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    After 40 Years of Fa-La-Laing, a New York Caroler Hands In His Bells

    A onetime Macy’s elf, Tom Andolora founded a troupe that sang Christmas carols in Victorian dress. Now he is packing it in, worried about the survival of New York caroling.He has been heckled, slapped by a drunk Wall Street banker and ignored altogether. He has performed in the cake section of a Bronx supermarket, serenaded commuters on frigid Manhattan subway platforms and sung from inside a claustrophobic display window at Bloomingdale’s.Being a Christmas caroler in New York City is not for the fainthearted. Just ask Tom Andolora, a onetime elf at Macy’s Santaland, who has spent the past four decades leading the Dickens’ Victorian Carolers, which he founded in 1982.Now, after a long career in which the Carolers have tried to spread a little comfort and joy to sick children at Harlem Hospital, provided the soundtrack for wedding proposals at Rockefeller Center and serenaded several first ladies at the White House, Andolora, 65, is caroling for the last time this Christmas, before turning in his bells and retiring.“Caroling is a dying art form and I don’t know if New York caroling will even be around in a decade,” he said, wistfully flipping through old photos of himself, in his top hat and Victorian dress.“People don’t want religion or tradition anymore,” he worried. “I’ve given up my Christmases for 40 years. I’m done.”The lingering effects of the coronavirus pandemic; holiday playlists that are now heavier on Mariah Carey than the Choir of King’s College, Cambridge; competition from younger upstarts who can rap “Jingle Bells”; and the closure of storied New York department stores like Lord & Taylor and Gimbels were all making traditional Victorian-style caroling increasingly untenable.Andolora said the caroling business had never fully recovered from the coronavirus. “We are still getting cancellations,” he said. “People are getting Covid or are afraid of getting it.”Bretana Turkon, Andolora, Rebecca Reres and Justin Tepper in 19th-century garb.Vincent Tullo for The New York TimesCarols and caroling dates back at least to the Middle Ages in England, when people would go “a-wassailing” — singing Christmas songs in the streets in return for an alcoholic drink known as wassail, traditionally made with warmed ale, wine or cider, blended with spices and honey.In New York, the caroling tradition has existed for decades, with dozens of groups who take to the streets in all five boroughs, bringing a little Christmas cheer to grumpy department store shoppers, neighborhood churches and soulless corporate parties, sometimes for as much as $1,500 an appearance.Andolora began his Christmastime career as an elf.The year was 1981 and Andolora, the grandson of Italian immigrants, had recently arrived in Manhattan from Jamestown, N.Y., eager to make it big in show business like another Jamestown native, Lucille Ball. To begin with, however, he had to pay the rent, and was soon wearing a jaunty green hat, a green velvet tunic and red knee-high boots at Macy’s Santaland.He quickly worked his way up from “Tree Elf” to “Cashier Elf” before graduating to “Photo Elf” — positioning sometimes screaming children for their photos with Santa. He taught acting at Brooklyn College for a time, and also adapted and directed a gothic play about the secret lives of the dead.But inspired after hearing caroling groups he found wanting, Andolora, a powerful baritone, decided he could do better. And so the Dickens’ Victorian Carolers were born, a quartet clad in 19th-century garb — black top hats, lace collars, capes, hoop skirts and white gloves — which has drawn its ranks from cruise ships and Broadway productions like “Show Boat.”It turns out there is a crowded field of Dickensian carolers, apparently inspired by “A Christmas Carol,” and it has sometimes been difficult for the Dickens’ Victorian Carolers to stand out. There are the Dickens Carolers of Seattle, the Dickens Carolers of Kansas and the Original Dickens Carolers of Denver.“I added the word ‘Victorian’ to our name to try and be different,” Andolora explained.Andolora paid his dues (and the rent) as an elf at Macy’s Santaland.Vincent Tullo for The New York TimesLooking back on his caroling days, Andolora said there had been mirth but also some Grinch-worthy moments, including a shopper who jeered, “That was terrible!” On more than one occasion, a member of the quartet has belted out “Twelve Days of Christmas” with stentorian gusto when the group was supposed to be singing a soulful version of “Silent Night.”Some years ago, at a private Christmas party in a Park Avenue penthouse, Andolora accidentally shoved a porcelain Buddha with his foot during a spirited rendition of “Deck the Halls.” He dislodged the statue’s arm, which fell with a thump to the floor.“It was mortifying,” he said, adding that the host, a wealthy impresario, forgave him.There have also been high points, like when a New York State Police officer proposing to his fiancée hired the group to gather nearby and sing “Congratulations!” as he got down on one knee.“He still sends me a Christmas card every year,” he said.The Carolers have also performed at the White House during four administrations. Andolora recalled that Nancy Reagan’s party was impeccably run, that the Clintons never showed up to take their photo, and that President Barack Obama teased the group about its oversize hoop skirts.Whatever the challenges of caroling in the Big City, Andolora said he had no regrets.“I have loved caroling since I was a kid,” he said. “It can bring people to tears.” More

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    The Cast and Crew of ‘Women Talking’ Reunite Over Mushroom Risotto

    Claire Foy: We formed a really strong bond [working on the movie “Women Talking,” out this month]. It felt like so little time had passed since the shoot [in summer 2021], and the film went down really well [at its New York Film Festival premiere in October], so it was a wonderful, cyclical thing to enjoy it together.We exposed a lot about ourselves [at this dinner] and were very honest in our opinions — that’s just the way we speak to one another. But what happens in the hayloft stays in the hayloft [where much of the movie, which takes place within an isolated religious community, unfolds].Sarah Polley: This has always been a really fun, imaginative, intellectually stimulating group of people. Claire is a real truth teller; Rooney [Mara, who didn’t attend the dinner] does a lot of connecting; Jessie [Buckley, who was away filming] is the life of every party; Judy [Ivey] is incredibly wise but holds that wisdom lightly; Sheila [McCarthy] is a bridge builder and peacemaker; Michelle [McLeod] always sees the “funny” in a moment; Liv [McNeil] is an attuned observer; and Kate [Hallett] can imagine how people feel before they feel it.Our conversations weave fluidly in and out of very serious and light things — sharing things personally and talking about the world at large — which is, I think, what groups of women who are close do. I’ve been fascinated by how women in groups don’t finish one line item, resolve it, then move on to the next. It’s not a linear thing.On the CoverFrom left: McCarthy, Hallett, McLeod, Polley, Foy, McNeil, Gardner and Ivey of the film “Women Talking.”Jason SchmidtThe attendees: All from the “Women Talking” family, the guest list included its director, Sarah Polley, 43; its producer Dede Gardner, 55; and its actors Claire Foy, 38; Judith Ivey, 71; Sheila McCarthy, 66; Michelle McLeod, age withheld; Liv McNeil, 17; and Kate Hallett, 18.The food: The mushroom risotto at Lincoln Ristorante at Lincoln Center took both Foy and Polley aback — Foy enjoyed it despite being suspicious of fungi ever since watching the poisoning scene in “Phantom Thread” (2017), and Polley because it was “the best I’ve ever had in my life.”The conversation: They all discussed Hallett’s first visit to New York City (she’d never been) and Ivey’s 1992 turn on “Celebrity Jeopardy!,” where, as Polley put it, she got “smoked” by Luke Perry. In keeping with a theme of “Women Talking,” they also talked about sexism (Polley says that’s “probably something that comes up often for women everywhere in groups”).Polley has picked these songs for gatherings she’s thrown in the past:Interviews have been edited and condensed.All Together Now More

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    Anne Bogart Is Not Entirely Retiring

    The theater director Anne Bogart first made a splash with the radical student productions she put on while teaching at New York University in the early 1980s. Her “South Pacific” (1984), for example, was conceived as the show that veterans in a mental institution performed as part of their therapy. Legend has it that the Rodgers and Hammerstein estate snuffed out the production, but Bogart clarified that it simply denied an extension. “It’s more dramatic to say they shut us down,” she said, chuckling.Under Bogart’s leadership, the New York City-based Saratoga International Theater Institute (SITI) Company, formed by a group of artists in 1992, spent three decades exploring experimental outposts in both original creations like “Bob,” “The Medium” and “Hotel Cassiopeia” and re-imaginings of classics, often by ancient Greek playwrights.The group’s emphasis was on rigorous actor training and the performers’ physicality. Bogart’s approach involves “decentering emotion and re-centering the body,” said Jay Wegman, the director of N.Y.U. Skirball, which presented SITI’s “Radio Macbeth” last month. “I love how metaphorical her work is. It becomes an event, and there’s almost a mystical feeling because everything comes together so tightly in her stagings.”Now, SITI is ending its producing activities. “It came down to whether we are an institution — in which case you get a younger, more diverse company and a young artistic director — or a group of people,” Bogart, 71, said. “After a great deal of quite emotional discussion, we decided that we’re a group of people. I think that the legacy is more how we offer a model for future young companies: a collaborative ensemble whose focus is not on real estate but on the plays they do.”Bogart, center, with Kelly Maurer as Andy Warhol in a 1990s production of “Culture of Desire.” Dolly Faibyshev for The New York TimesBogart is not entirely retiring. She will remain a professor in Columbia University’s directing program, whose alumni include Rachel Chavkin, Jay Scheib, Diane Paulus and Jeffrey L. Page, until 2026. She will also continue to direct on a freelance basis.Although SITI is presenting “A Christmas Carol” at Bard College (spearheaded by the co-director Darron L West) from Dec. 16-18, this felt like a good time to look back, especially since the company’s digital archives are going live on its website on Nov. 15, and a book, “SITI Company: This Is Not a Handbook,” is due soon via Yonkers International Press. Bogart spoke in a video chat from London shortly after the latest (and last) SITI gala. The event prefaced a revival of the company’s production of “War of the Worlds” and turned into a heartfelt tribute to the director. These are edited excerpts from the conversation.What were some of the fundamental things that you all agreed on when starting SITI?The actors met at a diner and asked each other: “What does it mean to be a SITI Company member?” Every year they renewed that question, and they always had the same answer: We train together. It’s the cement that’s kept us going over time. Not only do they train together and learn together, but they teach that training, which makes sure they have a paycheck year-round. My own proposal to them was that I had all these theatrical essays I wanted to create. We didn’t expect it to last as long as it did, but I did need a group of people who would work together over time and solve problems together.How did you manage your freelance activities with SITI?I do a lot of opera outside. I always felt that was the least stressful for SITI Company: If I’m going to do opera, nobody can complain, because they can’t sing like opera singers. I still have a big appetite for all those things. That hasn’t changed.Where did you find inspiration when you started out?I came to New York in 1974, at the end of the Judson Church era, and I was very influenced by dance. It was also the explosion of theater companies like the Performance Group, which later became the Wooster Group, André Gregory’s Manhattan Project, Joe Chaikin’s Open Theater, and with the crazy work of Richard Foreman and the big wild things of Bob Wilson. I was also completely in love with German theater — particularly Peter Stein, Klaus Michael Grüber, Luc Bondy — and I stole from them a lot.Bogart with her wife, Rena Chelouche Fogel, in October at the Laurie Beechman Theater.Dolly Faibyshev for The New York TimesIs that why you temporarily moved to Europe in the early 1980s?I decided I hated Americans and I was going to be German. But what I discovered is that I’m actually very American: I have an American sense of humor, an American sense of structure. And I’m really interested in American history — a lot of my work since then has been about Americans like Orson Welles, Bob Rauschenberg, Joseph Cornell.What are some of the big theatrical trends you’ve seen coming and going over the past decades?I was part of the generation who just admired directors. I used to follow Bob Wilson and Lee Breuer on the street! Then I noticed that people weren’t naming directors, they were naming companies, like Complicité, for example. That lasted for about a decade. Now the revolution is happening in playwriting, where extraordinary new voices are challenging the old forms. “An Octoroon” — that’s a radical play. So it’s gone from director to company to playwright.How have theater directors themselves changed?I’m surprised by how little they are interested in the regional theater. We have these theater factories around the country that used to be where everybody wanted to go, and it’s not so attractive right now. What is attractive are the art centers, and SITI Company has lived in the realm of the art centers, like the Krannert, the Walker, the Hancher, U.C.L.A. Directors like Rachel Chavkin or Diane Paulus are also looking at commercial models in new ways. When I was younger Broadway was not of interest to me, but the young directors are intrigued.What do you make of theater in the Covid era?We’re in a very interesting moment. The wonderful Scottish philosopher William MacAskill has a theory that every time there’s a cataclysmic event, there’s a period of plasticity in which change happens, and then soon afterwards we clamp down into a new accepted way of being. I think we’re in that moment of plasticity. What comes out on the other side? You or I can’t know.Whose work do you like these days?I got really interested in the work of Stan Lai, a Taiwanese director who’s rethinking the way audiences and plays function. I’m always interested in what Ivo van Hove is thinking about. I have a hate/love relationship with [Romeo] Castellucci: I cannot stand his work most of the time, but I have to deal with it. I guess what I’m looking for is somebody throwing down the gauntlet.“I got really interested in the work of Stan Lai, a Taiwanese director who’s rethinking the way audiences and plays function,” Bogart said.Dolly Faibyshev for The New York TimesDo you think there’s been a renewed interest in the relationship between audiences and theater, especially since Covid?I think that’s what the frontier is right now. My friend [and one of SITI’s artistic directors] Leon Ingulsrud went to the theater the other day. I asked how it was and he said, “Not so good — the actors never said hello to the audience.” I thought that was really interesting. The acknowledgment of that relationship, or how an audience interfaces, is the prize, I think.But how do you do that? Wouldn’t it be distracting?“Bob” [1998] starts with him literally saying hi — there’s a moment of interface, where everybody comes together. In Ivo van Hove’s “More Stately Mansions” [1997] the actors came out onstage, bowed to each other and to the audience, then Joan MacIntosh started speaking at top speed the first monologue of that O’Neill play. I started hearing the thump of people leaving the seats. They just couldn’t stand it. But in a way, that’s also like saying hi. At first I thought, “Damn him, I could never do that — I’m an American, I’m about populist art.”OK, but in all honesty, you’re not really thought of as a populist director.Deep down, yes, it’s in me. It’s how I was brought up. At the beginning of SITI Company we were kind of, “[expletive] the audience.” I don’t feel that at all anymore. I feel that the point of being there is the audience — it’s all about the audience. More

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    Animal Lovers, Rejoice: The NY Cat and Dog Film Festivals Return

    The programs feature many surprises, including a cat that plays Wordle and a lone man’s odyssey to feed Turkish strays.Tracie Hotchner still doesn’t offer tissues.During her early years as the director and founder of two animal film festivals, audience members would occasionally confront her and say, “‘Why don’t you give Kleenex?’” Hotchner recalled. While her programs have never included “Old Yeller”-style tear-jerkers, she acknowledges that her first festivals were too long and emotional. Even a steady string of uplifting tales could cause sentimental overload.But when Hotchner’s seventh annual NY Dog Film Festival and fifth annual NY Cat Film Festival arrive on Sunday at the Village East by Angelika Theater in Manhattan — before a monthslong tour of the United States and Canada — they will be as sleek and compact as a prizewinning Abyssinian or a champion greyhound. Featuring international short films, each festival now runs under two hours and intersperses serious works with the purely comic. (The 16-film cat festival screens at 11 a.m., the 17-film dog festival at 2 p.m.)This year, moviegoers can witness the challenging lives of feral cats in Malta and abandoned dogs in Mexico. Yet they can also see a feline parody of “America’s Got Talent,” fancifully animated dog and cat crime capers and a documentary about golden retrievers that served as the legitimately elected mayors of Idyllwild, Calif.With each festival, “I’ve tried to make it more balanced and something that is a magic carpet ride,” said Hotchner, an author and radio host in Bennington, Vt., whose Radio Pet Lady Network features online talk shows. During a telephone interview, she added, “There’s lots of short films, but you don’t have several in a row that slam you emotionally.”The programs have transformed in other ways, too. The 2022 editions are the most global, including films from Chile, France, Ireland, China, India, Israel and Sweden. Hotchner is also extending the projects’ reach: A film distributor is booking both festivals in other cities well into 2023. And for the first time, she is hosting a 20-minute question-and-answer session with a few filmmakers after each festival’s Manhattan screening.“I’ve never had a theater that would let me do that before,” Hotchner said. “It costs them money.” She explained that the Village East was donating the time, a gesture that is very much in the spirit of her feel-good, do-good mission: Ten percent of the $20 ticket price for each festival goes to a local animal charity in every city hosting the programs. On Sunday, the beneficiary is NYC Second Chance Rescue, whose co-founder, Lisa Blanco, will help greet audiences.But what may distinguish this year’s festivals most is the element of surprise. “Many of the films were not like anything I’d seen before,” Hotchner said.Consider “Kopecki” (“The Dog God”), Hayrettin Alan’s 11-minute documentary about a lone man feeding homeless dogs near Van, Turkey. Lacking narration or dialogue, the film simply follows this self-appointed savior, as packs of startlingly beautiful dogs greet him with unanticipated affection.Clockwise from top left: Scenes from “Jade & Trubs,” “Kopecki,” “Duet” and “Please Rescue Me.”Clockwise from top left: Mutual Rescue; Hayrettin Alan; Yadid Hirschtritt Licht; Kim BestHotchner also found a live-action fictional work among her entries — these are rare, as they tend to have high budgets. This selection, “Adam,” by Hope Elizabeth Martinez, focuses on a teenage girl whose sole companion is an ailing 14-year-old dog.Among the animated submissions, Hotchner discovered an unusual variety of styles and unexpectedly serious themes. In Yadid Hirschtritt Licht’s lyrical “Duet,” for example, a cat’s loving legacy continues after its original owner dies.But the humorous films offer surprises, too. Ever see a cat play Wordle? Kim Best, a filmmaker in Durham, N.C., created “Cat of Letters” with her own pet, Nube. (Pronounced NOO-bay, the word is Spanish for “cloud.”) Although a cat lover, Best admits that her stars don’t take direction.“They’re very insubordinate and churlish,” she said in a phone interview.Nube was churlish enough to reject the fingerlike extensions Best tried to attach to his claws, so she used a stuffed animal’s paw affixed to a stylus to portray the cat tapping letters on an iPad. (It’s convincing.) But she also gave herself a challenge: Nube, whose thoughts are conveyed via subtitles, chooses only cat- or dog-related words for his opening Wordle efforts, so Best had to use those to solve the puzzles in real time. There was “no cheating,” she said.A director who has contributed to every NY Cat Film Festival so far, Best also has a documentary spotlighting a more typical feline talent: getting stuck in trees. “Please Rescue Me” follows Patrick Brandt, a kindly North Carolina biochemist and arborist who has volunteered his skills and equipment to extract some 250 trapped cats — and one pet coatimundi.As he says in the film, “I’m not so much rescuing the cat as I’m rescuing the person.”Animals, of course, frequently save the people who save them. Mutual Rescue, a global nonprofit initiative that creates documentaries about these relationships to encourage pet adoption, delivered “Kimo & Jazz.” This film concerns a young gay man from a conservative religious background who finally felt able to come out to his parents after adopting a shelter dog. The pet, Jazz, then helped sustain him as his father was dying.Another Mutual Rescue documentary, “Jade & Trubs,” chronicles how Double Trouble — a toothless, sickly and thoroughly unsociable feline shelter resident — uncharacteristically responded to Jade, a little girl with autism visiting the organization. Jade had sensitivities that turned every bedtime into long bouts of tears and screams. But once the family adopted the animal, nicknamed Trubs, both child and cat blossomed in unexpected ways.Perhaps the most surprising interplay of rescuer and rescued, however, takes place in “Underdogs,” an independent project by Alex Astrella. His documentary unfolds at the California Men’s Colony, a prison in San Luis Obispo where the inmates train service dogs for veterans and emergency workers with post-traumatic stress disorder. The prisoners’ dark histories — several on camera are convicted murderers — contrast starkly with their tender devotion to the dogs and their purpose.“I took a life,” one says. “Now I want to save a life.”Astrella said in a phone interview that he intended to illustrate the program’s effects on the men and “the change it’ll hopefully enact on their lives going forward.” The film, he added, is a testament to the “spiritual power that dogs have on humans.”Such connections are the thread that runs through the festivals. As Hotchner said, their mission is “to celebrate that human-animal bond, however and wherever it occurs.”So prepare to celebrate. And maybe pack a few tissues.NY Cat Film Festival and NY Dog Film FestivalOct. 23; the Village East by Angelika Theater, Manhattan; catfilmfestival.com, dogfilmfestival.com. More

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    Times Square May Get One of the Few Spectacles It Lacks: A Casino

    The battle to win a New York City casino license has heated up in Manhattan, with real estate and gambling giants offering competing proposals for Times Square and Hudson Yards.Times Square, New York City’s famed Crossroads of the World, could hardly be considered lacking. It has dozens of Broadway theaters, swarms of tourists, costumed characters and noisy traffic, all jostling for space with office workers who toil in the area.Now one of the city’s biggest commercial developers is pitching something that Times Square does not have: a glittering Caesars Palace casino at its core.The developer, SL Green Realty Corporation, and the gambling giant Caesars Entertainment are actively trying to enlist local restaurants, retailers and construction workers in joining a pro-casino coalition, as the companies aim to secure one of three new casino licenses in the New York City area approved by state legislators earlier this year.The proposal has enormous implications for Times Square, the symbolical and economic heart of the American theater industry, and a key part of the city’s office-driven economy. Although foot traffic in Times Square was almost back at 2019 levels during recent weekends, theatergoers and office workers have been slower to re-embrace a neighborhood where violent crime has risen.Overall attendance and box office grosses on Broadway are lagging well behind prepandemic levels, and there is considerable anxiety within the industry about how changes in commuting patterns, entertainment consumption and the global economy will affect its long-term health.A casino in Times Square faces substantial obstacles. There is already a competing bid for a casino in nearby Hudson Yards from another pair of real estate and gambling giants, Related Companies and Wynn Resorts.And with casino bids also taking shape in Queens and Brooklyn, there is no assurance that the New York State Gaming Commission will place a casino in Manhattan, let alone Times Square, one of the world’s more complex logistical and economic regions.Few things change in Times Square without notice or protest. When the city installed pedestrian plazas in the area more than a decade ago, the move was widely condemned and even lampooned by late-night talk show hosts, before being eventually embraced as an innovative foray in urban design. When the neighborhood’s army of costumed characters gained a reputation for aggressive solicitation, the city restricted them to designated “activity zones,” raising free speech concerns.Now critics worry that putting a casino at 1515 Broadway, the SL Green skyscraper near West 44th Street, would alter the character of a neighborhood that can ill afford to backslide toward its seedier past, and further overwhelm an already crowded area.In a copy of a letter soliciting support for the casino, which was obtained by The New York Times, the companies promised to use a portion of the casino’s gambling revenues to fund safety and sanitation improvements in Times Square, including by deploying surveillance drones.Yet the idea of a casino has already found an influential opponent: the Broadway League, a trade association representing theater owners and producers. On Tuesday, the league sent an email to its members saying it would not welcome a casino to the neighborhood.“The addition of a casino will overwhelm the already densely congested area and would jeopardize the entire neighborhood whose existence is dependent on the success of Broadway,” the league said in a statement. “Broadway is the key driver of tourism and risking its stability would be detrimental to the city.”The congestion in Times Square is both a closely watched sign of vibrancy and a potential irritant, particularly for commuters and theatergoers who sometimes cite the crowds and the cacophony as reasons to stay away.For New York, Times Square is an important financial engine — the city relies heavily on tourists to spend money at the neighborhood’s hotels, restaurants, stores and entertainment venues.There are ample indicators that Broadway is still struggling: Several productions, including “The Phantom of the Opera,” which is the longest-running Broadway show in history, and “A Strange Loop,” which won this year’s Tony Award for best musical, have announced plans to close.Last week, there were 27 shows running on Broadway, seen by 225,731 people and grossing $29 million; in the comparable week in October 2019, before the pandemic, there were 34 shows running that were seen by 286,802 people and grossed $35 million.Still, the Actors’ Equity Association, the labor union representing actors and stage managers, is among those supporting the casino bid, suggesting a contentious road ahead for a proposal that will face a lengthy approval process.“The proposal from the developer for a Times Square casino would be a game changer that boosts security and safety in the Times Square neighborhood with increased security staff, more sanitation equipment and new cameras,” Actors’ Equity said in a statement. “We applaud the developer’s commitment to make the neighborhood safer for arts workers and audience members alike.”The simmering tensions between local power brokers, months before the formal bidding process has even begun, foreshadow the fight ahead for developers hoping to cash in on what could become the most lucrative gambling market in the country, at a time when traditional office-using tenants have become more scarce.A state committee formed this month to review casino applications said the process would open by Jan. 6, and that no determinations on locations would be made “until sometime later in 2023 at the earliest.”In their letter seeking support for the casino, SL Green and Caesars said that gambling revenues could be used to more than double the number of “public safety officers” in Times Square and to deploy surveillance drones.The letter said a new casino would result in more than 50 new artificial intelligence camera systems “strategically placed throughout Times Square, each capable of monitoring 85,000+ people per day.” The safety plans were developed by former New York Police Commissioner Bill Bratton, according to SL Green.Mr. Bratton did not respond to a request for comment.“As New Yorkers, it’s incumbent on us to keep making sure Times Square is keeping up with the times, and doesn’t go back to what I’ll call the bad old days of the ’70s or the early ’90s,” said Marc Holliday, the chief executive of SL Green. “And we all remember what that was like, when it comes to crime, and, you know, open drug use.”The casino is expected to include a hotel, a wellness center and restaurants, right above the Broadway theater that is home to “The Lion King” musical and a stone’s throw from the site of the ball drop on New Year’s Eve.Earlier this year, the state authorized up to three casino licenses for the New York City region. Legislators have touted the union jobs, tourists and tax revenue that a casino would attract, citing the fact that the bidding for each license will start at $500 million.Two existing “racinos” — horse racetracks with video slot machines but no human dealers — are considered front-runners for two of the three licenses: Genting Group’s Resorts World New York City in Queens and MGM Resorts International’s Empire City Casino in Yonkers, N.Y.The competition for the third license features many of the country’s major casino companies. Steven Cohen, the owner of the New York Mets, has been talking with Hard Rock about a casino near the baseball team’s stadium in Queens. Las Vegas Sands has been finalizing plans for its preferred casino location in the area, and Bally’s Corporation has been scouting for a development partner.The Wynn-Related proposed casino would be on the undeveloped western portion of the Hudson Yards, which was supposed to be completed by 2025 and include residential units and parks. Related, the developer of Hudson Yards, said it plans to fulfill all of its prior housing and public space commitments for the area.In a private pitch deck obtained by The Times, Wynn and Related wrote that Hudson Yards, near the Javits Center, was the ideal location to target “diverse upscale” guests for a casino resort complex.“Because it attracts the upper tier of gaming consumers, Wynn is able to dedicate less than 10 percent of its resort space to gaming, yet still generate significant gaming revenue and tax benefits for municipalities,” reads a slide in the deck.The deck also features photos of an outdoor man-made waterfall — and of a couple enjoying cocktails while watching a cigarette-holding animatronic frog, apparently from Wynn’s “Lake of Dreams” show.In their pitch letter, SL Green and Caesars said the casino was a “once in a lifetime opportunity to once again solidify Times Square as the world’s greatest entertainment area.”Community support is an integral ingredient to winning state approval for a casino license.The Broadway League’s “influence and clout and understanding of what theatergoers want is crucial to the future of Times Square, and if they’re opposing this proposal, I don’t see how it proceeds,” said Brad Hoylman, the state senator representing the district that encompasses Times Square.But Andrew Rigie, president of the New York City Hospitality Alliance, which represents the city’s restaurants and bars, said the group would support a casino in Manhattan if it used local restaurant operators or provided vouchers to nearby eateries. A major question surrounding the economic impact of casinos is whether they incentivize guests to stay and eat inside the building, which could hurt surrounding businesses.Alan Rosen, the owner of Junior’s Cheesecake, a restaurant chain with locations in Times Square and at the Foxwoods Resort Casino in Connecticut, said he was unconcerned.“I can’t see it hurting my business,” he said. “Look at Las Vegas. What do people do? They eat. They go to shows. It’s a lot more than gambling these days.” More

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    Anthony Rapp Said Anguish Returned When He Saw Kevin Spacey Onscreen

    In testimony in a civil trial, Mr. Rapp argued that Mr. Spacey had inflicted emotional distress by climbing atop him in a bed when Mr. Rapp was 14. Mr. Spacey says the encounter didn’t happen.Watching Kevin Spacey’s character show sexual interest in a teenager in the film “American Beauty” was “unpleasantly familiar,” the actor Anthony Rapp testified in federal court on Tuesday, describing a repeated reaction he had in the years after Mr. Spacey climbed on top of him and made a sexual advance, which Mr. Rapp said occurred when he was 14.Whenever he would see Mr. Spacey — a rising Hollywood star — appear in movies or in person, such as the day of the Tony Awards, Mr. Rapp said he would instantly recall the encounter, which Mr. Spacey denies ever happened. Even a brief appearance by Mr. Spacey in the 1980s movie “Working Girl,” in which his character propositions a secretary in a limousine, startled and upset Mr. Rapp.“It was as if someone poked me with a cattle prod,” Mr. Rapp testified.Mr. Rapp, a stage and screen actor best known for his role in the musical “Rent,” has sued Mr. Spacey over the incident, which he said occurred in 1986, when Mr. Spacey was 26. Mr. Rapp has accused Mr. Spacey of battery and intentional infliction of emotional distress, and the civil trial, which began in federal court in Manhattan on Thursday, has centered not just on whether the encounter happened as Mr. Rapp described, but whether he has psychologically suffered from it over the past three decades.“As his name and notoriety increased, it was harder and harder to escape,” testified Mr. Rapp, who is seeking damages from Mr. Spacey.During cross-examination, a lawyer for Mr. Spacey, Jennifer L. Keller, hammered Mr. Rapp on discrepancies between his testimony and earlier versions of his account, questioning whether he was being “deliberately vague” about his recollections.Mr. Rapp, 50, has testified that after a party at Mr. Spacey’s Manhattan apartment, Mr. Spacey picked him up, laid him on a bed and climbed on top of him, with Mr. Spacey’s pelvis pressing into the side of his hip, before Mr. Rapp was able to escape.There were no resulting criminal charges, but Mr. Rapp filed a lawsuit in 2020 with the help of a New York State law called the Child Victims Act, which includes a limited period of time in which people who say they were sexually abused as children could sue.Mr. Spacey, 63, won an Oscar for his roles in “American Beauty” and “The Usual Suspects,” and is also known for his monologues as the sinister politician Frank Underwood in the Netflix series “House of Cards.” He has been accused of sexual misconduct by more than a dozen men, but this is the first time the actor has stood trial. In Britain, he awaits trial on sexual assault charges, and has pleaded not guilty in that case.When Mr. Rapp took the stand on Friday, he walked the jury through his account of the night in 1986, when, he said, he attended a party at Mr. Spacey’s high-rise apartment. Mr. Rapp, who was a child actor in the Broadway show “Precious Sons” that year, did not recognize any other guests, so he went inside Mr. Spacey’s bedroom and sat on the edge of the bed watching TV, he testified. After some time, Mr. Spacey showed up in the doorway, Mr. Rapp said, appearing unsteady on his feet and glassy-eyed.Walking over to the bed, Mr. Spacey picked up him up, Mr. Rapp testified, describing the positioning like a groom carrying a bride over the threshold. Then Mr. Spacey laid him down onto the bed and climbed on top of him, pressing his “full weight” into him, Mr. Rapp said.“I knew something was really wrong now,” Mr. Rapp said, recalling feeling frozen in place.Managing to wriggle out from under Mr. Spacey, Mr. Rapp testified, he shut himself into a nearby bathroom before making his way to leave the apartment. Mr. Spacey leaned into the front door and said, “Are you sure you want to leave?” — the first words Mr. Spacey said during the encounter, Mr. Rapp said.Last week, Mr. Rapp’s side also presented testimony from two friends of Mr. Rapp’s who say that in the mid-1990s he told them about the encounter with Mr. Spacey.In her cross-examination on Tuesday, Ms. Keller pointed to an inaccuracy from earlier comments by Mr. Rapp, in which he said that he had been inspired to tell BuzzFeed News about his account after reading a guest essay in The New York Times by the actress Lupita Nyong’o in which she wrote about how she felt unsafe when the Hollywood producer Harvey Weinstein asked to give her a massage.Ms. Keller presented text messages between Mr. Rapp and the BuzzFeed journalist, Adam Vary, that showed that Mr. Rapp had first contacted Mr. Vary about his account several days before Ms. Nyong’o’s account was published.At an awards event in 2018, Mr. Rapp had described how he decided to go public, so Ms. Keller said that “the bottom line is your acceptance speech in 2018 was not truthful.”Mr. Rapp responded, “I’m learning right now it wasn’t true.”In her questioning, Ms. Keller also pointed out that Mr. Rapp’s original lawsuit claimed that Mr. Spacey had “grabbed” Mr. Rapp’s buttocks, but that Mr. Rapp later said Mr. Spacey’s hand had “grazed” his buttocks while he was picking him up. Ms. Keller also disputed Mr. Rapp’s account of the apartment in which he said the encounter took place. Mr. Rapp has testified that he went inside a separate bedroom to watch TV and did not notice the other guests leave, but Mr. Spacey’s defense team has asserted that he was living in a studio apartment at the time without a separate bedroom.“Is it possible you’re completely wrong about that?” Ms. Keller asked Mr. Rapp, to which he responded, “It’s possible, and I remember a bedroom.”The defense has asserted — and Mr. Rapp agrees — that no one has come forward to confirm that he or she attended the party at Mr. Spacey’s apartment. It has also suggested that Mr. Rapp fabricated the allegation out of envy for Mr. Spacey’s career, which he denies.Earlier in the day, Mr. Rapp testified that he had not discussed the accusations with a therapist until October 2017, the month the BuzzFeed article was published. It was the first time he had processed the long-term effect the encounter had had on his life, he said.“I began to, in general, have intruding thoughts about it — sleepless nights sometimes,” he testified.Unlike in a criminal trial, jurors in a civil trial do not need to find that the defendant committed the offenses beyond a reasonable doubt. Instead, the 12-person jury will be asked to consider whether the greater weight of the evidence is in the plaintiff’s or defendant’s favor. More

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    Melissa Etheridge and Jill Sobule Bring Their Whole Lives to the Stage

    They both first made a splash in the ’90s. They’re now in New York to present new theatrical memoirs that mix storytelling and songs.When musicians as popular and as varied as Brandi Carlile, King Princess, Syd, Hayley Kiyoko and Girl in Red can be so openly, so matter-of-factly gay, it’s easy to forget that the vibe was not quite as welcoming 30 years ago.In the 1990s, singing paeans about making out with other women was a bold move. So when the Kansas-born lesbian rocker Melissa Etheridge released the album “Yes I Am” in 1993, featuring the hits “Come to My Window” and “I’m the Only One,” she made a splash. A couple of years later, Jill Sobule, a sly, funny bisexual pop singer-songwriter, released “I Kissed a Girl” — with a video starring the actor and model known as Fabio.Coincidentally, both women are currently settling in New York to present new stage memoirs that mix storytelling and songs. On Thursday, Etheridge starts previews for “My Window — A Journey Through Life,” with a book by her wife, Linda Wallem, at New World Stages. The next day, Sobule follows suit with “F*ck7thGrade” at the Wild Project.Born a few months apart in 1961, the two women have been on parallel trajectories over the years but did not really meet until Sobule joined the musical lineup on the 2019 Melissa Etheridge cruise. “We were getting done in our room, and we were all singing, ‘Come to my porthole,’” said Sobule, whose recent land-bound experiences have included starring in Matt Schatz’s musical “A Wicked Soul in Cherry Hill” at the Geffen Playhouse.On Friday morning, Etheridge and Sobule gathered again over a breakfast of oatmeal, fruit and herbal tea. It was the day after the Denver Broncos had lost an excruciating game to the Indianapolis Colts, and Sobule, a Colorado native and football fan, was still reeling. These are edited excerpts from the conversation.The two women did not really meet until Sobule joined the musical lineup on the 2019 Melissa Etheridge cruise.Luisa Opalesky for The New York TimesWhy did you both decide to look back on your life and music in a theatrical format?JILL SOBULE I have a theater agent, and he said, “You should come up with a concept and maybe something with your songs.” So many of them directly deal with the worst year of my life: seventh grade.MELISSA ETHERIDGE That’s everyone’s worst year.SOBULE I was this badass little girl. I was the best guitar player, but there were no role models for us. And as a little strange girl with queer feelings in the ’70s, the only role models I had for that was Miss Hathaway from “The Beverly Hillbillies.” Or my gym teacher, who looked like Pete Rose.ETHERIDGE My wife’s gym teacher was named Miss Lesby. It’s like something out of “S.N.L.”! One of my major influences was the Archies [they both start singing “Sugar, Sugar”]. I thought, “Why can’t I grow up and be Reggie? I’m going to have Veronica and live a happy life.”SOBULE We wanted to make sure that the show wasn’t just for people interested in my career because most people could give a [expletive]. I’m not that famous. It’s kind of this universal story of a weirdo growing up.What was it like coming of age at a time when it must have been difficult to put words onto some feelings?SOBULE I have a brother who’s six years older than me. I happened to stumble upon one of his softcore magazines, and there was a series of soft-focus photos of girls in a French boarding school. I thought, “Oh my god, how do I transfer to that school?”ETHERIDGE I think the first media I saw was “The Children’s Hour.” All of a sudden I’m feeling stuff. And then she [Shirley MacLaine’s character] hangs herself, because anything gay you saw, they were criminals or killed themselves. I remember Time magazine had something about gay liberation on the front. My father was a high school psychology teacher, and he had a book that said, “Homosexuality — we don’t think it’s a mental illness anymore.” It was kind of nice: Maybe I’m not crazy.Etheridge and K.D. Lang. “It was the drama geeks getting together and having fun,” Etheridge said about Hollywood in the ’90s.Steve Eichner/WireImage, via Getty ImagesHow did you get into music?ETHERIDGE In high school, I was in professional bands. I made money every weekend; I was very independent. I was a security guard in college. I made $7 an hour, and that was hard work, in a hospital. So I went down to the subway — it was in Boston, I went to the Berklee College of Music — I opened up my case, and I played for an hour. And I made seven bucks. So I went, “Well, I can make as much here as I do doing that job.” I never looked back after that.SOBULE When I was in eighth grade, I was the guitar player in our jazz stage band, and we won State because I brought my brother’s Marshall amp and wah-wah pedal, and I did a solo of “2001.” That’s the only thing I’ve ever won in my whole life. Later I was in Spain, and a friend said, “Let’s go busk on the street.” A guy walked by and went, “Would you guys like to play in my nightclub?” I ended up dropping out of school.ETHERIDGE I dropped out of school, too.Is it difficult to tell your stories in a new medium?SOBULE I think it’s a natural progression because we’re storytellers, and now we get to grow it out, we get to be more cinematic, in a way. I was telling my theater friends, “I’m moving on from music to Off Broadway because it’s so lucrative.” [They both roar with laughter.]ETHERIDGE I always hate to say “at our age,” but in this phase of our life to be able to have a different creative expression is fantastic. I came from rehearsal last night, and I could not get to sleep. My brain was so tickled and delighted by what I can do.Melissa, what was it like playing St. Jimmy in “American Idiot” in 2011?ETHERIDGE It was amazing. This was a full Broadway show, and there were so many things that I didn’t really realize I was getting into. Especially when they said, “Now we’re going to rehearse the death drop.” I said, “Excuse me, the what?” I climb up two flights of these stairs that move around, and I fall backwards into two people’s arms. And I’m not a dancer! To me it represented my own fear of stepping into the theatrical world. So I said, “You got it!”SOBULE Theater was a learning curve. I remember the first time a director said, “OK, move stage left.” And I was, “What the [expletive] is stage left?” We have so much dialogue, and I don’t even memorize my own lyrics. I was like, “Can I have a monitor? Did Springsteen have a monitor?” They were like, “You are not Springsteen.” OK, fair enough.Jill, you’re working with the playwright Liza Birkenmeier on your show’s book. And Melissa, your wife, Linda, is helping out. How do you collaborate with them?SOBULE Basically we have conversations, and we figure out how to best put the jigsaw puzzle together. Every day, I’m like, “Let me add this little one-liner.”ETHERIDGE My Covid experience really focused this show because I did a thing called Etheridge TV. I turned my garage into a streaming studio, and every week I would stream five shows. On Wednesdays my wife and I would do a chat show, and on Fridays I would do what I called the Friday Night Time Machine. I started digitizing my old pictures and old videos, and I would show them and tell my life story. I got used to telling it, and my wife started writing it down. But I’m going to still be speaking extemporaneously in the show — I’ll hit the beats so that everything matches right, but I’m not reciting lines.How much excavating did you do in terms of music?ETHERIDGE I’m playing a couple tracks that I hardly ever play live because they were so theatrical, so dramatic that there was never a place for them in my concerts. There’s one from “Your Little Secret” called “This War Is Over” — I think I did it in concert in ’96 and that was the last time. There’s one from “The Awakening” called “Open Your Mind.” You’re going to hear a song I wrote when I was 11 years old, and four or five songs that were never recorded.SOBULE We took out the first song I ever wrote, which was called “Nixon Is a Bad Man, Spiro Agnew Is Too.” I don’t remember the music, but I’m sure it was hot.ETHERIDGE Unfortunately, I did remember the music of mine.Sobule performing in 2000. “When I had ‘Kissed a Girl’ coming out, it was dicey because it was like, ‘Is she a lesbian singer-songwriter?,’” Sobule said.Hiroyuki Ito/Getty ImagesJill, reassure us: Does your show include “I Kissed a Girl”?SOBULE Yeah. People call me a one-hit wonder, and I say, “Wait a second, I’m a two-hit wonder!” When I had “Kissed a Girl” coming out, it was dicey because it was like, “Is she a lesbian singer-songwriter?”ETHERIDGE It was revolutionary. I remember seeing that, my jaw dropped, and I went, “Wow, here we go.” It was punk, it was edgy, it was that MTV cool. Someone called me once, like management, and said, “Your songs are too sexual.” It was the “Lucky” album. I was having a lot of sex, what can I say?I read that you were involved in some fun parties back in the day.ETHERIDGE It was Hollywood in the early ’90s. I happened to know K.D. Lang; Ellen DeGeneres was this stand-up comic, so was Rosie O’Donnell. I met Brad Pitt after he did a little independent film with Catherine Keener, who’s a real good friend of mine. None of us had kids, and we were all young and crazy. There was a lot of smoking and drinking. It was the drama geeks getting together and having fun.What do you do for fun now?ETHERIDGE Fun is getting in bed before midnight. I watch football. [To Sobule] You’re not a Broncos fan, are you? Last night was brutal. I have to hug you.SOBULE My whole family was at the game and they FaceTimed me. I almost didn’t make today, it was so awful.ETHERIDGE I’m with the Kansas City Chiefs: We’re set. In high school we had powder-puff football. We showed up for the first practice — I was the quarterback, thank you very much — and then they came and said, “We’ve got to shut this down, we don’t have insurance,” or something. Because of Title IX, we were supposed to be able to do it, but we didn’t, and it broke my heart.SOBULE The last couple years I’ve been totally into basketball. I like it because there’s so many games and it doesn’t matter.ETHERIDGE Oh no, I like something to be on the line. Every. Play. More