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      in Music

      Prosecutors in Chicago Will Drop Abuse Charges Against R. Kelly

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      The musician is already facing decades in prison after being convicted of federal charges, prompting the Cook County state’s attorney to halt her case.Noting that the R&B singer R. Kelly is facing decades in prison after two federal convictions, the top prosecutor in Chicago said on Monday that her office planned to drop its sexual abuse charges against him.The Cook County state’s attorney’s office had been waiting for its turn to bring Mr. Kelly, 56, to trial, which it could not do before the federal court cases in New York and Chicago were brought to a jury.In 2021, Mr. Kelly was convicted on racketeering and sex trafficking charges, for which he was sentenced to 30 years in prison. Last year, he was convicted on sex crimes charges, including coercing minors into sexual activity and producing sex tapes involving a minor. He is scheduled to be sentenced for that conviction next month, which could add decades to the total.“Mr. Kelly is potentially looking at never walking out of prison again for the crimes he’s committed,” Kim Foxx, the Cook County state’s attorney, said at a news conference in which she announced plans to drop the charges. “We believe that justice has been served.”A lawyer for Mr. Kelly, who is mounting appeals in both federal jurisdictions, did not immediately respond to requests for comment. Mr. Kelly is being held in federal prison in Chicago.The charges in Cook County, brought nearly four years ago, were a turning point in Mr. Kelly’s lengthy downfall.After a Chicago Sun-Times report alleging that he abused minors, and a failed prosecution in Chicago in 2008, Mr. Kelly became the focus of renewed scrutiny in the wake of the documentary “Surviving R. Kelly,” which was broadcast in January 2019 and included testimony from several women who accused the singer of abuse dating back to the 1990s.After the documentary aired, Ms. Foxx made a remarkable public request, asking anyone with sexual abuse allegations against Mr. Kelly to come forward.A month later, Mr. Kelly was charged with aggravated criminal sexual abuse involving four victims, three of whom were underage. Mr. Kelly pleaded not guilty to the charges, and he sat down for an infamous television interview with Gayle King of CBS News, in which he screamed, cursed and claimed that he did not do what he was accused of.Ms. Foxx spoke about the case against Mr. Kelly in unusually personal terms: She had been attending a Chicago high school when he was a rising R&B artist in the city, and a sex crimes prosecutor there when Mr. Kelly was tried on child pornography charges in 2008 and ultimately acquitted. Ms. Foxx has also divulged her own accounts of sexual abuse when she was a child.“I know firsthand how difficult it is for you to tell your stories,” Ms. Foxx said on Monday, noting that one of the accusers was disappointed by the decision because she had not yet had her day in court.Others involved in the case had also been involved in Mr. Kelly’s federal trial, in which a jury convicted him on six of 13 charges. The jury found the singer guilty of producing three videos of himself abusing his 14-year-old goddaughter, who took the stand last year after her direct testimony was not part of the 2008 case.Mr. Kelly was acquitted of a charge that he had attempted to obstruct an earlier investigation about his treatment of his goddaughter, among others.Part of the thinking in dropping the charges, Ms. Foxx said, was a desire to focus resources on alleged perpetrators who still walk free. She said the decision was not related to financial calculations or questions about whether the prosecution would be successful.“There are survivors — hundreds of survivors — whose files remain on our desks,” she said. “That was the calculation we made.”Robert Chiarito More

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      in Theater

      Frank Galati, Mainstay of Chicago Theater, Dies at 79

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      He brought his adaptation of “The Grapes of Wrath” to Broadway and won Tony Awards. He also directed the long-running hit “Ragtime.”Frank Galati, a writer, director and actor whose work in Chicago, especially his celebrated adaptation of “The Grapes of Wrath,” furthered that city’s international reputation in theater, and whose long résumé included directing the Broadway hit “Ragtime,” died on Monday in Sarasota, Fla. He was 79.His husband, Peter Amster, said the cause was complications of cancer.Mr. Galati was a towering figure in Chicago-area theater for decades, working with the Goodman and Steppenwolf theaters and other houses there and teaching at Northwestern University in Evanston, Ill. He specialized in adaptations, and in 1988 his version of John Steinbeck’s dust-bowl epic, “The Grapes of Wrath,” was a hit for Steppenwolf.He both wrote and directed “The Grapes of Wrath,” though it took work to persuade Steinbeck’s widow, Elaine Steinbeck, to release the rights. She told The Chicago Tribune in 1988 that once she saw what Mr. Galati had done with the novel, she was glad she did.“I took the script to bed with me,” she said. “As soon as I started reading it, I sat bolt upright. I didn’t think it would be that good.”It was good enough to make the trip to Broadway, with Gary Sinise, Terry Kinney and Lois Smith leading the cast. When it opened at the Cort Theater in March 1990, Frank Rich reviewed it for The New York Times.“The production at the Cort,” he wrote, “an epic achievement for the director, Frank Galati, and the Chicago theater ensemble at his disposal, makes Steinbeck live for a new generation not by updating his book but by digging into its timeless heart.”The production earned Mr. Galati two Tony Awards, for best direction of a play and best play.Gary Sinise, left, and Terry Kinney in Mr. Galati’s adaptation of John Steinbeck’s “The Grapes of Wrath.” The production’s run on Broadway in 1990 earned Mr. Galati Tony Awards for both writing and directing.Later in the 1990s Mr. Galati directed another high-profile show, the musical “Ragtime.” Based on the E.L. Doctorow novel and adapted by Terrence McNally, with music by Stephen Flaherty and lyrics by Lynn Ahrens, it opened in Toronto in December 1996 to acclaim, and in January 1998 it settled in for a two-year run on Broadway. Mr. Galati received a Tony nomination for best direction of a musical.Those were just two highlights from a career that stretched back to his college days at Northwestern, where, at the School of Communication, he earned a bachelor’s degree in 1965, a master’s in 1967 and a doctorate in 1971. For the Forum Theater in 1973, he adapted “Boss,” the Chicago columnist Mike Royko’s book about Richard J. Daley, the city’s longtime mayor, into a musical, for which he also wrote the lyrics; it won a Joseph Jefferson Award (Chicago’s version of the Tonys) for best new play. Other Jeffersons followed, with Mr. Galati winning for directing, writing and acting.Adaptations were a specialty — in addition to “The Grapes of Wrath,” the works he adapted included two books by Haruki Murakami, “Kafka on the Shore” and “after the quake” (Mr. Murakami’s only demand, Mr. Galati said, was that the title be rendered in lowercase letters), as well as William Faulkner’s “As I Lay Dying” and numerous others. He and Lawrence Kasdan even shared an Oscar nomination for adapting Anne Tyler’s novel “The Accidental Tourist” into the 1988 film of the same name.“Almost every novel conceals a drama,” Mr. Galati told Stay Thirsty magazine in 2014. “Some of those dramas are very hard to coax out, some jump out of the book and run up onto the stage. Of course, if the novelist creates scenes that play through brilliant dialogue, that’s half the battle. That’s very true of Steinbeck. The scenes in his books are completely stage worthy. Other writers, like Henry James, are much harder to adapt.”If he had success as an adapter, he told The New Haven Register in 2006, when “after the quake” was being staged at Long Wharf Theater in New Haven, Conn., it was because he was “not afraid to keep much of the narrator’s voice.”“Long narrative passages don’t scare me in performance,” he said.Countless actors knew of Mr. Galati’s touch as a director, and many issued tributes on learning of his death.“Every actor will know what I mean when I say Frank waited for me,” Molly Regan, a member of Steppenwolf, said in a statement. “He waited for me. He cast you, and then he trusted you. Sometimes he knew me as an actor better than I knew myself.”Last year, when Mr. Galati was inducted in the Theater Hall of Fame, he returned those kinds of compliments.“I’m honored, I’m humbled, I’m grateful,” he said in his acceptance speech, “but I cannot accept this honor for myself. Rather, I dedicate this honor to my students, and to every single actor I have been inspired by and learned from. The rehearsal hall is where I have spent the happiest hours of my life.”A scene from the Broadway production of “Ragtime.” Mr. Galati’s direction of the show earned him a Tony nomination.Sara Krulwich/The New York TimesFrank Joseph Galati was born on Nov. 29, 1943, in Highland Park, Ill., north of Chicago. His father, also named Frank, was a dog trainer and boarder, and his mother, Virginia (Cassel) Galati, was a saleswoman with Marshall Field, the department store.He grew up in Northbrook, Ill., and enrolled at Northwestern, where one of his earliest notices resulted from his appearance in a faculty and student talent show in 1964.“A born comic, Frank Galati of Northbrook, a junior in the school of speech, made eight appearances,” The Chicago Tribune wrote. “In one, he portrayed a professor who spent so much time telling his class how far behind it was that he never caught up with the class schedule.”Mr. Galati had a lifelong fascination with Gertrude Stein, which he incorporated into his theatrical life beginning in the mid-1970s, when he directed a reading of some of her works called “Have They Attacked Mary. He Giggled.” — a title borrowed from a Stein work. In 1976, for the Chicago Opera Theater, he directed “The Mother of Us All,” the Virgil Thomson opera for which Ms. Stein wrote the libretto.In 1987, at the Goodman, he staged perhaps his most ambitious Stein-inspired piece, “She Always Said, Pablo,” featuring Ms. Stein’s words and Pablo Picasso’s works — the one a writer who expanded our view of language, the other an artist who changed our way of seeing. Richard Christiansen, reviewing it for The Tribune, called it “a high point of Galati’s work as an interpretive artist.” The production was later seen at the Kennedy Center in Washington.Mr. Galati said he found Ms. Stein’s texts mesmerizing.“They’re just beautiful to listen to,” he told The Tribune in 1987. “They gallop, leap, jump and tinkle in our ears.”Mr. Galati and Mr. Amster, who had been together for 52 years and married in 2017, relocated to Florida in the mid-2000s, about the time Mr. Galati took emeritus status at Northwestern. At his death they were dividing their time between homes in Sarasota and on Beaver Island in Michigan.Both have been active in the Asolo Repertory Theater of Sarasota. Mr. Amster is directing its production of “Ken Ludwig’s The Three Musketeers,” which opens Jan. 11. Last year Mr. Galati, reuniting with Ms. Ahrens and Mr. Flaherty, directed the premiere of a new musical there called “Knoxville,” based on James Agee’s autobiographical novel, “A Death in the Family.” Mr. Galati, of course, did the adaptation.In addition to Mr. Amster, he is survived by a sister, Franny Clarkson.At the Theater Hall of Fame induction, Mr. Galati was introduced by B.J. Jones, artistic director of Northlight, a Chicago-area theater for which Mr. Galati directed the inaugural production in 1975 when it was known as the Evanston Theater Company. Mr. Jones singled out a moment in Mr. Galati’s long career that, he said, showed “the depth of his humanity”: his insistence that Susan Nussbaum, a young actress who was in a wheelchair since being hit by a car a few years earlier, be cast in the role of Gertrude Stein in the premiere of “She Always Said, Pablo.”Ms. Nussbaum, who became a disabilities-rights advocate and died last year, often cited Mr. Galati’s support as pivotal to her post-accident life. In an interview in 1994, when she was playing the Stein role at the Kennedy Center, she credited him with “always going beyond the vision that other people have seen.” More

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      in Television

      Lloyd Newman, Teenage Chronicler of ‘Ghetto Life,’ Dies at 43

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      He and LeAlan Jones recorded stories of life and death in a Chicago housing project for NPR, winning a Peabody Award and inspiring the birth of StoryCorps.Lloyd Newman, who teamed up with a fellow teenager in the 1990s to record two award-winning radio documentaries that bared the pernicious underside of growing up in a Chicago public housing project, died on Dec. 7 in Elmhurst, Ill. He was 43.His death, in a hospital, was caused by complications of sickle cell anemia, his brother Michael said.Mr. Newman, the understated, harder-luck half of the duo, was 14 and in the eighth grade when he and his best friend, LeAlan Jones, 13, tape-recorded 100 hours of oral history and interviews to produce “Ghetto Life 101.” The producer David Isay transformed into a 28-minute segment on National Public Radio in 1993.In 1996, the youths won a Peabody Award, the youngest broadcasters at the time to do so, for “Remorse: The 14 Stories of Eric Morse,” a collage of recordings exploring the killing of a 5-year-old boy, tossed from the window of a vacant 14th-floor apartment in the Ida B. Wells Homes by a 10 and an 11 year old because he had refused to steal candy for them, according to the police.The two young journalists “squeezed magic from the streets of their struggling South Side neighborhood,” the reporter Don Terry wrote in The New York Times in 1997.The radio broadcasts were adapted into a book, “Our America: Life and Death on the South Side of Chicago” (1997), which they wrote with Mr. Isay.Mr. Isay had produced both documentaries, and they inspired him to establish the StoryCorps oral history project. It began with a recording booth in Grand Central Terminal in Manhattan in 2003 and since then has interviewed a half-million people, an effort to encourage mutual understanding by asking “to hear someone’s truth,” as the project puts it.Even when he was only 14, Lloyd Newman seemed unlikely to outlive his friend. “It’s easy to do wrong around here,” he told The Times in 1996. “It’s easy to get caught up by mistake.”Mr. Jones had been raised by middle-class grandparents in a private home a block away from the housing project. He graduated from high school on schedule, earned a bachelor’s degree in social science from Barat College in Lake Forest, Ill., ran for Barack Obama’s vacated U.S. Senate seat as the Green Party candidate in 2010 (he polled 3.2 percent) and became a mentor and professional journalist. Yet he seemed more pessimistic of the two.“Unfortunately, Lloyd and I both knew we had accomplished very little with the challenges introduced in the documentaries,” Mr. Jones said in an email this week, citing, among other metrics, the rising toll of Black teenagers killed in Chicago.Mr. Newman’s trajectory was more problematic, but he seemed more spirited.He was “whip smart, street smart, with a huge heart and a shy smile,” Mr. Isay said on NPR last week, but “he lived through more in his first dozen years than most people live in a lifetime.”Lloyd Sentel Newman was born on March 3, 1979, to Michael Murry, an alcoholic who, by the time his son was a teenager, hadn’t lived with the family for a decade, though he kept in touch with them and lived nearby. His mother, Lynn Newman, also drank heavily and died of cirrhosis when she was 35 and Lloyd was 15.Lloyd was raised in a rowhouse, part of the Ida B. Wells Homes, by a sister who was six years older. She and another sister also died of complications of sickle cell anemia.In addition to his brother Michael, he is survived by another brother, Lyndell; and a sister, Ericka Newman.Mr. Newman in 2019. He struggled academically but completed high school and attended college.Michael NewmanLloyd, who sold laundry bags with his father and peddled newspapers, struggled at Wendell Phillips High School in Chicago. But he was able to transfer to Future Commons Technical Prep High School (now closed), where he received closer supervision in smaller classes.“It isn’t hopeless,” he told The Times in 1997. “I’ll go to summer school and regular school and night school — I’ll never drop out.”He didn’t. After six years, he finally received his diploma and enrolled at Langston University in Oklahoma, though he never graduated.He returned to Chicago, where in 2006 he was arrested outside his sister’s apartment and charged with the manufacture, delivery and possession of crack cocaine.He pleaded guilty on his lawyer’s advice and was sentenced to two years’ probation. In 2021, his conviction was vacated thanks to another lawyer, Joshua Tepler, after it was determined that the evidence used to convict Mr. Newman had been faked by corrupt police officers who were implicated in more than 100 other phony arrests.In interviews, Mr. Newman said he dreamed of going to college, opening a hardware store or becoming a journalist. After moving to DeKalb, Ill., west of Chicago, to be closer to his brother, he worked as a cabby and as an Uber driver.In 2018, he was hired as a part-time shelver by the DeKalb County Library System and was later promoted to a $16-an-hour position mostly handling book loans to and from other libraries.Before he lapsed into a coma seven months ago, he and a partner were planning to open a tobacco and CBD retail store.“Ghetto 101” originated when Mr. Isay was hired at WBEZ radio, NPR’s Chicago affiliate, to contribute to a series of broadcasts inspired by Alex Kotlowitz’s book “There Are No Children Here: The Story of Two Boys Growing Up in the Other America” (1991).Michael Newman said that Lloyd had responded to a leaflet distributed by Mr. Isay seeking boots-on-the-ground reporters. Lloyd, he said, “thought that it would be fun and something different to do.”Mr. Kotlowitz said in an email that the project had imbued Mr. Newman with a quiet confidence and gave him a job that fit his character, as an “understated yet fiercely powerful storyteller who so relished making individual connections often with people whose lives so differed from his own.”“He was such a generous spirit and such a thoughtful soul,” Mr. Kotlowitz added. “I don’t know if he fully grasped the impact his storytelling had on others, but it inspired so many and challenged them in ways that brought us all closer.”Both youths understood the challenges they faced in the other America, the one outside the ghetto.“If we go in the store, we’re looked at wrong, as if we was going to steal,” Mr. Newman told Charlie Rose on PBS in 1997. “We’re not trusted, and most people feel that way.”By his own reckoning, Lloyd Newman might not have expected to die of natural causes. In 1997, enumerating the most common causes of death in the projects, he told The Times: “People get thrown out of windows, drowned, stabbed, shot. But a lot of that killing would stop if the government would make it livable around here. We don’t have no parks. The swings are broken. There’s nothing for people to do. There’s no fun. Life isn’t worth living without some fun.”In the documentary “Remorse,” Mr. Newman and Mr. Jones stood on the roof of the public housing building from which 5-year-old Eric Morse had been dropped from a 14th-floor window by two other young kids, or “shorties,” in the parlance of the streets. Looking over the edge, Mr. Jones asked Mr. Newman what would have gone through his mind if it was he who had been plunging to the ground.“I’d be thinking about how I’m going to land and if I’m going to survive,” Mr. Newman said. “I’d be thinking about how it is in heaven.”They mulled how long the fall would take and whether there would be time enough to say a prayer. Regardless, they concluded, Eric was so young that he would surely have gone to heaven.“Dude, you think they got a playground in heaven for shorties?” Mr. Jones asked.“Nope,” Mr. Newman said. “They don’t got a playground in heaven for nobody.” More

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      in Movies

      Second City to Open Its First New York Outpost

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      Long a staple of Chicago, the improv and sketch company plans to open a theater and training center in the Williamsburg neighborhood of Brooklyn next year.The founders of Second City, the storied comedy theater, took its name from essays by The New Yorker writer A.J. Liebling, who skewered Chicago as inferior to his hometown. Now, more than 60 years later, Second City has found a home in New York.The improv stage and training center, based in Chicago since 1959, announced on Thursday that it would open a location in New York City for the first time. Over the decades, Second City has opened outposts in Toronto and Hollywood, which are still in operation, as well as in Detroit and Las Vegas, which have closed.Starting next summer, the institution that was an early home for performers such as Tina Fey, Stephen Colbert and Keegan-Michael Key will also have a physical location in the Williamsburg neighborhood of Brooklyn, the company said.“As we came out of the pandemic and saw the resurgence of our stages and our consumer demand and the fact that we’re selling out every night, it became more immediate for us to start thinking about expansion,” said Ed Wells, Second City’s chief executive, who recently joined the company from the nonprofit organization that produces “Sesame Street.”“New York just feels obvious,” he said.The expansion will include a main stage for performances, a stage for students, a restaurant and classrooms, the company said. It said that New York, after Chicago and Hollywood, was its third-largest market for virtual classes.Comedy institutions have struggled during the coronavirus pandemic because of lengthy closures and the slow return of audiences. About a year into the pandemic, Second City was sold to a private equity group based in New York — the first time the company had changed ownership since the 1980s.Upright Citizens Brigade, the storied improv and sketch comedy hub, cited “financial strain” when it closed its two Manhattan locations in 2020, leaving a segment of New York’s up-and-coming talent wanting a brick-and-mortar training center.The last couple of years have been a period of transformation for Second City. In addition to the financial challenges of the pandemic, there were complaints in 2020 from performers of color who told stories of being marginalized and tokenized. The company’s chief executive and executive producer, Andrew Alexander, resigned as a result, and the leadership pledged to “tear it all down and begin again.”Second City’s new leadership included Parisa Jalili, the chief operating officer, and Jon Carr, an improv veteran and the company’s second Black executive producer, who has since left the company. They said last year that they were working to become a more equitable institution with more diverse performers, as well as to expand the company’s reach. More

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      in Music

      America’s Most Interesting Opera Destination? The Midwest.

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      Barrie Kosky and Yuval Sharon, two of opera’s finest directors, open new productions in Chicago and Detroit.New York City, despite its bona fides as a cultural capital, can be surprisingly provincial when it comes to opera.As ever-fewer international directors pass through with their productions — events that, once upon a time, could reliably be found at Lincoln Center’s festivals or the Brooklyn Academy of Music — and New York City Opera exists as a shell of its former self, the only major player left in town is the Metropolitan Opera, an increasingly adventurous if still conservative house.It’s a different story elsewhere in the United States. While the Met prepares to start its season next week, two other companies opened new productions on Saturday, with imaginative directors who won’t grace the Met stage any time soon but should: at the Lyric Opera of Chicago, a “Fiddler on the Roof” by Barrie Kosky, and at Detroit Opera, a version of “Die Walküre” by Yuval Sharon.I saw both over the weekend, which made for an unlikely pairing: “Fiddler,” Bock and Harnick’s golden-age musical, on Saturday, and the third act of “Walküre,” from Wagner’s “Ring,” on Sunday. But while there were subtle thematic connections between the two, they were more notable for simply happening — the latest examples of conceptual daring and directorial promise beyond New York City limits (among others this season, like productions of Ethel Smyth’s “The Wreckers” in Houston and Dylan Mattingly’s “Stranger Love” in Los Angeles).Kosky’s “Fiddler” staging reveals the musical as the masterpiece that it is: perennially relevant, smartly constructed and richly complicated.Todd RosenbergKosky’s “Fiddler” is an import from the Komische Oper in Berlin, the house he ran for a decade before stepping down this year. It’s both a preview — he will direct one musical each of the next five seasons — and a glimpse at his range as one of Europe’s leading directors, an artist capable of shattering minimalism, in productions like “Kat’a Kabanova” at the Salzburg Festival in August, and archaeological curiosity, in the obscure operettas he has reintroduced to Germany.There are hallmarks of his showman style throughout this “Fiddler,” but perhaps the most Koskyesque accomplishment here is his revealing of the musical as the masterpiece that it is — perennially relevant, smartly constructed and richly complicated — rather than what many critics have seen as borscht belt kitsch. His staging, in which no emotion is ever forced, is funny only in the way that life can be: dark humor in the face of absurdity, joy at a harmless misunderstanding.Most natural, perhaps, is the way in which Kosky’s take on the musical — unaltered, but for welcome Yiddish additions — unfolds as an act of memory, at once melancholy and warm. It begins with something like a summoning of the past: A child (Drake Wunderlich) rolls across the stage on a scooter, beats emanating from his headphones. At the center is a wardrobe; and inside is a violin, on which the boy begins to play the show’s opening theme. He pauses, and the tune continues with a whistle from within.Out from the wardrobe steps Tevye — Steven Skybell, who played the role in the recent Yiddish-language “Fiddler” Off Broadway and who again lends the character the sculptural dimensions of a Shakespeare protagonist — then the rest of the villagers from Anatevka. Among them are a wealth of sympathetic, skilled performers: Debbie Gravitte as a resilient Golde; Lauren Marcus, Austen Danielle Bohmer and Maya Jacobson as her and Tevye’s pathbreaking daughters; Drew Redington as a meek then audacious Motel; Adam Kaplan as a brazen yet desperate Perchik; Michael Nigro as a honeyed Fyedka; and more.Many more: This is a “Fiddler” beyond Broadway proportions, with a cast large enough to fill out a shtetl and a full orchestra, conducted with committed enthusiasm and dancelike flexibility by Kimberly Grigsby. Yet while the forces were operatic, the scenic design, by Rufus Didwiszus, wasn’t; the first act sprang out of and around a unit set of wardrobes and dressers stacked like a barricade, some of their doors and drawers opened to reveal lingering clothes, as if they had been hastily emptied and gathered in a public square. You could imagine it as a memorial.To what? Take your pick. “Fiddler” is specific, a tale of change coming rapidly to the traditions of Anatevka in the early 20th century; yet it has resonated time and again, whether for its themes of rigidity amid progress or for its depictions of intolerance and exile. The last Broadway revival, in 2015, was haunted by the Syrian refugee crisis. This year, it’s impossible to see the show’s characters — inhabitants of present-day Ukraine — haphazardly packing up their lives for an unknown future and not think of the war there.Yuval Sharon’s “The Valkyries,” at Detroit Opera, is presented on a bifurcated stage in which singers perform in front of a green screen, below a video produced live.Mary Jaglowski/Detroit OperaAnd yet Kosky’s staging is also entertaining. Otto Pichler’s choreography, a nod to and break from Jerome Robbins’s original, left the audience on Saturday roaring. And the production’s nearly three hours breeze by. It is the finest “Fiddler” I’ve seen, one that could be adapted with ease and success on Broadway — where, in addition to the Met, Kosky belongs.Sharon is also woefully absent from New York’s stages. The brightest director in the United States, he put on a drive-through “Götterdämmerung” in a Detroit parking garage when live performance was virtually nonexistent during the pandemic and, as artistic director of Detroit Opera, has made that city an opera destination — along with Los Angeles, where his company the Industry has created the most innovative, original productions of recent years.His excerpt from “Die Walküre” — the 85-minute third act, called here “The Valkyries” — reflects Wagner’s ambitions for the work’s stage magic, but also the state of opera performance in our time, by presenting it as a sci-fi movie filmed against a green screen and rendered live with the help of Kaitlyn Pietras and Jason H. Thompson from PXT Studio. Yet a casual audience member could also enjoy it at face value, a self-contained drama with the subtlety and punch of short fiction.The production places the “Ring” in the metaverse, with Valhalla as a digital creation whose back story is recounted by Sigourney Weaver in a video introduction. Having a queen of sci-fi make this cameo is among the show’s campy touches, like Carlos J. Soto’s winking costumes, which suggest “Tron” and its low-budget cousins of the 1970s and ’80s.On the bifurcated stage, singers (accompanied by Andrew Davis leading a reduced but undiminished orchestration by David Carp, to accommodate the theater’s smaller pit) perform in front of the green screen — on green props, and supported by stage hands in green body suits, who, for example, wave capes during the “Ride of the Valkyries.” At the same time, the film, which reflects changes in scale and placement on a digital landscape, is shown above. The singers, especially the soprano Christine Goerke, still earning her title as a reigning Brünnhilde, rise to the challenge of the close-ups with actorly delivery; she, facing an indefinite slumber atop a mountain as punishment, sobs with audibly shallow breathing.At quick glance, Sharon’s production has the appearance of window dressing; the action ultimately unfolds in a conventional way. But, as ever, the medium is the message.“The Valkyries” could be seen as a meditation on opera in the 21st century: the proliferation of video in stagings, as well as pandemic-era livestreams and the genre of studio productions that grew out of them. What, now, is a live performance? Sharon provokes a tension of perception, with the eye and ear unsure of whether to focus on the singers or the screen. What is lost, and gained, in their interplay? He doesn’t offer an answer so much as lay out a balance sheet that the audience is left to settle.If Sharon does make a case, it’s for the durability of an opera’s essence. No matter the format, “Walküre” is a rending portrait of love, family and regret; Sunday’s performance wasn’t any different. And, as in “Fiddler,” the emotional core of “The Valkyries” was drawn out in a way that was unforced and honest, yet stylistically distinct. New York would be lucky to have either show. More

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      in Television

      Jennifer Bonjean, the Lawyer Who Defended R. Kelly and Bill Cosby

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      Jennifer Bonjean has become known for her aggressive approach as she has defended men accused of sexual misconduct in several of the highest profile cases of the #MeToo era.Jennifer Bonjean, a defense lawyer who has the words “not guilty” tattooed on her right arm, called one woman who accused R. Kelly of sexual abuse a “pathological liar.” She accused another of extortion. She tried to pick their accounts apart, and attacked prosecutors for stripping her client, the former R&B star, of “every single bit of humanity that he has.”Ms. Bonjean, who was Mr. Kelly’s lead lawyer during the criminal trial in Chicago that ended with his conviction last week, has become known for her aggressive tactics in representing men accused of sexual misconduct in several of the highest profile cases of the #MeToo era.She helped Bill Cosby get his sexual assault conviction overturned last year, which led to his being freed from prison. She has also represented Keith Raniere, once the leader of the Nxivm sex cult, as he appealed his conviction on sex trafficking and other charges, for which he was sentenced to 120 years in prison.“Everyone’s entitled to a vigorous defense,” Ms. Bonjean, 52, said in an interview last week shortly before Mr. Kelly’s conviction on sex crimes involving minors was announced.Her theatrical, knock-down-drag-out style is hardly atypical in the world of criminal defense, but it has attracted attention at a time when #MeToo-era cases are reaching trial, as she has urged jurors to be skeptical of women who have testified, often through tears, about being sexually abused.“We are in an era of ‘believe women’ and I agree, but not in the courtroom,” Ms. Bonjean said during closing arguments in the Kelly case. “We don’t just believe women or believe anything. We scrutinize. There’s no place for mob-like thinking in a courtroom.”That perspective and her relentless cross-examination of accusers, which typically involves drilling them on any inconsistencies in their accounts and questioning their motives, has drawn criticism from those who say it could scare abused women from coming forward.Ms. Bonjean accompanied Bill Cosby when he returned to his home in Pennsylvania last year after she worked to overturn his conviction, and he was freed from prison.Mark Makela/ReutersLili Bernard, who has sued Mr. Cosby and accused him of drugging and sexually assaulting her in 1990, said she was upset by Ms. Bonjean’s behavior earlier this year where she defended Mr. Cosby in a civil case brought by a woman who said he had sexually assaulted her when she was a teenager. Ms. Bernard, who attended the trial in California, called the lawyer’s cross-examination of that woman, Judy Huth, and other accusers “victim blaming and victim shaming.”Originally from Valparaiso, Ind., Ms. Bonjean (pronounced bon-JEEN) is a classically trained opera singer who earned a master’s degree in music and once worked at a rape crisis center in Chicago, advocating for victims of sexual violence — a stint, she said, that some might now see “as ironic.”That job led her to study at Loyola University Chicago’s law school with the intention of becoming a prosecutor, but she ended up going into defense work after gravitating toward “underdog” clients. As a lawyer who views prosecutorial overstep as her driving force, she gained prominence by focusing on so-called wrongful conviction cases.Russell Ainsworth, a staff attorney at the Exoneration Project at the University of Chicago Law School, has worked with Ms. Bonjean on civil rights cases for a decade and said that typically, he plays the “straight guy,” while she “comes out swinging.”“If I needed a lawyer to go to the mat for me, that’s the lawyer I would choose,” he said.Her approach was on display earlier this year in the civil suit brought by Ms. Huth, who accused Mr. Cosby of sexually assaulting her at the Playboy Mansion in 1975, when she was 16.During Ms. Bonjean’s cross-examination of Ms. Huth, she challenged her on why it had taken her decades to come forward with her accusation. At one point she suggested that Ms. Huth had kept quiet about the trip to the mansion, not because she had buried painful memories, but because she was uncomfortable telling people that she had gone there with Mr. Cosby because he is Black. Ms. Huth strongly denied that.During the trial, Ms. Bonjean turned her attention to Ms. Bernard, and accused her in court of speaking with a juror during a break. She argued for a mistrial. (The judge denied Ms. Bonjean’s request.)“In that little moment that she tried to falsely accuse me, I felt the wrath of her, the depths she would go to,” Ms. Bernard said in an interview.Ms. Bonjean, whose firm is based in New York, said that she considers herself a feminist, insisting that the label is not inconsistent with her work as a defense lawyer for accused men. Her responsibility, she explained, is to exercise every legal lever at her disposal for her client, noting, “that will not always be consistent with sensitivity to a victim’s feelings.”And she contends that if she were a male lawyer, people wouldn’t think twice about her approach, simply chalking it up to a lawyer doing his job.“I’m supposed to be some type of ambassador — a vagina ambassador,” she said, “Seriously, I get a lot of those questions, like somehow I am traitorous to women by taking on these cases.”During Mr. Kelly’s Chicago case, Ms. Bonjean was boldly combative at every turn. She fought to keep as much of the video footage away from the jury as possible, maintained a steady stream of objections and sometimes kept the fight for her client going on Twitter.At one point, prosecutors complained to the judge about a tweet she posted in which she accused them of playing dirty tricks. Ms. Bonjean offered to refrain from tweeting about the court proceedings, she said, and the judge agreed. A few days later, Ms. Bonjean posted: “I’m not allowed to tweet but I think I can retweet,” sharing someone else’s tweet that quoted her from the trial, calling one of the government’s key witnesses “a liar, a thief and an extortionist.”“I had to find what worked for me,” Ms. Bonjean said of her approach. “My aggressive style — some people call it fiery, some people call it, whatever words you want to use to describe it, that was the way that I could be effective.”Debra S. Katz, a lawyer who has represented high-profile sexual misconduct accusers, said that defense tactics seeking to shred a woman’s credibility or impugn her character run the risk of failing with a jury, citing Harvey Weinstein’s conviction in New York, during which she represented one of the women accusing the producer of sexual assault.“Everybody deserves a defense, but to attack women in this way is, in my view, absolutely unconscionable,” Ms. Katz said.Ms. Bonjean’s highest profile success has been her role in appealing Mr. Cosby’s sexual assault conviction. She and her co-counsels persuaded the Pennsylvania Supreme Court that prosecutors violated Mr. Cosby’s rights by reneging on an apparent promise not to charge him on allegations that he drugged and sexually assaulted Andrea Constand in 2004.Mr. Cosby’s more recent civil trial ended with a jury finding against him that awarded Ms. Huth $500,000 in damages.In Mr. Kelly’s recent case, he was found guilty of some of the most serious charges, including of coercing minors into sexual activity and producing child sexual abuse videos. He was acquitted on several other charges, including that he had sought to obstruct an earlier investigation.In both cases, Ms. Bonjean has pledged to mount a vigorous appeal.Robert Chiarito contributed reporting from Chicago. More

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      Jaimie Branch, Trumpeter Who Crossed Genre Lines, Dies at 39

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      One of the most dynamic trumpet players in contemporary music, she forged a direct emotional, and even spiritual, connection with her listeners.Jaimie Branch, an innovative avant-garde trumpet player and composer whose punk-rock intensity and commitment to experimentation and to dissolving the distinctions between genres invigorated the music scenes of New York and Chicago, died on Aug. 22 at her home in Red Hook, Brooklyn. She was 39.Her death was announced by International Anthem, the Chicago-based label that released albums by her groups Fly or Die and Anteloper. No cause was given.Over the last decade, Ms. Branch emerged as one of the most dynamic trumpet players in contemporary music, coaxing a remarkable range of sounds from her horn. She used electronic effects and toy noisemakers (including a Fisher Price Happy Apple from the 1970s) to further extend her sonic spectrum. She would often play a complicated passage, step back and scream, and then plunge back into playing without missing a beat.“I mean every note that I play,” she told the online music journal Aquarium Drunkard in 2019. “When I’m up there, I’m putting it all out on the table. It’s like high risk, high reward.”Ms. Branch forged an emotional, even spiritual, connection with listeners. Her energy could barely be constrained by the stage, filling a room not just with the sound of her trumpet but also with the force of her presence.Offstage, she was just as magnetic. Known to friends as Breezy, she was a gregarious figure, as averse to formality and affectation as she was to capital letters (she preferred her name and song titles lowercase).Ms. Branch was conservatory-trained, but her stage attire was unconventional for jazz circles: an Adidas track suit, a kimono draped over a “Young Latin & Proud” T-shirt, a baggy Outkast “ATLiens” baseball jersey. Her head was always covered, whether by a hoodie, a jauntily askew baseball cap or a knit toque, and her forearms were festooned with colorful tattoos.“She was the quintessential example of ‘honest music,’” Scott McNiece, International Anthem’s co-founder and director of artists and repertoire, said in an interview. “Music that has the capacity to change people’s lives and change the world, which everyone needs now more than ever.”Ms. Branch composed most of the music with Fly or Die, a quartet whose other members were Chad Taylor on drums, Jason Ajemian on bass and Lester St. Louis on cello (who replaced Tomeka Reid after the group’s first album, called simply “Fly or Die”). She favored improvisation for Anteloper, a dub-influenced duo with the drummer Jason Nazary, both of whom also doubled on synthesizers and other electronic gear.While she regularly performed concerts for cultural programmers like Roulette (where she was a 2020 resident artist) and Arts for Art, Ms. Branch was equally at home creating dissonant synthesizer squiggles on a noise-rock bill at Knockdown Center in Maspeth, Queens, or playing an impromptu jam session at the San Pedro Inn in Red Hook with her most recent trio, c’est trois, with the bassist Luke Stewart and the drummer Tcheser Holmes.In a 2017 article on women in jazz, the New York Times critic Giovanni Russonello described “Fly or Die” as one of “the most startling debut albums in jazz this year,” adding that “Ms. Branch uses extended technique and blustery abstraction to a dizzying effect.” In DownBeat magazine’s 2020 critics poll, Ms. Branch was voted “rising star” on trumpet.Ms. Branch in action with her group Fly or Die at the Winter Jazzfest in New York in 2018.Jacob Blickenstaff for The New York TimesOn the 2019 album “Fly or Die II: Bird Dogs of Paradise,” she revealed her impressive singing voice on two songs, one of which, “prayer for amerikkka pt. 1 & 2,” recounts the story of a young Central American woman detained after crossing the Southern border. (The song was based on the actual case of an El Salvadoran teenager whom Ms. Branch’s mother had assisted.)Despite the power of her trumpet playing, Jaimie felt very vulnerable, her sister, Kate Branch said in an interview, and she felt even more so when singing, adding, “She really cared about the message.”Jaimie Rebecca Branch was born on June 17, 1983, in Huntington, N.Y., on Long Island. Her father, Kenneth, was a mechanical engineer; her mother, Soledad (Barbour) Branch, known as Sally, is a psychotherapist and social worker. “Jaimie” is spelled the way it is, her sister said, because the girls’ Colombian maternal grandmother couldn’t understand why their mother would call her daughter Jaime, a boy’s name, “so my mom added another ‘i’ so my grandmother could properly pronounce it.”Jaimie started playing piano at age 3 and wrote her first song, “My Dreams End in the Sky,” at 6. A small orchestra at the family’s church in Long Island performed it, and Jaimie sang it and dedicated it to a retiring minister.When she was 9, the family moved to Kenilworth, Ill., a suburb of Chicago, where she began playing trumpet in the school band. After playing extensively at New Trier High School in Winnetka (including a stint in a ska-punk group, the Indecisives), she moved to Boston to attend the New England Conservatory of Music, where she studied jazz performance.After graduation Ms. Branch moved to Chicago, where she became a fixture of the jazz scene. “You could hear her all-encompassing sound just by looking her straight in the eyes,” the trumpeter Rob Mazurek, a frequent Chicago collaborator, said in an email.She left Chicago in 2012 to attend graduate school at Towson University in Baltimore, but departed a few credits short of a master’s degree in jazz performance. She told The Chicago Reader in 2017 that she had begun using heroin in 2008, and she struggled with opioids for years, enrolling in multiple inpatient treatment programs, most recently on Long Island in 2015.Following her time in that program, Ms. Branch moved to Red Hook. She gigged constantly, whether as the leader of her own groups or as a guest in the ensembles of the saxophonist James Brandon Lewis and the vocalist Fay Victor.“She was a true collaborator, and that’s why she was so damn good at playing this music,” said the Brooklyn composer and vocalist Amirtha Kidambi, who began improvising with Ms. Branch soon after she arrived in Brooklyn. “She could listen, give and receive in equal measure with an unparalleled generosity. She had so many extremely close friends who also were collaborators, and because of that she wanted each individual to be really strong and strengthen the community as a whole.”In addition to her sister, Ms. Branch is survived by her mother and two half brothers, Clark and Russell. Her father died in 2017; the first Fly or Die album was dedicated to him.Ms. Branch had recently finished mixing Fly or Die’s third studio album. Ever seeking new sounds, she was also discussing potential projects like dub remixes of Anteloper and exploring her interest in the Chicago electronic dance music genre known as footwork.“A lot of her collaborators were jazz musicians,” said Piotr Orlov, a friend and supporter who wrote the liner notes for the 2021 album “Fly or Die Live,” “but ‘the music’ for her was much broader, always filled with rhythm for moving, improvisation for keeping it interesting or unexpected, and camaraderie. Which is why the connections she made between so-called jazz and contemporary classical, beats and electronic music, rappers and dancers, standards and the hard-core songbook, were completely organic, and always fascinating.”On Wednesday night, as news of Ms. Branch’s death spread, about 75 of her friends and fellow musicians gathered on Valentino Pier in Red Hook, a few blocks from her apartment. As “Fly or Die Live” played through a phone propped up against a small, tinny-sounding megaphone, some in the crowd tapped out beats on drums or on the concrete, others banged tambourines and sleigh bells, and the young saxophonist Zoh Amba played melancholic funereal blasts.From across the Red Hook Channel the distant sound of another trumpet could be heard, most likely from a mariachi band in a waterfront bar, joining the music in a phantom collaboration. More

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      Woman Testifies R. Kelly Sexually Abused Her on Video When She Was 14

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      The woman testified at the singer’s federal trial in Chicago that she had been persuaded not to testify against him at his 2008 state trial, which ended in his acquittal.CHICAGO — In 2008, a jury in Chicago declared the singer R. Kelly not guilty of producing child sexual abuse imagery after seeing a videotape that prosecutors said showed the R&B singer engaging in sex acts with an underage girl. The defense team had argued that the identities of the people in the tape were in question, and several jurors said the lack of testimony from the victim was a significant barrier to convicting Mr. Kelly.But on Thursday, the woman at the center of the 2008 trial took the stand, identifying herself and Mr. Kelly as the people in the infamous video, saying that they had sex “hundreds” of times when she was underage, and explaining how two decades ago he had persuaded her to deny their relationship to law enforcement officials.“I was extremely scared that my parents would find out,” she said, adding that she was afraid of what would happen to Mr. Kelly.Mr. Kelly has been trailed by accusations of abusing young women and underage girls for more than two decades but had long avoided criminal punishment — until last year, when he was sentenced to 30 years in prison after he was convicted in federal court in Brooklyn of racketeering and sex trafficking charges.Before that, the 2008 trial was the closest Mr. Kelly had gotten to being held accountable.The woman at the center of that trial, now 37, took the stand at the Everett M. Dirksen U.S. Courthouse in downtown Chicago, where she said that she had been repeatedly sexually abused as a teenager by Mr. Kelly and testified that it was in fact her at age 14 appearing in the videotape, which at one point shows Mr. Kelly urinating on her.Testifying under a pseudonym for more than four hours on Thursday, the woman told the court that in 2002, after law enforcement officials had obtained the tape, Mr. Kelly sent her and her parents out of the country to make them inaccessible to investigators. He then urged her to deny to a grand jury that it was her on the tape and paid for a lawyer to accompany her, she said. She testified that she had falsely told the grand jury that it was not her on the videotape and that she was not sexually involved with Mr. Kelly. She said that she gave Mr. Kelly’s lawyers a necklace of hers that could be seen on the videotape.As the woman spoke, Mr. Kelly — who is facing charges of coercing minors into sex, receiving child sexual abuse videos and conspiring to obstruct justice — remained impassive.The woman told the jury that she was 13 years old when she was first introduced to Mr. Kelly by her aunt, a protégée of Mr. Kelly’s who goes by the stage name Sparkle. Mr. Kelly, who became the woman’s godfather, started speaking sexually with her over the phone, she said, then started abusing her physically. She testified that Mr. Kelly would sexually assault her at various locations, including his home, the recording studio and his tour bus.The tape surfaced after a journalist for The Chicago Sun-Times who had reported on the accusations against Mr. Kelly, Jim DeRogatis, received it in the mail from an anonymous sender, and turned it over to law enforcement. Mr. Kelly was charged in 2002 with producing child pornography, and he stood trial in 2008 but was acquitted.The woman testified that around the time of the trial, she was living with Mr. Kelly in his mansion, and that after he was acquitted, he began physically abusing her and controlling her ability to leave. He later helped her move into her own place and get a car, she said.A lawyer for Mr. Kelly, Jennifer Bonjean, who is expected to cross-examine the woman on Friday, sought to undermine her testimony in opening arguments, telling the jury that she has an immunity deal with prosecutors. The woman affirmed that in exchange for her testimony, prosecutors had granted her immunity from prosecution for perjury related to the false grand jury testimony in 2002.Prosecutors say that they now have more evidence of the woman’s abuse than the state prosecutors had 14 years ago. The 2008 trial focused on one video, but the current trial centers on four videos that prosecutors say show Mr. Kelly sexually abusing the woman. Those videos are the basis for charges against Mr. Kelly related to producing child pornography, as well as the ones related to receiving child pornography.According to the federal indictment, Mr. Kelly and his associates realized in 2001 that videotapes of him sexually abusing the woman were missing, and as a result, they began a multiyear effort to recover the tapes, paying one person hundreds of thousands of dollars to try to regain possession of them.Charges against two of Mr. Kelly’s associates, Derrel McDavid and Milton Brown, who are standing trial at the same time as Mr. Kelly, relate to accusations that they had tried to find the missing tapes. Both men pleaded not guilty, and their lawyers have argued that they were carrying out their jobs, unaware that Mr. Kelly was abusing children.Later on in the trial, four other women are also expected to testify that Mr. Kelly sexually abused them when they were girls. More