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      in Music

      New York Philharmonic Opens Its Season Amid Labor Talks and Troubles

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      The orchestra is working to negotiate a new contract with musicians, resolve a misconduct inquiry and hire a new chief executive.On a recent night at Lincoln Center, a group of New York Philharmonic musicians, dressed in matching black shirts and carrying union leaflets, fanned out and began to evangelize.“Support the musicians!” Thomas Smith, a trumpet player, told a crowd of concertgoers.It was one of the New York Philharmonic’s first concerts of the fall, and the musicians, in the middle of high-stake labor talks, were alerting their audience to what they hoped would be embraced as startling facts.The orchestra’s players have not had a raise since 2019, and they are paid substantially less than colleagues in Boston, Chicago and Los Angeles.“We need your help,” Alina Kobialka, a violinist, said as she handed out leaflets.The scene was a reminder of the stark challenges this season for the Philharmonic, which not so long ago seemed to be beginning a vibrant new chapter.The labor agreement between management and the musicians expires on Friday, only a few days before the orchestra’s opening gala, a major fund-raising event.The Philharmonic lacks a permanent president and chief executive, after the sudden resignation in July of its leader, Gary Ginstling. An investigation into sexual harassment and misconduct at the Philharmonic has dragged on. And the ensemble, which is awaiting the arrival in 2026 of the star conductor Gustavo Dudamel, has no full-time music director this season or next.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Television

      7 Days in the Cultural Life of a Real Housewife of N.Y.C.

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      Between seasons of “The Real Housewives of New York City,” Erin Lichy is researching recipes, listening to Charli XCX and checking out fashion at the Met.Erin Lichy joined the cast of “The Real Housewives of New York City” last year, and like so many of the women on the long-running Bravo series, “housewife” doesn’t really even scratch the surface of her life. Lichy, 37, is a mother of three and sells luxury real estate in New York City and the Hamptons. She has a home on the Upper West Side and another in Sag Harbor.Before the premiere of the new season of “Real Housewives of New York City,” which is set for Oct. 1, Lichy kept track of her cultural goings-on during a busy week this summer. These are edited excerpts. (“RHONY” fans will be delighted to know that Lichy really does serve a lot of shakshuka.)On a busy summer Wednesday, Lichy visited bookstores around New York City to research recipes. Monday: Pilates and PickupsI arrived back in the Hamptons from visiting my son at sleep-away camp in Maine, then drove my two younger kids to day camp back in the Hamptons and finally got to a Pilates class. I picked up a cappuccino and a croissant at Carissa’s Bakery and got home around 10:30 a.m. to begin my meetings and calls. Then, I picked up the kids from camp at 3 p.m. and stopped at the farmers’ market on the way home to pick up fresh produce to grill for dinner that night. After we ate I put the kids to sleep, journaled and got to sleep early.Tuesday: Italian in Sag HarborBefore I dropped the kids off at camp, I stopped with them at Provisions to get the kids smoothies they love called “Strawberry Monkey.” I went to acupuncture in Sag Harbor for my “trigger finger,” and it actually healed it. Steroid shots didn’t work, but acupuncture did. It’s amazing. Then I got back around 10 a.m. to hop on a call with the mezcal brand Mezcalum team about a weekend that we planned in early August. We created lots of video content and social/YouTube content for the brand in addition to cocktail and recipe videos with Joey Wölffer from Wölffer Estate. Then, after a long day of work, I landed at Tutto il Giorno for dinner in Sag Harbor.Lichy outside the Metropolitan Museum of Art, where she saw the “Sleeping Beauties” fashion exhibition.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

    • 138 Shares99 Views

      in Theater

      Kit Connor and Rachel Zegler Are Star Crossed in Central Park

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      On a morning in mid-August, a breeze stirred Central Park’s midsummer leaves. Children skipped, dogs lolloped, a bunny peeked out from a hedge near the Great Lawn while a nearby saxophone ruined “Isn’t She Lovely.” It was a very nice day to fall in love.The actors Kit Connor and Rachel Zegler were there, hiking up to Belvedere Castle and then down to the Shakespeare Garden. Connor, 20, and Zegler, 23, don’t plan to fall in love. But the next day, at rehearsal, in Brooklyn they would discover how to make the characters they play fall desperately, terribly in love.As the stars of the “Romeo + Juliet” that opens on Broadway on Oct. 24, they will die for love, they will die for each other, eight times a week. Both are making their Broadway debuts and both have the not exactly enviable task of making a 16th-century play with (apologies for centuries-old spoilers) a famously grim ending feel breath-catchingly new and vital.Daunting? Not at all.“It should be fun,” Connor said, not without some anxiety. Zegler gave him a sardonic look. “It will be fun,” he said. Connor, a British star of the Netflix teen romance “Heartstopper,” and Zegler, an American who made a thrilling film debut in Steven Spielberg’s “West Side Story,” had never met until March, shortly after they each agreed to star in the revival, dreamed up by the Tony-winning director Sam Gold, with music by Jack Antonoff. They had been offered the roles separately, without the benefit of a chemistry read. That spring day, Gold brought them to Circle in the Square Theater, where previews will start Sept. 26, then bought them cups of coffee at the Cosmic Diner.Kit Connor, right, on the Netflix series “Heartstopper” opposite Joe Locke.Teddy Cavendish/NetflixWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      For Some Sex Assault Accusers, This Local Law Has Become a Last Resort

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      The law, which underpins several civil suits against Sean Combs, is the only remaining tool for reviving older claims in New York.In New York, where state laws that extended the time to file sex abuse suits have lapsed, plaintiffs have found one remaining tool: Section 10-1105 of New York City’s administrative code.The provision, known as the Victims of Gender-Motivated Violence Protection Law, has provided the basis for recent lawsuits against the Aerosmith frontman Steven Tyler; the luxury real estate agents Tal and Oren Alexander; New York City’s Department of Correction; and the hip-hop mogul Sean Combs, who is a defendant in four.“This statute continues to provide an avenue of relief for survivors,” said Douglas Wigdor, a lawyer for a woman who sued Mr. Combs under the gender-motivated violence law, accusing him and two other men of gang-raping her in a New York recording studio in 2003. He has vehemently denied the allegations.Lawyers say they have been increasingly using the law, first passed by the City Council in 2000, since the expiration last year of the New York state law that had allowed for the filing of lawsuits over sexual abuse allegations even after the statute of limitations had passed. The state law, one of many adopted around the country in the wake of a surge in #MeToo complaints, led to more than 3,000 state court filings relating to claims that often dated back decades — in addition to thousands more filed under an earlier law for people who said they were sexually abused as children.Now plaintiffs are often relying on the city law that — because of a 2022 amendment — established a two-year window in which plaintiffs can sue over older allegations. That window closes at the start of March 2025, and the claims have to be related to events said to have occurred in New York City.In recent months, though, defense lawyers have mounted significant legal challenges to the city’s amendment. They have argued that the City Council infringed on the jurisdiction of state lawmakers, and in several cases, judges have issued decisions limiting the amendment’s scope.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

    • 138 Shares169 Views

      in Music

      The N.Y. Law That Underpins Several Lawsuits Against Sean ‘Diddy’ Combs

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      The law, which underpins several civil suits against Sean Combs, is the only remaining tool for reviving older claims in New York.In New York, where state laws that extended the time to file sex abuse suits have lapsed, plaintiffs have found one remaining tool: Section 10-1105 of New York City’s administrative code.The provision, known as the Victims of Gender-Motivated Violence Protection Law, has provided the basis for recent lawsuits against the Aerosmith frontman Steven Tyler; the luxury real estate agents Tal and Oren Alexander; New York City’s Department of Correction; and the hip-hop mogul Sean Combs, who is a defendant in four.“This statute continues to provide an avenue of relief for survivors,” said Douglas Wigdor, a lawyer for a woman who sued Mr. Combs under the gender-motivated violence law, accusing him and two other men of gang-raping her in a New York recording studio in 2003. He has vehemently denied the allegations.Lawyers say they have been increasingly using the law, first passed by the City Council in 2000, since the expiration last year of the New York state law that had allowed for the filing of lawsuits over sexual abuse allegations even after the statute of limitations had passed. The state law, one of many adopted around the country in the wake of a surge in #MeToo complaints, led to more than 3,000 state court filings relating to claims that often dated back decades — in addition to thousands more filed under an earlier law for people who said they were sexually abused as children.Now plaintiffs are often relying on the city law that — because of a 2022 amendment — established a two-year window in which plaintiffs can sue over older allegations. That window closes at the start of March 2025, and the claims have to be related to events said to have occurred in New York City.In recent months, though, defense lawyers have mounted significant legal challenges to the city’s amendment. They have argued that the City Council infringed on the jurisdiction of state lawmakers, and in several cases, judges have issued decisions limiting the amendment’s scope.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

    • 88 Shares139 Views

      in Theater

      Yesterday’s Broadway Warhorses, Saddled With Today’s Concerns

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      Revivals of “Romeo and Juliet,” “Our Town,” “Gypsy” and “Sunset Boulevard” aim to show that rethinking for the present is what makes classics classic.Two cheers for new voices! Of the 16 productions scheduled to open on Broadway between now and the end of the year, 12 are new to the Boulevard of Broken Budgets.But I’d like to reserve a third cheer for the fall’s four revivals, which may get less attention, having been this way before, but are likely to earn their keep if history holds true. Old voices are, after all, where new voices come from. And though 240 years separate the Broadway debuts of “Romeo and Juliet” and “Sunset Boulevard,” with “Our Town” and “Gypsy” in between, they all have much in common, at least in their continued haunting of theatergoers’ imaginations.That haunting arises, in part, from our memories of past stars who hover alongside the new ones. In “Our Town,” Henry Fonda and Paul Newman will be whispering the Stage Manager’s lines to Jim Parsons. Ethel Merman, Angela Lansbury and Patti LuPone will no doubt watch over Audra McDonald as she takes on the role of Rose in “Gypsy.” LuPone will also be looking over Nicole Scherzinger’s shoulder in “Sunset Boulevard”; presumably keeping a safe distance, so will Glenn Close. And though few are likely to remember Robert Goffe, the original Juliet, he too will be felt on Broadway this fall. However long ago, the part was built on him.But revivals of shows like these have more to offer than ghosts. There’s a reason, aside from name recognition, that they keep coming back. Though products of vastly different times and cultures, they dig so deep into their specific truths that they reach a common, eternal one, from which many others may spring.Perhaps that’s most evident in “Our Town,” Thornton Wilder’s 1938 play about two families whose ordinary life events, from birth to death, are consecrated by a kind of communal love. The director Kenny Leon said that in his production, “1936 runs into 2024,” allowing the story to serve “as a metaphor for our world, for our country, even our time.”Paul Newman in a 2002 production of “Our Town.”Sara Krulwich/The New York TimesHenry Fonda in a 1969 production of “Our Town.”Everett CollectionWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      The Creators of ‘Grounded’ Discuss Writing for the Met Opera

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      Allow the creators of opera some grace.Composers, librettists and their colleagues put years of work into something that, if they are lucky, gets a workshop performance or two before arriving onstage. If there is a revival — never a given in opera — they have an opportunity to make revisions.This process can be brutal for artists. And it’s not the usual one for the composer Jeanine Tesori and the playwright George Brant, the creators of “Grounded,” which opens the Metropolitan Opera’s season on Sept. 23.Tesori was written operas before, but she and Brant are more often animals of the traditional theater and the Broadway musical, environments where constant revisions responding to workshops, rehearsals and preview performances are the norm. Operas are also revised until the last possible moment, but they are never given the luxurious feedback that creators get in theater.“In the theatrical space, the audience is part of the process,” said Tesori, the Tony Award-winning composer of the shows “Kimberly Akimbo,” “Fun Home” and “Caroline, or Change.” She learned from George C. Wolfe, the decorated playwright and director, “that the audience is your final scene partner.”“I wish I were one of those artists who really knows what they have, but I just don’t,” she said. “So, I feel like I’m still getting to know what ‘Grounded’ is.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Theater

      7 Days in the Cultural Life of an Artistic Director

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      Violaine Huisman, who leads programming for the Crossing the Line festival, takes in dance on Little Island, a world premiere at Asia Society and “invigorating” translation projects.Bastille Day felt a little bit different this year than others, said Violaine Huisman, the artistic director of New York’s annual Crossing the Line festival. L’Alliance, the French cultural center in Midtown, throws a party every July 14, the anniversary of the storming of the Bastille during the French Revolution. This year, the celebration took place just one week after a surprising snap election left President Emmanuel Macron — and France — in a state of flux.“I overheard onlookers wondering out loud whether it was a French tradition to demonstrate with blank signs on that day,” recalled Huisman, who had just been in the country to witness the upset in the streets. (Many participants in this year’s festival opted to carry blank placards in homage to a demonstration created by the choreographer Anna Halprin during the civil rights and antiwar protests of the 1960s.)During these times of uncertainty, many look to art for clarity and guidance. Huisman, 45, is certainly one of those people, as she has been hard at work curating programming for the next Crossing the Line, which kicks off several weeks of art, dance and theater on Sept. 5.Ahead of the festival, Huisman tracked a few days of her cultural life, noting some of the performances, books and music, mostly from her native France, that inspired her. Here are edited excerpts from phone and email interviews.“I overheard onlookers wondering out loud whether it was a French tradition to demonstrate with blank signs on that day,” Huisman said.Jutharat Pinyodoonyachet for The New York TimesSunday: Placards for PeaceWe celebrated Bastille Day at L’Alliance with a street fair and an amazing piece of performance art, in which two dozen volunteers carrying blank placards engaged in a procession through Midtown, trailed by a marching band. It was a re-enactment by Anne Collod of Anna Halprin’s “Blank Placard Dance.” Volunteers asked audience members what they would march for. “Peace” was the overwhelming response.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