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    In Opening Statements, Cosby Is Accused of Assaulting Judy Huth as Teenager

    The trial stemming from Ms. Huth’s lawsuit, which says Mr. Cosby sexually assaulted her when she was a minor, began in Los Angeles as her lawyers described what she says occurred in the Playboy Mansion.Bill Cosby had taken Judy Huth and her friend to the game room of the Playboy Mansion in Los Angeles in 1975 when she asked to use the bathroom in an adjoining bedroom, Ms. Huth’s lawyers said in court on Wednesday.When she came out of the bathroom, Mr. Cosby was sitting on the bed. “He taps on the bed,” said Nathan Goldberg, a lawyer for Ms. Huth who has said she was 16 at the time, as if to say, “‘Come here.’”“When she did timidly, that’s when he pounced,” Mr. Goldberg said during opening statements in the trial of a civil case brought by Ms. Huth against Mr. Cosby for sexual assault.In their opening remarks, Mr. Cosby’s lawyers disputed Ms. Huth’s account, suggesting she had been an older, and willing, visitor to the Playboy Mansion who, by her own account, did not flee after an encounter with Mr. Cosby but rather stayed on for hours, swimming in the pool and watching a movie.“Boy, did Judy and Donna enjoy themselves,” a lawyer for Mr. Cosby, Jennifer Bonjean, said, referring to Ms. Huth and her friend.The trial, expected to last seven to 10 days, is being held at the Santa Monica branch of Los Angeles Superior Court.In their filings, Mr. Cosby’s lawyers have denied the allegations, describing them as a fabrication. “We believe that Mr. Cosby will fully be exonerated once the jurors hear the evidence as well as examine the many inconsistent accounts given by Ms. Huth,” Mr. Cosby’s spokesman, Andrew Wyatt, said in a statement.The Sexual Assault Cases Against Bill CosbyAfter Bill Cosby’s 2018 criminal conviction for sexual assault was overturned, the first civil case accusing him of sexual misconduct has now reached trial.The Civil Trial: Judy Huth has accused Mr. Cosby of assaulting her as a teenager. She sued in 2014, but the case had been on hold while he was criminally prosecuted.Criminal Conviction: In 2018, a jury found the disgraced entertainer guilty of drugging and sexually assaulting Andrea Constand at his home near 14 years earlier,His Release From Prison: After the Pennsylvania Supreme Court overturned the conviction, Mr. Cosby was released from prison on June 30, 2021.The Ruling: The conviction was overturned on the grounds that prosecutors violated Mr. Cosby’s rights by reneging on a promise not to charge him.In detailing Ms. Huth’s account, Mr. Goldberg said Mr. Cosby tried to kiss her and put his hands down her pants. When she told him she was on her period, he dropped his pants, and “took her hand with his” and forced her to perform a sex act, he said.Mr. Goldberg spoke for a little more than an hour, recounting how Ms. Huth and her friend were playing Frisbee when they spotted Mr. Cosby filming a movie in a park in San Marino, Calif.He invited them onto the set and days later brought them to his tennis club, where, Mr. Goldberg continued, Mr. Cosby encouraged them to take a drink every time they lost at pool. Afterward, Mr. Goldberg said, Mr. Cosby had them follow him in a car to the Playboy Mansion, where the encounter in the game room occurred.Mr. Goldberg said Ms. Huth wanted to leave at that point, but her friend, Donna Samuelson, persuaded her to stay. Ms. Samuelson, who testified on Wednesday, said that Mr. Cosby had Ms. Huth “locked in the room,” and said Ms. Huth was crying when they went outside.“She grabbed her purse and said we are getting out of here,” Ms. Samuelson told the court. “She told me Bill Cosby tried to have sex with her.”She said she and Ms. Huth talked for about half an hour in her car, but she persuaded her friend to stay because she thought spending an evening at the mansion would calm her down.“She told me not to tell anyone,” said Ms. Samuelson. “It was embarrassing and humiliating to her.”They swam and ordered drinks, mingled with famous actors and, later, watched a movie. Only years later, in 2014, when Ms. Huth’s son turned 15 and other women started to come forward with similar accounts about Mr. Cosby, did the emotional damage of what had happened to Ms. Huth come to the fore, her lawyer said.“It was like a cork popped out of the bottle and all of her buried feelings rushed to the surface,” Mr. Goldberg said.Ms. Huth has produced photographs of the visit taken by Ms. Samuelson at the mansion showing Ms. Huth with Mr. Cosby. Ms. Bonjean accused Ms. Huth and her friend of “saving mementos of their rape,” raising questions about why a sexual assault victim would keep such tokens of the visit. The photographs were part of “a plan to make a buck,” said Ms. Bonjean, who spoke for about an hour. “Judy Huth has been trying to cash in on these photos for decades.”Mr. Cosby’s legal team has also introduced records from the Playboy Mansion that showed Mr. Cosby visiting with two unnamed guests, and said the records showed that the two guests had stayed at the mansion for about 12 hours. Ms. Huth’s suit, first filed in 2014, had been largely put on hold while Mr. Cosby was being criminally prosecuted in another case in Pennsylvania where he was accused of drugging and sexually assaulting Andrea Constand. The 2018 criminal conviction in the Constand case was overturned last year by an appellate court on “due process” grounds, and he was freed from prison.Ms. Huth’s case is now being followed by some of the many other women who have accused Mr. Cosby of sexual misconduct, in part because it is the first civil case accusing Mr. Cosby of sexual assault to reach trial. Mr. Cosby has denied all allegations of sexual assault, and said any encounters were consensual.Bill Cosby has denied sexually assaulting Ms. Huth and has challenged the timeline she has put forth of when they met. Brendan Smialowski/Agence France-Presse — Getty ImagesMr. Cosby has acknowledged meeting with Ms. Huth at the Playboy Mansion but denied her allegation of sexual battery and has challenged her contention that she was a minor at the time.Ms. Huth’s legal team said it intends to introduce two other women to testify about similar encounters with Mr. Cosby.One of the women will testify, Mr. Goldberg said, that Mr. Cosby, whom she met at a doughnut store where she worked, was also taken to the Playboy Mansion by Mr. Cosby. In the game room, Mr. Cosby gave her a pill, the lawyer said, and he assaulted her as she lost consciousness.“In each instance, he meets them in circumstances that don’t appear threatening,” Mr. Goldberg said. “He takes them places where they seem comfortable. They don’t feel threatened in this mansion, the movie set. He does not care about their family or friends nearby. He has no fear.”Mr. Cosby, 84, has invoked his Fifth Amendment privilege against self-incrimination and will not testify or attend the trial, his spokesman has said. Ms. Huth, 64, attended court Wednesday and is expected to testify later in the trial.Ms. Huth also reported her accusation to the police in 2014, but prosecutors declined to file criminal charges because the statute of limitations had passed.She was able to file a lawsuit because under California law, in some cases, the statute of limitations can be extended for people who say they only recently recognized as adults the damage done by a repressed incident of sexual abuse they experienced as a child.The deadline to file such a suit is determined in part by when the person, as an adult, becomes aware of the severe psychological effect of the abuse.Mr. Cosby’s lawyers have questioned whether she had only remembered the alleged abuse a short time before filing the suit because, they said, she had contacted a tabloid about it 10 years earlier.They also tried to stop the trial from going ahead when Ms. Huth recently changed her recollection about when the encounter occurred. She initially said that it had happened in 1974, when she was 15. But more recently she concluded that it was actually in 1975, when she was 16. The law in California, then and now, holds that a 16-year-old is classified as a minor, but Mr. Cosby has contended that he did not meet Ms. Huth until several years later.She said she only recently realized she had the date wrong after, among other things, reviewing documents put forward by Mr. Cosby that clarified when the movie filming she recalled witnessing had taken place. More

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    ‘Dreaming Zenzile’ Review: A Tribute to Mama Africa

    The musical is Somi Kakoma’s thank-you note, written across generations, to the South African singer and activist Miriam Makeba.If you want to see a performer in full command of her instrument and her powers, take the F train to Second Avenue and walk the few blocks to New York Theater Workshop to savor Somi Kakoma in “Dreaming Zenzile,” her tribute to the South African singer and activist Miriam Makeba, born Zenzile Miriam Makeba.Makeba, a star from the 1960s through her death in 2008, pioneered the form broadly known as world music. Singing in Xhosa, Swahili, Sotho, Zulu and English, Makeba popularized African songwriting among American and European audiences, earning the nickname Mama Africa. Throughout her life, she lent her voice to social justice causes, particularly that of Black South Africans living under apartheid. Onstage, at New York Theater Workshop, in collaboration with the National Black Theater, Kakoma, in a marigold dress, with a voice like a sunrise, plays her through 76 years of her eventful life.Makeba was a vocal shapeshifter who could triumph in practically any genre — folk, jazz, American songbook, Afropop. Vocally, Kakoma has that chameleonlike quality, too, varying her big, bright voice with husky breaths, vivid ululation and the Xhosa clicks for which Makeba was famous. Her singing seems as effortless as it is varied, as easy as it is virtuosic. “Dreaming Zenzile,” directed by Lileana Blain-Cruz with music direction by Hervé Samb, is best understood and enjoyed as Kakoma’s gift of love and dignity, across generations, from one artist to another.The set, by Riccardo Hernández, suggests a concert stage, illuminated by Yi Zhao’s vibrant lights.Sara Krulwich/The New York TimesBut as a work of theater, “Dreaming Zenzile” struggles among the competing forms of recital, dream play, memory play and biography. The bare set, by Riccardo Hernández, suggests a concert stage, illuminated by Yi Zhao’s vibrant lights and backed, less helpfully by Hannah Wasileski’s banal projections of waves, flowers and rainbow abstractions. Is this an auditorium or some astral way station? Is it the afterlife? Lacking the style and thematic force that defines Blain-Cruz’s best work, the show feels less like a narrative than a tone poem, which can make time hang heavy in the first half; it takes an hour just to bring young Miriam to her professional debut.Amplified by a four-person chorus (Aaron Marcellus, Naledi Masilo, Phumzile Sojola and Phindi Wilson) and a four-person band, the music feels electric, often joyful, a sharp shock of pleasure that Marjani Forté-Saunders’s supple, elegant choreography enhances. But the interplay between book passages and Makeba’s songs, which are not subtitled, rarely feels essential. Why these songs, in these moments? By contrast, Kakoma’s emotion-heavy, jazz-inflected songs are too on the button. Really, they’re all button. Those who arrive without a working chronology may feel lost.Though it touches briefly on some central themes — exile, responsibility — and limns, however elliptically, most of the major life events of its subject, “Dreaming Zenzile” withholds what most of us desire from a work of this kind: a greater understanding of how a performer’s life shapes and impacts her art, the relationship between experience and oeuvre. This desire isn’t necessarily fair or sensible. Sometimes that relationship doesn’t exist. Sometimes it is too oblique to parse. But because “Dreaming Zenzile” too often favors symbol and abstraction, the audience is denied this connection.Only in its closing moments, which occur shortly before Makeba’s death, does the show achieve a kind of cohesion and vigor. Throughout, Makeba has taken up the burden of activism with sturdiness and poise, freeing her voice in the hope that others might be made free. Finally, she announces the cost.“Do you know what it is to be the first?” she says, choking on the words. “Do you know the weight of that? The loneliness?”To ask one woman to stand in for an entire continent was always too great a burden. Mama Africa? It was impossible. That Makeba bore it for so long, and with such grace, is a wonder and a gift. At its best, “Dreaming Zenzile” is a thank-you note, written with deep and abiding gratitude.Dreaming ZenzileThrough June 26 at New York Theater Workshop, Manhattan; nytw.org. Running time: 2 hours 15 minutes. More

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    For Norm Macdonald and Bo Burnham, No Audience Is No Problem

    Filmed during lockdown, a new Netflix special from Norm Macdonald and outtakes from Bo Burnham’s “Inside” suggest that crowd laughter can be limiting.If a comic tells a joke in the forest, did it really kill?There’s a school of thought, one I have long been sympathetic to, that believes that stand-up without a live audience isn’t stand-up at all. Just listen to the debrief among famous comedians that, oddly, follows right after Norm Macdonald’s “Nothing Special,” his posthumous set recorded in his home during lockdown in 2020 and released this week on Netflix.Dave Chappelle compares comedy without an audience to a swim meet without water. David Letterman keeps returning to the point that without an audience, Macdonald didn’t have his “partner,” and something was missing. The closest to a dissent comes from Conan O’Brien, who makes the point that Macdonald always seemed like he could do comedy by himself, saying that when Macdonald appeared on his talk show, the host felt irrelevant.Macdonald is perhaps uniquely positioned to serve as an example of the shortcomings of the audience. His standards could be higher than the crowd’s. There are stories of him deciding to do jokes on “Saturday Night Live” that he knew were funny even if they died in rehearsal.This final special, a raw and moving production, is a gift to fans. It’s a pleasure to hear one last time his faux-folksy locutions (“It doesn’t make no sense”) and the way his jokes could twist (“I have opinions that everyone holds, like, I don’t know, yellow is the best color”) or move full steam ahead. After years of therapy, he says, he discovered why he has a fear of flying. “It’s the crashing and the dying,” he says, his wide eyes twinkling.Judged by aesthetic slickness and tight jokes, this hour isn’t nearly as successful as his last one, from 2017, “Hitler’s Dog, Gossip & Trickery.” But it’s mesmerizing in different ways. There’s something uncanny about letting the jokes stand on their own, the quiet awkwardness and messy intrusions (a dog barks, a cellphone goes off) offering a reminder that something bigger than showbiz is happening here, a glimpse of a man facing the end, giving his last jokes everything he’s got.Norm Macdonald made Netflix’s “Nothing Special” in his home during lockdown in 2020; he died last year.NetflixMacdonald, who died of cancer last year and is quoted in a scroll at the start of the special saying he filmed it before a medical procedure because he “didn’t want to leave anything on the table in case things went south,” becomes unusually earnest about his mother, expressing what she means to him. In what seems like a tangent, he points out that she didn’t speak with irony and couldn’t tell a good story but she “knew how to love.” As he gazes off, his face inches away from the screen, you might wonder if this is heartfelt or part of a joke (hint: could be both) before the punchline lands. There’s a cleverness as well as a poignancy here that I don’t think could be replicated if an audience were there.Live entertainment is of course singular, and the lockdown only emphasized my appreciation for it. But despite what you might have heard, audiences are often wrong. (Think of the famous comic you hate the most and I promise you they have delighted the crowd.) The audience has an underexamined impact on the aesthetic of specials. Comics spend so much time thanking and praising the people in the seats that it’s worth at least considering an opposing view.Here goes: The audience in specials is fundamentally manipulative, a bullying intrusion on the relationship between artist and observer at home. It can operate like peer pressure. And just as it adds to the excitement of stand-up, the steady, familiar sound of laughter, the most beloved cliché in all of comedy, can also be limiting. When Macdonald talks about his fear of dying and finding a different God than he expected, no sound distracts from the poignancy, and you find yourself looking closer at his face, studying it for clues, hints that may or may not be there.The pandemic forced so many comics to learn about performing to screens. Most didn’t like it, but some had considerable success. And a comic working by himself, Bo Burnham, made “Inside,” the most acclaimed special last year and one of the finest works of art about that period.As it happens, Burnham, who has been relatively quiet for the past year, released over an hour of outtakes from “Inside” the same week that Macdonald’s special premiered.Burnham and Macdonald are from different generations and have clashing styles, one theatrical and flamboyantly satirical, the other deadpan and folksy. But they share a love of language and a bone-deep ironic sensibility. And in these specials, both haunted by death, they show that removing the audience can access emotions a traditional special cannot.Burnham tapped into the pandemic zeitgeist while mounting a musical comedy that portrayed his own unraveling mind. The lockdown became a metaphor for larger trends of the internet age, and “Inside” became a hit not only on Netflix but also on social media, among young audiences who will delight in and study this fertile new release, free on YouTube.Burnham includes many cut songs and satirical sketches as well as alternative versions of familiar bits. It doesn’t play like a director’s cut, but it’s also more than a series of odds and ends not ready for prime time. If anything, it’s instructive to see how some of the bits are funnier than what is in the original special.In one outtake, Burnham performs a parody of a Joe Rogan podcast.YoutubeAmong the darlings that Burnham killed was a scathing, spot on parody of a Joe Rogan podcast, with Burnham on split screen playing two different guys. It captures an essential incoherence of so many thin-skinned comics when they complain about offended audiences: The podcasters insist they are just telling inconsequential jokes a second before describing comics as philosophers.An even more hilarious spoof comes later when multiple versions of Burnham, one representing the writer of “Inside,” the other the director and on and on, appear in a grid onscreen to be interviewed by a glib internet journalist. When they’re asked why there isn’t more diversity, they all freeze and then one Burnham pipes up to flamboyantly offer gratitude for the question. Burnham is gifted at mocking the performative liberal sanctimony of the moment as well as corporate attempts to exploit it, such as his very realistic YouTube ads that pop up below. One reads, “It’s mental health awareness decade at Kohl’s,” followed by the promise: “All laceless shoes 60 percent off.”He has a song at the end of these outtakes that is a clever riff on the chicken crossing the road joke. It could have been a closer to the special, but he cut it. Instead, we see him panicking at the sight of an audience.Performing to no one doesn’t fit most comedy, but it has its advantages. Burnham and Macdonald created a more direct relationship with the viewer, one with more intimacy than can be generated by a close-up.Burnham wanted to capture the uneasy mood of the early pandemic as viscerally as possible. And he clearly succeeded. When my 13-year-old daughter saw “Inside,” her first reaction was: “Is he OK?”It’s not something you would ask about a comedian who just received a round of applause. More

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    With Cameras on Every Phone, Will Broadway’s Nude Scenes Survive?

    Audiences are increasingly asked to lock their phones in pouches at comedy shows, concerts and some plays. But what happens onstage doesn’t always stay onstage.Jesse Williams was nominated for a Tony Award last month for his work in “Take Me Out,” an acclaimed play about baseball and homophobia. But when his name trended on Twitter the next day, it was not because of the accolade: it was because someone had surreptitiously taken a video of his nude scene and posted it online.In a recent interview Mr. Williams, who became a star through his appearances on “Grey’s Anatomy,” said he was undeterred by the incident. “I come here to do work — I’m going to tell the truth onstage, I’m going to be vulnerable,” he said. But he also made it clear that he was not all right with what had happened to him, saying that “putting nonconsensual naked photos of somebody on the internet is really foul.”Mobile phones have long disrupted live performances by ringing at inopportune moments, and have irked artists when people use them to illicitly film their work. Now the ubiquity of smartphones with ever-better cameras is leading some actors, particularly celebrities, to reconsider whether to appear nude onstage, given the risk that what is intended as an ephemeral moment can live online forever, out of context.“Ten years ago, I don’t think the first thing out of my mouth would have been: ‘Are you OK knowing that there is a decent chance that this will be filmed or photographed and be out there on social media?’” Lisa Goldberg, a publicist who represents actors in Broadway, television and film, said of the discussions she has when a performer is asked to appear nude. “That would be one of the first things I would bring up to a client today.”Jesse Williams, right, said “putting nonconsensual naked photos of somebody on the internet is really foul.” He appeared in “Take Me Out” with Carl Lundstedt.Sara Krulwich/The New York TimesNudity has grown common onstage over the past 50 years, and major stars including Nicole Kidman and Daniel Radcliffe have performed scenes without clothes on Broadway when their scripts have called for it. But the chances of being photographed au naturel have grown considerably. Being Broadway royalty offers no protection: Audra McDonald, who has won six Tonys, noticed in 2019 that someone had snapped a photo of her during a nude scene from “Frankie and Johnny in the Clair de Lune.” “Not cool at all,” she wrote in a tweet.The recent videos of Mr. Williams surfaced despite the extraordinary steps that Second Stage Theater, the producer of “Take Me Out,” has taken to protect the privacy of the actors who appear nude. Audience members are required to switch off their phones and place them in pouches that are kept locked until the end of the show. The pouches, made by a company called Yondr, have grown increasingly common in recent years, especially at stand-up shows, since comedians are both fiercely protective of their jokes and concerned that some, taken out of context, could cause blowback.Roughly a million Yondr pouches were used at live events in April, nearly five times as many as were used the same month in 2019, the company said. Other shows with nude scenes are now trying them: At the end of May, Penguin Rep Theatre announced that it would deploy Yondr pouches at its upcoming Off Broadway production of “Mr. Parker” because the show contains a brief moment of nudity.Graham Dugoni, who founded Yondr in 2014, lamented that many people still have difficulty figuring out how to “be a human in the world with a computer in your pocket.”“A nude photograph is obviously one very far extreme,” Mr. Dugoni said. “But a comedian’s bit being taken out of context and repackaged on social media and reinterpreted — all of these things don’t enhance the art form. They kind of nibble away at it in a way that makes people go into hedgehog mode.”But the precautions are not foolproof. A night of comedy at the Hollywood Bowl last month was supposed to have been cellphone free, but when its headliner, Dave Chappelle, was tackled onstage, video emerged from a few people who had managed to skirt the rules. And earlier this spring, when Chris Rock had his first public stand-up set after Will Smith slapped him onstage at the Academy Awards, attendees at the Wilbur Theater in Boston were required to put their phones in Yondr pouches, too. They were only allowed to use them in a designated space near the lobby, where one ticketholder sheepishly asked for his phone back because he had forgotten to text the babysitter. Video of that show emerged, too.The ease of recording and uploading video has given pause to people thinking of disrobing in other situations, including some college students who have reassessed the wisdom of traditional naked campus runs and habitués of nude beaches, who are increasingly on the lookout for cameras. But it is becoming a particular issue in the theater, where actors who are asked to appear nude must consent to it when they sign their contracts.Many major stars have appeared nude on Broadway over the years, including Daniel Radcliffe, center, in “Equus” in 2008.Sara Krulwich/The New York TimesKate Shindle, the president of Actors’ Equity Association, said in an interview that many actors believe that live theater is “meant to be participated in within four walls” and that “if that sanctity is compromised, the work suffers.” Recording from the audience, she said, can feel “like a violation — even if you have all your clothes on.”Advanced written consent is required for any filming or photography that involves nudity, union officials said. That includes any video that will appear in Theater on Film and Tape Archive at the New York Public Library for the Performing Arts, said Patrick Hoffman, the director and curator of the archive, which holds more than 4,400 video recordings of live theater productions. Most agree. But over the years, some actors have declined to have their nude scenes recorded for the archive. In some cases understudies have gone on in their places, and in others, their productions have simply not been recorded. Some videos of shows featuring nudity in the archive are specially formatted so researchers can watch them, but cannot pause, rewind, or fast forward.Surreptitious photography posed a challenge to actors appearing nude onstage long before the iPhone debuted in 2007.The theater environment today, where nudity is a regular feature on Broadway and even in some productions at the Metropolitan Opera, is a far cry from what it was like in 1969, when Margo Sappington, the choreographer and a cast member of the original production of “Oh! Calcutta!,” which featured extensive nudity, was among those arrested on charges of indecent exposure after a performance in Los Angeles.Even in that pre-smartphone era, cameras were a nuisance, Ms. Sappington said. So the company decided on a low-tech mitigation measure: If someone spotted a camera from the stage, they would stop the show, break the fourth wall, and call for the ushers.“Now it’s impossible in a Broadway theater in the dark to see cellphones,” she said. “People are so disrespectful. It amazes me.”And the leak of the video featuring Mr. Williams had an all-too-familiar feeling for Daniel Sunjata, who played the same character, Darren Lemming, when “Take Me Out” first ran on Broadway in 2003. Photos of his nude scenes leaked too, but were somewhat more contained in the era before Facebook and Twitter made social media so pervasive.“The main difference between now and then is amplitude,” Mr. Sunjata said, “the speed, the rapidity with which things like this can be spread.”But the leaks troubled Mr. Sunjata, who had found the nude scenes a challenge to begin with. He said he consulted his lawyers and had “wanted heads to roll.”Tatianna Casas, who works for Yondr, helped people seal their phones before a recent comedy show.Calla Kessler for The New York TimesFor Mr. Sunjata, the main difference between performing naked onstage eight times a week before a live audience, and having a photo taken of the nudity, is less about the photo’s permanence then about the lack of context surrounding it. “Someone who hasn’t seen the play just sees naked guys onstage,” he said.The current revival of “Take Me Out” has taken further steps to keep people from filming its actors. As a backup to the Yondr pouches, Second Stage Theater has installed an infrared camera with the ability to pan, tilt and zoom so that security officials can see if any members of the audience are trying to film the nude scenes.At a performance of the play last month, two theater staff members were stationed at the front of the theater at either end of the stage. They stood up during scenes that included nudity. For all the precautions, a phone rang five minutes into the first act. The crowd audibly groaned.When Mr. Williams was asked whether he would sign up again for a show in which he must appear nude, he demurred. “I don’t know,” he said. “My reaction is never as hot, or loud or miserable as everybody expects it to be.”Michael Paulson and Julia Jacobs contributed reporting. Sheelagh McNeill and Alain Delaquérière contributed research. More

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    What to Know About Bill Cosby’s Civil Trial on Sexual Assault Accusation

    Ms. Huth has sued Mr. Cosby, asserting that he sexually assaulted her in the 1970s when she was a teenager.Bill Cosby is being sued by Judy Huth in civil court in Los Angeles. The trial started Wednesday after a jury was selected last week.Ms. Huth has accused Mr. Cosby, 84, of sexually assaulting her as a teenager and sued him in 2014. But the civil suit was largely put on hold while Mr. Cosby was being criminally prosecuted in another case where he was accused of drugging and sexually assaulting Andrea Constand.Mr. Cosby’s criminal conviction in the Constand case in Pennsylvania was overturned last year by an appellate court, and he was freed from prison.Ms. Huth’s case is being followed by some of the many women who have accused Mr. Cosby of sexual misconduct, in part because it is the first civil case accusing Mr. Cosby of sexual assault to reach trial.Mr. Cosby has denied sexually abusing Ms. Huth and the other women who have made that accusation against him, suggesting any sexual encounters were consensual.The Sexual Assault Cases Against Bill CosbyAfter Bill Cosby’s 2018 criminal conviction for sexual assault was overturned, the first civil case accusing him of sexual misconduct has now reached trial.The Civil Trial: Judy Huth has accused Mr. Cosby of assaulting her as a teenager. She sued in 2014, but the case had been on hold while he was criminally prosecuted.Criminal Conviction: In 2018, a jury found the disgraced entertainer guilty of drugging and sexually assaulting Andrea Constand at his home near 14 years earlier,His Release From Prison: After the Pennsylvania Supreme Court overturned the conviction, Mr. Cosby was released from prison on June 30, 2021.The Ruling: The conviction was overturned on the grounds that prosecutors violated Mr. Cosby’s rights by reneging on a promise not to charge him.What does Ms. Huth say happened?In court papers, Ms. Huth says that she and a friend met Mr. Cosby in 1975 when they wandered onto a movie set in a park in San Marino, Calif., where Mr. Cosby was shooting a film.Days later, at his invitation, they went to his tennis club, she says in court papers, where he gave her and her friend alcohol before taking them to the Playboy Mansion in Los Angeles. There, Ms. Huth says in her lawsuit, he forced her to perform a sex act on him in a bedroom. She says Mr. Cosby tried to put his hand down her pants and then forced her to fondle him.What does Mr. Cosby say?Mr. Cosby acknowledges meeting with Ms. Huth at the Playboy Mansion but denies her allegation of sexual battery and has challenged her contention that she was a minor at the time.His lawyers have pointed out in court proceedings that Ms. Huth’s recollection regarding when the encounter occurred has changed. She initially said that it had happened in 1974, when she was 15. But more recently she concluded that it was actually in 1975, when she was 16, according to court papers. The law in California, then and now, holds that a 16-year-old is classified as a minor, but Mr. Cosby has contended that he did not meet Ms. Huth until several years later.Why is this a civil trial?In 2014, when she filed the civil case, Ms. Huth also reported her accusation to the police. But the Los Angeles County District Attorney’s Office declined to file criminal charges because the statute of limitations had passed.Ms. Huth was able to file a lawsuit because under California law, in some cases, the statute of limitations can be extended for adults who contend they were victims of sexual abuse as children but repressed the experience.In 2020, California law was amended to further extend the statute of limitations for sexual assault filings in civil court.Is Mr. Cosby facing other civil suits?The civil case is one of the last unsettled lawsuits against Mr. Cosby.He has already faced multiple other civil cases filed against him by women, many of whom sued him for defamation after his legal team dismissed as fictions their accusations of sexual misconduct by him. Eleven civil cases ended in settlements, with 10 of the settlements having been agreed to by Mr. Cosby’s former insurance company over his objections, according to his spokesman.Mr. Cosby also settled a civil case Ms. Constand brought against him in 2006 for $3.4 million.One other ongoing civil case was filed last year by Lili Bernard, an actor and visual artist, who accused him of drugging and sexually assaulting her at a hotel in Atlantic City in 1990, when she was 26. Mr. Cosby has denied her account. The Bernard case is still in its early stages.Why was Mr. Cosby released from prison?Mr. Cosby was found guilty in 2018 of drugging and sexually assaulting another woman, Andrea Constand, at his home near Philadelphia and was given a three to 10 year sentence in state prison.But that conviction was overturned last year on due process grounds. An appeals court ruled that a “non-prosecution agreement” with a previous prosecutor meant that Mr. Cosby should not have been charged in the case.How does this civil case differ from the criminal case?In this civil case in Los Angeles Superior Court, the burden of proof is lower than in a criminal trial. It will be in front of a 12-person jury, with at least nine of 12 votes needed for a verdict. It is expected to last seven to 10 days. Ms. Huth is seeking damages.Mr. Cosby has invoked his Fifth Amendment privilege against self-incrimination and will not testify and will not attend the trial, his spokesman has said. Ms. Huth is expected to testify, as is the friend who she has said accompanied her to the Playboy Mansion in 1975. More

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    Review: Amy Adams in a Too-Fragile ‘Glass Menagerie’

    In a rare stage outing for the actor, in London, she plays the central character in Tennessee Williams’s play as more of a fusspot than a harridan.LONDON — A treasured figurine isn’t the only thing that gets smashed in “The Glass Menagerie,” the Tennessee Williams play that has brought the film star Amy Adams to London in a rare stage outing. This comparatively muted revival of the 1944 classic opened Tuesday at the Duke of York’s Theater in the British capital and runs through Aug. 27.Williams’s breakout drama chronicles a family’s disintegration. The best productions should leave the audience as shattered as the unicorn that gets toppled from its perch at the play’s devastating climax.And yet my eyes remained pretty much dry, unusually for a play whose most memorable versions pull you into a tortuous family dynamic. This production’s quieter, less urgent approach comes into its own in the second act, but elsewhere, it is too removed from the play’s intensifying sadness.The story is as potent as ever. We look on as the fretful Amanda Wingfield (Adams, speaking in an ace southern accent) runs roughshod over her two children in their cramped St. Louis home. Tom, a budding writer, is trapped in a soul-crushing job at a warehouse, and Laura (Lizzie Annis), his older sister, is an indrawn, self-described “cripple.” The anxious trio are joined for a fateful dinner by Tom’s co-worker, Jim (Victor Alli), the much-anticipated “gentleman caller” who turns out to have been Laura’s longtime schoolgirl crush.Lizzie Annis, as Laura, and Tom Glynn-Carney, as Tom, in “The Glass Menagerie.”Johan PerssonJeremy Herrin, the director, has increased the number of actors to five, casting two men in the role of Tom, Williams’s portrait of himself as a restless young artist.Paul Hilton, a Tony nominee last year for “The Inheritance” on Broadway, plays the older Tom, who looks back remorsefully on the family he could never fully escape. Hilton’s soliloquies bookend the production, and the actor prowls the stage throughout, often peering at his family through a large display case of fragile ornaments that dominates Vicki Mortimer’s bleak set. (Above the action for this “memory play” is a screen on which the video designer Ash J. Woodward projects hazy images that come in and out of focus, as recollections tend to do.)And Tom Glynn-Carney plays the young Tom, forever facing off against the domineering mother who derides her son as a “selfish dreamer.” Worse than that, he commits the cardinal sin of introducing Jim, an outsider who awakens a romantic spark in the lovesick Laura that is quickly dashed: Jim, we learn, has a serious girlfriend in the (unseen) Betty.The sharing of the role, while intriguing in principle, doesn’t add up to much. The two Toms acknowledge one another in passing at the start but seem otherwise to inhabit separate universes: The compact, feisty Glynn-Carney couldn’t be more different, physically and emotively, from the lanky, slightly affected Hilton, who takes a while to settle into his American accent. (Glynn-Carney’s, by contrast, is pitch perfect.)There’s far more power to the candlelit encounter between the shy Laura and the well-meaning Jim, who overreaches in his affections to catastrophic effect. Not long out of drama school, Alli is immediately likable as the “nice, ordinary, young man” — to quote Williams’s description of the character — who exerts an extraordinary hold over Laura. And Annis, who has cerebral palsy and is here making her professional stage debut, prompts a palpable stillness in the theater as Laura seizes up when Jim departs.What of Adams, the name attraction, who last appeared onstage in an alfresco production of the musical “Into the Woods” in New York a decade ago? The six-time Oscar nominee is a far younger Amanda than such recent interpreters of this role as Cherry Jones, Sally Field and Isabelle Huppert, and her softly-spoken demeanor makes for more of a fusspot than the harridan this matriarch can sometimes become.What’s lacking is the gathering sense of fury from Amanda at a lifetime of betrayal and disappointment, though the most frequent projection above the stage is that of the children’s errant father, the “telephone man” who “fell in love with long distances” and quit his family altogether.Adams’s natural appeal makes Amanda’s account of the gentleman callers that once brought her cheer believable, but she, like the production itself, could do with being less subdued. “The Glass Menagerie” may make a plot point of fragility, but the play’s depiction of a family in free fall needs a more robust performance at its center.The Glass MenagerieThrough Aug. 27 at the Duke of York’s Theater, in London. More

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    Gil Birmingham Took the Road Less Traveled

    A star of “Under the Banner of Heaven” and “Yellowstone,” he started performing when there wasn’t much room for Indigenous actors. His persistence is paying off.Early in “Under the Banner of Heaven,” FX’s limited Hulu series based on the true story of two grisly murders in the Church of Jesus Christ of Latter-day Saints, Detective Bill Taba makes his stand. His partner (Andrew Garfield) on a small-town Utah police force, a church member, is getting territorial and pulling rank. Taba, a Paiute Indian played by Gil Birmingham, isn’t having it.“I’m well aware that my skin is darker than most in this valley,” Taba, who comes from Las Vegas, tells his younger partner. “And I’m very well aware that’s not smiled upon in a 99 percent L.D.S. town. But I know cases like this a hell of a lot better than you do.”It’s the kind of moment, with a Native character taking charge and claiming authority, that was rarely found on TV until recently. The kind of moment that excites Birmingham. Best known for playing the tribal chairman Thomas Rainwater on the hit western “Yellowstone,” Birmingham, who is of Comanche heritage, has become one of the most visible Native actors on television. That means he’s not just doing it for himself.Birmingham (left, with Andrew Garfield) plays a detective in “Under the Banner of Heaven,” an FX series based on the true-crime book by Jon Krakauer.Michelle Faye/FX“I think there’s a responsibility to represent all of our people truthfully,” Birmingham said from Los Angeles a few weeks before the series finale of “Banner,” which comes to Hulu on Thursday.“Generally speaking, you might be the only Native on a set,” he added. “So you really have to have some integrity about the nature of the portrayal of the character.”Birmingham, a tall, muscular and youthful 68, has been at this for a while, even if you’ve only noticed him recently. He’s one of those overnight success stories that took a few decades to tell.A military brat raised around the country — San Antonio, Kentucky, San Francisco, Alaska — he trained to be a petrochemical engineer. His one-word assessment of his first career: “boring.” He preferred singing, playing guitar and body building. Then, one day in the early ’80s, a music video producer approached him as he worked out in a Los Angeles gym and offered him his first acting job, for the 1982 Diana Ross video “Muscles.” Go to YouTube and there’s a young, shirtless Birmingham, laughing and flexing.Tell him you’ve seen the video, and you’ll get a characteristically dry response: “Well, my apologies.”“He’s got a wicked sense of humor, but you don’t know it at first,” said Dustin Lance Black, the creator of “Under the Banner of Heaven,” from his London home. (The show is based on the 2003 investigative book by Jon Krakauer.)“I think sly is a good way to put it,” Black continued. “You’ll be sitting there, and he’ll be very quiet, and you realize he’s listening because he’ll just slip in a little barb that shows just how closely he’s observing. And that humor, it’s like a scalpel. It cuts right down into the truth.”After “Muscles,” his physique continued to serve him. He spent several years playing Conan the Barbarian at the Universal Studios of Hollywood theme park, using his free time to go on auditions. “There’s a whole journey of sacrifices that you’re making in your life to keep following that road and be diligent with it and be persistent,” Birmingham said. “I didn’t have the same appreciation for it in the beginning as I did later.“Then the very first pop culture exposure was with ‘Twilight.’ And I think that’s where most people came to know me.”From left: Pete Sands, Mo Brings Plenty, Birmingham, Cole Hauser, Kevin Costner and Wes Bentley in a scene from the runaway Paramount hit “Yellowstone.”Emerson Miller/Paramount NetworkAn actor’s big break is rarely high art. It’s usually something with a wide enough following to cement a face in the public consciousness. That’s what Birmingham got with the role of Billy Black, father of the hunky werewolf kid Jacob, in the five-movie “Twilight” franchise (2008-2012).More cotton candy than balanced meal, the movies, based on the megaselling vampire romance novels by Stephenie Meyer, made careers, including those of Kristen Stewart and Robert Pattinson. They also gave Birmingham his steadiest gig to that point.Most important to Birmingham, it made people happy.“Those movies give a lot of joy to a lot of people,” he said. “I know there’s some debate about whether the books are real literature. But if it speaks to people and it speaks to their heart and if it gives them some kind of joy or maybe escapism, then gosh, I think that’s such a great gift for any artist to give their audience.”Fast forward a few years. Birmingham is reading a script so good he can barely believe it. The writer has no shortage of confidence. The role is a droll Native American Texas Ranger named Alberto Parker, on the trail of a couple of bank robbers with his partner.The director, David Mackenzie, fights for Birmingham, and he gets the part, playing alongside Jeff Bridges in “Hell or High Water” (2016). The screenwriter, Taylor Sheridan, is floored.“‘I didn’t know who you were before,’” Birmingham recalled Sheridan saying. “‘But after seeing your work, you’ll never have to audition for me again.’” (Sheridan was unavailable to comment for this article.) And Sheridan was already cooking up a pet project, a TV series about a stubborn Montana rancher fighting to defend his land from encroaching modernity.That’s how Birmingham got the role of Thomas Rainwater on “Yellowstone,” the most watched show on cable. Ivy League educated, schooled in realpolitik, Rainwater is a thoroughly modern Indigenous character. He is also the savviest adversary of Kevin Costner’s rancher, John Dutton. Even as they do battle, they share a grudging, mutual respect.Birmingham got his start in a beefcake role in the 1982 Diana Ross video “Muscles.” “Well, my apologies,” he said when a reporter mentioned having seen the video.Michelle Groskopf for The New York Times“They share a real love for the land, and an intent to keep the land the way it is,” said Birmingham, who when we spoke was preparing to fly to Montana to shoot Season 5. The way Rainwater sees it, he is just trying to take back what was stolen from his people.Birmingham considers himself fortunate to have Sheridan, who also cast the actor in the film “Wind River,” in his corner. He is an ally when it comes to casting Native actors, Birmingham said. On top of that, he added, he’s just a great writer.“His work is unpredictable, and it’s so soulful,” Birmingham said. “It speaks in such a poetic language to the hearts of the characters.”“I’ll ride with whatever he writes,” he added.Birmingham is old enough to remember watching the likes of “Bonanza” and “Rawhide” during their first television runs in the ’60s. “They had horrible portrayals of Native people, with a lot of red facing,” he said, using a term for when white actors colored their skin to played minstrel versions of Native characters. He remembered his pleasant surprise at seeing “Dances With Wolves” in 1990, which brought dignity and several speaking roles to Native peoples. (And he appreciated the humor in its having starred and been directed by Costner, his “Yellowstone” adversary).Now Birmingham looks around a sees a different, fuller landscape. There’s “Yellowstone,” and there’s “Under the Banner of Heaven.” There’s the FX comedy “Reservation Dogs,” about four Native teens growing up an Oklahoma reservation, and there’s “Dark Winds,” the upcoming AMC series about two Navajo police detectives, starring Zahn McClarnon and created by Graham Roland, whose is of Native heritage.“Now we have projects and productions that are telling our story,” Birmingham said. “I think that’s the thing we’ve been waiting for, this opportunity to be able to tell our own stories from our own point of view.” More

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    Review: In ‘Romeo & Bernadette,’ It’s Off to Brooklyn for This Tale of Joy

    In this sweet, spoofy romp of a musical comedy, Romeo awakens from a 400-year slumber and follows a Juliet look-alike to Brooklyn.Cutting a lovelorn swath through 1960 Brooklyn in search of his Juliet, Romeo Montague is as charming as ever, with his courtly manner and his embroidered speech so different from the local patois.He didn’t die at the end of Shakespeare’s play after all; he was merely asleep for 400 years. In “Romeo & Bernadette,” Mark Saltzman’s sweet, spoofy romp of a musical comedy, Romeo (Nikita Burshteyn) awakes in modern fair Verona and spies a young woman who is the very image of his lost sweetheart.She is not Juliet Capulet but rather Bernadette Penza (Anna Kostakis), a tough-as-nails Italian American vacationing with her parents. He pursues her, she rebuffs him, he threatens to throw himself off a bridge — always so dramatic, our Romeo — and she stops him by agreeing that she is, in fact, Juliet. When she flies home to Brooklyn, and to her thuggish fiancé (Zach Schanne), Romeo follows.In this fish-out-of-water romantic fantasy, money and passports prove no obstacle to a guy from the 1500s, though some of Romeo’s old troubles pop up in 20th-century guises. His new best friend, Dino (Michael Notardonato), is the son of a mafia don (Michael Marotta) — and all three of them get caught in a clash with another mob boss, Bernadette’s father (Carlos Lopez).“Again my love suffers in a war between two families!” Romeo laments, but this time he is intent on a happy resolution.Directed and choreographed by Justin Ross Cohen at Theater 555, and presented by Eric Krebs in association with Amas Musical Theater, this is a first-rate production of a show that could easily teeter on the edge of cheesy. It delights in cartoon mobsters and cares not a whit for hipness — unlike, say, “& Juliet,” the West End jukebox musical that imagines a different fate for Romeo’s beloved, or “Fat Ham,” James Ijames’s Pulitzer Prize-winning “Hamlet” reclamation at the Public Theater, both of which have a much higher glamour quotient.With “music adapted from classic Italian melodies,” as the program credit puts it (many of the tunes are by Francesco Paolo Tosti; music direction is by Aaron Gandy), and witty period costumes (by Joseph Shrope), “Romeo & Bernadette” feels fond, familiar, escapist: theater as merry comfort food. The appeal of that — especially in this time of relentlessly dire headlines — is not to be underestimated.The one real clunk in the works is the framing device. The musical begins at a Brooklyn Community Players performance of “Romeo and Juliet,” whose corpse-strewn ending leaves an English major (Ari Raskin) in tears and her uncultured date (Notardonato) worried that his chance of scoring with her is doomed. So he spins the tale of “Romeo & Bernadette” as the story of “the real Romeo.” His inventiveness might come off as more plausible, and less mansplainy, if we hadn’t seen him barely paying attention to the play.Still, inside the story he weaves, Burshteyn makes Romeo an absolute darling, with an ingenuousness that parents swoon over. It is no spoiler to say that Bernadette eventually recognizes him as a gentler version of a man than her violent fiancé will ever be.The protean Troy Valjean Rucker is a standout in multiple roles, including a florist who delivers a rib-tickling Shakespeare pun. Judy McLane brings depth to the role of Camille, Bernadette’s mother, who yearns for the glory of her distinguished ancestry and, in the show’s most realistic scene, warns her daughter of the danger of committing to mafia life. The fine cast is rounded out by Viet Vo as Lips, the Penzas’ bodyguard.Street violence, men and boys killing one another — these things are part of “Romeo and Juliet.” But in ancient Verona, knives are the weapons of choice. “Romeo & Bernadette” is not “West Side Story,” with carnage on the stage; there are no deaths, and goodness wins. But there are guns and the sound of gunfire, which is when you may feel brutal reality intrude.Welcome to America, Romeo.Romeo & Bernadette: A Musical Tale of Verona & BrooklynThrough June 26 at Theater 555, Manhattan; romeoandbernadette.com. Running time: 2 hours. More