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    Zack Winokur Leads an Arts Reboot at Little Island

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    Zack Winokur, an ambitious dancer-turned-director, now has a New York stage to call his own as the park’s artistic leader.On Saturday night, Zack Winokur stood at the top row of the amphitheater of Little Island. Hundreds of people had taken their seats for the first performance of the park’s summer season, but he didn’t feel like joining them. “I’m just going to pace,” he said.If Winokur, Little Island’s producing artistic director, was restless, it was for good reason. The park, a cluster of tulip-shaped structures that support rolling hills above the Hudson River, had been open since 2021, and its amphitheater had been used plenty of times before.But Saturday’s performance, the premiere of Twyla Tharp’s “How Long Blues,” was a milestone for Little Island, and for New York City: the opening, or rather rebooting, of an institution dedicated solely to commissioning and supporting artists, with Winokur’s curatorial vision and the extremely deep pockets of the billionaire mogul Barry Diller.Outdoors, with a thrust stage, Little Island’s theater is subject to the elements and open to onlookers, who can watch performances, for free, from the winding paths of the park. (Tickets for amphitheater seats are $25.) The only real barrier to entry, Winokur said, is the West Side Highway.What really sets the theater apart, though, is its programming of world premiere after world premiere by top-shelf artists. Behind that is Winokur, 35, a Juilliard-trained dancer-turned-director who was a founder of the essential, increasingly visible collective American Modern Opera Company, or AMOC. Now, with Little Island, he is at the vanguard of his generation’s artistic leaders, with a New York stage to call his own.The financial support that Diller has pledged to Little Island’s programming, millions of dollars with no end in sight, is the kind that most artistic leaders only dream of. Winokur does not have to spend his days courting fund-raisers or securing residencies; instead, he can provide money and space, like a producer.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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      Coming Soon to Little Island: An Arts Festival With Powerful Backers

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      The mogul Barry Diller, who paid for the park, will finance a summer season of music, dance, theater and more, shaped in part by the Broadway producer Scott Rudin.Little Island, the $260 million park on the Hudson River that opened in 2021, was imagined as a haven for innovation in the performing arts. But the park’s cultural offerings — mostly sporadic, one-off works — have so far fallen short of those ambitions.Now Barry Diller, the billionaire media mogul who paid for the park, is setting out to deliver on the original vision, financing a robust, four-month annual performing arts festival on Little Island, the park announced on Monday. He is doing so with the guidance of Scott Rudin, the film, television and theater producer who retreated from public view in 2021 amid accusations of bullying by workers in his office.Diller said in an interview that he and his family foundation were prepared to spend more than $100 million over the next two decades on programming. The festival, one of the most ambitious artistic undertakings in New York City in recent years, will promote new work in music, dance, theater and opera. Nine premieres are planned this year for June through September, including a full-length work by the choreographer Twyla Tharp, and an adaptation of Mozart’s “The Marriage of Figaro” in which the countertenor Anthony Roth Costanzo will sing all of the leading roles.“I want people to enjoy the originality and adventure of Little Island,” Diller said. “I want it to produce a smile.”Rudin, a friend of Diller’s and a longtime adviser to Little Island, was not mentioned in a news release on Monday announcing the creation of the festival, but Diller said he was intimately involved in its planning.“He’s engaged in almost every discussion we have about the programming,” Diller said. “It started with him. It was his project.”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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      ‘To Kill a Mockingbird’ Closes on Broadway as Creators Spar With Rudin

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      The hit play, closed since January, was expected to reopen on Broadway this fall.“To Kill a Mockingbird,” a stage adaptation of the classic novel that in January announced a temporary shutdown after Jeff Daniels left the cast and the Omicron variant slammed into New York, will not reopen on Broadway.The play’s writer, Aaron Sorkin, and director, Bartlett Sher, emailed the play’s cast and crew late Thursday to inform them of the decision, and they blamed the original lead producer, Scott Rudin, who had stepped away from an active role in the show after being accused of mistreating collaborators. According to Sorkin and Sher, “At the last moment, Scott reinserted himself as producer and for reasons which are, frankly, incomprehensible to us both, he stopped the play from reopening.”Rudin, who continued to control the rights to the stage adaptation of the Harper Lee novel, sent his own email to Sorkin and Sher on Friday, attributing the decision to the economic situation on Broadway, where overall ticket sales have lagged behind prepandemic levels. Both emails were obtained by The Times.“The reason I opted not to bring back TKAM has to do with my lack of confidence in the climate for plays next winter,” Rudin wrote, using an acronym for “To Kill a Mockingbird.” He added, “I do not believe that a remount of Mockingbird would have been competitive in the marketplace.”The show continues to have a healthy life outside New York. A production in London’s West End opened in March, and a national tour in the United States opened in Boston in April. Those productions are unaffected by the Broadway closing.The play opened on Broadway in late 2018, and was a hit before the pandemic, regularly selling around $2 million worth of tickets a week, which is quite high for a play, and recouping its $7.5 million investment costs 19 weeks after opening.Broadway closed in March 2020 because of the pandemic, and “To Kill a Mockingbird” resumed performances last October, with Daniels returning to star as Atticus Finch, as he had done during the play’s first year. The play sold well until early January, with the exception of a week when breakthrough Covid cases forced performance cancellations; Daniels left the cast on Jan. 2, at a time when Broadway grosses were already plunging because of the resurgent pandemic, and the show’s grosses cratered.The play stopped performances at the Shubert Theater on Jan. 16, and Barry Diller, then functioning as lead producer, said it would resume performances on June 1 at the Belasco Theater. That did not happen, and according to the email from Sher and Sorkin the most recent plan had been for the play to restart performances on Nov. 2 at the Music Box Theater.Sher and Sorkin described themselves in the email as “heartbroken” and said they “mourn the loss of all the jobs — onstage, backstage, and front of house — that just disappeared.” Rudin, in his email to them, said, “It’s too risky and the downside is too great. I’m sorry you’re disappointed. It’s the right decision for the long life of the show.”Sher, Sorkin and Rudin all declined to comment, as did a spokesman for the play. The decision to not reopen the play was previously reported by the website Showbiz411. More

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      Broadway Deal Over Rudin Shows Will Limit Nondisclosure Agreements

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      Performers and stage managers were released from agreements they signed to work on four shows that were produced by Scott Rudin after their union, Actors’ Equity, filed complaints.Performers and stage managers will be released from the nondisclosure agreements they signed to work on four Broadway shows connected to the producer Scott Rudin under a settlement between the Broadway League and Actors’ Equity Association.The union said that the two parties had agreed that, going forward, producers would no longer require actors or stage managers to sign such agreements unless approved by the union, which might sign off on them in limited circumstances to protect things such as intellectual property or financial information. The League declined to comment.The settlement arises from a labor dispute that began last year, when Rudin, long one of the most powerful producers on Broadway, was facing accusations that he had behaved tyrannically toward a variety of people who worked with him, prompting an Equity stage manager to alert the union to the nondisclosure agreements required by some Rudin shows.Last spring, the union asked Rudin to release employees from the nondisclosure agreements, and in January, the union filed a pair of unfair labor practice complaints with the National Labor Relations Board regarding “To Kill a Mockingbird” and “West Side Story,” both of which were at the time produced by Rudin.The union argued that nondisclosure agreements illegally restricted worker rights. Its complaints were initially filed against Rudin and his general manager; in recognition of the fact that Rudin is not currently actively producing on Broadway or in Hollywood, and last year resigned as a member of the Broadway League, the complaints were expanded to include the Broadway League, which is a trade association representing producers.The union said it has since learned that nondisclosure agreements were being used by four recent Broadway productions, including not only “Mockingbird” and “West Side Story,” but also “The Iceman Cometh,” on which Rudin was a lead producer, and “The Lehman Trilogy,” on which Rudin was among the lead producers.The union withdrew the National Labor Relations Board complaints earlier this month, after reaching a settlement agreement with the League. According to a copy of the settlement agreement, the League has agreed to release from confidentiality, nondisclosure and nondisparagement agreements any actor or stage manager who signed such an agreement with the four recent productions. (The agreement does not affect workers in Rudin’s office, many of whom were required to sign detailed nondisclosure agreements as part of their employment contracts.)The settlement comes at a time when nondisclosure agreements in many workplaces have come under increasing scrutiny.“Exploitation feeds off of isolation,” said Andrea Hoeschen, the union’s general counsel. “There is no stronger tool for an abuser or a harasser, no matter the setting, than silence.”It is not clear how frequently nondisclosure agreements are used on Broadway.“We intend to tell our members broadly about this settlement, and if they are asked to sign a nondisclosure agreement, we are going to push back on those as violative of our members’ rights,” Hoeschen said. More

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      Harper Lee Estate Told to Pay $2.5 Million in Dispute Over ‘Mockingbird’ Plays

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      The estate is contesting an arbitrator’s ruling that it had been too aggressive in limiting productions of a 1970 adaptation of the novel as Aaron Sorkin’s new staged version came to Broadway.An arbitrator has ordered the estate of the writer Harper Lee to pay more than $2.5 million in damages and fees to Dramatic Publishing, a theatrical publishing company that has licensed a stage adaptation of “To Kill a Mockingbird” for decades.The ruling found that under pressure from Scott Rudin, then lead producer of a different adaptation of the book, which was intended for Broadway, the estate interfered with Dramatic’s contracts, and tried to prevent some productions of the work.The ruling, made in January, comes nearly three years after Dramatic invoked an arbitration clause in its contract to prevent limits on productions of its adaptation. Dramatic’s adaptation, by the playwright Christopher Sergel, has long been a staple at schools and community theaters around the country. It’s the version of that has been staged every year in Lee’s hometown, Monroeville, Ala. And for decades, Dramatic was the only publisher Lee had authorized to license a theatrical adaptation of her beloved 1960 novel about a crusading lawyer named Atticus Finch who represents a Black man who is unjustly accused of rape in a small town in Alabama.Then, in 2018, Rudin brought the new Aaron Sorkin adaptation to Broadway, where it became a box office hit.Christopher Sergel III, president of Dramatic Publishing Company and the grandson of the author of the first adaptation, claimed that the Lee estate acted in concert with Rudin to prevent some local productions of the play from going forward. In cease-and-desist letters to local theaters, Rudin’s lawyers claimed that those productions were no longer permissible because of the Sorkin adaptation. As a result, at least eight theaters canceled productions of Dramatic’s version of “To Kill a Mockingbird.”The Broadway production of “To Kill a Mockingbird” opened in 2018 with Jeff Daniels as Atticus Finch and Celia Keenan-Bolger as Scout.  Sara Krulwich/The New York Times“This has been a long and difficult struggle for Dramatic Publishing, exacerbated by the ravages of Covid on the theater industry and educational system,” Sergel said in a statement posted on the company’s website. “Unfortunately, the Lee Estate left us no choice but to fight.”Sergel said his company has been “fully vindicated” by the ruling, which was earlier reported by Broadway World.The arbitrator ruled that the estate had “tortiously interfered with contracts between Dramatic and several of its licensees” and that “most, but not all, violations resulted from the estate’s interactions with Rudin.” It also stated that Dramatic retains “worldwide exclusive rights to all non-first-class theater or stage rights for its version of “To Kill a Mockingbird.”“For Dramatic Publishing to have been dragged through the mud for licensing the play in the very market it had licensed it in for years was really very troubling,” said Kevin Tottis, a lawyer representing Dramatic.The Lee Estate has filed a motion to overturn the arbitration award in federal court in Chicago, according to Matthew H. Lembke, a lawyer representing the estate. Some portion of the arbitrator’s ruling covered damages, but the bulk, more than $2 million, is to reimburse for Dramatic’s legal fees and other costs to pursue the arbitration.Lee, who died in 2016, sometimes expressed ambivalence about the Sergel adaptation, which was published in 1970. In a 1987 letter, Lee said Sergel’s adaptation “admirably fulfills the purpose for which it was written, for amateur, high school and little theater groups, and stock productions.” But she declined Dramatic’s request to stage a Broadway adaptation of Sergel’s play, and held onto those rights until 2015, when she entered a contract for a Broadway production with Rudin.The friction between Harper Lee’s representatives and Dramatic Publishing began to escalate in 2015, after Lee authorized Rudin’s Broadway production. Rudin asked a lawyer for the Lee estate to enforce an agreement with Dramatic publishing that Rudin argued limited them to amateur productions. The estate’s lawyer initially replied that Dramatic held “everything but first-class production rights,” meaning that they could stage their version in regional, noncommercial theaters as well as in schools and amateur theaters. He later reversed his position and maintained that Dramatic had no right to license productions with any professional actors, a shift that the arbitrator traced to the pressure the estate faced from Rudin. A lawyer for the estate also told Dramatic that several productions, which the estate had previously approved, violated the 1969 contract and could not be staged.The Kavinoky Theatre at D’Youville College in Buffalo was one of those that scrapped a production of “To Kill a Mockingbird” in 2019 after receiving a cease and desist letter from the Broadway production. Libby March for The New York TimesThe fight burst into public view not long after the Broadway opening of “To Kill a Mockingbird,” which starred Jeff Daniels as Atticus Finch. The estate sent several letters to the publisher disputing its granting of rights to a number of theaters and noted that the 1969 contract with Harper Lee stated that while a “first-class dramatic play” based on the novel is playing in New York or on tour, Dramatic’s version cannot be staged within 25 miles of cities with a population of 150,000 or more in 1960. It also argued that Dramatic did not have the rights to license any productions with professional actors, a claim that the arbitrator dismissed.Lawyers for Rudin sent cease and desist letters to small theaters around the country — including the Kavinoky Theater in Buffalo, the Oklahoma Children’s Theater and the Mugford Street Players in Marblehead, Mass. — threatening them with legal action unless they halted their productions. Many canceled their shows, and Rudin faced criticism for interfering with local theaters.In a surprising about face, Rudin later apologized to the theaters, and said that theater companies that had canceled the play could instead stage Aaron Sorkin’s version of the script.Before the estate and Rudin challenged the local theaters together, they had gone through a dispute of their own over the play. The estate sued him, asserting Sorkin’s adaptation deviated too much from the novel, in violation of their contract; Rudin countersued and offered to stage his play in front of the judge to prove his case.The dispute was settled, and the show went on to become a commercial and critical hit. Rudin stepped back from active producing last May after he was accused of bullying and workplace misconduct; Orin Wolf became executive producer and Barry Diller lead producer to oversee the production.In January, its producers announced that they would shut down the show and reopen in a smaller theater. A North American tour and a London production are both scheduled to begin in March. More

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      'West Side Story' Will Return $10 Million Federal Aid

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      The Broadway revival received federal aid through the Shuttered Venue Operators Grant program. But the show decided not to reopen, and said it would return the money.Earlier this summer “West Side Story,” the ambitious, avant-garde-tinged revival of the classic musical, got some significant relief: $10 million in federal funding. It was the maximum amount allowed under the new Shuttered Venue Operators Grant initiative, which devoted $16 billion in federal aid to help music clubs, theaters and other live-event businesses recover from the pandemic.But even with that aid in its war chest, the show announced this week that it would not return to Broadway. Asked about the grant on Tuesday, the show said it would give back the money.“‘West Side Story’ will be returning the entirety of the S.V.O.G. grant with the hope that another production will be able to use the funds,” a spokesman for the show, Rick Miramontez, said in a statement.The revival — which was reimagined by the director Ivo van Hove and the choreographer Anne Teresa De Keersmaeker — opened to mixed reviews in February 2020, less than a month before the coronavirus outbreak shut down Broadway. While it was closed, its lead producer, Scott Rudin, announced in April 2021 that he would step back from active roles in his Broadway productions after he came under fire for a long history of abusive behavior; he said that he hoped the show would reopen without him.Federal records showed that Danish San Juan Limited Liability Company, which court records said had been formed by Rudin to operate “West Side Story,” had been approved to receive $10 million under the Shuttered Venue Operators Grant initiative. Documents posted by the Small Business Administration, which runs the grant program, say that the federal funding is intended for “entities that are currently operating or intend to resume full operations.”“West Side Story” had grossed $1.5 million in ticket sales the week before the pandemic closed it down. Miramontez did not respond when asked to elaborate on why the show had decided to close, despite the federal aid.During the long shutdown, and with the prospects for rebounding uncertain, Broadway shows, nightclubs and arts institutions across the city jumped at the prospect of federal relief. This spring, after a long wait and many hiccups, more than 10,000 music clubs, theaters and other live-event businesses across the country got a share of a $16 billion federal grant, records show.The records also show that many of New York’s best known cultural institutions got millions of dollars in funding, as did Broadway musicals like “Hamilton” and “Hadestown,” which plan to open next month.Stacy Cowley contributed reporting. More

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      ‘West Side Story’ Will Not Return to Broadway

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      The reimagined revival was closed by the pandemic, and then its lead producer, Scott Rudin, said he would step back from active participation in his shows after being accused of bullying.“West Side Story,” an ambitious, reimagined revival of the classic musical, will not reopen when Broadway returns this fall, the show announced Monday, making it one of the biggest productions yet to become a casualty of the pandemic.The show’s lead producer, Scott Rudin, announced in April that he was stepping back from active roles in his Broadway productions after he came under fire for a long history of bullying employees. But Rudin said at the time that while the decisions about the future of “West Side Story” and his other shows would be left to others, he hoped that they would return to Broadway when theaters were allowed to reopen.The “West Side Story” revival — put together by a creative team with avant-garde credentials, including the director Ivo van Hove and the choreographer Anne Teresa De Keersmaeker — opened in February 2020, less than a month before the coronavirus outbreak shut down Broadway and brought performances around the nation to a halt.“This difficult and painful decision comes after we have explored every possible path to a successful run, and unfortunately, for a variety of reasons, reopening is not a practical proposition,” Kate Horton, a producer on the show, said in a statement. “We thank all the brilliant, creative artists who brought ‘West Side Story’ to life at the Broadway Theater, even for so brief a time, especially the extraordinary acting company, 33 of whom made their Broadway debuts in this production.”News of the closure of “West Side Story” comes as Broadway is cautiously preparing for a return. Preview performances of the play “Pass Over” began last week, and are scheduled to be followed next month by the return of longtime favorites including “Hadestown,” “Hamilton,” “Wicked” and others.Several other shows produced by Rudin are planning to return to Broadway. Aaron Sorkin’s stage adaptation of “To Kill a Mockingbird” plans to resume performances on Oct. 5 with Jeff Daniels back in the cast; the production announced that the show would now be overseen by Orin Wolf, who would be given the title of executive producer.Scott Rudin, center, the lead producer of “West Side Story,” said in April that he would step back from active participation in his shows after he was accused of abusive behavior. Sara Krulwich/The New York TimesBut even as Broadway prepares for a triumphant return, the departure of “West Side Story” offers a reminder of the toll the pandemic has taken on the industry.Last May, only two months into the pandemic, Disney Theatrical Productions announced that its stage adaptation of “Frozen” would not reopen. “Mean Girls,” a Broadway adaptation of the 2004 film with a book by Tina Fey, also announced it would not return.The “West Side Story” production, while daring, opened to mixed reviews. A new film adaptation by Steven Spielberg is scheduled to be released in December, but the Broadway show will not be around to capitalize on any interest that the new film version generates. More

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

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

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      Jeff Daniels to Return to Broadway in ‘To Kill a Mockingbird’

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      The production also has a new management team to replace Scott Rudin, who stepped aside after allegations of abusive behavior.Aaron Sorkin’s stage adaptation of “To Kill a Mockingbird,” which before the pandemic was the rare play to have a long and lucrative Broadway run, will resume performances on Oct. 5.It will reopen with a pair of familiar faces onstage: Jeff Daniels, who starred as the righteous lawyer Atticus Finch during the show’s first year, will return to lead the cast, and Celia Keenan-Bolger, who won a Tony Award for her portrayal of Finch’s daughter, Scout, in the original cast, will return to that role. They are planning to remain in the cast until Jan. 2.Offstage, there is more change.This is the first of Scott Rudin’s shows to announce a plan to move on without its lead producer. In April, Rudin said he would step back from producing after facing scrutiny of his bullying behavior.The production will now be overseen by Orin Wolf, who was the lead producer of the Tony-winning musical “The Band’s Visit,” and who is the president of a touring company, NETworks, that before the pandemic had been engaged by Rudin to supervise a “Mockingbird” tour. Wolf’s title will be executive producer, and he will be responsible for the show’s operations, reporting to Barry Diller, a lead producer who will be the producers’ managing member with ultimate responsibility for its financing.“The show was positioned in a strong and beautiful way, and I don’t think my job is to come in and fix anything, but to honor what’s there,” Wolf said in an interview. “I’m not coming in to make artistic decisions.”Wolf said Rudin would not have any role with the production, adding that he has had no recent communication with Rudin. Wolf’s agreement was negotiated with Diller, he said, and a condition of his employment was that Rudin would have no voice in the production.“The Broadway company will no longer pay any compensation to Scott as a producer, and he’ll no longer have any managerial or decision-making role of any kind,” Wolf said. “He does have a small investment position, which is passive.”“To Kill a Mockingbird,” adapted from the 1960 Harper Lee novel, opened on Broadway in December 2018. It has consistently played to full houses; over the course of the play’s prepandemic run, it had an audience of 810,000 people and grossed $120 million, according to the Broadway League. The show recouped its $7.5 million capitalization — the amount of money it took to bring it to Broadway — 19 weeks after opening.Wolf, who has collaborated several times with the director of “Mockingbird,” Bartlett Sher, said he agreed to manage the production in order to try to protect both the show and its 182 employees. “We’re going into uncharted territory,” he said, “but my job is to make sure we’re creating an environment for the artists to do their jobs, to make sure we’re putting the production back up that people loved, and once we’ve done that job, my job is to keep trying to discover what this post-pandemic audience is.”Wolf will also continue to oversee the national tour of “Mockingbird,” which is scheduled to start performances in Buffalo, N.Y., next March and to open in Boston next April, starring Richard Thomas. The British producer Sonia Friedman will oversee a London production, starring Rafe Spall, that is scheduled to begin performances in March. More