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    ‘A Sign of the Times’ Review: A Confused 1960s New York

    A jukebox musical about a Midwesterner’s big dreams is heavy on the Petula Clark.For a jukebox musical set in 1965 New York City — that tackles feminism, civil rights activism and the Vietnam War — “A Sign of the Times” sure includes a lot of songs by the British singer Petula Clark. When the lead characters turn up at a party hosted by Randy Forthwall, an artsy type in a silver-white fright wig (would Andy Schmarhol have been too on the nose?), he even complains that Clark is a no-show.She may not have made it to Randy’s shindig, but her hits are all over this show, including “Downtown,” “Color My World,” “I Know a Place,” “Don’t Sleep in the Subway,” “Round Every Corner” and the title track.This is a head-scratching choice because the story — which revolves around a nice Midwesterner, Cindy (Chilina Kennedy), who dreams of being a photographer in the big city — is physically, tonally and culturally remote from Clark’s light-pop universe.It all starts making sense as you realize that when “A Sign of the Times” premiered at Goodspeed Opera House in 2016, with a book by Bruce Vilanch, Clark’s name was put forward in all the descriptions. The current iteration, which is at New World Stages with a book credited to Lindsey Hope Pearlman, wisely realized a Petula Clark show might not draw huge crowds. It advertises itself more generically, and there are plenty of non-Clark songs, mostly of the very, very familiar kind: “Rescue Me,” “Gimme Some Lovin’,” “Last Train to Clarksville” and so on. (The show is based on an idea by Richard J. Robin, who is also presenting this production in partnership with the York Theater Company.)Sadly, the graft did not take. “A Sign of the Times” pulls every which way, clumsily trumpeting inclusivity and empowerment while shoehorning in hits that can feel chosen randomly, and with little regard for the action’s date stamp since several songs came out after 1965. Keeping us awake are some comically distracting details — by all means, look up what a yellow bandanna in the right back pocket of a man’s jeans meant in gay cruising circles — and choreography, by JoAnn M. Hunter, that essentially recycles a handful of the most basic moves from the “Hullabaloo” variety show.Chilina Kennedy, center, with the rest of the cast. Set in 1965 New York City, the show tries to tackle issues around feminism, civil rights activism and the Vietnam War.Jeremy DanielWe 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 ‘The Apiary,’ the Bees Have a Troubling Tale to Tell

    Worldwide colony collapse is the subject of a bright, strange, upbeat thought experiment about insect hives, and our own.Here’s a pitch you haven’t heard before. It’s 2046. Bees in the wild have succumbed to a planet-wide die-off, taking almonds, avocados and honey down with them. But in a subterranean lab, three women doing “palliative care” with four remaining broods make a hopeful if gruesome discovery.Also, it’s a comedy. Call it “Little Hive of Horrors.”That’s the setup, if nowhere near the payoff, of the “The Apiary,” a bright, strange and mesmerizing marvel by Kate Douglas, making her professional playwriting debut with this Off Off Broadway production. Unlike most such debuts, though, “The Apiary,” which opened on Tuesday at Second Stage’s Tony Kiser Theater, is receiving a nearly perfect, first-class staging under the almost too good direction of Kate Whoriskey.I say “almost too good” because a staging so sensitive yet confident could disguise whatever flaws may lurk in the text. So be it: “The Apiary” flies by with so much good humor and novel eye candy (I don’t think I’ve ever seen a bee lab represented onstage before) that you barely register the way the playwright’s thematic focus comes dangerously close to obsession.The insects are everywhere. To begin with, Walt Spangler’s set is dominated by four hive boxes and a gigantic gauze-walled chamber filled with little prop bugs I could swear were swarming. The backdrop features a honeycomb pattern. The floor, the railings and even the paper in the beekeepers’ desktop inboxes are bumblebee yellow.It’s not just the visuals, though. The characters talk bees, live bees, dream bees. Gwen (Taylor Schilling) is perhaps the least emotionally attached: As the lab’s manically insecure manager, she’s freaked out by the decline of the broods under her care less because it might mean ecological collapse than because it might mean funding cutbacks from “upstairs.” Countering her, the relentlessly optimistic Pilar (Carmen M. Herlihy) fully stans the critters: They are “very sensitive and so so smart,” she explains merrily to a newcomer. “They dance! They tell jokes.”We don’t hear those jokes, but between scenes we do see Stephanie Crousillat, in yoga wear and a gas mask — the costumes are by Jennifer Moeller — performing Warren Adams’s creepy bee choreography.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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    ‘Russian Troll Farm’ Review: A Stream of Memes, Eroding Trust in Democracy

    An unlikely dark comedy imagines the people pushing #PizzaGate, Donald Trump and who knows what next.No one misses the early days and dark theaters of the Covid pandemic, but the emergency workaround of streaming content was good for a few things anyway. People who formerly could not afford admission suddenly could, since much of it was free, and artists from anywhere could now be seen everywhere, with just a Wi-Fi connection.That’s how I first encountered “Russian Troll Farm,” a play by Sarah Gancher intended for the stage but that had its debut, in 2020, as an online co-production of three far-flung institutions: TheaterWorks Hartford, TheaterSquared in Fayetteville, Ark., and the Brooklyn-based Civilians. At the time, I found its subject and form beautifully realized and ideally matched — the subject being online interference in the 2016 presidential election by a Russian internet agency.“This is digitally native theater,” I wrote, “not just a play plopped into a Zoom box.”Now the box has been ripped open, and a fully staged live work coaxed out of it. But the production of “Russian Troll Farm” that opened on Thursday at the Vineyard Theater is an entirely different, and in some ways disappointing, experience. Though still informative and trenchant, and given a swifter staging by the director Darko Tresnjak, it has lost the thrill of the original’s accommodation to the extreme constraints of its time.Not that it is any less relevant in ours; fake news will surely be as prominent in the 2024 election cycle (is Taylor Swift a pro-Biden psy-op?) as it was in 2016. That’s when, as Gancher recounts using many real texts, posts and tweets of the time, trolls at the Internet Research Agency — a real place in St. Petersburg, Russia — devised sticky memes and other content meant to undermine confidence in the electoral process, sow general discord, legitimize Trumpism and vaporize Hillary Clinton.But the play is less interested in classics of the conspiracy genre like #PizzaGate and Frazzledrip than in the kinds of people who would dream them up. In the manner of sitcoms like “The Mary Tyler Moore Show” and “The Office,” “Russian Troll Farm” focuses on four such (fictional) trolls, neatly differentiated from one another and from their dragonish supervisor, Ljuba (Christine Lahti).King, left, and Lavelle as two of the trolls whose various schemes for advancement and connection end disastrously.Sara Krulwich/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 ‘Jonah,’ Starring Gabby Beans, Trust Nothing, and No One

    Gabby Beans shines as a time-hopping protagonist tracing her trauma in Rachel Bonds’s slip-slidey new Off Broadway play.Roundabout Theater Company’s website tells you right up front that the title character of “Jonah,” Rachel Bonds’s slip-slidey, stunning new play, “is not all he seems.” And if you click on the link to the production’s content advisory, self-harm, suicide and physical abuse are among the topics it flags.All of that can leave a theatergoer in a state of wariness — which, it turns out, is a great way to watch this play: trusting nothing, unsure where reality lies, guard firmly raised against any kind of charm. Mind you, “Jonah” will charm you anyway, and make you laugh. So will Jonah, the adorable day student (or is he?) whom Ana, our teenage heroine, meets at her boarding school (or does she?). Who and what is illusory here?The notes I took during the show are filled with skepticism like that about my own perceptions, even as Danya Taymor’s all-around excellent production, which opened Thursday at the Laura Pels Theater, lured me right in.The flirty, funny banter between the self-assured Ana (Gabby Beans, in a top-of-her-game performance) and the more broken-winged Jonah (a disarming Hagan Oliveras) is utterly adolescent, as is the way they occupy their bodies. They still have the flop-on-the-floor looseness of little kids, but it’s mixed with cheeky daring (mostly hers) and mortified caution (mostly his), because hormones and desire have entered the picture.“I don’t want to be weird,” Jonah says in Ana’s dorm room, when things between them edge toward intimacy, “and I just want you to feel OK and safe and my whole body is basically an alien colony, I have been colonized by sex aliens and I’m sorry.”With a flash of white light and a zapping sound, the comforting comedy of that milieu vanishes, as does Jonah. Ana is now in her bedroom at home, where a guy named Danny (Samuel H. Levine), who appears to be her brother, gives off a profoundly creepy vibe. (The set is by Wilson Chin, lighting by Amith Chandrashaker and sound by Kate Marvin.)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 Connector,’ a Show That Asks: Should News Feel True or Be True?

    A new musical from Jason Robert Brown, Daisy Prince and Jonathan Marc Sherman explores the diverging trajectories of two young writers in the late 1990s.The director Daisy Prince had a flash of inspiration for a new show nearly 20 years ago: She wanted to explore the fallout from a string of partially or entirely fabricated news articles (by writers like Stephen Glass and Jayson Blair). The show would be set at a New York City magazine with a storied history — a publication much like The New Yorker. Also, it would be a musical.“I had become somewhat fixated on all these falsified news stories — these larger questions about fact, truth and story,” said Prince, who directed Jason Robert Brown’s “The Last Five Years” and “Songs for a New World.”She jotted the thought down in her great big notebook of ideas. But by the time she finally returned to it, around 2010, she was certain she had missed out.“I thought by the time we were going to be able to tell this story, it would no longer be relevant,” she said.But then the Trump presidency arrived, along with his strategy of labeling unfavorable coverage as fake news — and the premise only became more timely. Now the show, titled “The Connector,” conceived and directed by Prince with music and lyrics by Brown and a book by Jonathan Marc Sherman, is premiering Off Broadway at MCC Theater, where it is set to open Feb. 6.Ben Levi Ross, left, as Ethan Dobson and Hannah Cruz as Robin Martinez in the musical.Sara Krulwich/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?  More

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    ‘Once Upon a Mattress’ Review: Sutton Foster as a Perfectly Goofy Princess

    The Encores! series returns with a concert staging of the 1959 musical, which also stars the very funny Harriet Harris and Michael Urie.Some casting choices are blindingly obvious. That does not make them lazy; it makes them right.Such is the case with Sutton Foster as the eccentric Princess Winnifred in the Encores! revival of “Once Upon a Mattress,” which opened Wednesday at City Center. The central role in this broadly goofy musical was exuberantly, indelibly originated by Carol Burnett in 1959.While Foster has displayed range over the course of her musical-theater career — she’s stepping into Mrs. Lovett’s kitchen in “Sweeney Todd” on Feb. 9, five days after completing this show’s two-week run — many of Foster’s best roles, like Janet Van De Graaff in “The Drowsy Chaperone” and Reno Sweeney in “Anything Goes,” are imprinted with an ebullient, joyful relish in the very act of performance. And Winnifred, described by another character as “a strangely energetic swamp girl,” is an ideal outlet for that sensibility.“Once Upon a Mattress” is nobody’s idea of a great musical, but it is many people’s idea of a fun one. Based on the fairy tale “The Princess and the Pea,” this vaudevillian lark — which The New York Times described, possibly not in a good way, as “a child’s introduction to Broadway” in a review of a 1964 CBS telecast — is celebrated for helping to kick-start Burnett’s career and for being the composer Mary Rodgers’s sole Broadway hit.That last clearly represents a loss: Rodgers, paired with the lyricist Marshall Barer, demonstrates startling ease with musical-theater idioms and the late-1950s vernacular. (Winnifred’s “The Swamps of Home” works as both an earnest ballad and a sly spoof of the goopy nostalgic yearnings of some numbers by Richard Rodgers, Mary’s father, and Oscar Hammerstein II.)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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    Defining Antisemitism and Anti-Zionism

    More from our inbox:Just Keeping Trump From the White House Won’t Save DemocracyPolicies on Curbing Drug AddictionLights Dim Off BroadwayAsia’s Disappearing SeaPartidarios de Israel en Los Ángeles, el mes pasadoLauren Justice para The New York TimesTo the Editor: Re “Is Anti-Zionism Antisemitism, by Definition?” (front page, Dec. 12):What is Zionism? To me, being a Zionist in 2023 means that I accept the right and the necessity of the survival of the Jewish people and the existence of a Jewish state that ensures their survival.Anything that undermines or threatens Israel’s survival also undermines or threatens the existence of the Jewish people and is, ipso facto, antisemitic.Philip B. BergerTorontoTo the Editor:I am a Jew by culture and ancestry, albeit a secular one. I abhor contemporary violence by both Hamas and Israel. Historically, however, I have found that in recent years, Israel’s aggressive behavior has been the more objectionable, and Israel seems more determined to demoralize and destroy the Gaza population than to surgically remove Hamas.In the 1950s, when I was a young child and Israel a struggling young state, I paid small sums to buy leaves that I pasted on a picture of a tree until I had bought enough for a tree to be planted in Israel in honor of my grandmother. My father bought Israel bonds — hardly the best monetary investment — in my name and those of my siblings. In the late 1960s and early ’70s, when I had my own children and when Israel had become an expansionist power, I asked him to stop.Although a Jew, I am emphatically not a Zionist, and I resent and fear the conflation of the two.Mark CohenPlattsburgh, N.Y.The writer is distinguished emeritus professor of anthropology at the State University of New York.To the Editor:Jonathan Weisman describes radically different interpretations of Zionism as, alternately, a movement ensuring Jewish sovereignty and safety, or an oppressive colonialism. What is often lost in the debate is the historic diversity among many Zionisms (plural), which continue to struggle with one another for primacy today.One version of Zionism is expansionist, deeply nationalistic and largely unconcerned about the human rights of non-Jews, while another version on the Zionist spectrum is profoundly humanist at its core and envisions an equitable coexistence between Jews and Palestinians.Supporting a Zionism that promotes pluralism and shared society is the only vision for a better future for these two peoples whose fates are intertwined.Andrew VogelNewton, Mass.The writer is the senior rabbi at Temple Sinai in Brookline, Mass.Just Keeping Trump From the White House Won’t Save Democracy Mark Peterson/Redux, for The New York TimesTo the Editor:Re “The Resolute Liz Cheney,” by Katherine Miller (Opinion, Dec. 10):While I appreciate former Representative Liz Cheney’s relentless opposition to Donald Trump because of the danger he poses to the nation, keeping him out of the White House won’t alone save democracy. We also desperately need to stop Ms. Cheney’s fellow Republicans from undermining elections in their pursuit of permanent political power.Republicans have used extreme means to draw House districts in their favor and refused to join Democrats to stop those gerrymanders even though they deprive voters of fair representation and promote polarization by increasing the number of safe seats.Almost all Republicans voted against restoring provisions of the Voting Rights Act that would help assure protection against racial discrimination. They opposed measures to enact basic ballot access standards, instead allowing states to impose restrictive rules and locate polling places to make it harder for groups they don’t favor to vote.And they refused to support bills to stop the pernicious influence of big donors, opposing even basic disclosure rules to stop secret “dark” money from warping our political priorities.Standing up to Mr. Trump does little good if we allow Republicans to destroy our democracy by other means. Voters need to elect people to protect free and fair elections before Republicans succeed in rigging them in their favor. Otherwise, we will have rule by a party instead of rule by the people, and our experiment in self-governance will be at an end.Daniel A. SimonNew York Policies on Curbing Drug AddictionPolice respond to a man who died of a suspected overdose in downtown Portland in July.Erin Schaff/The New York TimesTo the Editor: Re “Rethinking Drug Policies in an Ailing Portland” (front page, Dec. 12):As a law enforcement veteran, I believe that the police have an important role in supporting community safety. But policymakers can’t keep relying on the police as a Band-Aid to every problem. We cannot arrest our way out of addiction. And increasing criminalization to solve public drug use, as some suggest in the article, won’t work.I worked and supervised police narcotics and gang units. Eventually, I saw that the laws I was charged with enforcing didn’t make my neighbors safer. No matter how much we ramped up enforcement or how many people we arrested, it didn’t stop the flow of drugs into our community or prevent people from dying.For over 50 years, the United States has prioritized criminalization as a response to drug use, yet stronger drugs like fentanyl have emerged, and our country is facing a health crisis with record-setting overdose deaths.To make any progress toward curbing addiction, we need to increase access to the addiction services and support people need: treatment, overdose prevention centers, outreach teams to connect people to care, and housing. More criminalization is a false promise of change.Diane M. GoldsteinLas VegasThe writer, a retired police lieutenant, is the executive director of the Law Enforcement Action Partnership.Lights Dim Off BroadwaySignature Theater, an important Off Broadway institution, had no shows this fall.Sara Krulwich/The New York TimesTo the Editor: Re “Off Broadway, Vital to Theater Scene, Struggles” (front page, Dec. 8):It saddens me to read about the struggles and closures of our city’s intimate theaters. These are the institutions that nurture new work. Losing them darkens our future.During this crisis, I hope artistic directors will remember that it doesn’t have to cost a fortune to put on a play. Even a bare-bones staging gives us something Netflix never can: a story shared by strangers in person in real time.Rob AckermanNew YorkThe author is a playwright.Asia’s Disappearing SeaRusting boats in the sand in Muynak, Uzbekistan. Muynak was once a thriving port on the Aral Sea but is now a desert town since the sea disappeared.Carolyn Drake/MagnumTo the Editor: Re “A Giant Inland Sea Is Now a Desert, and a Warning for Humanity,” by Jacob Dreyer (Opinion guest essay, nytimes.com, Nov. 28), about the shrinking Aral Sea in Uzbekistan:Together, we — an archaeologist, a geographer and a historian — have extensive experience in the Aral Sea region. We take exception to Mr. Dreyer’s description of this place as resembling “hell.” Rather than stereotyping the region as a wasteland that people should flee from (Mr. Dreyer stresses his desire to leave the region as quickly as possible), we must recognize the meaning and value that the Aral Sea and its environs still hold for its residents today, and we should center those residents’ desired futures.We also need to consider the Aral Sea region a vital knowledge zone. As we confront shrinking bodies of water in many other regions around the globe, we can learn from the perseverance of Aral Sea residents. If we listen, what lessons can we learn from them as we prepare for future ecological disasters?Elizabeth BriteKate ShieldsSarah CameronDr. Brite is a clinical associate professor at Purdue University, Dr. Shields is an assistant professor at Rhodes College, and Dr. Cameron is an associate professor at the University of Maryland, College Park. More