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    ‘The Collaboration’ Review: A Basquiat-Warhol Bromance in Bloom

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    Anthony McCarten’s biodrama about the artists’ work together lifts the curtain on their friendship, or at least it thinks it does.On the cover of the press script of “The Collaboration,” Anthony McCarten’s new bioplay about the Pop Art superstar Andy Warhol and the Neo-Expressionist phenom Jean-Michel Basquiat, the pair pose in Everlast boxing gloves and shorts, as if preparing to go 12 rounds with each other.It’s one of a series of promotional shots for a 1985 exhibit of 16 paintings that they made together, and surely one element of the photo’s endurance as a crystallizing image is that neither artist lived much longer. Warhol died at 58 in 1987 after gallbladder surgery, and Basquiat at just 27 in 1988, after a heroin overdose.Don’t judge a play by its cover and all that, but in this case, you wouldn’t be far off. “The Collaboration,” starring Paul Bettany as Warhol and a radiant Jeremy Pope as Basquiat, is fundamentally invested in pitting the two painters against each other: their styles, their philosophies, their musings on art and commerce. And their fluctuating cultural currency.Presented by Manhattan Theater Club and the Young Vic Theater, this transfer from London — whose opening night performance at the Samuel J. Friedman Theater was canceled on Tuesday because of a positive Covid case in the company — is considerably less curious about whatever lies behind each man’s public facade. But Kwame Kwei-Armah’s production would like you to think it’s lifting the curtain on exactly that as it tells the early-80s New York story of Warhol and Basquiat’s work on those 16 canvases, and the friendship that took root between them.“I am human, even if I don’t look it,” Warhol says in the opening scene, getting right to the crux of biodrama and its perennial appeal to audiences: the sense that it gives us an intimate, up-close glimpse at a public figure’s private life, with its complex messiness and struggle, inspiration and joy.All the better, naturally, if that public figure is played by a famous actor — like Bettany, so comically endearing last year as Vision in the Avengers television spinoff “WandaVision,” and so deeply creepy as the sociopathic Duke of Argyll in the mini-series “A Very British Scandal.”There is a frisson of celebrity in the air, then, when we first see Bettany as Warhol, peering at some Basquiat paintings at their art dealer’s gallery, looking displeased — and grumpier still when he hears that this 20-something commands higher prices than he does.So it’s rather lovely that Pope, a rising star, bests him as Basquiat. Not that this is a competition, let alone a boxing match. But if “The Collaboration” spurs you to spend time with paintings made by one of these artists, it’s going to be Basquiat.Pope summons not only his charm — a magnet for women, Basquiat dated Madonna — but also his brilliance, ache and depth. His paintings are layered and full, textured and emphatic; so is Pope’s performance. With his heart-melting dimpled smile, he plays the frenetic former graffiti artist as if he knows every pulse of Basquiat’s life that we don’t see onstage, and that McCarten’s blunt instrument of a script can’t convey.Bettany, though, barely locates more than two dimensions in Warhol, as if the task were to play an icon, not a human being. That could be deliberate. Funny, frail, effete, Bettany’s Warhol is as meticulously impersonal as his art, and my goodness he whines. And he does so in the particular way of characters who need to get some exposition out.Krysta Rodriguez as Maya, Basquiat’s girlfriend, with Bettany and Pope. The show covers the period Warhol and Basquiat created 16 paintings for a 1985 exhibit.Sara Krulwich/The New York Times“I’ve never been the same since she shot me,” Warhol says, apropos of almost nothing in the first minutes of the play, referring to Valerie Solanas, whose 1968 attack nearly killed him. He mentions her several more times during the show, not terribly organically. And yet somehow, when Warhol at last nervously takes his shirt off in front of Basquiat, revealing his scarred and corseted torso, he has none of the vulnerability that Alice Neel captured in her poignant bare-chested portrait of Warhol — which you’d think he might have, live.For all the slenderness of McCarten’s script, it does feel padded, and even so it manages to skip from Warhol and Basquiat’s wary acquaintanceship at the end of Act I straight to an apparently solid friendship at the top of Act II. When their art dealer, Bruno Bischofberger (a wonderfully vivid Erik Jensen), finds a syringe in Basquiat’s couch, he asks Warhol to confront him.“You two are so close now,” Bruno says — which is news to the audience, especially anyone who might have popped out to the restroom at intermission instead of watching the wordless bromance video montage that played throughout, showing them learning to have fun together in the studio. (Projection design is by Duncan McLean.)Oddly, given how specific McCarten’s script is about the kind of period technology that Warhol uses when he films, the video the audience sees of them looks distractingly contemporary. But Anna Fleischle’s set is clever, particularly the large panel that hangs overhead, appearing sometimes like a skylight, sometimes like a Mondrian.McCarten, who made his Broadway debut this month as the book writer of “A Beautiful Noise, The Neil Diamond Musical,” knows the biodrama genre better than most. He built his career as the screenwriter of the movies “The Theory of Everything” (2014), about Stephen Hawking’s first marriage; “Darkest Hour” (2017), about Winston Churchill’s high-stakes start to leading Britain; “Bohemian Rhapsody” (2018), about the Queen frontman Freddie Mercury; and “The Two Popes” (2020), about Pope Francis and his predecessor Pope Benedict XVI. McCarten’s Whitney Houston biopic, “I Wanna Dance With Somebody,” is due out Friday, and a film adaptation of “The Collaboration” is in the wings.Onstage, though, “The Collaboration” feels emptily formulaic — less like an insider’s view of its famous subjects’ lives than a kind of biographical tourism that gets into serious gawking in its second half. It doesn’t bring us any insight into whatever closeness Warhol and Basquiat had.If a sense of these artists’ relationship is what you’re looking for, try the extensive, palpably personal exhibition “Jean-Michel Basquiat: King Pleasure,” organized by his sisters and on view through Jan. 1 at the Starrett-Lehigh Building in the Chelsea neighborhood of Manhattan. There are touches of Warhol in it — mementos of the two men’s friendship, and of their creative kinship — and they’re very sweet.The CollaborationThrough Jan. 29 at the Samuel J. Friedman Theater, Manhattan; manhattantheaterclub.com. Running time: 2 hours. More

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      Johnny Depp’s Texts Shown to Jurors in Defamation Case

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      Mr. Depp was questioned on the stand by lawyers for his ex-wife Amber Heard, whom he is suing for defamation.Lawyers for Amber Heard worked on Thursday to point out inconsistencies in Johnny Depp’s testimony in the defamation trial between the formerly married actors, presenting text messages sent by Mr. Depp and audio recordings of the couple’s arguments.Ms. Heard has asserted in court papers that Mr. Depp repeatedly assaulted her throughout their marriage, including during a fight in 2015 in which she said he “reeled back” and head-butted her in the face, “bashing” her nose. Mr. Depp has testified that he never struck Ms. Heard during their relationship and accused her of being the aggressor.Mr. Depp said on the stand Thursday that he vehemently disagreed that he had head-butted Ms. Heard that night, saying that he was only trying to restrain her and that it was “not impossible for them to bump.”Confronted with a recording of himself saying, “I head butted you in the forehead,” using an expletive, and “That doesn’t break a nose,” Mr. Depp said he had been trying to placate Ms. Heard by repeating her version of events.“There was not an intentional head butt,” the actor said, “and if you want to have a peaceful conversation with Ms. Heard, you might have to placate just a little bit.”The trial in Fairfax County Circuit Court revolves around an op-ed Ms. Heard wrote in 2018 for The Washington Post in which she said she was a “public figure representing domestic abuse.”But the trial testimony has gone well beyond an analysis of what Ms. Heard wrote. It includes a lengthy review of physical altercations between the actors, the differing accounts they have given about each and an extensive review of Mr. Depp’s use of drugs and alcohol.On Thursday, a lawyer for Ms. Heard, Ben Rottenborn, had Mr. Depp recall how he wrote bloody messages on the wall and other objects after part of his finger was severed in 2015.In his testimony, Mr. Depp affirmed that he had written a message on a mirror with his injured finger that referred to Ms. Heard — then his wife — as “easy Amber” and another, on a lampshade that said, “Good luck and be careful at top.”“I thought it was good advice,” Mr. Depp replied.But what the two sides disagree on is how Mr. Depp’s finger was severed, while the couple were in Australia for the filming of fifth “Pirates of the Caribbean” movie.Mr. Depp has testified that Ms. Heard threw a handle of vodka, which shattered on his hand and severed his finger. In court papers, Ms. Heard has said he severed his own finger when smashing a phone “to smithereens” amid a bout of physical violence against her.Ms. Heard — who is countersuing Mr. Depp for defamation after his former lawyer called her accusations a hoax — has written in court papers that Mr. Depp’s drug and alcohol use was central to the cycle of abuse, writing, “Johnny would become volatile and violent when under the influence of drugs and alcohol, then contrite and apologetic when he would sober up.”Amber Heard has countersued Mr. Depp and is expected to testify later in the trial.Pool photo by Jim Lo ScalzoMr. Depp testified on Tuesday that Ms. Heard’s depiction of his drug and alcohol use was “grossly embellished” and that he was once addicted to an opioid but had successfully detoxed.Parts of the cross-examination from Ms. Heard’s lawyer sought to show that Mr. Depp had misrepresented his drug use.Mr. Rottenborn questioned Mr. Depp about a particular incident in 2014 on which the actor’s account diverges from Ms. Heard’s. She has written in court papers that Mr. Depp had been “drinking heavily” on a private flight and threw objects at her, screamed obscenities and kicked her in the back. He was angry, she said, about a romantic scene she had been filming with the actor James Franco. She said he then locked himself in the plane’s bathroom and passed out, according to court papers.Mr. Depp testified on Wednesday that he had taken opioids and had perhaps had a glass of champagne on that flight, adding that he had locked himself in the bathroom because Ms. Heard had been “actively searching for a way to instigate a fight with me.” Ms. Heard has said in court papers that she has never struck Mr. Depp except in self-defense or in defense of her sister.Johnny Depp’s Libel Case Against Amber HeardCard 1 of 6In the courtroom. More

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      Review: Conversation and Conflict, as Warhol Meets Basquiat

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      Paul Bettany and Jeremy Pope give memorable performances as the odd couple artists in Anthony McCarten’s new play, “The Collaboration.”Jeremy Pope, left, and Paul Bettany will also star in the forthcoming film version of “The Collaboration.”Marc BrennerLONDON — Opposite art world titans attract in “The Collaboration,” a new play that opened Thursday at the Young Vic Theater here. Chronicling the creative partnership between Andy Warhol and Jean-Michel Basquiat during the 1980s, Anthony McCarten’s play offers bravura performances from Paul Bettany and Jeremy Pope as the two cultural icons.And if the writing isn’t fully the equal of its star turns, well, a film version of this play is already planned. A movie should give McCarten the opportunity to sharpen a script that, as of now, only begins to deliver on its promise in the second act.This writer’s track record with biopics certainly bodes well for Bettany and Pope when they transfer to the screen: The movies McCarten wrote about Stephen Hawking (“The Theory of Everything”), Winston Churchill (“The Darkest Hour”) and Freddie Mercury (“Bohemian Rhapsody”) brought Oscar wins for each of their leading men. His 2019 film, “The Two Popes,” earned nominations for the co-stars Jonathan Pryce and Anthony Hopkins and is the closest of those movies in structure to “The Collaboration.”Like that film, with his new play McCarten imagines a duo’s conversations and conflicts. At the beginning, Bettany’s lean, languid Warhol isn’t sure about the commingling of talent that the Swiss art dealer Bruno Bischofberger (an excitable Alec Newman) has in mind for him and Basquiat: a joint exhibition to decide which of the two is the world’s greatest artist. Bischofberger has an eye on publicity and regards painters, he says, as boxers.Bettany’s Warhol reveals an insecurity and disgust that take the part well beyond caricature.Marc Brenner“Gee,” Warhol objects to the gallerist, “you make it sound so macho, like a contest.” Pope’s initially indrawn, pouty Basquiat, 30 years Warhol’s junior, isn’t any more certain that he wants to be part of a double act: “He’s old hat. Does anyone really care about Warhol now?” One man traffics in brands and pop culture iconography (we see Warhol’s signature Marilyn Monroes on the walls of Anna Fleischle’s flexible, white-walled set), the other sees logos as the enemy. Art, Basquiat maintains, “has to have a purpose.”The material follows a dramatically predictable course from mutual wariness to admiration, leading eventually to love. In fact, that very word is voiced in the penultimate line. Dismissive of Warhol’s attraction to surfaces at the expense of substance, Basquiat comes to adore him as a protective rival turned father figure, of sorts.“I hope you don’t die, Jean,” Warhol cautions, insisting that the addiction-prone Basquiat clean up his act. The younger artist’s reply is to insist on his own immortality, unaware, of course, that both men would die not long after, within 18 months of each other. When they do actually collaborate — on a sequence of paintings — it’s given surprisingly little stage time; you miss the specific attention to the artistic process that fueled a play like John Logan’s Tony-winning “Red,” about Mark Rothko.The director Kwame Kwei-Armah gets up close and personal with Warhol and Basquiat as the duo move beyond some fairly labored exposition (like when Basquiat, on cue, details his Haitian-Puerto Rican parentage) to achieve real power. The two actors manage to find something primal beyond the boilerplate writing.As Basquait, Jeremy Pope is a springy, restless stage presence.Marc BrennerPope, an Emmy and two-time Tony Award nominee, fills with fury as we see Basquiat at work on “Defacement (The Death of Michael Stewart),” a painting created in response to the police brutality that resulted in the death of a young graffiti artist in 1983. The canvas inevitably chimes with the Black Lives Matter movement Basquiat never got to see, and lends “The Collaboration” a wrenching topicality.A springy, restless stage presence, that sweet-faced actor communicates the heightened edginess of a man hurtling toward disaster. It’s a shame, therefore, that the belated arrival into the play of Basquiat’s girlfriend Maya (Sofia Barclay) seems perfunctory, as if McCarten weren’t sure quite how to broaden the story beyond the artist duo.Bettany, in turn, is a marvel in his first stage role in several decades. The Englishman, a longtime U.S. resident, has starred in Marvel movies and recently impressed as a forbidding Duke of Argyll in the BBC TV show “A Very British Scandal,” which will come to the United States in April.A figure of white-wigged insouciance still reeling from having been shot by Valerie Solanas some years before the play starts, this Warhol reveals an insecurity and disgust that take the part well beyond caricature. Survival, you sense, is no less precarious for him than it is for Basquiat. The two legends are hellbent on self-laceration, reminding us that, no matter how great our cultural legacy, we’re all mortal.The Collaboration.Through April 2 at the Young Vic in London; youngvic.org. More

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      ‘Uncle Frank’ Review: Coming of Age, Coming to Terms

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      In “Uncle Frank,” the writer-director Alan Ball (“True Blood”) combines several overworked genres — the coming-of-age picture, the road-trip odyssey, the angst-filled family-reunion movie — and mostly steers clear of the obvious pitfalls.The film begins in 1969 in South Carolina with the 14-year-old Betty — or rather, Beth (Sophia Lillis), as she takes to calling herself when her cool but mysterious uncle, Frank (Paul Bettany), encourages her to use her preferred nickname. Frank is a professor at N.Y.U., where Beth starts college a few years later. But when she shows up uninvited to a party at Frank’s apartment, she meets Wally (Peter Macdissi), who isn’t, as he first says, Frank’s roommate, but rather Frank’s romantic partner of a decade. Except for one sibling, Frank’s family doesn’t know he’s gay.[embedded content]So when the death of Frank’s father (Stephen Root) sends Frank and Beth south again, they can speak with a new freedom. And as they navigate the contrived travel logistics that Ball has devised (Wally, whom Frank has insisted stay behind, improbably catches up with them in another car, just in time for Frank’s car to break down), flashbacks to Frank’s youth somewhat awkwardly commence, illustrating why he tiptoes around his relatives.Ball has said that “Uncle Frank” was inspired by elements of his family history, and some of the characterization (Frank isn’t perfect but struggles with alcoholism, for instance) feels suitably layered. At other times (anything involving the tyrannical father), “Uncle Frank” tends toward overkill. But Bettany and Macdissi have a wonderful rapport.Uncle FrankRated R. Hidden hurt. Running time: 1 hour 35 minutes. Watch on Amazon. More