Aurelia Butler

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    FKA twigs Dances Martha Graham: ‘This Is Art in Its Truest Form’

    Once a young bunhead, the acclaimed musical artist is taking the stage with the Martha Graham Dance Company. For her, it’s holy grail territory.The rebellious spirit of Martha Graham has found a rebellious soul mate in another creative powerhouse. A classically trained dancer, she’s known in the world as an acclaimed recording artist. She moves like water. Her pole dancing is pretty astounding, too. This is FKA twigs.On Thursday, she will make her debut as a dancer with the Graham company in the solo “Satyric Festival Song” (1932). “To me, this is, honestly, like winning a Grammy,” she said. “I feel like I’m winning a Grammy.”At the company’s gala performance, FKA twigs will slip into her costume, a bold and graphic striped dress designed by Graham. She will pop into the air as if the floor were on fire. She will twist and bend her body into jagged edges. And she will tease the audience with tilts of the head and dancing, expressive eyes. This is a solo inspired by rituals that Graham observed in the pueblos of the American Southwest, specifically, the kachina figures that served as comic relief at religious ceremonies. Graham was also poking fun at her serious, dramatic self.“To me, this is, honestly, like winning a Grammy,” FKA twigs said of dancing with the Graham company.Caroline Tompkins for The New York TimesAn artist of vast imagination whose music defies genre, FKA twigs is adventurous in all of her pursuits. Her shimmering, fluent physicality, displayed over the years in videos and performances, is equally fearless and lissome. “My values of success and achievement are maybe slightly different to other people’s,” FKA twigs said in an interview from London. Many of her colleagues will be at Coachella over the next two weeks, “which is obviously such an honor,” she said. “But I’ve spent the whole of my life in the dance studio. I studied Martha Graham’s technique at dance school. I took the class many times when I was a younger dancer.”The Graham company, though, didn’t know she had studied the technique. So how did this solo happen? Through that unofficial dance network known as Instagram.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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    Participant, Maker of Films With Social Conscience, Calls It Quits

    The company had critical and commercial hits over two decades but never made money consistently and faced a challenging entertainment landscape.For 20 years, Participant Media has been Hollywood’s pre-eminent maker of activist entertainment, backing socially conscious films like “An Inconvenient Truth,” a climate change cri de coeur, and “Wonder,” about a boy with birth defects. Its movies have won 21 Academy Awards.But the company never quite managed to do good while also making money, at least not consistently. Matt Damon in a fracking drama (“Promised Land,” a 2012 Participant effort) has a hard time competing with “Avengers: Infinity War” in 3-D.On Tuesday, the company’s founder and financial lifeline, the eBay billionaire Jeff Skoll, pulled the plug — a decision based, at least in part, on the atrophying entertainment business. Participant relies on studios and streaming services to distribute its content, and those partners are cutting back — especially on the “niche” films and shows in which Participant specializes — as they contend with continuing weakness at the box office, higher labor costs and increased profit pressure from Wall Street.Streaming services like Disney+ and Netflix have started to sell ads, and advertisers prefer all-audience, apolitical content. Eat-your-broccoli documentaries and dramas that explore underrepresented communities (both Participant sweet spots) are harder to sell than ever.“The entertainment industry has seen revolutionary changes in how content is created, distributed and consumed,” Mr. Skoll said in an email to Participant employees that was viewed by The New York Times. A spokesman said Mr. Skoll was unavailable for an interview.Participant will immediately lay off most of its 100 employees. A skeleton staff will remain for a time to work on coming films like “Out of My Mind,” about a nonverbal sixth grader with cerebral palsy, and “BLKNWS,” about what the media leave out, or misrepresent, in reporting on Black culture.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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    Anthony Davis Puts His Operatic Spin on Edith Wharton

    Anthony Davis has written operas based on recent history. But now he is adapting, and dramatically changing, Wharton’s 1912 novel “The Reef.”The composer and pianist Anthony Davis is known for drawing inspiration from real-world figures in his operas.“X: The Life and Times of Malcolm X” — recently mounted by the Metropolitan Opera — and “The Central Park Five,” which won the Pulitzer Prize in 2020, are both grave, ripped-from-the-headlines stories about well-known people.But Davis has also written rollicking adaptations of literary material. Less frequently produced but no less interesting are chamber operas like “Lilith” — a saucy and inventive take on the story of Adam’s first wife that features a divorce court in the Garden of Eden. Similarly, “Lear on the 2nd Floor” is a riff on Shakespeare that brings “King Lear” into contemporary discussions about medicine and Alzheimer’s disease.“The Reef,” Davis’s latest music drama to arrive onstage and his follow-up to “The Central Park Five,” seems more fitting in that literary cohort. That is, once it’s finished. Still in progress, the piece dipped its toes into the world by way of a recent workshop performance at Merkin Hall, presented by the Berkshire Opera Festival.Adapted from Edith Wharton’s 1912 novel of the same name, “The Reef,” with a libretto by Joan Ross Sorkin, has been in development, in fits and starts, since 2014. (Since then, Davis premiered “The Central Park Five” and revised the score of “X,” ahead of its traveling revival.)At the Merkin performance, the work departed significantly from Wharton’s text. For one thing, it’s set in Martinique rather than in Paris or the French countryside. The novel’s love-triangle treatment of romance, late Victorian propriety and social class has also been altered by a change of one character’s racial identity: The demimonde-adjacent Sophy is, in Davis and Sorkin’s version, the nursemaid Sonya, a biracial member of the sugar-cane estate’s domestic staff. A quartet of other Black workers on the estate, named the Invisibles, has also been added to the mix. The opera’s creators are toying with the idea of setting their story in 1928 to make more of the Jazz Age’s emergence.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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    La Scala Opera Taps Fortunato Ortombina to Succeed Dominique Meyer

    Fortunato Ortombina, the general director of Teatro La Fenice, Venice’s opera house, will succeed Dominique Meyer, a respected French impresario.The Teatro alla Scala in Milan, one of the world’s most prestigious and storied opera houses, announced Tuesday that its next leader would be Fortunato Ortombina, who is currently general director of Venice’s opera house, Teatro La Fenice.Ortombina will succeed Dominique Meyer, a respected French impresario who has run La Scala since 2020 and who previously led the Vienna State Opera. The appointment of Ortombina comes as Italy’s current national government has made it clear that it favors homegrown talent over foreigners at major cultural posts.“A decision has finally been reached,” Mayor Giuseppe Sala of Milan, who is the chairman of the foundation that runs the opera house, said Tuesday after a board meeting. The appointment of Ortombina ended months of speculation and whispers in the opera world.Italy’s culture minister, Gennaro Sangiuliano, enthusiastically welcomed the appointment on Tuesday. “After three foreign general directors, Stéphane Lissner, Alexander Pereira and Dominique Meyer, an Italian returns to La Scala,” he said in a statement, which noted that the practice of Italian opera singing had recently been added to UNESCO’s intangible cultural heritage list.Ortombina’s appointment was unanimous, Sala said Tuesday. It was widely expected, and followed months of rejected candidates, crossed vetoes pitting board members against lawmakers at the local and national levels, and even a new law instituting age limits for theater leaders that critics said was intended to oust the foreigners who hold such posts.The haggling had risked putting politics and vested interests ahead of the theater’s artistic legacy, said Alberto Mattioli, an opera critic who recently published a book about Italy’s opera houses and their history. “It’s all been a power game” over appointments, while omitting discussion of cultural policy or a vision for the theater and its “core business, opera,” he said.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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    Taylor Swift and Beyoncé Avoided a Collision on the Charts. (Again.)

    Pop’s two reigning queens are often cast as rivals, but they have continually supported each other — and spaced out their album releases.In February, Taylor Swift took the stage at the Grammy Awards to accept the prize for best pop vocal album. After dutifully thanking the Recording Academy and her fans, she got down to business: “My brand-new album comes out April 19,” she said, in a surprise announcement revealing “The Tortured Poets Department.” It was a heads up for her loyal followers, as well as anyone else in the business with a spring release on the radar: If you want your new album to debut at No. 1, don’t release it on April 19. Or April 26. Or May 3, for that matter.A week later, following a teaser during a Super Bowl commercial, Beyoncé also dropped news of a new album: “Cowboy Carter” would arrive earlier than “Poets,” with breathing room, on March 29. Another pop powerhouse in the Grammy audience made her own announcement in early April: Billie Eilish will unveil her forthcoming third album, “Hit Me Hard and Soft,” a month after Swift’s release, on May 17.Beyoncé and Swift, the 21st century’s pre-eminent pop stars, have often been cast as competitors if not rivals, a story line partly rooted in misogyny and amplified by dueling fan armies filled with stans, or superfans.For their part, the two artists have regularly dispelled the notion over the years. They were first linked, through no fault of their own, at the 2009 MTV Video Music Awards, when Kanye West interrupted a Swift acceptance speech to advocate for her fellow nominee Beyoncé; later that night, Beyoncé brought Swift onstage to finish her remarks. In 2021, Swift shared on Instagram that Beyoncé had sent her congratulatory flowers after Swift won the album of the year Grammy for “Folklore,” calling Beyoncé “the queen of grace & greatness.” And last year, following their blockbuster stadium tours, they appeared at each other’s concert film premieres, a pointed rebuke to message-board zealots looking to sow discord.“Clearly, it’s very lucrative for the media and stan culture to pit two women against each other, even when the two artists in question refuse to participate in that discussion,” Swift told Time magazine. (Representatives for Swift and Beyoncé declined to comment.)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 Beatles’ ‘Let It Be’ Film Will Stream After 54 Years on Disney+

    Michael Lindsay-Hogg’s unloved — or misinterpreted? — 1970 documentary, the source for Peter Jackson’s “Get Back,” will stream on Disney+.In 2021, the director Peter Jackson’s sprawling and vibrant Beatles docuseries, “The Beatles: Get Back,” streamed on Disney+ to nearly universal acclaim. The three-part epic, which ran nearly eight hours, captured the drama and frenzy as John Lennon, Paul McCartney, George Harrison and Ringo Starr recorded, over the pressure-filled month of January 1969, what would become the last album that the Beatles released, “Let It Be.”As fans were well aware, Jackson’s series was culled from nearly 60 hours of behind-the-scenes footage originally shot by the director Michael Lindsay-Hogg for “Let It Be,” his little-seen, though often dismissed, 1970 documentary about those recording sessions.After its initial theatrical run, Lindsay-Hogg’s film largely disappeared for more than a half-century with the exception of low-quality VHS versions and bootlegs. Fans tend to remember it as an intriguing historical document capturing the late-stage creative flights of a seismic musical force, but also as a divorce proceeding of sorts, with stark moments of internal discord as the band hurtled toward a nasty split.By that view, “Get Back,” with its abundant moments of jokey banter and on-set clowning, was seen by some as an overdue corrective to “Let It Be.”Little surprise but Lindsay-Hogg, 83, has a very different view. The acclaimed director had a hand in inventing the music video, with his promotional films for the Beatles and the Rolling Stones in the mid-1960s, and went on to win plaudits for the 1980s British mini-series “Brideshead Revisited.” He has fought for a half-century for “Let It Be” to get a second look and, in his mind, a fair shake.On May 8, he will get his wish, when “Let It Be,” meticulously restored by Jackson’s production team, begins streaming on Disney+ in collaboration with Apple Corps, the company that oversees the Beatles creative and business interests. Lindsay-Hogg spoke to The New York Times about the culmination of a long crusade. These are edited excerpts from the conversation.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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    ‘Man’s Castle’: Free Love, Hard Times

    Restored to its original length and screening at the Museum of Modern Art, this 1933 movie starring Spencer Tracy feels at once surprisingly frank and disquietingly coy.A celebrant of redemptive love, Frank Borzage (1893-1962) was the most romantic of classic Hollywood directors and, however unconventionally, perhaps the most religious as well. “Man’s Castle” (1933) conflates an economic crisis — namely the Great Depression — with a spiritual one. The movie also represents premarital pregnancy as salvation rather than sin, and scenes were consequently cut for its post-Production Code rerelease in the late 1930s.Restored to its original length of 78 minutes, screening at the Museum of Modern Art (April 18-24), “Man’s Castle” feels unique — at once surprisingly frank and disquietingly coy.A leading director of silent films, Borzage (Bor-ZAY-ghee) left the Fox studio and went independent in 1932. His first production was an adaptation of Hemingway’s World War I novel “A Farewell to Arms.” “Man’s Castle” also concerns love in extremis with the starving innocent Trina (20-year-old Loretta Young) falling for and shacking up with an older if equally indigent man of the world, Bill (Spencer Tracy).Their meet-cute on a park bench, with Bill feeding the pigeons as ravenous Trina looks longingly on, proceeds to a nice restaurant (where Bill gets out of paying the check) and winds up back at his jerry-built hovel in a homeless encampment near the East River. A natural man, Bill amazes Trina (and possibly the viewer) by diving naked into the water. She more discreetly follows. Cut from Edenic skinny-dipping to radiant Trina at the washboard happily scrubbing Bill’s clothes.A brash roughneck with a golden heart, Bill inspires Trina’s puppy-like devotion. In his New York Times review, Mordaunt Hall praised the stars’ “thoroughly efficient portrayals” — an odd choice of words to describe their evident mutual attraction. Indeed, the chemistry was real. Young’s daughter would later detail the pair’s guilt-ridden love affair. (Both were Catholic; Tracy was married.)For Trina, Bill’s Hooverville home is “heaven,” with various down-and-out denizens adding to the allegorical flavor. Bragg (Arthur Hohl) is not only a lech and a thief but a leftist loudmouth. His alcoholic companion, Flossie (Marjorie Rambeau), is both a fallen woman and a salvation project tended to by a former minister (Walter Connolly). Dismissive of all three, the cynical Bill is tempted by the fun-loving cabaret star Fay La Rue (a reliably sassy Glenda Farrell, here mimicking Mae West).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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    How They Pulled Off the Ending to ‘Civil War’

    The action thriller from Alex Garland concludes with an explosive sequence in the nation’s capital. A behind-the-scenes look at how it was done.This article contains spoilers for the film “Civil War.”When Alex Garland was writing the script for “Civil War,” he started with the ideas in the last moments. “In some ways the film was kind of reverse engineered from the ending,” he said during an interview in New York.The path to that ending finds the rebel Western Forces reaching Washington, D.C., laying siege to the White House and cornering the president (Nick Offerman), all while the journalists at the center of the film capture it through their own lenses. It’s a relentless, loud 20 minutes of screen time, during which the Lincoln Memorial is blown up. Garland said he wanted the audience to feel “aversion to it and to feel dismayed.”It also was an intricate production challenge, which involved digitally recreating Washington, shooting on sets throughout the Atlanta area, and executing detailed choreography that Garland likened to “football plays.” (Garland is British, but he noted that “football” could refer to soccer or American football. “It’s like little circles and triangles and arrows,” he added.)From the start of “Civil War,” two journalists at the center of the story — Lee (Kirsten Dunst), a photographer, and Joel (Wagner Moura), a correspondent — want to get to the White House for an audience with the president. They reach it alongside Jessie (Cailee Spaeny), a younger, novice photographer who idolizes Lee. In the end it’s Jessie who gets the most important shot.But before that, they have to navigate a treacherous military operation on Pennsylvania Avenue and the surrounding streets.The process of designing the sequence began with a trip to Washington with crew members including Garland, the cinematographer Rob Hardy and the visual effects supervisor David Simpson. The team walked the route of the invasion, Simpson said, mapping out how the troops would move from the memorial to the White House.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