Timberlake’s Album, Aided by Extensive Campaign, Has Blockbuster Start

Josh Haner/The New York Times Justin Timberlake performing at South by Southwest in Austin, Tex.

Never underestimate Justin Timberlake.

When “The 20/20 Experience” (RCA), his first new album in almost seven years, was released last week, music industry experts predicted that it might sell half a million copies. With album sales diminished over all, that would be perfectly respectable for a hit. But as the week went on, the sales projections kept climbing: past 700,000, past 800,000, past 900,000 and ever closer to one million.

The final number, reported by Billboard late Tuesday with data from Nielsen SoundScan, was 968,000 copies. That is slightly shy of the highest projections for the album, but still extraordinary for an album in 2013. Since SoundScan began tracking sales data in 1991, only 19 albums have sold more than 900,000 copies in their first week, including two albums by Mr. Timberlake’s band N’ Sync (but not his previous two solo records).

“The 20/20 Experience” also had the second-biggest opening week for an album on Spotify, with 7.7 million streams in the United States. (Mumford & Sons’ “Babel” last year had eight million.)

While music sales have been sliding since 2000, blockbusters still come with regularity. Last year Taylor Swift’s “Red” sold 1.2 million copies; in 2011, Lady Gaga had sales of 1.1 million with “Born This Way” and Lil’ Wayne’s “Tha Carter IV” sold 964,000; and in 2010, Ms. Swift sold just over one million with her album “Speak Now.”

The success of those albums argues for the continuing strength of pop stardom even in a declining music industry. In most cases they also point to the necessity of overwhelming promotion to secure a genuine blockbuster, and perhaps no album campaign in history has been as extensive as the one for “The 20/20 Experience.”

It included television commercials by Target and Bud Light Premium (for which Mr. Timberlake is “creative director”); a heavy push on radio by Clear Channel and CBS Radio; a string of concert performances, including ones around the Super Bowl and the South by Southwest music festival; and high-profile television appearances by Mr. Timberlake, like hosting “Saturday Night Live” for the fifth time and spending an entire week as a guest on “Late Night With Jimmy Fallon.”

SoundScan will report the rest of this week’s music sales on Wednesday.

The Restaurant That Launched a Marriage for the History Books

An undated postcard from the Portofino restaurant.

Among many Italian restaurants around Greenwich Village in the early 1960s, Portofino was known for celebrity-spotting, a relaxed atmosphere and dinners that were abundant but affordable.

David W. Dunlap/The New York Times The space once occupied by Portofino is now the Malt House.

A half-century later, it has earned another distinction â€" as a footnote to American history â€" because it was where Edie met Thea.

The case of Edith S. Windsor, who is challenging the constitutionality of the federal Defense of Marriage Act, is to be heard Wednesday by the Supreme Court. (A related case involving same-sex marriage in California was heard Tuesday.) If you trace Ms. Windsor’s marriage to Thea Clara Spyer back to its beginnings, you arrive at Portofino, 206 Thompson Street, near Bleecker Street.

At a time of high heels and pocket squares, Portofino was refreshingly casual. “Happy go lucky,” said Elio Guaitolini, 79, who worked there and, like the other waiters, often addressed regular customers by their first names.

And those weren’t just any names. Elaine Kaufman, a waitress and manager at Portofino, was perfecting her skills in cultivating the patronage of writers and entertainers; skills she would apply to her own restaurant, Elaine’s, which she opened on Second Avenue near East 88th Street in 1963. That made Portofino good for star-gazing. “Don’t turn around just now â€" he’ll see us â€" but Bobby Short is over your left shoulder.” “Psst. I could swear that’s Lorraine Hansberry at the table by the window.”

There was more to admire than the celebrities, of course. Craig Claiborne, the restaurant critic of The New York Times, favored the boneless chicken Portofino and the scaloppine with butter and lemon.

But Portofino offered something else â€" on Friday nights in particular. It offered a place where women who wanted to rendezvous with other women could do so discreetly, with little fear of exposure or entrapment.

Courtesy of Breaking Glass Pictures Thea Clara Spyer, left, and Edith S. Windsor, in an undated photo at an unidentified restaurant. The still, from the documentaty “Edie & Thea: A Very Long Engagement,” was also used in an American Civil Liberties Union documentary.

That described Ms. Windsor in 1963, divorced and 34 years old. She knew what she wanted but had no clue how to get it without risking her career at I.B.M. “I suddenly couldn’t take it any more,” she said in the documentary “Edie and Thea: A Very Long Engagement” (2010), “and I called an old friend of mine â€" a very good friend â€" and I said, ‘If you know where the lesbians go, please take me.’ O.K. So she took me to the Portofino for dinner.”

“The lesbians used to go there on Friday night,” she said, “and somebody brought Thea over and introduced her. And we ended up dancing.”

Ms. Windsor’s lawyers said she was unavailable to be interviewed this week. (Ms. Spyer died in 2009, two years after the couple were lawfully married in Canada. Because the federal government does not recognize same-sex marriages, Ms. Windsor had to pay estate taxes that spouses ordinarily avoid, which is at the heart of her legal challenge.)

Nonetheless, a picture emerged of Portofino in the day. “It was not one of the bars the ladies frequented regularly,” said the writer Marijane Meaker (pseudonymously M. E. Kerr), who is now finishing a memoir, “Remind Me.”

“You would be in error to write that Thea and Edie going to the Portofino was what began the landmark case coming up tomorrow,” she said in an e-mail. “It had begun years before, in many bars, mostly in Greenwich Village.” Some of the better-known among them were the Bagatelle, the Laurels, Provincetown Landing, the Sea Colony, Page Three, Seven Steps Down and Lonnie’s Hideaway.

“Most of these little joints were owned and run by organized crime in cahoots with the cops,” the novelist Ann Bannon said. “It was scary to be there if they hadn’t been raided by the police in a while. It meant the restaurant might be overdue for a raid, and you could end up in a paddy wagon on your way to the police station.

David W. Dunlap/The New York Times The dining room of the Malt House.

“Those were the days when they printed your name in the paper the next day,” Ms. Bannon continued. “And if, as a result, you were outed as L.G.B.T., your life was really turned upside down. It was not uncommon for people to lose their jobs, their friendships, even their family ties, so great was the opprobrium attached to that contaminated identity.”

If someone spotted you leaving Portofino, on the other hand, no suspicions were likely to be attached. The owner was Alfredo Viazzi, a restaurateur who became better known later for Trattoria da Alfredo, at Eighth Avenue and West 12th Street.

“It was a nice mix of people,” Mr. Guaitolini said. “A couple of the waiters were gay, but it was not a big issue,” he said. “In that environment, it was taken for granted.” Mr. Guaitolini followed Ms. Kaufman to Elaine’s and later opened his own restaurants, including Elio’s at Second Avenue and East 84th Street. Joe Allen, the proprietor of Joe Allen Restaurant at 326 West 46th Street, said Portofino “had an artsy kind of edge to it.”

“It was Elaine’s having worked there that helped her get off the ground when she moved uptown,” Mr. Allen said.

Though Portofino closed long ago, its space still exists. It is now the Malt House, a gastropub that opened in August 2012. When one of the owners, 33-year-old Eoin Foyle, learned of the connection between Portofino and the case before the Supreme Court, he said he liked the idea of affixing a historical plaque somewhere. Asked his view on same-sex marriage, Mr. Foyle answered simply, “100 percent support,” standing no more than a few feet from where Edie met Thea.

David W. Dunlap/The New York Times The Malt House gastropub, where the Portofino restaurant used to be.

Steinway to Sell Its Famed Showroom Building

Fred R. Conrad/The New York Times The Steinway showroom could remain in Steinway Hall for 18 months under an agreement for the building’s sale.

Steinway Hall, the 88-year-old building down the block and across the street from Carnegie Hall where generations of famous and not-so-famous pianists have tried out pianos, is being sold, the piano company and the buyer said on Tuesday.

Steinway said it was selling the building for $46 million. But the total price of the deal could not be determined because the land, which Steinway sold some years ago, is being acquired by the buyer in a separate transaction. The buyer would not disclose the price.

Steinway said that under the terms of the deal, it could remain there for up to 18 months. It has a high-ceilinged showroom for retail customers on the first floor, practice rooms on the second floor and a legendary room in the basement for its fleet of concert pianos for professional pianists. A sheet-music store that has occupied part of the second floor will close next week.

Michael Sweeney, the chairman and chief executive of Steinway Musical Instruments, said the company was just beginning to think about where it would go after the deal closes.

“It’s more likely than not that we will have a downtown retail location as well as Midtown,” Mr. Sweeney said, adding that the operation for professional pianists might not be in the same place but would remain “convenient” to Carnegie Hall and Lincoln Center.

Chester Higgins Jr./The New York Times The Steinway building at 111 West 57th Street in Manhattan.

The company still makes pianos in Astoria, Queens, as it has for more than 100 years, and in Hamburg, Germany.

The buyer is an investment group that is a joint venture of JDS Development Group, the Property Markets Group and Atlantic Partners, according to Michael Stern, the managing partner of JDS Development.

He said the new owner did not intend to tear down Steinway Hall, which was designed by Warren & Wetmore, the same firm that is known for its work on Grand Central Terminal. As for what will happen to Steinway Hall, Mr. Stern said, “We’re not sure yet. We haven’t determined what our plans are for the property.”

JDS Development controls the vacant site just east of Steinway Hall and is ready to break ground on a tower there, he said.

Steinway said that the buyer had put down a $5.6 million deposit and that Steinway expected to end up with $43 million in cash after the deal closed. Mr. Sweeney said the terms were more favorable than the terms under discussion when the company said last fall that it was negotiating the sale of the building. At that time, Steinway said its share of the sale would total $56 million but that $20 million would be put in escrow for as long as Steinway remained in the building.

Under the deal announced on Tuesday, Steinway can continue to use its showroom and other space in the building rent-free for 14 months after the deal closes. Steinway could stay for an additional four months at an agreed-upon rent that was not disclosed.

Crystal Bowersox to Play Patsy Cline on Broadway

Crystal Bowersox, the runner-up on the 2010 edition of “American Idol,” will play Patsy Cline on Broadway this summer in a new production of the musical “Always … Patsy Cline,” a tribute show featuring classic songs performed by the country singer like “Crazy,” “Walkin’ After Midnight” and “I Fall to Pieces,” the producers announced on Tuesday.

The two-character show, written by Ted Swindley, brings Cline to life through the eyes of a friend and devoted fan; she will be played by the actress Annette O’Toole, who starred as Clark Kent’s mother, Martha, on the television series “Smallville” and shared an Academy Award nomination for best song for the 2003 movie “A Mighty Wind.”

“Always … Patsy Cline,” which ran Off Broadway in 1997 and has been produced at regional theaters ever since, will be directed on Broadway by John Rando (“A Christmas Story”). Performances are scheduled to begin in July, with an August opening; no theater has been announced. The lead producers are Jimmy Burke and Jeff Cohen, who are newcomers to Broadway.

Olivier Awards Nominations Announced

The Olivier Awards, Britain’s equivalent of the Tonys, announced its 2013 nominations on Tuesday, a list brimming with big names: Helen Mirren in “The Audience”; Rupert Everett in “The Judas Kiss”; Kristen Scott Thomas in “Old Times”; and Mark Rylance, a two-time Olivier winner, in an all-male production of “Twelfth Night.”

The National Theater’s production of “The Curious Incident Of The Dog In The Night-Time,” based on the bestselling 2003 novel by Mark Haddon, leads the nominations, with 8, followed by the new musical “Top Hat,” and a revival of “Sweeney Todd.” The awards will be announced at a ceremony on April 28, hosted by Sheridan Smith and Hugh Bonneville of “Downton Abbey” fame.

Detroit’s Contemporary Art Museum Finally Has a New Director

Detroit might not be doing so well - it was placed this month under the control of an emergency manager as it tries to stave off financial default. But its contemporary-art scene is thriving and on Tuesday the Museum of Contemporary Art Detroit announced that it had selected a new director after more than a year and a half without a permanent leader. Elysia Borowy-Reeder, who was most recently the director of the Contemporary Art Museum in Raleigh, N.C., where she focused on strengthening that museum’s education programs, will take over in early April.

The Detroit museum is nearing completion of one of the final projects of Mike Kelley, a replica of his childhood ranch-style home in the Detroit suburbs that will stand in a vacant lot near the museum and serve as a kind of social-services hub, providing food, education programs and other help to people around the museum. (Mr. Kelley committed suicide in January 2012.) The museum, founded seven years ago in a gritty downtown building that had been a car dealership, has been lauded for its adventurous programming and its role in helping to revitalize its neighborhood.

D.H. Lawrence’s War Poems to Be Published, Dirty Words and All

Various unprintable words kept the unexpurgated “Lady Chatterley’s Lover,” D.H. Lawrence’s classic 1928 novel of sexual congress across class lines, off bookshelves for more than three decades. But who knew that words like “Salonika” and “Mesopotamia” would keep some of Lawrence’s poetry out of print until 2013

The offending words occur in “All of Us,” a sequence of 31 World War I poems that appear in their entirety for the first time in a new two-volume critical edition of Lawrence’s verse, to be published in the United States on April 30. The set â€" the capstone of Cambridge University Press’s gargantuan 40-volume edition of Lawrence’s works and letters â€" includes some 860 poems, including many that have previously been available only in censored versions.

Virtually all of Lawrence’s books of poetry had suffered some kind of censorship, often compounded by sloppy editing, Christopher Pollnitz, the volume’s editor, said in a statement. In the case of “All of Us,” written in 1916, some parts of the cycle were printed a few years later, but only after publishers wary of associating themselves with Lawrence’s fierce critiques of British imperialism had removed various place names and other features.

Publishers, Mr. Pollnitz told the Observer, were also spooked by the 1915 obscenity trial in Britain over Lawrence’s novel “The Rainbow,” all copies of which were subsequently seized and destroyed.

Today, Lawrence’s florid prose may strike some as unreadable. But the censors, Mr. Pollnitz said, rendered some of his verse effectively incomprehensible. After the cuts to “All of Me,” he said, readers “found little that they could understand in these poems beyond two facts, that they were by D.H. Lawrence and referred obliquely to war.”

After a Series of Setbacks, a Music Collective Reopens Its Doors

To compare the challenges faced by the Issue Project Room, an experimental music collective in Brooklyn, to Homer’s Odyssey might be a stretch, but the challenges faced by the group certainly have all the trappings of an ancient tragedy. The recent performance of “November” â€" a five-hour piano performance written by Dennis Johnson â€" was yet another triumph for the organization, which has oscillated between progress and defeat for nearly a decade.

Founded on the Lower East Side in 2002 by the artist Suzanne Fiol, Issue Project Room now resides in its fourth location, an opulent 1926 chamber music hall on Livingston Street in Downtown Brooklyn. The hall was designed by the architectural firm McKim, Mead and White, famous for early 20th-century buildings like the New York Public Library, the Brooklyn Museum and countless other New York City landmarks. Ms. Fiol orchestrated the move shortly before she died of cancer in 2009 by entering the organization into a competition to fill a vacant music hall that had fallen into disrepair under its previous tenant, the New York City Board of Education. As the winning applicant, Issue Project Room secured a rent-free 20-year lease on the 4,800-square-foot space from the new owners, Two Trees Management.

The 2012 debut of Issue Project Room in its new home marked a milestone for the experimental arts community. Flanked by the Brooklyn Academy of Music and St. Ann’s Warehouse, it appeared that the hall was part of Downtown Brooklyn’s evolution into a genuine district for avant-garde performance. But Issue Project Room’s tenure in the space came to an abrupt halt in August, when a 50-pound decoration embedded in the vaulted 40-foot ceiling broke loose, crashing to the floor. No one was in the building at the time. But all performances in the space were put on indefinite hiatus.

After a full engineering review and the removal of more than two dozen similar decorations, Issue Project Room reopened its doors on March 16, to an eager audience of more than 100 patrons at the performance of “November.’’ The spring performance schedule includes a variety of musical forms before what will hopefully be the final setback in the organization’s efforts to carve out a stable home â€" an 18-month break beginning this fall while the space undergoes $4 million in renovations.

Museum of Contemporary Art in Los Angeles Says Its Endowment Will Reach Record Level

The Museum of Contemporary Art in Los Angeles, which has been beset by financial struggles and board defections, announced Tuesday that it had been promised donations that would boost its endowment to more than $60 million, the highest in the museum’s 34-year history.

The museum said that the money was “a reflection of the board’s commitment to keep MOCA as a museum dedicated solely to contemporary art,” an apparent reference to a recent proposal under which the National Gallery of Art in Washington would collaborate with the museum on programming and exhibitions but would not provide any financial assistance.

“The financial support we have already raised demonstrates the commitment of the board to ensuring that MOCA remains a world-class independent contemporary art museum, and we call on others to join in this campaign,” Jeffrey Soros, the board’s president, said in a statement. Mr. Soros and another trustee, the prominent collector Eugenio Lopez, are the leaders of a new fundraising campaign for the museum, MOCA Independence, which seeks to increase the museum’s endowment to $100 million.

At its low point in 2008, because of overspending and flagging investments during the recession, the endowment dwindled to only a few million from a high of more than $40 million at the beginning of the decade. The billionaire collector Eli Broad, one of the museum’s founding board members, came to the rescue, giving the museum $15 million and a pledge of $15 million more to match contributions by others. But the museum struggled to find donors who would give to allow those matching funds to be used.

In February board members began exploring the possibility of joining with the Los Angeles County Museum of Art, the city’s most established museum, which proposed a formal merger. But last week the contemporary board appeared to change course and voted to remain independent. The idea of collaborating with the National Gallery in Washington, which has largely been panned by critics and supporters of the contmeporary art musuem, began after Mr. Broad approached the National Gallery and asked for assistance.

Digging Through Mounds of Storm Debris, Seeking Recyclable Objects

Todd Heisler/The New York Times Recyclable materials were separated from debris generated by Hurricane Sandy at Jacob Riis Park in Far Rockaway, Queens. The Army Corps of Engineers has set up a sorting facility at the site.

Todd Heisler/The New York Times A child’s bicycle was among the debris sorted in the recycling operation.

In the weeks and months since Hurricane Sandy pummeled the New York City area, cleanup crews have hauled off thousands of tons of wreckage, much of it left on city streets by people trying to piece their lives back together.

But some of that refuse was most likely destined for the international metal market, not the dump.

While sea gulls squawked overhead at Jacob Riis Park in the Rockaways on a recent day, two excavators, each with pincers on the end of their long single arms, clawed through a towering mound of debris collected that day from storm-ravaged areas in Queens or Brooklyn. Since shortly after the storm, the park has served as one of several temporary transfer sites where a steady stream of subcontractors and sanitation trucks brings debris to be sorted.

The operators culled the pile of lumber, plastic toys and fishing poles, looking for anything too valuable or dangerous to send to a landfill. A front-end loader ferried items plucked from the mass - a stroller, a bicycle and a white appliance the size of a washing machine or oven - and carried them to a row of roll-off containers to join water heaters, an appliance flattened out beyond recognition and other mangled metal waiting to be hauled to a recycler in Queens.

As cleanup operations begin to wind down, the tally has climbed to over 430,000 tons of tree limbs, wreckage and demolition debris removed from storm-damaged areas of the city since the end of November. About half the debris was taken by long-haul trucks or barge to landfills in upstate New York and Pennsylvania.

But by separating material, the Sanitation Department was able to divert more than 1,100 tons of metal scrap from storm debris to Sims Metal Management, a facility in Long Island City that also recycles cans and bottles for the city. From Queens, Sims sends metal to its New Jersey facility to be shredded and separated before being sold to manufacturers. The company exports iron-based metal to steel companies, mostly in Turkey, and sends aluminum and other nonferrous metals to China and other places.

Throughout the process of getting the waste from neighborhoods to landfill, the Army Corps of Engineers, contractors and city sanitation workers were also looking to pull out everyday objects that could pose a hazard in landfills, like propane tanks or mercury-containing tubes from older television sets.

“The person that’s working the excavator is really looking for something like that,” said Kimberly Martin, a quality assurance specialist with the Army Corps.

Ms. Martin and other specialists at the Army Corps canvassed hard-hit areas like the Rockaways, Breezy Point or Staten Island, where residents set out storm-damaged appliances, demolition debris and ruined household goods. The Army Corps and other contractors worked with the city’s Sanitation Department to separate hazardous items like paint cans, propane tanks and car batteries, which landfill operators will not accept. Sanitation workers drained oil and gasoline from lawn mowers and captured Freon from refrigerators and air-conditioners.

“The contractor cannot pick those items up until it has been tagged” as drained by the Sanitation Department, Ms. Martin said. The Army Corps contractors are also responsible for cleaning up after the city demolishes houses left uninhabitable by the storm, an effort that is still ongoing.

Found inside houses before demolition were leftover paint, solvents, household cleaners, corrosive liquids, flammable liquids, mixed oils, antifreeze, windshield-washer fluid, bleach, pesticides, fire extinguishers with dry chemical powder, and fluorescent light bulbs - hazardous goods which the federal Environmental Protection Agency is in charge of disposing. When encountered at demolition sites or transfer sites, hazards including discarded ammunition, objects containing mercury, and laboratory or industrial chemicals are set aside for collection by the E.P.A., which sorts the materials to be recycled, if possible, or disposed.

Since November, the E.P.A. collected and processed about 150,000 potentially hazardous items from New York State, mainly from the city and Long Island. The vast majority of the chemicals were in containers that were five gallons or smaller, but the agency also processed hundreds of drums, thousands of propane tanks and more than 1,600 cylinders filled with compressed gas.

“If labels were located on containers, such as drums, totes, tanks, or other large containers, the E.P.A. made every effort to contact the owner for retrieval,” Elias Rodriguez, a spokesman for the Environmental Protection Agency, wrote in an e-mail. “For items that were not claimed - such as propane tanks, batteries, pressurized cylinders - the E.P.A. contacted companies to recycle the items. Wastes that were not able to be reclaimed, recycled or reused were sent to disposal facilities licensed to receive specified types of waste.”

After months of having crews toil on long shifts, agencies are beginning the process of ending the cleanup effort. The Army Corps plans to wrap up the bulk of its operations by the middle of April. At Floyd Bennett Field, the Army Corps burned or chipped more than 102,000 cubic yards of tree limbs and trunks felled during or after the storm.

Oscar Dates Set for Next Year and 2015

LOS ANGELES â€" The Oscars will be held on March 2 next year, slightly later than this year’s Feb. 24 date, and on Feb. 22 in 2015, the Academy of Motion Picture Arts and Science said. The date for next year is the first Sunday after the end of the Winter Olympics in Sochi, Russia.

In setting the dates the Academy also marked the calendar for other events in its next awards cycle: The annual Governors Awards will occur on Nov. 16 this year, Oscar nominations voting begins Dec. 27 and ends Jan. 8 next year, and the nominees luncheon is on Feb. 10, 2014.

The Academy Awards ceremony will still be held at the Dolby Theater in Hollywood, and will again be televised by ABC.

A Sidewalk Hit and Run, With a Suitcase

Dear Diary:

Walking along the crowded lunch-hour sidewalk on Madison Avenue in January, I felt something unexpected on the top of my right foot. I looked down at a “wheelie” rolling off my shoe, being pulled along briskly by a well-dressed woman, eyes straight ahead, oblivious of where her suitcase had just been.

Like hit-and-run drivers who don’t notice the bump of the person they ran over, she hadn’t noticed the interference in her bag’s progress.

She rushed along. I walked at a slower pace, limping a little, but a block later we were next to each other at the traffic light. I turned and said pleasantly: “You might want to keep closer track of your suitcase. It ran over my foot.”

I expected, as she saw my gray hair and the evidence that I had about 30 years on her: “Oh, I’m so sorry. Were you hurt” Silly me.

What I got was this stern reproof: “You need to watch where you’re walking!” Barely taking a breath, she asked, “Were you behind me or in front of me” “Behind.” (I had been next to her until she elbowed her way in front.) “Well,” she said, clinching her case, “you need to be more careful. I don’t have eyes in the back of my head!”

“You’re very good at not taking responsibility,” I said, and was amused when, taking this as a compliment, she said, “Thank you.” And the light changed.

When the young man next to us raised an eyebrow in her direction, then rolled his eyes and grinned at me, I enjoyed sharing this moment with a stranger and was reminded why I love New York.

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

In Performance: Tina Packer of ‘Women of Will’

In “Women of Will” the actress Tina Packer, the founder and former artistic director of Shakespeare & Company in Lenox, Mass., explores Shakespeare’s heroines. In this excerpt from “Henry VI, Part III,” Ms. Packer plays Queen Margaret of Anjou, who has captured the Duke of York and is about to have him killed for usurping the English crown for his children, even though Margaret’s children are the rightful heirs. The show, which also stars Nigel Gore, continues through June 2 at the Gym at Judson Memorial Church.

Recent videos include Judy Kuhn singing “Loving You” from the musical “Passion” and Jenn Harris and Carson Elrod in a scene from “The Universal Language,” from David Ives’s “All in the Timing,” a collection of short plays.

Coming soon: Nathan Lee Graham in a scene from “Hit the Wall.”