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Title Search: Can You Find 15 Spy Novels Hiding in Plain Sight? – The New York Times
Book Review|Title Search: Can You Find 15 Spy Novels Hiding in Plain Sight?https://nyti.ms/3i0x24A More
Source: Television – nytimes.com More
Lit Trivia: Do You Know These Classic Screen Adaptations of Popular Books? – The New York Times
Book Review|Lit Trivia: Do You Know These Classic Screen Adaptations of Popular Books?https://nyti.ms/3NYKd2g More
Source: Theater – nytimes.com More
https://nyti.ms/3U2bpz8#masthead-section-label, #masthead-bar-one { display: none }
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In a decadent new Starz drama, the two actors play young versions of literature’s most poisoned and poisonous power couple.It could never work between them, Alice Englert insisted on a recent afternoon, lounging in a corner banquette at Ladurée, a French spot in Lower Manhattan. In a relationship this toxic, she said, they would have no choice but to ruin each other, slowly or all at once.Nicholas Denton, sitting beside her, draped an arm around her shoulders. “That’s the game of it,” he said, grinning.The game is power. The field is pre-revolutionary France. And the contestants are the Marquise de Merteuil and the Vicomte de Valmont, arguably literature’s most poisoned and poisonous power couple. Or not quite. Not yet. In “Dangerous Liaisons,” a decadent drama that debuts on Starz on Sunday, Englert and Denton play much younger versions of the characters introduced by Pierre Choderlos de Laclos in the epistolary 1782 novel.In the book, these characters are aristocrats, with decades of conniving and debauchery underneath their wigs and powder, who conspire to corrupt a chaste woman. In the show, they are barely out of puberty, seducers in their youth. Even before its premiere, the series has already been renewed.The couple — lovers who treat each other with anything but love — have fascinated readers and audiences for two centuries and counting, popping up in plays, operas, ballets, radio plays and movies, including the 1988 Stephen Frears film, starring Glenn Close and John Malkovich. All of which makes reinventing them a very tall order. The height of the wigs alone!But Englert and Denton were willing to try. “We’re both quite rough and tumble,” Denton said. “We’re willing to get on the floor in this garb and try and really knock this out and go to hell for it.”A television version of “Dangerous Liaisons” has been in development for nearly a decade, under the partial auspices of Colin Callender, a distinguished producer. Christopher Hampton, who wrote the screenplay for Frears’s film and the stage adaptation that is often revived on Broadway, was attached at one point. Then he wasn’t. When the writer Harriet Warner came on, she went looking for a fresh way into the material and she found it in one of the novel’s letters, which seemed to imply that the Marquise hadn’t been born into nobility, that she had clawed her way into it. She shared that insight with Callender.“The interesting thing was, how did these characters become who they were?” Callender explained in a recent interview.Warner began to devise some answers. Earlier younger riffs on “Les Liaisons Dangereuses,” like “Cruel Intentions” (1999) and a recent French film adaptation, moved the story into modern high schools. But Warner decided to keep to the period of the novel, more or less, while aging the Marquise down into Camille, a sex worker, and Valmont into Pascal, a mapmaker exiled from the aristocracy. First they go to bed. And then they go to war.The series found a fresh way into the story through one of the letters in the epistolary novel, which seemed to imply that the Marquise hadn’t been born into nobility.Dusan Martincek/StarzWith that decision made and scripts written, casting could begin. The producers saw about 200 actors for each role. Denton (“The Glitch”), 30, an Australian actor, went through at least a half-dozen auditions and tests, beginning early in 2020. At times, in quarantine, his sister had to read the steamier scenes with him. “Disgusting,” he said. “Bless her soul.”Englert (“Top of the Lake,” “Ratched”), 28, also from Australia and the daughter of the filmmaker Jane Campion, put herself on tape later, toward the end of 2020. With the pandemic in full swing, the two of them couldn’t meet for a chemistry read. (Though Denton had met with other actresses, a plexiglass barrier between them.) So they had their joint audition in separate hotel rooms on Zoom, trying to steam up their relative screens.“It was so funny,” Englert said.Apparently it was more than just funny. “It was better than you could have imagined,” Warner said during a recent phone call. “You just knew they were going to elevate each other and escalate the drama and yet keep all this wonderful raw energy of the fact that they are still kind of unsullied by the industry.”Denton and Englert met in person a few months later, in the spring of 2021, on set in Prague. Englert had just emerged from hair and makeup with a temporary wig balanced precariously on her head. (“I was dreaming that I looked like a flat-chested version of Dolly Parton,” she said.) Wary of Covid-19 protocols, they patted each other on their respective shoulders. A few days later, they were rolling around the rehearsal room floor together. A few days after that, they were filming one of Pascal and Camille’s incendiary fights.“I actually cried at the end of that day,” Englert said, as they started in on fresh coffees to combat jet lag, “just from knowing that we were going to go on such an odyssey.” The constricting costumes — “they just hurt sometimes,” Englert said — may have moved her to tears, too.They were dressed more comfortably that afternoon, if still in the louche spirit of the series. Englert’s pink silk dress was rumpled; Denton’s shirt was unbuttoned well below the sternum. They had an ease with each other — an air of comfort and kindness rather than sexual tension. If six months in and out of love and war and some very silly white foundation can’t make you friends, probably nothing can.Denton, snuggled up to Englert in the banquette, praised the ferocity with which she attacked their scenes. “You have an effortlessness, but also an intensity,” he said. “Which is a very beautiful contrast.”Englert said that she had trusted Denton almost immediately. There was a moment, at the beginning of the shoot, when she had tried to present herself to him in the best possible light, when she tried to hold onto some vanity.“Then that absolutely died,” she said. “And it was so beautiful to let it rot with you so quickly.”“You have an effortlessness, but also an intensity,” Denton said to Englert. “Which is a very beautiful contrast.”Sabrina Santiago for The New York TimesWith vanity flown, they could gleefully recounted receiving vitamin B shots — “in our bums!” Denton said — to make it through the shoot. They did, however, demur from telling what both referred to ominously as “the fart story.”The sex scenes could have made for more mortifying stories. But the actors worked closely with the show’s intimacy coordinator, Ita O’Brien, to make them feel safe and liberating. “It was actually a really good bonding thing,” Denton said. And with sex out of the way — lots of it, especially in the first episode — they could navigate the riskier contours of Camille and Pascal’s relationship.“What’s always appealed to me about ‘Dangerous Liaisons’ is that the fantasy of the love is shattered,” Englert said. She was speaking to the novel. Though it’s true of the show, too. “It’s in pieces from the beginning,” she continued.Denton saw it just the same. “It’s so refreshing to watch something that doesn’t get glossed over,” he said, “that doesn’t become a glossy Disney version of what love is. Because I don’t think that’s what love is. Love is elusive, dangerous, corrupt.”The goal of the series was to keep the period details as accurate as possible while ensuring that the emotional atmosphere felt urgent and contemporary. Otherwise it might read as just another polite costume drama, however luxe the costumes. You had to see the real people underneath the corsetry.For Denton and Englert, that meant bringing their own hearts to the roles. It also meant a lot of pretending, because they harbor a shared belief that perhaps they aren’t quite as sexy or as lethal as their characters.“We’re betas pretending to be alphas,” Denton said.Englert agreed. “We’re exceedingly embarrassed all the time,” she said. “But it’s how we go. We enjoy it.”Englert had eaten all the passion fruit macarons, but Denton smiled at his friend anyway. “Alice always says, ‘We’re just Aussies in cossies,’” he said. More
Quiara Alegría Hudes is back with a new work, an Off Broadway production of “My Broken Language,” adapted from her 2021 memoir.In 2018, the playwright Quiara Alegría Hudes announced that she would be taking a pause from the theater. The art form she loved so much had become a source of heartbreak: She was tired of the industry’s lack of cultural diversity, the disinterest those in power had in changing the status quo and the anxiety she felt leading up to opening night (the unexpected hiccups, the uncertainty of how a work would be received by critics and audience members).When it came to producing works by playwrights of color, she began to feel as if her Pulitzer Prize-winning play, “Water by the Spoonful,” about a Puerto Rican war veteran recently returned from Iraq, and “In the Heights,” her Tony-winning musical with Lin-Manuel Miranda, were exceptions more often than the rule. During the 2018-2019 season, for example, only three writers of color had their work produced on Broadway.In order to heal, Hudes went on an inner retreat. Turning to her memories, she sought out the people who taught her how to tend to her body and spirit. This soulful journey resulted in “My Broken Language,” an impressionistic coming-of-age memoir published in 2021 that detailed the shame she felt over being fluent in her Jewish father’s native English, but not her Puerto Rican mother’s Spanish. It was that same sense of incompleteness that led her to take a break from the theater.While recording the audiobook, Hudes noted her prose sometimes had the rhythm of a monologue. “It was the one-woman play,” she said. That realization, combined with her wanting to step up as a community leader, ignited her desire to return to theater — despite the heartbreak. “Let me get some real bodies and spirits on this,” she recalled thinking during our video chat. Now, Hudes’s stage adaptation of her book, also called “My Broken Language,” is running at Signature Theater through Nov. 27.From left, Samora la Perdida (seated), Zabryna Guevara, Daphne Rubin-Vega, Yani Marin and Marilyn Torres in “My Broken Language.”Richard Termine for The New York TimesOnstage, she is embodied by five people, including one of her frequent collaborators, Daphne Rubin-Vega, all of whom play different shades of the author. Hudes, now 45, had moments of not recognizing the person on the page. She made peace with it by realizing, “it was all the identities of mine, but it was also all the identities of all the women who raised me and who I love.” “My Broken Language,” in all its forms, is also partly a celebration of her ancestors, and how often unintentionally they inspired her to become a writer. “Our archive is in us and of us,” she wrote in the script for the play. On a practical level, in tune with changing what once made her turn away from the theater, Hudes wanted to ensure the production contributes to moving the industry forward in terms of representation in casting. In the script, she insists, “these are Philly Rican roles” for Latina actors.Born and raised in Philadelphia, Hudes comes from a long line of Puerto Rican women who excelled at building community and developing strong spiritual values. Her mother, Virginia Sanchez, who features prominently in the book and the play, is a renowned santera, who instilled love and respect for their Taína-Lukumí-Boricua legacy, as well as a fascination with words. One of Sanchez’s favorite possessions is a 19th-century Spanish dictionary that she uses to search for words people may have forgotten.“The book smells like our elders, it has its own soul,” Sanchez said over a video call, “it contains one of our identities.” In spite of her daughter’s “broken language,” Sanchez said she believes “Quiara always had a gift for words, she knows how to transform her experiences into a form of teaching.”Bill Heck and Liza Colón-Zayas in “Water by the Spoonful,” which had its New York premiere in 2013 at Second Stage Theater.Karli Cadel for The New York TimesLin-Manuel Miranda, center left, and Karen Olivo in the musical “In the Heights” at the Richard Rodgers Theater.Sara Krulwich/The New York TimesIndeed, the playwright extracts wisdom from experiences she had growing up, such as seeing her mother possessed by a spirit. “To do that literally onstage would be vulgar,” Hudes explained. So she transformed her memories into words and then into physical movements that would make sense onstage with the help of the choreographer Ebony Williams. The goal is to create actions that evoke the feeling of being in between universes.The play also marks Hudes’s directorial debut. She describes the work of a director as one of “community care,” and compares it to a gardener choosing the seeds, planting them, and then nurturing them toward excellence. “Directing is the process,” she said.“Her rehearsal room feels like home,” said Samora la Perdida, who plays one of Hudes’ alter egos, describing “walls decorated with altars to our ancestors, tables with guava and cheese empanadas from her favorite spot in Washington Heights, a stereo blasting Frankie Ruiz.”Of Hudes, Rubin-Vega added, “She leads with openhearted professionalism.”Rethinking the meaning of community and how to affect it is what led Hudes to resume her theater work. After publishing her memoir, she discovered a new community in a world of readers who reacted emotionally to her stories and reminded her of her purpose.“Quiara is giving our community the opportunity to talk about the raw pain we’ve inherited, not only as women or immigrants but as people,” Sanchez said. “My daughter is a keeper of our lineage, a witness of our experience.”Although they work in different fields, Hudes said she believes she and her mother have overlapping journeys. “We break through the vines with our machetes, finding our own way, sharing strategies and celebrating triumphs,” Hudes added.“Quiara accepted her tongue for what it was in order to create a language of her own,” la Perdida said, “a language that shamelessly dances with both her Latina roots and Western canon influences. A language with the rhythms of Chopin and Juan Luis Guerra, inspired by the poetic prose of both Shakespeare and José Rivera.”After five years away, Hudes said she is enjoying the various pleasures that come with working in the theater again, like being in a room full of Latino artists, her community. She finds it to be utterly therapeutic. “I often crunch up in my seat, kind of like a ball, and then pop up, it’s so much fun to live all these old habits again,” she said. More
She documented her attempt to cook every recipe in Julia Child’s “Mastering the Art of French Cooking” in a popular blog that became a best-selling book and a hit movie.Julie Powell, the writer whose decision to spend a year cooking every recipe in Julia Child’s “Mastering the Art of French Cooking” led to the popular food blog, the Julie/Julia Project, a movie starring Meryl Streep and a new following for Mrs. Child in the final years of her life, died on Oct. 26 at her home in Olivebridge, in upstate New York. She was 49.Her husband, Eric Powell, said the cause was cardiac arrest.Ms. Powell narrated her struggles in the kitchen in a funny, lacerating voice that struck a nerve with a rising generation of disaffected contemporaries.The Julie/Julia Project became a popular model for other blogs, replicated by fans of the cooks Ina Garten, Thomas Keller and Dorie Greenspan, and helped build the vast modern audience for home cooking on social media.In 2002, Ms. Powell was an aspiring writer working at a low-level administrative job in Lower Manhattan. She was about to turn 30 and had no real career prospects. It was, she said in an interview with The New York Times, “one of those panicked, backed-into-a-corner kind of moments.”To lend structure to her days, she set out to cook all 524 recipes from her mother’s well-worn copy of Mrs. Child’s 1961 classic “Mastering the Art of French Cooking, Volume 1.” But as an untrained cook who lived in a small Long Island City loft, she found the road to be long, sweaty and bumpy.In a blog for Salon.com that she called the Julie/Julia Project, she wrote long updates, punctuated by vodka gimlets and filled with entertaining, profane tirades about the difficulties of finding ingredients, the minor disappointments of adult life and the bigger challenges of finding purpose as a member of Generation X.Before the year was up, Salon reported that the blog had about 400,000 total page views, as well as several thousand regular readers who hung on the drama of whether Ms. Powell would actually finish in time.Blogging made it possible for Ms. Powell to reach readers on a relatively new platform and in a new kind of direct language. “We have a medium where we can type in the snarky comments we used to just say out loud to our friends,” she said in a 2009 interview.Those comments were posted just as popular interest in food, cooking and chefs was rising. Ms. Powell’s self-deprecating style became a bridge from the authority of food writers like Mrs. Child, James Beard and M.F.K. Fisher to the accessibility of Rachael Ray, Bobby Flay and Nigella Lawson.Just weeks before Ms. Powell’s self-imposed deadline was up, Amanda Hesser, a founder of the website Food52 who was then a reporter for The Times, wrote about her project, and interest exploded.The Julie/Julia Project upended food writing, Ms. Hesser said in an email. “I’d never read anyone like her,” she wrote. “Her writing was so fresh, spirited — sometimes crude! — and so gloriously unmoored to any tradition.”Ms. Powell inspired other amateur food writers to begin cooking their way through cookbooks and made professional food writers realize “they’d been stuck in the mud of conformity,” Ms. Hesser said. “The internet democratized food writing, and Julie was the new school’s first distinctive voice.”The writer Deb Perelman, who started her food blog (now called Smitten Kitchen) in 2003, said: “She wrote about food in a really human voice that sounded like people I knew. She communicated that you could write about food even without going to culinary school, without much experience, and in a real-life kitchen.”Little, Brown & Company turned the blog into a book, “Julie & Julia: 365 Days, 524 Recipes, 1 Tiny Apartment Kitchen.” Although some critics wrote that it lacked literary heft, it went on to sell more than a million copies, mostly under the title given to the paperback: “Julie & Julia: My Year of Cooking Dangerously.”Amy Adams as Ms. Powell in front of a photo of Meryl Streep as Mrs. Child in a scene from “Julie & Julia.”Columbia Pictures, via AlamySales spiked after the popular 2009 movie “Julie & Julia,” Nora Ephron’s last work as a writer and director, which starred Ms. Streep as Mrs. Child; Stanley Tucci as her husband, Paul; and Amy Adams as Ms. Powell.Ms. Powell “was happy for the story to be Nora Ephron’s story,” said Mr. Powell, a deputy editor at Archaeology magazine. “It did kind of sand down the quirky and the spiky and a lot of the things everyone knew her for and loved her for. And she was OK with that.”The film’s success also lifted Mrs. Child’s book to the best-seller list for the first time.Mrs. Child never saw the film — she died in 2004 — but she was familiar with Ms. Powell’s project.Russ Parsons, a former Los Angeles Times food editor who was among the first to report on the blog, sent Mrs. Child, then in her 90s, some excerpts. She took the project as an affront, not the self-deprecating romp that Ms. Powell intended, and told Mr. Parsons that she and others had tested and retested the recipes so they would be accessible to cooks of all skill levels.“I don’t understand how she could have problems with them,” he recalled her telling him. “She just must not be much of a cook.”Ms. Powell in her apartment in 2005, chopping leeks to make Ms. Child’s recipe for potato leek soup.Henny Ray Abrams/Associated PressJulie Foster was born on April 20, 1973, in Austin, Texas, to John and Kay Foster. Her father was a lawyer. Her mother stayed home to care for her and her brother, Jordon, and then went back to college for a master’s degree in design from the University of Texas.Ms. Powell graduated from Amherst College in 1995 with a bachelor’s degree in theater and fiction writing.As a child, her brother said, Ms. Powell was both bookish and dramatic.“She loved to be onstage, and loved just being over the top and having everyone watch her,” he said. And, he added, she was “the most experimental and sophisticated cook among us, and we were all people who cooked.”She met the man who would become her husband when they were playing the romantic leads in a high school production of the Arthur Miller play “All My Sons.” They married in 1998.Ms. Powell’s second book, “Cleaving: A Story of Marriage, Meat and Obsession,” published in 2009, dived deeply into their relationship, which sometimes flourished and sometimes faltered. She described in detail her struggle with an extramarital affair she had and, later, one her husband had. This time, the food connection was darker: She juxtaposed her apprenticeship as a butcher with a dissection of her moods and the marriage.Without the sauciness and celebrity connection of her first book, “Cleaving” was not as well received, and although Ms. Powell continued writing, it was her last book.“She had so much talent and emotional intelligence,” said Judy Clain, editor in chief of Little, Brown, who was Ms. Powell’s editor. “I only wish she could have found the next thing.”After years splitting time between Long Island City and a cozy house in the Catskill Mountains that she purchased in 2008, the couple moved upstate permanently in 2018. In addition to her husband and her brother, Ms. Powell is survived by her parents.Ms. Powell, who was politically candid and a staunch advocate for animals, maintained her lively voice on social media, a natural extension for the quirky and direct voice she honed as an early blogger. On Twitter, she posted pointed commentary, mixed in with mundane bits of daily life. As ever, she made her feelings public, whether she was depressed, frustrated or excited.Mr. Powell, her husband, once said to her: “You hate everyone and you love everyone. That is your gift!” She turned it into her Twitter bio. More
