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    Anthony Rapp Said Anguish Returned When He Saw Kevin Spacey Onscreen

    In testimony in a civil trial, Mr. Rapp argued that Mr. Spacey had inflicted emotional distress by climbing atop him in a bed when Mr. Rapp was 14. Mr. Spacey says the encounter didn’t happen.Watching Kevin Spacey’s character show sexual interest in a teenager in the film “American Beauty” was “unpleasantly familiar,” the actor Anthony Rapp testified in federal court on Tuesday, describing a repeated reaction he had in the years after Mr. Spacey climbed on top of him and made a sexual advance, which Mr. Rapp said occurred when he was 14.Whenever he would see Mr. Spacey — a rising Hollywood star — appear in movies or in person, such as the day of the Tony Awards, Mr. Rapp said he would instantly recall the encounter, which Mr. Spacey denies ever happened. Even a brief appearance by Mr. Spacey in the 1980s movie “Working Girl,” in which his character propositions a secretary in a limousine, startled and upset Mr. Rapp.“It was as if someone poked me with a cattle prod,” Mr. Rapp testified.Mr. Rapp, a stage and screen actor best known for his role in the musical “Rent,” has sued Mr. Spacey over the incident, which he said occurred in 1986, when Mr. Spacey was 26. Mr. Rapp has accused Mr. Spacey of battery and intentional infliction of emotional distress, and the civil trial, which began in federal court in Manhattan on Thursday, has centered not just on whether the encounter happened as Mr. Rapp described, but whether he has psychologically suffered from it over the past three decades.“As his name and notoriety increased, it was harder and harder to escape,” testified Mr. Rapp, who is seeking damages from Mr. Spacey.During cross-examination, a lawyer for Mr. Spacey, Jennifer L. Keller, hammered Mr. Rapp on discrepancies between his testimony and earlier versions of his account, questioning whether he was being “deliberately vague” about his recollections.Mr. Rapp, 50, has testified that after a party at Mr. Spacey’s Manhattan apartment, Mr. Spacey picked him up, laid him on a bed and climbed on top of him, with Mr. Spacey’s pelvis pressing into the side of his hip, before Mr. Rapp was able to escape.There were no resulting criminal charges, but Mr. Rapp filed a lawsuit in 2020 with the help of a New York State law called the Child Victims Act, which includes a limited period of time in which people who say they were sexually abused as children could sue.Mr. Spacey, 63, won an Oscar for his roles in “American Beauty” and “The Usual Suspects,” and is also known for his monologues as the sinister politician Frank Underwood in the Netflix series “House of Cards.” He has been accused of sexual misconduct by more than a dozen men, but this is the first time the actor has stood trial. In Britain, he awaits trial on sexual assault charges, and has pleaded not guilty in that case.When Mr. Rapp took the stand on Friday, he walked the jury through his account of the night in 1986, when, he said, he attended a party at Mr. Spacey’s high-rise apartment. Mr. Rapp, who was a child actor in the Broadway show “Precious Sons” that year, did not recognize any other guests, so he went inside Mr. Spacey’s bedroom and sat on the edge of the bed watching TV, he testified. After some time, Mr. Spacey showed up in the doorway, Mr. Rapp said, appearing unsteady on his feet and glassy-eyed.Walking over to the bed, Mr. Spacey picked up him up, Mr. Rapp testified, describing the positioning like a groom carrying a bride over the threshold. Then Mr. Spacey laid him down onto the bed and climbed on top of him, pressing his “full weight” into him, Mr. Rapp said.“I knew something was really wrong now,” Mr. Rapp said, recalling feeling frozen in place.Managing to wriggle out from under Mr. Spacey, Mr. Rapp testified, he shut himself into a nearby bathroom before making his way to leave the apartment. Mr. Spacey leaned into the front door and said, “Are you sure you want to leave?” — the first words Mr. Spacey said during the encounter, Mr. Rapp said.Last week, Mr. Rapp’s side also presented testimony from two friends of Mr. Rapp’s who say that in the mid-1990s he told them about the encounter with Mr. Spacey.In her cross-examination on Tuesday, Ms. Keller pointed to an inaccuracy from earlier comments by Mr. Rapp, in which he said that he had been inspired to tell BuzzFeed News about his account after reading a guest essay in The New York Times by the actress Lupita Nyong’o in which she wrote about how she felt unsafe when the Hollywood producer Harvey Weinstein asked to give her a massage.Ms. Keller presented text messages between Mr. Rapp and the BuzzFeed journalist, Adam Vary, that showed that Mr. Rapp had first contacted Mr. Vary about his account several days before Ms. Nyong’o’s account was published.At an awards event in 2018, Mr. Rapp had described how he decided to go public, so Ms. Keller said that “the bottom line is your acceptance speech in 2018 was not truthful.”Mr. Rapp responded, “I’m learning right now it wasn’t true.”In her questioning, Ms. Keller also pointed out that Mr. Rapp’s original lawsuit claimed that Mr. Spacey had “grabbed” Mr. Rapp’s buttocks, but that Mr. Rapp later said Mr. Spacey’s hand had “grazed” his buttocks while he was picking him up. Ms. Keller also disputed Mr. Rapp’s account of the apartment in which he said the encounter took place. Mr. Rapp has testified that he went inside a separate bedroom to watch TV and did not notice the other guests leave, but Mr. Spacey’s defense team has asserted that he was living in a studio apartment at the time without a separate bedroom.“Is it possible you’re completely wrong about that?” Ms. Keller asked Mr. Rapp, to which he responded, “It’s possible, and I remember a bedroom.”The defense has asserted — and Mr. Rapp agrees — that no one has come forward to confirm that he or she attended the party at Mr. Spacey’s apartment. It has also suggested that Mr. Rapp fabricated the allegation out of envy for Mr. Spacey’s career, which he denies.Earlier in the day, Mr. Rapp testified that he had not discussed the accusations with a therapist until October 2017, the month the BuzzFeed article was published. It was the first time he had processed the long-term effect the encounter had had on his life, he said.“I began to, in general, have intruding thoughts about it — sleepless nights sometimes,” he testified.Unlike in a criminal trial, jurors in a civil trial do not need to find that the defendant committed the offenses beyond a reasonable doubt. Instead, the 12-person jury will be asked to consider whether the greater weight of the evidence is in the plaintiff’s or defendant’s favor. More

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    Lawsuit Says Charity Leader Hired His Former Personal Trainer for Key Role

    Spending by a charity intended to honor a radio pioneer is being challenged by his granddaughter, who says he was tricked into leaving his fortune to it. The charity denies the charge and says the producer did not trust his family to protect his legacy.Over the course of a decade, Matthew Forman emerged as a public face of the Himan Brown Charitable Trust, a charity with $100 million in assets and a stated purpose of furthering the legacy of Mr. Brown, who had created treasured radio dramas like “Dick Tracy” during that medium’s golden age.As a director and, more recently, a consultant to the trust, Mr. Forman, 41, earned as much as $250,000 annually as he helped distribute millions of dollars in funds to deserving causes, often around Miami, where he was recognized with a community service award and spoke on expert panels.“He was great to work with,” said Isabelle Pike, senior vice president of development at Branches, an organization that works with poor families. “He supported great programming here in South Florida.”But a foundation run by a granddaughter of Mr. Brown’s has challenged Mr. Forman’s qualifications for those roles in court papers that say he apparently had no prior experience in the field when he was hired by the charity’s sole trustee, for whom he had worked as a personal trainer.The challenge is the latest chapter in a long-running lawsuit by the foundation, the Radio Drama Network, against the sole trustee, Richard L. Kay, who helped design the trust as Mr. Brown’s lawyer.Mr. Kay has argued that Mr. Brown created the trust to shield his money from a family from whom he had become estranged. But the suit contends Mr. Kay tricked Mr. Brown, at age 94 in 2004, into signing over his fortune to the charitable trust, whose spending Mr. Kay now controls. Mr. Brown died six years later.Under a new estate plan, the suit argues, most of the fortune that had been designated to go to the Radio Drama Network was instead diverted to the new Himan Brown Charitable Trust.The lawsuit argues that, under Mr. Kay, the trust has paid $1.5 million to Mr. Forman and donated millions more to causes tied to Mr. Kay, like his alma maters, Cornell University and Michigan Law School; his grandchild’s Montessori school; and the 92nd Street Y, New York, where he is on the board. That money, the suit asserts, should have instead been directed to the radio foundation, which Mr. Brown separately created to foster respect for the spoken word.“I really want to let people know who he was and show the kind of work he did,” Melina Brown, the granddaughter, said in an interview. “But it’s not happening.”Himan Brown, right, directing Betty Winkler and Frank Lovejoy at a radio studio in New York in 1943.Associated PressMr. Forman declined to be interviewed but his lawyer defended his qualifications, describing him as a former sales professional who had done well in college and while briefly attending law school at the University of Miami. In 2014, the Miami-Dade County public school system recognized him with a Community Partners Recognition Award for help the trust provided for children in Miami’s poorer neighborhoods. Several other grant recipients in Florida praised him and the charity for their work.“He is a humble, bright, diligent and caring person who is one of the most professional people I’ve worked with in philanthropy,” said Melissa White, the executive director of the Key Biscayne Community Foundation, which has received grants from the trust.The judge presiding over the case, filed in Surrogate’s Court in Manhattan in 2015, has ruled that the administration of the trust and its spending are beyond the scope of the lawsuit, which is focused on allegations that Mr. Kay deceived Mr. Brown into setting it up.But the drama network has challenged that ruling and argues that Mr. Kay’s spending choices, including the hiring of Mr. Forman, are indicative of his self-interest at the time the trust was drawn up in 2004. It did not begin functioning until after Mr. Brown’s death.Mr. Brown had created the radio network, a separate foundation, in 1984, and in a 1999 interview he spoke of it as being part of his effort to revive the lost “art of listening” in an era of reduced attention spans and competing media.The communal experience of radio, where families gathered in living rooms for a broadcast, had its heyday from the 1930s to the 1950s, before the expansion of television. During that time, Mr. Brown directed and produced shows like “The Adventures of the Thin Man,” “Flash Gordon,” “Grand Central Station” and “Inner Sanctum Mysteries,” working alongside actors like Orson Welles and Helen Hayes. In 1990, he was inducted into the Radio Hall of Fame.Several years before he died, Mr. Brown was sued unsuccessfully by his son, Barry, who said, among other things, that his father had molested him as a child, a charge that his father denied. Barry Brown sued again after his father died, challenging his father’s will in a case in which he accused Mr. Kay of manipulating his father into diverting money into the new charitable trust.But in 2015, Judge Nora S. Anderson of Surrogate’s Court rejected his claim and cited witnesses who said Mr. Brown had “remained clearheaded and firm-minded even through advanced age.”The drama network filed its suit later that year. Mr. Kay’s lawyers argued that the claims of fraud had already been adjudicated. But Judge Anderson decided that the new lawsuit could move forward.In the current suit, Mr. Kay’s lawyers have accused Ms. Brown of trying to claim a larger share of the estate so as to draw larger administration fees. Mr. Kay said in a deposition earlier this year that Mr. Brown had expressly created the new trust to keep the bulk of his money away from Barry Brown and Barry’s two children, including Melina.Melina Brown, left, and Himan Brown in an undated family photograph.via Melina Brown“I cannot be more dramatic about the venom displayed by Himan Brown with respect to his son, and it extended to his granddaughters, as well,” Mr. Kay said.Melina Brown has denied seeking larger fees or that the breach between her grandfather and father ever extended to her. She said in an interview that her grandfather, whom she cared for in his last years, had loved her and wanted her to push forward with his mission to build interest in the spoken word. Before he died, he appointed her as a director of the Radio Drama Network and in his estate left her $3 million and his home in Connecticut.Today, the radio foundation has about $20 million in assets. In the year ending June 2021, it gave $307,500 in grants, including to organizations that support Hispanic theater and storytelling in public schools. Pursuing the lawsuit against the trust has been expensive, with more than $2 million going to legal fees in the past two years, according to tax records.The charitable trust controlled by Mr. Kay holds about $107 million in assets. It distributed nearly $4.5 million in grants in the year ending in March 2021, according to tax filings.Mr. Kay receives yearly compensation as a trustee — $300,000 last year — which he shares with his law firm, Pryor Cashman, which has drawn fees of as much as $400,000 to represent the trust in recent years.Lawyers for Mr. Kay say Mr. Brown’s name is fully associated with gifts made by his trust, like a 60+ Program named for him at the 92nd Street Y, New York. They say that when Mr. Brown was alive, his radio foundation financially supported many varied causes, of which only a few were affiliated with the spoken word. They also point out that the trust has supported multiple speaking engagements, such as appearances by Dick Cavett and Bill Clinton. Mr. Brown, they say, viewed Mr. Kay as a friend whose judgment he fully trusted in making grants, and they point to personal messages from Mr. Brown to Mr. Kay to illustrate their close relationship.Mr. Forman said in a deposition last month that he had worked as a personal trainer for Mr. Kay and his family in New York, before moving to Florida. He had been working in sales, he said, when Mr. Kay hired him for the trust in 2011, and he acknowledged that he did not have prior experience in philanthropic giving beyond making gifts himself. In court papers earlier this year, he said he had also served at one point as a co-trustee of the trust.New York State does not set specific professional qualifications for employees or consultants of a charity. But experts said charities, especially those with substantial funds, often seek to hire individuals with an understanding of charitable work, topical expertise and experience in fund-raising or grant giving.Matthew Forman representing the Himan Brown Charitable Trust at an event at the University of Miami School of Medicine in 2011.via Key Biscayne Community FoundationLawyers from Carter Ledyard & Milburn, who represent the drama network, were precluded from asking detailed questions about Mr. Forman’s work for the charity during his deposition last month, after Judge Anderson ruled that the suit did not directly concern Mr. Kay’s administration of the trust.But in limited questioning, Mr. Forman said he had worked as an employee of the trust until sometime in late 2017 or early 2018. Tax records show from that point forward a company registered to Mr. Forman, Miami Philanthropic Consulting Inc., began to serve as an adviser to the trust. For the year that ended in March 2021, the consulting company was paid $250,000 by the trust, according to the tax records.Mr. Forman said in his deposition that he had not spoken to Mr. Kay in years, but said he could not give an exact date.He was also asked what he knew about the man whose legacy he had promoted. He said he knew that Mr. Brown had risen from a humble background to become a successful businessman who owned production studios and had stayed vibrant into old age.“He produced radio shows,” Mr. Forman said. “I believe ‘The Thin Man.’ Maybe ‘Dick Tracy.’” More

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    Embrace the Insightful Gibberish of ‘Pingu’

    This children’s show teaches everyone, even adults, to find meaning in made-up language. In the unreal early days of the pandemic, when it seemed foolish to try to comprehend the enormity of what we were collectively living through, a clay penguin reacquainted me with the clarifying power of gibberish. “Pingu” is a stop-​motion children’s television show about the titular character, a penguin tyke who lives with his family in a little igloo village at the South Pole. Initially, the episodes appear to be light five-minute affairs about the small dramas of toddler penguinhood: Pingu spits his veggies into the toilet; a municipal penguin employee turns Pingu’s play area into a parking spot. But with a balance of farce and sentiment, the show also gestures toward some of early life’s more complicated realities — sibling rivalries, parental punishment and the loneliness of childhood. Created by the German animator Otmar Gutmann, “Pingu” premiered in Europe in the early 1990s and became a worldwide phenomenon; but unlike other global cultural crazes, the show did not need to be dubbed or subtitled. Nothing could be lost in translation because there was nothing to translate. Every “Pingu” character speaks the language of Penguinese, which sounds like Thai, Indonesian, Italian, something in between or something else entirely. Yet, despite the lingo’s seeming inscrutability, it is mysteriously — hilariously — comprehensible. Take the following scene: Pingu finds himself caught between a whistling kettle, a ringing phone and his father gruffly dictating commands at him. His eyes dart around the room — kettle, phone, dad, kettle, dad, phone, kettle. The overwhelmed little penguin’s voice rises from confusion to panic to wails of despair, and he dissolves into a puddle of tears, covering his watery eyes with tiny flippers. Pingu’s mom then waddles into the frame, and with motherly resolve, takes the teapot off the boil, hangs up the phone in a nonnegotiable tone and gives the blubbering Pingu a pat on the head. We, of course, don’t know what any character has actually said. But based on body language, vocal inflection and a recognizable family dynamic, viewers intuit the scene’s meaning. Each of us conjures our own associations — in my case, maternal competence, paternal annoyance — to complement the story. The result, straddling the boundary between familiarity and strangeness, is the magic of “Pingu.”The language of ‘Pingu’ is built upon the wisdom of children: The border between sense and nonsense is poorly guarded. Rewatching the show after 25 years was an oddly unmediated, even moving experience, like dreaming or getting stoned. Emotions became sounds, language lost its hard edges and I recovered a small glimpse of childhood perception. My first brush with “Pingu” came when my Canadian cousin, a more cultured toddler than I, once brought a VHS tape of the series with her during a visit. I dimly remember watching an episode on a Sunday morning, while squeezed together in bed with my family. The show was a revelation. “Pingu” did not speak two languages, one to children, another to adults. There was no hierarchy of comprehension, no winking jokes meant to soar over young heads to keep the adults in the room vaguely interested. The language of “Pingu” is built upon the wisdom of children: The border between sense and nonsense is poorly guarded. There is raw, ridiculous power in expressing oneself through noise alone. It’s a truth adults tend to forget. As we age, we are asked to convert our emotions into more socially acceptable forms of articulation. But sometimes we have feelings that speech is ill equipped to convey, which demand audible expression nonetheless, in the form of yowls, bleats and groans.The art of speaking without words is known as “grammelot.” It’s a tradition that had its high point in the raucous early professional theaters of Commedia dell’arte (which inspired Molière, Rossini and Puccini) but may go back as far as the Greco-​Roman mimes. Theatrical troupes made up of professional actors and the occasional charlatan traversed Renaissance Europe performing plays in improvised language. Their gibberish often served as a form of mutual intelligibility with audiences, both literate and not, with whom they otherwise couldn’t communicate. In their vowel-rich dialect, these actors spoke through the ascending and descending scales of real language without using real words, tapping into a subterranean world of sense. And so it is with “Pingu,” which extends the democratic conceit of grammelot from the stage to television, accessible to all regardless of education or age. Carlo Bonomi, the Italian clown who voiced every character on “Pingu,” practiced grammelot as a young man and was perhaps one of its best living representatives until his death this August at 85. Today grammelot has largely disappeared and is kept alive only by a handful of troupes around the world. But in one of the strange, unpredictable ways cultural forms from the distant past weave themselves into the contemporary moment, it lives on in an anthropomorphic clay penguin.“Pingu” enjoys a second life online, where it is tailor-made for internet meme culture. There are “Pingu” NFTs and Maoist “Pingu” YouTube videos, and a Google search for “noot noot” — the sound Pingu makes when he feels strongly about something — returns more than 1.3 million results. But the untranslatable original maintains its sway over me. Watch it, and you’ll realize that the preverbal is not just the province of tots but a reservoir of meaning that lies just beneath the surface of our consciousness — if only we stop to listen.Gabriel Rom is a freelance journalist based in New York City. More

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    Seth Meyers Mocks Trump for Claiming George Bush Took Documents, Too

    “And that is why to this day, if you’re in Texas, you can stop by H.W.’s Wok and Bowl and Top-Secret Document Warehouse,” Meyers joked.Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.‘H.W.’s Wok and Bowl and Top-Secret Document Warehouse’Over the weekend, former President Donald Trump was in Nevada and Arizona, where he appeared at rallies in support of the Republican candidates Joe Lombardo, Kari Lake and Blake Masters.“And yet even though Trump is theoretically supposed to be there to campaign for other candidates, he always without exception makes it about himself,” Seth Meyers said. “He’s like the best man at a wedding who gives a drunken toast about how awesome he is.”While in Arizona, Trump claimed that other former presidents had removed classified documents from the White House, saying that the first President George Bush “took millions of documents to a former bowling alley and a former Chinese restaurant.”“He didn’t take the classified documents by accident — he took them on purpose because he thinks they belong to him, and when you’re proving a crime, criminal intent is key. I know that because I watch a show called ‘Law & Order: Criminal Intent’ — it’s right there in the title. There was never a ‘Law & Order’ spinoff called ‘Law & Order: Oops, My Bad.’” — SETH MEYERS“He just kept repeating it, and none of that excuses intentionally stealing and leaving classified documents laying around your golf course.” — JIMMY KIMMEL“And that is why to this day, if you’re in Texas, you can stop by H.W.’s Wok and Bowl and Top-Secret Document Warehouse.” — SETH MEYERS“I demand an investigation because, is it just me, or does a combination bowling alley/Chinese restaurant sound incredible?” — JAMES CORDEN“I think I see what Trump is going for here, though, I do. Does he think that fortune cookies are secret documents?” — JAMES CORDEN“To be safe, Bush also hid some in a laser tag-slash-kebab house, and a trampoline park-slash-rib shack.” — JAMES CORDENThe Punchiest Punchlines (First Edition)“Well guys, if you watch MSNBC, I want to say, ‘Happy Indigenous Peoples’ Day.’ And if you watch Fox News, I want to say, ‘Happy Columbus Day.’” — JIMMY FALLON“Not only is it Columbus Day, it’s also Indigenous Peoples’ Day, which is what it should be, probably. But we have to pick one or the other, right? This is like saying it’s Arbor Day and Chain Saw Day — it can’t be both.” — JIMMY KIMMEL“That’s right, 530 years ago Columbus went on a trip and never made it to his intended destination. Today we call that flying Southwest Airlines.” — JIMMY FALLON“I think it’s probably the most controversial federal holiday of all of them, Columbus Day. Here’s how you know Columbus Day isn’t so hot anymore — there’s no Google doodle for it.” — JIMMY KIMMEL“The guy had one job — get to India. He missed it by 9,000 miles, but rather than admit he was wrong and not in India, he just started calling everyone Indians, which is so willfully ignorant. If he were alive today, he could probably run the Republican Party. If you’re being honest with yourself, Columbus is basically what would have happened if Donald Trump had been born in the 1400s and his dad gave him a boat, OK?” — JIMMY KIMMELThe Bits Worth WatchingRachel Maddow talked about her new political history podcast, “Ultra,” on Monday’s “Tonight Show.”What We’re Excited About on Tuesday NightJamie Lee Curtis will talk about the latest installment of the “Halloween” franchise, “Halloween Ends,” on Tuesday’s “Jimmy Kimmel Live.”Also, Check This OutWendell Pierce as Willy Loman in “Death of a Salesman” at the Hudson Theater.Sara Krulwich/The New York TimesAn all-Black cast led by Wendell Pierce and Sharon D. Clarke stars in a powerful revival of “Death of a Salesman” at the Hudson Theater. More

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    ‘House of the Dragon’: Paddy Considine Won’t Watch Sunday’s Episode

    “I’m sure somebody will show me a photograph,” he said, about his character’s big moment on Sunday night. The actor discussed the inspiration and meaning for King Viserys’s decline.This interview includes spoilers for Sunday’s episode of “House of the Dragon.”The Iron Throne can be a cruel and uncomfortable seat. In the world of George R.R. Martin’s books, it is thought to have a mind of its own, rejecting those unfit to rule with well-placed nicks.In “Game of Thrones,” this seat made from the blades of vanquished rivals was intimidating to behold, but it was not much of a threat to life or limb. “House of the Dragon” hews closer to Martin’s vision and adds a new twist — the cuts that Viserys (Paddy Considine) suffers not only refuse to heal, but infect him with a particularly nasty strain of leprosy. His reign eats him alive.“I always viewed the throne as a cursed property,” Considine said on Monday morning. “It’s made of the swords that people died on, and it has this strange power about it.”By Sunday night’s episode, the eighth of the season, Viserys no longer looks like a proud Targaryen king — he more closely resembles the Phantom of the Opera (with that metal mask obscuring half his face) or the Crypt Keeper (with those gaping holes beneath it). (The startling effect was created with a blend of prosthetic makeup, visual effects and a body double.) Viserys lives a half-life under the influence of the pain-dulling (and mind-clouding) Westerosi morphine called milk of the poppy. Until, that is, he skips the meds for one last visit to the royal court, to defend the rights of his daughter and named heir, Rhaenyra (Emma D’Arcy), and to attend a family supper, where he urges the relatives to set aside their grievances.Considine gives a grave and poignant performance as Viserys. Because of the show’s out-of-order shooting schedule, the actor’s earliest scenes required him to depict some of the later stages of Viserys’s deterioration first — a physical transformation that was a closely guarded secret on set. (Security guards followed him around with view-blocking umbrellas.)With his onscreen visage revealed to all but himself, Considine discussed the show’s latest revelations in a phone conversation from London on Monday. These are edited excerpts from the conversation.Return to Westeros in ‘House of the Dragon’HBO’s long-awaited “Game of Thrones” prequel series is here.The New Littlefinger?: Larys Strong, a shadowy character, burns bright as a major player in the show. Here’s his back story.The Sea Snake: Lord Corlys Velaryon, one of the most powerful people in the Seven Kingdoms, is a fearless sailor. Steve Toussaint, the actor who plays him, does better on land.A Rogue Prince: Daemon Targaryen, portrayed by Matt Smith, is an agent of chaos. But “he’s got a strange moral compass of his own,” the actor said.A Violent Birth Scene: Was the gory C-section in the show’s premiere the representation of a grim historical reality, an urgent political statement or a worn cultural cliché?Have you seen your death episode yet?No, I haven’t, and I’m not sure if I ever will. I haven’t seen anything beyond Episode 2, really. Some people don’t like to watch themselves, and I’m one of those people. It’s debilitating. I tend to just stay away. I’m sure somebody will show me a photograph.At what point did you figure out what the king’s stages of deterioration would look like?Very early on, you’re still forming the character, and I knew it was going to come to an end with some kind of transformation, so you’re always looking for references for that. I happened to be watching a documentary about one of my favorite artists, Richard Hambleton [a Canadian conceptual artist who died in 2017], and watching his physical decline through cancer, addiction and scoliosis. I said to Miguel Sapochnik [an executive producer, and a showrunner for the first season], “This would be a good idea for where Viserys ends up.” So I had somewhere in my head that I could map where I was going to get to.Considine in “House of the Dragon” on Sunday. The king made a final appearance on the throne.Ollie Upton/HBOThe extremity — Viserys looking so emaciated, how it’s so cancerous, this thing, that it eats into his face — that decision was made more than halfway into the shoot. So it went probably more extreme than I had originally imagined it would go.I watched my dad die of cancer, and it was a very rapid demise. So it certainly made sense to me, and I think it was pretty shocking and effective. It becomes a physical manifestation of all the infighting and skulduggery, really. The mystery is why so many people crave the Iron Throne. It’s not something Viserys craved; he just had a sense of duty. He knows the weight of being king, the weight of the responsibility, and the toll it can take.From the minute of his wife’s funeral, I think Viserys starts to die. It’s a slow death. Nowhere in the story does Viserys ask the maesters to cure him, to stop this thing from eating him alive. I think he accepts it as part of the guilt of the decision he makes to put his wife through a terrible, horrible procedure. It’s like people who surrender to illness. When they offer suggestions to cure him, he doesn’t bother with it. He lets it consume him. He surrenders. That was my thing for him, anyway.In some ways, he let the leeches into his life — the maesters, the Hightowers. After this last moment in the throne room, do you wonder if Viserys made a mistake not giving the position of hand of the king to his brother Daemon instead?Absolutely not! [Laughs.] Daemon was a liability. It never would have worked. Viserys knew Daemon couldn’t sit in Small Council meetings for 12 hours straight. He doesn’t have the temperament. Even at the end, there aren’t words in that relationship. Daemon helps him up there, and he puts the crown on his head, and that said everything that he’s never said, without uttering a word. But that guy could never have been able to be Viserys’s hand.Shouldn’t he at least have told Daemon or others about the prophecy?No way, not at that time. That’s something that we struggled with. There was a scene that was deleted after Aemma (Sian Brooke) died, where Viserys meets with Daemon and he tries to hint at this idea of prophecies and what the gods mean to him. He was trying to get some idea where Daemon’s at with his beliefs, but the tone of the scene was never quite right. There’s no way that Daemon would even connect to that — he’d laugh Viserys out of the room. He’s not into dreamers or things like that.On his deathbed, Viserys mistakes Alicent (Olivia Cooke) for Rhaenyra, and reaffirms the prophecy to her. When she leaves, he seems to think he’s speaking to someone else.The only suggestion [in the script] is that he doesn’t quite know who he’s talking to. I always had an idea in my head, whether it was useful to the story or not, that the last thing Viserys sees before he dies is the person who comes to collect him from this mortal life. When he dies, he sees Aemma, and he says, “My love.”I just kind of improvised that line, and reached out a little bit, because this to me is a tragic love story, in many ways. But I kept that private; I never actually disclosed that in the end. I just thought, “If they use it, they use it,” and I hear it’s made the cut, so I’m really grateful, because it ends that story quite beautifully. The narrative I had in my mind was that he never really gets over Aemma, that he’s devastated for the rest of his life.Considine behind the scenes of “House of the Dragon” with Milly Alcock, who played the younger version of Rhaenyra, and Miguel Sapochnik, a showrunner.Ollie Upton/HBODo you think Viserys’s feelings about Aemma affected how he treated his progeny with Alicent? Because he’s barely involved with them.He gives up on them. He’s so protective of Rhaenyra, and he’s no fool — he knows that her [first three sons] are not Laenor Velaryon’s children. He’s just at a certain point in his life, with his new family, that he doesn’t take much of an interest in his other children. And the kids even sussed that out, you know, the actors playing the kids. They said they thought I hated them! I was like, “Where have you had that from? I don’t hate you.” They meant Viserys, not Paddy.I certainly didn’t hate them, but I just had no time for them. That happens in families, doesn’t it? He’s there, but not there. Rhaenyra, she’s the link to Aemma, and as far as he’s concerned, she’s his only child.Alicent appears to misinterpret Viserys’s deathbed talk of prophecy, taking his reference to Aegon I to refer to their son Aegon II (now played by Tom Glynn-Carney), which could lead her to reassert his claim to the throne. What did you think of that moment, and what that prophesy amounts to, 200 years down the line?The fact that Alicent misinterprets it is horrific. What comes next would horrify Viserys. I mean, we have this knowledge of where this goes and the fact that [the prophecy] did come true. But the fact that it’s misunderstood is an absolute disaster. Viserys would be turning in his grave.In behind-the-scenes footage on HBO Max, you were dancing in the throne room, twirling your dragon cane. You said you were “serving Targaryen realness.”I love “Drag Race.” There was something about dressing up in these flamboyant costumes that brought out my inner drag, having that lovely blonde hair. I never got to dress in anything like that before, and it might never happen again. So you’ve got to enjoy it, haven’t you?If a later season of “House of the Dragon” were to do flashbacks to this period, would you consider coming back to play Viserys?I love him so much. I think he’s my favorite character I’ve ever played. But I would struggle with that. His story has been told. He made his impact. He was the peaceful king that everybody thought was a bore, and he brought some love and compassion to the show. I don’t know what more you could do with that. So I think this is the end. More

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    Robert Kalfin, Founder of an Adventurous Theater, Dies at 89

    For two decades, his Chelsea Theater Center was on the cutting edge with productions that could be challenging, baffling or, sometimes, Broadway bound.Robert Kalfin, the driving force behind the Chelsea Theater Center, which for two decades beginning in 1965 presented adventurous plays that were sometimes too innovative for the theatergoing public and sometimes successful enough that they transferred to Broadway, died on Sept. 20 at a hospice center in Quiogue, a hamlet in Southampton, N.Y. He was 89.Philip Himberg, a longtime friend, said the cause was acute myeloid leukemia.Mr. Kalfin directed countless plays in a career that began in his mid-20s and continued into his 80s. In 1965, he started the nonprofit Chelsea Theater Center and became its founding artistic director, with David Long as managing director and George Bari as production manager.They set up shop in St. Peter’s Church in the Chelsea neighborhood of Manhattan, though a strip dance in one of its early offerings got the group tossed out of that church and forced it to move to another. Those were two of several locations it would use over the years, only some of which were in Chelsea.Mr. Kalfin thought the commercial theaters of the day were limited and unimaginative, and he strove to broaden the theatrical landscape.“The mission statement, which I came up with, which was very useful, was ‘We will do whatever nobody else is doing and what we think people ought to see,’” he said in an interview in 2014 for the Primary Stages Off-Broadway Oral History Project. “That gave me great leeway.”The Chelsea achieved particular prominence once it moved to the Brooklyn Academy of Music in 1968. Its productions there were attention-getting, to say the least. A 1969 staging of “Slave Ship,” written by Amiri Baraka (who was then known as LeRoi Jones) and directed by Gilbert Moses, took on racism, leaving Clive Barnes of The New York Times rattled.“The play is set in the hold of a ship and the conscience of a nation,” Mr. Barnes wrote in his review.“The play ends with the symbolic destruction of white America,” he added. “Whitey is got — Black Panther banners are unfurled. This scared and horrified me. I am whitey.”In 1971, The Times wrote an article about Mr. Kalfin’s troupe that carried the headline “America’s Most Exciting New Theater?” Its productions for the rest of that decade cemented its stature as one of the scene’s leading innovators.In 1973, the Chelsea revived the Leonard Bernstein operetta “Candide,” which had failed on Broadway in the 1950s, and gave it a new book, by Hugh Wheeler. Harold Prince directed, and the result was a smash in Brooklyn that became the group’s first transfer to Broadway, where it ran for almost two years.Another great success was “Strider,” Mark Rozovsky’s play with music based on a Tolstoy story about a piebald horse that is tormented because of its appearance. Mr. Kalfin first saw it in Leningrad, and in 1979 he staged an English-language version at the Westside Theater on West 43rd Street. It drew a strong review from Mel Gussow in The Times.“We are transported by the ingenuousness and the originality of the show,” he wrote. “Looking closely, we even notice a grittiness that might have been appreciated by Brecht and Weill. The play works on two levels, as a kind of Tolstoyan ‘Black Beauty’ — downbeat but finally inspirational — and as a valid commentary on the injustices of civilization.”That show, directed by Mr. Kalfin and Lynne Gannaway, transferred to Broadway and ran there for six months.By then Mr. Kalfin was seeing a change in theater audiences, one that his company had helped bring about.“There’s a whole new generation of theatergoers, and they have become elitist in a very positive way,” he told The Times that November as “Strider” was beginning its Broadway run. “I think they’re bored to death with television, and they’re more demanding of theater now because they’re so hungry for nourishment.”A scene from the Chelsea Theater Center’s production of Amiri Baraka’s “Slave Ship” in 1969. The play’s ending, the Times critic Clive Barnes wrote, “scared and horrified me.”Deidi von Schaewen, via BAM Hamm ArchivesRobert Zangwill Kalfin was born on April 22, 1933, in the Bronx. His father, Alfred, was a real estate developer, and his mother, Hilda Shulman Kalfin, was a teacher.His childhood memories were of being taken not to the theater but to the Metropolitan Opera, where he and his parents generally ended up in the cheap seats, high up and off to the side.“My father would hold onto the back of my pants while I leaned over trying to see center stage,” he said in the oral history.He studied music at the High School of Music & Art in Manhattan (now the Fiorello H. LaGuardia High School for Music & Art and Performing Arts). As a theater major at Alfred University in central New York, he became part of an ambitious department that was staging Bertolt Brecht and other European writers and experimenting with unusual settings — he was in a production of “Androcles and the Lion” that was staged in a gymnasium transformed to look like a Roman arena.He earned his master’s degree in 1957 at the Yale School of Drama and settled into odd jobs in New York, working for a time in the shipping department at WOR-TV and as a production assistant on a children’s television show in Newark, N.J., that starred a chimpanzee.He directed his first Off Broadway production, “The Golem,” in 1959, at St. Mark’s Playhouse. His other early efforts included “The Good Soldier Schweik” in 1963, which didn’t go well — a producer interfered so intrusively that Mr. Kalfin withdrew before opening night and sought unsuccessfully to stop the production from opening. When it did, William Glover of The Associated Press called it “one of the season’s worst plays.”Mr. Kalfin, right, with Michael David, left, the executive director of the Chelsea Theater Center, and Burl Hash, the production director, in 1973.Manuel Guevaza Jr.At the Chelsea, Mr. Kalfin sometimes left audiences and critics scratching their heads. That was the case with a 1970 musical called “Tarot,” which he staged in Brooklyn. As the credits read, it was conceived by The Rubber Duck and directed jointly by “Mr. Duck” (as The Times called him, tongue in cheek) and Mr. Kalfin.Mr. Barnes hated it. “Pretentiousness is rioting at the Brooklyn Academy of Music,” his review began. Yet the Chelsea was respected enough by then that even in that pan, Mr. Barnes felt compelled to note that the group was facing one of its frequent financial crises at the time, and that “it simply must not be allowed to die.”The group did peter out in the mid-1980s, swamped with debt. Before it did, its other notable successes included “Yentl the Yeshiva Boy,” based on an Isaac Bashevis Singer story of a Jewish girl who passes as a boy; Mr. Kalfin had it adapted for the stage by Leah Napolin and directed it. It opened in Brooklyn in December 1974.It was a tough road to opening night. Mr. Kalfin clashed with Tovah Feldshuh, who played the title character, and withstood complaints from Orthodox Jewish leaders; he also had to strike a deal with Barbra Streisand, who owned the rights to the Singer story, which she would turn into a film in 1983. But the play moved to Broadway, where it ran for 223 performances.Mr. Bari, Mr. Kalfin’s life partner, died in 2013. Mr. Kalfin, who had lived in East Hampton, N.Y., leaves no immediate survivors.After the Chelsea gave up the ghost, Mr. Kalfin continued to direct in New York and in regional houses; he was still working until recently. One of his post-Chelsea projects in New York was directing a Yiddish version of “Yentl” produced by the Folksbiene Yiddish Theater in 2002. Eleanor Reissa played the title role.“Even though he’d directed maybe a hundred shows, every time was like the first,” Ms. Reissa, who had worked with Mr. Kalfin on other shows as well, said by email. “Wide eyed and wide hearted always, infectious joyfulness.” More

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    in Television

    What’s on TV This Week: ‘38 at the Garden’ and a ‘Twilight Saga’ Marathon

    HBO airs a documentary about Jeremy Lin’s winning streak with the New York Knicks. And all five vampire/werewolf romance movies play back to back.Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, Oct. 10 — 16. Details and times are subject to change.MondayALL AMERICAN 8 p.m. on The CW. Based loosely on the life of the NFL linebacker Spencer Paysinger (who acts as a consulting producer), this show is back is for a fifth season. In the spring, we saw Spencer (Daniel Ezra) and the rest of his group graduate high school and start making steps toward their future. Though it isn’t even Halloween yet, this episode will catapult us into the holiday mood — Spencer, JJ (Hunter Clowdus) and Asher (Cody Christian) throw a Christmas party try to impress a girl.Zach Woods, left, and Hugh Laurie in “Avenue 5.”HBOAVENUE 5 10 p.m. on HBO. The year is 2060, ocean cruises are out and space cruises are in — that is the premise of this show, entering its second season and starring Hugh Laurie, Josh Gad and Zach Woods. “Despite the scabrous behavior of the crew and the (largely caricatured and dull) consternation of the passengers, there’s an incipient earnestness to ‘Avenue 5,’” Mike Hale wrote in his review for The New York Times. “It feels as if we may start to see unexpected grace and resourcefulness and pluck, rather than unrelieved cynicism and self-dealing.”MY TRUE CRIME STORY 11 p.m. on VH1. Each episode of this docu-series, narrated by the rapper Remy Ma, people reveal their involvement in theft, drug dealing, sex work and how they moved past these episodes and found success in their respective fields. The series also touches on how inequalities in the criminal justice system (including mandatory surcharges) can trap people.TuesdayDrake Rodger and Meg Donnelly in “The Winchesters.”Matt Miller/The CWTHE WINCHESTERS 8 p.m. on The CW. After 15 seasons of “Supernatural,” fans know Dean Winchester (Jensen Ackles) pretty well — but do they know anything about his family? Skipping between the present and the past, this new spinoff series follows the story of how Dean’s parents, John Winchester (played by Jeffrey Dean Morgan in the original series and by Drake Rodger here) and Mary Campbell (played by Samantha Smith in the original series and Meg Donnelly here) met.Wednesday38 AT THE GARDEN 8 p.m. on HBO. Jeremy Lin, the former New York Knicks basketball player, known for his seven-game winning streak and “Linsanity,” is the focus of HBO’s new documentary. More specifically, the special brings viewers back to Feb. 10, 2012, when Lin scored 38 points against the Los Angeles Lakers at Madison Square Garden. Hasan Minhaj, Iman Shumpert, Jenny Yang, Lisa Ling and Lin himself all appear to comment on the phenomenon of “Linsanity” and the cultural impact for the Asian American community.LOVE AT FIRST LIE 9:30 p.m. on MTV. The landscape for reality competition dating shows is already pretty jammed packed: We have “Are You the One?,” “Love Island” and “Too Hot to Handle,” to name a few. MTV is jumping in with another — about uncovering who is in a real relationship and who is faking it. Each time a liar is called out during a “truth ceremony,” $25,000 is added to the cash prize.ThursdayWINTER HOUSE 9 p.m. on Bravo. “Winter House” is to Bravo what “The Avengers” is to the Marvel cinematic universe — you see reality stars doing their own thing on their respective shows (“Summer House” and “Southern Charm”), then come together in a house in Vermont. Most of the cast from the original season will be returning for the second installment, with Bravo icons Tom Sandoval and Tom Schwartz set to make appearances as well.FridayCMT ARTISTS OF THE YEAR 9 p.m. on CMT. This annual show celebrates the biggest names in country music: Lainey Wilson is taking home breakout artist of the year, and Alan Jackson is being honored with the lifetime-achievement award. Carly Pearce, Cody Johnson, Kane Brown, Luke Combs and Walker Hayes have all been given the honor of artist of the year. The live show will feature performances and surprise presenters.FIXER UPPER: THE CASTLE 9 p.m. on HBO. Chip and Joanna Gaines are working their renovation magic on a much bigger project this time — a hundred-year-old castle in Waco, Texas. Over eight episodes, they are going to transform the castle while keeping in mind the features that make it accurate to the time period.REBEL WITHOUT A CAUSE (1955) 10:15 p.m. on TCM. This film, about a teenager who moves to a new town and causes trouble, is one of James Dean’s most iconic roles. Sal Mineo and Natalie Wood also star as his new friend and the girl he falls for. “Convincing or not in motivations, this tale of tempestuous kids and their weird ways of conducting their social relations is tense with explosive incidents,” Bosley Crowther wrote in his review for The Times.SaturdayRobert Pattinson and Kristen Stewart in “The Twilight Saga: Breaking Dawn — Part 2.”Andrew Cooper/Summit Entertainment“THE TWILIGHT SAGA” MARATHON from 1 p.m. on MTV. If you have roughly ten hours to spare, and are in the mood for romance, vampires, werewolves, high school drama and a creepy CGI baby, you are in luck. MTV will be airing, back to back, all five films (“Twilight,” “New Moon,” “Eclipse,” “Breaking Dawn Part 1” and “Breaking Dawn Part 2”). Kristen Stewart, Robert Pattinson and Taylor Lautner star in this young-adult book series turned film franchise.SundayMISS SCARLET AND THE DUKE 8 p.m. on PBS (check local listings). This mystery series, which stars Kate Phillips as the first female detective in Victorian London, is back for a second season. Stuart Martin stars as her co-worker, love interest and childhood friend. Together, they take on the perplexing cases and try to uncover the truth. More

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    Review: ‘Death of a Salesman’ on Broadway Makes the Lomans New Again

    Wendell Pierce and Sharon D Clarke star in a powerful revival of Arthur Miller’s drama, led by a Black cast.A deeply original work that is also deeply influential may yet in time be trite. What once opened eyes comes to seem preloaded behind them, as if part of the general human inheritance.Such has been the ironic trajectory of Arthur Miller’s “Death of a Salesman.” When it premiered on Broadway in 1949, with its depiction of the false hopes of capitalism and the family dysfunction left in its wake, there were fathers for whom “the doctor had to be called because they couldn’t stop crying,” the director Mike Nichols, who saw it then, said. “It was like an explosion.”As “Salesman” spread into the culture with astonishing speed, it helped introduce the seismic re-evaluations of the ensuing decades. But now that we take those shocks to be self-evident, the job of making the play feel as new as it once did is a difficult one for those who would revive it. “Willy Loman” has long since become shorthand for the “low man” in the pecking order. And everyone for whom it was required high school reading already knows the story: how a washed-up salesman’s delusions about American success destroy not just his own life but also those of his wife, Linda, and their sons, Happy and Biff.Short of stunt casting or radical resetting, directors must therefore dig either deeper or wider. Nichols’s 2012 Broadway production, starring Philip Seymour Hoffman and Linda Emond as Willy and Linda, went deeper, examining the work with microscopic precision and even replicating Jo Mielziner’s original set design and Alex North’s music. The result was a very powerful mounting, and I use the word advisedly: It sometimes seemed like an exhibit.From left, Khris Davis as Biff Loman, McKinley Belcher III as Happy Loman and Sharon D Clarke as Linda Loman.Sara Krulwich/The New York TimesThe latest Broadway revival, which opened on Sunday at the Hudson Theater, goes wider, a notably rich and mostly successful approach. For the first time in a major New York production, the Lomans are played by Black actors. Wendell Pierce, as Willy, is wrenching as he flails and fails to avoid his fate instead of slumping into it from the start. And Sharon D Clarke, as Linda, is so paradoxically shattering in her stoicism that she turns what is usually portrayed as unshakable loyalty into a kind of heedless comorbidity.Miranda Cromwell’s revival, based on one she directed in London with Marianne Elliott in 2019, does more than give us Black Lomans — including Khris Davis as Biff and McKinley Belcher III as Happy. It also, crucially, puts them in a largely white world. Willy’s employer (Blake DeLong), his neighbor (Delaney Williams) and his mistress (Lynn Hawley) are thus more than foils in the usual sense; like Willy, you can never untangle the personal, economic and now racial threads of their behavior. And even if they aren’t bigots, they electrify moments — a card game with the neighbor, a negotiation with the “boss” — in which Willy’s paranoia seems at the same time both fantastical and well founded.It’s even more astonishing that the production achieves this effect with only a few minor alterations to the dialogue. (The college that Biff, a would-be football star, hopes to attend is now U.C.L.A., instead of the University of Virginia, where the first Black student was not admitted until 1950 — and even then, only after a lawsuit.) Likewise, though the play’s web of urban imagery, much written about in A.P. English essays, is duly honored in Anna Fleischle’s skeletal set design, it gets new life when seen in the light of the redistricting and gentrification that squeezed many people like the Lomans out of their homes.It’s therefore central to the effectiveness of the casting that it’s not colorblind. Neither the Black nor the white actors ignore race; they mine it, bringing their characters to fully specific and vivid life. Willy’s mistress has an ear-bending working-class white Boston accent. The oddly formal patois (“Nobody dast blame this man”) of the good-hearted neighbor Charley marks him as a clear outsider. (Williams is excellent in the part.) And Biff and Happy’s take on trash-talking, no less than Linda’s maternal don’t-cross-me commandments — “Attention must be finally paid!” — awakens lines you’ve heard innumerable times, asserting their implacable realness.André De Shields, in a terrifying performance, plays the ghost of Willy’s older brother, Ben.Sara Krulwich/The New York TimesThat awakening reaches a theatrical climax in André De Shields’s terrifying performance as the ghost of Willy’s older brother, Ben. Though dressed like Liberace in a white suit and crystal-studded shoes — the costumes are by Fleischle and Sarita Fellows — he makes every utterance sound like an elaborate curse. When he warns Biff not to “fight fair with a stranger, boy. You’ll never get out of the jungle that way,” he puts such a troubling spin on the words “boy” and “jungle” that you feel you should duck.But what works to ground and intensify the performances does not always work for the production overall. Cromwell’s use of expressionistic devices like silhouettes and frozen poses to suggest Willy’s fragmenting consciousness seems obvious and unmoored, an intrusion of acquired Polaroid memories. And though the wistful music by Femi Temowo — including a beautiful spiritual-like setting of “When the Trumpets Sound” — sets the mood for the impending tragedy, it confuses the tone when used for comic effect, or worse, solace. There is no solace in “Salesman.”In general, the balance of light and dark in this very dark play does not yet feel natural. Biff and Happy, in Willy’s memory, are not just boyish, but clichés of boyishness; aiming to solve this textual problem by underlining it, Cromwell’s direction makes it worse. On the other hand, Willy himself is often so unrelievedly monstrous that you sometimes can’t see past it to the monstrosity of American business that Miller means to indict.Yet nothing can stop the engine of the final scenes, sparking and huffing and pushing the play into great drama. As the lies that bind at last come undone, we see each of the trapped family members liberated to choose life or death or a combination thereof. (The play’s last words, after all, are “We’re free.”) They have nothing left to sell. If you believe, as Nichols said in 2012, that “now everyone in America is a salesman,” you may even feel a shiver of recognition. Made new and unfamiliar once again in this production, the Lomans look like all of us.Death of a SalesmanThrough Jan. 15 at the Hudson Theater, Manhattan; salesmanonbroadway.com. Running time: 3 hours 10 minutes. More