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      in Movies

      In a First for Broadway, a Theater Will Be Renamed for Lena Horne

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      Horne, a renowned singer and activist, will be the first Black woman to have a theater named after her once the Brooks Atkinson is renamed.One of Broadway’s biggest landlords said Thursday that it would rename a theater after the performer and activist Lena Horne, who would then become the first Black woman to win such recognition.The Nederlander Organization, which operates nine of the 41 Broadway theaters, said it would rename the Brooks Atkinson Theater in Horne’s honor. The Atkinson is a 1,031-seat venue on West 47th Street; it was built in 1926 and is currently home to the hit musical “Six.”The change brings the Nederlander Organization into compliance with an agreement reached last year between Broadway leaders and the advocacy organization Black Theater United, under which all three major Broadway landlords pledged that at least one of their theaters would be named for a Black artist. Jujamcyn Theaters already had a theater named for the playwright August Wilson, and the Shubert Organization announced in March that it would rename the Cort Theater after the actor James Earl Jones.Horne, who died in 2010, was an actor and singer who performed in nightclubs, in Hollywood, on television and onstage. She was also a longtime civil rights activist, outspoken on behalf of Black soldiers, and a frequent participant in protests and marches. She supported anti-lynching legislation, and fought against racism in the entertainment industry.She appeared in five Broadway shows, including the long-running “Lena Horne: The Lady and Her Music,” which in the early 1980s had a 346-performance run at the Nederlander Theater, followed by a tour. In 1958 she became the first African American woman to be nominated for a Tony Award for best actress in a musical, for her work in “Jamaica”; in 1981 she was granted a special Tony Award for “The Lady and Her Music.”James L. Nederlander, the president of the Nederlander Organization, said he remembered as a young man watching Horne perform — she would often make gentle fun of his father, who produced her Broadway show, from the stage — and coming to think of her as a friend. “She’s such a legend, and her time is overdue,” he said. “This felt really right.”Horne’s granddaughter, Jenny Lumet, a television showrunner and producer, said the family is delighted with the plan. “I’m really proud that people might find a spark of creativity in a space that has her name on it — that’s all you can ask for,” she said in an interview. “And it means something that there will be a theater, in the mecca of theater, named after a Black female artist. I couldn’t be prouder.”The theater has since 1960 been named for Brooks Atkinson, an influential longtime theater critic for The New York Times. The Nederlanders said the name change should take place this fall, but that the exact date will depend on when the new marquee signage is ready. More

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      in Theater

      N.Y.U. Names New Performance Space After Nation’s First Black Theater

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      The university is commemorating the African Grove Theater, part of a new building opening in 2023.A new performance space at New York University will be named “The African Grove Theater” in honor of the African Theater, a historic New York production company and venue widely considered to be the first Black theater in the United States, the university announced on Wednesday.Supported by a $1 million donation, the theater is on the fourth floor of a new multipurpose educational building at 181 Mercer Street that will open in spring 2023. It also will house the graduate acting and design programs for stage and film of the university’s Tisch School of the Arts.Where there was once merely a plaque with a brief history of the theater, there will be space to host theatrical performances, lobby displays, educational seminars and an annual symposium on the history of Black theater and culture.“This theater wasn’t ‘somewhere downtown’; it was on our campus,” said Laurence Maslon, an arts professor at N.Y.U. Tisch School of the Arts who is also a theater historian and co-chair of a university Committee to Commemorate the African Grove. “It has been part of our DNA for over 200 years.”“Felicitous is the word I keep coming back to,” he added.The original African Theater was started in 1816 by William Alexander Brown, a retired ship steward who started hosting music, poetry and short plays for Black New Yorkers in his backyard at 38 Thomas Street. The entertainment “tea garden” became known as the African Grove, one of the few spaces where Black patrons could enjoy leisure arts.In 1821, the theater moved to Bleecker and Mercer Streets — where the new performance space will stand next spring — expanding to a 300-seat venue known for staging operas, ballets and Shakespearean classics alongside original work, initially performed by Black performers for Black audiences and, later, integrated audiences. The original venture was not entirely peaceful. The theater faced harassment from white rivals and police raids. A yellow fever epidemic further ravaged the theater, which closed two years later. The last known playbill for an African Theater production was dated June 1823.The new theater will be a “space where we celebrate another tradition in the culture of New York City that has often been disregarded and overlooked and not understood,” said Michael Dinwiddie, an associate professor at N.Y.U.’s Gallatin School of Individualized Study, who is also a theater historian and co-chair of the Committee to Commemorate the African Grove. “This was a theater that in its early time, was really creating a model for what the American theater could be. And that’s what we want the modern African Grove Theater to be.”Dinwiddie said he was excited “to see what happens culturally” for students who learn about the theater and understand that they are performing in a place that is “historic and sacred and new, at the same time.” More

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      in Theater

      New York Theater Workshop Names Patricia McGregor as Artistic Director

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      The freelance director will succeed James Nicola, who has led the Off Broadway nonprofit since 1988.Patricia McGregor, a freelance director who has worked Off Broadway and around the country, has been named the next artistic director of New York Theater Workshop, a midsize nonprofit with an outsize track record of producing important work.McGregor, 44, will succeed James C. Nicola, who has served as the theater’s artistic director since 1988. Nicola, 71, announced last year that he would step down this summer; he is being honored next month with a special Tony Award in recognition of his successful tenure.New York Theater Workshop, founded in 1979 and located in the East Village, has a long track record of discovering, developing and supporting new plays and musicals, but it will forever be known as the birthplace of one huge hit, “Rent,” which opened there in 1996 and, after transferring to Broadway, spun off royalties for years that helped the theater flourish.The theater has had several other notable Broadway transfers, including the Tony-winning musicals “Once” and “Hadestown,” as well as the acclaimed plays “Slave Play” and “What the Constitution Means to Me.” It has also staged a large volume of adventurous work that has remained downtown; among the artists who have worked there often are the writers Tony Kushner, Caryl Churchill and Mfoniso Udofia and the directors Ivo van Hove, Sam Gold, Lileana Blain-Cruz and Rachel Chavkin. (Chavkin was one of two leaders of the artistic director search committee.)McGregor has been affiliated with New York Theater Workshop as a “usual suspect,” which is the theater’s term for artists with whom it maintains an ongoing connection. She plans to assume the artistic director position in August; Nicola has programmed next season, including revivals of “Merrily We Roll Along” starring Daniel Radcliffe and “Three Sisters” starring Greta Gerwig and Oscar Isaac. McGregor will choose the programming starting in the fall of 2023.And what will her programming look like? “Visceral, relevant, challenging, joyful, delightful,” she said. “And really looking at fusions of form.”Her directing career has focused on new American plays, but she said she also has an affection for classics (she directed a mobile unit production of “Hamlet” for the Public Theater in 2016) and musicals (she worked as an associate director of “Fela!” on Broadway). Among her New York credits was a 2012 production of Katori Hall’s “Hurt Village” at Signature Theater; she is currently finishing work on three projects, including an oratorio about gentrification, called “Place,” at the Los Angeles Philharmonic, a production of “A Midsummer Night’s Dream” at the Old Globe in San Diego, and her first feature film, “1660 Vine,” about social media influencers.McGregor was born in St. Croix, the largest of the United States Virgin Islands, and moved frequently as a child, living in Hawaii, California, Illinois and Florida. Her father, who is from St. Croix, is a fisherman and engineer who served in the Navy, and her mother, born in England, is an artist, teacher and union organizer; when she assumes her new role McGregor will become one of only a handful of Black women serving as artistic directors of nonprofit theaters in New York City.“I have a pretty broad range of lived experiences racially, economically and geographically,” she said. “I think a lot about the Workshop being both hyperlocal in its roots and international in its reach, and that feels very aligned with my lived experience and appetite to know about and engage with the world.”McGregor said she embraced theater as a middle school student in Florida, where she first encountered Shakespeare in a theater class. “I loved it,” she said. “I had seen a production of ‘Midsummer Night’s Dream’ in this terrible-acoustics auditorium, and there was something both athletic and magical. I said, ‘I can tap into this.’”She studied theater at Southern Methodist University in Texas, and then studied directing at the Yale School of Drama. She lived in New York off and on for 16 years; she has spent the last seven years in California, and now lives in San Diego, where her husband, Freedome Bradley-Ballentine, is an associate artistic director at the Old Globe; they have two young children.Working with her sister, Paloma, she co-founded an organization called Angela’s Pulse to produce performance work that highlights stories about Black people. She has also worked with Arts in the Armed Forces, an organization founded by the actors Adam Driver and Joanne Tucker.“My mom said, ‘What tools do you have to build the world that you want?’” she said in an interview. “And the tool that I have is being an artist and being a community builder through art.”New York Theater Workshop has a staff of about 45 people and an annual budget projected at $10 million next year. The organization has three buildings on East 4th Street, including a 199-seat mainstage theater and a smaller venue that can accommodate up to 74 patrons.McGregor said she views the leadership transition as a “baton pass,” noting that she already knows many people who work at the organization. She said among her priorities will be broadening the theater’s audience. “If there’s one thing I want to revolutionize, it’s that point of accessibility and welcoming,” she said. “It’s not a quick ‘We send you a flier and you come to the show.’ It’s a long-term process.” More

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      in Theater

      Lorraine Hansberry Statue to Be Unveiled in Times Square

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      A life-size likeness of the pioneering playwright will be unveiled in June as part of a new initiative to honor her legacy.When the Los Angeles-based artist Alison Saar was commissioned a little over four years ago to sculpt a statue of the playwright Lorraine Hansberry, she had just one thought: “Am I the right person for the job?”“I don’t really work with likenesses,” said Saar, 66, whose artwork focuses on the African diaspora and Black female identity. “But they said, ‘No, no, we want it to be more of a portrait of her passion and who she was beyond a playwright.’”The request had come from Lynn Nottage, the two-time Pulitzer-winning playwright, as part of an initiative she was developing with Julia Jordan, the executive director of the Lilly Awards, which recognize the work of women in theater. The Lorraine Hansberry Initiative was designed to honor Hansberry, who was the first Black woman to have a show produced on Broadway.“She’s just part of my foundational DNA as an artist,” Nottage said in a phone interview on Wednesday. “Throughout my career, if I needed to look to structure, or storytelling, or inspiration, I could go to ‘A Raisin in the Sun,’ this perfect piece of literature.”The statue, a life-size likeness of Hansberry surrounded by five movable bronze chairs that represent aspects of her life, and, Saar said, invites people “to sit and think with her,” will be unveiled in Times Square on June 9. The event will include performances and remarks from Nottage and Hansberry’s 99-year-old older sister, Mamie Hansberry. It will remain in Times Square through June 12, and then begin a tour of the country over the next year or so on its way to its permanent home in Chicago, Hansberry’s birthplace.Lorraine Hansberry in 1959, the year she made history when she became the first Black woman to have a play reach Broadway. David Attie/Getty ImagesBut, Nottage said, they also wanted a more forward-looking way to honor Hansberry, leading to the initiative’s second prong: A scholarship to cover the living expenses for two female or nonbinary graduate student writers of color who create for the stage, television or film. Beginning next year, the $2.5 million scholarship fund will give its first recipients $25,000 per year, generally for up to three years — the typical length of a graduate program. (LaTanya Richardson Jackson, who was nominated for a Tony Award for her role as Lena Younger in the 2014 Broadway revival of “Raisin,” the Dramatists Guild and the National Endowment for the Arts are among the initial donors.)“So many graduate programs for writers at elite institutions like Juilliard, Yale and Brown now offer free tuition,” Nottage said, “but you see people not taking a place because they can’t afford to take three years off to pay for rent, computers, food and travel, which could be, on average, anywhere from $15,000 to $35,000 per year.”“It would’ve made a huge difference for me,” Nottage said of the scholarship fund. “When I was at the Yale School of Drama, one of the actors told me I could get public assistance to pay for groceries and electricity, and when I showed the welfare department in New Haven my financial aid package — I was doing work-study — they were like, ‘Oh, yeah, you’re living below the poverty line.’”Hansberry, who was just 34 when she died of pancreatic cancer in 1965, is best known for “Raisin,” a semi-autobiographical family drama that tells the story of an African American family living under racial segregation on the South Side of Chicago. The play, which opened on Broadway in 1959 with Sidney Poitier in the cast, would go on to win the New York Drama Critics’ Circle award for best play, making Hansberry, at 29, the youngest American and first Black recipient of the award.The life-size statue shows Hansberry holding a flame. It will be surrounded by five movable bronze chairs that represent aspects of her life and work. Nolwen Cifuentes for The New York TimesHansberry was also active in political and social movements, including the fight for civil rights, regularly writing articles about racial, economic and gender inequality for the Black newspaper Freedom. She also wrote letters signed “L.H.N.” or “L.N.” — for Lorraine Hansberry Nemiroff (her husband’s last name) — to The Ladder, a monthly national lesbian publication. In those letters, she wrestled with issues she faced as a lesbian in a heterosexual marriage and the pressure on some lesbians to conform to a more feminine dress code.Her older sister, Mamie, recalls Lorraine being bookish from a young age. Their parents allowed them to sit out on the sun porch during visits from prominent individuals, such as the poet Langston Hughes and Paul Robeson, the singer, actor and activist. “Daddy wanted us to be able to listen to some of the distinguished people who came by the house,” she said.Lorraine Hansberry would write letters to congressmen — “My mother would find them when she was cleaning her room,” Mamie Hansberry said. “She was free to write to anyone,” Mamie said, “and they would answer!”It is that spirit that Nottage and Jordan said they hope to cultivate in the next generation of playwrights. The statue’s tour will begin with stops at the Schomburg Center for Research in Black Culture in Harlem (June 13-18) and Brooklyn Bridge Park (June 23-29) before traveling to cities like Atlanta, Detroit and Los Angeles. It is also set to make stops at historically Black colleges and universities, including Spelman College in Atlanta and Howard University in Washington.Jordan said the initiative will also work with local theaters and artists to present Hansberry’s work, as well as the work of contemporary writers of color, in conjunction with the sculpture’s placement. New 42, the nonprofit organization behind the New Victory Theater, has also created a resource guide to teach middle- and high-school students about Hansberry and “Raisin,” which will be free for schools and organizations to use.“I do think that if Hansberry had continued to write and develop as an activist, one of the things she would’ve done was amplified voices of other women of color,” Nottage said.Jordan said she and Nottage had already raised $2.2 million of their $3.5 million goal for the statue construction costs, tour and scholarship fund. By 2025, Jordan said, they expect to support a total of six playwrights per year.“Everyone wants to produce these women,” Nottage said. “But we want to make sure people are prepared — that they’re secure in their voices and secure in their craft — so they don’t fail when they get that opportunity.” More

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      in Music

      Samora Pinderhughes Explored Incarceration in Song. The Result Is ‘Grief.’

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      The vocalist, pianist and composer interviewed roughly 100 people of color who had experienced “structural violence” and created the Healing Project, a three-part interdisciplinary work.OAKLAND, Calif. — Near the end of a sold-out show earlier this month, celebrating the release of his visionary second album, “Grief,” the vocalist, pianist, composer and activist Samora Pinderhughes asked the audience to sing with him. He was about to hit the coda to “Process” — a heart-baring anthem of solitude and self-forgiveness, which he uses to close all his concerts — and he wanted some familiar voices to join the wordless melody.For every new fan who’d showed up that night at the downtown headquarters of the online music store Bandcamp, a member of Pinderhughes’s close-knit community seemed to be there too. Standing in the back was his friend Adamu Chan, a filmmaker and organizer, who had been incarcerated early in the pandemic and is now working on a documentary about Covid-19’s spread in the prison system. In the front row, an arm’s length from the grand piano, sat one of his mentors, the historian Robin D.G. Kelley. A few seats down were Pinderhughes’s parents, scholars and activists themselves.In the past few years Pinderhughes, 30, has been breaking out well beyond the Bay Area, and with the release of “Grief,” he’s emerged as one of the most affecting singer-songwriters today, in any genre. His trebly, confessional voice steps deliberately on its own cracks, and he treats his gut-level lyrics with care. His piano playing, rich with layered harmony and rhythmic undertow, holds together his arrangements, which mix the influences of Radiohead, chamber classical, Afro-Cuban rhythms and underground hip-hop. Not unlike Kendrick Lamar, Pinderhughes has become a virtuoso at turning the experience of living in community inside-out, revealing all its personal detail and tension, and giving voice to registers of pain that are commonly shared but not often articulated.The “Grief” LP is one of three components in the Healing Project, a yearslong undertaking based around roughly 100 interviews Pinderhughes conducted with people of color who had been incarcerated or had experienced some form of “structural violence,” he said. The first part of the project was a visual-art exhibition that opened at the Yerba Buena Center for the Arts in San Francisco in March, and will be on view through September. Then came “Grief” last month. And on Tuesday, he unveiled an online archive of the interviews and an accompanying interactive online experience, which he hopes will help to bring listeners from all over the country — and beyond — into contact with the stories of his interviewees and their arguments for prison abolition.The first part of the Healing Project was a visual-art exhibition that opened at the Yerba Buena Center for the Arts in San Francisco in March.Charlie Villyard, via Yerba Buena Center for the ArtsPinderhughes created the Healing Project in pursuit of answers to two lines of inquiry, both about mass incarceration in the United States. “How is this operating, and what is the machinery that’s going on systemically that’s doing this to us, and how can we fight back? That’s one set of questions,” he said over coffee in Harlem, where he now lives. “And then the other one, on the personal tip, is: How am I a part of that? How am I implicated and how am I doing something against it? What does that make me feel like? How am I dealing?”Pinderhughes is currently on his way to a Ph.D. in creative practice and critical inquiry from Harvard, where he studies under the pianist and scholar Vijay Iyer, who called him an “unstoppable creative force.”Coping With Grief and LossLiving through the loss of a loved one is a universal experience. But the ways in which we experience and deal with the pain can largely differ.What Experts Say: Psychotherapists say that grief is not a problem to be solved, but a process to be lived through, in whatever form it may take.How to Help: Experiencing a sudden loss can be particularly traumatic. Here are some ways to offer your support to someone grieving.A New Diagnosis: Prolonged grief disorder, a new entry in the American Psychiatric Association’s diagnostic manual, applies to those who continue to struggle long after a loss.The Biology of Grief: Grief isn’t only a psychological experience. It can affect the body too, but much about the effects remains a mystery.“He’s just constantly making new things: new music, new writing. Imagining past the standard contours of the music business, even,” Iyer said. “That’s been the most exciting thing to witness — that, through a lot of study and surveying the landscape, and doing a lot of community work and just being in the trenches, he’s sort of imagining another way to be a musician.”A SLIGHT MAN with a flop of brown hair dumped over alert eyes, Pinderhughes is fashion-forward but understated, favoring denim gear and streetwear. When we walked the San Francisco exhibition earlier this month, he was dressed in a burnt-orange jean jacket and a faded tee from Daily Paper, a Black-owned brand based in Amsterdam. In conversation he’s quick to laugh, and always on the lookout for points of common ground.“He is cool, because he’s in the jazz world, but he’s not cool in that way of cutting himself off from feeling,” said the actress and playwright Anna Deavere Smith, who is one of Pinderhughes’s mentors and a producer of the Healing Project. (Iyer and the artist Glenn Ligon are the others.)Pinderhughes, who is of Black and mixed-race ancestry, was raised in Berkeley, Calif., by professor parents who work in urban and environmental planning (his mother, Raquel Rivera-Pinderhughes), and at the intersection of race, behavioral science and violence prevention (his father, Howard Pinderhughes). Both are active community organizers, and their connection to incarcerated populations around the country helped Pinderhughes get the Healing Project off the ground.Pinderhughes hopes the Healing Project can ultimately become a permanent installation. “I want to build a space that actually engages,” he said.Geoffrey Haggray for The New York TimesMusic was constantly around the house, which was littered with hand drums and other small instruments, though only the children played. Both Samora and his sister, Elena, a flutist who has become a major player in jazz, showed promise early. He began playing percussion almost as soon as he could land his hand on the drum, and his parents started taking him to La Peña Cultural Center in Berkeley, where he was immersed in Cuban and Venezuelan music from age 3. When he was 10, his parents went to Cuba on sabbatical, and instead of enrolling in school he spent his time becoming ordained in the spiritual (and musical) tradition of Santería.As a teenager, Pinderhughes attended the Young Musicians Program (now the Young Musicians Choral Orchestra) in Berkeley, which caters to low-income students and has produced many of the current jazz generation’s brightest stars. “The spaces where I learned growing up, and where my sister learned, they were community spaces that combined the musical with the communal,” he said.When he got to Juilliard, although he loved his piano teachers, Kendall Briggs and Kenny Barron, alienation set in fast. “As an institution, it totally felt like a factory,” Pinderhughes said. “We’re here to get as good as we can at playing the music, but we don’t talk about why we’re doing what we’re doing. I don’t know if I had three conversations about that.”He pushed through, graduating in 2013 and settling in to create a major work of protest, “The Transformations Suite.” Close to an hour of semi-orchestral jazz, laced with poetic broadsides against the establishment, the 2016 album was proof-positive of Pinderhughes’s vision and his rigor. It caught the attention of Common, Karriem Riggins and Robert Glasper, who invited him to tour and record with their August Greene project.Keith LaMar, an author and activist on death row in Ohio, was also impressed by “The Transformations Suite,” and through friends he got in touch with Pinderhughes. The musician joined a group of artists working to raise awareness about LaMar’s case, and LaMar became part of the Healing Project. “He’s talking about speaking truth to power, he’s talking about your agency, putting it in perspective, the unequal distribution of wealth and how it’s basically the foundation of all the inequalities that exist in this country,” LaMar said in an interview.“The Transformations Suite” had been forceful as a manifesto of rightful outrage, but it wasn’t really a document of intimacy. For his next project, Pinderhughes started to interview men and women impacted by the criminal justice system, hearing their stories up close.An installation as part of the Healing Project at the Yerba Buena Center for the Arts by Josh Begley, Pinderhughes, Shantina Washington and SameGang.Charlie Villyard, via Yerba Buena Center for the ArtsON ‘GRIEF,’ PINDERHUGHES focuses on an emotion that we all intimately know and fear, but that comes in particularly high frequency close to prisons and incarceration. He said that Nina Simone and Curtis Mayfield had been his lodestars: “To me, those are both artists that are working out ideas about how to contextualize not just their life, but their own entire communities’ lived situation.”Pinderhughes recorded the album — which was co-produced by his longtime collaborator Jack DeBoe — in pieces during the pandemic, overdubbing one instrumental section at a time to help maintain social distancing in the studio. Some tracks have only a string quartet, playing slowly dragged harmonies that sometimes pinch into fine-grain dissonance. Others have a full band, with Pinderhughes often playing the Rhodes, sputtering beats underneath and gossamer strings above.On “Holding Cell,” a highlight, voices harmonize over swarming violins, cello and electric bass; the harmony shifts tensely around them as they sing: “Holding cell/I can’t get well while you hold me.” For the title track, one of the most patiently beautiful songs — co-written with the bassist Burniss Earl Travis, known as Boom Bishop — two chords are all Pinderhughes and the band need to build a sonic whirlpool, conjuring the disorientation of loss.A standout of the Healing Project exhibition at the Yerba Buena center is the one piece without any visuals: a small, darkened room with a bench surrounded by speakers. They play an hour-and-a-half-long audio piece on loop, lining up clips from Pinderhughes’s interviews over ambient, sometimes ominous backing tracks that he recorded. The way they’re edited, these voices present critiques and reflections from within the system, not simple narratives of personal trauma or triumph over the odds.“With the sound room, you’re in the middle of the sound, and there’s nothing but you and the voices,” Pinderhughes said. “What I wanted to create is: ‘This is your brain.’ There is no us-and-them.” Everything is first person, he explained, “So unless you’re doing the work of separating yourself from the experiences, you’re in it.” (In this way, he acknowledged, he had been inspired by a conversation he’d seen on YouTube between the author bell hooks and the artist Arthur Jafa. In it, Jafa says that any camera can effectively function as a tool of the white gaze.)The people whose voices Pinderhughes uses in the sound room share publishing rights to the tracks that feature them, something that Pinderhughes saw as nonoptional. Some also have bio pages on the Yerba Buena center’s Healing Project website.In one clip, Keith LaMar speaks about feeling victorious simply for having maintained his “sweetness” — a personal quality that’s obvious in his voice — despite the inhumanities of living in solitary confinement for decades. He calls the prison system a “digestive tract,” not a space of rehabilitation.Not long after comes the voice of Roosevelt Arrington, an educator and peer mentor who spent years in the system. He says that socially accepted language can be dehumanizing: “‘Inmate,’ ‘convict,’ ‘ex-felon,’ they’re demeaning titles: They’re put in place to diminish self-respect and dignity, and to demean you and to break your spirit.” He adds, “When a person feels like they have no self-value and no self-worth, that mind-set tends to take them back to a criminal element.”The exhibition also includes visual artworks by Pinderhughes himself; the artist Titus Kaphar, who also designed the “Grief” LP cover; Nnaemeka Ekwelum, whose works in the gallery are a variation on Nigerian funeral cloths; and Peter Mukuria, known as Pitt Panther, who’s currently incarcerated in Virginia and serves as the minister of labor for the Revolutionary Intercommunal Black Panther Party.Since connecting for the Healing Project, Mukuria and Pinderhughes have become close, and now talk by phone multiple times a week. In the gallery hang a number of works Mukuria drew on prison bedsheets, including a portrait of George Floyd, a piece to accompany the song “Process,” and a strikingly intimate scene with Mukuria seated in his cell. The show also has an altar, drawing from Afro-Latino traditions and New York City street culture, with a faceless portrait at its center, inviting visitors to honor anyone they’ve lost.Pinderhughes plans to take the Healing Project around the country, ideally reaching all the 15 states where he did interviews. He hopes it can ultimately become a permanent installation somewhere, someday. “I want to build a space that actually engages, and is able to offer the healing practices that I’ve learned through the interviews,” he said. “In an everyday context, offer those things.” More

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      in Television

      LaChanze, a Tony Nominee, Is Casting Herself in New Roles

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      The veteran actress, nominated for her work in “Trouble in Mind,” is championing Black artists, producing on Broadway and relishing being cast as the love interest.A Tony Award-winning actress walked into a bar, and before long, she was talking about racism.“I have noticed in my career,” the actress, LaChanze, said, “that roles that I’ve gotten are roles of women who have experienced trauma. Major, major trauma. People feel comfortable making me, as a dark-skinned Black woman, a victim of some kind of violence, a victim of trauma. A victim.”The subject of racism — and the various ways it can manifest in the theater industry — came up repeatedly during a lively conversation on a recent rainy Friday afternoon in an Upper West Side wine bar.But don’t get it twisted. LaChanze is thankful — for her career and for the opportunities she’s had over the years.She just received her fourth Tony nomination — her first for best leading actress in a play — for her portrayal of Wiletta Mayer in the Broadway debut of Alice Childress’s 1955 play “Trouble in Mind.”LaChanze, who uses a mononym but was born Rhonda LaChanze Sapp, received glowing reviews. The Times’s theater critic, Jesse Green, wrote that she got the character’s “arc just right in a wonderfully rangy compelling performance.” LaChanze “dazzles,” embodying Wiletta with “breathless ease,” Lovia Gyarkye wrote in her review for The Hollywood Reporter.Every aspect of “Trouble in Mind” seems to comment on racism in some way. There were plans to take it to Broadway in the mid-1950s after a successful run in Greenwich Village, yet the show didn’t make it there until 2021. As a Black writer intending to highlight the unfairness in the theater industry, Childress, who died in 1994, ran headlong into it.“She is finally getting her day in the sun,” LaChanze said of Childress after the show was nominated for four Tony Awards, including best revival of a play.Childress’s comedy-drama is centered on a group of mostly Black actors, with an all-white creative team, rehearsing a Broadway-bound play about the events leading up to a lynching. Wiletta, the main character, is a proud veteran musical-theater actor, excited to be in her first play. She just has a few notes about the script. But the white director is not receptive to Wiletta’s suggestions and feedback. And as she summons the courage to be more forceful, pointing out that some of the dialogue and actions in the script are not authentic to what Black people would actually do and say, the resulting conflict has dire consequences.LaChanze knows the feeling.“I remember having an argument with a director once, saying, ‘A Black woman would never say this about herself.’ And he said, ‘I think she would.’ And he was a white man.” There was an “organic” connection for her with the character of Wiletta: “I have literally lived it in my 40 years of being in this business.”LaChanze as Wiletta Mayer with Michael Zegen as the director Al Manners and Danielle Campbell as the ingénue Judy Sears in “Trouble in Mind,” which ran last fall at the American Airlines Theater.Sara Krulwich/The New York TimesThat changed with “Trouble in Mind,” whose director, Charles Randolph-Wright, was “the first Black director that I have had as a leading actress on Broadway,” LaChanze said.Describing LaChanze as a “goddess,” Randolph-Wright praised not only her acting (“I knew what she would do with this, but it was even beyond my imagination”) but also her spirit (“She led that company with grace, with humor — it was brilliant”).And the two of them had a “symbiotic” relationship while working on the show, he said, adding: “It would be late at night and I would have an idea about something, and I would go to dial her number — and my phone would be ringing. She would call me at the exact same moment.”Over a glass of wine, LaChanze was straightforward. Matter-of-fact. She was also luminous, quick to laugh and her eyes shone when she talked about her daughters. Her eldest, Celia Rose Gooding, is now starring in the TV series “Star Trek: Strange New Worlds,” after starring in the Broadway musical “Jagged Little Pill.” Her youngest, Zaya Gooding, is a linguistics major in college. Coincidentally, Celia’s “Star Trek” character, Nyota Uhura, specializes in linguistics, giving the younger daughter a chance to show off a bit for her older sibling. (“She calls her sister and she advises her on certain things,” LaChanze beamed. “How cool is that?”)Performing started early for LaChanze. As a child, one of her brothers played trombone; the other played drums. “We would make our own songs, and we sort of fashioned ourselves after being like the Jackson 5,” she said. Hers was a military family, so they moved a lot, but her mother always made sure LaChanze was in some sort of dance class or performing arts program. “I thrived there. It’s where I felt the most comfortable to be an outgoing, expressive child with this extra energy.”After attending Morgan State University in Baltimore for two years and then studying theater and dance at the University of the Arts in Philadelphia, LaChanze landed in New York “so broke” in the mid-1980s.“I had decided I wasn’t going to go back to school. I was going to stay in New York and do this Broadway show ‘Uptown … It’s Hot!’” she said. Her character was, in her words, “third girl from the left.” Alas, her Broadway debut was brief: “It closed in four days.” (Technically the show closed after 24 performances, but it’s safe to say it was absolutely not a smash hit.)LaChanze ended up sleeping on an ex-boyfriend’s aunt’s couch.“He wasn’t even my boyfriend anymore. But his aunt and I were so tight,” LaChanze recalled. “She gave me a ring to pawn. And it was, like, $600 I got for the ring. And she said, ‘When you get your job, you’re going to go back and get my ring for me.’” In just under a month, LaChanze said, “I was able to get her ring back for her.”A few years later, LaChanze landed the role of the peasant girl Ti Moune in the 1990 Broadway musical “Once on This Island.” Although the Caribbean-set fairy tale with a predominantly Black cast was based on a novel by the Trinidad-born Black writer Rosa Guy, Black people were not involved in writing the lyrics and music, nor in directing or choreographing the show.It was a hit, and in 1991, “Once on This Island” was nominated for eight Tony Awards, including best musical. LaChanze was nominated for best featured actress in a musical and won a Drama Desk Award. She went on to play Marta in the Stephen Sondheim-George Furth musical “Company.” And three years later, she stepped into a production of “Ragtime,” a stage adaptation of E.L. Doctorow’s 1975 novel exploring the lives of three families at the turn of the 20th century. It was another production with a lot of Black cast members but a white creative team, including the same music and lyrics writers as “Once on This Island,” and Terrence McNally, who wrote the show’s book.At the time, LaChanze was thrilled with the role. But now she views some aspects of the show with a more critical eye. “Don’t get me wrong. I am grateful,” she said. Still: “It was for me the first time that I realized that — aha — here we have white people deciding, culturally, what Black people are doing.”Tony Awards: The Best New Musical NomineesCard 1 of 7The 2022 nominees. More

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      Artists Are Putting Their Stamp on Lincoln Center

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      In a partnership with the Studio Museum in Harlem and the Public Art Fund, works by Nina Chanel Abney and Jacolby Satterwhite will help reintroduce Geffen Hall this fall.When David Geffen Hall reopens on the Lincoln Center campus this fall, two new artworks — by Nina Chanel Abney and by Jacolby Satterwhite — will be splayed across the 65th Street facade and a 50-foot media wall in the renovated lobby.These highly visible pieces, commissioned by the performing arts center in partnership with the Studio Museum in Harlem and the Public Art Fund, are positioned to help reintroduce the longtime home of the New York Philharmonic to the city and will inaugurate a rotating program of visual artists invited to put their stamp on Lincoln Center.“One of the overriding goals of the new David Geffen Hall has been to find ways to connect more meaningfully with outside — not just to open up but to reach out,” said Henry Timms, president and chief executive of Lincoln Center for the Performing Arts. “We’ve been very intentional about thinking about different voices, different audiences, more people seeing themselves at Lincoln Center. The Studio Museum was the perfect partner for that.”For the museum, which has been organizing temporary installations of public art since 2016 in Harlem while its 125th Street building is under construction, this collaboration was “a great opportunity to extend our engagement in site-specific commissioned artwork,” said Thelma Golden, the Studio Museum’s director and chief curator. It also allows the museum to complement the work at Lincoln Center “to broaden and deepen and expand their program and the ways in which they engage audiences.” Golden pulled in the Public Art Fund for the organization’s resources and expertise in implementing large-scale public projects.Together, the institutions developed the curatorial vision and identified the two prominent locations for the art — a 10,000-square-foot expanse on the north facade of the building and a new multiuse media wall running across the lobby. This space has been reconceived as a kind of living room, open to the public all day with beverages. Nonticketholders will be able to view the art on the media wall that will also broadcast the Philharmonic down to the lobby when it is playing upstairs. Abney, 39, known for her bold, large-scale paintings, and Satterwhite, 36, a multidisciplinary artist who combines digital media and painting, were selected from more than half a dozen artists of color invited to make site-specific proposals.A rendering of a multiuse media wall that will be at David Geffen Hall. Satterwhite’s commission will appear there, and concerts will be streamed, as well.via DBOX“That facade for so long was thought of as the blank back side of the building and is kind of hiding in plain sight,” said Nicholas Baume, artistic and executive director of the Public Art Fund. “It’s right there at that intersection of all these major streets and can express this concept that Lincoln Center wants to open itself up to the city and address some of that symbolic citadel-like podium elevation of the original ensemble of buildings.”In a dynamic constellation of colorful stylized figures, symbols and patterns to be printed on vinyl and applied across a grid of 35 windows on that north facade, Abney will pay homage to San Juan Hill, a largely Black and Puerto Rican neighborhood that was demolished to make way for the 14-acre federally aided Lincoln Center project, which broke ground in 1959.“I was interested to delve into the history and the amazing people who inhabited that neighborhood,” said Abney, who is working with the Schomburg Center for Research in Black Culture to study San Juan Hill, considered the birthplace of the Charleston and bebop, and home to musicians including the jazz pianist Thelonious Monk. “It’s acknowledgment and celebrating what was there.”In tandem, Lincoln Center has commissioned the composer Etienne Charles to explore the neighborhood’s legacy in a piece, “San Juan Hill,” to be performed by the Philharmonic in the new hall for free on Oct. 8.“This is part of a necessary engagement with our history,” Timms said. “This isn’t a one-off.”In a poetic, digitally animated landscape that will unfold across the 50-foot media wall in the lobby, Satterwhite plans to tell a story about the past, present and future of the New York Philharmonic. “The history of Lincoln Center is very male and white — that’s what it’s perceived as,” Satterwhite said. He is working with archivists there to mine footage of conductors and performers of different races and genders working more at the margins of the Philharmonic, to be woven fluidly into a kind of pastoral concert with 100 student musicians and dancers from Alvin Ailey, LaGuardia High School and others that Satterwhite is filming.“I want to reanimate the timeline that may traditionally be told, without any kind of hierarchy,” Satterwhite said. The pandemic, he feels, has offered an opportunity for “culture and society to reconfigure and reflect on itself. I want this piece to be very much about moving forward.” More

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      Wendell Pierce to Star in ‘Death of a Salesman’ on Broadway

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      The production, also starring Sharon D Clarke and featuring André De Shields, will arrive some time next season.Wendell Pierce is ready for another run as Willy Loman.The American actor, best known for his work in “The Wire,” first took on the titanic title role in “Death of a Salesman” in London in 2019, and even then he hungered to bring the performance to New York.Now he’ll get that chance: A group of producers announced Monday that they would transfer the London production to Broadway next season.Pierce will once again star opposite Sharon D Clarke, a British actress who wowed critics and audiences in New York this season with her star turn in a revival of the musical “Caroline, or Change.” Pierce and Clarke played the husband and wife, Willy and Linda Loman, at the Young Vic in London, and then in the West End; Clarke won an Olivier Award as best actress.“I have waited for this moment for a long time — I’m so excited to do this classic American play and join the fraternity of artists who have brought it to life,” Pierce said in a telephone interview. He called the role “the American Hamlet,” and said he had seen many of the best-known performances — Dustin Hoffman, Brian Dennehy and Philip Seymour Hoffman onstage, as well as Fredric March and Lee J. Cobb on film. “It will challenge me, not just as an artist but as a man, to take the time to be self-reflective and consider all the themes in this play: Are my best days behind me? Where have I lost hope? What do I want to leave behind? That’s a worthwhile journey of self-reflection to go on.”“Death of a Salesman,” often regarded as one of the greatest American plays, is about a traveling salesman whose career, and mental state, are falling apart. The play, by Arthur Miller, opened on Broadway in 1949 and won both the Pulitzer Prize for drama and the Tony Award for best play; it has been revived on Broadway four times, winning a slew of Tony Awards over the years.This latest production, with the blessing of the Miller estate, offers a new take on the play’s inherent tensions by portraying the Loman family as African American and the other characters (co-workers, neighbors and a love interest) as white.André De Shields, who this month wraps up his Tony-winning run as Hermes in “Hadestown,” will join the cast as Willy’s deceased brother, Ben. And Khris Davis (“Sweat”) will play Biff, one of the Lomans’ two sons.The Broadway production will be directed by Miranda Cromwell, who in London directed it alongside Marianne Elliott. Elliott will remain with the show as a producer.Cromwell, in an interview, said “it’s the same production, but some things will shift as we refine it.” She also said that, as a mixed-race woman, “there are elements of my lived experience that I’ve brought to the production.”She added: “So many of the elements of the play are fundamentally questioning of the American dream, and when you put that through the perspective of the Black experience, that enriches it — the obstacles are harder, and the stakes become higher through this lens.”The revival will be produced by Cindy Tolan, best known as a casting director; Elliott & Harper Productions, which is Elliott’s production company with Chris Harper; and Kwame Kwei-Armah, who is the artistic director of the Young Vic.The producer Scott Rudin had previously been planning to bring a “Salesman” revival to Broadway starring Nathan Lane and Laurie Metcalf; he stopped working as a producer after being criticized for the way he treated others, and the team behind the London revival was able to pick up the rights to bring their production to Broadway. More