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      in Theater

      ‘Die Hard’ Comes to the Christmas Stage in London

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      The poet Richard Marsh is winning praise in London for a one-man theatrical version of the action movie.LONDON — Every year in the run-up to Christmas, Richard Marsh wraps presents while watching “Die Hard,” the 1980s action movie in which Bruce Willis, playing the cop John McClane, single-handedly takes down a terrorist group in a Los Angeles tower block on Christmas Eve.But this year, Marsh said, he might have to give the ritual a miss. Since the end of November, the poet and playwright has been the star of “Yippee Ki Yay,” a one-man retelling of “Die Hard” at the King’s Head Theater in London.Over 75 minutes, Marsh recreates the film, with the help of just a few props. Speaking mainly in verse, he embodies all the movie’s major characters including McClane and the evil Hans Gruber (Alan Rickman). He has had to rewatch the movie to perfect his accents, he said, and so watching it in his free time might be a little much.“But who knows,” Marsh said in a recent interview: “I haven’t started wrapping my presents yet.”“Die Hard” has been a contentious holiday movie ever since it was released in July 1988. Early reviewers focused on its action credentials, and made little reference to the film’s Christmas Eve setting, or McClane’s desire to reunite with his children and partner for the holidays. In 2018, Willis declared that “Die Hard” wasn’t a Christmas movie, it was a “Bruce Willis movie!”Yet, on both sides of the Atlantic, “Die Hard” regularly appears on polls of the greatest holiday movies. And theater has started to embrace this popularity, too.In the show, Marsh recreates specific scenes, including dramatic moments starring, top left, Bruce Willis and, bottom right, Alan Rickman.20th Century Fox; Rod PennMarsh, 48, is not the first performer to adapt the hit, with “Die Hard” having long been staged as a comedic Christmas musical in Chicago and Minneapolis, and as a comedy in Seattle. Jeff Schell, part of the team behind “A Very Die Hard Christmas,” which ran at the Seattle Public Theater through Dec. 20, said in a telephone interview that he felt these theatrical versions were appearing because people “who remember seeing it in junior high” were getting to an age where they could stage shows.Michael Shepherd Jordan, who wrote the book for “Yippee Ki-Yay Merry Christmas: A Die Hard Musical Parody,” which debuted in Chicago in 2014, said in a telephone interview that “Die Hard” worked so well onstage because of the absurdity of trying to act out a “big, bloody action movie” with a tiny budget. In his show, a police car that is central to the movie has to be recreated with a remote-controlled toy. Explosions are similarly silly.That absurdity is fun to watch, Marsh said, but he felt the movie was also relatable in ways that worked well onstage. “Die Hard” is ultimately about a couple, McClane and his wife Holly, arguing under the pressure of Christmas Eve and struggling to apologize to each other, Marsh said. That was a scenario that anyone could identify with, he added, even if “unusually, John and Holly cannot apologize to each other because of terrorist action.”Over the past decade, Marsh has had several fringe hits in Britain with stories told through poetry, including “Dirty Great Love Story,” written with Katie Bonna, which started at the Edinburgh festivals before heading to the West End. Marsh said he got the idea for “Yippee Ki Yay” — named after one of Willis’s most memorable lines in the movie — so long ago that he couldn’t remember the date. “My plays often start as jokes,” he said, “and the idea of doing ‘Die Hard’ as an epic poem was this delightful contrast.”Last year, as British theaters were reopening following the coronavirus pandemic, Marsh said the idea popped back into his head. He had been working on a play about grief but decided audiences would prefer to see “something that is joyful and hilarious and warm and enlivening.” Soon, he had written a draft, and then was working with the director Hal Chambers and the movement director Emma Webb to turn the movie’s main scenes into low-budget reality.“For all the Hans Gruber-ish terrorist action,” Marsh said, “there’s an emotional truth at the center of ‘Die Hard.’”Tom Jamieson for The New York TimesOnstage, Marsh recreates “Die Hard” often just using sound effects and the audience’s imagination. Early on, he stages a fight with a teddy bear that is meant to be a gun-toting terrorist. Afterward, he dabs himself with fake blood to give the impression of injuries. Later, Marsh, using a stool, recreates a scene in which McClane throws a chair loaded with explosives down an elevator shaft. He then covers himself with cocoa powder to look like soot.The only thing Marsh doesn’t do is take off his shoes. Early in the movie, Willis removes his own and is left to chase terrorists barefoot, cutting his feet on broken glass. In the play, Marsh tells his audience there’s a simple reason he’ll be keeping his on: “Have you seen this floor?” he says.The experience of developing “Yippee Ki Yay” — which is running in London until Dec. 30 before going on a British tour — wasn’t entirely easy, Marsh said. After he performed its first preview, a friend said the show was really funny but didn’t have much emotional impact.“It was a brutal note, but extremely useful,” Marsh said. Afterward, he changed the play so it didn’t just tell the story of “Die Hard,” but also interlaced it with the tale of a romance between two “Die Hard” fanatics who meet on an internet forum.That emotional arc has won praise from reviewers. Dominic Maxwell, writing in The Times of London, said that it was “one thing” to have the idea of turning “Die Hard” into an epic poem. “It’s quite another to deliver on it with this level of panache, wit, insight and — unexpectedly — tenderness,” he wrote.Marsh said the final play drew out what “Die Hard” meant to him today. When he first watched it as a teenager, he simply enjoyed it as a full-throttle action film in which a wisecracking hero overcomes preposterous odds to beat up bad guys, Marsh said. “But it’s different watching it now. I’m a dad, I’m in midlife.”Today, he sees the movie as much about how children can be a “colossal hand grenade” in any relationship, he said, and how families try to connect — a message at the heart of most successful Christmas movies including “Home Alone” and “It’s a Wonderful Life.”“For all the Hans Gruber-ish terrorist action,” Marsh said, “there’s an emotional truth at the center of ‘Die Hard.’”That, he added, “is probably the reason why it’s lasted as long as it has.” More

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      in Television

      Chelsea Handler Needs More Jennifer Coolidge in Her Life

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      The comedian, whose new Netflix special is “Revolution,” talks about siblings, Kristin Hannah and no longer being annoyed when people talk about gratitude.Early in the pandemic, one of Chelsea Handler’s sisters moved in with her. That wouldn’t have been a problem, except that she brought her three adult children.“I didn’t have children on purpose, and everyone knows that,” Handler said in a phone interview this month. “Just because I have five extra bedrooms doesn’t mean I’m looking for company.”Handler’s new comedy special, “Revolution,” is equal parts Covid diary — Covid sex, Covid pets, Covid houseguests — and social commentary, particularly on the fraught subjects of power, gender and race.“My brother was like, ‘Chelsea, not all white guys are bad guys,’” she says in the special, which begins streaming Dec. 27 on Netflix. “I go, ‘Nobody said that. Nobody ever said that. But now you sound suspicious.’”Handler spoke with us about what it took to move her family out (“I had to put my house on the market and sell it”) as well as some of her favorite things, including skiing, oysters and fiction by Madeline Miller and Kristin Hannah. These are edited excerpts from the conversation.1. Future Islands Somebody turned me on to the band Future Islands about six months ago, and I’ve been loving it. It’s nice and mellow. It’s great background music when I’m home. It’s my cup of tea. You can only listen to so much Top 40 before you want to rip your eyes out.2. My Siblings It’s really nice to have adult closeness with all of your siblings. They’re the only people in your life who understand exactly what you went through with your parents growing up. We’ve gotten closer and closer as we’ve gotten older. There are five of us. We’re a big pack, a unit. My most meaningful relationships are with my siblings.3. “The Great Alone” Kristin Hannah’s “The Great Alone” is a book about something that I would never normally read about: Alaska, the wilderness, living off the grid, all things that I have no interest in. It’s really about aloneness and survival and Mother Nature and what it brings to everybody in terms of mood, in terms of stability, in terms of livelihood — and it’s one of the most beautiful books ever. It’s far out of my comfort zone, and I like it a lot when I enjoy something that I normally wouldn’t have an appetite for.4. “Circe” Madeline Miller’s novel “Circe” is a book that took me to another planet. It was so beautifully written. You would read the end of a chapter and just have to put it down and think about what you just read because it’s so poetic. It’s kind of a metaphor for life and the people that come in and out of your life, and loss and love and death and, again, aloneness. For a long time I was very scared of spending time alone and reading about people being alone. That’s why “The Great Alone” and this book both struck me so much. It made being alone seem like something almost mythical and mystical.5. Oysters My favorite in the world are the grilled oysters at Blue Plate Oysterette in Santa Monica. But I will eat oysters almost every night before I go onstage, whenever I’m somewhere that they’re going to be fresh. I try not to have them in Iowa.6. Gratitude I’d heard people banging on about gratitude for a long time, and it usually just annoyed me. Then someone told me that you can actively shift your energy by writing down everything that you’re grateful for. So, a few months ago, I started writing down 20 things I’m grateful for every morning. I can’t describe to you what a difference it makes. You are on a higher vibration and frequency when you wake up and start counting all the things that you’re happy about.7. Stand-Up Comedy To be able to get onstage and command an audience of a few thousand people every night feels really good. Strangers are sitting next to each other, laughing at the things that you’re saying. That is the best gift that you could give anybody.8. Martha’s Vineyard When I was a little kid, all I wanted to do was go to the Jersey Shore with the rest of my friends, and my parents were like, ‘You’re not going to the Jersey Shore. We have a house in Martha’s Vineyard. That’s much nicer.’ Now that I’m older, I think it’s one of the most magical places. I have the best memories of being there with all of my family. We grew up there every summer of our lives. We still go there every summer. It’s one of the milestones of my life.9. Skiing I’m not very coordinated, so 10 years ago I decided to pay somebody to teach me how to be a good skier. I wanted to be good enough to be able to ski off anything. I had a private ski guide for seven years and now I’m an expert skier — I can heli-ski, I can ski off the top of anything — and that was a big dream of mine. I take skiing very seriously.10. Jennifer Coolidge She’s been great in “The White Lotus.” Everything she serves up in all of her performances is everything that we could all use a little bit more of. The ridiculousness, the kind of wide-eyed, bushy-tailed approach to life, and the kind of unapologetic nature of who she is, I think, is a great example for all women not to take ourselves so seriously. We all need a little bit more Jennifer Coolidge in our lives. More

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      in Television

      A Comedian’s Stunt Is a Sly Protest of Qatar’s LGBTQ Laws

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      Joe Lycett appeared to shred cash after demanding that David Beckham end his relationship with the World Cup. It was his latest performance with a point.LONDON — Hours before the opening ceremony of Qatar’s World Cup, the comedian Joe Lycett dropped great wads of cash into a shredder.Days earlier, he had posted a video in which he addressed the footballer David Beckham. Lycett called him a “gay icon” for appearing on the cover of a British gay lifestyle magazine. But he also gave him a week to stop being a World Cup ambassador for Qatar, which outlaws homosexuality and was reportedly paying Beckham 10 million pounds (more than $12 million) to promote the tournament.After hearing nothing from Beckham, the British comedian, wearing a pair of safety goggles and a frilly rainbow shirt, live-streamed himself feeding £10,000 of his own money into a wood chipper. He was subsequently criticized in British newspapers and on social media for shredding money at a time when many in the country are struggling financially.Except, in a follow-up video, Lycett revealed that he hadn’t really destroyed the cash, and instead had donated a total of £10,000 to two L.G.B.T.Q. charities. “To threaten to destroy money in a cost-of-living crisis? It’s a horrific thing to do,” he said, referring to Britain’s surging inflation rates.It was Lycett’s latest act of public performance as protest, an approach he had previously used to take on the British Conservative Party and Shell, the energy company. In a recent interview in a London pub, Lycett, 34, said he thought of these efforts as stunts: “War-gamed, and plotted.”Lycett, a popular stand-up comedian and TV personality in Britain who identifies as pansexual and so is attracted to people regardless of their gender identity, remembered visiting Qatar in 2015 as part of a comedy tour. “I didn’t feel safe there,” he said, adding that he was advised by the organizers not to leave his hotel. In Qatar, same-sex relations are punishable by up to seven years in prison, according to Human Rights Watch.Lycett onstage at the Edinburgh Fringe in 2015. Earlier in his comedy career, Lycett said he preferred to make “gentle and nonabrasive” jokes “about cheese and being middle-class.”Richard Dyson/AlamySoccer fans around the world have expressed concern about Qatar’s human rights record, and when he heard that the World Cup was taking place in the Arab nation, Lycett was appalled. He hoped putting pressure on Beckham “to say or do something” would have “a much larger knock-on effect” in actively improving L.G.B.T.Q. rights in Qatar, he said.Beckham declined to comment for this article, but in a TV special made by Lycett that aired Thursday in Britain, Beckham’s team made a statement that read, in part: “We understand that there are different and strongly held views about engagement in the Middle East but see it as positive that debate about the key issues has been stimulated directly by the first World Cup being held in the region.”In an email after the show’s broadcast, Lycett said he was shocked by the statement’s “absence of even mentioning L.G.B.T.Q.+ people,” and its use of the word “debate.” “Essentially Beckham (or more likely his team) are saying human rights are up for debate,” Lycett said.A Brief Guide to the 2022 World CupCard 1 of 9What is the World Cup? More

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      in Television

      Can Daniel Kitson Redefine the Relationship Between Comic and Audience?

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      The elusive stand-up seems to believe in making his listeners work. But it’s not out of contempt. Instead, he’s trying to forge an intimate human bond.STILLINGTON, England — Under a tent by a mill on an August night, the stand-up comic Daniel Kitson found the most apt rustic setting to poke fun at comics leaning on modern technology. He described performers’ postshow tweets of gratitude to ticket-buyers as another way to say: “Give me your compliments.”He groused about podcasts, singling out the worst of the genre as “great guys chatting,” shows he termed “for wankers by wankers.” Offering the opposing viewpoint, he said they are easy to listen to before rebutting himself: “Should be hard.”Daniel Kitson — whose last two decades of stand-up performances and ambitious theater works put him in contention for greatest comedian working today — believes in making the audience work. Not just because his rapid-fire monologues can be dense and elusive. Just finding him can be a challenge, since he’s not on social media and doesn’t do interviews, talk shows or podcasts. Most of all: Despite being prolific, his new work is not on any streaming service and only a few recorded shows can be bought on his site. This has made him an unknown quantity to vast swaths of comedy fans, but also a figure of some mystique inspiring committed admirers who will go to great lengths to see him. Which is how I found myself in the British countryside over the summer.His stand-up focused on the pandemic and the fear it inspired. His jokes quickly veered from aggressive to ruminative, dirty to philosophical, but he punctuated them with ideas that stuck in the brain, like the one that suggested people who add a yell to their sneeze are, on some level, “letting a little terror out.” He found the early pandemic oddly unifying: Everyone in the world was stuck at home at the same time. Kitson stopped taking trips to the United States and Edinburgh (he has die-hard followings Off Broadway and at the Fringe Festival in Scotland), but in some ways the pandemic made him a more accessible artist.I was grateful that in the most fearful moments of 2020, he started a radio show from his home that I listened to every day, providing some quiet charm to interrupt the steady bass line of sirens outside my Brooklyn window. More significantly, he taped a new show, an audio play named “Shenanigan” that he sold on his site. But, consistent with his ethos, he kept distribution small, just 2,000 copies, available only in record, CD or cassette tape formats. (None are currently for sale.)An intricate, layered narrative told with literary precision and propulsive sound effects, “Shenanigan” feels less like his stand-up or solo shows than something entirely new. Its premise, reminiscent of “Eternal Sunshine of the Spotless Mind,” turns the romantic comedy inside out. Darting back and forth in time to chronicle the dissolution of the relationship between a couple, Bob and Poppy, Kitson introduces each section he narrates by the number of weeks, days or hours before the breakup.This structure creates suspense but also draws attention to its own artifice, as does the science-fiction conceit at its center: A dystopian company called A Better Beginning erases memories of couples’ first meetings and implants a more romantic version. It was founded by a heartbroken man who believes art has ruined relationships by setting up unrealistic expectations for love.Kitson periodically interrupts the narrative to give us scenes of him making the show, a spoof of himself as pretentious and obsessive but also a running commentary on the themes he’s exploring, especially in conversations with a female friend. She wants to know if the show is really about his own aversion to long-term relationships. Kitson balks, not just offering the dodge that it’s all made up, but going further, adding that there is no such thing as a true story. “It’s like a wood fire,” he says. “The story-ness affects the truthiness.”He’s right, in a way, and in focusing on the origin story of a relationship, he found a resonant metaphor to illustrate and expand his point. For many people, telling this tale is as close as they will get to understanding how a comedian’s set, refined through repetition, can’t help but blur the line between truth and fiction. To take one example, after so much retelling, the memory of the story of how your parents met tends to crowd out the actual events in their minds.Kitson displays a skepticism about romantic love but a more subtle and fascinating kind about stories. Our cultural faith in stories has never been greater and more unquestioned, what a recent book by the literary theorist Peter Brooks described as “our mindless valorization of storytelling.” Kitson did not write a didactic show, but he seems to be suggesting that the power of stories is more limited than we think. A good story can evoke real emotions, but it can’t replace them.Seeming to spoof himself, Kitson sounds self-important notes, telling his friend that his goal as an artist is to show, not tell, leaving it up to the audience to put it together. One of the nice things about the audio play is that its narrative is so fractured that it benefits from multiple listens. I have occasionally felt this with his plays, that the ephemerality of theater doesn’t always suit them. Ultimately, Kitson is a comic who likes the sound of laughter. He isn’t trying to be esoteric for its own sake. His insistence on producing his work his own way is not a rejection of the crowd, but it does reflect an interest in reinventing his relationship with them.His goal appears to be to forge a more intimate, human bond, a point he made implicitly in the live show I saw in Yorkshire. At various points he singled out audience members, gently explaining a joke to one who didn’t get it; urging another who looked sleepy and struggling to stay awake, not to feel bad, to close their eyes and rest; and telling a person in the front row that if he wanted to put his foot onstage, he should go ahead.This appeared to me to be a demonstration that he was paying as much attention to us as we were to him, modeling a relationship between performer and patron as peers, each deserving attention and care. But maybe that’s just a story I am straining to tell to make sense of disparate comments. That’s the tricky thing about art. Once you put it in the world, it’s out of your hands. Maybe forgotten or reshaped by memory. This can happen in life, too, even the most major events.Kitson himself said that he hadn’t processed the events of the pandemic, before pausing to speculate that maybe we never process anything. “Maybe we just forget stuff and the rest becomes the narrative.” More

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      in Movies

      Adam Sandler to Receive Mark Twain Prize for American Humor

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      The comedian will receive the Kennedy Center’s annual comedy honor at a ceremony in March.Adam Sandler has had a busy 2022: He starred as a basketball scout in a critically acclaimed performance in the Netflix sports drama “Hustle”; he won an honorary Gotham Award, giving a speech that brought the house down; and undertook his first nationwide arena tour in three years. Now, he’ll be able to start off 2023 with at least one sure thing: a comedy prize.The John F. Kennedy Center for the Performing Arts announced on Tuesday that it will recognize the 56-year-old comedian’s satire and activism when it presents him with its 24th Mark Twain Prize for American Humor, given to luminaries who have “had an impact on American society” in ways similar to Twain, at a ceremony on March 19.In his 30-year career, Sandler, who is known for his loopy, lewd sense of humor and amiable charm, has served as a comedian, actor, writer, producer and musician, starring in films like “The Waterboy” (1998), “Grown Ups” (2010) and “Hotel Transylvania” (2012). After getting his start telling jokes in comedy clubs, he shot to fame as a cast member on “Saturday Night Live,” then went on to release blockbuster albums and make critically panned comedies. Though he’s also racked up critically acclaimed star turns in the Safdie brothers’ 2019 dark comedy “Uncut Gems” and “Hustle,” among others.Deborah F. Rutter, the president of the Kennedy Center, said in a statement that Sandler had “created characters that have made us laugh, cry and cry from laughing.”Previous winners of the Mark Twain Prize include Jon Stewart, Bill Murray, Dave Chappelle, David Letterman, Jay Leno, Carol Burnett and Ellen DeGeneres. The award has been presented annually since 1998, excepting the pandemic years 2020 and 2021. More

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      in Television

      Steve Martin and Martin Short Trade Barbs, and Eulogies, on ‘SNL’

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      The two seasoned comedians brought their playful rivalry to this week’s episode, which featured the musical guest Brandi Carlile.A certain playful rivalry has always been the heart of the partnership between Steve Martin and Martin Short. So, taken to its logical extension, the two should be at their funniest when imagining themselves at each other’s funerals.That was the idea behind their opening monologue on this weekend’s “Saturday Night Live,” which paired the enduringly popular comedians (and stars of the Hulu series “Only Murders in the Building”) as hosts on a holiday-themed broadcast that also featured the musical guest Brandi Carlile.At their entrance, Short and Martin humorously stepped on each other’s dialogue, compared how many times they had hosted “S.N.L.” alone (Martin a whopping 16 occasions, Short a mere three) and indulged in some nostalgia for the early days of the series. Having shown a photograph of himself with Dan Aykroyd, John Belushi and Mick Jagger, Martin quipped that after it was taken, “We tested positive for everything.”Next, a few good-natured zingers at each other’s expense. Martin said that working with Short “is like World Cup soccer — somehow, I just can’t get into it.”Short returned fire, observing that their Hulu show “is like Steve at the urinal — it streams for 32 minutes.”Then Martin set up the central premise of the segment, saying that he realized Short wouldn’t live forever, “and that is sad, because you won’t be able to hear the wonderful things I’m going to say at your memorial.”“So I thought: why wait?” he continued. “So what I did was I wrote up your eulogy so you can hear it now.”Beginning his imaginary remarks, Martin said: “Wow, not much of a turnout. Marty did not want to be cremated — too late. But I’ll always be haunted by Marty’s last words: ‘Tesla autopilot, engage.’”Short then launched into his own tribute, saying: “There are so many great things that I could say about Steve Martin. But this hardly seems the time nor the place.” He added, “I know Steve is looking down on us right now because he always looked down on everybody.”Martin said of Short: “Marty was taken away from us too soon. But sadly, not before he played Jack Frost in ‘Santa Clause 3.’”And Short said of Martin, “Seeing you in your casket reminds me of that classic ‘S.N.L.’ sketch ‘Dick in a Box.’”Finally Martin wondered aloud, “Now that Marty’s gone, who will I ever work with?” That was the cue for a cameo from Selena Gomez, their co-star in “Only Murders,” who asked, “What about me?”New holiday standard of the weekIn this week’s opening sketch, “S.N.L.” skipped its familiar topical satire in favor of a musical segment that found Bowen Yang, Cecily Strong and Kenan Thompson standing at a Christmas tree, wondering how to deal with the buildup of anxieties from recent months. (Yang listed the major causes for concern: “War, climate change, the Prince Harry-Meghan Markle documentary.”)Breaking into song, they explained that the holidays made it OK for them to push off their personal worries for a few more weeks. For example, Thompson sang that he could give himself permission to overlook his drinking: “It’s starting to get out of hand / I knew that it may have / Crossed into a dark place / When Burger King said I was banned.”In another verse, Yang asked: “Since when did Hitler come back? / Didn’t we basically all agree, years ago / Hitler should never come back?” (Thompson added, “And why are his new fans Black?”)Old holiday standard of the weekLike the Irving Berlin composition that inspired it, the 1954 movie musical “White Christmas” may be a seasonal classic. But let’s at least admit that it has a couple of bizarre numbers, like “Snow,” in which Bing Crosby, Rosemary Clooney and Danny Kaye ride a train while crooning about frozen precipitation as if they’ve never encountered it before.That scene was parodied with an absurdist affection in this sketch, where Short, Martin and Strong sing enthusiastically about snow without seeming to understand what it is, and Thompson plays a fellow passenger who is pleasantly baffled by their antics. (If seeing Short and Martin in Christmas sketches is your thing, enjoy these further segments in which they play a department-store Santa and elf and perform an excessively violent reimagining of Charles Dickens’s “A Christmas Carol.” )Weekend Update jokes of the weekOver at the Weekend Update desk, the anchors Colin Jost and Michael Che riffed on the aftermath of the 2022 midterm elections and the release of the basketball player Brittney Griner as part of a prisoner exchange with Russia.Jost began:It was shaping up to be good week for Joe Biden. He got Brittney Griner back, he kept marriage gay, and he’s only got 14 more sleeps until Santa. But then, just when he thought he had it all under control, Kyrsten Sinema said hold my wig. Arizona Senator Kyrsten Sinema, seen here realizing that someone is actually waving to the person behind her, announced that she is leaving the Democratic Party and is registering as an independent. Explained Sinema, “Pay attention to me.”He continued:WNBA star Brittney Griner was freed from prison in exchange for Russian arms dealer Viktor Bout. It’s actually a great trade because Bout was only averaging five points and two rebounds a game.Che then pivoted to the Georgia runoff:Raphael Warnock defeated Herschel Walker in Georgia’s Senate runoff race. But I don’t think this is the last you’ll hear from Herschel Walker. I mean, unless he’s your biological father. With Raphael Warnock’s win, Democrats in the Senate will no longer have to rely on Vice President Harris for tie breaking votes. Harris can now focus on her main priority, waiting for a worse bike accident. [A screen behind Che shows President Biden falling off a bike.]Nineties nostalgia of the weekIf you’re going to bring Martin and Short together on a pop-cultural comedy sketch series, you’d darn well better let them pay homage to either “Three Amigos” or “Father of the Bride.”“S.N.L.” opted for the latter in this fake ad for “Father of the Bride Part 8,” which casts Martin as the titular father, Heidi Gardner as his now-menopausal daughter preparing for her eighth marriage, Short as his flamboyant wedding-planner character and Kieran Culkin as himself, reminding us that yes, he really was in the previous installments of the franchise, and we’ve all gotten much older since then. More

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      in Theater

      Silver Saundors Friedman, Who Helped Found the Improv, Dies at 89

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      She ran the famous New York comedy club with her husband for years as they launched the careers of many comic stars.Silver Saundors Friedman, a former Broadway chorine whose hankering for an affordable after-work hangout in Manhattan inspired her future husband to open the original Improvisation, the grandfather of comedy clubs, which she later owned outright, died on Dec. 3 in Santa Monica, Calif., She was 89.Her death, in a hospice, was caused by a hemorrhagic stroke, her daughter Zoe Friedman said. Budd Friedman, her former husband, died on Nov. 12 at 90.For years Ms. Friedman auditioned talent for the club, in the theater district, helping to launch the careers of many famous comedians. And she operated it by herself for more than a decade after the couple divorced.When they opened the Improv in 1963, they were so cash poor that they set up shop in a former Hell’s Kitchen coffeehouse, a leased space on West 44th Street near Ninth Avenue, because they couldn’t afford a liquor license. Then they ran out of money remodeling the place — after stripping paneling from the walls — and decided to leave bare brick as the backdrop to its tiny stage.With an open mic available for impromptu appearances, the club became a platform for established comedians to experiment with new material before a sophisticated audience and a springboard for fledgling comics. On a given night Robert Klein, Jay Leno, Richard Pryor or Lily Tomlin might mount the stage. The Improv became a model for comedy clubs across the country.The Friedmans ran the New York club and later a branch in Hollywood until their divorce was finalized in 1979. Ms. Friedman was granted rights to the brand in New York, and Mr. Friedman retained the club in California, which he started in 1975.He opened 22 others in 12 states west of the Mississippi. He and his partner, Mark Lonow, sold their company in 2018 to Levity Entertainment, which later expanded the Improv chain to 25.Ms. Friedman was born Silver Schreck on Aug. 28, 1933, in Los Angeles and raised in Chicago. She was named for Sime Silverman, the founder of the entertainment trade newspaper Variety, where her father, Jay, was an editor. Her mother, Isabelle (Brown) Schreck, worked as an executive assistant for the Marshall Field department store company in Chicago.Silver Schreck graduated with an associate degree from Chicago Teachers College, now Chicago State University.She changed her surname when she decided to pursue a singing career. Her daughter Zoe explained:“With a first name like Silver, it was important that her stage name didn’t make her sound like a stripper. Silver Slippers could have been a great stripper name, but that wasn’t who my mom was. So she and a friend came up with a few options that made Silver sound legit. Saundors was the winner. First audition after claiming that name, the casting person yelled, ‘Silver Sandals. Silver Sandals.’ To which my mom said, ‘It’s Saundors.’ And he said, ‘Just shut up and sing.’”Ms. Friedman is also survived by another daughter, Beth Friedman; and a grandson.Ms. Friedman fared better on Broadway, Mr. Friedman recalled in “The Improv: An Oral History of the Comedy Club That Revolutionized Stand-up” (2017), which he created with Tripp Whetsell. She was appearing in the chorus of “Fiorello” on Broadway when she met Mr. Friedman at Logan Airport in Boston as both were headed for New York from Nantucket, Mass., he with dreams of becoming a Broadway producer.When he tried to date her, she begged off, she said in the oral history, explaining that she was already seeing someone else. Eight months later, when she was cast in the chorus of the hit “How to Succeed in Business Without Really Trying,” they met again.“After the show got out each night, Silver and I would go out to eat with some of the cast to places like Sardi’s and Downey’s in the theater district, which none of them could afford on a chorus kid’s salary,” Mr. Friedman told The Washington Times in 2017.“My idea was to open something up in the theater district that was affordable, and where they could get something cheap to eat, sing if they wanted to, and where I could expand my contacts enough to maybe produce my first show,” he said. “It was never going to be anything but a temporary venture.”Ms. Friedman with the comedian Robert Klein at the Improv in Manhattan in an undated photo. Jay Leno, Richard Pryor and Lily Tomlin were among the comedians who also appeared there. Jim DemetropoulosThey married six months after the Improv opened.“Even though we continued to present singers for many years to come, about six months after I opened, a very popular comedian named Dave Astor came in and asked if he could do a few minutes,” Mr. Friedman said. “It gradually evolved from there.”“Anything went, which is how I came up with the name ‘the Improvisation,’” he said.Ms. Friedman would audition prospective comedians on the first Sunday of each month. She rejected Eddie Murphy on his first tryout for being “too vulgar,” Mr. Friedman recalled, although Mr. Murphy eventually honed his act and performed at the Improv in Los Angeles.Comics still get laughs at the Improv’s franchises across the country, but Ms. Friedman closed the original New York venue in 1992. She blamed television for the decline in customers.“They demystified it,” she told The New York Times in 1994. “They made it common.” She added, “You can stay home and see all the bad comedy you want.” More

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      Trevor Noah’s Optimism Set His Version of ‘The Daily Show’ Apart

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      Though his final episode made the mysterious reason for his departure a running joke, his specials and memoir suggest he was always comfortable with uncertainty.A talk-show host’s final episode is typically a celebration of their tenure, but in his last time at “The Daily Show” desk, Trevor Noah put the spotlight on others, giving sizable segments to each of his correspondents, doing a gushing interview with the comic Neal Brennan and expressing gratitude to everyone from the executives who hired him to the Black women who raised him to those who hate-watched.In a persistently sunny hour, Noah even had a kind word for Donald J. Trump, quieting his crowd by praising what the former president did for prison reform.Noah has always invited others to see him as an outsider because of his background as a South African comic, but his equanimity and preternatural calm also distinguished him. He’s got to be the only political comic alive who could emerge from seven years of regularly joking about the Trump administration and a global pandemic exuding optimism.“The Daily Show” is famous for its topical jokes, but Noah told very few on his final episode. He took a broader perspective. Outlining lessons learned, which included that people were friendlier than they appear on social media, he struck post-partisan notes and said, “Politics turns people’s brains to mush.”He told a story about Jon Stewart calling to offer him the job and saying, “I see you in me.” Noah seemed shocked, and honestly, why wouldn’t he be?Trevor Noah’s 7 Years on “The Daily Show”The host, who took the reins of the show from Jon Stewart in 2015, exposed America’s many blind spots through witty and passionate commentary.Time to Depart: Trevor Noah announced that he would be stepping down in September, citing a desire for a better work-life balance.Saying Goodbye: In his final episode of “The Daily Show,” Mr. Noah told viewers not to be sad and called the night “a celebration.”An Outsider: The talk-show host, who grew up in South Africa and represented a part of the world often neglected by American news, helped his audience see through his eyes.His Best Moments: Noah’s comic perspective set him apart from other late-night hosts. Here are the highlights.Whereas Stewart’s humor ran hot and righteous, Noah always maintained a cool composure. Stewart was at his best in antagonistic interviews, interrogating ideas and calling out nonsense. Noah always seemed eager to get above the fray and treated guests with deference and awe.One running joke on his last show was the mystery of why he was leaving. Discovering that he doesn’t have another job lined up, the correspondent Dulcé Sloan quipped about Noah, who has a Black mother and white father, “Wow, you really are half-white.”You get a hint about why Noah might have gotten restless from his comment that it might be better to wait before developing a take on something you see in the news. But you can learn more about the reason he left from his stand-up. Noah never stopped performing, putting out three Netflix specials during his “Daily Show” tenure, including one last month called “I Wish You Would.”He’s not an entirely different performer in his stand-up — his twinkly-eyed charm is a constant — but the distinctions are revealing. While his specials dig into politics, it’s not the main subject. That would be the slipperiness and meaning of language. Noah is clearly not just obsessed, but tickled by the way people talk and the eccentricity of languages (he speaks eight). His gift for impressions is the centerpiece of many bits.In fact, a premise often seems like just an excuse for him to show off verbal gymnastics, whether it’s pointing out the similarity between the ways Nelson Mandela and Barack Obama speak or showing that to be president you need a strange voice (cue a lineup of impressions). Even my favorite Noah joke, about how trap music sounds like a toddler complaining (from his special “Son of Patricia”), is a virtuosic display that turns ordinary human sounds into a kind of music.Noah’s stand-up aesthetic is also more subtle and wry than his talk-show punch lines. In a joke from his recent special comparing Will Smith’s character in “Independence Day” to his slap at the Oscars, he displays such a light touch that the actor might not have even noticed the jab. (In fact, Smith gave one of his first interviews after the awards to Noah, a booking coup.) There’s a wit to his voice that recalls an earlier era. I would not be shocked to see him become a regular humor writer for The New Yorker.Noah hit his stride on “The Daily Show” when he started speaking more off the cuff. The segments, released online, in which he did crowd work during commercial breaks were often long monologues culminating in metaphors. They showcased his gift for thinking aloud and in real time. What they don’t have is a ruthless appetite for getting belly laughs or winning an argument. The dearth of that hunger is also part of his legacy at “The Daily Show.”On “I Wish You Would,” you get a sense of his temperament when he talks about why people were so angry during the pandemic. His theory is not that Americans were hopelessly divided, but that we were scared. “As humans, we get so comfortable knowing,” he said, emphasizing that last word in his volume and timing, “that we forget how uncertain life is.”This is not just a more existential thought than is usually expressed on a talk show. It’s existentially fatal to a certain kind of talk show. Because as true as it may be, and it is, the job of daily commentator on political events is a lot easier if he at least keeps up the illusion of having a sure-minded, commanding take. Hamlet could never host “The Daily Show.”Noah is startlingly good at appearing confident and assured, which made him a natural at the job. But talent can be its own obstacle. What you’re gifted at is not necessarily what you should be doing. Watching his stand-up, and especially reading his excellent memoir, “Born a Crime,” you sense that he is most comfortable in the moments of not knowing.Talk shows are far more collaborative than they appear. And “The Daily Show” is a machine that can work with different hosts. We first learned that not with Noah but with John Oliver, who had considerable success filling in when Stewart took a summer hiatus in 2013. The years that followed were a catastrophic period for Comedy Central, when it lost a tremendous amount of funny correspondents, including Oliver, Stephen Colbert and Samantha Bee. Noah deserves credit for rebuilding an impressive roster with a more diverse cast.“The Daily Show” will now use temporary hosts, including Sarah Silverman, Al Franken and the former correspondent Hasan Minhaj. As for the permanent replacement, the understandable temptation is to aim for the shiny new toy, but clearly, overlooking your stable of talent has its own risks.Dulcé Sloan has enough spiky charm for a bigger platform. Jordan Klepper displays a bulletproof deadpan. And in their stand-up as well as on the show, Roy Wood Jr. and Ronny Chieng are cagey, argumentative and prolific joke writers who share a delight in the comic kill that would represent its own departure. To my eyes, they should be the favorites. But would either want this grind?In his goodbye to Noah, Chieng set up a joke by appearing to get emotional: “In all seriousness, on behalf of everyone watching right now and from the bottom of my heart, can I be the new host?” More