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      Candice Carty Williams’s ‘Queenie’ Captures Black British Womanhood

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      The coming-of-age show, streaming on Hulu, follows a 25-year-old living in south London, navigating the gulf between her reality and what she wants.In 2022, British television producers released an open casting call, looking for a Black full-figured woman, aged 22 to 30, with a London accent.Thousands of people sent in audition tapes, hoping to land the role of Queenie Jenkins, whom many in Britain already knew as the titular character in Candice Carty-Williams’s best-selling debut novel.Carty-Williams, who was also the TV adaptation’s showrunner, knew that she was looking for an actress who could convey Queenie’s introspection. Dionne Brown — whom she had met during auditions for another show — had the right temperament. “Dionne is constantly thinking in a way that Queenie is,” Carty-Williams said. “You see her standing there and her head is whirring — that was important to me.”“Queenie,” streaming on Hulu, is a coming-of-age story about the titular 25-year-old Londoner navigating the gulf, in love and life, between her reality and what she wants. She is a social media assistant at a newspaper, but has ambitions to write meaningful journalism; her relationship with her boyfriend is falling apart despite her efforts; and she wants carefree sex, but her encounters often leave her feeling disempowered.All the while, Queenie grapples with her childhood trauma and how those experiences complicated her relationship with her mother. The show also explores how culture influences mental health issues: Queenie’s background as the descendant of Jamaican immigrants, her religious upbringing and British society’s emotional repression converge, Carty-Williams said, to create “the Holy Trinity of how to have a nervous breakdown.”When Brown read the script for the eight-episode adaptation, she found Queenie instantly relatable, thinking, “Oh my gosh, I didn’t know other women felt like this,” the actress said recently in an interview. “There was a lot of truth in a lot of the dialogue.”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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      Gucci Debuts Cruise Collection at London’s Tate Modern

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      Turnarounds are hard, especially when the stakes are high. Can Sabato De Sarno deliver the goods with his debut cruise collection at the Tate Modern?As the sun set over the River Thames on Monday night, London’s favorite supermodel Kate Moss struck a pose for the mob of paparazzi gathered outside the soaring industrial heft of the Tate Modern. A stream of stars soon followed, including Dua Lipa, Paul Mescal, Debbie Harry, Solange Knowles and Demi Moore, her tiny Chihuahua Pilaf tucked under her arm like a handbag. They had gathered for Gucci and its creative director, Sabato De Sarno. The budget — and the stakes — could not have been bigger as he presented his debut cruise collection.Gucci is one of the most recognizable fashion brands in the world, generating almost 10 billion euros (about $119 billion) in revenue last year. But Gucci has been scrambling to recover after a sobering drop in its fortunes in recent years. The impact for Kering, its parent company, is considerable given that Gucci is responsible for half of the organization’s sales and two-thirds of its profit. Last month, Kering reported that Gucci had a sales slump of almost 20 percent in the last quarter, leading to a rare profit warning and sliding share price.This is not the fault of Mr. De Sarno, who was appointed 15 months ago and whose designs have only recently started arriving in stores following his Milan Fashion Week debut in September. However, the critical reception of his men’s and women’s wear collections — with a pared-back focus on crisp, contemporary silhouettes and accessories — has been muted, the concern being that he is too safe and straightforward. Certainly, they are less flamboyant than those of his predecessor, Alessandro Michele. But will the fashion industry and its increasingly jittery investors give Mr. De Sarno and his more minimal-leaning vision more time to rebuild the Gucci juggernaut?Dua Lipa and Paul Mescal at Gucci.Tristan Fewings/Getty ImagesFrançois-Henri Pinault, the chairman and chief executive of Kering, and Salma Hayek at the show.Tristan Fewings/Getty ImagesIf the ideas that emerged from the cruise collection, called “We’ll Always Have London,” are anything to go by, they should. The house of Gucci has longstanding roots in London — its founder, Guccio Gucci, worked as a baggage porter at the Savoy hotel, observing the luggage and lifestyles of the international elite. In his show notes, Mr. De Sarno wrote that he had found himself inspired anew by a city that “has welcomed me and listened to me.” The Tate Modern’s vast underground concrete caverns known as the Tanks had been decorated with more than 10,000 verdant plants that blossomed from the ceiling, floor and pillars. Models made their way through the rooms in clothes that felt lighter and more covetable than those in his debut collections — short suede coats and capes, immaculately tailored denim, and shifts and skirts lavishly embroidered with paillette daisies. There were plenty of nods to British fashion woven through the show, especially the pearls, knee-length pencil skirts and slouchy and sensible beige anoraks that could have been worn by Queen Elizabeth II. Dresses and coats covered with squares made of a shimmering bead fringe were a reference to Scottish plaids.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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      Sadiq Khan Heads for 3rd Term as London Mayor

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      Initial results showed the mayor, representing the center-left opposition Labour Party, gaining ground against a right-wing rival who focused on crime and cars.Sadiq Khan, the two-term center-left mayor of London, was poised on Saturday to become the first three-time winner of the job by a clearer margin than some of his supporters had predicted.Mr. Khan, from the main opposition Labour Party, was initially elected to the post in 2016, becoming London’s first Muslim mayor, and would now become the first politician to win three consecutive terms since the role was created in 2000.With the Labour Party well ahead in the opinion polls ahead of a looming general election, many analysts had expected Mr. Khan to cruise to a comfortable victory in a city that tends to lean to the left, but some saw the potential for an unexpectedly tight race against Susan Hall, representing Britain’s governing Conservative Party.That prospect quickly faded on Saturday, with Mr. Khan’s party declaring victory and the BBC forecasting him as the winner after results from half of London’s regions showed the mayor exceeding his performance in his last election, in 2021.“Sadiq Khan was absolutely the right candidate,” said Keir Starmer, leader of the Labour Party. “He has got two terms of delivery behind him and I am confident he has got another term of delivery in front of him.”The vote itself took place on Thursday along with other local and mayoral elections in which the Conservatives, led by Britain’s embattled prime minister, Rishi Sunak, suffered a series of setbacks.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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      Andrew Davis, 80, Dies; Renowned Conductor Who Championed Britain’s Music

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      Celebrated for his long tenure with Lyric Opera of Chicago, he led this and other orchestras with force and a notably energetic podium presence.Andrew Davis, an ebullient British conductor who brought energy to his countrymen’s compositions and passion to hundreds of opera performances, died on April 20 in Chicago. He was 80.His manager, Jonathan Brill, said the cause of Mr. Davis’s death, in a hospital, was leukemia.More than many conductors, Mr. Davis was remembered by those who worked with him as deriving a sense of physical enjoyment from the music — “almost a palpable pleasure,” the pianist Emanuel Ax said in an interview. And that translated into a pleasure for his collaborators. “People loved playing for him,” Mr. Ax said.Mr. Davis spent 21 years, from 2000 to 2021, as music director and principal conductor of one of America’s great opera companies, Lyric Opera of Chicago, in a vast repertoire ranging from Mozart through Wagner to Berg. He also led orchestras in Canada — the Toronto Symphony Orchestra, from 1975 to 1988 — and Australia — the Melbourne Symphony Orchestra, from 2013 to 2019. He also conducted at the Glyndebourne Festival in England from 1988 to 2000.But it was as an interpreter of 20th-century British music, and particularly the works of Elgar, Vaughan Williams, Delius, Holst, Britten and others, that Mr. Davis made his mark and earned his way into the affections of his fellow Britons. With its fervid, billowing patriotism and ruminative pastoral interludes, this music sometimes struggles to cross national boundaries.Mr. Davis conducting the BBC Symphony Orchestra in 1995. He was the orchestra’s principal conductor for a decade.Robbie Jack/Corbis, via Getty ImagesMr. Davis, as principal conductor of the BBC Symphony Orchestra from 1989 to 2000 and at summer London Proms concerts in front of enthusiastic audiences of thousands in the Royal Albert Hall, made the most of the British compositions that were his specialty. This deep homegrown commitment led The New York Times’s Bernard Holland, reviewing a 1987 Avery Fisher Hall appearance by Mr. Davis that included little-known works by Arnold Bax and Michael Tippett, to write that “the music of 20th-century Britain has hugely profited from the fervent ministrations of British musicians and the British musical press.”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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      Three London Fashion Brands Coming to the U.S.: Hunza G, Rixo and Me + Em

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      Three beloved London brands are making their way across the Atlantic to stake a bricks and mortar presence in the United States.Looks, left to right, from Rixo, Hunza G and Me+Em, three British brands that are coming to the United States.RIXO, Hunza G, Me + EmBritain’s fashion brands have long looked to the United States for a chance to supersize sales — with varying degrees of success. For every Boden, there is a Topshop, Ted Baker or Hunter Boots that failed to successfully crack the market. After all, the United States is much larger, more diverse and already has plenty of fashion labels to choose from. Garments with an appealing English eccentricity or appeal in their home market may feel out of touch in major American shopping hubs.But the pandemic led many Americans to spend more time online seeking out new brands, including ones from across the Atlantic. Now, three cultish London brands that experienced new popularity during that time have decided to set up shop on the East and West Coasts.What can they bring to the market that no one else has? The founders of Hunza G, Rixo and Me+Em explain their rationale for planting their flags on American soil.Hunza swimwear is made in a knitted seersucker fabric that molds to fit women who are different sizes on top and bottom.Sydney KrantzHunza GYou may not have heard of Hunza G, but chances are you’ve seen the label’s signature wrinkly-crinkly, super-stretchy Lycra swimsuits on the likes of Rihanna or Hailey Bieber or Kim Kardashian.Established in 1984 by the designer Peter Meadows, Hunza was known for tight and bright dresses that were a fixture on the 1980s club scene. Whitney Houston wore a lilac tank style for the “I Wanna Dance With Somebody” video, and Julia Roberts wore a blue and white cutout version for her first scenes in “Pretty Woman.” Almost 30 years later, in 2015, and after a period out of fashion favor, the label was revived under a new co-founder and creative director, Georgiana Huddart.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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      British Museum Sues Former Curator for Return of Stolen Items

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      The museum accuses Peter Higgs, a former keeper of Greek and Roman antiquities, of stealing or damaging at least 1,800 artifacts and selling many on eBay.A judge has ordered a former curator who the British Museum says stole hundred of artifacts to return any gems or jewelry from the institution that are in his possession.The museum claims that the former curator, Peter Higgs, who once ran the museum’s Greek and Roman antiquities department, stole or damaged over 1,800 artifacts from its collections and sold hundreds of those items on eBay, according to court documents.Officials also want Mr. Higgs to explain the whereabouts of other artifacts that they says the former curator sold online. The court documents state that Mr. Higgs disputes the accusations against him.At a High Court hearing in London, the presiding judge, Heather Williams, ordered Mr. Higgs to return any items within four weeks. Judge Williams also ordered PayPal, the online payments company, to disclose data relating to Mr. Higgs’s eBay accounts, including his transaction history.The missing museum items include engraved gems and jewelry, some of which are thousands of years old.On Tuesday, Mr. Higgs and his family did not respond to emails and social media messages from The Times. In court papers, the museum’s lawyers said the curator was “suffering from severe mental strain” and was “unable to respond effectively to the proceedings.”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