Deaths (Obituaries)

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      in Music

      Johnny Rodriguez, Country Music Star, Dies at 73

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      He was best known for the 1970s hits “I Just Can’t Get Her Out of My Mind” and “Ridin’ My Thumb to Mexico,” and as the first popular Mexican American country artist.Johnny Rodriguez, who became the first Mexican American country music star with a string of hits, died on Friday. He was 73.His daughter, Aubry Rodriguez, announced his death on social media on Saturday. The post did not cite a cause of death.Mr. Rodriguez rose to fame in the 1970s and was best known for the hits “Ridin’ My Thumb to Mexico” and “You Always Come Back (to Hurting Me).” He released six singles that reached No. 1 on Billboard’s Hot Country Songs chart, and nine others reached the Top 10.In 2007, Mr. Rodriguez was inducted into the Texas Country Music Hall of Fame, which described him as the “greatest and most memorable Chicano Country singer of all time.”Juan Raoul Davis Rodriguez was born on Dec. 10, 1951, in Sabinal, Texas, around 65 miles west of San Antonio. A list of survivors was not immediately available.Mr. Rodriguez, the second youngest of 10 children, started playing guitar at the age of 7 when his older brother, Andres, bought him one. Their father died of cancer when Mr. Rodriguez was 16, around the same time Mr. Rodriguez formed a band, and Andres died the next year.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      Lulu Roman, Who Brought Big-Hearted Sass to ‘Hee Haw,’ Is Dead at 78

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      Obesity was a source of trauma for her, but also of her comedy, which she showcased, along with gospel singing, on the long-running down-home variety show.Lulu Roman, who brought her big-hearted Texas sass and full-throated gospel vocals to the enduring variety show “Hee Haw,” known for its corn-pone comedy sketches and musical interludes provided by a constellation of country stars, died on April 23 in Bellingham, Wash. She was 78.Her son and caretaker, Damon Roman, said she died of heart failure at his home, where she had been living.Ms. Roman’s broad comedic skills and down-home persona proved a valuable asset to “Hee Haw,” which debuted on CBS in 1969 as a folksy heartland answer to NBC’s “Rowan & Martin’s Laugh-In,” a network take on contemporary mod culture known for its Day-Glo graphics and risqué one-liners delivered at Gatling-gun pace. It was originally a summer replacement for “The Smothers Brothers Comedy Hour,” an even edgier variety show that had run afoul of censors for its pointed takes on race relations, drugs, religion and the Vietnam War.But “Hee Haw” was the opposite of hip, and intentionally so. It was the television equivalent of a big country breakfast, heavy on the cheese grits. And it worked.While the show was initially blasted by critics, its mix of back-40 humor and musical appearances by Johnny Cash, Loretta Lynn and seemingly every other Nashville star propelled it to television institution status. (Although CBS canceled the show in 1971, “Hee Haw” rolled on in syndication, lasting more than a quarter of a century in various iterations.)Ms. Roman, in the foreground, with her “Hee Haw” castmates in an undated photo.Tony Esparza for CBS/TV Guide, via Everett CollectionWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Television

      Will Hutchins, Gentle Cowboy Lawman in ‘Sugarfoot,’ Dies at 94

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      He starred in one of the westerns that dominated TV in the late 1950s. After losing traction in Hollywood, he became a traveling clown.Will Hutchins, who had a comically genteel starring role during the craze for television westerns in the 1950s, playing a sheriff who favored cherry soda over whiskey on “Sugarfoot,” died on April 21 in Manhasset, N.Y., on the North Shore of Long Island. He was 94.The cause was respiratory failure, his wife, Barbara Hutchins, said in a funeral home death notice.In 1958 and ’59, eight of the top 10 shows on TV were westerns. The best known included “Cheyenne” and “Maverick.” Mr. Hutchins was part of the stampede: “Sugarfoot” premiered on ABC in 1957 and ran for four seasons.The show was produced by Warner Brothers, which took its name and theme music from an otherwise unrelated 1951 western movie starring Randolph Scott. The title refers to a man of the Wild West who seems so unsuited to shootouts and cattle wrangling that he cannot be called even a “tenderfoot.”Mr. Hutchins’s character, Tom Brewster, was the sugarfoot in question: an Eastern law student seeking his fortune as a sheriff who sidles up to the saloon bar to order a sarsaparilla (Wild West root beer) “with a dash of cherry.” He abhors violence, tries to stop women from throwing themselves at him and lovingly gives up his share of drinking water for his horse.Gil Perkins, left, with Mr. Hutchins in a scene from a 1958 episode of “Sugarfoot” titled “The Hunted.” ABC Photo Archives/Disney General Entertainment Content, via Getty ImagesMr. Hutchins played the role for comedy, following up a villain’s insult with a dramatic pause, only to critique the man for not being “sociable.” Other dramatic moments prompted him to lecture Westerners about problems with their “disposition.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      Cora Sue Collins, a Busy Child Actress in the 1930s, Dies at 98

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      She was in films with Greta Garbo, who became a friend, and Myrna Loy, Bette Davis and others. She ended her career after being sexually harassed.Cora Sue Collins, who as a dimpled, chubby-cheeked child actress in the early 1930s appeared opposite A-list stars like Greta Garbo, Myrna Loy and Merle Oberon, but who cut her career short after being sexually harassed by a screenwriter, died on April 27 at her home in Beverly Hills, Calif. She was 98.Her daughter, Susie McKay Krieser, said the cause was complications of a stroke.Miss Collins made about 50 pictures over 13 years, including 11 in 1934 and another 11 in 1935. She was one of the era’s galaxy of child stars, a list that included Shirley Temple, Mickey Rooney and Judy Garland, but she did not become as famous as they did. In her first movie, the 1932 comedy “The Unexpected Father,” she played a waif whose newly wealthy adoptive father (Slim Summerville) hires a nurse (ZaSu Pitts) to care for her. Praise for 4-year-old Cora Sue came quickly.Miss Collins made her movie debut in “The Unexpected Father,” a 1932 comedy in which Slim Summerville played her adoptive father and ZaSu Pitts played a nurse.Universal PicturesA critic for The Richmond News Leader in Virginia labeled her a “baby star” with “amazing acting ability and an appeal that walks right into your heart.” The Kansas City Journal wrote, “The little Collins girl walks away with the picture.”Miss Collins played Garbo as a child in “Queen Christina,” the acclaimed 1933 movie about the Swedish monarch. At the time, she told one newspaper that Garbo “ was so friendly and liked my new teeth a lot.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Theater

      Pierre Audi, Eminent Force in the Performing Arts, Dies at 67

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      After turning a derelict lecture hall into the daring Almeida Theater, he had a long career as a director and impresario in Europe and New York.Pierre Audi, the stage director and impresario whose transformation of a derelict London lecture hall into the cutting-edge Almeida Theater was the opening act in a long career as one of the world’s most eminent performing arts leaders, died on Friday night in Beijing. He was 67.His death, while he was in China for meetings related to future productions, was announced on social media by Rachida Dati, the minister of culture in France, where Mr. Audi had been the director of the Aix-en-Provence Festival since 2018. The announcement did not specify a cause.Mr. Audi was in his early 20s when he founded the Almeida, which opened in 1980 and swiftly became a center of experimental theater and music. He spent 30 years as the leader of the Dutch National Opera, and for part of that time was also in charge of the Holland Festival. For the past decade, he had been the artistic director of the Park Avenue Armory in New York.The Almeida Theater in London. Mr. Audi was in his early 20s when he founded it in 1980, and it soon became a center of experimental theater and music.View PicturesAll along, he continued working as a director at theaters around the world. Last year, when the Théâtre de la Monnaie in Brussels cut ties with Romeo Castellucci halfway through his new production of Wagner’s four-opera “Ring,” the company turned to Mr. Audi as one of the few artists with the knowledge, experience and cool head to take over such an epic undertaking at short notice.“He profoundly renewed the language of opera,” Ms. Dati wrote in her announcement, “through his rigor, his freedom and his singular vision.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      Mike Peters, Frontman of the Alarm, Is Dead at 66

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      Leading the Welsh band known for 1980s anthems like “Sixty Eight Guns,” he later became a strong voice in the fight against cancer, which he battled for decades.Mike Peters, the frontman of the Welsh post-punk band the Alarm, which in the 1980s drew comparisons to U2 for its storm-the-barricades passion and its clarion-call anthems like “Sixty Eight Guns” and “Blaze of Glory,” has died. He was 66, having battled cancer over three decades and been a prominent campaigner against it.His death was confirmed in social media posts by his wife, Jules Jones Peters, who did not say where or when he died or specify the cause.Mr. Peters was diagnosed with non-Hodgkin’s lymphoma in 1995 and twice with chronic lymphocytic leukemia, in 2005 and again in 2015. Both are forms of blood cancer. Last year, on the eve of a 50-date U.S. tour, he discovered that he had Richter’s syndrome, a more aggressive form of lymphoma.Starting in the 2000s, Mr. Peters took on a second career as a prominent spokesman in the fight against cancer. He helped found the Love Hope Strength Foundation, which has staged concerts in dramatic locations like Mount Everest and Mount Fuji to raise funds for cancer research and treatment.The Alarm in 1982, from left: Nigel Twist, Mr. Peters, Eddie Macdonald and Dave Sharp. Emerging from Britain’s punk underground of the late 1970s, the group was known for its electric-shock hairstyles as well as its righteous fury.Erica Echenberg/Redferns, via Getty ImagesEmerging from Britain’s punk underground of the late 1970s, the Alarm, known for their righteous fury and electric-shock hairstyles, fused the high-octane energy of punk with a distinctive twin-acoustic-guitar attack while firing off musical fusillades like “Where Were You Hiding When the Storm Broke?,” “Spirit of ’76” and “The Stand.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Theater

      Stephen Mo Hanan, Who Played Three Roles in ‘Cats,’ Dies at 78

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      He sang arias on the streets of San Francisco, performed on Broadway and collaborated on a musical about Al Jolson, which he also starred in.Stephen Mo Hanan, a vibrant performer who sang arias and other music as a busker in San Francisco before playing Kevin Kline’s lieutenant in the acclaimed 1981 Broadway production of “The Pirates of Penzance” and three felines in the original Broadway cast of “Cats,” died on April 3 at his home in Manhattan. He was 78.Gary Widlund, his husband and only immediate survivor, said the cause was a heart attack.At his audition for “Cats,” Mr. Hanan (pronounced HAN-un) told Andrew Lloyd Webber, the composer, and Trevor Nunn, the director, that he had spent several years singing and accompanying himself on a concertina at a ferry terminal at the foot of Market Street in San Francisco.“As a matter of fact, I’ve brought my concertina,” he recalled telling Mr. Nunn in an interview with The Washington Post in 1982. “He said, ‘Give me something in Italian.’ Well, I’ve never had a problem with shyness. I sang ‘Funiculi, Funicula.’”Mr. Hanan was ultimately cast in three parts: Bustopher Jones, a portly cat, and the dual role of Asparagus, an aging theater cat, who, while reminiscing, transforms (with help from an inflatable costume) into a former role, Growltiger, a tough pirate, and performs a parody of Puccini’s “Turandot.”During rehearsals, Mr. Hanan kept a detailed journal, which he published in 2002 as “A Cat’s Diary.”Mr. Hanan was cast in the original production of “Cats.” During rehearsals, he kept a detailed journal, which he later turned into a book.Smith & KrausIn an entry about the second day of rehearsal, he described an assignment from Mr. Nunn: to “pick a cartoon cat we know of, withdraw to ourselves and prepare a vignette of that cat, then return to the circle and each in turn will present.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      Joel Krosnick, Longtime Cellist of Juilliard String Quartet, Dies at 84

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      Widely admired for his intense and precise playing, Mr. Krosnick stayed with the quartet for over 40 years, longer than either of his cellist predecessors.Joel Krosnick, the admired longtime cellist of the Juilliard String Quartet, who helped shape its championing of new American music as much as its commitment to the classics, died on April 15 at his home in Hastings-on-Hudson, N.Y. He was 84.His death, from pancreatic cancer, was announced by the Juilliard School in New York City, where Mr. Krosnick was head of the cello department and had taught for 50 years.Mr. Krosnick’s playing combined the two hallmarks of the Juilliard String Quartet’s renowned style: intensity and precision. He was ideally suited to inherit the mantle of his two cellist predecessors in one of the world’s longest-lived string quartets — and he was with the quartet, known as the Juilliard, longer than either, from 1974 until his retirement in 2016.Mr. Krosnick, third from left, performing with the Juilliard String Quartet in 2013.Ruby Washington/The New York TimesFrom its start, 70 years before Mr. Krosnick’s departure, the Juilliard committed to playing new music with the same devotion it brought to the classical repertoire, and to playing the classics as if they were new. Mr. Krosnick went right along, as at home with the searing abstract intensity of the cello cadenza in Elliott Carter’s String Quartet No. 2 as with the soulful meditations of Beethoven’s Quartet No. 16 in F (Op. 135) or the spiky turbulence of Bartok’s quartets.He recorded the complete quartets of all three composers with his fellow players, and they won Grammy Awards in 1977 and 1984 for their recordings of Schoenberg and Beethoven.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More