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      Defining Antisemitism and Anti-Zionism

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      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

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      Theme Park’s Selective History Appeals to a New Spanish Nationalism

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      Puy du Fou España has drawn visitors with spectacular shows about Spanish history. But part of its success lies in what goes unsaid.Moving through the darkened holds of a replica of Christopher Columbus’s ship, visitors on a recent afternoon marveled at the tangle of compasses, cordage and barrels. They stumbled as the ship swang and creaked with the swell of the sea. At last, a voice shouted “Land!” and the white sands of America appeared.“Our journey has changed the world. May it be for the greater glory of God,” Columbus was then heard telling Queen Isabella I of Castile. Referring to America’s Indigenous people, he added, “I apologize in advance if iniquities or injustices are committed.”And so ends one of the shows at Puy du Fou España, a historical theme park that is all the rage in Spain today, with over a million visitors expected this year.The popularity of the park has come as a surprise in a country that has long been shy about celebrating its history. Nationalist sentiments were largely taboo after the dictatorship of Gen. Francisco Franco, who died in the 1970s.But the time that has elapsed since Franco and the recent secessionist movement in Catalonia, which threatened to fracture the country, have helped spur a resurgent nationalism in Spain. It may now give a lift to conservatives and their far-right allies when Spaniards vote in a general election on Sunday.The theme park expects more than a million visitors this year.Samuel Aranda for The New York TimesThe park is filled with hallowed symbols like the cross and the flag, and most of the shows feature conquests and glorious battles to defend the country. The more questionable aspects of Spain’s past — from the bloody conquest of America that followed Columbus’s trip to Franco’s repressive rule — do not appear in more than 10 productions.“What we’re trying to do is present a history that’s not divisive,” said Erwan de la Villéon, the head of the park, noting that historical taboos continued to run through Spanish society.But the approach has raised concerns about the history that the park is highlighting instead — pageantry that emphasizes Spain’s Catholic identity and its unity against foreign invaders — and how it may shape visitors’ views.“This is a selective history,” said Gutmaro Gómez Bravo, a historian at Madrid’s Complutense University who has visited the park twice. “You can’t or shouldn’t teach that to people. History is not gratuitous — it carries major political weight.”The park was launched in 2019 after the founders of the original Puy du Fou in France, the country’s second most-visited theme park after Disneyland Paris, decided to take their concept abroad.Historians have long criticized the French park as promoting nationalist views. It similarly glosses over some of the most painful episodes in France’s past, such as its history of colonialism, and highlights the country’s Catholic identity.The founder of the French park, Philippe de Villiers, whom Mr. de la Villéon called “a mentor” and “a genius,” is a prominent far-right politician.Erwan de la Villéon, the head of Puy du Fou España, said he had sought to find unifying aspects of Spain’s history, and it was “too soon” to mention Franco’s dictatorship.Samuel Aranda for The New York TimesMr. de la Villéon denied that the Spanish park promoted any political line. But he called supporters of Catalan independence his “enemies” and railed against the former prime minister José Luis Rodríguez Zapatero, a Socialist who passed a memory law to honor victims of the Civil War and Franco’s repressive rule.Spain, Mr. de la Villéon said, proved an ideal place for a new park because of the country’s “great historical trajectory” of invasions and conquests. He chose to build it in Toledo, he said, because the ancient city south of Madrid once stood at the crossroads of Europe’s kingdoms.There, some 200 million euros, about $220 million, have been invested to create an impressive complex of castles, farms and medieval villages filled with terra-cotta vases and whitewashed houses with exposed beams.But it is the historical stage productions, performed in large amphitheaters, that are the big draw.“The Last Song” takes place in a rotating auditorium and follows El Cid, a knight and warlord who became Spain’s greatest medieval hero, as he fights enemies appearing successively behind large panels that open onto the semicircular stage. In “Toledo’s Dream,” the flagship evening show retracing 15 centuries of Spanish history, Columbus’s life-size ship emerges from a lake on which characters were dancing moments before.Supporters of the far-right Vox party at rally in Barcelona, Spain, in July. The party is expected to increase its vote in Sunday’s general election.Samuel Aranda for The New York TimesBoth shows received the IAAPA Brass Ring award for “Best Theater Production,” considered one of the international entertainment industry’s most prestigious prizes. On a recent afternoon, visitors were ecstatic about the experience.“Great — it’s just great. I didn’t know that history could be so appealing,” said Vicente Vidal, 65, as he exited a show featuring Visigoths fighting Romans. In the park, children could be seen playing sword-fighting, shouting, “We’ll fight for our country!”Mr. de la Villéon, who is French, said the success of the park reflected a desire among Spanish people to reclaim their past. “People want to have roots, that’s the first need that the park’s success reveals,” he said. “You come here and you think, ‘Man, it’s cool to be Spanish.’”Modern Spain has an uneasy relationship with its history because of chapters such as the Inquisition and the colonization of the Americas, said Jesús Carrobles, head of Toledo’s Royal Academy of Fine Arts and Historical Sciences, who was consulted on the park project.The Cross of Burgundy, on prominent display at the park, is a longstanding symbol of the Spanish monarchy that has also been embraced by some on the far right.Samuel Aranda for The New York Times“The park allows you to reclaim an idea of your past that you can be proud of,” Mr. Carrobles said. “A beautiful past, a past that’s worth remembering.”But it has also proved to be a selective past.The shows depict Isabella I as a visionary and a merciful queen, making no mention of her order to expel Jews during the Inquisition. The Aztecs appear once in a dance scene, but their deadly fate at the hands of the conquistadors is omitted.Perhaps most telling is the park’s treatment of the Spanish Civil War, whose legacy continues to divide the country. The conflict is only vaguely mentioned at the end of “Toledo’s Dream,” when a woman mourns her brothers who “killed each other.” The scene lasts one minute, out of a 75-minute performance, and the show ends without mentioning the subsequent four-decade dictatorship of Franco.“Too soon to talk about it,” said Mr. de la Villéon, noting that memories of Francoist Spain were still raw.Some 200 million euros, or about $220 million, have been invested in creating a medieval atmosphere.Samuel Aranda for The New York Times“It’s a very consensual show, which has glossed over the questionable aspects of Spanish history,” said Jean Canavaggio, a French specialist in Cervantes who reviewed the script of “Toledo’s Dream.” He added that the park could not have succeeded had it taken a “critical look” at Spanish history, given how politically fraught that remains.Mr. de la Villéon said that he had looked for events illustrating Spain’s unity. In Puy du Fou España, they revolve around a central element: Catholicism.Nearly every show features clerics and soldiers dedicating their fights to God. In “The Mystery of Sorbaces,” a Visigoth king converts to Catholicism as his troops fall to their knees and a church rises from underground, to the sound of emotional music.Mr. de la Villéon — who makes no secret of his faith and had a small chapel set up in the park — argued that Catholicism was “the matrix” of Spanish history.A replica of Christopher Columbus’s caravel. Catholicism is central to the park’s shows.Samuel Aranda for The New York TimesMr. Gómez Bravo, the historian, who specializes in the Civil War and Franco, said the park presented the Catholic reconquest of Muslim-ruled Spain as the foundation of Spanish unity. “This a very politically charged idea because it was promoted above all by Franco’s regime,” he said.Still, many in the Spanish park seemed to embrace the park’s mission.“Spain is a great country!” said Conchita Tejero, a woman in her 60s, who was seated with three friends at a large wooden table in a medieval-style tavern adorned with imperial flags. “This park is a way to reclaim our history.”Her friend, Esteban Garces, a supporter of the far-right Vox party, said he saw the park as a counterpoint to the “other history” that portrayed Spain as needing to make amends for its past.Exiting the park after nightfall, Mr. Garces said he had been delighted with “Toledo’s Dream.”“The true history,” he said.The idea that Spanish unity was founded on the Catholic reconquest was “charged,” one historian said, because that was the narrative promoted under Franco.Samuel Aranda for The New York Times More

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      What Improv Can Do for Mathematicians

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      Coaching sessions at the People’s Improv Theater were aimed at helping math experts connect with laypeople and give engaging presentations.Good morning. It’s Wednesday. Today we’ll solve for x and y, where x is a group of high-level mathematicians and y is an improvisational theater workshop. This one’s easy, even if you’re not very good at math. We’ll also look at Mayor Eric Adams’s fund-raising.Michelle V. Agins/The New York TimesWhat’s funny about quadratic equations? Is there something to laugh at in Euclidean geometry?Those questions went unanswered in unusual coaching sessions last week, and no wonder: The instructor’s background is not in Cartesian geometry or matrix algebra but in improvisational theater and standup comedy.The students were mathematicians from across the country — assistant professors, postdoctoral students and a few who are months away from their Ph.D.s, along with Cindy Lawrence, the executive director and chief executive of the National Museum of Mathematics, which arranged the three-day workshop.The sessions were “not so much about being funny,” explained the instructor, Kihresha Redmond, the artistic director of the People’s Improv Theater, a comedy theater and improv training center on West 29th Street that is also known as the PIT. The purpose was to show the mathematicians how to do engaging presentations for laypeople.“You don’t get a Ph.D. because you’re just so-so at something,” Lawrence said, but mathematicians “may not be quick at responding to an audience and they may not be comfortable in front of a room of strangers. Improv helps you build those kinds of skills.”Redmond did not mention it to the group, but she knew something about math. “I thought it was something I was going to major in” when she went to college, she confided one morning last week, before the group arrived. “It was a last-minute left turn to theater.”One session with the mathematicians involved no scripts, no carefully rehearsed “to be or not to be” moments — and no math. It began with Redmond leading some loosening-up exercises. Later, as a drill in thinking fast and talking in front of an audience, she had the mathematicians conduct mock news conferences. They made up companies and products to promote and assigned someone in the group to be the spokeswoman fielding questions. The others in the group played reporters.Angela Avila, a Ph.D. candidate at the University of Texas at Arlington, said the think-on-your-feet training would be useful in her work, which involves using math to solve agricultural problems, like how many more cows could be fed in a given pasture if a dairy farmer increased the nutrient yield.She said she could use artificial intelligence and “big fancy equations” to come up with an answer, but if she explained it that way, there would probably be a lot of head-scratching.“If I am speaking line from line on my research paper, they’d get lost,” she said, “but if I connect with them and read the energy in the room, that won’t happen.”Lawrence, from the math museum, said she had invited women to the workshop because women are underrepresented in mathematics and in science, technology and engineering. “It’s a problem that self-perpetuates because young women who don’t see female mathematicians get the impression that math is a field that’s not for them, it’s for men,” she said.She wants the participants to help bring about more balance by serving as role models for girls: Each workshop participant is to present a talk about her specialty in a setting like a middle school. She said the idea was “to incentivize women who maybe already have an interest in reaching the younger generation to do so” before their focus is on the publish-or-perish pressures of tenure-track academics.“One of the women told me she was not looking forward to improv and went along with it because it was part of the program,” Lawrence said. “She said this turned her mind completely around.”WeatherOn a partly sunny day with a high near the mid-80s, prepare for a chance of showers and thunderstorms persisting through the evening. At night, temps will drop into the low 70s.ALTERNATE-SIDE PARKINGIn effect until Aug. 15 (Feast of the Assumption).The latest New York newsJohnny Milano for The New York TimesGilgo Beach killings: The wife of Rex Heuermann, the suspect in the Gilgo Beach murders, was away when the killings happened and has not been charged. Experts say it’s not unusual for the spouses of serial killers to be unaware of their crimes. Rikers management: The federal judge in charge of deciding whether New York City jails will be taken over by an outside authority expressed disapproval of how Rikers Island and other lockups are managed.Housing moves: Gov. Kathy Hochul announced a series of executive actions to promote residential real estate development and ease the state’s housing crisis.Museum director: Stephanie Hill Wilchfort, who most recently served as the president and chief executive of the Brooklyn Children’s Museum, will be the next director and president of the Museum of the City of New York.Remembering Chisholm: City officials approved designs for a monument in Prospect Park to Shirley Chisholm, the first Black woman elected to Congress.Landmarks’ protector: Beverly Moss Spatt, who battled real estate and political interests as chairwoman of the city’s Landmarks Preservation Commission in the 1970s, died on Friday. She was 99.Amassing cash for a campaign that’s two years awayBenjamin Norman for The New York TimesEric Adams was a prodigious fund-raiser when he ran for mayor in 2021. Now, with his eye already on a second term, he is raising big money for 2025 — $1.3 million since January.My colleagues Emma G. Fitzsimmons and Nicholas Fandos write that Adams appears to be eager to amass a large war chest to fend off serious competitors. He faced seven serious opponents in the Democratic primary two years ago and won by only 7,197 votes.With matching funds that Adams campaign officials expect to receive under the city’s public financing system, his re-election effort is expected to have about $4.6 million on hand by the time the 2025 campaign gears up. The matching funds program can turn a $10 contribution from someone who lives in New York City into $90 for a campaign.Adams could be difficult to beat, despite recent setbacks. Chris Coffey, a Democratic strategist who was a campaign manager for Andrew Yang, an Adams opponent two years ago, said the mayor’s low approval rating was not terribly worrisome — it fell to 46 percent in a Siena College poll last month. Coffey noted that Michael Bloomberg’s approval rating dipped as low as 24 percent in his second year in office, but he went on to win two more terms.Among Adams’s donors are Marc Holliday and Steve Green, the chief executive and founder, respectively, of the city’s largest commercial landlord, SL Green. Each gave $2,100. Also on the list of Adams contributors are Alexander and Helena Durst, from the Durst real estate dynasty. In addition, the mayor has taken in $12,600 from people who work for Top Rock Holdings, a real estate investment firm.A fund-raiser for the mayor at a performance of the Broadway musical “New York, New York” last month was lucrative despite lackluster reviews for the show. Seats went for as much as $2,100 apiece. Adams’s campaign took in about $600,000 from the event, which a campaign spokesman said was organized by Frank Carone, Adams’s former chief of staff.The real estate industry is also making donations to Gov. Kathy Hochul, whose term runs through 2026. Of the $4.5 million her campaign raised from January through June, more than $885,000 came from developers and real estate investors. Among the donors contributing $18,000 — the new legal maximum for statewide candidates — were Holliday; members of the Durst family; and Scott Rechler and Jeff Blau. Both are Democratic megadonors whose firms are competing with Holliday’s for a casino license for the New York City area.METROPOLITAN diaryA sliceDear Diary:He carried the box while they held each other’s hands, their sweat stuck between warm, tanned palms.They walked down the cobblestone street, and she kept her heels out of cracks in the ground. New York heat held her neck. It smelled like new deodorant, smoke, like summertime.She put her head near his ear.They sat at the bottom of a Brooklyn stoop — the lights were on — and he passed her a slice.Their elbows touched.She wiped the corner of his lip and put her leg over his.He traced constellations between spots of orange oil on her scabby knees.“It tastes good,” she said.“The cheese?” he asked with a laugh.“Yeah.”He whispered in her ear.“But we’re on the street,” she said.“Come on,” he said, and took her hand again.— Laila Hartman-SigallIllustrated by Agnes Lee. Send submissions here and read more Metropolitan Diary here.Glad we could get together here. See you tomorrow. — J.B.P.S. Here’s today’s Mini Crossword and Spelling Bee. You can find all our puzzles here.Melissa Guerrero, Shivani Gonzalez and Ed Shanahan contributed to New York Today. You can reach the team at nytoday@nyimes.com.Sign up here to get this newsletter in your inbox. More

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      Trump and Moses: American Power Brokers on London Stages

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      In new works by English playwrights, the 45th U.S. president plots to become the 47th, and the New York urban planner Robert Moses loses his mind.LONDON — Donald J. Trump won’t surrender the spotlight easily. But few could have guessed that he would find renewed life on the London stage, where Mike Bartlett’s scattershot satire, “The 47th,” opened last week at the Old Vic and will run through May 28.Why the number 47? Because the play takes off from America’s 45th president angling anew for top office in 2024. His appetite for attention remains undimmed, as does a fondness for golf. Bertie Carvel, whose portrayal of Trump is the play’s banner achievement, is first seen chugging into view on a golf cart: an impressive entrance that starts the play on a high.Dismounting to launch into a lengthy soliloquy bemoaning “four years of lonely exile,” the character before us looks and sounds uncannily like the man himself. Embodying a public figure 30 years his senior, Carvel — clearly padded — captures Trump’s outsize swagger and bullishness, alongside his ever-busy hands and that strangely fey voice. The tilted head and near-constant squint are perfectly caught, too.But those expecting the sort of “Saturday Night Live”-style broadside familiar from Alec Baldwin are in for a surprise. Within minutes, the audience is aware of a character, not a caricature, and one with a lot on his mind. The opening monologue depicts a vengeful figure acutely aware of how he is regarded: “I know, I know, you hate me,” this Trump remarks at the start.Promising “plans and plots aplenty,” Trump comes across as a Richard III for our time in a blank verse play that tosses out Shakespearean allusions like confetti. Seething with resentment but mindful of his dynasty, Trump gathers his three eldest children to search, like Lear, for an heir to a political kingdom he won’t lose without a fight.The play, to its credit, views Trump in three dimensions, and grants him a way with words you certainly wouldn’t expect from those lips in real life. “It’s not like you to coyly act the mute,” he tells Ivanka (a sleekly coiffed Lydia Wilson), a Cordelia equivalent reluctant — as in “King Lear” — to voice the affection that her father should already know. And I laughed out loud at this Trump’s dismissal of Machiavelli’s “The Prince” as too long — as if he would have opinions about a 16th-century political treatise.Joss Carter as the Shaman and Lydia Wilson as Ivanka Trump in “The 47th.”Marc BrennerWhen Carvel is center stage, “The 47th” entirely grips. The problem comes with a rambling, shapeless narrative that soon loses its way. It’s as if Bartlett were so busy trying to cover all bases that he leaves too many untended. (He’s certainly busy, with three plays running simultaneously in London.)The family drama, for instance, soon gives way to a portrait of an increasingly turbulent America whose anger has only intensified since the storming of the Capitol last year. Bartlett concocts a new slogan — “America rules” — that is emblazoned on banners spilling from the upper reaches of the theater to put us in a rallying state of mind. Miriam Buether’s set is itself quite plain: a blank canvas for a bellicose electorate.The imagined 2024 presidential race finds a sleepwalking, ailing Biden (a raspy-voiced Simon Williams) ceding center stage to Kamala Harris (the American actress Tamara Tunie), whom Trump duly treats with contempt. “You’re an ugly person,” he tells her. “I’m sorry but you are.” In fact, Tunie is so immediately classy and capable a presence that you wish she were given more to do.As well as characters we all know already, Bartlett presents some new ones, including Rosie (Ami Tredrea), a Republican, who derides her brother Charlie (James Cooney), a Democratic journalist, as “desperate and corrupt.” Rupert Goold’s production elsewhere brings on a QAnon-style Shaman (a furious Joss Carter) as a reminder of the darker forces that threaten democracy. Thrashing about in fury, he signifies a gathering anarchy that is also summoned by Ash J. Woodward’s video projections depicting mob misrule.Reuniting the team behind another play that peered into the immediate future, Bartlett’s “King Charles III,” this latest exercise in prophesy sags whenever Trump leaves the stage. His energy — however malign — is the motor that keeps it going, and Carvel certainly has my vote.Trump requires little introduction. But that might not be the case with Robert Moses, the Yale- and Oxford-educated urban planner and designer who died in 1981, age 92. His story famously informed the vast 1974 biography “The Power Broker,” by Robert Caro, and has now spawned a more streamlined play, “Straight Line Crazy.” Written by the English playwright David Hare, this exposition-heavy drama brings Ralph Fiennes roaring back to the stage as Moses and is running at the Bridge Theater through June 18.Ralph Fiennes as Robert Moses in David Hare’s “Straight Line Crazy,” directed by Nicholas Hytner at the Bridge Theater.Manuel HarlanAnyone who has made use of the highways and bridges in the greater New York area has probably traveled a route made possible by Moses, a hugely renowned figure in his day. A visionary who overflowed with ideas about how to reshape public spaces and the ways people obtain access to them, Moses attracted criticism as well. Although he didn’t drive himself, he was hostile to public transportation, not to mention casually racist and heedless of the communities displaced by the realization of his grand schemes. (One highway included bridges with deliberately inadequate clearance, so buses couldn’t use them.)Hare chooses two decisive points in Moses’ life to tell a story of vaulting ambition that devolves into the madness hinted at in the play’s title: 1926, as Moses, not far from 40, proposes building two parkways to link New York City to Long Island, and, after the intermission, 1955. The idea then was to build a sunken expressway that would cut through Lower Manhattan’s Washington Square Park.Fiennes has enough barrel-chested authority to sustain interest in what might otherwise seem arcane. You almost wish that the play, and Nicholas Hytner’s adroit production, were longer and amplified the material more. Moses’ nemesis, the urban space activist Jane Jacobs (Helen Schlesinger, struggling with the accent), gets a crucial speech at the top of the play, but this self-described warrior isn’t shown putting up much of a fight.The other characters — various employees of Moses included — largely pale next to the momentum that builds as Moses starts to break down. “I’d rather be right, and alone, than soft, and with other people,” he admits toward the end, showing the Trump-like megalomania that brings a piecemeal play to hurtling, powerfully acted life.The 47th. Directed by Rupert Goold. Old Vic, through May 28.Straight Line Crazy. Directed by Nicholas Hytner. Bridge Theater, through June 18. More

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      Onstage, the French Election Is a Landslide Win for Cynicism

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      As the presidential vote approaches, theaters and comedy venues are addressing the campaign. Many shows reach a similar conclusion: Don’t trust politicians.PARIS — If elections are spectacles, France’s presidential campaign, caught between voter apathy and war in Europe, has so far struggled to connect with its audience. Yet on French stages, a number of artists are making hay out of the upcoming vote — and the picture is hardly flattering.Across comedy and drama, performers and directors of varied backgrounds seem to agree on one thing: The country’s politicians are uniformly terrible and their performances a little too close to theater to be trusted.Not that the political calendar is headline material in every playhouse. While many prestigious French theaters that receive public funding pride themselves on staging political works, they tend to refer to current events only obliquely. For highbrow theatergoers here, a lack of intellectual distance suggests a lack of taste. Shows actually addressing the presidential campaign are mostly found elsewhere, in smaller venues that rely on box-office revenues.Two of them, the Café de la Gare and the Théâtre des Deux Ânes, are comedy venues. On the nights I attended, they drew large, albeit different, crowds. While visitors to the Café de la Gare skewed younger, the silver-haired audience at the Théâtre des Deux Ânes, in the Pigalle district of Paris, appeared to include many regulars, who cheered for several comedians as soon as they appeared onstage.The jokes were dissimilar, too. At the Deux Ânes, the show “Elect Us” strings together five comic and musical acts, ranging from witty (Florence Brunold’s parody of a history lesson, with “Macron the First” as a Jupiterian king) to downright misogynistic. Every female politician mentioned throughout the performance was described as either an airhead or physically unattractive. Some of their male peers, on the other hand, were more gratifyingly characterized as “too smart” (Macron) or as a Casanova (the far-right candidate Éric Zemmour).Guillaume Meurice in “Meurice 2022” at the Café de la Gare.MagaliThe shows on offer at the Café de la Gare, on the other hand, tried to turn these tropes on their head. “We’ve Reached That Point!,” written by Jérémy Manesse and directed by Odile Huleux, envisions a television debate between two fictional contenders during the next presidential election, in 2027. One of them is a woman, well played by the deadpan Florence Savignat, who maintains a purposely bland persona to avoid personal attacks. In another show at the venue, “Meurice 2022,” the well-known comic Guillaume Meurice — a daily presence on a popular radio station, France Inter — plays a presidential candidate whose patronizing rhetoric is ultimately undermined by the feminist manager in charge of running his events, played by Julie Duquenoy.Still, despite their contrasting values, all these shows portray the French political class as far removed from the audience and its concerns. The historical left-right divide, which has been in flux since Macron won office as a centrist and far-right figures started gaining ground, often gave way onstage to an “us versus them” dynamic, with acts that riffed on the public’s perceived disdain for every presidential candidate.Meurice’s cartoonishly out-of-touch character, for instance, isn’t affiliated with any party. One recurring gag is that every time he mentions another politician, he describes that person as “a personal friend,” from far-left figures to Macron and Zemmour — the implication being that they all belong to the same social group. By way of parody, “Meurice 2022” also offers empty slogans like “The future is already tomorrow” and “Winning now.”From a comedy perspective, it works. Yet “Meurice 2022” speaks to a larger malaise in the country, which “We’ve Reached That Point!” makes even more explicit. The plot revolves around the improbable notion that the two 2027 contenders, unbeknown to them, have been given a newly discovered truth serum before the start of their live debate. When the serum kicks in, suddenly they find themselves blurting out their real feelings about the hot issues of the campaign.Manesse, a shrewd writer, inserts several coups de théâtre along the way, which makes for a genuinely entertaining play. Yet the premise remains that no politician could possibly be telling the truth.From left, Emmanuel Dechartre, Alexandra Ansidei, Christophe Barbier and Adrien Melin in “Elysée” at the Petit Montparnasse theater.Fabienne RappeneauWhen politicians are portrayed as liars, the age-old comparison between politics and theater is never far away — and in Paris, two plays about former French presidents are also leaning into it. “The Life and Death of J. Chirac, King of the French,” directed by Léo Cohen-Paperman, shows Jacques Chirac, the French head of state from 1995 to 2007, as a deeply theatrical figure, as does “Élysée,” a play about the relationship between Chirac and his predecessor, François Mitterrand, who was elected president in 1981.Audience members looking for policy analysis will be disappointed. “Elysée,” directed by Jean-Claude Idée at the Petit Montparnasse theater, is mostly uninterested in Chirac’s and Mitterrand’s politics. The playwright, Hervé Bentégéat, focuses on what they have in common: a wandering eye, for starters, in some cringe-inducing scenes with the only woman in the cast, and the fact that they are “good comedians.” Cue the unlikely bargain they reportedly struck in 1981 to help the left-wing Mitterrand get elected — a cynical long-term calculation for Chirac, a right-wing figure.Julien Campani as Jacques Chirac in “The Life and Death of J. Chirac, King of the French” at the Théâtre de Belleville.Simon Loiseau“The Life and Death of J. Chirac, King of the French,” at the Théâtre de Belleville, is the more compelling show, despite some inconsistencies. It is the first installment in a planned series of presidential portraits, “Eight Kings.” (The president-as-king metaphor has a life of its own in France.) In the opening scene, which manages to be brilliantly funny while recapping Chirac’s life, Julien Campani and Clovis Fouin play overenthusiastic Chirac fans who have created a zany 24-hour theater production about his life. Cohen-Paperman then segues into far more traditional vignettes drawn from Chirac’s youth and career.Campani is impressively convincing in the title role, but “The Life and Death of J. Chirac, King of the French” never really explores what Chirac achieved, or didn’t achieve, as a politician. Instead, it posits politics as a game of chess, with Chirac on the lookout for the next useful move.Learn More About France’s Presidential ElectionCard 1 of 6The campaign begins. More

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      Primary Day in N.Y.C.: Where the Races Stand

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      [Want to get New York Today by email? Here’s the sign-up.]It’s Wednesday. Weather: Sunny and dry, with a high in the mid-70s. Alternate-side parking: In effect until July 4 (Independence Day). Desiree Rios for The New York TimesEven as gloomy weather descended on New York, hundreds of thousands of voters cast their ballots on Primary Day.The election offered the first major test of a new voting system and capped off months of campaigning in several city races. But winners will not immediately be called in many major contests, including the Democratic primary for mayor and the city comptroller race, with no single candidate getting more than 50 percent of the vote and ranked-choice selections yet to be processed.Here’s a look at where the races stand (and you can follow all the results here):Eric Adams is ahead. But results are far from final.In initial tallies after Tuesday’s voting, Mr. Adams was in front among the Democratic candidates for mayor with nearly 32 percent of first-choice votes. He was trailed by Maya Wiley, with about 22 percent, and Kathryn Garcia, with more than 19 percent.The three remained firmly optimistic on Tuesday night. But Andrew Yang, who was in fourth place at less than 12 percent, conceded. “We still believe we can help, but not as mayor and first lady,” he said with his wife, Evelyn, at his side.As ranked-choice votes are tabulated, those standings could change, and absentee ballots also must be counted. It may be weeks before an official winner is named.The eventual victor will face off in the Nov. 2 general election against Curtis Sliwa, the founder of the Guardian Angels, who handily won the Republican primary over Fernando Mateo.[Read about the major takeaways from Primary Day, and check out neighborhood-level results.]Alvin Bragg leads the Democratic race for Manhattan district attorney.Mr. Bragg, a former federal prosecutor and deputy attorney general, was ahead in the Democratic primary for Manhattan district attorney, leading Tali Farhadian Weinstein by about three and a half percentage points. His platform was focused on police accountability and racial justice.If his lead holds, Mr. Bragg would become the first Black person to lead the office. If Ms. Farhadian Weinstein pulled ahead, she would become the first woman.The Manhattan district attorney’s race, which did not use the ranked-choice system, included eight candidates total.[Looking for more information on the race? Here’s our full story.]Other races were headed to ranked-choice tabulation.In the contest for comptroller, a position that will play a significant role in the city’s economic recovery, Brad Lander, who was endorsed by Representative Alexandria Ocasio-Cortez, was ahead in first-choice votes. He was leading Corey Johnson, the City Council speaker, by about nine percentage points.The winners of many City Council races were also still undeclared. Several incumbents coasted to easy victories, but in most districts the current officeholder was not running, guaranteeing at least 32 different faces.From The TimesUnanimous Vote Is Final Step Toward Removing Roosevelt StatueConnecticut Legalizes Recreational Marijuana, With Sales Set for May 2022With Mass Vaccination Sites Winding Down, It’s All About the ‘Ground Game’Morgan Stanley says no vaccine, no entry.Sylvia Deutsch, a Force in New York City Land Use, Dies at 96Want more news? Check out our full coverage.The Mini Crossword: Here is today’s puzzle.What we’re readingSeveral mayoral candidates showed support for renaming streets named for slaveholders. What would the effort take to accomplish? [Curbed]Lagging vaccination rates among workers at group homes for disabled New Yorkers are sparking concerns. [Gothamist]At the Newkirk Plaza subway station in Brooklyn, residents say, officials have not addressed a growing rat infestation problem. [The City]And finally: Who got Special Tony Awards?The Times’s Julia Jacobs writes:The Tony Awards, long delayed by the pandemic, announced on Tuesday the first recipients, including the Broadway Advocacy Coalition, an organization started five years ago by a group of actors and others as a tool to work toward dismantling racism through theater and storytelling.The other recipients were “David Byrne’s American Utopia,” an intricately choreographed concert by the former Talking Heads singer, and “Freestyle Love Supreme,” a mostly improvised hip-hop musical that was created, in part, by Lin-Manuel Miranda.These honors, called Special Tony Awards, were presented to three recipients that the Tony administration committee thought deserving of recognition even though they did not fall into any of the competition categories, according to a news release.The recipients were announced more than one year after the ceremony had originally been scheduled to take place. Because of the coronavirus pandemic, the ceremony was put on hold.The awards show — a starry broadcast that will celebrate Broadway’s comeback — is now scheduled to air on CBS in September, when Broadway shows are scheduled to return to theaters in almost full force. Most of the awards, however, will be given out just beforehand, during a ceremony that will be shown only on Paramount+, the ViacomCBS subscription streaming service.It’s Wednesday — show your appreciation.Metropolitan Diary: Familiar sightDear Diary:I was on an uptown No. 1 train. Across the aisle was a young man who looked to be in his early 20s. He had long, thick, curly red hair. There was a guitar case on the floor next to him.We looked at each other and smiled. I got off at the next stop.Around two months later, I got on another uptown 1. I sat down, looked up and saw the young red-haired man with his guitar case across the aisle and two seats away.We looked at each other. His eyes widened in surprise and his face broke into a grin.I’m sure I looked surprised, too, and I grinned, too.In two stops, he got off the train. We were both smiling.— Deametrice EysterNew 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. More

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      Primary Day Is Finally Here

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      [Want to get New York Today by email? Here’s the sign-up.]It’s Tuesday. Weather: Watch out for showers and thunderstorms most of the day. The temperature will fall from the mid-70s in the morning to the mid-60s by evening. More