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    Patrick Adiarte, Actor Seen in Musicals and on ‘M*A*S*H,’ Dies at 82

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    As a young immigrant from the Philippines, he had roles on Broadway in “The King and I” and “Flower Drum Song.” He was later a familiar face on TV.Patrick Adiarte, who was imprisoned as a baby in the Philippines during World War II and then found a new life in the United States as an actor and dancer on Broadway, in Hollywood and on television, died on April 10 in Los Angeles. He was 82.The cause of death, in a hospital, was complications of pneumonia, said Stephanie Hogan, his niece.Mr. Adiarte had a varied career, in which he played many characters, of various ethnicities, before he was cast in the first season of “M*A*S*H” as Ho-Jon, the Korean helper of the wisecracking doctors Hawkeye Pierce (Alan Alda) and Trapper John (Wayne Rogers).As a child, Patrick portrayed one of the children of the king of Siam (now Thailand), who are tutored by a widowed schoolmistress in the original 1951 Broadway production of the Rodgers and Hammerstein musical “The King and I.” As a teenager, he played an assimilated Chinese American character in another of their shows, “Flower Drum Song” (1958).Mr. Adiarte, center, with Mike Lookinland, left, and Christopher Knight in a 1972 episode of “The Brady Bunch.”ABC Photo Archives/Disney General Entertainment Content, via Getty ImagesHe also appeared in the movie versions of both shows, in 1956 and 1961.In the 1960s and early ’70s, he was seen on several TV series. On “Bonanza,” he played a Native American named Swift Eagle; on “Ironside,” he was a Samoan boxer; on “CBS Playhouse,” he was a Viet Cong guerrilla. He played a Hawaiian tour guide in two episodes of “The Brady Bunch,” filmed in Hawaii.In “High Time,” a 1960 film directed by Blake Edwards, he played an Indian exchange student who rooms with Bing Crosby, whose character returns to college in his 50s.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Theater

      Celia Rowlson-Hall’s Sisyphean Beach Balls

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      “I hate large beach balls,” Celia Rowlson-Hall said at the Baryshnikov Arts Center last week.A director, choreographer and performer best known for her quirky and surreal work in film, Rowlson-Hall was rehearsing “Sissy,” an idiosyncratic hybrid of dance and theater. It draws on the Greek myth of Sisyphus, eternally condemned to push a boulder up a mountain only to have it roll back down. The boulder is represented by a giant beach ball, and in rehearsal the performers were having trouble lofting it into a net suspended above the stage. After failing a few times, they succeeded, only to have the ball bounce back out again.This Sisyphean moment was not planned, but it might easily have been part of the choreography. “Sissy,” which runs at the Baryshnikov Center Thursday through Saturday, is the kind of production that playfully blurs the line between real life and make believe. It’s about a director-choreographer (Zoë Winters), a new mother who is making a dance piece that uses the metaphor of Sisyphus to symbolize the difficulties of balancing motherhood with her artistic life. Rowlson-Hall came up with the idea while she was pregnant and working on a feature film.From left, Celia Rowlson-Hall, Ida Saki and Marisa Tomei at the Baryshnikov Arts Center. “Being with the dancers, I’m in heaven,” Tomei said, adding she has relished the opportunity to be physically expressive, “thinking in shapes and body sculpture.”Thea Traff for The New York Times“It was a camera movement in my head,” she said during a rehearsal break. “I saw the camera coming around and revealing this woman who had been hiding behind the rock the whole time. And I was like, ‘Oh, what’s her story?’”Much of the story that Rowlson-Hall wrote is drawn from her life, but it’s nested in layers of fiction and art making. In “Sissy,” which alternates between scenes of dialogue and dance, Winters’s character presents a work-in-progress set in a rock quarry. (Lucas Hedges plays a quarry worker.) A dancer (Ida Saki) pushes the beach ball around, dances out childbirth, then pushes a slightly smaller beach ball (representing the moon) while holding her child — a child played by Saki’s own 1-year-old son.The showing seems to be going fine when it’s interrupted by a paleobotanist, who announces that she has made a “once in a millennium” discovery in the parking lot: the fossilized root system of the world’s oldest forest. It seems the boulder that is the director’s show is rolling down the mountain again, and she will have to adjust to the new circumstances — a process made more farcical because the paleobotanist is played by the gifted physical comedian and actress Marisa Tomei.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Television

      How ‘The Jennifer Hudson Show’ Took Over TikTok

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      I have never watched an episode of “The Jennifer Hudson Show.” Yet here I am at my desk, singing to myself: “Aaron. Pierre. That’s Mufasa.”If you’re familiar with the tune, you’re singing it now too. If not, picture Pierre, the dashing actor who voiced the title character in “Mufasa: The Lion King,” strut-dancing his way down a hallway surrounded by … Actually, just watch it below and then keep reading.

      @jenniferhudsonshow Aaron Pierre, that’s Mufasa #thejenniferhudsonshow #jenniferhudson #aaronpierre #jhud ♬ original sound – Jennifer Hudson Show OK, welcome back.“The Jennifer Hudson Show,” a daytime talk show, is not a top syndicated program, according to the ratings agency Nielsen. But it has amassed a huge social media following with its behind-the-scenes promotional videos.Before taking the stage, guests make their way down a hallway as members of the show’s staff serenade them with a complicated, customized hype song, sung entirely from memory. Some of the biggest names in American culture — Michelle Obama, Usher, Angela Bassett — have danced, skated or nervously shimmied through this “spirit tunnel” as the TikTok cameras roll.Some of the videos are awkward. Some are suave. Most go viral.During the show’s first season in 2022, members of the show’s staff learned that cheering for Hudson before she took the stage boosted her confidence and energy.

      @jenniferhudsonshow We got @imkevinhart #thejenniferhudsonshow #jenniferhudson #kevinhart #jhud ♬ original sound – Jennifer Hudson Show

      @jenniferhudsonshow It’s Gwen! @Gwen Stefani! S-T-E-F-A-N-I! #thejenniferhudsonshow #jenniferhudson #gwenstefani #jhud ♬ original sound – Jennifer Hudson Show We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Theater

      How Brandon Kazen-Maddox, an American Sign Language Artist, Spends Their Sundays

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      Brandon Kazen-Maddox has always felt an affinity with mermaids.“We both straddle two worlds,” said Mx. Kazen-Maddox, 36, an American Sign Language dancer, choreographer and filmmaker who is nonbinary and uses they/them pronouns.Mx. Kazen-Maddox, like both their parents, is hearing. But they grew up living with their mother at her parents’ home in Washington State, where their maternal grandparents, both of whom are deaf, spoke with their hands.Soon, Mx. Kazen-Maddox learned to do the same. “I like to say my words are just along for the ride,” they said.Mx. Kazen-Maddox said they enjoyed spending time at Riverside Park, dancing and listening to music, near their home on the Upper West Side of Manhattan.Amir Hamja for The New York TimesMx. Kazen-Maddox has been interpreting professionally since 2012 and has worked on the Broadway production of “Aladdin” and for former President Joe Biden, the composer Lin-Manuel Miranda and the actress Marlee Matlin.In a half-hour PBS special scheduled for Tuesday, “SOUL(SIGNS): Making Music Visible,” Mx. Kazen-Maddox documented the process of choreographing, filming and performing an A.S.L. music video for Morgan James’s “Drown,” shedding light on their own relationship with music and sign language.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 100 Shares119 Views

      in Music

      Jam Like a King: Charles Releases a Playlist

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      King Charles III showcased 17 artists, mostly from Commonwealth countries, in a personal playlist. Beyoncé, Bob Marley and Diana Ross made the cut.King Charles III, a classical music fan who has studied the cello, piano and trumpet, released an eclectic playlist on Monday featuring 17 artists, including Beyoncé, Bob Marley and Grace Jones.Music “has that remarkable ability to bring happy memories flooding back from the deepest recesses of our memory, to comfort us in times of sadness, and to take us to distant places,” Charles said in a podcast on Apple Music, “The King’s Music Room,” released in conjunction with the playlist.Charles, who as the British monarch is head of the Commonwealth, a club of 56 nations that were mostly part of the British Empire, put out the playlist to mark Commonwealth Day, celebrated on the second Monday in March with events across member countries.The king, 76, may have had some help in choosing the songs from Errollyn Wallen, a Belize-born artist who was last year appointed Master of the King’s Music. The honorary role was created during the reign of King Charles I in the 17th century.In 2008, Prince Charles and Camilla, Duchess of Cornwall, played the bongo drums at Bob Marley’s former home, now a museum, in Kingston, Jamaica.Anwar Hussein/WireImageHere are some of the king’s song choices.Beyoncé, “Crazy in Love”While the playlist primarily featured artists from the Commonwealth, he included a few from outside the group, citing a personal connection to their music. Beyoncé made the cut.Charles and Beyoncé at the Royal Albert Hall in London in 2003.Anwar Hussein/WireImageDaddy Lumba, “Mpempem Do Me”In the podcast, recorded at Buckingham Palace, the king recalled a 2018 visit to Ghana, a Commonwealth nation, where he danced to the music of Ghanaian singer Daddy Lumba.Miriam Makeba, “The Click Song”The South African singer Miriam Makeba, widely known as “Mama Africa,” was a prominent opponent of apartheid. “I shan’t try too much to pronounce the title, as it requires a great deal of practice,” Charles said of her 1960s hit “Qongqothwane,” known in English as “The Click Song.”Diana Ross, “Upside Down”“When I was much younger, it was absolutely impossible not to get up and dance when it was played,” King Charles said of Ms. Ross’s 1980 song. “So, I wonder if I can still just manage it?”Kylie Minogue, “The Loco-Motion”Ms. Minogue came to St. James’s Palace to perform this song in 2012. “This is music for dancing,” Charles said of the Australian singer’s rendition of the song, written by Carole King and Gerry Goffin. “It has that infectious energy which makes it, I find, incredibly hard to sit still.”Kylie Minogue met Charles and Camilla at St James’s Palace in London in 2012.Pool photo by Carl Court More

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      in Music

      Anne Imhof’s ‘Doom’ at the Armory Has Everything, and Nothing

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      A Berlin nightclub habitué of my acquaintance has admonished me, more than once, not to go to concerts or parties without earplugs; too many D.J.s now crank to dangerous decibels, so have your fun and save your hearing. I forgot his advice ahead of “Doom: House of Hope,” an evening-length spectacle of attitude and abjection by the German artist and choreographer Anne Imhof, and may have developed tinnitus as a result.Your ears are not the only organs that may suffer if you come to the Park Avenue Armory, where Imhof’s massive performance work has been one of the most anticipated events of the winter season, and (thanks to its performers as well as its public) is already one of the most Instagrammed. You’ll start out in a corral with a thousand other spectators, prevented from moving forward by crowd control barriers. Expressionless, glassy-eyed performers will soon move toward you as a droning electronic score blares. You’ll be released to explore the whole 55,500-square-foot Drill Hall soon, but ticket holders should, like sensible Germans, opt for comfortable shoes: You’re on your feet throughout.Around the large hall are two dozen brand-new Cadillac Escalades, the preferred conveyance of the American oligarchy, whose roofs will become stages for limber dancers and mournful singers, and whose trunks will serve variously as pop-up bar, chess competition venue, vape break area and makeshift tattoo parlor. To follow the action of “Doom” you’ll have to chase the performers around the S.U.V.s, onto several stages, and even into the dressing rooms, while above you, on a Jumbotron scoreboard, the evening’s duration ticks down: three hours to go.The experience of “Doom” is indeed not unlike a night at the club — wending your way through a converted warehouse, losing your friends in the darkness, oscillating from moments of excessive emotion to total boredom. If you get bored, you can always look at your phone; to Imhof, your phone, and your boredom, are integral.A spectacle of attitude and abjection: the tale of Romeo and Juliet, told backward. Efron Danzig, below, and Toon Lobach.Cadillac Escalades become stages for limber dancers and mournful singers, with Lia Wang as Tybalt.This is a night of harsh contradictions, and I just can’t girdle my judgment into cheer-or-jeer format. “Doom” is narcissistic, frivolous, sometimes naïve — and still, despite all this, feels more important than a hundred cash-and-carry exhibitions in Chelsea. Its roughly 40 performers, who mutter in monotone when they aren’t just staring into space, indulge a youthful nihilism that is obvious and tiresome — until an extraordinary shift in the third hour (by which time much of the opening night’s audience had bailed), when they find grand, even Romantic purpose.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 113 Shares109 Views

      in Movies

      In Zoe Saldaña, a Choreographer Finds His Dream Dancer

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      The Academy Award-nominated actress discovers her inner dancer in “Emilia Pérez” with the help of the choreographer Damien Jalet.Zoe Saldaña is an actress, but buried inside her is a highly trained dancer. This has always been obvious to me; the film “Emilia Pérez” has made it clear to the world. Finally, Saldaña — a devoted ballet student through her childhood and teenage years — can be recognized for the force that she is: an extraordinary mover.All actors use their bodies, but Saldaña has long been on another plane. She doesn’t just interpret characters, she moves through them with such salient physicality that her body often has as much to say as the dialogue she speaks. Even in the TV series “Lioness,” in which she plays a fierce Central Intelligence Agency officer, her body guides her like a coiled spring — a taut, muscular vessel of strength and sensitivity.In Jacques Audiard’s “Emilia Pérez,” with choreography by Damien Jalet, Saldaña’s dancing is front and center. And it is a meaningful part of why her portrayal of Rita, a Mexican lawyer helping a cartel boss with gender confirmation surgery, earned an Academy Award nomination.Jalet should have been nominated, too, but there are no Oscars for choreography. Yet his contribution is immeasurable. The story of “Emilia Pérez” is unorthodox enough; even more unconventional is the way it unfolds through music and dance. The songs’ merit is questionable; they employ, at times, employ the worst kind of Broadway-musical talk-singing. But Jalet’s choreography — sometimes invisibly, sometimes clearly — grounds the film.In “Emilia Pérez,” dance is the pathway for Saldaña’s character to become more outspoken, more comfortable in her body.Shanna Besson/PAGE 114 — WHY NOT PRODUCTIONS — PATHÉ FILMS — FRANCE 2 CINÉMA 2024.Jalet has a partner in Saldaña whose speed and exactness in gestural vocabulary electrify scenes without falling into the sketchy territory of mime. In a film about physical transformation, dance is the pathway for Saldaña’s character to become more outspoken, more comfortable in her skin. And dance has accomplished another transformation for Saldaña, the actress, by opening eyes to her range and radiance. Her precision is stunning.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Theater

      A Disruptor Asks, Is New York Finally Ready for ‘DOOM’?

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      Barking Doberman pinchers behind chain link fencing and performers who looked like they came straight from the Berlin club scene made the ultracool German performance artist Anne Imhof infamous.But last week, at her first rehearsal for “DOOM: House of Hope” at the Park Avenue Armory in Manhattan, there were no dogs in sight.There were still those impossibly beautiful performers, though, many very young. They were sprawled on the floor of one of the Armory’s rehearsal spaces, sitting at the piano, testing out bits of movement, or rehearsing lines from marked up copies of Shakespeare’s “Romeo and Juliet” — the new project’s starting point.Belying her works’ fierce, sometimes aggro aesthetics, Imhof was a gentle, observing presence, not so much directing the performers but asking them how they wanted to proceed — utterly unlike the strict rigor of, say, a ballet rehearsal.“I count on chance and accidents and things that are not planned,” the 46-year-old Berlin-based artist told me. “There has to be enough openness to it that the performers have agency.”“I count on chance and accidents and things that are not planned,” said Imhof, 46, who conceived of “DOOM” as a performance best suited for the Armory, rather than an artwork for a museum. She had wanted to do a ballet for a long time.Tess Mayer for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Theater

      An Oakland Dance Troupe Brings Vertical Choreography to Broadway

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      In 1990, Amelia Rudolph was hiking through Tuolumne Meadows, a stunning mountain pass in Yosemite National Park, when she had an epiphany on a shiny granite bluff: “Could you make a performance here?” she wondered. “Could you dance on a cliff?”Rudolph, a dancer in the Bay Area who trained with Hubbard Street Dance Chicago, had just written a college thesis on dance and ritual and recently become an avid climber. Those experiences converged in her mountaintop revelation — and inspired her to make a dance while dangling from the climbing wall at the gym where she worked.That dance, though unrefined, was enthusiastically received. “I realized I tapped into some part of our human imagination that loves to fly,” Rudolph, 61, said in a phone interview.From that seed grew Project Bandaloop, now just Bandaloop, a vertical dance company that fuses contemporary dance with climbing technique and technology. Using equipment, like harnesses, ropes and belay devices, Bandaloop can take dance’s soaring, ethereal qualities to extremes and bring them to unlikely perpendicular surfaces like the rock face of El Capitan in California or Tianmen Mountain in China.“The spirit of the company,” Rudolph said, celebrates “the power and vulnerability of natural spaces.”Now Bandaloop’s gravity-defying movement and ecological DNA have come to Broadway in the musical “Redwood,” starring Idina Menzel, which opened on Feb. 13.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More