Video Captures Mugging in Subway Station

First, all you see is a woman, walking down a flight of stairs from an elevated train in Brooklyn. She carries a large black handbag.

Then a hooded man comes into the frame, trailing fast behind her.

Surveillance cameras captured a brutal and protracted robbery that followed at 2:40 a.m. on March 9 in an empty stairway of the 18th Avenue F train station in Borough Park, Brooklyn.

In the video, taken from several angles and released by the police on Tuesday, the woman, 56, can be seen struggling with the man.

As she attempts to flee, he tosses her to the ground and takes her bag, kicking her several times before dumping out the bag and rifling through her belongings.

The video ends with the woman running out one exit door and the man pursuing close behind.

The woman sustained minor injuries, the police said. A police spokeswoman said she did not have any information on what the thief took.

The police said the man, who wore a dark hoodie with the letters Alpha Phi Delta on the front and the number 27 and “Stugots” on the back, fled the scene.

Anyone with information about the crime is asked to contact Crime Stoppers.

Live Streaming: TimesTalks With Robert Redford and Shia LaBeouf

Tonight, ArtsBeat is live streaming a TimesTalks event with the Oscar-winning director and actor Robert Redford and the actor Shia LaBeouf, who both star in Mr. Redford’s latest film, “The Company You Keep.” The conversation is moderated by the Times media columnist David Carr.

New America Foundation Close to Naming Anne-Marie Slaughter as President

Anne-Marie Slaughter, a Princeton professor and former aide to Hillary Clinton who ignited a raucous debate last year by writing about the difficulty women have in balancing career and family, is poised to take over the New America Foundation, a nonpartisan public policy institute. The foundation’s board of directors voted to name her as the organization’s new president, subject to the conclusion of contract negotiations, according to two board members.

If they can agree on terms, Ms. Slaughter would replace Steve Coll, whose five-year tenure at the foundation is soon ending. Last month Mr. Coll was named the new dean of the Columbia University Graduate School of Journalism.

Ms. Slaughter, who is also a board member, declined comment, writing in an email that nothing has yet been decided. Mr. Coll also declined to comment on the selection process because of the confidential nature of the search.

The New America Foundation, which is based in Washington, characterizes itself on its Web site as interested in “work that is responsive to the changing conditions and problems of our 21st Century information-age economy.” Ms. Slaughter is already at the center of one of those issues: The debate about the dearth of women in top leadership roles in business and government became national news last summer after Ms. Slaughter wrote an influential article in The Atlantic magazine titled “Why Women Still Can’t Have It All.”

Ms. Slaughter, a professor of politics and international affairs at Prince­ton and the director of policy planning at the State Department from 2009 to 2011, detailed the problems of helping direct America’s foreign policy and her teenaged son’s homework. Her exhortations that women stop blaming themselves and focus on the society-wide failure to support working mothers set her up as the counterpoint to Sheryl Sandberg, the chief operating officer of Facebook who has urged women to “lean in” and seize opportunities to move up the ladder. In her bestselling book “Lean In: Women, Work and the Will to Lead,” she takes a psychological approach, telling women to overcome the “internal obstacles,” or unconscious ways they may hold themselves back.

At Trade Center, Looking Ahead While Finding Remnants of the Past

In the course of things, the builders of the new World Trade Center are naturally stressing what they see as its bright future. But the site itself will let no one forget its past.

On Tuesday, hours after the press was invited to the upper reaches of 1 World Trade Center for a preview of the observation deck, the office of the chief medical examiner announced that two fragments, which could be human remains, had been found on Monday near the World Financial Center, across West Street from the trade center.

Before Monday, the city had recovered a total of 1,845 fragments that could be human remains in a search that began in 2006, after the unexpected discovery of body fragments in a Consolidated Edison manhole.

That search is by no means over. Caswell F. Holloway, the deputy mayor for operations, said last week that the city would begin sifting 590 cubic yards of newly excavated material from the area south of Liberty Street where the trade center’s vehicle security center is being constructed, from the bed of West Street and from the area where the two possible remains were recovered on Monday (labeled “C-Grid” on the map below).

The sifting is to take place on Staten Island, using a screen with a mesh that can trap particles larger than 3/16ths of an inch. The goal is to be able to link as many remains to individual victims as possible, and to return to victims’ relatives whatever physical remains may be found.

To date, 1,119 victims â€" more than one-third of those who were killed in the Sept. 11, 2001, terrorist attack â€" have yet to be identified.

Office of the Mayor Two potential human remains from 9/11 were recovered Monday from “C-Grid,” the World Financial Center site. The city said last week that it would begin sifting excavated material from C-Grid, West Street and the vehicle security center site for more remains. “WTC 1″ and “WTC 2″ show the ocations of the original twin towers, where the memorial pools are now. The new 1 World Trade Center is on the site of “WTC 6,” the U.S. Custom House.

HBO Orders Fourth Season of ‘Game of Thrones’

George R. R. Martin, it will soon be time to put down your remote control and pick up your pen (or get behind your computer keyboard), because HBO will soon have need for more of your narrative content. The cable network said on Tuesday that it had officially ordered a fourth season of “Game of Thrones,” its epic fantasy series created by David Benioff and D. B. Weiss, and adapted from Mr. Martin’s best-selling “Song of Ice and Fire” novels. This announcement comes two days after the third-season premiere of “Game of Thrones,” which set ratings records for that series, drawing 4.4 million viewers in its debut airing and eceeding the 4.2 million viewers who watched the initial broadcast of its second-season finale last June. HBO said that “Game of Thrones” had an average gross audience (including showings on the network as well as plays on DVRs and digital services like HBO Go) of 11.6 million viewers in Season 2.

“A Dance With Dragons,” the fifth novel in what Mr. Martin plans to be a seven-book cycle, was released in 2011, while the HBO series has begun to tell the story of the third novel, “A Storm of Swords.” In other words, this latest “Game of Thrones” renewal should make life interesting for all involved.

A Huge Parking Bill, but It’s Also a Huge Space

Richard Perry/The New York Times The yacht Eclipse, docked in Manhattan in February.

As of Wednesday, Roman Abramovich’s latest bill for parking in New York City will reach $100,000. And by the time his ship sails, the tab could exceed $150,000.

Mr. Abramovich, the Russian billionaire who owns the Chelsea soccer team in London, also owns the world’s largest yacht, the 533-foot Eclipse. The boat is so big that the only place to dock it in Manhattan is at the terminal on the West Side where cruise ships load and unload.

But cruise ships usually stay in port less than 12 hours. The Eclipse has been at Pier 90 since mid-February and intends to stay another month, according to a spokesman for the city’s Economic Development Corporation, which controls the terminal.

Andrew Winning/Reuters Roman Abramovich

The fee for parking at the terminal is $2,000 a day, said the spokesman, Patrick Muncie. That may sound steep, but the rate has not risen in more than two years - unlike subway fares or the charge to park a car at a meter in the city.

Providing shelter for the megayachts of Russian billionaires could be a source of significant revenue for the city, which splits the fee evenly with the company that operates the terminal, Ports America.

The Eclipse is reputed to be decked out with three helipads, a submarine and a swimming pool whose bottom can be raised for use as a dance floor. Its construction cost has been estimated at more than $500 million.

In November 2011, the 440-foot yacht Serene parked at the terminal for several days. It was the first personal boat to do so, according to the development corporation. Boating publications have reported that the Serene, whose unusual features include an indoor saltwater pool and a room in which it snows, belongs to Yuri Shefler, whose company distributes Stolichnaya vodka.

The Serene’s owner also was charged $2,000 a day, according to the development corporation. But if the city charged by the foot, Mr. Abramovich would be paying $422 more per day for the Eclipse, which has been the biggest private yacht in the world since it was launched in 2010, according to Superyachts.com.

The Eclipse is about two feet longer than the Dubai, a yacht owned by the ruler of Dubai. But soon the Eclipse may be eclipsed by a much larger yacht under construction in Bremen, Germany. That boat, known as Azzam, is estimated to be about 50 feet longer.

It is too soon to know if Azzam will ever be moored in Manhattan. But its owner, whoever that turns out to be, is unlikely to be a better customer of the city’s development corporation than Mr. Abramovich.

The only yacht ever to dock at the city-owned cruise terminal in Brooklyn spent a month there last spring, at a cost of $1,800 a day, Mr. Muncie said. That boat, a 377-foot vessel named Luna, reportedly belonged to Mr. Abramovich, too.

‘Cat’ Ticket Sales Fall Short of Recouping Costs

Sara Krulwich/The New York Times Scarlett Johansson in “Cat on a Hot Tin Roof.”

The Broadway revival of “Cat on a Hot Tin Roof,” starring Scarlett Johansson as Maggie the Cat, fell short of recouping its $3.6 million capitalization before ending its 15-week run on Saturday, a spokeswoman for the show said on Monday.

While only 25 percent of Broadway shows ever turn a profit, this “Cat” was initially seen as a likely moneymaker given the star billing of Ms. Johansson, who had proven herself on Broadway in the 2010 revival of “A View From the Bridge” (for which she won a Tony Award) and seemed a natural fit as the sexy, fierce Maggie. The producers were so confident that they provided Ms. Johansson a star salary minimum of $40,000 a week.

The challenges facing the revival began with the show’s theater, the Richard Rodgers. The producers had hoped to mount the play in a 1,100-seat Broadway playhouse, which would have provided atmospheric intimacy; none were available, however, so the play went into the 1,400-seat Rodgers, traditionally a musical theater house. Not only did the production feel somewhat swallowed by the large space, the actors often found themselves speaking at a loud pitch just to hear each other - and some of the early buzz on the show rapped actors for seemingly shouting.

The critics’ reviews in January were mixed; several praised Ms. Johansson, but the takeaway was that the revival was not a must-see. And given that this was the third “Cat on a Hot Tin Roof” on Broadway in just the last decade, audience demand for another staging of the show may have been modest to begin with.

Ticket sales began to slide after the reviews were published and never really recovered. Its final week was one of its strongest at the box office, which is typical for a show about to close; for the seven performances last week, “Cat” grossed $721,456, or 63 percent of the maximum potential amount. Still, only 80 percent of the seats were sold for that final week. Had the show been in a smaller playhouse, of course, the gross potential would have been higher and there would have been more sold-out performances. But whether the show would have recouped in a smaller theater is impossible to predict.

Stuart Thompson, the play’s lead producer and a Broadway veteran on several Tony-winning shows (“The Book of Mormon,” “God of Carnage”), declined to comment this week. Asked if the show had recouped, the show’s spokeswoman simply replied, “Not quite,” and declined further comment.

French Arts Festival in New York to Focus on Tunisia

This year’s World Nomads Festival, presented in May by the French Institute Alliance Française, will focus on the culture of Tunisia, where artists played a crucial role in overthrowing its authoritarian government in January 2011. Those street protests ignited demonstrations in other nations and helped usher in the Arab Spring. Marie-Monique Steckel, the president of Alliance Française, said that the festival, which runs from May 3 - June 1, will feature some of the “phenomenal artistic creativity that has emerged on the heels of the Arab Spring.” There will be art, film, photography and dance shows, an ideas forum, and a Tunisian craft market. Performing alongside his Tunisian-born father, Tsvi Bokaer, the dancer and choreographer Jonah Bokaer will present the U.S. premiere of “The Ullysses Syndrome.” Some of the country’s best-known atists, including Sonia M’Barek, Ghalia Benali, Emel Mathlouthi, will also be performing. For more information, got to www.fiaf.org.

Rockwood Music Hall Starts a Record Label

Marcus Yam for The New York Times Johnny Marnell performing at Rockwood Music Hall in 2011.

For the last eight years, Ken Rockwood has served as an impresario and a mentor for scores of New York bands, giving them shows on the two stages at his Rockwood Music Hall in Lower Manhattan. Now he says he is taking the next step: he has started a record label.

“It just seems like a natural progression,” Mr. Rockwood, 47, said as he sat in his club. “I look at what happens here and I see an act that grows from stage one to stage two. I always think: ‘What’s next How can we continue’”

The first three releases from the new label, Rockwood Music Hall Recordings, will be released over the next six weeks, distributed mostly online through The Orchard.

On Tuesday, Mr. Rockwood released an album by Dumpster Hunter, a Brooklyn indie-rock group he has showcased for years at the club. The label will follow up with an instrumental album on April 23 by the drummer Mark Guiliana and his group Beat Music, which mixes elements of rock, electronic, dub and jazz. Then on May 2, the label will put out a live album by the songwriter Robbie Gil.

Mr. Rockwood, who in the 1990s was part of the duo Professor and Maryann, started his club as a small bar with a cramped stage on Allen Street in 2005, and has since taken two larger, adjacent spaces.

The club is known for its good acoustics and has become a favored performance space for Americana, bluegrass and rock acts. Among the artists who have played there are Lady Gaga, Mumford & Sons, Gary Clark Jr., and Billie Joe Armstrong of Green Day.

But it is among lesser-known New York acts that Mr. Rockwood has developed a reputation as an artist-friendly club owner, who likes to mentor artists he believes in and often mixes the sound himself. He books several new and emerging acts a night on his smaller stage. “I consider the artist the customer, really,” he said. “It’s about how they are treated when they get here, how they sound on stage, can they hear themselves”

Mr. Rockwood said he expected the label to be as eclectic as the musicians he invites to perform. Among the artists with whom he is working are the singer-songwriter Sonya Kitchell and the R&B and funk group Aabaraki.

“The label represents what I like,” he said. “It feels like a labor of love so far. I have done everything myself.”

The Man Behind ‘Mad Men’ Is Back: Matthew Weiner Talks Season 6

Michael Yarish/AMC Jessica Paré and Jon Hamm in a scene from the season premiere of “Mad Men.”

LOS ANGELES - With every ad campaign won or lost by Sterling Cooper Draper Pryce, every whiskey swigged, every cigarette smoked and every errant lipstick stain that turns up on the wrong collar, “Mad Men” draws nearer to its end. That AMC period drama begins its second to last season on Sunday with a two-hour premiere. As audiences prepare to get reacquainted with Don Draper, the enigmatic executive played by Jon Hamm, and his colleagues and family, Matthew Weiner, the “Mad Men” creator and show runner, isn’t taking any victory laps.

Frank Ockenfels 3/AMC Matthew Weiner

Having spent his hiatus directing his first feature film, “You Are Here,” an independent comedy with Owen Wilson, Amy Poehler and Zach Galifianakis, Mr. Weiner returned to his usual challenges on “Mad Men,” battling to keep the narrative fresh and the budget intact. Despite his penchant for secrecy, Mr. Weiner could not prevent the leak of a subplot about Draper and his wife, Megan (Jessica Paré), traveling to Hawaii. And he was stunned when “Mad Men,” which won the Emmy for outstanding drama in each of its first four seasons, was shut out at last September’s ceremony.

Still, a recent breakfast interview found Mr. Weiner in a cautiously optimistic mood as Season 6 DVDs began to make the rounds. (Not that he’s going to discuss their contents in advance.) In these edited excerpts from that conversation, he talks about preparations for a new year of “Mad Men,” the differences between his film and television experiences and how he is thinking about the end of the 1960s.

Q.

Was it any easier creating a two-hour premiere for the show after having done it last season

A.

This time it was a little harder because I did it under duress. AMC insisted on it - I could either do it for the premiere or for the finale. And you know how I react to being forced to do stuff. [laughs]

Q.

The previous season concluded with Don having an ambiguous interaction with a woman who is not his wife. Does that represent any kind of promise to the audience to pick up where you left off

A.

When the season ends, that’s the end of the show for me. I’m out of stuff. I never know what’s going to be the tension in between the seasons. I didn’t know that after Season 3 the audience would not be convinced that Don was divorced. As soon as I heard, “Will he get divorced” I’m like, well, I guess they don’t know. That’s the tension. “Will he start a new agency” I guess that’s the tension. What I start hearing over the break starts to inform where I start the next year.

Q.

What did you hear from viewers during this hiatus

A.

I was making a movie in North Carolina and seeing who knew the show and how much entrée I got into people’s homes for shooting. I was recognized there, which I’m not in Los Angeles so much. [laughs] Hearing what people expected or what they thought was going to happen, a lot of it, obviously, is about that last moment - a lot of it was also realizing in the last moment that the season had been about Don and Megan. Even in the writers’ room last year, we had to reframe our storytelling so people understood that when we were telling a story about Megan, we were telling a story about Don.

Q.

Did you learn anything from making the movie that you brought back to the show

A.

There were a lot of things that I appreciated about the show after the movie, in terms of having this long-term relationship with my actors, and feeling I don’t have to earn a level of respect with them. They have a problem, they talk to me about it. I don’t feel threatened. For the most part they’re excited when they get a script, we all feel like it’s a privilege to be working together. It’s not like that on a movie. I don’t care if you’re going back to make the third “Back to the Future,” it’s still, like, “What are we doing” I did have some fantasy that making a movie would be more luxurious, in terms of time and lifestyle. And directing a movie is not luxurious. It’s the exact same thing.

Q.

Had you wrapped the movie before you started work on Season 6

A.

I finished the movie on June 29, my birthday. We went on a trip with the family for two weeks, which I don’t remember. I was really in a fog. And then I opened the [writers’] room again, and started fighting with the studio for money about a week later. [laughs] That’s my job.

Q.

What was this fight about

A.

The cast had finally been paid. I felt very comfortable with the idea that everybody who put in their time on the show for nothing, at the beginning, had now gotten the rewards that they hoped they would get. But then there was a desire to say, O.K., we’re not just going to accept the fact that the show costs more money. It has to come from somewhere, and I have to do my thing where I say, I’m not making the show any cheaper than I make the show.

Q.

Were you disappointed that “Mad Men” went from winning four Emmys in a row for dramatic series to winning none at all last year

A.

I’m a human being. It’s an honor to be nominated, we won a ton. I thought, I guess in my heart, that it would taper off. Not end abruptly like that. We won so much. But yeah, it was a hard night. And honestly, it’s hard for me to watch even an episode from any season of the show and think that Jon Hamm’s never been recognized. How has Elisabeth Moss not been recognized It was a bummer. It was a bad night. It was unpleasant.

Q.

It shows you how quickly “Mad Men” went from an underdog to having an air of inevitability.

A.

I was watching the Oscars, and I saw Jennifer Lawrence on the steps, and I thought: That was the perfect acceptance speech. How do you avoid the envy and appearing arrogant How do you say the perfect thing, now that you’re not an underdog anymore I don’t think she did it on purpose, but you see that and see how she behaves, and you’re like, it could not go any better than that. If I was writing an acceptance speech, I would have it start with someone falling off the steps.

Q.

As someone with a mortal distaste for spoilers, how did you feel when photos from the “Mad Men” shoot in Hawaii were published in the press

A.

It was a big deal to go there. We knew it was impossible to keep it quiet, and I was bummed that it happened that soon. Literally, when we set up the first light. I thought it was going to take a couple weeks - obviously somebody got tipped off. It’s so expensive to shoot a foot of film, or whatever we’re shooting it on now, that everything has to matter. That’s the most important thing to me, that people watch the show and have that experience with their curiosity. And once you are relieved, and you know the story already, you can go back and read “Mike Mulligan and His Steam Shovel” the second time and you know he’s not going to die. [laughs]

Q.

It’s no secret that Peggy Olson is back this season -

A.

I told people that she was.

Q.

- and Betty Francis also has a substantial arc in the premiere. Were you trying to shine a light on characters that viewers thought might be in jeopardy

A.

I see them as characters. I do not count their screen time. I learned this from David Chase: you get bored of the character, and you want the audience to be bored of them. You want to parcel it out so that, O.K., you had a lot of cello this week, next week is about drums. Don always has to have a story, and he has to have a business story and he has to have a personal story, but there’s no rules for the rest of it. I don’t want to just check in on everybody. My whole thing is, who’s the most interesting to me, and what goes with Don’s story I was interested in the shift in the period, in showing Betty’s life, where it is and where she fits into the world.

Q.

Having spent all these years immersed in the 1960s, did you find it ironic that when David Chase, your mentor on “The Sopranos,” made his first movie, “Not Fade Away,” it was also a ’60s period piece

A.

I talked to him quite a bit about the film and I’m a huge fan of it. David’s process is so arduous to begin with. To explain the difference between the joy and the compulsion is really hard. When I was in North Carolina, and David was finishing his movie, I spoke to him on the phone, and I talked to my wife afterwards and she said, “You guys just keep sticking your neck out there.” My wife’s an architect, so she definitely has a very high-risk artistic profession and she gets the idea that you’re really sensitive, you really care what people think, you have a low threshold for criticism, and you keep making this [stuff] and putting it out there for people to react to. It’s like asking why people do heroin when they know it will kill them. I gotta give up at some point.

Mustard Fails Security Test at the Airport

Dear Diary,

Penknives, corkscrews, golf clubs and hockey sticks are some of the items that airline passengers will soon again be permitted to carry aloft, but, so far, still no more than a dollop of my favorite sharp condiment: deli mustard.

One of the most appreciated New York gifts I bring to family and friends around the country is a packet of a half-pound of corned beef and a half-pound of pastrami, double-wrapped in foil, from the Carnegie Deli. On my most recent purchase on Feb. 22, the counterman, perhaps recognizing a loyal customer, threw in a bonus: an eight-ounce container of mustard instead of the usual little one-ounce cups.

But at the airport, to my dismay, even though I had placed the container in a clear plastic bag atop my suitcase at the checkpoint, the mustard was red-flagged.

“Sorry, you can’t keep this,” the Transportation Security Administration officer politely informed me.

“But I’ve done this many times with the small containers,” I protested.

“Over 3.4 ounces is not allowed,” he explained, as he headed toward a trash bin.

I tried one last plea: “But it’s so delicious â€" the best deli mustard. Do you really have to throw it away”

He thought for a few seconds and then, extending the container toward me, said earnestly, “Well, maybe you could just go back outside and eat it.”

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.

Martin Scorsese Argues For Film Preservation in 2013 Jefferson Lecture

National Endowment for the Humanities Martin Scorsese delivering the 2013 Jefferson Lecture in Washington.

Drawing upon films that included Orson Welles’s “Citizen Kane,” Alfred Hitchcock’s “Vertigo” and Thomas Edison’s short of two cats engaged in a boxing match, Martin Scorsese made the case on Monday evening that Americans “need to take pride in our cinema, our great American art form” and that all films need to be preserved, regardless of their box-office performance or apparent cultural merit.

Mr. Scorsese, the Academy Award-winning director of films like “Mean Streets,” “Raging Bull,” “Goodfellas” and “The Departed,” made these remarks during his delivery of the Jefferson Lecture, the prestigious annual event held by the National Endowment for the Humanities. Following past speakers like Saul Bellow, Walker Percy and Toni Morrison, Mr. Scorsese gave a speech called “Persistence of Vision: Reading the Language of Cinema,” which was presented at the Kennedy Center in Washington and streamed live on the Internet.

Beginning with a portion of the “The Magic Box,” a 1951 motion picture about the invention of motion pictures, and drawing from works by Georges Méliès, Auguste and Louis Lumière, D. W. Griffith, Stanley Kubrick and other directors, Mr. Scorsese said that an era of “classical cinema” was “really almost gone.”

“It’s been overwhelmed by moving images coming at us all the time and absolutely everywhere,” Mr. Scorsese said, after showing a portion of the star-gate sequence from “2001: A Space Odyssey.” “Even faster than the visions coming at the astronaut in the Kubrick picture.”

Lamenting the end of the celluloid era of movie-making Mr. Scorsese said: “I grew up with celluloid, with its particular beauty and its idiosyncrasies. But cinema has always been tied to technological development, and if we spend too much time lamenting what’s gone, then we’re going to miss the excitement of what’s happening now.”

“But in order to experience something,” he added, “and find new values in it, it’s got to be there in the first place. You have to preserve - you have to preserve it. All of it.”

Mr. Scorsese, a longtime advocate of film preservation and chairman of the World Cinema Foundation, pointed to motion pictures like “Citizen Kane” and “Vertigo” as works now recognized as classics but which were nearly lost in past decades.

Today, Mr. Scorsese said, “Not only do we have to preserve everything, but most importantly, we can’t afford to let ourselves be guided by cultural standards, particularly now.” Those judgments, he said, must be made irrespective of a film’s box-office grosses, which he said have “become kind of a sport and really a form of judgment” that “culturally trivializes film.”

Concluding his lecture, Mr. Scorsese said, “We need to say to ourselves that the moment has come, when we have to treat every last moving image as reverently and respectfully as the oldest book in the Library of Congress.”

Earlier in the evening Mr. Scorsese showed selections from “The Red Shoes,” the 1948 film by Michael Powell and Emeric Pressburger, which he has been instrumental in helping to restore. Mr. Scorsese also argued for the greatness of the 1951 science-fiction film “The Day the Earth Stood Still,” whose hulking robot character he correctly identified as Gort.

In Performance: ‘Hands on a Hardbody’

“Hands on a Hardbody,” a new Broadway musical at the Brooks Atkinson Theater, concerns a group of Texans vying to win a truck in an endurance test. The country-rock score was written by Trey Anastasio, of the jam-band Phish, and Amanda Green, who also wrote the lyrics. (Doug Wright wrote the book.) In this excerpt Mr. Anastasio, on guitar, accompanies the actors Allison Case and Jay Armstrong Johnson in “I’m Gone.”

Recent videos include Tina Packer in her Shakespeare-themed show “Women of Will” and Judy Kuhn singing “Loving You” from the musical “Passion.”

Coming soon: Adam Kantor singing a number from Jason Robert Brown’s “Last Five Years” and Michael Urie performing a scene from Jonathan Tolins’s “Buyer & Cellar,” a Rattlestick Playwrights Theater production.