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    • 138 Shares91 Views

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      Review: Clooney, Fair and Balanced, in ‘Good Night, and Good Luck’

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      George Clooney makes Edward R. Murrow a saint of sane journalism for a world that still needs one in a stage adaptation of the 2005 movie.“This just might do nobody any good” is a chancy first line for a play.Or maybe not too chancy at that, when the man who delivers it is George Clooney, and the man he’s portraying is Edward R. Murrow. This is, after all, Broadway, where glossy demigods of the left are loved.Still, Clooney has never previously appeared on its stages — “so … buckle up,” he writes in his bio.That Murrow has him beat in that regard, having appeared as a character in a musical called “Senator Joe,” is not surprising. He was, after all, a world-famous journalist whose first name might as well have been “crusading.” As “Good Night, and Good Luck” begins, what he’s crusading for, in a speech to news directors, is a complete rethink of television, which in choosing to “distract, delude, amuse and insulate” is making Americans “fat, comfortable and complacent.”That’s in 1958. Looking at the diminished state of television news today, you’d have to conclude he was right: His speech did nobody any good.But his journalism is another story, and that’s the one “Good Night, and Good Luck,” which opened on Thursday at the Winter Garden, wants to tell. To do so, it quickly jumps back to 1953 and into CBS’s Studio 41, where Murrow and his producer, Fred W. Friendly, run the small empire that creates the newsmagazine “See It Now.” They are about to embark on a series of broadcasts designed to unmask, and thus destroy, Senator Joseph R. McCarthy, the Communist-witch-hunting demagogue. Amazingly, they succeed.Clooney, at right, is aided by a capable cast, including from left: Fran Kranz, Michael Nathanson, Glenn Fleshler, Christopher Denham, Ilana Glazer, Jennifer Morris and Carter Hudson.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

    • 125 Shares93 Views

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      In ‘The Picture of Dorian Gray,’ Sarah Snook Goes Digital

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      About five minutes into “The Picture of Dorian Gray,” the stage adaptation of Oscar Wilde’s 1891 novel, the actress Sarah Snook, playing the louche aristocrat Lord Henry Wotton, reaches out and rests a hand on Dorian Gray’s shoulder. At nearly every performance, the audience gasps. Sometimes, from sheer delight, they giggle.The gesture itself is simple, but the execution is so demanding that two years ago, when Snook first tried it, she had a panic attack. Snook plays both Lord Henry and Dorian Gray — and two dozen other characters, too. So she is putting her own hand on her own shoulder by way of an elaborate synthesis of live action, live video and recorded video. “The Picture of Dorian Gray,” a Victorian Gothic trifle, can now be seen in portrait mode.Even after a celebrated London run and weeks of performances at the Music Box Theater on Broadway, that moment, in which a recorded Lord Henry joins a live Dorian onscreen, hasn’t become any easier. As it approaches, Snook said she will find herself thinking: What if I’m a millimeter off? What if the magic is spoiled? The recording doesn’t protect her from imprecision, from accident. “The thing is,” she said, “it’s live theater.”Live video merges with recorded sequences to create the image of Sarah Snook reaching out to touch her own shoulder, conjuring the moment in which Lord Henry seduces Dorian Gray into a life of pleasure.Kip Williams, the director of “Dorian Gray” and until recently the artistic director of the Sydney Theater Company, pioneered this technique, which he calls cinetheater, about a decade ago. Rehearsing a production of Tennessee Williams’s “Summer and Smoke,” he decided to stage a chase sequence in the bowels of the theater. Some colleagues encouraged him to record it, but Williams resisted.“Theater is a live art form,” he said. “The audience knows when it’s live and when it’s not. That transiency, that temporal quality of being in the present moment is at its core.”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

    • 113 Shares181 Views

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      ‘The Cherry Orchard’ Review: A Captivating Take on Chekhov

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      Nina Hoss stars as a melancholic matriarch in Benedict Andrews’s immersive rendition of the classic at St. Ann’s Warehouse in Brooklyn.Every time it feels as if we’re nearing a state of Chekhoverdose, a great production rolls around to remind us of the Russian writer’s uncanny power to pull us into his fold.Andrew Scott’s solo performance of “Vanya” at the Lucille Lortel Theater, which the New York Times’s critic Jesse Green called “a reset,” seems to have that effect on many.For me, it’s Benedict Andrews’s electric take on “The Cherry Orchard” at St. Ann’s Warehouse in Brooklyn, which left me so emotional, happy — from being reminded of the power of theater to surprise and thrill — and plain revved up that I struggled to fall asleep that night.A brief recap for those who can’t tell their sisters from their seagulls: “The Cherry Orchard” is the one in which the head of a once-wealthy family visits her estate for the first time in five years, and everybody confronts the reality that the beloved piece of land in the title must be sold to settle debts.Usually that matriarch, Ranevskaya is the play’s magnetic center, a grande dame whose efforts to come to terms with her world’s downfall embody the changes brewing in an entire society. In Andrews’s adaptation and staging, Ranevskaya (Nina Hoss, all melancholy grace and understated charisma) feels more like a part of a true ensemble. When not doing a scene, she and the other characters sit in the audience, calmly watching the proceedings. The in-the-round staging reinforces the feeling that we are them and they are us.Chekhov plays lend themselves to almost infinite variations and approaches, and Andrews’s is relatively mild compared to some radical deconstructions that mauled Chekhov beyond instant recognition.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

    • 163 Shares190 Views

      in Movies

      Val Kilmer, Film Star Who Played Batman and Jim Morrison, Dies at 65

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      A wide-ranging leading man who earned critical praise, he was known to be charismatic but unpredictable. At one point he dropped out of Hollywood for a decade.Val Kilmer, a homegrown Hollywood actor who tasted leading-man stardom as Jim Morrison and Batman, but whose protean gifts and elusive personality also made him a high-profile supporting player, died on Tuesday in Los Angeles. He was 65.The cause was pneumonia, said his daughter, Mercedes Kilmer. Mr. Kilmer was diagnosed with throat cancer in 2014 but later recovered, she said.Tall and handsome in a rock-star sort of way, Mr. Kilmer was in fact cast as a rocker a handful of times early in his career, when he seemed destined for blockbuster success. He made his feature debut in the slapstick Cold War spy-movie spoof “Top Secret!” (1984), in which he starred as a crowd-pleasing, hip-shaking American singer in Berlin unwittingly involved in an East German plot to reunify the country.He gave a vividly stylized performance as Jim Morrison, the emblem of psychedelic sensuality, in Oliver Stone’s “The Doors” (1991), and he played the cameo role of Mentor — an advice-giving Elvis as imagined by the film’s antiheroic protagonist, played by Christian Slater — in “True Romance” (1993), a violent drug-chase caper written by Quentin Tarantino and directed by Tony Scott.Val Kilmer as the rock singer Jim Morrison in the 1991 film “The Doors.”Sidney Baldwin/TriStar PicturesMr. Kilmer had top billing (ahead of Sam Shepard) in “Thunderheart” (1992), in which he played an unseasoned F.B.I. agent investigating a murder on a South Dakota Indian reservation, and in “The Saint” (1997), a thriller about a debonair, resourceful thief playing cat-and-mouse with the Russian mob. Most famously, perhaps, between Michael Keaton and George Clooney he inhabited the title role (and the batsuit) in “Batman Forever” (1995), doing battle in Gotham City with Two-Face (Tommy Lee Jones) and the Riddler (Jim Carrey), though neither Mr. Kilmer nor the film were viewed as stellar representatives of the Batman franchise.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

    • 150 Shares142 Views

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      From Hasidic Brooklyn to Off Broadway: The Life of a Trans Rabbi

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      After disavowing her strict religious upbringing, Abby Stein came out as transgender. She is now the subject of a new play by New York Theater Workshop.One morning in 2015, a few years after she had begun to separate herself from the ultra-Orthodox Jewish world in which she was raised, Abby Stein met with her father to come out as a woman.Raised in a Hasidic enclave in Williamsburg, Brooklyn, Stein was all but certain that her family was unfamiliar with the notion of being transgender. In their isolated community, gender roles were rigid, and the internet was blocked entirely or made “kosher” with software that restricted sites like Wikipedia.“Any modern gender theory wouldn’t speak to him,” Stein, 33, said of approaching her father. “I needed to find something that would work.”That high-stakes conversation is at the center of a new Off Broadway play, “Becoming Eve,” opening next week. In the lightly fictionalized play, the protagonist is called Chava, which is Stein’s middle name. She is portrayed by Tommy Dorfman, opposite Richard Schiff, the “West Wing” star who, playing her father, is transformed by the traditional garb of a Hasidic man, complete with a long beard and a black silken coat.The play ends shortly before the real events that turned Stein into a public figure.Dorfman, in the background, with a puppet version of the young Chava and Richard Schiff as her father in the New York Theater Workshop production.Sara Krulwich/The New York TimesThe same day that she had the conversation with her father, Stein, who was ordained as a Hasidic rabbi in 2011, came out to the larger world in a blog post. She woke up the next morning to find that the post on her typically lightly read blog had around 20,000 views.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

    • 100 Shares96 Views

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      Fisher Center at Bard Announces Civis Hope Commissions

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      The Fisher Center at Bard has announced a wave of works by artists including Suzan-Lori Parks, Courtney Bryan, Barrie Kosky and Lisa Kron.Hope may seem daring in this age of angst and uncertainty, but it is at the heart of three major new works coming to the Fisher Center at Bard, including a musical adaptation of “Yentl the Yeshiva Boy,” the performing arts center announced on Tuesday.With a $2.5 million gift from the Civis Foundation, matched by Bard College for an initial endowment of $5 million, the Fisher Center said it would create the Civis Hope Commissions, a program to support “contemporary artists who will examine, interrogate and transform American artifacts, archival materials or artworks from the past to imagine a more perfect, just and hopeful future.”Gideon Lester, the Fisher Center’s artistic director and chief executive, described the program in an interview as “a rallying cry for the possibility of art.”“Art can describe things as they might be,” he said, “and see things not only as they are framed by the current news cycle. Great art has the ability to shift our consciousness and show us what we might become if we were really inhabiting our best selves. That’s what these commissions are really about.”The Civis Hope Commissions are intended to continue in perpetuity, but the Fisher Center announced three projects to start: “Jubilee,” a new musical with a libretto by the Pulitzer Prize-winning playwright Suzan-Lori Parks, based on Scott Joplin’s opera “Treemonisha”; Courtney Bryan’s first opera, an adaptation of Tennessee Williams’s “Suddenly Last Summer”; and the “Yentl” musical, which will be the celebrated director Barrie Kosky’s first project developed in the United States.These commissions had already been in the works at the Fisher Center, but were chosen for the Civis program because they fit its mandate, Lester said, adding that working under the Civis umbrella allowed him and the artists “an opportunity to think about them in a new way.”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

    • 150 Shares154 Views

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      Review: ‘Glengarry Glen Ross’ With Kieran Culkin, Bob Odenkirk and Bill Burr

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      Kieran Culkin, Bill Burr and Bob Odenkirk star in a bumpy revival of David Mamet’s play about salesmen with nothing worth selling.Watch out for Richard Roma. Top man among the bottom feeders at a scammy Chicago real estate agency, he has a hypnotic come-on and a dizzying spiel. Identifying your vulnerabilities with forensic accuracy, he’ll lance them with a blunt needle. (“You think you’re queer?” he asks one mark. “I’m going to tell you something: We’re all queer.”) If it’s what you need, he’ll be the brother who thinks big on your behalf, who sees beyond your sad habit of safety to the rewards only risk can offer.Not that there are actually rewards. The lots he’s selling in Florida, in developments ludicrously called Glengarry Highlands and Glen Ross Farms, are worthless.Back at the office, too, he’s the alpha among losers. On the leaderboard of recent earnings, he stands closest by far to the $100,000 mark that will win him a Cadillac in the agency’s sales contest. (The two lowest earners will be fired.) His colleagues are merely additional marks to be bamboozled. They have schemes; he has juice.No wonder he remains, 41 years after he first hit Broadway in David Mamet’s “Glengarry Glen Ross,” one of theater’s greatest characters: the unregulated id of sociopathic capitalism. He makes Willy Loman look like a softy. This salesman will never die.Or so I thought. But in the weirdly limp revival that opened on Monday at the Palace Theater, something has flipped. As played by Kieran Culkin, leading a sales team that also features Bob Odenkirk, Bill Burr and Michael McKean, Roma is no longer the master of everyone else’s neuroses; he’s neurotic himself. Especially in the scene that ends the first act, as he winds up for a pitch into the soul of a schlub, he is so deeply weird and interior that any semblance of a confident exterior evaporates. The man couldn’t sell a dollar for a dime.Bill Burr, left, as the hotheaded Moss and Michael McKean as the strait-laced Aaronow in an Act I scene in a Chinese restaurant.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

    • 88 Shares144 Views

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      Andrew Scott on ‘Vanya’: ‘Who Isn’t Sad?’

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      “I really believe that we all do contain multitudes,” Andrew Scott said on a Friday morning in March. Scott may contain more than most. An actor of unusual sensitivity and verve, he is starring, solo, in an Off Broadway production of Chekhov’s melancholy comedy “Uncle Vanya.” The title, like the cast list, has also been condensed, to just “Vanya.”The New York transfer of this London production had opened a few nights before. In this version, the playwright Simon Stephens has relocated the action from 19th-century Russia to rural Ireland in more or less the present day. Scott plays the central character, a man who has sacrificed his own ambition to support his feckless brother-in-law. He also plays the brother-in-law, the put-upon niece, the neglected young wife, and several others. Scott is alone onstage throughout. That stage can feel very crowded.The New York Times critic Jesse Green described Scott, in performance, as a “human Swiss Army knife.” Mindful of Scott’s work in “Fleabag,” “Ripley” and the recent film “All of Us Strangers,” Green also referred to Scott as a “sadness machine.” This is a popular opinion. Variety has called him “Hollywood’s new prince of heartache.”On this morning, Scott, 48, did not appear unusually sad, though he was somewhat rumpled. The plan had been to walk over to Little Island and then along the Hudson River, toward the theater, but severe weather had changed that.“Oh my God, it’s windy,” he said, out on the street. (“You can’t get sick,” his publicist fretted.) So Scott had retreated, with a breakfast burrito and a Day-Glo orange juice, to the shelter of a nearby pier. Its windows looked out onto the river. The water — choppy, gray-green — reflected in his eyes.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