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      Review: In ‘Three Houses,’ a Dark Karaoke Night of the Soul

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      It’s open mic at the post-pandemic cocktail bar where Dave Malloy’s hypnotic triptych of monodramas takes place.It’s only fitting that a bar, replete with liquor and raised like an altar, presides over Dave Malloy’s “Three Houses,” which opened on Monday at the Signature Theater. Malloy’s music is, after all, intoxicating. Alcohol is the accelerant for the show’s linked monodramas. And hung over is how it leaves its pandemic-sozzled characters at the end of a dark karaoke night of the soul.You may feel that way too: lost in a morning-after fog like Malloy’s three protagonists, each having radically relocated during lockdown. Susan (Margo Seibert) found herself in her dead grandmother’s ranch home in Latvia, pointlessly alphabetizing the library. Sadie (Mia Pak) moved into her auntie’s New Mexico adobe, where a life-simulation game akin to Animal Crossing was her only companion. Having holed up in a “red brick basement in Brooklyn,” Beckett (J.D. Mollison) soon turned into an Amazon shopaholic.As each now takes the open mic at the metaphysical bar to sing about going “a little bit crazy living alone in the pandemic,” it becomes clear, though, that more was at play. Encouraged by a bartender not incidentally called Wolf (Scott Stangland) — “don’t be afraid to go deep,” he says — they reveal to us, and perhaps to themselves, that Covid wasn’t the only threat to their well-being. Love, too, was a lockdown.A recent seismic breakup is part of all their stories. Susan’s ex, Julian, moved to another state for work. Sadie’s Jasmine kept “messing up” household routines with her spontaneity. Beckett did not feel safe letting his wife, Jackie, see fully “the darkness within” him. That these accusations are so transparently thin does not weaken their effectiveness as defenses — or, because we recognize the behavior, as storytelling.But Malloy’s attempt to cross-reference the stand-alone 30-minute stories with psychological and literal echoes palls. It’s easy enough to write off the twee alliteration of the three J-named exes as a kind of light rhyme or fairy-tale resonance. Same with the eight jugs of red currant wine in Susan’s tale that become eight cases of mezcal in Sadie’s and eight bottles of plum brandy in Beckett’s. Why eight? Why not? The point is that people drink heavily in isolation.The meaning of the more ornate linkages is less clear. Each segment includes an obligatory puppet — a Latvian house dragon, a video game badger, a creepy spider, all designed by James Ortiz — that feels more like a stab at theatrical variety than an expression of a relevant human need. (Even so, Annie Tippe’s staging grows monotonous.) The bar’s orange-vested waiters (Ching Valdes-Aran and Henry Stram) reappear as various loving grandparents, indistinguishable despite their accents. But all the characters seem to have been reverse engineered from templates, suggesting structural desperation.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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      Choreographer’s ‘Dog Poop Attack’ on a Critic Inspired This New Play

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      At this year’s Theatertreffen drama festival, one production explores an incident that shocked the German theater world last year.On Feb. 11, 2023, the choreographer Marco Goecke cornered a dance critic, Wiebke Hüster, during intermission of a performance at the Hanover State Opera in northern Germany. After asking her about negative reviews that she had written about his past productions, Goecke took out a bag of dog feces and smeared her face with it.That shocking incident, which generated headlines around the world, is the starting point for “The Dog Poop Attack,” a production at this year’s Theatertreffen festival in Berlin.Of the 10 shows at the event, a celebration of German-language theater, “The Dog Poop Attack” has arguably generated the most excitement, thanks to its explosive subject matter and its unlikely place of origin: Jena, a city in eastern Germany that is hardly known as a theatrical capital.After the incident, Goecke gave up his position as Hanover company’s ballet director “by mutual agreement.” He was later suspended from the Nederlands Dans Theater, the Dutch company where he was an associate choreographer. Hüster filed a criminal complaint against him; Goecke was ordered to pay 5.000 euros in damages. And while he has issued public apologies, Goecke has remained more defiant than contrite, and disturbingly equivocal: He has both admitted to overreacting and also tried to justify his behavior.“The Dog Poop Attack” mulls over the incident, the attention it generated and what it says about the state of the performing arts in Germany. The play’s premise is simple: A troupe of actors at a provincial theater hope that mounting a production has the idea of making a production about the infamous affair will help them gain wider attention. This meta-conceit recalls backstage farces like “Noises Off” and “Waiting for Guffman,” but this show, devised and written collectively by the six performers, the director Walter Bart and the dramaturg Hannah Baumann, does something so straightforward yet daring that it’s a minor miracle that it works.The production’s gambit is to dramatize the creative process itself. For the bulk of the evening, the actors — playing themselves, or thinly fictionalized versions of themselves — dramatically narrate their email exchanges about how to stage the show. The lively way they put their brainstorming, discussions and quarrels onstage, along with a healthy dose of irony, makes for provocative and absorbing theater.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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      ‘Nobody Cares’ About Laura Benanti, but They Let Her Entertain Them

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      While poking fun at her own agreeable malleability, Benanti flexes her talents in a show that will be available on Audible, without the physical dimension.Laura Benanti’s show “Nobody Cares,” at the Minetta Lane Theater, is being recorded and will soon be available from the comfort of your home. Future audiences are likely to enjoy Benanti’s autobiographical romp through her family life, her romantic and professional travails, her insecurities (see the title) and her often overwhelming need to please. They will appreciate the handful of original songs, which she wrote with the music director Todd Almond — Benanti is a fabulous singer, with a Tony Award on her mantel for her sultry turn as Louise in “Gypsy.”But because the show will be on Audible, those audiences will be made up of listeners, and they will miss out on the physical comedy of a woman who can communicate more with one raised eyebrow than most actors can with a lengthy monologue. Benanti dramatically throws herself on the floor during the number “Give It to Me” before effortlessly slithering back up. This might be an exorcism of the time she broke her neck while doing a pratfall as Cinderella in the 2002 revival of “Into the Woods.”Did that accident make her change her reflexive compliance? Nope: “There wasn’t a strong enough neck brace in the world that could have kept me from nodding ‘yes’ to something I strongly disagreed with,” she says in the show.That Benanti is a terrific all-around comedienne won’t surprise those who have seen, say, the musical “Women on the Verge of a Nervous Breakdown,” her impersonation of Melania Trump on “The Late Show With Stephen Colbert,” or videos like the one in which she reimagined the obsessive Fosca from Stephen Sondheim’s “Passion” as a Times Square mascot. Now she’s exploring new-ish terrain in an evening-length show, directed by Annie Tippe, that stands out from her past solo projects by relying more on narration and embracing a confessional mode. The general approach is a little reminiscent of Sherie Rene Scott’s “Everyday Rapture,” from 2009 (though that piece had more songs, and they were covers).After a beginning that feels stiffly self-conscious, Benanti loosens into her comedic rhythm and packs a lot into 90 minutes: a childhood as a theater nerd, three marriages, two daughters, perimenopause, shooting a nude scene in a recent prestige TV series. The production’s biggest missed opportunity might lie in how little Benanti interacts with Almond, who leads the five-piece band and occasionally pipes up with impeccably timed rejoinders, or with her backup singers, Barrie Lobo McLain and Chelsea Lee Williams.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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      A Times Reporter Visits the Latest Broadway Shows

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      What’s it like to attend twelve productions in nine days? Michael Paulson, the Times theater reporter, shared his sprint around Midtown Manhattan.Times Insider explains who we are and what we do and delivers behind-the-scenes insights into how our journalism comes together.I’m the theater reporter at The New York Times, which means I see a lot of plays and musicals — about 100 a year. But I don’t often go to opening nights. Those evenings are celebratory, and audiences are filled with the productions’ friends and supporters. The press is generally invited to attend performances on the nights just before (those are called previews) or after the openings.This year was different. My colleagues and I noticed some months ago that April — always a busy time for Broadway as shows scramble to open by the deadline to be eligible for the Tony Awards — was shaping up to be more congested than usual. Twelve shows were opening in a nine-day stretch.Oprah Winfrey attends the opening night performance of “Hell’s Kitchen.”Landon Nordeman for The New York TimesThis is a tough time for Broadway. Production costs have risen and overall attendance has fallen since the pandemic. I suggested to the Culture desk’s editors that it might be interesting if we sent a reporter and photographer to every opening, chronicling these moments of hope at a time of challenge.As the saying goes, be careful what you wish for.That’s how I wound up spending nine days with the photographer Landon Nordeman, lurching from show to show; watching as many performances as I could; hanging out on red (and yellow, and pink, and blue) carpets; listening to curtain call speeches; and even popping in to a few after-parties.I worked with two photo editors, Jolie Ruben and Amanda Webster; a visual storytelling editor, Josephine Sedgwick; the theater editor, Nicole Herrington; and the Arts & Leisure editor, Andrew LaVallee, to hash out a strategy. We asked ourselves: How would we differentiate the openings from one another? And how could we use the sea of events to help our readers, most of whom live far from Broadway, understand more about this industry and this art form?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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      Bebe Neuwirth on the Part of a Stage That Feels Like Home

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      “I love older theaters in particular,” said the actress, who is up for her third Tony for “Cabaret.” “The new ones don’t have as many ghosts.”Even when Bebe Neuwirth isn’t dancing, she’s dancing.“I am a dancer first,” she said in a phone interview from her apartment in Greenwich Village. “I’m a physical performer, and that impulse, that expression doesn’t go away even if I’m standing still and listening to someone.”Neuwirth, 65, is a Tony Award nominee for her performance as Fräulein Schneider in “Cabaret” and is already a two-time winner for her roles in “Sweet Charity” in 1986 and “Chicago” in 1997. She has also gained fans for her television work on the Julia Child dramedy “Julia” and the long-running sitcom “Cheers.” But it’s theater that keeps calling her back.“I’ve been onstage since I was 7,” she said. “It’s my home.”On a rainy afternoon, Neuwirth discussed her love for the city’s Art Deco buildings, why the Jersey Shore is magical in winter and where to find the best softball in Manhattan. These are edited excerpts from the conversation.1Flea MarketsSome of my first flea markets were at the Rose Bowl, and now I seek them out wherever I am. I go down to the one under the Brooklyn Bridge sometimes. Most of my house is filled with things I’ve collected from flea markets, but I’m always looking.2Ceramics StudiosFor the last four years, off and on, I’ve been going to ceramics studios and throwing clay, hand building clay. I love spending time there. Friendships get made just like they do in ballet class.3Dog ParksI don’t have one — though I do have three cats — so I love walking through a dog park and watching them play and interact. I love big dogs — German shepherds, Doberman pinschers, huskies, Weimaraners. And I like small dogs who are really big dogs at heart. I love Pomeranians because those tiny little fluff balls are actually huge dogs on the inside — they crack me up!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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      Avett Brothers Musical, ‘Swept Away,’ to Open on Broadway This Fall

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      The show, inspired by a 19th-century shipwreck, has had previous runs in Berkeley, Calif., and Washington.“Swept Away,” a new musical featuring songs by the Americana band the Avett Brothers, is planning to open on Broadway this fall, following productions in California and Washington.The musical is inspired by a once-famous shipwreck: In 1884, a British yacht called the Mignonette was wrecked at sea, and the four-man crew’s desperate efforts to survive, which included cannibalism, led to a protracted and influential legal battle. The details of the ordeal have been changed for “Swept Away,” which is set in 1888 on a whaling ship off the coast of New Bedford, Mass.Much of the musical’s score is drawn from “Mignonette,” a 2004 Avett Brothers album inspired by the shipwreck. But the score also includes songs from four other Avett Brothers albums and an original song the band wrote for the stage show.The band announced that the musical would be coming to Broadway during a concert on Friday night at Forest Hills Stadium in Queens. Some of the actors who have performed in previous iterations of the show joined them onstage.The musical features a book by John Logan, who won a Tony Award for writing “Red.” The director is Michael Mayer, who won a Tony for directing “Spring Awakening.”The show has had two previous productions, in 2022 at Berkeley Repertory Theater in California, and last winter at Arena Stage in Washington. Thomas Floyd, a critic for The Washington Post, called it “transfixing” and said “this morality tale launches with toe-tapping propulsion before anchoring for an intimate elegy on grief and guilt.”A spokesman said the musical would open this fall at a Shubert theater, but said the production was not ready to confirm the specific timing or location. The principal actors from the previous productions — John Gallagher Jr., Stark Sands, Adrian Blake Enscoe and Wayne Duvall — joined the Avett Brothers onstage Friday night, and were introduced as “the cast of the soon-to-be-officially Broadway show.”The Broadway run will be produced by Matthew Masten, Sean Hudock, and Madison Wells Live (founded by Gigi Pritzker, a billionaire film producer). More

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      ‘Dungeons & Dragons’ Review: Community Building One Dice Roll at a Time

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      Improv adds a theatrical dimension to the role-playing game, which has been undergoing a renaissance as it turns 50 this year.While familiarity with things like non-player characters and their degree of disposability is not strictly necessary to enjoy “Dungeons and Dragons: The Twenty-Sided Tavern,” it certainly helps. At the very least, try tagging along with someone with an awareness of tabletop role-playing games.Indeed, hearing such jokes as “Be gentle — this NPC doesn’t have the ‘essential’ tag,” made me grateful for the quality hours I spent playing Chivalry & Sorcery in my 20s. And the raucous laughter that welcomed the line at a recent performance of this Chicago import, now at Stage 42, confirmed I was among folks who shared an understanding.This is less restrictive than it might sound in terms of potential audience because Dungeons & Dragons, which is turning 50 this year, has been undergoing a startling renaissance. People gather for regular sessions and the game maintains a strong pop-culture presence, from being a key component of the Netflix series “Stranger Things” to providing the framework for films like last year’s “Dungeons & Dragons: Honor Among Thieves.”But unlike that straightforward fantasy tale, “The Twenty-Sided Tavern” is basically a play session. This makes it closer to the wildly popular output of Critical Role Productions, which presents live role-playing campaigns on various platforms.Practically speaking, the show follows the basic steps of a D&D adventure. Three actors try to pull off a mission by reacting to prompts, solving riddles and, naturally, engaging in fights. This all happens under the direction of a dungeon master, played by DAGL (though his real name is David Andrew Laws), who created “The Twenty-Sided Tavern” with David Carpenter and Sarah Davis Reynolds (herself playing the watering hole’s keeper).Three of the actors can handle several characters within the same class: Madelyn Murphy can play three versions of a mage, Tyler Nowell Felix three versions of a fighter and Diego F. Salinas three types of rogue. The specific characters and their mission are assigned at the start of the show, the first of many narrative forks each performance can take. The audience can use their phones to participate via the browser-based platform Gamiotics. (My phone sometimes lagged, preventing me from casting votes I like to think would have been crucial, but most likely weren’t.)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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      Review: ‘Problems Between Sisters’ Puts a Spin on the Berserk Boys Club

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      Julia May Jonas turns the menacing male siblings of Sam Shepard’s “True West” into squabbling pregnant sisters in Vermont.When we first see Rory (Annie Fox) she is flaunting a septum piercing, cutoff jeans girdled by a rubber band, and a level of hygiene seemingly designed to repel anyone within her smell radius. She has hitchhiked her way to her aunt’s cozy cabin in Vermont, where her older sister, Jess (Stephanie Janssen), has been temporarily staying. Jess is also pregnant. And there the similarities ostensibly begin and end.Whereas Rory takes pride in being a “transient outsider, raw and untrained,” in Julia May Jonas’s “Problems Between Sisters,” Jess is an emotionally Spanxed up, expensively shampooed and educated visual artist preparing for her first solo show.Jess’s art dealer (Maya Jackson), visiting the cabin, is taken with Rory’s unorthodox “look” and, on the strength of zero pieces of original art, commissions a video from her. Rory, a lapsed multimedia artist, tries to rope her sister into helping her create a video “de-sainting the idea of the pregnant woman,” a project that may or may not involve nudity.Cortisol-spiking chaos ensues.Jonas’s play, directed by Sivan Battat at Studio Theater in Washington, was conceived as a “response” to Sam Shepard’s “True West.” “Problems Between Sisters” is one of five projected works in Jonas’s “All Long True American Stories” cycle, which reimagines canonical dramas by white male playwrights for “other people (mostly women).” Shepard’s 1980 play made hay of the fraternal rivalry between Austin, an Ivy-League-educated screenwriter, and Lee, a rough-hewed petty thief. After a producer greenlights an underbaked movie idea of Lee’s, the brothers attempt to write a passable script, only to dance a pas de doom.The sneaky brilliance of “Problems Between Sisters” is that it doesn’t simply ask, “What if the brothers were sisters?” but rather the more complex question: “What if the sisters gave themselves permission to act as men do?” More precisely, what if women ceded control to their inner art monsters? The question has special resonance for Jess, who has toiled for 20 years to get that solo show.Rory has a leg up on Jess in the chutzpah department and, as in “True West,” much of her badassery rubs off on her starchy sister over the course of the play’s fleet 100 minutes. A keyboard gets smashed, tables and chairs are overturned, food is spilled, weed is smoked and verbal hand grenades are hurled.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