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    Charles Barkley’s Barbs on ‘Inside the NBA’ Infuriate and Fuel Players

    With the future of “Inside the NBA” in flux, athletes say their respect for Barkley means his unsparing evaluations are a rite of passage.When Charles Barkley, the quippy commentator on TNT’s “Inside the NBA” studio show, grew tired of Draymond Green’s aggressive on-court antics several years ago, he made it exceedingly clear that he wanted to punch Green in the face.Green responded during a postgame news conference by calling Barkley’s bluff, telling the Hall of Fame player known for his rebounding prowess to “shut up.” “No one cares what you would have done,” Green said. “You old, and it is what it is.”Verbal jousting in response to Barkley’s wisecracks has been commonplace during his two-decade tenure on “Inside the NBA,” which is in jeopardy of ending as soon as Thursday night because competing networks are negotiating for the N.B.A.’s media rights.Green, a four-time N.B.A. champion, said in an interview that any wounded feelings spoke to the reverence players have for Barkley and his colleagues, the former players Shaquille O’Neal and Kenny Smith, and the veteran host, Ernie Johnson.“It’s almost like a rite of passage,” Green said of being criticized or praised by basketball heavyweights on national television. “I think N.B.A. players look to that show for validation, and that’s a reason so many guys could get upset when things don’t go their way.”Shaquille O’Neal, Ernie Johnson, Kenny Smith and Barkley on an “Inside the NBA” broadcast in 2013. O’Neal and Barkley are Hall of Fame players.Issac Baldizon/NBAE, via Getty ImagesWe 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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    Charles Barkley Has Thoughts on the Future of ‘Inside the NBA’

    Next season could be the last for TNT’s influential and beloved studio show, and Charles Barkley, for one, will not be going quietly.The future of “Inside the NBA” was already a sensitive topic when Charles Barkley stepped into an elevator in Minneapolis after Game 3 of the Western Conference finals late Friday night. Barkley’s on-air candor as an analyst is a key reason that the studio show has become so influential and beloved among basketball fans and around the league.But these are tense times for the show and those who work on it. Warner Bros. Discovery has not secured the rights to continue broadcasting N.B.A. games on TNT beyond next season. Without those, the long-term future of “Inside the NBA” is uncertain. So when Barkley, who had already batted away several attempts by security and public relations officials to prevent him from doing an interview, ushered me into an elevator filled with his co-workers, not everyone was happy.Kenny Smith, Barkley’s on-screen foil, voiced his irritation. But Barkley, as he has done throughout his decades in the public eye, made clear that he wouldn’t be muzzled.“Hey, man, I can talk to who I want to,” Barkley said to Smith, using an expletive. Others in the elevator shifted uncomfortably.“You should do that out there,” Smith said, suggesting the interview be done outside the elevator.Barkley turned to me: “Don’t worry about him.”“She should clear it through Turner,” Smith said. “She should do it the right way.”Why was it so important for him to talk, I asked Barkley, even if others around him didn’t want him to? He nodded to the impact the uncertainty has on staff members who work on the show. And not just the well-known, on-air personalities: Barkley, Smith, Shaquille O’Neal and the host, Ernie Johnson.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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    Bill Walton’s Long, Special Relationship With the Grateful Dead

    “It wasn’t like he was a fan,” the drummer Mickey Hart said. “He was part of our family.”Bill Walton played 604 basketball games in college and the N.B.A. over the course of his Hall of Fame career. But Walton, who died Monday from cancer at 71, wrote in a 2016 autobiography that he had attended more than 869 concerts by his most beloved musical act, the Grateful Dead.“He loved the Grateful Dead I believe as much as we in the Grateful Dead have loved the Grateful Dead,” Mickey Hart, one of the band’s two drummers and a good friend of Walton’s, said in an interview.“It wasn’t like he was a fan,” added Hart, who is currently performing a residency with a successor act, Dead & Company, at the Sphere in Las Vegas. “He was part of our family.”Walton grew up in San Diego and first became famous for his basketball skills at U.C.L.A., where he won two national titles under the legendary coach John Wooden. Over a professional career attenuated by injuries, he earned a Most Valuable Player Award and championship titles with the Portland Trail Blazers and the Boston Celtics.Walton and the Grateful Dead drummer Mickey Hart at a 2011 N.B.A. game in Sacramento. Rocky Widner/NBAE, via Getty ImagesHe stayed famous, including as a prolific television commentator, thanks to a winningly oddball style and crunchy interests, like cycling and left-leaning politics. And his personality seemed perfectly suited for — and summarized by — his lifelong love of his fellow California institution, the Grateful Dead.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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    Caitlin Clark Hype Will Test the W.N.B.A.’s Television Limits

    The docuseries “Full Court Press” closely tracked college stars like Clark and Kamilla Cardoso. Fans who want to follow elite W.N.B.A. rookies could have a tougher time.The decision makers for the docuseries “Full Court Press” chose wisely when selecting which women’s college basketball players they would follow for an entire season.They recruited Caitlin Clark, whose long-distance shots at the University of Iowa made her a lucrative draw. Kamilla Cardoso, a Brazilian attending the University of South Carolina, could provide an international perspective. Kiki Rice, from the University of California, Los Angeles, would be the talented but reserved young prospect.Those selections proved fortuitous when each player advanced deep into the N.C.A.A. tournament. Clark and Cardoso competed in the most-watched women’s championship game in history before becoming two of the top three picks in the W.N.B.A. draft.“The way that it turned out, it’s like, ‘This is not real life,’” said Kristen Lappas, the director of the four-part ESPN series that will air on ABC on Saturday and Sunday. “That just doesn’t happen in documentary filmmaking.”Interest in women’s basketball is surging because of young talent. Clark, Cardoso and other top rookies like Angel Reese and Cameron Brink are providing the W.N.B.A. a vital infusion of star power, quickly obliterating one record when 2.4 million viewers watched April’s draft.Now the league, whose media rights package expires in 2025, must capitalize by making sure fans can easily follow the players they grew to love during their collegiate careers.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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    Joan Jett Loves the New York Liberty. The Feeling Is Mutual.

    As an early fan of the W.N.B.A. team, the musician saw the squad lose four championship series. This week, she returned courtside to cheer another attempt.Joan Jett’s unmistakable voice was carrying, and she was pretty sure it was working some magic.The New York Liberty had taken a slim lead against the Las Vegas Aces in the third quarter of Game 3 of the W.N.B.A. finals on Sunday, and the Rock & Roll Hall of Famer was doing her part, bellowing along with the crowd’s “De-fense” chant from her courtside perch at Brooklyn’s Barclays Center. When the Aces started to go cold, Jett took it as a sign.“I’m hoping they recognize my voice and I’m messing up their shot,” the husky-throated musician said, using an expletive. “It’s all mental, you know what I’m saying?”It was a must-win contest for the Liberty, who were down 2-0 in the best-of-five series. As Jett kept up her boisterous chant, the Aces missed six consecutive shots. The Liberty went on an 8-0 run, and the diminutive singer and guitarist jumped up to high-five the 6-foot-3 former Liberty center Sue Wicks, a friend.Some 10 years had passed since Jett last attended a W.N.B.A. game (her summer touring schedule got in the way), but she fell quickly back into the playoff delirium she had enjoyed as a courtside fixture in the late 1990s and early ’00s, when the team made the final round of the playoffs four times but failed to win a title.The rock star said she first fell for the game in 1996 when the N.C.A.A. asked her permission to use Joan Jett and the Blackhearts’ cover of “Love Is All Around” to promote the women’s basketball tournament. The following year, the W.N.B.A. began its first season and Jett bought Liberty season tickets, often showing up to big games with a red cloth voodoo doll she used to taunt opposing players.“She’d hold it up and stab that dang thing!” Teresa Weatherspoon, the former Liberty guard, said during halftime. “When you talk about the Liberty, you have to mention Joan’s name. Any battle we had on the floor, Joan was in it with us.”Jett grew up a self-described tomboy in Rockville, Md., and became a fan of Major League Baseball’s Baltimore Orioles at age 11, after her father took her to see the pitcher Jim Palmer throw a no-hitter. Her intersection with sports continues today: She still follows the Orioles faithfully, and is known to set up livestreams on the drum riser during shows so she can follow along. The theme song for “Sunday Night Football,” is an adapted version of the Blackhearts hit “I Hate Myself for Loving You,” performed by Carrie Underwood.During her early days of W.N.B.A. fandom, Jett opted to sit directly behind the bench instead of courtside with the other celebrities. (“It just feels more inside basketball to me,” Jett said. “You can hear the coaches talking.”) The Liberty would slap her hand on their way onto the floor. Jett occasionally came to practices, and once even flew to Houston with the team for a finals game.Jett developed particularly close friendships with Weatherspoon and Wicks, who remembers being so star-struck the first time she saw Jett at Madison Square Garden, where the Liberty initially played, that she almost knocked over Rebecca Lobo, the team’s center. Wicks had a copy of “The Hit List,” Jett’s 1990 album, while playing overseas in Europe, and said it had been a “great friend” to her during lonely stretches abroad. “For me, she’s a goddess,” Wicks said.In 1999, Ray Castoldi, the Garden’s organist, asked Jett and the Blackhearts to record “Unfinished Business,” a song he had written for the Liberty after their crushing finals loss that year. Jett not only cut the track the following season, but filmed a video with the team and performed the song at halftime during a game.“It’s hard to explain the energy,” Jett said of those early years. “I was on the outside looking in, but they made me feel like I was on the inside. It was a fun, really inclusive time.”Jett feels a natural kinship with athletes, who, like longtime touring bands, travel with a tight-knit team and are expected to perform on command. And like the athletes in the W.N.B.A., who have carved out a professional place for themselves while expanding the public’s idea of what women are capable of doing, Jett broke down boundaries in music: battling to prove to record labels and crowds that she deserved to be a frontwoman despite her prodigious talent. “We’re people that could relate to what each other was doing,” she said.Crystal Robinson, a former Liberty forward with whom Jett remains close, said the recognition was mutual: “For us, it was just the fact that she supported us,” she said. “She was fighting that female battle before we started. We had this camaraderie.”Jett’s return to the Liberty on Sunday was an overdue homecoming. Before the game, she nursed a beer as she held court with Wicks and Robinson at a table in the Barclays’ V.I.P. lounge. The recently retired W.N.B.A. star Sue Bird came by to pay her respects, as did the actors Jason Sudeikis and Michael Shannon, who portrayed Kim Fowley, the manager of Jett’s band, the Runaways, in a 2010 film.As the restaurant emptied before game time, Jett got restless. “I feel like we’re missing stuff!” she said giddily, before heading toward the court to find her seat. Just before tipoff, Becky Hammon, the Aces head coach who had been a Liberty guard in her playing days, spotted Jett taking a photo of her from across the court and struck a quick pose.Once the game started, Jett was up out of her seat to cheer on nearly every Liberty point. She gleefully taunted Hammon after a Jonquel Jones bucket (“Three-pointer, Becky!”), and debated foul calls with Wicks and Robinson. When Jones blocked a shot from the Aces star A’ja Wilson in the third quarter, Jett removed her black jean jacket to cheers from the crowd. “It’s hot in here!” she shouted back.After the Aces went cold in the third quarter, the Liberty stretched their lead. “I feel good,” Jett said. “But they’ve broken my heart before.”She appeared on the Jumbotron soon after, gamely swinging a Liberty towel overhead as “I Love Rock ’n Roll” blared on the public address system. Then, she fired T-shirts into the crowd with an air cannon, with the crowd roaring for her.“I felt the love,” Jett said. But she was mainly focused on her potential as a tactical influence: “It reminds Las Vegas that I’m here, and that can make them nervous.”She needn’t have worried. The Liberty found their rhythm in the second half and defeated the Aces, 87-73, extending the series to a Game 4, which will be played in Brooklyn on Wednesday. Should the team force a Game 5, it will play for the franchise’s elusive, first-ever title.“You’ve got to be back Wednesday!” a fan told Jett as the clock wound down. “You’re clearly the good luck charm.”But Jett is prepared for any outcome. “That’s the nature of being a sports fan,” she said. “To be there through the tough times and the good times.” More

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    Rich Paul, N.B.A. Power Broker, Growing Up and Finding Peace

    When Rich Paul considers his life now, he sometimes thinks how far it seems from his childhood, growing up Black in a particularly dangerous part of Cleveland.For the past two decades, Mr. Paul, 42, has been a polarizing force in basketball. A power broker in a specialized world, he is slim, 5-foot-8 and sharply dressed, often appearing on the margins of photos snapped at marquee events.Many saw him as LeBron James’s confidant, and later as his agent. But as he built a sports agency, Klutch Sports Group, that rivaled and irritated more established companies, he has worked to separate his identity from that of Mr. James’s.Mr. Paul is now a courtside fixture at N.B.A. games. He collects art. He lives in Beverly Hills. And he is in a yearslong relationship with the Grammy-winning singer-songwriter Adele. Mr. Paul has helped N.B.A. players shift power away from teams and to themselves, like when he maneuvered a 2019 trade that sent Anthony Davis to the Los Angeles Lakers to join Mr. James.On Tuesday, Roc Lit 101, an imprint of Random House, will publish his memoir, “Lucky Me.” It is a bid by Mr. Paul to both own his past — growing up with a mother who battled addiction and acknowledging his own drug dealing — and celebrate the way his difficult upbringing, and in particular his father, prepared him for his future.Recently, at a restaurant in a five-star hotel in Midtown Manhattan, with sculptures of tropical birds in the light fixtures, Mr. Paul mused about his hope that athletes would focus on the peace of mind that can come with real financial security, not the fleeting pleasure of social media attention and the temporary financial windfalls that come with it. The idea of finding peace set off another thought.“I come from a place where every day is chaotic. Every. Day,” Mr. Paul said, his voice rising as he began tapping hard on the table to emphasize his words. “Sirens, all day long. You have to wear headphones. I should have been the inventor of Beats, as many sirens as I had to listen to, and yells and cussing outs and everything.”After a moment, he returned to his original point.“These kids, they just want clout,” Mr. Paul said. “I don’t understand it.”One of the main themes of the memoir is the influence Mr. Paul’s father had on him.Sinna Nasseri for The New York TimesIt’s why, he said, he was so passionate about becoming an agent. He had heard so much about players being broke despite initially getting lucrative contracts.“There’s no line down the street to get to knowledge,” Mr. Paul said. “It tells you a lot.”In thinking about Mr. Paul’s memoir, Chris Jackson, the publisher and editor in chief of Roc Lit 101, said he was interested in Mr. Paul as part of a generation of Black men “whose formative experiences were during that period that was defined by crack cocaine and the post-civil rights cocktail of white flight, urban abandonment and families that really struggled to stay together.“And how out of that kind of experience of survival, so much was created, and how the entire country was shifted by people who were kind of forged in that.”The broad strokes of Mr. Paul’s back story have been recounted before, the way his mother had struggled with drug addiction and his father, who had another family, raised him in the family’s corner store. How a chance meeting with Mr. James at an airport in Akron, Ohio, turned into a partnership that changed the course of his life.In the memoir, which was written with the journalist Jesse Washington and features a foreword by Mr. James, Mr. Paul goes further than ever before. He depicts in heartbreaking detail the ways his mother’s absences forced her children to act older than their ages, contrasting those stories with her energy and charisma when she was clean.“It was therapeutic for me, but at the same time I wanted to make sure that people understood it wasn’t all bad,” Mr. Paul said.He writes that his father taught him discipline and how to run a business. Not all of his father’s business dealings were strictly legal, but Mr. Paul said he always ran them with honor. His father’s advice is sprinkled throughout the memoir, as are the ways Mr. Paul learned to make money and earn respect. Dressing well was always a big part of that.He writes of the devastation he felt at losing his father, whom he calls his “moral compass,” in 2000, which led to him selling cocaine for the first time. He shares his unease at selling hard drugs, which had shattered his mother, but said that he was swept up by a desire to compete and win.During lunch in Manhattan, Mr. Paul said he hadn’t felt comfortable publicly sharing stories about selling drugs before, though he knew drugs weren’t exclusive to his community.“I’ve talked about it with clients, just in conversation, and they resonate with it because when you grew up how we grew up it’s in your family,” he said. Two days later, on a rainy Sunday afternoon in Brooklyn, a car picked Mr. Paul up outside a townhouse to take him from one podcast taping to another. (Near the end of the first show, Mr. Paul had been asked to name his favorite Adele song, but, having some editorial control, he requested a different question.)“I try to keep it as private as I possibly can,” Mr. Paul said of his relationship with Adele.Lauren Bacho/NBAE, via Getty ImagesDuring the drive, Mr. Paul made phone calls. He pitched a client to a shoe company, and then called a friend to plan where they would watch the Cleveland Browns game later that day.Suddenly his eyes widened in happiness as he looked at his phone.“A couple got married in my shoes!” he said. Mr. Paul, who has a shoe collaboration with New Balance, showed a photo to a Klutch employee acting as his chief of staff.He FaceTimed with Adele to see how her morning had gone. Then he chose a different watch and different Klutch Athletics sweatshirt, the clothing brand he has created with New Balance, for the next taping.Asked if he has a stylist, Mr. Paul proudly said no.“I used to style LeBron his rookie year,” he said, adding: “I could be anything. I could be a stylist, music executive, coach.”Mr. James was a teenager when he met Mr. Paul, who had a jersey resale business sometimes run out of the trunk of his car. Soon, Mr. James was paying him $48,000 a year, confident Mr. Paul was worth the investment. Mr. Paul watched Mr. James’s career unfold. Then, when Mr. James hired Creative Artists Agency, one of the most powerful agencies in sports and entertainment, Mr. Paul began working for the agency. He helped recruit clients, saying he knew most agents “couldn’t do it.” Mr. Paul was dismissed by some who believed his success came solely because of his friendship with LeBron James.Jim Poorten/NBAE, via Getty ImagesHe met business moguls, from Warren Buffett to Jay-Z, and asked plenty of questions. His friendly boldness attracted people.“Flawlessly confident,” said Rich Kleiman, the longtime manager for the N.B.A. star Kevin Durant, and a founder of Mr. Durant’s media company, Boardroom. Mr. Kleiman was working with Jay-Z when he met Mr. Paul, and saw in him hints of Jay-Z’s self assurance. “There’s a way to be confident where you can make anyone believe you.”When Mr. Paul started Klutch Sports in 2012, nine years after Mr. James’s N.B.A. career began, Mr. James and three other players immediately became clients.Chatter quickly followed — in the news media, primarily anonymous — from other agents questioning Mr. Paul’s qualifications. He had never received a college degree and they viewed him as a lucky member of a star athlete’s entourage.Maverick Carter understands. He grew up in Akron with Mr. James, has handled his business affairs for years and is the chief executive of The SpringHill Company, an entertainment and production company he founded with Mr. James. For a while, he said, it could seem like his “first name was ‘LeBron’s’ and my last name was ‘friend.’” “It’s straight-up disrespectful when they say, ‘Rich Paul is only successful because he’s doing this with LeBron,’” Mr. James wrote in the foreword to Mr. Paul’s memoir. “That’s like saying I don’t demand the same excellence from my partners that I demand of myself, or that Rich’s other clients don’t think for themselves.”Mr. Paul doesn’t argue that he didn’t benefit from his friendship with Mr. James. He just thinks that if he hadn’t been a young Black man getting career help from a powerful friend, and an athlete at that, his story would have been framed differently.Still, Mr. James is entering his 21st N.B.A. season, which means life after LeBron James is in the not-too-distant future for Klutch Sports Group.The agency now has 198 clients between the N.B.A., W.N.B.A., N.F.L. and athletes looking for deals related to their name, image and likeness. Klutch has partnered with United Talent Agency, and Mr. Paul is the co-head of UTA’s sports division.The agency still attracts defectors from other agencies, but it experiences ebbs and flows. Three prominent players’ relationships with Klutch ended this year — Ben Simmons of the Brooklyn Nets, Anthony Edwards of the Minnesota Timberwolves and OG Anunoby of the Toronto Raptors.Some N.B.A. agents have quietly admired what Mr. Paul has accomplished, while others find him too aggressive in pursuing clients from other agencies.Mr. Paul said he was proud that many of his clients began their careers with other agents. He sees it as a sign of his superior ability to connect with players.“This is one thing my dad always taught us: No matter what somebody else is doing to you or done to you, that don’t mean you follow suit,” Mr. Paul said. “You stay the course. You do what you know is right.”There are those who don’t like the credit he gets for fostering an era of player empowerment in the N.B.A. Mr. Paul is known for aggressively advocating for his clients’ interests, even if that means demanding a trade while they are under contract, but he doesn’t shy away from telling them to pull back when he finds their wishes unrealistic.Mr. Paul’s Klutch Sports Group has nearly 200 clients.Sinna Nasseri for The New York TimesAs he navigates the current landscape of athlete management, he worries about the way players and their parents think about branding.“There’s nothing wrong with being a great basketball player and make all the money you can being a great basketball player,” Mr. Paul said. “Because I look at it this way: Being a great basketball player, being able to make four or five, $600 million playing a game of basketball is no different than building a business and selling it.”Mr. Paul’s career has kept him close to superstardom. But recently, his relationship with Adele has thrust him into a spotlight that isn’t always comfortable.“I try to keep it as private as I possibly can,” he said. When he and Adele began attending N.B.A. games together, dozens of search engine optimized headlines followed, asking: “Who is Adele’s boyfriend, Rich Paul?” Last month she even referred to Mr. Paul as her husband while speaking to a fan.“I’m in a place now where I’d rather she be happy than me,” Mr. Paul said. “Not that I don’t want to be happy, I want it to sound the right way. Just understanding the importance of someone that you are involved with, that you’re dating and that you’re spending your time with, that you may love. You understand the importance of them and their happiness.”Love has never been an easy subject for him. His parents never told him they loved him, though he says he has no doubt they did.Now, he said, he makes a point to tell his three children he loves them. It is one lesson he didn’t learn from his father because vulnerability was dangerous when he was growing up.It is one illustration of how different his life is from the one he lived growing up. But he doesn’t want anyone to forget how it started. More

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    ‘The Half-God of Rainfall’ Review: Basketball Under the Heavens

    Borrowing its powers from Greek and Yoruba mythologies, Inua Ellams’s play tells the story of a demigod who becomes an N.B.A. superstar.Turning verse into action is tricky, especially with ideas as lofty as the ones in Inua Ellams’s epic poem “The Half-God of Rainfall,” now appearing in theatrical guise at New York Theater Workshop.The poem is a melodious, sky-high tale of a basketball superstar born as a result of a celestial contest between the Greek and Yoruba gods of thunder, Zeus and Sango. But the stage adaptation, which opened on Monday, runs into some flaws that, while not fatal, strand this Nigerian writer’s work in the mortal realm.A storm of plot and themes is squeezed into an intermission-less 90 minutes: After defeating Sango (Jason Bowen) in a race, Zeus (Michael Laurence) has his pick of Sango’s subjects. To Hera’s (Kelley Curran) defeated disdain, Zeus rapes Modúpé (Jennifer Mogbock), a Nigerian woman, and soon the mixed-race half-god Demi (Mister Fitzgerald) is born.Neighborhood boys ostracize Demi, who can turn the soil to swamp with his tears. But he gradually comes into his powers and makes his way to the Golden State Warriors, learning about other demigods who had to suppress their own supernatural talents on the court. Demi’s growing celebrity eventually lands him face to face with Zeus, providing a chance to avenge his mother.As the deities Elegba and Osún (Lizan Mitchell and Patrice Johnson Chevannes, fantastic as always) narrate Demi’s ascent to sports stardom, they intersperse meditations on the gendered violence that permeates Greek mythology, and later, on the imperialist violence the West perpetrated to obscure African traditions.Ellams’s scope is staggering, and he mostly pulls it off. Each line, heavy with information and emotion, is shot back and forth by the able actors, who turn Ellams’s vibrant, poetic flow into a nonstop athletic match.But there are few scenes of interactions between characters — instead presentational, narration-driven exposition makes up the bulk of the play. And Taibi Magar’s direction displays an uncertain grasp over whether the piece should play naturally or at a distance: There’s the work’s traditional methods of self-aware, oral storytelling — having the cast address the audience, and change into Linda Cho’s athleisure costumes onstage — and the production’s sumptuous, almost immersive elements, courtesy of Stacey Derosier’s lighting, Mikaal Sulaiman’s sound and especially Tal Yarden’s gorgeous projections.Though Orlando Pabotoy’s fluid movement direction, along with Beatrice Capote’s Orisha choreography, strikes a powerful balance between the seamless and more Brechtian styles, the production finds itself stuck between them.I was reminded of Ellams’s “Icarus,” a short piece presented during the Public Theater’s Under the Radar Festival in 2021. It transformed the parable into the heartbreaking tale of a young Nigerian refugee who, detained at an Italian entry point, takes to the sky. Recited by just two performers, the work, in its simplicity, soared. The poignancy and concision left me wanting a one-by-one re-envisioning of Greek mythology through a contemporary African diasporic lens.Ellams certainly has it in him to assemble a universe of distinctive characters connected by their shared humanity, as he proved in his globe-trotting play “Barber Shop Chronicles.” But here, his ideas, vast and evocative as they are on the page, overwhelm the story onstage, and the sheer amount of talking at the audience becomes draining. Ninety minutes becomes too long for one solidly conveyed story; too short for an entire pantheon of players.His interest in and approach to mixing and remixing Western and African traditions is fascinating, however. This is a writer whose intuitive understanding of the common threads of tradition, globalization and human instinct could very well create a new mythological tapestry for our interwoven times.The Half-God of RainfallThrough Aug. 20 at New York Theater Workshop, Manhattan; nytw.org. Running time: 1 hour 30 minutes. More

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    ‘The First Slam Dunk’ Review: Style Points

    A popular sports manga about a Japanese high school basketball team vaults to the big screen in an exhilarating, gorgeous anime.“The First Slam Dunk” is a great basketball movie because it understands what’s great about basketball. When a character catches a pass, drives toward the paint, steps back, squares up and releases a clutch 3-pointer, the movie slows time, drops the sound and homes in on exactly the right detail — the perfect, crystalline swish of the ball passing through the basket and gently grazing the net.Bringing all of the kinetic, over-the-top style of Japanese anime to bear on the granular, technical athleticism of high school ball, “The First Slam Dunk” is a one-of-a-kind sports drama somewhere between “Hoop Dreams” and “Dragon Ball Z.” You’d expect a movie with that title to have some pretty spectacular jams, and you’d be right. What surprised and delighted this N.B.A. obsessive is that it dazzles just as much with passes and rebounding. This feels like real basketball.Based on the long-running and beloved Weekly Shonen Jump manga “Slam Dunk,” and written and directed by the manga’s writer and illustrator, Takehiko Inoue, “The First Slam Dunk” centers on the starting lineup of the Shohoku High School basketball team as it competes for the national championship. The entirety of the film’s two-hour run time takes place over the course of this one game, broken up by flashbacks that give insight into the lives of the players, including the troubled point guard Ryota (Shugo Nakamura) and the self-centered power forward Hanamichi (Subaru Kimura).The flashbacks are well-written and add off-the-court dramatic interest, but it’s the basketball action that is the movie’s claim to excellence. Expertly staged and beautifully rendered using a combination of computer-generated imagery and traditional hand-drawn animation, it’s often so spectacular that I am eager to watch again.The First Slam DunkRated PG-13 for mild language and some dark themes. In Japanese, with subtitles. Running time: 2 hours 4 minutes. In theaters. More