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      Marvin Laird, Musical Presence on and Off Broadway, Dies at 85

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      He conducted Broadway shows and worked with Bernadette Peters. But he was probably best known for writing the music for the darkly comic “Ruthless!”Marvin Laird, a conductor for Broadway musicals and for performers like Bernadette Peters who also composed the music for “Ruthless!,” the campy, award-winning Off Broadway show about a girl who will do anything — including kill — to star in a school play, died in a hospital on Dec. 2 in Bridgeport, Conn. He was 85.His partner in marriage, Joel Paley, said his death, in a hospital, was caused by complications of an infection.Mr. Laird was the assistant musical director for a summer stock production of “Gypsy” in Lambertville, N.J., in 1961 when he met Ms. Peters, who was 13 and was playing two small roles.“He was just the most energetic, charismatic fellow you’d ever want to meet,” Ms. Peters said in a phone interview.He later conducted the orchestras for her concerts and for two Broadway revivals in which she starred: “Annie Get Your Gun” in 1999 and “Gypsy” in 2003. When Ms. Peters appeared in a revival of “Follies” in 2011, he was the associate conductor.“The orchestras loved him,” Ms. Peters said. “He had a great sense of humor and they respected his musicianship.” She added: “He knew what I was going to do before I did it. I don’t sing a song the same way twice; it’s whatever happens to the song. And Marvin could get the whole orchestra to breathe with him.”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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      ‘Wicked’ Alumnae Class Notes: What They Learned at Shiz University

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      The graduates of Shiz University are making their alma mater proud.In the 21 years since “Wicked” opened in New York, 43 women have starred full-time as Elphaba or Glinda — frenemies who meet as Shiz undergrads — and many more have taken on the vocally taxing roles in productions across the United States and around the world.Shiz has taught them well. After leaving the show, many have gone on to glittering careers, on Broadway and beyond. Three former Elphabas were nominated for Tony Awards this year, while four former Glindas have appeared in principal roles.As a smash-hit Hollywood adaptation introduces millions more to this revisionist history of Oz, we checked in with alumnae of the stage show to ask what they learned there. These are edited excerpts from our conversations.GlindaKristin ChenowethSara KrulwichChenoweth, who won a Tony Award in 1999 for “You’re a Good Man, Charlie Brown,” originated Glinda on Broadway in 2003. She is now one of Broadway’s most-loved stars and is planning to return next season in a musical adaptation of “The Queen of Versailles.”How did you first get involved with “Wicked”?I was called by [the composer] Stephen Schwartz himself, and he said, “Look, I’ve got this part I want you to do.” I didn’t know if I could work out the dates, but I went over to his apartment, and listened to “Popular.” I thought it was really cute and I could have some fun with it, so I was involved in a workshop in L.A., and that’s how it started. I remember the producer Marc Platt going, “Kristin, every once in a while a part comes along — maybe once in a lifetime — that is like a hand to a glove, and this is your part.” Glinda was very much the side character, but they started seeing how Idina and I were working together, and it evolved into a much bigger role. That first night we opened in San Francisco, for our out-of-town tryout, I told Idina, “It’s not going to matter what the critics say. There’s something very special here.” I just knew it.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How Catherine Russell, of ‘Perfect Crime,’ Spends Her Sundays

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      Ms. Russell, who hasn’t missed a performance of her Off Broadway show in nearly 30 years, fills her day with pets, church, teaching and two shows.For most of the last four decades, Catherine Russell has maybe — possibly — murdered someone eight times a week.She has played a wealthy psychiatrist in the Off Broadway murder-mystery thriller “Perfect Crime” for 37 years. Choose any comparison you like — the “Cal Ripken of Broadway,” the “Ironwoman of the Theater District” — but Ms. Russell, 69, has missed only four performances, early in the run, for her siblings’ weddings.She is celebrating 15,000 performances of the show, which began in 1987 and is New York City’s longest-running play. She is powered by coffee and Snickers bars — “I have a terrible diet,” Ms. Russell says — but can also do 180 Marine push-ups without stopping.“I’m a Christian Scientist, so I don’t smoke or drink,” she said. “Maybe that helps.”Ms. Russell is also the general manager of the Theater Center in Times Square, which hosts “Perfect Crime” and three other Off Broadway shows, and teaches college English and acting classes six days a week.She has an adult stepdaughter and lives in a Hell’s Kitchen brownstone with three rescue dogs — Riley, Zoe and Jip — and three rescue cats, Winston, Zaza and Boots.Her late husband, Patrick Robustelli, died in 2019. They were together for 24 years. “He was the great love of my life,” Ms. Russell said.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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      Is the Real ‘Wicked’ Movie the Press Tour?

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicThe film adaptation of the Broadway musical “Wicked” has been long in the works and perhaps anticipated for even longer. Starring Ariana Grande (billed as Ariana Grande-Butera) as Galinda and Cynthia Erivo as Elphaba, it is an ornate adventure that serves as a sort of prequel to “The Wizard of Oz.” (It is also the first of two films; the second one will be released next November.)Grande and Erivo have been praised for their performances onscreen, but they have also been performing in a parallel show, making viral magic on the press tour. The result has been a film rollout that at times feels louder than the film itself.On this week’s Popcast, a conversation about how “Wicked” survived the transition from stage to film, how Grande and Erivo inscribed new narrative into their roles, and how the real film may well be Grande and Erivo’s public appearances.Guest:Joe Coscarelli, The New York Times’s pop music reporterConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica.Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. More

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      Avett Brothers Musical ‘Swept Away’ to Close on Broadway After Short Run

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      The new musical, about a shipwreck and its aftermath, opened Nov. 19 at the Longacre Theater.“Swept Away,” a darkly elegiac musical featuring the songs of the Avett Brothers, will end its Broadway run Dec. 15, less than a month after opening.The musical, about a 19th-century shipwreck and its aftermath, explores the lengths to which human beings will go in order to survive. Although set in fictional circumstances, it is based on a real 19th-century tragedy that led to an important legal case in Britain.“Swept Away” began previews Oct. 29 and opened Nov. 19 at the Longacre Theater. At the time of its closing it will have played 20 previews and 32 regular performances.The show cost up to $14.5 million to capitalize, according to a filing with the Securities and Exchange Commission, and that money has not been recouped. The weekly grosses were consistently well below what it cost to run, which is unsustainable.“Swept Away” is the second new musical of this season to close shortly after opening, following “Tammy Faye,” at a time when new musicals face an ever-more-challenging path on Broadway.The Avett Brothers have a devoted fan base, and “Swept Away” was praised by the New York Times’s chief theater critic, Jesse Green, who described it as “really about the gravest decisions humans can make, the depths of souls that are darker than the sea’s.”But other reviews were mixed, and the musical, like the actual history that inspired it, includes cannibalism, which, although not featured prominently in marketing materials or press coverage, may have been a turnoff for some potential ticket buyers. Broadway is also packed with shows, many of which feature more familiar titles or performers, and “Swept Away” was unable to break through in that crowded marketplace.Many of the show’s songs were featured on the Avett Brothers album “Mignonette,” and a cast recording is scheduled to be released in February. John Logan, the Tony-winning author of “Red,” wrote the musical’s book, and it was directed by Michael Mayer, a Tony winner for “Spring Awakening.”The 90-minute show centers on four men stranded on a lifeboat — the only survivors of the shipwreck. They are played by John Gallagher Jr., a Tony winner for “Spring Awakening,” as well as Stark Sands (“Kinky Boots”), Adrian Blake Enscoe and Wayne Duvall.The lead producers of “Swept Away” are Matthew Masten, Sean Hudock and Madison Wells Live (founded by Gigi Pritzker). Before arriving on Broadway, the musical had runs at Berkeley Repertory Theater in California in 2022 and at Arena Stage in Washington in late 2023 and early 2024. More

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      ‘Let’s Make a Dance.’ At Nature Theater, the Body Rules.

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      In “No President,” Nature Theater of Oklahoma creates its version of a story ballet, one burpee at a time.It started with a dance. For Nature Theater of Oklahoma, that’s not unusual. Pavol Liska, who directs the company with his wife, Kelly Copper, said, “Dance becomes a kind of cell that contains the full DNA of everything.”In “No President,” set mainly to Tchaikovsky’s “The Nutcracker,” the dance that Liska and Copper made is not performed in its entirety until the very end. It’s a distillation of the movement and gestural material seen throughout the work, its “vocabulary,” Liska said. “You steal from the dance.”There is no Land of the Sweets or Sugarplum Fairy in “No President,” which has its North American premiere at NYU Skirball on Thursday and runs through Saturday. But the show, subtitled “a story ballet of enlightenment in two immoral acts,” is choreographed — humorously, violently, roughly, tenderly — within an inch of its life. For Nature Theater, a capacious, playful experimental theater company in New York City that is known for its risk and rigor, dance serves a distinct purpose.“I’m always nervous,” Liska said. “I’m always anxious, and the best way for me to just relax myself into the process is to make a dance. Even if we teach a class, the first thing I say is, ‘OK, let’s make a dance.’”Copper said, “Dance is like a way of insisting that the heart of the thing will be a kind of pleasure, because it is a pleasure for us to work in dance. It’s the most fun we have.”A scene from “No President”: “Dance becomes a kind of cell that contains the full DNA of everything,” Liska said.Heinrich Brinkmöller-BeckerWe 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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      ‘How Did I Get Here?’: 7 Days in the Life of a Busy Arts Programmer

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      Jay Wegman runs from rehearsals to lunches to shows for his job at N.Y.U. Skirball, then home for a “What We Do in the Shadows” episode or two.Jay Wegman, the artistic director of the N.Y.U. Skirball performing-arts center, likes to say that he lives in three time zones: “the present, a year from now and two years from now.”As far as the present is concerned, he monitors Skirball’s programming, with shows that in November included the Civilians docu-play “Sex Variants of 1941 — A Study of Homosexual Patterns” and “No President,” a wild experiment by Nature Theater of Oklahoma set to “The Nutcracker.”At the same time, Wegman, who moved from the Abrons Art Center to the N.Y.U. position in 2016, works out logistics for the following months and plans for events much farther in the future — a lead time of two or three years is not uncommon when bringing over the international productions that have become one of Skirball’s calling cards.Wegman, 60, kept a diary of his cultural diet during a late October/early November week. These are edited excerpts from phone and email interviews.Wegman joined Skirball as artistic director in 2016 from the Abron Arts Center.Graham Dickie/The New York TimesMonday: The 2 Best Shows on TV?I spent most of the day on emails. We were trying to nail down travel plans for Isabelle Huppert, who is doing “Mary Said What She Said” in February. I went out to dinner with her and Robert Wilson in May, and it freaked me out because I was so aware that I was sitting there with those people. It just was like, “How did I get here?”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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      Jason Laks Named President of Broadway League

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      The Broadway League, an industry trade organization, named Jason Laks as its new president. “I think our mission has to be more than to make it 2019 again,” Laks said.The Broadway League, the trade organization that represents commercial theater producers and the industry’s powerful theater owners, has chosen Jason Laks, a longtime official at the organization, to be its next president at a time when the sector is still struggling to recover its prepandemic financial strength.Laks, 52, is a lawyer who has been with the League off and on since 2012, primarily as the director of labor relations in charge of negotiating contracts with 14 unions representing the Broadway work force. Laks has been serving as the League’s interim president since February, when its longtime leader, Charlotte St. Martin, stepped down.The League’s most well-known role is as a co-presenter, alongside the American Theater Wing, of the annual Tony Awards, which honor plays and musicals staged on Broadway. The organization represents commercial producers in labor negotiations, handles government relations for the industry, works with organizations seeking to diversify the American theater and oversees the Jimmy Awards, a national high school musical theater competition.The League’s board of governors voted on Monday to approve Laks’s appointment.The organization, with a $12 million annual budget and a 33-person staff, has 830 members who include not only the owners and operators of the 41 Broadway houses, but also presenters of touring Broadway shows around the country, as well as general managers, vendors and suppliers.Broadway, which had been booming in the years preceding the coronavirus pandemic, has not fully recovered from a roughly 18-month shutdown; pre-Thanksgiving audiences this season were about 5 percent below prepandemic levels. Even as domestic and international tourism is rebounding, there has been a decline in theater attendance by New York-area suburbanites that is associated with the rise of hybrid work, a shift toward home-based entertainment consumption and concerns about costs, crime and congestion.“I think we are doing a remarkable job of coming back postpandemic, but it’s an important moment for the industry — we’re not back to where we were in 2019, but I think our mission has to be more than to make it 2019 again,” Laks said. “We need to continue to work to grow and diversify our audiences and get people into the city to see our shows.”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