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      Exploring James Baldwin and Lorraine Hansberry’s Friendship

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      The acclaimed writers are communing once again in productions of “Baldwin and Buckley at Cambridge” and “A Raisin in the Sun” at the Public Theater.James Baldwin recalled first meeting Lorraine Hansberry in 1958 at the Actors Studio in Manhattan after a workshop production of “Giovanni’s Room,” a play based on his novel of the same name. The “biggest names in American theater” were there, he noted, and gave their critiques of the play. But then he locked eyes with a woman yet-unknown to the theater establishment who articulated a full appreciation of him and his work. Of that encounter, Baldwin wrote: “She talked to me with a gentleness and generosity never to be forgotten.”For the next seven years, Hansberry and Baldwin would continue to find moments of deep understanding, forging a relationship even though they often did not live in the same place. But their storied friendship was cut short by Hansberry’s untimely death at the age of 34 in 1965.This fall the two writers are communing once again at the Public Theater and, perhaps, finishing a few conversations, with productions of “Baldwin and Buckley at Cambridge,” created by and co-produced with the Elevator Repair Service, and a revival of Hansberry’s classic play, “A Raisin in the Sun,” directed by Robert O’Hara.From left: John Clay III, Paige Gilbert and Tonya Pinkins in Robert O’Hara’s production of “A Raisin in the Sun” at the Public Theater.Sara Krulwich/The New York Times“Baldwin and Buckley at Cambridge,” running through Oct. 23, presents a re-enactment of a 1965 debate between Baldwin, the writer and civil rights activist, and William F. Buckley Jr., the conservative founder of National Review. The two men argued the motion, “The American Dream Is at the Expense of the American Negro.”The play provides a historical touch point for our fractious political present. The director John Collins said: “I think there are several ways to frame why you should listen to those you disagree with, and sometimes it is because one should allow for the possibilities that the people you don’t agree with might have something intelligent and worthwhile to say. The other reason, though, is to really understand the seriousness, and sometimes the danger, of these other arguments.”Drawing verbatim from the debate transcript, the play ends with an imagined conversation between Baldwin and Hansberry that was inspired by a 1961 discussion about Black Americans in culture. (In addition to Baldwin and Hansberry, the other participants included the essayist and publisher Emile Capouya, the journalist and social commentator Nat Hentoff, the poet Langston Hughes and the writer and critic Alfred Kazin.) While they focused primarily on the question of Black writers in American literature, they also considered the status of Black Americans.On the subject of crafting Black characters, Baldwin explained, “Faulkner has never sat in a Negro kitchen while the Negroes were talking about him, but we have been sitting around for generations, in kitchens and everywhere else, while everybody talks about us, and this creates a very great difference.”Hansberry confirmed, “Which is a different relationship, because the employer doesn’t go to the maid’s house.” She continued as Baldwin and the rest of the room erupted in laughter, “We have been washing everybody’s underwear for 300 years. We know when you’re not clean.” The recording captures Baldwin and Hansberry’s intimacy and the joy they felt in each other’s company.Imani Perry, the Princeton University professor whose books include “Looking for Lorraine: The Radiant and Radical Life of Lorraine Hansberry,” describes theirs as “an intimate intellectual companionship. They are both deeply concerned with Black life and regular Black folks’ lives, and also think about the politics of race and its depiction in the public arena.”“He trusted her artistically, which is a big deal, for someone who is his junior, younger than him, and also when they became friends, he had a larger visible platform,” Perry said of Baldwin, who was 34 when he met a 28-year-old Hansberry. “It was a beautifully intimate friendship. It’s the kind of thing that I think every person who’s either an artist or intellectual, and certainly a person who’s both, yearns for.”Greig Sargeant as James Baldwin and Daphne Gaines as Lorraine Hansberry in the Elevator Repair Service’s production of “Baldwin and Buckley at Cambridge” at the Public Theater.Richard Termine for The New York TimesGreig Sargeant, who plays Baldwin and conceived the play, notes that Elevator Repair Service wanted to show the public and private Baldwin. “We did some research,” he said, “and one of the things that we found was that article ‘Sweet Lorraine,’” the essay Baldwin wrote to eulogize his dear friend. In writing the last scene of the play, Sargeant and April Matthis, who originated the Hansberry role, consulted numerous essays, interviews and speeches. Baldwin and Hansberry “sharpen each other by having these debates,” Matthis said, “and it’s always loving, and it’s all meant to hold each other to account with so much love.”The Public Theater’s fall season also includes a revival of Hansberry’s “A Raisin in the Sun,” about a Black family’s struggles to achieve their dreams within the constraints of a segregated America. The drama, directed by Robert O’Hara and opening on Oct. 19, centers on the Youngers and their decision to buy a house in a white neighborhood in Chicago. It emphasizes the impact of desegregation.To drive home this point, O’Hara decided to include a scene with a neighbor, Mrs. Johnson, that is usually cut from productions. “We know where they’re moving in many ways is more dangerous than where they were living,” he said. “I love the scene where Mrs. Johnson says she’s for ‘people pushing out.’ And then she says, but you might get bombed. She’s a harbinger of what the Youngers will face in suburban white America.”Ahead of the play’s historic premiere on Broadway (it was the first written by a Black woman to be produced there), Hansberry and Baldwin reunited in Philadelphia for its run at the Walnut Street Theater. Sargeant noted, “I read an article once where Baldwin said that the great thing about going to see ‘A Raisin in the Sun’ was that he had never seen so many Black people in the audience,” because “Black people ignored the theater because the theater ignored them.”“So now the good thing about being in 2022,” he added, “is that we have an institution that is making an effort to make positive changes for the future, having us both there at the same time, highlighting the relationship between Baldwin and Hansberry.”One hears in both O’Hara’s production of “A Raisin in the Sun” and “Baldwin and Buckley at Cambridge” a longing for missed conversations. “Baldwin” offers trenchant examinations of the American condition, and “Raisin” questions the American dream. “Lorraine Hansberry had this incredible, fantastic, lightning bolt of a play, and then she died so early,” O’Hara said. She did not live to see the Black power movement, or the queer women of color who led third-wave feminism. O’Hara continued, “Imagine what she would have been able to do if she were able to dream longer with us, and that’s what’s exciting, we can now acknowledge her queerness.”Producing the play in 2022, O’Hara anticipates the impact of the civil rights movement in the late 20th century, a period that Baldwin lived through and wrote about. He continued, “Doing it downtown, we can investigate some of the more difficult crevices.”The production takes on substance abuse, depression, sexism, classism, and the virulent racism that shaped mid-20th-century American society and continues to inform our own. O’Hara said his take on the American classic draws from his general approach to making art. “I live by this tenet as an artist and a human being that I will not be limited by your imagination,” he said. “Because you can’t imagine it doesn’t mean that it’s unimaginable.” Similar to Baldwin and Hansberry’s exchanges, O’Hara said, “I bring a cavalcade of interesting and exciting people around me to push me into the future.”He noted the enduring importance of Hansberry’s classic and, similar to “Baldwin and Buckley,” how it anticipates our present. “I think of it as a tragedy in hindsight,” O’Hara said. “There’s uplift in the play of them wanting to move out of where they are. But I don’t want us to get lost in the glorious ending. They are moving into the white suburbs in 1959 Chicago. I just think about King saying that Chicago was more dangerous and more racist than the South.”These two works feature questions not only about the status of America but also the theater by remembering two iconic American artists. Baldwin and Hansberry challenge, as O’Hara noted, the idea that “there’s one type of Black story. There’s one type of reality that fits Blackness.” The story contains many more chapters waiting to be written. More

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      in Movies

      What’s So Frightening About Identical Twins?

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      “The Silent Twins,” a new film starring Letitia Wright and Tamara Lawrance, sets out to show the complexity of twinship onscreen.Growing up in England and Wales in the 1970s, the identical twins June and Jennifer Gibbons spoke to each other all the time. They chattered and laughed, and whispered. They were prolific readers and wrote stories that showed great creative promise. They had ambitions to become famous authors.But throughout their childhood, they had experienced racist bullying at school, which became particularly bad in Haverfordwest, where they and their brother were the only Black students. They became selectively mute, a condition generally caused by severe anxiety. Eventually, they rarely spoke to anyone but each other.Later in their teenage years, this behavior, alongside incidents of petty theft and arson, would ultimately lead them to Broadmoor, one of the most notorious psychiatric hospitals in Britain, for nearly 12 years.Only one of them truly left the institution — Jennifer died of inflammation of the heart on the day of their release, at 29.Marjorie Wallace, the investigative journalist who first reported on the story of the twins in the 1980s and campaigned for their release from Broadmoor, wrote about them in her 1986 book, “The Silent Twins.”“I loved their sense of humor,” Wallace said. “Very ironic, very perceptive. They saw the funny side of everything, as well as the tragic.” She first met the twins when she was working as a journalist for The Sunday Times. Although they didn’t engage with her at first, she convinced them to speak to her by reading their writings: from Jennifer, for example, a novel titled “Discomania,” and from June, a novel titled “The Pepsi- Cola Addict,” alongside diaries and other texts.Wallace quickly realized that June and Jennifer had incredibly rich, complex worlds under the surface of their silence. “It’s a bit like deep-sea diving,” she said. “And you suddenly come across this Technicolor world that they wrote.”Over the years, June and Jennifer’s story has been used to sustain ongoing narratives about the dangers of twins that are often seen in films and on television. Think of the creepy twins in “The Shining,” for example, or a recent Netflix hit, “Echoes” (which presents its lead twin characters, who swap lives once a year unbeknown to their family and friends, as borderline psychopathic), where tropes of fascination, intrigue, fetish and horror abound.Leah Mondesir Simmons and Eva-Arianna Baxter in “The Silent Twins.”Jakub Kijowski/Focus Features“The Silent Twins,” a new movie about June and Jennifer starring Letitia Wright (“Black Panther”) and Tamara Lawrance (“Kindred”) as the teenage and adult twins, aims to buck this trend.Directed by Agnieszka Smoczynska (“The Lure”), the film hopes to capture the rich, tragic palette of the twins’ lives. It makes clever use of stop motion animation and original music inspired by their writings.“I wanted to tell this from their point of view, from the inside,” Smoczynska said. “And just to introduce them as beautiful, sensitive, very funny, intelligent sisters.” She was drawn to the story having grown up among a “constellation” of her mother’s sisters in Poland.“Their story has many, many layers; for me, it’s one of the most beautiful love stories, because it’s very dynamic,” she added. “And it ends with the act of love. That’s what June said after Jennifer died. That her sister sacrificed herself for her and freed her.”She spent weeks reading and discussing Wallace’s book and the sisters’ diaries, novels and poetry, alongside the cast and crew. “That’s why this movie is not only one genre,” Smoczynska said. “You have both psychological drama and fantastical elements because the same was in their writings. They were very complex in terms of form, and their descriptions.” Now, some of the twins’ novels and other writings are set to be professionally published for the first time.Wallace said it was a calculated choice to work with Andrea Seigel, who wrote the screenplay, and Smoczynska, who she felt would do justice to her reporting. “There have been many, many people who have come to me with synopses and scripts,” Wallace said. “One of them was about two white girls in Mississippi who were drug addicts and went to crazy raves.” Wallace worked as a consultant and co-producer on the film and is still close with June, who Wallace says gave her blessing to the film but is intent on living a private life.While Wallace said the new film is “not entirely maybe what I would have done” (she wrote the screenplay for the original BBC adaptation of her book in 1986), she described Wright and Lawrance’s portrayal of June and Jennifer as “remarkable.” “At some points in watching the film, I honestly thought I was back in Broadmoor,” she said, ‌highlighting a phrase June used while imagining that institution: “My sister and I, as vulnerable as flowers in hell.”Alongside reframing June and Jennifer’s lives and paying tribute to their acts of creativity, Wallace hopes that the film will have an impact on the portrayal of twins on film and TV in general.Lisa and Louise Burns in the 1980 film “The Shining,” directed by Stanley Kubrick.Warner Bros. Entertainment“If you look at the old movies, and in fact, any current movies, they either make twins out as evil killers or freaks,” said Wallace. “Or they make them comic, or they use their identical image to be able to manipulate and play havoc.”“It’s extraordinary that I haven’t really seen a film about twins which has represented the complexity and the depth of the love, the hate, the way of finding your own identity when you’re looking in the mirror all the time to see an identical person there,” she said. “Until now, maybe, with this current movie.”Joe Garrity, a filmmaker (and twin), said Wallace’s book was a “really foundational” text for him in learning about the range of twin relationships. His award-winning 2016 short film, “Twinsburg” tells the story of a pair of twins attending the (very real) annual Twins Day Festival in Twinsburg, Ohio, and grapples with the idea that, though they were raised to be inseparable, they have fundamental differences.“The more we can have depictions that examine those internalized identities that are given to us from others, the better,” he added. “The more people will feel seen and heard, even non-twins.”Lawrance and Wright, who are producers on “The Silent Twins,” became incredibly close during the course of the filming, staying up all night talking and planning their scenes, and even moving in next door to each other. Lawrance felt deep empathy for the sisters and said she knows what it’s like to feel voiceless because of her race and gender. “I can’t speak for everyone, but for me, as a Black woman, there have been many times in which I have felt isolated within an institution that was so much bigger than me.”For Wright, who was brought onto the project first and already knew of June and Jennifer’s story, she said it was important that she and Lawrance had creative control behind the scenes as the only Black women on the production team.The director “understood early on that she doesn’t have all the answers, she’s not a Black woman, so she was willing to listen, she was willing to learn from me and Tamara,” Wright said in an interview. “And immediately I told her, if I’m going to join this project, whoever’s going to play my twin, we have to have a seat at the table, we have to be executive producers or producers: pick one. We have to have a say because this is our story.”Lawrance and Wright worked intensively with movement and voice coaches to attempt to replicate the sisters’ behavior and appearance onscreen, despite looking nothing alike. They also spent a lot of time considering the differences in their characters. Wright views June as a “caged bird,” with the maturity to understand that the twins’ way of life couldn’t last forever, but had deep love and loyalty toward her sister.Lawrance thinks that Jennifer was more insecure than June, which made her slightly more obsessive. “Watching the documentary and reading the book, I really felt for Jennifer, because I felt like media coverage of the past depicts her as the evil twin,” she said. “The one that is possessing June.”Looking back, Lawrance saw how their differences came between them. “In her diaries, she writes, ‘I’ve got this scar on my nose. My sister is so beautiful.’ The admiration of the other was extreme, but also her finding her intolerable was also very extreme. There’s this amazing quote in her diary, where she says: ‘Cain killed Abel. No twin should forget that.’”Phil Garrity, left, and Joe Garrity in the film “Twinsburg,” directed by Joe Garrity.Drew DorseyJust as the stories of twins in mythology stretch back thousands of years, that film and TV will continue to be fascinated with twins is inevitable: Coming movies featuring twins include the horror “Goodnight Mommy,” and a comedy musical inspired by “The Parent Trap.” Could “The Silent Twins” have a small but lasting impact on their portrayal?Smoczynska reflected that after a screening, a mother came up to her, very moved, and said that she had gained a much greater understanding of her twins.“This is the reason why you make the movies,” Smoczynska said. “So that somebody can find himself or herself and understand life, and heal.” More

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      in Music

      California Bill Could Restrict the Use of Rap Lyrics in Court

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      The bill, which applies more broadly to other forms of creative expression, has unanimously passed the Senate and Assembly and could become law by the end of September.A California bill that would restrict the use of rap lyrics and other creative works as evidence in criminal proceedings has unanimously passed both the State Senate and Assembly, and could soon be signed into law by Gov. Gavin Newsom.The bill, introduced in February by Assemblyman Reginald Jones-Sawyer, a Democrat who represents South Los Angeles, comes amid national attention on the practice following the indictment of the Atlanta rappers Young Thug and Gunna on gang-related charges. Prosecutors have drawn on the men’s lyrics in making their case.The California measure, however, would apply more broadly to any creative works, including other types of music, poetry, film, dance, performance art, visual art and novels.“What you write could ultimately be used against you, and that could inhibit creative expression,” Mr. Jones-Sawyer said Wednesday in an interview. He noted that the bill ultimately boiled down to a question of First Amendment rights.“This is America,” he said. “You should be able to have that creativity.”Mr. Newsom has until Sep. 30 to sign the bill into law. If he neither signs nor vetoes the bill by that date, the measure would automatically become law. The law would then go into effect on Jan. 1, 2023, Mr. Jones-Sawyer said.When asked whether Mr. Newsom planned to sign the bill, his office said that it could not comment on pending legislation. “As will all measures that reach the governor’s desk, it will be evaluated on its merits,” it said.Though the bill’s genesis is in preventing rap stars’ lyrics from being weaponized against them, the measure loosely defines “creative expression” to include “forms, sounds, words, movements, or symbols.”It would require a court to evaluate whether such works can be included as evidence by weighing their “probative value” in the case against the “substantial danger of undue prejudice” that might result from including them. The court should consider the possibility that such works could be treated as “evidence of the defendant’s propensity for violence or criminal disposition, as well as the possibility that the evidence will inject racial bias into the proceedings,” the bill says.“People were going to jail merely because of their appearance,” Mr. Jones-Sawyer said. “We weren’t trying to get people off the hook. We’re just making sure that biases, especially racial biases toward African Americans, weren’t used against them in a court of law.”The bill would require that decisions about the evidence be made pretrial, out of the presence of a jury. For decades, prosecutors have used rappers’ lyrics against them even as their music has become mainstream, with critics and fans arguing that the artists should be given the same freedom to explore violence in their work as were musicians like Johnny Cash (did he really shoot a man in Reno just to watch him die?) or authors like Bret Easton Ellis, who wrote “American Psycho.”In other cases, though lyrics were not used as evidence, they were discussed in front of the jury, which “poisoned the well” by allowing bias to enter the court, according to Mr. Jones-Sawyer’s office. It also noted that while country music has a subgenre known as the “murder ballad,” it is only the lyrics of rap artists that have been singled out.Charis E. Kubrin, a professor of criminology, law and society at the University of California, Irvine, who has extensively researched the use of rap lyrics in criminal proceedings, said that the way prosecutors have used defendant-authored lyrics in court was unique to rap.The practice, she said, essentially treated the lyrics as “nothing more than autobiographical accounts — denying rap the status of art.” The California bill is significant, Dr. Kubrin said, because it would require judges to consider whether the lyrics would inject racial bias into proceedings. “This is bigger than rap,” she said.Among the first notable times the tactic was used was against the rapper Snoop Dogg at his 1996 murder trial, when prosecutors cited lyrics from “Murder Was the Case.” The rapper, whose real name is Calvin Broadus, was acquitted.Snoop Dogg entering a Los Angeles court in 1996, where a prosecutor cited his lyrics during a murder trial. He was acquitted.Mark J. Terrill/Associated PressMost recently, the charges against Young Thug and Gunna have called national attention to the tactic. Both men, who have said they are innocent, were identified as members of a criminal street gang, some of whom were charged with violent crimes including murder and attempted armed robbery.Young Thug, whose real name is Jeffery Williams, co-wrote the Grammy-winning “This is America” with Childish Gambino and is one of the most influential artists to emerge from Atlanta’s hip-hop scene.In November, two New York lawmakers introduced a similar bill that would prevent lyrics from being used as evidence in criminal cases unless there was a “factual nexus between the creative expression and the facts of the case.” It passed the Senate in May.In July, U.S. Representatives Hank Johnson of Georgia and Jamaal Bowman of New York, both Democrats, introduced federal legislation, the Restoring Artistic Protection Act, which they said would protect artists from “the wrongful use of their lyrics against them.”The California bill is supported by several other music organizations and activist groups, including the Black Music Action Coalition California, the Public Defenders Association and Smart Justice California, which advocates criminal justice reform.In a statement of support from June, the Black Music Action Coalition, an advocacy organization that battles systemic racism in the music business, said that prosecutors almost exclusively weaponized rappers’ lyrics against men of color.“Creative expression should not be used as evidence of bad character,” the organization said, maintaining that the claim that themes expressed in art were an indication of the likelihood that a person was violent or dishonest was “simply false.”Harvey Mason Jr., the chief executive of the Recording Academy, which runs the Grammy Awards, said that the bill was intended to protect not only rappers, but also artists across all genres of music, and other forms of creativity.“It’s bigger than any one individual case,” Mr. Mason said. “In no way, at no time, do I feel that someone’s art should be used against them.” More

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      in Movies

      An Oscars Apology for Sacheen Littlefeather, 50 Years After Brando Protest

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      The Apache activist and actress was booed onstage in 1973 after she refused the best actor award on Marlon Brando’s behalf and criticized Hollywood for its depictions of Native Americans.The Academy of Motion Picture Arts and Sciences has apologized to Sacheen Littlefeather, an Apache and Yaqui actress and activist who was booed onstage at the Oscars in 1973 after she refused the best actor award on behalf of Marlon Brando.The Academy said in a statement on Monday that it had apologized to Ms. Littlefeather, 75, in June, nearly 50 years after Ms. Littlefeather pierced through the Academy Awards facade of shiny statues and bright lights in 1973 and injected the ceremony with criticism about Native American stereotypes in media.Her appearance at the ceremony, the first time a Native American woman stood onstage at the Academy Awards, is perhaps one of the best-known disruptive moments in the history of the award ceremony.When Ms. Littlefeather, then 26, spoke, some of the audience cheered her and others jeered. One actor, John Wayne, was so unsettled that a show producer, Marty Pasetta, said security guards had to restrain him so that he would not storm the stage.Ms. Littlefeather said she was “stunned” by the apology in an interview with The Hollywood Reporter. “I never thought I’d live to see the day I would be hearing this, experiencing this,” she said.“When I was at the podium in 1973, I stood there alone,” she added.Ms. Littlefeather also brought attention to the federal government’s standoff at Wounded Knee with Native Americans in the 1973 speech, which she came up with shortly before being called onstage on behalf of Mr. Brando, who was to receive the best actor award for his performance as Vito Corleone in “The Godfather.”Ms. Littlefeather said in an interview with the Academy, which was published on Monday, that she had been planning to watch the 45th Academy Awards on television like everyone else when she received a call the night before the ceremony from Mr. Brando. The two had become friends through her neighbor, the director Francis Ford Coppola. Mr. Brando asked her to refuse the award on his behalf if he won.Ms. Littlefeather arrived at the ceremony with only about 15 minutes left of the official program, wearing a glimmering buckskin dress, moccasins and hair ties. Ms. Littlefeather said she had little information about how the night would work, but Mr. Brando had given her a speech to read if he won.That plan evaporated when a producer for the Oscars saw the pages in her hand and told he she would be arrested if her comments lasted more than 60 seconds, she said.She introduced herself, then explained that Mr. Brando would not be accepting the award because of his concerns about the image of Native American people in film and television and by the government. She paused when a mix of boos and cheers erupted from the audience.“And I focused in on the mouths and the jaws that were dropping open in the audience, and there were quite a few,” she told the Academy. “But it was like looking into a sea of Clorox, you know, there were very few people of color in the audience.”The crowd quieted, and Ms. Littlefeather mentioned the Wounded Knee standoff and then left the stage without touching the golden Oscars statue. She said some audience members did the so-called “tomahawk chop” at her and that when she went to Mr. Brando’s house later, people shot at the doorway where she was standing.“When I went back to Marlon’s house, there was an incident with people shooting at me,” she said. “And there were two bullet holes that came through the doorway of where I was standing, and I was on the other side of it.”Ms. Littlefeather, who was not available for an interview on Tuesday, told the Academy that speaking about these events in 2022 “felt like a big cleanse.”“It feels like the sacred circle is completing itself before I go in this life,” said Ms. Littlefeather, who told The Guardian in June 2021 that she had terminal breast cancer.The former president of the Academy, David Rubin, wrote in the apology to Ms. Littlefeather that the abuse she faced because of the speech was “unwarranted and unjustified.”“For too long the courage you showed has been unacknowledged,” Mr. Rubin wrote. “For this, we offer both our deepest apologies and our sincere admiration.”Mr. Rubin’s letter will be read next month at a program at the Academy Museum of Motion Pictures, “An Evening with Sacheen Littlefeather.”The Academy described it as an event of “conversation, reflection, healing and celebration.” Ms. Littlefeather said in a statement that she was looking forward to the Native American performers and speakers at the event, including Calina Lawrence, a Suquamish singer, and Bird Runningwater, the co-chair of the Academy’s Indigenous Alliance, who is Cheyenne and Mescalero Apache.“It is profoundly heartening to see how much has changed since I did not accept the Academy Award 50 years ago,” she said. “I am so proud of each and every person who will appear onstage.” More

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      in Theater

      Chicago’s Victory Gardens Is Again Mired in Turmoil

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      The esteemed Chicago theater’s artistic director is out, and artists and his supporters are upset with the company’s board of directors.CHICAGO — Victory Gardens Theater, a vibrant fixture here since 1974, had long prided itself on being a champion of diversity while also bringing new works to its audiences. In 2001, it received the Tony Award for outstanding regional theater for its role in “contributing to the growth of theater nationally.” The theater was jolted in the wake of the social-justice movement of 2020, when its board triggered protests and the mass resignation of its affiliated playwrights by appointing its white executive director to become the artistic director as well — a decision that was not communicated with the theater’s artists. After an upheaval, the executive director resigned, along with the board president, and by the spring of 2021, Black leaders had been appointed to three key positions: Ken-Matt Martin was named artistic director, Roxanna Conner acting managing director and Charles E. Harris II president of the board.But now, a little more than two years after that rebellion, Victory Gardens Theater is in turmoil again. Last month the Victory Gardens board told the staff that Martin had been placed “on leave” — he said in a recent interview that he had been dismissed — and Conner said she would depart at the end of July.That has led to a new uproar. The playwright Erika Dickerson-Despenza denounced what she described as the board’s “white supremacist capitalist patriarchal values” in a statement announcing that she had rescinded the rights to her play “Cullud Wattah,” about the Flint, Mich., water crisis, with nine days left in its run. Actors’ Equity intervened to ensure that the performers were paid for the canceled shows, saying in a statement: “It is deeply disheartening to see an organization that has very publicly wrestled with institutional racism in recent memory again be perceived as unable to support workers of color without whom Victory Gardens Theater could neither exist nor thrive.”Three resident theater companies that present work at Victory Gardens have pledged not to work there until the artists’ complaints are addressed. And the company’s resident directors and playwrights — a new ensemble brought in by Martin — have signed a petition announcing their departures from the organization and calling for “the immediate resignation of the Victory Gardens’ board of directors.”The theater’s remaining staff members took control of the theater’s Facebook and Twitter accounts in early July to post a statement: “We, the nine remaining full-time staffers of Victory Gardens, in solidarity with the resident artists, demand the immediate resignation of the board of directors and the reinstatement of Ken-Matt Martin as artistic director.”Harris, the board president, has declined to comment on any of these matters, referring to Martin’s situation as a personnel issue and releasing a statement on the board’s behalf.Ireon Roach, left, and Renée Lockett in the Victory Gardens Theater production of “Cullud Wattah,” which the playwright pulled from the theater.Liz Lauren“The Victory Gardens Theater board is grappling with the theater’s future, as are many other nonprofit theaters,” said the statement, which expressed regret over the resignation of the playwrights and the withdrawal of “Cullud Wattah,” and pledged that the perspectives of staff members had been heard. “We are committed to acting in the theater’s best interests in all matters.”During a recent video interview, Martin said he did not know why he was dismissed. “The board informed me that I was being released from my artistic director contract at Victory Gardens with cause,” he said, reading from a statement he later posted on his personal website. “I asked twice in the meeting what was the cause and was not given any.”He said he was asked to sign a nondisclosure agreement and give up all claims on future lawsuits. “I am declining the offer,” he said. “It is vitally important that I be able to speak truthfully about the needs of the artists and staff.”His removal was seen by his supporters as a betrayal, following what some saw as a lack of support for Martin and Conner. Victory Gardens has been without an executive director, the top job at the theater, since 2020, and though a search committee eventually interviewed candidates, the post remains vacant.“As somebody who has worked in the nonprofit sector for a long time and had a pretty close-up view of the relationships between boards and leadership and staffing structures, it seemed like operationally there were a lot of holes, and Ken-Matt and Roxanna were being relied on to plug all of them,” said Marisa Carr, whom Martin invited to join the playwrights’ ensemble in June 2021 and who resigned a year later. She cited creating the operating budget (a task an executive director would likely be involved in) and even cleaning the theater as duties that fell on their shoulders.Martin took the reins at Victory Gardens during the pandemic, and at a time when newly formed groups like “We See You, White American Theater,” a national coalition of theater artists, were demanding that antiracism and significant hiring of people of color become the industry standard. Martin supported such efforts, pushing for a pay equity plan at Victory Gardens.Just over a year later he has now joined a group of Black artistic leaders recently separated from the institutions they had been hired to lead. Elsewhere in Chicago, the House Theater closed its doors this summer after its new artistic director, Lanise Antoine Shelley, had presented just two shows; Jon Carr, the Second City executive producer, left his position in February after 14 months; and Regina Victor, artistic director of Sideshow Theater, resigned on July 20.Circumstances differ from case to case, and it remains unclear why Martin was let go, but some see a pattern, including Lili-Anne Brown, who directed the Victory Gardens production of “Cullud Wattah.” “Put a woman or person of color in charge but don’t support them at all and thereby push them off the glass cliff,” she said.Finances appear to be a flash point in this conflict, especially a proposed real estate deal. Victory Gardens occupies the historic Biograph Theater in Lincoln Park and also owns office space in an adjacent building. The board has been considering selling its office space so it can buy a former restaurant space located within the Biograph building with the aim of consolidating the theater’s real estate and possibly saving money over the long term. But Martin and others objected, saying that the purchase wasn’t supported by a broader plan or capital campaign, and that the money would be better used to repair the theater’s long-faulty heating and air conditioning system, among other needs.These disputes have alarmed theater professionals beyond the immediate Victory Gardens family. David Cromer, a theater director and Chicago native who is now based in New York, said he sent a concerned email to the board expressing his confusion and urging its members to resign “if you no longer wish to facilitate the creation of theater.”“Does a board owe legally an explanation for any of this?” Cromer said in a phone interview. “Probably not. But they have the stewardship of one of the foundational documents of Chicago theater, so what the hell? What answers have they presented?”The playwright Isaac Gomez, who posted the “We Resign” letter from the Victory Gardens playwrights’ ensemble and resident directors on his Medium page, said he has recruited 11 potential new board members while sending emails urging those currently serving to step down. One current member responded that the board intends to “stay the course,” Gomez said. Board members approached for this article referred all questions to Harris and the board’s statement.The board has maintained it is making decisions for the good of the theater, explaining in the statement that its members have “more than 100 years of experience with Victory Gardens, and we know well the delicate balance of managing the artistic well-being of the theater with our fiduciary responsibility.” It added: “We believe wholeheartedly in the powerful work of Victory Gardens Theater and are committed to finding a way to enable it to continue.”Could Victory Gardens survive if the board stays and Martin does not? “No,” Brown said. “I believe almost 2,000 people have signed that petition saying they won’t work there unless the board steps down and Ken-Matt is reinstated. So continue with what? Where are they even going to get the plays?”Dennis Zacek, who served as Victory Gardens’ first artistic director for 34 years, said he also is unsure about the theater’s future. “As far as I can tell, either the theater is going to be dissolved, or they’re going to have someone come to the negotiation table and find a way for these people to communicate with each other,” he said, endorsing the idea of Harris stepping down as board chairman. “It may not be enough, but come on, there must be some good people on that board. He may be a good person, too, but it’s on his watch.”David Kolen, an Actors’ Equity senior business representative who oversees contracts with Chicago theaters, said the union would support its members working in a reopened Victory Gardens Theater as long as it is “a safe and functional workplace.”As for Martin, he said that although he appreciates the unsolicited calls for him to be reinstated, he has decided “that I need to take a break from nonprofit theater administration and would not immediately return if asked.”The issue, he stressed, isn’t about him but the treatment of those who do creative work. “I am not a martyr,” Martin said. “I am not a victim. I am an artist and deserve to treated with respect.” More

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      Angel Blue Withdraws From Opera, Citing ‘Blackface’ in Netrebko’s ‘Aida’

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      The American soprano Angel Blue said she would not appear at the Arena di Verona after the Russian soprano Anna Netrebko and other performers wore dark makeup in its production of “Aida.”A leading American soprano, Angel Blue, announced this week that she was withdrawing from her planned debut at the Arena di Verona in Italy to protest its use of “blackface makeup” in a production of Verdi’s “Aida” that starred the Russian soprano Anna Netrebko.“The use of blackface under any circumstances, artistic or otherwise, is a deeply misguided practice based on archaic theatrical traditions which have no place in modern society,” Blue, a Black soprano with a growing international career, said in a statement on social media, adding that she would withdraw from her upcoming performances in “La Traviata,” another Verdi opera. “It is offensive, humiliating and outright racist. Full stop.”Many leading opera companies, including the Metropolitan Opera in New York, have only recently stopped the practice of having white singers darken their skin with stage makeup to perform the title roles in “Aida” and “Otello,” long after minstrel shows, blackface roles and other types of performances that rely on makeup that echoes racist caricatures disappeared from many stages. But the practice is still common in parts of Europe and Russia, and Netrebko has been a vocal proponent of wearing dark makeup.In an interview on Friday, Blue said she was disturbed when she saw photos of the production, including some that showed dancers and singers in dark makeup, circulating on social media on Monday evening while she was in Paris for another performance.“I was shocked; I just felt really weird in my spirit,” she said. “I just felt like I couldn’t go and sing and associate myself with this tradition.”Netrebko, who is trying to rebuild her career after losing a number of engagements following Russia’s invasion of Ukraine because of her history of support for President Vladimir V. Putin of Russia, posted photos on her Instagram this week showing her in extremely dark makeup and braids as she sang the role of Aida, an Ethiopian princess, in Verona.One of the photos the soprano Anna Netrebko shared on Instagram of the makeup she wore in a production of “Aida” at the Arena di Verona in Italy.Soon, Netrebko’s Instagram page was flooded with more than 1,000 comments, with many people denouncing her for using makeup that they said was racist and recalled blackface. She was not the only one in “Aida” who had darkened her skin: Some of her co-stars performed in the dark makeup, as did a different cast that appeared in the opera when it opened last month.A spokesman for Netrebko did not respond to a request for comment on Friday. Netrebko has been a vocal defender of the practice, arguing that it helps maintain the authenticity of centuries-old works. When the Met tried to stop her from using makeup to darken her skin during a production of “Aida” in 2018, she went to a tanning salon instead. In 2019, appearing with dark makeup in a production of “Aida” at the Mariinsky Theater in St. Petersburg, she wrote on Instagram, “Black Face and Black Body for Ethiopian princess, for Verdi greatest opera! YES!”The Arena di Verona noted in a statement that it had been performing this production of “Aida” for two decades, and that it was well known when Blue agreed to appear this summer.“Every country has different roots, and their cultural and social structures developed along different historical and cultural paths,” it said in a statement. “Sensibilities and approaches on the same subject might widely vary in different parts of the world.”It added: “We have no reason nor intent whatsoever to offend and disturb anyone’s sensibility.”While Netrebko has not addressed the recent controversy, her husband, the tenor Yusif Eyvazov, who also appeared in the production of “Aida” in Verona, lashed out at Blue. In a social media post, he called Blue’s decision “disgusting,” and questioned why she had not withdrawn last month when “Aida” opened, with a different cast that also used dark makeup. (That cast included the Ukrainian soprano Liudmyla Monastyrska as “Aida.”)Peter Gelb, the general manager of the Met, where Eyvazov is a regular performer, sent a letter to Eyvazov on Friday calling his remarks “hateful,” according to a copy of the letter obtained by The New York Times.“There is no room at the Met for artists who are so meanspirited in their thinking,” Gelb wrote in the letter.Gelb, who cut ties with Netrebko this year because of her previous support for Putin, said in an interview that he had not yet decided whether he would penalize Eyvazov. “We’re considering what steps we might take,” he said.Blue said her decision was not personal, and that she was not targeting Netrebko or her husband.“My decision doesn’t have anything to do with them,” she said in the interview. “My decision has to do with my convictions,” she added, saying that she had felt moved to take a stand against “something that is hurtful to people who look like me.”Blue said she hoped that more opera houses would eliminate blackface as they work to bring diversity to the stage.“In order to keep opera relevant in today’s society, there’s no place for blackface,” she said. “I felt hurt by what I saw because I feel like that’s a tradition that they’re trying to hold onto that hurts people.”Eyvazov’s manager said he was unavailable for comment on Friday.The decision by Blue, who has become a favorite at the Met Opera in recent seasons and who appeared this summer at the Paris Opera in Gounod’s “Faust,” was praised by many fellow singers and American opera executives.The revival of “Aida” in Verona is among Netrebko’s first staged opera engagements since her return to performing in late April as she tried to repair her career after being shunned in the United States and parts of Europe for her ties to Putin. 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      Lizzo Changes “Grrrls” Lyric After Outcry

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      The song “Grrrls” was released Friday and updated Monday to remove a derogatory term for people with disabilities, which she said she did not use with an intent to offend.Lizzo, a Grammy-winning singer and rapper seen by many fans as a champion of inclusivity, changed a lyric on a new song within days of its release after it was criticized for containing a word considered derogatory toward people with disabilities.In the original version of the song “Grrrls” released on Friday, Lizzo used the word “spaz” to indicate that she was going to lose control. The word is based on spastic diplegia, a form of cerebral palsy, a condition that causes motor impairments in the legs or arms.Fans and disability advocates called on Lizzo to change what they called an ableist slur, a word seen as particularly harmful in some countries where it has a history of being used as a schoolhouse taunt.By Monday, the major music streaming services had substituted the original version of the song with one that replaces the line with “Hold me back.” In a statement posted to Instagram on Monday, Lizzo said she understood the effects of harmful language, whether intentional or unintentional, because “As a fat black woman in America, I’ve had many hurtful words used against me.”“Let me make one thing clear: I never want to promote derogatory language,” she said, later adding: “This is the result of me listening and taking action.”For Lizzo, who enjoys a warm public persona and produces upbeat, feel-good music that promotes self-acceptance, the lyric struck fans as particularly off-brand. The criticism began almost immediately after the song, the latest single from her upcoming album, “Special,” was released on Friday.Inside Lizzo’s WorldThe Grammy-winning singer is known for her fierce lyrics, fashion and personality.‘Big Grrrls’: The singer wanted a new kind of backup dancer. In her pursuit of proper representation, she created a TV show.‘Feel-Good Music’: Lizzo says her music is as much about building yourself up as it is about accepting where you are.Why ‘Truth Hurts’ Matters: In 2020, The New York Times Magazine put her No. 1 hit on its list of songs that define the moment.Diary of a Song: Watch how Lizzo made “Juice,” a party song that packs all of her joy and charm into three danceable minutes.But the swift removal satisfied many of the fans and activists who had criticized her, believing it to be an example of someone listening, learning and acting on new information.Hannah Diviney, a disability advocate in Australia and self-proclaimed Lizzo fan, said in an interview that hearing the word in the original version “made me feel really uncomfortable.” For her, spasticity refers to an “unending, constant, painful tightness in my legs and other parts of my body,” making her life “very difficult and is not something I can control.”But she was “blown away” by Lizzo’s rapid reversal, she said. Instead of being defensive, the rapper took action once she heard the criticism, making her “a real genuine ally because she’s willing to learn.”“I’m really glad that Lizzo changing it has led to lots of people learning that it’s a slur,” Ms. Diviney said. “And while I obviously would have preferred she didn’t use it in the first place, I’m glad it became something of a teachable moment. That’s probably the best outcome.”After one of her tweets was reshared more than a thousand times, Ms. Diviney learned that it may not be as clear to some Americans as to people in other countries why the word is considered ableist, she said.Warren Kirwan, a spokesman for Scope, a group in Britain that campaigns for equality for people with disabilities, said the term has been “quite a common term of abuse for disabled people for the better part of 30 years in the U.K.” In 1994, the organization changed its name from The Spastic Society to Scope to avoid association with the slur.The differing cultural contexts may help explain why Lizzo, an American, used the term, even if it doesn’t excuse it, he said. But Lizzo handled the situation well once she learned more about the word, he said.“It was in her power to own that mistake and change it, and well done for doing that,” Mr. Kirwan said.Other musicians have made the same mistake. Kanye West was criticized for using the word in a 2015 song “FourFiveSeconds,” a collaboration with Paul McCartney and Rihanna. And in 2014, Weird Al Yankovic said he was “deeply sorry” for including a related word in his song “Word Crimes,” saying he didn’t know it was considered offensive. More

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      New 42 Worker Files Bias Lawsuit Over Diversity Training

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      A white teaching artist at the theater organization says it discriminated against white people. The nonprofit declined to comment.A contract worker at a nonprofit New York theater organization has filed a lawsuit saying that the institution’s diversity trainings were themselves discriminatory.Kevin Ray, a part-time teaching artist at New 42, an organization that runs rehearsal studios, youth programs and a children’s theater in Times Square, filed the lawsuit late Wednesday in Federal District Court, accusing the organization of discriminating against white employees. He is asking the court to determine that New 42 violated the federal civil rights act as well as local human rights laws, and to award him an unspecified amount of damages.In the lawsuit, Ray, who is white, alleged that the diversity programs implemented by New 42 included “racially-discriminatory propaganda and lectures promoting discriminatory ideology on the basis of race.” Ray said he was asked to join a conversation about a “white affinity group” at New 42, and said the organization had designated a “white-identifying breakout room” at an online town hall.“In reality, ‘diversity training sessions’ were race-based indoctrination sessions that promoted the division of employees on the basis of race,” the lawsuit says.Ray’s job involves visiting schools for educational programs, usually related to a show the students are about to see. He claims that he has been assigned less work and has been subjected to retaliation after raising concerns about the organization’s diversity training programs.The lawsuit comes at a time when the use of antiracism training programs and the creation or expansion of diversity initiatives has grown significantly in the theater industry, as in many other sectors of society, following the unrest over racism in the United States in the summer of 2020.The lawsuit is being backed by an organization called the Foundation Against Intolerance and Racism, which says it is concerned about a “cynical and intolerant orthodoxy” that “pits us against one another, and diminishes what it means to be human.” The organization, founded by Bion Bartning, has filed other lawsuits challenging what it says are forms of discriminatory overreach by organizations trying to implement diversity programs; the Ray suit is the organization’s first in the arts arena, but it has begun an arts program as it considers other action.A lawyer for New 42, David Lichtenberg, said via a spokeswoman that the nonprofit had “no comment at this time.” More