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    The Highs and Lows on London Stages in 2024

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    Our critics discuss which A-lister performances on the West End were worth the ticket price, and why so many new musicals struggled this year.This year saw London host buzzy productions like Jamie Lloyd’s “Romeo and Juliet,” starring Tom Holland and Francesca Amewudah-Rivers, and Robert Icke’s take on “Oedipus,” with Mark Strong and Lesley Manville. Other productions struggled, including more star vehicles — and some musicals, particularly.Matt Wolf and Houman Barekat, The New York Times’s London theater critics, discuss the triumphs and the disappointments of the last year in British theater, and also look ahead to 2025.Which productions impressed you most?HOUMAN BAREKAT James Macdonald’s “Waiting for Godot” at the Theater Royal Haymarket was superb. The Beckett estate is famously proscriptive about what can be done with his plays, so the performers have to make their mark in small, subtle ways. Ben Whishaw and Lucian Msamati delivered a master class in timing as the leads.I was hugely impressed by Rachel O’Riordan’s take on “Faith Healer” at the Lyric Hammersmith, featuring Declan Conlon as an insidiously charismatic Svengali. On a lighter note, I also loved the National Theater’s arch, camped-up version of Oscar Wilde’s “The Importance of Being Earnest,” with its gorgeous staging and costumes.The cast of “The Importance of Being Earnest,” including Hugh Skinner, center, as Jack Worthing.Marc BrennerMATT WOLF I second Houman’s choices, and would extend further kudos to the writer-director Robert Icke’s scorching take on “Oedipus,” whose sold-out run proved that there is still an appreciative audience in London for serious theater. Special shout-out to Icke’s Jocasta, Lesley Manville, who is well on the way to becoming a giant of British theater.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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      ‘Spellbound’ Review: Borrowed Wonder

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      Any magic this animated musical has feels distinctly, almost insultingly poached.Princess Ellian, heir to the throne of Lumbria, has a problem: A year earlier, her parents, traveling through the Dark Forest of Eternal Darkness, fell under a curse. That sort of thing happens when you’re passing through a wood “so dark they named it twice” — but let’s not cast blame. The curse transformed the king and queen into roaring, rampaging monsters. They can’t comprehend much or speak, but they can be distracted with chew toys.Ellian (voiced by Rachel Zegler), now 15, has assumed their duties and, along with two government ministers (Jenifer Lewis and John Lithgow), helped hide news of the metamorphosis from Lumbrians at large. She hopes that somewhere, deep under her parents’ new scales and feathers, the minds of the king and queen are still there. So, too, may viewers of “Spellbound” occasionally sense the enchantment zones of their brains lighting up, more as a reflexive response to dim memories of past animated features than as a genuine reaction to the derivative pastiche onscreen.The movie, directed by Vicky Jenson, one of the filmmakers behind “Shrek,” has assembled all the standard ingredients: fairy tale trappings; a treacherous, “Oz”-ian journey across a mystical land; wizard types voiced by Broadway pros (Nathan Lane and Tituss Burgess), for comic relief; and would-be earworms by Alan Menken and Glenn Slater that are catchy in the moment but that you might struggle to hum afterward. Lithgow’s “I Could Get Used to This,” an “Under the Sea”-style showstopper that his character sings after swapping bodies with Ellian’s purple rodent pet, is an exception.It isn’t fair to say that “Spellbound” lacks musical or visual invention. Zegler can belt out a song, and the evil storm that transmogrified the royals is pleasingly lo-fi. (It looks like a scribble-scrabble twister.) But the magic feels distinctly, almost insultingly poached. Ellian rides with her friends on giant, flying cats (shades of “The Neverending Story” and “How to Train Your Dragon”). The idea of emotions made physically manifest is a concept that animated features have used quite recently (“Inside Out,” “Soul”). The oracles played by Lane and Burgess, who argue about having traded in multiple wands for a universal fob, engage in the sort of self-conscious riffing that has become a de facto requirement of family filmmaking.The king and queen eventually find their voices — one assumes that Javier Bardem and Nicole Kidman, reunited from “Being the Ricardos,” were well-paid for what sounds like swift work — but even flurries of excitement, like an escape over a quicksand desert, can’t shake the sense that “Spellbound” has been consciously designed to play things safe. One of its big numbers is called “The Way It Was Before,” words that sound suspiciously like a mission statement.SpellboundRated PG. Running time: 1 hour 49 minutes. Watch on Netflix. More

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      Review: Roald Dahl Is Antisemitic, but Not a Cartoon Villain, in ‘Giant’

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      A new play in London portrays the beloved children’s author as a rounded character, while making no apology for his bigotry.It started with a book review.In the August 1983 issue of Literary Review, a British journal, the beloved children’s author Roald Dahl reviewed an eyewitness account of Israel’s 1982 invasion of Lebanon. In a strident piece, Dahl mourned the disproportionate loss of Arab civilian life in that conflict, and appeared to crassly conflate the actions of the Israeli state with the will of the Jewish people. He also asserted that all Jews had a responsibility to denounce Israel.Later that month, in an interview in The New Statesman newsmagazine, he was asked to clarify those remarks. Dahl went further, saying, “There is a trait in the Jewish character that does provoke animosity.” He went on: “I mean, there’s always a reason why anti-anything crops up anywhere. Even a stinker like Hitler didn’t just pick on them for no reason.”This shameful episode, which left a stain on Dahl’s reputation, is the subject of a new play, “Giant,” written by Mark Rosenblatt and directed by Nicholas Hytner, that runs at the Royal Court Theater in London through Nov. 16. It is an admirably evenhanded treatment that walks a delicate tightrope: “Giant” portrays Dahl as a rounded — and occasionally sympathetic — character while making no apology for his bigotry.We meet Dahl (John Lithgow) and his fiancée Felicity Crosland (Rachael Stirling) in the living room of their countryside home, which is under renovation. (The set, with dust sheets and ladders here and there, is by Bob Crowley). Dahl is poring over the proofs for his next novel, “The Witches.” The Literary Review article has come out and Dahl is facing a backlash. His British publisher, Tom Maschler (Elliot Levey), and an emissary from its American counterpart, Farrar, Strauss and Giroux, descend on Dahl and urge him to make an apology, but he’s having none of it.The U.S. publisher’s representative, Jessie Stone (Romola Garai), who is Jewish, suggests to Dahl that “The Witches” — about a secret society of evil child-snatchers — could, in light of his offensive remarks, be interpreted as dog-whistle antisemitism, echoing the Jewish blood libel.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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      ‘Killers of the Flower Moon’ Cameos Guide

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      Musicians, comedians and even a filmmaker make appearances in the epic drama.Throughout his acclaimed filmography, Martin Scorsese has been known for left-of-center casting choices. His longtime collaborator and casting director Ellen Lewis said in an interview that they always “try to go outside the box in interesting ways.” For evidence, consider memorable appearances by Scorsese’s mother, Catherine, in “Goodfellas” and the writer Fran Lebowitz as a judge in “The Wolf of Wall Street.”The director’s epic new drama, “Killers of the Flower Moon,” is no exception. The film tells the story of a 1920s plot by white Oklahoma men, notably an uncle and nephew played by Robert De Niro and Leonardo DiCaprio, to murder members of the Osage Nation, including Mollie Burkhart and her three sisters. Alongside those recognizable Scorsese regulars, a variety of musicians, comedians and other nonactors (some recruited by the Indigenous casting director Rene Haynes) blend in seamlessly.Here’s a spoiler-heavy guide to some of the film’s most interesting cameos.Jason IsbellJason Isbell as the husband of an Osage woman in “Killers of the Flower Moon.”AppleTV+The country singer-songwriter Jason Isbell appears as Bill Smith, husband of Mollie’s ill-fated sister Rita (played by JaNae Collins). For such a sizable part, “Killers” is the first major onscreen acting gig for the four-time Grammy winner. (He had a recurring voice role as a pastor on the Adult Swim series “Squidbillies.”) How did Isbell end up in the film? Chalk it up to downtime. The movie was shot during the pandemic when musicians would have otherwise been touring around the country. As for his main gig, Isbell’s most recent album, “Weathervanes,” with the group the 400 Unit was released earlier this year.Pete YornThis indie-rock singer-songwriter (whose most recent album was “Hawaii,” a 2022 collaboration with Day Wave) eventually shows up as the much-talked-about and elusive Acie Kirby, whom DiCaprio’s hapless Ernest is tasked with finding throughout the film. While “Killers” is Pete Yorn’s first big-screen acting role, he is no stranger to the Scorsese sphere. His brother is Rick Yorn, an executive producer of “Killers” and other Scorsese projects, including “The Wolf of Wall Street” and “Gangs of New York.” Rick Yorn also happens to be Scorsese and DiCaprio’s manager.Sturgill SimpsonSturgill Simpson as a bootlegger in the drama.AppleTV+Another noteworthy country singer-songwriter, Sturgill Simpson plays the bootlegger Henry Grammer. Though he won the 2017 best country album Grammy for “A Sailor’s Guide to Earth,” the guitarist has turned Hollywood roles into a bustling side hustle. In addition to a recurring part on the HBO comedy series “The Righteous Gemstones,” he appeared in the 2019 drama “Queen & Slim” and was on the big screen last month in the sci-fi opus “The Creator.”Tatanka MeansThis busy comedian and actor plays John Wren, a Native American investigator. Means boasts an eclectic filmography ranging from the 2014 comedy “A Million Ways to Die in the West” to a recent appearance on the series “Reservation Dogs.” The son of the Oglala Sioux activist Russell Means (a Scorsese friend who died in 2012), the younger Means is perhaps best known for stand-up routines that reflect the Native experience.Jack WhiteThe former White Stripes musician has a thriving career as a guitarist on his own and in groups like the Raconteurs and the Dead Weather, but he can be seen at the end of “Killers” providing multiple voices for a radio play that explains the eventual fates of the real-life figures dramatized in the film. This isn’t Jack White’s first acting gig. When he’s not at the helm of his indie label Third Man Records, he has found time to portray Elvis Presley in the 2007 music biopic spoof “Walk Hard: The Dewey Cox Story,” and to appear in “Portlandia” and “The Simpsons.”Charlie MusselwhiteThis harmonica ace plays the gruff Alvin Reynolds. Charlie Musselwhite is a Chicago blues legend who is said to have inspired Dan Aykroyd’s Blues Brothers character Elwood. Lewis, the casting director, is a music fan who said she sought out Musselwhite after being taken by his weathered look while researching the Chicago label Delmark Records. “Killers” is the 79-year-old’s most sizable acting role after parts in movies like “Blues Brothers 2000” and “Windows on the World.”Everett WallerThe film features several prominent members of the Osage Nation including Waller, who serves as the tribe’s Minerals Council chairman. In the movie, Waller gives an impassioned speech about the plight of his people. Haynes, the casting director, said that much like the other Indigenous performers, Waller was discovered during an open casting call to fill the movie’s 62 Native roles. “His daughter actually came through and she knew I was looking for a gentleman with long hair,” Haynes recalled, adding, “I told her that if she could get him to come in, I’ll let him skip the line because I’d love to meet him.”Brendan FraserBrendan Fraser as a lawyer for Robert De Niro’s character. AppleTV+Though not strictly a cameo, the actor doesn’t appear till late in the film. Chosen by Scorsese and Lewis well before “The Whale” led to a career renaissance and a best actor Oscar win earlier this year, Fraser plays W.S. Hamilton, the defense attorney for De Niro’s William Hale. Lewis said Fraser was an 11th-hour choice after another actor she didn’t name dropped out.John LithgowThis is also not quite a cameo, but John Lithgow doesn’t appear until late in the film. The two-time Oscar nominee has enjoyed a long and eclectic career in roles that span genres, onstage and on the big and small screens. But this is the first time he’s worked with Scorsese. Here he plays the prosecutor Peter Leaward in a series of courtroom scenes.Martin ScorseseOne of the three-and-a-half-hour film’s most surprising moments occurs during the radio-play coda. It’s Scorsese himself who reads from the obituary of Mollie Burkhart (Lily Gladstone). Scorsese is no stranger to appearing in his own work, from his 1973 breakout “Mean Streets” (he can be seen firing a gun during the car-crash finale) to “Silence” (a brief and bearded cameo in that 2016 drama). His turn in “Killers” serves as a fitting tribute to both the forgotten subjects of the story and the director who helped remind us of them. More

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      ‘Sharper’ Review: The Big Con

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      The film stars Sebastian Stan and Julianne Moore in a baroque but lackluster story of con artists circling a Manhattan billionaire’s fortune.Perhaps phishing emails have taken the romance out of con artistry, but “Sharper” feels downright quaint in its Russian-doll plotting of elaborate scams. That’s no crime in itself, but the movie also confirms that stories about con artists might require more panache, or at least a sense of danger.The movie opens with a rom-com coziness, as Sandra (Briana Middleton) meets Tom (Justice Smith) in his tastefully appointed Greenwich Village bookshop. Their goo-goo-eyed dating ends badly, with the extraction of a large sum of cash. Each chapter of the film then pulls back the curtain on one of the characters. We learn that Sandra previously crossed paths with Max (Sebastian Stan), a smooth operator who is close to the Fifth Avenue habitué Madeline (Julianne Moore).Madeline in turn is dating a billionaire (John Lithgow), who’s about as safe in this setup as a chicken in a shark tank. The false fronts of the plotting are the film’s only reliable kick, and so they’re best left unexposed here, but the general modus operandi hinges on triggering protective impulses and panic responses.Yet this tony-looking film, directed by Benjamin Caron (“The Crown”), feels less poker-faced than prim about its characters and their behavior. The story misses the clinical bravado of David Mamet’s heists, the psychosexual menace of “The Grifters,” or — despite opening with a dictionary definition — the crooked community described in the David Maurer classic “The Big Con.”The film’s biggest trick might be casting Moore, Stan and the positively glowing Middleton and still never quite catching fire.SharperRated R for language throughout and some sexual references. Running time: 1 hour 56 minutes. Watch on Apple TV+. More

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      Douglas McGrath, Playwright, Filmmaker and Actor, Dies at 64

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      His one-man Off Broadway show, “Everything’s Fine,” directed by John Lithgow, had opened just weeks ago.Douglas McGrath, a playwright, screenwriter, director and actor who was nominated for an Oscar, an Emmy and a Tony Award, and whose one-man Off Broadway show, “Everything’s Fine,” opened just weeks ago, died on Thursday at his office in Manhattan. He was 64.His death was announced by the show’s producers, Daryl Roth, Tom Werner and John Lithgow. Their representative said the cause was a heart attack.Mr. Lithgow also directed the show, a childhood recollection of Mr. McGrath’s about a middle-school teacher in Texas who gave him an inappropriate amount of attention.“He was a dream to direct,” Mr. Lithgow said on Friday. “None of us had ever worked with someone who was so happy, proud and grateful to be performing his own writing.”Mr. McGrath in his one-man play “Everything’s Fine,” which opened Off Broadway last month to good reviews.Jeremy DanielMr. McGrath had a wide-ranging if under-the-radar career in television, film and theater. In the 1980-81 season, just out of Princeton and still in his early 20s, he was a writer for “Saturday Night Live.” Over the next decade he wrote humor pieces for The New Republic, The New York Times and other publications.By the 1990s he was making inroads in Hollywood. He wrote the screenplay for the 1993 remake of the 1950 romantic comedy “Born Yesterday,” and the next year he and Woody Allen collaborated on the script for Mr. Allen’s “Bullets Over Broadway.” The two shared an Oscar nomination for best original screenplay.In 1996 he adapted the Jane Austen novel “Emma” for the big screen and also directed the film, which starred Gwyneth Paltrow. In 2000 he and Peter Askin shared directing and screenwriting duties on the comedy “Company Man,” in which he also starred, as a schoolteacher who stumbles into a career as a C.I.A. officer.That movie drew some unflattering reviews. But his next, “Nicholas Nickleby” (2002), an adaptation of the Dickens story that he both wrote and directed, was well received. In The Times, A.O. Scott said that Mr. McGrath’s adaptation was rendered “with a scholar’s ear and a showman’s flair.”“The director has produced a colorful, affecting collage of Dickensian moods and motifs,” Mr. Scott wrote, “a movie that elicits an overwhelming desire to plunge into 900 pages of 19th-century prose.”Mr. McGrath, center, on the set of his film “Nicholas Nickleby” (2002), with the cast members Barry Humphries, left, and Alan Cumming.United Artists, via AlamyIn addition to his screenwriting and directing credits (which also included “Infamous,” a 2006 film starring Toby Jones as Truman Capote), Mr. McGrath occasionally took small acting roles in other people’s projects, including several of Mr. Allen’s films. In 2016 he directed “Becoming Mike Nichols,” an HBO documentary about the film director, on which he was also an executive producer. He shared an Emmy nomination with the other producers for outstanding documentary or nonfiction special.Throughout, he continued to work in the theater. In 1996 he wrote and starred in “Political Animal,” a one-man comedy that played at the McGinn/Cazale Theater in Manhattan, in which he played a right-wing presidential candidate.“Beyond the stand-up parody,” Ben Brantley wrote in his review in The Times, “the larger point of ‘Political Animal’ is that it takes a hollow, desperate man to run for president these days.”In 2012 his play “Checkers” — the title refers to a famous 1952 speech by Richard M. Nixon — was seen at the Vineyard Theater in Manhattan, with Anthony LaPaglia as Nixon and Kathryn Erbe as his wife, Pat.Then came Broadway: Mr. McGrath wrote the book for “Beautiful: The Carole King Musical,” which opened in January 2014 and ran for more than five years. His book was nominated for a Tony Award.Last month Mr. Lithgow told The Daily News of New York that Mr. McGrath had sent him “Everything’s Fine” unsolicited, and that he had no intention of directing a play until he read the piece.“It was so play-able,” he said, “I could simply imagine an audience being completely captivated by it.”The show opened in mid-October to good reviews.“It is impossible to overstate Doug’s pure likability,” Mr. Lithgow said on Friday. “In his solo show, he told a long story about his 14th year, and it worked so well because he had retained so much of his sense of boyish discovery.”Ms. Roth, another of the show’s producers, said that Mr. McGrath had been thoroughly enjoying the way audiences were reacting as he unspooled the tale.“The wonderful response from the audience was cathartic, meaningful and joyful to him,” she said by email. “He often told me he was in his ‘happy place’ onstage telling his story.”Mr. McGrath on the set of “Infamous,” his 2006 film about Truman Capote.Van Redin/Warner Independent, via Kobal, via ShutterstockDouglas Geoffrey McGrath was born on Feb. 2, 1958, in Midland, Texas. His father, Raynsford, was an independent oil producer, and his mother, Beatrice (Burchenal) McGrath, worked at Harper’s Bazaar before her marriage.“People often ask me what growing up in West Texas was like,” Mr. McGrath said in “Everything’s Fine.” “I think this sums it up: It’s very hot, it’s very dusty, and it’s very, very windy. It’s like growing up inside a blow dryer full of dirt.”He graduated from Princeton in 1980.“Planning my future,” he wrote in a 2001 essay in The Times, “I had a very clear idea of what I wanted to do, but a very blurry one of how to do it. I knew I wanted to write and perform in my own films in the manner of my idol, Woody Allen. But when I went, that once, to the Career Counseling Center and faced the bulletin board, none of the cards said, ‘Needed: writer-actor-director for major feature, no experience required, must be willing to earn high salary.’”Yet when a friend told him “S.N.L.” was hiring writers, he sent in some sketches and landed an $850-a-week job.“It seemed too good to be true,” he wrote. “It was. My year, 1980, was viewed then and still as the worst year in the show’s history, which is no small achievement when you think of some of the other years.”In a 2016 interview, Mr. McGrath said his disappointment with the way his screenplay for “Born Yesterday” was handled changed the direction of his career.“I remember thinking, well, if I don’t want to spend the rest of my life doing this, meaning watching someone else muck up what I did, there’s only one way around that,” he said. “I have to become a director.”Mr. McGrath, who lived in Manhattan, married Jane Reed Martin in 1995. She survives him, as do a son, Henry; a sister, Mary McGrath Abrams; and a brother, Alexander. More

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      Review: In ‘Everything’s Fine,’ the Discomfort of Adolescence

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      In Douglas McGrath’s one-man show, his account of an experience as a teenager unfurls with the can’t-look-away quality of a slow-motion crash.What’s unnerving about “Everything’s Fine” is how breezy the tone is: The story at the center of Douglas McGrath’s solo autobiographical show, set during his youth in Texas, is one of emotional and psychological distress, after all. McGrath is not exactly making fun of what happened, but he’s not not making fun of it, either. It is hard to tell whether this is a deliberate choice abetted by John Lithgow’s direction or if McGrath is not a crafty enough performer to shake off a naturally avuncular demeanor.But the droll tone is effective, if sometimes startling. And while McGrath may not be a superlative actor, he is a good storyteller — he is best known as the screenwriter and director of “Emma” (1996), and he wrote the Tony-nominated book for “Beautiful: The Carole King Musical.” His account of something that happened to him as a teenager unfurls with the can’t-look-away quality of a slow-motion crash. You might be appalled but laughing, eager to hear what happened next while also dreading it.McGrath, 64, grew up in Midland, a wind-ridden town in West Texas where many people moved to work in the oil and gas industry. Such was the case for his father, a Connecticut-raised Princetonian with “the deluxe name Raynsford Searle McGrath,” whose family included a witty wife and their three children, of which Doug, as he was known, was the eldest.McGrath sets up the scene evocatively, and for a little while, it looks as if the show will be a cozy family tale. His father had worn a glass eye since a terrible accident when he was 10, and his mother, Beatrice, had worked at Harper’s Bazaar magazine alongside Diana Vreeland and an upstart Andy Warhol. McGrath could have easily milked an entire evening out of his urbane parents living in the wilds of Texas.The focus, however, eventually tightens on eighth grade. Doug was 14, and a new history teacher, whom he calls Mrs. Malenkov, entered the picture. This married 47-year-old mother took a liking to him, to put it mildly, and started leaving notes written on blue onionskin paper in his locker. (John Lee Beatty’s set evokes a schoolroom looking half-abandoned and a little desperate.)Those were different times, and a 14-year-old boy from the early 1970s was not like our modern teenagers constantly plugged into the illuminating world of the internet. But even by the standards of his time, McGrath paints a portrait of himself as being a little slow on the uptake. “I was not precocious,” he says. “I was barely coscious.”Yet even the innocent, happy-go-lucky Doug realized that Mrs. Malenkov was not well and that the situation was untenable. When he finally came up with a way to extricate himself from his predicament, the scheme was equally laughable and cringe inducing.As our narrator, McGrath is, of course, aware he is navigating a minefield, and he does so adroitly and without judgment — if anything, he makes fun of himself the most and looks at Mrs. Malenkov in a perplexed, sensitive manner. He acknowledges the impropriety of what he is dealing with, recreating his feelings as he experienced them in the heat of the moment and as an adult looking back. But this also means that McGrath picks whatever point of view suits the story’s suspenseful unfolding, and it’s not always coherent. Sometimes he editorializes with the wisdom he has now, and sometimes he is content to remain locked in his adolescent perspective, which means ignoring glaring blind spots. What was Mrs. Malenkov’s husband up to, for example?Songs like “Teacher’s Pet” and “Come On-a My House” play between some scenes — a little on the nose, too, setting up easy chuckles. Which does not mean they are entirely comfortable.Everything’s FineThrough Jan. 22 at the DR2 Theater, Manhattan; everythingsfineplay.com. Running time: 1 hour 30 minutes. More