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    Shauneille Perry Ryder, Pioneering Theater Director, Dies at 92

    As a Black woman, she blazed a path Off Broadway with an intuitive grasp of “how a story should be told, particularly a Black story,” Giancarlo Esposito said.Shauneille Perry Ryder, an actress, playwright and educator who was one of the first Black women to direct plays Off Broadway, most notably for the New Federal Theater, died on June 9 at her home in New Rochelle, N.Y. She was 92.Her daughter Lorraine Ryder confirmed the death.Ms. Perry Ryder, who was known professionally as Shauneille (pronounced shaw-NELL) Perry, directed 17 plays at the New Federal Theater from 1971 to 2006, each a part of the company’s mission to integrate artists of color and women into mainstream American theater. The theater, founded in 1970 by Woodie King Jr. in Lower Manhattan and now housed on West 42nd Street, has been a mecca for Black actors and directors.“She was personable with actors, but she put her foot down,” Mr. King said in a phone interview, referring to her attention to detail. “I’m so glad she worked with New Federal. She gave us a great reputation. In our first 10 years, we had a hit each year, and at least three or four were directed by Shauneille Perry.”In 1982, she directed Rob Penny’s “Who Loves the Dancer,” about a young Black man (played by Giancarlo Esposito) growing up in 1950s Philadelphia who dreams of becoming a dancer but who is trapped by his mother’s expectations, his environment and racism.In The New York Times, the critic Mel Gussow wrote that the play “has an inherent honesty, and in Shauneille Perry’s production, the evening is filled with conviction.”Mr. Esposito, who had been directed earlier that year by Ms. Perry Ryder in another play, “Keyboard,” at the New Federal, recalled her “very intuitive expression of how a story should be told, particularly a Black story.”“I was a young, green actor who had chops,” he added, in a phone interview, “but she taught me that acting is physical. The explosion that comes out of me in the second act came together under her direction.”Ms. Perry Ryder also directed Phillip Hayes Dean’s “Paul Robeson,” which traces the life of the titular singer and social crusader; “Jamimma,” by Martie Evans-Charles, about a young woman who changes her name because of its connection to servility and who is devoted to a man who she is told will never do much more than “wear rags or play instruments”; and “Black Girl,” by J.E. Franklin, about three generations of Black women, including a teenager who yearns to dance.“If you’re Black, you know about these people in any city,” Ms. Perry Ryder told The Times in 1971, referring to the characters in “Black Girl.” “We are all a part of each other.”She won at least two Audelco Awards from the Audience Development Committee, which honors Black theater and artists, and in 2019 received the Lloyd Richards Director’s Award from the National Black Theater Festival, in Winston-Salem, N.C., named after the Tony-winning director of many of August Wilson’s plays.Shauneille Gantt Perry was born on July 26, 1929, in Chicago. Her father, Graham, was one of the first Black assistant attorneys general in Illinois; her mother, Pearl (Gantt) Perry, was a pioneering Black court reporter in Chicago. Lorraine Hansberry, who wrote “A Raisin the Sun,” was one of Shauneille’s cousins.While attending Howard University — where she received a bachelor’s degree in drama in 1950 — Ms. Ryder Perry belonged to a student theater group, the Howard Players, which performed Ibsen’s “The Wild Duck” and Strindberg’s “Miss Julie” on a tour of Scandinavia at the invitation of the Norwegian government. “We were the only Black company to tour those marvelous countries,” she told The Record of Hackensack, N.J., in 1971.She earned a Master of Fine Arts degree in 1952 at the Goodman School of Drama at the Art Institute of Chicago (now a part of DePaul University). As a Fulbright scholar in 1954, she studied at the Royal Academy of Dramatic Art in London. Dissatisfied with the curriculum, however (“they were always doing ‘Cleopatra,’” she said), she transferred to the London Academy of Music & Dramatic Art.Back in Chicago she began acting — she was in a summer stock play, “Mamba’s Daughters,” with Ethel Waters — while also writing for the Black newspaper The Chicago Defender. In 1959, while on a trip to Paris that she had won through an Ebony magazine essay contest, she met the author Richard Wright, who, she recalled, asked her, “They still lynching people back in the States?”“I remember telling him, ‘They do it a little differently there today,’” she told The Times in 1971. But the next day she read about a Black man who had been accused of rape and taken forcibly to a jail cell; his body was later found floating in a river. “I kept wondering to myself,” she said, “‘What is that man saying about my analysis of things?’”And she wondered what she would do when she got home.At first she continued acting. She appeared in various Off Broadway plays, including Josh Greenfeld’s “Clandestine on the Morning Line” (1961), with James Earl Jones, in which a pregnant young woman (Ms. Perry Ryder) from Alabama strolls into a restaurant looking for the father of her child.Edith Oliver, reviewing the play in The New Yorker, praised Ms. Perry Ryder’s “lovely performance,” writing that she gave her role “such quiet, innocent strength and apparent unawareness of the character’s pathos that we almost forget it, too.”Frustrated with the roles she was offered, Ms. Perry Ryder turned to directing, first at the Negro Ensemble Company in New York, with a workshop production of Ms. Franklin’s “Mau Mau Room.”“I got the feeling that maybe there’s a place for me,” she told The Times.Two years later, she directed “The Sty of the Blind Pig” for the Negro Ensemble Company. In the drama, a blind street singer in 1950s Chicago goes to a house on the South Side looking for a woman he once knew.Emory Lewis wrote in his review in The Record that Ms. Perry Ryder “had marshaled her actors with loving attention to period detail and nuance.”Ms. Perry Ryder, left, in 1971 while directing “Black Girl,” a play by J. E. Franklin, right, about three generations of Black women. Produced by the New Federal Theater, it was staged at the Theater de Lys on Christopher Street in Lower Manhattan. Bert Andrews Her theater work continued for more than 40 years, including writing and directing “Things of the Heart: Marian Anderson’s Story,” about the brilliant Black contralto; directing and rewriting the book for a 1999 revival of “In Dahomey,” the first Broadway musical, originally staged in 1903, written by African Americans; and writing a soap opera for a Black radio station in New York City.In 1986, Ms. Perry Ryder joined the faculty of Lehman College in the Bronx, where she taught theater and ran the drama program. At Lehman, she staged “Looking Back: The Music of Micki Grant,” a revue based on Ms. Grant’s theatrical works, which include “Don’t Bother Me, I Can’t Cope.” She retired in 2001.In addition to Lorraine Ryder, Ms. Perry Ryder is survived by two other daughters, Gail Perry-Ryder Tigere and Natalie Ryder Redcross, and four grandchildren. Her husband, Donald Ryder, an architect, died in 2021. More

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    Review: In ‘Queen,’ the Numbers Don’t Always Add Up

    Two ambitious scientists are concerned with honey bees in this heady and data-heavy new play, a production of the National Asian American Theater Company.Math is a tool to make sense of the way things work. A minuscule discrepancy becomes the catalyst for a crisis in “Queen,” a heady and data-heavy new play by Madhuri Shekar that opened on Tuesday night at the A.R.T./New York Mezzanine Theater. A hair’s breadth deviation upends not just the outcome of a yearslong study, but how a team of scientists conceive of themselves and life’s purpose.The title refers to matriarchal honey bees, whose declining population is the problem a group of researchers aims to solve. We’re at the University of California, Santa Cruz, where two industrious Ph.D. candidates have designed a study to pinpoint pesticides as the primary culprit in what’s known as “colony collapse disorder,” or the decimation of bees. Their reputations, and the future of pollination, depends on its success.Ariel (Stephanie Janssen), an ecologist and single mom, broke up with an ex to pursue the project, risking her livelihood to take down the chemical conglomerate she blames for putting her beekeeping family out of business. Sanam (Avanthika Srinivasan) is a meticulous mathematician from India whose rich parents keep setting her up with suitors she considers a threat to her ambitions. (“Think of everything I could accomplish if I had a gay husband who would happily leave me alone!” she says, only half joking.) Their professor (Ben Livingston) just wants the numbers to add up, so he can present his students’ findings and reap most of the glory.Sanam’s latest mismatched blind date, Arvind (Keshav Moodliar), a swaggering Wall Street analyst with a surplus of smarm, at least contributes some brain power to her statistical dilemma. Their awkward first meeting leads to a late-night breakthrough in the lab (but no funny business) that further clarifies the mathematical impasse impeding the project, if not the physics that are meant to be propelling the story forward.Arvind (Keshav Moodliar), a swaggering Wall Street analyst, has an awkward first meeting with Sanam (Srinivasan) in “Queen.”Jeremy DanielThe play spends the first half of its 105-minute running time spelling out the details of the study, and the potential missteps that led to an unexpected outcome. Methodical minutiae are positioned as compelling revelations. Jargon dominates arguments about process, crowding out welcome moments of direct connection between characters, all of whom are fueled by presumptions of greatness. Throw in competition and petty jealousies — toward others in the field and among themselves — and it’s tough to find a foothold for sympathy. By the time relationships, between colleagues and lovers, become the ultimate focus, they lack the substantive evidence that would make them feel convincing.Ariel and Sanam are driven by the desire to prove themselves extraordinary, that they might even be capable of saving the world through their intellects. Maybe that’s the essential delusion at the heart of much academic enterprise, but thwarted egos alone don’t make for especially high dramatic stakes. (Nor do the unseen deaths of insects, which we’ve been conditioned to find a nuisance despite their integral role in the food supply.)The production, directed by Aneesha Kudtarkar for the National Asian American Theater Company, is slick and compact. Glass-topped desks arranged in a honeycomb formation take up much of the black box stage in this set design by Junghyun Georgia Lee, limiting the playing space to their periphery. There’s a clean versatility to the staging that suggests the efficiency of a clinical exercise, if not an especially expressive or aesthetic one.“Queen” raises sticky questions about ethics, integrity and the fallibility of accuracy in determining what’s real. But its fascination with empirical nitty-gritty comes at the expense of deeper character development and emotional resonance. Why bees? Why not bees — if observing scientists trying to save them can reveal something essential about who we are. But the conclusions that “Queen” draws are more theoretical than embodied. It takes more blood than intellect to feel a sting.QueenThrough July 1 at the A.R.T./New York Mezzanine Theater, Manhattan; naatco.org. Running time: 1 hour 45 minutes. More

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    In ‘Corsicana,’ Will Arbery Puts Art, Family and Down Syndrome Onstage

    Arbery, a Pulitzer finalist in 2020, is back with a play inspired by his relationship with his sister. But don’t call it an “issue” play.In 2019, Will Arbery scored an unlikely hit with “Heroes of the Fourth Turning,” his darkly comic, boundary-pushing play about young Catholic conservatives debating God, love, friendship and Donald Trump at a late-night party in a Wyoming backyard. A finalist for the 2020 Pulitzer Prize, it won praise both from the heavily liberal New York theater world and from traditionalist Christians who often feel caricatured by it, if they are depicted at all.“Heroes” was a play that, for all the idiosyncrasies of its characters, was hailed as being very much About Something. But on a recent morning, Arbery, 32, was sitting outside a cafe near his apartment in Brooklyn, alternately wrestling with and resisting the question of just what his new play, “Corsicana,” was about.Most simply, “Corsicana,” which runs until July 10 at Playwrights Horizons, is about four people in that small city in Texas, including a young woman with Down syndrome, her aspiring filmmaker brother and a reclusive self-taught artist who comes into their orbit. Inspired by Arbery’s relationship with his older sister Julia, it’s the rare play to feature both a lead character — and a lead actor — with Down syndrome.But it’s also, Arbery said, a play that “very stubbornly defies about-ness.”Will Dagger, left, in “Corsicana” with Deirdre O’Connell, center, and Jamie Brewer. The play, Arbery said, “very stubbornly defies about-ness.”Sara Krulwich/The New York Times“When you first walk in, you might say oh, this is a couch play, or an artist-on-the-edge-of-town play, or a Down syndrome play,” he said. “But it’s more of an accumulation. It’s not like any of those things are false — they’re all there — but something else is operating that can’t be named.”The goal, he said, was a “widening complexity.” If audiences could “categorize the play too easily, then they could categorize Julia too easily,” he said. “And that’s the opposite of what I want to do.”“Corsicana,” directed by Sam Gold at the same theater that first staged “Heroes,” is something of a homecoming for Arbery, who since 2019 has been living the life of a hot young playwright. There have been multiple productions around the world of “Heroes” and his previous play, “Plano,” also inspired by his family. Another play, “Evanston Salt Costs Climbing,” from 2018, will have its New York premiere in the fall with the New Group. And Hollywood has been calling. In February 2020, he spent a month in London consulting on HBO’s “Succession,” immersing himself in the acid-bath dynamics of a very different clan.“I just sat there and made a vow to myself to say at least one thing a day,” he said of the writers room. “It was an intimidatingly brilliant and funny group of people.” (Evidently, he passed muster. He recently wrapped work on Season 4, on which he’s credited as a co-producer.)“Corsicana,” which Arbery started before the pandemic, was inspired in part by an artists residency in the same small Texas city as the play is set. But it’s also, as he puts it, a play he has been writing his whole life.Arbery, who grew up in Dallas with seven sisters in a conservative Catholic milieu similar to that of “Heroes,” had always wanted to write a play about his relationship with Julia, who is two years older (as she likes to remind him). But he didn’t want to write, as he puts it, an “issue play.”“I wanted to do it in the way it felt like growing up,” he said, where Julia “was just part of the fabric of daily life, a member of the family and the team.”Julia Arbery, shown with Will in 2016, said they have always been able to talk “about our feelings, excitement, sadness” and “about our hearts.”via Will ArberyIn “Corsicana,” the young filmmaker, Christopher (Will Dagger), has put aside his own ambitions to come home and live with his sister Ginny (Jamie Brewer) after their mother’s death. Through their mother’s best friend (Deirdre O’Connell, a 2022 Tony winner for “Dana H”), Christopher arranges for Ginny to spend time with Lot (Harold Surratt), a reclusive self-taught artist who makes kaleidoscopic sculptures out of junk, and who bristles at the idea that people might see him, like Ginny, as “special.”Lot also makes tapes of his strange, homespun songs (reminiscent of the “outsider” Texas songwriter Daniel Johnston). The hope is that he and Ginny — whose tastes run more to Whitney Houston, Hilary Duff and the Chicks — will write a song together, to pull her out of her funk.“Corsicana” explores art, grief, privacy, gifts, family and community, and how the meanings of creative acts change depending on who witnesses them — and whether some things should have an audience at all. There are pop-culture one-liners and bigger philosophical talk, along with surreal riffs on dinosaurs, ghosts, history and books that never get read.Arbery described Julia, an ardent music fan who sings with a choir, as “a natural performer.” But like Lot in the play (whose work we never see), he said, she does much of her creation in her room, for “an audience of no one.”“If you’re lucky to walk by and the door’s ajar and you see her busting these moves that are just unbelievable,” he said. “I felt like that’s the most honest place to write from, outside that door, and having the audience outside too, but with the terms clearly set — you’re not allowed to look back there.”If Ginny mostly sings behind closed doors, Jamie Brewer, the actress who plays her, is a seasoned professional. Brewer, who has performed since she was a child, has appeared in several seasons of “American Horror Story.” In 2018, she became what is believed to be the first actor with Down syndrome to play the lead in a Broadway or Off Broadway play, in Lindsey Ferrentino’s “Amy and the Orphans.”“Amy” was about a group of siblings learning the fuller story of their sister, who had been institutionalized as a child and neglected by the family. “Corsicana,” which Brewer described as much “wordier” than “Amy,” offers a different window on the experience of living with Down syndrome, depicting Christopher and Ginny’s relationship as emotionally equal and ordinary, down to their private jokes and fights.“I love being part of a play that shows everyone who we are,” Brewer, 37, said in a video interview. “We’re all the same as everyone — we have the same wants and needs, the drive, the desire, the individual sense of self.”Julia Arbery in “Your Resources,” a 2016 short film by Will Arbery. The film “is a little embarrassing,” Will said. But Julia “is really good.”Will Arbery Julia Arbery, who turns 35 in July, lives with her parents in Wyoming, and works in the dining hall at Wyoming Catholic College, a small conservative liberal arts institution where their father, Glenn, is president, and their mother, Virginia, teaches political science.In a joint video interview with Will, Julia described him as “my favorite brother,” which wasn’t the only time they cracked each other up. (He’s her only brother.) She said they have always been able to talk “about our feelings, excitement, sadness” and “about our hearts.”Julia was about to make her first trip to New York, to see “Corsicana” — the first time she’s seen a professional production of one of his plays. Julia, a country music fan who used to sing in a choir, doesn’t know many details of the play. But she said she was especially excited to hear Ginny and Lot’s song (co-written by Arbery and the indie musician and artist Joanna Sternberg).There’s a scene in the play where Christopher, the would-be hipster auteur, asks Ginny (a “High School Musical” fan) if she wants to be in one of his movies. “Is it going to be good?” she shoots back. (So much of “Corsicana,” Arbery said, “is a tug of war about taste.”)In real life, Julia has acted in some of her brother’s short films, including the sci-fi-tinged “Your Resources,” shot in 2016 at their parents’ ranch-like home, starring Julia as a young woman who enters a contest to win a brain implant developed by a sinister futuristic corporation, so she can be “different” and help her ailing father (played by Glenn Arbery).“The short film is a little embarrassing,” Will said later by email. But “Julia is really good.”They have also been talking about making a hybrid documentary-feature, about Will filming Julia directing a mash-up of “The Princess Bride” (one of their favorites) and Liam Neeson’s “Taken.”Julia, he said, inspired not just this play, but his approach to writing.“From a very young age, she keyed me into this idea that a way a person uses language is a fingerprint,” he said. “It always felt very clear to me that she was the reason I was doing some of this.” More

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    Trevor Noah Tricks His Audience Into Singing ‘Happy Birthday’ for Trump

    After the boos ceased, Noah joked that “the haters can’t even give the poor man a day off.”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.Birthday WishesDonald Trump turned 76 on Tuesday, and Trevor Noah tricked his “Daily Show” audience into singing “Happy Birthday” to the former president before saying whom they were signing it for. After the boos ceased, he remarked that “the haters can’t even give the poor man a day off.”“All week long the Jan. 6 committee has been riding his ass just because he tried to overthrow the government. And now — and now — they’re even accusing him of fraud, just because he asked his supporters for money to set up an election defense fund and didn’t set up an election defense fund,” Noah said.“Former President Trump turned 76 today, so now he’s really asking everyone to stop the count.” — SETH MEYERS“That’s right, today was former President Donald Trump’s 76th birthday. Pretty impressive — 76 and he can still get an insurrection.” — SETH MEYERS“Trump took some of the money he said he’s going to use to fight election fraud and paid his son’s fiancée $60,000 for a two-minute introduction speech, which is such a scam, I don’t care what anyone says. That’s an even bigger scam than tai chi. Yeah, oh I’m sorry who are you going to fight, an army of slow butterflies?” — TREVOR NOAH“They also skimmed off over $200,000 for the former president’s hotels — and that was just Giuliani’s bar tab.” — STEPHEN COLBERT“During yesterday’s congressional hearing, it was revealed that Donald Trump Jr.’s fiancée, Kimberly Guilfoyle, was paid $60,000 to speak at the rally before the Capitol attack. Well, technically, $20,000 to speak and then $40,000 to please stop.” — SETH MEYERS“This does prove that Donald Trump is a proud feminist ally. Yeah, that’s right, I said it. Everyone’s always complaining women get paid less for more work, but Trump, no, he is doing everything to close the wage gap. He paid Kimberly Guilfoyle for two minutes’ work. He paid Stormy Daniels for two minutes’ of work. Yeah, Trump isn’t breaking the law, he is breaking the glass ceiling.” — TREVOR NOAH“So he duped $250 million from his most passionate supporters and then watched as they all go to prison while he sat in Mar-a-Lago double-fisting coconut shrimp. And these aren’t wealthy people. You can always tell when they’re wearing nothing but giveaway merch from the losing team.” — STEPHEN COLBERT“As much as people want to be angry at Donald Trump, I feel like this is one of the instances where he is the black light on America’s democracy. Because he didn’t invent this scam — politicians from every party use their campaign funds to enrich their friends, it’s just Trump does it so egregiously that everyone notices it. All politicians are, like, ‘Donate, it’s for the fund, but nobody looks where the money goes. Yeah, it’s just something you pay attention to because of how he does it. It’s the same way all of us have eaten a grape or two at the grocery store, but Trump’s the guy who walks into Whole Foods with a fork and knife, you know? He’s like [imitating Trump] ‘You guys have the best raw chicken. So good. So good.’” — TREVOR NOAHThe Punchiest Punchlines (Sobering Advice Edition)“Rudy Giuliani is firing back on reports from the Jan. 6 hearings that he was inebriated on election night. He tweeted, ‘I refused all alcohol that evening. My favorite drink … Diet Pepsi.’ So, just to be clear, Rudy’s defense is that he gave the dumbest, most unethical advice in the history of America while stone-cold sober, got it.” — JAMES CORDEN“It can be very hard to tell, because sometimes he’s drunk, and sometimes he’s pretending he’s not.” — STEPHEN COLBERT“What an endorsement that is. You just know the people at Pepsi were like ‘Uh, he must mean Diet Coke. He means Coca-Cola, right? You mean Coca-Cola? Any brand of cola, really, RC Cola, Shasta, maybe a generic grocery store brand cola.’“ — JAMES CORDEN“[imitating Giuliani ] I love Diet Pepsi, especially a robust, red Diet Pepsi, or, in the summer, a diet Pepsi rosé. I also enjoy boxed Diet Pepsi.’” — STEPHEN COLBERTThe Bits Worth WatchingDakota Johnson played a game of “Mad Lib Karaoke” with Jimmy Fallon on Tuesday’s “Tonight Show.”What We’re Excited About on Wednesday NightPhoebe Bridgers will perform on Wednesday’s “Tonight Show.”Also, Check This OutThe actor Cheech Marin.Carlos Jaramillo for The New York TimesThe personal art collection of the actor Cheech Marin now has a public home at the Cheech Marin Center for Chicano Art and Culture in Riverside, Calif. More

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    ‘Topdog/Underdog’ to Star Yahya Abdul-Mateen II and Corey Hawkins

    The 20th anniversary Broadway revival will be directed by Kenny Leon. Previews begin in September at the John Golden Theater.Corey Hawkins and Yahya Abdul-Mateen II will star this fall in a Broadway revival of Suzan-Lori Parks’s Pulitzer-winning comic drama “Topdog/Underdog.”The play, first staged on Broadway in 2002 after an Off Broadway run at the Public Theater, is a portrait of two brothers: One, named Lincoln (Hawkins), is an Abraham Lincoln impersonator and the other, named Booth (Abdul-Mateen), aspires to play three-card monte the way his brother once had.In 2018, The New York Times declared “Topdog/Underdog” the best American play of the previous 25 years. Explaining that choice, the critic Ben Brantley wrote that the play “plies the fine theatrical art of deception to convey the dangers of role-playing in a society in which race is a performance and prison.”Hawkins, 33, has been featured in a string of films, including “In the Heights,” “The Tragedy of Macbeth” and “Straight Outta Compton.” He has two previous Broadway credits, and picked up a Tony nomination in 2017 for his starring role in a revival of “Six Degrees of Separation.”Abdul-Mateen, 35, is best known for his work in the HBO series “Watchmen,” and he recently was featured in the films “Ambulance,” “The Matrix Resurrections” and “Candyman.” “Topdog/Underdog” will be his Broadway debut.The original Broadway production starred Jeffrey Wright and Yasiin Bey, who was known at the time as Mos Def.This 20th anniversary revival, scheduled to run for 16 weeks, is to begin previews Sept. 27 and to open Oct. 20 at the John Golden Theater. It will be directed by Kenny Leon, who in 2014 won a Tony Award for directing a revival of “A Raisin in the Sun.” The producers are David Stone, a lead producer of “Wicked,” as well as LaChanze, Rashad V. Chambers, Marc Platt, Debra Martin Chase and the Shubert Organization.This season is shaping up to be a big one for Parks. In addition to the Broadway revival of “Topdog/Underdog,” the Public Theater on Tuesday said it would stage productions of two new works she has written: “Plays for the Plague Year,” a series of playlets Parks wrote during the early pandemic, and “The Harder They Come,” a musical adaptation of the 1972 film, with a book by Parks and a score that includes songs by Jimmy Cliff. More

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    City Center’s Season to Feature an International Fall for Dance

    The festival welcomes foreign troupes for the first time since 2019; other City Center highlights include Twyla Tharp and “The Light in the Piazza” at Encores!“Oliver!,” the return of the National Ballet of Canada and a Twyla Tharp program are among the offerings for New York City Center’s 2022-23 season, the theater announced on Tuesday.“Coming off the pandemic we had a really strong season,” said Arlene Shuler, City Center’s president and chief executive, adding, “I want audiences to take away that City Center is as strong as ever.”The 2022-23 season, Shuler’s last, opens with the Fall for Dance Festival, which for the first time since 2019 will have an international lineup, including the Kyiv City Ballet from Ukraine, as well as companies and artists from France, Germany, India and the Netherlands.Fall for Dance, which Shuler initiated in 2004, remains central to her legacy at the theater. The festival’s eclectic mix of dance companies and low-cost tickets has expanded accessibility to the public and solidified relationships with artists.Also in fall, Twyla Tharp returns to the theater, Oct. 19-23, with two works: “In the Upper Room” (1986) and “Nine Sinatra Songs” (1982), which Shuler called “masterworks — not just for Twyla but for the 20th century.” The program follows last year’s “Twyla Now.”The National Ballet of Canada will take the City Center stage for the first time in 15 years. The program, with live music by the National Ballet of Canada Orchestra, features three performances, including Crystal Pite’s “Angels’ Atlas.” It is set to run from March 30-April 1, 2023.City Center’s Encores! will present “The Light in the Piazza” (Feb. 1-5), Jerry Herman’s “Dear World” (March 15-19) and Lionel Bart’s “Oliver!” (May 3-14). And “Parade,” starring Micaela Diamond and Ben Platt in Alfred Uhry’s Tony Award-winning musical about the 1915 lynching of Leo Frank, a Jewish American in Georgia, will be City Center’s annual gala production, on Nov. 1-6.Dance programming at City Center will also include Sara Baras and her company at the annual Flamenco Festival (March 23-26), and Ballet Hispánico, which will perform “Club Havana 18+1” (June 1-3).This year’s City Center Dance Festival, titled “From the Street,” will celebrate the diversity of forms in contemporary hip-hop. The year will close with “Sugar Hill: The Ellington/Strayhorn Nutcracker” (Nov. 15-27), a jazz-infused retelling of the holiday classic, and the annual season of Alvin Ailey American Dance Theater (Nov. 30-Dec. 24), with new works by Kyle Abraham and Jamar Roberts. More

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    Amber Heard: I ‘Stand by Every Word’ of Testimony in Defamation Trial

    In her first public interview since losing a defamation case brought against her by Johnny Depp, her ex-husband, Ms. Heard said she had told the truth when she accused him of abuse.Almost two weeks after losing a high-profile defamation trial, Amber Heard said in a television interview on Tuesday that she had told the truth on the stand about her accusations of abuse against her ex-husband, Johnny Depp. She also took issue with the judge’s handling of evidence that she said helps prove her account of the relationship.Ms. Heard told NBC’s “Today” show that she will “stand by every word” of her testimony to her “dying day.” She alleged repeated physical abuse by Mr. Depp, as well as several instances of sexual abuse, all of which Mr. Depp denied.In her first public interview since the jury verdict in Fairfax, Va., Ms. Heard acknowledged that she was responsible for “horrible, regrettable” behavior toward Mr. Depp, including demeaning insults that were aired in court, but maintained that any physical violence on her part was in response to his own. Mr. Depp testified that Ms. Heard was violent toward him, and not the other way around.“I behaved in horrible — almost unrecognizable to myself — ways,” Ms. Heard said. “It was very, very toxic. We were awful to each other.”But, she asserted, “I’ve always told the truth.”Ms. Heard, 36, lost the defamation case that Mr. Depp filed against her, alleging that she had “devastated” his career after The Washington Post published an op-ed in which she called herself a “public figure representing domestic abuse.” The article did not mention Mr. Depp by name, but he and his lawyers argued that it was clearly referring to a time in 2016 in which Ms. Heard told a court that Mr. Depp was physically abusive toward her.Our Coverage of the Johnny Depp-Amber Heard TrialA trial between the formerly married actors became a fierce battleground over the truth about their relationship. What to Know: Johnny Depp and Amber Heard sued each other with competing defamation claims, amid mutual accusations of domestic abuse.The Verdict: The jury ruled that Mr. Depp was defamed by Ms. Heard in her op-ed, but also that she had been defamed by one of his lawyers. Possible Effects: Lawyers say that the outcome of the trial could embolden others accused of sexual abuse to try their luck with juries, marking a new era for the #MeToo movement.The Media’s Role: As the trial demonstrates, by sharing claims of sexual abuse the press assumes the risks that come with antagonizing the rich, powerful and litigious.The $10.35 million award to Mr. Depp was offset by a $2 million award for Ms. Heard. The jury found that Mr. Depp had defamed Ms. Heard in one instance, when a lawyer who had previously represented him during the defamation proceedings made a statement to a British tabloid accusing her of damaging the couple’s penthouse and blaming it on Mr. Depp.A lawyer for Ms. Heard, Elaine Charlson Bredehoft, has said she plans to appeal the verdict.The six-week trial turned into an internet obsession fueled by courtroom sound bites made accessible by a pair of cameras filming the proceedings for livestreams and television broadcasts. Ms. Heard was on the receiving end of much of the online vitriol, with Depp fans mocking her testimony and calling her a liar.“Even if you think that I’m lying, you still couldn’t tell me — look me in the eye and tell me — that you think on social media there’s been a fair representation,” Ms. Heard said in the NBC interview, more of which will air later this week. She added that she had “never felt more removed from my own humanity.”In the days after the verdict, Ms. Heard’s legal team has argued that it would have been impossible for the jury, which was unsequestered, to completely shield themselves from the social media bias against their client.Ms. Heard said there had been “really important pieces of evidence” that a judge kept out of the Virginia trial, some of which were allowed in a separate trial in London. In that case, Mr. Depp sued when The Sun newspaper called him a “wife beater” in a headline. Mr. Depp lost that case, and the British judge was persuaded that Mr. Depp had physically abused Ms. Heard repeatedly throughout their relationship.Johnny Depp’s Libel Case Against Amber HeardCard 1 of 7In the courtroom. More

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    Late Night Blames It on the Alcohol

    Rudy Giuliani’s intoxication on election night was the focus of Monday’s Jan. 6 hearings and late-night monologues.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.How Could They Tell?During the House committee hearing Monday on the Jan. 6 assault on the Capitol, Jason Miller, former aide to Donald Trump, told the panel that Rudy Giuliani was “definitely intoxicated” on election night when he told the former president that the election had been stolen.“You know, when you think about it, it makes sense that Trump would listen to a drunk person, because that’s the one time people probably sound like him,” Trevor Noah said.“The House committee investigating the Capitol attack today held its second public hearing. They weren’t going to, but then Rudy Giuliani said, ‘Make it a double!’” — SETH MEYERS“So we’re just going to blame this entire thing on the alcohol?” — JAMES CORDEN“Yeah, according to a former Trump aide, Rudy Giuliani was wasted on election night when he told Trump that the election was stolen from him. And I am just curious about how you even know when Rudy Giuliani is drunk. No, because when a normal person is drunk, they say crazy things, they yell, they sweat a lot. So how does that work with Rudy — does it work in reverse? Does he start talking normally, his hair dye sucks back into his hair? How does it work?” — TREVOR NOAH“They were all telling him, ‘You lost this election, sir,’ but Trump was like: ‘Yeah, yeah, whatever. Drunk vampire, what do you think?’” — TREVOR NOAH“It’s a bit of a leading question. They followed up by asking, ‘Do you notice anyone that night who was maybe farting while leaking hair dye and ranting in front of a dildo shop? Anyone like that? Could be anyone. Take your time — think back.’” — STEPHEN COLBERT, on Miller’s being asked if anyone was drunk on election night.“It’s so funny to me how in all these depositions, Trump aides are all hemming and hawing, pausing and taking their time to use the most precise legal language possible because they’re under oath, but then as soon as someone asks, ‘Was anyone drunk at the White House?’ they all immediately buzz in like the overeager uncle on ‘Family Feud’: ‘Rudy! It was Rudy!’” — SETH MEYERS“Let me help you out here. There are five levels of intoxication on the Rudy breathalyzer: over the legal limit, rooting around the dumpster for empties, rooting around in his pants in ‘Borat,’ planning coup in a blackout and ‘The Masked Singer.’” — STEPHEN COLBERT“I can’t believe this. A drunk Rudy Giuliani told Trump to claim he won the election. And then he said, ‘I love you, man’ six times and dropped his phone in the toilet.” — JAMES CORDENThe Punchiest Punchlines (Reality Show Ratings Edition)“Today was Episode 2 of the hot new reality show ‘The Jan. 6 Committee Hearings.’ We’re all waiting to find out if the former president gets to go to the fantasy suite with Lady Justice. She’s blind, so he’s got a shot.” — STEPHEN COLBERT“Episode 1 was a huge hit, because at least 20 million people watched Thursday’s hearing. We were live, OK? That’s the kind of audience usually reserved for ‘Sunday Night Football.’ Makes sense because Thursday’s hearing featured even more guys with brain damage.” — STEPHEN COLBERT“For the first hearing on Thursday, over 20 million people tuned in, which is higher than this year’s N.B.A. finals. Trump was torn — he didn’t know whether to worry about the hearing or brag about the ratings.” — JIMMY FALLON“Fox News today also aired coverage of the House Jan. 6 committee’s second hearing. Said viewers: ‘Babe! I’m on TV!’” — SETH MEYERSThe Bits Worth Watching“Jimmy Kimmel Live” hosted another segment of “Mean Tweets” featuring N.B.A. players like Andre Drummond and Russell Westbrook on Monday’s show.What We’re Excited About on Tuesday NightBonnie Raitt will perform on Tuesday’s “Late Show.”Also, Check This OutJennifer Hudson accepting a Grammy in 2009.Lucy Nicholson/ReutersJennifer Hudson, a producer of “A Strange Loop,” became an EGOT on Sunday when the musical won big at this year’s Tony Awards. More