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

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

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      Review: Steve Carell as the 50-Year-Old Loser in a Comic ‘Uncle Vanya’

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      Sleek, lucid, amusing, often beautiful, it’s Chekhov with everything, except the main thing.Why is it called “Uncle Vanya”? All the man does is mope, mope harder, try to do something other than moping, fail miserably and mope some more.You can’t blame him. Vanya has spent most of his nearly 50 years scraping thin profit from a provincial estate, and not even for himself. The money he makes, running the farm with his unmarried niece, goes to support life in the city for his fatuous, gouty sort-of-ex-brother-in-law, an art professor who “knows nothing about art.” Also, Vanya is hopelessly in love with the old man’s exquisitely languorous young wife, who, reasonably enough, finds the moper pathetic.In short, he is the opposite of the bold, laudable characters most writers of the late 1890s would name a play for. That’s probably just why Chekhov did it, announcing a new kind of protagonist for a new kind of drama. Life in his experience having turned squalid and absurd, he could no longer paint it for audiences as heroic. So how could his protagonist be a hero?The “Uncle Vanya” that opened on Wednesday at the Vivian Beaumont Theater, its 10th Broadway revival in 100 years, sees Chekhov’s epochal bet and raises it. If Vanya is properly no hero in this amusing but rarely deeply affecting production, it’s because he’s no one at all. He despairs and disappears.That would seem to be quite a trick, given that he’s played by Steve Carell, the star of “The Office” and, perhaps more relevantly, “The 40-Year-Old Virgin.” Carell’s Vanya imports from those appearances the weaselly overeagerness that makes you roll your eyes at him while also worrying about his mental health. He makes jokes that aren’t. He gets excited over all the wrong things. Rain coming? He called it.Without a camera trained on such a man, you quickly learn to ignore him, as you would in real life. Indeed, in Lila Neugebauer’s sleek, lucid staging, you barely notice Vanya even as he makes his first entrance, hidden behind a bench. When he speaks you don’t pay much more attention; in Heidi Schreck’s smooth, faithful yet colloquial new version, his first words, naturally, are complaints. “Ever since the professor showed up with his spouse,” he says, with a bitterly sarcastic spin on the last word, “my life has been total chaos.”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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      Steve Carell to Make Broadway Debut as Uncle Vanya Next Spring

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      The production, a new translation by Heidi Schreck, will also star Alison Pill, William Jackson Harper, Alfred Molina and Anika Noni Rose.Steve Carell, the screen actor best known for his breakout role as a blundering boss in the NBC comedy “The Office,” will make his Broadway debut in a revival of the Chekhov classic “Uncle Vanya.”Carell will lead a cast of television, film and stage veterans in the production, which is to begin performances April 2 and to open April 24 at the Vivian Beaumont Theater, a Broadway house at the nonprofit Lincoln Center Theater.“Uncle Vanya” is a dark Russian drama, first performed in 1899, about a rural family whose dreary but stable routine is disrupted when the property’s long-absent owner, a retired professor, comes to visit with his new, and much younger, wife. The play has been staged and adapted many times — this will be the 11th production on Broadway — and this iteration will be based on a new translation by Heidi Schreck, whose previous Broadway venture, an autobiographical show called “What the Constitution Means to Me,” is expected to be the most-staged play at U.S. theaters this season (not counting those by Shakespeare and Dickens).Carell, who played a regional manager in “The Office,” will also play a manager in “Uncle Vanya.” His character is the country estate’s long-suffering administrator (and the brother of the professor’s first wife); he oversees the property with a niece, Sonya, who will be played by Alison Pill, who last appeared on Broadway in a revival of “Three Tall Women” and was a Tony Award nominee for “The Lieutenant of Inishmore.” They will be joined by William Jackson Harper, an alumnus of the NBC comedy “The Good Place” who this year wowed Off Broadway audiences with his starring role in “Primary Trust”; he will play Astrov, the local doctor.Alfred Molina (a three-time Tony nominee, for “Red,” “Fiddler on the Roof” and “Art”) will play the professor, while Anika Noni Rose (a Tony winner for “Caroline, or Change”) will play the professor’s wife. Jayne Houdyshell (a Tony winner for “The Humans”) will play Vanya’s mother, and Mia Katigbak (an Obie winner for “Awake and Sing!”) will portray a household nurse.“Uncle Vanya” is being directed by Lila Neugebauer, who is also directing a Broadway production of Branden Jacobs-Jenkins’s play “Appropriate,” which is scheduled to open next month. More

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      Mike Birbiglia Can’t Get ‘Hadestown’ Out of His Head

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      The comedian, 44, discussed his one-man Broadway show that opens this month, his love for Taylor Swift and why he doesn’t actually hate the Y.M.C.A.Mike Birbiglia has found that he can make a living off a personal crisis. Since 2008, Birbiglia, a longtime comedian and more recently an indie film director and star, has performed stand-up comedy shows on and off Broadway about his struggles with sleepwalking, his recovery from bladder cancer and his path toward fatherhood. But his latest, “The Old Man & the Pool,” a monologue about confronting his own mortality, might be among his most candid. (The show opens on Broadway Nov. 13 at the Vivian Beaumont Theater at Lincoln Center.)“I think I’m inclined toward autobiography because so much is based on passion,” Birbiglia, 44, said in a recent call from his home in Brooklyn. “I’m interested in paying tribute to the bizarre litany of things that have almost killed me.”The idea for the new show, which Birbiglia has been developing since 2018, sprang from an annual medical checkup in 2017, when his results on a breathing test were so weak that his doctor thought he might be experiencing a heart attack right there in the examination room. Birbiglia, whose father and grandfather had heart attacks at 56, was pushed to improve his health; the show details trips to the Y.M.C.A. pool as well as an encounter with an unclothed older man in the locker room when he was 7. “I’m in much better shape now,” said Birbiglia, who is also set to appear alongside Tom Hanks in the upcoming comedy-drama “A Man Called Otto,” in theaters Dec. 25. “I do cardio five days a week. I’m experimenting with the idea of riding a bike from my apartment in Brooklyn to Lincoln Center every day for work.”In an interview last month, Birbiglia discussed what turned him on to Taylor Swift, how reading poetry helps his joke writing, and why he doesn’t actually hate the Y.M.C.A. These are edited excerpts from the conversation.1. “Jerrod Carmichael: Rothaniel” Jerrod is a performer who’s not filtering what he’s saying to please you — he’s not holding back from what his truth is. A lot of art will stick with me a week after, but the things I most cherish stick with me a month after, years after. “Rothaniel” had that effect. It feels like “Hadestown” — I saw it a few years ago and still play the cast album all the time.2. Deep Dives This is something my wife, Jenny, and I like to do together — start from a certain point and then follow where it leads you, through various streaming and YouTube rabbit holes. One of my favorite finds is this three-part British documentary series called “Unknown Chaplin” that shows the outtakes of Charlie Chaplin’s movies. He did hundreds of takes of some of his shots! It’s one of those moments when there’s a massive upside to streaming — I don’t think I’d be able to find stuff like this if it weren’t for all the streaming services.3. “Little Astronaut” by J. Hope Stein This is a gorgeous book of poems by my wife about her experience being pregnant and having a child. Jen’s really gotten me into poetry — she’s introduced me to Paul Muldoon, Ada Limón, Paige Lewis. I learn so much from reading poetry that’s helpful when I’m writing films, standup and solo shows. There’s a real focus on the economy of words.4. “Kitbull” My daughter is 7 and not in the head space of wanting to engage with full-on Pixar feature films yet, but there are all these incredible shorts on Disney+. Some of our favorites are “Forky Asks a Question,” “Purl” and Rosana Sullivan’s “Kitbull,” about a kid and a pit bull becoming friends — if you don’t cry during “Kitbull,” I don’t think you’re a human being.5. Sarah Sherman on “S.N.L.” Sarah is an absolutely original voice in comedy. I worked alongside her at the Comedy Cellar, and even as a live performer she’s astonishingly alive and present and goes where the audience takes her. She has a series of guest segments with Colin Jost on “S.N.L.” that are all just excuses for her to roast him. She basically decontextualizes everything he says, then he’ll defend himself and she’ll put up a fake headline that says like “Hamptons Homeowner Colin Jost Mocks Comedian” with a picture of what’s supposed to be his mansion. They’re phenomenal.6. The Comedy Cellar For my money, the Comedy Cellar is the best club in the world. There’s the Olive Tree upstairs, which has phenomenal Middle Eastern food — great hummus and kebabs, a fantastic bar. Then downstairs is an intimate 150-seat club — the other night I was there, and Ray Romano dropped in. You have to make reservations weeks in advance, but it’s worth it.7. Improv is Life The principles of “Yes, and” apply to everything I do: directing movies, making solo shows and working with a director, collaborating with a designer, working on a family trip to Iceland. That spirit of things is what I find to be on a daily basis the most helpful piece of education I’ve ever had.8. rev’pod I talk a lot about my sleepwalking in my shows — I jumped through a second-story window many years ago — and people always ask what I do about the issue. At first my doctor said to sleep in a sleeping bag, and I did that for a while, but then I found this thing! The idea is for a cozier sleep; it’s kind of like a cocoon cloth experience. They recommend it for flying on an airplane to avoid germs. It’s not foolproof, but I find it to be a pretty good solution.9. No More Art Snobbery In my 40s, I’ve vowed not to be snobby about art that’s popular — there are certain things I’ve just missed out on because they were and I didn’t think they could be good. With early Taylor Swift, I was kind of like, “Oh, that’s pop music, that’s maybe not for me.” But her music is wildly personal and evocative and exciting in a way that even if she weren’t the massive pop star that she was, I think she’d have a massive cult following that she would tour from.10. Y.M.C.A. I make fun of it mercilessly in my show — there’s too much chlorine, a lot of cringey nudity in the locker rooms, the towels are too small. But a bunch of the New York Y.M.C.A. administrators ended up coming to the workshop shows a few years ago at Cherry Lane, and they were fans of it! I do a thing on my podcast called “Working It Out for a Cause,” and I’ve given to the Y.M.C.A. a handful of times. Part of it is because the more I researched the Y.M.C.A., the more I realized not only are they a rec facility, they do an extraordinary amount of community outreach and great nonprofit work. I’m very impressed by them; I make fun because I love. More

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      Mike Birbiglia to Return to Broadway With a New Show This Fall

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      The comedic storyteller, who previously brought a solo show to Broadway in 2018, has a new act for a new age.Mike Birbiglia, the comedic storyteller who has mined his experiences with romance, fatherhood and sleep disorders for narrative purposes, will return to Broadway this fall with a new show prompted by swimming.Birbiglia has been developing the show, called “The Old Man & the Pool,” through a series of performances over the last year at venues including Berkeley Repertory Theater in California, Steppenwolf Theater Company in Chicago and Center Theater Group in Los Angeles.The Broadway production is scheduled to begin previews on Oct. 28 and to open on Nov. 13 at the Vivian Beaumont Theater at Lincoln Center.Birbiglia, 44, previously appeared on Broadway in his solo show “The New One,” which had a two-month run that began performances in 2018.“The last show was, in some ways, about birth, and this show, in some ways, is about death, through the storytelling lens of hitting middle age and realizing that our bodies are slowly in decline,” Birbiglia said. “The most crucial thing about it is that it’s funny — it goes to the darkest places about life and death for hopefully 90 minutes of laughs, where at the end of it people feel better on the way out than when they came in.”“The Old Man & the Pool” is directed by Seth Barrish, a frequent Birbiglia collaborator who also directed “The New One,” and includes contributions from Ira Glass, the “This American Life” host, who executive produced “The New One.”Birbiglia said he has felt “euphoric” about returning to in-person performing after the pandemic shutdown, when, he said, he worried about the future of the form. “It’s almost like before the pandemic, entertainment was elective, and now it’s essential,” he said.And why Broadway? “I’ve always thought of the shows as solo plays, somewhere between storytelling and theater and comedy,” he said. “What happens with Broadway, in addition to these being some of the best theaters in the world physically and sonically and in all the technical ways, there are some people who only pay attention to Broadway, so that’s meaningful. It opens up the aperture to more people, and that’s the really the goal.”Although Lincoln Center Theater is a nonprofit organization, this show is a commercial venture produced by Sue Wagner, John Johnson, Patrick Catullo and Seaview, a production company founded by Greg Nobile and Jana Shea. More

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      ‘The Skin of Our Teeth’ Review: A Party for the End of the World

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      Thornton Wilder’s antic play, from 1942, packs in an ice age, a deluge and midcentury décor. This Lincoln Center Theater production is the maximalist revival it deserves.No fossil evidence suggests that a giant ground sloth ever composed a symphony or that a Devonian fish split the atom even once. And yet, have human beings really proved their worth? We have brought the world calculus, the sonnet, no-knead bread. But think of what we have inflicted: environmental devastation, species collapse, atrocities of various complexions. Humans keep surviving. We’re fit that way. But when you think about it — should we?Thornton Wilder’s “The Skin of Our Teeth,” a formally inventive, constitutionally melancholy Pulitzer Prize winner from 1942, usually ticks the box for yes. An antic ode to human resilience, written as America was entering World War II, it follows the Antrobus family as they face down an ice age, a deluge and a very human catastrophe. Somehow, they always come through.“We’ve come a long ways,” George Antrobus, the dad, says. “We’ve learned. We’re learning. And the steps of our journey are marked for us here.”And yet the revival that opened at Lincoln Center’s Vivian Beaumont Theater on Monday, which is to say somewhere in the mid-Anthropocene, isn’t so sure. Under Lileana Blain-Cruz’s gorgeous, restive direction, this production sides not so much with George, the inventor of the wheel and alphabet, but with Sabina, the Antrobuses’ vampy maid, who maintains a healthy skepticism toward the whole of the human race.“I used to think something could be done about it,” Sabina says. “But I know better now.”We meet Sabina at the top of the play, in the living room of the Antrobus family’s flower-bedizened home in Excelsior, N.J. (The exuberant design, by Adam Rigg, with radiant lighting by Yi Zhao and climate-disaster projections by Hannah Wasileski, suggests a midcentury postmodern aesthetic.) She resents her work as a maid, and because Wilder never met a fourth wall he couldn’t smash, she resents the play, too.“I hate this play and every word in it,” she says, before throwing down her duster like a mic drop. Sabina is played by Gabby Beans (“Marys Seacole,” “Anatomy of a Suicide”), a ferocious actress and a Blain-Cruz regular who demonstrates her comic gifts here. Those gifts are ample. And they come beribboned and frilled.Gabby Beans as Sabina, the Antrobuses’ vampy maid. Richard Termine for The New York TimesShe and Maggie Antrobus (Roslyn Ruff, eternally excellent) await the return of George (James Vincent Meredith, solid), commuting home from the office as an ice sheet descends on the Eastern Seaboard. (It’s the 1940s, but as the pet dinosaur and mammoth suggest, it’s also the Cretaceous period. Or possibly the Paleolithic. Just go with it.) In the second act, set in Atlantic City, the Antrobuses have survived, only to encounter a Genesis-style flood. The final act shows them and their children, Henry (Julian Robertson), who used to be called Cain, and Gladys (Paige Gilbert), back in Excelsior, picking themselves up after a seven-year war.In most productions, the particular conflict is left ambiguous; here Montana Levi Blanco’s shrewd costumes intimate that this is the Civil War. And in most productions, the Antrobuses are white, but here they are Black, which lends that choice particular resonance, twisting the knife of human cruelty. This strategy doesn’t warp the play so much as deepen it. (The playwright Branden Jacobs-Jenkins has contributed just a few lines — trading a reference to the Broadway classic “Peg O’ My Heart” for a shout-out to “Bootycandy” — to make all of this work.)The play takes place in the 1940s, but as the pet dinosaur suggests, it’s also the Cretaceous period. Just go with it.Richard Termine for The New York Times“The Skin of Our Teeth” is a big play. It has to be. The whole of humanity doesn’t fit tidily into three acts, even assuming as much frame-breaking foolery as Wilder allows. In Blain-Cruz’s maximalist hands, it gets even bigger, the stage overflowing with flowers and lights and dazzling, playful puppetry. She favors a high femme aesthetic — luxuriant, Instagrammable — and no other serious director working now has such a profound interest in visual pleasure and delight. She also has a killer playlist (Rihanna, Dua Lipa). Because this is the way the world ends: all bangers, no skips.For some, this too muchness, married to Wilder’s bookish mischief, will pall. The intermission doesn’t come until nearly two hours in, and as I walked out into the lobby, an usher asked me if I planned on leaving. Apparently a lot of people do. But if you stick it out, you can find real power in the way the lush design garlands a profound suspicion of human endeavor. Blain-Cruz relegates Wilder’s emphasis on endurance for something more questioning, mostly by giving space to the questions that are already there.“How do we know that it’ll be any better than before?” Sabina asks, as humanity prepares to pick itself back up again. “Why do we go on pretending?”When the curtain rises on the third act, the furniture lies ruined. But the natural world has revived. The stage blooms with a thousand flowers, and when characters traverse that meadow, it feels like a dream. Do we really want to wake from it? When “The Skin of Our Teeth” first opened, in 1942, the world wobbled on the threshold of disaster. Now, it seems, we are wobbling again. Maybe it always seems that way. Human life could continue indefinitely. Or the end of the Anthropocene might be nigher than you think. And that would be terrible, wouldn’t it? But look how the flowers grow.The Skin of Our TeethThrough May 29 at the Vivian Beaumont Theater, Manhattan; lct.org. Running time: 2 hours 55 minutes. More

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      ‘Camelot’ Is Returning to Broadway, Reimagined by Aaron Sorkin

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      The Lincoln Center Theater production, with a new book by Sorkin and directed by Bartlett Sher, will open in December.Lincoln Center Theater said Monday that it would stage a revival of the classic musical “Camelot” on Broadway this fall, with a new book by the screenwriter Aaron Sorkin.The revival is to be directed by Bartlett Sher, who in 2019 directed a one-night concert performance of “Camelot,” starring Lin-Manuel Miranda to benefit Lincoln Center Theater. The project will be a second joint Broadway venture between Sher and Sorkin, who previously collaborated on a stage adaptation of “To Kill a Mockingbird” that opened in 2018. Sher has also directed several Golden Age musicals for the nonprofit Lincoln Center Theater, including “South Pacific,” “The King and I” and “My Fair Lady.”“Camelot,” first staged on Broadway in 1960, is based on the novel “The Once and Future King,” which, in turn, was based on the British legend of King Arthur. Lincoln Center Theater described the show as “about the quest for democracy, striving for justice, and the tragic struggle between passion and aspiration, between lovers and kingdoms.”“Camelot” features music by Frederick Loewe and lyrics by Alan Jay Lerner; Lerner and Loewe also wrote “My Fair Lady.” Lincoln Center Theater said that Sorkin’s book would be “reimagined for the 21st century” but based on the original written by Lerner.The musical has been revived on Broadway several times, most recently in 1993, and was adapted as a film in 1967.The new production is scheduled to begin performances Nov. 3 and open Dec. 8 at Lincoln Center’s Vivian Beaumont Theater, which is a 1,080-seat Broadway house. No casting has been announced. More