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    ‘Bark of Millions’ Review: Taylor Mac’s Rock Opera at BAM

    If Taylor Mac and Matt Ray’s four-hour rock opera were aiming to succeed on aural gorgeousness and visual spectacle alone, there would be no cause to quibble.Somewhere close to the four-hour mark in “Bark of Millions,” the polychromatic cavalcade of splendor that is Taylor Mac and Matt Ray’s new rock opera, I finally realized why the woman in front of me had been reading on her phone throughout the performance. And why she had looked at me like I was way out of line when I couldn’t bear the glowing screen any longer, leaned forward and implored her to stop.The words on her phone were excerpts from the show’s lyrics, a free digital version of the printed fan deck on sale at concessions. More than 50 songs in, she was grasping at that text in an attempt to follow along. Because the great frustration of “Bark of Millions,” which continues through Saturday at the Brooklyn Academy of Music’s Harvey Theater, is that there are far too many songs in which the music drowns out the lyrics, making the meaning a bafflement. (Sound design is by Brendan Aanes.) In those moments, time decelerates.If “Bark of Millions” were aiming to succeed on aural gorgeousness and visual spectacle alone, there would be no cause to quibble. Those are plentiful in Ray’s genre-hopping music, richly interpreted by the band he directs, and in Machine Dazzle’s ingeniously odd costumes, such as the sparkly pastel number in which Mac begins the evening, looking like Weird Barbie as an acid-tinged sprite, dressed for Versailles by way of ’60s Vegas.But Mac’s vivid, often poetic lyrics are not incidental. In the creation of the score, they were the starting point, each of the 55 songs inspired by a figure in queer history. It is a mosaic of a show, inherently political in its affirmation of queer heritage and community, though as Mac tells the audience, it is not a history lesson: “We beg you not to Google in your seats.”From left, Jack Fuller, Mama Alto and Thornetta Davis.Julieta Cervantes for The New York TimesStill, there are degrees of mystery, and I do not believe that “Bark of Millions” — which Mac, its principal director, describes aptly in a program note as “an opera-concert-song-cycle-musical-performance-art-piece-play” — means to leave us so much in the dark.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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    Da’Vine Joy Randolph: Major Prizes, Major Attention, Major Unease

    The “Holdovers” star Da’Vine Joy Randolph has had a charmed run through awards season so far: Considered the favorite for the supporting actress Oscar, she has already taken the Golden Globe, Critics Choice Award and prestigious trophies from both the New York Film Critics Circle and Los Angeles Film Critics Association.The 37-year-old actress is well-aware of the power of those prizes, and knows that even being in the Oscar conversation can change the course of a career. But does that mean her awards season has been easy to navigate?“It’s overwhelming, if I’m being really honest,” Randolph told me in a candid conversation last week. “You really do earn your stripes going through this awards-season thing.”A monthslong Oscar campaign can be more arduous than people realize: a pileup of Q. and A.s, wardrobe fittings, round tables, photo shoots, interviews, red carpets, ceremonies, movie premieres, cocktail parties and festival appearances that demand always-on levels of poise and adrenaline. Everyone you meet at these events wants something from you — a conversation, a selfie, an autograph, an acceptance speech — and at the end of these glitzy and exhausting nights, there’s not much left over for yourself.Randolph is no novice: Tony-nominated for her role in “Ghost the Musical” (2012), she earned Oscar chatter for her breakout film performance in “Dolemite Is His Name” (2019) and has worked steadily in films like “The United States vs. Billie Holiday” (2021) and TV shows including “Only Murders in the Building,” “The Idol” and “High Fidelity.” Still, nothing she has experienced so far compares to the white-hot awards spotlight shone on her in the wake of “The Holdovers,” and Randolph is still figuring out how to adjust to its glare.Clockwise from top left, Randolph in “Ghost the Musical”; “The United States vs. Billie Holiday,” with Andra Day; “The Holdovers,” opposite Paul Giamatti and Dominic Sessa; and “Dolemite Is His Name,” starring Eddie Murphy.Clockwise from top left: Sara Krulwich/The New York Times; Takashi Seida/Paramount Pictures and Hulu; Seacia Pavao/Focus Features; François Duhamel/NetflixWe 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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    ‘Passport’ Review: A Master of Comedy in a Migrant Camp

    The new show by Alexis Michalik, a star of commercial theater, wades into political battles in France, where immigration restrictions have been at the forefront of the government’s agenda.Badly injured from a fight, a man wakes up in the Calais Jungle, a ramshackle camp for migrants in northern France. His memory is gone, and all he has on him is an Eritrean passport with the name “Issa.”That’s the premise of Alexis Michalik’s brisk, effective new play “Passport,” which was greeted with a standing ovation last weekend in Paris. Until it was demolished in 2016, the overcrowded Jungle encampment stood as a symbol of Europe’s refugee crisis, which hasn’t entirely subsided. While the site itself is gone, migrants still regularly attempt to cross the English Channel from the Calais area and reach Britain.Many in the French theater world publicly supported the people living in the Jungle, and a handful of small-scale productions in France took the camp as inspiration. Still, the first major play about it came from Britain, in 2017: Joe Murphy and Joe Robertson’s immersive “The Jungle” was inspired by the directors’ time in Calais, where they set up a theater with migrants. It went on to become a trans-Atlantic hit, and was revived last year at St. Ann’s Warehouse in Brooklyn.In some ways, Michalik was an unlikely name to follow suit. A star of the commercial theater sector in France, he has built his reputation on accessible, fast-paced comedy dramas like “Edmond,” a “Shakespeare in Love”-style spin on the life of the French playwright Edmond Rostand. His last stage endeavor was a French-language adaptation of the Mel Brooks musical “The Producers.”Yet Michalik has tiptoed into heavier subject matters in recent years — first with “Intra Muros,” a play set in a maximum-security prison, then with “A Love Story,” which centered on a lesbian couple’s I.V.F. journey.“Passport,” which is playing at the Théâtre de la Renaissance through June 30, wades even more openly into current political battles in France, where immigration restrictions have been at the forefront of President Emmanuel Macron’s agenda. In response, Michalik, who wrote and directed the play, invokes the audience’s empathy. “Imagine if a war started here, in your country,” one actor tells us near the beginning. “Your life is threatened, so logically, you decide to leave.”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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    ‘Days of Wine and Roses’ Review: Romance on the Rocks

    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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    ‘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