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    Review: In ‘The Wanderers,’ Two Marriages and a Movie Star

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    Anna Ziegler’s play about an Orthodox couple in the 1970s and an unorthodox one in the 2010s explores the limits of longing.There’s no shortage of stories that explore the merits and pitfalls of arranged marriages. In the Jewish subcategory alone, we have “Shtisel,” “Unorthodox” and the perennial “Fiddler on the Roof.” But Anna Ziegler’s awkwardly hitched play “The Wanderers,” which opened Thursday at the Laura Pels Theater, may be the first to consider the problem of forced matches while also exemplifying it.A shotgun seems to have been involved in forcing its two incompatible tales under one roof. The first begins in 1973 with the wedding of Esther and Schmuli, members of the Satmar Hasidic community who barely know each other. Even if Schmuli (Dave Klasko) is a bit meek, and Esther (Lucy Freyer) alarmingly headstrong, they seem at first like a traditional Orthodox couple, looking forward to making a family.Nevertheless, within five years, their marriage is in ruins. Schmuli has spirited away their daughters; Esther has fled Brooklyn with their infant son, Abraham.That’s not a spoiler but the foundation for the second story, which takes place decades later and proceeds in alternating “chapters” with the first. Abe (Eddie Kaye Thomas) is now an acclaimed 40-something novelist, having won, we are told, “a Pulitzer and two National Book Awards before turning 30.” The purple samples of his work provided suggest that the prizes were massively misjudged.Somewhat too conveniently for himself and the play, Abe is married to the daughter of another Satmar refugee. His mother and hers, best friends since childhood, raised Abe and Sophie (Sarah Cooper) to be each other’s “bashert”: their fate, their soul mates.Eddie Kaye Thomas and Sarah Cooper, on the table, portray a married couple with connections to an Orthodox couple played by Lucy Freyer, far left, and Dave Klasko, sitting at the two ends of the table.Sara Krulwich/The New York TimesWhether they also chose that fate is an open question; for all their similarities, there are also crucial differences. For one thing, Sophie, who is biracial, grew up with a father — a Black professor of environmental science — but Abe rarely saw his after the separation. Precious about his loss, yet glib about other people’s, he has the charismatic narcissist’s ability to finagle subservience.That’s already a lot of plot for a 105-minute play, even before the lopsided interaction between the two stories, and the potential to explore generational harm through them, is overshadowed by an out-of-the-blue development. At a reading in a Brooklyn bookstore, Abe spots in the front row a well-known actress, a longtime crush who is apparently on his freebie list. Immediately afterward he receives an email that leads to a correspondence featuring thousands of others, many flirtatious to the point of virtual adultery.Unaccountably, the actress is given the name Julia Cheever, a herring so far past red it’s bleeding. As played by Katie Holmes, with whom the character shares certain biographical features, Julia is glamorous and wry but strangely underpowered. That’s in part a lack of stage authority; in this Off Broadway Roundabout Theater Company production, Holmes, though she appeared in the 2008 Broadway revival of “All My Sons” and in Theresa Rebeck’s “Dead Accounts” in 2012, is still feeling her way around a world that lacks a camera.But her indistinctness is also the result of the problem of representing virtual communication onstage. Sometimes the director Barry Edelstein has Julia sit face-to-face with Abe, or even touching, as if in the same room. Other times, she wanders about Marion Williams’s set, which consists almost entirely of books, while reciting her emails as if they were soliloquies.At least hers are down-to-earth. Abe’s are high-flown, pretentious — which is but one way this plot thread recalls the infamous electronic flirtation between the novelist Jonathan Safran Foer and the actress Natalie Portman. Ziegler has said she found that correspondence, part of which was published in The New York Times, “pretty juicy,” but in repurposing it for the play, she seems to have spilled the juice everywhere. As written, and in Thomas’s crafty performance, Abe bears enough of a resemblance to Foer (who also has a mother named Esther) to make you wonder what the point is.In any case, the real governing spirit here isn’t Foer but the frequently name-dropped Philip Roth; Abe seems to aspire not just to his stature but also to his characters’ unapologetic selfishness. That Sophie tolerates this while also taking nearly sole responsibility for their two children, who could not possibly be as whiny as her husband, is something of a mystery, at least for a half-hour. But pretty soon, and with growing irritation thereafter, the explanatory twist becomes obvious, leaving the big revelation at the end of the play a letdown.Is it too much of a hint to mention that catfish is not kosher?Helpfully, Cooper, known for her comic lip-syncing of Donald Trump, has a fresh and natural energy onstage. Even so, the plot mechanics ensure that Sophie isn’t given enough playable material to make us want to stay in her story. And Abe, who thinks he is deep, is unbearable.The social strictures facing Freyer’s Esther and Klasko’s Schmuli seem impossible to alter and are thus political, our critic writes.Sara Krulwich/The New York TimesIf only by contrast, Schmuli and Esther are more engaging. The forces aligned against their happiness are not merely theoretical as with Abe and Sophie; they emerge from social strictures that seem impossible to alter and are thus political. This gives the emotions of their scenes more complexity, and though Freyer can’t do much else with her troubled character, Klasko is at times heartbreaking in his portrait of conflicted and hopelessly unenlightened love.The comparison between the two marriages, each undone by the search for something outside the characters’ ken, nevertheless feels specious. The dialogue in both sections, sprinkled like parsley with pidgin Yiddish and Hebrew prayer, has a secondhand aura that is also unconvincing. More authentic are the wigs by Tommy Kurzman and costumes by David Israel Reynoso; you certainly never question which world you’re in as the fur hats and wigs — the shtreimels and sheitels — give way to sweatpants.Still, “The Wanderers” feels, like its vague title, unmoored. That has not been a problem with Ziegler’s previous plays, which include “Photograph 51” (about the molecular biologist Rosalind Franklin) and “Actually” (about a campus sexual assault trial). Both feature stories in which a strong argument is developed single-mindedly through specific conflicts that point toward a crisis.It’s an irony that in trying to weld two such stories together, “The Wanderers” doesn’t enhance those elements but compromises them. Arranged or chosen, not all marriages are bashert.The WanderersThrough April 2 at Laura Pels Theater, Manhattan; roundabouttheater.org. Running time: 1 hour 45 minutes. More

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      She Went Viral Mocking Trump. Now Sarah Cooper Is Taking on a New Role.

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      She is making her professional stage debut in the Off Broadway drama “The Wanderers,” and fulfilling a childhood dream. “It’s transformative,” she said.Way back in 2020, when Donald Trump was still in office and many Americans were stuck at home, Sarah Cooper became Internet-famous in a most idiosyncratic way: by lip-syncing some of the president’s more inartful musings.Using tools she had at hand — her wit, her phone — she built an enormous audience for her short-form videos mocking Trump’s remarks on everything from the coronavirus to crustaceans.The exercise was a bit of a lark, and a bit of a coping mechanism. But for Cooper, an actor-writer-comedian who had had little luck breaking into the entertainment world, it was also a game-changer: She finally signed with an agent (at William Morris Endeavor, one of the biggest talent agencies); she starred in her own Netflix special (“Everything’s Fine,” created with Natasha Lyonne and Maya Rudolph); she adapted one of her books, “How to Be Successful Without Hurting Men’s Feelings,” into a pilot (it did not get picked up, but was still “an amazing experience”); and she shot a Jerry Seinfeld film (“Unfrosted: The Pop-Tart Story,” currently in postproduction).Now, at age 45, she is at last doing the thing she has dreamed of since she was a child: performing in a play. She is making her professional stage debut in “The Wanderers,” a drama by Anna Ziegler that is in previews Off Broadway at the Roundabout Theater Company, with the actress Katie Holmes also in the cast.Cooper, who last performed in theater as an undergraduate at the University of Maryland, has had a circuitous path back. Born in Jamaica, she immigrated to the United States with her parents when she was 3, and at first found little family enthusiasm for her artistic aspirations. “They didn’t think that I’d be able to support myself as an actress,” she said, “which, you know, they had a good point.”At college she switched her major from theater to economics; after graduating, she worked in tech design. At 30, she quit to try her hand at acting; when that wasn’t going well, she turned to standup comedy, “and then,” she says, “I went broke.”She wound up managing a design team at Google, but quit that to write. And then came the pandemic, the videos, and all that followed.“Those videos absolutely changed my life,” she said during a recent interview at her apartment high above Downtown Brooklyn, overlooking the Statue of Liberty. These are edited excerpts from the conversation.Cooper is playing a woman who is struggling with her identity as a mother, a wife and a writer in Anna Ziegler’s “The Wanderers,” a Roundabout Theater Company production that is now in previews.Tim Barber for The New York TimesWhat is “The Wanderers” about?“The Wanderers” is about two couples. One couple is very much an arranged marriage, in the Orthodox Jewish community, and the other couple is not arranged. On the surface, it looks like one couple has all of these freedoms and the other one doesn’t. And yet the struggles are very similar between the two.Tell me about your role.I play Sophie, and I am half-Jewish/half-Black. I had a huge failure earlier in my career, but my husband is very successful. When we meet Sophie, it’s about 10 years into their marriage, and she is struggling with her identity as a mother and a wife, and how that is affecting her longing to be a writer. And she’s really feeling distant from her husband.You had a marriage end during the pandemic. How does taking this role resonate for you?It’s very personal: I’m a writer as well; I have a lot of impostor syndrome as well; I question my talent on a nightly basis. I just relate to this character so much.It’s been three years since your first Trump video, which you called “How to Medical.” How do you see that chapter of your life?Right afterward I was very scared of just being known as the Trump Girl, and felt like I wanted to distance myself from it. But I meet people who just come up to me and they just go, “You made me laugh when it was so hard to laugh.” It’s just made me appreciate it a lot more. Those videos helped so many people, and they also helped me. So I’m thankful for it now, even though I know that if I die right now, my obituary would have the name Donald Trump in it, which is not great, but what are you going to do?Do you ever feel tempted to do it again?People ask me to do it all the time, and I have no desire. I like the idea that it exposed the meaninglessness of his words, but I think now that it’s been exposed, there’s nothing left to really do with it.And you’re not going to turn it into a cycle with other characters?I’ve noticed I am very good at lip syncing, so I’ll never say never. But right now I’m really enjoying acting, which is really what my childhood dream was.So what is it like, being in a play?We did a table read, and table reads are always very scary because you think if you do it wrong, you’re going to get fired immediately. And then we moved very quickly to getting on our feet in the rehearsal space for four weeks, which was such a gift. And then you get on that stage, and the lights hit you, and you’re in a costume, and you’re looking at this man who is just this actor but now he’s your husband — it’s transformative. Oddly I feel it’s where exactly I need to be and where exactly I belong.What are you learning?I’m working on my voice, mainly. I’m learning to breathe while I’m speaking, learning how to project, learning about my diaphragm, doing morning and afternoon exercises. I have to say the name of a Philip Roth book, “Sabbath’s Theater,” so all I do every day is say “Sabbath’s Theater,” “Sabbath’s Theater,” “Sabbath’s Theater.” It’s not that easy. I got a lot of opportunities by not using my voice, and so now I really have to figure out what that means to use my voice.Have you been seeing theater?I have seen “Take Me Out” four times. I just love that play. Jesse Tyler Ferguson and Jesse Williams are so great. And masculine vulnerability is just wonderful to watch. I also saw “Tina” twice — I see a play and I have to go see it again. I don’t know what I will see next but if I love it I will see it multiple times.I’m having a hard time figuring out the overlap between “Tina” and “Take Me Out.”Well they both start with T! Actually, I don’t know what it is. With “Tina,” it was the contrast between that forward-facing, “I’m doing this amazing performance; I’m making you happy; I’m making you dance” and then, a second later, “I’m beaten by my husband.” Showing how those two things could be happening at the same time — this awful, awful struggle and this amazing performance — that was incredible to watch. And also, Adrienne Warren — her voice and her presence was just so amazing.So what do you hope is next for you?I am writing a memoir that’s coming out in October. And I want to tell stories. That’s really what I want to do, and whether that’s through writing, through acting, through standup, I want to be able to do whatever it takes to tell stories.Why a memoir?My very first book was “100 Tricks to Appear Smart in Meetings,” and I look back now and realize that a lot of that was inspired by my father, because my father always looks very smart. My memoir is about embracing looking foolish. The more foolish I can allow myself to look, the better, because that’s exposing who I am more, and not conforming to what I think people want to see.Do you miss Trump?In 2020, he said some brilliantly stupid things. You can’t write that stuff. The stuff that he said, it was gold. So I don’t want him back, but making those videos was a lot of fun. More

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      The Breakout Stars of 2020

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyThe Breakout Stars of 2020Here are the 12 stars and trends that managed to thrive and shine in an impossible year.Clockwise from bottom left: Sarah Cooper, Maria Bakalova, the hand of the artist Salman Toor, Jonathan Majors and Radha Blank.Credit…Clockwise from bottom left: Lacey Terrell/Netflix; Elizabeth Weinberg for The New York Times; Peter Fisher for The New York Times; Adria Malcolm for The New York Times; Douglas Segars for The New York Times Dec. 23, 2020Updated 7:44 a.m. ETWhile plenty of us felt trapped this year, wandering through the same spaces and talking to the same people, it was the artists and entertainers who kicked open windows to new sights, sounds and experiences. Yes, the pandemic dealt a significant hit to the culture world, but nothing could derail its creativity. So, despite the limitations, stars in a variety of disciplines managed to thrive and shine, and by doing so, made a difficult year more tolerable for most everyone. Here are 12 artists and trends who gave us a fresh perspective in 2020.Radha Blank wrote, directed and starred in the autobiographical satire “The 40-Year-Old Version.”Credit…Douglas Segars for The New York TimesFilmRadha BlankRadha Blank was the hero many of us needed in 2020, when the concept of time got an overdue interrogation. In her autobiographical satire “The Forty-Year-Old Version,” which was on Netflix, she portrays a playwright who — refusing to believe that her dreams have an expiration date — pivots to rap as a grown woman. Like her character, Blank, who grew up Brooklyn, is a 40-something playwright who knows what it’s like to fight to elevate her voice.And elevate it she did. She wrote, directed and starred in the film, her first feature, a New York Times Critic’s Pick that A.O. Scott called “a catalog of burdens and also a heroic act of unburdening.”In “I May Destroy You,” Michaela Cole explores sexual assault, truth, revenge and trauma; she also created the HBO series.Credit…Natalie Seery/HBOTelevisionMichaela CoelMichaela Coel may have created the most important TV show of 2020: “I May Destroy You.” The series, which premiered on HBO in June, is inspired by Coel’s own experience with sexual assault, and in it, she deftly plucks apart ideas around truth, revenge, anxiety, trauma and fear.Coel, a 33-year-old British-Ghanaian writer and actor, plays a writer who is drugged and raped in a bathroom stall. The assault leaves her traumatized and grappling with hazy, fragmented memories. “Coel brings a superb discipline to the portrayal of distress,” wrote Mike Hale, a TV critic at The Times.In a critic’s notebook, Salamishah Tillet, a professor and contributing critic at large for The Times, noted that the show could be considered “part of a larger cultural trend in which Black women’s experiences with sexual assault are appearing with greater frequency and treated with more sensitivity.” (She pointed to the documentary “Surviving R. Kelly” and TV shows like “Queen Sugar,” “The Chi” and “Lovecraft Country” as examples.)“By offering multifaceted endings,” Tillet went on, “Coel gives victims of sexual assault, particularly Black women who have survived rape, some of the most radical and cathartic moments of television I have ever witnessed.”ComedySarah CooperSarah Cooper, 43-year-old comedian, made her mark in 2020 by pantomiming the words of President Trump in viral videos that have been viewed tens of millions of times across social media. Jim Poniewozik called her first Trump lip-sync, “How to Medical,” a “49-second tour de force” and said Cooper was helping to develop “a kind of live-action political cartooning.”“Cooper’s Trumpian drag is partly a caricature of performative masculinity,” Poniewozik wrote.The success of her videos helped land Cooper a Netflix special, “Everything’s Fine,” directed by Natasha Lyonne. “This special shows that she can do much more than lip-sync,” Jason Zinoman, a comedy columnist at The Times, said of the production. “She has a promising future as an actor in television or movies.” She currently has a show in the works for CBS.Maria Bakalova, the Bulgarian actress who plays Borat’s teenage daughter in “Borat Subsequent Moviefilm.” Credit…Elizabeth Weinberg for The New York TimesFilmMaria BakalovaIt’s no easy feat to stand out next to the unabashed actor-prankster Sacha Baron Cohen, but Maria Bakalova, a 24-year-old from Bulgaria, was riveting as the teenage daughter of his Borat character in his most recent mockumentary film. As the culture reporter Dave Itzkoff put it in The Times: “Sacha Baron Cohen may be the star of ‘Borat Subsequent Moviefilm,’ but it is Maria Bakalova who has emerged its hero.”Her performance also grabbed headlines for an edited scene involving President Trump’s personal lawyer Rudolph W. Giuliani, who is seen putting his hands down his pants in a hotel room, where Bakalova, impersonating a TV journalist, is interviewing him. He later denied any wrongdoing.About the opportunity to star in a major American film, Bakalova said: “I will be really grateful to Sacha for giving this platform to an Eastern European, to play a strong and complicated character who’s not just one thing.”Adrienne Warren was nominated for a Tony for her starring role in “Tina — The Tina Turner Musical.” Credit…Molly Matalon for The New York TimesTheaterAdrienne WarrenAdrienne Warren’s starring role in “Tina — The Tina Turner Musical” earned her a Tony nomination in October for best actress in a musical. But it was her vocal and steadfast stand on racial injustice, including in the arts world, that brought Warren, 33, more deeply into one of the most urgent conversations of 2020. In an impassioned, impromptu speech this summer — during the Times event Offstage: Opening Night on the subject of being Black on Broadway — she questioned whether she even wanted to continue performing as part of an institution that didn’t stand up for people like her.“The last thing on my mind right now is me going back to Broadway,” Warren said. But in an interview with The Times after her nomination, she said, “I know this is what I’m supposed to do, but the question is whether I want to do it at the address I’ve been doing it.”As for what a dream role might look like for her in the future: “I want to make sure that I’m telling stories that represent me as a Black woman and also push the needle forward in ways that resonate with people, both in this nation and abroad,” she said.Jonathan Majors made a mark in both HBO’s “Lovecraft Country” and the Spike Lee drama “Da 5 Bloods.”Credit…Adria Malcolm for The New York TimesTelevisionJonathan MajorsJonathan Majors isn’t afraid of pain, and that may just be his secret to success. “I’m willing to hurt more,” he told Alexis Soloski in The Times over the summer. “It doesn’t bother me.”The 31-year-old star had a big year doing just that to great effect onscreen, as a Korean War veteran in the supernatural HBO thriller “Lovecraft Country,” set in 1950s Jim Crow America, and the son of a Vietnam War veteran in “Da 5 Bloods,” Spike Lee’s drama for Netflix that was named a Critic’s Pick in The Times by A.O. Scott.“Emotions in the men in my family run deep,” Majors told Soloski — who described him as “an actor of precision and intensity.” When asked if acting gave him a place to put those big emotions, he said: “With acting, it was almost like I was in a corridor, and it just appeared to me and said, ‘Go that way, son.’ I didn’t get in trouble once I started acting. I had a place to put the energy, to put my focus.”The artist Christine Sun Kim performing in American Sign Language at the Super Bowl in Miami in February.Credit…A J Mast for The New York TimesArtChristine Sun KimIn February, just minutes ahead of the Super Bowl in Miami, the artist Christine Sun Kim stood at the 40-yard line performing in American Sign Language as Yolanda Adams sang “America the Beautiful” and Demi Lovato sang the national anthem.“As a child of immigrants, a grandchild of refugees, a Deaf woman of color, an artist and a mother, I was proud to perform,” she wrote in an Op-Ed for The Times afterward. But because only a fraction of her performance was aired, she called the experience “a huge disappointment — a missed opportunity in the struggle for media inclusiveness on a large scale.”“Being deaf in America has always been political,” she wrote.Kim, 40, who was born in California and is now based in Berlin, has spent years channeling this perspective into her art. At the Whitney Biennial in New York last year, she exhibited hand-drawn charcoal drawings from her “Degrees of Deaf Rage in the Art World,” and in 2013, the Museum of Modern Art selected her for its exhibition “Soundings: A Contemporary Score,” dedicated to sound art.“I want people to start thinking about what deafness means,” she told Vogue this year, “and maybe that will reduce the stigma and society will be more inclusive of people with disabilities.”MusicVerzuzYou could call it a battle, a face-off, a showdown. But Verzuz is also something else entirely: a pandemic pivot, cutting right to the very core of quarantine entertainment by combining livestreaming and nostalgia while filling a hole left by canceled live shows and shuttered clubs.Since April, Verzuz, the creation of Swizz Beatz and Timbaland, has streamed over 20 battles. Each one has brought together two hip-hop or R&B heavyweights: Gladys Knight vs. Patti LaBelle, Erykah Badu vs. Jill Scott, Gucci Mane vs. Jeezy, Babyface vs. Teddy Riley, Snoop Dogg vs. DMX, Ludacris vs. Nelly, to name a few. Millions of people have tuned in.Initially, Verzuz was streamed on Instagram Live. In July, Verzuz and Apple Music announced they’d struck a partnership which allowed the videos to be viewed live and on-demand on that platform, too.Jon Caramanica, a pop music critic for The Times, called the events staples of this era and “less battles in the conventional sense than choreographed chest-puffing combined with bows of respect.” To that point, there is no winner winner. As Swizz Beatz told ABC News: “The people won, the culture won, the music won.”The artist Salman Toor has his first solo museum show, “How Will I Know,” up at the Whitney Museum of American Art.Credit…Peter Fisher for The New York TimesArtSalman ToorThe painter Salman Toor was about to have his first solo museum show, “How Will I Know,” at the Whitney Museum of American Art early this year when the shutdown thwarted the whole thing. He took it pretty well. “My first reaction was, thank God,” he told The Times in June. “I’m not a social animal.” But disappointment inevitably crept in as he realized the exhibition might never happen.Thankfully for him and fans of figurative and queer art, the show eventually did go up at the Whitney, where it will appear through April. And that’s only the start for Toor. Over the summer, he joined the gallery Luhring Augustine, which will open an exhibition of his work in the next few years.Toor, 37 — who was born and raised in Lahore, Pakistan, and moved to the United States in 2002 — primarily depicts gay men of South Asian descent. In The Times, the writer Ted Loos described Toor’s contemporary settings: “iPhones appear here and there, the glow emanating from them emphasized with bright lines.” Toor said that he aspired to represent “what this new free space is like,” referring to living an openly queer life. In Pakistan, gay sex is illegal. “People are curious to know what it means to have the freedom of so much choice, and what is the nature of that freedom and what is the cost of that.”TheaterElizabeth StanleyUp against Adrienne Warren for that Tony is Elizabeth Stanley, who was nominated for her gutting performance as Mary Jane — “a brittle tiger mom suppressing secret trauma,” as Jesse Green, a theater critic for The Times, put it — in “Jagged Little Pill,” based on Alanis Morissette’s smash album from 1995. When Broadway shut down, Stanley, 42, did not take too long before shifting her energy toward digital performances.In April, she told Deadline that she’d already been wondering about what else she could do during the pandemic: “How can I twist to this and find something new and exciting out of this time?”What came of that question epitomized what much of theater looked like in 2020: creating new digital spaces for live performance.In April, she delivered a jaw-dropping rendition of “The Miller’s Son” from “A Little Night Music,” for the acclaimed event “Take Me to the World: A Sondheim 90th Birthday Celebration.” In June, she sang her wrenching rendition of “You Learn,” from “Jagged Little Pill,” for an Opening Night Times event on the future of Broadway. On Dec. 13, Stanley and her “Jagged Little Pill” co-stars reunited for “Jagged Live In NYC: A Broadway Reunion Concert.”Kali Uchis performing in Atlanta in 2018. She recently released the album “Sin Miedo (del Amor y Otros Demonios).”Credit…Paul R. Giunta/Invision, via Associated PressMusicKali UchisIn 2018, Kali Uchis released a debut album titled “Isolation.” Clearly she was ahead of her time. In November, the Colombian-American artist — with a moody, seductive, dance-inducing style — dropped her second studio album, this time predominantly in Spanish, “Sin Miedo (del Amor y Otros Demonios).” (Its lead single, “Aquí Yo Mando,” features the up-and-coming rapper Rico Nasty.) The album “goes genre-hopping and era-hopping, from romantically retro orchestral bolero to brittle reggaeton,” Jon Pareles, the chief pop music critic of The Times, wrote this month.Having grown up between Colombia and the D.C.-Maryland-Virginia area, Uchis, 26, had many inspirations and influences, she told Interview magazine. “The last thing I ever want to do is be a predictable artist. I love that my fans never know what to expect when I drop a song.”DanceThe Year of the SoloIt wasn’t just that the coronavirus put an end to live performance in March. The need for social isolation uprooted every part of what gets a dance onto a stage: Suddenly, there were no more classes, no more rehearsals. How to fill that void? The solo.This solitary form has provided an outlet for frustration, for sadness and even for euphoria as dance artists continue to find meaning through movement. It’s true that some attempts have been sentimental and aimless, but much good has emerged from it, too. Instagram, from the start, illuminated these explorations in a steady stream of posts; choreographers worked with dancers remotely to create films in which the body could be fearless and free. “State of Darkness,” Molissa Fenley’s 1988 solo revived for seven dancers, was a glittering, harrowing reminder of the achievement that comes from strength, both internal and external.One of its interpreters, the dancer Sara Mearns, said that she saw herself as “someone that has gone through really, really hard times, but then in the end has come out stronger and on top.” Yes, dance and dancers are suffering right now. But the solo has given it — and them — a powerful voice. — Gia Kourlas, dance critic for The New York TimesAdvertisementContinue reading the main story More