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    One More Project for David Geffen: Building His Legacy

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    In Los Angeles, you can wander through Judy Baca murals at the cavernous Geffen Contemporary at MOCA, view “Beetlejuice” at the sphere-like David Geffen Theater at the Academy Museum, watch “The Inheritance” at the Geffen Playhouse, and follow the progress of the new David Geffen Galleries, a striking work of architecture that will span Wilshire Boulevard, at the Los Angeles County Museum of Art.New York now has not one but two David Geffen Halls: an academic building at Columbia Business School and the remake of the Lincoln Center home of the New York Philharmonic, which reopened this month after a $550 million renovation that he jump-started with a $100 million gift.At 79, Geffen, the entertainment magnate, has planted himself into the pantheon of leading American philanthropists. He has handed out $1.2 billion over the past 25 years to museums, theaters, concert halls, universities and medical centers, according to the Geffen Foundation, and pledged to “give every nickel away” of a fortune estimated to be $7.7 billion. As a result, Geffen has become avidly sought by culture and education leaders looking to finance a wave of new construction that is enlivening cities as the nation emerges from the coronavirus pandemic.“When you need a gift of this scale, there aren’t many people who are doing what David is doing, which is investing big-time in the cultural infrastructure of major cities — New York, Los Angeles,” said Michael Govan, the head of LACMA, who spent a year convincing Geffen to give $150 million toward the galleries there that will bear his name.Geffen’s gifts are often contingent upon naming rights. When Avery Fisher Hall was renamed for him in 2015, 61 signs and maps around Lincoln Center were changed. Brian Harkin for The New York TimesGeffen is hardly some modern-day version of Andrew Carnegie, who made his fortune from steel and financed one of the great waves of philanthropy in the nation’s history. He is an openly gay entertainment mogul whose life, romances, yacht, mansions, art acquisitions, business deals, celebrity adventures and political engagement with, in particular, the Clintons and Barack Obama make him as engrossing a character as anyone in Hollywood.It’s hard to imagine, for instance, Carnegie dating Cher or Marlo Thomas when he was young, which Geffen did; comforting Yoko Ono at the hospital the night that John Lennon was assassinated, which Geffen did; watching Joni Mitchell in his apartment when she wrote “Woodstock,” which Geffen did; or working with Janis Joplin, the Doors and Peter, Paul and Mary, which Geffen did.The Reopening of David Geffen HallThe New York Philharmonic’s notoriously jinxed auditorium at Lincoln Center has undergone a $550 million renovation.Reborn, Again: The renovation of the star-crossed hall aims to break its acoustic curse — and add a dash of glamour.Who Is David Geffen?: The entertainment magnate, who jump-started the renovation, has become avidly sought by culture and education leaders looking to finance a wave of new construction.San Juan Hill: Etienne Charles’s composition for the reopening of the hall honors the Afro-diasporic musical heritage of the neighborhood razed to build Lincoln Center.Expert Assessment: Right after the reopening our critic wrote that the renovation had a mightily improved sound. In the weeks that followed his feelings became more complicated.His skill at spotting up-and-coming musical talent (Jackson Browne; Crosby, Stills, Nash & Young; Guns N’ Roses), producing hit movies (“Risky Business” and “Beetlejuice”) and backing Broadway shows (“Dreamgirls” and “Cats”), and his work building record labels and movie studios has made him one of the wealthiest people in America. He has homes in New York, Los Angeles and East Hampton for when he is not entertaining boldfaced friends (think Tom Hanks and Oprah Winfrey) on his yacht, the Rising Sun. He once startled a dinner of journalists in Washington by disclosing that he had not flown on a commercial airplane since the late 1970s; that night he took a private jet back to Beverly Hills.Geffen is hardly shy about his philanthropy, as can be seen by the growing list of institutions bearing his name, including the David Geffen School of Medicine at the University of California, Los Angeles, and the David Geffen School of Drama at Yale, which his gift made tuition-free. (“I don’t agree that the best giving is anonymous,” Geffen once told Fortune. “We should be examples to our friends and communities. I should be an example to young, gay kids.”) But he is, in his own way, low key about it — he declined an invitation to speak at the gala celebrating the opening of Geffen Hall this past week, and seemed reluctant to stand when he was acknowledged from the stage.The lobby of the revamped hall.Todd Heisler/The New York TimesAnd he is not like other wealthy donors, who can range from hands-on to micromanaging when it comes to projects bearing their names. “They want to check the carpet designs,” said Deborah Borda, the head of the New York Philharmonic. By contrast, the gala was the first time Geffen saw the redone hall bearing his name; he never joined the hard-hat construction tours that Lincoln Center gave to dignitaries over these past two years.“David said, ‘I want to leave this in your hands: I don’t need any input on the selection of the architect and driving the design,’” said Katherine G. Farley, the chair of the board of Lincoln Center for the Performing Arts, recounting her conversation with Geffen when she asked him for money to rebuild what was then called Avery Fisher Hall. “He kept repeating, ‘Make sure you do something great.’”Geffen, who declined a request for an interview, looks for transformative cultural projects that are struggling for credibility and financing, according to friends and associates. His contributions cover just a portion of the total cost — $100 million toward the $550 million Geffen Hall at Lincoln Center; $150 million toward the $750 million Geffen Galleries at LACMA — and are designed to goad other donors, while establishing Geffen as the primary patron.“He’s making big bets,” said Marie-Josée Kravis, the chairwoman of the Museum of Modern Art in New York, to which he donated $100 million toward a three-floor David Geffen Wing in 2016. “They’re transformative. It’s not incremental.”His gifts are usually contingent on naming rights. Lincoln Center agreed to a $15 million payment to the Fisher family to relinquish its naming rights so the center could promise Geffen that his name would remain on the hall in perpetuity. Although some argued that the naming rights should have commanded a higher price, Farley said, “Without his gift, there is no question that would not have happened.”By contrast, when David H. Koch, the oil-and-gas billionaire, gave $100 million in 2008 to renovate what had been called the New York State Theater at Lincoln Center, it came with the provision that the theater could be renamed for a new donor after 50 years.Arianna Huffington, the founder of The Huffington Post and a longtime friend of Geffen’s, said that “the arts have basically dominated his life,” and that they are what motivated his philanthropy.“I personally have very little patience for people who question why anybody gives — as long as they give,” she said.Geffen took a hands-off approach to the renovation, and never stopped by for a hard-hat tour when it was a construction site.Todd Heisler/The New York TimesGeffen has become more reclusive in recent years, first visiting the Geffen Theater at the Academy Museum of Motion Pictures in Los Angeles this month — a year after its red-carpet opening. He temporarily shut down his Instagram account at the start of the pandemic after he came under fire for posting a photo of his yacht floating in safe seclusion. “Isolated in the Grenadines avoiding the virus,” he wrote. “I’m hoping everybody is staying safe.”Geffen is a college dropout who grew up in Brooklyn, where he attended New Utrecht High School. After creating Asylum Records — where he signed Joni Mitchell and Bob Dylan — in 1971, he sold it two years later to Warner Communications for $7 million. He founded Geffen Records in 1980; he would sell that a decade later to MCA for $550 million in stock, which increased in value significantly when Matsushita then bought MCA. He co-founded, with Steven Spielberg and Jeffrey Katzenberg, DreamWorks SKG in 1994, and left the company in 2008.Geffen can be combative in his business dealings, and he lamented the “shameful” lack of support by New York donors in 2017 when Lincoln Center and the Philharmonic went back to the drawing board with plans to rebuild the hall, in part because it was growing too costly. Just after the move to rethink the New York project was announced, LACMA announced Geffen’s $150 million gift — timing that appeared to send a message, though officials said the gift had long been in the works.Associates said that Geffen’s background in business and culture, and particularly music, drives his philanthropic choices.“He comes from the music business,” said David Bohnett, another philanthropist based in New York and Los Angeles. “You grow up around music, you grow up around entertainment, it just seems logical that you are going to put your name on theaters and music halls and museums.”Some say it helps explain his hands-off approach to the projects he supports. “He’s made a career out of respecting artists and understanding what artists need,” said Henry Timms, the president of Lincoln Center. “And I think that’s the same context for this — he’s not assuming he can do this job better than the architects.”Geffen is intimately involved in deciding what projects to support. “He is a very engaged philanthropist and is involved in every funding decision made at the foundation,” said Dallas Dishman, the executive director of the Geffen Foundation, to which Geffen is the sole contributor.As he approaches his 80th birthday, and with over $7 billion left, Geffen is contemplating his mortality and his legacy, his friends say. Yet on Wednesday night in New York, when he finally rose from his chair at the gala marking the opening of the latest building bearing his name, he seemed taken aback by the intensity of the applause. He just smiled slightly and sat down, without saying a word.“He doesn’t reveal himself very much,” said Kravis, of the Museum of Modern Art. “He just gives. I respect his search for privacy and I’ve never pushed him on it.” More

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      David Geffen Hall Reopens, Hoping Its $550 Million Renovation Worked

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      When the New York Philharmonic opened its new home at Lincoln Center in 1962, it held a white-tie gala, broadcast live on national television, with tickets having sold for up to $250 apiece, or nearly $2,500 in today’s dollars.It was a glittering affair, but the hall’s poor acoustics — a critical problem for an art form that relies on unamplified instruments — ushered in decades of difficulties. After the last major attempt to fix its sound, with a gut renovation in 1976, the hall reopened with a black-tie gala and a burst of optimism. But its acoustic woes persisted.Now Lincoln Center and the Philharmonic are hoping that they have finally broken the acoustic curse of the hall, now called David Geffen Hall, which reopened on Saturday after a $550 million overhaul that preserved the building’s exterior but gutted and rebuilt its interior, making its auditorium more intimate and, they believe, better sounding.But this time they are taking a different approach to inaugurating the new hall. Geffen reopened to the public for the first time not with a pricey formal gala, but with a choose-what-you-pay concert, with some free tickets distributed at the hall’s new welcome center.And instead of opening with Beethoven (as the orchestra did in 1962) or Brahms (as in 1976), Geffen opened with the premiere of “San Juan Hill,” a work by the jazz trumpeter and composer Etienne Charles that pays tribute to the rich Afro-diasporic musical heritage of the neighborhood that was razed to clear the land for Lincoln Center. The work, commissioned by Lincoln Center, was performed by Charles and his group, Creole Soul, and the New York Philharmonic under the baton of its music director, Jaap van Zweden.“It really is like a homecoming, but there are some different family members around this time, which is a great thing,” Henry Timms, Lincoln Center’s president and chief executive, said in an interview.The reopening of the hall drew several elected officials, who saw it as a hopeful sign for a city still trying to recover from the damage wrought by the coronavirus. Gov. Kathy Hochul of New York predicted that people would look back at the moment as more than the opening of a new concert hall: “They will say you got it done in the middle of a pandemic.”Senator Chuck Schumer was among the elected officials at the reopening of the hall, which was described as a hopeful moment for a pandemic-battered city. Christopher Lee for The New York TimesBoth Lincoln Center, which owns the hall, and the Philharmonic, its main tenant, see the new hall as an opportunity to become more accessible and welcoming. They are seeking both to lure back concertgoers and to reach a more diverse cross-section of New Yorkers, including Black and Latino residents, who have long been underrepresented at these events.“This is not your grandmother’s Philharmonic,” said Deborah Borda, the orchestra’s president and chief executive. “We are thinking of the totality of the artistic and human and social statement.”Instead of one big celebration, there will essentially be a month of festivities, part of an effort to showcase the hall’s versatility, to break through into the consciousness of media-saturated New Yorkers — and to avoid placing too much emphasis on a single high-pressure night that could yield quick-fire judgments on the renovation and the acoustics.Dozens of people lined up outside the hall on Saturday morning for a chance to get free tickets to “San Juan Hill.” Joanne Imohiosen, 83, who has been attending concerts since the Philharmonic came to Lincoln Center in 1962 and lives nearby, said she hoped the renovation would finally remedy the hall’s acoustic issues. “They should have figured it out by now,” said Imohiosen, who used to work as an assistant parks commissioner. “They’ve been fiddling with it for years.”After “San Juan Hill,” the Philharmonic will return with a couple of weeks of homecoming concerts pairing works by Debussy and Respighi with pieces by contemporary composers including Tania León, Caroline Shaw and Marcos Balter, whose multimedia work “Oyá” is billed as a fantasia of sound and light.There will be not one, but two galas — one featuring the Broadway stars Lin-Manuel Miranda, Brian Stokes Mitchell and Bernadette Peters, and another featuring a performance of Beethoven’s Ninth Symphony. A free open-house weekend will close out the month, with choirs, youth orchestras, Philharmonic players, hip-hop groups, dance troupes and others performing each day in different spaces in the hall.Much is riding on the success of the revamped Geffen Hall. The 180-year-old Philharmonic, which is still recovering from the tumult of the pandemic and grappling with longstanding box-office declines, is hoping that a more glamorous hall with better sound will lure new audiences.“The stakes are very high; everybody’s waiting and hoping that it’s going to work out,” said Joseph W. Polisi, a former president of Juilliard whose new book, “Beacon to the World: A History of Lincoln Center,” has sections tracing the trials and tribulations of the building. “$550 million is a lot of money. It’s a very big bet.”At the core of the Philharmonic’s strategy is a desire to make Geffen Hall not just a concert venue, but a welcoming gathering place. The new hall includes a coffee shop, an Afro-Caribbean restaurant and a welcome center next to the lobby. Small performances, talks and classes on music and wellness will take place inside a “sidewalk studio” visible from Broadway.The renovation, which equipped the main auditorium with a film screen, an amplified sound system and other technical improvements, gave the Philharmonic an opportunity to reimagine its programming. “San Juan Hill” and “Oyá” showcase the Philharmonic’s new abilities, mixing music with film, 3-D imagery, electronics and light.“The new hall can do things that we’re going to do as a 21st-century orchestra,” Ms. Borda said.A critical test of the new hall will be its audiences. The Philharmonic and Lincoln Center have worked over the past several years to attract more low-income residents to performances, and Lincoln Center has been handing out fliers at nearby public housing complexes advertising upcoming events at Geffen Hall. For the opening, they made a point of inviting former residents of the San Juan Hill neighborhood, as well as schools that serve large numbers of Black and Latino students.“This is a home for all New Yorkers,” Ms. Borda said. “We want to invite them in.”Throughout the hall’s history, politicians, architects, musicians and critics have at times declared past renovations successful, only to see acoustical issues resurface soon after.Mr. Polisi, the former Juilliard president, said that this time seemed different, given the crucial decision to reduce the size of the hall — it now seats 2,200 people, down from 2,738. He said if the Philharmonic had finally remedied the sound problems, it would allow the orchestra to focus on other priorities, including building closer ties to the community and finding a conductor to replace van Zweden, who steps down as music director in 2024.“If they’re a happy orchestra now and they’re able to feel comfortable in their home, that’s also going to be a very psychologically important element for the organization,” said Mr. Polisi, whose father, William Polisi, had been the principal bassoonist of the Philharmonic.As construction workers made finishing touches on the hall this week, unpacking furniture and installing metal detectors in the lobby, the Philharmonic’s players filed into the auditorium for rehearsals. The early reviews from the musicians have been largely positive: Many say that they can finally hear one another onstage and that the sound feels warmer.Ms. Borda and Mr. Timms said they were confident that the Philharmonic would finally have a hall to match its abilities, though they said they did not want to jinx the reopening. “The thing about curses,” Mr. Timms said, “is you never claim they’re broken. You let them speak for themselves.”Ms. Borda, who first began trying to revamp the hall in the 1990s, when she served a previous stint as the Philharmonic’s leader, said she had prepared an image of an atomic explosion to send to Mr. Timms if the renovation turned out to be a disaster.“If it’s really bad,” she joked, looking at Mr. Timms, “I’m sending you this first.”Adam Nagourney More

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      Timeline: The Long, Long Journey to a New David Geffen Hall

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      After decades of failed attempts, the New York Philharmonic and Lincoln Center are hoping that the new $550 million renovation has finally fixed the hall.The efforts to fix the New York Philharmonic’s troubled Lincoln Center home date back almost to the night it opened in 1962, when the auditorium, originally called Philharmonic Hall, was found acoustically wanting.In 1976 a gut renovation transformed the space, which had been renamed Avery Fisher Hall in honor of a large gift from the audio equipment pioneer Avery Fisher, and tried to fix its acoustics. But problems persisted. More tweaks were made in the 1990s. The Philharmonic tried to leave for good in 2003 to return to its old home, Carnegie Hall. Plans for new designs by Norman Foster and Thomas Heatherwick came and went.Now the hall, renamed David Geffen Hall after a $100 million gift from the entertainment mogul David Geffen, is reopening in early October after a $550 million overhaul that everyone hopes will finally get it right. Here is a brief timeline of the long road to the new hall.Sept. 23, 1962A Glamorous Opening, Troubling SignsLeonard Bernstein conducting the New York Philharmonic at the opening of the hall in 1962.Eddie Hausner/The New York TimesPhilharmonic Hall, which was designed by Max Abramovitz and was the first part of Lincoln Center to be completed, opens with Leonard Bernstein conducting the New York Philharmonic at a white-tie gala attended by the first lady, Jacqueline Kennedy, and other luminaries. But in his review the next day the critic Harold C. Schonberg in The New York Times notes a “decided lack of bass” in the orchestra section that worsens in the loges and at the back of the hall, where he likens it to “a high-fidelity outfit with the bass control out of the circuit.”Sept. 25, 1962“We’re not going to tear down the hall and rebuild.”Philharmonic Hall on opening night.via New York Philharmonic Shelby White & Leon Levy Digital ArchivesThe hall’s acoustician, Leo Beranek, tells The Times that he is “not entirely satisfied” with the sound but believes that adjustments will improve it. “In other words,” the article quotes him as saying, “we’re not going to tear down the hall and rebuild.” A series of remodeling efforts begins, but by 1974 visiting ensembles, including the Boston Symphony and the Philadelphia Orchestra, decide to return to Carnegie Hall.The Reopening of David Geffen HallThe New York Philharmonic’s notoriously jinxed auditorium at Lincoln Center has undergone a $550 million renovation.Reborn, Again: The renovation of the star-crossed hall aims to break its acoustic curse — and add a dash of glamour.‘Unfinished Business’: After a 17-year run in Los Angeles, Deborah Borda returned to the New York Philharmonic, which she led in the 1990s, to help usher it into its new home.San Juan Hill: Etienne Charles’s composition for the reopening of the hall honors the Afro-diasporic musical heritage of the neighborhood razed to build Lincoln Center.Timeline: From a troubled opening in 1962 to a full gutting in 1976 to the latest renovations, here is a brief timeline of the long road to the new hall.1975Gutting the Hall and Starting Againvia New York Philharmonic Shelby White & Leon Levy Digital ArchivesLincoln Center announces plans to gut the hall, now called Avery Fisher Hall, and to completely rebuild it under the supervision of the acoustician Cyril M. Harris and the architect Philip Johnson. “There was no point any longer taking halfway measures in relation to the hall,” Fisher says. “A fresh start was needed.”1976Avery Fisher Hall Reopens, to HopeThe philanthropist Avery Fisher, center, was in the audience when the newly renovated Avery Fisher Hall opened in 1976.Eddie Hausner/The New York TimesAvery Fisher Hall reopens, and the early reviews are good. This time Schonberg writes in The Times that in “any part of the dynamic range, too, from the wispiest pianissimo to the most stupendous forte, Fisher Hall came through with extraordinary clarity.” But for all his early enthusiasm, he notes that the bass sound, while improved, “tends to be a little weak.”1992The Musicians Still Cannot Hear Each OtherSound reflectors were added around the stage to help the players hear each other.via New York Philharmonic Shelby White & Leon Levy Digital ArchivesMusicians still complain that they cannot hear one another on the stage, so sound reflectors — some called “bongos” for their curved appearance — are placed on the walls and ceiling. Allan Kozinn writes in The Times that “Avery Fisher Hall’s acoustics have troubled musicians and listeners ever since it opened in 1962 as Philharmonic Hall. And although the 1976 renovation was considered an improvement, critics continued to complain of an overly bright brass sound and a weak bass.”2003The Philharmonic Tries to Leave Lincoln CenterThe Philharmonic stuns Lincoln Center by announcing that it plans to leave Avery Fisher to return to Carnegie Hall. The announcement throws the center’s on-again, off-again redevelopment plans into chaos (three finalists had been selected to compete to redesign Fisher: Norman Foster, Rafael Moneo and the team of Richard Meier and Arata Isozaki). But the plan, which also called for the Philharmonic and Carnegie to merge, proves unworkable and is soon abandoned.2005Norman Foster Tapped, But Nothing Comes of ItThe Philharmonic board selects the architect Norman Foster to redesign the hall, but plans stall.March 4, 2015David Geffen Gives $100 MillionDavid Geffen, center, with Katherine G. Farley, chairwoman of Lincoln Center, and Jed Bernstein, who was then its president.Richard Perry/The New York TimesDavid Geffen donates $100 million to renovate the hall, which is then named for him, after the Fisher family agrees give up the naming rights in exchange for several inducements, including $15 million.Dec. 9, 2015Heatherwick Studio Briefly on Design TeamThe London firm Heatherwick Studio, led by Thomas Heatherwick, and Diamond Schmitt Architects of Toronto are chosen to redesign the interior of David Geffen Hall. They join the acoustic design firm Akustiks and the theater design firm Fisher Dachs.2017Back to the Drawing BoardLincoln Center and the New York Philharmonic scrap the current plans and go back to the drawing board, saying that the proposals were growing too complicated and too costly, and would force the orchestra out of the hall for three seasons.2019A Plan, and a Design Team, at LastAn artist’s rendering of the plans for the new hall. New York PhilharmonicA new $550 million plan is unveiled to make the hall more intimate, cutting more than 500 seats, reducing capacity to 2,200 from 2,738. It also calls for adding seats behind the stage, fixing the acoustics, rethinking the public spaces and, yes, adding more restrooms. Heatherwick Studios is off the design team, which now consists of Tod Williams Billie Tsien Architects (lobbies and other public spaces); Diamond Schmitt Architects (the auditorium); Akustiks (acoustics); and Fisher Dachs Associates (theater design). The hall is scheduled to open in March 2024.2021The Pandemic Shutdown Speeds ConstructionThe concert hall being rebuilt in 2021.Vincent Tullo for The New York TimesThe pandemic, which has shut down live performance, allows the Philharmonic and Lincoln Center to accelerate the construction schedule, and to push the reopening to this fall. That keeps the orchestra’s nomadic period to just one season, which saw it play at Alice Tully Hall and the Rose Theater with forays to Carnegie Hall.2022David Geffen Hall Set to ReopenThe new hall, so many years in the making and remaking, will come to life this month. There will be two concerts Oct. 8 featuring the world premiere of new piece that Lincoln Center commissioned for the occasion: Etienne Charles’s “San Juan Hill,” about the vibrant neighborhood that was razed to make way for Lincoln Center. It will be performed by Etienne Charles & Creole Soul, and the New York Philharmonic under the baton of Jaap van Zweden. Tickets will be available on a choose-what-you-pay basis. More

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      Yale Drama Goes Tuition-Free With $150 Million Gift From David Geffen

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      Starting in August, the drama school plans to eliminate tuition for returning and future students, removing a barrier to entry for low-income students and those worried about debt.The billionaire David Geffen is giving $150 million to Yale School of Drama, allowing one of the nation’s most prestigious programs to stop charging tuition.The graduate school, which enrolls about 200 students in programs that include acting, design, directing and playwriting, announced the gift on Wednesday, and said it would rename itself the David Geffen School of Drama at Yale University.Yale said it believes the gift is the largest in the history of American theater.The school said that, starting in August, it would eliminate tuition for all returning and future students in its masters, doctoral and certificate programs. Tuition at the school had been $32,800 per year.The move should remove a barrier to entry for low-income students and those worried about incurring high student debt before entering an often low-paying field.“We know, because people have told us, that there are potential applicants out there who think they could never afford graduate theater training at an Ivy League school,” said James Bundy, the drama school dean. He said he hoped that by going tuition-free, that obstacle would diminish.He also said that he hoped that the move would lessen the impact of student debt on the career choices graduates make.“By reducing the debt burden of the average student, we create more resilient artists and managers who are able to make braver artistic choices — they’re able to take that downtown play and they don’t have to have a career selling real estate on the side,” he said. “Not every artist is going to break through at the age of 25 or 26 or 27. Certain kinds of careers take time to build, and entering the professions with less debt is going to make for more interesting and more resounding choices in the long run.”The drama school is home to the Yale Repertory Theater, and its graduates include Meryl Streep, Lynn Nottage and Lupita Nyong’o.It will become the second program at Yale to eliminate tuition; in 2005 the Yale School of Music did so. There are a handful of other tuition-free graduate programs around the country, including N.Y.U.’s medical school.The university’s president, Peter Salovey, said he hoped more schools would follow, particularly in the areas of nursing and public health, where students tend to graduate with high debt and pursue careers that are not highly lucrative.“In general, what should be happening in higher education is an attempt to reduce the financial burden on individuals and families associated with undergraduate education and graduate and professional education,” Salovey said. “I’d love to do this for other programs as well, but it will take the generosity of donors to make it happen.”Geffen, 78, made his fortune in the music and film businesses, and is currently worth about $10 billion, according to Forbes. He has become a major philanthropist with an interest in the arts, previously giving $150 million to the Los Angeles County Museum of Art, $100 million to Lincoln Center for the renovation of the concert hall where the New York Philharmonic performs and $100 million to the Museum of Modern Art.Geffen, through a Yale spokeswoman, declined to be interviewed, but Salovey said the Yale gift came about after years of conversations between the university and Geffen’s foundation. Geffen once taught a seminar at Yale, in the late 1970s, about the music industry, and Salovey said that experience had been positive for Geffen; Salovey also said the university had been aware of Geffen’s interest in supporting higher education and the arts, and had looked for projects that might appeal to those interests.Geffen has maintained a variety of connections to theater throughout his career: In the 1980s, he was among the producers of the original Off Broadway production of “Little Shop of Horrors,” and in the 1990s, he gave the founding gift for the Geffen Playhouse, a major theater in Los Angeles. Over the years he has been credited as a producer of nine Broadway shows, from “Dreamgirls” to the upcoming revival of “The Music Man.”Salovey said he hopes in the future that Yale will be able to build a new theater that will also house the drama school; that project would have to be financed through a separate fund-raising effort, he said. More

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      Broadway’s ‘Music Man’ Names British Producer, Kate Horton, to Replace Rudin

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      Kate Horton will become executive producer of the show, which stars Hugh Jackman and Sutton Foster. It is scheduled to begin performances on Dec. 20.A veteran British theater administrator will take over the day-to-day management of a starry Broadway revival of “The Music Man,” assuming many of the duties previously performed by Scott Rudin.The administrator, Kate Horton, who previously held high-level management positions at the National Theater, Royal Court Theater and Royal Shakespeare Company in England, will become executive producer of “The Music Man,” which stars Hugh Jackman and Sutton Foster, and which is scheduled to begin performances on Dec. 20 and to open Feb. 10.Rudin, who was the revival’s lead producer, departed that role earlier this year, saying he was stepping back from all of his theater and film productions amid renewed scrutiny of his bullying behavior toward subordinates and collaborators.Horton was hired by the business titans Barry Diller and David Geffen, who had been producing the revival alongside Rudin, and who are now the sole lead producers. The production, at the Winter Garden Theater, reunites much of the creative team behind the Tony-winning 2017 revival of “Hello, Dolly!,” led by the director Jerry Zaks.Horton currently runs, with her longtime collaborator Dominic Cooke, a British producing company called Fictionhouse. She was previously deputy executive director of the National Theater, executive director of the Royal Court Theater and commercial director of the Royal Shakespeare Company. She and Rudin both were previously involved with the team behind Little Island, a new park and performance space in New York, but no longer have any role there, a spokeswoman said.Horton declined a request for an interview.“The Music Man,” like many Broadway shows, has been delayed by the pandemic. It was originally scheduled to open last fall. The show sold a large number of tickets before the pandemic; rather than refunding those tickets, as many shows did, the production exchanged them for future seats. During the pandemic, the producers stopped selling new tickets; tickets to the show are going back on sale starting Tuesday.Several other Rudin-related Broadway productions have found new leadership teams. A stage adaptation of “To Kill a Mockingbird” named Orin Wolf as executive producer; the musical “The Book of Mormon” and the play “The Lehman Trilogy” said their existing leadership teams would simply proceed without Rudin. (“The Book of Mormon” is overseen by members of the “South Park” team, while “The Lehman Trilogy” is overseen by Britain’s National Theater.) More