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    Review: Steve Carell as the 50-Year-Old Loser in a Comic ‘Uncle Vanya’

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    Sleek, lucid, amusing, often beautiful, it’s Chekhov with everything, except the main thing.Why is it called “Uncle Vanya”? All the man does is mope, mope harder, try to do something other than moping, fail miserably and mope some more.You can’t blame him. Vanya has spent most of his nearly 50 years scraping thin profit from a provincial estate, and not even for himself. The money he makes, running the farm with his unmarried niece, goes to support life in the city for his fatuous, gouty sort-of-ex-brother-in-law, an art professor who “knows nothing about art.” Also, Vanya is hopelessly in love with the old man’s exquisitely languorous young wife, who, reasonably enough, finds the moper pathetic.In short, he is the opposite of the bold, laudable characters most writers of the late 1890s would name a play for. That’s probably just why Chekhov did it, announcing a new kind of protagonist for a new kind of drama. Life in his experience having turned squalid and absurd, he could no longer paint it for audiences as heroic. So how could his protagonist be a hero?The “Uncle Vanya” that opened on Wednesday at the Vivian Beaumont Theater, its 10th Broadway revival in 100 years, sees Chekhov’s epochal bet and raises it. If Vanya is properly no hero in this amusing but rarely deeply affecting production, it’s because he’s no one at all. He despairs and disappears.That would seem to be quite a trick, given that he’s played by Steve Carell, the star of “The Office” and, perhaps more relevantly, “The 40-Year-Old Virgin.” Carell’s Vanya imports from those appearances the weaselly overeagerness that makes you roll your eyes at him while also worrying about his mental health. He makes jokes that aren’t. He gets excited over all the wrong things. Rain coming? He called it.Without a camera trained on such a man, you quickly learn to ignore him, as you would in real life. Indeed, in Lila Neugebauer’s sleek, lucid staging, you barely notice Vanya even as he makes his first entrance, hidden behind a bench. When he speaks you don’t pay much more attention; in Heidi Schreck’s smooth, faithful yet colloquial new version, his first words, naturally, are complaints. “Ever since the professor showed up with his spouse,” he says, with a bitterly sarcastic spin on the last word, “my life has been total chaos.”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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      Carrie Robbins, Costume Designer for Dozens of Broadway Shows, Dies at 81

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      She made a classic wig and poodle skirt for “Grease” (using a bath mat and a toilet cover) and turned actors into Spanish inquisitors, British highwaymen and more.Carrie Robbins, a meticulous and resourceful costume designer who worked on more than 30 Broadway shows from the 1960s to the 2000s, died on April 12 in Manhattan. She was 81.Her death, at a hospital, was confirmed by Daniel Neiden, a friend, who said her health had declined after she fell and broke her hip in December.In 1972, when she was just 29 years old, Ms. Robbins began “emerging as one of the hottest costume designers in show business,” as the syndicated fashion columnist Patricia Shelton put it, thanks to her work that year on the original Broadway production of “Grease,” six years before it was turned into a hit movie.Ms. Robbins was given a budget of only $4,000 (the equivalent of about $30,000 today). For the character Frenchy, she dyed a wig bright red using a Magic Marker and fashioned a pink poodle skirt out of her own bath mat and furry toilet seat cover.To prepare for designing the costumes for “Grease,” Ms. Robbins studied high school yearbooks from the 1950s.Betty Lee Hunt AssociatesThe poodle skirt practically became a mandatory feature of “Grease” shows. And when, years later, Ms. Robbins visited a production of “Grease” backstage, she saw a man taking a red Magic Marker to a wig. Baffled, she told him that the wardrobe department surely could afford a high-end custom hairpiece. He replied that only a Magic Marker would be authentic.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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      ‘Oh, Mary!,’ a Surprise Downtown Hit, Will Play Broadway This Summer

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      Cole Escola’s madcap comedy about the former first lady Mary Todd Lincoln will begin performances in June.“Oh, Mary!,” an outrageously madcap comedy that imagines the former first lady Mary Todd Lincoln as an oft-inebriated chanteuse-wannabe, will transfer to Broadway this summer after becoming a surprise hit downtown.The show, which is gleefully tasteless and also ahistorical, is the brainchild of Cole Escola, an alt-cabaret performer who built a cult following with a series of YouTube sketches and reached a wider audience with a role on Hulu’s “Difficult People.”The Broadway run is scheduled to begin previews June 26 and to open July 11 at the Lyceum Theater. It is scheduled to run until Sept. 15.“Oh, Mary!” began its life in January at the Lucille Lortel Theater in the West Village. That commercial Off Broadway run has been extended twice and is scheduled to end May 12. The run has been sold out, and has attracted a stream of celebrities, including Bowen Yang, Timothée Chalamet, Amy Schumer and Jessica Lange; one night Steven Spielberg, who directed the 2012 film “Lincoln,” showed up with Sally Field (who played Mary Todd Lincoln in the film) and Tony Kushner (who wrote the screenplay).“Oh, Mary!” was written by Escola and is directed by Sam Pinkleton. The Broadway run will feature the same cast as the Off Broadway run, including Escola as Mary Todd Lincoln and Conrad Ricamora as Abraham Lincoln; it is being produced by Kevin McCollum, Lucas McMahon, Mike Lavoie and Carlee Briglia. More

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      ‘Mary Jane’ Review: When Parenting Means Intensive Care

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      Amy Herzog’s heartbreaker arrives on Broadway with Rachel McAdams as the alarmingly upbeat mother of a fearfully sick child.Soon after Alex was born at 25 weeks, with multiple catastrophic disorders, Mary Jane’s husband, unable to cope, fled their marriage. Still, she hopes he “finds some peace, I really do.”She also thinks kindly of her boss, who means to accommodate her but pretty much fails to. “It’s daily moral agony for her,” Mary Jane marvels. “It’s really something to behold.”Mary Jane’s own moral agony is likewise something to behold. She feels guilty about putting the super of her Queens building, where she shares a junior one-bedroom with Alex, in a difficult position by removing the window guards. “It’s just that he loves looking out the windows, especially when he’s sick and I can’t take him outside?” she explains in upspeak.“It’s the law,” the not-unkind super replies — though Alex, now 2, can barely sit up, let alone reach the sill.“You’re an excellent superintendent,” Mary Jane says. She is the embodiment of apologizing for living.That, at its heart, is the condition that Amy Herzog’s steel-trap play “Mary Jane” explores: The death of the self in the love for one’s child. As with Alex, so for his mother: There is no cure.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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      Huey Lewis’s Music Makes ‘The Heart of Rock and Roll’

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      The new musical doesn’t take itself too seriously and has many winning moments — almost enough to eclipse the weaknesses of its story.It’s 2024, and Huey Lewis is having a moment. Just let that sink in.Lewis was an unexpected highlight of the recent Netflix documentary “The Greatest Night in Pop,” about the star-studded 1985 session where “We Are the World” was recorded. An everyman rocker, Lewis was amazed (and still is) that he was rubbing elbows with Michael Jackson, Bob Dylan, Tina Turner and Bruce Springsteen. He even got to sing the part originally intended for Prince.Now comes the new Broadway show “The Heart of Rock and Roll,” which is not so much a Huey Lewis (and the News) musical as the Huey Lewis of musicals: not taking itself too seriously, doing what it does well, and just happy to be on Broadway, keeping company with starrier productions.Like most jukeboxes, “The Heart of Rock and Roll” shoehorns big hits, including “The Power of Love” and “Stuck With You,” with lesser-known tracks into a plot generic enough to accommodate them.Set in 1987, Jonathan A. Abrams’s book, based on a story by Tyler Mitchell and Abrams, centers on Bobby (Corey Cott, from the underrated “Bandstand”), an employee at an ailing cardboard box manufacturer, Stone Incorporated, in Milwaukee. Bobby works on the assembly line, but he really wants to join the sales department so he can “Be Someone,” as the show’s new song puts it. Wait, no, maybe what he really wants is to rock out with his old band, the Loop. Bobby might sing “It’s Hip to Be Square,” but deep down, does he really believe it?By now you might have noticed that dreams play a big part in “The Heart of Rock and Roll.” There are numerous references to chasing the dream, making it come true and living it, but also giving it up. Sentimentality is often ladled out, along with clichés. And Bobby, whose sole personality trait appears to be “good guy,” carries more than his share of both — he hears the fateful siren call “one last show” and lugs emotional baggage related to his “old man.” At least Cott gives Bobby a laid-back charm that’s not unlike Lewis’s own, along with his emotional big Act II aria, “The Only One.”Fortunately, there is also enough good-natured goofball humor to keep Gordon Greenberg’s production from sinking into cloying goo. Much of the levity comes from amusing supporting characters, starting with Bobby’s love interest and his boss’s daughter, Cassandra (McKenzie Kurtz, a recent Glinda in “Wicked”). She is an uber-dork with a fondness for spreadsheets, and Kurtz’s Cassandra is a daffy delight that recalls Annaleigh Ashford’s performance in “Kinky Boots.”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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      ‘Cabaret’ Opening on Broadway: Eddie Redmayne, Angela Bassett and Baz Luhrmann

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      A party for the buzzy revival of the Broadway musical was held at a theater that has been transformed to look like a 1930s-era nightclub.“I’m so ready for this,” said the actress Bernadette Peters on Saturday afternoon as she stood on the red carpet outside the August Wilson Theater on 52nd Street, which had been styled to look like a Berlin nightclub in the 1930s.“It’s sort of like a Happening,” she added.Ms. Peters had turned up for a performance of one of the hottest — and some of the most expensive — tickets on Broadway this season: A revival of “Cabaret,” the 1966 John Kander and Fred Ebb musical, which celebrated its opening night with twin galas on Saturday and Sunday. The production, which is set in a Berlin nightclub on the eve of the Nazis’ rise to power, features Eddie Redmayne as the nightclub’s Master of Ceremonies and Gayle Rankin as its star singer, Sally Bowles.“For British actors, coming here to Broadway is the dream, so tonight is a pinch-me moment,” said Mr. Redmayne, who played the Master of Ceremonies during the show’s sold-out run in London in 2022, for which he won an Olivier Award — the British equivalent of a Tony Award — for best actor in a musical.A few dozen celebrities — Angela Bassett, Rachel Zegler and the director Baz Luhrmann among them — came to see Mr. Redmayne, who is also a producer of “Cabaret.”But this wasn’t the usual turn-up-five-minutes-before-the show drill: Unlike a typical Broadway show, “Cabaret” includes a preshow at every performance that begins 75 minutes before curtain.Angela BassettGayle Rankin in vintage Julien MacdonaldWe 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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      ‘Patriots’ Review: What Happened to the Man Who Made Putin?

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      Michael Stuhlbarg and Will Keen shine as a kingmaker and his creature. But in Peter Morgan’s cheesy-fun play, it’s not always clear which is which.“In the West you have no idea.”So begins Peter Morgan’s play “Patriots,” which opened on Monday at the Ethel Barrymore Theater. The line is spoken by the Russian oligarch Boris Berezovsky, referring to the foods, sights and music that supposedly feed the great Russian soul. These are represented, in Rupert Goold’s entertaining if overcaffeinated production, by boozy singing and balalaikas, sometimes even fur hats.But “Patriots” also sets out to demonstrate how little the West knows about the real world of realpolitik: the grudges, enmities and insulted dignities that in the post-Soviet 1990s, with casino capitalism rampant in Russia, created Vladimir Putin.If you could ask Berezovsky, though, he’d tell you it was he who created Putin, a tenth-rate provincial nobody he eased into power, first as prime minister and later as president. Berezovsky (Michael Stuhlbarg) calls himself Putin’s “krysha” — literally his roof, figuratively his protector or, as he explains, the “bully on your side.”Spoken in the weirdly accented English of this production, which originated in London and has been remounted for Broadway with key cast changes and Netflix as a producer, “krysha” sounds confusingly like “creature.” It turns out to be a useful confusion. “Patriots” is a wild story of makers switching places with the made, of Pinocchios devouring Geppettos.Putin (Will Keen) was and is both: a liar and a manipulator. Berezovsky (Michael Stuhlbarg) was at least the latter — but, well, in the West we have no idea. We meet him in “Patriots” as a 9-year-old math prodigy, an obnoxious “golden child” fixated on winning a Nobel Prize. (That there is no Nobel in mathematics is one of Morgan’s many shortcuts.) The boy’s interests, at least as selected for ironic reference later, are in the predictability of decision making, under rational and even irrational circumstances.Keen, left, as Putin and Michael Stuhlbarg as Boris Berezovsky bring physical, gestural and emotional life to characters who might seem to have no insides worth exploring, our critic writes.Sara Krulwich/The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How ‘Stereophonic’ Made Musicians Out of Actors

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

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      ‘Cabaret’ Review: Dancing, and Screaming, at the End of the World

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      Eddie Redmayne and Gayle Rankin star in a buzzy Broadway revival that rips the skin off the 1966 musical.Just east of its marquee, the August Wilson Theater abuts an alley you probably didn’t notice when last you were there, perhaps to see “Funny Girl,” its previous tenant. Why would you? Where the trash goes is not usually part of the Broadway experience.But it is for the latest revival of “Cabaret,” which opened at the Wilson on Sunday. Audience members are herded into that alley, past the garbage, down some halls, up some stairs and through a fringed curtain to a dimly lit lounge. (There’s a separate entrance for those with mobility issues.) Along the way, greeters offer free shots of cherry schnapps that taste, I’m reliably told, like cough syrup cut with paint thinner.Too often I thought the same of the show itself.But the show comes later. First, starting 75 minutes beforehand, you can experience the ambience of the various bars that constitute the so-called Kit Kat Club, branded in honor of the fictional Berlin cabaret where much of the musical takes place. Also meant to get you in the mood for a story set mostly in 1930, on the edge of economic and spiritual disaster, are some moody George Grosz-like paintings commissioned from Jonathan Lyndon Chase. (One is called “Dancing, Holiday Before Doom.”) The $9 thimbleful of potato chips is presumably a nod to the period’s hyperinflation.This all seemed like throat clearing to me, as did the complete reconfiguration of the auditorium itself, which is now arranged like a large supper club or a small stadium. (The scenic, costume and theater design are the jaw-dropping work of Tom Scutt.) The only relevant purpose I can see for this conceptual doodling, however well carried out, is to give the fifth Broadway incarnation of the 1966 show a distinctive profile. It certainly does that.The problem for me is that “Cabaret” has a distinctive profile already. The extreme one offered here frequently defaces it.Let me quickly add that Rebecca Frecknall’s production, first seen in London, has many fine and entertaining moments. Some feature its West End star Eddie Redmayne, as the macabre emcee of the Kit Kat Club (and quite likely your nightmares). Some come from its new New York cast, including Gayle Rankin (as the decadent would-be chanteuse Sally Bowles) and Bebe Neuwirth and Steven Skybell (dignified and wrenching as an older couple). Others arise from Frecknall’s staging itself, which is spectacular when in additive mode, illuminating the classic score by John Kander and Fred Ebb, and the amazingly sturdy book by Joe Masteroff.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