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      Sy Johnson, Arranger Who Worked Closely With Mingus, Dies at 92

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      A jazz Renaissance man, he arranged many of the bassist’s later works and also wrote reviews, took photographs and composed his own music.Sy Johnson, a Renaissance jazz master — pianist, composer, journalist, photographer — who made his biggest impact as a frequent arranger, orchestrator and all-around right-hand man for the celebrated bassist Charles Mingus, died on July 26 in Manhattan. He was 92.His wife, Lois Mirviss, said the death, in a hospital, was caused by complications of Covid-19.The jazz critic Gary Giddins called Mr. Johnson “one of those indispensable people you never heard much about,” and few in the jazz world would disagree. He started out in the late 1950s playing piano, first in Los Angeles and then in New York. He soon branched out to arranging, working not just with Mingus but also with a host of musical luminaries including the saxophonist Lee Konitz and the arranger and bandleader Quincy Jones.He also wrote words: He conducted a seminal interview with Miles Davis and contributed record reviews to the short-lived quarterly Jazz magazine in the 1970s. He worked on Broadway and even composed his own musical, based on the works of J.R.R. Tolkien. And all along, he toted a 35-millimeter Leica camera, crafting spontaneous, intimate portraits of the jazz scene of the 1960s and ’70s. Many of his photographs were collected in a 2014 book, “Jazz: Personal Encounters.”Yet for all that, Mr. Johnson remained just outside the limelight, onstage but in a dark corner.“Gifted as he was, Sy seemed quite content to function as an invisible man making a slew of celebrated musical figures sound better than they might have without him,” Mr. Giddins said in an email.Mr. Johnson’s work with Mingus covered the last decade of the bassist’s life, before he died of Lou Gehrig’s disease in 1979. Mr. Johnson understood how to arrange Mingus’s compositions to fit the big-band formats that he preferred later in his career, without pushing them into a standard big-band sound or losing the lush texture of Mingus’s work.Just as important, Mr. Johnson knew how to navigate around Mingus’s famously exacting, often explosive personality, where other collaborators often feared to tread. Mingus trusted Mr. Johnson to write melodies and organize his sometimes chaotic flow of musical insights into a workable piece of music.Mr. Johnson “often accompanied our family in our home and retreats, regularly providing a photographic chronicle to Mingus’s private moments,” Roberto Ungaro, the president of the Charles Mingus Institute and the son of Mingus’s widow, Sue, said in an email. “In a world of struggle and populated with adversaries, Sy was one of the people Mingus truly trusted.”Their relationship did not end with Mingus’s death. Sue Mingus created a series of bands — the Mingus Big Band, the Mingus Orchestra and Mingus Dynasty — to play his music, and once again Mr. Johnson often provided arrangements.“He knew how to capture on paper exactly what Mingus wanted,” Mr. Giddins said, “and seemed to have stoked his ambition instead of trying to reduce it.”Charles Mingus and his wife, Sue, at their home in Manhattan in 1978, as photographed by Mr. Johnson. In addition to working in music, Mr. Johnson documented the jazz scene of the 1960s and ’70s with his 35-millimeter Leica camera.Sy JohnsonSivert Bertil Johnson Jr. was born on April 15, 1930, in New Haven, Conn. His parents were both immigrants: His father, a homebuilder, came from Sweden, and his mother, Elizabeth (Werning) Johnson, from Lithuania.Along with his wife, he is survived by his sister, Elizabeth Keppel.Young Sy admired jazz long before he mastered it. He later recalled the first time he heard Charlie Parker play, on a recording one of his teenage friends brought home.“At that age I wasn’t capable of analyzing it,” he said in a 2018 interview. “All I knew was that suddenly, the winds had changed.”After high school he joined the Air Force, where his friends included John Williams, who would go on to achieve fame as a composer of film scores. Following his discharge he settled in Los Angeles and studied at the University of California, Los Angeles, with plans to become a lawyer. He studied English and graduated in 1958, but by then he had fallen in with the city’s jazz scene and set his plans for a legal career aside.His first encounter with Mingus was promising. Soon after he arrived in New York, in 1960, the bassist invited him to play with his band at the Showplace, a club in Greenwich Village.Things soured quickly. At one point during a performance, Mingus ordered Mr. Johnson to play “pedal tones, just pedal tones” — sustained low notes — but Mr. Johnson struggled to find the right pattern.Mingus got angry. He threw down his bass, ran to the piano and put his face up to Mr. Johnson’s.“I see these maniacal eyes an inch away,” Mr. Johnson recalled. “And he’s just glaring and making these funny breathing noises.”Mingus hammered four times on the bass end of the piano, then ran back to his instrument and resumed playing, furiously.At other times, though, Mingus seemed to appreciate Mr. Johnson; he once told the audience, “This white boy can play!”Then one evening Mr. Johnson arrived to prepare for a show, only to find the piano closed and the renowned saxophonist and flutist Yusef Lateef standing beside it.“If you were me and had the chance to hire Yusef Lateef or you,” Mingus said by way of apology, “who would you hire?”Mr. Johnson went on to play with other groups and eventually found a career as an arranger with Emil Charlap, a jazz musician who ran an arranging and copying company.One day in 1971 Mingus came to the office, looking for someone to arrange music for an upcoming album. He had someone specific in mind, but that person wasn’t there — so he thrust the sheet music into Mr. Johnson’s hands, apparently not remembering their earlier collaboration.His first arrangements for Mingus were for two pieces on his album “Let My Children Hear Music,” released by Columbia in early 1972: “The Shoes of the Fisherman’s Wife Are Some Jiveass Slippers” and “Don’t Be Afraid, the Clown’s Afraid Too.” In his liner notes, Mingus called it “the best album I have ever made.”Mr. Johnson also helped pull off a concert at Philharmonic Hall (now David Geffen Hall) in New York, which was recorded and released that same year as “Mingus and Friends Live in Concert.” Taken together, the two recordings showed that, thanks in part to Mr. Johnson’s arrangements, Mingus had mastered the big-band sound he had been seeking for so long.Mingus would later also record two of Mr. Johnson’s compositions, “Wee” and “For Harry Carney.”Mr. Johnson’s work went beyond his collaboration with Mingus. Before and after the bassist’s death, he worked with a number of leading musicians as an accompanist, arranger and composer. He did the arrangements for two Broadway musicals, “Blues in the Night” (1982) and “Black and Blue” (1989). He also wrote a little-seen musical, “Hobbit, Hobbit,” based on the work of J.R.R. Tolkien.“He was just a master,” Tom Stites, who was Mr. Johnson’s editor at Jazz magazine, said in a phone interview. “He was a master jazz writer. The master photographer. He was just a master of everything he touched.” More

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      ‘Exposing Muybridge’ Review: Putting a Cinematic Pioneer in Focus

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      A documentary of the 19th-century photographer Eadweard Muybridge’s legacy shows the enduring fascination of his work.“Exposing Muybridge,” a documentary on the art and science of the pioneering photographer Eadweard Muybridge, trots into release less than two weeks after Jordan Peele’s “Nope” put a new spotlight on Muybridge’s proto-cinematic images of horses in motion.The documentary, written and directed by Marc Shaffer, is in some ways a standard, PBS-ready biographical survey in which talking heads relate the highlights of Muybridge’s career. By comparison, Thom Andersen’s “Eadweard Muybridge, Zoopraxographer,” from 1975, made more innovative use of Muybridge’s photographs for visual and storytelling purposes. Still, Shaffer devotes time to aspects of Muybridge’s legacy that don’t make all the standard rundowns.Before Muybridge turned his attention to motion, the movie notes, he shot landscapes in the West. Shaffer trails the photographers Byron Wolfe and Mark Klett to Tenaya Lake in Yosemite National Park in California, where they try to locate Muybridge’s original vantage point. They also analyze photographs of the same location by the 20th-century photographers Edward Weston and Ansel Adams, to shed light on Muybridge’s distinctive eye as an artist.Others share views on Muybridge’s eccentricities. The actor Gary Oldman, a collector of Muybridge’s work who has been involved in trying to make a Muybridge biopic, comes off as a serious enthusiast when expounding on the photographer’s motives and photographs. The biographer Marta Braun and the art historian Amy Werbel challenge the idea that Muybridge’s motion studies at the University of Pennsylvania should count as scientific, in line with the university’s ostensible expectations. The film historian Tom Gunning suggests that Muybridge was, unwittingly, something of a Surrealist forebear.While starchy in presentation, “Exposing Muybridge” makes clear that its subject’s images still have a lot to show us.Exposing MuybridgeNot rated. Running time: 1 hour 28 minutes. Rent or buy on Apple TV, Google Play and other streaming platforms and pay TV operators. More

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      ‘From Where They Stood’ Review: Auschwitz, as Seen by Prisoners

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      Christophe Cognet’s documentary pores over photographs, some of them clandestine, taken by prisoners, inside the Nazi concentration camp.Christophe Cognet’s “From Where They Stood” scrutinizes an astonishing record of the Holocaust: photographs secretly taken by prisoners within Auschwitz-Birkenau and other concentration camps. Cognet’s analytical documentary adopts the stance of an investigating historian to explicate the pictures, which were made and smuggled out at mortal risk.Unlike many documentaries about the Holocaust, this film hinges on still images rather than archival footage or interviews with survivors. Cognet joins scholars to pore over these pictures and their silent testaments; in one clutch of images, women displaying wounds on their legs are revealed to be subjects of Nazi medical experiments. Other portraits catch people in eerily calm-looking repose.But the clandestine pictures known as the Sonderkommando photographs carry the gravest weight of all. These ghostly images depict nude women on the way to the gas chamber and, afterward, corpses left in the open air (both scenes overseen by the cremation prisoner workers known as the Sonderkommando). Shot from a significant distance, apparently through holes in the gas chambers, these figures are small and not greatly defined, but no less devastating.Cognet (who also made a documentary about artworks created in the camps) visits camp sites to re-create the precise positions and sightlines of the photographers and their subjects. His film can feel overly cerebral—a bit like being plunged into a seminar—and the text cards do a lot of explanatory heavy lifting. But Cognet’s forensic approach does insist on memorializing these events in an important, physically specific way and, intentionally or not, queasily anticipates a world without any living eyewitnesses to these horrors.From Where They StoodNot rated. In French, Polish and German, with subtitles. Running time: 1 hour 55 minutes. In theaters. More

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      in Theater

      Portraits of the 2022 Tony Nominees

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      The Broadway season that just ended, the first since the pandemic shutdown, will be remembered for many reasons — the persistence of Covid, the death of Stephen Sondheim, the dwindled tourism and the indispensable understudies. It was a season for renewed appreciation: of song and storytelling and shared experiences, of a beloved art form and a rebounding industry. And it was a season that featured an extraordinary volume of work by Black artists, catalyzed by the social unrest of 2020. The 2022 Tony Awards, which take place June 12, offer an opportunity to honor some of Broadway’s best work; in anticipation of that event, we photographed and interviewed many of the performers, and a few of the writers, directors and choreographers, nominated for awards. Below are portraits and edited excerpts from the interviews.“MACBETH”Ruth Negga“I’ve always wanted to be an actress, since I was a really young kid. I just love stories in all shape and form. And for me, there’s a whole different draw: There’s an aspect of the performer, the peacock — something kind of lovely about being looked at, at the same time I’m quite shy in my normal life, so that’s an interesting dichotomy.” — Ruth Negga“POTUS”Rachel Dratch and Julie White“People really, really want to laugh. The laughs are like hyperlaughs. Maybe that’s pandemic-flavored. Obviously, I’ve done a lot of comedies, but this one you can just feel the cackles coming off the audience. I think it’s because people have been shut in for so long.” — Rachel Dratch“All the lady shows — we’re all keeping our clothes on. It’s the boys that are taking them off. I feel like that’s a step in the right direction.” — Julie White“TAKE ME OUT”Jesse Tyler Ferguson, Jesse Williams and Michael Oberholtzer“I decided at the age of 5 I was going to become an actor or a baker or a zookeeper. My dad reminded me that zookeepers were going to have to pick up lots of poop, and so then I narrowed it down to the baker and the actor, and the acting just seemed more fun. So it was a very early decision, and I’m glad it panned out.” — Jesse Tyler Ferguson“I’m making discoveries every day. It’s really liberating. It’s incredibly stressful. And it’s a lot of pressure.” — Jesse Williams“This is something that I never really thought about, and it’s kind of all I ever thought about at the same time. Not so much the Tonys, but to be in a position to have an opportunity to be in a play, in a production that is seen by people, that excites people, that’s talked about.” — Michael Oberholtzer“hangmen”Alfie Allen“I was going to be a snowboard instructor at one point if the acting didn’t work out. Came back from getting that qualification, and then I got a part in a film.” — Alfie Allen“Paradise Square”Joaquina Kalukango, A.J. Shively and Sidney DuPont“There’s hope in community. There’s hope in love. There’s hope for this country. And I think the more we see the things that are alike within us, the less we see the differences.” — Joaquina Kalukango“There’s 40 of us in this cast. To sing in a big group like that, which has been unsafe for a long time, it feels wonderful. That first rehearsal back when we all sang together, we were all just crying.” — A.J. Shively“I’m hoping that by me being in this space and by doing what I’m doing, that I can inspire young Black boys and men and inspire young hearing-impaired people to believe that they can do it — that there’s nothing, nothing that can get in your way as long as you push for it.” — Sidney DuPont“dana h.”Deirdre O’Connell“Because everything had stopped so radically, it felt like there was a real wide open spirit to the way people were going to the theater.” — Deirdre O’Connell“funny girl”Jared Grimes“I started dancing in the subways. We would set up the board, and we would just dance.” — Jared Grimes“company”Patti LuPone, Jennifer Simard and Matt Doyle“To experience any of Steve’s work is to realize what a human is capable of. He is complex, deeply human, nuanced and daring. He dares to write about every aspect of the human condition with a deeply beating heart.” — Patti LuPone, on Sondheim“Thank God Stephen actually came to the first preview. It was like a rock concert. He adored it, and he laughed from his head to his toes.” — Jennifer Simard“The first preview back was just so magnificent and overwhelming. And to have Stephen Sondheim sitting there with us, it’s a night that I will never forget.” — Matt Doyle“the music man”Hugh Jackman, Sutton Foster and Jayne Houdyshell“I get bored of myself. I think that’s why I like acting. With acting, you get to have complete freedom to do all sorts of things.” — Hugh Jackman“The pandemic was crazy. I remember when the theater shut down and all of a sudden you realize, ‘Wait a minute, what I do for a living just doesn’t exist right now.’ I don’t think anyone plans for that.” — Sutton Foster“It feels like a big privilege to be part of the group of people that have come together to make Broadway reopen and do it as safely as possible.” — Jayne Houdyshell“For Colored Girls Who Have Considered Suicide/ When the Rainbow Is Enuf”Camille A. Brown and Kenita R. Miller“I didn’t grow up during the internet, so we went to the library and we got videos of our favorite musicals and we would watch them over and over again, and the dance sequences, and I would learn them.” — Camille A. Brown (nominated as director and choreographer)“I get this tribe of sisters that have shown me what it really means to be a sister.” — Kenita R. Miller“How I learned to drive”Mary-Louise Parker, Paula Vogel and David Morse“I didn’t think the play would ever be produced. I didn’t think I’d ever find actors who could do it. I thought I was going to be judged and condemned for writing it. I realized I shouldn’t be afraid of telling the truth.” — Paula Vogel (nominated as playwright)“Just living in a world right now where judgment of other people comes quickly and it’s severe. And what Paula wrote, it doesn’t allow you to do that. It just opens you up.” — David Morse“We all have darkness. We all have things we need to be forgiven for. And I think that is something kind of important to remember.” — Mary-Louise Parker“A STRANGE LOOP”Michael R. Jackson, Jaquel Spivey, L Morgan Lee and John-Andrew Morrison“I’m a writer because I have questions, and I have things that scare me, and the only way for me to get over my fears is to confront them directly.” — Michael R. Jackson (nominated as book and score writer)“I grew up watching movie musicals. I was obsessed with them. ‘Dreamgirls,’ the movie: As soon as I saw Jennifer Hudson singing, I thought ‘I want to do that!’” — Jaquel Spivey“In many ways, I feel like it took the world to turn upside down for me to start to find some sense of visibility.” — L Morgan Lee“When I first moved to this city, and I would be auditioning, I would hear things like ‘Oh, your pearls are falling out of your mouth,’ or ‘You’re not thug enough.’ So to be able to be in a show where I can be as queer and as flamboyant and as gay and as big as I possibly can be, and it’s not only needed but celebrated, is amazing.” — John-Andrew Morrison“Mr. Saturday night”Billy Crystal and Shoshana Bean“People are starved for entertainment, and you look out and they’re all masked and yet they’re laughing as hard as they can and we’re getting the same energy we would get. It’s so important that people get entertained and we get some sort of semblance of normal life. This show has been very healing for all of us in a lot of different ways.” — Billy Crystal“The first night that we had an audience and heard that laughter en masse: It’s a drug. It’s crazy.” — Shoshana Bean“Lackawanna blues”Ruben Santiago-Hudson“There was a lot of trepidation, and a lot of second-guessing. I wasn’t sure if one person would show up. But one of the things I discovered is people need theater as bad as we need people to need theater. Human beings need to do what is innate in us, and that’s to be social creatures and to have shared experiences with one another.” — Ruben Santiago-Hudson“MJ”Myles Frost and Christopher Wheeldon“What I cherish the absolute most is getting here — the journey that it took even before I hit the stage the first time, and learning myself, learning more about Michael, meeting my cast mates for the first time. It’s little moments like that that stick out to me the most.” — Myles Frost“The last few months have been filled with highs and lows and a lot of fear, just around whether we could actually get up and get running, keep our cast on the stage, get our audiences in the door. I have learned a lot about my capacity to handle fear as an artist, and also, like the rest of the world, as a human being, and actually to find the best ways that I can to turn that fear into some positive and creative energy.” — Christopher Wheeldon (nominated as director and choreographer)“Clyde’s”Uzo Aduba and Kara Young“It’s exciting to be a part of the thing that people are craving, which is community. Theater has always served as something that is more than just entertainment, but in this time, even more than in the past, it feels like a healing. Some days, when the curtain will come up, I’m not even sure they’re applauding the show. A layer of this feels like it’s for another need.” — Uzo Aduba“I have to admit that I really was very eager to work. And because this was the cards that were dealt, I really hugged this moment with all of myself.” — Kara Young“Clyde’s” and “MJ”Lynn Nottage“I feel very proud to be part of a season in which we’ve had more representation by Black writers than in the history of, probably, Broadway in its entirety.” — Lynn Nottage (nominated as playwright for “Clyde’s” and book writer for “MJ”)“Skeleton Crew”Phylicia Rashad“Theater is always bumpy. That is nothing new. But it was great to be back in the theater.” — Phylicia Rashad“American Buffalo”Neil Pepe and Sam Rockwell“It’s come back in such a big, big way. And we were shut down two years ago. I think that’s why it’s really exciting.” — Sam Rockwell (shown with Neil Pepe, who is nominated as director)“Trouble in mind”LaChanze and Chuck Cooper“We need more stories that are showing the diversity in our community, not just the broad strokes.” — LaChanze“I just hope that those who made it into our little theater and were able to go on our journey with us, I hope that they left the theater moved and thinking and curious.” — Chuck Cooper“girl from the north country”Mare Winningham“I’ve learned that marinating in a role is really good.” — Mare Winningham“Mrs. Doubtfire”Rob McClure“When I was 15, I saw a community theater production of ‘Sweeney Todd’ that changed me, and by that, I mean my DNA. I went into that theater as one person, and I left that theater a different person. It was a magic trick that I didn’t know existed. And then I discovered that I could provide that magic trick for other people. And that’s why I act.” — Rob McClure“THE SKIN OF OUR TEETH”Lileana Blain-Cruz and Gabby Beans“When a piece of theater is good — and I feel like everybody is struggling and reaching for that — you walk out of the theater feeling more alive. And for me, wrestling with what it means to be alive is the eternal question.”— Lileana Blain-Cruz (nominated as director)“This character is completely free. She has no boundaries or self-consciousness. So I feel like inhabiting that energy has made me just expand as a person.” — Gabby Beans“the minutes”Tracy Letts“I’ve never felt more camaraderie with my fellow theater artists. This does not feel like a competition to me, these Tony Awards. It feels like a celebration — getting to return to our art form.” — Tracy Letts (nominated as a playwright) More

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      With Cameras on Every Phone, Will Broadway’s Nude Scenes Survive?

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      Audiences are increasingly asked to lock their phones in pouches at comedy shows, concerts and some plays. But what happens onstage doesn’t always stay onstage.Jesse Williams was nominated for a Tony Award last month for his work in “Take Me Out,” an acclaimed play about baseball and homophobia. But when his name trended on Twitter the next day, it was not because of the accolade: it was because someone had surreptitiously taken a video of his nude scene and posted it online.In a recent interview Mr. Williams, who became a star through his appearances on “Grey’s Anatomy,” said he was undeterred by the incident. “I come here to do work — I’m going to tell the truth onstage, I’m going to be vulnerable,” he said. But he also made it clear that he was not all right with what had happened to him, saying that “putting nonconsensual naked photos of somebody on the internet is really foul.”Mobile phones have long disrupted live performances by ringing at inopportune moments, and have irked artists when people use them to illicitly film their work. Now the ubiquity of smartphones with ever-better cameras is leading some actors, particularly celebrities, to reconsider whether to appear nude onstage, given the risk that what is intended as an ephemeral moment can live online forever, out of context.“Ten years ago, I don’t think the first thing out of my mouth would have been: ‘Are you OK knowing that there is a decent chance that this will be filmed or photographed and be out there on social media?’” Lisa Goldberg, a publicist who represents actors in Broadway, television and film, said of the discussions she has when a performer is asked to appear nude. “That would be one of the first things I would bring up to a client today.”Jesse Williams, right, said “putting nonconsensual naked photos of somebody on the internet is really foul.” He appeared in “Take Me Out” with Carl Lundstedt.Sara Krulwich/The New York TimesNudity has grown common onstage over the past 50 years, and major stars including Nicole Kidman and Daniel Radcliffe have performed scenes without clothes on Broadway when their scripts have called for it. But the chances of being photographed au naturel have grown considerably. Being Broadway royalty offers no protection: Audra McDonald, who has won six Tonys, noticed in 2019 that someone had snapped a photo of her during a nude scene from “Frankie and Johnny in the Clair de Lune.” “Not cool at all,” she wrote in a tweet.The recent videos of Mr. Williams surfaced despite the extraordinary steps that Second Stage Theater, the producer of “Take Me Out,” has taken to protect the privacy of the actors who appear nude. Audience members are required to switch off their phones and place them in pouches that are kept locked until the end of the show. The pouches, made by a company called Yondr, have grown increasingly common in recent years, especially at stand-up shows, since comedians are both fiercely protective of their jokes and concerned that some, taken out of context, could cause blowback.Roughly a million Yondr pouches were used at live events in April, nearly five times as many as were used the same month in 2019, the company said. Other shows with nude scenes are now trying them: At the end of May, Penguin Rep Theatre announced that it would deploy Yondr pouches at its upcoming Off Broadway production of “Mr. Parker” because the show contains a brief moment of nudity.Graham Dugoni, who founded Yondr in 2014, lamented that many people still have difficulty figuring out how to “be a human in the world with a computer in your pocket.”“A nude photograph is obviously one very far extreme,” Mr. Dugoni said. “But a comedian’s bit being taken out of context and repackaged on social media and reinterpreted — all of these things don’t enhance the art form. They kind of nibble away at it in a way that makes people go into hedgehog mode.”But the precautions are not foolproof. A night of comedy at the Hollywood Bowl last month was supposed to have been cellphone free, but when its headliner, Dave Chappelle, was tackled onstage, video emerged from a few people who had managed to skirt the rules. And earlier this spring, when Chris Rock had his first public stand-up set after Will Smith slapped him onstage at the Academy Awards, attendees at the Wilbur Theater in Boston were required to put their phones in Yondr pouches, too. They were only allowed to use them in a designated space near the lobby, where one ticketholder sheepishly asked for his phone back because he had forgotten to text the babysitter. Video of that show emerged, too.The ease of recording and uploading video has given pause to people thinking of disrobing in other situations, including some college students who have reassessed the wisdom of traditional naked campus runs and habitués of nude beaches, who are increasingly on the lookout for cameras. But it is becoming a particular issue in the theater, where actors who are asked to appear nude must consent to it when they sign their contracts.Many major stars have appeared nude on Broadway over the years, including Daniel Radcliffe, center, in “Equus” in 2008.Sara Krulwich/The New York TimesKate Shindle, the president of Actors’ Equity Association, said in an interview that many actors believe that live theater is “meant to be participated in within four walls” and that “if that sanctity is compromised, the work suffers.” Recording from the audience, she said, can feel “like a violation — even if you have all your clothes on.”Advanced written consent is required for any filming or photography that involves nudity, union officials said. That includes any video that will appear in Theater on Film and Tape Archive at the New York Public Library for the Performing Arts, said Patrick Hoffman, the director and curator of the archive, which holds more than 4,400 video recordings of live theater productions. Most agree. But over the years, some actors have declined to have their nude scenes recorded for the archive. In some cases understudies have gone on in their places, and in others, their productions have simply not been recorded. Some videos of shows featuring nudity in the archive are specially formatted so researchers can watch them, but cannot pause, rewind, or fast forward.Surreptitious photography posed a challenge to actors appearing nude onstage long before the iPhone debuted in 2007.The theater environment today, where nudity is a regular feature on Broadway and even in some productions at the Metropolitan Opera, is a far cry from what it was like in 1969, when Margo Sappington, the choreographer and a cast member of the original production of “Oh! Calcutta!,” which featured extensive nudity, was among those arrested on charges of indecent exposure after a performance in Los Angeles.Even in that pre-smartphone era, cameras were a nuisance, Ms. Sappington said. So the company decided on a low-tech mitigation measure: If someone spotted a camera from the stage, they would stop the show, break the fourth wall, and call for the ushers.“Now it’s impossible in a Broadway theater in the dark to see cellphones,” she said. “People are so disrespectful. It amazes me.”And the leak of the video featuring Mr. Williams had an all-too-familiar feeling for Daniel Sunjata, who played the same character, Darren Lemming, when “Take Me Out” first ran on Broadway in 2003. Photos of his nude scenes leaked too, but were somewhat more contained in the era before Facebook and Twitter made social media so pervasive.“The main difference between now and then is amplitude,” Mr. Sunjata said, “the speed, the rapidity with which things like this can be spread.”But the leaks troubled Mr. Sunjata, who had found the nude scenes a challenge to begin with. He said he consulted his lawyers and had “wanted heads to roll.”Tatianna Casas, who works for Yondr, helped people seal their phones before a recent comedy show.Calla Kessler for The New York TimesFor Mr. Sunjata, the main difference between performing naked onstage eight times a week before a live audience, and having a photo taken of the nudity, is less about the photo’s permanence then about the lack of context surrounding it. “Someone who hasn’t seen the play just sees naked guys onstage,” he said.The current revival of “Take Me Out” has taken further steps to keep people from filming its actors. As a backup to the Yondr pouches, Second Stage Theater has installed an infrared camera with the ability to pan, tilt and zoom so that security officials can see if any members of the audience are trying to film the nude scenes.At a performance of the play last month, two theater staff members were stationed at the front of the theater at either end of the stage. They stood up during scenes that included nudity. For all the precautions, a phone rang five minutes into the first act. The crowd audibly groaned.When Mr. Williams was asked whether he would sign up again for a show in which he must appear nude, he demurred. “I don’t know,” he said. “My reaction is never as hot, or loud or miserable as everybody expects it to be.”Michael Paulson and Julia Jacobs contributed reporting. Sheelagh McNeill and Alain Delaquérière contributed research. More

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      Joel Grey, on Making a Space for Art and Dreams

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      The prolific actor, writer and photographer just turned 90, in a 1970s-style West Village loft that speaks to his many passions.Rain threatened on a recent Tuesday morning, and there was a chill in the air. But inside Joel Grey’s loft in Manhattan’s West Village, it was spring.Yellow roses — some doing a solo act, some in a clump — pink and yellow tulips, and pink and purple hyacinths sat in various containers on the round table in the open kitchen, on the glass coffee table, on a side table and on the skinny, rectangular dining table. Yet more multicolored roses, splayed atop a cabinet, were — how to put this nicely? — pushing up daisies.Mr. Grey, who won a Tony in 1967 and an Oscar in 1973 for his ineradicable portrayal of the feverishly rouged M.C. in the musical “Cabaret,” stood at the kitchen counter trying to arrange a new grouping of tulips. (He spends $50 a week on flowers at the local Whole Foods.) But these seemed to be an uncooperative bunch. “You kids are being difficult,” he told them, turning away for a minute to say hello to a visitor.Based on the evidence of an admittedly small sample — a reporter, a photographer, a publicist — the eternally pixieish Mr. Grey greets guests as though they were the winning lottery tickets that he thought he’d lost.But perhaps some of this ebullience was situational. “You know, it’s almost my 90th birthday,” he announced, clapping his hands like a delighted child, and leading the way to his office. There, on a hanger, was an orange sweatshirt with “1932” emblazoned in large black numbers on the front. (For the record, April 11 was the day.)“A darling friend gave a sweatshirt to Duane Michals for his 90th birthday, in February,” Mr. Grey said, referring to the photographer. “And I told her, ‘I want one too!’”The Tony- and Oscar-winning actor Joel Grey lives in a loft in the West Village, where he is surrounded by art and the souvenirs of his travels.Stefano Ukmar for The New York TimesJoel Grey, 90Occupation: Actor, writer, photographerNot by design: “My style is not eclectic, but rather serendipity. I’m truly Mr. Serendipity. Nothing I’ve bought was planned. Everything in here is about the moment.”He bought the apartment in the late 1990s, based on a floor plan.“I wanted to be in the Village. It was a whole new world to me,” said Mr. Grey, who had been living on the top floor of the Hotel Des Artistes on West 67th Street in an apartment that was put together, room by room, from former maids’ quarters, and had a skylight and a terrace. “But my brother told me, ‘You can’t live down there.’ At the time, it was very scrubby and scruffy on the streets near the West Side Highway. The place where the boats came in — the piers — it was all very undone.”But what was scrubby and scruffy when measured against proximity to the Hudson River? Mr. Grey watches it roll by from the built-in daybed where he drinks his morning coffee and reads his morning paper: “It’s my friend and my partner and my serenity.”He was further captivated by the “wet-clay” possibilities of a new-construction building. “It was about open space,” he said, “which I found so alluring, and about the mystery of how to make it a home. It was an adventure.”Mr. Grey’s well-traveled Vuitton trunks have been repurposed as side tables.Stefano Ukmar for The New York TimesA very personal adventure. There’s no interest here in showing off designers or making vignettes. Minimalist and neutral, with clean lines, columns and concrete floors, the apartment is part 1970s SoHo loft, part midcentury-modern design, with a cowhide rug on the floor of the bedroom, a cowhide-covered butterfly chair and a Jens Risom woven chair.“But I don’t think about periods,” Mr. Grey said. “I think about exclamation points.”Perhaps the exclamation points are the works of art: by, among others, Richard Tuttle, Robert Rauschenberg, Jim Dine, Joan Miró, Sally Gall and Mr. Michals. Woodcarvings of antelope heads stand in a row on a windowsill. African sculptures dot the piano. There’s a galley wall in the primary bathroom.Mr. Grey is, of course, best known as an actor and director (of the acclaimed 2018 Yiddish version of “Fiddler on the Roof”), and he continues to perform. He is part of the cast of “The Old Man,” a series scheduled to premiere on FX in mid-June. “I am not the old man,” he said, before anyone has a chance to ask.When Mr. Grey directed a Yiddish version of “Fiddler on the Roof,” his assistant gave him an appropriately themed pincushion. Stefano Ukmar for The New York TimesBut over the past dozen and a half years, Mr. Grey has also made a name for himself as a photographer. His work has been the focus of gallery shows and of several monographs. His most recent book of photographs, “The Flower Whisperer,” published in 2019, paid tribute to the nether regions of daisies, sunflowers, lilies, daffodils et al.Stuck inside during the pandemic, Mr. Grey began looking for — and photographing — the faces he saw in dried petals. They will be the subject of his next book. “Look up there. It’s a whole new world,” he said, pointing to a detail in the image of a dead blossom hanging on a partition in his office. “I see a bow tie.”Art and design have long been a part of his life. Growing up in Cleveland, the 8-year-old Joel fantasized about getting lost at the local museum and shut in overnight. Later, as work began taking him out of town, he invariably returned to New York with crafts. When, at the age of 19, he went to London to play the Palladium, he visited Positano, Italy, “and now I am looking at these monkey candlesticks I brought home,” he said, nodding toward the coffee table.A friend gave Mr. Grey a sweatshirt as a 90th-birthday present.Stefano Ukmar for The New York TimesShelves in Mr. Grey’s closet/dressing room display marionettes from Mexico; figures, bowls, vases and baskets from European ports; and, a little closer to home, collages made by his mother, Grace.The mother-son relationship, as chronicled in Mr. Grey’s 2016 memoir, “Master of Ceremonies,” was complicated. But it was because of Grace, he said, that even as a struggling actor, he cared deeply about his surroundings.“I always did up my apartments, even if I only spent a dollar and a quarter,” he said. “My mother and father taught me the importance of being professional and of making a place for myself. And my mother was all about making a space for art.”He has made the place and made the space. “It was all about, ‘Let’s figure this out,’” Mr. Grey said. “‘Let’s dream a little here.’ I’m a big believer in dreams.”For weekly email updates on residential real estate news, sign up here. Follow us on Twitter: @nytrealestate. More

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      Cole Sprouse on Finding a Healthy Balance in Hollywood

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      The former child actor wanted to leave showbiz. Now, the “Moonshot” and “Riverdale” star is finding he can act and tend his photography career as well.“I hope you don’t mind, I’m going to be scarfing down this chicken wrap at the same time we talk,” Cole Sprouse politely informs me as he sits in the kitchen wearing a fuzzy, baby blue sweater. The wrap in question is already halfway to his mouth.Sprouse is used to multitasking.He and his twin brother, Dylan, began their professional acting careers when they were infants and worked steadily throughout their childhoods, sharing prominent roles on “Grace Under Fire” and in the Adam Sandler film “Big Daddy.” Cole went on to play Ross’s son on “Friends” before reteaming with Dylan in the Disney Channel sitcom “The Suite Life of Zack and Cody” (Cole played the brainy Cody). The tween hit led to a spinoff series, TV movie — and mega kid stardom for the twins. By age 18, they’d effectively burned out.But after graduating from New York University with a degree in archaeology, Cole Sprouse fulfilled a promise he’d made to his manager to give one more round of TV auditions a go before quitting the industry for good. He booked the role of the brooding outcast Jughead Jones on the CW drama “Riverdale” and was sucked in again.“I started acting when I was so young that I hadn’t actually attempted, as an adult, to think about if I really enjoyed performance,” Sprouse said in a recent video call from Vancouver, British Columbia, where he’s currently filming the seventh season of “Riverdale.” He continued, “When I returned, I reminded myself that I do very much love the art of acting. But I still have a very complicated relationship to celebrity culture.”He’s learned to guard his private life. Rare public comments about his relationships past (namely, with his “Riverdale” co-star Lili Reinhart) and present (the model Ari Fournier) are scrutinized by fans and widely recounted by entertainment outlets. He started a secondary Instagram account devoted solely to sharing the photos he takes of strangers while they’re trying to sneakily snap photos of him. “It was an attempt to go, ‘Hey, I actually have agency in the situation, too,’” he explained. “It helped me a lot.”Sprouse with Lili Reinhart and KJ Apa in “Riverdale.”Michael Courtney/The CWHis latest role is the lead in the HBO Max rom-com “Moonshot” — not to be confused with the unrelated 2022 releases “Moon Knight” and “Moonfall.” In the near future, where robots run coffee shops and Mars is being colonized, Sprouse plays Walt, a hapless college student who hitches a ride on a Mars-bound rocket alongside Sophie (Lana Condor) in an attempt to reach another girl on Mars he thinks could be the One.Intermittently puffing on a vape pen after finishing the chicken wrap, Sprouse spoke about billionaires, the effects of childhood fame and turning 30.These are edited excerpts from our conversation.“Moonshot” is a futuristic take on a conventional romantic comedy. Are you a rom–com fan?I have my favorites, and they’re all over the map. I’m a huge “Forgetting Sarah Marshall” fan, for example. And though there’s a heavy romantic element throughout it, most people would just call that a comedy — and yet, by all genre boundaries, it is a rom-com.I think for so long romantic comedies were put down as “chick flicks,” something lowbrow that only a female audience would care about. Male-centric entries like “Forgetting Sarah Marshall” made some people rethink that notion.The general trend with the arts always starts with a large female fan base really falling in love with something. In a lot of cases, we see the female audience braving the territory first, and then everyone follows. Ultimately, with “Moonshot,” we set out to make a movie that didn’t really take itself super seriously, that we had a lot of lighthearted fun on, and we were able to weave an old married couple dynamic into Lana and I’s relationship.Opposite Lana Condor in “Moonshot.”Warner Bros.The film also throws some solid punches at the billionaire space race: Zach Braff’s Elon Musk-esque character admits he could have used his fortune to solve world hunger dozens of times over, but went to Mars instead. How do you feel about the current space cowboy endeavors of people like Musk and Jeff Bezos?Oh, I think it’s tremendously masturbatory. It’s a ridiculous thing. When I was studying archaeology, we used to have this conversation about the resurrection of the mammoth. The conversation would always devolve into two camps: the camp that really wanted to see the mammoth walk the earth again. And the camp that was going, “Hey, we have active species that are currently going extinct. If we put the resources you are talking about putting into the already extinct mammoth and shift that focus to the present, we could do way more good.” I feel like this conversation about space cowboys is very similar. I’m in the camp where I go, let’s focus on the present. We have an active space that we are living in that is currently decaying. We need to shift focus and resources to here.So, no chance you’re booking a commercial ticket on a rocket any time soon.No, I’m already such a paranoid freak when it comes to flying. I couldn’t imagine what my control-freak nature would do when we started taking off. I would be a nervous wreck.People like to talk about former child stars in this dichotomy of either they spiral out of control or, somehow, “come out OK.” Do you think it’s possible for anyone to actually come through that experience unscathed?My brother and I used to get quite a bit of, “Oh, you made it out! Oh, you’re unscathed!” No. The young women on the channel we were on [Disney Channel] were so heavily sexualized from such an earlier age than my brother and I that there’s absolutely no way that we could compare our experiences. And every single person going through that trauma has a unique experience. When we talk about child stars going nuts, what we’re not actually talking about is how fame is a trauma. So I’m violently defensive against people who mock some of the young women who were on the channel when I was younger because I don’t feel like it adequately comprehends the humanity of that experience and what it takes to recover. And, to be quite honest, as I have now gone through a second big round of this fame game as an adult, I’ve noticed the same psychological effects that fame yields upon a group of young adults as I did when I was a child. I just think people have an easier time hiding it when they’re older.The Sprouse twins on “The Suite Life of Zack and Cody.”Joel Warren/Disney ChannelAfter it was announced that “Riverdale” had been renewed for a seventh season, a lot of memes popped up imagining your reaction when you heard the news. The general internet consensus seemed to be that you were completely distraught to have to do another season. Is that accurate?[Laughs] It’s not completely accurate. One, because I’ve just assumed we’re going to see the finality of our [seven-season] contracts. Two, I think the internet assumes — because of how insane our show is — that we’re probably doing a bit worse than we actually are. It’s easy to forget that people love the show. And I do think it’s going to be much more appreciated in 10 years than it is right now. It would be pretty pompous of me to say that another season of financial stability is not something that would be appealing. Though I’m not going to lie. The memes do make me laugh.You’ve built a side career as a professional photographer, mainly in fashion. What is it about that medium that made you want to pursue it?When I was in school, I was traveling a lot for archaeology, so I always had my camera and I was taking almost anthropological-type photos of the people I was meeting, the culture I was surrounded by. And then, just by being in New York City, I got wrapped up in fashion work and built a portfolio. That was my main source of revenue until “Riverdale” Season 2.You’re turning 30 in August. Does this decade feel like the start of a new chapter?Definitely. ​​I feel like my ducks are in a row better than they’ve ever been. We’re also seeing the conclusion of a program I’ve spent the majority of my 20s on, so there is this world of possibilities that lies before me at the end of this production that I find incredibly appealing and intoxicating. And, I hate to break it to everybody, but I’m not the only 30 year old playing a teen on television.You made it to college in “Moonshot.” You’re starting to age up.Just stringing them along, slowly but surely. In an ideal world, when “Riverdale” finishes, I would love to be doing one to two movies a year and photography the rest of the time. And the logical intersection of those two worlds will eventually be directing.We’re living in a time of extreme nostalgia for the ’90s and 2000s. Is there any chance you’d go full circle and do a “Suite Life” reboot?I don’t think I’ll ever return to that. Not that I have a problem with other people doing the reboots thing. I’m just a big believer that if something is beautiful in the past, you should let it stay beautiful. To bring it into the future feels a bit like reheating a really good, fresh meal in the microwave. It would be hard to be in my 30s and go [in a deep growl], “Zack and Cody are back, man!” More

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      Lawsuit Accusing Nirvana of Sexually Exploitive Imagery Is Dismissed

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      Spencer Elden, who was pictured naked as a baby on the cover of “Nevermind,” said Nirvana had engaged in “child pornography.”A federal judge has dismissed a lawsuit filed by a man who said he had been sexually exploited by the grunge rock group Nirvana when the band used a photo of him as a baby, naked and drifting in a pool, for the cover of its seminal album “Nevermind.”In his complaint, the man, Spencer Elden, 30, accused Nirvana of engaging in child pornography when it used a photo of him as the cover art of “Nevermind,” the Seattle band’s breakthrough 1991 album that helped define Generation X and rocketed the group to international fame.The lawsuit was dismissed after a judge in the U.S. District Court for the Central District of California said that Mr. Elden’s lawyers missed a deadline to respond to a motion for dismissal by the lawyers for Nirvana.Judge Fernando M. Olguin said that Mr. Elden’s lawyers had until Jan. 13 to file a second amended complaint to address “the alleged defects” in the defendants’ motion to dismiss.Robert Y. Lewis, one of Mr. Elden’s lawyers, said they would file the complaint well before the deadline. He said the missed deadline was a result of “confusion” over how much time they had to respond to the motion for dismissal.“We feel confident that our amended complaint will survive an expected motion to dismiss,” Mr. Lewis said.The lawsuit was filed in August against the estate of Kurt Cobain; the musician’s former bandmates, David Grohl and Krist Novoselic; and Mr. Cobain’s widow, Courtney Love, among other parties. Their lawyers did not immediately respond to messages for comment on Tuesday.In their motion to dismiss, the lawyers for Nirvana said that Mr. Elden’s lawsuit failed to meet the statute of limitations to file a complaint citing a violation of federal criminal child pornography statutes. But they also denied that the picture, “one of the most famous photographs of all time,” was an example of child pornography.“Elden’s claim that the photograph on the ‘Nevermind’ album cover is ‘child pornography’ is, on its face, not serious,” they wrote. “A brief examination of the photograph, or Elden’s own conduct (not to mention the photograph’s presence in the homes of millions of Americans who, on Elden’s theory, are guilty of felony possession of child pornography), makes that clear.”Instead, they said, “the photograph evokes themes of greed, innocence and the motif of the cherub in Western art.”Mr. Elden was 4 months old when he was photographed in 1991 by a family friend, Kirk Weddle, at the Rose Bowl Aquatics Center in Pasadena, Calif.The photo of Mr. Elden was picked from among dozens of pictures of babies Mr. Weddle photographed for the album cover, which Mr. Cobain, the band’s frontman, envisioned showing a baby underwater.Mr. Weddle paid Mr. Elden’s parents $200 for the picture, which was later altered to show the baby chasing a dollar, dangling from a fishhook.In the decades that followed, Mr. Elden appeared to celebrate his part in the classic cover, recreating the moment for the album’s 10th, 17th, 20th and 25th anniversaries, though not naked.But in the lawsuit, Mr. Elden said he had suffered “permanent harm” because of his association with the album, including emotional distress and a “lifelong loss of income-earning capacity.”The lawsuit did not provide details about the losses but said that Nirvana, the producers of the album and others had all profited from the album’s sales at the expense of Mr. Elden’s privacy.The lawyers for Nirvana said that Mr. Elden used his fame from the photo to pick up women and benefited financially from the album cover. They described the various times he re-enacted the photograph for a fee, his public appearances parodying the cover, and the copies of the album that he autographed, which were then sold on eBay.They wrote: “Elden has spent three decades profiting from his celebrity as the self-anointed ‘Nirvana Baby.’” More