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    Howard Hesseman, the D.J. Johnny Fever in ‘WKRP in Cincinnati,’ Dies at 81

    Mr. Hesseman played a fallen radio star who landed in the Midwest on the popular sitcom, which captured the misadventures of a struggling station.Howard Hesseman, the actor and improvisational comedian best known for playing a stuck-in-the-’60s radio disc jockey in the TV sitcom “WKRP in Cincinnati,” died on Saturday in Los Angeles. He was 81.His wife, Caroline Ducrocq, said he died at the Cedars-Sinai Medical Center of complications from colon surgery last summer.Mr. Hesseman received two Emmy nominations for playing Dr. Johnny Fever on “WKRP in Cincinnati,” which ran on CBS for four seasons from 1978 to 1982.The series portrayed a struggling Top 40 rock radio station, where the staff rages against the age of disco with hard rock and punk songs. Mr. Hesseman’s hard-living character, having been pushed from a Los Angeles station where he was a star, serves as a senior member of the counterculture at the Midwestern outlet after smooth-talking his way into a job.“I think maybe Johnny smokes a little marijuana, drinks beer and wine, and maybe a little hard liquor,” Mr. Hesseman told The New York Times in 1979. “And on one of those hard mornings at the station, he might take what for many years was referred to as a diet pill. But he is a moderate user of soft drugs, specifically marijuana.”Johnny Fever was a cherished character on TV who embodied the essential traits of 1960s counterculture: the worship of rock bands; not-so-veiled drug references; long, shaggy hair.In one scene, he is wearing dark sunglasses while D.J.ing, speaking in a relaxed tone as he leans into the microphone and says in a thick voice, “We’re still rocking on the mighty KRP, where the razor man is standing by to sharpen up your day.”He told WXYZ-TV Detroit in 2012 that the show was made up of “a lovely company of actors, bolstered by a lovely bunch of writers, so it made going to work fun every day.”From left: Tim Reid, Loni Anderson, Jan Smithers and Howard Hesseman at a program in Beverly Hills in 2014 that reunited the cast of “WKRP in Cincinnati.” Michael Tran/FilmMagic, via Getty ImagesSome were probably not surprised to see Mr. Hesseman excel in that role. In San Francisco, where Mr. Hesseman helped start an improvisational comedy troupe, The Committee, he worked as a radio D.J. in 1967. At the Bay Area station, KMPX, he played “strange tapes” from the rock movement and smoked “a lot of pot — always against my will, of course,” he told People Weekly in 1979.Mr. Hesseman told The Times in 1979 that he spent 90 days in the San Francisco County Jail in 1963 for selling an ounce of marijuana — a conviction that was later thrown out for entrapment. He would later say that smoking marijuana was “sort of a residual hobby.”Before embarking on his acting and comedy career, Mr. Hesseman spent time in Salem, Ore., where he was born and raised as an only child by his mother and stepfather.An uncle in Colorado told him about acting, and years later, Mr. Hesseman would say, “Every time that I perform, it’s like repaying him a debt.”He briefly attended the University of Oregon, but he left school and moved to San Francisco, where he could focus on his career.Mr. Hesseman, who was also admired for his improvisational talent, played small parts in “The Andy Griffith Show” and “Sanford and Son.”George Spiro Dibie, the former national president of the International Cinematographers Guild, recalled in an interview with the Television Academy Foundation that Mr. Hesseman’s experience was evident on the set of “Head of the Class,” a sitcom that ran on ABC from 1986 to 1991.“He was even telling some directors what to do,” he said. Mr. Hesseman played Charlie Moore, a teacher at a Manhattan high school contending with a class of overachieving students.Mr. Hesseman as the high school teacher Charlie Moore in “Head of the Class.”ABC Photo Archives, via Getty ImagesHe landed roles in cult classics like the mockumentary “This Is Spinal Tap,” where he acted alongside Michael McKean, who said on Twitter on Sunday that it was “impossible to overstate Howard Hesseman’s influence on his and subsequent generations of improvisers.”In 1981, after two marriages ended in divorce, he met Ms. Ducrocq, an actress from France who was visiting Los Angeles. Ms Ducrocq’s friend asked her if she wanted to swim at an actor’s pool, and she said yes.“I had no idea who he was,” Ms. Ducrocq said, laughing.She stayed at his place for dinner, and then stayed when he brought out a bottle of Champagne, which, she later learned, he had never drunk in his life. In 1989, they married.He loved listening to jazz, swimming and catching up with his godchildren, she said.Mr. Hesseman once said in an interview that “the smile keeps you feeling younger; work keeps you feeling a little bit more agile.”He is survived by Ms. Ducrocq. More

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    ‘The Collision’ and ‘The Martyrdom’ Review: A Nun Ahead of Her Time

    A classic text by the 10th-century Saxon nun Hrotsvitha of Gandersheim inspires two new plays being performed as a double bill at 59E59 Theaters.Three nuns hard at work at their convent look up to discover that the sky is falling …It could be the beginning of a joke, or a New Yorker cartoon. But it’s the opening scene in “The Collision and What Came After, or, Gunch!,” a play being presented alongside “The Martyrdom” by Two Headed Rep at 59E59 Theaters. Despite the comic potential of this setup, these works, inspired by the writing of the 10th-century nun and playwright Hrotsvitha of Gandersheim, are neither as funny nor — at two hours and 40 minutes — as snappy as they could be.In “The Collision,” written by Nadja Leonhard-Hooper, the patient Sister Gudrun (Emma Ramos) and the critical Sister Anise (Lizzie Fox) try to teach the young Sister Gunch (Layla Khoshnoudi) the responsibilities of the ideal nun: doing chores, praying, hand-copying Bibles — you know, the usual. But Gunch is foul-mouthed, blunt and curious about more than just God. “All of nature is vile and fecund and touching itself,” she says with lustful wonder, recounting a time she watched one goat mount another.When a giant meteorite lands near the convent, the abbess goes the way of the Wicked Witch of the East and Gunch suffers a fatal attack that she miraculously survives. The event forces the characters to reconsider the lessons in faith they’ve been taught — which messages are prophetic and which ones heretical, and why.The script has a few delicately written passages, for example, when Gudrun describes “gray-black clouds” that gather “as if trying to bind the sky like a wound.” The performers also have some standout moments: Halima Henderson, who plays a couple of secondary characters, has a priceless bit as a messenger with no grasp of social cues. And Khoshnoudi, with her dreamy glances and devilish grin, could have her own play, her own TV series, in fact, as the delightfully peculiar Gunch.As for the story itself, it’s zany, though to what end isn’t always clear; Lily Riopelle’s direction, which incorporates physical humor and playful props (a severed hand, a dead pigeon and a chicken called “little queen,” designed by Liz Oakley), often reads as amateurish. Though the play gets a lot of mileage from its narrative twists and turns, which pull the story into the realms of science fiction and absurdism, the script can’t successfully pull off its final maneuver, an explicit criticism of institutional religion and a grand statement on storytelling.“A story is a snake, and we are mice inside it, swallowed whole but still alive,” a character says at one point. That sentiment can be applied to this play, which swallows its characters — and some narrative logic — in its bizarre contortions.If “The Collision” is more enamored with its quirks than with cohesive storytelling, then “The Martyrdom” is its antipode, a play so procedural that it leaves little space for strangeness and wonder.After a brief intermission, the four actresses return for this second play, the full title of which is so long that reading it requires its own intermission: “The Martyrdom of the Holy Virgins Agape, Chionia, and Irena, by Hrotsvitha the Nun of Gandersheim, as Told Throughout the Last Millennium by the Men, Women, Scholars, Monastics, Puppets, and Theater Companies (Like This One) Who Loved Her, or: Dulcitius.”Layla Khoshnoudi, left, and Halima Henderson in “The Martyrdom.”Ashley Garrett“The Martyrdom,” directed by Molly Clifford, is based on Hrotsvitha’s play “Dulcitius,” about three pious sisters who try to remain chaste despite the intentions of lascivious politicians. “Dulcitius” appears throughout the course of “The Martyrdom,” though in different pieces and different forms.With translation by Lizzie Fox and new text by Amanda Keating, “The Martyrdom” is a history lesson, celebrating the legacy of Hrotsvitha, who is considered to be the first female playwright to have her work recorded, by providing a timeline of major incarnations of “Dulcitius.”So the show begins in a monastery during Hrotsvitha’s lifetime, where a council or monks reviews the playwright’s work. Then centuries later, Hungarian nuns write a modern, vernacular adaptation of “Dulcitius.” Then there are the French artists who use marionettes to tell the tale of the three sisters. Then the British suffragist in the 1800s, and an American nun at the University of Michigan in the 1950s. It’s a clever move for such dated material: In each scene the characters act out parts of the play, each version reflecting the changing context of the material over time. After each section, a fourth-wall-breaking educational moment occurs when the actresses provide more details about Hrotsvitha’s text and its various productions.The result, unfortunately, is colorless and, like “The Collision,” unnecessarily long. “The Martyrdom” tries to stretch out scenes of Hrotsvitha’s play across history to suit its structure, despite the fact that the play’s plot is already pretty anemic, so there’s not enough action to go around.It doesn’t help that Cate McCrea’s set design for the tiny theater, which seats about 50, is rather bland: a plain back wall, a long rectangular bar that bisects the length of the stage, serving as a table or desk or bench as needed.Somewhere between “The Collision” and “The Martyrdom” is a holy middle ground of oddity and structure, chaos and order, that would make even a Saxon nun from the 10th century say, “Amen.”The Collision / The MartyrdomThrough Feb. 5 at 59E59 Theaters, Manhattan; 59e59.org. Running time: 2 hours 40 minutes. 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    Chita Rivera’s Book Will Introduce Fans to the Real Her

    Over the last seven decades, the Broadway star Chita Rivera has taken on and defined some of American musical theater’s most iconic roles: Anita in “West Side Story,” Rose in “Bye Bye Birdie,” Velma Kelly in “Chicago.”In her forthcoming memoir, Rivera introduces her fans and readers to a character she has rarely played in public: her alter ego of sorts, Dolores. And Dolores, which is Rivera’s given name, can be a little prickly, according to Rivera’s co-author, the journalist Patrick Pacheco.When they first sat down to discuss the memoir in the summer of 2020, Pacheco asked Rivera what people didn’t know about her.“She said, ‘Well, I’m not nearly as nice as people think I am,’” he recalled. “I said, ‘Great, let’s introduce the public to her.’”In her still-untitled book, which is due out in 2023 from HarperOne and will be released simultaneously in English and Spanish, Rivera describes her unlikely path to stardom. Born Dolores Conchita Figueroa del Rivero in 1933, Rivera grew up in Washington, D.C., where her mother worked as a government clerk and her father was a clarinet and saxophone player for the U.S. Navy Band.She was so rambunctious and theatrical at home that her mother enrolled her in ballet school. She won a scholarship to George Balanchine’s School of American Ballet and went on to land roles in musicals like “Call Me Madam,” “Guys and Dolls,” “Can-Can” and “West Side Story,” where she delivered a breakout performance as Anita in the musical’s original production. Over the decades, she has been nominated for 10 Tony Awards and has won twice, and received a Tony Award for Lifetime Achievement. In 2009, President Barack Obama presented her with the Presidential Medal of Freedom.Early in her career, Rivera, who is of Puerto Rican descent, worked to defy the stereotypes that were imposed on her in a largely white creative industry.“She was always very empowered from the beginning to play anything she felt she was capable of playing,” Pacheco said.Some of the theater world’s most influential composers and choreographers were drawn to Rivera’s magnetism and perfectionism. In her memoir, she describes working with Leonard Bernstein, Stephen Sondheim, Arthur Laurents, Bob Fosse, Hal Prince and Fred Ebb, and her experiences with stars and castmates like Elaine Stritch, Dick Van Dyke, Liza Minnelli and Sammy Davis Jr.Rivera, who turned 89 this month, has done career retrospectives before, including “The Dancer’s Life,” a musical celebrating her career. But while friends and colleagues had nudged her over the years to write a memoir, she never felt compelled to until recently.“I’ve never been one to look back,” Rivera said in a statement released by her publisher. “I hope my words and thoughts about my life and career resonate and readers just might discover some things about me they never knew.”Though she’s had a lasting influence on theater as a performer, Rivera is not a writer, and Pacheco was a natural collaborator — he first met her in the 1970s and had already interviewed her extensively in 2005 when he was brought on as a researcher for “A Dancer’s Life.”He and Rivera would meet or talk on the phone once or twice a week as they were working on the book, and he urged Rivera to open up about her private life and to be candid about her not-so-nice side, Pacheco said. “Let’s put them in the room with Chita,” he remembered telling her, “but let’s also put them in the room with Dolores.” More

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    Joe Exotic Is Resentenced to 21 Years for ‘Tiger King’ Murder-for-Hire Plot

    Joe Exotic, the former Oklahoma zoo owner who was the central figure in the 2020 Netflix documentary series “Tiger King,” was resentenced to 21 years in prison on Friday for the failed murder-for-hire plot targeting Carole Baskin, a self-proclaimed animal-rights activist who had criticized his zoo’s treatment of animals, his lawyers said.The new sentence reduces his punishment by one year. The original sentence, for 22 years in prison, was vacated as improper by a federal appeals court last summer.John M. Phillips, a lawyer for Joe Exotic, whose real name is Joseph Maldonado-Passage, said in a statement, “We are unsatisfied with the court’s decision and will appeal.” At a news conference, he said that Mr. Maldonado-Passage was disappointed.In court documents on Friday, Mr. Maldonado-Passage said, “Please don’t make me deal with cancer in prison waiting on an appeal.”In November, Mr. Maldonado-Passage said he received a diagnosis of an “aggressive” form of prostate cancer.Mr. Maldonado-Passage, 58, was initially sentenced to prison in 2020 after twice attempting to hire people — including an undercover F.B.I. agent — to kill Ms. Baskin; their rivalry was one of the main plot lines of “Tiger King.” He was also found guilty of falsifying wildlife records and violating the Endangered Species Act for his role in trafficking and killing tigers.Last summer, the U.S. Court of Appeals for the 10th Circuit ruled in favor of Mr. Maldonado-Passage’s appeal that his sentence was too long. Lawyers for the reality TV star had argued that a Federal District Court in Oklahoma had not grouped his two murder-for-hire convictions when his sentence was calculated. If the two counts had been grouped instead of considered for separate sentences, his prison term could have been as short as 17 and a half years, the court said.After the ruling, in a recording that his lawyers provided to The New York Times, Mr. Maldonado-Passage said his original sentence was “absolute crap.”Mr. Maldonado-Passage has always maintained his innocence and waged public campaigns, mostly through social media, for his release from prison. He failed to receive a pardon from former President Donald J. Trump in 2021 after months of petitioning and has since refocused his efforts on President Biden. After he received his cancer diagnosis, Mr. Maldonado-Passage was later transferred to a medical facility in North Carolina, according to his lawyer, Mr. Phillips.The next month, court documents showed that Mr. Maldonado-Passage was delaying treatment until after his resentencing, according to The Associated Press.At the courthouse in Oklahoma City on Friday, supporters of Mr. Maldonado-Passage attended the hearing, some wearing animal-print masks and T-shirts that read: “Free Joe Exotic,” The A.P. reported.Johnny Diaz More

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    Peter Robbins, Original Voice of Charlie Brown, Dies at 65

    Mr. Robbins, who first gave voice to the “Peanuts” character in a 1965 Christmas special, had struggled with mental illness and addiction in recent years.Peter Robbins, whose voice brought the “Peanuts” character Charlie Brown to life on television in the 1960s but who struggled with mental illness and served prison time later in his life, died on Jan. 18 in Oceanside, Calif. He was 65.The cause of death was suicide, according to the San Diego County Medical Examiner.A list of his survivors was not immediately available.At age 9, Mr. Robbins achieved a breakthrough when the producers of the 1965 TV movie “A Charlie Brown Christmas” cast him as the voice of the hapless but endearing central character.Introduced in Charles M. Schulz’s popular comic strip “Peanuts,” Charlie Brown would become a sentimental presence on the screen with his catchphrase, “Good grief!,” familiar yellow shirt and frequent teasing by his friend Lucy.Mr. Robbins, who was born Louis G. Nanasi, would share in the franchise’s success, narrating at least six other television and movie productions, including “It’s the Great Pumpkin, Charlie Brown” in 1966 and “You’re in Love, Charlie Brown” a year later.During his career, Mr. Robbins appeared in episodes of the television shows “Rawhide,” “The Munsters,” “Get Smart” and “My Three Sons,” according to IMDb.In the decades after his work as the voice of Charlie Brown, Mr. Robbins was unable to sustain his early success and publicly grappled with mental illness and substance abuse.In a 2019 interview with KSWB-TV, a Fox station in San Diego, he said that he had bipolar disorder. The station spoke to Mr. Robbins after his release from prison, where he had served 80 percent of a nearly five-year sentence for threatening several people, including the San Diego County sheriff and the property manager of a mobile home park near San Diego.In 2013, Mr. Robbins pleaded guilty to threatening his onetime girlfriend and stalking a doctor who performed breast-enhancement surgery on her, the station reported.He was arrested again in 2015 for violating the terms of this probation, according to the station, which reported that Mr. Robbins had made criminal threats toward a judge and written letters from jail offering to pay $50,000 to have William D. Gore, the San Diego County sheriff, killed.“I went on a manic phase where I bought a motor home, a mobile home, two German sports cars and a pitbull named Snoopy,” Mr. Robbins told the station in 2019.The actor said he regretted not getting help sooner for his mental illness.“I would recommend to anybody that has bipolar disorder to take it seriously,” he said, “because your life can turn around in a span of a month like it did to me.”If you are having thoughts of suicide, in the United States call the National Suicide Prevention Lifeline at 800-273-8255 (TALK) or go to SpeakingOfSuicide.com/resources for a list of additional resources. Go here for resources outside the United States.Susan Campbell Beachy More

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    Karen Pittman Isn’t the New Samantha on 'And Just Like That'

    The actress, who stars in “And Just Like That,” finds peace at the Brooklyn Botanic Garden.“World peace,” the actress Karen Pittman said, placing one penny beneath a stone fox. “And my peace.”This was on a misty Sunday just after New Year’s and Ms. Pittman had paused at the Brooklyn Botanic Garden’s Japanese Hill-and-Pond Garden to set some intentions for the new year, leaving pennies alongside the coins and oranges offered by other visitors.The garden stands near her apartment in Prospect Heights. When she returned from Los Angeles, where “The Morning Show,” on AppleTV+, is filmed, to Brooklyn for HBO Max’s “And Just Like That,” she rented it for this exact reason.Most weekday mornings, after Ms. Pittman sees her two children off to school, she slips into the garden to decompress from the stresses of life and work. “I used to be able to meditate,” she said. “Now it’s just too stressful trying to figure out how to meditate in a pandemic.” So she sits in the garden instead. “It just immediately replenishes,” she said.That Sunday she had found a new space for replenishment. The shrine, hidden among conifers, is dedicated to Inari, the Shinto spirit who blesses the harvest. For Ms. Pittman, who declined to give her age, the harvest of the past few years has been plentiful.After lead roles on Broadway (“Disgraced”) and off (“Pipeline”), she has graduated to major roles on television: as Mia Jordan, an overextended producer on “The Morning Show,” and as Nya Wallace, a Columbia law professor contending with infertility on “And Just Like That.”Ms. Pittman plays a law professor in “And Just Like That,” opposite Cynthia Nixon, right.   Craig Blankenhorn/HBO MaxNya is one of four new characters devised, it seems, to correct the overwhelming whiteness of “Sex and the City,” the predecessor of “And Just Like That.” The show’s creators had promised that Nya — along with Che (Sara Ramirez), Seema (Sarita Choudhury) and Lisa (Nicole Ari Parker) — would join Carrie, Miranda and Charlotte as main characters.The ‘Sex and the City’ UniverseThe sprawling franchise revolutionized how women were portrayed on the screen. And the show isn’t over yet. A New Series: Carrie, Miranda and Charlotte return for another strut down the premium cable runway in “And Just Like That,” streaming on HBO. Off Broadway: Candace Bushnell, whose writing gave birth to the “Sex and the City” universe, stars in her one-woman show based on her life. In Carrie’s Footsteps: “Sex and the City” painted a seductive vision of Manhattan, inspiring many young women to move to the city. The Origins: For the show’s 20th anniversary in 2018, Bushnell shared how a collection of essays turned into a pathbreaking series.In the early episodes, Nya’s scenes mostly abetted Miranda’s journey toward self-actualization. But later episodes have offered Ms. Pittman more substantial material and even a sex scene of her own. “I don’t feel like I need 10 episodes to tell a great story about my character,” she said. “I am much more interested in the ensemble work.”Whether the role is large or small, casting directors typically don’t hire Ms. Pittman for frivolous or lightweight parts. She almost always gets cast as hyper-competent professional women with messy inner lives.“That’s certainly been my life experience,” she said. As a woman who juggles co-parenting with her former husband with a successful career, she can relate. “I bring that deeper, resonant emotional life to the characters that I play,” she said. “This thing of having it all, like, it actually doesn’t work.”On that morning, however, Ms. Pittman seemed to be giving it a try. The garden was dressed for winter — bare branches, untenanted beds, patches of dirt. But Ms. Pittman had dressed for spring in a lilac Altuzzara coat and spindly gold heels with eye shadow to match, mixing meditation with glamour. (Sensibly, she switched to flats after posing for a few photos.)After entering the garden, she made her way through the cherry esplanade, where she stopped to compliment a toddler on her bright blue boots. She then headed to the water garden, passing an installation for the garden’s winter lightscape, which she had visited with her children on Christmas Eve.“It was all very festive,” she said. “There was mulled wine and hot chocolate. We were in the middle of that surge. And people were trying to stay away from each other. But it was very Christmas-y.”And just past the children’s garden, she lingered to admire some winterberries, which appeared scarlet and orange against the gray sky, and a Norwegian spruce that seemed to be extending a branch to her. “A tree that comes out and gives you a hug,” she said.Did she need a hug? Last year had been difficult, she said. Shooting “The Morning Show” in the middle of the pandemic had meant constant testing and frequent stoppages. (She and some colleagues had taken to calling it “The Next Morning Show.”)Olivia Galli for The New York Times“There were days where I was like, definitely going to catch this thing today. Definitely,” she said. And the turbulent emotional life her character Mia, a producer who had a consensual relationship with the disgraced former host played by Steve Carrell, hadn’t helped.“My character went through so much,” she said.A child in a stroller seemed dazzled by Ms. Pittman. The child stared at her, then offered her a rock, which she kindly let the child keep. Past the lily pads and the magnolias and the hill of daffodils, all resting for winter, she paused at the Shakespeare Garden, which contains every botanical mentioned in Shakespeare’s plays.Opposite some lemon balm, she recited a line of Cleopatra’s — “The poison is as sweet as balm, as soft as air” — which she remembered from her classical training in the graduate acting program at New York University. Shoes aside, she looked every inch the queen.Finishing her walk at the Hill-and-Pond Garden, she admired the koi rippling just below the pond’s still surface. Even though she didn’t have extra pennies, she set one more New Year’s intention for herself.“I love ensemble work, but I need to lead a story,” she said. “Power is being able to tell the story you want to tell. That’s real power. I’m ready.” More

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    Citing Pandemic, This Year’s Obie Awards Will Include Streaming Theater

    The Obie Awards, an annual ceremony honoring theater work performed Off and Off Off Broadway, this year for the first time will consider digital, audio and other virtual productions.The awards administrators decided to expand their scope in recognition of the adaptations made by many theater companies during the coronavirus pandemic, which prevented most New York theaters from staging in-person performances for at least a year, and in many cases considerably longer. Numerous theaters pivoted to streaming, and some experimented with audio.“We wanted to make sure that the work that did happen was eligible,” said Heather Hitchens, the president and chief executive of the American Theater Wing, which presents the awards. “The Obies respond to the season, and to the evolving nature and rhythms of theater.”This year’s Obie Awards are expected to take place in November, which would be 28 months after the last ceremony, reflecting the extraordinarily disruptive role the pandemic has played in theatermaking. The ceremony will consider productions presented by Off Broadway and Off Off Broadway theaters between July 1, 2020 and Aug. 31, 2022.The exact date for the ceremony has not been chosen, but Hitchens said she expects it to be in-person (the last one was streamed) and she expects it to have a host (or hosts).This year’s Obie Awards will be the first presented solely by the Wing, which also founded and copresents the Tony Awards. The Obies were created by The Village Voice and first presented in 1956; in 2014, as The Voice struggled, it entered a partnership with the Wing to preserve the ceremony, and now The Voice has granted the Obies trademark to the Wing, Hitchens said.The Obies, always a mixture of prestige and quirkiness, have long been distinguished by their lack of defined categories — each year, the judges decide what works to recognize, and for what reason. This year’s awards will be chaired by David Mendizábal, who is one of the leaders of the Movement Theater Company, and Melissa Rose Bernardo, a freelance theater critic. The judges will include David Anzuelo, an actor and fight choreographer; Becca Blackwell, an actor and writer; Wilson Chin, a set designer; Haruna Lee, a playwright; Soraya Nadia McDonald, the culture critic for The Undefeated; Lisa Peterson, a director and writer; Heather Alicia Simms, an actor; and Kaye Voyce, a costume designer. More

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    Los Angeles Is Changing. Can a Flagship Theater Keep Up?

    LOS ANGELES — For 55 years, the Center Theater Group has showcased theater in a city that has always been known for the movies. Its three stages have championed important new works — “Angels in America,” “Zoot Suit” and “Twilight: Los Angeles, 1992,” to name three of its most acclaimed offerings — while importing big-ticket crowd pleasers from Broadway (coming this spring: “The Lehman Trilogy”).But this Los Angeles cultural institution is at a crossroads as it goes through its first leadership change in 17 years, and confronts questions about its mission, programming and appeal in a changing city, all amid a debilitating pandemic.Michael Ritchie, the organization’s artistic director, announced last summer that he would retire nearly 18 months before his contract ended in June 2023; he stepped down at the end of the December, citing the need for the organization to move in a new direction in response to social changes and debate about the theater’s future. The organization, which is a nonprofit, is using the transition to consider how to adjust to what is sure to be a very different post-Covid era — a sweeping discussion that theater administrators said would involve some 300 people, including its board of directors, staff, actors, director and contributors.“At the age of 50, you start to think about the next chapter,” said Meghan Pressman, the managing director of the Center Theater Group. “There’s so much happening now. Coming out of a pandemic. Coming out of a period of a racial crisis. Years of inequity.”“We are no longer your mother’s C.T.G. anymore,” she said.The obstacles are considerable.The Ahmanson Theater, in downtown Los Angeles, had to cut short a run of “A Christmas Carol” in December.Ryan MillerLike theaters everywhere, Center Theater Group — the Ahmanson Theater and the Mark Taper Forum at the Music Center downtown, and the Kirk Douglas Theater 10 miles to the west in Culver City — is grappling with empty seats, declining revenues and the coronavirus. The Ahmanson cut short a run of “A Christmas Carol” with Bradley Whitford in December, canceling 22 performances after positive coronavirus tests in the cast and crew at the height of what in a normal year would have been a holiday rush.The cancellation cost the Center Theater Group $1.5 million in lost revenues, including ticket returns. That came after the organization was forced to make millions of dollars in spending cuts over the course of the pandemic, cutting its staff to 140 this season from 185 and reducing its annual budget to $47 million for this fiscal year, $10 million less than the budget for the fiscal year before the pandemic.And the theater group is struggling to adjust to sweeping reassessments of tradition that have emerged from social unrest across the country over the past two years. It was reminded of this new terrain by the uproar that greeted the announcement of a 2021-22 season for the Taper and the Douglas, 10 plays that included just one by a woman and one by a transgender playwright. Jeremy O. Harris, the writer of “Slave Play,” which was on the schedule, announced that he would withdraw his play from the season before agreeing to go forward only after the Taper pledged to program only “women-identifying or nonbinary playwrights” next season.The Center Theater Group has been a hugely influential force in Los Angeles culture since the Mark Taper Forum, above, and the Ahmanson opened in 1967 at the Los Angeles Music Center.Tom BonnerThe Center Theater Group has been a hugely influential force in Los Angeles culture for decades.It “is still the flagship theater company of L.A.,” said Stephen Sachs, the co-artistic director of the Fountain Theater, an influential small theater on the East Side of the city. “I think it’s at a moment of reckoning, like everything that is theater in Los Angeles. The C.T.G. is the bar that we compare ourselves to. They set a standard for L.A., not only for ourselves but for the country.”The Music Center, the sprawling midcentury arts complex on top of Bunker Hill, across from Frank Gehry’s billowing Walt Disney Concert Hall, is at the center of cultural, arts and society life in Los Angeles. The project was driven by Dorothy Buffum Chandler, the cultural leader who was the wife and mother of publishers of the Los Angeles Times, and also houses the Dorothy Chandler Pavilion, which was the site of the Academy Awards off and on from 1969 to 1999. “Before the Music Center, it was really a cultural wasteland,” Marylouise Oates, who was the society columnist for the Los Angeles Times in the late 1980s, said, referring to the city.Theaters across the country are struggling to find the balance between pleasing and challenging their audience as they confront declining ticket sales and the threat of competition in the form of a screen in a living room. Theater here has also long existed in the shadow of Hollywood, to the annoyance of those involved in what is by any measure a vibrant theater community.“I don’t see how anyone can say it’s not a theater town,” said Charles Dillingham, who was the managing director of the Center Theater Group from 1991 through 2011.The Kirk Douglas Theater, in a former movie palace in Culver City, opened in 2004.Craig SchwartzFor its first 40 years, the theater group’s personality — adventurous and daring more often than not — was forged by Gordon Davidson, who was recruited by Chandler to be the first artistic director at the Taper. He was of a generation of force-of-nature theater impresarios, like Joseph Papp in New York and Tyrone Guthrie in Minneapolis.“I could not have created ‘Twilight’ anywhere else,” said Anna Deavere Smith, the playwright who wrote and acted in “Twilight: Los Angeles, 1992” at the Taper. “I’ll never forget Gordon sitting down, taking out his buck slip and saying, ‘What do you need?’”The Taper opened with the “The Devils,” by the British dramatist John Whiting, about a Catholic priest in France accused of witchcraft by a sexually repressed nun. The subject matter caused a rustle, but Chandler, who died in 1997, stood by Davidson.“She wasn’t always happy,” said Judi Davidson, who was married to Gordon Davidson, who died in 2016. “She said, ‘I’ll make a deal with you. You tell which plays I should come to and which plays I shouldn’t come to.’ ”The Taper staged “Zoot Suit,” by Luis Valdez, in 1978, a rare production of a work by a Latino writer, which went on to Broadway; as well as a full production of both parts of “Angels in America,” by Tony Kushner, in 1992, before it moved to Broadway. “I could not have created ‘Twilight’ anywhere else,” said Anna Deavere Smith, the playwright who wrote and acted in “Twilight: Los Angeles, 1992” at the Taper.Jay Thompson In recent years, the theater has come under criticism for too often catering to an older audience hungry for the comfort of familiar works. Still, under Ritchie, who declined a request for an interview, it presented the premieres of acclaimed works, including “Bengal Tiger at the Baghdad Zoo,” which had its world premiere at the Douglas before moving to the Taper.Harris, the writer of “Slave Play,” said the Center Theater Group had responded quickly when he objected to the overwhelmingly male lineup of writers. “When I raised my issues and pulled my play, they didn’t act defensively,” Harris said. “They acted. Other places would have let the play move on and figure out a way to blame me.”The Coronavirus Pandemic: Key Things to KnowCard 1 of 4Omicron in retreat. More