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    Musical Comedy ‘Operation Mincemeat’ to Open on Broadway Next Spring

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    The show is about a real World War II episode in which British intelligence planted disinformation on a dead body to fool the Germans.“Operation Mincemeat,” an improbably successful British musical comedy, already has a truth-is-stranger-than-fiction quality to it: It’s about a World War II military ruse in which British intelligence planted fake information on a dead body to (successfully) mislead the Germans.Now the producers of “Operation Mincemeat” are hoping for another hard-to-believe turn of events: Finding success on Broadway at a time when many other shows have big stars or big brands.The oddball show began its life in a tiny London theater and then this year won the Olivier Award — Britain’s equivalent to the Tonys — for best new musical. On Tuesday, the show’s producers announced that the musical’s first production outside Britain will open on Broadway next spring, with previews beginning on Feb. 15 and an opening slated for March 20 at the John Golden Theater.A lead producer, Jon Thoday, said in an interview that he was concerned about opening in a climate dominated by celebrities, but also inspired by the success of plays like “Stereophonic” and “Oh, Mary!” that demonstrate it is still possible for unknown shows with little-known casts to break through.“It’s daunting, because you come here and you look at one show after another with a giant Hollywood star in it, and we’re doing a show with people who had never written a musical before,” said Thoday, whose company, Avalon, is producing the show. “We’re going to see whether it works here or not. We’re hoping it will, obviously, otherwise we wouldn’t be doing it.”“Operation Mincemeat” is set in 1943 and based on a true story that is seemingly so crazy it has repeatedly been adapted and written about. The musical was written and composed by a comedy group called SpitLip — David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts — which bills itself as “makers of big, dumb musicals.” Their show, directed by Robert Hastie, had several small productions around London before arriving on the West End in early 2023.Powered by heart and humor, the show has had strong word-of-mouth — it has a passionate group of fans and repeat attenders who are affectionately known as mincefluencers — and has become profitable in the West End, where it continues to run. Thoday said he hopes that the original cast will come to New York, but that that depends on whether they are able to get visas.Thoday said he expected that the show would be capitalized for about $11.5 million.“Operation Mincemeat” is not the only show to announce Broadway plans this week. On Monday, the producers of a musical adaptation of the book “Midnight in the Garden of Good and Evil” said their show would come to Broadway at an unspecified point next year. More

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      How ‘Stereophonic’ Made Musicians Out of Actors

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      The new Broadway play conjures a group as dazzling as peak Fleetwood Mac. This is how five actors with limited training (one never held a bass) became rock stars.About a week into rehearsals for the Off Broadway premiere of David Adjmi’s latest play, “Stereophonic,” Will Butler sent an email to the cast. Butler, a former member of Arcade Fire, had a new band, Will Butler + Sister Squares, and a new self-titled album. A club in Brooklyn would soon host the record release party. Butler, the composer of “Stereophonic,” had a proposition: The actors should open for him.Sarah Pidgeon, a cast member, remembered reading the message last August during a rehearsal break. “I immediately said no,” she recalled. “Because what if it’s a failure?”She had taken piano lessons as a child, but Pidgeon didn’t consider herself a musician. Neither did any of the other actors. “Stereophonic,” which opened last week at Broadway’s Golden Theater, is set in recording studios in the mid-1970s, and conjures an unnamed band as dynamic, dazzling and sexy as peak Fleetwood Mac or Led Zeppelin. It would be daunting enough to impersonate a band of that caliber onstage after a full rehearsal period. But to play a real show in a real club after just a few weeks. This was an invitation to public humiliation.Juliana Canfield (“Succession”), another cast member, was also a no. “I was like, Geez, we can’t get through one tune without falling apart,” she said. “This could be really, really embarrassing.”But the men in the fictional band insisted. (“We suffered from peer pressure,” Pidgeon joked.) Which explains how on Sept. 23, the five actors — Will Brill on bass, Canfield on keyboards, Tom Pecinka on guitar, Pidgeon on tambourine, Chris Stack on drums — stood onstage at the Williamsburg club Elsewhere, in front of hundreds of ticket holders who didn’t know the group was only pretending to be a band. There were no scripted lines for them that night, no characters to hide behind.Brill described it as “a really extreme piece of exposure therapy” and “just horror.” But the therapy worked. At Elsewhere, for the first time, the actors — panicked, exhilarated — felt like a band.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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      ‘Stereophonic’ Review: Hitmakers Rendered in Sublime Detail

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      In David Adjmi’s new play, with songs by Will Butler, a ’70s band’s success breeds tension, and punches up the volume on Broadway.Peering behind the mystique of rock ’n’ roll has undeniable voyeuristic appeal. So there is an immediate thrill to seeing the mahogany-paneled control room and glassed-in sound booth that fill the Golden Theater stage, where “Stereophonic” opened on Friday. But David Adjmi’s astonishing new play, with songs by the former Arcade Fire member Will Butler, delivers far more than a dishy glimpse inside the recording studio during rock’s golden age.A fly-on-the-wall study of how people both need and viciously destroy each other, “Stereophonic” is a fiery family drama, as electrifying as any since “Who’s Afraid of Virginia Woolf?” Its real-time dissection of making music — a collaboration between flawed, gifted artists wrangled into unison — is ingeniously entertaining and an incisive meta commentary on the nature of art. The play is a staggering achievement, and already feels like a must-see American classic.It’s 1976 in Sausalito, Calif., and a not-yet-famous band — at least not solely inspired by Fleetwood Mac — is laying down the record that will propel it to stardom and unravel the personal lives of its members (in much the same way that making “Rumours” did for Fleetwood Mac). The setting (a marvel by scenic designer David Zinn) is a pressure-cooker: The coffee machine is broken but there’s a gallon bag of cocaine, and tensions and affections — both creative and personal — are running hot.Stillness and silence are as expressive as Adjmi’s meticulously orchestrated dialogue, body language sometimes even more so, our critic writes.Sara Krulwich/The New York TimesDirected with a conductor’s precision by Daniel Aukin, “Stereophonic” is an epic canvas rendered in hyper-intimate detail: whispered confidences and technical adjustments, slouches and stares, lots of lying around and rolling joints. Stillness and silence are as expressive as Adjmi’s meticulously orchestrated dialogue, body language sometimes even more so. It’s possible to read the band’s ascension to fame beyond the confines of the studio, as its previous album creeps up the Billboard charts, in the swiveling hips of its lead singer alone (and in the progression of prints and flares in Enver Chakartash’s divine costumes).When the poetic and insecure Diana, played with stunning vulnerability by Sarah Pidgeon, sits down at the piano some 45 minutes into the three-hour show, the actor’s radiant voice delivers the first significant composition the audience hears: “Bright,” a folk-tinged rock ballad with sterling, ethereal vocals. Until then, notes trickle out in brief bursts. Often interrupted or doled out in riffs, the expressions of character and discord generated by Butler’s music are abstract — their fragmentation designed to make you want more. (Savor the early sessions when everyone can stand to be in the same room.)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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      ‘Stereophonic,’ a New Play About Making Music, to Open on Broadway

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      Written by David Adjmi and featuring songs by Will Butler, the drama follows five musicians making an album in the 1970s.“Stereophonic,” an acclaimed behind-the-music play about a disputatious band recording a studio album, will transfer to Broadway this spring following a buzzy and sold-out Off Broadway run.The play, written by David Adjmi, is set mostly inside a Sausalito, Calif., recording studio, and follows five musicians and two sound engineers through a year in the 1970s. The story — featuring romance, infighting, drug use and a solo-star-in-the-making — resembles that of Fleetwood Mac, but Adjmi says he had many inspirations for the play.The 14-week Broadway production is expected to begin previews April 3 and to open April 19 at the Golden Theater.The Off Broadway run, over 10 weeks last fall at the nonprofit Playwrights Horizons, garnered strong reviews. Writing in The New York Times, the critic Jesse Green called it “relentlessly compelling.”The show also won significant praise for its original songs, which were written by Will Butler, a former member of Arcade Fire.Adam Greenfield, the artistic director of Playwrights Horizons, described the play as being about “a group of brilliant artists who are at odds with each other, trying to figure out how to collaborate without killing one another, even when killing one another might be the easier way out.” Also, he said, “it’s set in a world that is incredibly sexy — the West Coast rock scene of the ’70s,” and “it has a killer title.”Adjmi has been working on the play for a decade; he said the idea first came to him while he was listening to a Led Zeppelin song on a plane and wondering what it would have been like to be in the studio when they were recording it.“I saw it in my mind’s eye, and I thought, this could be a great idea for a play,” he said. “I didn’t know anything about the recording process, but I would talk to experts and try stuff out.”The process, which included inviting engineers to comment on the script as it evolved, resulted in a high level of verisimilitude, down to the details of a much-praised set by David Zinn.The production is directed by Daniel Aukin; the entire Off Broadway cast, including Will Brill, Juliana Canfield, Tom Pecinka, Sarah Pidgeon and Chris Stack as the musicians, as well as Andrew R. Butler and Eli Gelb as the engineers, is expected to transfer to Broadway.The show will be capitalized for up to $4.8 million, according to a filing with the Securities and Exchange Commission. It is being produced by Sue Wagner, John Johnson, Seaview, Sonia Friedman Productions, Linden Productions, and Ashley Melone & Nick Mills. More

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      ‘The Shark Is Broken’ Review: A Bloodless Postscript to ‘Jaws’

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      Just when you thought it was safe to go back in the theater, a play about the making of Hollywood’s first summer blockbuster bobs up on Broadway.For nine weeks in 1974, off the shore of Martha’s Vineyard, the shooting of “Jaws” was repeatedly delayed by the whims of its temperamental stars. And by “stars,” I mean Bruce.Bruce was the name given to the three mechanical predators built to simulate the great white shark at the heart of the story. As one after another became bloated with saltwater or entangled in seaweed and failed to operate or flat-out sank — the crew called the movie “Flaws” — there was little the three equally temperamental human stars could do but try (and usually fail) to be patient. Occasionally they wondered if it might not have been better to train an actual great white for the role.After seeing “The Shark Is Broken,” a play about that disastrous shoot, you may wonder the opposite: whether it might not have been better to cast the movie with mechanical humans. The real ones were nearly as glitchy as Bruce. Aboard the Orca, the lobster boat on which much of “Jaws” was filmed, the actors Robert Shaw, Richard Dreyfuss and Roy Scheider bickered, brawled, vomited, kvetched, drank, backstabbed and, like Bruce, broke down.All of that is faithfully rendered in “The Shark Is Broken,” which opened on Thursday at the Golden Theater, in a production directed by Guy Masterson. There’s a perfect replica of the Orca bobbing prettily on a C.G.I. sea, and costumes minutely matched to the film. (Duncan Henderson is the designer.) Accents, postures, props and hairstyles are fanatically accurate; there’s even a hat-tip (by Adam Cork) to John Williams’s sawing, rasping theme at the start.But these details do not on their own create much dramatic interest. Plots consisting of hurry-up-and-wait rarely do. Were it not for its curious meta-story, the play would be little more than a pleasant diversion: 95 minutes of bloodless, toothless, Hollywood-adjacent dramedy.The meta-story gives it a bit more bite. Robert Shaw, who played the Ahab-like shark hunter Quint in “Jaws,” is played here by Ian Shaw, who is one of his sons. Ian, who could be his father’s twin, is also, with Joseph Nixon, the play’s author. The ancient theme of paterfamilias versus prodigal is obviously engaged, also organizing the arcs of the characters. Like a dorsal fin poking over the waves, their filial conflicts suggest the story’s dark undertow.Unfortunately, the undertow remains mostly under in Masterson’s leisurely, self-satisfied staging; you could ask for more urgency even in a play about filling time. But this is quite clearly a love letter, if a complicated one, to a parent who achieved greater success in the same field as his son. (A noted stage actor who crossed back and forth to film, Robert won an Oscar for “A Man for All Seasons.”)So even though we see him drink himself into a stupor, ruthlessly bully Dreyfuss (Alex Brightman) to “improve his performance,” and browbeat Scheider (Colin Donnell) about his sunbathing and spirituality, Ian has him winking with gruff charm to take the edge off the awfulness. He also makes sure to show us, in two set pieces, how fine an actor his father was and thus, in an Oedipal somersault, how fine he is, too.Accents, postures, props and hairstyles are fanatically faithful to the movie, our critic writes, and the set is even a replica of the Orca, the lobster boat on which much of “Jaws” was filmed.Sara Krulwich/The New York TimesOne of those set pieces — the “U.S.S. Indianapolis” monologue from the movie, in which Quint reveals the origin of his shark hatred — can at least be justified by the story. We watch Robert rehearse it and flub it until, in the play’s last beat, he nails it. But the barely motivated inclusion of Shakespeare’s Sonnet 29 (“When, in disgrace with fortune and men’s eyes”) comes off as overkill, even though gorgeously spoken; it’s as if “The Shark Is Broken” were a brief for Robert’s admission to actors’ heaven, with Gielgud at the gate.The sonnet’s supposed purpose is to calm Dreyfuss, who is having a panic attack, but Dreyfuss, playing the marine biologist Hooper in the movie, is a full-time panic attack anyway. Brightman’s wicked impersonation, complete with Dreyfusian giggles, shrugs and glasses-pokes, highlights the boundless neurosis of a character who says, “Nothing good ever happened to any Jew on the water.” When he admits he took the role in “Jaws” only because he was sure, at 26, his career was over, it sounds like he means his life was.That he and Scheider (as the police chief Brody) are given daddy issues helps bind their stories thematically to that of both Shaws. Robert’s father, we learn, was an alcoholic who died by suicide; Ian’s of course was Robert, enough said.Still, Dreyfuss’s guilt over not becoming a lawyer and Scheider’s mild recollections of his father’s beatings feel underwhelming. In the competition for messed-up-ness, they lose every heat handily to Robert, and recede in his wake — especially Scheider, who has little to do but placate the others. His best scene, which the silky Donnell carries off perfectly, finds him stripping to his Speedo to catch some rays; there are no lines.That’s telling, because the dialogue overall is labored. Through much of the longish first scene, the authors stuff résumé excerpts and scraps of back story into envelopes of supposedly casual dialogue. (“I shot this thing last year,” Dreyfuss says, “‘The Apprenticeship of Duddy Kravitz.’”) Casting about for laughs, they use whatever chum they can, whether it’s borrowed W.C. Fields or cheesy backfilled irony. “There will never be a more immoral president than Tricky Dicky,” Scheider says of Richard Nixon, welcoming the audience’s look-how-that-turned-out response.In the end, “The Shark Is Broken” isn’t interested in argument and interpretation any more than “Jaws” was. When Dreyfuss says the movie they’re making is about the subconscious, and Scheider posits that it’s about responsibility, Shaw, as always, wins by proclamation. “It’s about a shark!” he brays.So is the play, in a way, and that’s why it remains diverting enough for a summer on Broadway. Its sharks are human, though. They’re called sons.The Shark Is BrokenThrough Nov. 19 at the Golden Theater, Manhattan; thesharkisbroken.com. Running time: 1 hour 35 minutes. More

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      Review: In ‘Prima Facie,’ Jodie Comer Makes the Case

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      The “Killing Eve” star has a spectacular Broadway debut in a play that puts sexual assault jurisprudence on trial.The neon image of a louche Lady Justice, in an electric blue robe and a hot pink mask, greets the audience at the Golden Theater as if the place were a strip joint for lawyers.In a way it is, at least while “Prima Facie,” which opened on Sunday, is playing there. Over the course of the one-woman, 100-minute play, we watch a barrister — the story takes place in England — remove every piece of psychological armor from the women she cross-examines in sexual assault cases, then see the same armor stripped from her when she becomes a victim herself.The play, by Suzie Miller, won all sorts of awards in Australia and Britain. It’s easy to see why. Its star, Jodie Comer, late of “Killing Eve,” gives a performance of tremendous skill and improbable stamina, especially considering it is her first stage appearance. The production, directed by Justin Martin, is chic and accessible, with design flourishes, by now de rigueur, to underline the idea that it is a Big Event. And the reform of sexual assault jurisprudence that the play advocates could hardly be more convincingly argued or worthy of our attention.But the underlining and the advocacy do something odd to the drama: They make it disappear.Not at first. When we meet Tessa Ensler she’s a complex and theatrical character, a “thoroughbred,” “primed for the race,” with “every muscle pumped.” She’s also, in Comer’s interpretation, funny, sexy and self-deflating, bloviating in bars and flirting with associates. She is not beneath the arrogance of pedigree: “Top law school, top city, top marks, top people.” When she bellows drunkenly that “innocent until proven guilty” is the bedrock of civilized society, you see that she also uses it as a free pass for her own dodgy behavior. At one point she throws a piece of trash into the audience.Thoroughbred she may be, but we soon meet a different incarnation of Tessa: a refugee from the working class, never able to return to it comfortably. Visiting her chilly mother in Liverpool, she becomes a girl in want of kindness and not getting much. (Her older brother is violent.) The posh accent she uses in court seems to erode before our ears, revealing the peculiar early-Beatles twang of her (and Comer’s) native Scouse dialect. (“Says” is not pronounced “sez” but “saze.”) She dashes back to London before she can get hurt.The dashing is not just Tessa’s M.O. but the production’s. With its expressionistic sound (lots of pumped-up heartbeats by Ben and Max Ringham) and sudden slashes of harsh light (by Natasha Chivers), Martin’s busy staging is at pains to help Comer fill the vast space alone. She doesn’t need it; she solves the one-actor problem with her own resourcefulness, handily playing all sides of conversations that sometimes involve several people. And when she must be both a third-person reporter of a remembered event and a first-person participant in it, she makes the echo meaningful by using it to specify the content. The laugh she lets out after saying “We laugh” is a very particular and complicated kind.Comer delivers a complex portrayal, our critic writes, going from a high-powered barrister to a defenseless victim.Sara Krulwich/The New York TimesStill, Martin has her constantly running about, moving tables, jumping on those tables to declaim in court, shouting over music, fiddling with her clothing and juggling props. Some of this stage business helps provide character insight that might go missing in the absence of other actors: When approached by a senior trial lawyer interested in offering her a job, Tessa tries to hide her Victoria’s Secret shopping bag. But much of it feels pro forma.In any case, the bustle comes to a halt halfway through. Now we meet a third Tessa, this one the victim of a rape she knows she will have trouble proving to the law’s satisfaction. She was drunk; she had previously consented to have sex with the man; she couldn’t shout no because he covered her mouth to the point that she could hardly breathe.She now enters the legal system as a complainant, not a defender: “Same court, no armor,” she says. Comer’s portrayal of that defenselessness is devastating: Mousy and short-circuited, the gloss gone from her hair, she looks small in her clothes and alone in the world. Her voice has shriveled. Even Miriam Buether’s set — sky-high shelves of case files — abandons her, rising into the flies.Yet this is also where the play abandons itself. Not its argument, of course. As Tessa suffers the same kind of cross-examination she has visited on other women in the name of “testing the case” impartially, it becomes painfully clear that finding truth, let alone justice, in such situations is all but impossible. More than that, the system of adjudicating consent is diabolical, a manmade trap to disable women from proving anything and thus, in effect, a second rape.Miriam Buether’s set features sky-high shelves of case files.Sara Krulwich/The New York TimesIf only the play allowed us simply to feel this. But as Tessa speaks to the courtroom despite being warned by the judge to stop, Miller, the playwright, herself a former criminal defense lawyer, likewise breaks free from the dramatic frame to let her. The lights come up on the audience. The text, now delivered straight out, becomes an oration, a summation. For reasons that seem more wishful and political than characterological, Tessa gets her voice back.One-person, multicharacter stories often fail to develop suspense and momentum, but Miller has structured this one precisely. Details we learn casually in the first half return menacingly in the second. The abandonment of that structure in the play’s final third is likewise precise, and many will value the disruption prima facie — at first glance.But for me the change undid the previous work of emotional engagement in favor of flat-out persuasion on a subject with which few in the audience would be likely to disagree. As Tessa’s speech ran on, repeating ideas that had already been dramatized, I began to feel pummeled, as if by a politician.Enlightening and enraging theatergoers in the hope of changing the world is not, of course, a violation of dramatic policy. That Tessa’s last name honors Eve Ensler, now known as V, ought to have been a clue to Miller’s intentions. V’s 1996 play “The Vagina Monologues” broke with dramatic forms (which, after all, were formalized and popularized by men) to make a difference well beyond them. I also thought of Larry Kramer, whose plays were pleas: agitprop and artistry pulped into something new. Thinking of works like theirs, and a singular performance like Comer’s, I won’t belabor the compromises of “Prima Facie.” Especially if, in the long run, it wins its case.Prima FacieThrough June 18 at the Golden Theater, Manhattan; primafacieplay.com. Running time: 1 hour 40 minutes. More

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      In ‘Prima Facie,’ Jodie Comer Finds Her Light

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      The one-woman show, coming to Broadway, is the “Killing Eve” star’s first stage role. She dared herself to do it.Until last year, the actress Jodie Comer had never performed onstage. Comer, 30, a native of Liverpool, England, who began her career as a teenager, hadn’t gone to drama school. She hadn’t studied voice or movement. Her comfort was in the close-up, the medium shot. She knew how to make her face still and her voice quiet, and to let the camera do the rest. The theater directors she auditioned for didn’t trust that she could fill a stage.“It kind of felt unattainable,” she said.But she is filling one now. On Broadway, at the John Golden Theater on West 45th Street, her face is emblazoned above the marquee, twice. The art for the Olivier Award-winning “Prima Facie” — an intimate and harrowing monodrama about a woman contending with the fallout of a sexual assault — shows Comer bathed in pink tones, serene, in a barrister’s wig, her eyes closed; it also shows her washed in blue, screaming. Opening on April 23, the play, which Comer first performed in London last year, runs 100 minutes. She is alone onstage for all of them. It’s the theatrical equivalent of being shoved down a mountain the first time you put on skis, or off a high dive before you have even learned to swim.Comer put it a little differently. “I pushed myself,” she said.This was on a Sunday morning in late March, at an out-of-the way table at a West Village cafe. Comer, buoyed by the London-to-New York time change, had arrived early, chipper and casual in jeans and a fisherman’s sweater. (Casual, but not entirely anonymous: The reservation was in my name, yet a waiter had already brought a plate of complimentary pastries.) A plastic clip held her hair away from her face.About that face: Comer has wide-set eyes, full lips and an impossible milk-and-roses complexion. She looks like a Botticelli goddess who has stepped out of the canvas and into some cute ankle boots. And yet, if you have seen her previous work — the action comedy “Free Guy,” the action drama “The Last Duel,” the crusading BBC film “Help” and, most significantly, the queer assassin fever dream “Killing Eve” — you will know that her beauty is usually the least interesting thing about her. That prettiness is a mask she can remove at will, exposing something weirder, spikier, wilder beneath.A theatrical debut and an endurance test: Comer is alone onstage for the full 100-minute run of “Prima Facie.”Helen Murray“It’s like Jodie didn’t get the memo that she is staggeringly beautiful,” Shawn Levy, who directed “Free Guy,” told me. “Jodie is uninterested in relying on her physical appearance.”Unlike many beautiful actresses, Comer has mostly avoided wife, girlfriend and love-interest parts — and their inherent limitations. “From early on, my characters were quite nuanced or multifaceted,” she said. “I was probably very lucky that that’s where I started. Once people see you in that light, they latch on to that.”At the cafe, the morning sun showed her as friendly, unassuming almost, until she began to speak about her work. Then, behind those wide eyes, something like lightning flashed.“Jodie is extraordinarily powerful,” Shannon Murphy, a director who worked closely with her on “Killing Eve,” told me. “People aren’t just going to cast her as the girl next door. Because it’s a waste.”And yet, the role that Comer plays in “Prima Facie” is very much a girl next door, which lends the show much of its heartbreak and force. Written by Suzie Miller, an Australian attorney turned playwright, and directed by Justin Martin (“The Jungle”), also Australian, “Prima Facie” centers on Tessa Ensler, a promising barrister who has transcended her working-class origins and accent. When she finds herself the victim of a sexual assault, a crime whose accused perpetrators she had often defended, Tessa’s poise and selfhood collapse. In this play, the reality and violence of the assault is never in doubt. That it should happen to a woman like Comer’s Tessa — so pretty, so assertive, so canny — means that it could happen to anyone.“Prima Facie” debuted in Sydney in 2019, starring the Australian actress Sheridan Harbridge. When Miller and Martin knew that they wanted to take it to London, they began throwing around the names of English actresses. Martin suggested Comer. Miller said no. She had seen Comer on “Killing Eve,” as the mercurial assassin Villanelle, who is Russian-born and Russian-accented. Comer’s Emmy Award-winning command of the role was so absolute that Miller assumed that Comer was actually Russian. Once Martin gently corrected her, a script was sent.It reached Comer early in Britain’s lockdown, in Liverpool, where she was living with her parents. It spoke to her directly, and at volume. She had several friends who had undergone versions of Tessa’s experience. And the professional challenge was as serious as it was undeniable.“I was so fearful of it. I knew if I said no to it, it would be purely because of that,” Comer said. “But there was a part of myself deep down that believed I could do it, and I was interested in how I was going to get to that point.”That fear powered her initial approach to the role. “She gets scared,” Martin said. “But her way of dealing with it is to throw herself into it.”Comer as the assassin Villanelle with Sandra Oh in BBC’s “Killing Eve.” “People aren’t just going to cast her as the girl next door,” said Shannon Murphy, a director who worked closely with Comer on the show.BBC AmericaComer discovered theater in her teens. “I got into it because I enjoyed it. It made me happy. I don’t think that’s ever changed,” she said. A teacher put her forward for a radio drama, which led to an agent and to occasional television appearances. After graduation, she worked at a supermarket checkout and at a bar to make ends meet. Her idea of luxury was being able to make a living from acting only. Her first major break came seven years ago, when she was cast as the lead in “Thirteen,” a BBC drama about a woman who escapes from long captivity. Even then, Comer couldn’t land a stage role.But the recognition that “Killing Eve” brought changed all that. For Martin and for James Bierman, lead producer on “Prima Facie,” her lack of theater experience was never a problem. They offered her the resources — voice lessons, movement sessions — and the rehearsal time that she would need.Comer has always been an intuitive actor. The challenge, she found, was to take that intuition and extend it outward so that it reached the last row of the balcony. “Like, how do I emote from the top of my head to the tip of my toes?” she said.Rehearsals, which began early in 2022, were rigorous, as was Comer’s research. She spoke to barristers, to police officers, to a high-court judge. She visited a police station and attended a hearing. She had herself fitted for a wig. What would a woman like Tessa wear, she wanted to know. What would she eat? How would she sit, stand and speak? In watching some of the women barristers at work, Comer felt an immediate connection.“There were elements of it that felt like theater: the costumes, the cues, the rehearsal of the lines,” she said.The challenge in translating her instincts for TV acting, Comer found, was to extend them outward so that they reached the last row of the balcony. “Like, how do I emote from the top of my head to the tip of my toes?” she said.Sabrina Santiago for The New York TimesTelevision and film sets provide elaborate, realistic environments. Especially if the projects are shot on location. Theater is a more symbolic space, a conjuration of lights and plywood, which offered Comer a kind of freedom. In that glow, she could experiment, she could play. “What theater really sparked in me was that curiosity and sense of imagination,” she said with all the eagerness of a recent convert. Onstage there was no armor, no safety, no ability to stop and take it again, particularly in the scene in which Comer, alone on the floor of the stage, depicts the assault.Miller was convinced, even during rehearsals. “She is magnificent onstage; she’s a theater animal,” she said of Comer on a recent video call. “She’s the character. She’s there.”But after years of performing on television and film, Comer hadn’t known how a live audience would respond. Her anxiety remained up until the first curtain and perhaps even after. “I was actually quite consumed by fear,” she said. “I didn’t really come up for air.”She recalled that, toward the end of the first preview in London, she heard a woman in the orchestra crying. “It was the most guttural cry,” Comer said. “It spread around the theater. It was like the audience were giving each other this unspoken permission to feel whatever was coming up for them.”Stephen Graham, an actor who worked with a teenage Comer on “Good Cop” and then again on “Help,” saw “Prima Facie” in London and wept through it, admiring “the beauty and the subtlety and the nuance and the craftsmanship that went into that performance,” he said.I didn’t see it in London, but I watched it a few weeks ago, on video, via a National Theater Live performance capture. Her craftsmanship was apparent from the first few minutes. Look at Comer in a robe, I thought to myself. Look how good she is. Then the character seemed to take her over. Absorbed in the story, I forgot about Comer, forgot about her beauty, and thought only of Tessa.Miller had noticed this, too. “You don’t look at her and go, ‘There’s a beautiful woman crying.’ You go, ‘There’s a devastated woman crying,’” she said.Over breakfast, Comer had said that despite her leading lady facade, she understands herself as a character actress, someone who wants to disappear into a part, even though or especially because she can’t even disappear into a Village cafe. “I’d love to get to a point where I play a role where I don’t recognize myself,” she said.“Prima Facie” began as a personal challenge, a dare almost. Could she manage alone onstage for all that time? Could she pull off the scene changes and the radical shifts in emotion? But it has become about something more.Women waited for her at the stage door every night in London, telling her that their experiences mirrored Tessa’s or that they were considering careers in law to support women like her. By vanishing into Tessa, she has given these women a way to recognize themselves. That image near the marquee? It’s her face, doubly exposed, but it’s also a mosaic composed of photos of women who submitted their pictures and stories. That’s what Comer wants: to feel part of something bigger than herself, to feel some greater purpose is working through her.“It’s those moments where you step out of your way when you feel the most fulfilled,” she said. More

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      in Movies

      Corey Hawkins, Yahya Abdul-Mateen II in ‘Topdog/Underdog’ and the Art of Deception

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      “I know we brothers,” Lincoln tells his younger sibling, Booth, in Suzan-Lori Parks’s “Topdog/Underdog.” With a slight hesitation, he then asks, “but is we really brothers, you know, blood brothers or not, you and me, whatduhyathink?”The question, posed late in this dynamic two-hander, is both a catalyst and crisis for Parks’s most famous characters: Lincoln, or “Link,” a three-card monte con artist turned whiteface-wearing Abraham Lincoln impersonator, and Booth, a shoplifter and ladies’ man. And for the actors starring in the play’s Broadway revival, Corey Hawkins and Yahya Abdul-Mateen II, the question takes on an even deeper meaning given their electrifying chemistry onstage.“What I love about this experience is that there’s so much respect back and forth between Corey and me,” Abdul-Mateen, 38, who portrays Booth, said. “It’s no ego, just respect.”Hawkins, 34, playfully quipped, “I have a little bit of ego.”In his review, Jesse Green praised both actors, noting Hawkins’s “astonishing verbal and physical performance” as Lincoln and how Abdul-Mateen, in his Broadway debut, “fully meets the challenge, banking sympathy with his sweetness.”Hawkins, left, as Lincoln and Abdul-Mateen as Booth in the acclaimed production, directed by Kenny Leon.Sara Krulwich/The New York TimesFor those familiar with his more debonair roles in movies like “In the Heights” or “The Tragedy of Macbeth,” Hawkins, a Tony nominee for “Six Degrees of Separation,” has so thoroughly transformed himself into a man downtrodden by bad choices and racism that he is virtually unrecognizable. Abdul-Mateen, who won an Emmy for “Watchmen,” intoxicates with his exuberant Booth, both flashy and naïve. We realize, too late, that his character has also been changing, and though his metamorphosis might be slower, it is even more jarring.Under the direction of George C. Wolfe and starring Jeffrey Wright and Yasiin Bey (the rapper formerly known as Mos Def), “Topdog/Underdog” first appeared on Broadway 20 years ago. That year, Parks became the first African American woman to receive the Pulitzer Prize for Drama for the play, and in 2018, The Times named it the best American play of the previous 25 years.Kenny Leon’s new production of “Topdog/Underdog” was a bit of a risk at a time when young Black playwrights are getting more opportunities on Broadway, and pioneers like Alice Childress and Adrienne Kennedy are finally getting their due. I’ve always considered Booth and Lincoln shaped by the language, swagger and blunted ambition of our earlier hip-hop generation, a sentiment that the show’s sound designer, Justin Ellington, underscores with songs by Pete Rock & CL Smooth, Lupe Fiasco, Kendrick Lamar and Nipsey Hussle.As a result, I wondered how Lincoln and Booth would appear as millennials and in a moment of greater gender fluidity and more nuanced masculinity than the one in which Parks originally conceived them. In an interview this month before one of their performances, Hawkins and Abdul-Mateen described their first encounters with “Topdog/Underdog,” why they think their characters struggles with masculinity still resonate, and how they care for each other as actors and friends in this industry.Unlike the sibling rivalry they’ve perfected onstage, the two men were genuinely excited to be together offstage, often ending their answers with a compliment for their co-star or by finishing each other’s sentences. These are edited excerpts from the conversation.“I felt seen,” Abdul-Mateen said of first encountering the play.Elliott Jerome Brown Jr. for The New York TimesHawkins said he views “the play as an ode or love letter to Black men.”Elliott Jerome Brown Jr. for The New York TimesDid you know each other before the show?YAHYA ABDUL-MATEEN II I used to say that I met Corey once at a party in 2012. But it just might not be true. But I was familiar with Corey for a very long time. I went to Yale, and he went to Juilliard, and you know who’s who in the New York circles.COREY HAWKINS We all knew of each other. Before I got to Juilliard, I knew how many Black folks were in the program. There were only a certain number of us. But this was my first time meeting him. Of course, I knew his work.When did you first learn about “Topdog/Underdog”?HAWKINS I was a junior in high school when the play first premiered at the Public Theater in 2001, so it wasn’t until I was at Juilliard that I came across the show in a student production. A friend of mine, the actor Sheldon Woodley, was directing Amari Cheatom and Johnny Ramey in a version of this play. I was in my first year, wearing what they call “theater blacks” and moving the set pieces around the stage, so I was in the orbit of the play. And then I read it and fell in love with it from there.ABDUL-MATEEN It might have been in 2010 for me. At Berkeley [where he received a bachelor’s degree], a student was doing a director’s showcase of 15-minute scenes. I had one scene from “Othello,” then I did one scene from “Topdog/Underdog,” and I played Booth. It was the first time I read anything contemporary that felt like it was made for me. There was a line from the play that just stayed with me, “She gonna walk in here looking all hot and [expletive], trying to see how much she can get me to sweat, how much she can get me to give her before she gives me mines.” That made me think of my family, my cousins, my people and my friends. And I felt seen, so I said, “Oh, I got to go investigate Booth some more.”Twenty years ago, we had less nuanced conversations about Black masculinity than we are having now. Do you think that changes how we see these characters?HAWKINS I think naturally those differences will be evident because Yahya and I are Black men who live in this era versus 20 years ago. There have been shifts in the conversations around men’s roles and responsibilities, but how I, as an artist, see those things might be different than how my character, Link, sees them. I have to be true to the intentions of what Suzan-Lori Parks wrote, but I do see the play as an ode or love letter to Black men. We can be raw, right, wrong, joyous, funny, heartbreaking and unapologetically Black onstage.ABDUL-MATEEN I think Booth imagines himself as a romantic who knows about women. He’s probably not in the social circles that are speaking about toxic masculinity, but, like a lot of people I know, he fashions himself a gentleman. But, the beautiful thing about this play is that we get to be masculine and also play husband and wife, be silly, immature and vulnerable. We cry, laugh, talk about being hurt in our family, and tell lies designed to make us seem bigger than we are. And then we call each other out when we can see that we’re not succeeding. The test of the play is who comes out on top, so masculinity is always on display within that room.“There are moments in the play where I just get to listen, and I’m just like, “Man, this brother’s killing this right now,” Abdul-Mateen said of Hawkins’s performance.Elliott Jerome Brown Jr. for The New York TimesYour characters’ arcs are subtle and then, especially in Booth’s case, suddenly explosive. How do you prepare for these transformations?ABDUL-MATEEN I make it my responsibility never to see it coming. Because we don’t see our transformations coming in life. As for Booth, I’m trying to keep it positive for as long as possible since he doesn’t know he has a change coming. And as an actor, I also want to stay ahead of the audience so they can be hopeful for as long as possible. And then they’re surprised or caught off guard at the end, which is what Corey refers to as the “three-card monte” trick within the play.HAWKINS With three-card monte, you’re just moving the cards around and trying to react to what’s in front of you. I have to hold off for as long as possible with Link as well. He has to fight the drug that is the cards because there is nothing as powerful as when he picks up those cards one more time. And that’s what begins the downward slippery slope for him. But until then, Link and Booth are just bouncing up against each other, pushing until they can’t anymore. That makes it heartbreaking, tragic and surprising for me every night.Are there any instances in which you’ve been astounded by the other’s performance?ABDUL-MATEEN It happens all the time.HAWKINS All the time.ABDUL-MATEEN Show to show.HAWKINS Moment to moment.ABDUL-MATEEN There are moments in the play where I just get to listen, and I’m just like, “Man, this brother’s killing this right now.”HAWKINS Yeah, at the end of the play, every single show, night after night, I feel like I’m just sitting there watching you give a master class, and I wonder what you will do next. And that’s so exciting, man, because there’s not too many people who can access that range of emotion.Ultimately, this is a tragedy, but I was struck by the handshake and hug that you give each other onstage after the show ends. Why is that important for the audience to see?HAWKINS I know we’re both going through it, so I just think it’s a matter of knowing that I got another brother in the fight. We make it look easy, but it isn’t easy going up there. But, for me, I have to let Lincoln go and literally leave him on the floor. So, when I get up, I’m able to reset.ABDUL-MATEEN I am not Booth, and Corey is not Lincoln. When we take a bow, I am being myself. But, at the beginning, when that curtain goes up, only Corey and I are out there and putting on this show for two and a half hours. I have an obligation to get as close to my character’s truth as possible, and when I want to get that hurt out, I got to give it to Corey’s character. That’s my job. And it’s his job to do the same thing back to me. So, when we take our bows, I get to say, “I appreciate you for taking care of me and that this was a pleasure to do this.” More

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      in Theater

      ‘Topdog/Underdog’ to Star Yahya Abdul-Mateen II and Corey Hawkins

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      The 20th anniversary Broadway revival will be directed by Kenny Leon. Previews begin in September at the John Golden Theater.Corey Hawkins and Yahya Abdul-Mateen II will star this fall in a Broadway revival of Suzan-Lori Parks’s Pulitzer-winning comic drama “Topdog/Underdog.”The play, first staged on Broadway in 2002 after an Off Broadway run at the Public Theater, is a portrait of two brothers: One, named Lincoln (Hawkins), is an Abraham Lincoln impersonator and the other, named Booth (Abdul-Mateen), aspires to play three-card monte the way his brother once had.In 2018, The New York Times declared “Topdog/Underdog” the best American play of the previous 25 years. Explaining that choice, the critic Ben Brantley wrote that the play “plies the fine theatrical art of deception to convey the dangers of role-playing in a society in which race is a performance and prison.”Hawkins, 33, has been featured in a string of films, including “In the Heights,” “The Tragedy of Macbeth” and “Straight Outta Compton.” He has two previous Broadway credits, and picked up a Tony nomination in 2017 for his starring role in a revival of “Six Degrees of Separation.”Abdul-Mateen, 35, is best known for his work in the HBO series “Watchmen,” and he recently was featured in the films “Ambulance,” “The Matrix Resurrections” and “Candyman.” “Topdog/Underdog” will be his Broadway debut.The original Broadway production starred Jeffrey Wright and Yasiin Bey, who was known at the time as Mos Def.This 20th anniversary revival, scheduled to run for 16 weeks, is to begin previews Sept. 27 and to open Oct. 20 at the John Golden Theater. It will be directed by Kenny Leon, who in 2014 won a Tony Award for directing a revival of “A Raisin in the Sun.” The producers are David Stone, a lead producer of “Wicked,” as well as LaChanze, Rashad V. Chambers, Marc Platt, Debra Martin Chase and the Shubert Organization.This season is shaping up to be a big one for Parks. In addition to the Broadway revival of “Topdog/Underdog,” the Public Theater on Tuesday said it would stage productions of two new works she has written: “Plays for the Plague Year,” a series of playlets Parks wrote during the early pandemic, and “The Harder They Come,” a musical adaptation of the 1972 film, with a book by Parks and a score that includes songs by Jimmy Cliff. More