Deaths (Obituaries)

Subterms

    More stories

    • 125 Shares119 Views

      in Movies

      Jean-Claude Carrière, 89, Dies; Prolific Writer of Screenplays and More

      by

      AdvertisementContinue reading the main storySupported byContinue reading the main storyJean-Claude Carrière, 89, Dies; Prolific Writer of Screenplays and MoreHe was a favorite of Luis Buñuel and other top filmmakers. He also had a fruitful collaboration with the stage director Peter Brook.Jean-Claude Carrière in 1999. He had more than 150 film and television writing credits and also wrote books and plays.Credit…Sara Krulwich/The New York TimesFeb. 11, 2021Jean-Claude Carrière, an author, playwright and screenwriter who collaborated with the director Luis Buñuel on a string of important films and went on to work on scores of other movies, among them Philip Kaufman’s “The Unbearable Lightness of Being” (1988), died on Monday at his home in Paris. He was 89.The death was confirmed by his daughter Kiara Carrière. No cause was given.Mr. Carrière had barely started in the movie business when he met Buñuel, the Spanish-born director, in 1963 (although he had already won a short-subject Oscar for a 1962 comedy he made with Pierre Étaix, “Happy Anniversary”).“At the time, he was looking for a young French screenwriter who knew the French countryside well,” Mr. Carrière recalled in a 1983 interview with the writer Jason Weiss.“I was a beginner,” he said. “I had gone to Cannes, and he was seeing various screenwriters there. I had lunch with him, we got along well, and three weeks later he chose me and I left for Madrid. Since then I haven’t stopped.”His first project with Buñuel was “Diary of a Chambermaid” (1964), for which the two adapted the Octave Mirbeau novel of the same name. Mr. Carrière continued to work with Buñuel for the rest of the director’s career, including on his last feature, “That Obscure Object of Desire,” in 1977. (Buñuel died in 1983.)Fernando Rey and Carole Bouquet in a scene from the 1977 film “That Obscure Object of Desire,” the last of Mr. Carrière’s many collaborations with Luis Buñuel.“Quite often the screenwriter has to guess what exactly the film is that the director wants to make,” Mr. Carrière told Interview magazine in 2015. “Sometimes the director doesn’t even know himself. You have to help him find the right thing. That was the case with Buñuel. At the beginning, he was looking around in many different directions, and finally when we went the right way, we felt it.”Mr. Carrière also collaborated with other top filmmakers, including Jacques Deray (on the 1969 movie “The Swimming Pool” and more) and Louis Malle (on the 1967 film “The Thief of Paris” and others). In the 1970s one of his greatest successes was as a writer of Volker Schlondorff’s “The Tin Drum” (1979), which was adapted from the Günter Grass novel about a boy who, in the midst of the gathering chaos that led to World War II, decides not to grow up; it won the Oscar for best foreign-language film.In the 1980s he wrote or co-wrote the screenplays for Daniel Vigne’s “The Return of Martin Guerre” (1982), Andrzej Wajda’s “Danton” (1983), Milos Forman’s “Valmont” (1989) and numerous other movies. Among the most recent of his more than 150 film and television credits were “The Artist and the Model,” a 2012 drama directed by Fernando Trueba, and “At Eternity’s Gate,” a 2018 film about Vincent van Gogh directed by Julian Schnabel.In 2014 Mr. Carrière received an honorary Oscar for his body of work. The citation said that his “elegantly crafted screenplays elevate the art of screenwriting to the level of literature.”The prolific Mr. Carrière also wrote books and plays, often collaborating with the stage director Peter Brook. His interests knew no bounds.With Mr. Brook he created “The Mahabharata,” a nine-hour stage version of the Sanskrit epic, which was staged at the Avignon Theater Festival in France in 1985 and then made into a film. He once wrote a book with the Dalai Lama (“The Power of Buddhism,” 1996). He wrote a novel called “Please, Mr. Einstein” that, as Dennis Overbye wrote in a 2006 review in The New York Times, “touches down lightly and charmingly on some of the thorniest philosophical consequences of Einstein’s genius and, by extension, the scientific preoccupations of the 20th century — the nature of reality, the fate of causality, the comprehensibility of nature, the limits of the mind.”His was deliberately ever curious.“People say I am very dispersed,” he told The Guardian in 1994. “But I say that to pass from one subject to another, from one country to another, is what keeps me alive, keeps me alert.”A scene from Buñuel’s “The Discreet Charm of the Bourgeoisie” (1972), one of three films for which Mr. Carrière was nominated for a writing Oscar.Credit…Rialto Pictures/StudiocanalJean-Claude Carrière was born on Sept. 17, 1931, in Colombières-sur-Orb in southern France, into a family of vintners. As World War II was ending in 1945, his father, who had a heart condition that was making it difficult for him to work the land, took a job at a cousin’s cafe near Paris. There Jean-Claude had access to better schools and could indulge more fully in the passion for writing that had, as he put it, “imposed itself on me” since he was a young boy.In his mid-20s he published a novel, “Le Lézard.” It caught the attention of the comic actor and director Jacques Tati, who provided Mr. Carrière with a sort of backward entry into his career: Mr. Tati hired him to write novels based on some of his movies. He also introduced him to the process of making and editing a film.He and Mr. Étaix jointly wrote and directed “Happy Anniversary,” a comic short about a couple trying to celebrate their anniversary. Mr. Carrière was surprised by the Oscar.“I came to the office and the producer was jumping out of joy: ‘We have the Oscar! We have the Oscar!,’” he told Interview. “I asked, ‘But what is the Oscar?’ I didn’t know.”His family background benefited him in his fateful meeting with Buñuel the next year.“The first question he asked me when we sat down together at the table — and it’s not a light or frivolous question; the way he looked at me I sensed that it was a deep and important question — was, ‘Do you drink wine?’” he told Mr. Weiss.“A negative response would have definitely disqualified me,” he continued. “So I said, ‘Not only do I drink wine, but I produce it. I’m from a family of vintners.’”Their bond thus sealed, Buñuel and Mr. Carrière went on to collaborate not only on “Diary of a Chambermaid” but also on “Belle de Jour” (1967), “The Discreet Charm of the Bourgeoisie” (1972) and other films.In 1971 Mr. Carrière was among the writers on Mr. Forman’s “Taking Off,” a comedy about parents searching for a runaway daughter that received good notices. The same was not true of the next Carrière-Forman partnership, a Broadway production of Mr. Carrière’s two-character play “The Little Black Book,” with Mr. Forman directing. When it opened in April 1972, Clive Barnes, reviewing in The Times, called it “a foolish little play without either wit or humanity.” It closed after seven performances.Mr. Carrière in 2001. He received an honorary Oscar in 2014 for his “elegantly crafted screenplays,” which the citation said “elevate the art of screenwriting to the level of literature.”Credit…Jean-Pierre Muller/Agence France-Presse — Getty ImagesHis only other Broadway effort was better received. It was “La Tragedie de Carmen,” which he, Marius Constant and Mr. Brook adapted from the Bizet opera, with Mr. Brook directing. It opened in November 1983 and ran for 187 performances.Mr. Carrière was nominated for writing Oscars for “The Discreet Charm of the Bourgeoisie,” “That Obscure Object of Desire” and “The Unbearable Lightness of Being.”Information on survivors was not immediately available.Mr. Brook once explained what made Mr. Carrière such an in-demand writer, whether the job was creating original material, adapting a novel or opera, or reining in an epic poem.“Like a great actor, or a great cameraman, he adapts himself to different people he works with,” Mr. Brook told The Times in 1988. “He’s open to all shifts caused by the material changing, and yet he brings to it a very powerful and consistent point of view.”Aurelien Breeden contributed reporting from Paris.AdvertisementContinue reading the main story More

    • 113 Shares149 Views

      in Music

      Mary Wilson, Co-Founder of the Supremes, Dies at 76

      by

      AdvertisementContinue reading the main storySupported byContinue reading the main storyMary Wilson, Motown Legend and Co-Founder of the Supremes, Dies at 76Ms. Wilson, with the original members Diana Ross and Florence Ballard, was part of one of the biggest musical acts of the 1960s.Mary Wilson, a founder of the Motown group the Supremes, in 2019.Credit…Rozette Rago for The New York TimesFeb. 9, 2021, 3:02 a.m. ETMary Wilson, a founding member of the Supremes, the trailblazing group from the 1960s that spun up 12 No. 1 singles on the musical charts and was key to Motown’s legendary sound, died on Monday at her home in Henderson, Nev. She was 76. Ms. Wilson’s death was confirmed by her publicist, Jay Schwartz. No cause of death was given.From 1964 to 1965, the Supremes, whose original members included Florence Ballard and Diana Ross as the lead singer, released hit songs such as “Where Did Our Love Go?” “Baby Love,” “Come See About Me” and “Stop.”Berry Gordy, the founder of Motown, called Ms. Wilson a “trailblazer” who will be missed. He said in a statement that the Supremes had opened doors for other Motown acts.“I was always proud of Mary,” Mr. Gordy said in the statement. “She was quite a star in her own right, and over the years continued to work hard to boost the legacy of the Supremes.”Funeral services for Ms. Wilson will be private because of Covid-19 restrictions, Mr. Schwartz said, adding that a celebration of her life will take place later this year.A full obituary will be posted soon.AdvertisementContinue reading the main story More

    • 163 Shares189 Views

      in Theater

      Christopher Plummer, Actor From Shakespeare to ‘The Sound of Music,’ Dies at 91

      by

      #masthead-section-label, #masthead-bar-one { display: none }Christopher Plummer (1929-2021)Obituary10 Movies to StreamAn Appraisal of the ActorA Look Back at ‘The Sound of Music’Review of His MemoirAdvertisementContinue reading the main storySupported byContinue reading the main storyChristopher Plummer, Actor From Shakespeare to ‘The Sound of Music,’ Dies at 91His performance as Captain von Trapp in one of the most popular movies of all time propelled a steady half-century parade of television and film roles.Christopher Plummer as Capt. Georg von Trapp in “The Sound of Music.” It was his best-known film, but for years he disparaged the role as an “empty carcass.”Credit…Silver Screen Collection/Getty ImagesFeb. 5, 2021Christopher Plummer, the prolific and versatile Canadian-born actor who rose to celebrity as the romantic lead in perhaps the most popular movie musical of all time, was critically lionized as among the pre-eminent Shakespeareans of the past century and won an Oscar, two Tonys and two Emmys, died on Friday at his home in Weston, Conn. He was 91. His wife, Elaine Taylor, said the cause was a blow to the head as a result of a fall.The scion of a once-lofty family whose status had dwindled by the time he was born, Mr. Plummer nonetheless displayed the outward aspects of privilege throughout his life. He had immense and myriad natural gifts: a leading man’s face and figure; a slightly aloof mien that betrayed supreme confidence, if not outright self-regard; an understated athletic grace; a sonorous (not to say plummy) speaking voice; and exquisite diction.He also had charm and arrogance in equal measure, and a streak both bibulous and promiscuous, all of which he acknowledged in later life as his manner softened and his habits waned. In one notorious incident in 1971, he was replaced by Anthony Hopkins in the lead role of “Coriolanus” at the National Theater in London; according to the critic Kenneth Tynan, who at the time was the literary manager of the National, Mr. Plummer was dismissed in a vote by the cast for crude and outrageous behavior.For years, until he came to share the widely held opinion of his best-known film — the beloved 1965 musical “The Sound of Music,” in which he starred as the Austrian naval officer Georg von Trapp opposite Julie Andrews — as a pinnacle of warmhearted family entertainment, Mr. Plummer disparaged it as saccharine claptrap, famously referring to it as “S&M” or “The Sound of Mucus.”In 1964 Mr. Plummer starred in “Hamlet at Elsinore,” a television production filmed at Kronborg Castle in Denmark. He is seen here in rehearsal with Jo Maxwell Muller as Ophelia.Credit…London Daily Herald“That sentimental stuff is the most difficult for me to play, especially because I’m trained vocally and physically for Shakespeare,” Mr. Plummer said in a People magazine interview in 1982. “To do a lousy part like von Trapp, you have to use every trick you know to fill the empty carcass of the role. That damn movie follows me around like an albatross.”Mr. Plummer as Captain von Trapp with Julie Andrews as Maria and their harmonious children in “The Sound of Music.”Credit…20th Century Fox Film CorporationMr. Plummer’s résumé, which stretched over seven decades, was at least colossal, if not nonpareil, encompassing acting opportunities from some of dramatic literature’s greatest works to some of commercial entertainment’s crassest exploitations. He embraced it all with uncanny grace, or at least professional relish, displaying a uniform ease in vanishing into personalities not his own — pious or menacing, benign or malevolent, stern or mellow — and a uniform delight in delivering lines written by Elizabethan geniuses and Hollywood hacks.He played Hamlet, Macbeth, Richard III, Mark Antony and others of Shakespeare’s towering protagonists on prominent stages to consistent acclaim, and he starred in “Hamlet at Elsinore,” a critically praised 1964 television production, directed by Philip Saville and filmed at Kronborg Castle in Denmark, where (under the name Elsinore) the play is set.But he also accepted roles in a fair share of clinkers, in which he made vivid sport of some hoary clichés — as the evil bigot hiding behind religiosity in “Skeletons” (1997), for example, one of his more than 40 television movies, or as the somber emperor of the galaxy who appears as a hologram in “Starcrash,” a 1978 rip-off of “Star Wars.”One measure of his stature was his leading ladies, who included Glenda Jackson as Lady Macbeth and Zoe Caldwell as Cleopatra. And even setting Shakespeare aside, one measure of his range was a list of the well-known characters he played, fictional and non, on television and in the movies: Sherlock Holmes and Mike Wallace, John Barrymore and Leo Tolstoy, Aristotle and F. Lee Bailey, Franklin D. Roosevelt and Alfred Stieglitz, Rudyard Kipling and Cyrano de Bergerac.‘Simply Stupendous’Mr. Plummer’s television work began in the 1950s, during the heyday of live drama, and lasted half a century. He starred as the archbishop in the popular 1983 mini-series “The Thorn Birds,” appeared regularly as an industrialist in the 1990s action-adventure series “Counterstrike,” and won Emmy Awards — in 1977 for portraying a conniving banker in the mini-series “Arthur Hailey’s The Moneychangers,” and in 1994 for narrating “Madeline,” an animated series based on the children’s books.In the movies, his performance in “The Sound of Music” as von Trapp, a severe widower and father whose heart is warmed and won by the woman he hires as a governess, propelled a parade of distinctive roles, more character turns than starring parts, across a formidable spectrum of genres. They included historical drama (“The Last Station,” about Tolstoy, and “The Day That Shook the World” about the onset of World War I); historical adventure (as Kipling in John Huston’s rollicking adaptation of “The Man Who Would Be King,” with Sean Connery and Michael Caine); romantic comedy (“Must Love Dogs,” with John Cusack and Diane Lane); political epic (“Syriana”); science fiction (as Chang, the Klingon general, in “Star Trek VI”); and crime farce (“The Return of the Pink Panther,” in which, opposite Peter Sellers’s inept Inspector Clouseau, he played a retiree version of the debonair jewel thief originally portrayed by David Niven).Mr. Plummer won a belated Oscar in 2012 for the role of Hal, a man who enthusiastically comes out as gay after a decades-long marriage and the death of his wife, in the bittersweet father-son story “Beginners.”“Simply stupendous,” Peter Travers of Rolling Stone wrote of that performance, in one of many prominent reviews that treated it as a triumphant valedictory. At 82, he was the oldest person ever to win an Academy Award in a competitive category.“You’re only two years older than me, darling,” Mr. Plummer said, addressing the golden statuette during his acceptance speech. “Where have you been all my life?”Mr. Plummer and Ewan McGregor in the film “Beginners.” Mr. Plummer’s performance as a man who enthusiastically comes out as gay after a decades-long marriage and the death of his wife earned him an Oscar in 2012 for best supporting actor.Credit…Focus FeaturesA dozen or more of his roles came after his 75th birthday, among them the thriller “The Girl With the Dragon Tattoo” (2011); “Barrymore” (2011), a screen version of the stage show for which he earned his second Tony Award in 1997 for his tour de force portrayal of the actor John Barrymore; the Rian Johnson whodunit “Knives Out” (2019); and the fact-based drama “The Last Full Measure” (2019), starring William Hurt.In 2017 he starred as J. Paul Getty, the billionaire who refuses to pay a ransom for his kidnapped grandson, in the Ridley Scott movie “All the Money in the World,” a role he stepped into at the last minute to replace Kevin Spacey, who had been accused of sexual misconduct. His formidable performance, described as “so dominating, so magnetic and monstrous” by the New York Times critic Manohla Dargis, earned him an Oscar nomination.“I’m not a superstar — thank God,” Mr. Plummer said in an interview with The Times in 1982. “Christ, to be a superstar must be extremely tiring and limiting.“I prefer being half-recognized on the street and getting good tables in restaurants,” he added. “Unfortunately, the really good, smashing parts do not always come my way because they go to the first tier of superstars who are bankable.”As accurate as that self-assessment was, it pertained only to the movies. Onstage, with a fierce intelligence, exemplary control of his body and voice, and a formidable command of language, Mr. Plummer had few equals.“As T.S. Eliot measures his life with coffee spoons, so I measure mine by the plays I’ve been in,” he wrote in his expansive 2008 memoir, “In Spite of Myself.”A Shakespearean ForemostMr. Plummer made notable Broadway appearances in works by Archibald MacLeish (the Devil-like Nickels in “J.B.” in 1958), Bertolt Brecht (the Hitler-like title role in “Arturo Ui” in 1963), Peter Shaffer (the Spanish conquistador Francisco Pizarro in “The Royal Hunt of the Sun” in 1965), Neil Simon (the Chekhov-like narrator in “The Good Doctor” in 1973) and Harold Pinter (“No Man’s Land,” opposite Jason Robards, in 1994).He won a Tony in the title role of “Cyrano,” a 1973 musical version of Edmond Rostand’s “Cyrano de Bergerac,” and in 2007 he was nominated for a Tony for the Clarence Darrow-like role of Henry Drummond, opposite Brian Dennehy, in “Inherit the Wind,” his final Broadway appearance.Mr. Plummer with Brian Dennehy in the 2007 Broadway production of “Inherit the Wind.” It was Mr. Plummer’s final Broadway performance.Credit…Sara Krulwich/The New York TimesEven so, that was the second tier of his theatrical portfolio; he was first and foremost a Shakespearean, one who brought febrile intensity and fierce intellect to his preparation.“I disagree with the theory that he is a man of indecision,” Mr. Plummer wrote about Hamlet in an essay for Playbill in 1964. “The truth is that he has made his mind up many times over, and it is only through his self-analytical precision and towering imagination that he finds himself living the deed long before he commits himself to its performance.”In 1955, he played Mark Antony in “Julius Caesar” in the inaugural production of the American Shakespeare Festival Theater in Stratford, Conn. The next year he played the title role in “Henry V” at the Stratford Shakespearean Festival in Ontario — where he became a fixture — and was declared by Brooks Atkinson of The Times to be “a Shakespearean actor of the first rank.”For more than a half century, through 2010 — when, at age 80, he appeared at the Stratford festival as Prospero in “The Tempest” — Mr. Plummer’s performances, including those in New York and in London, where he lived in the 1960s, were more often than not appreciated in extravagant terms.“The performance of a lifetime,” Ben Brantley wrote in The Times of Mr. Plummer’s “King Lear,” which arrived on Broadway in 2004 after first being produced at the festival. “He delivers a Lear both deeply personal and universal: a distinctly individual man whose face becomes a mirror for every man’s mortality.”Ms. Taylor, his wife, said that at his death Mr. Plummer had been preparing to appear as Lear on film for the first time, under the direction of Des McAnuff.But it was his portrayal of Iago in a 1981 Connecticut production of “Othello,” which starred James Earl Jones in the title role and came to Broadway in 1982, that defined his reputation as a Shakespearean of profound depth, worthy of comparison to the likes of Laurence Olivier, Michael Redgrave and John Gielgud. “He gives us evil so pure — and so bottomless — that it can induce tears,” Frank Rich wrote in The Times. “Our tears are not for the dastardly Iago, of course — that would be wrong. No, what Mr. Plummer does is make us weep for a civilization that can produce such a man and allow him to flower.”The praise was amplified by the senior Times critic of the day, Walter Kerr, who wrote, “It is quite possibly the best single Shakespearean performance to have originated on this continent in our time.”A Rebellious BoyhoodMr. Plummer as King Lear on Broadway in 2004, in what Ben Brantley of The New York Times called “the performance of a lifetime.”Credit…Sara Krulwich/The New York TimesArthur Christopher Orme Plummer was born in Toronto on Dec. 13, 1929. His parents separated around the time of his birth, and he did not meet his father, John Orme Plummer, until he was 17, when the elder Plummer came to see his son perform in a play.“Our paths would cross once or twice again in our lifetimes and then no more,” Christopher Plummer wrote in his memoir.Mr. Plummer grew up in Montreal with his mother — Isabella Mary Abbott Plummer, a granddaughter of a Canadian prime minister and a railroad president — and her extended family in what he described as a colony of fading social aristocracy, where bird-watching and tennis were frequent recreational pursuits and the after-dinner activity was reading aloud. It was a background, he once said, that “made me want to be bad and rough and find the secrets rather than the gates.”Pampered, gifted and rebellious, he aspired early on to be a concert pianist, though in high school, where his classmates included the future jazzmen Oscar Peterson and Maynard Ferguson, he gravitated to their musical style and a life at night that included heavy drinking.“How often as a mere teenager, tanked to the gills on cheap rye whiskey and Molson chasers, did I stagger home in the blinding cold,” he wrote in his memoir.He gave up the idea of a musical career because, he said, “I realized acting came easier.” He performed in high school shows — including as Mr. Darcy in “Pride and Prejudice,” in which he received a favorable review from The Montreal Gazette that “instantly went to my head” — and made his professional debut at 16 at the Montreal Repertory Theater.Joining a troupe in Ottawa, Mr. Plummer performed in dozens of low-budget productions and, in what amounted to an extended education, took on roles in radio theater for the Canadian Broadcasting Corporation and spent a season with a professional company in Bermuda. The actor Edward Everett Horton, who had appeared with the company, secured him a role in a touring production of “Nina,” a French comedy, and opportunities accrued quickly.Mr. Plummer appeared in “Medea” in Paris with Judith Anderson and made his Broadway debut in “The Starcross Story,” a drama that opened and closed on one January night in 1954 in spite of the lure of its star, Eva Le Gallienne. He toured in “The Constant Wife” with Katharine Cornell (who nearly had him fired for showing up for a performance late and hung over), and in 1955 appeared in his first commercial hit, as Warwick in “The Lark,” Jean Anouilh’s drama about Joan of Arc, starring an ascendant Julie Harris.His first feature-film role was as a playwright in “Stage Struck,” a 1958 drama about the New York theater world, directed by Sidney Lumet and starring Henry Fonda, Susan Strasberg and Herbert Marshall.Mr. Plummer in 2017. “I’m not a superstar — thank God,” he once said. “Christ, to be a superstar must be extremely tiring and limiting.”Credit…Tom Jamieson for The New York TimesBy the early 1960s, Mr. Plummer had become allied with the bad boys of the British acting world — Richard Burton, Albert Finney, Peter O’Toole — motivated, he once said, by the cantankerous rage against propriety exhibited in the work of John Osborne.In his memoir, a dishy, rollicking account of a life lived sensually and energetically, he was not shy in detailing his amorous adventures, or his drinking with fellow actors. In a 1967 interview with the CBC, he acknowledged himself to be a drunk — “though not when I’m working, producers take note,” he said — and considered the question of why actors in general drink.“The more you give to an audience, which is a tremendous amount that you give during a night if you care about your work, the more you spill out of yourself with either loathing or loving them and getting loathing and loving back,” he said. “It’s a tremendous letdown when the evening is over. You’ve given an awful lot of your own personality with just the reward of applause at the end, which is a marvelous reward but it isn’t quite enough to fill the rest of the night.”In the same interview he noted that he’d given up trying to be liked. “I’m not a difficult type to get on with,” he said. “I’m only difficult when I’m impatient with people who don’t understand temperament has nothing to do with lack of professionalism.”Mr. Plummer’s first two marriages, to the actress Tammy Grimes and a British journalist, Patricia Lewis, ended in divorce. In addition to Ms. Taylor, he is survived by his daughter with Ms. Grimes, the actress Amanda Plummer.By both their accounts, Mr. Plummer and his daughter became friends after she became an adult, though they had rarely seen each other while she was growing up.“I didn’t want anything to do with the upbringing of a child,” he told The Times in 1982. “I am really very bad at responsibility of any kind. Unless it’s my work, I’m hopeless.”It was Ms. Taylor, Mr. Plummer acknowledged many times, who curtailed at last his liquid nights and general profligacy.“My long-suffering wife Elaine,” he called her, in closing his Oscar acceptance speech, “who deserves the Nobel Peace Prize for coming to my rescue every day of my life.”Alex Traub contributed reporting.AdvertisementContinue reading the main story More

    • 138 Shares99 Views

      in Theater

      Sandie Crisp, ‘Goddess Bunny’ of the Underground Scene, Dies at 61

      by

      #masthead-section-label, #masthead-bar-one { display: none }The Coronavirus OutbreakliveLatest UpdatesMaps and CasesSee Your Local RiskVaccine InformationWuhan, One Year LaterAdvertisementContinue reading the main storySupported byContinue reading the main storyThose We’ve LostSandie Crisp, ‘Goddess Bunny’ of the Underground Scene, Dies at 61She became a muse among the Hollywood avant-garde, appearing in movies, music videos and photographs. She died of Covid-19.Sandie Crisp in 2016. She appeared in music videos, movies and stage shows.Credit…Chuck GrantFeb. 4, 2021Updated 6:20 p.m. ETThis obituary is part of a series about people who have died in the coronavirus pandemic. Read about others here.Sandie Crisp, a transgender actress and model who, under her stage name the Goddess Bunny, served as a muse to generations of artists, gay punks and other denizens of the West Hollywood avant-garde, died on Jan. 27 at a hospital in Los Angeles. She was 61.Her death was confirmed by Mitchell Sunderland-Jackson, a friend. The cause was Covid-19, he said.For decades, Ms. Crisp was a familiar presence on the sidewalks of Santa Monica Boulevard and in the hustler bars that once lined it, where she dressed like a grungy diva and lip-synced songs by Donny Osmond, Judy Garland and Selena.In the 1980s and ’90s, she became a popular subject for artists who frequented that scene as well as their collaborator. Directors cast her in underground movies, and she appeared in music videos by Dr. Dre and Billy Talent. A nude photograph of her sits in the permanent collection of the Louvre.Her aesthetic, which blended the Hollywood noir of David Lynch with the punk offensiveness of GG Allin and Lydia Lunch, knew few boundaries. For one performance she dressed as Eva Braun alongside a man dressed as Hitler. An audience member leapt to his feet and punched her in the face.“Being able to shock and offend as a way of avoiding co-option by corporate capitalism — she was the muse for people pursuing that sensibility,” said the Canadian filmmaker Bruce La Bruce, the director, most recently, of “Saint-Narcisse” (2020).Ms. Crisp was equally renowned among drag performers, especially those of a rawer sensibility.“If you’re an actual drag queen, you know about the Goddess Bunny,” said Simone Moss, the founder of Bushwig, an annual drag conclave that started in New York and gave Ms. Crisp a lifetime achievement award in 2017. “She’s a part of drag history as much as Divine,” she said, referring to the actress made famous by John Waters in films like “Pink Flamingos.”Sandie Crisp was born on Jan. 13, 1960, in Los Angeles to John Wesley Baima, a lawyer, and Betty Joann (Sherrod) Baima, a secretary.Their child contracted polio, causing limited use of her arms and legs. Doctors prescribed a variety of surgeries and medical devices — Milwaukee braces, Harrington rods — but they caused only further physical damage. She used a wheelchair to get around.After the Baimas divorced, Sandie spent several years in foster homes around Los Angeles, at times subjected to abuse by doctors and at least one foster parent, according to Sandie’s account and that of her half brother, Derryl Dale Piper II.She returned to live with her mother when she was 11, and by 14 she was beginning to present herself as a woman, Mr. Piper said, a turn that brought conflict with their mother, who was deeply religious.Ms. Crisp left home after high school, moving to West Hollywood and joining a small community of punks, artists, homeless teens and hustlers. She made her mark almost immediately. Foulmouthed and dressed in sequined gowns that she often sewed herself, she insisted on being treated like a celebrity. Her penchant for telling wild tales about herself — like how she had appeared in off-Broadway musicals and dated celebrities — only made her more intriguing to her peers.Sandie Crisp was equally renowned among drag performers, especially those who lean toward a raw, edgy sensibility.Credit…Gibson Fox“She was such a visually extreme person,” said the photographer Rick Castro, one of many artists who hired Ms. Crisp to appear in their work in the 1980s and ’90s. “The way she carried herself, like she was a movie star, like old-school Hollywood royalty — she didn’t carry herself like someone who should be ashamed,” he said in an interview.The Coronavirus Outbreak More

    • 138 Shares119 Views

      in Music

      Eva Coutaz, a Record Label Force for Quality, Dies at 77

      by

      AdvertisementContinue reading the main storySupported byContinue reading the main storyEva Coutaz, a Record Label Force for Quality, Dies at 77An executive with the respected label Harmonia Mundi, she shaped classical music careers and public tastes in turning out incomparable recordings from a French farmhouse.Eva Coutaz, the driving force behind the record label Harmonia Mundi, rehabilitated forgotten composers and nurtured some of the leading figures in early music.Credit…Josep MolinaFeb. 4, 2021, 3:13 p.m. ETEva Coutaz, who in more than four decades at the highly respected record label Harmonia Mundi shaped musicians’ careers, rehabilitated forgotten composers and expanded the tastes of record collectors, died on Jan. 26 in Arles, France. She was 77.Jean-Marc Berns, the label’s head of marketing, said the cause was complications of renal failure.Ms. Coutaz joined Harmonia Mundi in 1972 at the invitation of its founder, Bernard Coutaz, whom she would go on to marry. Her first job was to oversee publicity and to organize concerts to promote the label’s artists, but she quickly proved her business acumen and artistic sensibility.Ms. Coutaz nurtured long-term relationships with a stable of musicians that included some of the leading figures in early music, among them the countertenor Alfred Deller and the performer-conductors René Jacobs, William Christie and Philippe Herreweghe. Later she brought in another generation of recording stars, including the violinist Isabelle Faust, the pianist Alexandre Tharaud and the baritone Matthias Goerne.She built a catalog of more than 800 recordings as head of production starting in 1975. On the death of her husband in 2010 she became chief executive of the company and remained in that post until 2015, when she sold the label.At its most prolific, Harmonia Mundi released more than 50 new recordings a year. Industry publications frequently crowned it label of the year, and collectors came to trust it as a guide to hidden gems and illuminating interpretations of the classics. With their beautifully designed covers and thoughtful liner notes, Harmonia Mundi albums stood for a listening culture that was both meticulous and meditative.Ms. Coutaz was “the great guiding force” behind the label, Mr. Christie said in a phone interview. As a businesswoman, he said, she could be “tough as old boots.”“She had a strong will and an extraordinary sense of rightness about repertory,” he added. “And she was going to take risks.”In the 1970s and ’80s, those risks paid handsome dividends in a market buoyed by fresh interest in early music and historically informed interpretations. Ms. Coutaz recognized, for example, the market potential of the French baroque composer Marc-Antoine Charpentier at a time when his ilk lagged far behind the popular appeal of their German and Italian counterparts, Mr. Christie said.Costly productions of unknown oratorios and operas remained a gamble, and Ms. Coutaz greenlighted some projects against her own better financial judgment. In a 2018 radio interview with the Belgian station RTBF, she spoke about a recording, led by Mr. Jacobs, of the opera “Croesus” by the northern German baroque composer Reinhard Keiser — a footnote in music history books.“I thought it would be a loss for us,” she said. But she was so taken by the music that she told herself, “I want to record it — it would be a shame if people don’t hear it.” “Croesus” sold more than 25,000 copies, a triumph for classical music.Mr. Jacobs said that Ms. Coutaz had encouraged his conducting career when he was still known mainly as a countertenor. After he had gained fame as a champion of Baroque music, she urged him to record Mozart operas. His Harmonia Mundi recording of Mozart’s “Le Nozze di Figaro” won a Grammy Award in 2004 and became a best seller.“She pushed me to go further,” he said.Eva Schannath was born in Wuppertal, Germany, on Feb. 26, 1943. Her father was a cabinetmaker. After attending a Roman Catholic school in Düsseldorf, she took on an apprenticeship as a bookseller. Eager to experience France, she went to Marseille in 1964 as an au pair, then stayed on, working first at a book shop in Montpellier and then for a cultural center in Aix-en-Provence.It was there, in 1972, that she met Mr. Coutaz, who was then running Harmonia Mundi from Saint-Michel-l’Observatoire, a remote village in Provence. Mr. Coutaz founded the company in 1958.Jean-Guihen Queyras, a boy studying the cello, was living in a nearby hamlet, and his parents befriended the couple. When he was 10 he received his first taste of a Harmonia Mundi recording session when Ms. Coutaz invited him to work the organ bellows for Mr. Christie in a tiny Romanesque mountain chapel.Years later Mr. Queyras joined the label as a soloist. “What was different to other labels was her vision and her very human and organic way to bring together musicians in a way that really feels like a family,” he said.He recalled her strong emotional reactions to music. “Sometimes she would talk to you after a concert, and you could see there had been tears,” he said. “She really made all this out of pure, intense love for music.”Eva and Bernard Coutaz worked closely together even as they married, divorced and remarried. They had no children. Information on her survivors was not immediately available.The couple moved the label to an old farmhouse in Arles in 1986. It became the creative and logistical hub for a company that at its height employed more than 350 people. Its influence spread through subsidiaries in Spain and the United States, a publishing arm and a network of record boutiques.In the early 2000s, the rise of streaming started to put the recording industry in crisis and forced painful cuts at Harmonia Mundi. In the radio interview, Ms. Coutaz spoke of a 70 percent drop in CD sales over a span of 10 years. She warned that as earnings plummeted, high-quality studio recordings would become a thing of the past. “If digital sales are not monetized, the moment will come when you can no longer produce,” she said.In 2015, she approved the sale of Harmonia Mundi’s catalog to PIAS, a Belgian group of independent labels. She remained involved as a consultant for another year, to help maintain quality. In 2018, Gramophone, a leading classical music publication, named Harmonia Mundi label of the year.Reflecting on Ms. Coutaz, Mr. Christie said his generation had known a recording industry led by “strong-minded and intensely committed individuals who had an extraordinary sense of the rightness of what they were doing and how to create markets.”“And she stood out among them.”AdvertisementContinue reading the main story More

    • 138 Shares99 Views

      in Music

      Ricky Powell, 59, Dies; Chronicled Early Hip-Hop and Downtown New York

      by

      AdvertisementContinue reading the main storySupported byContinue reading the main storyRicky Powell, 59, Dies; Chronicled Early Hip-Hop and Downtown New YorkProlific with his point-and-shoot camera, he captured essential images of the Beastie Boys, Jean-Michel Basquiat, Run-DMC, Andy Warhol and more.The photographer Ricky Powell in 2012. An inveterate walker, he pounded the New York pavement with his camera and snapped photos of whatever caught his fancy.Credit…Janette BeckmanPublished More

    • 163 Shares189 Views

      in Television

      Allan Burns, a Creator of ‘The Mary Tyler Moore Show,’ Dies at 85

      by

      AdvertisementContinue reading the main storySupported byContinue reading the main storyAllan Burns, a Creator of ‘The Mary Tyler Moore Show,’ Dies at 85He won Emmys for his work on that show and helped create the spinoffs “Rhoda” and “Lou Grant.” Among his other creations was the cereal mascot Cap’n Crunch.Allan Burns in 2016. He was involved in the creation of TV shows ranging from the acclaimed “Mary Tyler Moore Show” to the much-mocked “My Mother the Car.”Credit…Frederick M. Brown/Getty ImagesFeb. 3, 2021Updated 4:52 p.m. ETAllan Burns, a leading television writer in the 1970s and ’80s who helped create the groundbreaking hit sitcom “The Mary Tyler Moore Show” and its dramatic spinoff, “Lou Grant,” died on Saturday at his home in Los Angeles. He was 85.His son Matthew said the causes were Parkinson’s disease and Lewy body dementia.“Allan’s range was like nobody’s,” James L. Brooks, his partner in creating Ms. Moore’s series, said in a phone interview. “I don’t think you ever get an absurdist, a legitimate humorist and a feeling person in one package.”In 1969, Mr. Burns and Mr. Brooks were working on “Room 222,” a comedy-drama series set in a Los Angeles high school, when Grant Tinker, Ms. Moore’s husband, asked them to create a series for her. Their first concept was that she play a divorced woman who worked as a reporter for a gossip columnist.“We ran it past Mary and Grant and they absolutely loved it,” Mr. Burns said in an interview for the Television Academy in 2004.But Mr. Burns said that during a meeting he and Mr. Brooks attended at CBS headquarters in Manhattan, a research executive told them there were four things American audiences “won’t tolerate”: New Yorkers, Jews, divorced people and men with mustaches.“What do you do with that?” Mr. Burns said in the interview. “We were dismissed.”Mr. Burns and Mr. Brooks quickly turned the series’ setting into a TV newsroom and Ms. Moore’s character, Mary Richards, into a woman who had never been married and had just ended a long-term relationship.Ed Asner and Mary Tyler Moore in the first episode of “The Mary Tyler Moore Show,” which Mr. Burns created with James L. Brooks. They later developed the spinoff series “Lou Grant” for Mr. Asner.Credit…CBS, via Getty Images“The Mary Tyler Moore Show” — set largely at WJM-TV in Minneapolis and in Mary Richards’s apartment — was praised for Ms. Moore’s portrayal of a single working woman, and for its writing. The series ran from 1970 to 1977 and won 29 Emmy Awards; Mr. Burns shared in five of them.“Allan could channel the character of Mary Richards,” Mr. Brooks said. “He gave us a sense of her by the way he talked about her.”Mr. Burns and Mr. Brooks twice spun off shows from “Mary Tyler Moore” for MTM Enterprises, Ms. Moore and Mr. Tinker’s production company. “Rhoda” followed the ups and downs of Mary’s best friend after she moved back to New York. In “Lou Grant,” which began in 1977, Mary Richards’s tough-yet-comedic newsroom boss, played by Ed Asner, became the determined city editor of a Los Angeles newspaper.In the late 1970s, Mr. Burns started branching out into films. He wrote the screenplay for “A Little Romance” (1979), starring Laurence Olivier and Diane Lane, which was nominated for an Academy Award, and for “Butch and Sundance: The Early Days” (1979), a prequel to “Butch Cassidy and the Sundance Kid” (1969). He also wrote and directed “Just Between Friends” (1986), with Ms. Moore, Ted Danson and Christine Lahti. It was his only film as a director.Mr. Burns directing Christine Lahti in “Just Between Friends” (1986), which he wrote and directed. It was his only film as a director.Credit…Orion, via Everett CollectionAnd he continued to develop sitcoms. In the 1980s, he created or helped create three short-lived comedy series: “The Duck Factory,” which starred Jim Carrey as an animator; “Eisenhower and Lutz” about a shiftless lawyer played by Scott Bakula, and “FM,” set in a public radio station.In his review of “Eisenhower and Lutz,” John O’Connor of The New York Times wrote of Mr. Burns, “He cannot only whip up generous batches of clever dialogue but is also extremely clever with staging bits of comic business.”Allan Pennington Burns was born on May 18, 1935, in Baltimore. His father, Donald, was a lawyer. His mother, Paulene (Dobbling) Burns, was a homemaker who became a secretary after her husband died when Allan was 9. Three years after that, she and Allan moved to Hawaii, where his older brother, Donald Jr., was stationed at Pearl Harbor.While attending Punahou School in Honolulu, Allan contributed cartoons to The Honolulu Star-Advertiser. He used his drawing talent while studying architecture at the University of Oregon. He dropped out during his sophomore year in 1956 and moved to Los Angeles, where he was hired as a page at NBC and later became a story analyst. After being laid off, he began writing and illustrating greeting cards while trying to find work at an animation studio.He found a job at Jay Ward Productions, which produced “Rocky and His Friends,” the satirical cartoon series about the adventures of Rocky and Bullwinkle (more formally, Rocket J. Squirrel and Bullwinkle J. Moose). Mr. Burns appeared unannounced at Mr. Ward’s office on Sunset Boulevard, toting his portfolio of greeting cards. Mr. Ward leafed through the cards, chuckled and quickly hired him.Mr. Burns wrote for the moose, the squirrel and other characters on “The Bullwinkle Show.” He also developed the character Cap’n Crunch for Quaker Oats, which had hired Mr. Ward’s company to create a mascot for a new cereal. After he and his colleague Chris Hayward left Mr. Ward in 1963, they created “My Mother the Car,” a sitcom that starred Jerry Van Dyke, with Ann Sothern as the voice of his mother, who has been reincarnated as a vintage Porter automobile and speaks only to him. A notable flop considered by some to be one of TV’s worst shows, it was canceled after one season.In 1967 and 1968, Mr. Burns and Mr. Hayward worked on the only season of the sitcom “He & She,” in which the married couple Richard Benjamin and Paula Prentiss played a comic book artist and his wife, a social worker. Mr. Burns shared his first Emmy with Mr. Hayward for one episode.After “He & She” was canceled, its producer, Leonard Stern, brought them to the espionage parody, “Get Smart,” another series he produced, then in its fourth season. “Room 222” and “The Mary Tyler Moore Show” soon followed.In addition to his son Matthew, Mr. Burns is survived by his wife, Joan (Bailey) Burns; another son, Eric; and five grandchildren.Mr. Asner, who worked for Mr. Burns on both “The Mary Tyler Moore Show” and “Lou Grant,” recalled him in an interview as a gentlemanly boss.“He was a guide and mentor, and I loved him,” he said. “Jim Brooks was the bouncing-off-the-walls part of the team, and Allan was the stabilizer.”AdvertisementContinue reading the main story More

    • 138 Shares99 Views

      in Movies

      Hal Holbrook, Actor Who Channeled Mark Twain, Is Dead at 95

      by

      AdvertisementContinue reading the main storySupported byContinue reading the main storyHal Holbrook, Actor Who Channeled Mark Twain, Is Dead at 95He carved out a substantial career in television and film but achieved the widest acclaim with his one-man stage show, playing Twain for more than six decades.Hal Holbrook on stage as Mark Twain in 2005. Mr. Holbrook was 29 when he started playing Twain at 70; as he grew older, he found he needed less and less makeup to look elderly.Credit…Sara Krulwich/The New York TimesFeb. 2, 2021, 12:17 a.m. ETHal Holbrook, who carved out a substantial acting career in television and film but who achieved his widest acclaim onstage, embodying Mark Twain in all his craggy splendor and vinegary wit in a one-man show seen around the world, died on Jan. 23 at his home in Beverly Hills, Calif. He was 95.His death was confirmed by his assistant, Joyce Cohen, on Monday night.Mr. Holbrook had a long and fruitful run as an actor. He was the shadowy patriot Deep Throat in “All the President’s Men” (1976); an achingly grandfatherly character in “Into the Wild” (2007), for which he received an Oscar nomination; and the influential Republican Preston Blair in Steven Spielberg’s “Lincoln” (2012).He played the 16th president himself, on television, in Carl Sandburg’s “Lincoln,” a 1974 mini-series. The performance earned him an Emmy Award, one of five he won for his acting in television movies and mini-series; the others included “The Bold Ones: The Senator” (1970),his protagonist resembling John F. Kennedy, and “Pueblo” (1973) in which he played the commander of a Navy intelligence boat seized by North Korea in 1968.Mr. Holbrook was a regular on the 1980s television series “Designing Women.” He played Willy Loman in “Death of a Salesman,” Shakespeare’s Hotspur and King Lear, and the Stage Manager in Thornton Wilder’s “Our Town.”But above all he was Mark Twain, standing alone onstage in a rumpled white linen suit, spinning an omnisciently pungent, incisive and humane narration of the human comedy.Mr. Holbrook in 1973, when he played the commander of a Navy intelligence boat seized by North Korea in the TV movie “Pueblo.”Credit…Jerry Mosey/Associated PressMr. Holbrook never claimed to be a Twain scholar; indeed, he said, he had read only a little of Twain’s work as a young man. He said the idea of doing a staged reading of Twain’s work came from Edward A. Wright, his mentor at Denison University in Granville, Ohio. And Mr. Wright would have been the first to acknowledge that the idea had actually originated with Twain himself — or rather Samuel Clemens, who had adopted Mark Twain as something of a stage name and who did readings of his work for years.Mr. Holbrook was finishing his senior year as a drama major in 1947 when Mr. Wright talked him into adding Twain to a production that Mr. Holbrook and his wife, Ruby, were planning called “Great Personalities,” in which they would portray, among others, Robert and Elizabeth Barrett Browning, John Alden and Priscilla Mullins, and Queen Victoria and Prince Albert.Mr. Holbrook had doubts at first. “Ed, I think this Mark Twain thing is pretty corny,” he recalled telling Mr. Wright after the first rehearsals. “I don’t think it’s funny.”But Mr. Wright prevailed upon him to stay with it, and in 1948 the character came along when the Holbrooks took to the road with a “Great Personalities” touring production.They first tried the Twain sketch before an audience of psychiatric patients at the veterans hospital in Chillicothe, Ohio — a circumstance Mr. Holbrook explains only vaguely in his 2011 memoir, “Harold: The Boy Who Became Mark Twain.” In the sketch, Mr. Holbrook’s cantankerous Twain was interviewed by Ruby Holbrook:“How old are you?”“Nineteen in June.”“Whom do you consider the most remarkable man you ever met?”“George Washington.”“But how could you have ever met George Washington if you’re only nineteen years old?”“If you know more about me than I do, what do you ask me for?”The patients stared straight ahead — “No one was looking at us,” Mr. Holbrook wrote — and guffawed at the laugh lines, proving that “the guys in the ward were saner than they looked” and that the material had legs.The Twain piece became their most popular sketch over the next four years, as the couple crisscrossed the country performing for schoolchildren, ladies’ clubs, college students and Rotarians.Meeting President Dwight D. Eisenhower as Mark Twain at the White House Correspondents’ Association dinner in 1959.Credit…Bob Schutz/Associated PressMr. Holbrook began developing his one-man show in 1952, the year Ms. Holbrook gave birth to their first child, Victoria. He soon looked the part, with a wig to match Twain’s unruly mop, a walrus mustache and a rumpled white linen suit, the kind Twain himself wore onstage. From his grandfather, Mr. Holbrook got an old penknife, which he used to cut the ends off the three cigars he smoked during a performance (though he was not sure whether Twain ever smoked onstage). He sought out people who claimed to have seen and heard Twain, who died in 1910, and listened to their recollections.He had more or less perfected the role by 1954, the year he began a one-man show titled “Mark Twain Tonight!” at Lock Haven State Teachers College in Pennsylvania.Two years later he took his Twain to television, performing on “The Ed Sullivan Show” and “The Tonight Show.” In the meantime he had landed a steady job in 1954 on the TV soap opera “The Brighter Day,” on which he played a recovering alcoholic. The stint lasted until 1959, when, tiring of roles he no longer cared about, he opened in “Mark Twain Tonight!” at the Off Broadway 41st Street Theater.By then the metamorphosis was complete. With his shambling gait, Missouri drawl, sly glances and exquisite timing, Hal Holbrook had, for all intents and purposes, become Mark Twain.“After watching and listening to him for five minutes,” Arthur Gelb wrote in The New York Times, “it is impossible to doubt that he is Mark Twain, or that Twain must have been one of the most enchanting men ever to go on a lecture tour.”Mr. Holbrook preparing his makeup. With his shambling gait, Missouri drawl, sly glances and exquisite timing, his metamorphosis became complete.Credit…Michael Stravato for The New York TimesBut for Mr. Holbrook, the Mark Twain guise he put on every night was a mask; behind it, he wrote in his memoir, was a lonesomeness that had plagued his early life, beginning when his parents abandoned him as a small child. As an adult he found his marriage, his fatherhood and even his stage life caught in an existential deadlock, with “survival and suicide impulses working in tandem.” His escape, he said, was punishing amounts of work, not to mention the company of friends like Tom Sawyer and Huck Finn.In his memoir, Mr. Holbrook described an emotional low point in the early 1950s. He was sitting in a hotel room at the end of a long day, still undecided about doing an all-Mark Twain show and feeling lost, when he began rereading “Tom Sawyer” for the first time since high school.“You heard the voices coming right off the page,” he wrote. “This was a surprise, and after a while I began to feel pleasant with myself and that was a surprise, too. Bitterness receded and in its place a boy came crowding in, his friends came in and his family, and it wasn’t very long before I did not feel so lonely anymore. Mark Twain had cheered me up.”Harold Rowe Holbrook Jr. was born on Feb. 17, 1925, in Cleveland. He was 2 years old when his parents left him. His mother, the former Aileen Davenport, ran off to join the chorus of the revue “Earl Carroll’s Vanities.” Harold Sr. went to California after leaving young Hal in the care of grandparents in South Weymouth, Mass.The young Mr. Holbrook spent his high school years at the Culver Military Academy in Indiana and then enrolled at Denison to major in the dramatic arts, but his education was interrupted by service as an Army engineer during World War II. He was stationed for a while in St. John’s, Newfoundland, where he joined an amateur theater group and met Ruby Elaine Johnston, who became his first wife. The couple returned to Denison after the war, and Mr. Holbrook soon became Mr. Wright’s prize student.After he became an established attraction in the United States, Mr. Holbrook took “Mark Twain Tonight!” to Europe, performing in Britain, Germany and elsewhere. German audiences roared when he presented Twain’s view of Wagnerian opera: “I went to Bayreuth and took in ‘Parsifal.’ I shall never forget it. The first act occupied two hours and I enjoyed it, in spite of the singing.”Mr. Holbrook and Emile Hirsch in the 2007 film “Into the Wild.”Credit…ParamountMr. Holbrook toured the country with the show several times a year, racking up well over 2,000 performances. He compiled an estimated 15 hours of Twain’s writings, which he dipped into whenever his routine needed refreshing. He won a Tony Award in 1966 for his first Broadway run in “Mark Twain Tonight!”Mr. Holbrook was 29 when he started playing Twain at 70; as he grew older, he found he needed less and less makeup to look elderly. He continued the act well past his own 70th birthday, returning to Broadway in 2005, when he was 80.After playing Twain for more than six decades, he abruptly retired the role in 2017. “I know it must end, this long effort to do a good job,” he wrote in a letter to the Oklahoma theater where he had been scheduled to perform. “I have served my trade, gave it my all, heart and soul, as a dedicated actor can.”Mr. Holbrook made his Broadway debut in 1961 in the short-lived “Do You Know the Milky Way?” He returned there in the musical “Man of La Mancha,” in Arthur Miller’s “After the Fall” and other plays.His scores of television appearances included “That Certain Summer” (1972), a groundbreaking film in which he starred as a divorced man who must ultimately admit to his son that he has a gay lover (Martin Sheen). In the early 1990s he had a recurring role on the sitcom “Evening Shade.”Mr. Holbrook’s many film roles tended to be small ones, although there were exceptions. One was as the mysterious informant Deep Throat in “All the President’s Men,” the 1976 film adaptation of the book by Bob Woodward and Carl Bernstein about the Watergate cover-up. Another was in “The Firm” (1993), based on John Grisham’s corporate whodunit, in which Mr. Holbrook played the stop-at-nothing head of a Memphis law firm.Mr. Holbrook and his wife, Dixie Carter, at the 2008 Screen Actors Guild Awards, where he was nominated for his role in “Into the Wild.”Credit…Chris Pizzello/Associated PressHis Oscar-nominated performance, in “Into the Wild,” directed by Sean Penn, was as a retired military man who has a desert encounter with a young man on a quest for self-knowledge that would ultimately take him to the Alaskan wilderness. His final screen roles were in 2017, when, at 92, he guest-starred in episodes of the television series “Grey’s Anatomy” and “Hawaii Five-0.”Mr. Holbrook’s first marriage ended in divorce in 1965. In addition to their daughter, Victoria, they had a son, David. His second marriage, to the actress Carol Eve Rossen, ended in divorce in 1979. They had a daughter, Eve. In 1984 he married the actress Dixie Carter, who died in 2010.He is survived by his children as well as two stepdaughters, Ginna Carter and Mary Dixie Carter; two grandchildren; and two step-grandchildren.In adapting Mark Twain’s writing for the stage, Mr. Holbrook said he had the best possible guide: Twain himself.“He had a real understanding of the difference between the word on the page and delivering it on a platform,” he told The San Francisco Chronicle in 2011. “You have to leave out a lot of adjectives. The performer is an adjective.”Richard Severo, Paul Vitello and William McDonald contributed reporting.AdvertisementContinue reading the main story More