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      Daniel Radcliffe, Pete Townshend and Sarah Paulson Party for the Tonys

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      The actress Kara Young stood surrounded by admirers inside David Geffen Hall at Lincoln Center around 1 a.m. on Monday morning, fielding a swarm of well-wishers after winning her first Tony Award, for featured actress in the comedy “Purlie Victorious.” Her older brother hovered close by and periodically fanned out the train of her lime chiffon dress.Branden Jacobs-Jenkins, the 39-year-old playwright who penned the night’s best play revival, the searing family drama “Appropriate” — and a fellow first-time Tony winner — was next in line to compliment Ms. Young and her gown from the designer Bibhu Mohapatra.“This is a forever iconic Tonys look,” Mr. Jacobs-Jenkins told the actress. “When we’re like 70 years old, they’re going to show you in this.”The performers Kecia Lewis and Camille A. Brown.Nina Westervelt for The New York TimesThe actresses Sarah Paulson and Elle Fanning.Nina Westervelt for The New York TimesBranden Jacobs-Jenkins, the playwright.Nina Westervelt for The New York TimesThe performers Shaina Taub and Matt Gehring.Nina Westervelt for The New York TimesIt was a flash forward on a night when, for many of the Tony Award winners, anything seemed possible. All eight of the acting honorees, across plays and musicals, earned their first-ever Tony wins on Sunday — some for their first major Broadway role or their first nomination, others after four decades in the theater.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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      The Constant Metamorphosis of Nona Hendryx

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      In a purple catsuit and spiky celestial headpiece, Nona Hendryx beckoned, with a wave. “I’m inside the tree!” she called. “In the forest of the ancestors.”It was not the real Hendryx but her digital avatar, giving a tour of a new virtual reality project. Still, there is little distance between the flesh-and-blood Hendryx — the musician, artist and futurist, who has been forging her own way for over a half-century — and the slinky cyborg on winged feet who was scampering through a turquoise and fuchsia dreamscape on a recent Friday. They both inhabit a world of their own creation, signaling urgently for everyone to catch up.The soundtrack for this V.R. journey was Hendryx’s 1983 electro jam “Transformation” — “Change your mind/Change your skin,” the lyrics go — because, she said, “I’ve constantly evolved and transformed over time.”With each metamorphosis, Hendryx has spun into an even more singular cultural presence. She is not just the throaty alto who had an enduring hit with “Lady Marmalade” as part of the 1970s trio Labelle. She is also a teacher, curator, designer and technologist — a vanguard creator. In fact, she blithely told me, she never wanted to be a singer at all.“It happened, and I’m thankful that I’m pretty good at it,” she said, downplaying a career that took her from ’60s girl groups to the pioneering soul and R&B of the ’70s, then to her solo act in the ’80s, an ahead-of-its-time amalgam of art rock, funk, no wave and electronica that put her in league with technology-forward artists like Talking Heads, Peter Gabriel and Laurie Anderson.Music still drives her. But now, she said, “I’m much more interested in making that, rather than performing and presenting it.”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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      Alfred Molina on the Museum He Never Misses When He’s in New York

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      “Every time I’m in the city, I make a visit,” said the actor, who is performing on Broadway in “Uncle Vanya.”After more than 30 years in Los Angeles, Alfred Molina is enjoying his newly minted status as an Upper West Sider.“My wife and I have bought an apartment here, and we’re slowly transitioning to New York,” he said last month at Lincoln Center Theater before a rehearsal for the Chekhov classic “Uncle Vanya,” which opens on Broadway on Wednesday.Molina, 70, has been nominated for three Tony Awards, for “Art,” “Fiddler on the Roof” and, most recently, “Red,” in which he starred as the painter Mark Rothko in 2010. “Vanya,” in which he plays the pompous professor Alexander Serebryakov, is his return to a New York stage after nearly 15 years.The play is “a chance to work with some fantastic people,” he said of the cast, which includes Steve Carell as Vanya, Jayne Houdyshell as Vanya’s mother, and William Jackson Harper as the local doctor Astrov. It is directed by Lila Neugebauer, and after Molina saw two other plays she worked on this year, “Appropriate” and “The Ally,” he said, “they both just knocked me out, so it was a no-brainer.”Molina, who is originally from London, shared his favorite walk in New York, why he loves the subway, and a Jonathan Groff-inspired song lyric that he came up with seemingly on the spot. These are edited excerpts from the conversation.1Jazz in the MorningI like to start my day with something bright and fast, like Art Pepper or Dexter Gordon. I’ve listened to jazz since I was a teenager — I wasn’t good at sport or popular with the girls, but I loved music, particularly Black American music. I used to read the music papers — the weekly Melody Maker, the New Musical Express — and whenever a review of a band or album used the word “jazz,” I would try to listen to it.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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      Mariinsky Dancers Barred From Youth Ballet Gala in New York

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      Two dancers from the Russian company were set to perform at a benefit for a prestigious competition for young dancers, but they were sidelined after protests by pro-Ukrainian activists.Two dancers from the Mariinsky Theater in Russia were barred from performing at a youth ballet gala in New York this week after their participation drew criticism from pro-Ukrainian officials and activists.The dancers had been set to take part in two performances, at the David H. Koch Theater at Lincoln Center, that celebrate the 25th anniversary of Youth America Grand Prix, a prestigious ballet competition and scholarship program based in New York.But Youth America Grand Prix’s leaders removed the dancers from the program after critics said the organization was lending support to the Russian government by hosting the artists. The Mariinsky is a state-run theater in St. Petersburg led by the conductor Valery Gergiev, a close ally of President Vladimir V. Putin.Youth America Grand Prix said in a statement that the decision “gives us great pain.” It said that in the hours before the first performance on Thursday, it had learned — along with Lincoln Center and others in the ballet world — of possible protests. After consulting with New York City Ballet, which operates the Koch Theater, it said that “it was agreed to cancel the performances of the scheduled Mariinsky Ballet dancers.”“Art should unite us, not divide us,” Larissa Saveliev, the founder of Youth America Grand Prix, said in a statement. “In a difficult period, ballet should be healing. This is terribly sad.”Since Russia invaded Ukraine in 2022, Russian artists and institutions have come under intense scrutiny on the global stage. The Bolshoi Theater in Moscow and the Mariinsky have faced cancellations abroad and have lost prestigious partnerships. Some stars, including Gergiev, who also leads the Bolshoi, and the soprano Anna Netrebko, have been shunned in the West because of their ties to Mr. Putin.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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      Lincoln Center’s Summer Festival to Focus on Civic Bonds

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      The third edition of Summer for the City will feature hip-hop, comedy, classical music and more, under the motto “life, liberty and happiness.”Lincoln Center said on Wednesday that it would devote its summer festival to themes of community and civic participation, with a mix of hip-hop, comedy, dance, classical music and more under the motto “life, liberty and happiness.”The festival, Summer for the City, will feature premieres of anthems about contemporary hopes and struggles. Classical music concerts will be more participatory than in the past; at one event, audience members will be asked to vote on the program. And civil rights will be prominent, with the New York premiere of an opera about Eric Garner, who died in 2014 at the hands of police officers on Staten Island.“We know the performing arts have a role in strengthening our community and strengthening our civic bonds,” Shanta Thake, Lincoln Center’s chief artistic officer, said in an interview. “This is a time where we can really be together and celebrate the ideas and ideals that we all share.”The third edition of the festival, which will run from June 12 to Aug. 10, is part of the center’s efforts to appeal to a younger, more diverse crowd, in part by promoting a broader array of genres, including pop music and social dance.Under Henry Timms, Lincoln Center’s president and chief executive, the center has shifted its focus from classical music and international theater, prompting some criticism that it is not doing enough to promote traditional offerings. (Timms will depart his post in August; a search for his successor is in progress.)After eliminating the Mostly Mozart Festival, a summer fixture since the 1970s, Lincoln Center renamed the Mostly Mozart Festival Orchestra, saying that it was time to reimagine the ensemble for a modern and more inclusive age. This season, the Festival Orchestra of Lincoln Center, as the ensemble is now called, will convene for the first time under the rising conductor Jonathon Heyward.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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      Jazz at Lincoln Center’s New Season Includes Tribute to Bayard Rustin

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      The civil rights activist’s life and legacy will be honored in a 2024-25 lineup that will also include spotlights on jazz history, and a rising star to warm up November.Jazz at Lincoln Center announced its 2024-25 concert season on Tuesday, which will include performances that celebrate the 20th anniversary of the center’s Frederick P. Rose Hall, a tribute to the civil rights activist Bayard Rustin and concerts by Grammy Award-winning artists.The season will run from Sept. 19, 2024, to June 14, 2025, and will begin with Hot Jazz and Swing, in which the music director Loren Schoenberg will guide the Jazz at Lincoln Center Orchestra through revitalized arrangements of 1920s and ’30s tunes.On Oct. 18-19, Bryan Carter, a drummer and composer, will lead the Jazz at Pride Orchestra in honoring the life and legacy of Rustin.Other nods to the past will focus on the history of jazz. Led by Wynton Marsalis, the artistic director of Jazz at Lincoln Center, the center’s orchestra will perform 10 concerts that will each pay homage to a decade of jazz history, from the 1920s to the present.Performances in February will honor the early years of jazz and its many inspirations by incorporating cuts from blues, gospel, country and bluegrass, as well as from recordings by Louis Armstrong, Duke Ellington and others. On Nov. 8-9, a pair of concerts will focus on the jazz pioneers Thelonious Monk, Bud Powell, Tadd Dameron and others.From Jan. 16-18, Cool School & Hard Bop concerts will explore midcentury jazz, featuring works from Miles Davis, Art Blakey, Max Roach and others. And May 29-31, the saxophonist Ted Nash will lead the Jazz at Lincoln Center Orchestra in performances of new arrangements of music associated with the 1970s.The season will also include more modern performances, including concerts that will feature music from Joanne Brackeen, Charlie Haden, Terence Blanchard and others.Several concerts will also spotlight specific musicians. On Nov. 15-16, Joshua Redman will return to the Rose Theater in a collaboration with Gabrielle Cavassa, a rising star from New Orleans. Later in the season, on Feb. 14-15, Dianne Reeves will perform in a Valentine’s Day celebration filled with songs about romance and heartbreak. The pianist and composer Monty Alexander will celebrate his 80th birthday by performing on Jan. 24-25, while Anat Cohen and her brothers will celebrate her 50th birthday with performances of early swing, post-bop and Brazilian choro on March 14-15.The final performances of the season, June 13-14, will feature music directed by Marsalis and will showcase works by the veteran band members Chris Crenshaw, Vincent Gardner and others. More

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      Lincoln Center’s Leader, Henry Timms, to Depart After Five Years

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      After guiding the arts organization through the pandemic and completing the renovation of David Geffen Hall, he is leaving to lead the Brunswick Group.Henry Timms, who guided Lincoln Center through the turmoil of the pandemic and helped complete the $550 million renovation of David Geffen Hall, will step down as its leader this summer after five years, he announced on Wednesday.Timms will become chief executive of the Brunswick Group, a global public relations firm. He said he had always intended to stay at Lincoln Center for five to seven years, and that the Brunswick Group, which advises top companies and cultural groups, had approached him about a position there at the end of last year.“I feel proud of what we’ve done,” he said in an interview in his office above the Lincoln Center campus. “But I also always believe that change is a good thing.”Steven R. Swartz, the chairman of Lincoln Center’s board, said in an interview that Timms had been a “transformational leader” who had helped drive innovation and played a critical role in accelerating the renovation of Geffen Hall, home to the New York Philharmonic, during the pandemic.“In our perfect world, we’d have him continue to do the job,” Swartz said. “But we certainly understand that he sees this opportunity as his next step and obviously wish him all the best.”Timms, 47, arrived at Lincoln Center in 2019 with a mandate to restore stability to the organization, which was grappling with financial woes and years of leadership churn. He was also tasked with resetting Lincoln Center’s fraught relationship with its constituent organizations, including the Metropolitan Opera, New York City Ballet and the Philharmonic. The center acts as landlord to those groups but has little power over them, since each has its own leadership, board and budget. The center also presents its own work, sometimes putting it in competition with its constituents.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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      Goodbye Mostly Mozart, Hello Festival Orchestra of Lincoln Center

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      The renamed ensemble will present a mix of new and old in its first season under the conductor Jonathon Heyward.Last summer, Lincoln Center bid farewell to the Mostly Mozart Festival Orchestra, a fixture of the city’s cultural scene since 1973, saying it was time to reimagine the ensemble for a modern and more inclusive age.On Monday, the center offered a preview of its plans. While the ensemble will remain the same in size and membership, it now has a new name, a new music director and a program aimed at drawing more diverse audiences to classical music.The Festival Orchestra of Lincoln Center, as the ensemble is now called, will convene in July for its first season under the rising conductor Jonathon Heyward, as part of the center’s Summer for the City festival.Heyward said in an interview that he wanted to maintain the orchestra’s innovative spirit.“It’s not that I am at all reinventing the wheel,” he said. “We’re just continuing in a way that is very much in line with a previous legacy of the orchestra.”The lineup for this summer includes a world premiere by the composer Hannah Kendall; the North American premiere of Huang Ruo’s “City of Floating Sounds”; and classics by Beethoven, Haydn and, yes, even a little Mozart.There will also be offerings aimed at drawing new people to Lincoln Center, including a “Symphony of Choice” concert in which audience members will be allowed to construct the program by voting, as well as an augmented-reality exhibition about mental health and Schumann, who suffered from depression.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