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No Vote Needed on Abortion Bill, G.O.P. Leader Says

ALBANY - Gov. Andrew M. Cuomo is still hoping to pass the whole of his 10-point Women’s Equality Act during the closing weeks of the 2013 legislative session, which ends in late June. But on Wednesday, the State Senate Republican leader suggested that his conference would not support any effort to bring a key part of the act - a state safeguard of federally recognized abortion rights - to a vote.

Senator Dean G. Skelos, the Long Island Republican who shares leadership of the Senate in a coalition with Senator Jeffrey D. Klein, a Bronx Democrat who leads the Independent Democratic Conference, told reporters that his members would not consider any abortion-related bill.

“Unnecessary,” said Mr. Skelos, in a single-word description of his opinion of the governor’s proposal. “And you know what? What people are talking about are jobs, taxes, spending. That’s what they are concerned about. And very few people at all ever believe that - whether you’re pro-life or pro-choice - the abortion laws in New York would ever be changed.”

But Mr. Cuomo has made it clear that he is concerned about abortion rights, and restated on Wednesday that he wanted to codify such rights - guaranteed by the 1973 Supreme Court decision Roe v. Wade â€" in state law.

“I believe it should come up for a vote,” said Mr. Cuomo, adding that he knew all too well of Mr. Skelos’s opposition to the bill. “He’s been opposed to the choice vote for many, many, many years.”

Mr. Skelos’s comments seem to dim the chances for the abortion plank in Mr. Cuomo’s women’s agenda, which also includes less controversial elements like strengthening human-trafficking laws and support for victims of domestic violence, issues on which the governor and Mr. Skelos agree.

Under the coalition’s arrangement, proposed bills effectively need the support of both coalition partners - the Republicans and the Independent Democrats - to bring a measure to the floor for a vote. Eric Soufer, a spokesman for Mr. Klein, said that the Independent Democratic Conference “wholeheartedly supports a woman’s right to choose,” but that “there aren’t enough votes in the other Democratic conference to pass a bill.”

“Until we clear that hurdle - or craft a bipartisan bill - it’s almost a moot point,” Mr. Soufer said.

Mr. Skelos minimized the idea that abortion rights needed an extra dose of protection from the New York Legislature.

“You don’t need it,” he said, “because Roe v. Wade is never going to be changed.”



At Least Five Protesters Arrested in May Day Demonstration

A police commander chased a man wearing a mask at a May Day protest in Manhattan on Wednesday calling for workers' rights. The man was arrested, as were several other protesters.Justin Lane/European Pressphoto Agency A police commander chased a man wearing a mask at a May Day protest in Manhattan on Wednesday calling for workers’ rights. The man was arrested, as were several other protesters.

The police arrested at least five people on Wednesday afternoon as a group of protesters marched from Tompkins Square Park to Union Square in a May Day demonstration meant to criticize capitalism.

About 150 protesters began gathering in Tompkins Square at 1 p.m. Soon dozens of police officers had also assembled there. Just before 2, the crowd left the park and began slowly marching north on Avenue A, accompanied by officers on motor scooters.

At 11th Street, the marchers suddenly turned east and began running in the roadway, some of them brandishing red and black flags. The police gave chase. At Avenue C and 12th Street, an officer tried to grab a black banner with the words “Never Work” from a man, who scrambled away.

A protester was placed under arrest.Justin Lane/European Pressphoto Agency A protester was placed under arrest.

A few moments later a deputy inspector walked up behind a man wearing a green shirt who was walking north on the sidewalk, wrestled the man to the ground and arrested him. A moment later, another person was arrested in the roadway.

“He wasn’t doing anything wrong,” said Faith Laugier, who said she witnessed the second arrest. “He was crossing the street.”

The marchers resumed moving, keeping to the sidewalks on the north side of 14th Street as they headed west. At Second Avenue, the crowd turned north and a moment later a police commander wearing a white shirt began moving briskly toward a young man wearing a black hooded sweatshirt and walking on the sidewalk.

The police arrested May Day protesters on Wednesday afternoon in the East Village.Andrew Kelly/Reuters The police arrested May Day protesters on Wednesday afternoon in the East Village.

As the commander made a beeline for the man, he began running. The commander caught up with him and placed him under arrest.

Then more than a dozen other officers, some uniformed and others in plain clothes, plunged into the crowd of marchers, grabbing and arresting at least three additional protesters, shoving others against a wall and pushing news photographers.

Many in the crowd cursed and yelled at the officers, accusing them of misconduct, before resuming their march, which arrived at Union Square without further incident.

The police did not immediately offer an official tally of how many had been arrested or on what charges.



High Line Decides to Drop Planned Fee for Visits to Final Section

The High Line announced Wednesday that it had begun taking online reservations, at thehighline.org, for visits to the last undeveloped section of the rail line, between West 30th and 34th Streets, where for the next year seven sculptures by the artist Carol Bove will be on view. The High Line originally planned to charge $6 for a visit but decided on Monday to make reservations free.

The undeveloped section, sealed off behind a fence, will be fully opened to the public late next year, left in its near-wild state with only a walkway to allow visitors to walk along its length to the line’s northern end. Ms. Bove’s sculptures in steel and bronze, titled “Caterpillar,” are situated along the old rail line and its wood ties, among wild crab apple trees and grass that will grow denser through the summer. The works will “reveal themselves among the unruly vegetation like mysteriously pristine ruins of a lost civilization or a contemporary version of a Zen garden,” the High Line said in its announcement.

Reservations may be made online now for walks taking place between May 16 and July 20, the organization said. Reservations will be made available in mid-June for walks after July 20.



High Line Decides to Drop Planned Fee for Visits to Final Section

The section, now undeveloped, will feature seven sculptures by Carol Bove.

Michael Bublé Hits No. 1 With ‘To Be Loved’

Michael Bublé stormed to the top of the Billboard 200 chart on Wednesday with his new album “To Be Loved” (Reprise), which sold 195,000 copies and gave the Canadian crooner his fourth No. 1 set.

The runner-up slot this week belonged to another new album â€" Fantasia’s “Side Effects of You” (RCA). The album, which sold 91,000 copies, is the R&B singer’s most personal recording so far, as she co-wrote seven of the 12 songs.

Justin Timberlake’s “The 20/20 Experience” (RCA) held steady at No. 3, and the French alternative band Phoenix entered the chart at No. 4 with the newly released “Bankrupt!” (Glassnote).

Last week’s No. 1, Fall Out Boy’s “Save Rock and Roll” (Island), fell to fifth place, while Black Shelton’s “Based on a True Story …” slipped to sixth place. Rob Zombie’s newly released “Venomous Rat Regeneration Vendor” opened at No. 7. The Top 10 were rounded out, in order, by Kid Cudi’s “Indicud” (Republic), Will.i’am’s “#willpower” (Interscope) and Pink’s “The Truth About Love” (RCA).

On the singles chart, Pink held on for a third week to the top position with “Just Give Me a Reason,” which features Nate Ruess of Fun. Macklemore and Ryan Lewis continued to have two songs in the Top 10: “Can’t Hold Us,” featuring Ray Dalton, remained at No. 2, while “Thrift Shop,” featuring Wanz, was at No. 4. Between them at No. 3 was “Stay,” Rihanna’s duet with Mikky Ekko which has been creeping up the chart for nearly three months.

There was bad news for lovers the K-Pop star Psy. His follow-up to Gangnam Style - “Gentleman” - plunged like a stone, falling from the No. 5 position last week to No. 26 as the initial buzz about its release faded. It sold only 36,000 copies in the United States during the week, despite having more than 200 million views on YouTube.

Justin Timberlake also had two singles in the Top 10 with “Mirrors” at No. 5 and “Suit & Tie” at No 7. Bruno Mars slipped to the sixth slot with his “When I Was Your Man.” Pitbull’s “Feel This Moment” was No. 8; the Swedish duo Icona Pop rose to No. 9 with “I Love It,” featuring Charli XCX, and Imagine Dragon’s “Radioactive” was No. 10.



Michael Bublé Hits No. 1 With ‘To Be Loved’

"To Be Loved" sold 195,000 copies, giving the Canadian crooner his fourth No. 1 album.

HBO Orders Third Season of ‘Veep’

Julia Louis-Dreyfus stars as Vice President Selina Meyer on Bill Gray/HBO Julia Louis-Dreyfus stars as Vice President Selina Meyer on “Veep.”

Who needs to wait another three years to choose America’s second-in-command? Not HBO, that’s for sure: on Wednesday, that cable network announced that it was ordering a third season of “Veep,” its comedy series starring Julia Louis-Dreyfus as the Vice President of the United States. In its first season in 2012, “Veep,” created by Armando Iannucci (the author of the political satires “The Thick of It” and “In the Loop”) was an Emmy nominee for outstanding comedy; Ms. Louis-Dreyfus, an Emmy winner for her performances on “Seinfeld” and “The New Adventures of Old Christine,” earned her third such award for portraying the “Veep” title character, Selina Meyer. “Veep” was just three episodes into its second season (which started on on April 14) when HB announced its latest renewal. The network said a third season of 10 episodes will be shown next year.



The Testament of Toibin: A Tony Nod, and a Closing Notice

The Irish writer Colm Toibin was shaving in his bathroom on Tuesday morning, and savoring the news that his “Testament of Mary” had just been nominated for a best play Tony Award, when the telephone rang. The voice on the other end said, “I have Scott Rudin on the line for you.” And so began one of the more surreal phone conversations that Mr. Toibin ever had: He was a freshly minted Tony nominee, but his producer Mr. Rudin was telling him that the play would close on Sunday, after only 43 performances and far earlier than planned, due to poor ticket sales.

Mr. Toibin said he took the news in stride - commercial Broadway is a brutal business, with only 25 percent of shows ever turning a profit - and went off to his teaching job at Columbia University. On Wednesday, after the news had sank in, Mr. Toibin - whose novels include “The Master” and “Brooklyn” - reflected on his rookie outing as a Broadway playwright with the one-woman show about the mother of Christ, which stars Fiona Shaw and was directed by Deborah Warner.

Q: What was the strangest part of seeing your work on Broadway?
A: One Saturday I flipped through the paper and suddenly saw a full-page ad for the play with this extraordinary image of Fiona and the crown of thorns around her mouth. It was so stark and stunning. But it was also just bizarre - here it’s a Saturday morning, you’re having your coffee, you’re thinking about going for a walk in Central Park, and then you see this huge ad for something you wrote. Something I wrote. I couldn’t really believe it.

Q: You learned about the Tony nomination around 8:45am Tuesday, and learned the play would close an hour or so later. How did you feel?
A. I had read about the nominations online, and made some calls to people, as one does. I was happy. Then I realized I had to get ready to discuss essays with my undergraduates. So I had a shower and was half-shaved when the phone rang, and it was that lovely voice saying, ‘I have Scott Rudin on the line for you.’ These are hard calls to make. He was very nice about it. But you know, about 30,000 people will have seen the play over a 6-week run by the time it closes, with a standing ovation every night. In European terms, that’s a huge success. In Dublin I’d be walking around with everyone saying, what an amazing success you’ve had with your play. But in New York the template is another of Scott’s shows, “The Book of Mormon,” where you’d have three productions touring the world and never ending. We won’t do that. The play will have productions in Spain,Brazil, Denmark, and some other countries we’re talking to.

Q: Fortunately, a lot of the “Mary” producers are also “Mormon” producers - that’s how the business works, and I’m sure they will be fine financially. But did you ask Scott to reconsider closing the show?
A.You know, I really trust his judgment. If he was calling to say that this was the decision he’d come it, then in my view the finances of the show - whether it could run an extra week or not - is of no concern to me.

Q: How did you deal with the news?
A. I think dark laughter might be the best way to put it. And when in doubt, consult Oscar Wilde. I’ve been teaching him in this semester. He has a quote - success is merely a preparation for theater. Anyone who works in the arts knows, if you’re writing a novel or a play or anything, you have to be ready for someone to say, you’re time is up.

Q: Once the play was in rehearsals, did you find that some pieces of the writing weren’t having the impact or the power that you expected?
A: Fiona and Deborah had really parsed and analyzed every single word in the play, so there was nothing left unchallenged. For example, when the cross is lifted up, I had a line, “His voice deepened.” And Fiona and Deborah immediately wanted to know,: Why did his voice deepen there? What did that sound like? And I couldn’t say to them, I just wrote “deepened.” So they did so much work with the text that, when Fiona was performing, I had this faith and trust that they believed very deeply in the way they were doing the play and she was saying the words.

Q: As a novelist you’re used to authorial control. How did it feel having an actor and audience members take some of that control away.
A: There were shocking moments. One was when the audience, from the very beginning, found a line funny that I didn’t intend - I hadn’t written it with a note in the script, “stop for a laugh at this point.” But I came to enjoy some of that reaction. My favorite was when Fiona talks about the water changing into wine. She would do a line, “I may have sipped some wine myself.” I had put that in to convey that Mary didn’t really care about wine, that it wasn’t a big deal to her. But the audience found it funny. It was the way Fiona said it - there was a great comic undertone to it.

Q: Did that teach you anything?
A: Yes. I thought that because she was allowing a comic undertone at certain points, they were more willing to accept her pain when it come. When Fiona screamed out something later, the audience followed her more easily to that place of pain because they had laughed before. The next time I write a play - in order to get audience trust for a particular sort of tragic line, I’ll try to bring the audience a good distance before that. Part of that is allowing comic moments to occur. I had been afraid of that - that once the audience started laughing in the play, they would never stop.

Q: Scott Rudin is one of the most successful and strong-minded producers on Broadway. What was working with him like?
A: The amount of care and work he did was extraordinary. He was around all the time. There was a moment two weeks ago, after seeing a performance, when I thought a line needed fixing, needed one more thing in it. I said afterward to everyone, I’m sorry but I think we need to fix a line. I began to describe it when Scott turned to me and he just delivered the line as it should have been delivered. It turned out that, at the performance, Fiona had gotten one word wrong in the line. But Scott knew the line by heart - he knew the whole play by heart, I think. And in rehearsals he was very interested in storytelling. He knew that in the second arc of the play, it couldn’t merely be about the Passion and the Crucifixion - rather it was also a story about her speaking and it would change something in her.

Q: Did you two get along well, even when he told you that the play would close?
A: Yes. There moments of frustration, like when he decided to have an author’s note but in the Playbill, then called me to ask if I had written it. I pointed out to him that he had just decided to have one, and that I hadn’t written it yet. He said OK, but he needed it A.S.A.P. And I said, OK, but I would send it when I was done writing. I had some research to do. He was being a producer, and he was an excellent one.

Q: Was the pre-show idea yours, with Fiona Shaw posing in a glass box like the Virgin Mary we’ve seen in so many paintings?
A: No, the idea arose in rehearsals. I live in words. I like looking at things, but I don’t have a strong visual imagination. So what would work and not work theatrically was not something I would easily see in my mind.

Q: What did you think of the pre-show?
A. There was one night and I stood at the back of the theater and watched all the people walking around on stage, around Fiona, and I thought it was amazing. It was something new in my experience gojng into a Broadway theater. I thought we were in a recreated space.

Q. One Broadway veteran said to me Tuesday that perhaps the play wasn’t controversial enough to get an audience - that it had to become a must-see flash point in the culture wars.
A. I think it might have been possible for us to provoke people into buying tickets, but I was concerned about that. I wanted this play to be a theatrical experience rather than a culture war over religion. You could have marketed the show to Catholics and others as“the most shocking thing you will ever see,” and I’m glad we didn’t do that. It would have harmed the integrity of the production and performance. I think we have a right and a duty to put on good theater, and I think we did that.



New Home Planned for Los Angeles County Museum of Art

The Los Angeles County Museum of Art is planning to build a new home for itself on Wilshire Boulevard designed by the Pritzker Prize winning architect Peter Zumthor, the Los Angeles Times reported on Wednesday.

This project, which is estimated to cost $650 million, will mean the original 1965 building as well as an addition that was constructed in 1986 will both be razed. The museum’s board had approved the construction of a new building by the Dutch architect Rem Koolhaas in 2001, but that plan was ultimately abandoned after the museum was unable to raise the money.

The current director Michael Govan has been laying the groundwork for a $650 million capital campaign, the L.A. Times reports. The museum would keep two other additions on the western side of the museum’s campus open during the construction. Design drawings for the new museum are to be unveiled next month, the paper said.



New Album From the Civil Wars

The Civil Wars will release a follow-up this summer to the duo’s Grammy-winning debut album “Barton Hollow,” but they provided no hint about whether they would reunite or go on tour.

Many of songs on the new album was written last year before the duo, Joy Williams and John Paul White, abruptly canceled a European tour and split up, citing “internal discord and irreconcilable differences of ambition.” It is unclear when the new material was recorded. The cover shows billowing black smoke with the title “The Civil Wars” superimposed. The new album will be distributed by Columbia Records.

The duo announced the album on their Web site and posted two handwritten notes. “I am fiercely proud of this album,” Ms. Williams wrote. “A lot of soul sweat and tears went into its creation. I hope you feel the heart in each song, that it might connect with yours. We are, each one of us, all journeying, learning and growing along this ever-evolving path.”

Mr. White was briefer: “Patience is a virtue. Yours has been appreciated. Here’s to the hope you consider it rewarded.”

Last year, the Civil Wars won the Grammy Award for best folk album for “Barton Hollow,” and a second trophy, for best country duo or group performance, for the title track. This year, they shared a third Grammy with Taylor Swift for “Safe and Sound,” a song they had composed with Ms. Swift for the “Hunger Games” soundtrack. Though they appeared together on the Grammy stage to accept the award, both have remained publicly mum about the source of their disagreement and their plans.



The Interior Performance Art

Participants in “The Quiet Volume,” a stealth performance piece at New York University’s Bobst Library.Suzanne DeChillo/The New York Times Participants in “The Quiet Volume,” a stealth performance piece at New York University’s Bobst Library.

What is the sound of two heads reading?

On Tuesday, in a hushed sixth-floor reading room in New York University’s Bobst Library packed with students cramming for final exams, the answer might have seemed to be: nothing much.

But for three pairs of readers scattered among the laptop-laden tables, wearing special headphones hooked up to iPod Nanos and shuffling through a pile of suspiciously literary books, the act of reading was transformed into a strange â€" and sometimes very loud â€" drama of turning pages, pointing fingers and eerily drifting thoughts.

“The first thing you notice is that for a place dedicated to silence, there’s not really that much silence at all,” a British-accented voice whispered into the readers’ ears. “After a while you start to think that it might be better considered as a place dedicated to the collection of sounds.”

The readers, who had signed up in advance, were both the audience and the stars of “The Quiet Volume,” a 55-minute stealth performance piece by the British artists Ant Hampton and Tim Etchells being staged through Sunday by Performance Space 122 as part of the PEN World Voices Festival. (The piece, which also comes in a Spanish-language version, is also running at the Schomburg Center in Harlem.)

Regular patrons hardly seemed to notice when the readers turned their books upside down, or ran their fingers in unison under passages in the identical piles of novels in front of them (by José Saramago, Kazuo Ishiguro and Agota Kristof), or flipped through a book of depopulated cityscapes by the photographer Gabriele Basilico, or just stared at a blank page in a spiral-bound notebook.

The mental action, however, was far more disorienting and sometimes edged toward violence. Readers turned to passages containing words like “strangulation,” “saboteurs” and “death sentence,” which were subtly altered by a voice reading along, or overwhelmed by a tide of white noise. They were asked to imagine all the books in a huge library cut up into their individual words, then separated into huge drawers reading “knife,” “cloud” or “the.”

At one point, books slammed shut from an uncannily precise location a few feet to the listeners’ left â€" inside the headphones, or outside in the real-life library? â€" causing the listener to brace for a librarian’s angry “Shhhhh!”

The cumulative effect was to make you wonder what kind of frozen sea was really breaking inside the earbud-wearing guy at the next table, hunched over “Essentials of Importing and Exporting.”

“The whole thing made you think about the nature of your sensory experience while reading, the relationship between the voice in your head and the words on the page,” said Jessica Harris, a graduate student who had just finished performing the piece with a friend.

One goal of “autoteatro,” as Mr. Hampton, 37, calls the self-enacted theater pieces he began creating in 2007, is to blur the distinction between presence and absence, inside and outside, reality and imagination, art and the real world.

It’s a question that a second piece Mr. Hampton is staging during the festival, “Cue China (Elsewhere, Offshore),” pushes in a markedly political direction. In that piece, pairs of participants are ushered into a darkened room behind the library’s circulation desk, precisely measured, and then asked to sit perfectly still for 26 minutes facing each other while seated at a contraption made of mirrors and glass, their heads held in place by metal supports so their pupils line up precisely.

The setup feels like preparations for ominously quaint joint eye surgery. But what follows is an uncomfortable and strangely moving virtual conversation with a real-life Chinese worker, whose face is projected directly onto that of the person sitting across from you.

“Your participation is simply about your body being present,” Mr. Hampton explained. “You’re donating your body so someone who isn’t there can occupy the room.”

That someone is Jia Jingchuan, one of more than 130 of workers who sustained severe nervous system damage after the factory where they worked started using a known toxin to clean the iPhone screens they were manufacturing â€" a case that generated international news coverage.

That seemingly familiar story â€" unfolding on the unfamiliar screen of another human face â€" goes in unexpected directions, ending with a revelation that Mr. Hampton, who interviewed Mr. Jia via QQ, the Chinese equivalent of Skype, said took him completely by surprise.

But for participants, the most unexpected thing might be how much time Mr. Jia spends smiling and laughing.

That footage came mostly from the parts of the interview where Mr. Hampton was explaining how the art piece would work.

“In most news reports about people depicted as victims, there’s no space for their sense of humor or curiosity,” he said. “But they can also be very curious about us. That’s very important.”



Richie Havens Was Gracious, I Was Dumbfounded

Mark Lutin is a legal-marketing executive and lifelong New Yorker who lives in Bayside, Queens.

About two years ago, I was zipping into Borders on 33rd Street near Madison Square Garden on my lunch hour when I almost slammed into someone else entering the store. He was a bit older than me, black, with a gleaming shaved head and a long flowing grey beard. I knew right away who he was, but mostly out of shock I stared at him and silently mouthed “Richie Havens?” to which he silently smiled and nodded, “Yes.”

I’m a jaded native New Yorker and I don’t awe easily, but I did that day. Richie Havens was my favorite performer from the ’60s. I loved his music and saw him play countless times. I was practically obsessed with him. His first album, “Mixed Bag,” from 1967, still sounds as fresh today as it did a lifetime ago. While he was a gifted songwriter in his own right, what resonated with me â€" as with so many others â€" were his versions of others’ songs. His interpretations of “Just Like a Woman,” “Here Comes the Sun,” “Eleanor Rigby” and “San Francisco Bay Blues” are but a few examples of that rarity in music â€" covers that are far better than the originals.

He seemed slowed-down a bit; perhaps frail. I mumbled the usual nonsense that fans spew to their idolsâ€"“love your work … meant so much to me … still listen to ‘Mixed Bag.’” How does one say these things sincerely without sounding like a gushing imbecile? But he took it all in with grace and a quiet understanding. Clearly, I was not the first fan he had encountered.

A picture! I had to get a picture of this. I took out my cellphone and asked the woman he was with if she would kindly take a picture of us. I fumbled with the controls and handed it to her. (God, I was becoming more of a caricature every second.) They indulged me, snapped a shot and handed me my phone. Did the shot even come out? I was too preoccupied to look and just jammed it into my pocket. I thanked him for his time and as we both continued into Borders I promised that I would not bother him further.

On my way back to work, I rehashed the conversation and beat myself up a bit. Artists don’t care if you listen to their old stuff. They want to know that you are still listening and buying their new material. The fact of the matter is, I had lost track of Richie Havens long before I bumped into him that day. Other artists and musical genres had captured my attention as I grew, evolved and changed. It’s interesting that we don’t officially “break-up” with performers as we do with lovers, but rather just “stop calling” or slowly drift apart.

I hadn’t thought about that incident until last week when a friend texted me that Richie Havens had died and that she had remembered the photo of us.

In the days following his death, I went online and discovered that despite my not having been a constant presence in his life, he managed to keep pretty busy. He recorded another 29 albums after “Mixed Bag,” had a few film roles and even played at President Clinton’s inauguration in 1993. To an entire generation of boomers, though, he will forever be remembered as Woodstock’s “opening act” for his anti-war anthem “Handsome Johnny” and the iconic “Freedom.”

I’d like to think my gushing meant something to him that day, but hundreds of fans must have gushed to him over the course of his long career. I can say, though, that his kindness, patience and grace that day meant something to me.

I’m sorry that we drifted apart, Richie. I’m sorry I stopped calling. I will always love your music.

Oh, and the picture? It came out pretty good.



Richie Havens Was Gracious, I Was Dumbfounded

Mark Lutin is a legal-marketing executive and lifelong New Yorker who lives in Bayside, Queens.

About two years ago, I was zipping into Borders on 33rd Street near Madison Square Garden on my lunch hour when I almost slammed into someone else entering the store. He was a bit older than me, black, with a gleaming shaved head and a long flowing grey beard. I knew right away who he was, but mostly out of shock I stared at him and silently mouthed “Richie Havens?” to which he silently smiled and nodded, “Yes.”

I’m a jaded native New Yorker and I don’t awe easily, but I did that day. Richie Havens was my favorite performer from the ’60s. I loved his music and saw him play countless times. I was practically obsessed with him. His first album, “Mixed Bag,” from 1967, still sounds as fresh today as it did a lifetime ago. While he was a gifted songwriter in his own right, what resonated with me â€" as with so many others â€" were his versions of others’ songs. His interpretations of “Just Like a Woman,” “Here Comes the Sun,” “Eleanor Rigby” and “San Francisco Bay Blues” are but a few examples of that rarity in music â€" covers that are far better than the originals.

He seemed slowed-down a bit; perhaps frail. I mumbled the usual nonsense that fans spew to their idolsâ€"“love your work … meant so much to me … still listen to ‘Mixed Bag.’” How does one say these things sincerely without sounding like a gushing imbecile? But he took it all in with grace and a quiet understanding. Clearly, I was not the first fan he had encountered.

A picture! I had to get a picture of this. I took out my cellphone and asked the woman he was with if she would kindly take a picture of us. I fumbled with the controls and handed it to her. (God, I was becoming more of a caricature every second.) They indulged me, snapped a shot and handed me my phone. Did the shot even come out? I was too preoccupied to look and just jammed it into my pocket. I thanked him for his time and as we both continued into Borders I promised that I would not bother him further.

On my way back to work, I rehashed the conversation and beat myself up a bit. Artists don’t care if you listen to their old stuff. They want to know that you are still listening and buying their new material. The fact of the matter is, I had lost track of Richie Havens long before I bumped into him that day. Other artists and musical genres had captured my attention as I grew, evolved and changed. It’s interesting that we don’t officially “break-up” with performers as we do with lovers, but rather just “stop calling” or slowly drift apart.

I hadn’t thought about that incident until last week when a friend texted me that Richie Havens had died and that she had remembered the photo of us.

In the days following his death, I went online and discovered that despite my not having been a constant presence in his life, he managed to keep pretty busy. He recorded another 29 albums after “Mixed Bag,” had a few film roles and even played at President Clinton’s inauguration in 1993. To an entire generation of boomers, though, he will forever be remembered as Woodstock’s “opening act” for his anti-war anthem “Handsome Johnny” and the iconic “Freedom.”

I’d like to think my gushing meant something to him that day, but hundreds of fans must have gushed to him over the course of his long career. I can say, though, that his kindness, patience and grace that day meant something to me.

I’m sorry that we drifted apart, Richie. I’m sorry I stopped calling. I will always love your music.

Oh, and the picture? It came out pretty good.



Richie Havens Was Gracious, I Was Dumbfounded

Mark Lutin is a legal-marketing executive and lifelong New Yorker who lives in Bayside, Queens.

About two years ago, I was zipping into Borders on 33rd Street near Madison Square Garden on my lunch hour when I almost slammed into someone else entering the store. He was a bit older than me, black, with a gleaming shaved head and a long flowing grey beard. I knew right away who he was, but mostly out of shock I stared at him and silently mouthed “Richie Havens?” to which he silently smiled and nodded, “Yes.”

I’m a jaded native New Yorker and I don’t awe easily, but I did that day. Richie Havens was my favorite performer from the ’60s. I loved his music and saw him play countless times. I was practically obsessed with him. His first album, “Mixed Bag,” from 1967, still sounds as fresh today as it did a lifetime ago. While he was a gifted songwriter in his own right, what resonated with me â€" as with so many others â€" were his versions of others’ songs. His interpretations of “Just Like a Woman,” “Here Comes the Sun,” “Eleanor Rigby” and “San Francisco Bay Blues” are but a few examples of that rarity in music â€" covers that are far better than the originals.

He seemed slowed-down a bit; perhaps frail. I mumbled the usual nonsense that fans spew to their idolsâ€"“love your work … meant so much to me … still listen to ‘Mixed Bag.’” How does one say these things sincerely without sounding like a gushing imbecile? But he took it all in with grace and a quiet understanding. Clearly, I was not the first fan he had encountered.

A picture! I had to get a picture of this. I took out my cellphone and asked the woman he was with if she would kindly take a picture of us. I fumbled with the controls and handed it to her. (God, I was becoming more of a caricature every second.) They indulged me, snapped a shot and handed me my phone. Did the shot even come out? I was too preoccupied to look and just jammed it into my pocket. I thanked him for his time and as we both continued into Borders I promised that I would not bother him further.

On my way back to work, I rehashed the conversation and beat myself up a bit. Artists don’t care if you listen to their old stuff. They want to know that you are still listening and buying their new material. The fact of the matter is, I had lost track of Richie Havens long before I bumped into him that day. Other artists and musical genres had captured my attention as I grew, evolved and changed. It’s interesting that we don’t officially “break-up” with performers as we do with lovers, but rather just “stop calling” or slowly drift apart.

I hadn’t thought about that incident until last week when a friend texted me that Richie Havens had died and that she had remembered the photo of us.

In the days following his death, I went online and discovered that despite my not having been a constant presence in his life, he managed to keep pretty busy. He recorded another 29 albums after “Mixed Bag,” had a few film roles and even played at President Clinton’s inauguration in 1993. To an entire generation of boomers, though, he will forever be remembered as Woodstock’s “opening act” for his anti-war anthem “Handsome Johnny” and the iconic “Freedom.”

I’d like to think my gushing meant something to him that day, but hundreds of fans must have gushed to him over the course of his long career. I can say, though, that his kindness, patience and grace that day meant something to me.

I’m sorry that we drifted apart, Richie. I’m sorry I stopped calling. I will always love your music.

Oh, and the picture? It came out pretty good.



‘Big, Hot, Cheap and Right’: Erica Grieder Talks About Texas

In her new book, “Big, Hot, Cheap and Right: What America Can Learn From the Strange Genius of Texas,” Erica Grieder, an editor at Texas Monthly magazine, writes about the forces that shaped the state’s attitudes as well as its current economic growth in the face of widespread troubles in the rest of the country. In a recent e-mail interview, Ms. Grieder discussed the state’s economic “miracle,” whether the future there bodes well for Democrats and more. Below are edited excerpts from the conversation:

Q.

Did you grow up in Texas? What’s the biggest change there that you’ve felt as a day-to-day resident (as opposed to a journalist) over the years?

A.

I was a military brat, so I grew up all over, but San Antonio, where we lived when I was a child, and where my family has since settled, is home. The growth in every major city, including San Antonio and Austin, has been the biggest day-to-day change. Most of it has been to the good, but there have been some costs, such as the 2008 closure of Las Manitas, a Tex-Mex diner in Austin. I haven’t even eaten a refried bean in the past five years. There’s no point anymore.

Q.

Could you briefly summarize the facts of the “Texas miracle,” which is a big part of the book? And do you think the word “miracle” is appropriate?

A.

Over the past 10 or so years, Texas’s economy has been outperforming those of most states, and the country as a whole, to such a noticeable degree that people have started talking about it in terms our more devout friends reserve for things like transubstantiation. So I can see how calling it a “miracle” might be contentious, but I’m comfortable with the phrase because Texans use strong language.

Q.

Given that the state’s economy has become increasingly diversified â€" beyond oil â€" how has that “miracle” continued in spite of the national economy’s struggles?

A.

I think the lesson Texans took from the 1980s oil bust is that being counter-cyclical is only good when the cycle isn’t counter to you. That bust spurred the state’s interest in diversification, which has been significant, and it meant that losses in one sector were often offset in another. (For the benefit of the state’s critics, let me note that parts of Texas that are less diversified haven’t been so well-hedged; in much of the Rio Grande Valley, for example, unemployment is once again in the double digits, largely because the global market malaise has triggered layoffs in manufacturing.)

Then, too, you had all the things that we generally summarize as a pro-business climate, and a couple of helpful idiosyncrasies. We have pretty strong lending laws, so we weren’t very heavy on subprime mortgages. Oil prices were high, and although the vast majority of Texas’s jobs aren’t in oil â€" the energy industry is capital-intensive rather than labor-intensive â€" it’s still a significant component of state GDP. The result was that although we didn’t get through without a scratch, the wheels never fell off the wagon altogether.

Erica GriederRoxanne Rathge Erica Grieder
Q.

You write that after the initial oil boom in Texas, the state “could easily have become a banana republic of the wealthy, industrialized Northeast.” Why didn’t it?

A.

By the time oil was discovered in great quantities (at Spindletop, in 1901) the state was already wary of outside interference, for a variety of historical reasons. Some years before, Texas had passed the nation’s second anti-trust law as a way to push back against northeastern industrial interests â€" a shrewd, albeit protectionist, thing to do. That’s what Texas used to keep Big Oil at bay in those early years. Although Texas’s oil wealth wasn’t distributed equally, we were, at least, able to keep a lot of it inside the state.

Q.

You say that Americans outside the state have often mistaken its rhetoric about independence as an echo of the Confederacy, but that they’re wrong to do so. Why?

A.

After staging a revolution against the young republic of Mexico, Texas was an independent country from 1836 to 1845. The Texas Revolution wasn’t as glorious as some accounts suggest, and the Republic of Texas wasn’t glamorous, but both are crucial to Texas’s conception of itself; the revolution created a sense of common purpose, and the years as a republic differentiated us from other states. So today, when Texans talk about independence, that’s the history they’re evoking. There are pockets of Confederate nostalgia in Texas, but the Civil War has never had the same psychological stranglehold on Texas that it seems to have in some states.

Q.

There’s been a lot of talk recently about how Texas is likely to become more favorable to Democratic candidates in coming years. But you say the state’s electorate has “remained much the same as ever: pragmatic, fiscally conservative, socially moderate, and slightly disengaged.” So to what extent do you believe the predictions about a “bluer” Texas?

A.

It’s certainly possible. Texas’s demographics, specifically its youth and its urbanization â€" which are correlated with ethnicity, but not the same â€" are auspicious for Democrats. And on social issues the people of Texas are more centrist than the state’s current Republican leadership, although the biggest issue for voters here, as in most places, is the economy. The Democrats have a number of hurdles, though, the primary one being that they need to run more candidates. At the moment, they don’t have anyone queued up for next year’s Senate election. It’s the soft bigotry of low expectations, perhaps, but I do think John Cornyn is better than “no one.”

Q.

Since your book acknowledges the state’s strengths and drawbacks in equal measure, I imagine it could be a “can’t win” scenario with some Texan readers. How has the book been received by readers there?

A.

It’s been received warmly by most Texans I’ve heard from, although a number have raised points of disagreement, which is fine, of course. Most Texans, including me, are a little tired of the caricatures, but we can handle criticism, especially when it’s fair. I’m proud of Texas, and I want it to be the best Texas it can be, and there’s no conflict between those two statements. What a punitive world it would be, if we only loved things that were perfect.

Q.

What are three other books you would recommend people read if they want to get a better sense of the state?

A.

“Lone Star,” by T.R. Fehrenbach, is my favorite single-volume history of Texas. Caro’s Lyndon Johnson series â€" read the first volume and keep in mind the fact that Johnson’s hardscrabble Hill Country youth is concurrent with, you know, the Jazz Age. That really helps explain where Texas is coming from. And let’s say Larry McMurtry’s “Terms of Endearment” â€" a sexy, sprawling mess of a novel that somehow, improbably, totally works.



‘Big, Hot, Cheap and Right’: Erica Grieder Talks About Texas

In her new book, “Big, Hot, Cheap and Right: What America Can Learn From the Strange Genius of Texas,” Erica Grieder, an editor at Texas Monthly magazine, writes about the forces that shaped the state’s attitudes as well as its current economic growth in the face of widespread troubles in the rest of the country. In a recent e-mail interview, Ms. Grieder discussed the state’s economic “miracle,” whether the future there bodes well for Democrats and more. Below are edited excerpts from the conversation:

Q.

Did you grow up in Texas? What’s the biggest change there that you’ve felt as a day-to-day resident (as opposed to a journalist) over the years?

A.

I was a military brat, so I grew up all over, but San Antonio, where we lived when I was a child, and where my family has since settled, is home. The growth in every major city, including San Antonio and Austin, has been the biggest day-to-day change. Most of it has been to the good, but there have been some costs, such as the 2008 closure of Las Manitas, a Tex-Mex diner in Austin. I haven’t even eaten a refried bean in the past five years. There’s no point anymore.

Q.

Could you briefly summarize the facts of the “Texas miracle,” which is a big part of the book? And do you think the word “miracle” is appropriate?

A.

Over the past 10 or so years, Texas’s economy has been outperforming those of most states, and the country as a whole, to such a noticeable degree that people have started talking about it in terms our more devout friends reserve for things like transubstantiation. So I can see how calling it a “miracle” might be contentious, but I’m comfortable with the phrase because Texans use strong language.

Q.

Given that the state’s economy has become increasingly diversified â€" beyond oil â€" how has that “miracle” continued in spite of the national economy’s struggles?

A.

I think the lesson Texans took from the 1980s oil bust is that being counter-cyclical is only good when the cycle isn’t counter to you. That bust spurred the state’s interest in diversification, which has been significant, and it meant that losses in one sector were often offset in another. (For the benefit of the state’s critics, let me note that parts of Texas that are less diversified haven’t been so well-hedged; in much of the Rio Grande Valley, for example, unemployment is once again in the double digits, largely because the global market malaise has triggered layoffs in manufacturing.)

Then, too, you had all the things that we generally summarize as a pro-business climate, and a couple of helpful idiosyncrasies. We have pretty strong lending laws, so we weren’t very heavy on subprime mortgages. Oil prices were high, and although the vast majority of Texas’s jobs aren’t in oil â€" the energy industry is capital-intensive rather than labor-intensive â€" it’s still a significant component of state GDP. The result was that although we didn’t get through without a scratch, the wheels never fell off the wagon altogether.

Erica GriederRoxanne Rathge Erica Grieder
Q.

You write that after the initial oil boom in Texas, the state “could easily have become a banana republic of the wealthy, industrialized Northeast.” Why didn’t it?

A.

By the time oil was discovered in great quantities (at Spindletop, in 1901) the state was already wary of outside interference, for a variety of historical reasons. Some years before, Texas had passed the nation’s second anti-trust law as a way to push back against northeastern industrial interests â€" a shrewd, albeit protectionist, thing to do. That’s what Texas used to keep Big Oil at bay in those early years. Although Texas’s oil wealth wasn’t distributed equally, we were, at least, able to keep a lot of it inside the state.

Q.

You say that Americans outside the state have often mistaken its rhetoric about independence as an echo of the Confederacy, but that they’re wrong to do so. Why?

A.

After staging a revolution against the young republic of Mexico, Texas was an independent country from 1836 to 1845. The Texas Revolution wasn’t as glorious as some accounts suggest, and the Republic of Texas wasn’t glamorous, but both are crucial to Texas’s conception of itself; the revolution created a sense of common purpose, and the years as a republic differentiated us from other states. So today, when Texans talk about independence, that’s the history they’re evoking. There are pockets of Confederate nostalgia in Texas, but the Civil War has never had the same psychological stranglehold on Texas that it seems to have in some states.

Q.

There’s been a lot of talk recently about how Texas is likely to become more favorable to Democratic candidates in coming years. But you say the state’s electorate has “remained much the same as ever: pragmatic, fiscally conservative, socially moderate, and slightly disengaged.” So to what extent do you believe the predictions about a “bluer” Texas?

A.

It’s certainly possible. Texas’s demographics, specifically its youth and its urbanization â€" which are correlated with ethnicity, but not the same â€" are auspicious for Democrats. And on social issues the people of Texas are more centrist than the state’s current Republican leadership, although the biggest issue for voters here, as in most places, is the economy. The Democrats have a number of hurdles, though, the primary one being that they need to run more candidates. At the moment, they don’t have anyone queued up for next year’s Senate election. It’s the soft bigotry of low expectations, perhaps, but I do think John Cornyn is better than “no one.”

Q.

Since your book acknowledges the state’s strengths and drawbacks in equal measure, I imagine it could be a “can’t win” scenario with some Texan readers. How has the book been received by readers there?

A.

It’s been received warmly by most Texans I’ve heard from, although a number have raised points of disagreement, which is fine, of course. Most Texans, including me, are a little tired of the caricatures, but we can handle criticism, especially when it’s fair. I’m proud of Texas, and I want it to be the best Texas it can be, and there’s no conflict between those two statements. What a punitive world it would be, if we only loved things that were perfect.

Q.

What are three other books you would recommend people read if they want to get a better sense of the state?

A.

“Lone Star,” by T.R. Fehrenbach, is my favorite single-volume history of Texas. Caro’s Lyndon Johnson series â€" read the first volume and keep in mind the fact that Johnson’s hardscrabble Hill Country youth is concurrent with, you know, the Jazz Age. That really helps explain where Texas is coming from. And let’s say Larry McMurtry’s “Terms of Endearment” â€" a sexy, sprawling mess of a novel that somehow, improbably, totally works.



‘Big, Hot, Cheap and Right’: Erica Grieder Talks About Texas

In her new book, “Big, Hot, Cheap and Right: What America Can Learn From the Strange Genius of Texas,” Erica Grieder, an editor at Texas Monthly magazine, writes about the forces that shaped the state’s attitudes as well as its current economic growth in the face of widespread troubles in the rest of the country. In a recent e-mail interview, Ms. Grieder discussed the state’s economic “miracle,” whether the future there bodes well for Democrats and more. Below are edited excerpts from the conversation:

Q.

Did you grow up in Texas? What’s the biggest change there that you’ve felt as a day-to-day resident (as opposed to a journalist) over the years?

A.

I was a military brat, so I grew up all over, but San Antonio, where we lived when I was a child, and where my family has since settled, is home. The growth in every major city, including San Antonio and Austin, has been the biggest day-to-day change. Most of it has been to the good, but there have been some costs, such as the 2008 closure of Las Manitas, a Tex-Mex diner in Austin. I haven’t even eaten a refried bean in the past five years. There’s no point anymore.

Q.

Could you briefly summarize the facts of the “Texas miracle,” which is a big part of the book? And do you think the word “miracle” is appropriate?

A.

Over the past 10 or so years, Texas’s economy has been outperforming those of most states, and the country as a whole, to such a noticeable degree that people have started talking about it in terms our more devout friends reserve for things like transubstantiation. So I can see how calling it a “miracle” might be contentious, but I’m comfortable with the phrase because Texans use strong language.

Q.

Given that the state’s economy has become increasingly diversified â€" beyond oil â€" how has that “miracle” continued in spite of the national economy’s struggles?

A.

I think the lesson Texans took from the 1980s oil bust is that being counter-cyclical is only good when the cycle isn’t counter to you. That bust spurred the state’s interest in diversification, which has been significant, and it meant that losses in one sector were often offset in another. (For the benefit of the state’s critics, let me note that parts of Texas that are less diversified haven’t been so well-hedged; in much of the Rio Grande Valley, for example, unemployment is once again in the double digits, largely because the global market malaise has triggered layoffs in manufacturing.)

Then, too, you had all the things that we generally summarize as a pro-business climate, and a couple of helpful idiosyncrasies. We have pretty strong lending laws, so we weren’t very heavy on subprime mortgages. Oil prices were high, and although the vast majority of Texas’s jobs aren’t in oil â€" the energy industry is capital-intensive rather than labor-intensive â€" it’s still a significant component of state GDP. The result was that although we didn’t get through without a scratch, the wheels never fell off the wagon altogether.

Erica GriederRoxanne Rathge Erica Grieder
Q.

You write that after the initial oil boom in Texas, the state “could easily have become a banana republic of the wealthy, industrialized Northeast.” Why didn’t it?

A.

By the time oil was discovered in great quantities (at Spindletop, in 1901) the state was already wary of outside interference, for a variety of historical reasons. Some years before, Texas had passed the nation’s second anti-trust law as a way to push back against northeastern industrial interests â€" a shrewd, albeit protectionist, thing to do. That’s what Texas used to keep Big Oil at bay in those early years. Although Texas’s oil wealth wasn’t distributed equally, we were, at least, able to keep a lot of it inside the state.

Q.

You say that Americans outside the state have often mistaken its rhetoric about independence as an echo of the Confederacy, but that they’re wrong to do so. Why?

A.

After staging a revolution against the young republic of Mexico, Texas was an independent country from 1836 to 1845. The Texas Revolution wasn’t as glorious as some accounts suggest, and the Republic of Texas wasn’t glamorous, but both are crucial to Texas’s conception of itself; the revolution created a sense of common purpose, and the years as a republic differentiated us from other states. So today, when Texans talk about independence, that’s the history they’re evoking. There are pockets of Confederate nostalgia in Texas, but the Civil War has never had the same psychological stranglehold on Texas that it seems to have in some states.

Q.

There’s been a lot of talk recently about how Texas is likely to become more favorable to Democratic candidates in coming years. But you say the state’s electorate has “remained much the same as ever: pragmatic, fiscally conservative, socially moderate, and slightly disengaged.” So to what extent do you believe the predictions about a “bluer” Texas?

A.

It’s certainly possible. Texas’s demographics, specifically its youth and its urbanization â€" which are correlated with ethnicity, but not the same â€" are auspicious for Democrats. And on social issues the people of Texas are more centrist than the state’s current Republican leadership, although the biggest issue for voters here, as in most places, is the economy. The Democrats have a number of hurdles, though, the primary one being that they need to run more candidates. At the moment, they don’t have anyone queued up for next year’s Senate election. It’s the soft bigotry of low expectations, perhaps, but I do think John Cornyn is better than “no one.”

Q.

Since your book acknowledges the state’s strengths and drawbacks in equal measure, I imagine it could be a “can’t win” scenario with some Texan readers. How has the book been received by readers there?

A.

It’s been received warmly by most Texans I’ve heard from, although a number have raised points of disagreement, which is fine, of course. Most Texans, including me, are a little tired of the caricatures, but we can handle criticism, especially when it’s fair. I’m proud of Texas, and I want it to be the best Texas it can be, and there’s no conflict between those two statements. What a punitive world it would be, if we only loved things that were perfect.

Q.

What are three other books you would recommend people read if they want to get a better sense of the state?

A.

“Lone Star,” by T.R. Fehrenbach, is my favorite single-volume history of Texas. Caro’s Lyndon Johnson series â€" read the first volume and keep in mind the fact that Johnson’s hardscrabble Hill Country youth is concurrent with, you know, the Jazz Age. That really helps explain where Texas is coming from. And let’s say Larry McMurtry’s “Terms of Endearment” â€" a sexy, sprawling mess of a novel that somehow, improbably, totally works.



Built as an Operating Theater, Soon to Be a Private School

When Dr. Charles McBurney, an eminent 19th-century surgeon, was given the opportunity to create the ideal operating room, he insisted that there be lots of light and air. That’s not a bad arrangement for precocious schoolchildren, either.

The former operating theater has been used most recently as office space.David W. Dunlap/The New York Times The former operating theater has been used most recently as office space.

McBurney’s legacy, the landmark William J. Syms Operating Theater of Roosevelt Hospital, at Ninth Avenue and 59th Street, is to reopen this fall as the new home of the four-year-old Speyer Legacy School, now at 15 West 86th Street.

The Syms pavilion hasn’t seen surgery since 1941 and is no longer connected with the hospital. Most recently, the building was used as office space. Connie Williams Coulianos, the administrative head of school, said the 30-foot-high volume struck her as symbolizing the school’s belief that there should be no academic ceilings. “It’s so open,” she said, “and there’s so much light.”

The light comes from a conical rooftop dome that was entirely clad in glass when the operating theater opened in 1892. It is still luminous, even though the upper half was sheathed in copper in 1953, which is also when the amphitheater was gutted, according to the designation report by the Landmarks Preservation Commission (available as a PDF).

The architects of the renovation are Davis Brody Bond of Manhattan. “As soon as we saw Syms, we said, ‘Whoa, what a great front door,’” Christopher K. Grabé, a partner in the firm, recalled. “This will be the village square for the rest of the school. You can envision that this will be the place where kids will gather.” Classrooms will occupy former commercial space in the base of an abutting apartment tower to which the former operating theater is connected.

The private Speyer Legacy School was founded in 2009 by parents including Kelly Posner Gerstenhaber, the director of the Center for Suicide Risk Assessment at the New York State Psychiatric Institute. It is intended for “advanced learners,” by which the school says it means curious, relentless, passionate, probing, imaginative, unconventional and “perhaps high maintenance.” The annual tuition is $34,000 for kindergarten through fifth grade, and $38,000 for sixth through eighth grades. Dr. Gerstenhaber said more than half the students’ families received financial aid.

Dr. Gerstenhaber estimated that it would cost $11.5 million to transform the former operating theater and adjacent space, about 85,000 square feet over all, into a school. She said a capital campaign had begun. Work is to be finished in time for the new school year next fall, when the enrollment will grow to 200 students, from 140.

The few surviving original architectural features will be preserved for their educational value. “We’re going to treat it as an archaeological find, in effect,” Mr. Grabé said. “As much as we can uncover, we’re going to leave there.”

A rendering shows how the former operating theater would appear as what the architect calls a Davis Brody Bond A rendering shows how the former operating theater would appear as what the architect calls a “village square” for the Speyer Legacy School. The shaft at right is an elevator.

Students may get their first taste of Latin, for instance, when they see the painted inscription, “Mortui vivos docent,” from the period beginning in 1942 when Syms was the hospital mortuary. It means, “Let the dead teach the living.”

Even the old floor tiles tell a story. “The great bane of modern surgery is the presence of insidious disease germs or bacteria lurking in the surroundings of operating rooms,” The New York Times said in 1890. “They thrive wherever there is dust, and where there is anything capable of holding dust or absorbing fluids.” By contrast, The Times said, the mosaic floors and marble walls of the Syms operating theater were “absolutely impervious” and thus kept pathogens at bay.

Syms was a partner in Blunt & Syms, a large gun maker and dealer. He bequeathed $350,000 to Roosevelt Hospital for the construction of an operating theater in which surgeons’ work could be observed closely by students. He directed that McBurney superintend its design and operation. William Wheeler Smith was the architect with whom McBurney worked.

In its utilitarianism, the Syms Operating Theater presented a contrast to the romantic jumble of Victorian Gothic pavilions that made up the rest of Roosevelt’s campus. “The building represented the attempt in the 19th century to reconcile architecture with technological advances,” the landmarks commission said when designating the exterior in 1989. It was at the time “the most advanced operating theater in the world,” the designation stated.

Despite this triumph, McBurney did not seem to have died a happy man. In 1901, he was among the doctors summoned to Buffalo to treat President William McKinley, who had been shot in the chest and abdomen by an assassin. Four days after the shooting, the president appeared to be recovering strongly. “We have locked door after door against the grim monster,” McBurney told reporters. “I am satisfied. I am going to Niagara Falls today to see the sights.”

Five days later, the patient died. And according to McBurney’s obituary in The New York Times on Nov. 8, 1913, “His friends observed a marked change in his manner after President McKinley’s death, and from that time on he steadily declined in health.” Sounds like an American history class right there.

Above: Two views from 1892 show the Syms Operating Theater and the main pavilions of Roosevelt Hospital, farther west on 59th Street. The stairway in the far left foreground served the Ninth Avenue el. Below: a view of the Syms building from approximately the same angle today.“King’s Handbook of New York City” (1892) Above: Two views from 1892 show the Syms Operating Theater and the main pavilions of Roosevelt Hospital, farther west on 59th Street. The stairway in the far left foreground served the Ninth Avenue el. Below: a view of the Syms building from approximately the same angle today.
David W. Dunlap/The New York Times


‘Downton Abbey’ Adds First Black Cast Member

Gary Carr will join ITV Gary Carr will join “Downton Abbey” in its fourth season.

Change comes slowly to the venerable halls of “Downton Abbey,” but it does eventually arrive. On Wednesday the producers of that popular British period drama announced a new addition to its roster of characters, played by the first black actor who will appear on the series. ITV, the television network that broadcasts “Downton Abbey” in Britain said on its Web site that Gary Carr, a London-born actor who has appeared on the television series “Bluestone 42″ and “Death in Paradise,” would join “Downton Abbey” in its coming fourth season as Jack Ross, a jazz singer who is described as “a charming and charismatic young man.”

Even for a series about white aristocrats and their servants in the early 20th century, “Downton Abbey” has been criticized for its lack of diversity, and its creator, Julian Fellowes, has said he has wanted to introduce more black and Asian characters if he could do so in a way that was “historically believable.”

Gareth Neame, an executive producer of “Downton Abbey” and the managing director of Carnival Films, which produces the series, said in a statement: “We are delighted to introduce another fantastic, dynamic character to Downton Abbey. His addition will bring interesting twists to the drama which we can’t wait for viewers to see in Series four.”

ITV said that the fourth season of “Downton Abbey” would consist of eight episodes and a “feature length” special that â€" in Britain, at least â€" would be shown at Christmas. PBS, which shows the series in the United States, has not announced its American air dates.



An Attempt at a Good Deed

Metropolitan Diary: A woman tried to help a blind man, but found her charge more difficult than expected.

In Performance: Deborah Cox of ‘Jekyll & Hyde’

Frank Wildhorn’s 1997 musical “Jekyll & Hyde,” now being revived on Broadway, is a Gothic pop-opera version of the Victorian tale of Dr. Jekyll and his nefarious other half, Mr. Hyde. In this scene, Deborah Cox, who plays the prostitute Lucy, sings her character’s signature song, the power ballad “Someone Like You.” The show runs through June 30 at the Marquis Theater.

Recent videos include Michael Urie in a scene from “Buyer & Cellar,” Jonathan Tollins’s play at the Rattlestick Theater about a struggling actor who works in Barbra Streisand’s basement in Malibu, and Nathan Lee Graham in a scene from “Hit the Wall,” Ike Holter’s play about the Stonewall uprising, at the Barrow Street Theater.



In Performance: Deborah Cox of ‘Jekyll & Hyde’

Frank Wildhorn’s 1997 musical “Jekyll & Hyde,” now being revived on Broadway, is a Gothic pop-opera version of the Victorian tale of Dr. Jekyll and his nefarious other half, Mr. Hyde. In this scene, Deborah Cox, who plays the prostitute Lucy, sings her character’s signature song, the power ballad “Someone Like You.” The show runs through June 30 at the Marquis Theater.

Recent videos include Michael Urie in a scene from “Buyer & Cellar,” Jonathan Tollins’s play at the Rattlestick Theater about a struggling actor who works in Barbra Streisand’s basement in Malibu, and Nathan Lee Graham in a scene from “Hit the Wall,” Ike Holter’s play about the Stonewall uprising, at the Barrow Street Theater.