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    A Starry Cast Navigates ‘Uncle Vanya’ and ‘Every Emotion Under the Sun’

    Steve Carell, William Jackson Harper, Alison Pill and Anika Noni Rose discuss the new translation of Chekhov that brought them to the farm.Broadway shows usually come with a back story about the yearslong slog it took to get them there. Not so with Heidi Schreck’s new translation of Chekhov’s “Uncle Vanya,” which arrived at Lincoln Center Theater’s Vivian Beaumont Theater not even 12 months after its inception.Directed by Lila Neugebauer, it is Schreck’s first Broadway show since “What the Constitution Means to Me,” in 2019, and the ensemble is a starry one. Steve Carell is making his Broadway debut as Vanya, who believes he has wasted his life running a provincial estate and its farm alongside his niece, Sonia, played by Alison Pill, to support Sonia’s largely absentee father, portrayed by Alfred Molina.William Jackson Harper, best known for “The Good Place,” plays Astrov, the eco-nerd doctor whom Sonia loves. Anika Noni Rose, a Tony Award winner for “Caroline, or Change,” is the glamorous Elena, Sonia’s stepmother, for whom both Vanya and Astrov yearn.In mid-April, a week before the show’s opening on April 24, Schreck, Neugebauer, Carell, Harper, Pill and Rose gathered to talk over their dinner break in a room off the Beaumont lobby. These are edited excerpts from that conversation.Along with Harper and Carell, both at left, the play also features Alfred Molina, Jayne Houdyshell and Mia Katigbak in supporting roles.Sara Krulwich/The New York TimesWhat was your relationship to “Uncle Vanya” and Chekhov before this show?HEIDI SCHRECK I lived in Russia right out of college for two years. When I moved back to Seattle, I started this theater company with my husband, and there was this Russian company who would come and perform Russian plays. They invited me to be the translator. Basically I would do live interpretation.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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    What to Expect From the 2024 Tony Awards Nominations

    The contenders from a crowded season will be announced by Jesse Tyler Ferguson and Renée Elise Goldsberry.At a time when Broadway is overflowing with plays and musicals but could use more ticket buyers, this season’s Tony Award nominations will be announced on Tuesday, offering a boost to some shows and dashing the hopes of others.Here’s what you might want to know about the Tony nominations, which this year will recognize plays and musicals that opened on Broadway between April 28, 2023, and April 25, 2024:When and how are the nominations announced?A few categories are to be made public shortly after 8:30 a.m. Eastern on the Tuesday broadcast of “CBS Mornings.” (CBS airs the Tonys, so it has first dibs on the news.) The full list of nominees will be announced on the Tony Awards YouTube channel starting at 9 a.m. Two previous Tony winners, Jesse Tyler Ferguson and Renée Elise Goldsberry, will read the list of nominees.The New York Times’s live coverage of the announcements will continue all day, with the list of nominees as well as news and analysis.How were the nominees chosen?The Tony Awards have a nominating committee made up of people knowledgeable about theater (many are theater artists or administrators), but who do not have a financial stake in any of the season’s shows. This season 36 Tony-eligible plays and musicals opened; nominators were required to see all of them.The nominating committee started with 60 members, but then — as always happens — some had to recuse themselves because they couldn’t get to all the shows or because a conflict of interest arose. About 45 nominators are expected to vote.What are the leading contenders?The race for best musical — generally the prize with the biggest economic impact — is wide open, with 15 eligible contenders, none of which have immediately broken out as a unanimous critical darling or a box-office smash. Five to seven shows will be nominated for the best musical award.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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    What’s on TV This Week: ‘Catfish’ and ‘Welcome to Wrexham’

    The show, hosted by Nev Schulman and Kamie Crawford, begins its ninth season on MTV. Ryan Reynolds and Rob McElhenney’s soccer series on FX is back for Season 3.For those like me who still haven’t cut the cord, here is a selection of cable and network TV shows, movies and specials that broadcast this week, April 29-May 5. Details and times are subject to change.MondayERIN BROCKOVICH (2000) 8 p.m. on Pop. Anyone growing up with dreams of saving the world can probably find inspiration in Julia Roberts’s performance as Erin Brockovich. She is a single mom down to her last few dollars, but she’s smart and resourceful and possesses highly developed investigative Spidey senses. Based on a true story, this fictionalized movie follows Brockovich as she gets a low-level job at a law firm and finds a cover-up of toxic exposure that is threatening lives. A.O. Scott, in his review for The New York Times noted that after a robust, creative opening, Roberts and the director, Steven Soderbergh, rely heavily on clichés, and Scott ruefully submits to the same technique, writing that the movie “will make you laugh. It will make you cry. It will make you stand up and cheer. ‘Erin Brockovich’ is the feel-good movie of the year.”From left: Cher and Nicolas Cage in “Moonstruck.”MGMMOONSTRUCK (1987) 8 p.m. on TCM. If you’re in the mood for desire on Monday night instead of the fighting spirit of Erin Brockovich, see Cher and Nicolas Cage in this slightly chaotic but ultimately dreamy romantic comedy. Cher plays Loretta, a widow who finds herself falling in love with her new boyfriend’s younger brother, Ronny (Cage). This movie offers “further proof that Cher has evolved into the kind of larger-than-life movie star who’s worth watching whatever she does,” Janet Maslin wrote in her review for The Times.TuesdayCATFISH 8 p.m. on MTV. In an ideal world, anytime someone ghosts you on a dating app, Nev Schulman and Kamie Crawford (and let’s throw Max Joseph into this fantasy for old times’s sake) would materialize next to you and put that person in their place. And for the people who write in to the show — that is basically what happens. “Each episode unfolds like a detective show, with the, host Nev Schulman, summoned to untangle truth from lies, to take relationships that exist only on computers and phones and drag them into our three-dimensional reality,” Maya Salam wrote in a recent feature in The Times about the show, which is back for its ninth season.WednesdayPRISONER IN RUSSIA: THE BRITTNEY GRINER INTERVIEW 10 p.m. on ABC. In March of 2022, Brittney Griner, a WNBA center, was detained in Russia on drug charges. She ended up pleading guilty in a Russian court and being sentenced to nine years in prison. In December of that year, nearly 10 months later, she was released via a prisoner swap for Viktor Bout, a Russian arms dealer. For the first time, she is sitting down for an interview — with Robin Roberts — to discuss her time in prison.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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    Colin Jost Falls Flat at White House Correspondents Dinner

    The White House Correspondents’ Association dinner has occasionally featured some great stand-up comedy. This “S.N.L.” veteran’s set will not join that list.People in the media have long worried about the impact of the White House Correspondents’ Association dinner on journalism. The concern is that it makes the press look too chummy with politicians it’s covering. But what is the impact on comedy?A high-ceilinged hotel ballroom filled with television anchors and network executives is a tough room for stand-up, but no more so than an awards show. Trevor Noah was funnier two years ago at the dinner than he was at this year’s Grammys.A murderer’s row of comics, among them Conan O’Brien, Jimmy Kimmel and Wanda Sykes, has taken this assignment because it’s one of the most high-profile live comedy sets of the year. And there has been one truly great performance (Stephen Colbert), some very good ones (Seth Meyers, Larry Wilmore) and one so thrillingly biting (Michelle Wolf) that the next year they replaced the comic with a historian.Colin Jost’s set this year does not belong in that pantheon. Without his Weekend Update partner Michael Che next to him, he came off muted, vanilla, less assured than usual. With long pauses between jokes, eyes darting side to side, he occasionally took a drink of water and at least once acknowledged the lack of laughter in the room. His jokes leaned on wordplay more than a specific or novel perspective. “Some incredible news organizations here,” began one of his pricklier jokes, finished by: “Also, some credible ones.”He focused much fire on former President Donald J. Trump. “Now that O.J.’s dead, who is the front-runner for V.P.?” he asked. “Diddy?” Like Biden, Jost has always benefited from low expectations. No one that handsome could be funny, right? But he has grown into his role at “Saturday Night Live,” proving to be an especially strong straight man adept at the comedy of embarrassment. You could see his timing in one of the odder moments when he said Robert Kennedy Jr. could be the third Catholic president and the C-SPAN camera cut to President Biden (the second) clapping. Jost retreated on Kennedy’s chances one beat later: “Like his vaccine card says, he doesn’t have a shot.”For the third year in a row, President’s Biden’s age played a big role in the comedy (“Technology wasn’t invented when he was in high school,” Jost said of Biden), even in the president’s own set. Two years ago, Biden joked that he was friends with Calvin Coolidge. Last year, he referred to his “pal Jimmy Madison.” The president took a slightly different and more confrontational approach this time. “Age is an issue,” he said early. “I’m a grown man running against a 6-year-old.”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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    ‘Guilt’ Review: When the Lights Go Out in Edinburgh

    The final season of Scotland’s most notable TV drama, on PBS’s “Masterpiece,” is a suitably twisty and sardonic send-off for the battling McCall brothers.Contains spoilers for Seasons 1 and 2 of “Guilt.”“Guilt,” a pioneering series in Scottish television — it was the first drama commissioned by the newly formed BBC Scotland channel in 2019 — has built an audience well beyond its borders. A melancholy tale of family dysfunction presented as a complicated crime thriller, it combines British regionalism with peak TV-style poker-faced comedy in a way that has made it a critical darling around the world.Created and written by Neil Forsyth, “Guilt” has arrived in dense, lively four-episode bursts; the third and final season has its American premiere on PBS’s “Masterpiece” beginning Sunday. Each installment has been organized around a psycho-philosophical theme: first guilt, then revenge in Season 2, and now, as Forsyth described it in a BBC interview, redemption.But the pleasure of the show does not come from diagraming its moral lessons (unless that’s your thing), or from unwinding Forsyth’s sometimes maddeningly convoluted plots, which entangle sons and daughters of Edinburgh’s rough-and-tumble Leith district with the city’s gangsters, cops and politicians.What makes “Guilt” worthwhile is Forsyth’s knack for creating characters who work their way into our affections, less by their actions than by their unconscious, soul-deep responses to life in the grim confines of Leith and the promise of something better in Edinburgh’s more comfortable precincts.At the center of the web are Max and Jake McCall (Mark Bonnar and the marvelous Jamie Sives), brothers with very little use for each other who become bound in a seemingly endless cycle of lies, danger and recrimination. It begins in the opening minutes of Season 1 when Jake, with Max in the car’s passenger seat, accidentally runs into an old man, killing him. Jake, a gentle soul with an encyclopedic knowledge of pop music (he could have wandered in from a Nick Hornby novel), wants to call the police; Max, a rapacious lawyer with a near-sociopathic lack of empathy, says no.This is the original sin for which the brothers are still paying. Covering up their hit-and-run homicide embroils them with the Lynches, a married pair of quietly vicious gangsters whom Max and Jake are both on the run from, and scheming to take down, across the show’s three seasons. While the brothers work together for survival, they are also at each other’s throats, taking turns ruefully betraying each other, leading to imprisonment, exile and worse.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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    ‘Fire Country’ Star Max Thieriot Likes to Watch Things Grow

    The “Fire Country” star talks about the road trips, the farm equipment and the family time that keep him grounded.For Max Thieriot, one of the creators and the star of the CBS series “Fire Country,” all roads lead back to his roots.He was raised on a vineyard off the coast of Sonoma in Northern California. And for a while, he lived nearby on 90 acres of his own with his wife and two sons.But “Fire Country” — about prison inmates joining elite firefighters to battle the region’s blazes in exchange for shorter sentences — shoots near Vancouver, British Columbia. So Thieriot, 35, moved his family to rural Washington, where his kids could continue to run around with the chickens and the goats.“I wanted to try and keep the same lifestyle for my wife and my boys, and not to totally upend their world,” he said.Alas, Thieriot still has wine in his blood.About 14 years ago, he and a couple of childhood friends started their own vineyard. The big lesson?“It’s much faster to do, and makes a lot more sense, when you have an entire crew,” he admitted before discussing the tractors, the road trips and the grapevines that keep him grounded.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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    The Comfortable Problem of Mid TV

    A few years ago, “Atlanta” and “PEN15” were teaching TV new tricks.In “Atlanta,” Donald Glover sketched a funhouse-mirror image of Black experience in America (and outside it), telling stories set in and around the hip-hop business with an unsettling, comic-surreal language. In “PEN15,” Maya Erskine and Anna Konkle created a minutely observed, universal-yet-specific picture of adolescent awkwardness.In February, Glover and Erskine returned in the action thriller “Mr. & Mrs. Smith” on Amazon Prime Video. It’s … fine? A takeoff on the 2005 film, it updates the story of a married duo of spies by imagining the espionage business as gig work. The stars have chemistry and charisma; the series avails itself of an impressive cast of guest stars and delectable Italian shooting locations. It’s breezy and goes down easy. I watched several episodes on a recent long-haul flight and they helped the hours pass.But I would never have wasted an episode of “Atlanta” or “PEN15” on in-flight entertainment. The work was too good, the nuances too fine, to lose a line of dialogue to engine noise.I do not mean to single out Glover and Erskine here. They are not alone — far from it. Keri Russell, a ruthless and complicated Russian spy in “The Americans,” is now in “The Diplomat,” a forgettably fun dramedy. Natasha Lyonne, of the provocative “Orange Is the New Black” and the psychotropic “Russian Doll,” now plays a retro-revamped Columbo figure in “Poker Face.” Idris Elba, once the macroeconomics-student gangster Stringer Bell in “The Wire,” more recently starred in “Hijack,” a by-the-numbers airplane thriller.I’ve watched all of these shows. They’re not bad. They’re simply … mid. Which is what makes them, frustratingly, as emblematic of the current moment in TV as their stars’ previous shows were of the ambitions of the past.What we have now is a profusion of well-cast, sleekly produced competence. We have tasteful remakes of familiar titles. We have the evidence of healthy budgets spent on impressive locations. We have good-enough new shows that resemble great old ones.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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    ‘Forbidden Broadway’ Scraps Summer Broadway Run, Citing Crowded Season

    The parody show was scheduled to begin performances in July at the Helen Hayes Theater.In a sign that there are not enough investors and ticket buyers to sustain all of the Broadway shows now onstage and in the works, the producers of “Forbidden Broadway” said Friday that they were canceling a planned summer run.The scrapped production, “Forbidden Broadway on Broadway: Merrily We Stole a Song,” was announced in February and was to be the first Broadway venture for the satirical revue, which has been performed periodically since 1982, mostly Off Broadway but also on tour. The show, consisting of comedic sketches that parody Broadway hits (and misses), has been frequently rewritten to remain reasonably timely and topical; the Broadway run was to feature a number of Sondheim spoofs, reflecting the heightened interest in his work since his death.In a statement, the producers, Ryan Bogner, Victoria Lang and Tracey Stroock McFarland, called the move a postponement, and cited the volume of offerings on Broadway — there are currently 36 shows running, 12 of which opened in a nine-day stretch before the Tony-eligibility season ended Thursday night.“The Broadway landscape is enormously crowded at this moment,” the producers’ statement said, “and while we adore Forbidden Broadway, we are disappointed that the show will not open at the Hayes on Broadway this summer.”The show, written by Gerard Alessandrini, was to begin previews July 15 and to open Aug. 5 at the Helen Hayes Theater, and was to be capitalized for $3.2 million, according to a filing with the Securities and Exchange Commission. It is not clear if the producers had successfully raised all that money, and ticket sales, which began earlier this month, had been slow.“Without getting into the details of the financials or sales, it is self evident by looking at the current offerings on Broadway and their sales that in this incredibly crowded environment without recent precedent, the title would not have been served by launching at this time,” the producers said in a written answer to questions about the show’s economics.This is the second show to cancel a Broadway production this year; in February, the producers of a planned run of Rob Madge’s “My Son’s a Queer (But What Can You Do?)” announced that they were postponing that production less than three weeks before previews were to begin.As for Madge, the performer is planning to take “My Son’s a Queer” back to the Edinburgh Fringe, this summer. But first, next month Madge is planning a show in London, reflecting on the Broadway disappointment. The title, of course, is “Regards to Broadway.” More