a versatility that has allowed her to stay relatively anonymous. But given her audacious performance in “Clipped,” as V. Stiviano, the personal assistant to Donald Sterling, the disgraced former owner of the N.B.A.’s Los Angeles Clippers, and the promise of “Black Rabbit,” a starry drama set in the world of Manhattan nightlife due out next year, Coleman’s name and face are about to become much better known.That’s what her colleagues want for her. “I hope she breaks the [expletive] out,” Gina Welch, who created “Clipped,” said in an interview. “She’s such a star.”In “Clipped,” Coleman plays the woman who triggered a scandal that led to Donald Sterling (Ed O’Neill), the owner of the Los Angeles Clippers, being banned from the N.B.A. (With Jacki Weaver.)Kelsey McNeal/FXWe 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