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    Best Theater of 2023

    Many of the plays and musicals that resonated this year deftly married elements of drama and comedy.Jesse Green’s Best Theater | Unforgettable ExperiencesJESSE GREENYear of the DramedyIf 2023 was a tragedy in the world, on New York stages it was a dramedy year, highlighted not only by serious plays with great jokes, but also by flat-out comedies with dark underpinnings. And though not all 10 shows (and various bonuses) on my mostly chronological list below fit that mongrel category, even the gravest of them seem to have gotten the memo that theater should not be a bore or a drag. It should thrill you into thought or, as the case may be, solace.‘Love’ by Alexander ZeldinOn the cold February night I saw “Love,” New York City was teeming with people in need of warm places to be. That was also the case inside the Park Avenue Armory, which had been reconfigured to represent a temporary facility for people without homes. Its residents included an unemployed man in his 50s, his barely-holding-on mother, a pregnant woman, two refugees — and us. Seated adjacent to the facility’s dingy common room, we became, in the playwright’s own staging, fellow residents. But if the others eyed us like we might steal a precious sandwich, we could blithely leave when the play was over. Or not so blithely: Even heading home, with my heart retuned to tiny heartbreaks instead of huge ones, I had to wonder why it was easier to engage the subject of homelessness inside the Armory than on Park Avenue. (Read our review of “Love” and our interview with Zeldin.)‘A Doll’s House’ by Henrik IbsenA chair and a door — and a riveting star — were all it took to make a nearly 150-year-old drama set in Norway come fully alive in New York City today. True, the chair rotated mysteriously for 20 minutes before the dialogue began. Nor did it hurt that the star sitting on it, like an angry bird in a giant cuckoo clock, was Jessica Chastain. And yes, the famous door through which her Nora walked out of her marriage and into a new life was a staging marvel in Jamie Lloyd’s surgically precise Broadway production. But finer than all that was the chilling fact that Ibsen’s text, as adapted by Amy Herzog, sounded as if it had been written yesterday — and could still be transpiring in real life tomorrow. (Read our review of “A Doll’s House” and our interview with Chastain.)‘How to Defend Yourself’ by Liliana PadillaAfter a classmate is raped by fraternity bros, two sorority sisters organize a self-defense club. And though they aren’t great teachers, a great deal is learned by the other young women (and two would-be male allies) who attend intermittently over the course of several weeks. The New York Theater Workshop audience, too, learned a great deal, as the questions bedeviling so many relationships — the complexity of consent and the meaning of control — played out before us in this perfectly timed hot-button play. But what gave the production its poetic gravitas was a gasp-inducing coda, gorgeously staged by the playwright along with Rachel Chavkin and Steph Paul, in which the culture of sexual violence was traced to a source you could never again regard as innocent. (Read our review of “How to Defend Yourself.”)‘Primary Trust’ by Eboni BoothIt’s sometimes true that an actor is great in a not-great play. But it seemed to me that William Jackson Harper, giving one of the year’s best performances, both dignified and deep, achieved it because of — not despite — the material, quiet and apparently whimsical though it was. In this Roundabout Theater Company production, directed by Knud Adams, he played a lonely clerk in a ragged suburb whose best friend turns out to be imaginary but whose sadness is all too real. Twee as that sounds, the glory of both the writing and acting was in letting us experience the character’s sadness and, even more, the hard work behind his efforts to stay afloat in a painful world. (Read our review of “Primary Trust” and our interview with Harper.)‘The Comeuppance’ by Branden Jacobs-JenkinsBranden Jacobs-Jenkins updated the reunion genre with his haunting Off Broadway play “The Comeuppance.” The cast included, from left, Bobby Moreno, Brittany Bradford, Shannon Tyo and Susannah Flood.Sara Krulwich/The New York TimesAs in many reunion dramas, the 20-years-later get-together of some Catholic school classmates in this compelling, sometimes terrifying new play included an uninvited guest. Well, really two, if you count the supernatural one: a psychopomp, or collector of souls of the recently dead. The struggle for maturity that’s the stuff of such stories, though hilariously enacted in Eric Ting’s staging for the Signature Theater, became something existential in this bigger, chillier “Big Chill,” as “the age of poor choices seeking their consequences” pointed toward the ultimate graduation. (Read our review of “The Comeuppance.”)‘Just for Us’ by Alex Edelman“A Jew walks into a Nazi bar” might have been the start of a standup routine for the comedian Alex Edelman. Instead, the story of his infiltrating a white supremacist meeting in Queens became an urgent one-man Broadway show, one of the most thoughtful (and troubling) explorations of antisemitism in a year that offered too much relevant material. Despite its three-jokes-per-minute, rabbi-on-Ritalin aesthetic — the show was directed by Adam Brace, with Alex Timbers as creative consultant — it eventually revealed itself as a consideration of the central Jewish value of empathy. Is it unconditional? Do even the hateful deserve it? Do we? (Read our review of “Just for Us” and our interview with Edelman.)‘Infinite Life’ by Annie BakerOne of the characters is reading George Eliot, another a self-help book, another a mystery. But the real mystery is how a story about women reading, sleeping, chatting and dealing with pain became one of the most compelling plays of the year, in James Macdonald’s production for Atlantic Theater Company. Of course, unlikely setups for powerful drama are an Annie Baker trademark, but in considering the uses of suffering (if any) and of desire (if any) she took her technique to what must surely be its logical and triumphant limit — until next time. (Read our review of “Infinite Life” and our conversation with the cast.)‘Purlie Victorious’ by Ossie DavisOssie Davis’s 1961 play, “Purlie Victorious,” has received a blazing and hilarious revival starring, from left, Billy Eugene Jones, Kara Young, Leslie Odom Jr., Jay O. Sanders and Noah Robbins.Sara Krulwich/The New York TimesOssie Davis’s 1961 comedy is about two thefts: one petty and one — the theft of the freedom of generations of Black Americans — definitely not. Welding the hilarious farce of the first to a sense of fierce outrage over the second was a risk Davis pulled off beautifully, as this season’s nigh-perfect revival, unaccountably its first on Broadway, demonstrated. Directed by Kenny Leon, it also gave its stars great, rangy roles to chew: Leslie Odom Jr. as the wolfish Purlie, a preacher who becomes, in essence, a prosecutor; and Kara Young, usually seen in dramas, as a daffy yokel finding the sweet spot where Lucille Ball meets Moms Mabley. (Read our review of “Purlie Victorious” and our interview with Odom and Young.)‘Jaja’s African Hair Braiding’ by Jocelyn BiohOn a blistering day in the summer of 2019, at a salon in Harlem, five women style the braids, cornrows, twists and bobs of seven customers. Their workplace cross talk and byplay are both hilarious, making this Manhattan Theater Club production, directed by Whitney White, a kind of “Cheers” for today and a comic highlight of the season. But as in Jocelyn Bioh’s earlier plays, which cleverly weave African concerns into familiar American forms, this one built its welcome laughs on the back of a serious subject: the great opportunities and grave perils of immigration. (Read our review of “Jaja’s African Hair Braiding” and our look at the wigs used in the production.)‘Stereophonic’ by David AdjmiFive musicians not unlike the members of Fleetwood Mac circa 1976 come together with two engineers to make what will turn out to be an epochal album. In the process, they unmake themselves. And though “Stereophonic,” in Daniel Aukin’s thrilling production for Playwrights Horizons, delivers enormous pleasure from that soap opera setup — and the spot-on songs by Will Butler — it’s a much deeper work than other behind-the-scenes, making-of dramedies. Under cover of jokes and the expert polyphony of the overlapping dialogue, David Adjmi leads us to a story about the disaster of maleness, and thus of mating, behind the pop-rock revolution of the period. Spoiler alert: The revolution is ongoing. (Read our review of “Stereophonic” and our interview with Adjmi.)Sondheim foreverMost of Stephen Sondheim’s musicals were marginal financial successes or outright flops in their original productions. But in this second post-Sondheim year, it’s been hit after hit. First, in the spring, came Thomas Kail’s ravishingly sung, deeply emotional and strangely hilarious Broadway revival of “Sweeney Todd,” starring Josh Groban and Annaleigh Ashford. (Aaron Tveit and Sutton Foster take over in February.) This was no “Teeny Todd” but the huge, real thing. Then, in the fall, came the gleaming Broadway transfer of “Merrily We Roll Along” from New York Theater Workshop. After what seemed like zillions of attempts by many hands to fix that 1981 show, the director Maria Friedman figured it out, locating its long-lost core in Jonathan Groff’s mesmerizing, furious performance. (He’d make a great Sweeney.) Finally, and least expectedly, “Here We Are,” Sondheim’s final effort, left incomplete at his death in November 2021, showed up at the Shed with a clever book by David Ives and an impossibly chic production directed by Joe Mantello. Its wit, its openness to everything and its ageless invention (one song rhymes “Lamborghinis” with “vodkatinis”) made “Here We Are” a worthy send-off to Sondheim — and, like “Sweeney” and “Merrily,” a tough ticket despite jaw-dropping prices. It’s almost as if we don’t want him gone. (Read our reviews of “Sweeney Todd,” “Merrily We Roll Along” and “Here We Are.”)Also notedShows you don’t love may yet feature indelible performances. Among them this year, for me, were Dianne Wiest as Meryl Kowalski, larcenous scene stealer and would-be star, in “Scene Partners”; Miriam Silverman as Mavis, a hipster in her own mind, in “The Sign in Sidney Brustein’s Window”; Jordan Donica as Lancelot, a lion ripping huge bites of dramatic flesh (and song) with his teeth, in “Camelot”; and Jodie Comer as Tessa Ensler, a ferocious barrister victimized by the law, in “Prima Facie.” … There are also shows you love so much you can hardly imagine them recast — until they brilliantly are. Case in point this year was Ruthie Ann Miles as a crafty, heartbroken Margaret in the Encores! production of “The Light in the Piazza.” … A successful recasting of another type was David Korins’s transformation of the Broadway Theater into a Studio 54-era disco for “Here Lies Love,” which gave audiences a literally moving experience. Moving in more emotional terms was the score’s final song, “God Draws Straight,” which transformed the show into something with heart after 90 minutes of irony. … The book of the Barry Manilow-Bruce Sussman musical “Harmony,” about a German singing group undone by antisemitism in the 1930s, felt discordant. But the vocal arrangements, by Manilow and John O’Neill, were sublime. … And though there’s not much competition for the best flying transportation on Broadway, if there were, the winner, totally retiring memories of the “Miss Saigon” helicopter and the title character of “Chitty Chitty Bang Bang,” would be the DeLorean DMC in “Back to the Future.” It was a special effect that, for once, was special, in an otherwise Chevy Nova kind of show.Unforgettable ExperiencesSongs sung by Jennifer Simard, center, and Tess Soltau, left, and Amy Hillner Larsen in “Once Upon a One More Time” were among our favorite stage moments this year.Sara Krulwich/The New York TimesPower ballad No. 1“Independently Owned” is the “Shucked” showstopper that helped Alex Newell snag a Tony Award, but my favorite number in the show is the wronged-man solo, “Somebody Will,” which revealed the adorably doofy Andrew Durand as a full-throated, tears-in-your-beer balladeer. The musical’s composers, Brandy Clark and Shane McAnally, are already reliable country music hit makers; Nashville should give this one a spin, too. SCOTT HELLERPower ballad No. 2Jennifer Simard + high diva attitude + zombified dancers + a killer arrangement of “Toxic” = reason alone to have seen “Once Upon a One More Time” during its too-brief Broadway run. All praise to the show’s marketing team (and YouTube) for allowing us to watch it many more times. SCOTT HELLERExit Nora, into the worldNora Helmer walking out on her controlling husband and their little ones was shocking behavior — and jolting drama — in 1879, when Henrik Ibsen’s classic was new. Her famous door slam doesn’t carry the same charge now. Yet the director Jamie Lloyd found an equally jaw-dropping exit for Jessica Chastain’s Nora in his austerely chic Broadway revival of “A Doll’s House.” At the Hudson Theater, Soutra Gilmour’s set hid a surprise in plain sight. During the climactic moment, a giant load-in door in the upstage wall slowly rose like a curtain onto West 45th Street, which pulsated with color and life. Then Nora stepped through the opening, into the world, no slam required. LAURA COLLINS-HUGHESA collective flinch at ‘Jaja’s’Michael Oloyede, center, as a scoundrelly husband who wheedles his wife, played by Nana Mensah, left, out of her money in Jocelyn Bioh’s “Jaja’s African Hair Braiding.”Sara Krulwich/The New York TimesWhether exchanging knowing looks or exploiting one another’s weaknesses, the stylists and salon-goers in Jocelyn Bioh’s “Jaja’s African Hair Braiding” shared the sort of synergy inherent to a single living organism. The most vivid example: when a trifling husband (played by Michael Oloyede) asked God to strike him down in an obvious lie to his wife (Nana Mensah). Like a startled squid in water, the women recoiled in unison expecting the lord to do as he was told. It was darkly comedic proof of a fierce, collective instinct. NAVEEN KUMARLittle Man, high-flying kicksHow vicariously cathartic to watch a boy nicknamed Little Man beat down bullies in “Poor Yella Rednecks,” at Manhattan Theater Club. But what really made the brawl memorable is that Little Man is portrayed by a puppet (mostly handled by Jon Norman Schneider), allowing for the kind of gravity-defying flying kicks and slow-motion strikes that gives the show a hilariously cartoonish vibe. But it somehow also imbues Little Man with humanity. Credit the playwright, Qui Nguyen, who also designed the fight choreography. ELISABETH VINCENTELLIApocalyptic clownerySome of this year’s best clowning took place in the scorched, postapocalyptic world of Samuel Beckett’s bleakly funny “Endgame,” in a first-rate staging by the Irish Repertory Theater. Its cramped, brick-laden set featured a troupe of four splendidly paired-off character actors whose commitment to the absurdity underlined the play’s futility: Bill Irwin and his wildly swinging limbs were the perfect foil to John Douglas Thompson’s straight man, whose petty commands bellowed through the narrow space with a tyrannical boom; and, popping out of trash cans to reminisce on better times, Joe Grifasi and Patrice Johnson Chevannes brought a sweet, humble nostalgia to the tragic folly. JUAN A. RAMÍREZAn unforced revelationAnne E. Thompson’s understated performance as Dani, a rookie cop patrolling the boonies, crept up slowly like a colt finding her hind legs. In one of several hairpin turns in Rebecca Gilman’s “Swing State” at the Minetta Lane Theater, a conversation that began as a distress call from Ryan, Dani’s former high school classmate (Bubba Weiler), softened into a sweet flirtation before she elicited a confession as easily as picking a flower. (I was not the only one who gasped.) Often the most unassuming character onstage is the one to watch. NAVEEN KUMARAn actress is going to actIn “The Seagull/Woodstock, NY,” Thomas Bradshaw’s Chekhov adaptation, Parker Posey’s portrayal of Irene deftly toed the line between satire, affection and melancholia. But what I remember most is the laugh, which Posey’s Irene used as a weapon to defuse someone’s plastic-surgery joke, deploying it with performative archness — as if Irene watched herself laugh. Yet it still felt natural. ELISABETH VINCENTELLIFool’s errandA seemingly innocuous remark — “Maybe I’ll take the dog for a walk” — grows into a terrifying incantation near the end of “The Best We Could (a family tragedy),” Emily Feldman’s stealth gut punch of a play, for Manhattan Theater Club. From the start we learn of the bond between Frank Wood, as an unemployed scientist and unhappy family man, and his late, loyal canine companion. A cross-country journey with his daughter (Aya Cash) to adopt a replacement certainly has its bumps. But only in the final minutes do we realize, under Daniel Aukin’s sure-handed direction and in Wood’s tremulous performance, where this road trip has been going. SCOTT HELLERA self-defense dream balletEvery element in New York Theater Workshop’s production of “How to Defend Yourself,” Liliana Padilla’s exploration of the fuzziness of consent, came together in its final sequence: a sort of dream ballet rewinding from a college kegger to a pool party to a young child’s playground birthday. The stunningly lit scene seemed to play in slow motion, peeling back years of learned social behaviors to evoke the both terrifying and exciting possibilities of tenderness, sex, danger, and passion. JUAN A. RAMÍREZMidnight snack, Take 1Will Brill and Marin Ireland in “Uncle Vanya,” staged by Jack Serio in a private loft in Manhattan.Emilio MadridIt sounds slightly deranged to credit Anton Chekhov with having written one of the best scenes of sexual and romantic tension in the canon, but he did: in “Uncle Vanya,” whose Sonya and Astrov have a middle-of-the-night tête-à-tête over cheese in the dining room, exchanging confidences, igniting hopes. Her hopes, mainly, because she’s the hardworking young farmer with the yearslong crush on him, and he’s the heavy-drinking doctor who doesn’t think of her that way. But in Jack Serio’s staging in a Manhattan loft, Marin Ireland’s Sonya and Will Brill’s Astrov touched off the audience’s hopes, too, even if we knew they’d come to nothing. Heads bent close in the candlelight, speaking sotto voce, they made an almost rom-com pair. LAURA COLLINS-HUGHESMidnight snack, Take 2In Simon Stephens’s “Vanya,” a funny, sexy tragicomedy that ran in London’s West End this fall, Andrew Scott performed all the parts. He gave a beautifully calibrated, split-focus tension to the yearning chat between Sonia and the tree-planting doctor she adores, whom Stephens has renamed Michael. On the one hand, Scott as the nervous Sonia, for whom the conversation is a treasured memory in the making; on the other, Scott as the sozzled Michael, careless enough to call her “my love,” in Scott’s irresistible Irish lilt. “You have the gentlest voice,” Sonia tells him. And sure, hers is very similar. Still, it’s true. LAURA COLLINS-HUGHESPinch-hitter no moreI can’t say I knew the name Joy Woods back in April, so when she was announced as a last minute-replacement on the roster of singers for the annual Miscast benefit concert, I felt a little let down. Not any more! Her quiet-storm medley of “I Could Have Danced All Night” and “Wouldn’t It Be Loverly” from “My Fair Lady” (arranged by Will Van Dyke) was the evening’s revelation, keeping her fully in step with a starry lineup that included Ben Platt, LaChanze and Josh Groban. Now her name seems to be on everyone’s lips, with roles in “Little Shop of Horrors,” “I Can Get It for You Wholesale” and, next spring, “The Notebook” on Broadway. SCOTT HELLERExpert scene chewingTwo actors really went to town in their utter rejection of verisimilitude this year, single-handedly spicing up their respective Broadway shows. In “The Cottage,” Alex Moffat delivered a gonzo Expressionist-by-way-of-Plastic Man performance in which merely lighting up a cigarette became a full-fledged event. In “Back to the Future: The Musical,” Hugh Coles was a standout as George McFly, taking what Crispin Glover did in the original movie and amping it up into an arch marvel of manic stylization. In “Put Your Mind to It,” he paradoxically suggested George’s stiff demeanor with loose limbs that defied the laws of biomechanics. ELISABETH VINCENTELLIPurring Rodgers & Hart renditionsElizabeth Stanley, so skilled at bringing out a pop song’s emotional core, exposed the giddy carnal drive behind “Bewitched, Bothered and Bewildered” in a gala presentation of “Pal Joey” at New York City Center. In full bedroom afterglow, her devil-may-care performance peppered scatting and swinging jazz vocals through the song’s racier lyrics. (The ones thanking god she can be oversexed again.) Also voluptuous was Aisha Jackson’s aching “My Funny Valentine,” made into a torch anthem through Daryl Waters’s despairing orchestrations. Jackson richly moaned through love’s irresistible betrayal, revealing an erotic trembling in the Rodgers & Hart classic. JUAN A. RAMÍREZThe jukebox hits a wicked note“Once Upon a One More Time,” a fairy-tale mash-up powered by the hits of Britney Spears and skin-deep feminism, delivered the form’s most profane needle drop. Cinderella (Briga Heelan) was slumped over the hearth, with her haughty stepsisters (Amy Hillner Larsen and Tess Soltau) glowering down at her, when rapid-fire beats blared through the Marquis Theater. “You want a hot body? You want a Bugatti?” Their command was obvious: “You better work, bitch.” NAVEEN KUMAR More

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    10 Performances That Pushed Emotional Limits

    For our critic-at-large, the year was marked by the Black excellence of “Purlie Victorious,” the brutality of “Bottoms” and rage of “Beef.”For me, 2023 was a year of entertainment that captured people pushed to their emotional limits, whether that was the rage of two bitter enemies, the desperation of a widow who only sees a future of annihilation or the pent-up aggression of a bunch of high school girls. But it was also a year of colorful, funny and biting Black stories on stages. Throw in a dancing goth, a freshly single New York City fashionista and a chronicle of a dying band, and you’ve got my top picks for everything that tickled my fancy in the past year across theater, film and TV.‘Swing State’Call me a masochist, but what I most loved about Rebecca Gilman’s devastating play was that it tapped into multiple registers of despair: individual, communal, ecological. Peg, a widow living on a prairie in Wisconsin, is nursing concerns about endangered animals and environmental catastrophe, and how everything is leading us to an uninhabitable planet. But alongside Peg’s global anxieties are a host of much more intimate sorrows — grief for her husband, a sense of hopelessness, and isolation — that are driving her to consider suicide. Gilman’s script offers black humor, suspense and a crushing ending. And the empathetic direction, by Robert Falls, of a stellar cast led by Mary Beth Fisher and Bubba Weiler, provides a sense of existential urgency to every minute. (Read our review of “Swing State.”)‘Purlie Victorious’From left: Billy Eugene Jones, Kara Young, Leslie Odom Jr. and Jay O. Sanders in “Purlie Victorious.” Sara Krulwich/The New York TimesAt the end of this Ossie Davis play, our hero, Purlie Victorious (a larger-than-life Leslie Odom Jr.), heartily declares, “I find, in being Black, a thing of beauty: a joy, a strength, a secret cup of gladness.” I nearly cried at this ecstatic celebration of Blackness, because this Broadway production, cleverly directed by Kenny Leon, was itself a prime example of Black excellence. As hilarious as it is biting, “Purlie Victorious” follows Purlie’s scheme to reclaim the inheritance owed to his family in the Jim Crow South. Kara Young, as Purlie’s love interest — the uniquely named Lutiebelle Gussie Mae Jenkins — proves she can carry off a fearless comedic performance on par with her dramatic roles. (Read our review of “Purlie Victorious.”)‘Jaja’s African Hair Braiding’Even if the hairstyles in this play weren’t as fabulous as they were, Jocelyn Bioh’s “Jaja’s African Hair Braiding,” about a day in the life of African immigrants working in a Harlem hair-braiding shop, would still be a sparkling Broadway delight. That’s thanks to Bioh’s colorful characters and brisk, playful dialogue. Whitney White’s direction provided extra spark, and the production’s re-creation of real braid hairstyles and salon culture felt novel; it’s not often that Black spaces are so lovingly portrayed, or portrayed at all, on Broadway. (Read our review of “Jaja’s African Hair Braiding.”)‘Stereophonic’Earlier this year, after guiltily binging the soapy Amazon Prime series “Daisy Jones & the Six,” I wondered what a better version of this narrative — the band drama full of drugs, sex and music that’s kinda-but-not-really about Fleetwood Mac — would look like. I didn’t know until I saw David Adjmi’s “Stereophonic,” which kept me fully engaged through its full three-hour running time. The central band’s journey to celebrity then collapse, the addictions, the toxic relationships — the bones of the material are the same, but “Stereophonic” is unique in the way it uses music to do some of the storytelling. Entirely diegetic, the songs aren’t used for exposition or ornamentation; they exist as products in themselves, which we hear in different incarnations, in different parts, sometimes several times before we hear the final version. We learn about the characters through the parts they play in making and performing this music — which, by the way, is amazing, and written by Will Butler, formerly of Arcade Fire. The cast is flawless, and the production is so meticulously composed, including David Zinn’s stunning set and Ryan Rumery’s explosive sound design, that it feels like you’re actually being ushered into this world of Billboard hits, giant bags of cocaine and ego-driven rock stars. I can’t wait to see it again. (Read our review of “Stereophonic.”)‘Flex’There are a lot of reasons I liked this Lincoln Center Theater production about a high school basketball team, but one of them was, to my surprise, more a feat of athleticism than of drama. Throughout the performance I went to, Starra, the team’s talented, headstrong captain played by Erica Matthews, never missed a shot to the basket set above the stage at the Mitzi E. Newhouse. A story about the clash of beliefs, personalities, priorities and ambitions among these girls in lower-class, rural Arkansas, “Flex” was a win in all respects, from Candrice Jones’s engaging script to Lileana Blain-Cruz’s dynamic direction to the strong cast. I’m no fan of team sports, and in any other context would find taking the role of basketball spectator tedious; but, even if for only two hours, “Flex” transformed me into a fan. (Read our review of “Flex.”)‘Bottoms’Rachel Sennott and Ayo Edebiri in “Bottoms.”Orion PicturesI loved the chaos of this weird, perversely satisfying film about two unpopular high school students who start a girls’ fight club with the ultimate goal of losing their virginity. Rachel Sennott, who delivered a panic-inducing performance in “Shiva Baby,” plays the similarly unstable and unpredictable PJ, opposite Ayo Edebiri’s adorably dweeby Josie. “Bottoms” has a brutal sense of humor that gleefully spirals into a violent finale I won’t forget anytime soon. (Read our review of “Bottoms.”)‘Beef’The only reason I didn’t ravenously consume this phenomenal Netflix series in one go was that “Beef” was so effective in its storytelling, performances and direction that every episode felt staggering, but in the best way. It would have been so easy for this series, about the way rage rips apart and connects the lives of two unhappy strangers (played by Ali Wong and Steven Yeun), to stay in one lane and offer us 10 straight-up comedic episodes of steadily escalating acts of sabotage and retribution. But “Beef” also offers up pathos and humanity, getting to the brokenness underneath its characters’ rage without forgiving or dismissing their most heinous actions. Wong and Yeun are stellar in every scene, and beautifully navigate the chaotic turns of the script. (Read our review of “Beef.”)‘Primary Trust’A story about a grown man named Kenneth (William Jackson Harper) with no family living a quaint, routine small-town life with his imaginary best friend, “Primary Trust” was one of those shows that left me practically clutching my chest with feeling by the end. Harper delivered one of the finest, most exacting performances I saw this year; his Kenneth was delicate but not fragile. A contemporary fable about alienation, loneliness and facing the wild unknowns of adult life, “Primary Trust” felt cathartic, especially given how quarantines and six-foot distances changed many people’s understanding of isolation. (Read our review of “Primary Trust.”)‘Survival of the Thickest’The actress-comedian Michelle Buteau has so much charm that it seems to radiate from the TV. She exudes a playful energy and has a deep pocket of grand, larger-than-life facial reactions that serve punchlines without her even saying a word. So watching “Survival of the Thickest,” her bright, stylish confection of a sitcom on Netflix, feels like a soul-affirming treat. Buteau stars as Mavis Beaumont, a personal stylist forced to re-evaluate her relationship, home and career when she catches her longtime boyfriend cheating. Mavis starts at square one, moving into a tiny apartment with an eccentric New York City roommate and building her brand from the ground up. A little awkward, a bit misguided but full of heart, brains, talent and personality — and also, let’s not forget, style — Mavis is infinitely relatable, and, importantly, a Black full-figured heroine with supportive and snarky Black friends. In other words, she feels real.‘Wednesday’Jenna Ortega in “Wednesday.”NetflixWhen it comes to gothic, sexy teen revamps of old franchises, like “Riverdale” and “Chilling Adventures of Sabrina,” I’m often turned off by the baroque plots, aesthetic preening and self-conscious … well, adolescence of it all. “Wednesday” is a delightful exception, in part because the Addams daughter did goth before it was cool. (And it doesn’t hurt that the director, Tim Burton, has been the goth king of filmmaking for decades.) The show strikes the perfect balance between juicy teen dramedy and ghoulish supernatural thriller, with Jenna Ortega starring as the ever-dour and ever-surprising young mistress of darkness. Her performance delivers flashes of color behind Wednesday’s signature dead eyes and deadpan mannerisms; she manages to carry off a character with a sociopathic disconnect from the world around her and yet still make her the charming antiheroine. And I’m still waiting for anything to come along that I enjoyed as much as Wednesday’s dance in Episode 4. (Read our review of “Wednesday.”) More

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    William Jackson Harper Needed to Do ‘Primary Trust’

    The longtime New York actor explains why his character in Eboni Booth’s play about a lonely bookstore worker is closer to him than any other he’s taken on.When Eboni Booth’s “Primary Trust” begins, William Jackson Harper stands alone onstage. His weight shifts from foot to foot; his fingers knead the air. He is smiling, but that smile looks as though it comes from a place of pain.Harper (“The Good Place,” “Love Life”) plays Kenneth, a 38-year-old bookstore employee unmoored when the store closes. A play about loss, loneliness and the hope of connection, “Primary Trust,” which runs through July 2 at the Roundabout’s Laura Pels Theater, is also a shrewd and gentle vehicle for Harper’s particular gifts — vulnerability, thoughtfulness, emotional lability. There are few actors who can better convey the awkwardness, the messiness and the unanticipated joy of being alive.On a recent Monday morning, at a colorful cafe near his home in Brooklyn, Harper, 43, provided an offstage illustration. His matcha had slopped onto one of his tan suede loafers. “I’ve ruined these shoes,” he said as he studied the green stain. And then, after a pause, “Or maybe I’ll just look like a painter.”Harper and April Matthis in the play “Primary Trust” at the Laura Pels Theater.Sara Krulwich/The New York TimesHarper, who spent a dozen years Off and Off Off Broadway before making the move to television, tends to get nervous in interviews. And he was nervous here, too — the veins in his forehead were pulsing. But he persevered. He is an artist who wears his heart on his sleeve. And under it, too: On his left arm was a tattoo of the cottonwood tree that stood in his grandmother’s yard. (“It reminds me of a time when everybody was alive,” he said.) Over tea he discussed the appeal of returning to theater and the lessons that the play can offer. These are edited excerpts from the conversation.When did you know that you wanted to be an actor?My mom made me take these theater classes in middle school. Because I was pretty shy. My mom was like, “We’ve got to work on that.” So I started taking these theater classes. Acting was the only thing that I was actually pretty good at.Did it make you less shy?Maybe it made me better at pretending. And I felt there was finally some place to put my feelings. I didn’t really have an outlet. Being loud and being onstage expelled some of the stuff that was bugging me.You spent a decade working in New York theater. But I understand that before you booked “The Good Place,” you almost quit acting?I was doing OK. I had some really good roles in some really good projects. Stuff that I was proud of. Like getting to do “All the Way” on Broadway. Doing “Placebo” at Playwrights Horizons, the “Total Bent” at the Public. But God forbid my mom gets sick. God forbid I get really sick. Just the uncertainty of the day-to-day, month-to-month, paycheck to paycheck nature of it was a little too much. Like, I’m in my mid 30s. I’d like to be just a little more stable. So I was like, I don’t think I want to do this anymore.Harper and Kristen Bell in NBC’s “The Good Place.”Colleen Hayes/NBCHow did TV feel different?There’s no rehearsal, which is wild, you just memorize your lines and then you go. And it’s a hell of a lot harder to keep your concentration because people are in the room with you — people looking at the monitors five feet away. You can’t suspend your disbelief at all. And since there is no audience reaction, you’re just like, Am I doing OK? But they pay you way better. They also feed you, which is amazing. And the fact that you get to do stuff over and over and over again is kind of nice. Because eventually through that repetition, something unlocks.Why do you keep coming back to theater?I just love it. I also feel like it expands my tool kit when it comes to just being an actor, because when you want something to change and you want something to go differently, it means that you have to shift your thinking and open yourself up. And I like being in charge of the whole ride. Once I’m doing a run of a play and just getting to stay in it, rather than only doing a minute at a time and then resetting, it’s easier to feel like I’m fully inhabiting a character. Because there’s no start and stop, you just go.How did “Primary Trust” come to you?Eboni and I had done some shows together, hung out socially. She was doing a workshop at the Roundabout and was like, “Hey, would you want to do this?” She sent me the script, and I had an emotional reaction to it immediately. The character of Kenneth is closer to me as a person than anyone I’ve played. And there’s things that character says that I’ve said in my life. That’s never happened to me before. I needed to do this play. I just needed to, I was going to be upset if I didn’t. Because I really felt like I just understood this character really, really deeply.“The character of Kenneth is closer to me as a person than anyone I’ve played,” Harper said. “There’s things that character says that I’ve said in my life.”Olivia Galli for The New York TimesWho is Kenneth?Kenneth is a 38-year-old who’s led a very small, isolated life out of self-preservation. He loses his job and has to be open to people in a way that he isn’t ready for. It’s all brand-new to him. This is a guy who found a way to make things work and to not get hurt. Now he has to risk really getting hurt and really making a mess.How did you find your way into Kenneth?Him being a foster child feels like a significant piece of things. I didn’t want to go asking people, Hey, do you know anyone who was raised in foster care? That would have felt really terrible and callous. But I watched a lot of documentaries about people that had been in the foster system. Then there’s a big traumatic loss early on in his life that shapes how he moves through the world. I lost my dad when I was really young. And there’s a thing Kenneth says about this one babysitter who tries to tell him that everything is going to be OK. He hates that. And I hate it, too. I’m like, “No! You don’t know that, the worst can happen.” Leaning into those feelings that I’ve had for a long time, that helped. Then there is the discomfort that I have just moving through the world, just going ahead and letting it be out there.Well, I’m skeptical of artists who are comfortable.I was just thinking about that on my run: People who feel certain and comfortable all the time, I’m like, Oh, man, what knowledge are you unencumbered by? Like, wow, it must be so nice to just not know and not care.Is there a lesson in this play?One is that you don’t know what people are carrying around. So be nice, be kind. And it shows that even if everything’s not OK, it might be OK. I know that sounds goofy. But as much as there’s a chance that things could all go to [expletive], there’s just as much of a chance it could work out. More

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    ‘Primary Trust’ Review: Sipping Mai Tais, Until Bitter Reality Knocks

    In Eboni Booth’s new play, William Jackson Harper performs with astonishing vulnerability as a man alone and adrift.Maybe you’ve seen him tucked into the corner of a dive bar, muttering to himself now and then, empty glasses multiplying on his table. And perhaps you’ve thought — though, it’s just as likely you haven’t — What’s up with that guy?In “Primary Trust,” the playwright Eboni Booth zooms in on one such man: He lives in a fictional suburb of Rochester, N.Y., where mai tais are his drink of choice at an unlikely tiki bar named Wally’s. He is alone and adrift in this tender, delicately detailed portrait, though surely he has not always been. Listen, and he’ll tell you about the moment he almost drowned and how he learned to keep his head above water.“Primary Trust,” which opened at the Laura Pels Theater in Manhattan on Thursday, finds Kenneth (William Jackson Harper, of “The Good Place”) approaching 40 when the bookstore where he’s worked for 20 years closes shop. (The owner, played by Jay O. Sanders, needs cash for surgery.) But Kenneth has never found a job on his own; social workers helped him get his current one some years after he was orphaned.Much of this back story Kenneth relays himself, addressing the audience, in the director Knud Adams’s graceful production for Roundabout Theater Company, from what resembles a miniaturized model of a provincial square. (The scaled-down set is by Marsha Ginsberg, and the elegant lighting is by Isabella Byrd.) In 15 years, Kenneth explains, all this will be leveled and replaced by condominiums. The municipal motto — “Welcome Friend, You’re Right on Time!” — feels laden with uncertain melancholy: It could be a salutation from the threshold of death.Harper, right, with Jay O. Sanders and April Matthis, who, our critic writes, turn small roles into four-course meals.Sara Krulwich/The New York TimesMordant subtext and typically empty sentiments are among the ways Booth demonstrates that language can convey deep pain one minute and ring utterly hollow the next, usually in the service of capitalism. In contrast to Kenneth’s confessional narration are the rote greetings of a carousel of servers at Wally’s (all played by April Matthis, including one who becomes a fast and flirtatious friend) and the sales pitches Kenneth later lobs at customers (also played by Matthis) after he lands a teller position at a local bank. (“Primary Trust” doubles as the name of Kenneth’s new employer, and an abbreviated metaphor for what was lost when his mother died.)As in her superstore dark comedy “Paris,” presented by Atlantic Theater Company in 2020, Booth again probes the half-dread of working-class Black characters in a one-freeway-exit corner of the Northeast. And though Kenneth’s Blackness is an underlying aspect of his experience, it is not the acute source of his alienation. His foundational trauma, and his longtime coping mechanisms, are gradually revealed (early on it becomes clear that Bert, his near-constant companion played by Eric Berryman, is imaginary), and he begins to reach through the cracks of his isolation to discover good, decent people.Harper, who is onstage for nearly all of the production’s 95 minutes, performs with astonishing ease and vulnerability, particularly given the depths he is asked to plumb in monologues directly to the audience; he lends the currents flowing through Kenneth’s interior life extraordinary subtlety and immediacy. Booth’s one-man study is wonderfully vivid, but there’s only so much emotional engagement that the unburdening of feelings, rather than their enactment or discovery, can inspire. Her other characters are far more loosely sketched: Sanders and Matthis turn small roles, rich with concise, sideways detail, into four-course meals, paradoxically making them feel underused.The production’s play on perspective and proportion, with people as tall as buildings, enhance the undertones in Booth’s work that question who, and what, we pay attention to and why. Do New Yorkers, for example, who Kenneth remarks “step over human beings sleeping in the street,” think about places like this, or about why someone might be drinking for two at happy hour and talking to no one?Throughout the production a bell, like the ones that summon unseen workers from behind service counters, dings repeatedly, sometimes seemingly incessantly, variously marking the reset or passage of time. It feels like a disruption — an unexplained and overused device that interrupts the flow of life. Maybe it’s actually a wake up call, and not just for the man who’s been living in a daze.Primary TrustThrough July 2 at the Laura Pels Theater, Manhattan; roundabouttheatre.org. Running time: 1 hour 35 minutes. More