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      Alex Newell Finds Inspiration in Whitney Houston, Billy Porter and ‘Dreamgirls’

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      The “Zoey’s Extraordinary Playlist” star talked about the performers he recognizes himself in, coming full circle with Mariah Carey and his signature banana pudding.It’s the line repeated every awards season — that it’s an honor just to be nominated.But Alex Newell sounded pretty convincing last month as he discussed his Critics Choice nomination for “Zoey’s Extraordinary Playlist,” which returns to NBC on March 28.“I was like a toddler seeing Christmas for the very first time,” he said of his best supporting actor recognition for Mo, the self-embracing, gender nonconforming building manager whose serious pipes reverberate through Zoey’s apartment wall. And sometimes in her head.“When you’re in front of the camera, you don’t get instant gratification like you do on a stage, where you can control how the audience feels,” Newell, 28, said. “You just have to hope that what you’re doing is brilliant and resonates and makes somebody feel something.”Alas, Newell didn’t win. But he has been making people feel a sweeping range of emotions since his performance on the reality competition show “The Glee Project” led to a guest spot that morphed into a recurring role (and for a season, a main cast credit) on “Glee” as Wade/Unique Adams, a transgender teen.But by his early 20s, Newell had determined that life in Hollywood “was going to be just about my appearance,” he said. So he moved to New York in search of greater acceptance and not long after raised the roof in his Broadway debut as Asaka in the revival of “Once on This Island.” Jesse Green, the chief theater critic of The New York Times, proclaimed him “ferocious.”Newell has since found a support system among his idols — some of whom, like Billy Porter and Tituss Burgess, grace his list of cultural essentials, which he elaborated on in a call from Vancouver, where “Zoey’s” is shot. These are edited excerpts from the conversation.1. Whitney Houston She was my all-time icon. She is the voice of a generation and those to come after her. She is a hot topic right now in my friend group with how we idealized the Fairy Godmother [in “Cinderella”] for so long. Her take on that role with such beauty and grace and vocal prowess was just wonderful. Even having that behind-the-scenes moment of her nurturing a talent like Brandy, when she was so young, was just everything that I strive to be for the generation coming after me as well.2. “The Preacher’s Wife” That movie was such a staple in my household — with my mom and my dad and I watching for as long as I can remember — every holiday season. Seeing the Black church in such a palpable way, and the hardships of keeping a small church open in tough times. Also, my love of gospel and the Georgia Mass Choir that Whitney was singing with was amazing. I remember listening to them every Sunday with my dad as he was driving the church van. I lost him when I was six, and that heart of the memory is still topical with who I am.3. “Dreamgirls” I am talking about the good old Broadway version with Jennifer Holliday, Loretta Devine, Sheryl Lee Ralph and Cleavant Derricks. I first discovered that musical right around the time that they were announcing the movie, and it really shaped who I am today. We all know the Supremes story that the musical is loosely based on. But when I read the synopsis and listened to the music, Effie White rang true to who I am. You see this beautiful Black woman who was passed over because she was not as thin or as commercial as her friend who she grew up with. And I’ve gotten passed over for a lot of things because I’m not as thin or not as commercial. I’ve had people tell me that I was too big to play a role. I’ve been cut out of scenes in musicals because I didn’t fit the costume plot. And it does take a toll on you. You do get very angry and jaded and spiteful because you see all of your own self-worth, but nobody else is seeing it. And then you feel that everybody’s turning on you. It’s one of those things that I watched in Effie — how you have to jump over the mental hurdle of that and find solace in yourself and the beauty in life.4. Family Cookouts I loved family cookouts because it was when I got to see everybody for a good amount of time. To see family and to have so much food and laughter and love and joy around, even if it were just for one day — even the drama of it all — was always something fun to do to reset the year.5. “The Watsons Go to Birmingham — 1963” by Christopher Paul Curtis I remember reading the book as a kid and just being so intrigued by it. My mother is from Birmingham, and she was a child around the time that the book took place. In reality, she was at a church down the street from the church that was bombed on that Sunday. And to think that that could have been her church, or that I personally couldn’t have been here had anything happened to her, is something that as an adult rings so much truer.6. “Charmbracelet” by Mariah Carey The first album that I bought with my own money. Don’t ask me why it was that one, but I played that CD until I lost it. I think my mother took the CD and broke it. I still hold in the back of my mind that I sang Mariah Carey to Mariah Carey. I sang “Hero.” I don’t tell people because I hated the performance. But my mother has a picture of me and Mariah Carey after with her with this big smile and me being me. It was the whole full-circle moment.7. Banana Pudding It’s this random connection that me and my mom have. Any time there’s a function where food will be made, banana pudding is what people ask both of us to make. I remember my mother making banana pudding from actual scratch in the kitchen, and I’d be like, “I don’t have the time to sit here and stir the pot for 20, 30 minutes while it’s on the stove.” If I told anybody I wouldn’t be famous anymore, but mine is the same exact recipe.8. Billy Porter and 9. Tituss Burgess I remember when I heard Billy Porter’s voice eons ago when Billy was in “Grease” as Teen Angel, singing “Beauty School Dropout.” And I was first introduced to Tituss Burgess when he was doing “The Little Mermaid” on Broadway as Sebastian. The first time that you see someone that sounds like you and reminds you so much of who you are, you obsess and fawn over them and you learn how they sing and how they perform and how they act. And when you meet them and they’re all that you could have wanted and still human at the end of the day — and they lift you up and praise you — I say, “Thank you.” It’s just this mutual respect. I appreciate and adore both of them so much. They keep me wanting to strive for more daily.10. Nell Carter My mother cultured me a lot by putting me in front of the television and letting me watch all of these old shows that she grew up with, countless hours of PBS performances. And I remember the replay of “Ain’t Misbehavin’,” which I had seen at my local theater a couple of years prior. Seeing this plus-size woman being phenomenally talented at singing and how light on her feet she was and her acting beats and the chops that she had. And how she could hold an entire audience in the palm of her hand with such confidence and control. And how she was just so self-aware of her body and who she was. The love that you could see that she had for herself was amazing. More

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      Yaphet Kotto, James Bond Villain and ‘Alien’ Star, Dies at 81

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      AdvertisementContinue reading the main storySupported byContinue reading the main storyYaphet Kotto, Bond Villain and ‘Alien’ Star, Dies at 81The actor, who descended from Cameroonian royalty, was known for his roles in movies like “Midnight Run” and the TV show “Homicide: Life on the Street.”Sigourney Weaver and Yaphet Kotto in “Alien.”Credit…20th Century Fox, via Associated PressMarch 16, 2021, 4:47 a.m. ETYaphet Kotto, an imposing actor who descended from African royalty and was known for playing tough characters in a roster of films like “Alien” and “Midnight Run,” died on Monday near Manila in the Philippines. He was 81.His death was confirmed on Tuesday by his agent, Ryan Goldhar. His wife, Thessa Sinahon, announced it in a Facebook post. No other details were immediately available.Mr. Kotto, who said he came from Cameroonian royalty on his father’s side, began studying acting at 16 at the Actors Mobile Theater Studio, according to Variety, and by 19 he had made his professional theater debut in “Othello.”He often played police officers, criminals and other hardened personalities onscreen. He received a Primetime Emmy Award nomination for his portrayal of President Idi Amin, the murderous Ugandan strongman, in the 1976 television movie “Raid on Entebbe.”He also starred as a police lieutenant in the 1990s-era TV hit “Homicide: Life on the Street,” an ex-convict in the 1978 film “Blue Collar” and a prison guard in “Brubaker,” a 1980 movie about a prison farm also starring Robert Redford.Mr. Kotto as Lt. Al Giardello in “Homicide: Life on the Street.”Credit…James Sorensen/NBCUniversal, via Getty ImagesHe even played a pair of Bond villains in the 1973 film “Live and Let Die”: both a corrupt Caribbean dictator and that character’s alter ago, a drug trafficker named Mr. Big.In 1993, Mr. Kotto, who stood 6-foot-3, told The Baltimore Sun that such roles presented a distorted image of what he was really like.“I want to try to play a much more sensitive man. A family man,” he told the newspaper. “There is an aspect of Black people’s lives that is not running or jumping.”Yaphet Frederick Kotto was born on Nov. 15, 1939, in Harlem and grew up in the Bronx. His father was Cameroonian royalty, The Baltimore Sun reported. His mother was of Panamanian and West Indian descent. The couple separated when Mr. Kotto was a child, and he was raised by his maternal grandparents.Mr. Kotto in the 1973 James Bond film “Live and Let Die.”Credit…MGM/UA Entertainment Mr. Kotto married three times; he and Ms. Sinahon, who is from the Philippines, wed in Baltimore in 1998.Mr. Kotto had six children. Information on his survivors was not immediately available.One of Mr. Kotto’s first parts was a supporting role in the 1964 film “Nothing but a Man,” about a Black couple who face discrimination in the Deep South. He would go on to have more than 90 other acting credits, in film, in television and on Broadway.Notably, he played Parker, an engineer tasked with repairing a spaceship in “Alien,” the 1979 blockbuster from Ridley Scott.In the 1988 action-comedy “Midnight Run,” co-starring Robert De Niro and Charles Grodin, he played the F.B.I. agent Alonzo Mosely, whose stolen ID becomes fodder for a running joke. And in “The Running Man,” a dystopian 1987 thriller set in what was then the near future (2019), Mr. Kotto played a resistance fighter alongside Arnold Schwarzenegger in a fascist version of America.AdvertisementContinue reading the main story More

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      Riz Ahmed and Steven Yeun Make History at the 2021 Oscar Nominations

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      #masthead-section-label, #masthead-bar-one { display: none }Awards SeasonOscar Nominations HighlightsNominees ListSnubs and SurprisesBest Director NomineesStream the NomineesAdvertisementContinue reading the main storySupported byContinue reading the main storyRiz Ahmed and Steven Yeun Make History at the 2021 Oscar NominationsFor the first time, two men of Asian heritage are up for best actor. Their films, “Sound of Metal” and “Minari,” are also up for best picture.March 15, 2021Updated 5:19 p.m. ETRiz Ahmed in “Sound of Metal.”Credit…Amazon Studios, via Associated PressSteven Yeun in “Minari.”Credit…David Bornfriend/A24, via Associated PressIt’s been nearly 20 years since a man of Asian heritage notched a best actor nomination from the Academy of Motion Picture Arts and Sciences.But this year, for the first time in the 93-year history of the Academy Awards, there are two: Steven Yeun (“Minari”), who was born in South Korea and raised in the United States, and Riz Ahmed (“Sound of Metal”), who is a Briton of Pakistani descent. Both Ahmed and Yeun are first-time nominees.Their inclusion is especially notable because despite a spate of Asian-led films in recent years, including last year’s best picture winner, “Parasite,” the academy had failed to recognize the performers.Just two actors of Asian heritage have ever been nominated in the category: The Russian-born Yul Brynner (“The King and I”), and Ben Kingsley (“Gandhi,” “House of Sand and Fog”), whose father is Indian. Brynner and Kingsley each won the award once.Yeun and Ahmed have some tough competition: The other three nominees this year are Chadwick Boseman (“Ma Rainey’s Black Bottom”), who won a posthumous Golden Globe for best actor in a drama, Anthony Hopkins (“The Father”) and Gary Oldman (“Mank”).The New York Times’s co-chief film critic A.O. Scott called Yeun’s performance in “Minari,” as a Korean immigrant father who moves his family to the Ozarks, “effortlessly magnetic.” Scott praised his proclivity for finding “the cracks in the character’s carefully cultivated reserve, the large, unsettled emotions behind the facade of stoicism.”Ahmed won acclaim for his performance as a drummer who loses his hearing in “Sound of Metal,” which the Times critic Jeannette Catsoulis praised for its “extraordinarily intricate” sound design. She singled out Ahmed for his “tweaking urgency that’s poignantly credible — he’s a study in distress.”Even though only four men of Asian heritage have ever been nominated for best actor, the situation is far more bleak in the best actress category, where only one woman of Asian heritage has ever been nominated (Merle Oberon for the 1935 drama “The Dark Angel”), and none has won.AdvertisementContinue reading the main story More

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      Viola Davis and Andra Day Are Up for Best Actress at the Oscars

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      #masthead-section-label, #masthead-bar-one { display: none }Awards SeasonOscar Nominations HighlightsNominees ListSnubs and SurprisesBest Director NomineesStream the NomineesAdvertisementContinue reading the main storySupported byContinue reading the main storyOscar Nominations 2021: Two Black Women Are Up for Best ActressAndra Day and Viola Davis are the category’s first pair of Black nominees since 1973, when Diana Ross was nominated for “Lady Sings the Blues” and Cicely Tyson was up for “Sounder.”Andra Day, left, as Billie Holiday, and Viola Davis as Ma Rainey. It’s been nearly 50 years since two Black stars competed for best actress in the same year.March 15, 2021Updated 5:03 p.m. ETAndra Day was just the second Black woman to win best actress in a drama at the Golden Globes.Now, she’s part of another milestone: For the first time in nearly 50 years, two Black women are up for best actress in the same year.Day, who plays the iconic singer Billie Holiday in the Hulu biopic “The United States vs. Billie Holiday,” and Viola Davis, who plays another pioneering singer in “Ma Rainey’s Black Bottom,” are the first pair of Black actresses to be nominated since Diana Ross (“Lady Sings the Blues”) and Cicely Tyson (“Sounder”) faced off in 1973.And, in a twist of fate, Day is nominated for the same role that Ross played. Though, she’s probably hoping for better luck: Ross lost the 1973 race to Liza Minnelli, who won for her performance as Sally Bowles in “Cabaret.”Day told Variety in January that she took an immersive approach to her character, including losing nearly 40 pounds and taking up drinking and smoking cigarettes. “I just asked God to give me all of the pain and trauma,” she said. It was her first acting role in a major film.Though “The United States vs. Billie Holiday” received mixed reviews, Day garnered critical acclaim for what The New York Times co-chief film critic A.O. Scott called her “canny and charismatic” performance. Her voice, he wrote, “has some of Holiday’s signature breathy rasp and delicate lilt, and suggests her ability to move from whimsy to anguish and back in the space of a phrase.”This is Davis’s fourth nomination (she won best supporting actress in 2017 for her role in “Fences”). In “Ma Rainey,” she plays blues singer Ma Rainey alongside Chadwick Boseman’s trumpeter, Levee, in what was the late actor’s final film role before he died of colon cancer in August.“Davis brilliantly portrays both the vulnerable position and indomitable spirit of this sturdy figure,” Mark Kermode wrote in The Guardian in December, “with fiery eyes shining through the dark shadows and battered rouge of her makeup, proudly standing her ground.”Day and Davis will go up against Vanessa Kirby (“Pieces of a Woman”), Frances McDormand (“Nomadland”) and Carey Mulligan (“Promising Young Woman”).In the more than 90 years the awards have been handed out, there has been only a single Black best actress winner — Halle Berry for “Monster’s Ball” in 2001.“It’s one of my biggest heartbreaks,” she told Variety last year. “The morning after, I thought, ‘Wow, I was chosen to open a door.’ And then, to have no one … I question, ‘Was that an important moment, or was it just an important moment for me?’”AdvertisementContinue reading the main story More

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      Dench, Smith, McKellen, Jacobi: On a Vanishing Era of Theater Greats

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      AdvertisementContinue reading the main storySupported byContinue reading the main storyCritic’s NotebookDench, Smith, McKellen, Jacobi: On a Vanishing Era of Theater GreatsWith British venues closed and years advancing, there’s even less time to see some of the finest actors in their 80s onstage.From left: Maggie Smith attending the 65th Evening Standard Theater Awards at the London Coliseum in November 2019; Derek Jacobi and Judi Dench at the world premiere of “Murder on the Orient Express” in London in November 2017; and Ian McKellen at the Evening Standard awards in 2018.Credit…Ian West/Press Association, via AP Images; Rune Hellestad/Corbis, via Getty Images; Associated PressMarch 11, 2021, 3:53 a.m. ETLONDON — I’ll say this for the pandemic: It’s brought acting talent together — and into your living room — in ways that might not have seemed possible previously. That sense was probably shared by many on a Sunday night in November when Ian McKellen, Derek Jacobi, Maggie Smith and Judi Dench participated in a Zoom event titled “One Knight Only,” which was facilitated by another, younger member of Britain’s acting nobility, Kenneth Branagh.There, sharing a single screen, were four octogenarians — each a knight or a dame and a winner of Tony and Olivier Awards and heaven knows how many other accolades. Gathered for an online conversation in aid of charity, the quartet embodied a lifelong devotion to the theater that has found time for screen renown as well. The realization that the pandemic and advancing age have significantly reduced the already scarce opportunities to see these actors onstage again gave the occasion an underlying piquancy.How glorious, then, to clock their interplay, McKellen taking the reins as a raconteur, with a puckish Jacobi, nattily dressed, not far behind. Dench leaned into the screen as if Zoom were some inconvenience keeping her from sharing an actual space with friends, while Smith, notably more reticent, seemed to pull back from her screen. The conversation ranged from life during lockdown (McKellen has been painting) to their attitude toward critics and on to embarrassing onstage moments and roles they might like to play now. “Anything,” Dench said. “I would be pleased to be cast in anything.”All four belong to a tradition in British acting where theater was what you did and anything else was a happy add-on. Smith, alone among them, won the first of two Oscars (for “The Prime of Miss Jean Brodie”) when still in her 30s, while the others took far longer to become known overseas the way they had long been at home. Whether in college and drama school or covering the expanse of Britain’s once-storied network of regional theaters, these players cut their teeth on theater and waited for the screen to recognize the gifts already well known to live audiences. (More than once I have taken a seat aboard a trans-Atlantic flight only to find a smiling McKellen on video, advising me on in-flight protocol.)Whether as Gandalf, the stammering Roman ruler Claudius or the tart-tongued Dowager Countess in “Downton Abbey,” McKellen, Jacobi and Smith, respectively, boast screen roles with which they will forever be associated, especially for those who haven’t seen them chart a course across the classics, and many a new play as well, onstage. (Smith’s Professor McGonagall in the “Harry Potter” movies found her a following among preteens, too.) More people probably saw Dench’s inimitably brisk M during just one of the weekends her seven Bond films were in cinemas (she also made a cameo in an eighth) than saw her onstage during a theater career spanning 60 years and counting.Judi Dench, left, and Maggie Smith in the 1985 film “A Room With a View.”Credit…Cinecon, via Everett CollectionDench and Smith in David Hare’s play “The Breath of Life” in 2002.Credit…Geraint Lewis, via AlamyIan McKellen as Freddie and Derek Jacobi as Stuart in the British television series “Vicious” in 2018.Credit…via ShutterstockThe joy of hearing their reminiscences came with an appreciation of how often these actors’ lives and work have overlapped: Think of them as a continuing Venn diagram from the start. McKellen and Jacobi acted together as students at Cambridge, where McKellen has spoken of harboring a crush on his classmate. The pair reunited a half-century later as the waspish elderly couple in the British sitcom “Vicious.” Jacobi and Smith were integral to the early glory days of the National Theater under Laurence Olivier, and McKellen and Dench played the Macbeths for the Royal Shakespeare Company in a 1976 production that exists on disc and is still spoken of in reverential tones.Dench and Smith, longtime friends, have appeared several times together onscreen, in “Tea With Mussolini” and “A Room with a View” among other titles, and in 2002 made up the entire cast of the David Hare play “The Breath of Life.”Surely, there are plenty of younger actors who are no less committed to the stage, and as we saw at this year’s Golden Globe awards, there’s a direct path in Britain from theater training to screen acclaim. Jude Law is a star who loves the theater, as are Benedict Cumberbatch (TV’s “Sherlock”) and George Mackay (the fast-ascending leading man from “1917”).The difference has to do with career paths that no longer require, or even suggest, the lengthy apprenticeship in Britain’s flagship subsidized theaters — the RSC and the National — that gave these senior practitioners an established perch early on. An actor nowadays may do a play or two only to be siphoned away to TV and film. Some return a fair amount (Matt Smith, a former and popular Doctor Who, is one example), whereas others vanish from in-person view: When’s the last time you could see Colin Firth in a play? Not since 1999, when he starred in Richard Greenberg’s “Three Days of Rain” at the Donmar Warehouse here.From left, Maggie Smith, Joan Plowright, Eileen Atkins and Judi Dench in “Tea With the Dames,” a 2018 documentary directed by Roger Michell.Credit…Mark Johnson/IFC FilmsIan McKellen in his one-man show “Ian McKellen on Stage: With Tolkien, Shakespeare, Others … and You” in New York in 2019.Credit…Jeenah Moon for The New York TimesBy contrast, McKellen even now is visibly rejuvenated whenever he takes to the boards. In 2019, he toured a physically demanding one-man show the length and breadth of Britain (and for one night in New York) to mark his 80th birthday, and he has begun work on an age-inappropriate stage production of “Hamlet” that was put on hold by the coronavirus. Attending a Sunday matinee of the solo show, I was especially moved by his presence directly afterward in the lobby of the theater. Energy undimmed, he seemed ready to engage his public in chat well into the night.That same year found Smith onstage for the first time in 12 years not in the more-anticipated realms, perhaps, of Wilde or Coward but going it alone as Goebbels’s secretary, Brunhilde Pomsel, in “A German Life,” a bravura solo performance that by rights should travel to New York. (The plan now is to adapt the play into a film.) Dench has spoken candidly of her waning eyesight due to macular degeneration and her desire to nonetheless carry on acting. How exciting it would be to see her once again on a London stage, perhaps as the agelessly witty and worldly grandmother in “A Little Night Music,” a musical in which she once played that same character’s daughter, Desiree.Dench and Smith were part of a separate, scarcely less distinguished quartet when they joined Eileen Atkins and Joan Plowright in “Tea With the Dames” (called “Nothing Like a Dame” in Britain), a lovely documentary that was aired in the United States in 2018 and lets the camera roll as the four great ladies of the stage take stock, gossip and reflect. To see this generation of talent in any iteration is to applaud their longevity while pausing to note the inevitable passing of a collective kinship with the stage that will live on well after it’s no longer possible to enjoy their talents in person.AdvertisementContinue reading the main story More

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      The Virus Cost Performers Their Work, Then Their Health Coverage

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      #masthead-section-label, #masthead-bar-one { display: none }At HomeFall in Love: With TenorsConsider: Miniature GroceriesSpend 24 Hours: With Andra DayGet: A Wildlife CameraAdvertisementContinue reading the main storySupported byContinue reading the main storyThe Virus Cost Performers Their Work, Then Their Health CoverageAs the entertainment industry collapsed during the pandemic, several major health plans made it harder to qualify for insurance. Thousands lost it.“You never think it’s going to be you,” said Robbie Fairchild, a star of ballet, Broadway and film who was one of many performers to lose their health coverage amid the pandemic. He started a flower company when live performances were halted.Credit…Amr Alfiky/The New York TimesMatt Stevens and March 9, 2021Updated 5:20 p.m. ETEllyn Marie Marsh was getting ready to appear in a new off-Broadway musical last year when the pandemic struck, theaters were shut and her work evaporated.Those months of lost wages carried another cost that only became clear much later: She did not get enough work to qualify to keep the health insurance she had been getting as a member of Actors’ Equity.She is far from alone. Haley Bennett was working as an associate music director on “Diana,” a musical that was in previews, when Broadway shut down. She became one of the hundreds of musicians in the New York area who are losing the insurance they received as members of Local 802 of the American Federation of Musicians.And in Los Angeles, Brad Schmidt, a television and film actor who was hospitalized with Covid-19 early in the pandemic, did not get enough work after he recovered to keep the insurance he had been getting through his union, SAG-AFTRA. He said that while he still did not feel fully himself, he had been skipping follow-up doctor visits because under his new insurance plan, he simply cannot afford them.“My lungs were shutting down,” he said. “Clearly I should go in and see how my lungs are now. And I will, hopefully, God willing, at some point. I just can’t do it right now.”Across the nation thousands of actors, musicians, dancers and other entertainment industry workers are losing their health insurance or being saddled with higher costs in the midst of a global health crisis. Some were simply unable to work enough hours last year to qualify for coverage. But others were in plans that made it harder to qualify for coverage as they struggled to remain solvent as the collapse of the entertainment industry led to a steep drop in the employer contributions they rely on.“To be dropped like this for my health insurance just feels like such a slap in the face,” said Mr. Fairchild, a former New York City Ballet dancer who starred in “An American in Paris” on Broadway. He appeared in 2019 at the Joyce Theater.Credit…Andrea Mohin/The New York TimesThe insurance woes compounded a year when performers faced record unemployment. Several provisions in President Biden’s $1.9 trillion coronavirus relief plan, which passed the Senate on Saturday and is expected to pass the House on Wednesday, offer the promise of relief. One would make it a lot cheaper for people to take advantage of the federal government program known as COBRA, which allows people to continue to buy the health coverage they have lost, and another would lower the cost of buying coverage on government exchanges.Many of the more than two dozen performers interviewed by The New York Times said that they felt abandoned for much of the year — both by their unions and by what many described as America’s broken health care system. Some are angry.“You never think it’s going to be you,” said Robbie Fairchild, a former dancer at New York City Ballet who was nominated for a Tony Award in 2015 for his star turn in “An American in Paris” on Broadway and later appeared in the film adaptation of “Cats.”“To be dropped like this for my health insurance,” said Mr. Fairchild, who started a flower company during the pandemic as a creative outlet and to try to stay financially afloat, “just feels like such a slap in the face.”As unemployment soared last year, millions of Americans lost their job-based health coverage. Unlike other workers who simply sign up for a health plan when they start a new job, the people who power film, television and theater often work on multiple shows for many different employers, cobbling together enough hours, days and earnings until they reach the threshold that qualifies them for health insurance. Even as work grew scarce last year, several plans raised that threshold.“I’m 42 years old and I just feel like I should be able to take care of myself,” said Matt Wilkas, an actor who has starred on Broadway but fell short of the earnings he needed for health coverage in 2021. “I just want to be an adult. And instead I feel that devastating feeling you have when you’re not where you want to be in life.”The Equity-League Health Fund, which is run by trustees appointed by both representatives of the Actors’ Equity union and producers, cited the financial strain caused by the shutdown of the theater industry when it raised the number of weeks of work needed to qualify for coverage.Many lost it: While 6,555 actors and stage managers were enrolled in the plan at the end of 2019, officials said that fewer than 4,000 were still covered at the end of last month, and that the number is expected to drop further.Making it harder to qualify for health insurance during the pandemic is “insane,” said Tyler Hardwick, an actor who stands to lose his coverage in July.Credit…Amr Alfiky/The New York TimesTyler Hardwick, an actor who was on the national tour of “Once on This Island” when the pandemic shut down the show last March, was told he would lose his insurance in July. Acting is already one of the “hardest industries in the world to be successful and consistent at,” he noted. Increasing the number of weeks actors must work to qualify for insurance in this climate, he said, is “insane.”“I know how the medical system treated me when I had pretty good health insurance,” Mr. Hardwick said, recalling the expenses he incurred after a rollerblading accident when he had coverage. “How am I going to be treated with a health insurance that I’ve never had before, that I don’t know how it works?”Many performers could not get enough work last year to qualify for coverage: Mr. Hardwick was on a national tour of “Once on This Island” when the pandemic closed the show.Credit…Joan MarcusOthers will be able to keep their coverage, but will have to pay more. James Brown III, who appeared in “Harry Potter and the Cursed Child,” said that his quarterly premium had spiked to $300 from $100.“When you’re only really making unemployment, $300 quarterly is kind of a big deal,” Mr. Brown said.Musicians are struggling, too. Officials at Local 802 of the American Federation of Musicians, the New York local that is the largest in the nation, estimate that when changes to its plan take effect this month, roughly one in three musicians will have lost coverage: It will have shed more than 570 of the roughly 1,500 people who had been enrolled a year earlier.“Nothing has kept me up at night more and weighed on me more heavily than the health care question,” said Adam Krauthamer, the president of Local 802 and a trustee co-chair of the union’s health fund.Perhaps the most public, acrimonious battle over coverage has broken out at the Screen Actors Guild-American Federation of Television and Radio Health Plan, which insures 33,000 actors, singers, journalists and other media professionals. That plan raised the floor for eligibility to those earning $25,950 a year, from $18,040, effective Jan. 1, and also raised premiums in response to deficits projected to be $141 million last year and $83 million this year.Officials at the plan have estimated that changes they are making will remove 10 percent of its participants from coverage. But a class-action lawsuit filed by Ed Asner, a former president of the screen actors union, and other mostly older actors and union members charges that at least 8,000 retirees will also lose some of their coverage. (Many companies have dropped retiree health coverage in recent decades.)The plan’s new rules effectively strip many older members of what is often their secondary insurance. An online advocacy campaign features Mark Hamill, Whoopi Goldberg, Morgan Freeman and other stars who say they feel betrayed by the union.“So many people, along with me, feel robbed of our health care benefits,” Dyan Cannon, 84, said in a statement provided by lawyers for the plaintiffs in the class-action.Michael Estrada, the chief executive of the SAG-AFTRA Health Plan, emphasized in an interview that the older members are insured by Medicare. And although some were required to switch to secondary insurance run by other providers, he said that they were not left without health care. In interviews facilitated by the health plan, three people whose plans were affected said that they were pleased with their new coverage.Still, Mr. Estrada acknowledged that “this is a huge change” for some people who have been covered by SAG-AFTRA health plans for decades.Insurance plan officials said they were left with no choice but to make painful changes to ensure their funds survive. Health care costs have been rising at rates that have outpaced the contributions that union members and their employers pay into their plans. When the pandemic essentially ended live performance, employer contributions to many health funds slowed or stopped entirely.“There is no money to squeeze out of the stone, and that’s the thing that nobody understands,” said Doug Carfrae, an Actors’ Equity representative on the board of trustees of the health plan.For many, losing coverage is not an option. Some have bought coverage through the Affordable Care Act. The Actors Fund has helped more than 4,000 performing artists navigate their health insurance options. Many have had little choice but to pay more.When Kristina Klebe, a 41-year-old actor and voice over artist, discovered that she no longer qualified for the new SAG-AFTRA plan, she knew she had to do something: she has a gene mutation that puts her at a higher risk of breast and ovarian cancer and requires periodic preventive checkups. So she is now paying almost double what she had been to continue her care under the COBRA program.“I don’t even know how to really put this in words,” she said. “It just feels very lonely.”Bill Jorgensen, a 93-year-old former news anchor and occasional voice-over artist who has been a member of the union for decades, is among the older people who is unhappy with the SAG-AFTRA changes.Mr. Jorgensen, a diabetic who takes 21 medications a day, said he is paying more for his insurance and for his medications under his new supplemental health insurance plan: a $2,400 deductible; a $47 monthly premium; plus another $370 just for blood thinning medication.“I can’t do voice overs or anything else at age 93 — I wish to hell I could,” Mr. Jorgensen said. “We’re going to be hurting bad because of this.”Sarah Bahr, Reed Abelson and Michael Paulson contributed reporting. Jack Begg contributed research.AdvertisementContinue reading the main story More

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      Kelly Marie Tran: ‘I’m Not Afraid Anymore’

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      #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyKelly Marie Tran: ‘I’m Not Afraid Anymore’The actress has left the “Star Wars” bullies behind to star as Disney’s first Southeast Asian princess in “Raya and the Last Dragon.” She says, “I’m finally asking for the things I want.”Kelly Marie Tran in Los Angeles. Three years after enduring vicious online trolls, “I’m a much stronger person now,” she said. “And I have the tools to react to those situations.”Credit…Tracy Nguyen for The New York TimesMarch 5, 2021, 11:24 a.m. ETThere are two Kelly Marie Trans in this story.One is self-assured, confident and eager to show young Asian-American girls that, yes, women who do not have long blond hair, big doe eyes and porcelain skin can get major roles in films.The other is a distant, if prominent, memory.When Tran wrote a scathing essay in The New York Times in August 2018 excoriating a culture that had marginalized her for the color of her skin, she’d just deleted her Instagram posts amid online harassment from “Star Wars” fans. Her performance as Rose Tico, the first lead character in a “Star Wars” film to be played by a woman of color, had been a proud moment for her. But then, she wrote, she started to believe the racist and sexist comments from online trolls. “Their words reinforced a narrative I had heard my whole life,” the Vietnamese-American actress wrote. “That I was ‘other,’ that I didn’t belong, that I wasn’t good enough, simply because I wasn’t like them.”But recent box office successes like “Crazy Rich Asians” and critical hits like “Minari” that have focused on Asian characters have brightened her view of the film industry — and contributed to her own empowerment. “I’m finally asking for the things I want and learning to trust my own opinion,” she said in a video interview from Los Angeles last month. “And I wish so badly that I grew up in a world that taught me how to do that at a younger age.”Tran voices the starring role of the warrior princess Raya (which rhymes with Maya) in the animated film “Raya and the Last Dragon,” out March 5 on Disney+. That makes her the first actress of Southeast Asian descent to play a lead role in an animated Disney movie, a milestone she doesn’t take lightly. “I feel an overwhelming sense of responsibility,” she said. “To be honest, I haven’t slept in, like, two weeks.”Tran’s title character in “Raya and the Last Dragon.” She said she felt “an overwhelming sense of responsibility” as the first actress of Southeast Asian descent to get a lead role in a Disney animated movie.Credit…DisneyIn a conversation, Tran discussed how the “Star Wars” films prepared her for the pressure that comes with being a Disney princess, the boom in Asian and Asian-American screen stories, and the pros and cons of life without social media. These are edited excerpts from the conversation.Do you intentionally target barrier-breaking roles?I wish! I never thought in a million years that I would be doing what I’m doing now. I was the first woman of color to have a leading role in a “Star Wars” movie; I’m the first Southeast Asian Disney princess — these are things that no one that had looked like me had done before.In your New York Times essay, you spoke out about the harassment you experienced after your role in “Star Wars: The Last Jedi.” Given the recent slate of successful Asian and Asian-American films, does it feel like things have shifted in Hollywood?I’m so [expletive] excited that more of these movies like “Crazy Rich Asians,” “Parasite” and “Minari” are being made. I’m really proud to be part of that change in terms of making movies that honor people from those parts of the world. But there have also been a lot of anti-Asian hate crimes recently, so there’s still a lot of work to be done.Would you still have done “Star Wars” knowing the harassment you’d face?[Long pause] I think I would’ve done it anyway. Doing that first movie was so fun — it was like being admitted to Hogwarts. It was like, “This is impossible,” and then I was doing it. I don’t really look back with that much regret anymore. “Star Wars” feels like I fell in love for the first time, and then we had a really bad breakup, and then I learned how to love again, and now I’m in a better relationship with “Raya.” I’ve moved on, and it feels great.Tran with John Boyega in “Star Wars: The Last Jedi.” After enduring online harassment over her role in the franchise, the actress said, “I don’t really look back with that much regret anymore.”Credit…David James/DisneyHow are you a different person than you were three years ago?I was so afraid and put so much pressure on myself starting out. You feel like you have to do it the right way or else no one else is going to get a chance. But I’m a much stronger person now, and I have the tools to react to those situations when they happen. I’m not afraid anymore. I’m finally making room for myself and asking for the things that I want. God, I wish I knew how to do that 10 years ago!What are some of the things you feel comfortable asking for now?I’ve been very, very loud about the projects I do and don’t want to be involved in. I never want to further a stereotype or take a job that makes me feel like I’m perpetuating some sort of idea about what it is to be Asian. And I’ve been really, really adamant about my boundaries. Leaving social media was so mentally healthy for me, even though I’ve been told over and over again, “Kelly, you’re not going to get brand sponsorships.” I just don’t care, because I know what’s best for myself, and I know that I’m happier than I ever was being on it.What is most encouraging to you about the entertainment industry right now?I’m most inspired by the people who continue to fight in order for their voices to be heard, and not just in the Asian community, but in the Black, trans, L.G.B.T.Q. and other underrepresented communities. On my dark days, when I feel sad and insecure about myself, those are the shows that I watch and the stories that I turn to. It brings me so much hope that people are speaking their truths and actually having people listen.Asked if she sets her sights on barrier-breaking roles, she said, “I wish! I never thought in a million years that I would be doing what I’m doing now.”Credit…Tracy Nguyen for The New York TimesAre microaggressions something you still encounter?I haven’t recently experienced outward racism in the way I experienced it when I was a young child, but now I experience subtle racism in terms of people who are publicly allies but privately complicit. In Hollywood, there are people who outwardly are like, “We believe in this,” and then when you’re actually in the trenches with them, they do things that show you they are actually complicit with white supremacy, and with institutions of power that have allowed specific types of people to get away with injustice over and over and over again.Your Vietnamese name is Loan. When did you start using the name Kelly?The name on my birth certificate is actually Kelly. My parents, who are war refugees from Vietnam, adopted American names when they started working — my dad worked at Burger King for almost 40 years, and my mom worked at a funeral home. And they gave their children American names. I didn’t realize it until I was older, but it was them protecting us so that people wouldn’t mispronounce our names. But I didn’t realize until later on that it was also an erasure of culture. It makes my heart hurt a lot to think about it.What advice do you have for young Asian-American actors?Do not blame yourself if someone is not educated enough to understand that there are different types of people in the world who exist and who deserve to be heard. Do not internalize racism, do not internalize misogyny, make space for yourself and ask for what you want, because no one else is going to make space for you.AdvertisementContinue reading the main story More