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    Finding More Than Humbug in Scrooge and Company

    #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyCritic’s NotebookFinding More Than Humbug in Scrooge and CompanyThis year a critic (and fan) of “A Christmas Carol” finds it especially resonant as a “timely study of what it truly means to be a decent person in a community.”CreditCredit…Manual CinemaPublished More

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    Black Student Expelled After Mother Complains About 'Fences'

    #masthead-section-label, #masthead-bar-one { display: none }Race and PolicingFacts on Walter Wallace Jr. CaseFacts on Breonna Taylor CaseFacts on Daniel Prude CaseFacts on George Floyd CaseAdvertisementContinue reading the main storySupported byContinue reading the main storyA Black Student’s Mother Complained About ‘Fences.’ He Was Expelled.A dispute about the reading of August Wilson’s Pulitzer Prize-winning play in an English class escalated at the mostly white Providence Day School in Charlotte, N.C.Faith Fox and her son Jamel.Credit…Travis Dove for The New York TimesDec. 15, 2020, 5:30 a.m. ETWhen the mother of a Black ninth grader at a private school in Charlotte, N.C., learned last month that his English class was going to be studying August Wilson’s “Fences,” an acclaimed play examining racism in 1950s America, she complained to the school.The drama, which won a Pulitzer Prize in 1987 and was adapted into a critically praised film starring Denzel Washington in 2016, is about a Black family and is peppered with racial slurs from the first page.Faith Fox, a lawyer and single mother, said in an interview that she imagined her son’s mostly white class at the Providence Day School reading the dialogue out loud. She said her main concern was that the themes were too mature for the group and would foster stereotypes about Black families.After a round of emails and a meeting with Ms. Fox, the school agreed to an alternate lesson for her son, Jamel, 14. The school also discussed complaints with the parents of four other students. Ms. Fox’s disagreement escalated. She took it to a parents’ Facebook group, and later fired off an email that school officials said was a personal attack on a faculty member.On the day after Thanksgiving, the school notified Ms. Fox that Jamel would no longer be attending the school, the only one he had ever known.His mother called it an expulsion. The school referred to it as “a termination of enrollment” that had to do with the parent, not the student. Either way, what was meant to be a literary lesson in diversity and inclusion had somehow cost a Black 14-year-old his place in an elite private high school.Jamel had recently made the school basketball team and said in an interview that he hoped to graduate as a Providence Day lifer. “I was completely crushed,” he said. “There was no, ‘Please don’t kick me out, I won’t say this, I won’t say that, my mom won’t say this, my mom won’t say that.’” He is making plans to attend public school in January.This year has brought a reckoning with race at many American institutions, including schools. When widespread street protests erupted after the death of George Floyd at the hands of Minneapolis police officers, young people across the country used social media to expose racism at their schools. At Providence Day School, Black students shared stories of discrimination and insensitivity on Instagram, and the school was among many that released statements against racism.“For the Black members of our community, we see you, we hear you and we will act,” the statement said. The school also revised its bias complaint process and created alumni, faculty and student diversity groups.But Ms. Fox said, she felt the school’s treatment of her son proved this was all just lip service.“You can have the important conversations about race and segregation without destroying the confidence and self-esteem of your Black students and the Black population,” Ms. Fox said in an interview. Just over 7 percent of the school’s 1,780 students are Black, about 70 percent are white, and the rest identify as members of other minority groups.A spokeswoman for the school, Leigh Dyer, said last week that officials were “saddened” that Jamel had to leave.“As a school community, we value a diversity of thought and teach students to engage in civil discourse around topics that they might not necessarily agree on,” Ms. Dyer said. “We have the same expectation for the adults in our community.”The Nov. 27 termination letter cited “bullying, harassment and racially discriminatory actions” and “slanderous accusations towards the school itself” by Jamel’s mother.Ms. Dyer provided a statement that said Ms. Fox had made “multiple personal attacks against a person of color in our school administration, causing that person to feel bullied, harassed and unsafe” in the discussions about “Fences.” It also said Ms. Fox had a history of making “toxic” statements about the faculty and others at the school, but did not provide examples.Ms. Fox denied this. “Instead of addressing the issue they’re trying to make me seem like an angry, ranting Black woman,” she said.The New York Times reviewed emails and Facebook messages that Ms. Fox provided and also interviewed two other Providence Day parents who said they had similar concerns about the play and about a video the school used to facilitate conversations about the racial slur. They spoke on condition of anonymity to protect their children.The school had notified parents in early November about the lesson plan in an email. Noting the frequent appearance of the slur in dialogue, it said that students would say “N-word” instead when reading aloud. It said time would be “devoted to considering the word itself and some of its more nuanced aspects of meaning.”The email included a link to a PBS NewsHour interview with Randall Kennedy, a Black professor at Harvard, discussing the history of the slur while using it repeatedly.“It wasn’t something that I thought was appropriate for a roomful of elite, affluent white children,” Ms. Fox said.Her son was also dreading the lesson, which he would have attended via video because of the coronavirus pandemic. “It’s really awkward being in a classroom of majority white students when those words come up,” Jamel said, “because they just look at you and laugh at you, talk about you as soon as you leave class. I can’t really do anything because I’m usually the only Black person there.”Ms. Dyer, the spokeswoman, said the school had introduced the study of “Fences” in 2017 in response to Black parents who wanted more lessons addressing race. In past years, there had been only one complaint about the play, she said.After her son was offered an alternative assignment, Ms. Fox posted about “Fences” to the Facebook group. Other parents said they too had concerns about the play and the PBS video. One comment directed her to an online essay by a student from a prior year who described the “dagger” she felt “cutting deeper and deeper” with each mention of the slur in the video.That’s when Ms. Fox sent an email to the school’s director of equity and inclusion, calling her a “disgrace to the Black community.” Ten days later, Jamel was kicked out of the school. Ms. Fox said that she was surprised but that she does not regret sending the email in the heat of the moment.After Jamel’s expulsion, a letter signed by “concerned Black faculty members” was sent to parents of the four other students who had complained, arguing the literary merits of “Fences.” It said great African-American writers do not create perfect Black characters when they are trying to show the “damaging legacy of racism.”That is a view held by many critics and academics. Sandra G. Shannon, a professor of African-American literature at Howard University and founder of the August Wilson Society, said schools should not shy away from the “harsh realities of the past.”Katie Rieser, a professor at Harvard Graduate School of Education, said “Fences” is taught widely in middle school and high school, but she also urged that it be done so with care.“It’s telling a story about a Black family that, if it’s the only text or it’s one of only a few texts about Black people that students read, might give white students in particular a sense that Black families are all like this Black family,” she said.Ms. Fox said the fight to be heard as a Black parent at a predominantly white private institution had been “exhausting.”She recalled when Jamel came home upset in elementary school after a field trip to a former slave plantation. After she complained, the school ended the annual trips, she said.The other day, she said her son told her he finally understood “why Black Lives Matter is so important and is not just about George Floyd and all of these people dying in the streets, but it also has to do with how we’re treated everywhere else.”AdvertisementContinue reading the main story More

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    ‘Six’ Tries to Get Back Onstage. Again, and Again, and Again.

    #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best MoviesBest TV ShowsBest BooksBest TheaterBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main story‘Six’ Tries to Get Back Onstage. Again, and Again, and Again.For nine months, the hit musical about the wives of Henry VIII has tried to keep the show going. But that’s not easy in a pandemic.A security guard takes ticket holders’ temperatures before a performance of “Six” in London, on Dec. 5.Credit…Photographs by Suzanne Plunkett for The New York TimesPublished More

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    Days After Reopening, London Theaters Must Shut

    #masthead-section-label, #masthead-bar-one { display: none }The Coronavirus OutbreakliveLatest UpdatesMaps and CasesThe Latest Vaccine InformationU.S. Deaths Surpass 300,000F.A.Q.AdvertisementContinue reading the main storySupported byContinue reading the main storyDays After Reopening, London Theaters Must ShutThe musical “Six” and a concert version of “Les Miserables” are among the shows that will close because of rising coronavirus cases in the city.Pedestrians walk past the Lyric Theatre before the performance of the musical “Six” in London on Dec. 5.Credit…Suzanne Plunkett for The New York TimesDec. 14, 2020LONDON — On Dec. 5, “Six” — the hit show about the wives of Henry VIII — staged a triumphant comeback when it became the first musical to be staged in London’s West End since the coronavirus pandemic began in March.Now, just nine days later, that comeback has been brought to a sharp halt.Matt Hancock, Britain’s health secretary, announced on Monday that the government was tightening restrictions in London, as well as other parts of southern England, because of a “very sharp, exponential rise” in coronavirus cases. The new restrictions, which include a ban on theatrical performances and the closure of other indoor cultural institutions, like museums, would take effect Wednesday, he added. Pubs and restaurants would also close, though they could still offer takeout.“For businesses affected, it will be a significant blow, but this action is absolutely essential,” Hancock said, addressing Britain’s Parliament.Many theaters in London have been closed since the beginning of the pandemic, in March, though some smaller shows returned in the summer, with reduced audiences and socially distanced performers.In November, some major productions, including “Six,” were slated to return, but the British government announced a national lockdown that scrapped their plans.That lockdown lifted on Dec. 2 and England moved to a tiered system of restrictions, with differing rules around the country, including for cultural events.The Coronavirus Outbreak More

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    Review: A World of Cardsharps and Zoom Dupes in ‘The Future’

    #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyReview: A World of Cardsharps and Zoom Dupes in ‘The Future’In his latest magic show, Helder Guimarães shuffles an old genre into a new technology with mixed results.Helder Guimarães in “The Future,” his Zoom magic show for the Geffen Playhouse.Credit…Julie RenfroDec. 14, 2020When a used-car salesman says, “I will be honest,” it’s a sure sign he won’t be.Same with a card huckster. For him, “I will be honest” means “Don’t look at my hands.” Other tells may include “You saw for yourself that this deck was legitimately shuffled.” (It wasn’t.) Or “I want this to be as fair as possible.” (Watch your wallet.)All of these are part of Helder Guimarães’s patter in “The Future,” a Zoom magic show from the Geffen Playhouse trying very hard to be more — but only partly succeeding. Oddly, it’s the magic part that most disappoints, at least as theater. The “more” part, a stretch toward greater meaning, is engaging even as you wonder if it too is a deception.That stretch comes between card tricks, as Guimarães offers glimpses of his life’s journey from fanboy to sorcerer’s apprentice to fast hand for hire. The tension between entertainment and crookery that’s built into the business eventually grows into a full-blown dilemma when he meets his childhood idol in Marseille.The idol, a British cardsharp named Kevin who presents himself as a reformed gambler, at first fulfills Guimarães’s teenage fantasies. Kevin seems to be the kind of man who would ply his trade in purple rooms with velour curtains and Venetian landscapes on the wall.The reality, in the form of a rigged high-stakes poker game Kevin invites Guimarães to join, is somewhat seedier. Eventually the younger man has to make a choice between betraying his idol and maintaining what he thought were his values.“I wanted to put some wonder in the world,” he says. Kevin, on the other hand, “wanted to outsmart people for money.”By the time Guimarães finds himself rigging raffles at corporate parties, the bright-line difference between those two worldviews has blurred. We never do learn what choice he made about Kevin, which makes sense theatrically, if not morally or magically. Who creates an illusion but refuses to complete it?To the extent the show’s tricks are meant to illustrate that story, they are effective. Many of the ones Guimarães learned from Kevin or saw him perfect — “second dealing, center dealing, stacking the deck, false shuffling, mucking” — are performed live during “The Future.” Narratively, that’s satisfying.Guimarães displays a hucksterish eagerness, but on Zoom, “pick a card, any card” doesn’t work.Credit…Geffen PlayhouseBut as magic for magic’s sake, the tricks, however brilliant, are baffling, for the very reason they succeed: They’re invisible. That’s especially the case on Zoom, where “pick a card, any card” doesn’t work.It’s less than awe-inspiring, for instance, that Guimarães has to tell us he has completed Kevin’s “cold deck” deception, a holy grail act of prestidigitation in which all 52 cards are secretly switched out for 52 others. On the evidence of our senses, nothing at all has happened except the elaborate setup and the surprising conclusion. I oohed but wasn’t sure what I was oohing at.Guimarães’s hucksterish eagerness, in contrast to his questing thoughtfulness in other contexts, doesn’t help in this one. As a workaround for the Zoom problem, he hammers so hard at the transparency of his deceptions that, like a character in a play, he invites skepticism about them. We know they are tricks; why keep badgering us to say that they aren’t?It’s misdirection, of course, the art of keeping our minds off whatever a magician doesn’t want us to notice. Kevin’s version, during that rigged poker game, was to have a confederate shatter a wineglass; on Zoom, with its lack of real eye contact, the task of distracting the eye is naturally much harder. That’s probably why a ticket to “The Future” includes a collection of props, including a deck of cards, mailed to each audience member in a chic black capsule: misdirection for the pandemic age.So although I admired Guimarães’s skill in “The Future” as much as I had in “The Present,” his previous show for the Geffen, I tired of his more elaborate tricks even faster than I did in the past. And though his storytelling — this time more evocatively realized in Frank Marshall’s direction — was lively, it wasn’t so distracting as to quell my suspicion that it was merely another form of misdirection.This suggests a genre problem. (Or it may just be a me problem; most of the 50 or so participants seemed to have a grand time throughout.) Magic, like ventriloquism, mind-reading, mime and other para-theatrical forms, has long sought greater legitimacy on what used to be called the legitimate stage. Working Vegas like some elephantless variety act is no longer enough for ambitious magicians; they aspire to the condition of drama.I think that’s a mistake. If the choice, as Guimarães expresses it, is between putting some wonder in the world and outsmarting people for money — tickets for “The Future” are $95 — I vote for wonder. I’d rather have some sequins and a rabbit than a three of clubs with a résumé.The FutureThrough March 14; geffenplayhouse.org.AdvertisementContinue reading the main story More

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    Holiday Theater to Stream

    #masthead-section-label, #masthead-bar-one { display: none }Holidays 2020Tame Your Gift MonsterSaying Goodbye to HanukkahHanukkah Dreidel TreatHoliday Gift GuideAdvertisementContinue reading the main storySupported byContinue reading the main storyCozy Up With Holiday PlaysStream productions of reimagined fairy tales and Christmas standards like ‘A Christmas Carol’ being staged at theaters around the world.Credit…Luci GutierrezDec. 12, 2020Even a year as extravagantly Grinch-like as 2020 can’t quash holiday shows entirely. Rather than succumbing to despair and too much eggnog, theater companies have instead turned to performance capture, audio drama, livestream, green screen, shadow puppets and virtual reality to deliver festal entertainment. So let heaven and nature sing, unbothered by Zoom time delays. Here are a few suggestions to enjoy virtually.Pantomime? Oh yes, it is!The English tradition of pantomime — with its fractured fairy tales, its playful cross-casting, its audience call-and-response — has never really caught on in America. But this year, several companies have made these comedies available internationally. In England, the Belgrade Theater’s Iain Lauchlan has created a version of “Jack and the Beanstalk,” which includes a good fairy from Britain’s National Health Service and a cow that measures at least six feet, so that the two actors inside can appropriately distance (belgrade.co.uk, through Dec. 31).Meanwhile, the Nottingham Playhouse will stage a version of “Cinderella” with the ball open to all (nottinghamplayhouse.co.uk, from Dec. 19). Sleeping Trees have prepared an antic panto mashup, “The Legend of Moby Dick Whittington” (thesleepingtrees.co.uk, through Dec. 31). Scotland’s Pace Theater Company offer free performances of “Lost in Pantoland” (pacetheatre.com, from Dec. 19). The National Theater of Scotland’s “Rapunzel: A Hairy Tale Adventure” draws parallels between a certain tower-trapped princess and the experience of lockdown (nationaltheatrescotland.com, from Dec. 22). Also in Brit, Perth Theater spreads Southern hemisphere joy with “Oh Yes We Are! A Quest for Long Lost Light and Laughter” (horsecross.co.uk, through Dec. 24).Carol After CarolActual caroling is frowned upon this year (singing really sends those viral particles flying) and “A Christmas Carol” is also a dubious in-person proposition in most places. But the actor Jefferson Mays and the director Michael Arden have filmed “A Christmas Carol” — with Mays playing all the roles, even a potato. The Times critic Jesse Green described the show as “an opportunity to make what was already a classic story feel new, while also making it feel as if it should matter forever.” (achristmascarollive.com, on demand through Jan. 3.)If a one-man “Carol” strikes you as mere humbug, try the relative luxury of Jack Thorne’s “A Christmas Carol” at the Old Vic, directed by Matthew Warchus. (A version played on Broadway two winters ago.) In this production, livestreamed from an empty theater, Andrew Lincoln stars as Scrooge. Thirteen other actors assist in his transformation (oldvictheatre.com, through Dec. 24). Or consider the wizardry of Manual Cinema, which tells the tale with hundreds of paper puppets and silhouettes (manuelcinema,com, through Dec. 20). Or close your eyes as the ghosts of Christmas past, present and future appear via audio in “A Christmas Carol on Air” from the American Conservatory Theater, which takes the theater’s beloved holiday production and adapts it for radio (act-sf.org, on demand through Dec. 31).Holiday Tales, RetoldThis season, many companies have retrofitted familiar tales to better reflect the themes of an unfamiliar year, offering comfort or its opposite. Let’s start with what a story like “Twas the Night Before Christmas” leaves out. Do you really think it’s jolly Saint Nick who sorts out how to distribute all the presents? As a gentle corrective, North London’s Little Angel Theater, offers a free online puppet show, “Mother Christmas,” in which Mrs. Claus organizes the package delivery (available on YouTube). Prefer a darker vision of the Christmas story? Try “Krampusnacht,” a live immersive virtual reality experience that promises to reveal horror beneath that red suit (krampusnachtvr.com, through Dec. 27).Elsewhere, the visionary director Mary Zimmerman reinvents Hans Christian Andersen’s “The Steadfast Tin Soldier” for a wordless, enchanting livestream, hosted by the Lookingglass Theatre Company (lookingglasstheatre.org, through Dec. 27). And Kitchen Zoo and Northern Stage rework another Andersen tale, “The Emperor’s New Clothes,” into a cockles-warming holiday story of two fashion-conscious con artists (northernstage.co.uk, through Dec. 31).The Christmas-industrial complex is mighty, but for those looking for some Hanukkah counterprogramming, Untitled Theater Company has reworked its children’s theater show “Playing Dreidel with Judah Maccabee” for remote performance. Via Skype, Zoom or phone, an actor will connect with a young person in your household for a time-traveling, dreidel-playing adventure (untitledtheater.com, through Dec. 20).AdvertisementContinue reading the main story More

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    New Star of ‘The Prom’ Sees a Chance to Make L.G.B.T.Q. Characters Visible

    #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best MoviesBest TV ShowsBest BooksBest TheaterBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyNew Star of ‘The Prom’ Sees a Chance to Make L.G.B.T.Q. Characters VisibleLike her character, Jo Ellen Pellman identifies as queer, and she is making her film debut in the Netflix musical alongside A-listers like Meryl Streep and Nicole Kidman.“It’s the best feeling in the world knowing I can bring my authentic self to the role,” Jo Ellen Pellman said of “The Prom.”Credit…Da’Shaunae Marisa for The New York TimesPublished More