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      Michael McGrath, Tony Winner and ‘Spamalot’ Veteran, Dies at 65

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      He clanged coconuts in the Monty Python stage musical in 2005; seven years later, he won a Tony for “Nice Work if You Can Get It.”Michael McGrath, who won a Tony Award in 2012 for his work in the musical “Nice Work if You Can Get It” and was a regular on Broadway, Off Broadway and regional stages, known especially for comedic roles and for his ability to conjure the likes of Groucho Marx, George M. Cohan and Jackie Gleason, died on Thursday at his home in Bloomfield, N.J. He was 65.His family announced the death through the publicist Lisa Goldberg. No cause was provided.Mr. McGrath was one of those stage actors who might rarely be recognized on the street yet worked steadily for decades, drawing good notices throughout. He did much of his early work at Theater by the Sea in Matunuck, R.I., where he appeared regularly from 1977 to 1991, including in the title role of a 1989 production of “George M!,” the musical about Cohan, the famed song-and-dance man.“Exuding confidence and manic energy,” Michael Burlingame wrote in a review in The Day of New London, Conn., “McGrath struts and crows like a bantam rooster.”By the late 1980s he was appearing in New York shows, including “Forbidden Christmas,” a 1991 holiday edition of the long-running parody revue “Forbidden Broadway”; in one sketch he was Luciano Pavarotti, “wearing,” as Mel Gussow wrote in a review in The New York Times, “a white shirt as big as a bedsheet.”A year later he made his Broadway debut in the ensemble of “My Favorite Year,” a backstage musical based on the 1982 movie about the golden age of television. That show closed after a month, but it was the start of regular Broadway work for Mr. McGrath — sometimes as an understudy or standby player, sometimes in featured roles.Mr. McGrath, left, as Patsy and Tim Curry as King Arthur in the 2005 Broadway musical “Spamalot.” Mr. McGrath played three roles and earned a Tony nomination.Sara Krulwich/The New York TimesHe played three different parts in “Monty Python’s Spamalot,” the hit 2005 musical based on “Monty Python and the Holy Grail,” including Patsy, the servant who banged coconuts together to imitate the sound of a galloping horse. His performance earned him a Tony nomination for best featured actor in a musical.His Broadway run continued with “Is He Dead?” (2007), “Memphis” (2009) and “Born Yesterday” (2011). Then, in 2012, came his Tony-winning turn in “Nice Work if You Can Get It,” a musical that showcased the songs of George and Ira Gershwin. Matthew Broderick and Kelli O’Hara got most of the attention in the lead roles, but it was Mr. McGrath (as a bootlegger) and Judy Kaye (as a temperance leader) who earned the show’s two Tonys, for best actor and actress in a featured role in a musical.Mr. McGrath with Judy Kaye in “Nice Work if You Can Get It,” for which they both won Tonys.Sara Krulwich/The New York TimesMore recently on Broadway, Mr. McGrath was in “She Loves Me” (2016) and “Tootsie” (2019), among other shows. In between Broadway roles, he worked Off Broadway and in regional houses. He also continued to perform in productions of “Forbidden Broadway” and, in 1996, a movie-themed offshoot, “Forbidden Hollywood,” in which he imitated both John Travolta’s character in “Pulp Fiction” and Tom Hanks’s Forrest Gump.That same year, he tapped his inner Groucho in “The Cocoanuts,” a revival of an ancient Marx Brothers show mounted at the American Jewish Theater in Manhattan. Mr. McGrath had always been known for doing a bit of ad-libbing from time to time. (“It’s gotten me in trouble with authors,” he acknowledged in a 1996 interview with The Times. “A lot of them don’t like you going off the script.”) But in “The Cocoanuts,” ad-libs, Groucho style, were expected.“There are a lot of guys who do better Grouchos,” Mr. McGrath told The Times, “but Groucho and I share the same sense of humor, so I find it very easy to ad-lib as him. I wouldn’t say my timing is as great, but we’re in the same ballpark.”He brought another famed figure back to life in 2017, when he played Ralph Kramden, Jackie Gleason’s role, in a musical version of “The Honeymooners” at Paper Mill Playhouse in New Jersey.If Mr. McGrath wasn’t an A-list star, he sometimes went on in place of one. On Broadway he understudied Martin Short twice, in “The Goodbye Girl” in 1993 and “Little Me” in 1998. A Times reporter was in the audience of “Little Me” in December 1998 when Mr. McGrath stepped in for Mr. Short, who had a cold. Many might have been disappointed at first not to be seeing Mr. Short, but by the show’s end, The Times reported, the theatergoers “gave Mr. McGrath the special ovation for people who leap into impossible situations full throttle and soar.”Mr. McGrath understudied Martin Short in the 1998 musical “Little Me.” One night when he stepped in for Mr. Short, The New York Times reported, the audience gave him “the special ovation for people who leap into impossible situations full throttle and soar.” Ruby Washington/The New York Times“They rose to their feet, screaming, ‘Bravo! Bravo!’”Michael McGrath was born on Sept. 25, 1957, in Worcester, Mass. After graduating from high school there, he studied briefly at the Boston Conservatory at Berklee, but he left after three months to start his acting career.Among his fellow players in the “Forbidden Broadway” series was Toni Di Buono. In a 1988 version of the show, he parodied Joel Grey’s “Cabaret” character; she did the same for Patti LuPone, belting out “I Get a Kick Out of Me.” Ms. Di Buono and Mr. McGrath later married.She survives him, as does their daughter, Katie Claire McGrath.In a 2012 interview with The Cape Codder of Massachusetts, Mr. McGrath talked about Cookie, the character he played in his Tony-winning turn in “Nice Work if You Can Get It.”“There is a little bit of Gleason in everything I do,” he said. “For Cookie, I’ve also incorporated elements of Groucho Marx, Moe Howard of the Three Stooges, Skip Mahoney from the Bowery Boys, and even a little Bugs Bunny.” More

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      When the Wig Is a Character: Backstage at Jocelyn Bioh’s New Play

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      The styles in “Jaja’s African Hair Braiding,” in previews on Broadway, require a wig designer, several braiders, some synthetic hair and lots of patience.Known for her amusing scripts and plaited hairstyles, Jocelyn Bioh can count only three times when she was without braids. “There’s a real freedom in getting your braids done,” she said. “Then you don’t have to worry about your hair for the next few weeks.”The playwright’s lifelong commitment to interwoven hairdos inspired “Jaja’s African Hair Braiding,” a Broadway comedy about a day in the life of a hair braiding salon. It’s most likely the first Broadway play to shine a spotlight on Black women’s hair, and what it takes to style it.Set in Central Harlem, around 125th Street and St. Nicholas Avenue (where many of these salons are clustered), “Jaja’s” presents a spirited group of West African hair stylists as their designs take shape and they juggle the uncertainties and perplexities of their new lives here. Because these women are rarely part of conversations about immigration, Bioh felt it was important for audiences to hear their stories.In writing the play, Bioh (“Nollywood Dreams,” “School Girls; Or, The African Mean Girls Play”) sought to put a face to something that was likely to be unfamiliar to many theatergoers. “I want to take them into this really unique, funny, crazy, exciting, in some ways mundane space that holds women who all have incredible stories,” said Bioh, a native New Yorker whose parents emigrated from Ghana. “That’s what I’m trying to unpack in my play. What’s the other? What’s in the other?”A mock-up of the wig, one of the play’s more colorful hair designs.Alongside the comedy and drama, “Jaja’s” features a multitude of strand mastery, as Bioh and the director Whitney White (“Our Dear Dead Drug Lord”) were determined to show a range of hairdos coming to life onstage. To pull this off, most of these styles are executed in real time with a little stage magic courtesy of wigs constructed by the hair and wig designer Nikiya Mathis. Cast members, who braid hair onstage, practiced during rehearsals on wigs she designed for the performance.“There are so many moving pieces to the show that involve hair, and it’s not just me backstage,” Mathis said. “It’s also the actors onstage, it’s what Jocelyn has written, and it’s what Whitney will be helping us to reveal.”“Part of that,” she continued, “is going to be the magic of figuring out how we’re going to construct the wigs and how to potentially take them apart.”The show is running about 90 minutes, without an intermission, yet these hairstyles can take anywhere from a couple of hours to a whole day to complete. There’s also the art of the craft. Creating a single braid starts with a cluster of hair: fingertips planted against the scalp, grasped at the roots of three sectioned tufts, deftly and repeatedly crocheted until a pattern emerges. The options are endless. The humble braid can stand alone, of course, but when woven loosely, it becomes the box braid. Woven against the scalp, it becomes the cornrow. Woven infinitesimally, it becomes the micro.Building wigs that mimic these looks is labor intensive, and audiences are just beginning to see how the production, in previews at the Samuel J. Friedman Theater, pulls it off. This summer we followed along on the assembly and design of one of the flashier styles, a wig known as Jaja’s Strawberry-Swirl Knotless Afro-Pop Bob, worn by the actress Kalyne Coleman in the show.Sew, Braid, Dye: One Wig, Many HandsThe wig-making process begins when a gallon-size poly bag is fitted on the actor’s head to make a mold. Once the measurements are taken and the hairline is drawn, the bag is removed, and the mold is filled with polyester fiber and placed on a canvas wig block. Lace is secured to the frame, which serves as the wig’s foundation, and finally strands of hair are sewn in one by one.The show’s hair and wig designer, Nikiya Mathis, dyes the wigs in a solution of water and semi-permanent color. The more saturated the water is with dye, the deeper the pigment. She then agitates the hair to ensure all the strands attain the desired hue.The hair design team builds the look together, with each stylist completing one braid at a time. Human hair is woven into the lace infrastructure, then small pieces of synthetic hair are added to give each braid length and fullness. More synthetic hair is bunched and teased at the ends of each braid to create volume for the puff.Before the fitting, Kalyne Coleman’s real hair was braided into cornrows, which sit close to her head, so that the wig would fit over it easily. Then a stocking cap is placed over her head and secured with pins. The wig is then applied, and baby hair is pulled out. The edges are curled with gel to complete the look. More

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      Review: Rachel Bloom Shines in ‘Death, Let Me Do My Show’

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      The writer-performer wanted to avoid the pandemic, but couldn’t. Her new solo show dives into birth, death and cosmic confusion.Rachel Bloom came to perform her latest live show in New York, and she really wanted to do it as if it were 2019. That was the year when her musical-comedy series, “Crazy Ex-Girlfriend,” ended its four-season run on the CW, and Bloom was getting ready to hit the road. But in 2020, some things happened.Now that she’s finally able to face a live audience again, the writer-performer wanted to treat the coronavirus pandemic as a parenthesis: She was keen, as she put it at the Lucille Lortel Theater a few days ago, to “go back to my old material unsullied by trauma.”Some things, however, can’t be brushed aside easily, even with the help of gleefully blunt songs, or a few jokes.Fate, life, inspiration, rumination, grief, time, a dark power greater than even the gods of comedy: Whatever you want to call it, something derailed Bloom’s plan, and “Death, Let Me Do My Show” deals with what she was trying to avoid talking about onstage. (Spoiler alert: the “Crazy Ex-Girlfriend” cast member David Hull plays one of the aforementioned forces.)Which is that in the spring of 2020, she found herself in a conjunction of events so chaotic, so intense and so scary that had they been part of a Hollywood movie, critics would have accused the screenwriter of being a tad too melodramatic and over-reliant on far-fetched coincidences.In the early days of the pandemic, Bloom gave birth to a daughter. The baby had fluid in her lungs and was placed in intensive care. At the same time and on the opposite coast, Bloom’s close collaborator on the series, the musician Adam Schlesinger, was also in the hospital, with Covid-19.Bloom’s child lived; her friend died.Those harrowing days form the conclusion of Bloom’s memoir, published in November 2020, “I Want to Be Where the Normal People Are,” and are the crux of her almost-one-woman show. Bloom bounces from incomprehension to fear to regret to anger to cosmic confusion (she starts questioning her atheism) and back again. All the while, she expertly deploys a jokey, graphic candor that telegraphs honesty and forthrightness — that, after all, is what we expect from a woman who brightly talks about bodily fluids and whose perky song about trees that smell like semen feels like a deep cut from a bizarro “Mary Poppins” cast album. (The music director Jerome Kurtenbach leads a three-piece backing band.)Directed by Seth Barrish, a regular Mike Birbiglia collaborator, “Death, Let Me Do My Show” lands closer to Birbiglia’s classic self-examination than to the recent solos by Kate Berlant and Liz Kingsman, which toyed with the genre’s form and conventions, and reflected on the very nature of narcissism.Bloom is an old-fashioned vaudevillian — because this is the 21st century, she got her start not at a borscht belt resort but by uploading videos on YouTube. (Do look up her 2012 duet with Shaina Taub, “We Don’t Need a Man“; Taub and Kurtenbach are two of Bloom’s several co-songwriters in the new show.) Bloom is also a bona fide theater kid who is fluent in both displaying va-va-voom extroversion and mining her anxieties and struggles for art. The new show toes, often dexterously, the line between confidence and vulnerability, earnest emotion and winking self-dramatization — a number sending up “Dear Evan Hansen” captures the way that hit musical relies on rooting for an unreliable, somewhat unsympathetic lead character.The songs are the highlights here. Bloom is especially good at puncturing emotion with surreal detail, as when she sings the tender “Lullaby for a Newborn,” then reminds us she had been cradling her bottle of water swathed in a towel. More than blunt language — a tool that loses its sharpness with use — this absurdist vein effectively draws laughs, but it also underscores the show’s real subject: the often cruel arbitrariness of life.Death, Let Me Do My ShowThrough Sept. 30 at the Lucille Lortel Theater, Manhattan; rachelbloomshow.com. Running time: 1 hour 25 minutes. More

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      In ‘The Refuge Plays,’ Nicole Ari Parker Comes Home

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      “What the theater gives me is the feeling that I’m using everything,” the actress said of returning to the stage after a decade away.On the Max series “And Just Like That …,” Nicole Ari Parker plays the elegant documentarian Lisa Todd Wexley. New York audiences will soon see her in another guise, as a great-grandmother living off the grid in Southern Illinois. Her go-to accessory? An ax. This is Early, the woman at the center of Nathan Alan Davis’s “The Refuge Plays,” directed by Patricia McGregor and produced by Roundabout Theater Company in association with New York Theater Workshop.“What the theater gives me,” Parker said, “is the feeling that I’m using everything.”At a recent rehearsal, she had bounded onto the stage in a pink jumpsuit and makeup that aged her several decades. At the start of the first play, Early is in her 80s. The subsequent plays revert her to her 40s, then her 20s. This is Parker’s first stage role since she played Blanche DuBois on Broadway a decade ago, and previews begin Saturday. Asked in a warm-up exercise how she felt, Parker had a one-word answer: “Ready.”McGregor, artistic director of New York Theater Workshop, had wanted to work with Parker since seeing her turn in “Streetcar” and marveling at the fragility and ferocity that Parker brought to it. Early, McGregor felt, would be an ideal role for her, allowing her to embody qualities beyond sophistication and glamour. “She’s a mother and an intergenerational caretaker,” McGregor said of her star in a phone interview. “Some of the things that are deeply rooted in what Early’s journey is, she has in her bones.”Will this shift from statement bags to washboard and tub surprise audience members? “Maybe,” Parker said. “I’m surprised!”Parker and Christopher Jackson in an episode of the Max series “And Just Like That ….”Craig Blankenhorn/MaxWe spoke over breakfast the next morning, at a restaurant near the apartment that Parker, 52, uses while filming “And Just Like That ….” Owing to the SAG-AFTRA strike, Parker declined to chat about that project or any of her previous film and TV work. (She referred, glancingly, to the Showtime series “Soul Food” as “the show where I met my husband,” the actor Boris Kodjoe, “that we can’t talk about.”) Across the table, she appeared ageless, and effortlessly chic. She wore a hat, a scarf, two necklaces, two watches, five rings and a bracelet and yet somehow looked as if she’d simply woken up like that.Over coffee and omelets, she discussed, with passion and precision, her love for the theater and the secrets that age makeup can reveal. These are edited excerpts from the conversation.When did you know that you loved performing?At a very young age. And I’m really upset with God that he did not give me a singing voice. Because, in my head, I’ve been a Broadway musical star since I was born. I would watch Shirley MacLaine in “Sweet Charity” over and over. I would watch Judy Garland in “A Star Is Born” over and over. I got into N.Y.U. as a journalism major. But second semester, I remember calling my dad and telling him that I wanted to transfer to Tisch. N.Y.U. is very expensive. My dad paid for my college tuition. And he said, “You can’t give up. You’re about to enter the business of no. And you have to keep going. And you have to be strong.” I always hold that in my heart.What was your training?It was pretty comprehensive — voice, movement, scene study. But while I was studying Shakespeare, I wasn’t going to play Juliet. I played the maid in “The Little Foxes.” I played all these small subservient roles in the classic plays. The sadness around discrimination is that it’s missing humanity. It’s missing that if you and I leave this cafe right now and there’s a thunderstorm, we’re both going to get wet equally in the rain. The sunshine doesn’t discriminate, and neither does love, loss, death, pain, joy. We all have those things that are in these beautiful classic plays. So you and I both could be up for a role. It’s not about washing clean or ignoring diversity. It’s about, what does it add? And what doesn’t it add? What just is.“This moment that I’m having in my career is extraordinary,” Parker said. “The feeling has always been there. I just have slightly better clothes right now, better face cream.”Victor Llorente for The New York TimesYou moved to Los Angeles in 2000. Did you always hope to come back and do theater?I just kept booking jobs. I did let my agents know, but the timing wasn’t always right. Then I got a call saying that Emily Mann was doing a production of “Streetcar” and she was coming to L.A. to meet just a few people. On the day I met her, I sat in the parking lot and I said a prayer: “God, if this is the closest I get to Blanche, being on a shortlist, I’m grateful.” But a 40-minute lunch turned into a three-hour lunch. She asked me if I was more of a Stella or Blanche. I was like, “Emily, I can play Stanley.” I was bursting at the seams to be maximized.Are you an avid theatergoer?I am a passionate theatergoer. I’ll go by myself. I’ll drag a friend. I’ll see two shows in a day. I stay for the talkbacks. I buy the good seats. Last year was on fire, with “Between Riverside and Crazy,” “A Strange Loop,” “The Piano Lesson,” “The Lehman Trilogy.” “Death of a Salesman” — I saw that three times.How did “The Refuge Plays” come to you?I had really wanted to work with Patricia McGregor. When I saw her production of “Ugly Lies the Bone,” I thought, this is magnificent. I met her after and we just stayed in touch, looking for a journey that we could take together. She sent me the play. And the breakdown said Early, matriarch of the family, early 80s. I called my agent and I said, “I’m a grandma!” He said, “Read the play.” And then I was lost in the magic.Who is Early?Her given circumstances are pretty loaded. She was violated. She made a bold choice to go on her own with her newborn. She killed a bear. She built a house. She can see ghosts. This is the kind of play where you can’t leave any of that out.How did it feel yesterday to see yourself in the age makeup?So cool. As women we’re told to panic about wrinkles. And I just felt so beautiful with that age makeup on. Everything that was drawn on my face, contoured into my face, I felt like I knew a secret in advance. Like, don’t waste any time fearing something that could be so glorious.This is a play about family. Has it made you think about your own experience of family, legacy, inheritance?Both of my parents were born in the ’40s. I feel so lucky to have both of them right now while doing this play, to have an immediate family that’s chopped wood or used a washboard. A lot of the details of Early are in my family. I feel honored to represent that. I said to my mom, “Do you know how to kill and pluck and cook a turkey?” She said, “Yes, baby. You have to boil it first to get the feathers out. And don’t let the gallbladder split because that bile will make the meat bitter.”How does it feel to be experiencing so much success, so much fame, at 52?I just did what my dad asked me to do. I fell down but I kept getting back up. In order to be resilient in this business, you had to feel like you’d made it even when you were just living off of bagels. This moment that I’m having in my career is extraordinary because it’s opening more professional doors. But on the inside, the feeling has always been there. I just have slightly better clothes right now, better face cream. More

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      Lauren Boebert Ejected from “Beetlejuice” Musical in Denver

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      The Congresswoman was asked to leave after being accused of being loud and recording the show at a moment when many theaters are debating how to deal with raucous audience behavior.Representative Lauren Boebert, a Republican firebrand from Colorado, was ejected from a touring production of the “Beetlejuice” musical in Denver last weekend, making her the latest case study in an evolving debate over how theaters should respond to raucous audience behavior.Ms. Boebert was accused of “causing a disturbance” at the show, according to an incident report from the city of Denver. The accusation is not an unfamiliar one for Ms. Boebert — last year she heckled President Biden during the State of the Union, and the previous year she refused a search of her bag by Capitol security.The incident in Denver, which was previously reported by The Denver Post, occurred during a performance of “Beetlejuice,” which, like the film on which it is based, is about a gleefully devious ghost haunting a suburban home. The musical had a rocky run on Broadway, but became a fan favorite, and has been enjoying a strong tour around the country.The Denver Center for the Performing Arts, which includes the Buell Theater, where “Beetlejuice” is now running, issued a brief statement saying that it has a set of guest policies and that, “We were informed that two patrons were not adhering to the policies which eventually led to them being escorted from the theater.”The city of Denver, which owns and operates the complex of buildings in which the performing arts center is located, released an incident report that, without naming Ms. Boebert, described some of the details.The report said that in response to audience complaints, officials had told a pair of patrons that “they were causing a disturbance for the area with noise, singing, using their cellphone, and that they need to be respectful to their neighbors.” Early in the second act, after hearing complaints that the patrons were again being loud and recording the show, the theater enlisted help from the Denver Police and asked the party to leave, the report said. They eventually did. On the way out, according to the incident report, “They say stuff like ‘do you know who I am?’” and “I will be contacting the mayor.”The Denver Post identified Ms. Boebert as the person involved in the incident. Ms. Boebert’s campaign manager, Drew Sexton, issued a statement confirming the incident, but framing it differently.“I can confirm the stunning and salacious rumors: in her personal time, Congresswoman Lauren Boebert is indeed a supporter of the performing arts (gasp!) and, to the dismay of a select few, enthusiastically enjoyed a weekend performance of ‘Beetlejuice,’ which the Denver Post itself described as ‘zany’, ‘outrageous’, and a ‘lusty riot,’” Sexton said. “She appreciates the Buell Theatre’s strict enforcement of their no photos policy and only wishes the Biden Administration could uphold our border laws as thoroughly and vigorously.”Ms. Boebert apparently still likes the show, even though she was kicked out.“It’s true, I did thoroughly enjoy the AMAZING Beetlejuice at the Buell Theatre and I plead guilty to laughing and singing too loud!” she posted on X, the platform formerly known as Twitter. “Everyone should go see it if you get the chance this week and please let me know how it ends!”The incident comes at a time when theaters, particularly in England, have been encountering a rash of raucous behavior by overenthusiastic patrons, and have been struggling with whether and how to restrict such behavior. Those concerns also exist on Broadway, but there have been fewer highly publicized confrontations. More

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      ‘No Good Things Dwell in the Flesh’ Review: Seeking a Successor

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      In her new play, Christina Masciotti turns a keen gaze on an immigrant tailor who has woven her business into the fabric of a neighborhood.Inside an unassuming storefront somewhere in Queens is a woman you wouldn’t notice if you saw her on the street. The drape, fit and feel of clothes are her passion and her living, but her own outfit is pallid, frumpy — a kind of camouflage.This is Agata, who at 64 is a self-taught tailor with the skill of an artist and an unforgiving eye. When her apprentice, Janice, shows off a photo of her new fiancé, the unevenness of his pant legs is a flagrant red flag.“If you’re ignorant on pants, you’ll be ignorant on wife,” says Agata, a brusque Russian immigrant who married the same man twice by the time she hit 30, divorced him for good, then built an independent life. “Why you wanna take care of this loser?”In Christina Masciotti’s keen and unflashy new play, “No Good Things Dwell in the Flesh,” Kellie Overbey gives a beautifully supple, subtle performance as Agata — a survivor whose wariness of men and their havoc is a defining stance, like her willingness to reject customers if she disagrees with their requests.In a dozen overworked years, she has had only one vacation. So maybe it’s weariness that makes her hope that the talented but unserious Janice (Carmen Zilles) — a student at the Fashion Institute of Technology who already has a business degree — could be a worthy successor, someone Agata might simply give her thriving business to.Directed by Rory McGregor at A.R.T./New York Theaters in Manhattan — with a bit less atmospheric poeticism than the script aims for — “No Good Things” is interested in what it means to lose a business that has quietly woven itself into the fabric of a neighborhood. That’s a resonant concern these days, as so many urban storefronts sit vacant.Masciotti, who based Agata on a tailor she met in Astoria, Queens, is also characteristically drawn here to the richness of language, Agata’s in particular. As when she tells Janice, “The heart shape is kind of my enemy shape.” Or when she orders Vlad (T. Ryder Smith), the handsome but unstable ex who tracks Agata down: “Stop creating all this situation.”The night I saw the show, much of the audience was so busy enjoying Smith’s performance that they didn’t notice the danger in Vlad — even though he tells Agata, moments into their reunion, that it takes just 30 seconds to knock a woman out. Agata, who cares about him still, wants only to keep her distance from him, and from men in general. Thus, I think, her dowdy get-up, hiding her form. (Costumes are by Johanna Pan.)That’s another thing this play is about, though: the siren song of men and coupledom. Agata has spent her whole adult life trying not to get shipwrecked on those rocks.No Good Things Dwell in the FleshThrough Sept. 23 at A.R.T./New York Theaters, Manhattan; christinamasciotti.com. Running time: 1 hour 45 minutes. More

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      The Belarus Free Theater Is Also a Support Network for Exiles

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      The leaders of the Belarus Free Theater, who fled the country more than a decade ago, are helping more recent refugees to rebuild their lives while putting on a new show.When the two founders of the renowned Belarus Free Theater claimed political asylum in Britain in 2011, they found themselves homeless, with few possessions and facing a bureaucratic labyrinth before they could work.It was only with help from British theater makers that the pair found places to stay and were able to restart their company from exile, using Skype to conduct rehearsals with actors in Minsk, Belarus’s capital.Twelve years later, the company’s founders, Natalia Kaliada and Nicolai Khalezin, are using that experience to help other artists fleeing political repression.Belarus — an East European country of about nine million people that borders both Russia and Ukraine — has been ruled since 1994 by President Aleksandr G. Lukashenko, a dictator and ally to President Vladimir V. Putin of Russia. The Belarus Free Theater’s political productions have often criticized Lukashenko’s authoritarian leadership and its troupe was long at risk of arrest. But as repression increased, the company decided it was no longer feasible for its other members to remain in Minsk. In 2021, they also fled to avoid long jail terms. Since then, Kaliada said, she and Khalezin had been helping the actors to find housing, therapy and visas.The company was also running acting classes for other Belarusian and Ukrainian refugees in Warsaw, Kaliada said, that had led to full-scale shows, and was providing help to some Ukrainians singers, too, who could no longer perform full time in their homeland because of the war.“The only thing we wanted was for people to not go through our experiences,” Kaliada said.Nicolai Khalezin and Natalia Kaliada run the Belarus Free Theater. After their country’s 2020 election, they moved their entire troupe out of the country. Anna Liminowicz for The New York TimesIn Warsaw this summer, Kaliada and Khalezin started rehearsals for their latest project, “King Stakh’s Wild Hunt,” a piece of experimental theater including opera singers and video projections that will premiere at the Barbican Center, in London, on Thursday, running through Sep. 16.In interviews with eight actors, musicians and production staff at those rehearsals, four said they were struggling to adjust to life in Warsaw. The composer Olga Podgaiskaya said it was only with a therapist’s help that she’d come to accept that she wouldn’t be returning to Minsk anytime soon. In Belarus, she said, she had been a fixture on the classical music scene: “Here, I’m a nobody. I need to prove from scratch who I am.”Raman Shytsko, an actor, said he still felt like a guest in Poland — and sometimes an unwelcome one. Once in the city of Wroclaw, he said, he was sworn at in the street for speaking Russian. “A lot of people here hate Belarusians now,” he added, because of the regime’s support for Russia’s invasion of Ukraine.The conductor Vitali Alekseenok and the composer Olga Podgaiskaya rehearsing with musicians from the Five-Storey Ensemble, in preparation for “King Stakh’s Wild Hunt.”Anna Liminowicz for The New York TimesMany of the exiled artists said that simply working on “King Stakh’s Wild Hunt,” had given them a much-needed sense of purpose.In the rehearsals, which took place at Warsaw’s main opera house, the cast helped each other learn lines and dance moves, and larked about between scenes. Yuliya Shauchuk, an actor, said that the studio was the one place where she always felt joyful.This show’s plot, which is drawn from a popular Belarusian novel and involves a group of ghostly huntsmen who terrorize a rural community, also felt analogous to what was happening now in Belarus, Shauchuk said, where every day the police track down and arrest people who have protested the president’s rule.Several Ukrainian opera singers involved in the production said the rehearsals were benefiting them, too. Mykola Hubchuk had driven overnight from Kolomyya, Ukraine, to take part. “This project is very important for me,” he said. “I need emotion and singing in my life.”Sveta Sugako, the Belarus Free Theater’s production manager, said that the company had renewed its sense of purpose in exile. Its members used to mainly “shout about Belarus,” she said. Now, the company was trying to raise awareness about the war in Ukraine, too, and about the political situation in Russia. It had become, she said, “about the whole region.”The troupe’s journey to exile began in 2020 with an election. That year, Belarus looked set for change, after Lukashenko’s landslide victory was widely dismissed as fraudulent. Members of the company took part in the subsequent mass street protests, hoping Lukashenko would be forced to step aside.Instead, he violently cracked down on opposition and in October 2021, Kaliada and Khalezin pulled the remaining members out. They first headed to Ukraine, with some members wading through swamps to cross the border, before some continued to Poland, and others to Britain.Ever since, Kaliada said, the situation in Belarus had gotten worse. Last year, Putin used the country as a staging ground for his invasion of Ukraine, then said he would move Russian nuclear weapons across the border into Belarus.Helping the troupe members who reached London had proved easier than those in Warsaw, Kaliada said, because of the company’s established connections in London’s theater world. Cate Blanchett and Juliet Stevenson had both provided accommodation for some members in London, Kaliada said.Shauchuk, left, and Kaliada outside the Polish National Opera. The entire company is now in exile, split between Warsaw and London.Anna Liminowicz for The New York TimesIn Poland, the company had few relationships with similarly generous individuals, Kaliada said, but it had secured cheap rates for some actors at a hotel on the outskirts of Warsaw. The Polish government also helped, letting the troupe rehearse for free at the state-run opera house.The company has been trying to deepen its ties in Warsaw. Whenever it stages a show in the city, including recent productions featuring refugee teenagers, it invites local dignitaries, and adds Polish subtitles.With the company approaching the end of its second year in exile, Kaliada said its members would soon have to do more to support themselves. Around 100 people were working on “King Stakh’s Wild Hunt,” she said, and the Belarus Free Thater didn’t have the resources to support them all.Many of the actors in Warsaw said they were already making efforts to find their own work. One said he’d taken on dubbing. Another said they were teaching and another was working as a coder.Shauchuk said she knew she needed “to build a life” in Warsaw and was looking to improve her Polish. But, she said, she would not give up hope of returning home. “Even if I build up a family outside Belarus,” she said, “I want the right to go back.”The company will perform “King Stakh’s Wild Hunt,” a piece of experimental theater including opera and video projections, at the Barbican Center in London.Anna Liminowicz for The New York Times More

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      ‘Infinite Life’ Review: Is There a Cure for Pain and Desire?

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      Illness is no metaphor, and neither is pleasure, in Annie Baker’s weird and great new play set at a fasting clinic.A woman collapsed in a chaise longue on a brick and breeze-block patio is trying to read George Eliot’s “Daniel Deronda.” Over several days, various acquaintances also taking the sun will ask her what the book is about, a question she finds hard to answer as she keeps getting stuck on page 152. Still, she calls the novel “very weird and great.”“If I’m not reading it all the time it seems really boring,” she says, “but once I’m into it it’s like the most entertaining thing in the world.”This might be Annie Baker’s mission statement, and, sure enough, her latest play, “Infinite Life,” which opened on Tuesday at the Atlantic Theater Company, is very weird and great. Like “The Flick,” “The Aliens,” “John” and other previous work, it peeps at the greatest mysteries of life — in this case principally pain and desire, and what they have in common — through the tiny, seemingly inconsequential windows of banal human behavior.Certainly, watching Sofi (Christina Kirk) try to plow through Eliot is no confetti cannon. Nor could you say that the four other women (and eventually one man) who show up on the patio do anything exceedingly dramatic by ordinary standards. You will be asked, for instance, to watch them sleep.Books of various sorts are also prominent. Yvette (Mia Katigbak) reads a memoir about a woman with Lyme disease who starts a white-water rafting company. Ginnie (Kristine Nielsen) ponders an existential question proposed in her paperback by the Buddhist monk Thich Nhat Hanh. Elaine (Brenda Pressley) works at a coloring book. Eileen (Marylouise Burke) is in too much discomfort to do her own reading but asks the others about theirs.Buried in books or not, they are all looking for answers. The patio adjoins a clinic in a former motel in Northern California run by a Godot-like guru we never meet. This savior figure prescribes fasts — just water or green juice for as long as several weeks — to clear the toxins he says are the cause of this group’s various cancers, infections, autoimmune disorders, “thyroid stuff” and vertigo. Enervated by the treatments as much as by the extreme pain of their illnesses, his patients spend their days and nights in a kind of stop-and-go stupor, which is frequently, unlike the Eliot, hilarious.The excellent cast includes, from left: Kirk, Kristine Nielsen, Brenda Pressley and Mia Katigbak. “For all the detailed behavior that shows up at the surface,” our critic writes, “you always sense the greater weight of whatever lies beneath.”Jeenah Moon for The New York TimesWe get to know these women deeply over the course of 105 minutes. Ginnie is bossy about other people’s behavior and Yvette is a know-it-all about diseases, having had so many. (Baker gives her what amounts to an organ recital of maladies and medications, including a hymn to the “zoles”: “clotrimazole and econazole and fluconazole and ketoconazole and itraconazole and voriconazole.”) Elaine is very certain of everything she’s very certain of. Eileen, the eldest, is unfailingly kind but prim, especially when it comes to language.That’s a problem for her because the language becomes explicit as the play gradually reveals, beneath its accumulation of brilliantly observed details, a focus on varieties of desire. Yvette tells a story about a cousin who describes porn movies for the blind. (“In person?” Sofi asks.) The arrival of a shirtless and, at first, nearly wordless man (Pete Simpson) hilariously raises the temperature, as if a rooster has broken into what you suddenly realize is a henhouse. And in a series of cellphone messages we overhear Sofi leaving, we learn how pleasure and pain have begun to merge disastrously for her.Those messages — some to her husband, from whom she is separated — seem like a slight misstep; in a play that otherwise avoids exposition like a bad smell (we otherwise know only what the women tell one another) they are too on the nose. Still, they serve a purpose, besides being harrowing, in that they propel the play into its final third, in which the discussion of desire gives way to an opportunity to enact it. But if you think you see where that’s going, you will be both right and wrong; Baker’s structures are so strong and yet open that, within them, anything or its opposite may happen at any moment.Maintaining that tension between plot and anti-plot, while using it to deepen our engagement in a story that seems random but isn’t, requires the most exquisite directorial care. “Infinite Life” (a co-production with Britain’s National Theater) gets that and more from James Macdonald, who has notably staged plays by Baker in London and by the British playwright Caryl Churchill here in New York. Indeed, “Infinite Life” most closely reminded me of Churchill’s great “Escaped Alone,” in which four women sit in a garden chatting into the apocalypse.But Macdonald understands that Baker’s practice is not the same as Churchill’s. The women here (if not the man) are fully, almost floridly conceived, not just elements slotted into a formal conceit. Baker’s is a rich minimalism, as if the characters in a Tennessee Williams melodrama found themselves in an Albee one-act. Despite the difficulty of realizing that, the cast of six New York regulars is excellent: as good as I’ve ever seen any of them, and in the case of Nielsen, so wonderfully restrained, even better. For all the detailed behavior that shows up at the surface — the various ways the women sip from their water bottles, the shuffling or striding or creeping to their chaises — you always sense the greater weight of whatever lies beneath.That the characters also live in a world of ideas gives the play its intellectual heft and complex texture, both light and profound. The contrast is beautifully maintained by the physical production, in which even the breeze-block wall framing the patio, by the design studio dots, is on point: a tracery of concrete and air. The women’s stretchy sweats, batik pajamas and lightweight cover-ups, by Ásta Bennie Hostetter, signify comfort but also the need for it. Birdsong and road noise are the poles of Bray Poor’s bifurcated sound world. And in Isabella Byrd’s lighting design, the minute we get used to the nearly invisible night, with just a cellphone to see by, we are snapped into the harsh May sun of the following midday.They are all expressions of Baker’s refusal to reduce the world to a unitary lesson; “Infinite Life” offers moral philosophy but no moral. (If pain “means anything at all,” Sofi says, “then I don’t know if I can bear it.”) Illness, after all, is no metaphor. It has no purpose, is no judgment, cannot be done right or wrong; it is only itself, incomparable (though some of the characters compete over whose wretchedness is worse) and uninterpretable.Which does not mean it is useless to think about. (When first announced for 2021, the play was called “On the Uses of Pain for Life.”) Understanding suffering, like understanding desire, may help us when we face it, or when others do, and with any luck afterward. Which, by the way, is what “Daniel Deronda,” past page 152, is about — and “Infinite Life” is always.Infinite LifeThrough Oct. 8 at the Linda Gross Theater, Manhattan; atlantictheater.org. Running time: 1 hour 45 minutes. More