Archive for the ‘Theatre’ Category

Obit watch: April 14, 2026.

Tuesday, April 14th, 2026

Sid Krofft. THR.

The shows could feel hallucinogenic, and many older viewers read drug references into them that the Kroffts maintained were not intentional. (Titles like “Pufnstuf” did not make that argument more believable.)
“If we did the drugs that we’ve been accused of doing all these years, we wouldn’t be here answering your questions,” Mr. Krofft said in an interview with The Washington Post in 2009.

Lawrence sent over an obit for noted SF writer Ian Watson. I don’t have much to add to this, as I have not seen this reported elsewhere.

Valerie Lee. She was one of the children who played Munchkins in “The Wizard of Oz”. It gets a little confusing, at least for me, but as best as I understand it: they recruited some child actors to play adult Munchkins alongside the actual little people in “Oz”.

About a dozen children of average height were hired so they could be used for background fill. Sources differ on the number of children used for these roles ranging anywhere from 10 to 12. The names used for the women are maiden names with known aliases present in italics and quotation marks.

According to Cox, Priscilla Montgomery Clark, 96, another child Munchkin, is the last surviving person to have appeared in The Wizard of Oz.

John Nolan, actor. Other credits include “The Sweeney”, “The Prisoner”, and “Return of the Saint”.

Obit watch: March 20, 2026.

Friday, March 20th, 2026

Chuck Norris. THR. “The World Bows: Remembering Chuck Norris 1940-2026” from Black Belt.

Other credits include the bad “Hawaii Five-0”, “Sons of Thunder”, and “Firewalker“.

Ed Bernard, actor. Other credits include “Hardcastle and McCormick”, “Shaft” (the movie), “Cool Million”…

…and “Mannix”. (“A Question of Murder”, season 7, episode 22. He was “Bull Evans”.)

Jane Lapotaire, British actress.

For the historical record: NYT obit for Alvin Greene. (Previously on WCD.)

Obit watch: February 25, 2026.

Wednesday, February 25th, 2026

Lauren Chapin, actress. Other credits include “School Bus Diaries”, “The Amorous Adventures of Don Quixote and Sancho Panza”, and “Scout’s Honor”.

Sondra Lee, actress. Noted:

Lee went on to direct cabaret shows based on the music of Stephen Sondheim, including I Know Things Now: My Life in Sondheim’s Words, performed by Jeff Harnar; #Sondheim Montage, performed by Harnar and KT Sullivan; and Another Hundred People, performed by Harnar and Sullivan.

Robert Carradine. Other credits include “Jackson County Jail” (Lawrence, I have this, if you want me to bring it over Saturday), “Django Unchained”, and “Timecop: The Berlin Decision”.

Obit watch: Februrary 19, 2026.

Thursday, February 19th, 2026

Tom Noonan, who I think was an underappreciated actor.

Other credits include the short film “They’re Made Out of Meat” (wait, what?), “12 Monkeys” (the series), “Roadside Picnic” (the series, wait, what?), “Heaven’s Gate”, and “F/X”.

David Hays, theater designer. He also co-founded the National Theater of the Deaf. I wanted to call this one out because there’s a pretty good “Mannix” episode (“The Silent Cry“, season 2, episode 1) that features actors from the NTD, and (as I recall) was filmed with their cooperation and support.

I’ve been holding this one for a few days, looking for a place for it: Bob Croft, pioneering free diver.

When he made his first record-setting dive, in 1967, Mr. Croft was a U.S. Navy petty officer first class working as a research subject on submarine escape procedures at the Naval Submarine Base in Groton, Conn. In a test dive at the 40-foot mark in a 118-foot-deep water tank there, he held his breath for 6 minutes 10 seconds — an astonishingly long time — by inflating his lungs 50 percent longer than normal human beings could.

He then embarked on a private expedition, financed largely by himself, to break the free-dive record of 197 feet set in 1966 by Jacques Mayol, one of his main rivals in the sport. On Feb. 8, 1967, about two miles off the coast of Fort Lauderdale, Fla., Mr. Croft made his first attempt to top that mark, but fatigue and the water’s cold temperatures forced him to turn back at 185 feet.

Once he passed 200 feet, he continued to 212.7 feet — the deepest point of his descent — where he activated the sled’s hand brake and fastened an alligator clip to the rope. He then climbed the rope, hand-over-hand, to the surface.
In all, he had spent 2 minutes 6 seconds underwater.

Mr. Croft, a brawny 5-foot-8, raised his record to 217.5 feet in late 1967 and then to a remarkable 240 feet in August 1968, breaking a record of 231 feet that had been set by Mr. Mayol that January.
Mr. Croft retired from free diving after the 240-foot dive, still believing he could have gone deeper. He left his goal of 250 feet to others. It has long since been exceeded: In 2023, Alexey Molchanov of Russia set the current record of nearly 512 feet.

Obit watch: November 30, 2025.

Sunday, November 30th, 2025

Rosencrantz and Guildenstern are dead.

So is Sir Tom Stoppard. THR.

Stoppard received his first Academy Award nomination for co-writing Brazil (1985) with director Terry Gilliam and Charles McKeown, adapted John le Carre‘s novel for The Russia House (1990) and did an uncredited revision on the screenplay for Indiana Jones and the Last Crusade (1989), with director Steven Spielberg noting that “Tom is pretty much responsible for every line of dialogue.”

Colleen Jones, curler and curling commentator.

As a curling skip, or captain, Jones directed her teammates and devised strategies in a sport that is sometimes referred to as chess on ice. So adroit was she at gracefully sliding a granite stone weighing around 40 pounds with decisive precision that she was inducted into Canada’s Sports Hall of Fame in 2016 and named the second greatest athlete from Nova Scotia, behind only the hockey star Sidney Crosby, by the province’s sports hall of fame in 2017.

She won two world titles and six Canadian national championships.

In 1986, she joined the Canadian Broadcasting Corporation as the first female sports anchor in Halifax, Nova Scotia’s capital. Over her nearly 40 years with the network, she also worked as a reporter, commentator and weather presenter. In 2022, Jones was named a member of the Order of Canada, one of the country’s highest civilian honors.

Although Jones never qualified to compete in the Olympics for Canada — the most decorated nation in curling, with six gold medals and 12 in total — she served as a commentator and analyst for nearly a dozen Winter and Summer Games for the CBC.

Obit watch: November 12, 2025.

Wednesday, November 12th, 2025

Sally Kirkland, actress.

Other credits include “Supertrain”, the good “Hawaii Five-0”, “Bronk”, and an uncredited role in “Blazing Saddles”.

Tatsuya Nakadai, Japanese actor.

The film writer Chuck Stephens, in a 2009 essay for the Criterion Collection, which issued many of Mr. Nakadai’s films on DVD and Blu-ray, said Mr. Nakadai was so prominent in Japanese films of the 20th century that he deserved the title “The Eighth Samurai.”

He did a lot of work with Akira Kurosawa, including the lead role in “Kagemusha”. He was also the lead character in “Ran”, Kurosawa’s version of “King Lear”.

Early in his career, Mr. Nakadai often worked opposite Toshiro Mifune, one of Japan’s best-known acting exports. They could not have been less alike: Mr. Mifune, untrained as an actor but with wild energy, often presented a gruff, overtly physical persona, while Mr. Nakadai took on vastly different characters and delivered subtly intricate performances.
They usually played adversaries. In “Yojimbo” (1961) and “Sanjuro” (1962), both directed by Mr. Kurosawa, and “Samurai Rebellion” (1967), directed by Mr. Kobayashi, the two meet in climatic duels, with Mr. Mifune’s character winning each time with a horizontal slash to the midsection. In “Sanjuro,” the fatal cut released a towering fountain of blood.

Mr. Nakadai also worked with other seminal postwar Japanese directors, including Mikio Naruse, Masaki Kobayashi, Kihachi Okamoto and Kon Ichikawa. He also appeared on television, in roles large and small, and in several plays.

Obit watch: October 3, 2025.

Friday, October 3rd, 2025

Patricia Routledge, noted British actress. She was 96.

…from the beginning she was a stage performer, and an acclaimed one.
Ms. Routledge won a Tony for her 1968 Broadway appearance in the musical “Darling of the Day” (a tie with Leslie Uggams, for “Hallelujah, Baby!”) and its British equivalent, the Laurence Olivier Award, as the Old Lady in a 1988 production of “Candide” at the Old Vic.

Many of Ms. Routledge’s biggest fans, from “Appearances” and from “Hetty Wainthropp Investigates,” the detective series she starred in afterward (1996-98), may never have even known about her time with the Royal Shakespeare Company or her stage roles on the West End.
She was the temperamental character actress Dotty Otley and a harried housekeeper in the farce “Noises Off” (1982), the imperious Lady Bracknell in “The Importance of Being Earnest” (1999), the title character in “Little Mary Sunshine” (1962), Madame Ranevskaya in “The Cherry Orchard” (1975), Queen Margaret in “Richard III” (1984), the confused Mrs. Malaprop in “The Rivals” (1976), the earthy Nettie Fowler in “Carousel” (1992) and a religious fanatic in “And a Nightingale Sang” (1979).

Other American stage appearances included the 1980 Shakespeare in the Park production of “The Pirates of Penzance,” with Kevin Kline, as Ruth the pirate maid; and the London comedy “How’s the World Treating You?” (her Broadway debut, in 1966), as a frumpy 1940s mom.None of her Broadway shows had long runs. In 1968, “Love Match” (her second time portraying Queen Victoria) never opened, because of a disappointing Los Angeles run.
Her most notable flop was the Broadway production of Leonard Bernstein’s “1600 Pennsylvania Avenue,” in which she played a series of American first ladies. It opened on May 4, 1976, and closed on May 8. She looked back on the experience as a composer-lyricist mismatch, telling the London newspaper The Telegraph in 2007, “I think Alan Jay Lerner was frightened of Lenny.”

She appeared in a handful of feature films, including “To Sir, With Love” (1967) and “If It’s Tuesday, This Must Be Belgium” (1969). Her last screen appearance was in 2001 in the British television movie “Anybody’s Nightmare,” a true-crime drama about a teacher in her 60s wrongly imprisoned for murder.

IMDB.

She was best known as “Hyacinth Bucket” (pronounced by the character “Bouquet”) on “Keeping Up Appearances”, a show (and a character) beloved by many people in my family.

One of those family members sent me this, which I rather like:

I’ll be turning 95 this coming Monday. In my younger years, I was often filled with worry — worry that I wasn’t quite good enough, that no one would cast me again, that I wouldn’t live up to my mother’s hopes. But these days begin in peace, and end in gratitude.
My life didn’t quite take shape until my forties. I had worked steadily — on provincial stages, in radio plays, in West End productions — but I often felt adrift, as though I was searching for a home within myself that I hadn’t quite found.
At 50, I accepted a television role that many would later associate me with — Hyacinth Bucket, of Keeping Up Appearances. I thought it would be a small part in a little series. I never imagined that it would take me into people’s living rooms and hearts around the world. And truthfully, that role taught me to accept my own quirks. It healed something in me.
At 60, I began learning Italian — not for work, but so I could sing opera in its native language. I also learned how to live alone without feeling lonely. I read poetry aloud each evening, not to perfect my diction, but to quiet my soul.
At 70, I returned to the Shakespearean stage — something I once believed I had aged out of. But this time, I had nothing to prove. I stood on those boards with stillness, and audiences felt that. I was no longer performing. I was simply being.
At 80, I took up watercolor painting. I painted flowers from my garden, old hats from my youth, and faces I remembered from the London Underground. Each painting was a quiet memory made visible.
Now, at 95, I write letters by hand. I’m learning to bake rye bread. I still breathe deeply every morning. I still adore laughter — though I no longer try to make anyone laugh. I love the quiet more than ever.
I’m writing this to tell you something simple:
Growing older is not the closing act. It can be the most exquisite chapter — if you let yourself bloom again.
Let these years ahead be your *treasure years*.
You don’t need to be famous. You don’t need to be flawless.
You only need to show up — fully — for the life that is still yours.
With love and gentleness,
— Patricia Routledge

Car bomb explodes in Beirut.

Monday, September 22nd, 2025

Lawrence and I have a running joke about overused headlines:

“Car Bomb Explodes In Beirut”.
“Rosie O’Donnell Goes On Unhinged Rant”

And, to that list, we can add:

“The Broadway Musical Is in Trouble”.

None of the 18 commercial musicals that opened on Broadway last season have made a profit yet. Some still could, but several have been spectacular flameouts. The new musicals “Tammy Faye,” “Boop!” and “Smash” each cost at least $20 million to bring to the stage, and each was gone less than four months after opening. All three lost their entire investments.
Lavish revivals of much-loved classics are also fizzling. On Sunday, a revival of “Cabaret,” budgeted for up to $26 million and featuring a costly conversion of a Broadway theater into a nightclub-like setting, threw in the towel at a total loss. A $19.5 million revival of “Gypsy” that starred Audra McDonald and earned strong reviews closed last month without recouping its investment. Even a buzzy production of “Sunset Boulevard,” which won this year’s Tony for best musical revival, failed to make back the $15 million it cost to mount.

Only three new musicals have recouped their investments since the pandemic. Two are jukebox musicals: “MJ,” which features the music of Michael Jackson, and “& Juliet,” which features the songs of the Swedish hitmaker Max Martin. The third, “Six,” reimagines the ill-fated wives of King Henry VIII as pop stars.

So “Suffs” didn’t make money? Interesting to know.

But wait!

All three got assistance from the government. “Six” and “MJ” each got $10 million from the federal government in the form of Shuttered Venue Operator Grants, designed to help the arts recover from the shutdown. And “& Juliet” benefited from a $3 million tax credit through a New York State postpandemic program. The federal program ended, and the state program, which has aided almost every Broadway show to open over the last few years, will end this fall unless it is renewed.

Why was this money not going to the Montana State University Angling Oral History Project? Or the USCSB?

Producers and general managers say that every element of making musicals has gotten more expensive in recent years: labor (paying actors and musicians and stage hands as well as the creative teams), material (the lumber and steel, as well as the technology, that go into sets), rent (to theater owners) and fees (to all kinds of vendors who work on shows).

A decade ago, the big musical comedy “Something Rotten,” with a cast of 25, cost $14 million to capitalize; last season’s “Death Becomes Her,” another big musical comedy with a cast of 20, cost up to $31.5 million. The high capitalization costs, combined with high running costs, means shows have to run much longer to become profitable.

One Broadway investor, James L. Walker Jr. of Atlanta, is so frustrated by the current economics that he’s litigating. After putting $50,000 into the “Cabaret” revival, he filed suit against the producers, alleging fraud. In an interview, Walker pointed out that the show has grossed nearly $90 million in ticket sales, plus whatever it made in sales of liquor, food and merchandise, and that he can’t accept that the investors who raised up to $26 million to finance the show have gotten nothing back. “How is that a good business model?” he asked.

I wish him all the luck in the world, but this sounds like “Hollywood accounting”, and I don’t think any of the suits around that have had much success.

The two this fall include “The Queen of Versailles,” based on a documentary and starring Kristin Chenoweth, and “Two Strangers (Carry a Cake Across New York),” a British rom-com with just two actors. Next spring’s slate has not yet taken shape, but among the new musicals circling are stage adaptations of the films “The Lost Boys” and Prince’s “Purple Rain,” of the book “Midnight in the Garden of Good and Evil,” and of the streaming series “Schmigadoon!,” as well as an original title, “Wanted.”

“Midnight in the Garden of Good and Evil”, the musical? Maybe the problem is that Broadway is out of ideas.

And haven’t people been saying “The Broadway Musical Is in Trouble” since…1942?

Obit watch: September 11, 2025.

Thursday, September 11th, 2025

I feel like everyone is aware of Charlie Kirk. For the historical record, here’s an archived version of the NYT obit.

I don’t mean to give the man short shrift, but I also really have nothing of significance to add.

Polly Holliday. She had a considerable body of work in theater in addition to her TV and movie work. THR. NYPost.

Other credits include “Gremlins”, “Homicide: Life on the Street”, and “All the President’s Men”.

I got to wondering about this yesterday, and then a short time later someone else asked me the same question: is anybody from “Alice” still alive?

Linda Lavin, Vic Tayback, Beth Howland, and Philip McKeon are all dead. But Diane Ladd, who replaced Polly Holiday for (roughly) the season after she left, is still alive. (She was also “Flo” in “Alice Doesn’t Live Here Anymore”.) Celia Weston, who replaced Diane Ladd, is also still alive.

Obit watch: July 17, 2025.

Thursday, July 17th, 2025

Connie Francis. NYT.

She made her stage debut at 4, singing “Anchors Aweigh” and accompanying herself on the accordion at Olympic Park in Irvington, N.J.
At 11, she was a regular on “Marie Moser’s Starlets,” a local television variety show. After she appeared on Ted Mack’s “Original Amateur Hour” and “Arthur Godfrey’s Talent Scouts,” Mr. Mack advised her to lose the accordion, and Mr. Godfrey advised her to change her last name to Francis.

“I often say, I’d like to be remembered not for the highs I’ve reached but for the depths from which I’ve risen,” she told Mr. James. “There were exhilarating highs and abysmal lows. But it was fighting to get out of those lows that I feel most proud of.”

Joanna Bacon, British actress. Other credits include “The Infinite Worlds of H.G. Wells”, “The Bill”, and “EastEnders”.

Bryan Braman, former NFL linebacker. (Hattip: Lawrence.)

Braman was part of the first playoff team in Texans history after signing with Houston as an undrafted free agent out of West Texas A&M. He was a regular on Houston’s special teams, with his most memorable moment coming in a helmet-less tackle of a Tennessee Titans kick returner in the 2011 regular-season finale. Braman was also a 2012 Pro Bowl alternate with Houston, and he finished his career with four years with the Philadelphia Eagles.

This is just in, and should be considered breaking news: Felix Baumgartner, noted skydiver and daredevil.

In 1999, he set the world record for the highest parachute jump from a building when he took a leap from the 1,483-foot Petronas Towers in Kuala Lumpur, Malaysia.
That same year, he set a record for the lowest BASE jump ever, hurtling himself from the 85-foot arm of the Christ the Redeemer statue in Rio de Janeiro.
Then in 2003, Baumgartner became the first person to skydive across the English Channel with the help of a custom-designed carbon fiber wing, leaping from the craft at a height of more than six miles over Dover, England before landing safely in Cap Blanc-Nez in France.
His most famous jump was in 2012, when Baumgartner jumped 24 miles from a helium balloon, reaching a top speed of Mach 1.25 (843.6 mph) and becoming the first person to ever break the sound barrier without a vehicle.
He descended from the stratosphere in full free-fall for four minutes and 19 seconds before deploying his parachute.

This broke Joe Kittinger’s old record. (Col. Kittinger assisted with planning the jump.)

The 56-year-old Austrian extreme sports enthusiast reportedly fell ill while flying a motorized paraglider in the Italian coastal town of Porto Sant’Elpidio, crashing the craft into a hotel swimming pool.
He reportedly died instantly during the freak accident, according to media reports. A hotel employee was also injured after being struck by the glider and taken to the hospital with neck injuries.

Obit watch: June 22, 2025.

Sunday, June 22nd, 2025

Frederick W. Smith, founder and former CEO of FedEx. NYPost. Nothing in the paper of record yet.

Lynn Hamilton, actress. Other credits include “Hunter”, “Quincy, M.E.”, “Lady Sings the Blues”, “The Marcus-Nelson Murders” (the pilot for “Kojak”)…

…and “Mannix”. (“Tooth of the Serpent“, season 3, episode 15. This is actually a pretty solid episode.)

Jack Betts, actor. Other credits include “The Assassination of Trotsky”, “The F.B.I.”, and “Dead Men Don’t Die”.

Obit watch: May 16, 2025.

Friday, May 16th, 2025

Charles Strouse, noted Broadway composer. THR.

Mr. Strouse had more than a dozen Broadway shows to his credit and composed some of the most enduring musical theater numbers of his era: “Put On a Happy Face” and “Kids (What’s the Matter With Kids Today?)” from “Bye Bye Birdie,” which opened in 1960 and featured lyrics by his frequent collaborator Lee Adams; “But Alive” from “Applause” (1970), a musical adaptation of the movie “All About Eve” starring Lauren Bacall, with lyrics by Mr. Adams; and “Tomorrow” and “It’s the Hard-Knock Life” from “Annie” (1977), with lyrics by Martin Charnin.

Some of Mr. Strouse’s numbers became so ubiquitous that they seemed revered and reviled by the public in equal measure. Each response in its own way was a badge of honor.
There was the time, for instance, that a stranger accosted Mr. Strouse at a party.
“If I have to hear my daughter sing ‘Tomorrow’ one more time,” he thundered, “I’m going to kill myself — and you!”

He wrote scores for films as well, including “Bonnie and Clyde” (1967) and “The Night They Raided Minsky’s” (1968. For television, he composed the music for “Those Were the Days,” the opening theme of Norman Lear’s groundbreaking sitcom “All in the Family,” with lyrics by Mr. Adams. (It is Mr. Strouse’s piano playing that is heard on the soundtrack as Archie and Edith Bunker sing the song on camera.)

Not all of Mr. Strouse’s ventures were successful. “Bring Back Birdie,” a 1981 sequel, closed on Broadway after four performances. Two “Annie” sequels, “Annie 2: Miss Hannigan’s Revenge” and “Annie Warbucks,” closed out of town before reaching Broadway. The 1991 musical “Nick & Nora,” with a book by Arthur Laurents, lyrics by Richard Maltby Jr. and a cast featuring Barry Bostwick and Joanna Gleason as Dashiell Hammett’s detectives Nick and Nora Charles, played just nine Broadway performances.

“When I was a 6-year-old girl, I only based my opinion on people from how they made me feel and how they treated me. When I first met Charles Strouse, I was 100 percent enamored with him,” Danielle Brisebois, who played Molly in the original production, said. “His warm smile and his soulful eyes … He was always encouraging, thoughtful and kind. I had no idea I was in the presence of a legend!”

“Everybody has flops,” he said. “When I teach, the students say, ‘How can you work three or four years on a show … and it flops? How do you recover from that?’ The only answer is, you’ve done your best, it didn’t work, what’s next?”

Obit watch: March 10, 2025.

Monday, March 10th, 2025

It has been a rough few days for baseball.

Frank Saucier, outfielder for the St. Louis Browns. He had a limited career due to injuries and the Korean War. Baseball Reference.

He is perhaps most famous as a historical footnote.

He was the only major league player removed from a game by his manager in favor of a 3-foot-7 circus performer.

Yes, he was the player who got benched in favor of Eddie Gaedel.

Art Schallock, pitcher for the Yankees and Orioles. He was, at the time of his death, the oldest living major league player. Baseball Reference.

Athol Fugard, South African playwright. He’s another one of those folks I’ve heard a lot about, but have no personal experience with his work.

It also hasn’t been a good time for music. D’Wayne Wiggins, of Tony! Toni! Tone!.

Joey Molland, the last surviving member of Badfinger. I feel like this is one of those areas where pigpen51 is better equipped to comment than I am.

Geoff Nicholson, author. I’ve never read any of his books, but the NYT obit makes him sound interesting.

His death, in a hospital, was from chronic myelomonocytic leukemia, his partner, Caroline Gannon, said. It is a rare bone marrow cancer, though, as Mr. Nicholson mordantly observed, “not rare enough, obviously.”

Mr. Nicholson was married for a time to Dian Hanson, a former model who edited a fetishist magazine, Leg Show. After living together in New York, the couple moved to Los Angeles when Ms. Hanson became the editor of sex-themed books for the luxury art publisher Taschen. Mr. Nicholson reveled in the 1960s kitsch of his home in a geodesic dome in the Hollywood Hills.

Obit watch: February 3, 2025.

Monday, February 3rd, 2025

Fay Vincent, former MLB commissioner. ESPN.

List of people banned from Major League Baseball“.

Merle Louise Simon, who worked extensively with Stephen Sondheim.

Ms. Simon — who worked for most of her career under the name Merle Louise — began her run in Sondheim shows with “Gypsy,” in 1959, and continued with “Company” (1970), “Sweeney Todd: The Demon Barber of Fleet Street” (1979) and “Into the Woods” (1987), Mr. Sondheim and James Lapine’s interpretation of fairy tales. (Mr. Sondheim wrote the lyrics for “Gypsy,” and the music and lyrics for the other shows.)
“Steve had a real history with Merle,” Mr. Lapine, who directed Ms. Simon in three roles, including the Giant in “Into the Woods,” said in an email. Mr. Sondheim, he added, “loved the energy she brought to the rehearsal room and the stage. Merle was usually the smallest person in the room but always the most ebullient and with the most glorious voice.”

She played Susan, a Southern belle going through a divorce, in “Company,” a series of vignettes that revolve around a bachelor learning about love, marriage and divorce from his married friends. She was then cast as the Beggar Woman, the crazed, long-lost wife of the title character in “Sweeney Todd,” a barber who slits the throats of unsuspecting clients.

Hey! New York Times! Spoilers!

Suzanne Massie.

An American-born author of books about Russian culture who spoke the language, Ms. Massie held a romantic view of what she called the Russian “soul,” and she formed a bond with a president who liked to understand and communicate complex issues through anecdotes about average people.

She became “Reagan’s window on the Soviet Union,” the historian James Mann wrote in “The Rebellion of Ronald Reagan” (2009), a study of his role in ending the Cold War. “She described the country and the Russian people to the president in terms that he understood and found useful.”
It was Ms. Massie who taught Mr. Reagan the Russian proverb “Doveryai no proveryai” (“Trust but verify”), which he uttered to Mr. Gorbachev when they met in Reykjavik, Iceland, in October 1986 — and repeated so often that Mr. Gorbachev grumbled about it.

Although Ms. Massie corresponded with Mr. Reagan and met with him before and after trips she made to Moscow — including a private lunch on the Oval Office patio with the president and the first lady, Nancy Reagan — memoirs by Reagan officials involved in U.S.-Soviet relations portray her as a minor figure.
But Mr. Mann wrote that she “played a more significant role” than is generally known. She served as an unofficial emissary, carrying messages between Mr. Reagan and Moscow, and she humanized Russians for Mr. Reagan at a time when he was revising his view of the Soviet Union as an “evil empire” and reaching out to Mr. Gorbachev to ease nuclear tensions.

She was married to Robert K. Massie.

The couple’s first child, Robert, had hemophilia. Caring for him, which the Massies described in a searing memoir, “Journey” (1975), turned out to be an unlikely portal into Russian culture and, ultimately, the Oval Office.
The Massies learned that Czar Nicholas II and his wife, Alexandra, the last of the Romanovs, had a son with hemophilia. Mr. Massie went on to write a best-selling history, “Nicholas and Alexandra” (1967), with Ms. Massie serving as editor and researcher. Seeking some respite from raising a disabled child, she took Russian lessons.

After their divorce, she married Seymour Papert.

James Carlos Blake, one of those authors I have heard of but have not read. The NYT compares him to Cormac McCarthy and Larry McMurtry.

Rebellious, nomadic and prone to divorce (he was married four times), Mr. Blake was nearly as colorful a character as the ones who populated his fiction. Before turning to writing full time in his late 30s, he had been a paratrooper, snake catcher, mechanic, swimming-pool maintenance man, jail officer and teacher.

“Violence is the most elemental truth of life,” he told GQ magazine in 2012. “It’s the central shaper of history, the ultimate determiner of whether A or B is going to get his way. When push comes to shove — as so much has a way of doing — all moral considerations go out the window and it all becomes a matter of who’s going to be the last man standing.”

Obit watch: January 22, 2025.

Wednesday, January 22nd, 2025

Jules Feiffer, artist. He was perhaps most famous as a cartoonist for the “Village Voice”, but he also did some movie and theater work.

In the mid-1950s, Norton Juster, a neighbor of Mr. Feiffer’s in Brooklyn, invited him to illustrate a children’s book he was writing, “The Phantom Tollbooth.” An ingenious kaleidoscope of wordplay arguably akin in style to Lewis Carroll, the book, published in 1961, was an instant hit.

Around 1980, the movie producer Robert Evans recruited Mr. Feiffer to write the screenplay for Robert Altman’s “Popeye.” Mr. Feiffer patterned his script after the Segar newspaper strip, not the animated adaptations made by the Fleischer brothers in the 1930s and ’40s. When E.C. Segar’s daughter saw the movie, Mr. Feiffer told The Comics Journal in 1988, she called to tell him that he had captured the essence of her father’s creation — at which, Mr. Feiffer added, he cried. Though it met a mixed critical reaction, the film, starring Robin Williams as Popeye and Shelley Duvall as Olive Oyl, was a hit.

In May 1997, Mr. Feiffer ended his affiliation with The Village Voice over a salary dispute. “It’s not that I’ve slipped,” he said at the time. “It’s that I’m too expensive.” (In April 2008, he returned for a one-shot, full-page take on Hillary Clinton’s presidential campaign.)
Later in life he derived great pleasure from writing and drawing children’s books, some in collaboration with his daughter Kate, among them “The Man in the Ceiling” (1993), “Bark, George” (1999), “By the Side of the Road” (2002), “The Daddy Mountain” (2004) and “A Room With a Zoo” (2005). A 2010 reunion project with Mr. Juster, “The Odious Ogre,” was warmly reviewed.

Garth Hudson, of the Band.

During its peak, the Band was famously a collaborative operation informed by the songwriting and barbed guitar playing of Robbie Robertson and the soulful singing and musicianship of Levon Helm, Rick Danko and Richard Manuel. But critics and his fellow band members agreed that Mr. Hudson played an essential role in raising the group to another level entirely.
Mr. Robertson, quoted in Barney Hoskyns’s 1993 book, “The Band: Across the Great Divide,” called him “far and away the most advanced musician in rock ’n’ roll.” “He could just as easily have played with John Coltrane or the New York Symphony Orchestra as with us,” Mr. Robertson said.