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      Thomas J. McCormack Dies at 92; Transformed St. Martin’s Press

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      He turned “an insignificant trade house” into a powerhouse, publishing best sellers like “The Silence of the Lambs” and “All Creatures Great and Small.”Thomas J. McCormack, an iconoclastic chief executive and editor who transformed St. Martin’s Press into a publishing behemoth with best-selling books like “The Silence of the Lambs” and “All Creatures Great and Small” and its own mass-market paperback division, died on Monday at his home in Manhattan. He was 92.The cause was heart failure, his daughter, Jessie McCormack, said.The few props that Mr. McCormack employed from the 18th floor of the Flatiron Building in Manhattan — an ancient adding machine, his cigar and the daily tuna sandwich that substituted for the typically well-lubricated publishers’ lunch — belied a rare fusion of marketing savvy, which enabled him to buy future best-sellers, and editorial scrupulousness, which led him to make good books even better.During his tenure as chairman, chief executive and editor in chief of St. Martin’s, Publishers Weekly called him “one of the great contrarians of publishing, who believed, against the publishing grain, in volume at all costs.”Mr. McCormack, the magazine said, had turned St. Martin’s “from an insignificant trade house on the brink of bankruptcy to a quarter-billion-dollar powerhouse with one of the most extensive lists in the business.”Mr. McCormack in the 1980s. His advice to fellow editors: Do no harm. Their most vital attribute, he said, was sensibility.via McCormack FamilyIn book publishing, where executives have customarily shied from innovation, Sally Richardson, publisher-at-large of Macmillan, St. Martin’s parent company, said of Mr. McCormack in 1997: “He was never afraid to zig when the industry zagged.”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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      BAM Announces Artistic Director and Fall Season Lineup

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      BAM, which has faced cutbacks in recent years, unveiled a reorganization as it announced its Next Wave Festival for the fall.The Brooklyn Academy of Music, a haven for international artists and the avant-garde that has been forced to reduce its programming and lay off workers in recent years, unveiled plans for a reorganization on Thursday as it announced its fall season.The institution said that Amy Cassello, who has been with BAM for more than a decade, would officially become its artistic director, a position she had been holding on an interim basis. And it announced a new strategic plan that calls for programming more works that are still in development, establishing more partnerships with other presenting institutions and hiring a new community-focused “resident curator.”BAM executives said they hoped that the plan would help usher in a new era for the institution after an exceptionally difficult period.Like many nonprofit arts organizations, BAM has struggled financially since the pandemic, and its annual operating budget dropped. It has also been buffeted by leadership churn in recent years after decades of stability in its senior leadership ranks.“I’m feeling really confident about our future,” said Gina Duncan, BAM’s president since 2022. “We were able to gain alignment across all of BAM’s communities and really arrive at a point in which we had a shared understanding of our history and what the future holds for us.”The upcoming Next Wave Festival in the fall will have 11 events, up from eight in 2023, a difficult year when BAM laid off 13 percent of its staff to help fill what officials called a “sizable structural deficit.” But it will still not be as robust as it was in earlier eras, when the festival regularly staged many more programs.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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      ‘Pre-Existing Condition’ Review: Recovering From a Traumatic Relationship

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      Marin Ireland’s play opens with Tatiana Maslany in a rotating cast of stars, and “What Became of Us” continues its own experiment with changing casts.Marin Ireland’s new play, “Pre-Existing Condition,” doesn’t come with trigger warnings; it barely even comes with a marketing description. The show’s website says that it’s about the aftermath of “a life-altering, harmful relationship,” but doesn’t explicitly mention domestic violence.Let’s state right up front, then, that physical abuse is this play’s catalyst. And that the Connelly Theater Upstairs in the East Village is a tiny space, where if the performance became overwhelming it would be difficult for an audience member to leave unobtrusively.Does it seem overly delicate to foreground that? For a less potent playwriting debut, in a less shattering production, it might not be necessary. But in Maria Dizzia’s quietly unadorned staging, and with a superb four-person cast that at the moment stars an emotionally translucent Tatiana Maslany, watching this play is like seeing its author open up her rib cage and show us everything.The central character, whom the script calls A, is struggling to put herself back together after a breakup with a man who hit her. The trauma has been consuming her, against her will and for longer than she would have thought.“I feel like I’m becoming the villain,” A tells her therapist. “I’m becoming this obsessive vengeful figure, because he said he’s sorry, so I’m the problem now.”The therapist (a sublimely comforting Dael Orlandersmith) points out, “His voice is still in your head.”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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      Elinor Fuchs, Leading Scholar of Experimental Theater, Dies at 91

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      First as a journalist and later as a professor at Yale, she provided the intellectual tools to help actors, directors and audiences understand challenging work.Elinor Fuchs, whose impassioned insights into contemporary theater — first as a critic prowling the avant-garde scene in New York, and later as a professor at Yale — made her one of the leading scholars of the modern American stage, died on May 28 at her home in the West Village of Manhattan. She was 91.Her daughter Katherine Eban said the cause was complications of Lewy body dementia.Professor Fuchs specialized in dramaturgy, or the construction of a play, including its dramatic structure, its characters’ motivations and technical issues about set design and lighting.In conventional times, dramaturgy can seem to be an arcane, even slightly stuffy field. But in Professor Fuchs’s hands, it became a vital tool for examining the revolutionary new forms of theater emerging in the 1960s and ’70s, forms that complicated — or dismissed entirely — conventional notions about character, dramatic arc and authorial intention.Unlike many other theater scholars, Professor Fuchs first came at these questions from a journalistic point of view. After attempting a career as an actor and writing a play, she turned to freelance theater criticism for what was then a bountiful crop of alternative weeklies around Manhattan, including The Village Voice and The SoHo Weekly News.She found herself drawn to challenging works like “Leave It to Beaver Is Dead,” a 1979 play at the Public Theater that included a full-length rock concert as a third act. The New York Times panned it, and it soon closed.But Professor Fuchs loved it, recognizing the play and other experimental fare as not just a new take on theater but also a whole new, postmodern cultural sensibility — even though at first she struggled to explain it.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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      Ian McKellen Is in ‘Good Spirits’ After Falling Off the Stage During a Play

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      The English actor was injured during a performance of “Player Kings,” and the show was abruptly canceled. He is expected to perform again on Wednesday.The actor Ian McKellen was hospitalized but expected to recover quickly after falling off the stage during a performance of “Player Kings” at a theater in the West End in London on Monday night, the producers of the play said.After a scan, doctors at Britain’s National Health Service said that McKellen would “make a speedy and full recovery, and Ian is in good spirits,” according to a statement by the producers.In a statement provided by his publicist on Tuesday, McKellen thanked the N.H.S. professionals who treated him. “To them, of course, I am hugely indebted. They have assured me that my recovery will be complete and speedy and I am looking forward to returning to work,” he said.McKellen, 85, who has been nominated for two Academy Awards and has won a Tony, a Golden Globe and multiple Olivier Awards, is starring in the play, an adaptation of William Shakespeare’s two “Henry IV” plays, directed by Robert Icke. McKellen plays John Falstaff, a fictional character who appears in three Shakespeare plays. The fall took place during a battle scene, according to Aleks Phillips, a BBC journalist who was in the audience on Monday night and described what he saw in an article. “It happened so quickly that at first it appeared to be part of the performance,” Phillips wrote. “But the actor cried out and staff rushed to help.”After the fall, the performance was canceled and the audience left the theater. Tuesday night’s show was also canceled, the producers said, but McKellen was expected to return to the stage for a matinee performance on Wednesday. McKellen has often returned to the stage for Shakespeare plays throughout his six-decade career, including in recent years as King Lear and as an octogenarian Hamlet. He is also a fixture of the silver screen, including his roles as Gandalf in the “Lord of the Rings” and “Hobbit” movies, as well as Magneto in the “X-Men” series.“Player Kings” is in its final week and runs at the Noël Coward Theater through Sunday. More

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      Meet The Sisters Who Turned “Merrily We Roll Along” Into a Tony Winner

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      Maria and Sonia Friedman discussed their long history with “Merrily We Roll Along,” after a bittersweet Tony Awards.The Friedman sisters have been making art together since they were little girls. Their London childhood was chaotic — they were often left to their own devices — but the family’s four children found solace in storytelling.Now Sonia, 59, is one of the most successful theater producers in the English-speaking world. Maria, 64, is a celebrated actress and singer. Their sister is a scientist, and their brother, who died last year, was a violinist.Sonia and Maria have occasionally worked together over the years, but rarely with as much emotional investment as on the current Broadway revival of “Merrily We Roll Along,” which Maria is directing and Sonia is producing. The revival has been transformative for the show, which, despite much-loved songs by Stephen Sondheim, was a famous flop when it first ran in 1981, and is now one of the hottest tickets in town.On Sunday night the Friedman sisters’ production won a Tony Award for best musical revival, as well as acting prizes for two of its stars, Daniel Radcliffe and Jonathan Groff, and another for its orchestrations. It did not, however, win for Maria’s direction, which made their evening bittersweet.“My heart went into 2,000 pieces,” said Sonia Friedman, who has a shelf full of Tony Awards, but just wanted recognition for her sister. She said she had to step out of the theater to collect herself. “The little sister in me was in agony for an older sister who’s only ever held me and supported me.”“Winning the Tony was fantastic, for Steve and for the legacy,” Maria Friedman said, but added that losing out on the best director award “was painful.”Sara Krulwich/The New York TimesWe 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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      Huey Lewis Musical to Close on Broadway as New Shows Struggle

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      “The Heart of Rock and Roll” is the first new Broadway musical to announce a closing plan following Sunday’s Tony Awards.“The Heart of Rock and Roll,” a new jukebox musical powered by the songs of Huey Lewis and the News, will close on Broadway on Sunday.The show is the second to announce plans to close in the wake of this year’s Tony nominations, joining “Lempicka” on the list of productions that could not find an audience during this jam-packed spring. “The Heart of Rock and Roll” opened on April 22 to better-than-expected reviews, but picked up zero Tony nominations. The show will have played 24 previews and 72 performances.During a very crowded period on Broadway, the show was unable to break through: It grossed $272,051 in the week ending June 9, which is not nearly enough to cover the running costs of a full-size Broadway musical.“The Heart of Rock and Roll” is a freewheeling romantic comedy about a young man (played by Corey Cott) working at a Milwaukee cardboard factory but feeling the tug of his old band and developing a crush on the boss’s daughter (McKenzie Kurtz). The show, directed by Gordon Greenberg, features a witty book by Jonathan A. Abrams and even wittier choreography by Lorin Latarro; there was a pre-Broadway production at the Old Globe in San Diego in 2018.The musical, playing at the James Earl Jones Theater, features multiple Huey Lewis and the News hits, including “The Power of Love” and “Do You Believe in Love” as well as the title song. Huey Lewis, now 73, remains a nostalgic favorite for fans of 1980s culture, and he threw himself into promoting the show.The lead producers are Hunter Arnold, Tyler Mitchell and Kayla Greenspan; it was capitalized for up to $19 million, according to a filing with the Securities Exchange Commission, and that money has not been recouped.The closing comes at a challenging time for Broadway, where production costs have risen and attendance has fallen since the coronavirus pandemic. There are now 32 shows running on Broadway, and many of them are losing money each week. More

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      How to Make Thrilling Theater About Climate Change Negotiations

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      A new play from the writers of “The Jungle” dramatizes the 1997 Kyoto Protocol, a landmark climate agreement preceded by years of arguments over its wording.When the playwrights Joe Murphy and Joe Robertson were looking for ideas for a new production, they stumbled upon a radio show about the negotiations that led to the 1997 Kyoto Protocol.Some parts of the show, Robertson recalled in a recent interview, made the culmination of those discussions about lowering global carbon emissions sound “like a thriller,” with politicians holding talks in locked rooms and exhausted negotiators falling asleep beneath their desks.The pair thought that the landmark climate agreement could be the basis for another impactful stage production, similar to “The Jungle,” their hit about a refugee encampment in northern France. The problem was that the negotiations had dragged on for years before the agreement was reached in Kyoto in December 1997 — and that process was at times far from exciting. Most of the action involved representatives from different countries arguing over the language, and even punctuation, they wanted in the protocol.Climate negotiations “are so bloody boring in one sense,” Robertson said. “The challenge,” he added, “was, ‘How do we do take them, put it onstage and make it dramatic?’”Raul Estrada-Oyuela, left, the negotiations’ chairman, and Hiroshi Oki of Japan’s Environmental Agency shook hands as the Kyoto Protocol was adopted in 1997.The Asahi Shimbun, via Getty ImagesThe playwrights’ answer to that question is “Kyoto,” directed by Stephen Daldry and Justin Martin, and running at the Royal Shakespeare Company’s Swan Theater in Stratford-upon-Avon, England, from Tuesday through July 13.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