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Richard Foreman, Iconoclastic Playwright and Impresario, Dies at 87

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Richard Foreman, Iconoclastic Playwright and Impresario, Dies at 87

Richard Foreman, the relentlessly teasing, deliberately mysterious avant-garde playwright and impresario who founded the Ontological-Hysteric Theater, won a bookshelf full of Obie Awards and received a MacArthur fellowship in his late 50s, died on Saturday in Manhattan. He was 87.

David Herskovits, the artistic director of Target Margin Theater in Brooklyn and a co-executor of Mr. Foreman’s literary estate, said the death, at Mount Sinai West Hospital, was from complications of pneumonia.

Mr. Foreman established his company in 1968 and went on to present more than 50 of his own plays; for many years the group was housed at St. Mark’s in the Bowery, the historic East Village church. The company name refers to the metaphysical study of the nature of existence and to Mr. Foreman’s conviction that the situations he worked with were, as he told John Rockwell of The New York Times in 1976, “basically hysteric — repressed passions emerging as philosophical interactions.”

The titles of his plays hinted at his worldview. “Dream Tantras for Western Massachusetts” (1971) was one of numerous collaborations with the composer Stanley Silverman. “My Head Was a Sledgehammer” (1979) depicted a professor and two students facing the frustrations of acquiring knowledge. “Bad Boy Nietzsche!” (2000) was about that German philosopher’s nervous breakdown. “King Cowboy Rufus Rules the Universe!” (2004) was inspired by the George W. Bush administration.

Other titles, like “Total Recall” (1970), “Vertical Mobility” (1974) and “Permanent Brain Damage” (1996), were more concise but no less resonant.

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Mr. Foreman’s plays tended to be “peerless mini-extravaganzas” offering “dizzying theatrical joys,” Ben Brantley wrote in one 2004 Times review. Looking at Mr. Foreman’s body of work, he also mentioned the familiar “cross-cultural medley of musical fragments, the strings and poles that segment the stage, vulnerable baby dolls and menacing thugs in animal outfits.”

The same review called Mr. Foreman’s strength as a writer “his refusal to spell anything out.”

Mr. Foreman was recognized and rewarded early in his career. He received his first Obie Award in 1970, sharing it with Mr. Silverman, for “Elephant Steps,” which has sometimes been described as an opera about a radio show. It had its premiere at the Tanglewood music festival in Massachusetts in 1968.

When “Elephant Steps” came to Hunter College in Manhattan two years later, the chief classical music critic of The Times, Harold C. Schonberg, found it “all very chic,” but he also confessed, “I don’t know what the hell was going on.”

Mr. Foreman went on to win a half-dozen more Obies, first in 1973 for the Ontological-Hysteric Theater itself, then in 1976 for “Rhoda in Potatoland,” a nearly two-hour one-act show about a woman having bizarre dreams.

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On two occasions he won Obies for best play in the same year — meaning that he essentially tied with himself for the top award: for “The Cure” (with an emphasis on patient-doctor relations) and “Film Is Evil, Radio Is Good” (the title was the theme) in 1987; then for “Pearls for Pigs” (about a mentally disturbed actor) and “Benita Canova” (about mean schoolgirls) in 1998. Some people count those as two Obies, others as four.

In between, Mr. Foreman received the best director award for Vaclav Havel’s “Largo Desolato” (1986) and a special Obie (1988) for sustained achievement.

In 1995, when he was 58, Mr. Foreman received a MacArthur Foundation fellowship, popularly known as the “genius grant.” The foundation praised him for his “original vision and commitment to developing new theatrical vocabularies” that influenced the direction of American avant-garde theater.

No one could credibly accuse Mr. Foreman of abandoning his bohemian roots and going mainstream, but he did direct and design numerous classical works and operas both in the United States and abroad. They included Johann Strauss’s “Die Fledermaus” at the Paris Opera, Mozart’s “Don Giovanni” at Opéra de Lille, France, Molière’s “Don Juan” at the Guthrie Theater in Minneapolis and Joseph Papp’s production of Kurt Weill and Bertolt Brecht’s “The Threepenny Opera” at Lincoln Center in New York.

Mr. Foreman was well-known in SoHo, where he bought a 3,600-square-foot loft for $10,000 in 1970. (“Now it’s all Boutiqueville,” he observed regretfully, referring to the neighborhood, in a 2013 Times interview.) Early in his career he was identifiable by his matching dark hair, eyebrows and walrus-style mustache. Decades later, when the mustache was gone and his hairline had receded, The Forward described him affectionately as “a disheveled, egg-shaped man with long, stringy hair and frayed, formless clothes.”

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Suffering from light sensitivity, Mr. Foreman said, he usually rose well before dawn, covered the apartment’s skylights with fabric and went to bed around 7 p.m. He was a frequent napper. “I lie around, I doze off,” he told The Times. “It’s been a life of bits and pieces.”

It was a life of purpose as well. “I’ve never been very happy about the world,” he confessed in a 2018 video interview for the Lower East Side Biography Project. “So what makes me tick is this obsessive need to figure out what isn’t here that I want to be here. I make plays — or whatever you want to call them — to try to fill that great big void.”

Richard Foreman was born Edward Friedman on June 10, 1937, in Staten Island. He was adopted by Albert Foreman, a lawyer, and his wife, Claire (Levine) Foreman; the Foremans soon moved to Scarsdale, in Westchester County.

Richard graduated from Scarsdale High School, where he showed an early interest in theater, appearing in class productions. He also produced and directed Arthur Miller’s “The Crucible” there, just two years after the play’s 1953 opening on Broadway. He graduated in 1959 from Brown University, where he majored in English and helped form the student theater group there; he also sometimes designed sets. Three years later, he received an M.F.A. from the Yale School of Drama (now the David Geffen School of Drama at Yale).

His father helped him get his first job, managing apartment buildings in New York, Mr. Foreman said in the Biography Project interview. That gave him a flexible schedule and allowed him to pursue artistic projects. His father then helped him again, showing one of his early plays to someone at the influential Shubert organization, who encouraged him and introduced him to a producer.

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Early on, Mr. Foreman became part of a downtown filmmaking group that included Jonas Mekas. With Mr. Mekas as his guru, he made film shorts in the 1970s, adapted his play “Strong Medicine” to film in 1981 and returned to movie production in 2012 with “Once Every Day” and a documentary about its making, “My Name Is Rainer Thompson and I’ve Lost It Completely.”

His last film was “Mad Love” (2018), a 70-minute reverie, mostly in grainy black and white, released by PennSound Cinema. Its central image was of a well-dressed man inserting his index finger into a well-dressed woman’s open mouth.

The last play he produced and directed himself was “Old-Fashioned Prostitutes (A True Romance),” which opened at the Public Theater in 2013. In a review of the play, which he called a “gleeful mind- and memory-bender” about an aging man watching the present “turn into the past,” Mr. Brantley praised Mr. Foreman as “the most eminent elder statesman of the avant-garde in New York theater.”

Mr. Foreman’s first play in a decade, “Suppose Beautiful Madeline Harvey,” about, on the surface, a woman and a man at a boulevard cafe, was staged in December at LaMaMa, the East Village experimental theater, and directed by Kara Feely.

Mr. Foreman married his high school friend Amy Taubin, an actress who became a New York film critic, in 1961; they divorced in 1972. In 1988, he married the artist and actress Kate Manheim, who has appeared in a number of his plays. She is his only immediate survivor.

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In a 2013 essay in The Forward, Joshua Furst compared the power of Mr. Foreman’s work to the Jewish tradition of davening: “If you let the rhythm of his rocking enter you, he’ll remind you what it feels like to be ecstatic, what it is to be hysterical, what it means to circle the meaningless void that is the wellspring of all meaning.”

Michael Paulson contributed reporting.

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How a Parks Worker Lives on $37,500 in Tompkinsville, Staten Island

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How a Parks Worker Lives on ,500 in Tompkinsville, Staten Island

How can people possibly afford to live in one of the most expensive cities on the planet? It’s a question New Yorkers hear a lot, often delivered with a mix of awe, pity and confusion.

We surveyed hundreds of New Yorkers about how they spend, splurge and save. We found that many people — rich, poor or somewhere in between — live life as a series of small calculations that add up to one big question: What makes living in New York worth it?

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Sara Robinson boarded a Greyhound bus from Oregon to New York City to attend Hunter College in the early 2000s, bright-eyed and eager to pick up odd jobs to fuel her dream of living there.

For a long time, she made it work. But recently, that has been more challenging than ever.

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Right around her 40th birthday, Ms. Robinson began to feel financially squeezed in Brooklyn, where she had lived for years. Ms. Robinson (no relation to this reporter) was also feeling too grown to live with roommates.

“As a child,” she said, “you don’t think you’re going to have a roommate at 40.” She decided to move into a place of her own: a one-bedroom apartment in the Tompkinsville neighborhood of Staten Island.

After she moved, the preschool where she’d worked for over a decade closed. Now, she works two jobs. She is a seasonal employee for the state Office of Parks, Recreation and Historic Preservation, working from Tuesday to Saturday. And on Monday nights, she sells concessions at the West Village movie theater Film Forum, which pays $25 an hour plus tips.

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Ms. Robinson, now 45, loves her job as an environmental educator at a state park on Staten Island. Her team runs the park’s social media accounts and comes up with event programming, like a recent project tapping maple trees to make syrup.

But the role is temporary. Her last stint was from June 2024 to January 2025. Then she was unemployed until August 2025. Ms. Robinson’s current contract will be up in April, unless she gets an extension or a different parks job opens up.

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Ms. Robinson’s biweekly pay stubs from the parks department amount to about $1,300 before taxes. She barely felt a difference, she said, while she was out of work and pocketing around $880 every two weeks from her unemployment checks. (Her previous parks gig paid $1,100 a check.)

Living in New York’s Greenest Borough

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“It used to be, ‘There’s no way I’m moving to Staten Island,’” Ms. Robinson said. “But the place is close to the water. I’m three minutes from the ferry. The rest is history.” She lives on the third floor of a multifamily house, above an art studio and another tenant. Her rent is $1,600 a month, plus $125 in utilities, including her phone bill.

“If my situation changes, I don’t know if I could find something similar,” she said. “So much of my New York life has been feeling trapped to an apartment. You get a place for a good price, and you’re like, ‘I can’t leave now.’”

Staten Island is convenient for Ms. Robinson’s parks job, but it’s become harder to justify living in a borough where she knows few people. It takes more than an hour to get to friends in Brooklyn, an especially hard trek during the winter. After four years of living on Staten Island, Ms. Robinson feels somewhat isolated.

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“All my friends on Staten Island are senior citizens,” she said. “It’s great. I love it. But I do want friends closer to my age.”

One of Ms. Robinson’s friends, Ray, took her on nature walks and taught her about tree identification, sparking an interest in mycology, the study of mushrooms. This led to a productive — and free — fungi foraging hobby during unemployment. She has found all sorts of mushrooms, including, after a month of searching, the elusive morel.

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The Budgeting Game

Ms. Robinson doesn’t update her furniture often, but when she does, she shops stoop sales in Park Slope or other parts of Brooklyn.

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“It’s like a treasure hunt,” she said. “You could make a whole apartment off the street, off the stuff that people throw away.”

She also makes a game out of grocery shopping, biking to Sunset Park in Brooklyn or Manhattan’s Chinatown to go to stores where there are better deals. She budgets about $300 for groceries each month.

Ms. Robinson bikes almost everywhere, sometimes traveling a little farther to enter the Staten Island Railway at one of the stations that don’t charge a fare. She spends $80 a month on subway and ferry fares, and $5 a month for a discounted Citi Bike membership she gets through a credit union, though she usually uses her own bike. She is handy and does repairs herself.

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There are certain splurges — Ms. Robinson drops $400 once or twice a year on round-trip airfare to Seattle, where her family lives. She also spent $100 last year to see a concert at Forest Hills Stadium in Queens.

She said she has many financial saving graces. She has no student loans and no car to make payments on. She doesn’t get health insurance from her jobs, but she qualifies for Medicaid.

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She mostly eats at home, though sometimes friends will treat her to dinner. She repays them with tickets to Film Forum movies.

Nothing Beats the Twinkling Lights

Ms. Robinson’s friends often talk about leaving the city — and the country.

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Two friends have their eyes set on Sweden, where they hope to get the affordable child care and social safety net they are struggling to access in New York.

Ms. Robinson can’t see herself moving elsewhere in the United States, but she is entertaining the idea of an international move if she can’t hack it on Staten Island.

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Yet the pull of the city is hard for her to resist.

“I just get a rush when I’m riding the Staten Island Ferry across the bay,” she said. “You see all the little twinkling lights. It’s this feeling of, ‘everything is possible here.’”

That feeling, plus the many friendly faces Ms. Robinson sees every day — the ferry operators, the conductors on the Staten Island Railway, her co-workers at Film Forum — are what tie her to New York.

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“My savings are not increasing, so there’s that,” she said. “But I’ve been OK so far. I think I’m going to figure it out.”

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How the Editor in Chief of Marie Claire Gets Styled for a Trip to Italy

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How the Editor in Chief of Marie Claire Gets Styled for a Trip to Italy

Nikki Ogunnaike, the editor in chief of Marie Claire magazine, did not grow up the scion of an Anna Wintour or a Marc Jacobs.

But, she said, “my mom and dad are both very stylish people.”

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They got dressed up to go to church every week in her hometown Springfield, Va. Her mother managed a Staples; her father, a CVS. “Presentation is important to them,” she said.

Since landing her first internship with Glamour magazine in college, Ms. Ogunnaike, 40, has held editorial roles there and at Elle magazine and GQ. She has been in the top post at Marie Claire since 2023.

She recently spent a Saturday with The New York Times as she prepared for Milan Fashion Week.

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How a Physical Therapist and a Retiree Live on $208,000 in Harlem

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How a Physical Therapist and a Retiree Live on 8,000 in Harlem

How can people possibly afford to live in one of the most expensive cities on the planet? It’s a question New Yorkers hear a lot, often delivered with a mix of awe, pity and confusion.

We surveyed hundreds of New Yorkers about how they spend, splurge and save. We found that many people — rich, poor or somewhere in between — live life as a series of small calculations that add up to one big question: What makes living in New York worth it?

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It has never really occurred to Marian or Charles Wade to live anywhere but the city where they were born and where they raised their children.

New York is in their bones. “We have our roots here, and our families enjoyed life here before us,” Ms. Wade said.

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And they feel lucky. Between Mr. Wade’s pension, earned after more than 40 years as an analyst at the Manhattan district attorney’s office, and his Social Security benefits, along with Ms. Wade’s work as a physical therapist at a psychiatric center, they bring in about $208,000 a year.

Still, it’s hard for the couple not to notice how much the city has changed as it has become wealthier.

About 10 years ago, Ms. Wade, 65, and Mr. Wade, 69, sold the Morningside Heights apartment they had lived in for decades. The Manhattan neighborhood had become more affluent, and tensions over how their building should be managed and how much residents should be expected to pay for upkeep boiled over between people who had lived there for years and newer neighbors.

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They found a new home in Harlem, large enough to fit their two children, who are now adults struggling to afford the city’s housing market.

All in the Family

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Ms. Wade knew it was time to leave Morningside Heights when she spotted her husband hiding behind a bush outside their building, hoping to avoid an unpleasant new neighbor. They had bought their apartment in 1994 for $206,000, using some money they had inherited from their families, and sold it in 2015 for $1.13 million.

The couple found a new apartment in the Sugar Hill section of Harlem for $811,000, and put most of the money down upfront. They took out a loan with a good rate for the remaining cost, and had a $947 monthly payment. They recently finished paying off the mortgage, but they have monthly maintenance payments of $1,555, as well as two temporary assessments to help improve the building, totaling $415 a month.

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Their two children each moved home shortly after graduating from college.

The couple’s son, Jacob Wade, 28, split an apartment with three roommates nearby for a while, but spent down his savings and moved back in with his parents. He is searching for an affordable one bedroom nearby and plans to move out later in the year. Their daughter, Elka Wade, 27, came home after college but recently moved to an apartment in Astoria, Queens, with roommates.

Until their daughter moved out a few weeks ago, she and her brother each took a bedroom, and Mr. and Ms. Wade slept in the dining room, which they had converted into their bedroom with the help of a Murphy bed and a new set of curtains for privacy.

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There is very little storage space. A piano occupies an entire closet in their son’s bedroom, because the family has no other place to fit it.

The setup is cramped, but close quarters have their benefits: When their daughter, a classically trained cellist, was living there, she often practiced at home in the evenings. “I love listening to her play,” Ms. Wade said.

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Three Foodtowns and a Thrift Shop

The Wades do what they can to keep their costs low. They’ve decided against installing new, better insulated windows in their drafty apartment. They don’t go on vacations, instead visiting their small weekend home in rural upstate New York. And they’ve pulled back on takeout food and retail shopping.

Instead, Mr. Wade surveys the three Foodtown supermarkets near their home for the best deals, preferring one for produce and another for meat. The weekly grocery bill has been around $500 with both kids living at home, and the family usually orders delivery twice a week, rotating between Chinese and Indian food, which typically costs $70, including leftovers.

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For an occasional splurge, they love Pisticci, a nearby restaurant where the penne with homemade mozzarella costs $21.

The couple owns a car, which they park on the street for free. But they often use public transportation to avoid paying the $9 congestion pricing fee to drive downtown, or when they have a good parking spot they don’t want to give up. They have a senior discount for their transit cards, which allows them to pay $1.50 per subway or bus ride, rather than $3.

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Ms. Wade stopped shopping at the stores she used to frequent, like Eileen Fisher and Banana Republic, years ago. Instead, she visits a thrift store called Unique Boutique on the Upper West Side. She was browsing the aisles a few months ago, before a big Thanksgiving dinner, and spotted the perfect dress for the occasion for just $20.

But she has one nonnegotiable weekly expense: a private yoga lesson in an instructor’s apartment nearby, for $150 a session.

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Elka Wade, a cellist, often practices at home, to the delight of her parents. Bess Adler for The New York Times

Swapping Mortgage Payments for Singing Lessons

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For every member of the Wade family, life in New York is all about the arts.

The children each attended the Special Music School, a public school focused on the arts. Their son, an actor, teacher and director, works part time at the Metropolitan Opera and the Kaufman Music Center, a performing arts complex in Manhattan. His sister works in administration at the Kaufman Center.

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Mr. Wade is still close with friends from high school who are now professional musicians, and the couple often goes to see them play at venues like the Bitter End in Greenwich Village, where shows typically have a $12 cover and a two-drink minimum.

The couple has cut back on going to expensive concerts — they used to try to see Elvis Costello every time he came to New York, for example — but have timeworn strategies for getting affordable theater tickets.

They recently splurged on tickets to “Oedipus” on Broadway for themselves and their daughter, who they treated to a ticket as a birthday gift. The seats were in the nosebleed section, but still cost $80 apiece.

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The couple has a $75 annual membership to the Film Forum, which gives them reduced price tickets to movies. They occasionally get discounted tickets to the opera through their son’s work, and when they don’t, they pay for family circle passes, which are usually $47 a head, plus a $10 fee.

Ms. Wade, who grew up commuting from Flushing, Queens, to Manhattan to take dance lessons, sometimes takes $20 drop-in ballet classes during the week at the Dance Theater of Harlem, just a few blocks away from the apartment.

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Recently, when the couple paid off their mortgage, Ms. Wade celebrated by giving herself a treat: weekly private singing lessons, for $125 a session.

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