New York
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.
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.
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.”
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.
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.
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.
New York
Riding with a New York City cabdriver on the first day of congestion pricing.
Wain Chin, a New York City taxi driver, felt unlucky on Sunday morning.
From 9 a.m. to 10:45 a.m., he cruised in his yellow cab up and down the avenues between 57th Street and Houston Street in Manhattan. Only one woman could be seen raising her hand to hail a taxi — and the driver in front of Mr. Chin picked her up.
“You’ve got to hustle,” Mr. Chin said.
But he also noticed something positive: The streets seemed less crowded than usual.
“It might be less traffic,” he said, steering through Times Square with his eyebrows raised.
It was the first day of New York’s congestion pricing program, which tolls drivers entering the busiest section of Manhattan in an effort to reduce gridlock. Taxi rides are also subject to tolls, which are tacked on to passengers’ fares. For the first time, paper receipts in Mr. Chin’s cab showed a 75-cent fee marked “CRZ,” for “congestion reduction zone.”
“I have no comprehension on how it’s going to turn out,” he said.
But Mr. Chin, 57, is worried about how the new tolls might affect his profession. When traffic resurged as the coronavirus pandemic waned, cab ridership didn’t. During the 12-hour shifts he works Monday through Saturday, he previously averaged 20 to 25 fares. Now it is 15 to 20. Worse, his rides tend to be shorter — blocks, not miles, with charges of $20 instead of $40.
With an estimated 80 percent of his work in the tolling zone — below 60th Street — Mr. Chin worries that the additional fee will deter future riders, especially those going short distances.
Even marginal losses could be meaningful for Mr. Chin. A married father of three sons, he still owes about half a million dollars for the taxi medallion he inherited from his father. (He is trying to refinance.)
“We’re concerned for our survival,” said Mr. Chin, a Burmese immigrant who has driven a cab for nearly 30 years and is a member of the New York Taxi Workers Alliance.
Any time of day, he noted, riders south of 96th Street in Manhattan start out paying $7.75 — $4.75 in fees, $3 to the taxi driver. During evening weekday rush hours, the starting price jumps to $10.25. How much more, Mr. Chin wonders, will riders take?
“We don’t know how it’s going to affect us,” he said. “We’re going to find out in a few weeks.”
He is, however, sympathetic to the needs of the city’s public transit system, which is in dire need of repairs and upgrades that will be financed with revenue from congestion pricing tolls. Cruising past the heavily guarded Trump Tower, he mused on President-elect Donald J. Trump’s promise to end congestion pricing.
“It would be great for us,” he said. “But who’s going to pay for the subway then? The federal government?”
New York
The Mystery of a Subway Victim’s Downward Spiral
Good morning. It’s Monday. Today we’ll read about the early life and downward spiral of Debrina Kawam, the woman who was burned alive on a train in Brooklyn last month at age 57.
Andy Newman, who covers homelessness and poverty for the Metro desk, and I spent days reporting on the twists and turns of her life in an attempt to understand her life after her death made headlines across the country.
Debrina Kawam’s story was a tale of two lives. In her first act, she was Debbie, the girl who old friends fondly remembered as a spitfire and beloved Little Falls, N.J., sweetheart.
Those who knew her said she had an inner glow that shined through as she cheered on football players in high school, posed against a collage of Led Zeppelin posters and welcomed diners at Perkins Pancake House with a smile.
Accounts of her early life further revealed a jubilant woman who took a bite out of life whenever she could, whether that was through trips to the Caribbean or partying with friends.
In 2003, she legally changed her first name to Debrina.
Somewhere along the way her life changed, and it took a dark turn in the early 2000s. It still remains unclear what may have happened to trigger her heart-wrenching downfall.
Financial records show that she accumulated about $90,000 in debt, eventually leaving her with a handful of possessions: a Dodge Neon valued at $800, a television, a futon worth $300 and some clothes.
Grappling with alcohol abuse, Kawam racked up dozens of summonses for drinking and disorderly conduct along the Jersey Shore starting in the mid-2010s.
She tried to visit her mother in Toms River, N.J., this spring, only to find out that her mother had sold the home and moved away.
In the fall of last year, Kawam was homeless. After an outreach team encountered her at Grand Central Terminal, she entered the New York City shelter system and was assigned to a facility in the Bronx. But she never showed up.
On Dec. 22, she had dozed off on a stationary F train at the Coney Island-Stillwell Avenue station when a man calmly walked up to her and set her clothes on fire with a lighter, the authorities said. Sebastian Zapeta-Calil has been charged with murder and arson in the case.
She died from burns and smoke inhalation. It took the medical examiner’s office days to identify her. But since Kawam’s name emerged, her story has become one that is likely to remain in New Yorkers’ memories.
Weather
Today there will be light snow with clouds and a high near 31. Tonight, the sky will remain cloudy as the temperature dips into the low 20s.
ALTERNATE-SIDE PARKING
Suspended today for Three Kings Day.
The latest New York news
Dear Diary:
My tooth was aching as I got off a packed northbound A train at 175th Street. I joined a river of people flowing at rush hour through the long tunnel that leads to the George Washington Bridge Bus Station.
I was deeply lost in my thoughts when I was overtaken by an immaculately dressed, middle-aged man.
To my astonishment, he stopped, turned and, blocking my way, looked directly into my eyes with an indignant expression.
“May I help you?” I asked.
“You missed a whole passage,” he said in an angry voice.
“What passage?” I said.
“From the ‘Trout Quintet’,” he said. “By Schubert.”
“Was I whistling?” I asked. “I frequently do that unconsciously, usually classical music.”
“I am sort of tone deaf,” I added, trying for some reason to assuage his anger.
“Tone deafness has nothing to do with it,” he said. “You missed a whole passage.”
I tried to ask if he was a musician, but just then my voice was drowned out by someone in the tunnel who started to play an Andean panpipe really loudly.
“I am sorry,” I said apologetically to the man before continuing on. “But I really have to get to my dentist.”
— Bronek Pytowski
Illustrated by Agnes Lee. Send submissions here and read more Metropolitan Diary here.
Glad we could get together here. James Barron will be back tomorrow.
P.S. Here’s today’s Mini Crossword and Spelling Bee. You can find all our puzzles here.
New York
Companies could pass on the cost of congestion pricing tolls to consumers.
Congestion pricing arrived in New York City exactly one second after midnight on Sunday.
And despite the freezing temperatures, a crowd of about 100 people gathered at the corner of Lexington Avenue and 60th Street in Manhattan to mark the occasion.
It was mainly supporters who showed up to clap and chant, “Pay that toll! Pay that toll!” But one opponent tried to drown them out by banging a cowbell. And the exchanges grew a bit testy at times across the congestion pricing divide.
The tolling program, the first of its kind in the nation, finally became reality on New York streets after decades of battles over efforts to unclog some of the most traffic-saturated streets in the world. In the weeks leading up to its start, the program survived multiple legal challenges seeking to derail it at the last minute, including from the State of New Jersey.
It will most likely be some time, however, before it becomes clear whether congestion pricing works, or whether it can withstand continuing attempts to overturn it by a broad array of opponents, including President-elect Donald J. Trump, who takes office later this month.
Noel Hidalgo, 45, who lives in Brooklyn, was among the first drivers to pay the toll. As he drove his Mini Cooper across the threshold, toll supporters cheered and clapped from the curb.
Another driver posted a photo on social media of a silver car with metal cans dangling from the rear bumper. “Just tolled” was written on the rear windshield.
Most passenger cars are now being charged $9 once a day at detection points set up along the borders of the new tolling zone, from 60th Street to the southern tip of Manhattan.
Shortly after noon, about 12 hours after tolling began, transportation leaders declared that the plan had rolled out without a hitch, but cautioned that the tolling system was complicated and that it was too soon to know how it was faring.
“We will start to know specific numbers and have some comparatives within a few days, and we’re going to share that information publicly,” said Janno Lieber, the chief executive of the Metropolitan Transportation Authority, the state agency overseeing the program.
So far, the M.T.A. does not intend to make any adjustments to the program, Mr. Lieber said.
Traffic data for the congestion zone was mixed on Day 1. The average travel speed initially inched upward 3 percent to 15.1 miles per hour at 8 a.m. Sunday, compared with 14.6 m.p.h. at the same time on the first Sunday in January last year, according to INRIX, a transportation analytics firm. But by noon, the travel speed had fallen to 13 m.p.h., slightly slower than in 2024.
Still, the real test for the tolling program will come during the workweek. The M.T.A. said it had chosen to introduce the program on a Sunday to be able to work out any kinks while traffic was sparse. Light snow was forecast for the region on Monday, which could affect commuter data if fewer people choose to drive.
On a typical weekday, at least half a million vehicles enter the congestion pricing zone, a metric that officials will be tracking “very, very closely,” Mr. Lieber said.
Manoj Bhandari’s car will no longer be among them. Though he normally drives into his Midtown office at least twice a week from New Jersey, he said he would now only take the train. “It’s expensive for me and it’s expensive for everybody,” said Mr. Bhandari, 54, who was parked outside the Lincoln Tunnel on Sunday. “We won’t be using our car anymore.”
Transportation officials have projected that congestion pricing will reduce the number of vehicles entering the congestion zone by at least 13 percent.
Other drivers seemed to accept that there was no way around the new tolls. Oscar Velasquez, 54, a carpenter who lives on Long Island, said he was going to have to pay more now to haul his tools to jobs around the city. “One of these days, they’re going to charge you for walking,” Mr. Velasquez said as he idled on West 66th Street in his Chevy pickup truck.
The tolls are expected to help generate $15 billion to pay for crucial repairs and improvements to New York’s aging subway system, buses and two commuter rail lines. The work includes modernizing subway signals, making stations more accessible for riders with disabilities and expanding the city’s electric bus fleet.
Those upgrades could improve the commute for Emily Rose Prats, 36, of Brooklyn, who supports congestion pricing. She has spinal degradation and standing for long periods can cause her great discomfort, so she has avoided the subway and the bus, which can be unreliable.
“The improvements from congestion pricing are supposed to be an upgrade to the signals, which will mean faster trains, shorter headways, shorter commutes, less wait times,” Ms. Prats said. “All of that is something that will help me be able to take advantage of a public amenity that we pay for.”
Congestion pricing is being introduced in New York at a time when traffic has surged on city streets since nearly disappearing five years ago in 2020 at the height of the coronavirus pandemic. New York was named the world’s most congested city, beating out London, Paris and Mexico City, in a 2023 traffic scorecard compiled by INRIX.
Though congestion policy has successfully reduced traffic in other global cities, including London, Stockholm and Singapore, it has never gotten far in this country. Besides New York, a handful of other cities, like Washington and San Francisco, have explored the concept.
The program has been unpopular in the polls, and some transit experts noted that neither Mayor Eric Adams nor Gov. Kathy Hochul had commented on the start of congestion pricing by Sunday afternoon even though it will have a major impact on the city and state.
Mr. Adams has supported the plan while expressing reservations about it, and is running for re-election this year. Ms. Hochul paused the program in June over concerns that it would hurt the city’s recovery and brought it back in November with a 40 percent reduction in the tolls, down to $9 from $15.
The tolls will increase to $12 by 2028, and to $15 by 2031. The new plan is set to generate about $500 million per year during its first three years, and then $700 million when fees first go up, then close to $1 billion when the original toll is restored. The money will be used to secure $15 billion through bond financing, which would be paid back with tolling revenue.
Mr. Lieber of the M.T.A. said that officials did not expect New Yorkers to change their behavior overnight.
“Everybody’s going to have to adjust to this as more and more people become aware of it and start to factor it into their planning,” he said.
At a coffee shop near Lincoln Center, Terry Kotnour, a retired consultant, praised congestion pricing. “That’s the cost of living here,” said Mr. Kotnour, 82, who gave up his car long ago. “We have fairly good mass transit, so use it instead.”
Another supporter, Kevin Chau, 27, a software engineer from Queens who rides Citi Bike, said that he hoped Manhattan would become safer for cyclists. “Less cars on the road means it’s less dangerous for sure,” he said.
But many critics, including suburban commuters, said the program will do little to reduce traffic while punishing drivers who live outside Manhattan.
On the same day that congestion pricing began, the Port Authority of New York and New Jersey also began to charge drivers higher fees to travel between New Jersey and New York on bridges and tunnels, which it controls. (The rate is now $16.06 for passenger vehicles during peak hours, up by 68 cents from the previous fee.)
Roselyn Cano, 21, just bought a car last week to commute from the Bronx to her job at an exercise studio on East 59th Street in Manhattan because she did not feel safe taking the subway. “And then a couple of days later we get hit with the congestion toll,” said Ms. Cano, who sat at a reception desk at the studio tallying up the costs of the new toll along with her car payment, auto insurance, parking and the toll she already pays crossing from the Bronx into Manhattan.
Some New Yorkers were already devising workarounds to avoid paying the new tolls.
Cynthia Jones, who lives on the Upper West Side, was taking an exercise class at the studio. Her husband had dropped her off at 61st Street, one block north of the tolling zone. “I walked the rest of the way here,” she said.
Reporting was contributed by Wesley Parnell, Bernard Mokam, Nate Schweber, Olivia Bensimon, Anusha Bayya, Camille Baker, Sean Piccoli and Emma Fitzsimmons.
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