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      She’s Starring Opposite Tom Hanks. She’d Never Heard of Him.

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyShe’s Starring Opposite Tom Hanks. She’d Never Heard of Him.Helena Zengel is a giggly, chatty 12-year-old, whose movie roles take her into psychological territory that even adults would find tough.Helena Zengel in Berlin on Dec. 17. “I stand in front of the camera, I know what I want, and I do it,” she said.Credit…Katrin Streicher for The New York TimesDec. 30, 2020, 7:08 a.m. ETBERLIN — When the director Paul Greengrass was gearing up to make his new film, “News of the World,” about a Civil War veteran in 1870s Texas who escorts an orphaned girl to her relatives across the state, he was anticipating one major challenge. “This is the first film I made with a child actor at the heart of it,” he said recently by phone.The casting would be difficult on multiple levels, he realized. Although the character is onscreen for much of the movie, she has only a few lines of dialogue. Tom Hanks had already signed on as the lead, so she would have to go “toe to toe” with a superstar, Greengrass said. “It was a very, very hard ask.”One of the first children he saw during the casting in 2019, however, was Helena Zengel, a then 11-year-old from Berlin with a tomboyish energy and platinum hair. “She was the only person I really had to look at,” he said. “It was the easiest decision in the film.”Zengel on the set of “News of the World.”Credit…Bruce W. Talamon/Universal PicturesPaul Greengrass, center, the movie’s director.Credit…Bruce Talamon/Universal Pictures“News of the World,” which opened Dec. 25 in theaters in the United States and Canada, and will be available on Netflix in other countries from February, is an international breakthrough for Zengel, who has already become one of the most talked-about actors — let alone child actors — to emerge in Germany in recent years.She garnered widespread praise last year for her portrayal of a semi-feral 9-year-old in the movie “System Crasher,” which went on to be Germany’s official submission to the Academy Awards. That performance won her best actress this spring at the Lolas, Germany’s equivalent of the Oscars, making her the youngest recipient of that prize.In “News of the World,” Zengel’s character, Johanna Leonberger, is left orphaned after her German parents are violently murdered on their farm when she is four. Taken in and raised by the Kiowa tribe, she is later removed by soldiers, and a traveling veteran, played by Hanks, agrees to bring her to a surviving aunt and uncle.Zengel has received strong reviews for her performance, with critics praising her ability to imbue her defiant and alienated character with a sense of warmth and intelligence, and for channeling the emotional horrors of Johanna’s back story in near silence. Most of her lines are in Kiowa, a language she had to learn for the part.Zengel, left, and Tom Hanks in “News of the World.”Credit…Bruce Talamon/Universal PicturesSpeaking via Zoom recently, Ms. Zengel was far gigglier and chattier — which is to say, far more like a regular 12-year-old — than her recent roles might suggest. She said that, like most children in Germany, she had spent most of this year at home, and that she was currently quarantined because classmates had tested positive for the coronavirus.Before being cast in the film, she said, she had never heard of Hanks. “I think I’d seen the ‘Da Vinci Code’ before, but I didn’t know who he was,” she said. “I thought it was just some actor.”In an email, Hanks praised Zengel’s skill of performing “with no buildup, no apprehension and no self-consciousness,” and said he wished he had “her same ease, her simplicity.”Zengel said she had never taken an acting class, “because I’m not sure if there was much for me to learn.”“I stand in front of the camera, I know what I want, and I do it,” she said, matter-of-factly.This focus and willpower, her mother, Anne Zengel, explained, has been her daughter’s hallmark ever since she was a toddler. Her earliest forays into acting, at age 4, had emerged largely out of parental frustration, she said, because her daughter had “three times as much intensity” as other children and would act out if she was denied something she wanted.“She had to function in society, so we had to figure out how to redirect her energy,” she said.“The thing about acting is that you just need to do it, and as long as you’re happy with it, then you’re doing it right,” Zengel said.Credit…Katrin Streicher for The New York TimesShe enrolled Helena in ice-skating classes, and encouraged her to try acting. After a few small roles in German TV crime shows, as a bank robber’s daughter or a girl who falls from a bridge, she eventually landed a lead role in a German art-house film, “Dark Blue Girl,” at age 7.“At some point, the thing happened that I hoped would happen,” her mother said. “She was actually valued for being so intense.”In 2017, Zengel caught the attention of Nora Fingscheidt, the German director of “System Crasher,” a harrowing drama centered on a girl named Benni who is abused as a baby and abandoned by her mother, and who later lashes out at her caregivers and the society around her. The movie included a number of upsetting scenes, including of violence between children. In an interview, Fingscheidt said she needed a child actor who could convey Benni’s often terrifying physicality, while shouldering the psychological burden of the part.She was struck by Zengel’s “cinematographic quality, with almost translucent white skin, white hair that make her look like an angel, but with an ambivalence that is fascinating,” she said. During the child actor’s audition, in which she was asked to improvise a scene in which she “freaks out” by screaming and throwing things, Fingscheidt said that she was drawn in by the way her “eyes sparkled when I told her she could behave as badly as she wanted.”To help Zengel distinguish herself from her traumatized character, Fingscheidt said, the two would mime a little scene once shooting was over, with the director holding her hand like a shower head and the child actor pretending to wash underneath it, to indicate her transition back to herself. Zengel also wrote a journal, to help her process her feelings, the director added.Zengel said the experience of making “System Crasher” helped her prepare for her role as Johanna, which she conceded was “not as extreme.”“News of the World” was released in movie theaters in the United States and Canada on Dec. 25; it will be available on Netflix in other countries from February.Credit…Bruce Talamon/Universal PicturesNow Zengel is confronting the strange reality of international fame while being stuck at home, finishing seventh grade. This fall, Variety magazine selected her as one of its “actors to watch” and she said she had received offers for other roles in recent months, but that she was waiting until the pandemic subsided before making any decisions.She said she was open to moving to the United States, though her mother said she was intent on her daughter having a normal childhood, and that she was comforted by Germany’s comparatively low-key celebrity culture.“The thing about acting is that you just need to do it, and as long as you’re happy with it, then you’re doing it right,” Zengel said. “Also, it’s very fun to run around and scream.”AdvertisementContinue reading the main story More

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      For His Second Act, Nnamdi Asomugha Made Preparation His Byword

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyFor His Second Act, Nnamdi Asomugha Made Preparation His BywordThe former pro football player has pushed himself in acting classes, onstage and in films. His latest drama, “Sylvie’s Love,” also meant returning to an early passion: music.Nnamdi Asomugha gave up piano for football early in his life. Now he’s playing a jazz saxophonist in a new movie.Credit…Erik Carter for The New York TimesDec. 28, 2020The lead in a romance may seem like a prize for most actors, but the star of the new drama “Sylvie’s Love” had reservations.“There was no way that I was going to do a romantic film until I read the script and saw that there were Black people falling in love in the ’50s and ’60s,” Nnamdi Asomugha, 39, said. “And then immediately I was like, OK, I think people need to see this film.”“Sylvie’s Love,” which made its Amazon premiere on Dec. 23, is set largely in midcentury New York and explores the ebbs and flows of the relationship between Robert (Asomugha), a charismatic jazz saxophonist, and Sylvie (Tessa Thompson), a determined television producer.Asomugha is considered a rising star in Hollywood: In 2017, his breakout performance in the drama “Crown Heights” earned Indie Spirit and NAACP Image Award nominations. Earlier this year, he made what the Hollywood Reporter called “a promising Broadway debut” in a new staging of “A Soldier’s Play” by Charles Fuller. Behind the scenes, he has helped produce projects through his production company, iAm21 Entertainment, including “Sylvie’s Love,” “Crown Heights” and “Harriet,” as well as the Broadway play “American Son” (2018), which starred his wife, the actress Kerry Washington.Asomugha opposite Tessa Thompson in “Sylvie’s Love.”Credit…Amazon StudiosBut before acting and producing, Asomugha was considered one of the best cornerbacks in the National Football League, playing 11 seasons for the Oakland Raiders and other teams before retiring in 2013.It’s “mind-boggling that I would even want to go from one career where you’re under such a microscope in an extreme way to another career where the microscope might even be bigger,” Asomugha said. “You can’t help what you fall in love with, and I fell in love with acting.”He spoke recently via video about making the transition from football to acting, preparing for “Sylvie’s Love” (directed by Eugene Ashe) and the unexpected experience of appearing on Broadway. These are edited excerpts from the conversation.You’ve gone from a successful N.F.L. career to an acting career. What was the timeline for you?I was just obsessed with movies and television growing up. When I finished playing, the advice I kept getting from former players was find something to do that you are absolutely in love with. Because the love you have for it is what will sustain and lead you. And I knew that this was an avenue. I didn’t know that it was necessarily going to be producing, but I knew I wanted to go into acting.Were you still an N.F.L. player when you got bit by that bug, or was this after your career?While I was still in the N.F.L., but I didn’t make the decision until probably a year after [retiring]. You go through this period of soul-searching when you finish doing something that you’ve done for the last 20-something years of your life. It’s an identity crisis, like, do I have any more things to look forward to in life? All the traumatic things you tell yourself.On top of that, I knew that I wasn’t 20. I wasn’t just coming out of Yale or Juilliard. The window felt so much shorter to me. So I didn’t want to wait. I wanted to just start creating the projects so people can say, oh, OK, he does know what he’s doing.Do you often take lessons and experience from your football career and apply them to your acting career?I advise people all the time, get your kids into sports because sports shaped my life — from discipline and patience and hard work and falling down and needing to get back up and not complaining. But the No. 1 thing I think is the preparation. The same preparation I need to get ready for a football game or football season, I’ve brought that to acting.Asomugha, right, in 2008 when he was playing for the Raiders.Credit…Paul Buck/European Pressphoto AgencyWhen did you start playing football?I was 12. The first year I played football was the last year I played the piano. One day, I was late for practice and my coach said, where were you? I said I’m sorry, I had a recital. And he laughed so hard. It was this big thing and I had to run laps. That was the last time I ever played the piano. And that was the start of my football career. It was both devastating and also affirming. Like, OK, I need to focus on this. This is going to be what I do now.You found your way back to an instrument.I did!Did you have to learn how to play the tenor saxophone for “Sylvie’s Love”?I didn’t have to, but I chose to because I love preparation. I love the process more than anything, sometimes even more than the actual moment. I got a saxophone coach who was also in the film and we played for just over a year. And I learned that I was really good at playing the saxophone. I say “was” because I haven’t played it in a while, so I’ve lost a lot of that. But I wanted it to look authentic.The film is set during the civil rights movement in America. But with these two Black characters and an almost entirely Black cast, the backdrop isn’t politics, it’s jazz. We see some of those elements play out but that wasn’t the focus. Can you explain the intent behind that?It was important for us to make those elements nuanced and not in your face. We wanted to focus on the love. We’ve been so defined by that period as Black people. We know about marches and protests and water hoses and dogs and struggle. But we were also falling in love. We were having families, getting married, going to the dance. My father-in-law says we used to go to “the dance,” we didn’t call it the club. We had that as a part of our culture of Black people and to not celebrate that is a crime. It robs us of our humanity and just an entire aspect of our lives that really helped us get through those difficult moments. So for us, the thought was, why not show that? Why not illuminate the love that we had for each other during this time period?And it also was a reason some people passed on making the film because they felt like it should have been rooted in the civil rights movement. But that wasn’t the film we wanted to make. We felt that there was an audience for not just Black love, but love in general.What are some moments from the film you hope resonate with viewers?I think it was really important for us to show a level of vulnerability in men, especially Black men.I hope that it will further the conversation of it being OK for men to be expressive, to tell how they feel. The important thing for us was showing men doing that in front of their women.Asomugha went toe to toe with David Alan Grier in “A Soldier’s Play” on Broadway.Credit…Sara Krulwich/The New York TimesYou’ve produced a few films, some of which you starred in. Why did you go the producer route?The projects that I was seeing, not only did they not interest me, I wasn’t getting them. It’s not like the projects are there and they were like, “Here’s your job!”I was so serious about this that I didn’t want to use football to get in the door. So it meant having to stand up [in classes] in front of a bunch of people that know who you are because they know football and you have to be doing a scene in front of them.It’s just to say that there was a level of discipline that I had to have because I do want it to be something that’s sustaining.How do you and Kerry Washington support each other as actors? Are there plans to collaborate with each other in a film?I produced “American Son,” but as actors, there’s no plan as of now for that collaboration. We’re very supportive of each other’s journeys, but we’ve always been that way. We always want the best for each other in whatever we’re doing. And so it’s not in the detail of specific things; It’s just an overall appreciation for the hard work.Do you hope to do more plays on Broadway?I had no dream or aspiration of being on Broadway. I didn’t know that doing plays was going to be in my cards at all until I did an Off Broadway play and I fell in love with being on the stage. And then the next year, for me to be on Broadway in “A Soldier’s Play” and to be in a role originated by Denzel — I was just like, what is happening?AdvertisementContinue reading the main story More

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      Kristen Wiig on “Wonder Woman 1984” and Cheetah

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyKristen Wiig Would Have Said Yes to One Line in ‘Wonder Woman 1984’Getting to play Cheetah was even better for the “Saturday Night Live” star, who loves superhero movies: “It was huge on my list of things I wanted to do.”Told that her performance as the villain recalls her “S.N.L.”  misfits and loners, Wiig said, “They’re all inside me. I don’t know how to get rid of them.”Credit…Mary Ellen Matthews/CPi SyndicationDec. 25, 2020, 7:00 a.m. ET“I want you to know, I dressed up for the interview,” a dryly sarcastic Kristen Wiig said from a computer screen. Clad in a well-worn sweatshirt, she was relating a familiar plight: how a monthslong regimen of video chats and conferences had gradually worn down her efforts to appear presentable on camera.“First you’re fully trying to look normal,” she said Tuesday. “And then you’re only normal from the waist up. And now I’m just like, this is me. I’ve got baby food on me and we just have to accept ourselves.”Wiig had recently returned to Los Angeles, where she lives with her husband, the actor Avi Rothman, and their two young children, after a whirlwind New York trip. She was there to host “Saturday Night Live,” the NBC institution where she was a cast member, playing dozens of endearing eccentrics and likable outsiders.That would be a fitting finale to anyone’s 2020, but Wiig still has one more act: She is a star of “Wonder Woman 1984,” the DC superhero sequel that Warner Bros. will release in theaters and on HBO Max on Friday.This follow-up to the 2017 blockbuster “Wonder Woman,” directed by Patty Jenkins and starring Gal Gadot as the Amazonian champion of the title, might not seem like an obvious fit for Wiig: She is better known for outrageous comedies like “Bridesmaids” (which she acted in and wrote with Annie Mumolo) and melancholy independent films like “The Skeleton Twins” and “Welcome to Me.”Wiig’s Cheetah facing off with Wonder Woman (Gal Gadot).Credit…Warner Bros.But when you look more carefully at her character, it’s not hard to see why Jenkins chose Wiig to play Barbara Minerva, a timid antiquities expert whose desire for acceptance and fascination with her colleague Diana Prince (Wonder Woman’s alter ego) eventually drive her to become the villainous Cheetah. Playing Barbara Minerva lets Wiig trade blows in comic-book action sequences, while also calling upon her finely tuned talents for introversion and extroversion.As Wiig said Tuesday, “I’m excited and equally nervous” to see how viewers will respond to her performance in what’s easily the biggest film of her career.She also spoke about how the role came about, her love of superhero movies and her new life as a mother of twins who were born earlier this year. These are edited excerpts from that conversation.Before “Wonder Woman 1984,” did you ever imagine yourself playing a villain in a comic-book blockbuster or aspire to play one?It was an aspiration, for sure. It was huge on my list of things I wanted to do. I love big action movies and I love superhero movies. I loved all of Chris Nolan’s Batman movies and all the “Avengers” movies, “Deadpool” — you name it, I’ve seen it. I saw “Wonder Woman” in the theater when it opened, and when she came over that trench, the crowd was cheering. And it was a female superhero, so I got really emotional about it.You’ve made a lot of idiosyncratic independent movies, too. Is it now impossible for you to go back to that world?I don’t know if I could say I only want to make a certain type of movie. I’ve done movies with literally no budget and the dialogue was all improvised, like “Nasty Baby,” which I made in Brooklyn with my friends. I always tell myself I want to be happy when I show up on set, and I say yes to things I want to do.Wiig and Tunde Adebimpe in the indie “Nasty Baby.”Credit…The OrchardWiig, opposite Rose Byrne, in her big-screen breakout role in “Bridesmaids,” which she also co-wrote. Credit…Suzanne Hanover/Universal PicturesHow did you find out that you were being considered for “Wonder Woman 1984”?I got a call from my agent that Patty Jenkins wanted to talk to me. And I was like, just tell her yes, no matter what it is. I was hoping it was a “Wonder Woman” thing, but I didn’t know anything about it. I didn’t know if I would have one line — if she wanted me to be the crazy neighbor next door that’s like, “Goodbye, Diana!”Did your feelings change when you learned she was considering you to play Barbara Minerva?I knew about Cheetah, but there are so many different versions of that character and I was curious as to what she was going to be. But when I heard Patty’s ideas, I understood a little bit more why she thought of me. Maybe because Barbara’s really awkward in the beginning — I do have that side to me. And then after I got the part, she got into more detail of who Barbara was.What interested you about the role at that stage?I always love bad guys that you’re rooting for a little bit, where you understand why they’re bad. The thing that I loved about her is that there’s always Barbara in there. Even when she fully becomes Cheetah, you can see Barbara in there and Diana can see Barbara in there. I loved that conflict that it puts her in, and puts the audience in, because she’s so likable and nervous and insecure. We all have moments where we’ve felt like Barbara before.Is it pigeonholing you if I say that I saw flashes of some of your best-known “S.N.L.” characters — uncomfortable loners like Penelope and larger-than-life misfits like Target Lady — in your performance?I mean, they’re all inside me. I don’t know how to get rid of them. [Laughs]The Target Lady (with Justin Timberlake) is one of the comedian’s many “S.N.L.” characters.Credit…Dana Edelson/NBCAre the introverted characters just natural extensions of yourself?On “S.N.L.,” I have to find in me, what does insecurity feel like? And then take it to a 10 or 11. But whether I’m doing a character on “S.N.L.” or in “Wonder Woman,” I have to find what I think that is in me. There’s definitely characters I’ve played where I don’t have anything in common with them, and I still have to figure out how to get there in an authentic way.Do people expect you to be big and boisterous in real life because they’ve seen you play those kinds of characters before?Oh yeah, all the time. When people know you are an actor, period, they think you’re going to tell this amazing story of what happened to you on the way to dinner and it’s going to be captivating. Add the fact that I’m known for doing mostly comedy and it’s like, “OK, where are the voices?” I’m not going to do characters right now. It’s assumed that acting is an extroverted thing. But it’s not, necessarily.So where do you find those qualities in yourself when you’re playing those kinds of roles?It depends on the character, but once I’m doing it — especially on “S.N.L.,” because it’s live and you have millions of people watching — you just get in a zone. And then afterward you snap out of it. It’s funny because even though Barbara in the beginning is nervous and unsure of herself, I found it harder to play that than who she becomes later.Why was that harder?Because I was resistant, at the beginning, to add humor to her. I didn’t want her to seem too much like things I had done before, or to seem like I wasn’t able to do this part without adding something that wasn’t Kristen. But Patty and I had this one talk that completely shifted my brain, where she was like, if you allow yourself to just let that humor come out, it’s going to feel authentic and it’s not going to feel as strange as you think it does. And it completely changed my experience. When Cheetah is evil, it’s like, OK, now I’m this person. Maybe because there is more of me in Barbara, I actually had a more challenging time with that part of the shooting.Was there physical training for this role?[Exhales audibly] Yesss. Almost two months before we started shooting, I got a trainer — the movie wanted me to, just to get started. When you watch the movie, we learned and did all of those fight sequences, in addition to our stunt people. There’s definitely some C.G.I. elements later on, but for the most part it’s wire work. That’s all real people. I was basically sore for like nine months. And it’s very easy to complain and say, oh my God, I can’t even walk up the stairs. But to be honest, being stronger was so helpful, to get into who this character was. It just made me feel really good.[The next few questions contain mild spoilers for “Wonder Woman 1984.”]There’s a scene where Barbara, just starting to come into her powers, enters a party and is delighted to find she’s the center of everyone’s attention. Was that as enjoyable for you to make as it is for her to experience, or do you feel the glare of the spotlight even more?It’s a combination of both. The set was really amazing and whenever you’re in a scene with a lot of background [actors] looking at you, you can’t help but feel a little more self-conscious. But it was the part in the story where Barbara’s really starting to turn and feel it. She probably went to those parties before feeling so invisible. And this is different for her — her life is changing. So that was really fun to play.Wiig as the newly empowered Barbara at a party in “Wonder Woman 1984.”Credit…Clay Enos/Warner Bros.There’s another sequence where, in classic comic-book fashion, Barbara gets to take revenge on a scummy guy who harassed her in an earlier scene. Was that satisfying to make?I loved shooting that scene. Barbara is so sad and has always wanted this other life, and with that comes so much anger that she didn’t even realize she had. And to see her be able to just unleash it, and be like, “Oh, I like how this tastes — I’m going to keep going,” it was really fun to shoot that. I like how it wasn’t just a random person that was robbing someone in an alleyway. As a viewer, you’re a little conflicted — you’re like, oh, I like that she’s doing this to this guy. But then she goes too far. We have to acknowledge that. I’m not condoning it.Is it possible that Barbara doesn’t just want to be Diana’s equal or superior, but that she’s attracted to Diana?Like, attracted attracted? I’ve heard people suggest that. As far as my intentions in how I was playing it, it was really just her seeing Diana as the beautiful, popular girl that has the best life and everything I don’t have. There’s so much admiration there. But if people want to see it that way, it’s definitely up for interpretation.[Spoilers end here.]Warner Brothers’ decision to make “Wonder Woman 1984” and other coming movies immediately available on HBO Max has elicited a wide range of reactions from filmmakers, talent and audiences. How do you feel about it?It’s a complicated question. We’re all still mourning the whole theater experience and it’s hitting a lot of people. But I will say I didn’t personally feel comfortable telling people to go out if it’s not safe, and I’m happy that people can watch it now without worrying about their health. It’s really complicated and no one’s winning right now. But it being out on Christmas and knowing that people get to watch it and be safe is the best scenario, if it has to be this way.Are there any lessons you can take from a movie of this scale and apply to your smaller, more intimate comedy and drama performances?Yes — going into a role and being nervous is probably normal for most actors. It is for me. But when it’s over, that feeling that you did it, it just makes you feel like you can take more risks on the next thing you do. There were definitely times where I was very self-aware of just how big the role was. Truthfully, I don’t go on the internet, but I know there were people that were, like, surprised that I was playing this role. That can get in your head, even though I try not to read any of that. But ultimately I do want to take more risks and I think it’s important for me to feel that nervousness when I’m doing stuff. It makes me find something deep inside that I didn’t know was there.How are you finding motherhood so far?It’s great. Great isn’t even the word — it’s better than great. It’s strange that it’s all in quarantine. That’s a huge negative side to it, because we obviously can’t do anything or go anywhere or see certain family members. But they’re amazing and I’ve never been happier in my whole life. I’m such a homebody. I’m happy to be with them all day. Obviously not under these circumstances, but I love being home with them.What are you hoping to get for Christmas this year?I would love a nice, framed photo of me and my husband and my kids. It would just be a nice thing to have. And maybe some good moisturizer.Now that you’re a mom, is everyone going to get you a robe for Christmas?[Laughs] I hope not!AdvertisementContinue reading the main story More

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      Actors and Writers and Now, Congressional Lobbyists

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyStanding Up For TheaterActors and Writers and Now, Congressional LobbyistsBe an #ArtsHero started with a failed effort to extend unemployment benefits. It’s gone on to be a prime proponent of the message: Cultural work is labor.The founding members of the advocacy group Be an #ArtsHero, clockwise from top left: Jenny Grace Makholm, Carson Elrod, Brooke Ishibashi and Matthew-Lee Erlbach.Credit…Sara Krulwich/The New York TimesDec. 23, 2020Art is what binds us. It illuminates the human condition. It’s good for the soul.Those are the kind of arguments you usually hear when artists and cultural institutions ask for money. The advocacy group Be an #ArtsHero, which was created this summer by four New York theatermakers, takes a different approach.“We are an industry, not a cause,” one of the volunteer group’s four organizers, the writer-director Matthew-Lee Erlbach, said of the arts sector in a recent video interview. “According to the Bureau of Economic Analysis, we generated $877 billion. It’s more than agriculture and mining combined.” Yet, he pointed out, there’s no federal department of arts and culture, while transportation and agriculture have spots in the cabinet.Erlbach and his Arts Hero founding colleagues — the actors Carson Elrod and Brooke Ishibashi and the writer-director-performer Jenny Grace Makholm — are not cultural mucky-mucks used to the corridors of power. When the performing arts shut down, what was on their mind was their own survival.Ishibashi said the campaign began simply as a way to rally the sector to advocate for the extension of Federal Pandemic Unemployment Compensation that was due to expire in August.“We started by cold-calling people and building out assets and saying, ‘Here’s a tool kit, please spread the word.’ We lobby differently because we lobby for ourselves and our own desperate need. We are all worried about how we’re going to pay our rent and our mortgages.”The unemployment compensation wasn’t extended at the time, but Be an #ArtsHero forged ahead. They started creating economic reports for members of Congress — in a joint conversation, Ishibashi and Erlbach referred casually to relief efforts the group is backing, an alphabet soup of acronyms like CALMER (Culture, Arts, Libraries and Museums Emergency Relief) and DAWN (Defend Arts Workers Now).Following up on the lobbying efforts of long-running organizations like Americans for the Arts, the group has pushed to help shape legislative language so bills include relief to artists and workers, not just institutions. Erlbach’s widely circulated open letter to the U.S. Senate arguing for emergency relief drew 16,000 signatories, including rank-and-file members of the culture sector and celebrities, institutional and union leaders, and advocacy groups.The letter hammered the group’s essential point: The arts matter because they represent a lot of money and they create jobs.“We’re here to change the conversation so arts workers can understand their intrinsic value because it’s tied to an economic worth, a dollar amount,” Ishibashi said. “Those numbers are unimpeachable.”Erlbach added, “Ironically, the arts has a story problem in this country.”“We are here to become a legislative priority, and part of doing that is reframing the paradigm that we are labor,” he said. “Whether you’re an usher, a milliner, a museum docent, an administrator or a publicist, you’re an arts and cultural worker. ”Erlbach, who leads the group’s political-outreach team, says that Be an #ArtsHero has met with representatives from dozens of House members and over 60 Senate offices.“It felt like the legislative process is something someone else does,” he said. “Now that’s something that we do.”The stimulus bill just passed by Congress delivered some good news for the arts, including weekly unemployment supplements. “At $300, what passed was not enough,” Be an #ArtsHero said in an email statement. “But it was something, and we are proud to have lent our voice to the cause of getting it.”AdvertisementContinue reading the main story More

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      With a Beloved Cafe Threatened, Broadway Stars Put on a Show

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyWith a Beloved Cafe Threatened, Broadway Stars Put on a ShowFans in the theater world, including Matthew Broderick and Debra Messing, will appear in a Christmas Day telethon to try to save the West Bank Cafe.Janet Momjian performs for a GoFundMe video for the West Bank Cafe at the restaurant in Manhattan.Credit…Jeenah Moon for The New York TimesDec. 23, 2020Updated 1:29 p.m. ETWhen Tom D’Angora got the news that the West Bank Cafe — a popular show business hangout whose basement theater hosted the first “Sunday in the Park With George” rehearsals and Joan Rivers’s final performance — was in danger of closing, he sprang into action.“You’re not closing,” D’Angora, a theater producer, told the restaurant’s owner, Steve Olsen, in an early December text. “Over my dead body.”But Olsen could see no way out: His outdoor dining revenue had dropped to almost nothing since Thanksgiving as temperatures plunged, and, even before the city moved to ban indoor dining, his new air filters and constant cleaning efforts had failed to draw many eaters into the 42-year-old restaurant. He was already thinking about how to empty out the space, and considering where to put the artwork.D’Angora wouldn’t hear of it. He and his husband, Michael, a fellow producer, put their heads together about trying to save the restaurant, a Hell’s Kitchen mainstay on 42nd Street just west of Ninth Avenue.Broadway stars have gathered at the restaurant to celebrate Tony Award wins and commiserate over losses.Credit…Jeenah Moon for The New York Times“I was like, ‘Between the six billion famous, talented, brilliant people who also love this place, we’re going to figure this out,’” D’Angora said.The actor Tim Guinee overheard their conversation while picking up an order of chicken enchiladas at the restaurant, and together they came up with the idea for a virtual Christmas Day telethon that would feature musical performances, skits and West Bank Cafe stories from as many actors as they could find. In the meantime, D’Angora created a GoFundMe page, and within 10 days, more than 1,400 donors had raised more than $168,000 of the $250,000 goal.“We’d seen ‘It’s a Wonderful Life,’” D’Angora said, referring to the film in a which a community comes together to save an endangered family banking business. “And we just told Steve, ‘OK, it’s your George Bailey moment.’”The telethon, which will begin streaming at noon on Friday, will include appearances by around 200 artists, among them Matthew Broderick, Pete Townshend, Debra Messing, Nathan Lane, Alan Cumming, Isaac Mizrahi and Alice Ripley. Joe Iconis, the composer and lyricist of the Broadway musical “Be More Chill,” is producing the fund-raiser, which he said would last at least five hours.Broderick, the star of “The Producers” and “Ferris Bueller’s Day Off” and a cafe regular, said he was sad to see another New York City business with a rich history on the verge of closing forever.“There are whole swaths of places that have closed since March, not just in Hell’s Kitchen or Times Square, but everywhere,” said Broderick. “It’s terrifying. These places are what make New York New York.”Broadway stars including André De Shields and Nathan Lane have gathered at the restaurant to celebrate Tony Award wins and commiserate over losses, and Bruce Willis, Tennessee Williams and Arthur Miller all dined there.The cafe’s 100-seat basement theater, which opened in 1983, a few years after the restaurant, has had its own memorable moments: Warren Leight’s Tony Award-winning play “Side Man” had its debut there, Lewis Black spent more than 10 years as its playwright in residence, and it staged early Aaron Sorkin plays and occasional drag shows.Olsen, 66, has spent his entire adult life running the restaurant, which he opened in 1978 in a Hell’s Kitchen neighborhood that was still considerably grittier, and more dangerous, than it is today. “This location was considered Siberia,” Olsen said. “42nd Street and Ninth Avenue was as far west as anyone was willing to venture.”Members of an Irish gang, the Westies, were among the fledgling restaurant’s clientele. He resisted pressure to hire one of their men as a bartender, and to bring in their female friends as waitresses. “Everyone said it was because I was courageous,” he said, laughing. “But I just didn’t know. I was in my early 20s. I was immortal.”The empty bar at the West Bank Cafe in Manhattan. Credit…Jeenah Moon for The New York TimesWhen Broadway theaters shut down in March, D’Angora remembered, Olsen was the one worrying about his clientele. “He was concerned about how I was holding up,” D’Angora said. “He’d hand me a bottle of champagne or wine. He was never worried about himself.”Now that clientele wants to return the favor. After closing the second week of March and laying off all but six of his 53 employees, Olsen reopened with outdoor dining last summer. The restaurant also began delivering out of the neighborhood, which brought in a few thousand dollars a week. “I was making deliveries down to TriBeCa in eight minutes,” Olsen said. “There were no cars on the streets. I racked up four speeding tickets from the cameras in the first three months.”“But after Thanksgiving, business went down to nothing,” he said. “I don’t know very many people who can put up $10,000 a week indefinitely to keep a business going out of their own pocket.”Olsen said the $250,000 goal for the GoFundMe campaign would pay off the debt the restaurant has taken on because of the pandemic, and make a dent in some of their future expenses to help them get back on their feet in the spring. “At first, I was a little bit embarrassed to admit I needed help,” he said. “But my family and friends have stepped up, and I’m grateful.”He’s given himself some homework. “I owe the 1,400 people who’ve donated so far thank you letters,” he said. “Those will come out — individually — after the holidays.”AdvertisementContinue reading the main story More

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      Rebecca Luker, a Broadway Star for Three Decades, Dies at 59

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      AdvertisementContinue reading the main storySupported byContinue reading the main storyRebecca Luker, a Broadway Star for Three Decades, Dies at 59Her Broadway career, fueled by her crystal-clear operatic soprano, brought her Tony Award nominations for “Show Boat,” “The Music Man” and “Mary Poppins.”Rebecca Luker as Maria, surrounded by the von Trapp children, in the 1998 Broadway revival of “The Sound of Music.” She also starred in hit revivals of “Show Boat” and “The Music Man.”Credit…Sara Krulwich/The New York TimesDec. 23, 2020Rebecca Luker, the actress and singer who in a lauded three-decade career on the New York stage embodied the essence of the Broadway musical ingénue in hit revivals of “Show Boat,” “The Sound of Music” and “The Music Man,” died on Wednesday in a hospital in Manhattan. She was 59. The death was confirmed by Sarah Fargo, her agent. Ms. Luker announced in February that she had amyotrophic lateral sclerosis, commonly known as A.L.S. or Lou Gehrig’s disease.Ms. Luker’s Broadway career, fueled by her crystal-clear operatic soprano, brought her three Tony Award nominations. The first was for “Show Boat” (1994), in which she played Magnolia, the captain’s dewy-fresh teenage daughter, whose life is ruined by marriage to a riverboat gambler. The second was for “The Music Man” (2000), in which she was Marian, the prim River City librarian who enchants a traveling flimflam man who thinks — mistakenly — that he’s just passing through town.In between, Ms. Luker delighted critics by playing against type in a 1997 Encores! production of “The Boys From Syracuse.” As Adriana, the neglected wife who gets her groove back (with her husband’s long-lost twin brother), she wore slinky 1930s gowns and exuded what Ben Brantley, in his review for The New York Times, called “a disarmingly confectionary sexiness.”Ms. Luker, center, with Debbie Gravitte, left, and Sarah Uriarte Berry in the 1997 Encores! production of “The Boys From Syracuse.” Credit…Sara Krulwich/The New York TimesPlaying Adriana was fun, Ms. Luker admitted. “For the first time in my life, I got to do a bit,” she told The Times in 1998. “Learning to turn to the audience, learning to hold for laughs — I ate it up with a spoon.”But by the end of that year, she was deep into ingénue territory again, playing Maria, the undisciplined novice nun turned live-in governess of seven, in “The Sound of Music.”When she earned her third Tony nomination, this one for best featured actress in a musical, it was for playing Winifred Banks, a married Englishwoman with two children and a gifted nanny, in “Mary Poppins” (2006).For all her success in musicals, Ms. Luker did not identify as a show-tunes type. “I am so not a musical theater person,” she told Playbill in 2003. “I love rock music and jazz. I love the ’70s stuff I grew up with.”Rebecca Joan Luker was born on April 17, 1961, in Birmingham, Ala., and grew up in Helena, a small town nearby. She was one of four children of Norse Doak Luker Jr., a construction worker, and Martha (Baggett) Luker, the local high school’s treasurer. Rebecca sang in her church choir (First Baptist of Alabaster) and was a member of the Thompson High marching band.In high school, she entered a beauty pageant. Singing “Much More,” the ballad of girlish dreams and determination from “The Fantasticks,” she won a college scholarship as first runner-up to Alabama’s Junior Miss.That took her to the University of Montevallo, just 14 miles from her parents’ home, where she was a music major and received her diploma in 1984. Graduation was a year later than planned because she took a break to work with Michigan Opera Theater, where she met her future New York agent. Just five years after college, she was on the Broadway stage, assuming the lead female role in “The Phantom of the Opera”— Christine, the chorus girl who is the object of the phantom’s affections.“Phantom” was her Broadway debut; she began as the understudy to the original star, Sarah Brightman; became an alternate; and took over as Christine in 1989. She remained with the show until 1991.Ms. Luker moved on immediately to another Broadway show: She played a ghost, the little orphan girl’s dead Aunt Lily, in “The Secret Garden.” In his review in The Times, Frank Rich singled out “I Heard Someone Crying,” Ms. Luker’s haunting trio with Mandy Patinkin and Daisy Egan, for special praise.Ms. Luker in performance at the Allen Room of Jazz at Lincoln Center in 2005. In addition to her theater work, she had a thriving cabaret career.Credit…Rahav Segev for The New York TimesIn several of her later Broadway roles, Ms. Luker replaced the original actress in a long-running hit. She took over as Claudia, the director-protagonist’s movie-star muse, in “Nine” (2003); Marie, the temperamental fairy godmother, in “Cinderella” (2013); and Helen, the frustrated wife and mother who misses being an actress — just as Mrs. Banks had in “Mary Poppins” — in “Fun Home” (2016).She grew older gracefully in a number of her later Off Broadway roles. Twenty years after starring in a 1996 revival of “Brigadoon” as Fiona, a Scottish lass so rare she really does come along only once a century, she played a droll Buffalo matron in A.R. Gurney’s comic drama “Indian Blood” (2006). In 2011, she was an Italian duchess grieving her son’s death in Maury Yeston’s musical “Death Takes a Holiday.”Ms. Luker also had a thriving cabaret career, appearing at intimate venues like Café Carlyle and Feinstein’s/54 Below, but she professed a special love for “the live experience in front of an orchestra.”The stage was always her first home, but she did finally make her screen acting debut in her late 30s when she appeared in “Cupid and Cate” (2000), a Hallmark Hall of Fame television movie in which she played the heroine’s perfect and perfectly sensible sister. Between 2010 and 2020, she had guest roles on series including “Boardwalk Empire” and “N.C.I.S. New Orleans” and appeared in three feature films, including “Not Fade Away” (2012), a drama about a teenage rock band.Her final stage role was as a small-town minister’s narrow-minded wife in a 2019 Kennedy Center production of “Footloose.” She performed at a concert in honor of the lyricist Sheldon Harnick in March 2020.Ms. Luker at home in 2015 with her husband, the actor Danny Burstein.Credit…Tony Cenicola/The New York TimesHer last performance was in June, via Zoom, in a prerecorded benefit performance, “At Home With Rebecca Luker.”“When I sing,” she told The Times shortly before that show, “I think it heals me. It helps me feel like I’m still a part of something.”Ms. Luker married Gregory Jbara, an actor, in 1993; they divorced in 1996. In 2000 she married the actor Danny Burstein, whom she met when they starred together in “Time and Again” in San Diego.Mr. Burstein survives her, as do two stepsons, Zachary and Alexander Burstein; a brother, Roger; a sister, Suzanne Luker; her mother, Martha Hales; and her stepfather, Lamar Hales. Another brother, Stephen, died last year.Looking back on her career in a 2016 Theater People podcast, Ms. Luker expressed gratitude for the roles she’d had but admitted that she probably should have broken out of the leading-lady mold — studied acting longer and more seriously, appeared in more plays, done more comedy.“I wish I had branched out a little more,” she said cheerily. “Maybe played a bitch or something.”Alex Traub contributed reporting.AdvertisementContinue reading the main story More

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      The Breakout Stars of 2020

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyThe Breakout Stars of 2020Here are the 12 stars and trends that managed to thrive and shine in an impossible year.Clockwise from bottom left: Sarah Cooper, Maria Bakalova, the hand of the artist Salman Toor, Jonathan Majors and Radha Blank.Credit…Clockwise from bottom left: Lacey Terrell/Netflix; Elizabeth Weinberg for The New York Times; Peter Fisher for The New York Times; Adria Malcolm for The New York Times; Douglas Segars for The New York Times Dec. 23, 2020Updated 7:44 a.m. ETWhile plenty of us felt trapped this year, wandering through the same spaces and talking to the same people, it was the artists and entertainers who kicked open windows to new sights, sounds and experiences. Yes, the pandemic dealt a significant hit to the culture world, but nothing could derail its creativity. So, despite the limitations, stars in a variety of disciplines managed to thrive and shine, and by doing so, made a difficult year more tolerable for most everyone. Here are 12 artists and trends who gave us a fresh perspective in 2020.Radha Blank wrote, directed and starred in the autobiographical satire “The 40-Year-Old Version.”Credit…Douglas Segars for The New York TimesFilmRadha BlankRadha Blank was the hero many of us needed in 2020, when the concept of time got an overdue interrogation. In her autobiographical satire “The Forty-Year-Old Version,” which was on Netflix, she portrays a playwright who — refusing to believe that her dreams have an expiration date — pivots to rap as a grown woman. Like her character, Blank, who grew up Brooklyn, is a 40-something playwright who knows what it’s like to fight to elevate her voice.And elevate it she did. She wrote, directed and starred in the film, her first feature, a New York Times Critic’s Pick that A.O. Scott called “a catalog of burdens and also a heroic act of unburdening.”In “I May Destroy You,” Michaela Cole explores sexual assault, truth, revenge and trauma; she also created the HBO series.Credit…Natalie Seery/HBOTelevisionMichaela CoelMichaela Coel may have created the most important TV show of 2020: “I May Destroy You.” The series, which premiered on HBO in June, is inspired by Coel’s own experience with sexual assault, and in it, she deftly plucks apart ideas around truth, revenge, anxiety, trauma and fear.Coel, a 33-year-old British-Ghanaian writer and actor, plays a writer who is drugged and raped in a bathroom stall. The assault leaves her traumatized and grappling with hazy, fragmented memories. “Coel brings a superb discipline to the portrayal of distress,” wrote Mike Hale, a TV critic at The Times.In a critic’s notebook, Salamishah Tillet, a professor and contributing critic at large for The Times, noted that the show could be considered “part of a larger cultural trend in which Black women’s experiences with sexual assault are appearing with greater frequency and treated with more sensitivity.” (She pointed to the documentary “Surviving R. Kelly” and TV shows like “Queen Sugar,” “The Chi” and “Lovecraft Country” as examples.)“By offering multifaceted endings,” Tillet went on, “Coel gives victims of sexual assault, particularly Black women who have survived rape, some of the most radical and cathartic moments of television I have ever witnessed.”ComedySarah CooperSarah Cooper, 43-year-old comedian, made her mark in 2020 by pantomiming the words of President Trump in viral videos that have been viewed tens of millions of times across social media. Jim Poniewozik called her first Trump lip-sync, “How to Medical,” a “49-second tour de force” and said Cooper was helping to develop “a kind of live-action political cartooning.”“Cooper’s Trumpian drag is partly a caricature of performative masculinity,” Poniewozik wrote.The success of her videos helped land Cooper a Netflix special, “Everything’s Fine,” directed by Natasha Lyonne. “This special shows that she can do much more than lip-sync,” Jason Zinoman, a comedy columnist at The Times, said of the production. “She has a promising future as an actor in television or movies.” She currently has a show in the works for CBS.Maria Bakalova, the Bulgarian actress who plays Borat’s teenage daughter in “Borat Subsequent Moviefilm.” Credit…Elizabeth Weinberg for The New York TimesFilmMaria BakalovaIt’s no easy feat to stand out next to the unabashed actor-prankster Sacha Baron Cohen, but Maria Bakalova, a 24-year-old from Bulgaria, was riveting as the teenage daughter of his Borat character in his most recent mockumentary film. As the culture reporter Dave Itzkoff put it in The Times: “Sacha Baron Cohen may be the star of ‘Borat Subsequent Moviefilm,’ but it is Maria Bakalova who has emerged its hero.”Her performance also grabbed headlines for an edited scene involving President Trump’s personal lawyer Rudolph W. Giuliani, who is seen putting his hands down his pants in a hotel room, where Bakalova, impersonating a TV journalist, is interviewing him. He later denied any wrongdoing.About the opportunity to star in a major American film, Bakalova said: “I will be really grateful to Sacha for giving this platform to an Eastern European, to play a strong and complicated character who’s not just one thing.”Adrienne Warren was nominated for a Tony for her starring role in “Tina — The Tina Turner Musical.” Credit…Molly Matalon for The New York TimesTheaterAdrienne WarrenAdrienne Warren’s starring role in “Tina — The Tina Turner Musical” earned her a Tony nomination in October for best actress in a musical. But it was her vocal and steadfast stand on racial injustice, including in the arts world, that brought Warren, 33, more deeply into one of the most urgent conversations of 2020. In an impassioned, impromptu speech this summer — during the Times event Offstage: Opening Night on the subject of being Black on Broadway — she questioned whether she even wanted to continue performing as part of an institution that didn’t stand up for people like her.“The last thing on my mind right now is me going back to Broadway,” Warren said. But in an interview with The Times after her nomination, she said, “I know this is what I’m supposed to do, but the question is whether I want to do it at the address I’ve been doing it.”As for what a dream role might look like for her in the future: “I want to make sure that I’m telling stories that represent me as a Black woman and also push the needle forward in ways that resonate with people, both in this nation and abroad,” she said.Jonathan Majors made a mark in both HBO’s “Lovecraft Country” and the Spike Lee drama “Da 5 Bloods.”Credit…Adria Malcolm for The New York TimesTelevisionJonathan MajorsJonathan Majors isn’t afraid of pain, and that may just be his secret to success. “I’m willing to hurt more,” he told Alexis Soloski in The Times over the summer. “It doesn’t bother me.”The 31-year-old star had a big year doing just that to great effect onscreen, as a Korean War veteran in the supernatural HBO thriller “Lovecraft Country,” set in 1950s Jim Crow America, and the son of a Vietnam War veteran in “Da 5 Bloods,” Spike Lee’s drama for Netflix that was named a Critic’s Pick in The Times by A.O. Scott.“Emotions in the men in my family run deep,” Majors told Soloski — who described him as “an actor of precision and intensity.” When asked if acting gave him a place to put those big emotions, he said: “With acting, it was almost like I was in a corridor, and it just appeared to me and said, ‘Go that way, son.’ I didn’t get in trouble once I started acting. I had a place to put the energy, to put my focus.”The artist Christine Sun Kim performing in American Sign Language at the Super Bowl in Miami in February.Credit…A J Mast for The New York TimesArtChristine Sun KimIn February, just minutes ahead of the Super Bowl in Miami, the artist Christine Sun Kim stood at the 40-yard line performing in American Sign Language as Yolanda Adams sang “America the Beautiful” and Demi Lovato sang the national anthem.“As a child of immigrants, a grandchild of refugees, a Deaf woman of color, an artist and a mother, I was proud to perform,” she wrote in an Op-Ed for The Times afterward. But because only a fraction of her performance was aired, she called the experience “a huge disappointment — a missed opportunity in the struggle for media inclusiveness on a large scale.”“Being deaf in America has always been political,” she wrote.Kim, 40, who was born in California and is now based in Berlin, has spent years channeling this perspective into her art. At the Whitney Biennial in New York last year, she exhibited hand-drawn charcoal drawings from her “Degrees of Deaf Rage in the Art World,” and in 2013, the Museum of Modern Art selected her for its exhibition “Soundings: A Contemporary Score,” dedicated to sound art.“I want people to start thinking about what deafness means,” she told Vogue this year, “and maybe that will reduce the stigma and society will be more inclusive of people with disabilities.”MusicVerzuzYou could call it a battle, a face-off, a showdown. But Verzuz is also something else entirely: a pandemic pivot, cutting right to the very core of quarantine entertainment by combining livestreaming and nostalgia while filling a hole left by canceled live shows and shuttered clubs.Since April, Verzuz, the creation of Swizz Beatz and Timbaland, has streamed over 20 battles. Each one has brought together two hip-hop or R&B heavyweights: Gladys Knight vs. Patti LaBelle, Erykah Badu vs. Jill Scott, Gucci Mane vs. Jeezy, Babyface vs. Teddy Riley, Snoop Dogg vs. DMX, Ludacris vs. Nelly, to name a few. Millions of people have tuned in.Initially, Verzuz was streamed on Instagram Live. In July, Verzuz and Apple Music announced they’d struck a partnership which allowed the videos to be viewed live and on-demand on that platform, too.Jon Caramanica, a pop music critic for The Times, called the events staples of this era and “less battles in the conventional sense than choreographed chest-puffing combined with bows of respect.” To that point, there is no winner winner. As Swizz Beatz told ABC News: “The people won, the culture won, the music won.”The artist Salman Toor has his first solo museum show, “How Will I Know,” up at the Whitney Museum of American Art.Credit…Peter Fisher for The New York TimesArtSalman ToorThe painter Salman Toor was about to have his first solo museum show, “How Will I Know,” at the Whitney Museum of American Art early this year when the shutdown thwarted the whole thing. He took it pretty well. “My first reaction was, thank God,” he told The Times in June. “I’m not a social animal.” But disappointment inevitably crept in as he realized the exhibition might never happen.Thankfully for him and fans of figurative and queer art, the show eventually did go up at the Whitney, where it will appear through April. And that’s only the start for Toor. Over the summer, he joined the gallery Luhring Augustine, which will open an exhibition of his work in the next few years.Toor, 37 — who was born and raised in Lahore, Pakistan, and moved to the United States in 2002 — primarily depicts gay men of South Asian descent. In The Times, the writer Ted Loos described Toor’s contemporary settings: “iPhones appear here and there, the glow emanating from them emphasized with bright lines.” Toor said that he aspired to represent “what this new free space is like,” referring to living an openly queer life. In Pakistan, gay sex is illegal. “People are curious to know what it means to have the freedom of so much choice, and what is the nature of that freedom and what is the cost of that.”TheaterElizabeth StanleyUp against Adrienne Warren for that Tony is Elizabeth Stanley, who was nominated for her gutting performance as Mary Jane — “a brittle tiger mom suppressing secret trauma,” as Jesse Green, a theater critic for The Times, put it — in “Jagged Little Pill,” based on Alanis Morissette’s smash album from 1995. When Broadway shut down, Stanley, 42, did not take too long before shifting her energy toward digital performances.In April, she told Deadline that she’d already been wondering about what else she could do during the pandemic: “How can I twist to this and find something new and exciting out of this time?”What came of that question epitomized what much of theater looked like in 2020: creating new digital spaces for live performance.In April, she delivered a jaw-dropping rendition of “The Miller’s Son” from “A Little Night Music,” for the acclaimed event “Take Me to the World: A Sondheim 90th Birthday Celebration.” In June, she sang her wrenching rendition of “You Learn,” from “Jagged Little Pill,” for an Opening Night Times event on the future of Broadway. On Dec. 13, Stanley and her “Jagged Little Pill” co-stars reunited for “Jagged Live In NYC: A Broadway Reunion Concert.”Kali Uchis performing in Atlanta in 2018. She recently released the album “Sin Miedo (del Amor y Otros Demonios).”Credit…Paul R. Giunta/Invision, via Associated PressMusicKali UchisIn 2018, Kali Uchis released a debut album titled “Isolation.” Clearly she was ahead of her time. In November, the Colombian-American artist — with a moody, seductive, dance-inducing style — dropped her second studio album, this time predominantly in Spanish, “Sin Miedo (del Amor y Otros Demonios).” (Its lead single, “Aquí Yo Mando,” features the up-and-coming rapper Rico Nasty.) The album “goes genre-hopping and era-hopping, from romantically retro orchestral bolero to brittle reggaeton,” Jon Pareles, the chief pop music critic of The Times, wrote this month.Having grown up between Colombia and the D.C.-Maryland-Virginia area, Uchis, 26, had many inspirations and influences, she told Interview magazine. “The last thing I ever want to do is be a predictable artist. I love that my fans never know what to expect when I drop a song.”DanceThe Year of the SoloIt wasn’t just that the coronavirus put an end to live performance in March. The need for social isolation uprooted every part of what gets a dance onto a stage: Suddenly, there were no more classes, no more rehearsals. How to fill that void? The solo.This solitary form has provided an outlet for frustration, for sadness and even for euphoria as dance artists continue to find meaning through movement. It’s true that some attempts have been sentimental and aimless, but much good has emerged from it, too. Instagram, from the start, illuminated these explorations in a steady stream of posts; choreographers worked with dancers remotely to create films in which the body could be fearless and free. “State of Darkness,” Molissa Fenley’s 1988 solo revived for seven dancers, was a glittering, harrowing reminder of the achievement that comes from strength, both internal and external.One of its interpreters, the dancer Sara Mearns, said that she saw herself as “someone that has gone through really, really hard times, but then in the end has come out stronger and on top.” Yes, dance and dancers are suffering right now. But the solo has given it — and them — a powerful voice. — Gia Kourlas, dance critic for The New York TimesAdvertisementContinue reading the main story More