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      ‘Amerikin’ Review: A White Supremacist’s Undoing: DNA

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      The protagonist of Chisa Hutchinson’s new play is proud of his racial heritage, until he gets some unexpected test results.There was a guy I knew when I was in my teens. Blond and blue-eyed, popular at the beach, he named his puppy after a superstar. It made him laugh to let people in on the gut-punch nasty joke behind it: that, as far as he was concerned, both were black female dogs.Chisa Hutchinson’s layered new play, “Amerikin,” has me thinking about that for the first time in decades. Her central character, Jeff, has named his own dog in the same spirit — after a racist slur that he is not shy about shouting into the neighborhood to summon his pup. I’d hate for anyone to think that detail was too exaggerated. Not in these United States it isn’t.Directed by Jade King Carroll for Primary Stages, “Amerikin” is set in Sharpsburg, Md., which was Confederate country back when the bloody Battle of Antietam was waged nearby during the Civil War. In 2017, it is Trump country, and when the working-class Jeff (Daniel Abeles) and his wife, Michelle (Molly Carden), take their newborn son home, Jeff is eager to give the child he adores every social advantage in their small town.If that means accepting an invitation from his pal Dylan (Luke Robertson) to join the local white supremacist group, Jeff would be honored. It would bolster his sense of belonging in this place where he’s lived since childhood.But his nomination comes with an asterisk: He must take a DNA test to prove that he is 100 percent white. To his alarm, the results say otherwise — and even though his tech-savvy best friend, Poot (Tobias Segal), doctors the results, word gets out.And you know what happens when a band of white racists discovers a nonwhite family living in its midst. As Gerald (Victor Williams), a reporter for The Washington Post, frames it in a headline: “White Supremacist Hopeful Becomes Target of His Own Hate.”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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      Trump Reimagines the Kennedy Center: Elvis, ‘Cats’ and Babe Ruth

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      A recording of President Trump’s private remarks at a Kennedy Center board meeting shows that he mused about bestowing honors on dead celebrities and people from outside the arts.The new chairman of the John F. Kennedy Center for the Performing Arts had a question for the board. Which musical is best, “The Phantom of the Opera” or “Les Misérables”? (Several trustees seemed to agree it was “Phantom.”)He mused about how great it could be if he hosted the Kennedy Center Honors (“The king of ratings,” he called himself). And he floated the idea of giving awards to dead figures in culture and sports, including Luciano Pavarotti, Elvis Presley and Babe Ruth.Monday was President Trump’s first visit to the Kennedy Center since he took it over last month by replacing all the Biden appointees on the board of the once bipartisan institution and having himself elected chairman.As he gathered members of the new board on the stage of its opera house he expressed strong and sometimes surprising opinions on a variety of matters, according to an audio recording of his private remarks obtained by The New York Times, which was confirmed as authentic by a participant.Asked about the recording, a Kennedy Center official pointed to a social media post by its new president, Richard Grenell, which said that Mr. Trump wants to save the center and “ensure it is the premier Arts institution in the United States” and a place where “EVERYONE is welcome.”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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      Tituss Burgess in ‘Oh, Mary!’ Is Cole Escola’s Dream Come True

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      As Burgess prepares to step in to the hit Broadway comedy, he thinks he should have “spent more time at the gym.”“Oh!” Tituss Burgess said, the curls of his Mary Todd Lincoln wig bobbing as he spoke. “I need kneepads.”Fully in costume, wearing the wig and a bell-shaped black dress, Burgess was about to rehearse Cole Escola’s hit comedy “Oh, Mary!” onstage at the Lyceum Theater on Broadway, just days before stepping into the starring role on Tuesday.And, yes, he really did need those kneepads. When Escola played Mary Todd, they channeled their sprung-coil energy into a performance of relentless hilarity and chaos. Burgess’s take on the role is no less physical; if anything, he is upping the ante with the cartoonish expressions and belted high notes fans know from his earlier Broadway appearances and shows like “Unbreakable Kimmy Schmidt.”Burgess’s turn in the play, a demented fantasia of Mary Todd Lincoln as a frustrated and thwarted “rather well-known niche cabaret legend,” will run through April 6. After that, Escola will return to the part.When they do, it will be with a fantasy having come true. Last May, Escola was a guest on Bowen Yang and Matt Rogers’s podcast “Las Culturistas,” and said that they “would love for someone else to play Mary Todd” before adding, “My dream is Tituss Burgess.”Yang and Rogers let out an exclamation just short of a gay gasp, and Rogers said, “That would be fab.” Escola joked that they were worried Burgess would be “too good,” but also couldn’t help but imagine him in the show’s famous curly wig.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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      Why Black Satire Is the Art Form for Our Absurd Age

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      Black American novelists, filmmakers and other writers are using comedy to reveal — and combat — our era’s disturbing political realities.LAST SPRING, DURING the Broadway revival of “Appropriate” (2013), Branden Jacobs-Jenkins’s sardonic drama about white family members returning to their ancestral plantation home in southeast Arkansas to bury their father, a rare moment of cross-racial candor transpired — not onstage but in the audience. In the third act, Bo, the middle-aged older brother played by Corey Stoll, unleashes a rant about the burdens of whiteness in 21st-century America. Even a passing acquaintance with the work of Jacobs-Jenkins, who’s a queer Black man, would condition theatergoers to understand the outburst as satirical exposure of a threadbare fallacy of racial innocence. “You want me to go back in time and spank my great-great-grandparents?” Bo says. “Or should I lynch myself? You people just need to say what it is you want me to do and move on! I didn’t enslave anybody! I didn’t lynch anybody!” The speech usually leaves audiences squirming. On this night, however, one person clapped.“They were clapping in earnest,” says Jacobs-Jenkins, as if Bo were “someone who’s genuinely out here now just telling his story — you know, ‘Found his letters and read each one out loud!’” Before the playwright, actors and audience could fully register what was happening, a voice called out from the darkened auditorium: “Are you serious right now?” For Jacobs-Jenkins, 40, the whole thing was a delicious disruption. “Part of what the work is doing is exposing these fissures inside of a community — these feelings that we’re encouraged, as we are with most conversations about race in our country, to nurse in private.” At its best, Jacobs-Jenkins says, the theater can become a space to “risk learning something we didn’t anticipate” about one another.Satire is the art of risk. It relies, after all, on an audience comprehending a meaning that runs counter to what the text reads, the screen shows or the comedian says. In this regard, it’s vulnerable to misinterpretation and to deliberate distortion. When that satire concerns race and when the audience is as diverse and as divided as the United States is today, those risks compound. Why hazard satire’s indirection when even the most straightforward language — the term “woke,” for instance, or the seemingly incontrovertible good of “equity” — is manipulated and weaponized against its original ends? Yet perhaps these are the conditions that demand satire most of all, meeting absurdity with absurdity.I spoke with Jacobs-Jenkins, whose new political family drama “Purpose” is now on Broadway, 10 days before Donald Trump was inaugurated as the 47th president of the United States, the same week that Trump gave a press conference at Mar-a-Lago in which he, among other things, called for renaming the Gulf of Mexico the “Gulf of America,” acquiring Greenland from Denmark and welcoming Canada as the 51st state. The way Jacobs-Jenkins sees it, “this is probably going to be one of the most difficult moments in recent memory to be an American, but it’s also going to be kind of the funniest — because come on! I think the question of this time will be: ‘Are you serious right now?’” The Black American satirical tradition, with its roots in the unfathomable dehumanization of slavery and the persistent pressures of racial discrimination, offers equipment by which all of us might better endure and even combat our lacerating realities.From left: the writer-director-actor Jordan Peele, the novelist Paul Beatty and the playwright Lynn Nottage.From left: Vivien Killilea/Getty for Imdb; Alex Welsh for The New York Times; Bryan Derballa for 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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      ‘Purpose’ Review: Dinner With the Black Political Elite

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      A family not unlike Jesse Jackson’s gets barbecued on Broadway by Branden Jacobs-Jenkins.You may have trouble catching your breath from laughing so hard during the first act of Branden Jacobs-Jenkins’s sophomore Broadway outing, “Purpose,” which opened Monday at the Helen Hayes Theater. Deeply imagined and grave beneath its yucks, it unspools like a brilliant sitcom.Then, also like a sitcom, it jumps the shark.Ah well, mixed emotions go with the territory. If “Purpose” is primarily a merciless dissection of hypocrisy in an important religious-political Black American family — the Jesse Jackson dynasty comes to mind — it is also a grudging love letter to them in all their God-praising, backroom-dealing, self-promotional glory. The problem is that in the constant switchback of perspectives, the play, directed by Phylicia Rashad, grows too hectic and attenuated to maintain a line of conviction.The same could be said of the family, the Jaspers. Chicago-based like the Jacksons — the play originated at the Steppenwolf Theater Company in that city — they, too, are headed by an oratorical pastor who, in his youth, worked closely with the Rev. Dr. Martin Luther King Jr. Also familiar are several possible unauthorized offspring, hushed up but not quite silent. Jacobs-Jenkins cannot help noting that among that generation of Bible-quoting civil rights worthies are enough sins of the father to burden a host of sons.Indeed, approaching 80 and withdrawn from the front lines, Solomon Jasper (Harry Lennix) now reserves most of his thunder for his family. His formidable wife, Claudine, a honeyed matriarch with a law degree, is tough enough to shape it to her own ends as needed. But on their disappointing sons falls the brunt of Solomon’s biblical disapproval.The older son, named for his father, is the more obviously wayward. Raised to uphold Solomon’s political legacy, Junior (Glenn Davis) instead tarnished it when, as a state senator, he was convicted of embezzling campaign funds. These he spent, according to his embittered wife, Morgan, on “cashmere drawers and betting on racing pigeons.”From left, Jackson, Hill, Young and Alana Arenas.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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      In ‘Weather Girl,’ Climate Change Sets Off a Meltdown

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      A new one-woman show from the producer of “Baby Reindeer” and “Fleabag” is an irreverent allegory about wildfires and global warming.At the Soho Theater in London, a beleaguered weather reporter is giving double meaning to the phrase “hot mess.” The setting is drought-stricken Fresno, Calif., where temperatures are sweltering and wildfires rage on the city outskirts. The presenter, Stacey Gross, has a telegenic glamour and a peppy on-screen persona, but underneath is an angst-ridden functioning alcoholic who secretly quaffs Prosecco on the job. She suspects her TV station is misleading viewers about the role that climate change has played in the fires, and as the heat wave progresses she has a meltdown, embarking on a cathartic, booze-fueled rampage featuring wanton destruction, kidnapping and karaoke.“Weather Girl” has arrived in London amid plenty of hype, following a successful run at last year’s Edinburgh Festival Fringe. The show’s producer, Francesca Moody, has a knack of turning Fringe plays into television hits — she was behind “Fleabag” and “Baby Reindeer” — and a Netflix adaptation of “Weather Girl” is already in development, according to the trade publication Deadline. Onstage, the title character is played by Julia McDermott, who also takes several other parts in this lively but slightly undercooked one-woman show, a silly but serious climate change allegory that runs through April 5.The show’s title character has a telegenic glamour but underneath is an angst-ridden functioning alcoholic who secretly quaffs Prosecco on the job.Pamela RaithWearing a bright blouse, hot pink skirt and heels, McDermott performs on a bare stage, with just a colored screen behind her as an allusive backdrop. Her only prop is a trusty Stanley Tumbler. Over the course of 60 frenetic minutes, her character regales the audience in a fraught, high-tempo monologue about Stacey’s escapades in drinking holes with names like Malibu Nights and the Antelope Lounge. 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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      With $921 Seats, Denzel Washington’s ‘Othello’ Breaks a Box Office Record

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      Demand to see Denzel Washington and Jake Gyllenhaal play Shakespeare has set a record in a year when big stars have been driving up the prices of Broadway plays.The hottest play on Broadway was written more than 400 years ago. Demand to see Denzel Washington and Jake Gyllenhaal face off in Shakespeare’s “Othello” is so strong that many center orchestra seats are selling for $921, helping the show break box office records.During its first week of previews, its average ticket price was $361.90, more than double that at the next highest-average-price show (“The Outsiders,” at $155.02). And last week “Othello” grossed $2.8 million, more than any nonmusical has ever made in a single week on Broadway.The huge numbers, for a show that has not yet been reviewed and that was selling briskly long before anyone had seen it, come at a time when the prices for the most sought-after pop concerts and sporting events are also quite high.And theater prices — at least for the most sought-after shows — are no exception.At its peak, “Hamilton” charged $998 for the very best seats during holiday weeks, and at one point a revival of “Hello, Dolly!” charged $998 for front row seats, which allowed fans of Bette Midler the possibility of being brushed by her glove as she strolled along a passerelle.Washington, seen leaving after a performance, is both highly acclaimed and enormously popular.Amir Hamja for The New York TimesBut “Othello” is distinguished by the large number of seats being sold at the highest prices, which is driving up its average ticket price. At many upcoming performances, the show is asking $921 for the first 14 rows in the center orchestra, and for much of the first two rows in the front mezzanine.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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      Theater to Stream Now: ‘Beckett Briefs’ and One of Gavin Creel’s Last Shows

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      Also available for streaming: A masterful F. Murray Abraham in “Beckett Briefs,” and Christopher Walken and Susan Sarandon in a take on “Streetcar.”‘Walk on Through: Confessions of a Museum Novice’Stream it on YouTube.When Gavin Creel died of a rare form of cancer last fall, at the age of 48, he left behind an artistic and emotional hole — he was a beloved presence onstage, especially in musical theater, with an easy wit, a sure flair for physical comedy and an old-fashioned elegance. One of his last large-scale endeavors was the musical “Walk on Through: Confessions of a Museum Novice,” for which he wrote the book and score, and which he performed in a run at MCC Theater in 2023. The show, which The New York Times’s Michael Paulson described as “a passion project” in his obituary for Creel, allowed the actor to venture into soul-searching as he explored his (very new) relationship with the Metropolitan Museum of Art. Fortunately, that institution, which had commissioned the project, keeps a capture of an October 2021 performance on YouTube.‘[Untitled Miniature]’Stream it at HERE.As a theater maker, Joshua William Gelb fully came into his own with his Theater in Quarantine productions, which he performed and streamed live from a closet in his home, often displaying uncommon technical mastery. From Tuesday through March 25, he continues to explore the live-digital hybrid with a new project that sounds closer to the experiments of such artists as Marina Abramovic than to traditional theater, and in which he will push the boundaries of his own endurance. In “[Untitled Miniature],” Gelb will spend 24 nonconsecutive hours (in 45-minute segments spread over eight days) naked inside a box that’s about 3 feet wide by less than 2 feet tall. Despite (or perhaps because of) the limited space, his movement will be choreographed. Audience members can buy tickets for either the physical performances, to be held at HERE, or for a live feed.‘Beckett Briefs’F. Murray Abraham in “Krapp’s Last Tape,” which is being presented as part of Irish Repertory Theater’s “Beckett Briefs.”Carol RoseggStream it from the League of Live Stream Theater.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More