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      Rossini at the Drive-In, as San Francisco Opera Returns

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      SAN FRANCISCO — It feels almost too good to be true after a pandemic closure of Wagnerian scale: an audience watching a cast of singers enter the War Memorial Opera House here to rehearse and perform Rossini’s classic comedy “The Barber of Seville.”And, indeed, we’re not quite there yet. After 16 months, San Francisco Opera did return last week to live performance with “The Barber of Seville,” but not indoors at the War Memorial, its usual home. Rather, it is presenting the work through May 15 some 20 miles north, in a Marin County park. The cast for this abridged version is pared down to six main characters, who appear as singers coming back to work at the opera house to embody their Rossinian counterparts.Much of the plot has been reconfigured as a day of rehearsals, culminating in a performance of the final scenes “on” the War Memorial stage. By then, contemporary street clothes have been replaced with 18th-century-style costumes — the illusion of art restored, at long last.“We wanted to ignite and celebrate the return of this living, breathing art form with a sense of joy and hope and healing,” Matthew Ozawa, who adapted the opera and directed the production, said in an interview. “Audiences really need laughter and catharsis.”About 400 cars form the capacity crowd for this open-air “Barber” at the Marin Center in San Rafael, Calif. The orchestra’s sound is mixed with that of the singers and transmitted live as an FM signal to each car’s radio. Kelsey McClellan for The New York TimesSan Francisco Opera needs it, too. With its centennial season fast approaching, in 2022-23, the company is trying to write the most dramatic crisis-and-comeback chapter of its history at breakneck speed.The damage has been brutal. Arts organizations around the world have been devastated by pandemic shutdowns, but San Francisco has been closed significantly longer than most. Because of the structure of its season, which splits its calendar into fall and spring-summer segments, its last in-person performance was in December 2019.This enforced silence has come at great cost: Eight productions had to be canceled, wiping out some $7.5 million in ticket revenue. The company, which struggled with deficits even before the pandemic, has had to make around $20 million in cuts to its budget of roughly $70 million. In September, its orchestra agreed to a new contract containing what the musicians have called “devastating” reductions in compensation.Top, Catherine Cook, familiar to San Francisco audiences as the housekeeper Berta, warms up before the performance.Kelsey McClellan for The New York TimesMatthew Shilvock, the company’s general director, said of the production, “I see this as a signpost to something new in our future.”Kelsey McClellan for The New York Times“We felt that it was so important to get back to live performance when we could,” said Matthew Shilvock, the company’s general director. “There has been such a hunger, a need for that in the community.”Like opera companies in Detroit, Chicago, Memphis, upstate New York and elsewhere, San Francisco’s return has a retro precursor: the drive-in. “The Barber of Seville” is being presented on an open-air stage erected at the Marin Center in San Rafael. Audience members, in their cars, can opt for premium “seats” with a head-on view of the stage, or for a neighboring area where the opera is simulcast on a large movie screen — for a total capacity of about 400 cars.A cellist gets ready in the tent that serves as the production’s orchestra pit.Kelsey McClellan for The New York TimesThe drive-in presentation meant jettisoning the company’s house production and conceptualizing and designing a brand-new staging in a just few months.Kelsey McClellan for The New York TimesRoderick Cox, in his San Francisco Opera debut, conducts the singers by video feed — while wearing a mask.Kelsey McClellan for The New York TimesThe logistics necessary to bring this off have been complex — not only to adapt to an unaccustomed space, but on account of Covid protocols, which in the Bay Area have been among the strictest in the country. The company has adhered to a rigorous regimen of testing and masking; wind players have used specially designed masks, and in rehearsals the singers wore masks developed by Dr. Sanziana Roman, an opera singer turned endocrine surgeon. Even during performances, the cast members must remain at least eight and a half feet away from each other — 15 feet if singing directly at someone else.Shilvock realized in December that it might be possible to bring live opera back around the time of the company’s originally planned April production of “Barber,” but only if he could “remove as many uncertainties as possible.” The idea of a drive-in presentation began to take shape. But that meant jettisoning the company’s house production and conceptualizing and designing a brand-new staging in a just few months.“I’ve had to rethink some of my tempi and how to keep that excitement,” Cox said. “To know when to press on the gas a little bit more.”Kelsey McClellan for The New York TimesA village of tents behind the stage houses the infrastructure and staff needed to run the show. One tent acts as an orchestra pit, where the conductor Roderick Cox, making his company debut, leads a reduced ensemble of 18 players. Along with adapting to using video screens to communicate with the singers — while wearing a mask — Cox noted an added layer of challenge in the absence of audible responses from the audience.“I’ve had to rethink some of my tempi and how to keep that excitement,” he said. “To know when to press on the gas a little bit more.”The orchestra’s sound is mixed with that of the singers and transmitted live as an FM signal to each car’s radio. “Rather than sound coming through big speaker clusters, across a massive parking lot,” Shilvock said, “it comes straight from the stage and from the orchestra tent into your vehicle.”Alek Shrader, who sings the opera’s dashing tenor hero, said he felt “a combination of nostalgia and excitement for what’s to come.”Kelsey McClellan for The New York TimesDaniela Mack, Shrader’s lover in “Barber” and his wife in real life, spoke of the cathartic effect of finally being able “to perform for actual people.”Kelsey McClellan for The New York TimesA sense of drive-in populism — keeping in mind the comfort and attention spans of automobile-bound listeners — resulted in the decision to present a streamlined, intermission-less, English-language “Barber,” about 100 minutes long. All of the recitative is cut, along with the choruses.The familiar War Memorial Opera House is conjured through projections of the theater’s exterior and replicas of its dressing rooms as part of Alexander V. Nichols’s two-level set. Ozawa’s staging takes as a poignant underlying theme the transition back to live performance: The singers, with sometimes witty self-consciousness, must negotiate a labyrinth of distancing precautions, but with a hopeful sense of soon being able to return to much-missed theaters.The mezzo-soprano Daniela Mack, who stars as Rosina, spoke in an interview of the cathartic effect of finally being able “to perform for actual people, to have that connection with an audience.” The tenor Alek Shrader, her lover in the opera and her husband in real life, said he felt “a combination of nostalgia and excitement for what’s to come.”For all of the production’s novelty, there was something reassuring about the familial ease with which the cast interacted. Mack and Shrader are reprising roles they have performed previously here in San Francisco opposite Lucas Meachem’s charismatic Figaro. And Catherine Cook’s sympathetic housekeeper Berta has been a fixture of “Barber” at the company since the 1990s. All four, as well as Philip Skinner (Dr. Bartolo) and Kenneth Kellogg (Don Basilio), emerged from San Francisco’s Adler Fellowship young artists program.Much of the plot has been reconfigured as a day of rehearsals, culminating in a performance of the final scenes “on” the War Memorial Opera House stage, conjured through projections.Kelsey McClellan for The New York TimesShilvock said the production costs for “Barber” were comparable to what the company would have spent for the 2021 summer season it had planned prepandemic — but building the temporary venue and Covid restrictions added between $2 and $3 million in extra costs.Still, Shilvock said it has been worth it — and on opening night on April 23, the curtain calls were greeted with an exuberant chorus of honks. Shilvock said that around a third of “Barber” ticket buyers were new to the company.“I’m not seeing this in any way just as a band-aid to get us through to the point where we go back to normal,” he said. “Rather, I see this as a signpost to something new in our future. It’s creating this energy for opera for people who would never have otherwise given us a thought.” More

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      in Theater

      ‘Romeo and Juliet’ Meets the Hot Vax Summer

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      A lusty new production is both an enticement and a warning as we tentatively explore intimacy after a year of forced solitude.What will be the idiom, in my modest estimation, to best define our relationship to sex during the Covid-19 pandemic? “Stay home if you sick, come over if you thicc” — so say the boys of Tinder.It’s not quite Shakespeare — or is it? I’m willing to bet that if they lived in 2021, Romeo and Juliet would quickly become fluent in our contemporary language of lust and seduction. After all, sex has always been an element of Shakespeare’s play, though portrayals of it have changed in productions over the last 400 years, depending on trends and cultural attitudes.So it would make sense, after the pandemic year we’ve had, that we’re in for a spate of sexy Shakespeare — frilly ruff and all. And “Romeo and Juliet” — including the lusty new filmed production that premiered last week on PBS — looks like it’ll be the play of this spicy summer to come.I’ve already encountered other renditions in the last couple of weeks: the Public Theater’s bilingual “Romeo y Julieta,” the Actors Theater of Louisville’s “Romeo & Juliet: Louisville 2020.” An interactive production is forthcoming from England’s Creation Theater.Though a play about intimacy, yearning and death feels right for the moment, I have to admit my discomfort with all those honeyed kisses and sweet nothings: The pandemic has left me unprepared for lovers meeting at any distance closer than six feet.The sexiness of “Romeo and Juliet” depends not just on a director but on the temperature of the times, whether the drafty climate of a chaste family dinner with Granny or the febrile blaze of a Friday night date set to a playlist of ’90s R&B jams.Though the Elizabethans of Shakespeare’s time were down for lewd wordplay and suggestive winks in the text, stage depictions of physical intimacy were a step too far. The Victorians? Stuffier than a mouth breather during allergy season, they tended to shift the story toward innocent love rather than lust.Romeo and Juliet got a movie makeover in the 1960s, however, when the director Franco Zeffirelli premiered his sensual adaptation, including a famous nude love scene, during the peak of the sexual revolution.And if you had a pulse in the ’90s you caught Leonardo DiCaprio and Claire Danes in Baz Luhrmann’s wistfully romantic “Romeo and Juliet,” which seemed charged by the melancholic sighs of disenchanted youth — appropriate for the decade of irony and grunge.Orlando Bloom, left, and Condola Rashad in the 2013 Broadway production of “Romeo and Juliet.”Sara Krulwich/The New York TimesWhich presents the question of where we are now. (The dull and curiously sexless 2013 Broadway production, starring Orlando Bloom and Condola Rashad, had little to add.) Have dating apps and the sex-positive and body-positive movements brought us to a new age of uninhibitedness?Honestly, I’m not sure. Many of our austere cultural standards around sex, cuffed to religious conventions, economics and antiquated notions about gender, still haunt us behind closed doors — even as much of our media uses sex as consumer currency. But a pandemic that made isolation the rule surely has changed our relationship to physical intimacy.That — not personal prudishness or naïveté — is why too sexy of a “Romeo and Juliet,” like the new filmed edition starring Jessie Buckley and Josh O’Connor, leaves me scandalized, as though I didn’t grow up in a household with HBO.The fabric of the film feels cut from the central couple’s marital bedsheets — the intimacy is that palpable. Scene after scene feels like it’s taking place by candlelight. The hovering camerawork peeks over shoulders to catch a kiss or embrace.Cutting many of the play’s crass euphemisms (including the nurse’s many opinions on matters of the heart and, well, other parts of the body), this “Romeo and Juliet” builds from the physical tension among the characters.They tease one another, as Mercutio does Romeo and Benvolio in his Queen Mab’s speech; then he draws in Benvolio (depicted here as his lover) for a single electric moment before promptly shoving him away.Simon Godwin’s direction is tactile, obsessed with hands and the ways an open-palmed welcome, a single-finger caress, the taut-knuckled hardness of a fist can signify romance, or violence, or both.The confidential meeting of the lovers in the tussle of bodies at the Capulet shindig, the hesitant first touch of their fingers and, later, the urgent consummation — none of this is surprising. Neither is it risqué.And yet, to me, it felt alarming — pornographic even — given how we have spent the last year painfully aware of what threats proximity could breed.Last spring NYC Health released a much-mocked guide to safe sex during the pandemic, encouraging masturbation as the most Covid-friendly alternative to, in Shakespearean terms, sheathing one’s dagger. No more sweaty tangling of limbs in a dark bar, no more post-date kiss on the sidewalk outside a restaurant. Or at least not without risk.Even as more of us get vaccinated, intimacy will likely feel like a fresh adventure, for good and for bad. Some singles are emerging from their quarantine bubbles anticipating a “hot vax summer” of horny hookups and experimental exploits. Others are circumspect, our social skills atrophied and our inhibitions increased in response to a lethal disease.For the next several months, as we recover from a kind of intimacy-deprived PTSD, Shakespeare’s sexiest play — a play that links lust to violence, even death — may read as extreme, even subtly subversive.That’s the magic of the Bard, isn’t it? Racy enough for reprobates and rakes, or priggishly read by a congregation of stately stiff-backs, the work is spacious enough to accommodate any disposition. I might be too shy to subscribe to Romeo and Juliet’s steamy OnlyFans, but, hey, there are plenty out there who aren’t. More

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      in Music

      In a Dark Time, This Music Will Make You Smile

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      Three albums by young British composers on the label NMC show a wide-ranging, antic experimentalism.Last fall, when the world was being told to expect a long, dark winter after what had already been a brutal year, I decided to search for some new, bracing orchestral music. It had been months since I’d been walloped by symphonic forces in a live setting. And if it was to be grim times ahead, I wanted at least some music that gestured toward that sense of scale.Thanks to the British label NMC Recordings, I quickly found what I was looking for in the Irish composer Ed Bennett’s “Freefalling,” the opening track from his October release “Psychedelia.”Ten minutes long, it is a testament to truth in titling: a frenetic ride that blends queasy glissandos with rousing exclamations fit for an action-movie montage. That same mixture of experimentalism and show business can be heard elsewhere on the album, like the multi-movement “Song of the Books.” I made a note to check in with NMC more frequently.In the half-year since, the label has continued to put out a string of winning recordings, including, this month, “Nature,” the first full-length collection of orchestral pieces by the English composer Tansy Davies. Like Bennett, Davies isn’t afraid of obvious debts to cinema; some of the high-flown motifs in the first movement of her “What Did We See?” might bring to mind John Williams’s “Star Wars” scores. But the rest of her four-piece suite has its own ruggedly lyrical identity. And the glinting, melodically fragmented Davies piano concerto that gives the album its title is another showstopper.When I heard “Nature” alongside “This Departing Landscape,” a lush February release from the Scottish composer Martin Suckling, it was clear that NMC entered the pandemic with a strong production schedule already in place. While the label has long balanced nurturing young (sometimes very young) talent with serving as a kind of house label for Britain’s established avant-garde, this recent spate of recordings has been noticeably light on veteran names. (Bennett and Davies are in their 40s; Suckling turns 40 later this year.)A sense of patient, spectral unease is alive in Suckling’s second track, “Release,” which sounds as if it’s incorporated some lessons from the Finnish composer Magnus Lindberg.The liner notes for “This Departing Landscape” include an encomium from one the British scene’s elders, Julian Anderson. Anderson observes that Suckling has studied with the American composer Martin Bresnick, as well as with George Benjamin, who is British, but that his output resembles the work of none of his teachers.When praising Suckling’s “bewilderingly diverse” Piano Concerto, Anderson asks, “How can the hyperactive polyrhythms of the opening part belong in the same climate as the vast landscape of the central slow movement, or as the complex deployment of extended instrumental techniques in movement four?”His short answer to his own question is that this music is “rich, generous, exuberant and positive,” and that the “power of the contrasts” seems persuasive, even on a first listen.Suckling’s worldliness helps make those contrasts possible. In a recent interview for the website Presto Classical, he highlighted his interest in Morton Feldman (1926-87), whose meditative sensibility also informs contemporary American composers like Tyshawn Sorey. Discussing Feldman’s extraordinarily long later works, Suckling has said that “there’s a hugely touching intimacy in spite of the scale.” He’s after something similar in his Piano Concerto, underneath all that whirling variation.There are likewise diverse references in the works of the other younger composers on the NMC roster. Davies made her name with chamber works featuring funk-forward bouquets, including “Neon.” She has also described her “Grind Show” as “a superimposition of two scenes: the foreground in a bawdy dance hall, and the background a rainy landscape at night.”If this eclecticism feels familiar in British contemporary music, that’s perhaps thanks to composer Thomas Adès, 50, who made use of a four-to-the-floor techno rhythm in the third movement of “Asyla” (1997). His taste runs to antic juxtapositions like embedding a lullaby within the otherwise hyper-complicated score of his opera “The Exterminating Angel.”Younger artists have taken this as a kind of permission slip and run with it. Another artist with an April release on NMC makes his debt to multiple traditions clear. In Alex Paxton’s notes for his new album “Music for Bosch People,” he puts it this way: “minimal but loads more notes like video-games but with more song like jazz but much more gay like old music but more current like yummy sweet.” (It goes on like that for a while.)This is much more manic than Suckling’s music; it sounds like something that might come out on John Zorn’s Tzadik label. (As it happens, Paxton has been commissioned to write an essay for Zorn’s ongoing “Arcana” book series.) But Suckling is a supporter of Paxton’s contrast-heavy sound world, recently writing on Twitter, “This is the most joyous sound I’ve heard in ages!”However the alchemy is being achieved, the results currently coming out of the NMC laboratory are a boon for listeners. As pandemic restrictions (eventually) recede, and as American orchestras think about contemporary programming, they might follow the lead of some scattered groups like the Lost Dog New Music Ensemble in Queens, and begin bringing some of these composers’s large-ensemble works across the Atlantic. More

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      10 Classical Concerts to Stream in May

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      A fast-rising young conductor, a 90th birthday celebration and a starry trio are among the highlights.With in-person performances not yet quite widespread, here are 10 highlights from the flood of online music content coming in May. (Times listed are Eastern.)Diderot String QuartetMay 2 at 4 p.m.; mb1800.org; available through July 15.The invaluable New York concert series Music Before 1800 is back with a series of streams, including this period-instrument group’s program of music written for the court of Catherine the Great. One of the pieces may well be familiar: Haydn’s Quartet in E flat, “the Joke.” The other will be a rarity, by Anton Ferdinand Titz. (The harpsichordist Aya Hamada’s recital follows on May 23.) ZACHARY WOOLFEKarl LarsonMay 6 at 8 p.m.; roulette.org; available indefinitely.Roulette, in Brooklyn, one of the best places to hear music in New York, is allowing limited audiences into its space for performances this spring. But those shows will still be livestreamed, too. No matter how you attend, any gig featuring Karl Larson, known as the pianist of the trio Bearthoven, is worth it. Here, he celebrates “Dark Days,” his new solo recording of music by Scott Wollschleger. Wollschleger’s generally soft dynamics may lull you into thinking he’s primarily meditative, but part of the fun involves staying alert for the alterations of attack and twists of mood that Larson highlights. SETH COLTER WALLSPhiladelphia OrchestraMay 6 at 8 p.m.; philorch.org; available through May 13.This program, led by Yannick Nézet-Séguin and featuring the bass-baritone Davóne Tines, opens with a triptych. First is the propulsive “Shake the Heavens,” from John Adams’s “El Niño,” followed by “Vigil,” a subdued and affecting song in memory of Breonna Taylor, by Igee Dieudonné and Tines. (You can stream that now, from Lincoln Center at Home.) Then Tines gives a preview of Anthony Davis’s “X: The Life and Times of Malcolm X,” which he will star in at Michigan Opera Theater next year. The second half of the concert features Mozart’s Symphony No. 25 in G minor, which fans of “Amadeus” will recognize immediately. JOSHUA BARONESusanna Malkki will conduct the Berlin Philharmonic in a streamed concert starting May 22.Hiroyuki Ito for The New York Times92nd Street YMay 11 at 7:30 p.m.; 92y.org; available through May 18.Schubert’s “Der Hirt auf dem Felsen” (“The Shepherd on the Rock”), thought to be the last of his 600 songs, is an extraordinary piece for soprano, clarinet and piano. Susanna Phillips, a frequent presence at the Metropolitan Opera, will sing it in a recital livestreamed by the 92nd Street Y, joined by the clarinetist Anthony McGill and the pianist Myra Huang. The program also includes a premiere by James Lee III — a setting of a poem by Lou Ella Hickman written for this trio combination — a work by William Grant Still and Schubert’s popular “Arpeggione” Sonata, here adapted for clarinet and piano. ANTHONY TOMMASINIAlvin Lucier at 90May 13 at 8 p.m. through May 14 at midnight; issueprojectroom.org; available indefinitely.For the 90th birthday of this experimental-music icon, over seven dozen colleagues will join him for 28 hours of performances of “I Am Sitting in a Room,” his signature work, from 1969. The piece consists of a few sentences that are recorded as they’re spoken; the recording is then played and rerecorded, and the process continues as the clashing frequencies of the different recordings begin to dominate and the words become unintelligible. After a year of isolation, what could be a more poignant artistic celebration? ZACHARY WOOLFEConcertgebouw OrchestraMay 14 at 2 p.m.; concertgebouworkest.nl; available through May 21.The coronavirus pandemic has upended the orchestral world, including separating ensembles from their music directors, sometimes by thousands of miles. This has provided an opportunity for conductors closer to home to fill in, sometimes even multiple times. It’s a slightly different situation with this superb Amsterdam orchestra, which has been searching for a new podium leader for the past few years — but the opportunity is still there. After making his debut in September, Klaus Makela, a 25-year-old Finn recently appointed music director of the Orchestre de Paris, returned to the Concertgebouw in December and will now be back yet again, an almost unthinkable frequency in normal times. His program includes Messiaen’s “Les Offrandes Oubliées” and Shostakovich’s Symphony No. 10, with its grandly brooding opening. ZACHARY WOOLFEA concert by the cellist Seth Parker Woods, second from right, will stream starting May 25.James Holt/Seattle SymphonyJoshua Bell, Steven Isserlis and Evgeny KissinMay 21 at 8 p.m.; washingtonperformingarts.org; available through May 27.When three star performers come together, it is often the occasion for canonical standards. This violin-cello-piano recital, though, goes a more idiosyncratic route, attempting to evoke Jewish life in Eastern Europe before the world wars. Works by Solomon Rosowsky and Ernest Bloch conjure that scene, as will Kissin’s recitation of Yiddish poetry. Then the cataclysm of the Holocaust will be represented by Shostakovich’s Piano Trio No. 2, written in 1944. ZACHARY WOOLFE‘Albert Herring’May 22 at 1 a.m.; mnopera.org; available through June 5.Britten’s chamber opera “Albert Herring” is like a wistfully comic alternative to his “Peter Grimes”; it’s the story of an awkward, shy, innocent boy who doesn’t fit in with the expectations of the people in his small market town in England, but goes on to be improbably crowned the town’s May King. This Minnesota Opera production, directed by Doug Scholz-Carlson, features the tenor David Portillo as Albert, with the insightful conductor Jane Glover leading Britten’s subtly complex, whimsical score. ANTHONY TOMMASINIBerlin PhilharmonicMay 22 at 1 p.m.; digitalconcerthall.com; available indefinitely.What will come of the premieres that were canceled during the pandemic? Thankfully, two by the composer Kaija Saariaho are happening sooner rather than later. The Aix Festival in France is planning to present her new opera “Innocence” in July, conducted by Susanna Malkki. And the Berlin Philharmonic is livestreaming the belated premiere of Saariaho’s 25-minute “Vista” — also led by Malkki, to whom the piece is dedicated. Filling out the program is “Bluebeard’s Castle,” the chilling Bartok one-act, of which Malkki recently released a wonderfully textured recording with the Helsinki Philharmonic Orchestra. JOSHUA BARONESeth Parker WoodsMay 25 at 7 p.m.; kaufmanmusiccenter.org; available through June 1.This cellist burst onto the scene with a 2016 recording that featured his stellar acoustic playing, often in works that also incorporated electronics. He’ll play one of those pieces — Pierre Alexandre Tremblay’s “asinglewordisnotenough3 (invariant)” — in this virtual concert for the Ecstatic Music series. The rest of the program, including a composition by Nathalie Joachim, emerges from Woods’s solo show, “Difficult Grace,” inspired in part by the Great Migration. SETH COLTER WALLS More

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      in Television

      Ziwe Endorses Box Braids and ‘Real Housewives’

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      The 29-year-old comedian brings her Instagram and YouTube antics to a prime time Showtime series, “Ziwe,” which premieres May 9.Ziwe, the mononymic master of the viral “gotcha!” moment, swears she isn’t out to get anyone.Sure, the 29-year-old Nigerian-American comedian’s largely white guests on her YouTube and Instagram Live show, “Baited With Ziwe,” have a proclivity to make cringe-worthy comments when it comes to race. (The Instagram influencer Caroline Calloway couldn’t correctly identify the Black Panther Party co-founder Huey P. Newton, and the cookbook author Alison Roman was nearly stumped when asked to name five Asian people.)But Ziwe doesn’t set out to embarrass her guests. “The goal is not to hurt anyone or get them canceled,” explained the Northwestern University graduate, who cut her teeth working on “The Colbert Report.” “The goal is to have a really thoughtful, productive conversation.”The confrontational questions — often about race — and uncomfortable pauses are, she said, intended to be a learning experience. “They’re all willing,” she said of her guests, though even she isn’t exactly sure why they agree to come on the show. “They’re open to looking silly for a greater discourse beyond both of us.”Ziwe, who uses only her first name professionally — her last name, Fumudoh, proved too tricky for comedy club hosts to announce — will bring her punch lines to a bigger screen when her new late-night sketch comedy series, “Ziwe,” which rhymes with “freeway,” premieres on Showtime on May 9.With six episodes, the series will feature guest interviews, musical numbers and field pieces, and will draw from her go-to brand of humor, which she describes as “highly satirical” and “bombastic.” (Her dream guest? Kim Kardashian. “I’d love to get her perspective on race in America as one of the most famous women in world history,” she said.)In a phone conversation from her Brooklyn apartment, Ziwe shared her cultural essentials, including how watching “The Real Housewives” counts as homework (hear her out), the benefits of box braids and why fuzzy rugs are bringing her all kinds of joy amid her claustrophobic work-from-home existence.1. “The Real Housewives”At first, I looked down at “Real Housewives.” I was like, “I never watch reality TV, I read books.” And then, in college, I started watching “Beverly Hills,” which is like this horrid, dark underbelly of reality TV — I’d never seen this type of storytelling before. Like, on “Orange County,” pretending to have cancer on national television for attention — who does that? As a writer and performer I’m constantly engaging with different characters and I’ll rewatch episodes trying to figure them out. I’ve watched full seasons in a day, from eyes open to eyes shut.2. Emma Brewin HatsThese faux fur, fuzzy bucket hats are my emotional support animals. Rihanna wore a green one in 2017, and I always was thinking about it, but never took the dive to purchase one. But then the pandemic happened and I just needed something to make me feel anything, so I bought a blue hat, and then a green one and an orange one and a black one and a wide-brimmed dark red one … I wear them every day, in a different color to fit my mood. They’re also great for Zoom calls when I don’t want to do my hair. I’m wearing one right now, actually!3. Nicholas Britell SoundtracksI’m writing a book and can’t listen to songs with lyrics when I write, and so I often turn to Nicholas Britell soundtracks, whether it’s “Succession” or “If Beale Street Could Talk” or “The King,” with Timothée Chalamet and Robert Pattinson. I love the way he uses strings and piano chords. “Moonlight” was his breakout moment for me, but he’s a really good composer with a wide range of work. I’ve listened to his entire catalog.4. DocumentariesI like to learn passively, and documentaries are a perfect vehicle for that. “Varsity Blues” is fantastic. The lack of impulse control to photoshop your picture as a coxswain for crew is beyond comprehension. It’s like “Real Housewives” where it’s stranger than fiction you could ever imagine. And they affect me viscerally! After watching the James Baldwin and Toni Morrison documentaries, I go to my computer and start writing furiously because it’s like, “These are great American authors, OMG, I want to be just like them.”5. Blood Orange San PellegrinoI ordered San Pellegrino at the beginning of the pandemic thinking it was seltzer, but I was surprised — and delighted — to learn it was actually juice. I had to cut myself off at one point, though, because I was drinking a lot of these. My friend was like, “You know there’s sugar in that, right?” I was like, “Oh no, it’s just juice, it’s cool,” and then I checked the can and there was sugar. But it’s so delicious. I have one San Pellegrino blood orange left in my fridge — if it’s just a really bad day, I get to drink that.6. CandlesI think every woman hits a certain age and you’ve got to buy a couple of candles. Frères Branchiaux ones, which are made by three young brothers of color who also do sprays for your linens, are really nice, and the profits go to homeless shelters. There’s a candle for every occasion — lavender for the winter, citrus for the summer, or a smoggy oak wood for fall. I have three on my coffee table, multiple in my room and a drawer full of them.7. “Clueless”I would argue my entire personality is based on this film, which was written and directed by Amy Heckerling and should have been nominated for an Oscar. It’s one of the best American satires of the 21st century. I’m so influenced by the schoolgirl outfits, the matching plaid sets, the mixing patterns and textures, the box braids. The fur cuffs — I love a fur cuff. Mona May was the costume designer for “Clueless,” and she was so forward-thinking setting trends for this definitive ’90s girl style.8. Box BraidsWhen I was a kid, my mom made me get box braids, and I’d be like, “Oh, God” — what kid wants to sit for eight hours to get their hair braided? And then I saw Dionne, a character in “Clueless” who had box braids, and I was like, “OK wow, this wasn’t just my parents forcing their culture on me.” It really helped me come into myself. The nice thing about box braids is once you’ve sat down for eight hours to do them, you’re free. It’s like “I never have to brush my hair for eight weeks,” you just get to whip your hair back and forth like Willow Smith. I started wearing box braids again the past two years and every summer, I’m like, “It’s box braid season.” I get 34 inches and I’m walking around like I’m Nicki Minaj knocking things over with my braids like a whip.9. Fuzzy RugsI love to sit on the floor. Maybe it’s this infantile thing with fuzzy hats and fuzzy rugs, but I am moved by textures. On my set for my new show, I have a chair upholstered with a fuzzy rug that I do all my interviews out of. And at home, I have a white fuzzy rug. I haven’t been to a beach in years so I have to replace the idea of sand with a rug. It’s just how it feels on your toes.10. “Oceans” By Jay-Z Ft. Frank OceanI’m a huge fan of Jay-Z as a rapper and Frank Ocean’s musicality, so the song is a really good marriage of two things I love. The melody is really, really calming, but then it has lines like “Only Christopher we acknowledge is Wallace/I don’t even like Washingtons in my pocket.” It’s just really audacious and bold and counterculture. More

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      Live Your Gay Millennial Pandemic Fantasy in Stardew Valley

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      In the farming RPG, I can enjoy a life of pastoral domesticity. IRL, I’m a lesbian urbanite struggling through the pandemic.Fed up with his soulless corporate job, a young man moves to the farm he inherited from his grandfather, where he joins a quaint community and meets his future husband. That’s not the plot of a new gay Hallmark movie — it’s the story of my pixelated alter ego in the video game Stardew Valley.In February 2016, Eric Barone, known online by his alias ConcernedApe, released Stardew Valley for PC. The simulation role-playing game quickly became a hit. In the pandemic, Stardew Valley fever is back with a vengeance. Thanks to the popularity of the Nintendo Switch and a massive game update released in December, it recently sold its 10 millionth copy.Since its debut, Stardew Valley has been lauded for its relaxing, immersive gameplay, a Harvest Moon-inspired simulator sure to delight lovers of Animal Crossing. Players create their own farmer avatars, who then leave the city for Stardew Valley. There, they manage their farms while honing skills, completing quests and, if the player desires, romancing an eligible villager. The game’s wholesomeness is universally appealing, but its particular blend of same-sex romance options, anti-corporate sentiment and pastoral Zen makes it even more tailored to escapists like me — gay millennial urbanites stuck in an endless pandemic slog. I grew up thinking any adult could easily have access to the simple life. Now I’m pretty sure I can only get it from a computer game.In real life, I’m a single lesbian in Brooklyn trudging through my second year working from home. My most productive days involve a move from Office A (the desk in my bedroom) to Office B (my coffee table). On Thursdays, I wake up excited to water my houseplants. I cope with stir craziness by watching TikToks of mushroom foragers, expert hikers and cottagecore lesbians. These people all seem to live in a universe sans Gmail, Zoom or masks, their rents paid by birdsong and dried lavender.In Stardew Valley, life can also be that simple. My farmer’s days usually go like this: He wakes up and gets coffee for his husband, then kisses said husband and their two toddlers before setting about his agrarian duties — collecting eggs, making goat cheese, planting sunflowers. His biggest problem right now is a voluntary quest to ship 500 fruits by the month’s end. There are no consequences for failure. I can redo any bad day with the click of a button.During same-sex weddings, the officiant charmingly stumbles through pronouncements of “husband and husband” or “wife and wife.”Stardew ValleyThough inclusive romance has increasingly become an option in open-ended, role-playing games like Stardew Valley, it is rarely the default in video games. Players take on straight male personas by rote in blowout franchises like Halo, Zelda, Grand Theft Auto and Mario. And same-sex romance — much less same-sex domesticity — is already scarce in media of all kinds. When depicted, that romance is often necessarily fraught with real-world problems: coming out, finding a community, combating prejudice. In Stardew Valley, my farmer’s gayness is a nonissue. I had him woo his husband, the town doctor, by bringing him fruits and vegetables.Yet gayness is not so embraced as to become invisible. If you have your farmer pursue a younger villager of the same sex, cut scenes sometimes show the young person shyly acknowledging their first gay crush. During same-sex weddings, the officiant charmingly stumbles through pronouncements of “husband and husband” or “wife and wife.”This balance between inclusivity and acknowledgment can feel especially heartwarming given the game’s small-town setting. A 2019 report by the think tank Movement Advancement Project found that, although between 3 and 5 percent of rural Americans identify as lesbian, gay, bisexual or transgender, their environments come with significant challenges. “On average, public opinion in rural areas is relatively less supportive of L.G.B.T. people and issues,” the report states, citing discriminatory legislation and political representation as additional barriers.There is one notable blind spot in the game’s sunny outlook: You can customize your avatar to have a darker skin tone, but your farmer would join a minority in Stardew Valley. There are only three characters in the game’s preset, 41-person world with dark skin, making this pixelated paradise more alienating for people of color.There are no consequences if the avatar fails at his tasks. The player can redo any bad day with the click of a button.Stardew ValleyEven if I did want to change my career, overcome those obstacles and live out my gay farm fantasy, homeownership feels even less realistic to me, at 26. According to a recent survey, most millennials reported they do not have enough saved up to make the average U.S. down payment. Even if I could get a mortgage, it’s difficult to imagine I could pay it off with fresh dairy and organic parsnips.In Stardew Valley, corporate greed is a far more oppressive force than homophobia. JojaMart, the Amazon-meets-Walmart conglomerate from which your farmer escapes, hopes to take over the town by replacing the community center with a warehouse. Competition drives prices up at the local seed shop, and two villagers struggle with poverty and alcoholism. In order to rebuild the community, players must grow, craft and forage a series of goods. From there, it’s practically impossible to spend your hard-earned Stardew Valley cash maliciously. After exhausting your options for farm buildings and house expansions, all that remain are ways to uplift the town, like upgrading a fellow villager’s trailer home to a house.As I scroll social media, I see my peers indulging their own fantasies with mood boards and TikTok videos of beautiful weddings, humble woodland cottages and biodiverse lawns. These things are attainable in theory, but to many young gay people today, they can feel more like daydreams. I don’t think my farmer avatar will be able to harvest his 500 crops before the clock runs out, but at least he comes by those simple pleasures easily. More