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      Some ‘Les Misérables’ Cast Members Plan to Skip Trump Kennedy Center Gala

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      Several members of the “Les Misérables” cast are said to be planning to boycott a gala performance at the Kennedy Center, which President Trump took over as chairman.President Trump is planning to celebrate his takeover of the Kennedy Center by attending a gala fund-raiser for the center in June featuring a performance of “Les Misérables,” one of his favorite musicals.But the president’s night out at the theater is already drawing protests.Several members of the “Les Misérables” cast are planning to boycott the performance, according to a person familiar with the situation who was granted anonymity because the discussions were considered confidential. The cast was given the option not to perform as word spread that Mr. Trump planned to attend, the person said. The boycott was reported earlier by CNN.Richard Grenell, whom Mr. Trump appointed as president of the Kennedy Center, said the center had not heard of any boycott.“Any performer who isn’t professional enough to perform for patrons of all backgrounds, regardless of political affiliation, won’t be welcomed,” he said in a statement. “In fact, we think it would be important to out those vapid and intolerant artists to ensure producers know who they shouldn’t hire — and that the public knows which shows have political litmus tests to sit in the audience.”He added: “The Kennedy Center wants to be a place where people of all political stripes sit next to each other and never ask who someone voted for but instead enjoys a performance together.”The White House did not immediately respond to requests for comment. Bond Theatrical, the agency overseeing the “Les Misérables” tour, issued a brief statement which did not address the question of performers opting out of the gala but said that the show would be performed “throughout our engagement at the Kennedy Center.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Smokey Robinson’s Victory Lap Upended by Allegations of Sexual Assault

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      The Motown legend, 85, was touring to support a new album when he was sued and accused of sexually assaulting four women who had worked as housekeepers for him.At 85, the Motown legend Smokey Robinson was on something of a celebratory tour. With a new album to promote, he shared the stage with Bruce Springsteen last month, performed last week on ABC’s “Jimmy Kimmel Live!” and was in the midst of playing a series of live dates in the United States and the United Kingdom.“I feel wonderful,” he told Entertainment Tonight in a recent interview. “I pray every night before we go on that we can be entertaining and uplifting to the people who are there.”But on Tuesday, Mr. Robinson’s victory lap was upended when four women who had worked as housekeepers for him filed a lawsuit accusing him of sexual assault, claiming in the suit that he abused them dozens of times over many years.The suit, filed in Los Angeles, identifies the women only as Jane Does 1 through 4. They each accuse Mr. Robinson of raping them repeatedly while they were employed cleaning his home in Chatsworth, a neighborhood in Los Angeles, as well as in his other homes in Ventura County, Calif., and Las Vegas.Multiple attempts to reach Mr. Robinson and his lawyers and representatives were unsuccessful on Wednesday. The Daily Mail said it had reached Mr. Robinson by telephone and reported that he had said, “I am appalled.”Mr. Robinson was Motown royalty, writing and performing some of the most beloved hits in the catalog with the Miracles.Don Paulsen/Michael Ochs Archives/Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Liam Payne Left a $32.3 Million Estate and No Will, Reports Say

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      Mr. Payne, a former member of the boy band One Direction, died after falling from a third-story hotel balcony in October.Liam Payne, the former One Direction singer who died last year after falling from a hotel balcony in Buenos Aires, left an estate worth 24.3 million pounds, or $32.3 million, but had not written a will before his death, according to British news outlets.Mr. Payne’s former partner, Cheryl Tweedy, will be an administrator of his wealth and property, the BBC and The Guardian reported on Wednesday. Ms. Tweedy, the mother of his 8-year-old son and a former member of the pop group Girls Aloud, shares oversight of the estate with a music industry lawyer but neither may distribute the wealth, the BBC said.Mr. Payne, 31, died in October, after falling from a third-floor hotel balcony while in Argentina, and a toxicology report found he had cocaine, alcohol and a prescription antidepressant in his system at the time of death. A statement from local prosecutors after the death suggested that it was not a suicide because of the determination that he fell in a state of unconsciousness.After an investigation, Argentine authorities charged three people with negligent homicide. Those charges, against a friend of Mr. Payne’s and two employees at the hotel where he died, were later dropped.A CasaSur Palermo Hotel employee and a local waiter are still accused of supplying narcotics to Mr. Payne in the days leading up to his death. The charge they face carries a sentence of four to 15 years in prison. More

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      Review: English Concert Brings Handel’s ‘Cesare’ to Carnegie

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      The English Concert, under the conductor Harry Bicket, returned to Carnegie Hall with one of Handel’s greatest hits.Less than 48 hours after a new production of “Giulio Cesare in Egitto” ended its run in the Hudson Valley, another “Cesare” took up the throne in New York City.The timing was purely coincidental but not that surprising. Handel composed over 70 music dramas, yet only a handful are still performed regularly, and “Cesare” remains his most popular.Each recent “Cesare,” though, had something distinct to offer its audiences. R.B. Schlather’s staging upstate was fashionably modern, with a liberal approach to the music. The concert performance in New York, presented by the English Concert at Carnegie Hall on Sunday, was made for faithful Baroque-ophiles: no risks, no frills, no excess.Almost every season since 2013, the English Concert, led by its artistic director, Harry Bicket, has brought Handel’s operas and oratorios to New York. This ensemble sets a standard for Handel performance in the 21st century, in large part because of Bicket’s musicality and attention to detail. Like a good wine, this music is savored, not gulped. No interlude is rushed, no aria taken for granted.Operas as concerts can be challenging, especially for a work with a four-hour running time, including two intermissions. Handel benefits from eye candy: flashy garb, elaborate scenery, routines with backup dancers — anything to keep hold of our attention. And yet if it’s not Baroque, don’t fix it. Carnegie was packed on Sunday, perhaps with people who just want good music performed well. The English Concert does that consistently.To write “Cesare,” Handel and the librettist Nicola Francesco Haym drew from fictionalized accounts of the end of Julius Caesar’s civil war. After defeating Pompeo, Cesare follows his rival to Egypt. Cesare intends to grant clemency to Pompeo, who is assassinated anyway at the behest of Tolomeo, the king of Egypt. Personal vengeance, romantic conceit and cunning tomfoolery ensue in narratives that weave among eight characters.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      5 Minutes That Will Make You Love Sonny Rollins

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      Walter Theodore Rollins: the “saxophone colossus.” Jazz’s Prometheus, its Siddhartha and its heavyweight champ. Or, as Nate Chinen once put it in a New York Times review of one of Rollins’s marathon-like concerts, “the great unflagging sovereign of the tenor saxophone.”Growing up in 1940s Harlem, Sonny Rollins idolized swing-era heavyweights like Coleman Hawkins and jump-blues saxophonists like Louis Jordan. But when he heard Charlie Parker and the torrid improvisations of Parker’s bebop revolution, which was overtaking Harlem’s clubs, Rollins’s world changed. “He was going against the grain,” Rollins is quoted saying of Parker in “Saxophone Colossus: The Life and Music of Sonny Rollins,” Aidan Levy’s authoritative biography. “Highly intricate, involved, complicated, intellectual.”Sonny Rollins at the Detroit Jazz Festival in 2012.Jack Vartoogian/Getty ImagesFor Rollins, bebop’s emphasis on physical tenacity and fast-paced intellect became a personal religion. Many of the tunes he wrote have become jazz standards — including some on the list below, like “St. Thomas,” “Oleo” and “Airegin” — but as soon as he composed them, he invariably set about tearing them apart, recasting them, allowing the substance to push against the limits of its own form until it burst, and then to see how that bursting could be multiplied.Sonny Rollins’s sound is as uncapturable as it is memorable, so you’re left with nothing to do except to keep on listening. In the same way that, over his seven-decade career and across more than 60 albums, Rollins wanted nothing more than to simply keep playing. Rollins, who will turn 95 this summer, has not performed publicly since 2012, for health reasons. But he remains indefatigable as a listener. Interviews with him are still liable to veer toward his favorite contemporary saxophonists — some of whom weigh in on the list below.Read on for a ride through Rollins’s catalog, guided by a team of musicians, scholars and critics. Find playlists embedded below, and don’t forget to leave your own favorites in the comments.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Baltimore’s Brandon Woody Channels His Hometown on ‘For the Love of It All’

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      “To get here, it hasn’t been a yellow brick road. Even now, it’s not no damn yellow brick road,” the trumpeter and composer Brandon Woody said on a video call from a Fort Myers, Fla., hotel room. It was mid-March and Woody, 26, was in between tour stops supporting Luther S. Allison. In the weeks leading up to the release of his first album as a bandleader, his eyes glimmered with vigor.The road he spoke of was both metaphorical and literal. Woody has earned a fortunate position among 20-something peers like Allison and the Toronto electro-jazz group BadBadNotGood (with whom he toured this spring). To get there he traveled a serpentine, sometimes-rocky path through institutionalized jazz education that has, for others, been a prerequisite for obtaining a record deal with a grande dame of jazz labels. It took him from Boston to Stockton, Calif. to New York, in search of a breakthrough that he eventually got — in his hometown, Baltimore.“I’m always going to be a little bit jagged around the edges,” he said of his music. “You’re going to hear my struggles, but you’re also going to hear my celebrations and my successes. This is a homegrown thing, and it’s going to stay that.”“I’m always going to be a little bit jagged around the edges,” Woody said.Kyle Myles for The New York TimesOn Friday, Blue Note Records will release “For the Love of It All,” an album he and his Baltimore-based band Upendo (Swahili that translates roughly to “love”) honed not in the studio, but in front of audiences, primarily in his hometown. At club performances over the past half decade, fans would find ways to request songs that had never been recorded and weren’t yet titled. “People would remember the songs and be like, ‘Yo, when are you going to do,’ — and just sing it because they know the melody,” Woody recalled.The multidisciplinary artist and fellow-Baltimore native Nia June helped title some of the tracks that appear on his album. After “telling her about the story line and what the songs meant to me,” he explained, she worked to synthesize the ideas as titles. June, a filmmaker, poet and writer who has worked with Woody extensively since 2020, described the common thread of artists in the city: They are “brave, real and radically vulnerable.” She added, “The people here possess an unnatural resiliency — an unashamed, relentless will to survive. And with style.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Trump’s Kennedy Center Would Get $257 Million in House Republican Plan

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      A House committee proposed a huge increase in federal funding to repair and restore the center, which President Trump took over in February. Democrats have questions.Since leading a stunning takeover of the John F. Kennedy Center for the Performing Arts at the start of his second term, President Trump has repeatedly lamented the building’s condition. He has described the center, which opened in 1971, as in “tremendous disrepair,” and has spoken about the need for a major renovation.Now Republican lawmakers appear to be heeding his call. A House committee approved a budget proposal last week that called for allocating $257 million to the Kennedy Center for capital repairs and other expenses, roughly six times the amount it usually receives from the government. It is a piece of the large reconciliation measure, which Mr. Trump calls his “one big beautiful bill,” that Republicans are writing and hope to push through Congress in the coming months.The House Transportation and Infrastructure Committee, which has jurisdiction over federal buildings, said in a statement Tuesday that the “component of the proposal that provides funding for repairs and maintenance needs at the Kennedy Center was requested by the president.”The White House declined to discuss the specifics of the proposal, which is still working its way through the House as the reconciliation package takes shape.“President Trump cares deeply about American arts and culture, which is why he is revitalizing historic institutions like the Kennedy Center to their former greatness,” Anna Kelly, a White House spokeswoman, said in a statement.The Kennedy Center declined to comment.The center typically gets about $43 million in federal funds, which goes toward operations, maintenance and repairs of the property. That is roughly 16 percent of its $268 million annual budget.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Lulu Roman, Who Brought Big-Hearted Sass to ‘Hee Haw,’ Is Dead at 78

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      Obesity was a source of trauma for her, but also of her comedy, which she showcased, along with gospel singing, on the long-running down-home variety show.Lulu Roman, who brought her big-hearted Texas sass and full-throated gospel vocals to the enduring variety show “Hee Haw,” known for its corn-pone comedy sketches and musical interludes provided by a constellation of country stars, died on April 23 in Bellingham, Wash. She was 78.Her son and caretaker, Damon Roman, said she died of heart failure at his home, where she had been living.Ms. Roman’s broad comedic skills and down-home persona proved a valuable asset to “Hee Haw,” which debuted on CBS in 1969 as a folksy heartland answer to NBC’s “Rowan & Martin’s Laugh-In,” a network take on contemporary mod culture known for its Day-Glo graphics and risqué one-liners delivered at Gatling-gun pace. It was originally a summer replacement for “The Smothers Brothers Comedy Hour,” an even edgier variety show that had run afoul of censors for its pointed takes on race relations, drugs, religion and the Vietnam War.But “Hee Haw” was the opposite of hip, and intentionally so. It was the television equivalent of a big country breakfast, heavy on the cheese grits. And it worked.While the show was initially blasted by critics, its mix of back-40 humor and musical appearances by Johnny Cash, Loretta Lynn and seemingly every other Nashville star propelled it to television institution status. (Although CBS canceled the show in 1971, “Hee Haw” rolled on in syndication, lasting more than a quarter of a century in various iterations.)Ms. Roman, in the foreground, with her “Hee Haw” castmates in an undated photo.Tony Esparza for CBS/TV Guide, via Everett CollectionWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More