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    ‘Counting and Cracking’ Review: One Family’s Tale Fit for an Epic

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    No theatrical wizardry is needed for this compelling drama about a woman’s journey to Australia from war-torn Sri Lanka and the generations that follow.Some shows use an extended running time to challenge the audience and its perceptions. Pulling viewers into a trance state and testing their endurance is the ultimate artistic gambit.Then there are the shows that are long simply because they have a lot to tell.Such is the case with “Counting and Cracking,” which fills its three and a half hours with an absorbing tale of family ties and national strife, from Sri Lanka to Australia, across almost five decades. When the first of two intermissions arrived, I had barely recovered from a head-spinning plot twist. And the production, which is at N.Y.U. Skirball in partnership with the Public Theater, had more in store. It’s that kind of good yarn.Written by S. Shakthidharan, who drew from his own family history and is also credited with associate direction, “Counting and Cracking” starts in 2004 Sydney. The show opens with Radha (Nadie Kammallaweera) briskly instructing her son, the 21-year-old Siddhartha (Shiv Palekar), to disperse his grandmother’s ashes in the Georges River, and then immerse himself in the water, as required by tradition.“In Tamil we don’t say goodbye,” Radha tells Siddhartha. “Only, I will go and come back.”As the show progresses, we gradually realize what these words really mean to her, and to her family and community. In 1983, when she was pregnant and living in her home country of Sri Lanka, Radha was told that her husband, Thirru (Antonythasan Jesuthasan), had been killed in the budding civil war between the minority Tamil and the majority Sinhala. She fled the violence and settled in Australia, where she gave birth to a child who would grow up largely unaware of his heritage.At a steady clip, Shakthidharan and the director Eamon Flack (also credited with associate writing) hopscotch between Sydney and Sri Lanka, from the 1950s — when the South Asian nation was still known as Ceylon — to the 1980s and 2000s and back again. Even the language is in constant movement as the 16 actors juggle English, Sinhala and Tamil, providing instant translation when necessary.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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      Public Theater Takes Shakespeare in the Park Out on the Town

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      The Delacorte Theater is being renovated, so a musical version of “The Comedy of Errors” is touring some of the city’s outdoor spaces.On a small stage, three actors practiced a sword fight — slowly, then faster. Behind them board operators ran a sound check and a wardrobe assistant shook out costumes.“This is the part of theater you never get to see,” Rebecca Martínez said.Martínez was speaking on Saturday in the southeast corner of Bryant Park. Behind her, the cast and crew of the Public Theater’s bilingual musical version of “The Comedy of Errors,” performed in Spanish and English, accomplished their preshow rituals. Martínez, who adapted the production with Julián Mesri, is also the show’s director and choreographer. Typically, routines like these are performed backstage, out of sight. But at Bryant Park, amid the birders, the tourists and the library patrons, a backstage was not available.With the Delacorte Theater closed for renovations, the Public is taking its summer production of “The Comedy of Errors” to parks and other outdoor sites in the city.Dolly Faibyshev for The New York TimesFor over 60 years, the Public Theater has offered summer Shakespeare in one place: Central Park’s Delacorte Theater. This year, the Delacorte is closed for renovations (it plans to reopen next summer, with “Twelfth Night”), so the Public has taken this free show to the streets, parks and plazas of the city’s five boroughs.This “Comedy of Errors” was seen last year, as a production of the Public’s Mobile Unit, which brings high-energy, low-tech versions of Shakespeare to venues like libraries, correctional facilities and community centers. The Unit travels light, with a rug in place of a set, which allows a simple set up and strike.“Like, boom! Rug! Let’s go!” Martínez said.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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      ‘Sally & Tom’ Frees Sally Hemings From Being a Mere Footnote

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      Suzan-Lori Parks’s play is the latest work by a Black writer seeking to prioritize Hemings’s life and perspective to make her fully dimensional.Sally Hemings might be a household name these days, but we still know so little about the relationship between Hemings and Thomas Jefferson. Yet, Hemings endures as a figure of endless fascination: American writers aspire to tell her story, and there remains a yearning for a deeper understanding of the enslaved woman who left no firsthand accounts of her inner thoughts.In “Sally & Tom,” Suzan Lori-Parks is the latest writer trying to fill in the gaps in order to present Hemings as a multidimensional character — and, in the process, rescue her personhood onstage. “We don’t know what happened,” Sheria Irving, who portrays Hemings in the play, told me, adding that Parks is “building on this factual account.” (The play has been a hit for the Public Theater and runs there through June 2.)She continued: “We do not have to reimagine, we can really imagine what it is for a 14-year-old to be looked at by a 41-year-old, and not just looked at but to engage in sexual exploitation with this man.”Parks’s fidelity to the history means she doesn’t alter Hemings’s fate. Instead, she experiments with the storytelling by plotting “Sally & Tom” as a backstager, or a play within a play, in which the main character, Luce (also played by Irving), is an African American dramatist who is writing a play about the relationship between Hemings and Jefferson. Luce is playing Hemings in her own play, which is called “The Pursuit of Happiness.”In fact, each cast member plays two parts: Luce’s partner, Mike (Gabriel Ebert), is playing Tom in the production, and Alano Miller plays both Hemings’s older brother, James, and Kwame, a Hollywood actor who has returned to his old theater company. When the historical story and the present-day one collide, they often reveal the sometimes comical and often complicated reality that can arise when mounting a show dealing with race relations in the American theater today.Contemporary woes: Irving and Ebert as a modern couple struggling to produce a play (and overcome race relations in the American theater) in “Sally & Tom.”Jeenah Moon for 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

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      Review: In ‘Sally & Tom,’ Plantation Scandal Meets Backstage Farce

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      The 30-year relationship between Sally Hemings and Thomas Jefferson is the basis for Suzan-Lori Parks’s hilarious and harrowing nesting doll of a play.If I were reviewing “The Pursuit of Happiness,” produced by a “low-budget-no-budget” troupe called Good Company, I might note that the subtlety, cleverness and humanity with which it approaches the story of Sally Hemings and Thomas Jefferson come as quite a surprise. After all, Good Company is best known for “politically charged,” “finger-waggy” provocations like “Patriarchy on Parade” and “Listen Up, Whitey, Cause It’s All Your Fault” — work that leaves audiences running for the exits while casts bid them farewell with the bird.But “The Pursuit of Happiness” isn’t real: It’s the play within Suzan-Lori Parks’s backstager “Sally & Tom,” which opened on Tuesday at the Public Theater.Still, my review stands — except for one thing. The subtlety, cleverness and humanity with which “Sally & Tom” approaches the story of Hemings and Jefferson, dazzlingly doubled in the story of the troupe putting it on, come as no surprise at all. They are the hallmarks of an author incapable of writing a line unfilled with the bewildering burden — or is it the treasure? — of human contradiction.Indeed, Parks begins with an unprovable yet also undisprovable thesis. She has Luce, the author and star of “The Pursuit of Happiness,” decree: “This is not a love story.”Luce (Sheria Irving) feels compelled to say so because her boyfriend, Mike, the show’s director — and also its Jefferson — wants a happier ending than the one she has written. As a proper white ally, Mike (Gabriel Ebert) understands that love is, at best, a problematic notion when one of the lovers is owned by the other. Even after 30 years together, Jefferson did not free Hemings in his will.But would it be so awful, he wonders, to make more money and draw a wider audience — which Luce mishears as a “whiter” one — by introducing just a bit of recognizable romance at the curtain? Can the not-yet-third president and the teenager who would soon bear six of his children at least hold hands?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 Ally’ Review: Social Justice as a Maddening Hall of Mirrors

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      Itamar Moses’s play offers eloquent arguments on all sides of the Israeli-Palestinian conflict. But it doesn’t offer much drama.As this is a trial, let’s start with the facts. Asaf Sternheim, who teaches writing at a university a lot like Penn, is asked by a former student, Baron Prince, to endorse a manifesto. The manifesto seeks justice for Baron’s cousin, Deronte, who was killed by police officers while being stopped for a theft he had nothing to do with.Also pertinent: Asaf (Josh Radnor) is a Jew, albeit the kind that subscribes, as he says, to the “acoustic-guitar-based variety” of Judaism. Baron (Elijah Jones) is Black, as was Deronte.And one more thing: The 20-page manifesto, tying violence against Black Americans to violence against all subjugated populations, calls for “sanctions on the apartheid state of Israel,” adding that “failure to do so will leave the United States complicit in the ongoing genocide of the Palestinian people.”You could feel the “uh-oh” in the audience the night I saw “The Ally,” an important, maddening play by Itamar Moses that opened on Tuesday at the Public Theater.Words like “apartheid” and “genocide,” when applied to Israel and Palestinians, are sure to rile lots of people. But challenging the use of those words will equally rile others. Smack in the middle is Asaf, whom the play proceeds to put through a tribal-political wringer that leaves him — and left me — a limp dishrag.Whether you think that’s a good thing for a play to do may depend on your tolerance for endless, furious, yet familiar debate. There’s no question that Moses, whose biography as the Berkeley-raised son of Israeli immigrants is a close match for Asaf’s, knows the territory and its every skirmish intimately. It often seems that the arguments, on all sides, have been transcribed from personal experience or the news.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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      A Woman Leading N.Y.C.? This Could Be the Year.

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      [Want to get New York Today by email? Here’s the sign-up.]It’s Thursday. Weather: Heavy rain in the afternoon, with a high near 50. It’ll get gusty in the evening, and watch out for snow overnight. Alternate-side parking: In effect until March 28 (Passover).Maya Wiley.Eduardo Munoz/ReutersNew York City has had 109 mayors. So far, not one has been a woman.That glass ceiling may finally shatter in this year’s election. There are three strong female candidates for the Democratic nomination, and all have suggested that the testosterone-fueled political culture that is the backdrop for the sexual harassment scandal surrounding Gov. Andrew M. Cuomo makes a strong case for electing the city’s first female mayor.“New York’s governor is reminding us it is time to see more women in positions of power,” Kathryn Garcia, the city’s former sanitation commissioner, said at a recent fund-raiser for her mayoral campaign. “In 2021, there is no right man for the job of mayor.”[The women running for mayor have sharply criticized the governor.]Here’s what you need to know:The candidatesTwo other women are running in the Democratic primary for mayor in addition to Ms. Garcia. (Another, Sara Tirschwell, is running in the Republican primary.)The two Democrats are Maya Wiley, former counsel to Mayor Bill de Blasio and former chair of the Civilian Complaint Review Board; and Dianne Morales, a former nonprofit executive.Ms. Wiley, the strongest female candidate in the polls and fund-raising, has emphasized a plan to create 100,000 jobs. Ms. Morales wants to cut $3 billion from the police budget. Ms. Garcia is focusing on improving basic services and quality of life in the city.All three have shared their stories of sexual harassment and sexism, and argued that they would offer a more inclusive style of leadership. People who have worked in Mr. Cuomo’s office have described it as toxic, especially for young women.All three candidates have taken a hard line against the governor: Ms. Morales called for his impeachment, while Ms. Garcia and Ms. Wiley called on him to resign.The historyOvert sexism, machine politics and the challenges of raising large amounts of money are just some of the barriers that prevent women from running for office in New York, political experts said.Those issues and others bedeviled the candidacies of two women who ran unsuccessfully for mayor relatively recently, Ruth W. Messinger and Christine Quinn.“Machine politics is a machine that was built by and for men,” Ms. Morales told my colleague Emma G. Fitzsimmons, the City Hall bureau chief.If Mr. Cuomo leaves office, New York State will break another glass ceiling: Kathy Hochul, his lieutenant governor, would become the first woman to lead the state.From The TimesAsian-Americans Are Being Attacked. Why Are Hate Crime Charges So Rare?A Father’s Gift to a Mayoral Candidate: A $1 Million Super PACNew York Renters in Covid Hot Spots Are Four Times More Likely to Face EvictionModernist Horse Sculptures Removed by City Housing AgencySt. Patrick’s Day in New York, a Year LaterWant more news? Check out our full coverage.The Mini Crossword: Here is today’s puzzle.What we’re readingGov. Andrew M. Cuomo said yesterday that indoor fitness classes will be able to reopen at 33 percent capacity next Monday. [New York Post]The mayoral candidate Andrew Yang called for the New York Police Department’s Asian Hate Crime Task Force to be fully funded after Atlanta-area shootings killed six women of Asian descent. [Politico New York]A man from Dutchess County was fined $5,000 after pleading guilty to illegally raising sharks in his basement to sell over the internet. [Fox 5 NY]And finally: After a summer off, Shakespeare could return to Central Park Last year, for the first summer since 1962, no players graced the stage at Central Park’s Delacorte Theater.But on Tuesday my colleague Michael Paulson reported that the Public Theater announced that it hoped to resume Shakespeare in the Park, the free performances of the bard’s works that have become a beloved city tradition.This year, the theater is planning just one Shakespeare in the Park production, “Merry Wives,” a 12-actor, intermission-free version of “The Merry Wives of Windsor.” It would have an eight-week run starting in July instead of the usual two-play season beginning in May..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-rqynmc{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:0.9375rem;line-height:1.25rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-rqynmc{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-rqynmc strong{font-weight:600;}.css-rqynmc em{font-style:italic;}.css-yoay6m{margin:0 auto 5px;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}@media (min-width:740px){.css-yoay6m{font-size:1.25rem;line-height:1.4375rem;}}.css-1dg6kl4{margin-top:5px;margin-bottom:15px;}#masthead-bar-one{display:none;}#masthead-bar-one{display:none;}.css-1pd7fgo{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-1pd7fgo{padding:20px;width:100%;}}.css-1pd7fgo:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1pd7fgo{border:none;padding:20px 0 0;border-top:1px solid #121212;}.css-1pd7fgo[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-1pd7fgo[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-1pd7fgo[data-truncated] .css-5gimkt:after{content:’See more’;}.css-1pd7fgo[data-truncated] .css-6mllg9{opacity:1;}.css-coqf44{margin:0 auto;overflow:hidden;}.css-coqf44 strong{font-weight:700;}.css-coqf44 em{font-style:italic;}.css-coqf44 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#ccd9e3;text-decoration-color:#ccd9e3;}.css-coqf44 a:visited{color:#333;-webkit-text-decoration-color:#333;text-decoration-color:#333;}.css-coqf44 a:hover{-webkit-text-decoration:none;text-decoration:none;}According to the plans, the show, which is being adapted by Jocelyn Bioh and will be directed by Saheem Ali, will be set in Harlem and imagine Falstaff as an African-American seeking to romance two married immigrants from West Africa.“We’re really centering BIPOC stories, but we’re also bringing Black joy to the front,” Mr. Ali told me in an interview, using the acronym for Black, Indigenous and people of color.Things will be different this summer because of the pandemic, but exactly how remains to be seen. Audiences will be smaller — Mr. Ali said that under current state rules, about 450 spectators would be allowed to attend each performance at the outdoor Delacorte, instead of the usual 1,800 or so.The actors face different challenges, Mr. Ali said, and the Public will have to follow Actors’ Equity Association safety guidelines in order to stage the show.Does that mean the actors will need to be vaccinated? Kept in an N.B.A.-style bubble? Forced to soliloquize through masks?Mr. Ali said that it was too soon to say for sure, but that he thought incorporating the safety regulations into the play could make the show feel more immediate.“I’m looking at those restrictions, and looking at them as opportunities instead of obstacles,” Mr. Ali said.It’s Thursday — take the stage.Metropolitan Diary: First day out Dear Diary:Nothing could prepare a timid young woman from a small Southern town for a move to Manhattan, but I knew two things: that I would be a full-time student at New York University and that I had to find a job to pay my portion of the rent.On my first day of job-hunting, I put on my ivory-colored linen suit and took the subway from West 86th Street to Times Square.About halfway there, the woman who was sitting next to me told me in a thick accent that I had a spot on the back of my skirt.“You must’ve sat in something,” she said. “It looks horrible.”Stellar first day out, I thought.When I got off the train, I was thinking desperately about what to do when I heard the woman yelling.“Maybe just turn it around,” she shouted.My first stop was a dry cleaner. Sure, the man there said, expressionless, when I asked if he could help: Leave the skirt and pick it up tomorrow.No, thank you, I stammered before hurrying out the door.Deciding to take my subway mate’s advice, I turned the skirt around so that the spot was squarely over the middle of my lap. What choice did I have? I had 20 minutes to spare and four blocks to go to get to my interview.I managed to obscure the spot with my large bag for the rest of the day. In the end, it was a conversation starter, and I left my interview with a job offer and a little insight that would come in handy for my many adventures in the city.— Victoria JamesNew York Today is published weekdays around 6 a.m. Sign up here to get it by email. You can also find it at nytoday.com.What would you like to see more (or less) of? Email us: nytoday@nytimes.com. More