Aurelia Butler

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    ‘The Last Five Years’ Review: Nick Jonas and Adrienne Warren Star in a Muddy Revival

    Nick Jonas and Adrienne Warren star in a muddy revival of Jason Robert Brown’s still-scathing musical.Leave aside its seriousness, its intimacy, its wit. Leave aside, too, its relative obscurity, despite being frequently performed. (Without really trying, I’ve seen it six times, including the 2014 film.) Even apart from any of that, “The Last Five Years,” by Jason Robert Brown, is still the ur-nerdical — nerdical being a term I made up to describe shows, like “Fun Home,” “The Band’s Visit” and “Kimberly Akimbo,” that are too good to stay in the very small theater-geek niche they arose from. Turns out they can speak, and sing, to anyone.What really makes “The Last Five Years,” which debuted Off Broadway in 2002, look like the father of that family of choice, is its baroque structure. Doubling down (and doing a backflip) on reverse-chronology narratives like the ones in “Betrayal” and “Merrily We Roll Along,” it presents the story of Jamie Wellerstein, a suddenly successful young novelist, and Cathy Hiatt, a slowly sinking young actor, in two timelines. Jamie’s moves forward, from the day he falls headlong for Cathy to the day, five years later, he resentfully leaves her. Cathy’s moves backward, from despair over Jamie’s betrayal to exhilaration over the first stirrings of his love.The structure is no mere appliqué, decorating the surface of the show like a doodle. It is how “The Last Five Years” expresses its truth. One arc always going up, one down, there’s sadness waiting whenever there’s joy and joy whenever there’s sadness. Seen alternately in separate scenes, the lovers never touch, let alone share Brown’s pyrotechnical songs, except halfway through, on the day they marry. Whether the story has a happy ending thus depends on how you look at it.Instead of staying out of each other’s scenes, the actors in this production are often thrown together: one singing, one reacting to the song in mime.Sara Krulwich/The New York TimesBut in the show’s first Broadway incarnation, starring the resplendent Adrienne Warren and an underpowered Nick Jonas, the structure (along with the balance) has been compromised. The production, which opened on Sunday at the Hudson Theater, muddies the show’s temporal ironies and flattens its emotional topography. Its meaning and thus its impact are short-circuited.With material so precision-made, it takes just one mistake to do big damage. Instead of keeping the characters out of each other’s scenes as Brown’s libretto indicates, the director, Whitney White, often throws them together: one singing, one reacting to the song in mime. They make faces, make contact and even make out. As a result — follow me with a protractor if you must — each inhabits the other’s arc, thus disturbing their own. The individual timelines no longer track.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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    Can You Spend 10 Minutes With This Painting?

    Today, we bring you another focus challenge, in which we invite you to spend uninterrupted time looking at one piece of art. (These are published on the first Monday of each month. Sign up here if you’d like to be notified.) This is the ninth piece in the series, but it’s the first time we’ve […] More

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    Bitcoin Is Down 10% Since Trump’s Global Tariff Announcement

    The rapid drop shows that cryptocurrencies, which the president has promoted, are subject to the same market gyrations as any other risky asset.Virtually everyone in the cryptocurrency world celebrated the second election of President Trump, an enthusiastic booster of the industry who promised to turn the United States into the “crypto capital of the planet.”But now the man nicknamed “the first Bitcoin president” is presiding over a Bitcoin crash.Since Mr. Trump announced his global tariffs last week, the price of Bitcoin has plunged 10 percent, dropping below $78,000 on Sunday night. In January, Bitcoin reached a record price of nearly $110,000 on the day that Mr. Trump was inaugurated.The rapid drop shows that Bitcoin, often pitched as a stable long-term source of value, is still subject to the gyrations of the broader market that has cratered since Mr. Trump announced broad import taxes last week. Many investors treat Bitcoin just like any other tech stock, a risky investment that it makes sense to sell in difficult times.Ever since he won a second term, Mr. Trump has largely made good on his promises to help the crypto industry. He has appointed regulators who support crypto and signed an executive order directing the creation of a government stockpile of Bitcoin.At the same time, Mr. Trump has also broadened his personal investments in the crypto world, marketing a so-called memecoin to his supporters.But the impact of his tariffs on the crypto market has led to some disgruntlement.“Crypto is weird, but it’s mostly correlated to optimism & risk appetite,” Haseeb Quresehi, a venture investor who specializes in crypto, wrote on social media on Sunday. “That optimism is crumbling under Trump’s silence.” More

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    Stocks in Asia Fall Sharply, Extending a Rout Caused by Trump’s Tariffs

    Futures on the S&P 500, which allow investors to trade the index before regular trading begins on Monday, added to last week’s sell-off.Financial markets were hit hard by another wave of selling at the start of trading in Asia on Monday, with investors and economists grappling with rising odds of a severe economic downturn caused by President Trump’s significant new tariffs on imports.Trading was extremely volatile. Stocks in Japan plunged over 8 percent, while South Korea tumbled about 5 percent. In Australia, stocks fell more than 6 percent.Over the weekend, analysts circulated notes warning that Asia could be particularly vulnerable to a tit-for-tat exchange of retaliatory tariffs between China and the United States. Many countries in the region, including Japan and South Korea, count both nations as their top trading partners.President Trump doubled down on Sunday evening, saying that he would not ease his tariffs on other countries “unless they pay us a lot of money.” He also dismissed concerns that his steep new taxes on imports will lead to higher prices. “I don’t think inflation is going to be a big deal,” he told reporters on Air Force One.On Friday, China struck back at the United States with a 34 percent tariff on a number of American exports, matching a 34 percent tariff that Mr. Trump imposed on China last week.On Monday, stock benchmarks in Hong Kong and Taiwan plunged about 10 percent when they started trading. Stocks in mainland China were down about half that amount.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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    Amadou Bagayoko, Half of Malian Duo Who Went Global, Dies at 70

    As Amadou & Mariam, he and his wife were improbable pop stars on two counts. Their style was venturesome and eclectic, and they were blind virtuosos.Amadou Bagayoko, a Malian guitarist and composer who with his wife, the singer Mariam Doumbia, formed Amadou & Mariam, inventing a broadly accessible sound that made fans of people worldwide who otherwise knew little about music from Africa, died on Friday in Bamako, Mali’s capital. He was 70.His death was announced by the Malian government, which did not provide a cause. He and Ms. Doumbia lived in Bamako.In the late 2000s and early 2010s, Amadou & Mariam was regularly described as the new century’s most successful African musical act.Mr. Bagayoko, who grew up listening to Led Zeppelin and Pink Floyd, called their sound “Afro-rock,” and the group regularly combined his winding guitar solos with, for example, the pounding of a West African djembe drum.Yet the group’s music also consistently evolved. Their breakout hit, the 2005 album “Dimanche à Bamako,” had chatty spoken asides, sirens, the hubbub of crowds — city sounds turned into melodies. Their 2008 album “Welcome to Mali,” conversely, embraced an electronic style of funk, opening with a song, “Sabali,” featuring Damon Albarn of the arty hip-hop group Gorillaz.What was consistent was a sweet, graceful sound that still had the power to build to crescendos, with Ms. Doumbia’s alto achieving clear, pleasant resonance over a rich orchestration.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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    ‘I’m Assuming You Know David Greenspan’ Review: What Are You Waiting For?

    Mona Pirnot’s comic ode to the downtown artist doubles as a meditation on the precariousness of playwriting as a creative life.Nothing has made me regret Atlantic Theater Company going dark for more than two months this year like “I’m Assuming You Know David Greenspan,” the absolute tonic of a show that reopens the company’s second stage.Written for and performed by the downtown wonder David Greenspan, who has collected a half-dozen Obie Awards over his singular career, it was originally scheduled to open the day after Inauguration Day. But when previews were about to start, the stagehands went on strike, Atlantic Theater indefinitely postponed the production and we, the public, temporarily lost out on a source of comfort and delight in a time of chaos.With a union contract ratified, we have it now, and frankly the abrupt suspension of this comedy by Mona Pirnot (tonally a complete departure from her play “I Love You So Much I Could Die”) has only enhanced its effect, adding a stratum to what was already a multilayered affair. Because this clever, funny play is both an attentive ode to Greenspan’s extraordinary artistry as a playwright-performer and an unsparing meditation on the psychic and financial precariousness of playwriting as a creative life.It is, then, very much insider theater — yet it generously serves, too, as an initiation for the unfamiliar: into Greenspan’s exquisitely expressive whirlwind solo performance style as he plays a small gaggle of millennial women, and into the costs and payoffs of pursuing artistic ambition at full tilt.Theatergoers can witness Greenspan’s expressive whirlwind solo performance style as he plays a group of millennial women onstage.Sara Krulwich/The New York TimesSet in Brooklyn in the summer of 2022, the action takes place in the apartment of Emmy, a playwright freshly cognizant of the danger of being too broke to afford health insurance. She has invited a few writer friends over to do a reading of her new work in progress — a litmus test that, no pressure, will tell her whether to give up theater forever. Mona, a fellow playwright obsessed with Greenspan ever since she saw him perform “The Patsy,” is the first to arrive, followed by Sierra, who writes for television and consequently has gobs of cash to throw around.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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    Jay North, Child Star Who Played ‘Dennis the Menace,’ Dies at 73

    Mr. North was best known for playing the towheaded Dennis Mitchell on the television series, which ran on CBS from 1959 to 1963.Jay North, who played the well-meaning, trouble-causing protagonist of the popular CBS sitcom “Dennis the Menace” from 1959 to 1963, died on Sunday at his home in Lake Butler, Fla. He was 73.His death was confirmed by Laurie Jacobson, a friend of Mr. North’s for 30 years. The cause was colorectal cancer, Ms. Jacobson said.Mr. North played the towheaded Dennis Mitchell, who roamed his neighborhood, usually clad in a striped shirt and overalls, with his friends, and often exasperated his neighbor, a retiree named George Wilson, who was played by Joseph Kearns. Herbert Anderson played Dennis’s father, and Gloria Henry played his mother.Dennis winds up causing lots of trouble, usually by accident.In one episode, a truck knocks over a street sign, and Dennis and a friend stand it up — incorrectly. Workmen then dig a gigantic hole, meant to be a pool for a different address, in Mr. Wilson’s yard.The show, which was adapted from a comic strip by Hank Ketcham, presented an idyllic, innocent vision of suburban America as the 1950s gave way to the tumultuous ’60s.But things were not easy for Mr. North behind the scenes.Many years after “Dennis the Menace” ended, Mr. North said that his acting success came at the cost of a happy childhood.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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    Eyewitnesses Recount Deadly Israeli Attack on Medics in Gaza

    The New York Times interviewed two people who described being detained by Israeli soldiers and looking on as they opened fire on ambulances and a fire truck, killing 15.It was still dark out when a group of ambulances and a fire truck dispatched by Palestinian emergency response services slowed to a halt in Rafah, the southernmost city in Gaza, early on March 23. They had been sent to find their paramedic colleagues, who had headed out in an ambulance on a rescue mission earlier that morning before disappearing.Now the convoy stopped next to the missing ambulance, which stood by the side of the road near some U.N. warehouses. When paramedics got out to look, Israeli soldiers about 50 meters away opened fire on them, according to two men who said they had witnessed the shootings.The two men saw what happened, they said, because they were being held by the same Israeli troops.One of the two, Munther Abed, 27, a volunteer paramedic, said he had been detained after surviving an earlier attack on the missing ambulance that killed two other crew members. The other man, Dr. Saeed al-Bardawil, 55, a physician, said he had been detained alongside Mr. Abed when he and his son were stopped by Israeli troops on their way to go fishing about 4:45 a.m.The New York Times interviewed the two men separately in Gaza days after the United Nations said it had found the bodies of 15 rescue workers — eight from the Palestine Red Crescent Society, six from Gaza’s Civil Defense and one from the United Nations — in a mass grave. Their ambulances, their fire truck and a U.N. vehicle, which had been crushed, were half-buried nearby. The United Nations has accused Israel of killing the 15 workers, discarding their bodies and destroying the vehicles.The two men’s accounts appear to support those accusations. Although their stories could not be independently confirmed, the details they gave also matched the sequence of events in a video obtained and verified by The New York Times, discovered on the cellphone of one of the dead paramedics. That video shows an intense barrage of gunfire hitting the convoy just as dawn breaks.A video captures the moment Israeli troops opened fire on a group of medics in Gaza in late March.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