It ’s hot out the day I meet Jeremy Strong near his home in Brooklyn to chat about his return to the stage. “Unsettling” is how the 45-yearold Succession star describes the late October weather as we stroll along a waterfront dotted with sunbathers stretched out amid fallen autumn leaves. “Every year, it’s another ‘hottest year on record.’ How did we get here?” he muses. “That question—it’s one reason I had to do this play.”
The play Strong is referring to is An Enemy of the People by Henrik Ibsen. In a new adaption by playwright Amy Herzog opening on Broadway March 18, Strong takes on the role of Dr. Thomas Stockmann, a man who discovers an inconvenient environmental truth and is pilloried by his community for revealing it. “It ’s easier for them not to believe,” explains Strong of the villagers’ reaction to Stockmann’s scientific data. “Believing would be too disruptive— politically, economically. You don’t have to stretch to see the analogy between what Ibsen wrote in 1881 and what ’s happened vis-à-vis climate change.”
Strong hadn’t been planning to embark on a grueling 16-week Broadway run. After the final season of Succession wrapped last year, he was ready for a break—which he got, courtesy of the SAG-AFTRA strike that allowed him to spend a mellow summer at his house in the Danish countryside with his wife, Emma, and their three young daughters. But the issues raised by An Enemy of the People felt too urgent to pass up when his old friend theater director Sam Gold urged him to read the play. “I texted Sam as soon as I finished it,” recalls Strong. “I was like, Yeah, we’re doing this.”
この記事は Vogue US の March 2024 版に掲載されています。
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この記事は Vogue US の March 2024 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
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Canvas the City - Martha Diamond captured the brisk energy of Manhattan.
How do you capture a city as frenetic as New York? For the late artist Martha Diamond, it meant looking up. In her soulful paintings of New York City’s skyscrapers, Diamond used loose ropes of color that land somewhere between abstraction and figuration. Though sparse in detail, her buildings teem, as the city does, with life. Diamond made most of her paintings in her loft on the Bowery, where she lived from 1969 until her death last December, at age 79. Throughout her five-decade career, she didn’t so much re-create what she saw as channel its slippery essence. “I know the city has straight lines or edges,” she said in 1989, “but as I walk around, the ending or beginning of substance becomes less absolute.” Her buildings sway in the wind and glisten in the light. “I think her work is still startling,” says poet Eileen Myles, who was a longtime friend of Diamond’s. “It’s there to wake people up.”
Off the Beat - Mainly known as a producer, O'Connell Finneas is releasing a new heartfelt LP.
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It was late in the summer in Los Angeles, with all the dry heat and burnished sunlight that implies, and Billie Eilish was sitting in a dark room, busy changing her mind. The singer was halfway through editing the music video she had directed for “Birds of a Feather,” her latest astronomically successful hit song (nearly 1 billion streams) off her latest astronomically successful hit album (nearly 4 billion streams at the time), when she encountered a problem: She realized she hated it. Well, not hated. “I was like, this ain’t it,” she says.
Coming Up Rosy - The new blush isn't just for the cheek. Coco Mellors feels the flush.
If the eyes are the window to the soul, then our cheeks are the back door. What other part of the body so readily reveals our hidden emotions? Embarrassment, exuberance, delight, desire, all instantly communicated with a rush of blood. It's no wonder that blush has been a mainstay of makeup bags for decades: Ancient Egyptians used ground ochre to heighten their color; Queen Elizabeth I dabbed her cheeks with red dye and mercuric sulfide (which, combined with the vinegar and lead concoction she used to achieve her ivory pallor, is believed to have given her blood poisoning); flappers applied blush in dramatic circles to achieve a doll-like complexion, even adding it to their knees to draw attention to their shorter hemlines
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A trio of novels spirits you far away.
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A story of survival on a whaling ship sets sail on Broadway. Robert Sullivan meets the crew behind the rousing folk musical Swept Away.
STAGING A COMEBACK
Harlem's National Black Theatre has been a storied arts institution in need of support. A soaring new home is shaping its future.
Simon Says
Simon Porte Jacquemus, much like his label, resonates with the sunny, breezy French South-but behind the good life, as Nathan Heller discovers, is a laser focus and a shoulder-to-the-wheel work ethic.
