Archives and Records

Subterms

    More stories

    • 125 Shares199 Views

      in Theater

      Harvey Fierstein Donates $2.5 Million for Public Library Theater Lab

      by

      The gift from the writer and performer will help create an educational hub at the New York Public Library for the Performing Arts at Lincoln Center.Harvey Fierstein may be a multiple Tony-winning performer and writer. But he is also the son of a librarian, who still sometimes heads to the reading room when he needs to do homework.In 2005, when he was preparing to play Tevye in a revival of “Fiddler on the Roof,” he visited the New York Public Library for the Performing Arts at Lincoln Center to watch a recording of an earlier Broadway revival featuring Zero Mostel, which is included in its famed Theater on Film and Tape Archive.“And don’t tell anyone, but I’ve also used the library,” he said in an interview, dropping his famous Brooklyn molasses-spiked-with-gravel voice, “for pleasure.”Now, Fierstein has donated $2.5 million to create a new “theater lab” at the library’s Lincoln Center campus, a dedicated educational space where students and the general public will be able to attend programs drawing on its vast holdings of photographs, scripts, recordings, set models, costumes and other materials.“Live theater is live theater — you do it and that’s it,” said Fierstein, 67. “Without a library collecting this stuff, our whole history disappears.”The lab, which will be named for Fierstein, is to be built in what is currently a 770-square-foot office space. In a statement, Jennifer Schantz, the library’s director, said it would be “an incubator of creativity” that embodies “the library’s mission to inspire lifelong learning using the theater division’s unparalleled collections.”The performing arts library holds material from shows Fierstein wrote or performed in, including “Torch Song Trilogy,” “La Cage aux Folles,” “Kinky Boots” and “Hairspray.” But as it happens, his personal papers are elsewhere.In 2005, before a home renovation, Fierstein placed his personal archive at Yale University. “So I needed to also do something for the performing arts library,” he said.In addition to the $2.5 million donation, the library has been named a beneficiary of the Harvey Fierstein Trust, which will allow it to receive additional support in the future.Fierstein said he hoped the lab would help people reimagine what theater can be after the pandemic, which shuttered the entire industry. He recalled how over the years, every time he did a revival of “Torch Song Trilogy,” for which he won his first two Tonys in 1983, he would call the downtown experimental theater La MaMa to ask if he could use their rehearsal space, which he described as a kind of spiritual home.“I would ask, ‘Can I borrow your basement?’” he said. “I thought of it as a kind of womb. That’s what I think of this space as — a womb for something wonderful. You just don’t know what’s going to be born out of it.” More

    • 125 Shares99 Views

      in Television

      Museum to Create a National Archives of Game Show History

      by

      The Strong National Museum of Play in Rochester, N.Y., will house the archives, which it hopes will include set pieces, audience tickets, press photos and other memorabilia.“Showcase Showdowns” and “Daily Doubles” of yesteryear will no longer be relegated to just reruns.A museum in Rochester, N.Y., announced on Wednesday that it would serve as the home of a first-of-its-kind National Archives of Game Show History to preserve artifacts and footage from programs like “Jeopardy!” “The Price Is Right” and “The $25,000 Pyramid.”The archives will be housed at the Strong National Museum of Play, which is undergoing an expansion that will add 90,000 square feet to its space and that it expects to be completed by 2023.Curators at the museum already have some ideas about what types of artifacts would make an ideal centerpiece and are asking for items from collectors.“The wheel from ‘Wheel of Fortune’ would be iconic,” Chris Bensch, the museum’s vice president for collections, said in an interview on Wednesday. The museum, he said, would gladly accept the letter board, along with a dress from the show’s famous letter-turner, Vanna White.Museum officials said there was a void of preservation groups dedicated to game shows. They represent a key aspect of television and cultural history in America, from the earliest panel shows and the quiz-show scandals of the 1950s to big-money mainstays of evening television.“It is something we feel uniquely qualified to do,” Mr. Bensch said of the museum, which opened in 1982.The archive’s creation is part of the broader expansion at the museum, which is being supported by a $60 million campaign. The cost of the archive is yet to be determined.Several marquee names have already lined up in support of the project, according to the museum, which said that the archive’s co-founders are Howard Blumenthal and Bob Boden, the producers of “Where in the World is Carmen Sandiego?” and “Funny You Should Ask.”The museum, which is already home to the World Video Game Hall of Fame and the National Toy Hall of Fame, has found another key ally: Ken Jennings, the record-setting “Jeopardy!” champion.“There’s like a pleasant nostalgia to game shows for generations of Americans,” Mr. Jennings said in an interview on Wednesday.Calling the preservation effort overdue, Mr. Jennings said that people were starting to realize the importance of game shows the way they did with other great 20th century art forms like jazz and comic books.“I think it’s the game show’s turn,” he said.In a statement released through the museum, Wink Martindale, the veteran game show host, said there was a certain urgency to the preservation effort.“Without this initiative, many primary resources relating to these shows, as well as oral histories of their creators and talent, risked being lost forever,” he said.The museum, which welcomed nearly 600,000 visitors in 2019 before the pandemic, said it was seeking to acquire everything from set pieces and audience tickets to press photographs.“It deserves a place where it can be preserved, a place where scholars, media and the general public can access it,” Mr. Bensch said.The museum is not limiting its focus to those in front of the camera. Officials said contestants, television crews and audience members would play an important role in preserving the history of game shows.“There are so many significant folks who have shaped this industry over the years,” Mr. Bensch said. “They deserve a chance to tell their stories. We also have plans to do video oral histories with key people so we will capture their stories directly and share those with the world.”It seems the museum has a lead on an artifact.“If they want a necktie I lost on ‘Jeopardy!’ with,” Mr. Jennings said, “they’re happy to have it.” More

    • 125 Shares199 Views

      in Music

      Bob Dylan Center, Featuring Archival Materials, to Open in 2022

      by

      Following the acquisition of the singer-songwriter’s once-secret archives in 2016, a Tulsa-based foundation will put lyrics, photos and films on display in Oklahoma.Dylanologists, rejoice — the archives are going on display.Starting May 10, 2022 — six years after the secret Bob Dylan Archives were revealed and acquired by the foundation of an Oklahoman billionaire — some 100,000 pieces of ephemera will be available to visit in Tulsa.The opening of the Bob Dylan Center, announced on Wednesday, will include rare and never-before-seen lyric manuscripts, photographs, songs and footage, alongside a new “immersive film experience” and a “recreation of an authentic studio environment,” organizers said. Public admission information will be released later in the year, while a founding membership (limited to 250 people) is available now for $7,500.The three-story center in the Tulsa arts district — designed by the architecture firm Olson Kundig — was founded by the American Song Archives and its backer, the George Kaiser Family Foundation, which along with the University of Tulsa acquired Dylan’s archives for between $15 million and $20 million in 2016. (Originally appraised at more than $60 million, the bulk of the materials were donated.)In announcing the acquisition, The New York Times called the troves “deeper and more vast than even most Dylan experts could imagine, promising untold insight into the songwriter’s work.” (And yet, of course: “Amid these mountains of paper, Mr. Dylan, the man, remains an enigma.”)The George Kaiser Family Foundation, named for the oil and banking magnate and Democratic donor, also operates the Woody Guthrie Center down the street. An early hero of Dylan’s, Guthrie was born in Oklahoma, and Dylan, now 79, noted at the time that “it makes a lot of sense, and it’s a great honor” for their archives to be held together, alongside the foundation’s cache of Native American art.George Kaiser said that he obtained the singers’ archives to facilitate both scholarly study and tourism, with hopes of revitalizing Tulsa. (The Guthrie and Dylan centers sit near the city’s Greenwood district, once known as Black Wall Street and the site of the Tulsa Race Massacre, the 1921 atrocity that has recently been revisited by journalists, historians and popular culture.)As a tease along with its announcement, the Dylan Center also publicized the existence of what it called a “heretofore-unknown recording” of Dylan’s “Don’t Think Twice, It’s All Right,” captured at an East 3rd Street apartment in 1962. The song, with updated lyrics, was eventually released the following year on “The Freewheelin’ Bob Dylan.”Separately, the Patricia & Phillip Frost Art Museum in Miami said this week that it would host an exhibition titled “Retrospectrum,” featuring some 120 drawings, paintings and sculptures by Dylan, building on a collection that originally debuted in Shanghai. The show runs from Nov. 30 through April 17, 2022. More

    • 113 Shares139 Views

      in Movies

      ‘Citizen Kane’ Is No ‘Paddington 2,’ Says Rotten Tomatoes

      by

      After an 80-year-old pan resurfaced, the website Rotten Tomatoes recalculated and found that only 99 percent of critics had praised “Citizen Kane.”There is perfect. And then there is almost perfect.And as anyone who’s ever gotten a 99 percent on a test can tell you, the two are not the same thing.“Citizen Kane,” the 1941 Orson Welles classic about the rise and fall of the publishing magnate Charles Foster Kane, long had a perfect critics’ score on the film website Rotten Tomatoes, which had aggregated 115 reviews. Until last month.That is when a rediscovered write-up by a critic who died decades ago played spoiler.The 80-year-old, less-than-effusive review, headlined “Citizen Kane Fails to Impress Critic as Greatest Ever Filmed,” resurfaced last month as part of a new archival project at Rotten Tomatoes. The review, which ran in The Chicago Tribune in 1941 and was quietly added to the “Citizen Kane” page on Rotten Tomatoes in March, brought the classic film, which is regularly placed atop lists of greatest American films, down a peg or two.“You’ve heard a lot about this picture and I see by the ads that some experts think it ‘the greatest movie ever made,’” the critic, whose punny pseudonymous byline was Mae Tinee, wrote. “I don’t.”The problem? It was a little too fresh, apparently.“It’s interesting,” the reviewer wrote. “It’s different. In fact, it’s bizarre enough to become a museum piece. But its sacrifice of simplicity to eccentricity robs it of distinction and general entertainment value.”The film’s black and white photography, which has been lauded for years for its atmospheric, noirish touch, was criticized as “shadowy and spooky” by the reviewer, who said it “gives one the creeps.”“I kept wishing they’d let a little sunshine in,” she wrote. (She was a fan of Welles as an actor, though, calling him a “zealous and effective performer.”)With the inclusion of her dissenting opinion, the film is now rated only 99 percent “Fresh” on the Rotten Tomatoes Tomatometer.This means that, according to the review site, there are now 63 films with at least 40 reviews that are now more universally admired by critics than “Citizen Kane.” The site’s “100% Club” includes some predictable classics (“Modern Times,” “Singin’ in the Rain,” “The Maltese Falcon”) and some less predictable recent films (the first two “Toy Story” movies).One member of the club? “Paddington 2,” the children’s film about a bear who, according to the review site, “spreads joy and marmalade wherever he goes.” Its writer and director, Paul King, told The Hollywood Reporter that he while he was pleased the film was on the list, he would not take it edging out “Citizen Kane” too seriously. “I won’t let it go too much to my head and immediately build my Xanadu,” he said.Rotten Tomatoes, which may soon take the critical scores of more classics down to earth as older archival reviews are added to the site, has previously acknowledged that members of the “100% Club” aren’t necessarily perfect.“It’s a tough road for a movie to get a 100% with critics, fraught with peril,”a page on the site devoted to the paragons of perfect percentage says. “What if a small plot hole is big enough to irk a persnickety reviewer? What if the cinematographer didn’t show up that one day for a crucial scene? What if there was a bum performance from one of the background extras?”The Mae Tinee take on “Citizen Kane” was a minority opinion at the time.“In spite of some disconcerting lapses and strange ambiguities in the creation of the principal character,” the critic Bosley Crowther wrote in The New York Times after attending the film’s 1941 premiere at the Palace Theater, “‘Citizen Kane’ is far and away the most surprising and cinematically exciting motion picture to be seen here in many a moon.”“As a matter of fact,” he added, “It comes close to being the most sensational film ever made in Hollywood.”The film was also the recent inspiration for Netflix’s “Mank,” a biopic of the “Citizen Kane” screenwriter Herman J. Mankiewicz, which starred Gary Oldman and won two Oscars on Sunday (but which the critics aggregated by Rotten Tomatoes rated only 83 percent Fresh).But there has been a corner of the internet that has argued for years that “Kane,” for all its accolades, was just, well, meh. (See sincere Reddit threads headlined “Is Citizen Kane the most overrated film of all time?” and “Can somebody please seriously in detail explain why Citizen Kane is considered by many critics and moviegoers as the best film ever made.”)And now, with a change of 1 percentage point, those skeptics can rest a bit easier — thanks to Reviewer 116. More

    • 163 Shares179 Views

      in Movies

      A Soviet ‘Lord of the Rings’ Is Unearthed, Epic in Its Own Way

      by

      Tolkien fans received an unexpected gift with the rediscovery of an all-but-forgotten 1991 production. They were also left with questions, like “why is Gollum wearing a lettuce on his head?”The hobbits and elves are familiar, if the Soviet folk-rock is not. One man is clearly a wizard, though the special effects are, at their best, not very good. And the growl of an actor painted green does sound — sort of — like he might be saying “gollum.”What’s unmistakable over two hours of video is the golden ring that can make people disappear: This messy, low-budget odyssey is both a time capsule of Soviet TV and, until recently, a little-known version of J.R.R. Tolkien’s epic fantasy “The Lord of the Rings.”For the first time in decades, audiences can now watch this adaptation of the first volume in the trilogy, “The Fellowship of the Ring,” which aired for the first and last time on Russian television in 1991, the year the Soviet Union dissolved and the performance vanished into the archives of state TV.The Russian broadcaster Channel Five, after recently finding and digitizing the footage in what it called a “long and painstaking process,” posted the two-part recording online in late March.“Everyone believed that the recording of the performance was lost,” Channel Five said in a statement. But after Tolkien fan clubs urged the broadcaster to scour the archives of its Soviet predecessor, Leningrad Television, workers for Channel Five managed to find the footage last year.“At the numerous requests of fans of Tolkien’s work,” the channel said, it decided to post the “film adaptation of a theatrical production” online. Its title is “Khraniteli,” which translates to “The Guardians.” Online, the production has found an audience, despite, or perhaps because of, its hapless special effects, confusing editing, operatic acting and seemingly nonexistent budget. On YouTube, Parts 1 and 2 have been watched almost two million times. After reporting the film’s rediscovery this week, The Guardian also appraised it (“the sort of LSD freak-out you saw on after-school public information films in the 1980s”). The BBC, Vulture and Entertainment Weekly followed suit.“It’s so bad it’s good,” said Dimitra Fimi, a lecturer in fantasy and children’s literature at the University of Glasgow. “It’s a weird concoction of stuff — some of it is really close to the narrative and other bits are curtailed somehow.”Dr. Fimi said that, like other scholars she had spoken with, she enjoyed the production even as it left her wrestling with mysteries like “why is Gollum wearing a lettuce on his head?”So far, Tolkien fans in Russia and the West seem to appreciate the production for what it is and what it is not. Everyone knows it is not the director Peter Jackson’s blockbuster “The Lord of the Rings” trilogy of the 2000s.“Тhere is no sense in comparing these films,” said Nikolai Matchenya, a 31-year-old fan from Pskov, Russia. “It’s like comparing a new car with new computer systems inside with old, mechanical automobiles.”The effects? “Too old-fashioned,” he said. The acting? “Poor.” The costumes? Those were “not bad.”Few would argue about the effects, at least. When the wizard Gandalf sets off magic fireworks, the actor lifts his cape and drawings of fireworks appear. A bug-eyed bird puppet stands in for a giant eagle, and the villainous Sauron appears as an eye superimposed over a cup of pink ooze. Magic is often depicted with a watery effect and some spooky music.A screenshot from YouTube showing special effects in the Russian television adaptation of “The Lord of the Rings.”YouTubeThe cast of “Lord of the Rings.”YouTube“I unironically love it,” said Maria Alberto, a fan studies scholar at the University of Utah. People who say, “Oh, it’s really bad, it’s really cringe,” she said, had grown used to decades’ worth of “polished adaptations.”She said the production reminded her of fan-made adaptations of other Tolkien works, in which an audience can watch the process of adaptation unfold in chaotic detail. “What I’m kind of seeing with this film is they’re still figuring it out,” she said.Arseny Bulakov, the chairman of the St. Petersburg Tolkien Society, called the production “a very revealing artifact” of its era: “filmed in destitute times, without stage settings, with costumes gathered from acquaintances — and at the same time with great respect for Tolkien and love for his world.”Mr. Bulakov said it reminded him “of the early years of Tolkienists” in Russia. “Not getting paid for half a year, dressed in old sweaters, they nevertheless got together to talk about hobbits and elves, to rewrite elvish poems by hand, to try to invent what was impossible to truly know about the world.”Tolkien’s books were hard to find for decades in the Soviet Union, with no official translation of “The Hobbit” until 1976 — “with a few ideological adaptations,” according to Mark Hooker, the author of “Tolkien Through Russian Eyes.” But the “Rings” trilogy was “essentially banned” for decades, he said, perhaps because of its religious themes or the depiction of disparate Western allies uniting against a sinister power from the East.In 1982, an authorized and abridged translation of “Fellowship” became a best seller, Mr. Hooker said. Translators started making unofficial, samizdat versions in the years that followed — translating and typing out the entire text on their own.“Khraniteli” was broadcast at a moment of “great systemic turmoil” as the Soviet Union was dismantled, and part of “the flood of ideas that rushed in to fill the vacuum,” Mr. Hooker said. “For the average Russian, the world had turned upside-down.”Irina Nazarova, an artist who saw the original broadcast in 1991, told the BBC that in retrospect, the “absurd costumes, a film devoid of direction or editing, woeful makeup and acting — it all screams of a country in collapse.”Mr. Hooker compared the production itself to a samizdat translation, “with all the rough edges.” Among them are wobbling cameras, as though the hobbits were filming their journey with a camcorder, and sudden cuts to a narrator who, smoking a pipe or smiling silently, sometimes seems content to leave his audience in the dark.The production includes some scenes from the books that are not found in the Jackson films, including one with the character Tom Bombadil and the creatures called barrow-wights. It also deviates in some ways, with the character Legolas played by a woman and no appearance of the monstrous Balrog.All these decisions are “fascinating” to Dr. Fimi and her fellow scholars, she said, especially for “what that particular cultural moment is doing with that text.”And though the Jackson trilogy is well-regarded, the community is excited to have a new adaptation to mull over before a coming Amazon series based on Tolkien’s work, she said. “The more plurality we have of different versions and different visions of Tolkien’s work, the better.”Channel Five intends to make the production even more accessible. “In the near future,” it said, the video would get subtitles in English.Andrew Kramer contributed reporting. More

    • 125 Shares189 Views

      in Movies

      ‘Allen v. Farrow’ Episode 2 Recap: A Family Torn Apart

      by

      AdvertisementContinue reading the main storySupported byContinue reading the main story‘Allen v. Farrow’ Episode 2 Recap: A Family Torn ApartSeven months after the shocking discovery of Woody Allen’s relationship with Soon-Yi Previn, he was accused of sexually abusing Dylan Farrow.From left, Moses Farrow, Soon-Yi Previn, Dylan Farrow and Woody Allen.Credit…HBOFeb. 28, 2021At the end of Episode 1 of “Allen v. Farrow,” the HBO documentary series that investigates the decades-old sexual abuse accusations by Woody Allen’s adopted daughter, Dylan Farrow, the family has just started to cope with the revelation that Mr. Allen and Soon-Yi Previn were involved in a secret relationship.In January 1992, Mia Farrow, Ms. Previn’s mother and Mr. Allen’s girlfriend, discovered nude photos of Ms. Previn, who was then in college, at Mr. Allen’s apartment.The second episode examines the fallout from that discovery and Dylan Farrow’s allegations that her father sexually assaulted her in August 1992, when she was 7 years old.After the first episode premiered, a spokesperson for Mr. Allen and Ms. Previn, who have been married for more than 20 years, released a statement saying the series was “riddled with falsehoods” and suggesting that the filmmakers did not give them ample notice to respond to it. The publisher of Mr. Allen’s recent memoir, “Apropos of Nothing,” also objected to the inclusion of snippets from the audiobook, which it says were used without permission.The filmmakers said in a statement on Wednesday that Mr. Allen and Ms. Previn were approached in December and were given two weeks to confirm their interest in an on- or off-camera interview. A representative confirmed that they had received the request but did not respond to it, the statement said. Mr. Allen has denied ever having been sexually inappropriate or abusive toward Dylan Farrow.Here is what we saw on Sunday night, in Episode 2.A fixation on a certain kind of romanceThis episode, using interviews with journalists and clips from Mr. Allen’s films, explores Mr. Allen’s focus on romantic relationships between older men and younger women.In addition to the films with that theme that have been produced (“Husbands and Wives,” “September”), the episode considers those that did not make it to the screen and that reside in the Woody Allen archive at Princeton University. The archive contains multiple versions of film scripts and pages of ideas with notes in the margins. Richard Morgan, a freelance journalist who examined the archive for The Washington Post, said in the documentary that it reveals a “focus” on “very young women.”The episode includes an interview with Christina Engelhardt, a woman who says she started a relationship with Mr. Allen when she was 17 years old and he was in his early 40s. Ms. Engelhardt, who was a model as a teenager, said she believes their relationship was the basis for “Manhattan,” Mr. Allen’s acclaimed 1979 film that centers on a romance between a high school girl and a man — played by Mr. Allen — who is older than her father.She says in an interview with the filmmakers that her relationship with Mr. Allen, which she said lasted until she was 23, has “taken a toll” on her, affecting her later relationships. She says the experience also made her a “supervigilant mother.”Dylan FarrowCredit…HBOThe aftermath of the photosAfter Ms. Farrow discovers the nude Polaroids of Ms. Previn, the family is in shock. Daisy Previn, one of Ms. Farrow’s daughters, recounts how she told her sister, Soon-Yi, that she should come back to the family — that their mother would forgive her — and how Soon-Yi went in another direction, to Mr. Allen.Ms. Farrow recalls a moment that she was “not proud” of from around this time: She found Soon-Yi talking to someone on the phone and, assuming it was Mr. Allen, Ms. Farrow said she “pounced on her,” slapping Soon-Yi on the side of the face and the shoulder. (In 2014, Moses Farrow, Mia and Woody’s son, told People magazine that his mother bullied the children and hit him. Moses, who has sided with his father in saying that he does not believe that Dylan was molested, has not participated in the docuseries.)Part of a taped phone conversation between Ms. Farrow and Mr. Allen from the summer of 1992 is included in the episode. Ms. Farrow says she decided to record it because she thought Mr. Allen had already taped one of their phone calls. In the conversation, Ms. Farrow and Mr. Allen argue about what they should say to the media if his relationship with Ms. Previn becomes public.Fletcher Previn, one of Ms. Farrow’s older children, tells the filmmakers that during this time, his opinion of Mr. Allen shifted dramatically.“He went from a father figure to a person who is a predator that we have to keep out of the house and protect ourselves from,” Mr. Previn said.Aug. 4, 1992Amid this chaos, the family went to their Connecticut country house, and despite the rift between Ms. Farrow and Mr. Allen, he had a legal right to see Dylan and Moses Farrow because he had adopted them in 1991..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-rqynmc{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:0.9375rem;line-height:1.25rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-rqynmc{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-rqynmc strong{font-weight:600;}.css-rqynmc em{font-style:italic;}.css-yoay6m{margin:0 auto 5px;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}@media (min-width:740px){.css-yoay6m{font-size:1.25rem;line-height:1.4375rem;}}.css-1dg6kl4{margin-top:5px;margin-bottom:15px;}#masthead-bar-one{display:none;}#masthead-bar-one{display:none;}.css-1pd7fgo{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-1pd7fgo{padding:20px;width:100%;}}.css-1pd7fgo:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1pd7fgo{border:none;padding:20px 0 0;border-top:1px solid #121212;}.css-1pd7fgo[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-1pd7fgo[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-1pd7fgo[data-truncated] .css-5gimkt:after{content:’See more’;}.css-1pd7fgo[data-truncated] .css-6mllg9{opacity:1;}.css-k9atqk{margin:0 auto;overflow:hidden;}.css-k9atqk strong{font-weight:700;}.css-k9atqk em{font-style:italic;}.css-k9atqk a{color:#326891;-webkit-text-decoration:none;text-decoration:none;border-bottom:1px solid #ccd9e3;}.css-k9atqk a:visited{color:#333;-webkit-text-decoration:none;text-decoration:none;border-bottom:1px solid #ddd;}.css-k9atqk a:hover{border-bottom:none;}Understand the Allegations Against Woody AllenNearly 30 years ago, Woody Allen was accused of sexually abusing Dylan Farrow, his adoptive daughter. A new docuseries re-examines the case.This timeline reviews the major events in the complicated history of the director, his children and the Farrow family.The documentary filmmakers Kirby Dick and Amy Ziering spoke about delving into this thorny family tale. Dylan Farrow wrote an open letter in 2014, posted by the New York Times opinion columnist Nicholas Kristof, recounting her story in detail.Our book critic reviewed Mr. Allen’s recent memoir, “Apropos of Nothing.”A.O. Scott, co-chief film critic, grappled with the accusations and his complicated feelings on the filmmaker in 2018. The episodes include a mixture of interviews and court testimony from those who were present on Aug. 4, 1992, the day that Dylan Farrow says her father assaulted her. Mia Farrow had gone to the store with Casey Pascal, a family friend whose children and babysitter were at the house that day. Sophie Bergé, a French tutor staying with the family that summer, said that Mr. Allen arrived while they were running errands.On that day, there were about 20 minutes during which Dylan Farrow could not be found, according to 1993 testimony in the custody case from Kristi Groteke, the babysitter for the Farrow children. Ms. Groteke said in court that she looked for Dylan throughout the house but could not find her.When Ms. Farrow and Ms. Pascal returned home, Ms. Farrow said, she noticed that Dylan was not wearing underpants and asked her babysitter to get a new pair.The day afterOn Aug. 5, Ms. Pascal said that she called Ms. Farrow to tell her that the Pascals’ babysitter, Alison Stickland, had witnessed something that disturbed her: Dylan Farrow sitting on the couch, with Mr. Allen, on his knees, his head buried in his daughter’s lap.Ms. Farrow tells the filmmakers that when she asked her daughter what had happened, Dylan confirmed that Mr. Allen had put his head in her lap and that he had also taken her up to the attic and touched her “privates.” Ms. Farrow says she decided to film her daughter’s account because she wanted to tell Dylan’s therapist, who was away for the summer.That footage, which is being shown publicly for the first time in this series, later became the subject of controversy: Some thought it was clear evidence that Dylan Farrow was telling the truth, while others saw it as evidence that Ms. Farrow had coached her daughter on what to say.In the video, Dylan Farrow says that in the attic, her father told her, “Do not move, I have to do this,” and that if she stayed still, they could go on a trip to Paris.Dylan Farrow, now 35 years old, says in the documentary she remembers that during the assault, she focused her attention on her brother’s train set.AdvertisementContinue reading the main story More

    • 138 Shares99 Views

      in Theater

      The Royal Academy of Dance: From Music Hall to Ballet Royalty

      by

      #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 storyFrom the Music Hall to Ballet Royalty: A British TaleThe history of the Royal Academy of Dance, outlined at an exhibition in London, is synonymous with the history of ballet in Britain.The Danish-born ballerina Adeline Genée, who was a founder of the Royal Academy of Dance, in “A Dream of Butterflies and Roses.”Credit…Hugh CecilJan. 6, 2021Updated 2:07 p.m. ET“It is absolute nonsense to say that the English temperament is not suited for dancing,” Edouard Espinosa, a London dance teacher, said in 1916. It was only a lack of skilled teaching, he added, that prevented the emergence of “perfect dancers.” Espinosa was speaking to a reporter from Lady’s Pictorial about a furor that he had caused in the dance world with this idea: Dance instructors, he insisted, should adhere to standards and be examined on their work.Four years later, in 1920, a teaching organization that would become the Royal Academy of Dance (R.A.D.) was founded by Espinosa and several others, including the Danish-born Adeline Genée and the Russian ballerina Tamara Karsavina. Today, the academy is one of the major ballet training programs in the world, with students in 92 countries following syllabuses and taking its exams governed by the organization. And as the exhibition “On Point: Royal Academy of Dance at 100,” at the Victoria and Albert Museum in London, shows, its history is synonymous with the history of ballet in Britain.“A lot of British dance’s legacy started with the R.A.D.,” said Darcey Bussell, a former Royal Ballet ballerina who has been the president of the academy since 2012. “It’s important that dance training and teaching are kept entwined with the professional world, and the R.A.D. has done that from the start.”There wasn’t yet a national ballet company in Britain when the Royal Academy was formed. But there was plenty of ballet, said Jane Pritchard, the curator of dance, theater and performance at the Victoria and Albert museum. She curated the exhibition with Eleanor Fitzgerald, the archives and records manager at the Royal Academy of Dance. “The Ballets Russes were there, Pavlova was performing in London, and there were excellent émigré teachers arriving,” Ms. Pritchard said. “So the R.A.D. came into existence at just the right moment, taking the best of the Italian, French and Russian schools and bringing it together to create a British style, which it then sent out into the world again.”The exhibition, which runs through September 2021, had its scheduled May opening delayed by Covid-19 restrictions. It opened on Dec. 2, but was shut down again when Britain reimposed restrictions in mid-December. While we wait for the museum to reopen, here is a tour of some of the exhibition’s photographs, designs and objects, which touch on some of the most important figures in 20th-century ballet history.‘The World’s Greatest Dancer’ (or so said Ziegfeld)Adeline Genée (1878-1970), who spent much of her career in England, reigned for a decade as the prima ballerina at the Empire Theater, where she appeared in variety programs. She was both revered as a classical dancer and hugely popular with the public; Florenz Ziegfeld billed her as “The World’s Greatest Dancer” when she performed in the United States in 1907. Genée became the first president of the Royal Academy of Dance, and her connections to royalty and her popularity with the public made her an excellent figurehead.The 1915 photograph shows Genée in her own short ballet, “A Dream of Butterflies and Roses,” in a costume by Wilhelm, the resident designer at the Empire Theater and an important figure on the theatrical scene. “It’s a really good example of the kind of costume and the kind of ballets that were being shown at the time,” Ms. Fitzpatrick said. “Ballet was still part of music-hall entertainment.”A popular entertainmentAt the Coliseum in July 1922.Credit…via Victoria and Albert Museum, LondonThis 1922 poster of weekly variety-show offerings at the London Coliseum suggests how ballet was seen around the time that the Royal Academy of Dance was founded. “It was part of a bigger general picture, and this shows it visually,” Ms. Pritchard said. “Sybil Thorndike was a great British actress and would have given a short performance of a play or monologue; Grock was a very famous clown. Most of the Coliseum bills had some sort of dance element, but it wasn’t always ballet.”Karsavina: An independent artistClaud Lovat Fraser’s drawing of Jumping Joan’s costume for Tamara Karsavina in “Nursery Rhymes” at the Coliseum 1921.Credit…Rachel Cameron Collection/Victoria and Albert Museum, LondonJumping Joan was one of three characters danced by Tamara Karsavina in “Nursery Rhymes,” which she choreographed, to music by Schubert, for an evening at the Coliseum Theater in London in 1921. Unusually for ballet at the time in London, it was a stand-alone show rather than part of a variety program. Karsavina and her company performed it twice a day for two weeks.“People associate Karsavina with the Ballets Russes, but she also had her own group of dancers, which performed regularly at the Coliseum,” Ms. Pritchard said. “She was really an independent artist in a way we think is very modern, working with a major company but also having an independent existence.”She also tried to promote British artists; the costume design was by Claud Lovat Fraser, a brilliant theater designer who died in his early 30s. “I think Lovat Fraser is the British equivalent of Bakst,” Ms. Pritchard said. “His drawings are so animated and precise, and he uses color wonderfully to create a sense of character.”Good for athletes, tooBallet exercises for athletes.Credit…Ali Wright, Dance GazetteIn 1954, the Whip and Carrot Club, an association of high jumpers, approached the Royal Academy of Dance with an unusual request. Its members had read that in both Russia and America, athletes had benefited from taking ballet classes, and they asked the Academy to formulate lessons that would improve their elevation.The outcome was a course that ran for several years, with classes for high jumpers and hurdlers and, later, “steeplechasers, discus and javelin-throwers,” according to a Pathé film clip, on show in the exhibition. In 1955, a booklet was produced, showing 13 exercises designed to help jumping, drawn by the cartoonist Cyril Kenneth Bird, known professionally as Fougasse and famous for government propaganda posters (“Careless talk costs lives”) produced during World War II.“I love the photograph of Margot Fonteyn looking on in her fur coat!” Ms. Pritchard said.From generation to generationTamara Karsavina, left, coaching Margot Fonteyn in “The Firebird,” in 1954.Credit…Douglas ElstonKarsavina, vice president of the Royal Academy of Dance until 1955, developed a teachers’ training course syllabus as well as other sections of the advanced exams. As a dancer, she created the title role in Mikhail Fokine’s “The Firebird,” with music by Stravinsky, when the Ballets Russes first performed the ballet at the Paris Opera in 1910. Here she is shown coaching Margot Fonteyn, when the Royal Ballet first staged the ballet, in 1954, the year that Fonteyn took over from Genée as president of the Royal Academy of Dance.“Karsavina had firsthand knowledge of what the choreographer and composer wanted, and is passing it on,” Ms. Fitzpatrick said. (“I never was one to count,” Karsavina says in a film clip about learning “The Firebird”; “Stravinsky was very kind.”) “There is a wonderful sense of handing things from one generation to the next.”Fonteyn and NureyevFonteyn with Rudolf Nureyev at rehearsals for the Royal Academy of Dance Gala in 1963.Credit…Royal Academy of Dance/ArenaPAL, via GBL WilsonThis relaxed moment from a 1963 rehearsal shows the ease and rapport between Fonteyn and the youthful Rudolf Nureyev, who had defected from Russia two years earlier. They were rehearsing for the annual Royal Academy of Dance gala, which Fonteyn established to raise funds for the organization. Her fame enabled her to bring together international guests, British dancers and even contemporary dance choreographers like Paul Taylor.“The gala was also an opportunity for Fonteyn and Nureyev to try things that they perhaps wouldn’t have danced with the Royal Ballet,” Ms. Pritchard said. “Here, they were in rehearsal for ‘La Sylphide,’ because Nureyev was passionate about the Bournonville choreography. They really look like two dancers who are happy with one another.”‘Diminutive, dapper and precise’Stanislas Idzikowski teaching in 1952.Credit…Central Office of InformationStanislas Idzikowski, known as Idzi to his students, was a Polish dancer who had moved to London in his teens and danced with Anna Pavlova’s company before joining the Ballets Russes, where he inherited many of Vaslav Nijinsky’s roles. A close friend of Karsavina, he later became a much-loved teacher and worked closely with the Royal Academy of Dance. Always formally clad in a three-piece suit with a stiff collared shirt and elegant shoes, he was, Fonteyn wrote in her autobiography, “diminutive, dapper and precise.”In this 1952 photograph, he is teaching fifth-year girls who were probably hoping to go on to professional careers. Idzikowski was also involved with the Royal Academy of Dance’s Production Club, started in 1932 to allow students over 14 to work with choreographers; Frederick Ashton and Robert Helpmann were among the early volunteers, and later a young John Cranko created his first work there.Party polkaStudents demonstrate a dance for Margot Fonteyn and others in 1972.Credit…Felix FonteynThis 1972 photograph of young girls about to begin a sequence called the “party polka” was taken by Fonteyn’s brother, Felix, who also filmed the demonstration being given by a group of primary school students for Fonteyn and other teachers. The footage, which had been stored in the Royal Academy of Dance’s archives in canisters marked “Children’s Syllabus,” was only recently discovered by Ms. Fitzgerald.The film offers a rare glimpse of Fonteyn in her offstage role at the Royal Academy of Dance, Ms. Fitzgerald said, and it reflects an important change that the ballerina made during her presidency. “People really think about Fonteyn as a dancer, but she was very involved with teaching and syllabus development,” Ms. Fitzgerald said. Earlier syllabuses, she explained, had included mime, drama and history, but when a panel, including Fonteyn, revised the program in 1968, they did away with much of this.“They wanted to streamline everything and make it more enjoyable for the children, and just focus on the movement,” Ms. Fitzgerald said. “The party polka is a good example of that, with a great sense for the children of whirling around the room, and really dancing.”AdvertisementContinue reading the main story More