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    The Prevalence of Standing Ovations

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    More from our inbox:China, America and the Climate ChallengeKids’ Reactions to the ‘Cringe-Worthy’ News TodayDebate Conditions Pablo DelcanTo the Editor:Re “Bravo! Hurray! Wahoo! (Meh.),” by John McWhorter (Opinion, April 16):The currency of the standing ovation is indeed seriously debased. The impulse to stand up during the ovation following a performance may in some cases represent a kind of unconscious one-upmanship. “I’m more sensitized than most people to the sublimity of what we all have just witnessed, and it is imperative that I separate myself from the underappreciative herd.”Needless to say, if other audience members follow suit by rising from their seats, then you can raise the ante by hoisting your clapping hands up from the standard mid-torso level to over your head — signifying that the artistry one is acknowledging is not just merely great, but really most sincerely great.I confess that although I invariably applaud performances, I usually “sit out” the competitive appreciation derby, and haul myself to my feet only if I feel particularly inspired. I avoid the over-the-head clapping mode at all times. Maybe this marks me as a philistine; I’ve been called worse.David EnglishActon, Mass.To the Editor:I admit that I’m often among the first to give a standing ovation. I always wondered why the holdouts would deny something so simple to these hardworking actors.You have to walk out of the theater a few minutes later anyway, so why not stretch your legs and participate with your fellow theatergoers in the shared joy of theater? Perhaps it’s generational, cultural or regional, or maybe it’s a combination.Jumping to my feet in appreciation of the actors’ hard work is my way of giving back, and it feels really good! I’m sure the actors like to feel the good will as well.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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      The Offense That Harvey Weinstein Can Never Be Convicted Of

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      The movie producer won his appeal in New York on Thursday. But his story, at its core, is about work, and it can’t be measured by a criminal court.For the first time in years, there is a chance that Harvey Weinstein could walk free.His New York conviction for sex crimes was overturned on Thursday. Manhattan’s district attorney says he wants to retry Mr. Weinstein, but that seems, at most, a maybe. The former film producer still has a long sentence to serve in Los Angeles, though next month he is expected to appeal that conviction on grounds similar to those that were successful in New York. His lawyer is the same one who got Bill Cosby’s conviction tossed out.Many of Mr. Weinstein’s accusers say they are horrified. Even some of the seven judges who participated in the decision were outraged. The majority — ruling that his trial was unfair because it introduced witnesses separate from the central charges — prevailed by a single vote, 4 to 3. The dissenting judges described that decision as “oblivious,” “naïve” and “endangering decades of progress.” They have joined a roiling debate about what the standard of evidence in sex crimes trials should be.But criminal convictions have never seemed like the ultimate measure of Mr. Weinstein’s behavior. Whether he remains a felon or not, he can never be tried for the most overarching offense he is accused of.That is because, at its core, the Weinstein story — along with its greatest impact — is all about work.“A lot of these stories are about what’s been lost career-wise, and there’s no criminal remedy that is going to get at that,” Deborah Tuerkheimer, a law professor at Northwestern, said in an interview.Back when Mr. Weinstein was at the height of his power, he had many gifts as a producer. But where he stood above others was in his ability to make careers. He hired and molded Matt Damon, Michelle Williams, Jennifer Lawrence, Quentin Tarantino and some of the most successful producers working today. He invented the Oscar campaign as we know it. At those awards, he was thanked more often than God.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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      2024 Olivier Awards: The Snubs and Surprises

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      Our theater critics and a reporter discuss the big winner — “Sunset Boulevard” — and the rest of the honorees at Britain’s equivalent of the Tonys.On Sunday night, the Olivier Awards — Britain’s equivalent to the Tonys — took place in London. As expected, “Sunset Boulevard” took home the most trophies (and will have a Broadway run later this year), but there were also some surprise winners. Matt Wolf and Houman Barekat, The New York Times’s London theater critics, joined the reporter Alex Marshall to discuss the winners, the snubs and the last year in British theater.Jamie Lloyd’s stripped-back “Sunset Boulevard,” starring Nicole Scherzinger as Norma Desmond, took home seven awards. Do you think it deserved to dominate?ALEX MARSHALL I saw “Sunset Boulevard” from the cheapest of cheap seats in the back row, but it was still my most memorable night in a theater last year. I’m not surprised that Andrew Lloyd Webber responded to the show’s wins by writing on X that it was “a highlight of my career.”For me, the only downside to its sweep is that Nicholas Hytner’s “Guys and Dolls” failed to win any major awards (it picked up one for choreography). If Lloyd’s reimagining of “Sunset” was brutal and stark, Hytner’s revamp was all exuberance and joy.Scherzinger in “Sunset Boulevard.”Marc BrennerMATT WOLF I loved everything about “Sunset Boulevard,” so, yes, I do think it deserved to dominate. That said, it must have been galling for the “Guys and Dolls” company to open that show to universal raves last spring, only to have “Sunset” come along and blindside them. The radical daring of Lloyd’s “Sunset” doesn’t happen every day, and “Guys and Dolls” was the unfortunate victim of that fact.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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      ‘Sunset Boulevard,’ Heading to Broadway, Wins Big at Olivier Awards

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      The musical, which stars Nicole Scherzinger, won seven awards at Britain’s version of the Tonys. And Sarah Snook won best actress for “The Picture of Dorian Gray.”A reimagining of Andrew Lloyd Webber’s “Sunset Boulevard,” starring Nicole Scherzinger as Norma Desmond, the long forgotten silent movie star who descends into madness, was the big winner at this year’s Olivier Awards, Britain’s equivalent of the Tonys.The musical, which will open at the St. James Theater on Broadway this fall, was honored Sunday during a ceremony at the Royal Albert Hall in London with seven awards, including best musical revival, best actress in a musical for Scherzinger, best actor in a musical for Tom Francis, as the screenwriter who falls for Desmond’s charms, and best director for Jamie Lloyd.The number of awards was hardly a surprise. After the musical opened last fall, critics praised Lloyd’s stark production, especially highlighting its contemporary twists that included using cameras to zoom in on characters’ faces, then beam their emotions onto a screen at the back of the stage.Matt Wolf, writing in The New York Times, said that Lloyd’s production belonged firmly “to the here and now.” With this show, the director “takes an established musical by the scruff of the neck and sends it careering into the modern day,” Wolf added.Sarah Hemming, in The Financial Times, was among the critics to praise Scherzinger’s magnetic performance. “She’s not afraid to look scary or ridiculous,” Hemming said, “but there’s also a strung-out vulnerability about her. And when she sings, she pins you to your seat with the harrowing intensity of her delivery.”“Sunset Boulevard” beat several other acclaimed productions to the best musical revival award, including “Guys & Dolls” at the Bridge Theater and “Hadestown” at the Lyric Theater.Sarah Snook in “The Picture of Dorian Gray,” a solo version for which she won best actress at the Olivier Awards. Snook plays 26 roles in the show.Marc BrennerA host of musicals and plays shared the night’s other major prizes. “Operation Mincemeat,” a word-of-mouth hit about a bizarre World War II counterintelligence plot that is running at the Fortune Theater, won best new musical. While “Stranger Things: The First Shadow,” a prequel to the Netflix show, now at the Phoenix Theater, was chosen as best new entertainment or comedy play.The best new play award went to James Graham’s “Dear England,” about the English national soccer team, which transferred to the West End from the National Theater.In the hotly contested acting categories, Sarah Snook (“Succession”) was named best actress for “The Picture of Dorian Gray,” a solo show running through May 11 at the Theater Royal Haymarket. Snook plays all 26 roles, often interacting with recorded projections of her characters.Before Sunday’s ceremony, some critics had expected the best actor award to go to Andrew Scott for a similarly dazzling solo performance: a one-man “Vanya” at the Duke of York’s Theater. In the end, the prize went to Mark Gatiss for his role as the revered actor and director John Gielgud in “The Motive and the Cue,” a play by Jack Thorne that dramatizes the fraught backstage relationship between Gielgud and Richard Burton as they worked on a Broadway show. Like “Dear England,” that play ran at the National Theater before transferring to the West End. More

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      Rachel McAdams Is Not Afraid of the Dark

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      The actress makes her Broadway debut in “Mary Jane” as the single mother of a seriously ill child. She views her acting choices as expanding her orbit.From the outside, you wouldn’t know that Rachel McAdams, the thoughtfully charming star of blockbuster rom-coms, rom-drams, a Marvel franchise and the Oscar-winning “Spotlight,” has been wondering about death.Maybe it has to do with the therapist who said that her indecisiveness and deep curiosity about seeing through someone else’s eyes, which she’s harbored since childhood, could be chalked up to something called “death anxiety.”McAdams had long viewed her acting choices as expanding her orbit. “It’s been a way to live a lot of lives in one,” she said. If that was about a fear of dying — well, it didn’t rattle her.Instead, characteristically, she embraced it. “We don’t have a lot of great coping mechanisms for death in our culture,” she said. “So, yeah, I kind of welcome the opportunity to lean into that — earlier rather than later. Let’s get cozy with it. Let’s get cozy with that next adventure.”Death hovers like a specter around her latest role, as the single mother of a seriously ill child, in the play “Mary Jane.” McAdams hasn’t done theater since college; she makes her Broadway debut as the title character in this Manhattan Theater Club production, which began previews April 2 at the Samuel J. Friedman Theater. It’s by the busy playwright Amy Herzog, who also adapted Broadway’s show of the moment, Ibsen’s “An Enemy of the People.”“Mary Jane” is the first of her own deceptively spare plays to appear on Broadway, after a celebrated run in 2017 at New York Theater Workshop. Dotted (surprisingly) with laugh lines, it’s about the daily muck and lasting profundity of caregiving, a nitty-gritty subject that’s rarely dramatized. “A heartbreaker for anyone human,” Jesse Green wrote in his New York Times review.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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      Sobhita Dhulipala of ‘Monkey Man’ Charts an Unusual Path to Hollywood

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      Sobhita Dhulipala considers herself an outsider — wherever she is.She grew up in the southern Indian state of Andhra Pradesh, making her an outsider in the country’s financial and fashion capital, Mumbai. Her native tongue is Telugu, making her an outsider in predominantly Hindi-speaking Bollywood.And now, with the release on Friday of the high-octane, Jordan Peele-produced “Monkey Man,” in which she stars alongside Dev Patel, she is again an outsider, thrust into Hollywood’s limelight. In fact, the premiere of the film at South by Southwest in Austin, Texas, last month was the first time Ms. Dhulipala, 31, had ever set foot on American soil.“In India, I’m South Indian,” Ms. Dhulipala, who lives in Mumbai, said in a video interview from her hotel room in Los Angeles. “When I come to America, I’m Indian.”“It’s amazing that I get to come to this country with a film,” she added. “It’s like I come with an offering.”In the Amazon Prime series “Made in Heaven,” Ms. Dhulipala portrayed a social climber, navigating her way to ever higher rungs of Indian society.Amazon Prime Video IndiaThat real-life feeling of being an outsider is the undercurrent for many of her onscreen roles. In the Amazon Prime series “Made in Heaven,” Ms. Dhulipala’s character is a low-income nobody who schemes her way into upper-class circles. In “Monkey Man,” she plays Sita, a call girl whose business is the pleasure of powerful but despicable men.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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      Joan Collins Refuses to Be Defined by Age

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      I love writing, I love acting, going onstage and doing my little one-woman show, and I refuse to be defined by a number, by an age. I think that’s terribly old-fashioned and not relevant in today’s world.But you have to be resilient in this business. Rejection is a part of it. I look with dismay at so many of my fellow actors, fallen by the way because of drink and drugs. My father — he was a theatrical agent — instilled in me that I should develop skin like a rhinoceros, and be like a marshmallow on the inside.1952Ms. Collins in “I Believe in You.”Hulton Archive, via Getty Images1955 “Land of the Pharaohs,” directed by Howard Hawks.Film Publicity Archive/United Archives, via Getty Images1977 Starring in the science fiction film “Empire of the Ants, based on a short story by H.G. Wells.Eddie Sanderson/Getty Images1981 The TV series “Dynasty” made Ms. Collins a household name.ABC Photo Archives, via Getty Images1983 Ms. Collins won the Golden Globe for Best Actress in a Drama Series for her role in “Dynasty.”Ron Galella Collection, via Getty Images1992 On Broadway in “Private Lives.”Maria R. Bastone/Agence France-Presse — Getty Images2010 In her one woman show, “One Night With Joan, where she shared stories from her life and career.Walter McBride/Corbis, via Getty Images2017 At the premiere for the film “The Time of Their Lives.”David M. Benett/WireImage, via Getty Images2024 Ms. Collins was a presenter at the Emmy Awards.Mario Anzuoni/ReutersYou also need patience. This business is a waiting game. For example, a script was written for me about the Duchess of Windsor [Wallis Simpson]. I’ve been wanting to do it since the 1980s. We got a green light only a month ago. Years ago I thought it would be wonderful to do a picture about growing up with my sister, Jackie. It just hasn’t come off.It would be set when we were children, during the Blitz. At the time I didn’t feel fear. I didn’t know about the bombings. We would pick up shrapnel in the streets, and in the evening I would put it in my cigar box. We would draw silly pictures of Hitler. We were evacuated 10 or 12 times. We would be in the tube stations, and people would be playing their harmonicas and singing.A question I’m often asked is, “Why are you still working?” It’s such a fatuous thing to say. I keep on working because I love being busy. It’s tiring when I do my one-woman show, going to a new hotel every night. But it’s rewarding. The audience is so responsive. That buoys me.Current and upcoming projects: “Behind the Shoulder Pads, Tales I Tell My Friends,” a memoir; “Joan Collins Unscripted,” a British theatrical tour.This interview has been edited and condensed. More

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      #MeToo Stalled in France. Judith Godrèche Might Be Changing That.

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      Judith Godrèche did not set out to relaunch the #MeToo movement in France’s movie industry.She came back to Paris from Los Angeles in 2022 to work on “Icon of French Cinema,” a TV series she wrote, directed and starred in — a satirical poke at her acting career that also recounts how, at the age of 14, she entered into an abusive relationship with a film director 25 years older than her.Then, a week after the show aired, in late December, a viewers’ message alerted her to a 2011 documentary that she says made her throw up and start shaking as if she were “naked in the snow.”There was the same film director, admitting that their relationship had been a “transgression” but arguing that “making films is a kind of cover” for forms of “illicit traffic.”She went to the police unit specialized in crimes against children — its waiting room was filled with toys and a giant teddy bear, she recalls — to file a report for rape of a minor.“There I was,” said Ms. Godrèche, now 52, “at the right place, where I’ve been waiting to be since I was 14.”Since then, Ms. Godrèche has been on a campaign to expose the abuse of children and women that she believes is stitched into the fabric of French cinema. Barely a week has gone by without her appearance on television and radio, in magazines and newspapers, and even before the French Parliament, where she demanded an inquiry into sexual violence in the industry and protective measures for children.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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      Louis Gossett Jr., 87, Dies; ‘An Officer and a Gentleman’ and ‘Roots’ Actor

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      His portrayal of a drill instructor earned him the Oscar for best supporting actor. He was the first Black performer to win in that category.Louis Gossett Jr., who took home an Academy Award for “An Officer and a Gentleman” and an Emmy for “Roots,” both times playing a mature man who guides a younger one taking on a new role — but in drastically different circumstances — died early Friday in Santa Monica, Calif. He was 87.Mr. Gossett’s first cousin Neal L. Gossett confirmed the death.Mr. Gossett with Susan Sarandon and Christopher Reeve after winning the Oscar for “An Officer and a Gentleman” in 1983.Associated PressMr. Gossett was 46 when he played Emil Foley, the Marine drill instructor from hell who ultimately shapes the humanity of an emotionally damaged young Naval aviation recruit (Richard Gere) in “An Officer and a Gentleman” (1982). Reviewing the movie in The New York Times, Vincent Canby described Sergeant Foley as a cruel taskmaster “recycled as a man of recognizable cunning, dedication and humor” revealed in “the kind of performance that wins awards.”Mr. Gossett told The Times that he had recognized the role’s worth immediately. “The words just tasted good,” he recalled.When he accepted the 1983 best supporting actor Oscar, he was the first Black performer to win in that category — and only the third (after Hattie McDaniel and Sidney Poitier) to win an Academy Award for acting.He had already won an Emmy as Fiddler, the mentor of the lead character, Kunta Kinte (LeVar Burton), in the blockbuster 1977 mini-series “Roots.”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