Entertainment

'Dead Outlaw,' a musical about a famous corpse discovered in Long Beach, makes its way to Broadway

Published

8 months ago

April 27, 2025

'Dead Outlaw,' a musical about a famous corpse discovered in Long Beach, makes its way to Broadway

NEW YORK — “Dead Outlaw,” the offbeat musical from the team behind the Tony-winning musical “The Band’s Visit,” isn’t mincing words with the title. The show, which had its official opening Sunday at Broadway’s Longacre Theatre, tells the story of the unsuccessful career of a real-life bandit, who achieved more fame as a corpse than as a man.

Born in 1880, Elmer McCurdy, a crook whose ambition exceeded his criminal skill, died in a shoot-out with the police after another botched train robbery in 1911. But his story didn’t end there. His preserved body had an eventful afterlife all its own.

“Dead Outlaw,” a critics’ darling when it premiered last year at Audible’s Minetta Lane Theatre, may be the only musical to make the disposition of a body an occasion for singing and dancing.

David Yazbek, who conceived the idea of turning this stranger-than-fiction tale into a musical, wrote the score with Erik Della Penna. Itamar Moses, no stranger to unlikely dramatic subjects, compressed the epic saga into a compact yet labyrinthine book. Director David Cromer, whose sensibility gravitates between stark and dark, endows the staging with macabre elegance.

Yet Yazbek, Moses and Cromer aren’t repeating themselves. If anything, they’ve set themselves a steeper challenge. “Dead Outlaw” is more unyielding as a musical subject than “The Band’s Visit,” which is to say it’s less emotionally accessible.

Andrew Durand stars in “Dead Outlaw.”

(Matthew Murphy)

It’s not easy to make a musical about a crook with a volatile temper, an unslakable thirst for booze and a record of fumbled heists. It’s even harder to make one out of a dead body that went on exhibition at traveling carnivals and freak shows before ending up on display in a Long Beach fun house, where the mummified remains were accidentally discovered by a prop man while working on an episode of “The Six Million Dollar Man” in 1976.

Stephen Sondheim might have enjoyed the challenge of creating a musical from such an outlandish premise. “Dead Outlaw” evokes at moments the droll perversity of “Sweeney Todd,” the cold-hearted glee of “Assassins” and the Brechtian skewering of “Road Show” — Sondheim musicals that fly in the face of conventional musical theater wisdom.

As tight as a well thought-out jam-session,”Dead Outlaw” also recalls “Bloody Bloody Andrew Jackson,” the Michael Friedman-Alex Timbers musical that created a satiric historical rock show around a most problematic president. And the show’s unabashed quirkiness had my theater companion drawing comparisons with “Hedwig and the Angry Inch.”

Andrew Durand, who plays Elmer, has just the right bad-boy frontman vibe. The hard-driving presence of bandleader and narrator Jeb Brown suffuses the production with Americana authenticity, vibrantly maintained by music director Rebekah Bruce and music supervisor Dean Sharenow.

Elmer moves through the world like an open razor, as the title character of Georg Büchner’s “Woyzeck” is aptly described in that play. A précis of Elmer’s early life in Maine is run through by members of the eight-person cast in the bouncy, no-nonsense manner of a graphic novel.

The character’s criminal path is tracked with similar briskness — a fateful series of colorful encounters and escapades as Elmer, a turbulent young man on the move, looks for his big opportunity in Kansas and Oklahoma. Destined for trouble, he finds it unfailingly wherever he goes.

Elmer routinely overestimates himself. Having acquired some training with nitroglycerin in the Army, he wrongly convinces himself that he has the know-how to effectively blow up a safe. He’s like a broke gambler who believes his next risky bet will bring him that long-awaited jackpot. One advantage of dying young is that he never has to confront his abject ineptitude.

Arnulfo Maldonado’s scenic design turns the production into a fun-house exhibit. The band is prominently arrayed on the box-like set, pounding out country-rock numbers that know a thing or two about hard living. The music can sneak up on you, especially when a character gives voice to feelings that they can’t quite get a handle on.

Durand can’t communicate emotions that Elmer doesn’t possess, but he’s able to sharply convey the disquiet rumbling through the character’s short life. There’s a gruff lyricism to the performance that’s entrancing even when Elmer is standing up in a coffin. But I wish there were more intriguing depth to the character.

Elmer is a historical curiosity, to be sure. And he reveals something about the American moneymaking ethos, which holds not even a dead body sacred. But as a man he’s flat and a bit of a bore. And the creators are perhaps too enthralled by the oddity of his tale. The show is an eccentric wallow through the morgue of history. It’s exhilarating stylistically, less so as a critique of the dark side of the American dream.

Julia Knitel has a voice that breaks up the monochromatic maleness of the score. As Maggie, Elmer’s love interest for a brief moment, she returns later in the show to reflect on the stranger with the “broken disposition” who left her life with the same defiant mystery that he entered it. I wish Knitel had more opportunity to interweave Maggie’s ruminations. The unassuming beauty of her singing adds much needed tonal variety.

The musical takes an amusing leap into Vegas parody when coroner Thomas Noguchi (an electric Thom Sesma) is allowed to strut his medical examiner stuff. Ani Taj’s choreography, like every element of the production, makes the most of its minimalist means.

Wanderingly weird, “Dead Outlaw” retains its off-Broadway cred at the Longacre. It’s a small show that creeps up on you, like a bizarre dream that’s hard to shake.

Movie Reviews

Movie Review: An electric Timothée Chalamet is the consummate striver in propulsive ‘Marty Supreme’

Published

2 hours ago

December 22, 2025

Press Room

Movie Review: An electric Timothée Chalamet is the consummate striver in propulsive ‘Marty Supreme’

“Everybody wants to rule the world,” goes the Tears for Fears song we hear at a key point in “Marty Supreme,” Josh Safdie’s nerve-busting adrenaline jolt of a movie starring a never-better Timothée Chalamet.

But here’s the thing: everybody may want to rule the world, but not everybody truly believes they CAN. This, one could argue, is what separates the true strivers from the rest of us.

And Marty — played by Chalamet in a delicious synergy of actor, role and whatever fairy dust makes a performance feel both preordained and magically fresh — is a striver. With every fiber of his restless, wiry body. They should add him to the dictionary definition.

Needless to say, Marty is a New Yorker.

Also needless to say, Chalamet is a New Yorker.

And so is Safdie, a writer-director Chalamet has called “the street poet of New York.” So, where else could this story be set?

It’s 1952, on Manhattan’s Lower East Side. Marty Mauser is a salesman in his uncle’s shoe store, escaping to the storeroom for a hot tryst with his (married) girlfriend. Suddenly we’re seeing footage of sperm traveling — talk about strivers! — up to an egg. Which morphs, of course, into a pingpong ball.

This witty opening sequence won’t be the only thing recalling “Uncut Gems,” co-directed by Safdie with his brother Benny before the two split for solo projects. That film, which feels much like the precursor to “Marty Supreme,” began as a trip through the shiny innards of a rare opal, only to wind up inside Adam Sandler’s colon, mid-colonoscopy.

Sandler’s Howard Ratner was a New York striver, too, but sadder, and more troubled. Marty is young, determined, brash — with an eye always to the future. He’s a great salesman: “I could sell shoes to an amputee,” he boasts, crassly. But what he’s plotting to unveil to the world has nothing to do with shoes. It’s about table tennis.

This image released by A24 shows Timothée Chalamet in a scene from “Marty Supreme.” (A24 via AP)

How likely is it that this Jewish kid from the Lower East Side can become the very face of a sport in America, soon to be “staring at you from the cover of a Wheaties box?”

To Marty, perfectly likely. Still, he knows nobody in the U.S. cares about table tennis. He’s so determined to prove everyone wrong, starting at the British Open in London, that when there’s a snag obtaining cash for his trip, he brandishes a gun at a colleague to get it.

Shaking off that sorta-armed robbery thing, Marty arrives in London, where he fast-talks his way into a suite at the Ritz. Here, he spies fellow guest Kay Stone (Gwyneth Paltrow, in a wise, stylish return to the screen), a former movie star married to an insufferable tycoon (“Shark Tank” personality Kevin O’Leary, one of many nonactors here.)

Kay’s skeptical, but Marty finds a way to woo her. Really, all he has to say is: “Come watch me.” Once she sees him play, she’s sneaking into his room in a lace corselet.

This image released by A24 shows Gwyneth Paltrow in a scene from “Marty Supreme.” (A24 via AP)

This would be a good time to stop and consider Chalamet’s subtly transformed appearance. He is stick-thin — duh, he never stops moving. His mustache is skimpy. His skin is acne-scarred — just enough to erase any movie-star sheen. Most strikingly, his eyes, behind the round spectacles, are beady — and smaller. Definitely not those movie-star eyes.

But then, nearly all the faces in “Marty Supreme” are extraordinary. In a movie with more than 100 characters, we have known actors (Fran Drescher, Abel Ferrara); nonacting personalities (O’Leary, and an excellent Tyler Okonma (Tyler, The Creator) as Marty’s friend Wally); and exciting newcomers like Odessa A’Zion as Marty’s feisty girlfriend Rachel.

There are also a slew of nonactors in small parts, plus cameos from the likes of David Mamet and even high wire artist Philippe Petit. The dizzying array makes one curious how it all came together — is casting director Jennifer Venditti taking interns? Production notes tell us that for one hustling scene at a bowling alley, young men were recruited from a sports trading-card convention.

Elsewhere on the creative team, composer Daniel Lopatin succeeds in channelling both Marty’s beating heart and the ricochet of pingpong balls in his propulsive score. The script by Safdie and cowriter Ronald Bronstein, loosely based on real-life table tennis hustler Marty Reisman, beats with its own, never-stopping pulse. The same breakneck aesthetic applies to camera work by Darius Khondji.

Back now to London, where Marty makes the finals against Japanese player Koto Endo (Koto Kawaguchi, like his character a deaf table tennis champion). “I’ll be dropping a third atom bomb on them,” he brags — not his only questionable World War II quip. But Endo, with his unorthodox paddle and grip, prevails.

After a stint as a side act with the Harlem Globetrotters, including pingpong games with a seal — you’ll have to take our word for this, folks, we’re running low on space — Marty returns home, determined to make the imminent world championships in Tokyo.

But he’s in trouble — remember he took cash at gunpoint? Worse, he has no money.

So Marty’s on the run. And he’ll do anything, however messy or dangerous, to get to Japan. Even if he has to totally debase himself (mark our words), or endanger friends — or abandon loyal and brave Rachel.

This image released by A24 shows Odessa A'zion in a scene from — This image released by A24 shows Odessa A’zion in a scene from “Marty Supreme.” (A24 via AP)

Is there something else for Marty, besides his obsessive goal? If so, he doesn’t know it yet. But the lyrics of another song used in the film are instructive here: “Everybody’s got to learn sometime.”

So can a single-minded striver ultimately learn something new about his own life?

We’ll have to see. As Marty might say: “Come watch me.”

“Marty Supreme,” an A24 release, has been rated R by the Motion Picture Association “for language throughout, sexual content, some violent content/bloody images and nudity.” Running time: 149 minutes. Four stars out of four.

Entertainment

Scared of AI? 11 essential books for navigating our new normal

Published

4 hours ago

December 22, 2025

Press Room

Scared of AI? 11 essential books for navigating our new normal

Despite its ubiquity in our machines and in the news, artificial intelligence remains both a mystery and a source of deep anxiety across occupations and generations. My students, my readers, my colleagues and kids: We are all bewildered by the mix of hype and hope, optimism and doomerism making up the discourse around AI. On the one hand, the quest for artificial general intelligence (AGI) and a utopian belief in the life-improving promise of these emergent technologies; on the other, new algorithmic forms of injustice, the displacement of whole work forces and the limitless sloppification of language, music, video and other aesthetic forms — to say nothing of the threat of human extinction.

The 11 books described below, all published recently, give us helpful sight lines into our turbulent AI age. Some titles are hard-hitting trade nonfiction. One is an academic critique. Others are novels, fictional accounts that imagine how our world is being reshaped (and will be further transformed) by the many technologies grouped under the term artificial intelligence: deepfakes and autonomous drones, AI-enhanced medical scans and self-driving cars.

What all these books have in common is their awareness that AI is transforming our world in ways all too easy to imagine yet nearly impossible to predict.

“Vantage Point: A Novel” by Sara Sligar

(MCD)

“Vantage Point”
By Sara Sligar
MCD: 400 pages, $29

This twisty and brilliantly written thriller about a Maine family spins a tale of ambition, trauma and privilege around the proliferation of so-called deepfakes. Those AI-generated videos play an increasing role in the spread of slanderous accusations and political disinformation in today’s public sphere. Whether the footage at the center of the plot is real or computer-generated is one of the burning questions at the heart of the novel, which plumbs the nature of reality in our age of digital disinformation and virtual selves.

"The Worlds I See: Curiosity, Exploration, and Discovery at the Dawn of AI" by Dr. Fei-Fei Li

“The Worlds I See: Curiosity, Exploration, and Discovery at the Dawn of AI”
By Fei-Fei Li
Flatiron: 336 pages, $20

Though it’s been out for two years already, Li’s account of the early years of computer vision and deep learning is a refreshing break from the LLM-centric discourse dominating many discussions of AI. Li shows us the broader computational context of AI’s emergence, explaining key concepts and breakthroughs in vivid, comprehensible detail. “The Worlds I See” is also a scientific autobiography, a compelling account of Li’s personal and intellectual journey from the impoverished circumstances of a Chinese immigrant family life to a wealthy and world-leading university lab.

"Death of the Author: A Novel" by Nnedi Okorafor

“Death of the Author”
By Nnedi Okorafor
William Morrow: 448 pages, $30

“Rusted Robots” is the title of the AI-themed novel-within-a-novel that Zelu, Okorafor’s MFA-wielding protagonist, writes in the wake of a creative and professional calamity. As we encounter excerpts from the book — an Africanfuturist (Okorafor’s preferred term) narrative set in a postapocalyptic West Africa — we learn how the novel achieves phenomenal sales and success that eluded Zelu when she was writing literary fiction, even as Okorafor explores the perils of fame and new fortune. The result is a powerful meditation on the roles of disability, autonomy and privilege in the shaping of literary making in an age when art itself is increasingly threatened by machines.

“Searches: Selfhood in the Digital Age”
By Vauhini Vara
Pantheon: 352 pages, $30

Vara’s moving account of her uncanny exchanges with a chatbot about her sister’s death became a viral sensation after it appeared in the Believer in 2021, at the dawn of our LLM-obsessed age. In a series of further essays, reflections and fragments, Vara — a Pulitzer Prize finalist for her novel “The Immortal King Rao” as well as a former technology reporter for the Wall Street Journal — investigates the role of digital technologies in making us who we are, and may want to become. The book bristles with insight and originality, interspersing Vara’s more journalistic expositions with excurses and fragments curated from the author’s expansive digital life.

"Notes on Infinity: A Novel" by Austin Taylor

“Notes on Infinity: A Novel”
By Austin E. Taylor
Celadon: 400 pages, $30

Though Taylor’s absorbing debut swings more biotech than AI, the novel beautifully captures the extreme techno-optimism of the multibillionaire set — in this case around the possibility of eternal human life. As Zoe, one of the protagonists, notes early on, her interest in a particular professor’s work stems from his success in “using AI neural networks to understand biological neural networks and the processes of thinking.” “Notes on Infinity” combines the traditional campus novel with the zeitgeisty tech novel, featuring Harvard students with “edge” placing “bets on the next Zuck in the dining halls.”

“Ideal Subjects: The Abstract People of AI”
By Olga Goriunova
Minnesota: 232 pages, $32

This deeply researched study examines how AI systems create “abstract people”: statistical confections, subject profiles and anthropomorphic personages that increasingly substitute for humans in digital environments. Goriunova, a cultural theorist and digital curator based in London, examines how these constructed figures and abstractions shape surveillance, governance and everyday life. What is a “digital person,” and why should we care? Goriunova’s answers prove as complex as they are fascinating.

“Annie Bot”
By Sierra Greer
Mariner: 240 pages, $19

The success of the two “M3gan” films suggests a never-ending fascination with human-like cyborgs — though in the case of “Annie Bot,” this fascination is laced with a prurient eroticism that Greer both exploits and cleverly frustrates in her insightful debut. Annie is a sexbot companion operating in autodidactic mode, learning her owner’s sexual proclivities in much the same way AlphaGo perfected the ancient game of Go. At the heart of novel, though, is a thoughtful and darkly humorous meditation on the politics of AI personhood and subjection comparable to Kazuo Ishiguro’s project in “Klara and the Sun,” and with equally harrowing implications.

“Empire of AI: Dreams and Nightmares in Sam Altman’s OpenAI”
By Karen Hao
Penguin Press: 496 pages, $32

Hao’s bestselling account of OpenAI and its neoimperial ambitions has received lots of coverage, though it deserves an even wider readership. Formerly an application engineer at a Google spinoff, Hao writes with an insider’s knowledge about the relationship between technological innovation and socioeconomic inequality around the world, from resource-guzzling data centers in Chile to ego-filled executive suites in San Francisco. Full of industry anecdotes and sobering analyses, the book is a riveting introduction to the corporate culture of artificial intelligence and its designs on all of us.

"Who Knows You by Heart: A Novel" by C.J. Farley

“Who Knows You by Heart”
By C. J. Farley
William Morrow: 288 pages, $30

Algorithmic bias and injustice are at the heart of this ingenious novel of technological innovation and corporate malfeasance. Farley’s protagonist is Octavia Crenshaw, a down-on-her-luck coder recently hired by Eustachian, an audio entertainment company exploiting new ways to bring stories to the world. After a series of mishaps and disturbing incidents at the company, Octavia teams up with another coder named Walcott to develop a bias-free AI storytelling model — only to discover the limits of her computational and political ideals. The novel is a riveting critique of Big Tech and its faux-liberal aspirations to correct the world’s wrongs.

“If Anyone Builds It, Everyone Dies: Why Superhuman AI Would Kill Us All”
By Eliezer Yudkowsky and Nate Soares
Little, Brown: 272 pages, $30

Earning its apocalyptic title, this doomerist manifesto by two of the leading figures in the tech world appears in an era saturated with reckless optimism and hype. The book provides a sobering look at issues such as potential misalignments between human designers and the AI systems they release into the world, systems with goals of their own that we may not understand in time to thwart their most catastrophic outcomes. The main message: Be afraid. Be very afraid. The book offers a glimmer of hope as well, albeit a faint one, and concludes with some plainspoken recommendations about proceeding with extreme caution and slowing down.

“UnWorld”
By Jayson Greene
Knopf: 224 pages, $28

This deeply moving novel explores the aftermath of loss and the shape of grief in an age of avatars and algorithmically mediated emotion. When a teenager named Alex dies of mysterious causes, part of the burden of mourning falls on Aviva, an upload virtually confected out of pain. By imagining technologies that can shoulder our memories, our labor and our most shattering emotions, Greene questions whether AI risks nurturing a fantasy that code can heal what hurts in our inner lives. A timely meditation on AI’s allure as an escape hatch from the strain of modern consciousness, the novel quietly insists that any lasting tranquility must still be cultivated from within and shared between humans, with all our flaws.

Holsinger’s most recent novel is “Culpability,” an Oprah’s Book Club pick for summer 2025.

Movie Reviews

Movie Review: The Voice of Hind Rijab

Published

14 hours ago

December 21, 2025

Press Room

By Mylea Hardy Haunting, poignant, moving, The Voice of Hind Rijab tells the true story of a young Palestinian girl, Hind Rajab, trapped in a car with six of her slain family members under enemy fire in Gaza as Red Crescent Aid workers desperately try to save her, despite overwhelming odds. A combination of real audio recordings from the actual incident and actor portrayals, the film does more than tell the story of an innocent girl caught in the crossfire […]