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Views Mixed After Limits on Sweet Drinks Are Blocked

There was drinking of large sugary beverages in the streets of New York City after a judge threw out the mayor's portion-control regulations.Fred R. Conrad/The New York Times There was drinking of large sugary beverages in the streets of New York City after a judge threw out the mayor’s portion-control regulations.

The New York Times article on a judge’s ruling on Monday striking down the city’s impending limits on large sugary drinks drew more than 1,300 comments from readers representing a wide range of regulatory philosophies. Here are some of them. A few have been condensed slightly.

This is one time when common sense won out. Yes, too mch sugar is bad, but the law was dumb. Anyone who wanted more soda could just refill their cup, especially in all those fast-food restaurants with self-service soda machines, which is most of them. The law also created a maze of rules and applied only to specific places serving specific kinds of choices, but not the choice to drink as much soda or have as much sugar as you wanted.
â€" Carmela Sanford, Niagara Falls, N.Y.

What’s arbitrary and capricious is this judge’s decision. I would not back a ban of soda or other unhealthy foods, because that would be governmental overstep. However, this regulation doesn’t ban anything â€" it institutes a nudge toward portion control.
â€" Joseph, bklyn

Hooray for freedom. Now reduce the portion of my tax that covers medical insurance, pro-rated on the percentage of expense that goes toward sugar-related illnesses, and don’t use any public money to treat its sufferers.

Consumers get to hurt thems! elves freely, and the rest of us get free from paying for their foolishness.

If we must, I guess we could tax sugar content and have it go into a special portion of the revenue that will treat sugar-related illnesses at “public” expense, but that “public” money will have been paid for almost entirely by those who consume the product. There’s precedent for that kind of arrangement, isn’t there
â€" Alan, N.Y.C.

I happen to believe that if the government doesn’t belong in the bedroom, that it does not belong in the kitchen either.

â€" Otto Von Bismarck, Koenigsberg, Prussia

The ruling makes sense, even though the motive behind the law makes more sense. In the end, if the limits of size are knocked down, perhaps all the publicity will make folks think twice about the choices they make. I think the message about the corrosive impact of bad food choices is beginning to sink in, thanks to public-minded folks like the mayor and the first lady.

â€" SNA, Westfield, ..J.

This decision just shook up the mayoral campaign. Candidates will have to say whether they will continue appealing this idiotic legal decision up to the Court of Appeals. I will vote for the candidate who promises to continue the appeals.

Apparently for some, freedom means the freedom to get Type-2 at 28, lose both legs at 44, then stick your hand in other people’s wallets to pay for the self-inflicted chronic diseases you got because big food jerks you around like a marionette.

If we can’t accept the tiniest, most voluntary steps like this one, there is no hope this stupid country will ever save itself. Laugh, world, laugh at us. We deserve it.

â€" Bill U., New York

I say put a nice 25 percent tax on sugary drinks. Sin taxes are always much more effective than bans. And they’re generally always upheld by courts.

â€" HSG9000, Earth

Agreed that obesity is a problem. And encouraging healthier eating is a good thing.

That said, I buy those larg! e drinks.! Why Because I share with my husband and my son, and one large is cheaper than three small.

Hmmm … between that and the two-cup solution in the article, I begin to suspect it isn’t about public health at all. It’s about getting people to spend more money.

â€" Stephanie Chernoff, CT

You have to love it when Big Brother Government is put back in its place by the very bureaucracy it lives by. Take that, Mayor Bloomberg.
â€" Paul, White Plains



$10 Million Gift Goes to Juilliard Drama School

The Juilliard School on Monday announced that it had received a $10 million gift that will endow the school’s new four-year masters-level graduate program in drama. According to a news release the money “supports increased instructional costs and new faculty, and provides full scholarships plus stipends for actors in their final and fourth year of the master of fine arts program in drama.” A Juilliard spokeswoman said it is the largest one-time gift that Juilliard has received for its drama department.

The endowment was completed with a matching challenge grant of up to $5 million from Bruce and Suzie Kovner, with additional gifts from John A. and Carole Moran and the Harold and Mimi Steinberg Charitable Trust. Mr. Kovner is the chairman of the school’s board and a founder of the hedge fund Caxon Associates.

Last month Juilliard announced that it had been promised a $5 million gift for its Music Advancement Program, which provides music lessons for poor minority schoolchildren.



SXSW Music: A Chance at Serendipity Amid the Glut

It’s time for the annual swarm: the South By Southwest Music festival that runs for five nights in Austin, gathering musicians that want to be heard along with the businesspeople that hope to profit from them. Each year, it sprawls wider, with unofficial events, day and night, surrounding the official showcases that already offer more than 2000 acts this year. It also moves higher up the pop food chain â€" gathering not just baby bands hoping for their chance and international visitors dreaming of American exposure â€" but also big names rolling out their latest efforts-and, inevitably, stealing attention from the underdogs.

The Internet has transformed SXSW from rare, exclusive gig to broadcast platform. Events that will be turning away people at the gate, like the Fader’s annual buzz-band extravaganza and NPR Music’s showcase for known acts like Nick Cave, Cafe Tacvba and the Yeah Yeah Yeahs, are avalable for any homebody connected to the Web, and some of the conference’s daytime panels and presentations, like Dave Grohl’s keynote speech on Thursday at noon, will also go live online.

The companies that have blanketed SXSW with brand tie-ins, like the infamous stage returning from last year’s festival that’s designed in the shape of a giant snack-food vending machine, will also make SXSW performances available. Newer bands are also happily facing video cameras and webcast microphones wherever they get the chance-by Sunday, there may be enough live-at-SXSW material online to last until SXSW 2014. Many are also giving away their songs for download from the SXSW Web site. (Digital packrats c! an grab them all at once at www.sxswtorrent.com, or pick up a singer-songwriter-centric batch of 100 from NPR.)

But web convenience doesn’t keep people-myself included-from swarming to the clubs, warehouses and makeshift stages of Austin itself for these five frantic days. Even as the big stars beckon, the branding taints the art and the cellphone cameras block the view, there’s still a chance of serendipity amid the glut. Maybe it’ll be a gorgeous electric squall or a rapper mowing down cliches or a singer-songwriter who somehow hushes the crowd; maybe it’ll be a Chilean psychedelic band or prospective Korean teen idols. My schedule, as it stands, has four or five promising choices in every time slot from 11 a.m. to 2 a.m. from now till Saturday; it’s bound to be completely revamped or tossed out before SXSW ends. I’ll be blogging here between sets or in the wee hours, as will the music-business reporter James C. McKinley Jr. and the photographer osh Haner; stay tuned.



Videos Show Store Rampage by Protesters From Vigil

The police released two videos on Tuesday showing a disorderly group that descended on a Rite Aid store in East Flatbush, Brooklyn, on Monday night and wrought havoc inside after breaking away from a vigil for a teenager who had been killed by the police.

In the first video, above, at least three dozen, mostly young people can be seen streaming into the store, at 4102 Church Avenue, many of them pulling their sweatshirt hoods up as they enter, apparently an effort to be harder to identify. Several of the people can be seen hitting and shoving a man described by the police as a patron of the store.

In the second video, below, several people can be seen going behind the counter.

Thepolice say some of the protesters tried to steal a cash register and hit a bystander in the head with a bottle. They scattered much of the store’s merchandise on the floor.

The group in the store had been part of a vigil organized by community leaders for Kimani Gray, 16, who the police said pulled and pointed a gun on two plainclothes officers on Saturday night. The officers responded by fatally shooting Mr. Gray.

The police asked anyone with information about the rampage in the Rite Aid to contact Crime Stoppers.



Man Admits Stealing Fixtures From a Bronx Cemetery

Louis Peduto at St. Raymond Cemetery in the Bronx.Courtesy N.Y.P.D. Louis Peduto at St. Raymond Cemetery in the Bronx.

A man accused of stealing brass fixtures from a Bronx cemetery pleaded guilty on Monday. The man, Louis Peduto, 56, admitted to taking items â€" a few doorknobs and at least one vent cover - found in a bag when he was caught by security guards Feb. 18, the Bronx district attorney’s office said.

In a deal reached with prosecutors, Mr. Peduto will enter a one- to two-year residential drug-treatment program. If he completes the program, the felony grand larceny charge he pleaded guilty to will be reduced to a midemeanor. If Mr. Peduto does not complete the program, he will face jail time.

Early articles about the thefts placed the value of goods the cemetery reported stolen at $189,000, but prosecutors said they were able to link Mr. Peduto only to the objects found in the bag. The crime he pleaded guilty to, fourth-degree grand larceny, covers theft of property valued between $1,000 and $3,000.

The district attorney’s office said that Mr. Peduto confessed to using drugs since age 13 and struggling with addiction to cocaine and heroin, and that he has a history of drug-related misdemeanor arrests.

“The defendant has no prior felony convictions and a long history of addiction,” Steven Reed, a spokesman for the district attorney, said in a statement. “It was apparent that the addiction is what motivated his nonviolent criminal activity.”

Mr. Peduto’s lawyer, Cynthia Pong, did not respo! nd to a call seeking comment.

Mr. Peduto was also accused by a City Room reader of having taken the tulip-shape solar-powered light he is seen holding in a photo released by the police from the grave of her son. In an interview last month at Rikers Island, Mr. Peduto denied the accusation.



Statistics Challenge Cuomo’s Claim of Record Job Growth

ALBANY â€" Gov. Andrew M. Cuomo’s administration has boasted of New York’s private-sector job growth “setting records.” But the state actually slightly trailed the nation in private-sector job growth during the governor’s first two years in office.

The number of private-sector jobs increased by 4 percent in New York State from January 2011 to January 2013, according to the State Labor Department. Nationwide, over the same period, private sector jobs grew by 4.4 percent.

Those figures come despite the fact that New York State lost fewer jobs, as a percentage, than the nation did in the Great Recession. And they come as unemployment has fallen behind the national average on Mr. Cuomo’s watch; as of January, New York State’s unemployment rate (8.4 percent) still trailed the nation’s (7.9 percent).

The data is potentially troublesome for Mr. Cuomo as he ponders a presidential run.

In a news release last week, the Labor Department emphasized that the state had a good month from December 2012 to January 2013, and it emphasized that private-sector jobs had been growing for a record 17 straight months coming off the downturn.

Howard Glaser, the governor’s operations director, reacted sharply to reporters who raised questions about the overall job picture on Twitter. “Private sector job growth at record levels in NY (fact!)” he said in his own Twitter message.

Edmund J. McMahon, director of the Empire Center for New York State Policy, a conservative research group, said, “Judged objectively, it’s not a great trend,” adding, “I don’t think a governor can make a significant difference in two years.”

“Then again, his administration is trying to act like they are making a difference, but the evidence doesn’t support them,! ” Mr. McMahon said.

“Much of upstate is flat on its back and, really, the engine of growth more than ever is New York City,” he said. “And even with that, we’re not quite keeping pace with the national rate of growth.”



Los Angeles MOCA Said to Be Close to Pact with National Gallery

The Museum of Contemporary Art.Monica Almeida/The New York Times The Museum of Contemporary Art.

Struggling to maintain its independence in the face of dwindling resources, the Museum of Contemporary Art in Los Angeles is close to working out a five-year agreement with the National Gallery of Art in Washington to collaborate on programming, research and exhibitions, according to the president of the Gallery board.

Any agreement would not include financial or fundraising assistance for the Los Angeles museum, and so would not immediately solve its fiscal problems. But an agreement could help boost the museum’s own efforts to raise money and war off, at least temporarily, a merger with its wealthier and more powerful neighbors, the Los Angeles County Museum of Art or the University of Southern California.

“The goal at this point is stabilizing them and get them standing as an independent institution,” said John Wilmerding, president of the board of the National Gallery. “We’d like to see them survive and thrive and if we can help them, that’s all we’re doing.”

Mr. Wilmerding said the billionaire Eli Broad, one of MOCA’s biggest financial supporters, had approached the National Gallery and asked for assistance. Mr. Wilmerding dismissed rumors of any merger or permanent partnership, saying the discussions so far have focused almost solely on joint programming and exhibitions. The National Gallery is also offering help with research, curatorial decisions and staffing a! dvice if needed.

An agreement, which Mr. Wilmerding said he thought could be finalized within a week, would likely raise MOCA’s prestige and morale at a time when it is recovering from the loss of its chief curator, declining attendance figures, and scorn for some of its exhibition choices, such as one devoted to disco.

An arrangement with MOCA also makes sense for the National Gallery, Mr. Wilmerding, said because the East Wing, where some of the gallery’s contemporary art collection and its research center is housed, will be closed for a few years during renovations. He said it is possible the National Gallery might lend MOCA some of its collection.

Just last week, the city’s philanthropic and art circles were weighing the plusses and minuses of a possible merger with the County Museum of Art after its director, Michael Govan, had proposed a merger with MOCA and a $100-million fundraising drive.

Mr. Broad, who donated $16 million to MOCA five years ago and has long opposed ny merger with Lacma, seems for the moment to have outflanked Mr. Govan’s efforts. Mr. Broad declined comment.

A spokeswoman for MOCA did not immediately respond to a request for comment.



New York Theater Workshop’s New Season to Feature Caryl Churchill Play

The acclaimed British writer Caryl Churchill will return to New York Theater Workshop during the 2013-14 season with a new drama, “Love and Information,” her first play there since the 2009 staged reading of her controversial work “Seven Jewish Children: A Play for Gaza,” the theater announced on Tuesday. It will be the seventh American debut of a Churchill play at New York Theater Workshop, where her previous plays included “A Number” and “Far Away” as well as “Seven Jewish Children,” which drew complaints in both London and New York for its portrayal of some Israelis, who speak savagely about Palestinians. James MacDonald will direct “Love and Information,” as he did last year in a London production. The play, which features dozens of short scenes about characters overwhelmed by the nonstop pace of modern information, is expected to begin performances in early 2014.

The workshop’s season will include another new work, Will Power’s “Fetch Clay, Make Man,” about the improbable friendship between a young Muhammad Ali and the Hollywood actor Stepin Fetchit, to be directed by Des McAnuff. The play had its premiere in 2010 at the McCarter Theater Center in Princeton, though Mr. Power has substantially rewritten the script since then, Richard Kornberg, a spokesman for New York Theater Workshop, said. The McCarter production of “Fetch Clay” starred the Tony Award winner Ben Vereen as Stepin Fetchit and Evan Parke as Mr. Ali; asked if those actors would reprise their roles, Mr. Kornberg would only say that casting was not read! y to be announced. Performances are set to begin in late summer.

After “Fetch Clay” will come “What’s It All About Bacharach Imagined,” a production built on Burt Bacharach songs, arranged and performed by Kyle Riabko, a 25-year-old actor who was in the Broadway musical “Spring Awakening.” The “Bacharach” show will be directed by Steven Hoggett, the much-praised choreographer of the Broadway shows (and previous New York Theater Workshop productions) “Once” and “Peter and the Starcatcher.”

A fourth show will be announced for this season in the coming weeks.



A Tribute to a Troubled Bus Operator

The engines of the Fung Wah bus have fallen silent, but into the sonic vacuum rushes Marc Philippe Eskenazi, an assistant cartoon editor at The New Yorker, with this touching musical tribute, which his employer posted today. Extra points for fitting “like the clown on the peel of a banana” into half a line.



Bloomberg Again Blasts Court Ruling on Large Sugary Drinks

Mayor Michael R. Bloomberg on Tuesday spoke to reporters at Lucky's Cafe in Manhattan, one day after a judge invalidated his plan to limit large sugary drinks. Lucky's owner says he is  adopting the limitations anyway.Damon Winter/The New York Times Mayor Michael R. Bloomberg on Tuesday spoke to reporters at Lucky’s Cafe in Manhattan, one day after a judge invalidated his plan to limit large sugary drinks. Lucky’s owner says he is adopting the limitations anyway.

A day after a judge struck down his administration’s impending limits on large sugary drinks, Mayor Michael R. Bloomberg appeared at a Manhattan cafe on Tuesday that was nevertheless adopting the limits, and he delivered a forceful defense of his policy and a rebuke of the judge’s decision.

Inside a room at Lucky’s Cafe packed with television cameras and appearing alongside elected officials and public health experts who have supported his plan, Mr. Bloomberg said that 100,000 Americans die every year from obesity-related causes and that the world would be watching the fate of New York City’s restrictions on sugary drinks.

“If it happens here, it will happen everywhere, and if it’s stopped here, it’s going to be a very big problem,” said Mr. Bloomberg, who said on Monday that the city would appeal the judge’s ruling.

“An awful lot of people are dying,” he added. “This is not a joke.”

Firing back at those who say that government should limit itself to educating people about nutrition, Mr. Bloomberg said, “You don’t wait until people are dead and then try to educate them, and that’s really the decision you have to m! ake here..”

He praised the owner of Lucky’s Cafe, on First Avenue, for voluntarily complying with the rules, and said other businesses should do the same.

“No. 1, it’s good business, people will appreciate it,” Mr. Bloomberg said, “and No. 2, they’ll live longer, so they’ll be clients longer.”

The owner, Greg Anagnostopoulos, who is tall and slim, said he was motivated by a belief that consuming excess amounts of soda was dangerous.

“If we offer you a 64-ounce and you drink it all, I think that’s the worst thing you can do - it’s like shoving a cake down your throat,” he said, adding, “Moderation, that’s what I believe.”

On Monday, Justice Milton A. Tingling Jr. of State Supreme Court in Manhattan issued his ruling invalidating Mr. Bloomberg’s plan, which was to take effect on Tuesday. Justice Tingling acted in response to a suit brought by the soft-drink industry against the restrictions, which would have banned the sale of sugary drinks largr than 16 ounces by restaurants, movie theaters and food carts.

Justice Tingling called the rules “arbitrary and capricious” and said the city’s Board of Health, which is appointed by the mayor, had overstepped its authority in approving the rules.

Mr. Bloomberg called the judge “totally wrong” and said he was confident that his decision would be reversed on appeal.

The ruling raises the possibility, however, that the case may not be decided by the time Mr. Bloomberg leaves office at the end of the year, putting the fate of the restrictions in the hands of his successor. The soda issue has shifted the usual political alliances among the Democrats vying to succeed Mr. Bloomberg, with one of his sharpest critics, Bill de Blasio, the public advocate, supporting the restrictions, and a candidate who is usually his ally, Christine C. Quinn, the City Council speaker, opposing them.

Mr. de Blasio, who joined Mr. Bloomberg at Lucky’s on Tuesday morning, “The mayor is abs! olutely ri! ght on this, and it’s important for people to stand with him.”

Other politicians, including the Manhattan borough president, Scott M. Stringer, and a councilman from Queens, James F. Gennaro, also appeared with the mayor and spoke on behalf of the rules, as did Geoffrey Canada, the president and chief executive of the Harlem Children’s Zone, and Dr. Steven Safyer, the chief executive of Montefiore Medical Center in the Bronx, who called obesity a greater scourge in the Bronx than H.I.V./AIDS.

Mr. Bloomberg vowed to keep fighting for measures to stem the tide of obesity after he leaves office, and predicted that restrictions on the sale of large sodas would someday be as widespread as bans on smoking.

“That’s what scares some of the manufacturers so much,” he said, adding, “I am 100 percent confident that just like smoking, this is an issue that the public has finally come to understand.”

The judge’s decision threatens what Mr. Bloomberg had hoped would be a major pat of his legacy. But Mr. Bloomberg, at one point on Tuesday, bristled at the suggestion that the ruling was a “setback” for him as he enters the final months of his administration.

“It was not a setback for me - this is a setback for the people who are dying,” he said sharply. “In case you hadn’t noticed, I watch my diet. This is not for me.”



Bloomberg Again Blasts Court Ruling on Large Sugary Drinks

Mayor Michael R. Bloomberg on Tuesday spoke to reporters at Lucky's Cafe in Manhattan, one day after a judge invalidated his plan to limit large sugary drinks. Lucky's owner says he is  adopting the limitations anyway.Damon Winter/The New York Times Mayor Michael R. Bloomberg on Tuesday spoke to reporters at Lucky’s Cafe in Manhattan, one day after a judge invalidated his plan to limit large sugary drinks. Lucky’s owner says he is adopting the limitations anyway.

A day after a judge struck down his administration’s impending limits on large sugary drinks, Mayor Michael R. Bloomberg appeared at a Manhattan cafe on Tuesday that was nevertheless adopting the limits, and he delivered a forceful defense of his policy and a rebuke of the judge’s decision.

Inside a room at Lucky’s Cafe packed with television cameras and appearing alongside elected officials and public health experts who have supported his plan, Mr. Bloomberg said that 100,000 Americans die every year from obesity-related causes and that the world would be watching the fate of New York City’s restrictions on sugary drinks.

“If it happens here, it will happen everywhere, and if it’s stopped here, it’s going to be a very big problem,” said Mr. Bloomberg, who said on Monday that the city would appeal the judge’s ruling.

“An awful lot of people are dying,” he added. “This is not a joke.”

Firing back at those who say that government should limit itself to educating people about nutrition, Mr. Bloomberg said, “You don’t wait until people are dead and then try to educate them, and that’s really the decision you have to m! ake here..”

He praised the owner of Lucky’s Cafe, on First Avenue, for voluntarily complying with the rules, and said other businesses should do the same.

“No. 1, it’s good business, people will appreciate it,” Mr. Bloomberg said, “and No. 2, they’ll live longer, so they’ll be clients longer.”

The owner, Greg Anagnostopoulos, who is tall and slim, said he was motivated by a belief that consuming excess amounts of soda was dangerous.

“If we offer you a 64-ounce and you drink it all, I think that’s the worst thing you can do - it’s like shoving a cake down your throat,” he said, adding, “Moderation, that’s what I believe.”

On Monday, Justice Milton A. Tingling Jr. of State Supreme Court in Manhattan issued his ruling invalidating Mr. Bloomberg’s plan, which was to take effect on Tuesday. Justice Tingling acted in response to a suit brought by the soft-drink industry against the restrictions, which would have banned the sale of sugary drinks largr than 16 ounces by restaurants, movie theaters and food carts.

Justice Tingling called the rules “arbitrary and capricious” and said the city’s Board of Health, which is appointed by the mayor, had overstepped its authority in approving the rules.

Mr. Bloomberg called the judge “totally wrong” and said he was confident that his decision would be reversed on appeal.

The ruling raises the possibility, however, that the case may not be decided by the time Mr. Bloomberg leaves office at the end of the year, putting the fate of the restrictions in the hands of his successor. The soda issue has shifted the usual political alliances among the Democrats vying to succeed Mr. Bloomberg, with one of his sharpest critics, Bill de Blasio, the public advocate, supporting the restrictions, and a candidate who is usually his ally, Christine C. Quinn, the City Council speaker, opposing them.

Mr. de Blasio, who joined Mr. Bloomberg at Lucky’s on Tuesday morning, “The mayor is abs! olutely ri! ght on this, and it’s important for people to stand with him.”

Other politicians, including the Manhattan borough president, Scott M. Stringer, and a councilman from Queens, James F. Gennaro, also appeared with the mayor and spoke on behalf of the rules, as did Geoffrey Canada, the president and chief executive of the Harlem Children’s Zone, and Dr. Steven Safyer, the chief executive of Montefiore Medical Center in the Bronx, who called obesity a greater scourge in the Bronx than H.I.V./AIDS.

Mr. Bloomberg vowed to keep fighting for measures to stem the tide of obesity after he leaves office, and predicted that restrictions on the sale of large sodas would someday be as widespread as bans on smoking.

“That’s what scares some of the manufacturers so much,” he said, adding, “I am 100 percent confident that just like smoking, this is an issue that the public has finally come to understand.”

The judge’s decision threatens what Mr. Bloomberg had hoped would be a major pat of his legacy. But Mr. Bloomberg, at one point on Tuesday, bristled at the suggestion that the ruling was a “setback” for him as he enters the final months of his administration.

“It was not a setback for me - this is a setback for the people who are dying,” he said sharply. “In case you hadn’t noticed, I watch my diet. This is not for me.”



New Book Tackles China and its Environmental Exports

BEIJING â€" The rapid degradation of the environment in China has become a central topic of discussion this year. Air pollution in Beijing and other parts of northern China hit record levels in January. Water pollution was thrust into the spotlight this week when official news reports said that nearly 6,000 dead pigs had been found floating in a river that slices through the heart of Shanghai. Meanwhile, environmental advocates are pressing the government to release data on soil pollution, which officials have categorized as a state secret.

It is no wonder, then, that delegates to the National People’s Congress, which is holding its annual meeting now in Beijing, are debating environmental issues, even if the congress is largely a rubber-stamp legislature charged with giving Communist Paty policy a veneer of popular legitimacy.

Just as worrisome, if not as hotly discussed among Chinese, is the impact that China is having on the environment in other parts of the world. It is not an easy thing to gauge, but Craig Simons, a former Asia correspondent for Cox Newspapers, set out to do exactly that. He documented his findings in his first book, “The Devouring Dragon: How China’s Rise Threatens Our Natural World,” which was published March 12 by St. Martin’s Press. Mr. Simons spoke recently about his reasons for embarking on this project, how Chinese officials assess climate change and what the U.S. can do to mitigate China’s environmental effects. These are excerpts from that conversation.

Q.

Why did you choose this particular topic on which to focus

Craig Simons. Craig Simons.
A.

I’d lived and worked in China for over a decade, first as a Peace Corps volunteer and later as a journalist, and I’d seen the costs of its environmental crisis on the lives of average citizens. Then, in 2005, I took a job covering Asia and began to travel regionally. In Indonesia, I reported on how Chinese demands had intensified logging and talked with experts worried that orangutans might become extinct in the wild. In Korea, friends told me about huge dust storms that had blown in from China. In Tuvalu, a tiny, low-lying South Pacific nation, locals worried that the growth of China’s greenhouse gas emissions could speed global warming, which looked likely to eventually inundate their country. As I continued to have such experiences, I began to think that China’s greatest 21st-century impact are likely to be to the physical planet. I wanted to understand both how China’s rise had affected environments around the world and, given that much of China remains relatively poor, what its continued growth could mean for our shared climate and Earth’s remaining wildlife and forests.

Q.

You’ve said that one of your goals is to put China’s environmental impact outside its borders into a historical context. Can you tell us more about that context

A.

The context is simply the tremendous physical changes to the planet humanity has caused since the beginning of the Industrial Revolution. China only began to seek significant amounts of natural resources abroad over the last decade or so, and those demands are likely to grow dramatically before they plateau. But unlike for Europe or the United States, China’s growth curve is rising at a time when the world’s environments already are severely degraded. Since roughly the beginning o! f the Ind! ustrial Revolution, humanity has cleared more than one-quarter of Earth’s forests, set off the world’s sixth great era of extinctions â€" with losses occurring between 100 and 1000 times faster than the natural baseline â€" and pumped enough greenhouse gases into the atmosphere to warm the planet by more than one degree Fahrenheit. Fitting China into that larger narrative also helps us realize the global nature of today’s environmental problems: it reminds us that we are all responsible.

Q.

What surprised you the most as you were doing your research

A.

The most surprising thing was the reach of Chinese demands. As a nation with 1.3 billion people, 19 percent of humanity, and three-plus decades of annual economic growth averaging about 10 percent, it seemed there wasn’t anywhere that China hadn’t touched. One poignant example I found was a petition by Arkansas-based environmental groups to ban the collction of wild turtles because some species faced possible extinction due largely to Chinese demand for turtle meat. Even though data on U.S. turtle exports is spotty, they found that more than 256,000 wild-caught turtles were exported to Asia from the Dallas-Fort Worth, Texas airport alone between 2002 and 2005. Another example is that air pollutants from China (as from other nations) are now reaching around the world. Dust, ozone, carbon monoxide and mercury polluted into the atmosphere in China are now regularly settling back to Earth in North America and other continents.

Q.

How aware do you think Chinese officials are of the impact that their policies have on the other parts of the world

A.

While Chinese officials have become acutely aware of the impacts of China’s development policies on its own environment, there is little public awareness of the effects of Chinese consumption on foreign nations. Despite that China is now considere! d the wor! ld’s largest importer of illegally felled logs, few Chinese have thought about the problems caused by illegal logging. Likewise, few Chinese think about the impacts on wildlife of consuming traditional medicines and exotic species. I’ve seen animal parts, including tiger bone and rhino horn, for sale at Chinese markets and restaurants. Studies have also found a widespread desire to eat wildlife: according to a 2010 study by Traffic, the environmental NGO, for example, 44 percent of people interviewed in six Chinese cities had consumed wildlife in the previous year; most believed that eating many wild species should be a personal choice. With climate change there’s more nuance, since the central government has made a very public push to improve energy efficiency and to increase the use of renewable energy sources. But experts believe that at the local level, most officials continue to focus on economic growth.

Q.

Within official circles, how do the Chinese now assess climate change, and does their assessment differ significantly from that of the United States

A.

There is agreement among most top Chinese and American officials that climate change is a serious problem and needs to be addressed. However, there is significant divergence among experts on what China and other developing nations should do. China has generally maintained that, to be fair, any budget for future emissions should account for historical and per-capita emissions, which would give China a much larger share in the future. At recent U.N. meetings, Western nations have tried to push Beijing to accept binding limits to future emissions, but, as we saw during the contentious Copenhagen climate talks in 2009, Beijing has! so far r! esisted accepting a quantitative cap.

Q.

Chinese officials often say that China has the right to grow its economy as it wants, and that the U.S. should not wag fingers over China’s environmental impact since the U.S. spent many years growing its economy without thinking of the consequences. Even now, the carbon footprint per capita in the U.S. is still bigger than that of China. Do the Chinese have a valid point

A.

Yes, that’s a valid argument. Before the U.S. recession, China’s average carbon footprint was between one-quarter and one-sixth of the average U.S. carbon footprint (depending on how one calculates it). More importantly, Chinese are much poorer than Americans. In 2011, China’s average per-capita income was less than $4,000, one-eleventh of the U.S. average. In practice this means that people don’t have many of the things Americans are used to â€" private vehicles, heated and cooled homes, the opportunity to travel internationlly â€" and they’re looking forward to those things. Another valid argument, however, is that every nation faces different challenges as they develop. Several experts I talked with pointed out that dealing with climate change, which might require slower economic growth, might be the burden China needs to bear.

Q.

You’ve said you didn’t want to write a book that had only criticism. You’ve given some prescriptions on how China can lessen the environmental impact of its growth. What are some of the more helpful steps it can take

A.

The most helpful step Beijing could take would be to adopt a cap on its greenhouse gas emissions or to impose a significant tax on carbon. Many experts now believe that the world will be able to rein in carbon emissions only if China and the United States, which together produce almost half of global anthropogenic emissions, commit to limits. Because China is relatively poor and it is still building much of! its nati! onal infrastructure, such a commitment would be challenging.

Q.

What are some steps the U.S. can take in helping limit China’s impact on the global environment

A.

The more I reported, the more I saw that our environmental problems are shared. Because China is the world’s manufacturing powerhouse, we all benefit from its cheap prices. But we also suffer from the pollution created by our increasing material affluence. China is a big part of that, but it’s only the front edge of a larger wave of development that includes India, Brazil, Russia, and many other nations. The most important thing rich, developed nations can do is to realize that they need to become better role models by limiting their own global environmental impacts, including by controlling greenhouse gas emissions. After that, the West can do more to share the prosperity it has achieved. This could come partly through making environment-friendly technologies available at reasonale prices. It could also come through helping pay for the preservation of the world’s remaining wild spaces, for example by providing income and opportunities to villagers in Papua New Guinea who choose to preserve their land or by helping train and equip wardens in wilderness areas like those I visited in northern India.

Q.

If China continues on its current path, what further effects will people living in other countries feel in the next decade

A.

If the current trends continue, we can expect more of the world’s remaining old-growth forests â€" which today make up a small part of remaining forested areasâ€"to be logged and more species to become threatened or extinct. Without a Chinese commitment to curb greenhouse gas emissions, we could also anticipate that the global community would be unlikely to generate a serious effort to address global warming. China is thus one key (the United States is the other) to coming together to save w! hat remai! ns: its impacts are so large and are growing so quickly that without Beijing’s participation, governments will have difficulty generating the political will to act.



Judge Said to Be Frustrated Over Lack of Settlement in ‘Spider-Man’ Battle

A federal judge had tough words on Monday for the parties struggling to reach a settlement over copyright control and profits for the Broadway musical “Spider-Man: Turn Off the Dark” as the legal wrangling entered a seventh month and a trial date of May 27 loomed.

According to two people who attended the closed-door session with Judge Katherine B. Forrest, of federal district court in Manhattan, she expressed frustration that an agreement had not been completed in spite of the parties’ coming to terms in principle in August.

“The judge is pretty fed up,” said one person involved with the lawsuit who was at Monday’s session, and wo spoke on condition of anonymity to discuss closed-door deliberations. “For months we’ve all been saying we’re a week or two away from a deal, but it still hasn’t happened.” The second person, who refused to be identified by name for the same reasons, said the judge had not set a deadline for a settlement but noted that the trial was set to begin in two months.

The reasons for the long slog are unclear. The lawsuit is primarily between Julie Taymor, the musical’s former director and one of its script writers, and the producers (who fired her from the show in March 2011) and the “Spider-Man” composers, Bono and the Edge of U2; other parties include Marvel Entertainment, which holds the license for the Spider-Man brand. Ms. Taymor initially sued in November 2011 on copyright grounds, saying the producers were making money off her ideas and script and owed her more than $1 million. The producers then filed their own suit, saying that they had fired Ms. Taymor for breach of contrac! t and that her legal claims were overstated or baseless.

The two people who spoke about Monday’s court proceedings said that Ms. Taymor and the producers had come to terms on money, so the hold-up did not involve her compensation. Rather, the two people said that there were so many parties in the case and interests at stake - such as Bono and the Edge’s copyright protections and share in the royalties, as well as licensing of the show for future productions - that several teams of lawyers were causing the negotiations to become protracted.

“It is a settlement process with a great many layers of people,” said the second person who was in court on Monday.

Rick Miramontez, a spokesman for the lead producers of “Spider-Man,” Michael Cohl and Jeremiah J. Harris, said that the producers had no comment on the session with Judge Forrest. A lawyer for the producers also declined to comment, and a lawyer for Ms. Taymor did not return phone messages or e-mailseeking comment.

“Spider-Man,” by far the most expensive musical in the history of Broadway with a budget of at least $75 million, opened in June 2011 to largely negative reviews after months of preview performances that had been plagued by cast injuries as well as infighting among the creative team before Ms. Taymor’s dismissal. The show has gone on to be a fan favorite, grossing more than $1 million a week, though its weekly ticket sales have dipped slightly in recent months. The producers have not announced future productions but are known to be considering venues in London and elsewhere in Europe.

Ms. Taymor, meanwhile, is set to make her first return to New York theater since “Spider-Man”: She will direct Shakespeare’s “A Midsummer Night’s Dream” this fall for the inaugural production of the new Brooklyn home of Theater for a New Audience, a! n Off Bro! adway company.



Historical Society Exhibit to Explore The Early Days of AIDS

The New York Historical Society will revisit the early years of the AIDS epidemic in a new exhibition scheduled to open this summer.

Mixing diaries, clinicians’ notes, photographs, audio and video clips, the society will explore the impact of the epidemic from the first days of rumors of a “gay plague” in 1981 through 1986. The curator Jean S. Ashton said that for many people today, “these years are now a little-understood and nearly forgotten historical period,” even though the advent of the disease “changed paradigms in medicine, society, politics, and culture in ways that are still being felt.”

The exhibition, “AIDS in New York: The First Five Years,” which runs from June 7 through September 15, will precede an exhibition at the New York Public Library, “Why We Fight: AIDS Activism and American Culture,” scheduled from October 4, 2013 through Apil 6, 2014.



A Red Carpet Stop for Willie Nelson, then on the Road Again

Willie Nelson on the red carpet at South by Southwest.Deborah Cannon/American-Statesman, via Associated Press Willie Nelson on the red carpet at South by Southwest.

AUSTIN, Tex. â€" The country music legend and occasional film actor Willie Nelson took time out from touring Sunday for a visit to the South by Southwest film festival and the premiere of “When Angels Sing,” an Austin-made holiday film directed by Tim McCanlies. Harry Connick Jr. stars as Michael Walker, a family man who is Christmas-averse. He meets Nick (Mr. Nelson), who sells him his mansion for a steal, but Michael only later discovers that the house is on one of the most Christmas-obsessed blocks in town. The movie, which also featurs performances by Lyle Lovett, the Trishas, Dale Watson and others, plays as kind of a country-western version of “A Christmas Carol.”

Mr. Nelson in EYA Productions and Fred Miller Productions Mr. Nelson in “When Angels Sing.”

In the film, Kris Kristofferson performs one of Mr. Nelson’s holiday songs, “Pretty Paper,”  and Mr. Nelson’s character sings a moving version of “Amazing Grace.” The screenplay, written by Lou Berney, is based on the book by Turk Pipkin, a friend of Mr. Nelson’s. Before greeting enthusiastic fans on the red carpet, and then heading  for a concert in Houston, Mr. Nelson, who will turn 80 in April, agreed to discuss “When Angels Sing,” life in the Austin area and his music career. ! Here are edited excerpts from that conversation.

Q.

How would you describe the character Nick

A.

I’m supposed to be some side of a half-crazed Santa Claus. Not really Santa Claus, but not really not.

Q.

What was the experience like playing that character

A.

It was fun, working with Harry and Kris and all those good guys and friends of mine.  My sister Bobbie is in there, too. We did a song in church. It was a time that we could all spend together.

Q.

How was the shoot

A.

It was real easy. We got to do it here at home [in Texas]. We shot most of it in Bastrop and that’s within driving distance from my house. So we drove to the set and back home every day. I’d love to do some more like that.

Q.

It sounds like you’re keeping busy with concerts as well.

A.

Ye, we’re playing Houston tonight and San Antonio the next night. We have a new record coming out named after an Irving Berlin song, “Let’s Face the Music and Dance.” And it’s with me and my band. It’s the first time me and the band have gotten together for an album in a while. It will be coming out in April.

A statue of Willie Nelson in downtown Austin.Mekado Murphy/The New York Times A statue of Willie Nelson in downtown Austin.
Q.

I came across your statue in downtown Austin this weekend. What do you think of it

A.

It’s a great tribute and I app! reciate i! t. I love it when people go down there and get their pictures made or throw [stuff] at the statue. Whatever they do is cool.

Q.

What do you have planned next

A.

We’re doing a duet album. If you remember my song “To All the Girls I’ve Loved Before,” I’m doing an album with girls. I did a song with Barbra Streisand, Emmylou Harris, Dolly Parton, Loretta Lynn, Alison Krauss, Rosanne Cash. Dolly wrote a great song in there, “From Here to the Moon and Back.” We did that song together. Sheryl Crow and I did “Far Away Places.” It was just a lot of fun singing with all the gals.

Q.

What’s your songwriting process like

A.

It’s kind of like labor pains. But whenever I get an idea, I have to sit down and write it. Because if I put it off until tomorrow, I might not do it.



A Red Carpet Stop for Willie Nelson, then on the Road Again

Willie Nelson on the red carpet at South by Southwest.Deborah Cannon/American-Statesman, via Associated Press Willie Nelson on the red carpet at South by Southwest.

AUSTIN, Tex. â€" The country music legend and occasional film actor Willie Nelson took time out from touring Sunday for a visit to the South by Southwest film festival and the premiere of “When Angels Sing,” an Austin-made holiday film directed by Tim McCanlies. Harry Connick Jr. stars as Michael Walker, a family man who is Christmas-averse. He meets Nick (Mr. Nelson), who sells him his mansion for a steal, but Michael only later discovers that the house is on one of the most Christmas-obsessed blocks in town. The movie, which also featurs performances by Lyle Lovett, the Trishas, Dale Watson and others, plays as kind of a country-western version of “A Christmas Carol.”

Mr. Nelson in EYA Productions and Fred Miller Productions Mr. Nelson in “When Angels Sing.”

In the film, Kris Kristofferson performs one of Mr. Nelson’s holiday songs, “Pretty Paper,”  and Mr. Nelson’s character sings a moving version of “Amazing Grace.” The screenplay, written by Lou Berney, is based on the book by Turk Pipkin, a friend of Mr. Nelson’s. Before greeting enthusiastic fans on the red carpet, and then heading  for a concert in Houston, Mr. Nelson, who will turn 80 in April, agreed to discuss “When Angels Sing,” life in the Austin area and his music career. ! Here are edited excerpts from that conversation.

Q.

How would you describe the character Nick

A.

I’m supposed to be some side of a half-crazed Santa Claus. Not really Santa Claus, but not really not.

Q.

What was the experience like playing that character

A.

It was fun, working with Harry and Kris and all those good guys and friends of mine.  My sister Bobbie is in there, too. We did a song in church. It was a time that we could all spend together.

Q.

How was the shoot

A.

It was real easy. We got to do it here at home [in Texas]. We shot most of it in Bastrop and that’s within driving distance from my house. So we drove to the set and back home every day. I’d love to do some more like that.

Q.

It sounds like you’re keeping busy with concerts as well.

A.

Ye, we’re playing Houston tonight and San Antonio the next night. We have a new record coming out named after an Irving Berlin song, “Let’s Face the Music and Dance.” And it’s with me and my band. It’s the first time me and the band have gotten together for an album in a while. It will be coming out in April.

A statue of Willie Nelson in downtown Austin.Mekado Murphy/The New York Times A statue of Willie Nelson in downtown Austin.
Q.

I came across your statue in downtown Austin this weekend. What do you think of it

A.

It’s a great tribute and I app! reciate i! t. I love it when people go down there and get their pictures made or throw [stuff] at the statue. Whatever they do is cool.

Q.

What do you have planned next

A.

We’re doing a duet album. If you remember my song “To All the Girls I’ve Loved Before,” I’m doing an album with girls. I did a song with Barbra Streisand, Emmylou Harris, Dolly Parton, Loretta Lynn, Alison Krauss, Rosanne Cash. Dolly wrote a great song in there, “From Here to the Moon and Back.” We did that song together. Sheryl Crow and I did “Far Away Places.” It was just a lot of fun singing with all the gals.

Q.

What’s your songwriting process like

A.

It’s kind of like labor pains. But whenever I get an idea, I have to sit down and write it. Because if I put it off until tomorrow, I might not do it.



London Theater Journal: That Born in a Trunk Tribe

“Trelawny of the Wells,” a portrait of journeyman actors in the Victorian theater.Johan Persson “Trelawny of the Wells,” a portrait of journeyman actors in the Victorian theater.

The topic was work and its instability - chasing jobs, landing jobs, losing jobs. It’s a common enough subject, especially these days. But the patois of the people sitting behind me at the Charing Cross Theater the other afternoon instantly identified them as members of an ancient and eternal tribe.

Excitedly discussing auditions and callbacks and workshops and tours, they sounded fond and fretful, extravagantly supportive and subliminally competitive. “Ah, young actors,” I thought, “just starting off and full of hope.” And then I turned around and saw that eery one of this group of four or five had to be well past 60.

I’ve been thinking about those performers, wondering, for example, if that woman with the cane had gotten the role in “Charlie and the Chocolate Factory” after all. Certainly, they came to mind a few nights later as I watched the Donmar Warehouse production of Arthur Wing Pinero’s “Trelawny of the Wells,” a portrait of journeyman actors in the Victorian theater.

For really, the talk in this amiable, creaky comedy from 1898 wasn’t all that different from what I’d heard in the row behind me a few days earlier. Pinero’s characters trafficked happily in the same giddy trade gossip, the same sense of being a breed apart and, above all, the same odds-defying hopefulness.

Did any of the actors on whom I had eavesdropped try out for one of these parts, perhaps Maybe that of the once exa! lted, now elderly and underemployed actress who said she would scrub the floors if it kept her in the theater It would have been hard to top Maggie Steed, the actress I saw in that role, who performed with both rueful dignity and devastating timing.

When it comes to sentimentalizing and sending up their own, there’s no people like show people. I can see why the film director Joe Wright (“Pride and Prejudice,” “Atonement”) chose “Trelawny” for his stage debut. His parents ran a celebrated puppet troupe in London, so he grew up among theater folk, and his affinity for that realm was evident in the theatrical artifice of his recent “Anna Karenina.”

His “Trewlany,” though high-spirited, never quite settles on a consistent tone of voice. As adapted by the playwright Patrick Marber (“After Mss Julie” and “Don Juan in Soho” at the Donmar), Pinero’s original script has been amended to emphasize a generational conflict between old-school, floridly histrionic and newer, more naturalistic approaches to acting. But that clash isn’t really carried through credibly in the performances here.

Still, all the cast members have a fine old time cutting loose in that special way that is granted to actors playing hammy actors, whether the show is “A Midsummer Night’s Dream” or Noel  Coward’s “Hay Fever.” And Ron Cook is pure bliss alternating between the roles of the theater boarding-house landlady and the hidebound uncle of the dashing but timid young man (Joshua Silver) who loves our exquisite leading ingénue.

She is played by Amy Morgan, a ringer for the young Meryl Streep, who by the way made her Broadway debut in another role in “Trelawny” in 1975; it was Mary Beth Hurt who played Ms. Morgan’s role, while! Mandy Pa! ntinkin was…. But I’m getting carried away, and I don’t even have the excuse of begin an actor.

And when unlikely, problem-vanquishing benedictions were finally rained down upon these ever-striving, ever-hoping creatures of the theater â€" via a play-within-a-play no less - there wasn’t a dry eye, as they say (such clichés are appropriate here), including mine.

Betty Buckley in Eric Richmond Betty Buckley in “Dear World.”

I was moved in a more complicated way by Betty Buckley’s performance in “Dear World,” the 1969 Jerry Herman musical which is only now receiving its London premiere, in a production by Gillian Lynne at the tiny Charing Cross Theater. Ye, that was where I overhead the silver-headed actors talking about their trade.

A notorious flop on Broadway, where it starred that ultimate trouper Angela Lansbury, this adaptation of Jean Giraudoux’s “Madwoman of Chaillot” has maintained a steady cult following.

That’s largely because of the score, which features some of Mr. Herman’s most delicate melodies.

The plot, like anything by or derived from Giraudoux, is clotted with a Gallic whimsy that it’s all too easy to be suffocated by. And Ms. Lynne (the choreographer on “Cats” and “Phantom of the Opera”) doesn’t avoid a feeling of liqueur-like stickiness in her scaled-down, attractively designed interpretation.

The story, after all, pits crazy old ladies, led by Ms. Buckley’s Aurelia, against corporate meanies out to destroy post-World War II Paris for their own greedy purposes. The songs are heavy on swelling accordion strains and lyrics about seizing the day and how a single person can change the wo! rld.

Ms. Buckley, who is made of sterner stuff than the fey Aurelia, didn’t seem all that convinced by herself when she had to spread sunshine and lead parades. But as anyone who saw her in “Cats” or “Sunset Boulevard” knows, she’s terrific at probing through song the minds of the lost and broken.

Hearing her nuanced interpretations of “I Don’t Want to Know” and “And I Was Beautiful,” in a raw and wispy voice that transcends nostalgia, was a welcome reminder of her distinctive gifts and of the subtler skills of Mr. Herman, who is best known for the brassier charms of “Hello, Dolly” and “Mame.”

Afterward, I was eager to eavesdrop again, and find out what the group sitting behind me thought of the show. As far as I could hear, though, they were still chattering about their own job prospects. Actors, god bless ‘em.



London Theater Journal: That Born in a Trunk Tribe

“Trelawny of the Wells,” a portrait of journeyman actors in the Victorian theater.Johan Persson “Trelawny of the Wells,” a portrait of journeyman actors in the Victorian theater.

The topic was work and its instability - chasing jobs, landing jobs, losing jobs. It’s a common enough subject, especially these days. But the patois of the people sitting behind me at the Charing Cross Theater the other afternoon instantly identified them as members of an ancient and eternal tribe.

Excitedly discussing auditions and callbacks and workshops and tours, they sounded fond and fretful, extravagantly supportive and subliminally competitive. “Ah, young actors,” I thought, “just starting off and full of hope.” And then I turned around and saw that eery one of this group of four or five had to be well past 60.

I’ve been thinking about those performers, wondering, for example, if that woman with the cane had gotten the role in “Charlie and the Chocolate Factory” after all. Certainly, they came to mind a few nights later as I watched the Donmar Warehouse production of Arthur Wing Pinero’s “Trelawny of the Wells,” a portrait of journeyman actors in the Victorian theater.

For really, the talk in this amiable, creaky comedy from 1898 wasn’t all that different from what I’d heard in the row behind me a few days earlier. Pinero’s characters trafficked happily in the same giddy trade gossip, the same sense of being a breed apart and, above all, the same odds-defying hopefulness.

Did any of the actors on whom I had eavesdropped try out for one of these parts, perhaps Maybe that of the once exa! lted, now elderly and underemployed actress who said she would scrub the floors if it kept her in the theater It would have been hard to top Maggie Steed, the actress I saw in that role, who performed with both rueful dignity and devastating timing.

When it comes to sentimentalizing and sending up their own, there’s no people like show people. I can see why the film director Joe Wright (“Pride and Prejudice,” “Atonement”) chose “Trelawny” for his stage debut. His parents ran a celebrated puppet troupe in London, so he grew up among theater folk, and his affinity for that realm was evident in the theatrical artifice of his recent “Anna Karenina.”

His “Trewlany,” though high-spirited, never quite settles on a consistent tone of voice. As adapted by the playwright Patrick Marber (“After Mss Julie” and “Don Juan in Soho” at the Donmar), Pinero’s original script has been amended to emphasize a generational conflict between old-school, floridly histrionic and newer, more naturalistic approaches to acting. But that clash isn’t really carried through credibly in the performances here.

Still, all the cast members have a fine old time cutting loose in that special way that is granted to actors playing hammy actors, whether the show is “A Midsummer Night’s Dream” or Noel  Coward’s “Hay Fever.” And Ron Cook is pure bliss alternating between the roles of the theater boarding-house landlady and the hidebound uncle of the dashing but timid young man (Joshua Silver) who loves our exquisite leading ingénue.

She is played by Amy Morgan, a ringer for the young Meryl Streep, who by the way made her Broadway debut in another role in “Trelawny” in 1975; it was Mary Beth Hurt who played Ms. Morgan’s role, while! Mandy Pa! ntinkin was…. But I’m getting carried away, and I don’t even have the excuse of begin an actor.

And when unlikely, problem-vanquishing benedictions were finally rained down upon these ever-striving, ever-hoping creatures of the theater â€" via a play-within-a-play no less - there wasn’t a dry eye, as they say (such clichés are appropriate here), including mine.

Betty Buckley in Eric Richmond Betty Buckley in “Dear World.”

I was moved in a more complicated way by Betty Buckley’s performance in “Dear World,” the 1969 Jerry Herman musical which is only now receiving its London premiere, in a production by Gillian Lynne at the tiny Charing Cross Theater. Ye, that was where I overhead the silver-headed actors talking about their trade.

A notorious flop on Broadway, where it starred that ultimate trouper Angela Lansbury, this adaptation of Jean Giraudoux’s “Madwoman of Chaillot” has maintained a steady cult following.

That’s largely because of the score, which features some of Mr. Herman’s most delicate melodies.

The plot, like anything by or derived from Giraudoux, is clotted with a Gallic whimsy that it’s all too easy to be suffocated by. And Ms. Lynne (the choreographer on “Cats” and “Phantom of the Opera”) doesn’t avoid a feeling of liqueur-like stickiness in her scaled-down, attractively designed interpretation.

The story, after all, pits crazy old ladies, led by Ms. Buckley’s Aurelia, against corporate meanies out to destroy post-World War II Paris for their own greedy purposes. The songs are heavy on swelling accordion strains and lyrics about seizing the day and how a single person can change the wo! rld.

Ms. Buckley, who is made of sterner stuff than the fey Aurelia, didn’t seem all that convinced by herself when she had to spread sunshine and lead parades. But as anyone who saw her in “Cats” or “Sunset Boulevard” knows, she’s terrific at probing through song the minds of the lost and broken.

Hearing her nuanced interpretations of “I Don’t Want to Know” and “And I Was Beautiful,” in a raw and wispy voice that transcends nostalgia, was a welcome reminder of her distinctive gifts and of the subtler skills of Mr. Herman, who is best known for the brassier charms of “Hello, Dolly” and “Mame.”

Afterward, I was eager to eavesdrop again, and find out what the group sitting behind me thought of the show. As far as I could hear, though, they were still chattering about their own job prospects. Actors, god bless ‘em.



Queen Latifah and Richard Stoltzman to Perform at New York City Ballet Gala

Queen Latifah and Richard Stoltzman, the clarinetist, will be the guest artists at New York City Ballet’s 2013 spring gala, to be held May 8 at the David H. Koch Theater at Lincoln Center.

Queen Latifah will perform George Gershwin’s “The Man I Love” with City Ballet’s orchestra as part of an excerpt from “Who Cares” George Balanchine’s 1970 ballet set to Mr. Gershwin’s music. Mr. Stoltzman is set to perform the “Interlude” from André Previn’s “Sonata for Clarinet and Piano,” and Leonard Bernstein’s “Sonata for Clarinet and Piano.” The choreographer Christopher Wheeldon is using both as the score for a World Premiere pas de deux that will have its debut that evening.

The program also includes the company’s premiere of a new version of Mr. Wheeldon’s “Soiree Musicale,” set to Samuel Barber’s “Souvenirs,” as well as “Cool” from “West Side Story Suite,” and the third movement of “Glass Pieces,”both dances were choreographed by Jerome Robbins. The pas de deux and finale from George Balanchine’s “Stars and Stripes,” set to the music of John Philip Sousa, will also be performed.

The gala will pay tribute to the 25th anniversary of the company’s 1988 American Music Festival and is the featured event of the company’s spring season, which runs from April 30 through June 9.



In Schools, a Water-Saving Program Begins With a Flush

New toilets at Bayside High School in Queens use about 70 percent less water than the old ones. The city is putting the water-saving toilets in 500 schools.Marilynn K. Yee/The New York Times New toilets at Bayside High School in Queens use about 70 percent less water than the old ones. The city is putting the water-saving toilets in 500 schools.

The toilets in the boys’ room on the third floor of Bayside High School in Queens flush with a quick but powerful surge and then water gurgles back up into the bowl.

This might sound standard for a restroom, but since August, Bayside has been saving gallons of water with every flush of its 102 toilets.

Bayside is one of two New York City public schools in a pilot program to replace water-wasting toiles with new low-flow flushers. Within five years, 500 city schools are to have 40,000 toilets with new technology that should cut water consumption 70 percent and save four million gallons of water each day, or more than 700 million gallons a year, according to the Department of Environmental Protection.

The new toilets send 1.2 gallons of water down the pipes each time they are used, a reduction from 3.5 to 4.5 gallons with the old toilets, Richard Fricione the building’s head engineer, said.

“Three hundred employees, 3,200 kids, and the building is open till 11 p.m. for community groups,” Mr. Fricione said. “That’s a lot of flushing.”

But the students do not see much of a change.

“I don’t really analyze the whole flushing experience,” Patryk Kostek, a Bayside junior, said one morning last month. “There’s no difference. I haven’t noticed any clogs or malfunctions.”

Low-flow valves restrict the amount of water let into the bowl with each flush.Marilynn K. Yee/The New York Times Low-flow valves restrict the amount of water let into the bowl with each flush.

The new toilets are part of the Department of Environmental Protection’s preparations for the temporary shutdown of the Delaware Aqueduct in 2020. The aqueduct, which carries water from three reservoirs north of the city, currently supplies more than half of the city’s public water but needs to be taken out of use for repairs, which may force the city to get water from more expensive sources.

The toilet project, part of a citywide effort to cut water consumption by 5 percent, is expected to be fiished by 2018, at a cost of $31 million, the city says. The 500 schools involved are about 30 percent of the city total. The rest are not in the program because some are already slated for renovation and others have been deemed too small to be worth the effort; in any case, the city says it has time to address only 500 schools before the aqueduct project starts.

The pilot program at Bayside and the second school, Hillcrest High, also in Queens, helps gauge how long the rest of those restroom replacements will take, according to John Shea, head of the Department of Education’s facilities division.

“The biggest concern we had was the impact to the school and how disruptive it was going to be, because now you’re not just taking a fixture off the wall and replacing it with another one,” Mr. Shea said. “You’re jackhammering tile, in some cases, and drilling holes, and it’s not as easy as just replacing an existing unit.”

The toilets are able to get the job done with one-t! hird the ! water thanks to improved bowl design, which allows more efficient emptying. Older toilets often have curvy tubes underneath that are harder to pass without the heft of gallons of water. Eddie Orlowski, one of the school’s engineers, pointed under a stall in the boys’ room to show that the new fixtures have a straighter shot to the sewer â€" fewer, gentler bends in the piping require less water to flush successfully.

To prepare for the Delaware Aqueduct’s dry spell, the city is working to add capacity to another aqueduct, the Catskill, and is seeking additional water sources, like wells in Queens. The toilet project and other conservation programs are hoped to ensure that New York will not have to turn to much costlier options, like buying water from New Jersey.

“Through these measures, we think we can make sure there are no shortfalls,” said Carter Strickland, the city’s environmental commissioner.

Students like Mr. Kostek said they were happy to oblige with their low-flow fluses. “It’s going to save a great deal of water, so I think it’s a great idea,” he said.

Patryk Kostek, a student at Bayside High School in Queens, test-flushed one of the school’s new water-saving toilets in the principal's office as another student, Krystin Frederick, documented the moment for school publications.Marilynn K. Yee/The New York Times Patryk Kostek, a student at Bayside High School in Queens, test-flushed one of the school’s new water-saving toilets in the principal’s office as another student, Krystin Frederick, documented the moment for school publications.


Strong Sales for ‘Lucky Guy’ With Tom Hanks

Piotr Redlinski for The New York Times

Several new Broadway shows are off to good starts at the box office, none more so than the Tom Hanks vehicle “Lucky Guy,” which last week became the rare play to make more than $1 million for a week of performances.

“Lucky Guy,” a bio-drama by the writer and director Nora Ephron about the New York City columnist Mike McAlary, grossed $1,109,678 for seven preview performances last week (one less than the standard eight), according to ticket sale data released on Monday by the Broadway League of theater owners and producers. “Lucky Guy” was the fourth top-grossing show for the week behind the msical blockbusters “Wicked,” “The Book of Mormon,” and “The Lion King.”

Two other big-budget musicals, “Cinderella” and “Spider-Man: Turn Off the Dark,” were just behind “Lucky Guy” - a reminder that Hollywood stars like Mr. Hanks, a two-time Oscar winner, can be as mighty a draw for theater-goers as brand-name princesses and superheroes.

Another highly anticipated Broadway show, the imported British musical “Matilda,” also had solid ticket sales for its first week of preview performances. “Matilda,” which has no big-name stars but considerable advance buzz due to its hit status in London, grossed a respectable $634,789 for six performances, or about 73 percent of the maximum possible gross.

And the new musical “Kinky Boots” showed some strength at the box office, grossing $637,690 for seven per! formances, or 51 percent of the maximum possible.

A third new musical, “Hands on a Hardbody,” has been having a tougher time during previews: It grossed $170,194 last week, or only 16 percent of the maximum possible gross.

Among plays, meanwhile, “Breakfast at Tiffany’s” and “Vanya and Sonia and Masha and Spike” had decent ticket sales in their first week. “Breakfast at Tiffany’s” grossed $349,270 for seven previews last week, or 44 percent of the maximum possible,” while “Vanya and Sonia” grossed $305,840 for eight performances, or 43 percent of the maximum.

Overall Broadway musicals and plays grossed $18.1 million last week, compared to $17.2 million the week before and $18.6 million during the same period last year.



Matteo Garrone on Reality Television and Italian Culture

The director Matteo Garrone on the set of Oscilloscope Laboratories The director Matteo Garrone on the set of “Reality.”

In the Italian comedy-drama “Reality,” a Neapolitan fishmonger named Luciano (Aniello Arena) seeks fame by trying to land a spot on “Big Brother,” the reality TV show.  Along the way he loses his grip on his sense of self and his relationships with those around him. The film plays as a satire of Italian society, but also as a commentary on  how such instant fame can affect a culture.

It’s the latest feature from Matteo Garrone, whose last film, “Gomorrah,” was also set in Naples. But the brutal tones and muted look of that crime drama have been  exchanged for a bright color palette and a more upbeat spirit in “Reality,†even if there is a bleak undercurrent to the narrative.

“Reality” played the film festival circuit last year, picking up a prize at Cannes. Mr. Garrone spoke about his film during an interview at the Toronto International Film Festival. Here are edited excerpts from that conversation.

Q.

What made you interested in telling a story where reality television plays a key role

A.

It’s based on a true story that happened to a friend of mine, which was surprising for me. I thought it would give me the chance to do something different from “Gomorrah.” So I tried to develop this story and make a sort of bitter comedy. Also, it was a chance for me to make a journey around my country and a journey through the mind of a character.

Q.

Did you look at a lot of reality shows

A.

No, we used “Big Brother” because it was very popular at the time. But we thought the program wa! s not important. What was important was that it gave the character the chance to change his life and become rich. We tried to tell the story from the point of view of the character and to understand him, not to judge.

Q.

What did you hope to say about the effect of television on people’s lives

A.

For many people, to be on television, it means to exist. For some, what happens in television is more real than what happens in real life. Television is a sort of certification of reality. So for Luciano, it became almost existential, his desire to be on “Big Brother.” It turns into not just him wanting to be rich, but something more.

Q.

Although the film has some dark tones, it has bright colors. Could you talk about the look

Aniello Arena pays Luciano in Oscilloscope Laboratories Aniello Arena plays Luciano in “Reality.”
A.

For us, it was a sort of fairy tale. And so we wanted to have powerful colors and a kind of magic to it. My reference, in a way, was Pixar, sort of a cartoon feel. We wanted to have very strong colors, but at the same time, we didn’t want to make fun of the characters.

Q.

How did you find the actor who plays the lead

A.

His name is Aniello Arena and he’s an actor who performs with a company of prisoners at the Volterra prison in Tuscany.

My father, who was a theater critic, and I used to go every summer to see the company’s new play. I discovered Aniello in this company and asked to use him for “Gomorrah,” but I couldn’t, because that story was too connected to his past in crime. So I asked the judge about using him for this movi! e and we ! succeeded in getting him. He worked on the set during the day and at night, he went back to jail.

Q.

What was it that struck you about him

A.

I thought he was a very good actor and also  his face is a working-class face. It’s not easy to find an actor like that today in Italy because most of them are from the middle class.

Also, there’s a surprise that you see in his eyes when he is playing this part. I think it is thanks to the fact that he’s been in prison so long. So he really discovers something in the acting. It’s a sort of marriage between the character and the person.



Strong Sales for ‘Lucky Guy’ With Tom Hanks

Piotr Redlinski for The New York Times

Several new Broadway shows are off to good starts at the box office, none more so than the Tom Hanks vehicle “Lucky Guy,” which last week became the rare play to make more than $1 million for a week of performances.

“Lucky Guy,” a bio-drama by the writer and director Nora Ephron about the New York City columnist Mike McAlary, grossed $1,109,678 for seven preview performances last week (one less than the standard eight), according to ticket sale data released on Monday by the Broadway League of theater owners and producers. “Lucky Guy” was the fourth top-grossing show for the week behind the msical blockbusters “Wicked,” “The Book of Mormon,” and “The Lion King.”

Two other big-budget musicals, “Cinderella” and “Spider-Man: Turn Off the Dark,” were just behind “Lucky Guy” - a reminder that Hollywood stars like Mr. Hanks, a two-time Oscar winner, can be as mighty a draw for theater-goers as brand-name princesses and superheroes.

Another highly anticipated Broadway show, the imported British musical “Matilda,” also had solid ticket sales for its first week of preview performances. “Matilda,” which has no big-name stars but considerable advance buzz due to its hit status in London, grossed a respectable $634,789 for six performances, or about 73 percent of the maximum possible gross.

And the new musical “Kinky Boots” showed some strength at the box office, grossing $637,690 for seven per! formances, or 51 percent of the maximum possible.

A third new musical, “Hands on a Hardbody,” has been having a tougher time during previews: It grossed $170,194 last week, or only 16 percent of the maximum possible gross.

Among plays, meanwhile, “Breakfast at Tiffany’s” and “Vanya and Sonia and Masha and Spike” had decent ticket sales in their first week. “Breakfast at Tiffany’s” grossed $349,270 for seven previews last week, or 44 percent of the maximum possible,” while “Vanya and Sonia” grossed $305,840 for eight performances, or 43 percent of the maximum.

Overall Broadway musicals and plays grossed $18.1 million last week, compared to $17.2 million the week before and $18.6 million during the same period last year.



Matteo Garrone on Reality Television and Italian Culture

The director Matteo Garrone on the set of Oscilloscope Laboratories The director Matteo Garrone on the set of “Reality.”

In the Italian comedy-drama “Reality,” a Neapolitan fishmonger named Luciano (Aniello Arena) seeks fame by trying to land a spot on “Big Brother,” the reality TV show.  Along the way he loses his grip on his sense of self and his relationships with those around him. The film plays as a satire of Italian society, but also as a commentary on  how such instant fame can affect a culture.

It’s the latest feature from Matteo Garrone, whose last film, “Gomorrah,” was also set in Naples. But the brutal tones and muted look of that crime drama have been  exchanged for a bright color palette and a more upbeat spirit in “Reality,†even if there is a bleak undercurrent to the narrative.

“Reality” played the film festival circuit last year, picking up a prize at Cannes. Mr. Garrone spoke about his film during an interview at the Toronto International Film Festival. Here are edited excerpts from that conversation.

Q.

What made you interested in telling a story where reality television plays a key role

A.

It’s based on a true story that happened to a friend of mine, which was surprising for me. I thought it would give me the chance to do something different from “Gomorrah.” So I tried to develop this story and make a sort of bitter comedy. Also, it was a chance for me to make a journey around my country and a journey through the mind of a character.

Q.

Did you look at a lot of reality shows

A.

No, we used “Big Brother” because it was very popular at the time. But we thought the program wa! s not important. What was important was that it gave the character the chance to change his life and become rich. We tried to tell the story from the point of view of the character and to understand him, not to judge.

Q.

What did you hope to say about the effect of television on people’s lives

A.

For many people, to be on television, it means to exist. For some, what happens in television is more real than what happens in real life. Television is a sort of certification of reality. So for Luciano, it became almost existential, his desire to be on “Big Brother.” It turns into not just him wanting to be rich, but something more.

Q.

Although the film has some dark tones, it has bright colors. Could you talk about the look

Aniello Arena pays Luciano in Oscilloscope Laboratories Aniello Arena plays Luciano in “Reality.”
A.

For us, it was a sort of fairy tale. And so we wanted to have powerful colors and a kind of magic to it. My reference, in a way, was Pixar, sort of a cartoon feel. We wanted to have very strong colors, but at the same time, we didn’t want to make fun of the characters.

Q.

How did you find the actor who plays the lead

A.

His name is Aniello Arena and he’s an actor who performs with a company of prisoners at the Volterra prison in Tuscany.

My father, who was a theater critic, and I used to go every summer to see the company’s new play. I discovered Aniello in this company and asked to use him for “Gomorrah,” but I couldn’t, because that story was too connected to his past in crime. So I asked the judge about using him for this movi! e and we ! succeeded in getting him. He worked on the set during the day and at night, he went back to jail.

Q.

What was it that struck you about him

A.

I thought he was a very good actor and also  his face is a working-class face. It’s not easy to find an actor like that today in Italy because most of them are from the middle class.

Also, there’s a surprise that you see in his eyes when he is playing this part. I think it is thanks to the fact that he’s been in prison so long. So he really discovers something in the acting. It’s a sort of marriage between the character and the person.



What’s Your Stress Level

Dear Diary:

This month at my annual checkup, I had the following exchange with my doctor:

Doctor: “What is your level of stress on a scale of 1 to 10”

Me: “I have nothing in particular stressing me out at the moment, but I am a Russian Jew from New York.”

Doctor: “I’ll give you a 4.”

Read all recent entries and our updated submissions guidelines. Reach us via e-mail diary@nytimes.com or follow @NYTMetro on Twitter using the hashtag #MetDiary.



Baz Luhrmann’s ‘Great Gatsby’ Will Open Cannes Film Festival

Carey Mulligan and Leonardo DiCaprio in a scene from BAZMARK FILM III PTY LIMITED Carey Mulligan and Leonardo DiCaprio in a scene from “The Great Gatsby.”

Who said there are no second acts in American lives Oh, right: It was F. Scott Fitzgerald, whose seminal novel “The Great Gatsby” is getting a lavish reinterpretation from the director Baz Luhrmann that will open the Cannes Film Festival, its organizers announced Tuesday.

Mr. Luhrmann’s adaptation of “The Great Gatsby,” Fitzgerald’s tale of opulence, excess and the degradation of the American dream, stars Leonardo DiCaprio as the mysterious West Egg millionaire Jay Gatsby, Tobey Maguire as his friend and admirer Nick Caraway, Carey Mulligan as Gatsby’s romantic obsession, Daisy Buchanan, and Joel Edgerton, as her husband, Tom. While there have been several movie versions of “The Great Gatsby” (including the 1974 film that starred Robert Redford, Sam Waterston and Mia Farrow), this one from Mr. Luhrmann (the director of “Romeo + Juliet” and “Moulin Rouge!”) is surely the first to be presented in 3-D, old sport.

Mr. Luhrmann said in a statement: “It is a great honor for all those who have worked on ‘The Great Gatsby’ to open the Cannes Film Festival. We are thrilled to return to a country, place and festival that has always been so close to our hearts, not only because my first film ‘Strictly Ballroom’ was screened there 21 years ago, but also because F. Scott Fitzgerald wrote some of the most poignant and beautiful passages of his extraordinary novel just a short distance away at a villa outside Saint-Raphaël.”

This year’s festival starts May 15, the day that “The Great Gats! by” is to be released in theaters, and will beat on, boats against the current, until May 26.