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      Review: Ibsen’s ‘Enemy of the People,’ Starring Jeremy Strong

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      The “Succession” star headlines a Broadway revival of Ibsen’s play about a lifesaving doctor and the town that hates him.Dissent is necessary to democracy, sure. But how much does it cost?That’s the fundamental question posed by Henrik Ibsen’s “An Enemy of the People” — and, in highly dramatic fashion, by the preview I attended of its latest Broadway revival.At that performance, on Thursday, just as the play reached its climax in a raucous town meeting — and as Jeremy Strong, as the town’s crusading doctor, was trying to warn his community about an environmental disaster — members of a climate protest group secreted in the audience at Circle in the Square interrupted the action with dissent of their own.What exactly were they dissenting from?Surely not the Ibsen, which aligns closely with their views and is a distant source of them. (The play was first performed, as “En Folkefiende,” in 1883.) Nor does it make sense that they would object to Sam Gold’s crackling and persuasive production, which drove those views home despite having to regroup once the protesters were ejected.After all, “An Enemy of the People,” adapted and sharpened by the playwright Amy Herzog, and starring Strong as Dr. Thomas Stockmann, is a protest already: a bitter satire of local politics that soon reveals itself as a slow-boil tragedy of human complacency.How the satire becomes the tragedy is central to the power of Ibsen’s dramatic construction, overriding its occasional plot contrivances. To emphasize the transition, Gold begins with the warmth of gaslight and candlelight camaraderie. (The superb and varied lighting is by Isabella Byrd.) Dr. Stockmann’s home (by the design collective called dots) looks like a low-walled barge on smooth water, decorated with Norwegian blue-plate patterns. Before anyone speaks, a folk song is sung and a maid sleeps at her sewing.With modesty and steadiness as the givens of this world, the doctor naturally does not expect to be heralded as a hero when he determines that the water supply to the town’s new spa is polluted with potentially fatal pathogens. But he does expect to be heeded.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 Notebook’ Review: A Musical Tear-Jerker or Just All Wet?

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      The 2004 weepie comes to Broadway with songs by Ingrid Michaelson and a $5 box of tissues.Romantic musicals are as personal as romance itself. What makes you sigh and weep may leave the person next to you bored and stony.At “The Notebook,” I was the person next to you.You were sniffling even before anything much happened onstage. As the lights came up, an old man dozed while a teenage boy and girl frisked nearby in an unconvincing body of water. A wispy song called “Time” wafted over the footlights: “Time time time time/It was never mine mine mine.”But having seen (I’m guessing more than once) the 2004 movie on which “The Notebook” is based, and possibly having read the 1996 novel by Nicholas Sparks, you perfectly well knew what was coming. That was the point of mounting the show, which opened on Thursday at the Gerald Schoenfeld Theater, in the first place.It therefore cannot be a spoiler — and anyway this block of cheese is impervious — to reveal that over the course of the 54 years covered by the musical, the frisky boy, Noah, turns into the dozing man. And that Allie, the frisky girl, having overcome various impediments to their love, winds up his wife. Nor does it give anything away to add that Allie, now 70 and in a nursing home with dementia, will not remember Noah until he recites their story from a notebook she prepared long ago for that purpose.So there’s a reason the producers are selling teeny $5 “Notebook”-themed boxes of tissues in the lobby. Love is powerful. Dementia is sad. The result can be heartbreaking.Or maybe, seen with a cold eye, meretricious.The movie, a super-slick Hollywood affair, did everything it could to keep the eye warm. Ryan Gosling and Rachel McAdams, as the young couple, could not have been glowier. The soundtrack relied on precision-crafted standards like “I’ll Be Seeing You” to yank at your tear ducts. The production design, like a montage of greeting cards come to life, celebrated valentine passion, anniversary tenderness and golden sympathy, releasing flocks of trained geese into a technicolor sunset to symbolize lifelong pair bonding.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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      Audience Snapshot: Four Years After Shutdown, a Mixed Recovery

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      Covid brought live performance to a halt. Now the audience for pop concerts and sporting events has roared back, while attendance on Broadway and at some major museums is still down.It was four years ago — on March 12, 2020 — that the coronavirus brought the curtain down on Broadway for what was initially supposed to be a monthlong shutdown, but which wound up lasting a year and a half.The pandemic brought live events and big gatherings to a halt, silencing orchestras, shutting museums and movie theaters and leaving sports teams playing to empty stadiums dotted with cardboard cutouts.Now, four years later, audiences are coming back, but the recovery has been uneven. Here is a snapshot of where things stand now:Broadway audiences are still down 17 percent from prepandemic levels.On Broadway, overall attendance is still down about 17 percent: 9.3 million seats have been filled in the current season as of March 3, down from 11.1 million at the same point in 2020. Box office grosses are down, too: Broadway shows have grossed $1.2 billion so far this season, 14 percent below the level in early March of 2020.Broadway has always had more flops than successes, and the post-pandemic period has been challenging for producers and investors, especially those involved in new musicals. Three pop productions that have opened since the pandemic — “Six,” about the wives of King Henry VIII, “MJ,” about Michael Jackson and “& Juliet,” which imagines an alternate history for Shakespeare’s tragic heroine — are ongoing hits, but far more musicals have flamed out. The industry is looking with some trepidation toward next month, when a large crop of new shows is set to open.Many nonprofit theaters around the country are also struggling — attracting fewer subscribers and producing fewer shows — and some have closed. One bright spot has been the touring Broadway market, which has been booming.— More

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      ‘Corruption’ Review: Onstage, a Scandal’s Human Drama Is Muffled

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      A new play by J.T. Rogers goes behind the scenes of the shady “news-gathering” that rocked Rupert Murdoch’s British media empire over a decade ago.“Corruption,” J.T. Rogers’s tantalizing new phone-hacking play, starts on Rebekah Brooks’s wedding weekend. In a village in the English countryside, the flame-haired power broker, one of Rupert Murdoch’s favorite tabloid editors, has drawn the cream of Britain’s political class to her celebration.Prime Minister Gordon Brown is there, and so is David Cameron, the Tory who will succeed him. But Brooks (Saffron Burrows) is sequestered in conversation with her charmless boss, Rupert’s son James (Seth Numrich). He informs her that television and new media are the company’s focus now.“Newspapers are a relic,” James says. So his contempt is already evident when he tells her that she is the new chief executive of News International, the Murdoch-owned British newspaper group. Congratulations?It will be on Brooks’s watch, anyway, that a many-tentacled scandal erupts, with the revelation that her journalists clandestinely acquired the voice mail messages not only of celebrities and politicians but also of a missing child who was later found dead. Multiple arrests ensue, with accusations of phone hacking, police corruption and perverting the course of justice. Rupert Murdoch shuts down News of the World, his top-selling Sunday tabloids. Through it all, he remains loyal to Brooks.As a news story evolving in real time, the scandal made for jaw-dropping reading. As a play, though, “Corruption” is uncompelling — counterintuitively so, given the inherent drama: the crimes, the coverup, the comeuppance (or not), the clashes of personality. Also the stakes, which include the well-being of a democracy in which one culture-shaping media magnate holds too much sway.Tom Watson (Toby Stephens), a Labour member of Parliament as the scandal brews, is the central figure. (Murdoch, frequently mentioned, is a looming unseen presence.) Rumpled and besieged, Watson is determined to expose the widespread, under-the-radar operation: the surveillance, the intimidation, the gathering of secrets. The police, in the meantime, are oddly incurious about the voluminous records of a private investigator who they know hacked phones for News of the World.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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      Review: In ‘Doubt,’ What He Knows, She Knows, God Knows

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      Liev Schreiber and Amy Ryan star in a revival of John Patrick Shanley’s moral head spinner about pride, the priesthood and presumptions of pedophilia.Here are a few things Sister Aloysius cannot abide: ballpoint pens, “Frosty the Snowman,” long fingernails like Father Flynn’s, Father Flynn himself.She is what you’d call a forbidding nun, a Sister of Charity without much of it. (Her name means something like “warrior.”) The principal of a Catholic school in the Bronx in 1964, she defines a good teacher as one who is a discomfort to her students, a “fierce moral guardian,” not a friend.“If you are vigilant,” she tells young Sister James, “they will not need to be.”But Father Flynn, following the spirit of the recent Second Vatican Council, and presumably his own inclinations, does not lead with fear. In ministering to his mostly Italian and Irish congregation, he seeks to give the church “a more familiar face.” His sermons are warm, told with jokes and accents. He coaches the boys’ basketball team. Add to Sister Aloysius’s catalog of unholy tendencies his suggestion that they occasionally take the students for ice cream.Even if nothing else set these two forces in opposition, there would be enough here for a fine play about varieties of faith. But John Patrick Shanley’s “Doubt: A Parable,” first seen on Broadway in 2005, is much more than that. It is a sturdy melodrama, an infallible crowd-pleaser, a detective yarn, a character study and an inquest into the unknowable.It is also, in the handsome revival that opened on Thursday at the Todd Haimes Theater, something I hadn’t really noticed before: a battle of the sexes. For in the church of that day, as perhaps in our own, mutual distrust often arose between the men who had all the power and the women who saw how they used it.Why, after all, should Aloysius (Amy Ryan) already dislike the popular Flynn (Liev Schreiber) when the action begins? Why should she suspect that behind his “more familiar face” lies overfamiliarity? Is it his ballpoint pen? Those detestable fingernails?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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      Denzel Washington and Jake Gyllenhaal to Lead Broadway ‘Othello’

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      Kenny Leon will direct a starry revival of Shakespeare’s tragedy in the spring of 2025.Denzel Washington and Jake Gyllenhaal will star in a Broadway production of “Othello” next year, setting up what is sure to be one of the hottest tickets of the 2024-2025 theater season.Kenny Leon, who won a Tony Award in 2014 for directing a revival of “A Raisin in the Sun” that starred Washington, will direct the production — the 22nd Broadway staging of “Othello” since 1751, according to the Internet Broadway Database. Leon also directed Washington’s Tony-winning performance in a 2010 production of “Fences.”Washington, an enormously successful film actor with two Academy Awards, for “Glory” and “Training Day,” has starred in five previous Broadway plays, most recently a 2018 revival of “The Iceman Cometh.”Gyllenhaal, also best known for his film career (“Brokeback Mountain,” the upcoming “Road House” remake), has starred in three previous Broadway shows, most recently a 2019 monologue called “A Life,” which was paired with “Sea Wall” for an evening of one-acts.In “Othello,” one of Shakespeare’s great tragedies, Washington, 69, will play the title character, a general driven mad by jealousy. Gyllenhaal, 43, will play Iago, the story’s villain, who persuades Othello to question his wife’s fidelity. The role of Othello’s wife, Desdemona, has not yet been cast.The revival will be produced by Brian Anthony Moreland (“The Wiz”); the show is scheduled to open in the spring of 2025 at an unspecified Shubert Theater.The last Broadway production of “Othello” was in 1982, and starred James Earl Jones as Othello and Christopher Plummer as Iago. More

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      ‘Days of Wine and Roses’ Review: Romance on the Rocks

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      Kelli O’Hara and Brian d’Arcy James are superb as a midcentury-modern couple free-falling into addiction in Craig Lucas and Adam Guettel’s musical.Seldom have a pair of alcoholics looked as glamorous as they do in Craig Lucas and Adam Guettel’s bruised romance of a Broadway musical, “Days of Wine and Roses,” starring Kelli O’Hara and Brian d’Arcy James as midcentury-modern Manhattan lovers free-falling all the way to hell, drinks in hand.What’s astonishing about this show, though — aside from the central performances, which are superb, and Guettel’s anxious, spiky, sumptuous score, which grabs hold of us and doesn’t let go — is the way its devastating chic snuggles right up to catastrophic self-destruction.For all the glossy come-hither of Michael Greif’s tone-perfect production, which opened on Sunday night at Studio 54, not for an instant does it glamorize the boozing itself. And yet we can sense the allure: how alcohol might become the one true thing that matters, smoldering wreckage be damned.Adapted from JP Miller’s recovery-evangelizing 1958 teleplay and 1962 film of the same name, this “Days of Wine and Roses” is like a jazz opera melded seamlessly with a play. Deeper, wiser and warmer than it was in its premiere at Off Broadway’s Atlantic Theater Company last year, it is no longer so wary of melodrama that it’s afraid of feeling, too. Gone is the emotional aridity that kept the story at a strange remove.Granted, the opening scene is still perplexing, too sparely written and staged to situate the audience properly, or let us grasp the skin-crawling 1950s creepiness of what James’s Joe Clay is up to on a yacht in the East River. A public relations guy, Joe has arranged a corporate party onboard, and procured female guests for the pleasure of the male executives.So there is a certain rancidness to his mistaking O’Hara’s Kirsten Arnesen — the impeccable secretary to the boss at the firm where they both work — for one of the women in his Rolodex. Not exactly a meet-cute, even if she does set him straight, puncturing his condescension with a tight, nice-girl smile pasted to her face.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?  More

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      Biden’s Bid for Re-election, and His Age

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      More from our inbox:Mr. Lloyd Webber, Don’t Blame Labor UnionsChina and the Population Ponzi Scheme Doug Mills/The New York TimesTo the Editor:Re “Biden Declares 2024 Bid; Possible Rematch in Sight” (front page, April 26):When Joe Biden became the Democratic nominee for president in 2020, I reluctantly gave him my vote. If he is the party’s nominee again in 2024, he will have it again.However, I encourage the president to remember that many who will be voting for him see him not as their preferred choice, but rather the drastically lesser of two evils — and that he should use that knowledge as motivation for action.The uncomfortable truth is that our country is broken and politics as usual will simply no longer suffice.In what will hopefully be his second term, Mr. Biden must use the power of his office to address issues that actually affect everyday Americans: income inequality; food insecurity; reproductive, gender and civil rights; gerrymandering and voter restrictions; gun violence; health care; bloated defense spending; predatory business practices; a radicalized Supreme Court. The list is unfortunately long, and requires that the American people deliver him a Democratic majority in Congress.His first term has shown glimpses that Mr. Biden can be a transformative leader. Now, if given the opportunity of four more years, he must truly commit to his promise of saving the soul of America, for it is battered, bruised and long awaiting its champion.Gabe DowneySouthfield, Mich.To the Editor:President Biden may correctly frame the issue in the 2024 elec­tion as “whether in the years ahead we have more free­dom or less free­dom, more rights or fewer.” But while his as yet unknown opponent cannot be measured against these criteria, we do know that the hallmarks of this administration have been extraordinary exercises in presidential power (often reined in by the courts), an increasingly muscular administrative state and a vast expansion in the size and scope of government.Some may agree with the goals underlying these actions, but they plainly represent the antithesis of “more freedom.”Kenneth A. MargolisChappaqua, N.Y.To the Editor:Re “Biden Should Take Voters’ Concerns About Age Seriously” (editorial, April 23):So what if “Mr. Biden’s overall energy level has declined, and he continues to stumble over words in his public appearances”? He is not running any marathons or competing on “Jeopardy!” The most important trait for a president is sound judgment, and there is no evidence that his judgment is impaired.The main reason that people are concerned about his age is that the media keeps talking about it.Ira D. CohenNorth Bergen, N.J.To the Editor:I am a Democrat who voted for Joe Biden in 2020 and would vote for him again in 2024. Yes, I am concerned about his age and ability, but I, and I think most of the populace, would be a lot less concerned if he had a different running mate.Judith PetrizzoSan Jose, Calif.To the Editor:As one approaching 80 years, but who still actively practices law and carries his own bag on the golf course, I would like to see President Biden as a one-term president. That’s not because I do not like what he has done to date, but because I view him as too old for a second term.Some octogenarians have been luckier than others vis-à-vis their cognitive and physical skills, and should appreciate that luck.While I must concede that I was impressed by Mr. Biden’s recent trip to Ireland and his eloquence before the Irish Parliament, my overall sense is that he’s ebbing. Being president is a taxing, pressure-cooker job that requires a sharp intellect, unless you’re Donald Trump, and great stamina, which I believe neither Mr. Biden nor Mr. Trump possesses.A Biden-Trump rematch would make us a laughingstock. Is this the best we can do?Louis J. MaioneNew YorkTo the Editor:Shame on you, New York Times! Joe Biden at 80 has navigated one of the most divisive and difficult times in our history with dignity and political acumen. To suggest that we throw that away simply because he is older is a capitulation to the current bias against older people.Lisa SerradillaNew YorkMr. Lloyd Webber, Don’t Blame Labor Unions Andrew Kelly/ReutersTo the Editor:Re “Andrew Lloyd Webber: The Closing of ‘Phantom,’ the Loss of My Son and the Future of Broadway” (Opinion guest essay, nytimes.com, April 17):The musicians of New York City join the Broadway theater community in extending heartfelt condolences to Sir Andrew Lloyd Webber following the death of his son. As he stated, there is nothing more tragic for a parent than the death of their child.Mr. Lloyd Webber then turns to the subject of his megahit, “Phantom of the Opera,” which closed on April 16, noting that this past season was the show’s “best ever.”But he then inexplicably pulls out the long disproved cliché about labor unions driving up ticket prices: “The way multiple union contracts drive up the costs of Broadway shows is unsustainable.”This attack on unions is nonsensical. Individual theatrical failures are determined by a variety of factors. Few, if any, of them are attributable to unions.Mr. Lloyd Webber’s theatrical hits helped create the current focus on expensive blockbusters aimed at tourists. Producers mitigate their “risk” by offering safer, already branded projects that might hopefully recoup any Broadway losses when they perform on the road. This is very dissimilar to the Stephen Sondheim/Hal Prince classics he praises.“Phantom of the Opera” generated 35 years of financial security for Mr. Lloyd Webber, his investors and thousands of union workers who were fortunate enough to bring it to life. More important, the show brought pleasure to audiences all over the world. That kind of success cannot be replicated by simply cutting wages.Tino GagliardiNew YorkThe writer is president of the New York City musicians’ union (American Federation of Musicians Local 802).China and the Population Ponzi SchemeA family cradling their child at a park in Beijing. China’s death rate surpassed its birth rate for the first time in decades this year.Gilles Sabrie for The New York TimesTo the Editor:Re “Shrinking Population in China Affects All” (news article, April 20):No doubt, China’s shrinking population will create economic challenges that will require creative solutions. But aren’t economic challenges preferable to the environmental ones China would face if its population continued growing well past its current 1.4 billion?To declare it a crisis that China will have fewer people to manufacture the products (including the useless junk) that we in the Western world consume at unsustainable levels is to ignore the fact that we live on a planet that is being smothered to death by our plastic trash.To fret over diminishing demand for ugly high-rise apartment buildings is to imply that we should keep sprawling, replacing nature with buildings, roads and utilities, wildlife habitats be damned.Financial security at the individual level doesn’t necessarily require a growing G.D.P. or a growing population. When women have fewer children, they spend more time in the paid work force; they also tend to have healthier, better educated children who grow up to be more productive adults. We should enthusiastically embrace ending the population Ponzi scheme.Marian StarkeyFalmouth, MaineThe writer is vice president for communications at Population Connection. More