The Mary Boone Gallery’s 2012 tax forms reported a false business loss for the previous year of about $52,000 although the gallery actually made a profit in 2011 of about $3.7 million, according to documents filed by the United States attorney’s office.
The current generation of Broadway fans probably remembers her as the original Madame Morrible in Wicked, but she won her Tony for playing Madge Kendal opposite Philip Anglim in the original Broadway run (1979) of The Elephant Man. She’s also remembered, by an earlier generation, as one of the Pigeon sisters in the original stage and screen versions of Neil Simon’s The Odd Couple.
The Luxembourgeoise artist Deborah de Robertis, who has been arrested multiple times for displaying herself alongside displays of some of the world’s most famous female nude paintings, “has been charged with ‘sexual exhibitionism’ after she stood in the famous grotto at the Sanctuary of Our Lady of Lourdes, hands clasped as if in prayer, wearing nothing but a blue veil on her head.” (She titled the performance “The Origin of Life.”)
Gia Kourlas: “I began interviewing Mr. Taylor in 1995, and talked with him (and his dancers) many times over the years. I realize I probably only scratched the surface of his singular, probing imagination, but that’s something. He would tease me relentlessly; that was fine. His amusement bought me time to ask another question. We talked about dance, of course, but we also talked about his life, his hobbies, his pets.”
“As a child in Port of Spain, Trinidad’s capital, Mr. Mannette became fascinated with the bands he saw using trash cans and buckets as drums, hitting them in different ways to create different sounds. For the rest of his life, he sought to elevate and expand the craft of steel-pan music, and to share it with the world. He became a master tuner, builder and teacher.”
“[He] was among the most prominent ambassadors for traditional African music in the United States. A revered jazz pianist and composer, he incorporated that continent’s complicated rhythms, tonalities and call-and-response patterns in records that ushered in a new era of transatlantic fusion.”
“The announcement [disinviting Bannon] followed several scathing rebukes and high-profile dropouts after the festival’s lineup, with Mr. Bannon featured, was announced.” (One guest who withdrew, comedian Patton Oswalt, suggested Milo Yiannopoulos as his replacement.) Top New Yorker editor David Remnick also encountered stiff resistance from members of the public and the magazine’s staff.
After dancing with the company for 14 years, he went on to become a beloved teacher at the School of American Ballet, where he developed a strength training class for male dancers to improve their lifts and partnering.
For months, the Central Library has not publicly addressed the artists’ deportations or disclosed their case to patrons or press who have covered the “Visualizing Language” exhibit at the Central Library.
The Los Angeles literary landscape shifted significantly this week with the departure of Louise Steinman from ALOUD, the reading series based at the downtown Central Library that she founded and ran for 25 years. A representative of the Library Foundation confirmed the departure of Steinman and ALOUD associate director Maureen Moore, who was the driving force behind the rotunda exhibit “Visualizing Language” by Oaxacan artists that gained international attention.
Bill Hayes: “He delighted in etymology, synonyms and antonyms, slang, swear words, palindromes, anatomical terms, neologisms (but objected, in principle, to contractions). … Oliver loved words so much, he often dreamed of them, and sometimes dreamed them up. One morning, six years ago, I found a phrase he’d written on the white board in the kitchen. All it said was ‘5 a.m. Nepholopsia.'”
Mr. Taylor, whose highly diverse style was born in radical experimentalism in the 1950s, created poignant and exuberant works that entered the repertory of numerous dance companies. His own company, eloquent and athletic, has been one of the world’s superlative troupes.
Allen’s work rate is unparalleled in modern cinema. He has written, directed and released a new movie every year for the past 44 years, and had looked set to continue. In 2016, he signed a five-picture distribution deal with Amazon, which technically leaves him with three movies to go
And imagining her is what we do: we have next to no reliable evidence about Anne Hathaway. Over the last couple of centuries, she’s been cast as either the devoted wife-and-mother who kept the proverbial home fires burning in Stratford or the woman who got Will to knock her up and then drove him away to London. With the new century, though, new ways of picturing Hathaway have been popping up.
“The pendulum keeps swinging for the case of the Filipino activist artist and organiser Carlos Celdran, who was convicted for ‘offending religious feelings’ for a 2010 protest in support of reproductive rights. A ruling on 1 August by the Philippines Supreme Court upheld a 2013 conviction … for violating Article 133 of the Revised Penal Code … But on 15 August Celdran received the backing of the Solicitor General Jose Calida, whose office petitioned the Supreme Court to reverse the conviction … and to declare Article 133 unconstitutional.”
The artist was judged by his brother and friends to be unfit to live alone after he mutilated himself, cutting off his ear and presenting it, wrapped in paper, to a young woman in a local brothel, following the collapse of a proposed artistic partnership with Paul Gauguin.
For that we can credit (if that’s the word) one William C. Bullitt, friend and former patient of the Herr Doktor and a journalist, author, off-and-on diplomat, lecturer and inveterate schemer whom Ben Yagoda, in this article, likens to a real-life Zelig.
“A visceral stage animal, her legendary performances as Salome and Elektra thrilled audiences in the 1950s and 60s, and while for some she was eclipsed by the rise of Birgit Nilsson, many would consider her dramatic interpretations to have been second to none.”
“I am not without my supporters, but I often feel it will go no further than Clive Barnes’ succinct evaluation: ‘Neil Simon is destined to remain rich, successful and underrated,’” Simon wrote in the introduction to a volume of his plays. He made clear, however, that, painful as this assessment might be, he had no desire to be “poor, unsuccessful and overrated.”
In May 1901, the great playwright married actress Olga Knipper – much to the dismay and confusion of his family and friends, who knew him to be a compulsive womanizer. Less than a year later, Knipper became severely ill and had to terminate a pregnancy. It turns out, as biographer Donald Rayfield has discovered, that the child could not have been Chekhov’s, and he almost certainly knew it.
“Walker was a trailblazing man of ‘firsts,’ and not just because of the Pulitzer [he won in 1996 for Lilacs]. In the year 1945 alone, he was the first African-American pianist to play a recital at New York’s Town Hall, the first black instrumentalist to play solo with the Philadelphia Orchestra and the first black graduate of the Curtis Institute of Music in Philadelphia.”
“Time magazine proclaimed him the ‘patron saint of laughter’” His shows, with an arsenal of sarcastic wit, became highly entertaining staples of high school and community theaters, and they popped up on stages as far away as Beijing and Moscow. But mostly, he dominated Broadway like no other playwright of the past half-century. Hardly a year passed from 1961 to 1993 without a new production by Mr. Simon, whose legacy was a colossally successful run of comedies and comic dramas on topics such as romance, adultery, divorce, sibling rivalry, cancer and the fear of aging.”
While he’s most famous for having taught the singers Kate Bush and David Bowie (He helped invent and coached Bowie’s Ziggy Stardust persona), Kemp founded his own contemporary dance company in the 1960s and created flamboyant, pioneering stage productions that combined – and ignored any boundaries between – dance, mime, musical and spoken-word theatre.
“Pratt painted items she saw around her, transforming them. A jar of currant jelly glowed from within. The aluminum foil holding a meal of fish seemed to have eerie qualities. The flowers she picked outside became beacons of strength.”
The South African-born Murray began his career at the Royal Shakespeare Company before settling in the U.S., where he had a 50-year career that included directing and occasional film appearances as well as countless roles on and Off-Broadway (including three Tony nominations) and in regional theater.
Eva’s mother, Esther (Ilsa) Hoffe, was the secretary of Kafka’s friend and executor, Max Brod, and she inherited Brod’s archive when he died. After Esther’s death, the National Library of Israel, citing the term’s of Brod’s will, sued Eva for the papers, leading to a long string of litigation.
In documents filed with the Oakland County probate court, Ms. Franklin’s sons — Clarence, Edward and KeCalf Franklin, and Ted White Jr. — listed themselves as “interested parties.” One document, signed by KeCalf Franklin, checked a box indicating that “the decedent died intestate,” or without a will.
He was born 100 years ago on Aug. 25, and his centenary is being celebrated as his achievement — and the smilingly confident place and time he symbolized — seems ever more unrepeatable. Who today could write both “West Side Story” and three thorny, searching symphonies? Who could bring together Brahms and the Beatles on national television, and have millions watch? To what maestro’s left-wing political dalliances would New York magazine devote a cover story in 2018?
He and producing partner Neil Meron produced countless television movies and miniseries, most notably musicals and biopics of music and music-theater stars such as the Beach Boys and Judy Garland. His work bringing musicals to the small screen ranged from the Bette Midler Gypsy (1993) to NBC’s recent succession of shows performed live, from The Sound of Music (2013) to this year’s Jesus Christ Superstar.
“She choreographed pivotal scenes in the films The Apartment, Breakfast at Tiffany’s and Bob & Carol & Ted & Alice, and she also conceived the dance moves for Judy Garland’s first TV special, two Academy Awards telecasts and episodes of The Red Skelton Hour, The Lucy Show and The Bob Hope Show.” (And that’s not even near the half of it.) “Miriam Nelson may not have achieved the kind of fame as the actors who executed her moves. But [she] left behind a sizable body of film and TV work as well as the legacy of being the rare female choreographer in a field that was dominated by men.”