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      Sebastian Maniscalco’s Toughest Audience Is His Kids

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      “When they laugh, it blows away the feeling of 20,000 people,” says the comedian, who stars in the new Max series “Bookie.”Sebastian Maniscalco sells out theaters riffing on his tight-knit Italian American family. Earlier this year, in the movie “About My Father,” Robert De Niro played his hairstylist dad — who tutored the actor in the art of applying highlights. He even pitched a series centered on his life to the sitcom creator Chuck Lorre.But Lorre had another idea. Would Maniscalco be game to portray a Los Angeles bookie adjusting his business plan as the legalization of sports gambling looms?“I said, ‘Yeah, that sounds like an interesting world to live in,’” he recalled. The clincher: “I liked not playing me.”“Bookie,” out Thursday on Max, caters to the antics that Maniscalco, with his elastic body and malleable face, excels in.“I love not only telling a story, but kind of acting it out,” he said in a video interview from Atlantic City, N.J., where he was wrapping up a residency.Onstage, Maniscalco is every bit the exasperated son, husband and father who finds even a trip to the grocery store a painful undertaking. But in real life, he revels in Sundays at the farmers’ market with his young daughter and son, admiring the art of his wife, Lana Gomez, and Whirley Pop movie nights with the whole family.These are edited excerpts from the conversation.1My TheragunI love massage, and I try to get one once a week. But when I’m on the road it’s hit or miss. And I like a really, really deep-tissue massage. So that’s what the Theragun provides for me.2Farmers’ MarketsIt’s not necessarily shopping for fresh ingredients, but for me now with kids, to watch them walk around the farmers’ market and get excited about seeing that they’re making caramel corn, or you could feed the goat or the rabbits, or that there’s a whole pistachio stand. It’s a family tradition that we do on Sundays when I’m in town.3My Wife’s ArtMy wife is unbelievably positive and cheerful, and her art reflects her personality. It’s abstract, it’s colorful, it’s happy. I wasn’t a big art guy prior to meeting my wife, but I have a different appreciation now about what goes into creating a piece of art. We have this huge piece in the living room that she just put up, and it’s different shades of green. It reminds me of her every time I see it.4Megaformer PilatesI thought Pilates was on the floor. And then next thing you know, I’m strapped into a machine, and I’m doing these movements that I haven’t ever done before, and my body is becoming elongated. If you do it on a consistent basis, you really start to see the muscles that are being used.5Whirley Pop Movie NightsWe love making popcorn, and my wife turned me on to this machine, which has that crank on the side that stirs the kernels. Just canola oil and salt — that’s all you need. And we sit and watch movies. Now that the kids are getting older, they’re starting to get into movies that I grew up with, like “The Wizard of Oz” and “Willy Wonka & the Chocolate Factory.” My daughter is into doing all the songs from “Grease.”6EatalyThey have lobsters in an aquarium where the kids can look, and they have big whole fish with the eyeballs. They have a little pasta station, and I ask them, “OK, pick out the pasta that you want Daddy to make you tonight.” I feel like they have more of an appreciation of the food because they’re invested in it. I also want to open up their palates to different sauces on the pasta other than butter and cheese.7Cooking to Relax, Sort OfSome guys go golfing. I like cooking for people. It’s a little nerve-racking because something could go wrong and you’ve got 13 people over. The problem with me is I like to do too much. I like people to be full before they even start eating the entree.8Surprise Date NightsSometimes you become ships passing in the night, and you need that time together as a couple. So she picks a night and surprises me where we’re going to go. And then the next week I’ll pick a night and surprise her. I think it’s very important to have those date nights in a marriage that let you reconnect.9‘Succession’It is more of a comedy for me because I find myself laughing at a lot of the things they say, particularly Brian Cox, who was hysterical in this thing, and Kieran Culkin, the zingers that they throw out. I think I’ve got about four episodes left.10My Toughest AudienceThere was nothing better for me than making a room full of strangers laugh — until I had kids. When they laugh, it blows away the feeling of 20,000 people. If I get my daughter rolling on a laugh, for me it’s gold. They’re my toughest audience, but the most rewarding. More

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      ‘Doctor Who’ is Back. Here’s What You Need to Know.

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      The British sci-fi show is celebrating its 60th anniversary with three specials featuring some familiar faces.It’s rare for a television show to celebrate its 60th anniversary. It’s even rarer for a show to be entering a new era on its 60th anniversary.But “Doctor Who,” the British sci-fi show that began airing on the BBC in 1963, is in a period of expansion. Three upcoming specials, celebrating the show’s latest milestone, will arrive weekly on Disney+ in the United States from Saturday, as part of a deal between the streamer and the BBC.And then a new season, starring Ncuti Gatwa (“Sex Education”) in the title role, will arrive next year on Disney+ (and the BBC in Britain) following an extra Christmas Day episode. Russell T Davies, who relaunched the show in 2005, is the showrunner for them all.“Doctor Who” has decades of adventures, villains and complex story lines for dedicated fans to immerse themselves in. But if you’re new to the show, here’s what you need to know before tuning into the upcoming specials.A Quick RecapDavid Tennant, right, as the Doctor in Season 4 of “Doctor Who.” Tennant will rejoin the show for the 60th anniversary specials. Adrian Rogers/BBCThe Doctor is a Time Lord from a planet called Gallifrey, who travels across time and space in a Tardis, an unassuming spacecraft that looks like an old British police box, which members of the public used to call the authorities. His mission is to protect Earth, and the humans who live there, from a variety of threats.“The Doctor is the nerd, the well-read misfit, who isn’t particularly physical, who still wins the day,” said Toby Hadoke, an actor who hosts a podcast dedicated to the show. “The Doctor always offers hope for the person who feels slightly left out.”David Tennant, who played the Doctor between 2005 and 2010, and will be back as the star of the 60th anniversary specials, said that he thought the show’s appeal was “the way the domestic and the simplistic and everyday meets the fantastical and the absurd.” In the show’s world, “the most extraordinary things become very relatable,” he said.The show’s longevity is partly thanks to the fact the Doctor can “regenerate,” meaning a new actor can step into the role, but the show also experiments with genre, and the same season can include a historical drama one episode and a modern political satire the next.“Every time the Tardis door opens and the team steps out to a new planet, or a new time, or a new story, then it begins again,” Davies, the showrunner, said.The Doctor usually travels with a regular human companion, who in the 60th anniversary specials is played by the comedian Catherine Tate.Where Are We With the Plot?Jodie Whittaker became the first woman to play the Doctor in Season 13.BBCAt the end of the last season, Jodie Whittaker, the 13th incarnation of the Doctor, regenerated.Traditionally, a new actor plays each incarnation, and Gatwa is confirmed to be the 15th Doctor. But for the upcoming 60th anniversary episodes, Whittaker has turned back into Tennant, who was the 10th Doctor from 2005 to 2010, and then again for a 50th anniversary special in 2013.Rather than reprising the 10th Doctor, in the upcoming specials, Tennant will portray a 14th Doctor, the first time an actor has played two distinct Doctors. (Keeping up?)“Who is to say you can’t do this?” Davies said. “There’s absolutely no doubt that it can happen.”Tate will also reprise her role as Donna Noble, the Doctor’s companion. But in their last adventure together, which aired in 2008, the Doctor wiped Donna’s memory, and with it all recollection of their time together. If Donna remembers him, she will die. And yet they will reunite in the upcoming specials.“I had left our heroes in a tragic situation separated forever, unable to ever be happy again,” Davies said. “That’s begging for a final act, isn’t it?”How to Watch in the U.S.Ncuti Gatwa will star as the Doctor in the show’s upcoming season.Tolga Akmen/EPA, via ShutterstockWhile “Doctor Who” has aired in the United States for a number of years, including on PBS, the Sci Fi Channel and BBC America, the new international distribution deal with Disney+ could make the show more accessible to a casual audience. For new viewers, the 60th anniversary specials will begin with a prologue recapping the Doctor and Donna’s story.If you would like to dive deeper into the back catalog, older “Doctor Who” episodes are available to stream in the United States on Max or BritBox.An Inclusive Sci-Fi ShowYasmin Finney will join the cast of “Doctor Who” in the new season.Gareth Cattermole/Getty Images“Doctor Who” has long been notable among sci-fi franchises for its onscreen diversity. Whittaker became the show’s first female Doctor in 2017, and in 2020, Jo Martin played an incarnation of the Doctor known as the Fugitive Doctor, the show’s first Black doctor. And Yasmin Finney, a trans actor who played Elle in the Netflix show “Heartstopper,” is also joining the cast.“The show has always been good at appreciating inclusivity, and cherishing the different,” said Tennant, who added that he grew up as a “skinny bloke with specs in Scotland, who didn’t feel like the coolest person in the room.”But “the Doctor celebrates uncoolness,” he added. “And that was something I appreciated.” More

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      Suzanne Shepherd, Actress Known for Playing Mothers, Dies at 89

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      After establishing herself as a teacher, she started a prolific screen acting career in her 50s that included roles in “Goodfellas” and “The Sopranos.”Suzanne Shepherd, an influential New York acting teacher who found success in midlife as a character actress, including memorable turns as the mothers of Edie Falco’s character on “The Sopranos” and Lorraine Bracco’s character in “Goodfellas,” died on Friday at her home in Manhattan. She was 89.Her daughter, Kate Shepherd, said the cause was chronic obstructive pulmonary disease and kidney failure.After establishing herself as a stage actress and director, Ms. Shepherd became well known as an acting instructor — her students included Gregory Hines, Bebe Neuwirth and Christopher Meloni — before she began acting in film and on television when she was in her mid-50s.She began her big-screen career with two 1988 romantic comedies: “Working Girl,” in which she secured a role from its director, her old friend Mike Nichols, appearing alongside Melanie Griffith and Harrison Ford; and “Mystic Pizza,” playing an aunt of Julia Roberts’s character. She would accumulate about 40 film and television credits in the decades to come, with maternal roles a signature.In Martin Scorsese’s “Goodfellas” (1990), Ms. Shepherd turned in a fiery performance as a protective suburban Jewish mother who is horrified when her daughter Karen (Ms. Bracco) starts dating Henry Hill (Ray Liotta), a charming young associate of Italian American mobsters from Brooklyn. “You’re here a month, and sometimes I know he doesn’t come home at all,” her character seethes to Karen in a memorable scene in the family’s living room. “What kind of people are these?”Her other films include the John Candy comedy “Uncle Buck” (1989), the Tim Robbins psychological thriller “Jacob’s Ladder” (1990) and the 1997 film version of Vladimir Nabokov’s “Lolita,” starring Jeremy Irons and Dominique Swain.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.We are confirming your access to this article, this will take just a moment. However, if you are using Reader mode please log in, subscribe, or exit Reader mode since we are unable to verify access in that state.Confirming article access.If you are a subscriber, please  More

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      Danielle Brooks and Sam Jay on Confidence and ‘The Color Purple’

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      Two creative people in two different fields in one wide-ranging conversation. This time: the actress and the comedian.Viewers first saw the actress Danielle Brooks as Taystee, the smartest and funniest of the prisoners on “Orange Is the New Black,” the incarceration dramedy that began in 2013 and ran for seven seasons on Netflix. This month, she’ll appear in “The Color Purple,” the second film adaptation of Alice Walker’s 1982 novel, this one based on the 2005 Broadway musical it inspired. Brooks’s character, Sofia, forced to work a grueling job as a maid for a white political family in early 1900s Georgia, was portrayed by Oprah Winfrey in Steven Spielberg’s 1985 adaptation; Brooks, 34, a Juilliard School-trained actress who was raised in South Carolina, played her in the musical’s 2015 revival. That production was Brooks’s Broadway debut; last year, she starred alongside Samuel L. Jackson in a revival of August Wilson’s “The Piano Lesson” (1990).The comedian Sam Jay, who grew up in Boston and whose humor Brooks has long admired, recently released her first HBO special, “Salute Me or Shoot Me.” Jay, 41, spent years doing stand-up in Los Angeles before joining the writers’ room of “Saturday Night Live” in 2017. She left the show after three seasons for two series, “Pause With Sam Jay” (2021) and “Bust Down” (2022), both of which she helped create and starred in, and which highlight her frank, anecdotal style. This past October, the two gathered in a photo studio in downtown Manhattan to discuss acting, impostor syndrome and learning the importance of asking for what they need.T: Many stage shows that perform well are rumored to get adaptations that never materialize — but this one did, and quickly. Is that just the power of the film’s producer Oprah Winfrey?Danielle Brooks: I think for Oprah it’s making sure the story continues to have a life — that it lives through generations.Sam Jay: You shot in Georgia, right? I always wonder about Black people shooting these period films where they have to go back to being downtrodden, sweaty Black. How do you snap out of that and then just, like, go chill at Checkers?D.B.: It was tough but at times cool because you’re in it. It’s the difference between doing it on a stage versus on an actual plantation. It did get real at times: All I could think about was how many of my people were hung from those trees. I had the responsibility of making sure I told this very beloved story as honestly as I could to represent those people who aren’t here.Brooks and Corey Hawkins in the forthcoming film adaptation of “The Color Purple.”Eli Ade/Waner Bros.S.J.: Are they going to let the main characters Shug and Celie be gayer? Because they’re gay as hell in the book, and they really skipped over that in the first movie. When I read the book … it wasn’t just some crush; they were together.D.B.: You’re going to be satisfied. You get that, which I was happy about.S.J.: I feel like that was a part of the story Walker was trying to tell.D.B.: I got to meet her on set, and my close friend Corey Hawkins, who plays Harpo [Sofia’s husband], took a video of it, which was great because for me it starts with her. My whole pop-off — my Broadway career — started through her book.S.J.: These Broadway runs. …D.B.: It’s crazy. I imagine there was a lot of preparation before doing your HBO special, though, too. Do you remember how many shows you did before that?S.J.: I did somewhere around 300 shows for a year and a half. I was maybe three or four months into touring when I bumped into Chris Rock. We had dinner and he was like, “I don’t do less than 250 shows before filming.” So I immediately called my agent and got more on the books. Then I’m feeling myself because I’m, like, 20 shows away from my 250 and Chris goes, “Yeah, 50 more shows. I’m not telling you to do anything I wouldn’t do!” But I watch that special now and think, “Ah, growth.”D.B.: That’s how I feel with “The Color Purple.” When I did the Broadway show, I had so much anxiety and was going to therapy because I felt like an impostor. Cut to five years later, doing the movie, I felt such comfort. I might have done 500 shows, now that I think about it. One year, eight shows a week — someone do the math — but I felt more confident, worthy enough to portray this character.S.J.: Confidence, I’ve come to feel, is just knowledge. The more information you have, the more confident you are. When I look at my special, I can tell I was free.D.B.: I always thought you were free, every time I’ve watched you. I’m pretty picky about comedians; I don’t laugh at a lot of stuff. I’m the person in the audience the comedians make fun of, like, “Look at this bitch not laughing,” and then I’m still not laughing.S.J.: I think only you know what you’re hiding. In real life, I’m very silly and physical when I’m talking but, for some reason, when I’m onstage, I’m like, “You ain’t no clown! You don’t need to be doing all that flailing around.” It’s dumb because it’s comedy, but it was really me just being afraid to let that side out.D.B.: Did you ever feel, when you were starting out, that there was a comedian you wanted to style yourself to be like?Jay’s 2023 HBO special, “Salute Me or Shoot Me.” Courtesy of HBOS.J.: I don’t think I wanted to be like anyone, but you get ideas from others. Chris Rock was the first comic I saw who made sense to me. I grew up in a “Def Comedy Jam” era, with Black and white comedy being very separate. I love that era, but that’s not how my brain works. I’m not good at roasting. I’d seen George Carlin, too, and that seemed very white. But Chris was this hybrid I thought was cool.D.B.: I feel like some people won’t give you the real — where you think, “I can’t believe they just said that” — but also make you examine why you think the way you do. That’s so important in any medium, and the point of what we do, so we can see ourselves. Comedy’s always been that easier pill to swallow, for the truth. So when somebody can do that, not just make you laugh but question why you think about, you know, disabled people in some way, or why you don’t like to use the N-word, I find it important. What I’ve always enjoyed is that you don’t hold back. In a way, I can be guarded, but you’re very, “No, let’s talk about it.”S.J.: It comes from a kind of twisted place of my mom passing away [in 1998, from lupus] and me accepting the idea of mortality, that you don’t live forever. I moved out when I was 16 — I’ve had no parent longer than I’ve had a parent. I sometimes don’t remember my mother’s face, but I remember how she made me feel. That’s all that remains. I remember the lessons she taught. So it’s just about trying to be intentional in every interaction.D.B.: I think that’s the same for me … being more guarded because my mother is a minister. She’s very much, “Be careful what you do; what you say is going to affect you till you die.” I love my mom, I respect her 100 percent, but I have to live for me because it’s my life. But I want to hear about your experience booking “S.N.L.” I want to be on that show so bad!S.J.: I get this call from my manager, “Will you audition for ‘S.N.L.’ tomorrow?” I’m like, “Do they really want me? I’m not doing a character.” I didn’t want to set myself up for failure. I audition, then get a call saying, “We know you auditioned for the cast but how would you like to come be a writer?” I hang up and I’m like, “Damn, OK, too ugly for TV.” But I needed to step into something new at that point in my career. I’m all about going toward things that you’re afraid of, so I said yeah.Brooks (center) as Sofia in the 2015 Broadway revival of “The Color Purple.”Sara Krulwich/The New York TimesD.B.: Do you ask for what you need when you’re doing a show, or do you settle a bit?S.J.: I’m going to ask for what I need.D.B.: I think about a lot of women in comedy who aren’t matching up to what men are making or getting, in terms of perks. It’s just not happening. I was watching Luenell’s comedy show, and she was talking about being on a plane with comedians, and the men are flying first class and she’s in coach.S.J.: At first, I was absolutely scared to ask. I didn’t know what was OK.D.B.: You do have a core group of people that you can go to where you can say, “Let’s be real: How much do you make on this?”S.J.: I wish it was stronger, but I do feel like I got a couple of people where we try to be pretty transparent about that stuff. That’s the age-old trick where you have a 9-to-5 and they’re like, “You guys aren’t allowed to talk about this.” And it’s like, “Yeah, so you can keep us all poor.”D.B.: That’s been one of the best parts of having a friend group in the industry, our transparency. We’re not gonna brag about our contracts, but if you want to know, we’ll lay it out so we can come up together. You don’t know what you don’t know. That’s what drives me crazy: when you find out someone had a personal chef or a trainer, and you’re like, “Nobody told me that was a possibility, and I needed it more than they did.”S.J.: I think working behind the scenes, working on “S.N.L.,” knowing the lengths they’ll go to make sure the talent is OK, now when I’m being the talent, I’m like, “Do that for me.” It sometimes feels bitchy, but that’s just a stigma in our heads as women.D.B.: There are a lot of ways we should be given more respect. I think about hair and makeup: Why is it so much to ask for someone who can actually do my hair, rather than teaching somebody to do it? And why is it so wrong to ask for somebody who can do my face rather than having to come to them with the products I use?S.J.: The ask, at its core, is coming from a place of having to build up the confidence to do this work. That’s the thing that gets misconstrued when Black people say they want Black people in these spaces. The reverse racism crowd sees that as wanting everything to be all Black, when, no, it’s because we know we need this stuff.D.B.: I don’t want to go to a costume fitting and have to give them a list of shops and places to get my clothes. On “The Color Purple,” our hair and makeup departments were phenomenal — the wigs matched; the lace was lacing.S.J.: You know “The Color Purple” is coming correct.T: How do you work comedy into your performance of Sofia, who’s one of the most visibly oppressed, but also most joyous, characters in the film?D.B.: Sometimes, when people go through so much, they don’t want to dwell on that; they’re longing for joy and laughter. She’s somebody who tries to stop generational curses, whether that be through an abusive marriage or abusive parents. She’s trying to bring her community to the right path. She might not have all the skills to do so — she might use her fists or her mouth — but, at her core, she’s not looking for a fight. She’s looking to have a great day.This interview has been edited and condensed.Danielle Brooks: Fashion: ObyDezign. Hair: Tish Celestine at La Belle Boutique, NYC. Makeup: Renee Sanganoo using Nars at the Only AgencySam Jay: Hair and makeup: Merrell Hollis More

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      ‘How to Dance in Ohio’: A Story About Autism and Connection

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      In a first for Broadway, openly autistic actors are playing the autistic characters in this new musical about a doctor helping neurodiverse clients.To get to Amigo Family Counseling, I walked down beige hallways on the first floor of a building in a ho-hum Columbus, Ohio, office park a short walk from a Bob Evans restaurant.The center’s clinical director, Dr. Emilio Amigo, waved at me once I got inside. Behind a closed door I heard the voices of his clients — autistic young adults from mostly working- and middle-class central Ohio families — boisterously chatting about their Friday night plans.I was there to talk about “How to Dance in Ohio,” a new Broadway musical that features Dr. Amigo and seven of his autistic clients as characters. The show — pop in score and sensibility — is based on Alexandra Shiva’s 2015 documentary, which follows Dr. Amigo and many more of his clients as they navigate life and eagerly, but anxiously, prepare for a spring formal. (The musical is in previews at the Belasco Theater in Manhattan, where it is scheduled to open on Dec. 10. The documentary is on Max.)In a room filled with board games and framed illustrations of rainbow-bright robots, I met Tommy Van Atta. I asked him to tell me what it was like to be in the documentary and now be a character in a musical adaptation. Van Atta, 28, who has the frame of a linebacker, paused for a few seconds, then spoke softly.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.We are confirming your access to this article, this will take just a moment. However, if you are using Reader mode please log in, subscribe, or exit Reader mode since we are unable to verify access in that state.Confirming article access.If you are a subscriber, please  More

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      “Harry Potter” Stuntman Tells His Story in a New Documentary

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      In a new documentary, David Holmes, a stunt performer in the ‘Harry Potter’ films, recalls his life before and after a harrowing accident on set that left him paralyzed.When David Holmes arrived at rehearsal to perfect a fight scene for the penultimate “Harry Potter” film, he was strapped into a harness that was supposed to send him flying backward.But Holmes was jerked back too fast, hitting a wall and breaking his neck, leaving him paralyzed from the chest down.His career as a stunt performer was over, at age 25. He had portrayed Daniel Radcliffe’s title character and others, including Hermione Granger, Ron Weasley, Draco Malfoy and Neville Longbottom, since the franchise’s first installment.After years behind the scenes, Holmes will now tell his story in a new documentary, “David Holmes: The Boy Who Lived,” which is streaming on Max and will air on HBO on Wednesday at 9 p.m. and on Sky Documentaries and NOW in Britain on Saturday.Holmes is teaming up again with Radcliffe, the executive producer on the project, which captures his life before and after his injury. Radcliffe and Holmes said they hoped to call attention to stunt performers, who often put their lives at risk with little recognition.“It’s nice to know my legacy in film is not just me hitting that wall,” Holmes said in an interview.Holmes hasn’t fully embraced the limelight, Radcliffe said, and “just wants to shine it onto other people.”Radcliffe and Holmes had known they wanted to work on a project together for a while, they said. Initially, though, Holmes didn’t want to be the focus.“You put on a costume, and you take on a character the same way an actor does. You have that safety net to live behind that character,” Holmes said. “It’s very different now because it’s me.”Radcliffe and Holmes had worked together on a podcast called Cunning Stunts, interviewing stunt performers and coordinators about their work. Radcliffe had also filmed some of the interviews and thought that he’d try his hand at directing a documentary. But he wasn’t quite satisfied with his work.“We started filming some stuff, and then after a while I thought, ‘I don’t think I’m very good at this,’” he said. “We should bring someone else in.”To direct, they landed on Dan Hartley, who had worked as a video assist operator among other roles in the “Harry Potter” films and recently directed “Lad: A Yorkshire Story,” a coming-of-age film about a 13-year-old boy befriending a park ranger after losing his father. The three eventually agreed to shift the focus of the film to Holmes.It wasn’t the plan to use someone from the “Harry Potter” crew, but Hartley seemed like a perfect fit, Radcliffe said.The cast and crew grew close on the film sets, and Radcliffe referred to Holmes as a “cool older brother.”“We wanted someone who has the same kind of connection to Dave that we do,” Radcliffe said. “Not someone from the outside who is going to shape Dave’s story into something else for the sake of making something more sensationalized.”As they started creating the film, they realized it was the first time they had all spoken together about Holmes’s accident.“No one wanted to be the first one to bring it up,” Radcliffe said, “but I definitely think there was something like quite cathartic for everybody on this film who got to talk about it with each other.”Holmes spoke about what life was like after the injury and the people he had met while he was hospitalized, including Will Pike, who was injured in the 2008 Mumbai terrorist attacks and was in the bed next to his.Hartley and Radcliffe said that seeing young men being emotional was moving, as was parting from traditional masculine stereotypes that can be prevalent in stunt culture.“What I think is really powerful is seeing these young, sensitive men talking,” Hartley said. “They were just so vulnerable and honest.”Above all, Holmes said he wants his story to bring hope.“We all experienced loss in our life. I learned that at the age of 25,” he said, “and it taught me to be present to appreciate the now.” More

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      Kevin Hart to Receive Mark Twain Prize for American Humor

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      The comedian and movie star will get the honor, the most prestigious in comedy, at a March ceremony.In his rise to the very top of the comedy world, Kevin Hart has done everything from delivering hit specials to selling out a football stadium to starring in box office smashes like “Jumanji.”On Wednesday, the John F. Kennedy Center for the Performing Arts recognized that versatility and announced that it would award its 25th annual Mark Twain Prize for American Humor to Hart at a ceremony on March 24. The center cited his “iconic characters, inimitable physical comedy, and relatable narratives,” as well as his achievements as a comedian, actor, writer and producer.In a statement, Hart, 44, noted that he had been performing stand-up since at least the inception of the award. “To be honored in this commemorative year feels surreal,” he added. “Comedy is my outlet for social commentary and observations on life — I am grateful to the Kennedy Center for recognizing my voice and impact on culture. I can’t wait to celebrate!”He got his start in Philadelphia at a comedy club amateur night and built up a career that included major tours like “Laugh at My Pain” (2011), one of several shows that were turned into concert films. That includes his 2015 performance before 53,000 fans at the Philadelphia Eagles stadium. In addition to appearing in TV series like “Real Husbands of Hollywood” and “Modern Family,” he found big-screen success as a foil for Dwayne Johnson (the “Jumanji” movies, “Central Intelligence”), Ice Cube (the “Ride Along” franchise) and Mark Wahlberg (“Me Time).There have been controversies along the way. Hart was to host the Oscars in 2019, but a backlash over old tweets and jokes that were considered homophobic led him to withdraw, saying, “I sincerely apologize to the L.G.B.T.Q. community for my insensitive words from my past.” More

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      Shirley Jo Finney, 74, Dies; Addressed the Black Experience Onstage

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      After an acting career that included playing the Olympic sprinter Wilma Rudolph in a TV movie, she became known as a director for her work at regional theaters.The actor and director Shirley Jo Finney in 1974 in Sacramento, Calif., where she studied drama. “I have, basically, always been ‘the first African American,’” she once said.Frank Stork/Sacramento Bee, via the Center for Sacramento HistoryShirley Jo Finney, an actor who became a prolific and award-winning director of plays that dug deeply into the Black experience, died on Oct. 10 in Bellingham, Wash. She was 74.The cause of her death, in a hospital, was multiple myeloma, said Diana Finney, her sister and only immediate survivor.Ms. Finney worked for nearly 40 years at regional theaters, where she directed dramas like Pearl Cleage’s “Flyin’ West, which tells the story of late-19th-century Black female homesteaders in Kansas; Ifa Bayeza’s “The Ballad of Emmett Till,” about the 14-year-old boy who was kidnapped, tortured and shot by two white men in Mississippi in 1955; and Dael Orlandersmith’s “Yellowman,” which examines interracial prejudice through the story of two young lovers, one with a light complexion and one with a dark one.“She was very much drawn to material by great playwrights of color,” Sheldon Epps, the artistic director emeritus of the Pasadena Playhouse, where Ms. Finney directed twice, said by phone. “But it was also a result of the categorization that artists of color still suffer, where they are assigned to Black plays and not thought of for plays by other writers.”Ms. Feeney was, Mr. Epps said, “passionate and relentless in all the right ways.”When asked about her choice largely to direct plays about Black characters and themes, Ms. Finney recalled her background.“I have, basically, always been ‘the first African American,’” she told The Los Angeles Times in 1999, during the run of “Flyin’ West” at the Pasadena Playhouse. “My family was the first African American family to move into the neighborhood that I integrated, and then I had to go to the elementary school there — so I’ve always done that. At U.C.L.A., I was the first African American to be in their M.F.A. program.”She added: “How do you break out of the box, and where do you fit into society? How do we maintain the tradition of a tribe and still transcend our own humanity?”Among the many venues at which Ms. Finney worked were the Mark Taper Forum in Los Angeles, the Cleveland Play House, the Actors Theater of Louisville and the Goodman Theater in Chicago. But if she had a professional home, it was the Fountain Theater in Los Angeles, where she had directed eight plays since 1997, including “The Ballad of Emmett Till.”In 2015, Ms. Finney was asked by Stephen Sachs, the Fountain’s artistic director, to direct his adaptation of “Citizen: An American Lyric” (2014), Claudia Rankine’s book-length poem and series of essays about race in today’s society.“I read it, and I went, ‘Oh, this is my life,’” she said in a 2017 interview featured on the website of the Center Theater Group, home to the Taper, Kirk Douglas and Ahmanson Theaters in Los Angeles. “Citizen,” she said reminded her of “walking through and navigating those torrential waters of mainstream America when you are a person of color or ‘other,’ and what you have to swallow in order to survive.”When the Fountain observed its 25th anniversary in 2015, Charles McNulty, The Los Angeles Times’s theater critic, wrote that Ms. Finney had infused “Citizen” with “the spirit of public reckoning” and added, “Her cast didn’t so much portray characters as stand in solidarity with the nameless voices reflecting, mourning and expressing outrage over the micro and micro aggressions (from a careless bigoted remark to police abuse) confronting Black people on a daily basis.”Shirley Jo Finney was born on July 14, 1949, in Merced, Calif., about 55 miles northwest of Fresno. Her mother, Ricetta (Amey) Finney, was a teacher and counselor. Her father, Nathaniel, sold auto parts. In 1959 she moved to Sacramento with her mother, her sister, her stepfather, Charles James, a municipal court judge, and her stepbrother, also Charles James.In high school, she was in the drama club. She then attended Sacramento City College for one semester before transferring to Sacramento State College (now California State University, Sacramento). At a party, she met Wilma Rudolph, the sprinter who had won three gold medals at the 1960 Summer Olympics in Rome and was teaching at the school. They became friends, and Ms. Finney became a babysitter for Ms. Rudolph’s children.“I told her, ‘One day, I’m going to make a film about you,’” Ms. Finney recalled in an interview with The Sacramento Bee in 2000.She graduated with a bachelor’s degree in drama in 1971 and earned a master’s degree in theater arts from the University of California, Los Angeles, two years later.After appearing in several television series and films, she was cast by the director Bud Greenspan in the TV movie “Wilma” (1977), which also starred Cicely Tyson as Ms. Rudolph’s mother. It received mixed reviews, but John J. O’Connor of The New York Times wrote that it was “given a touch of substance through a good performance by Shirley Jo Finney.”Ms. Finney as the sprinter Wilma Rudolph, who won three gold medals at the 1960 Summer Olympics, alongside Jason Bernard playing Ed Temple, her coach, in the 1977 television movie “Wilma.”Archive PL/AlamyShe continued to act occasionally into the 1990s, on series like “Lou Grant,” “Hill Street Blues” and “Night Court,” but by that time she had also begun to direct plays.“I love actors, and I love that process of bringing people who are strangers together, to work for a common purpose,” she told The Los Angeles Times in 1999. “I love creating an atmosphere where you feel comfortable enough to share who you are, to create. And then you can go within to give the best you can give.”She called that process “orgasmic.”Mr. Sachs of the Fountain Theater said that Ms. Finney developed her own shorthand to communicate with actors.“Actors had to learn to speak ‘Shirley Jo,’” Mr. Sachs said by phone. “She spoke a language unto herself, with body movement and her cackling laugh. She had a way. When she spoke, she’d stand up, pace around the room, or rock on a chair and say, ‘I’m feeling it, I’m feeling it.’ She was almost like a shaman.”Among the honors Ms. Finney received were three Los Angeles Drama Critics Circle Awards for her direction of individual plays and the organization’s Milton Katselas Award for her career work.Although she worked around the country, Ms. Finney never directed on Broadway. Her only chance at it ended in 2008, when financial backing fell apart for a revival of Ntozake Shange’s play “For Colored Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf.”Ms. Finney received a Distinguished Alumni Award in 2012 from the University of California, Los Angeles. Eric Charbonneau/WireImage, via Getty ImagesIn 2010, shortly before rehearsals were to begin for “The Ballad of Emmett Till,” the play’s director, Bennett Bradley, was stabbed to death. Mr. Sachs asked Ms. Finney to take over.“She came into the rehearsal room that day, unprepared, and took over like she had been destined to do it,” Mr. Sachs recalled. “She delivered a benediction to the company; she brought the cast together to tell this story and said that what happened to Ben echoed what happened to Emmett Till. In five or 10 minutes, she turned us around.” More