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    Back in the Girdle Again: Getting Fitted After a Year Untouched

    Confessions of an actress seeking reassurance — and sleeves — as she steps before a live concert audience again.The actress and singer Melissa Errico returns to the fitting room for the first time since March 2020. Landon Nordeman for The New York TimesHere I am, back at the confessional at last. Forgive me, father, for I have sinned. It has been 13 months since my last visit to you. The father-confessor, to whom I am looking for absolution, is Eric Winterling, one of the great Broadway costume makers, and my confession is that (whisper it!) the pandemic had been unkind to my arms. To be specific, my upper arm in the rear, with a strange new pocket of femininity developing just to the interior of my elbow, on both sides.I had to confess this news because that is what actors do when we are in a costume fitting. For a show, we want to make an impression, and that means we have to deal with our bodies, and we need someone to whom we can tell the truth.A lovely fitter named Rita zips me into a dress and adjusts my undergarments. The pandemic has been filled with women writing about their bra drawers and what they don’t need; a woman actor has an additional secret drawer filled with Spanx and other strange, confining underwear, some almost medical, with fiercely strong zippers.The dress needed to say femme fatale — betrayal! cruelty! jazz! — while, of course, covering the arms.Landon Nordeman for The New York TimesThat morning I had ransacked mine for the first time in forever. “Back in the girdle again,” I hummed to myself. I turned to Rita as I struggled into one, and said I hoped her day was going well. She said simply, “You are the first actor I have seen in a year.”Eric slipped into the room, turned me to the mirror and laid his hands on my hips — the first time that had happened in a long time, too. We stared at me in three-sided reflection, and I asked, meekly, if I was now a singer who required sleeves.His task was to find, or create, a dress in which I could sing an evening of film noir-inspired songs — many, dauntingly, in French — to a limited in-person audience on May 6 for the French Institute Alliance Francaise. It will be the first time I have sung in front of living people since March 2020. Four cameras will be present, for those watching virtually, making it a concert in the round, so to speak.Eric Winterling, one of the great Broadway costume makers, created a dress of his own after several Donna Karans were rejected.Landon Nordeman for The New York TimesThe dress needed to say femme fatale — betrayal! cruelty! jazz! — while, of course, covering my arms. No stranger to creating costumes for ripening actresses, Eric projected confidence that the vintage improves in a tightfitting bottle. I tried to trust him.Intimacy, humor and humiliation hung in the air as we quickly tested a series of sleek Donna Karan gowns he had assembled, all of which were wrong on me in various, dreadful ways. Then he spoke decisively. “It would just be easier if I made you a whole new dress,” he said, adding benevolently, “Angela Bassett ruined everything with her toned arms.”A Psychic EncounterOf all the intimacies of an actor’s life, none is as intimate as that with the costume fitter; he is your confessor and also, sometimes, your co-conspirator.As a child growing up in a suburb of Philadelphia, Eric spoke sewing the way a violin prodigy speaks music. He watched his mother and used his paper route money at age 9 to buy dress patterns.“The dress is made in the fitting room,” he says, quoting the designer Jane Greenwood.Landon Nordeman for The New York Times“I have three brothers — they were very athletic,” he tells me. “One day, I realized that in the back of the pattern books in the fabric stores, they had stuffed animal patterns and Barbie dress patterns. And that was it. I was off to the races.” His first triumph was an orange gingham stuffed dog that he made from a store-bought Simplicity pattern.Eric studied costume design at Temple University, and after three years working as resident costumer of the Houston Grand Opera, he moved to New York in 1987, taking a job at Terilynn Costumes. When they closed, Eric decided to start his own costume-making business, though he was only 29.“I’m rarely the designer, as a matter of fact,” he explains. “I decided a long time ago that I’m much better at interpreting designer sketches than designing myself. And so, I thought that what I could do sewing was much more useful for the world.”Before the pandemic, as many as 15 shows were being worked on at once in Eric’s shop.Landon Nordeman for The New York TimesEric’s light-filled Flatiron district fitting room has French doors that open out to 8,200 square feet of industrial space, with 38 sewing machines and 18 cutting tables, while hundreds of yards of rolled fabric lie on shelves like sacred scrolls. If he is my confessor and the studio his cathedral, the fitting room is the mirrored apse where the very essence of his craft takes place.“The dress is made in the fitting room,” Eric tells me, quoting the designer Jane Greenwood, with whom he has often worked, and whom I first met when she designed (and he made) the costumes for the Broadway musical “High Society.” (Just over my shoulder, on the back wall, hangs a framed, and fading, sketch of me as Tracy Lord in my — her! — wedding gown.)The fitting room itself has to be just so: “This room is 400 square feet, and not just a corner of the room with a curtain on it. You have to really have people be comfortable in it.” Eric long ago installed stage lighting on the ceiling.The final product is bosomy without being modern, the neckline inspired by Jane Greer’s in the 1947 noir film “Out of the Past.”Landon Nordeman for The New York TimesAnd he understands that a costume fitting is a psychic encounter as much as a physical one. “You have to listen to people,” he says. “What the person who’s wearing the costume sees with her eyes, you have to make the match through the process of a fitting. You have to switch each other’s glasses to just see what they’re seeing.”Struggling to Stay OpenBefore the pandemic, as many as 15 shows were being worked on at once in Eric’s shop. His atelier created Elphaba’s witchy dress for “Wicked” (designed by Susan Hilferty) and the blue velvet harem ensemble for the Genie in “Aladdin” (designed by Gregg Barnes). He solved the challenge of the breakaway costume for Elsa as she belts “Let It Go” in “Frozen.”Nearly 50 full-time employees were working in Eric’s studio, hailing from the Dominican Republic, Pakistan, Thailand, Japan, the Czech Republic and Russia, among other places. Now, though, he is working with only a third of his usual team.He’s been active with the new Costume Industry Coalition, which raises awareness of how hard hit this sector has been. Last summer, he struggled even to keep his shop open.“I spent a lot of time last May, June, driving things around to people’s homes, like this ice dress,” he says of a beaded number, intended for a Tokyo production of “Frozen.” “It had to be hand-painted over here, and then it had to go over there to be beaded, then it had to go to New Jersey to be made.”Eric understands that a costume fitting is a psychic encounter as much as a physical one. “You have to listen to people,” he says.Landon Nordeman for The New York TimesHis staff was working and sewing from home, and he lent his studio to organizations making P.P.E.; instead of magical dresses, they made protective gowns. And television work, including HBO’s “The Gilded Age,” replaced the theater.I sensed that one reason Eric was pleased to make me a dress was because he saw it as an offering to the Gods of the Balcony: If I go on making dresses, the singing will come back.Sleeves Again!At my second fitting a week later, a black sequined gown was placed on my body. I stepped into it, and Rita guided my voluptuous elbows into two tunnels of sparkling masquerade. Sleeves!She zipped me into a near-finished, brand-new dress and sat on the floor to stare at the hemline while Eric came in to get a look. The look was bosomy without being modern, the neckline inspired by Jane Greer’s in the 1947 noir film “Out of the Past.” While describing a Parisian bead-and-sequin shop he loves called Fried Frères, Eric tended to my arms and pinched the fabric, experimenting with taking it in, or shortening the sleeves.After 14 months of Lululemons and T-shirts, I had a real costume on my body. It felt wonderful to be in a slinky, sinuous gown with a flirtatious satin sash. I felt like a candy box.Inspiration for a noir-era costume and cabaret show.Landon Nordeman for The New York TimesI’m no stranger to doing cabaret jobs in rented gowns — there is an app for slightly-used dresses for gently-worn actresses — so this feeling was precious. Eric and I looked at each other. The costumer-confessor and actress-penitent were in a state of hope. He, because sewing is what he does; she, because despite all the agonies, singing is what she does. That’s the irony of the actor’s life: The costume frees us from the insecurities that the need for a costume creates. It’s the actor’s version of infinity — a new look, a new role, a new possibility.More practically, I suggested he could tighten the waist.“There is no need,” he reminded me. “You have to sing. You have a lot to do in this dress. It’s fine as it is.” I wiggled my hips, with a few bars of “Put the Blame on Mame.” Eric let out an audible sigh. He moved to the back of the room and turned off the lights. Then he flipped the switch, and the ceiling’s stage lights burst into a warm glow.“There’s the magic,” he said. I was dressed.Melissa Errico is an actress and singer. “Mystery,” her new concert, is Thursday at 7 p.m. at Florence Gould Hall in Manhattan; stream at fiaf.org. More

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    ‘Pass Over,’ About Black Men Trapped by Dread, Heads to Broadway

    The play, by Antoinette Chinonye Nwandu, has previously been staged at several prominent theaters and filmed by Spike Lee for Amazon.“Pass Over,” a searing play about two Black men trapped by existential dread in a world where too many of their peers have been killed by police, is coming to Broadway.A team of producers who include the playwright, Antoinette Chinonye Nwandu, said Tuesday that they would mount a new version of the play at the August Wilson Theater on Broadway later this year. The production will be directed by Danya Taymor.The play, an 85-minute riff on “Waiting for Godot,” began its life in 2017, directed by Taymor at Steppenwolf Theater Company in Chicago. That production was filmed for Amazon Prime Video by Spike Lee, and in 2018 the play ran at Lincoln Center Theater. It has since had several other productions, including at the Kiln Theater in London.The play, in which two friends pass time on a city street corner, sharing fears and dreams, was prompted in part by the death of Trayvon Martin, and draws on the Book of Exodus. Nwandu reworked the play’s ending between the Steppenwolf and Lincoln Center productions, and said she now plans to do so again. In earlier versions, one of the two main characters died at the end; Nwandu said that in the Broadway version, they will both survive.“I wrote the other versions of the play out of anger, and out of a desire to shock white people into caring about the fact that Black lives matter,” Nwandu said. “Now I’m ready to step back from that role of needing to indict white America. White America has been indicted, and continues to be indicted, by the actual death of Black people, so nobody needs to see that theatrically rendered anymore.”She said the play “is still largely a lament,” but that she is now envisioning a tonal shift at the end, as she thinks about her own emotional well-being and that of her audience. “We all know we need some sort of communal healing,” she said. “We have to witness. We have to grieve. And we have to heal, so we can go out into the world and fight these battles.”The Broadway production will have an eclectic producing team: Matt Ross, a longtime theater publicist who is becoming more active as a producer; Jujamcyn Theaters, the company that operates the August Wilson Theater; Lincoln Center Theater, the nonprofit that presented the play Off Broadway; Concord Theatricals, a publishing and licensing company with a growing footprint in the theater world; Renee Montgomery, a retired basketball player who is an owner of the Atlanta Dream W.N.B.A. team; the actor Blair Underwood; Madeleine Foster Bersin, who, along with Ross, was part of the producing team for “What the Constitution Means to Me”; and Nwandu.The cast has not yet been announced. More

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    With Her Final Album, Rebecca Luker Bids a Fond Farewell

    The much-loved Broadway soprano, who died in December, had one more miracle up her sleeve.The last solo number on “All the Girls,” the new duo album from the sopranos Rebecca Luker and Sally Wilfert, is a piece of specialty material for Luker called “Not Funny.”It’s funny.In the song, by Michael Heitzman and Ilene Reid, Luker twits her image as a “spoonful of saccharine” but also punctures it. The gist is that lower-voiced belters get all the laugh lines, possibly because it’s so “hard to land a joke up here” — in the soprano stratosphere. Playing Laurey in “Oklahoma!,” Luker complains, “I’ll sing my ass off, but Ado Annie steals the show.” Then she disproves it by ripping a thrilling high C.Luker was 58 when she last performed the number live, during a concert with Wilfert at Merkin Hall in Manhattan. That was in September 2019, 15 months before she died of amyotrophic lateral sclerosis, better known as A.L.S. or Lou Gehrig’s disease.As yet undiagnosed that night, she had some trouble climbing onto the de rigueur stool, but she sounded as beautiful as ever, clearly enjoying the chance to sing songs about sisterhood with someone who was in fact as close as a sister. They met, Wilfert recalls, at a reading in 2005; when Wilfert said “I’m going to the bathroom,” Luker said, “I’m going too” and they sat “in adjacent johns,” yakking.Luker enjoyed the chance to sing songs about sisterhood with Sally Wilfert, who was as close as a sister. David AndrakoDespite Luker’s unshakable ingénue rep — built on Broadway roles including Lily in “The Secret Garden” (1991), Magnolia in “Show Boat” (1994), Maria in “The Sound of Music” (1998) and Marian in “The Music Man” (2000) — she was by the time of the Merkin Hall concert a sophisticated Broadway veteran and a complex actor, even taking over the crushing role of Helen in “Fun Home” in 2016. Though her voice remained infallibly lustrous, with classical size and control yet zero operatic fussiness, it was her intelligence in deploying it that kept her in demand well past the industry sell-by date for most stars of that repertoire.Nor did her intelligence let up as “All the Girls” was put together. Her husband, the Broadway performer Danny Burstein, says her notes for the producers were “meticulous” despite her suffering. Tommy Krasker, the head of PS Classics, her longtime label, says she listened to mixes with the “clarity of mind and healthy self-criticism” she’d always displayed in their 20 years of working together. When she thought a joke in “Not Funny” wasn’t landing as well as it might, she asked that the piano part, performed by her music director, Joseph Thalken, be rerecorded. The joke now lands like a gymnast after a handspring.What’s remarkable about this is not only that Luker’s health was quickly deteriorating, but that such a fond, full-smile, no-dud album got produced at all, let alone in the middle of a pandemic. How it happened is the kind of story that Luker, whose death came just two days before the digital release of “All the Girls” on Christmas — and in whose honor an A.L.S. fund-raising concert entitled “Becca” will be streamed on Tuesday — would have loved for its unlikeliness and bittersweet ending.Recording dates had been set for March 2020. The lockdown delayed that plan, but by the time PS Classics could safely book a studio again, in August, Luker could no longer sing. Her final performances, in “An Evening With Sheldon Harnick … and Friends” at the York Theater in March and in a three-song concert streamed from home in June, had been achieved with mounting difficulty as she gripped the arms on her wheelchair to make the notes emerge. By autumn she could not make them at all.Though it might have been sensible to abandon the album at that point, Krasker and the producer Bart Migal decided to try an experiment, attempting what Krasker calls “the first studio album made without ever stepping in the studio.” Thalken, the music director, was able to weave new orchestrations around surprisingly good recordings of the Merkin Hall rehearsal and concert; musicians recorded the new parts in their homes; the producers mixed the result; and by some miracle what emerged sounded pristine.Though Luker and Wilfert have distinctive voices, they can sound nearly identical when singing together. Genevieve Rafter KeddyBut not just pristine: rich and compelling. Though Luker and Wilfert have distinctive voices when singing separately, they can sound nearly identical when singing together. (They have the same voice teacher.) Listening to playbacks, even they could not always figure out who was who. In duets like “You Are My Best Friend” (the charming opener) and “Isn’t It Better?” (a Kander and Ebb torch song here turned into an anthem of sisterly support) something sublime happens as the two voices, blending so closely, seem to multiply even as they merge.That effect is at its height in the album’s finale, an unexpected pairing of the Patty Griffin song “Be Careful” with “Dear Theodosia,” a number sung by Aaron Burr to his infant daughter in “Hamilton.” As performed by Luker and Wilfert, “Theodosia” feels like a promise from today’s women to their spiritual daughters to leave them a safer world. “Be Careful,” whose lyric provides “All the Girls” with its title, is wrenchingly ambivalent, celebrating women’s strength but also their fragility — and ending, in this arrangement, on a daringly unresolved harmony.Which feels only right. Strong as the album is — five poetry settings by Thalken are especially lovely — it inevitably comes wrapped in a shroud of loss. I don’t mean just the loss of Luker herself. Her kind of voice (and Wilfert’s) is gradually being squeezed out of musical theater, as classically trained sopranos give way to the kind described so saucily in “Not Funny,” which Kelli O’Hara will sing at Tuesday’s concert. Most new works are written for belters.The greater loss is of course personal. Many of us, mourning a loved one, are grateful for any scrap of their voice that might be preserved in a phone message or video. That’s not Burstein’s situation. He has lots of Luker’s albums to listen to. The problem is that though they are comforting they are also devastating — especially, on “All the Girls,” that final medley, with its aching Griffin lyric: “Be careful how you bend me/Be careful how you send me/Be careful how you end me.”In any case, the albums are what Luker gave us, not him. More than her public voice, what Burstein misses most after 20 years of marriage is her private voice: the one he heard in car rides spent harmonizing together to ’70s hits on the radio.“Now it’s just me and the radio,” he says.By comparison, the rest of us are lucky. Listening to “All the Girls,” in some ways Luker’s funniest and wisest album, we get to keep her singing next to us forever.Rebecca Luker and Sally Wilfert“All the Girls”(PS Classics)Becca: A Night of Stories and Song in Memory of Rebecca LukerMay 4 at 7:30 p.m.momenthouse.com/targetals More

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    Conan O’Brien Says No More Trump Jokes for Final Two Months on TBS

    O’Brien said the last episodes of “Conan” will feature special guests and clips of his favorite moments on the show before he moves to HBO Max.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. We’re all stuck at home at the moment, so here are the 50 best movies on Netflix right now.Fourth Time’s the CharmIn his Monday night monologue, Conan O’Brien announced that after 11 years, he will be “winding down” his TBS late night show, with a final episode airing June 24.“Some of you are wondering why am I doing this? Why end things here at TBS?” O’Brien said. “And I’ll tell you: because a very old Buddhist monk once told me that to pick something up, you must first put something down.”O’Brien said he is leaving to launch a “fourth iteration” of his program with HBO Max later this year, and that his final two months on TBS will be dedicated to clips of his favorite moments and will feature special guests.“I’m very proud of what we’ve accomplished here,” O’Brien said. “And so what I’d like is I’d like these last couple of weeks to be a fond look back at all the absurd madness that my team and I have concocted. Best of all, I just want to point out, there will be shockingly few, if any, references to Donald Trump because that’s always been my favorite kind of comedy.”The Punchiest Punchlines (Things Are Looking Up Edition)“According to a new ABC News poll, Americans are more hopeful about the future than they have been in 15 years, since 2006. Of course, the poll was conducted before we found out Elon Musk is hosting ‘Saturday Night Live,’ so we’ll see if it holds up.” — JIMMY KIMMEL“Of course, we’re feeling good. We have vaccines in our arms, stimulus checks in our pockets and hot sauce in our Goldfish.” — JIMMY FALLON“According to polls, the last time we were close to being this optimistic was 2006. I’m not surprised. That was when Tom Hanks brought back the mullet.” — JIMMY FALLON“That’s right, 64 percent are feeling optimistic, while the other 36 percent had a rough weekend at the Kentucky Derby.” — JIMMY FALLONThe Bits Worth WatchingRoy Wood Jr. shared the history of Black royalty on Monday’s “The Daily Show.”What We’re Excited About on Tuesday NightDr. Anthony Fauci will offer some coronavirus updates on Tuesday’s “Jimmy Kimmel Live.”Also, Check This OutLou Diamond Phillips as Ritchie Valens in the 1987 biopic.Columbia PicturesThe 1987 box office hit “La Bamba” was a watershed moment for films about Latinos, yet Hollywood failed to capitalize on its audience appeal. More

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    The Play Is Coming From Inside the House

    Three new virtual productions, set in haunted homes and an interactive hotel, give you the excitement of exploring spaces that are off limits.Exploring a home that isn’t your own carries a voyeuristic thrill, a feeling that you’re intruding on a private space. This excitement holds even if you have paid for your admission, even if no one has lived there for decades. A rare upside of the pandemic — at least until people discovered decent virtual backgrounds — was the opportunity to peer into (and immediately judge) colleagues’ rooms.Back when interior spaces weren’t so perilous, I was a fiend for a historic home tour. Summer palaces, period rooms at the Met, living history installations with basket-weaving how-tos — yes, absolutely, all of them. Last summer, during the pandemic’s darker days, I spent some happy hours “visiting” Newport’s cottages online.Recently, digital theater has gotten in on this domestic act, offering virtual tours of spaces imagined and actual, in works such as Peter Sinn Nachtrieb’s “A House Tour of the Infamous Porter Family Mansion With Tour Guide Weston Ludlow Londonderry … At Home!”; Jared Mezzocchi’s “Someone Else’s House”; and Blast Theory’s “A Cluster of 17 Cases.” They may not provide the frisson of walking through actual spaces — and surreptitiously fingering the occasional embroidered tablecloth — but the latter two offer the shivery pleasure of entering a space where you clearly don’t belong.“A House Tour,” directed by Jason Eagan, began in 2016 in San Francisco as an in-person event, which took an audience from room to creatively rendered room. It has been re-envisioned as an audio-only drama, accompanied by a deluxe mailer. (Mailers are another pandemic upside; sometimes they include wine.) This one contains two figurines that you are invited to decorate with feathers and pipe cleaners — I dragooned my children for this part — and a number of cunning packages.Danny Scheie in the original 2016 production of “A House Tour of the Infamous Porter Family Mansion With Tour Guide Weston Ludlow Londonderry.”Julie SchuchardThe Broadway actress Lilli Cooper provides the introduction, a flawless parody of a museum audio guide. Her voice informs us that the Porter Family Mansion has doors, windows, rooms and “some of the finest world collections of many different things.” (The house is wholly imaginary.) Danny Scheie’s Weston takes over. Scheie was also the star of the in-person version, and his Weston has a strange and malevolent energy. He delights in sharing the most scandalous details of the lives and sweaty loves of Hubert and Clarissa Porter, the fictional one-percenters who built the mansion.The monologue leans heavily on innuendo and smutty puns. This salaciousness extends to the participatory elements, as when Weston tells us to fold up a card and put it in our “undies.” Let’s just say that even an obedient audience member — I had, as directed, mashed the figurines together in a simulation of sex — has her limits. (The children, thankfully, had already gone to bed.)More frustrating than the lewdness is how incompletely the creators have reimagined this experience for at-home consumption. The house never really comes into mind’s eye view and the items in the box, almost entirely irrelevant, don’t help. Also, the audio runs nearly two hours, which is an awfully long time to sit at your computer, headphones in, staring at concupiscent dolls. And the humor is beyond juvenile. I had hoped that “A House Tour” would create a kind of memory palace, a mansion of the mind, but it just loiters, endlessly, in the gutters.“Someone Else’s House,” produced by Geffen Playhouse in Los Angeles, is an altogether shorter, tauter and shrewder work. Developed for an online audience and running just under an hour, it’s a chiseled piece of at-home horror, ostensibly based on a colonial-era New Hampshire house that Mezzocchi’s parents and siblings once inhabited. “This isn’t just a ghost story,” Mezzocchi says. “It’s real. It happened to my family.”“Someone Else’s House” also has an accompanying box. This one contains items relating to the house’s history, like a family tree and antique sketches and photographs. It also includes a candle, scented for some reason like decomposing vanilla.Mezzocchi, in flannel shirt, wool beanie and quarantine beard, makes an appealing narrator. The story he tells, from a location that becomes clear as the tale proceeds, is an extremely creepy one. (The short version: Maybe don’t buy a house with a former slaughtering cellar in the basement?) The design is meticulous, the archival photos unsettling, the “are they or aren’t they?” Zoom glitches unnerving. And if you have ever suspected that your furniture is out to get you, this is the digital work for you.Mezzocchi, who also wrote “Someone Else’s House,” makes an appealing narrator of this taut and shrewd work. via Geffen PlayhouseWhat’s strange, though, is how Mezzocchi doesn’t fully trust the theatrical form. If you have seen his previous work, like “Russian Troll Farm: A Workplace Comedy,” you know that he’s an absolute wizard at making online theater feel live. “Someone Else’s House” ends in a frightening digital coup-de-theatre, but none of the multimedia effects are more uncanny than the low-tech vision of Mezzocchi sitting in front of his laptop, spinning a tale in a slowly darkening room.And yet, the scariest online house tour may be the brief one offered by the experimental English theater Blast Theory, which has produced a virtual version of its 2018 work, “A Cluster of 17 Cases.” Created when Blast Theory were artists in residence at the World Health Organization, the piece explores the transmission of the SARS virus to 17 people on the 9th floor of Hong Kong’s Metropole Hotel. The company has built a scale model of the hotel, in lightweight aluminum. An interactive site allows you to take the elevator up and explore it.“Some people will leave unscathed, and some people will die. It’s time to choose your room,” a narrator says, coolly. There are only three rooms to discover, plus trips back down to the lobby to learn how many other people the rooms’ occupants infected once they left the hotel and flew home. (As Covid-19 has taught us, aerosolized particles are no joke.) The nerve-shredding experience lasts perhaps 15 minutes. Like “At Home” and “Someone Else’s House,” it’s ultimately a cautionary tale. For more than a year most of us have been told to stay indoors, but as these shows argue, inside isn’t so safe either.A House Tour of The Infamous Porter Family Mansion with Tour Guide Weston Ludlow Londonderry … At Homeporterfamilymansion.com.Someone Else’s HouseThrough July 3; geffenplayhouse.org.A Cluster of 17 Casesblasttheory.co.uk. More