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    Philip J. Smith, a Power on Broadway, Is Dead at 89

    #masthead-section-label, #masthead-bar-one { display: none }The Coronavirus OutbreakliveLatest UpdatesMaps and CasesVaccine InformationF.A.Q.TimelineAdvertisementContinue reading the main storySupported byContinue reading the main storyThose we’ve lostPhilip J. Smith, a Power on Broadway, Is Dead at 89As head of the Shubert Organization, he was one of New York City’s most influential real estate and cultural entrepreneurs.Philip J. Smith in 2008. He was the hidden hand on Broadway, negotiating booking contracts with producers and labor contracts with theatrical unions in a multibillion-dollar industry.Credit…Sara Krulwich/The New York TimesPublished More

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    Behind Closed Doors, Paris Theaters Carry On

    @media (pointer: coarse) { .at-home-nav__outerContainer { overflow-x: scroll; -webkit-overflow-scrolling: touch; } } .at-home-nav__outerContainer { position: relative; display: flex; align-items: center; /* Fixes IE */ overflow-x: auto; box-shadow: -6px 0 white, 6px 0 white, 1px 3px 6px rgba(0, 0, 0, 0.15); padding: 10px 1.25em 10px; transition: all 250ms; margin-bottom: 20px; -ms-overflow-style: none; /* IE 10+ */ […] More

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    How 8 Countries Have Tried to Keep Artists Afloat During Panemic

    #masthead-section-label, #masthead-bar-one { display: none }The Coronavirus OutbreakliveLatest UpdatesMaps and CasesA Future With CoronavirusVaccine InformationF.A.Q.TimelineAdvertisementContinue reading the main storySupported byContinue reading the main storyHow 8 Countries Have Tried to Keep Artists AfloatGovernments around the world have tried to support the arts during the pandemic, some more generously than others.While South Korea largely contained the spread of coronavirus last year — “The Phantom of the Opera” in Seoul closed for only three weeks — the government still provided some $280 million in pandemic relief for cultural institutions.Credit…Woohae Cho for The New York TimesJan. 13, 2021Updated 5:23 a.m. ETIn December, owners and operators of theaters and music halls across the United States breathed a sigh of relief when Congress passed the latest coronavirus aid package, which finally set aside $15 billion to help desperate cultural venues. But that came more than six months after a host of other countries had taken steps to buffer the strain of the pandemic on the arts and artists. Here are the highlights, and missteps, from eight countries’ efforts.FrancePresident Emmanuel Macron of France was one of the first world leaders to act to help freelance workers in the arts. The country has long had a special unemployment system for performing artists that recognizes the seasonality of such work and helps even out freelancers’ pay during fallow stretches. In May, Mr. Macron removed a minimum requirement of hours worked for those who had previously qualified for the aid. He also set up government insurance for TV and film shoots to deal with the threat of closure caused by the pandemic. Other countries, including Britain, quickly copied the move.GermanyGermany’s cultural life has always been heavily subsidized, something that insulated many arts institutions from the pandemic’s impact. But in June, the government announced a $1.2 billion fund to get cultural life restarted, including money directed to such projects as helping venues upgrade their ventilation systems. And more assistance is on the way. Germany’s finance ministry intends to launch two new funds: one to pay a bonus to organizers of smaller cultural events (those intended for up to a few hundred people), so they can be profitable even with social distancing, and another to provide insurance for larger events (for several thousand attendees) to mitigate the risk of cancellation. Germany is not the first to implement such measures; Austria introduced event insurance in January.BritainIn July, the British government announced a cultural bailout package worth about $2.1 billion — money that saved thousands of theaters, comedy clubs and music venues from closure. In December, several major institutions, including the National Theater and the Royal Shakespeare Company, were also given long-term loans under the package. Even with the help, there have already been around 4,000 layoffs at British museums alone, and more in other sectors.The National Theater in London was one of several major institutions to receive a long-term loan from the British government in December.Credit…Lauren Fleishman for The New York TimesPolandEuropean cultural aid hasn’t been enacted without controversy. In November, Poland announced recipients of a $100 million fund meant to compensate dance, music and theater companies for earnings lost because of restrictions during the pandemic. But the plan was immediately attacked by some news outlets for giving money to “the famous and rich,” including pop stars and their management. The complaints prompted the culture minister to announce an urgent review of all payments, but the government ultimately defended them, and made only minor changes.The Coronavirus Outbreak More

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    Cuomo Outlines Plans to Revive Arts and Culture Industries

    #masthead-section-label, #masthead-bar-one { display: none }Covid-19 VaccinesVaccine QuestionsRollout by StateBiden’s PlansHow 9 Vaccines WorkAdvertisementContinue reading the main storySupported byContinue reading the main storyCuomo Outlines Plans to ‘Bring Arts and Culture Back to Life’Gov. Andrew M. Cuomo said that New York urgently needs to bring the arts back — not only to help jobless artists, but to make sure that New York City survives.“New York City is not New York without Broadway,” Gov. Andrew M. Cuomo said on Tuesday in unveiling plans for the arts. Theaters have been closed since March because of the pandemic.Credit…Daniel Arnold for The New York TimesJan. 12, 2021Updated 4:46 p.m. ETDeclaring that New York urgently needs to revive its arts and entertainment industry if it is to recover from the coronavirus pandemic, Gov. Andrew M. Cuomo said Tuesday that the state would begin taking a series of interim steps to help to bring back some cultural events in the short term and put more unemployed artists back to work.“We must bring arts and culture back to life,” Mr. Cuomo said as he continued a weeklong series of policy addresses outlining his agenda for the state.The governor said that bringing back art and culture was crucial — not just to help artists, who have suffered some of the worst unemployment in the nation, but to keep New York City a vital, exciting center where people will want to live and work.“Cities are, by definition, centers of energy, entertainment, theater and cuisine,” Mr. Cuomo said, noting the threats the city is facing from the rise in remote work, crime and homelessness. “Without that activity and attraction, cities lose much of their appeal. What is a city without social, cultural and creative synergies? New York City is not New York without Broadway.”Mr. Cuomo said that the state would begin a public-private partnership to offer a series of statewide pop-up concerts featuring artists such as Amy Schumer, Chris Rock, Renée Fleming and Hugh Jackman; begin a pilot program exploring how socially distant performances might be held safely in flexible venues whose seating is not fixed; and work in partnership with the Mellon Foundation to distribute grants to put more than 1,000 artists back to work and provide money to community arts groups.The governor said that the state could not wait until summer, when more people are vaccinated, to bring back performances.The public-private partnership, New York Arts Revival, which will offer pop-up performances featuring more than 150 artists beginning Feb. 4, will be spearheaded by the producers Scott Rudin and Jane Rosenthal, along with the New York State Council on the Arts. The plan will culminate with the opening of Little Island, the parklike pier being built downtown in the Hudson River by Barry Diller, and with the Tribeca Film Festival, which will celebrate its 20th anniversary in June..css-c7gg1r{font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:0.875rem;line-height:0.875rem;margin-bottom:15px;color:#121212 !important;}@media (min-width:740px){.css-c7gg1r{font-size:0.9375rem;line-height:0.9375rem;}}.css-1sjr751{-webkit-text-decoration:none;text-decoration:none;}.css-1sjr751 a:hover{border-bottom:1px solid #dcdcdc;}.css-yoay6m{margin:0 auto 5px;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}@media (min-width:740px){.css-yoay6m{font-size:1.25rem;line-height:1.4375rem;}}.css-1dg6kl4{margin-top:5px;margin-bottom:15px;}.css-k59gj9{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-flex-direction:column;-ms-flex-direction:column;flex-direction:column;width:100%;}.css-1e2usoh{font-family:inherit;display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-box-pack:justify;-webkit-justify-content:space-between;-ms-flex-pack:justify;justify-content:space-between;border-top:1px solid #ccc;padding:10px 0px 10px 0px;background-color:#fff;}.css-1jz6h6z{font-family:inherit;font-weight:bold;font-size:1rem;line-height:1.5rem;text-align:left;}.css-1t412wb{box-sizing:border-box;margin:8px 15px 0px 15px;cursor:pointer;}.css-hhzar2{-webkit-transition:-webkit-transform ease 0.5s;-webkit-transition:transform ease 0.5s;transition:transform ease 0.5s;}.css-t54hv4{-webkit-transform:rotate(180deg);-ms-transform:rotate(180deg);transform:rotate(180deg);}.css-1r2j9qz{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-e1ipqs{font-size:1rem;line-height:1.5rem;padding:0px 30px 0px 0px;}.css-e1ipqs a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;}.css-e1ipqs a:hover{-webkit-text-decoration:none;text-decoration:none;}.css-1o76pdf{visibility:show;height:100%;padding-bottom:20px;}.css-1sw9s96{visibility:hidden;height:0px;}#masthead-bar-one{display:none;}#masthead-bar-one{display:none;}.css-1prex18{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;font-family:’nyt-franklin’,arial,helvetica,sans-serif;text-align:left;}@media (min-width:740px){.css-1prex18{padding:20px;}}.css-1prex18:focus{outline:1px solid #e2e2e2;}Covid-19 Vaccines ›Answers to Your Vaccine QuestionsWhile the exact order of vaccine recipients may vary by state, most will likely put medical workers and residents of long-term care facilities first. If you want to understand how this decision is getting made, this article will help.Life will return to normal only when society as a whole gains enough protection against the coronavirus. Once countries authorize a vaccine, they’ll only be able to vaccinate a few percent of their citizens at most in the first couple months. The unvaccinated majority will still remain vulnerable to getting infected. A growing number of coronavirus vaccines are showing robust protection against becoming sick. But it’s also possible for people to spread the virus without even knowing they’re infected because they experience only mild symptoms or none at all. Scientists don’t yet know if the vaccines also block the transmission of the coronavirus. So for the time being, even vaccinated people will need to wear masks, avoid indoor crowds, and so on. Once enough people get vaccinated, it will become very difficult for the coronavirus to find vulnerable people to infect. Depending on how quickly we as a society achieve that goal, life might start approaching something like normal by the fall 2021.Yes, but not forever. The two vaccines that will potentially get authorized this month clearly protect people from getting sick with Covid-19. But the clinical trials that delivered these results were not designed to determine whether vaccinated people could still spread the coronavirus without developing symptoms. That remains a possibility. We know that people who are naturally infected by the coronavirus can spread it while they’re not experiencing any cough or other symptoms. Researchers will be intensely studying this question as the vaccines roll out. In the meantime, even vaccinated people will need to think of themselves as possible spreaders.The Pfizer and BioNTech vaccine is delivered as a shot in the arm, like other typical vaccines. The injection won’t be any different from ones you’ve gotten before. Tens of thousands of people have already received the vaccines, and none of them have reported any serious health problems. But some of them have felt short-lived discomfort, including aches and flu-like symptoms that typically last a day. It’s possible that people may need to plan to take a day off work or school after the second shot. While these experiences aren’t pleasant, they are a good sign: they are the result of your own immune system encountering the vaccine and mounting a potent response that will provide long-lasting immunity.No. The vaccines from Moderna and Pfizer use a genetic molecule to prime the immune system. That molecule, known as mRNA, is eventually destroyed by the body. The mRNA is packaged in an oily bubble that can fuse to a cell, allowing the molecule to slip in. The cell uses the mRNA to make proteins from the coronavirus, which can stimulate the immune system. At any moment, each of our cells may contain hundreds of thousands of mRNA molecules, which they produce in order to make proteins of their own. Once those proteins are made, our cells then shred the mRNA with special enzymes. The mRNA molecules our cells make can only survive a matter of minutes. The mRNA in vaccines is engineered to withstand the cell’s enzymes a bit longer, so that the cells can make extra virus proteins and prompt a stronger immune response. But the mRNA can only last for a few days at most before they are destroyed.Mr. Cuomo said that he hoped to expand rapid testing, including at pop-up sites, to make it easier for people to be tested before visiting restaurants or theaters in areas with low-enough rates of the virus. He pointed to the state’s experiment last Saturday at the Buffalo Bills game, when the state tested nearly 7,000 fans.There have been problems with rapid testing. While rapid testing machines are portable, and can swiftly provide results, many are not considered as reliable as other tests in people without symptoms. The White House had relied on rapid testing to keep President Trump and his inner circle safe by requiring all White House visitors to take the test, even though that was not the way the test was intended to be used.New York reported at least 196 new coronavirus deaths and 14,179 new cases on Monday, and the rate of positive tests continues to increase.Dr. Anthony Fauci, the top infectious disease expert in the United States, told performing arts professionals at a virtual conference on Saturday that he believed theaters could reopen sometime this fall with relatively few restrictions if the vaccination program was a success, though he suggested audiences might still be required to wear masks for some time.“By the time we get to the early to mid-fall, you can have people feeling safe performing onstage as well as people in the audience,” Dr. Fauci said.But vaccine distribution in the United States is behind schedule, and public health officials have struggled to administer the vaccine to hospital workers and at-risk older Americans.Mr. Cuomo said that New York could not wait for enough people to be vaccinated to achieve herd immunity before taking steps to revive its performing arts scene.“We’re looking at months of shutdowns,” he said. “We need to begin to act now. We can’t float along letting pain, hardship and inequality grow around us.”AdvertisementContinue reading the main story More

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    Grammy Awards Postponed as Covid-19 Rages in Los Angeles

    #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyGrammy Awards Postponed as Covid-19 Rages in Los AngelesThe delay comes less than four weeks before the ceremony was to be held, on Jan. 31. The event will now be held on March 14.Beyoncé is the most-nominated artist for the 63rd annual Grammy Awards, which will no longer take place in January.Credit…Robyn Beck/Agence France-Presse — Getty ImagesBen Sisario and Jan. 5, 2021The 63rd annual Grammy Awards, set to be presented this month, have been delayed over concerns about Covid-19, which has been spreading rapidly in the Los Angeles area.The show will now be held on March 14, according to a statement from Grammy organizers, although few other details were available about where, and how, the event would go on.“The deteriorating Covid situation in Los Angeles, with hospital services being overwhelmed, I.C.U.s having reached capacity, and new guidance from state and local governments have all led us to conclude that postponing our show was the right thing to do,” said the statement, which was signed by executives at the Recording Academy, which presents the Grammys, and CBS, its longtime broadcast partner.“Nothing is more important,” it added, “than the health and safety of those in our music community and the hundreds of people who work tirelessly on producing the show.”The delay comes less than four weeks before the ceremony was to be held, on Jan. 31, and as unions and entertainment industry groups have called to suspend in-person television and film production in Los Angeles, citing the surging virus and overwhelmed hospitals. Several late-night shows have moved back to remote formats.The pandemic has kept this year’s Grammys under a cloud of uncertainty for months. In an interview in November, when nominations were announced, Harvey Mason Jr., the chairman and interim chief executive of the academy, said that an event was planned for a small audience in Los Angeles, but that many other details were still being worked out. Trevor Noah, from “The Daily Show,” was to be the host.Even the news of the postponement on Tuesday left the music industry confused. After Rolling Stone reported that the ceremony had been postponed, neither the academy nor CBS made any official public statement for hours. An email to academy members — and the Grammys’ official website — both said that the new date was March 21. That was quickly rescinded, although the incorrect date continued to bounce around social media and was picked up by some news outlets.Beyoncé has the most nominations for the ceremony, with nine in eight categories. Taylor Swift, Dua Lipa and the rapper Roddy Ricch are among the other major contenders for awards. In classic Grammys fashion, controversy — or at least loud complaints — have swarmed around this year’s nominations, as stars like the Weeknd and the country singer Luke Combs, who had some of the biggest hits of the period, were left off the ballot.Despite offstage griping, the Grammys remain one of the most high-profile moments in the year in pop music, with stars relishing the TV exposure and record executives schmoozing during glittery industry gatherings. Even if muted by the pandemic, the Grammys had been expected to represent a major media moment for the music world.This year was set to mark a new era for the Grammys. Ken Ehrlich, its producer for four decades, stepped down after last year’s ceremony. The new show is to be produced by Ben Winston, who has worked with James Corden. In an interview with Variety last month, Winston said he was “looking to do something quite exciting with independent venues” around this year’s Grammys.The telecast is also a major tent-pole event for CBS, though the show’s ratings have been sagging. Last year 18.7 million people watched the Grammys live on television, a 12-year low.Other major awards shows have attempted a variety of approaches during various stages of the pandemic, with mixed results. The BET Awards, held in June; the MTV Video Music Awards, in August; the Billboard Music Awards, in October; and the Latin Grammys, in November, were televised without audiences, and artists appeared remotely from soundstages to perform and accept awards.The Country Music Association Awards held an in-person ceremony in Nashville in November, with a live audience consisting mostly of the show’s performers, who were socially distanced but largely unmasked. A month after the awards, the singer Charley Pride, 86, died of complications from Covid-19, although where he was exposed remains unknown.In other industries, the pandemic forced the Emmy Awards to stage a largely virtual event in September. The Tony Awards announced in August that the show would go ahead, online, at an unspecified date, after initially postponing its June date.The Oscars were postponed two months from their original Feb. 28 date to April 25, with the format of the ceremony not yet determined. A week after that delay was announced, the Golden Globes then said that it would hold its ceremony, typically scheduled for January, in-person — as usual, at the Beverly Hilton in Beverly Hills, Calif. — on Feb. 28 instead.AdvertisementContinue reading the main story More

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    Surging Virus Prompts Call to Halt In-Person TV and Film Production

    #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storySurging Virus Prompts Call to Halt In-Person TV and Film ProductionSAG-AFTRA, the union representing 160,000 people who work in the industry, seeks a “temporary hold” in Los Angeles.A film crew in Los Angeles on Nov. 6. Credit…Etienne Laurent/EPA, via ShutterstockJan. 4, 2021Seven people working on “The Kelly Clarkson Show,” which was being shot at an NBC Universal stage in Studio City, Calif., tested positive for the coronavirus this fall. So did nine people working on the Netflix series “Colin in Black & White” in Gardena. And the Los Angeles County Public Health Department reported that a dozen people working on the sitcom “Young Sheldon” in Burbank got the virus, too.The entertainment industry is so vital to Los Angeles that film and television production were both allowed to continue even after outdoor dining was banned. But now, with the coronavirus surging across California and overwhelming hospitals, unions and industry groups are calling for in-person production to be suspended.“Southern California hospitals are facing a crisis the likes of which we have never seen before,” Gabrielle Carteris, the president of SAG-AFTRA, the union representing 160,000 people who work in film, television and radio, said in a statement. “Patients are dying in ambulances waiting for treatment because hospital emergency rooms are overwhelmed. This is not a safe environment for in-person production right now.”The union was joined in its call for a “temporary hold on in-person production in Southern California” by groups representing producers and advertisers.The recommendation, which was announced on Sunday, came as officials said that major studios in the area had already extended a standard holiday-related pause in production until at least mid-January in the hope that the number of new cases would subside by then, freeing up space in hospitals and intensive care units.By Monday night, “The Late Late Show” announced in a tweet that it had moved its production back into James Corden’s garage until it was “safe to return to our studio.” And a spokeswoman for “Jimmy Kimmel Live” confirmed a Deadline report that the Los Angeles-based late show would film remotely for the next two weeks. Officials from the groups calling for a pause — which also included a committee representing commercial advertisers and advertising agencies — said that they were encouraging their members to stay at home and not accept any on-set employment for several weeks. They noted that even workers who do not contract the virus put themselves at risk of becoming injured by stunts, falls or other mishaps, and that they could find it difficult to get treatment at hospitals.“It is too hard to say right now when the situation may improve,” said David White, national executive director of SAG-AFTRA.The Producers Guild of America said in its own statement that it was encouraging everyone “to delay production until the county health officials indicate it’s safe to resume.”Like sports, theater and much of the entertainment industry, film and television production has been forced to endure a turbulent year of stops and starts. The pandemic caused what was essentially a global shutdown in March, followed by a gradual phased reopening over the summer with a laundry list of new safety protocols in place that forced executives to reimagine how to make blockbuster movies safely, or how to finish uncompleted television seasons.The measures they have taken could not entirely stop the spread of the virus, however, and throughout the summer and fall, stars including Robert Pattinson and Dwayne Johnson tested positive. Mr. Pattinson’s positive test forced filming of “The Batman” at studios outside London to shut down. And last month, an audio recording of Tom Cruise emerged in which the actor could be heard scolding crew members on the set of “Mission: Impossible 7” for not following Covid-19 protocols.The restart, uneven and incomplete, has also forced the industry to slash budgets and lay off employees. FilmLA, the official film office for the city and county of Los Angeles, reported that filming in the area fell by more than 54 percent from July to September compared with the same period the previous year. (In New York City, only 35 of the nearly 80 series that were filming or planning to film were back at work by early November.)Then came the wave of infections that have staggered California since Thanksgiving. More than 35,000 new cases were reported in the state on Sunday, and the weekly average of new cases per day in Los Angeles County exceeded 16,000 last week — roughly 12 times higher than it was averaging on Nov. 1.The crisis has stretched the health care system so thin that at one Los Angeles hospital, incoming patients were recently being instructed to wait in an outdoor tent because the lobby was being used to treat patients, and gurneys filled the gift shop.The lack of hospital capacity prompted public health officials in Los Angeles to reach out to some members of the production industry on Dec. 24 to ask them to “strongly consider pausing work for a few weeks during this catastrophic surge in Covid cases,” FilmLA said. (An official at the Los Angeles County Department of Public Health said only that it had “recommended a voluntary pause on production activities” during a phone call with industry officials, but did not specify a time frame.)A database maintained by the county health department lists locations tied to CBS, NBC, Netflix and Warner Bros. as among the more than 500 workplaces, restaurants and stores that have reported three or more positive coronavirus cases. Officials for the studios declined to comment on the record.With the standard holiday break now expanded until mid-January because of the surge in cases and concerns about hospital capacity in Los Angeles, several shows that had been slated to resume production this week will not return until next week at the earliest, officials said.AdvertisementContinue reading the main story More

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    Armando Manzanero, Mexican composer of hits by Luis Miguel, Elvis Presley, dead at 86

    #masthead-section-label, #masthead-bar-one { display: none }The Coronavirus OutbreakliveLatest UpdatesMaps and CasesThe Stimulus PlanVaccine InformationF.A.Q.TimelineAdvertisementContinue reading the main storySupported byContinue reading the main storyArmando Manzanero, Influential Mexican Balladeer, Is DeadHe was known as one of the great romantic composers. His songs were performed by Elvis Presley, Andrea Bocelli, Christina Aguilera and many others.The singer-songwriter Armando Manzanero performing in 2017 in Alamos, Mexico. He was hospitalized with Covid-19 in the days before his death.Credit…Luis Gutierrez/Norte Photo, via Getty ImagesJan. 1, 2021, 1:28 p.m. ETArmando Manzanero, one of Mexico’s greatest romantic composers, whose ballads were performed by the likes of Elvis Presley and Christina Aguilera, died on Monday in Mexico City.Mr. Manzanero’s family gave his age as 86, though some sources have said that he was 85.His death was announced on national television by President Andrés Manuel López Obrador and by the Society of Authors and Composers of Mexico, of which Mr. Manzanero was president.“A great composer, among the best of the country,” and “a socially sensitive man,” Mr. López Obrador said.Mr. Manzanero had been hospitalized with Covid-19 and placed on a ventilator a week before his death, but his son, Diego Manzanero, said the cause was cardiac arrest following complications of kidney problems.In a seven-decade career, Mr. Manzanero wrote more than 400 songs, including hits like “It’s Impossible” and “Adoro” (“I Adore You”). He received a Grammy lifetime achievement award in 2014. He was also a lauded singer and producer.After touring with several well-known Mexican musical artists early in his career, he recorded his first songs in 1959 and released his first solo album, “A Mi Amor … Con Mi Amor” (“To My Love … With My Love”), in 1967. He went on to release dozens of albums, some of them consisting of duets.In 1971, Mr. Manzanero received a Grammy nomination for song of the year for “It’s Impossible,” a translation of his 1968 song “Somos Novios,” sung by Perry Como. The song, with a lush melody and syrupy lyrics, has remained popular. Elvis Presley recorded, as did Andrea Bocelli, in a duet with Ms. Aguilera.Luis Miguel sang several of Mr. Manzanero’s songs for his album “Romances,” released in 1997. A worldwide success, the album was credited with giving new popularity to Latin romance music, which had lost favor to some degree with the rise of Latin pop in the 1980s and ’90s.Often deceptively simple but imbued with tenderness and passion, Mr. Manzanero’s love songs have resonated for decades across cultures and languages.“A song has to be written with sincerity,” he told Billboard magazine in 2003. “It can’t be written with the desire to have instant success or passing success.” Rather, he said, it should be written to last.The Coronavirus Outbreak More

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    Lost in 2020: Epic Shakespeare, and the Theater That Planned It

    #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyCritic’s NotebookLost in 2020: Epic Shakespeare, and the Theater That Planned ItBrave Spirits Theater expected to mount an ambitious cycle of eight history plays. Instead it became yet another victim of the pandemic.Brendan Edward Kennedy, center, in the title role of “Henry V” at Brave Spirits Theater in Virginia.Credit…Claire KimballDec. 29, 2020I’ve written several versions of this story. First it was supposed to be an account of a small theater company’s ambitious stage project, then a story about that interrupted project and the company’s plan to regroup because of the pandemic. Now it’s an elegy for a small theater that the coronavirus shut down.On a bright but chilly Saturday afternoon in February, I hopped on a train to Alexandria, Va., just outside of Washington. I was visiting Brave Spirits Theater, which was presenting the first part of a bold endeavor: staging eight of Shakespeare’s history plays (the two tetralogies, from “Richard II” to “Richard III”) in repertory, over the course of 18 months, culminating in a marathon performance of all eight works.I was there to see the first two plays in the series, beginning with a matinee performance of “Richard II.” On the car from the train station, I peeked at the quiet suburbs of Alexandria — brick houses with wraparound porches, American flags by the door — until I arrived at the theater, which channeled the small-town whimsy of a playhouse in a storybook. The space, a converted church building, had pale yellow columns out front and bright turquoise trim around the windows, with red accents throughout.Charlene V. Smith, a co-founder of Brave Spirits. Credit…Greg Kahn for The New York TimesCharlene V. Smith, who co-founded Brave Spirits in 2011, told me that the idea for the project occurred to her in 2008, when she saw the Royal Shakespeare Company in London do a marathon performance of the histories. Brave Spirits was claiming to be making history by being the “first professional American theater company to mount full productions of Shakespeare’s two history plays tetralogies and perform them in repertory.”A few feet away from where we were sitting, in one corner of the lobby, was a chalkboard. Four calendar months were neatly drawn in perfectly symmetrical boxes — January, February, March, April — with a color-coded schedule of performances of the first tetralogy, which the company named “The King’s Shadow”: Richard in bright red, the first Henry in clover green, the second Henry in yellow and the last Henry in a crisp, royal purple.In a humble but well-done production, Brave Spirits had Richard II crowned and killed, and his successor, Henry Bolingbroke, a.k.a. Henry IV, was named the new king. After the audience left, the cast milled around the space, chatting in the kitchen, which doubled as the box office. “Is your bag of heads upstairs?” I heard someone call out from the hall. A few wore shirts that were being sold by the company, black tees with gray block lettering that read “Richard & Henry & Henry & Henry & Richard.” (Ever the Shakespeare nerd, I bought one.)That evening I saw “Henry IV, Part I,” and every seat was filled. Older couples and families and a couple of teens gabbed and waved at one another; everyone was a local. I left on the train the next morning, still buzzed with the energy in that tiny converted church.I wrote the article, but before it was published the pandemic shut down the performing arts across the nation, and the story of Brave Spirits changed. Like many other theaters, it was forced to cut short the histories project, which DC Metro Theater Arts predicted would be “one of the must-sees of the 2021 season.” April 19-20 was supposed to be a big weekend for the company, when all of the plays in the first tetralogy would be staged in repertory, ending in the capstone of the first half, “Henry V.”From left, Tom Howley, Duane Richards, and Michael Bannigan Jr. in “Henry V.”Credit…Claire KimballJacqueline Chenault, left, as Alice, and Nicole Ruthmarie as Princess Katherine in “Henry V.”Credit…Claire KimballJohn Stange, above, as Henry Bolingbroke and Gary DuBreuil as the title character in “Richard II.”Credit…Claire KimballOn March 12, Gov. Ralph Northam of Virginia declared a state of emergency and, shortly after, the White House issued a proclamation declaring Covid-19 a national emergency. Brave Spirits decided to cancel the marathon weekend but still go out with one last performance — the opening-night show of “Henry V.”“At that point,” Smith said when I checked back in with her in late April, “people had put so much into it that everyone was like: ‘We need to open “Henry V.” We need that opening-night performance tomorrow. We just need it.’” Brendan Edward Kennedy reported that after the show, in his dressing room, he started to sing the wartime ballad “We’ll Meet Again.” (“We’ll meet again/Don’t know where/Don’t know when.”) He sang it briefly to me on the phone.After that “Henry V,” the theater froze: costumes still on racks and props in bins, stored under the audience risers. As for the tools of war — swords, spears — Smith had them stored for safekeeping in her home in McLean, Va.The theater put up a fight through the spring and summer; an annual fund-raiser netted over $7,000, compared with its usual $3,000, giving the cast and crew some hope. (Smith told me the company’s annual budget was around $50,000, but for the first histories project season it was tripled, to roughly $150,000.)For several weeks, the cast kept up with online script readings and planned for a fall with more virtual rehearsals until, they hoped, they would come back with the second half of the project in January 2021.That was supposed to be my new story: one about a small theater enduring despite the consequences — something that captured the stakes and scope of the difficulties but that still ultimately ended up being about hope and resilience.By this point you already know that’s not the story I’m telling now, 10 months after I first visited Virginia and nine months since the lockdown began. On Nov. 21, Brave Spirits announced its closure: “Without the ability to plan for future performances, Brave Spirits is unable to recover financially from the loss of Shakespeare’s Histories,” a news release stated, the last two words in bold as though spoken through a megaphone.Brave Spirits produced more than 20 plays and employed over 300 artists, and was known for its quietly subversive interpretations of classics, usually through a feminist lens. But the company announced it had one parting gift: audio recordings of the plays in the histories project, which they hope will come out in late 2021. It’s hard not to think of it as another reminder of all the things the coronavirus destroyed in just a couple of months.Brave Spirits Theater, which was housed in a former church.Credit…Greg Kahn for The New York TimesThe fact that Brave Spirits lost this battle would have been sad enough if it weren’t also so utterly, ironically Shakespearean. This spring, during a follow-up call with Kennedy, I asked the actor how he had attacked King Henry V’s famous St. Crispin’s Day speech.The speech is usually said to fanfare and fireworks. King Henry V, no longer the childish, mischievous Prince Hal, has become the brilliant leader, inspiring his men to perform a feat of greatness. Kennedy said that their approach to this scene was a bit different — a glorious moment that is nevertheless fatalistic, with the soldiers fully understanding the cost of war.Kennedy told me that he and Smith had imagined the soldiers’ bleak logic: “‘Let’s go out in a blaze of glory, and let’s hit them so hard that people are going to be talking about this for centuries. They’re gonna remember all of our names, and this deed is going to make us heroes in the annals of history.’” Kennedy was aware of the parallels — that, like the soldiers on St. Crispin’s Day, he and his fellow actors were going into the performance aware of “the possibility that this could be the last time that we ever do this.”The end of Brave Spirits isn’t the story I wanted to end up with. And yet this small theater in Virginia, which persevered until it couldn’t any longer, is just one of many that won’t make it out of 2020. It’s a shame, not just the closure itself, but the fact that the circumstances that led to it were preventable: The government’s poor response to the pandemic, and our country’s general refusal to value and subsidize the arts as it should, guaranteed that some theaters wouldn’t survive.I thought back to that day in February, when after I interviewed the cast, they celebrated a colleague’s birthday with pizza and cake and a round of “Happy Birthday” in the theater’s lobby.I packed up as quickly as I could, not wanting to interrupt, but they had happily forgotten me. Their conversations and laughter filled the space, a separate world and a safe haven for a community of artists. However briefly, I felt that. But this is all I can offer: the image of kings on a stage, a church-turned-theater in Virginia, a post-show pizza party. With Brave Spirits now closed, it’s all I have, and I wish it were enough.AdvertisementContinue reading the main story More