At His Former Home in TriBeCa, Fond Memories of James Gandolfini

In recent years, James Gandolfini spent much of his time in Hollywood, but last week, he was back on the quiet street in TriBeCa where he once lived, not to stay â€" his place was rented out â€" but just to say hello to his friends, the doormen.

“I’ve been here for seven years, and I can honestly say every time I opened the door for that guy, it was never with an attitude,” said Luis Rodriguez, a longtime doorman at the Greenwich Street apartment building on Wednesday, a few hours after learning that Mr. Gandolfini had died suddenly while traveling in Rome.

“Always said thank you, always ‘How you doing?’ ‘How are your kids?’”

With reddened eyes downcast, Mr. Rodriguez spoke of how Mr. Gandolfini often returned from walking his dog â€" a beloved rescue named Duk, according to a neighbor â€" with gifts for the doormen unbidden, sometimes snacks or a bottle of water, sometimes a spare $100 bill.

Mr. Gandolfini once even offered to pay for one of the building’s employees to go to college, Mr. Rodriguez said.

“He said, if you’re serious, I’ll pay,” he said.

Even before he rose to fame, Mr. Gandolfini, a New Jersey native, had an easygoing attitude about housing in New York. In a 1988 article on apartment hopping in The New York Times, Mr. Gandolfini, then a 26-year-old aspiring actor who relied largely on bartending and construction jobs, said he had never had his name on a lease and had never lived in one place for more than 10 months.

“Moving, to me, is no big deal,” he said in the article. “I have a system down. I throw everything in plastic garbage bags and can be situated in ! my new place in minutes. Without my name on a lease, I’m in and out. I have no responsibilities.”

Mr. Gandoflini was decidedly un-Manhattan and un-celebrity â€" on New Year’s Eve, he always invited the front-desk attendants up to pop Champagne in his apartment.

Parties at his house included heaping Italian fare, A-list names and neighbors â€" like local business owners and people whom he met walking Duke.

One such guest, Ellen Lytle, was out front on Wednesday night, remembering her friend by laying a bouquet of lilies on the curb. She brought them, she said, in honor of his daughter, Liliana.

A Public Art Project That Will Travel By Train

Chartered train trips tend to conjure images of flag bunting, stump speeches and glad-handing politicians.

But a cross-country whistle-stop tour now being planned as a kind of rolling public art project by the artist Doug Aitken might give train travel considerably more cultural cachet.

Mr. Aitken, who works in Los Angeles and whose pieces in video and film often explore speed and people in transit, has organized a three-week journey from New York to San Francisco, with 10 stops in between, called “Station to Station: a Nomadic Happening,” which will include not only shows by visual artists but also music, poetry and food.

The train will travel from New York to Pittsburgh on Sept. 8 and then make stops in Minneapolis and St. Paul; Chicago; Kansas City, Mo., Lamy, N.M; Winslow, Ariz.; Barstow, Calif.; and Los Angeles before arriving in Oakland and San Francisco on Sept. 28. The project, supported by Levi’s, intends to distrbute donations and money raised from ticket sales along the route to partner cultural organizations, like the Walker Art Center, the Los Angeles Museum of Art and the Carnegie Museum of Art.

Participants, some of who will ride the train and others who will join en route, include the visual artists Urs Fischer, Carsten Holler, Liz Glynn, Ernesto Neto and Stephen Shore. The lineup of musical acts includes the Fiery Furnaces, Charlotte Gainsbourg and David Longstreth of the Dirty Projectors. The writers Rick Moody and Dave Hickey will also be on board, Mr. Aikten said, as well as the chefs Alice Waters and Leif Hedendal.

“This really came out of a kind of restlessness, the feeling that art forms are too often segregated, music played in the same clubs and art shown in the same galleries and museums,” Mr. Aitken said in an interview. “I felt like we needed to experiment with a new model. ! Maybe it’s naïve or maybe it’s utopian but the question is, ‘Can there be a kind of planet of voices that can exist, at least for a short time, when something like this happens?’ ”

Nahmad Family’s Monet Brings $30.8 Million at Sotheby’s in London

London â€" Bidders from 33 countries including a record number from Asia - the broadest participation Sotheby’s officials said they had seen here in more than a decade - drove prices for the best works at its two-hour sale of Impressionist and modern art on Wednesday night.

Monet’s “Le Palais Contarini,’’ a 1908 sun-dappled canvas of a Venetian palace, brought $30.8 million, just over its high $30.2 million estimate. The anonymous telephone buyer who bid through Gallus Pesendorfer of Sotheby’s client services in Cologne, Germany, outbid three other contenders. The painting had last sold at Christie’s in New York in 1996 where it was bought by the Nahmad family - the dynasty of art dealers with spaces in New York and London - for $4.2 million.

As the supply for top flight Impressionist and modern art continues to dwindle, both auction houses sought out the Nahmad’s vast holdings of Impressionist and modern art to help fill their sales. At Christie’s auction here on Tuesday eening the top two sellers - a painting by Kandinsky and one by Modigliani - were also from the Nahmad’s inventory.

The family has been in the news since April when Hillel Nahmad, 34, known as Helly, was charged by federal prosecutors with playing a leading role in an international gambling and money-laundering operation, where he is based. Mr. Nahmad has denied these charges and was not in London for the sales because he had to surrender his passport as part of his bail agreement. But many other family members were in attendance at both Sotheby’s and Christie’s bidding, including Mr. Nahmad’s father, David, his cousin from London, who is also called Helly, his brother Joe, his uncle, Ezra and another cousin from London, also Joe.

While there was little doubt that the Monet was a big boost for Sotheby’s, the auction house had put ! together a larger and more impressive sale than Christie’s, as the results proved. Sotheby’s auction totaled $165.9 million, over its high of $164.3 million, with only 13 of its 71 works unsold. Christie’s sale brought $100.4 million, above its low estimate of $82.8 million, but not reaching its high of $118.8 million. Of the 44 works on offer at Christie’s, seven failed to find buyers.

(Final prices include Sotheby’s buyer’s premium: 25 percent of the first $100,000; 20 percent from $100,000 to $2 million and 12 percent of the rest. Estimates do not reflect commissions.)

Abstract canvases were big sellers at the New York auctions in May and at Sotheby’s here one of Mondrian’s classic austere works, “Composition with Red, Yellow and Blue,’’ from 1927 that was from an unidentified European collector, brought $14.5 million. David Norman, a Sotheby’s expert based in New York took the winning bid on behalf of a telephone client, beating out five other contenders. The price as over its high $9.2 million estimate.
While a colorful 1909 Kandinsky was Christie’s priciest work, selling for $21.1 million, works by the artist at Sotheby’s brought mixed results. “Studie für Herbstiandschaft mit Booten,’’ a 1908 landscape sold for nearly $10 million over its high $7.5 million estimate. But a later painting by the artist â€" “Sans Titre’’ from 1941 â€" failed to sell.

The auction also featured a number of works by Picasso of varying mediums and periods. “Étreinte,’’ a 1971 drawing executed in crayon and pencil on red paper depicting one of the artist’s musketeers embroiled in a passionate sexual encounter was snapped up by a telephone bidder for $4.8 million, well above its high $3 million estimate. The drawing had belonged to Stanley J. Seeger, a famously reclusive American collector who lived in London before his death in 2011, ! who was w! ell known for his large and luscious Picasso holdings. Seeger had bought “Étreint” at Christie’s in New York in 2004 for nearly $1.5 million.

Another Picasso drawing that was once owned by Mr. Seeger, “Guitare Sur Une Table,’’ from 1912 had also belonged to Nelson A. Rockefeller. It brought $567,784 above its $378, 000 high estimate and had last been at auction at Sotheby’s in New York in 2004 where it made $400,000.

When a Surrealist canvas is good, buyers know it. Six bidders went after “L’Idée,’’ Magritte’s seminal 1966 image of a green apple suspended in air above the image of a suited man which ended up selling for $7.1 million. It had been estimated to fetch $2.7 million to $3.7 million.

“It’s a super-selective but strong market,’’ said Mary Hoeveler, a New York art adviser, who had tried to buy several works on behalf of a client but only managed to get a 1965 watercolor by Miro for $906,105.

The auctions continue here next week with sales o post-war and contemporary art.

Nahmad Family’s Monet Brings $30.8 Million at Sotheby’s in London

London â€" Bidders from 33 countries including a record number from Asia - the broadest participation Sotheby’s officials said they had seen here in more than a decade - drove prices for the best works at its two-hour sale of Impressionist and modern art on Wednesday night.

Monet’s “Le Palais Contarini,’’ a 1908 sun-dappled canvas of a Venetian palace, brought $30.8 million, just over its high $30.2 million estimate. The anonymous telephone buyer who bid through Gallus Pesendorfer of Sotheby’s client services in Cologne, Germany, outbid three other contenders. The painting had last sold at Christie’s in New York in 1996 where it was bought by the Nahmad family - the dynasty of art dealers with spaces in New York and London - for $4.2 million.

As the supply for top flight Impressionist and modern art continues to dwindle, both auction houses sought out the Nahmad’s vast holdings of Impressionist and modern art to help fill their sales. At Christie’s auction here on Tuesday eening the top two sellers - a painting by Kandinsky and one by Modigliani - were also from the Nahmad’s inventory.

The family has been in the news since April when Hillel Nahmad, 34, known as Helly, was charged by federal prosecutors with playing a leading role in an international gambling and money-laundering operation, where he is based. Mr. Nahmad has denied these charges and was not in London for the sales because he had to surrender his passport as part of his bail agreement. But many other family members were in attendance at both Sotheby’s and Christie’s bidding, including Mr. Nahmad’s father, David, his cousin from London, who is also called Helly, his brother Joe, his uncle, Ezra and another cousin from London, also Joe.

While there was little doubt that the Monet was a big boost for Sotheby’s, the auction house had put ! together a larger and more impressive sale than Christie’s, as the results proved. Sotheby’s auction totaled $165.9 million, over its high of $164.3 million, with only 13 of its 71 works unsold. Christie’s sale brought $100.4 million, above its low estimate of $82.8 million, but not reaching its high of $118.8 million. Of the 44 works on offer at Christie’s, seven failed to find buyers.

(Final prices include Sotheby’s buyer’s premium: 25 percent of the first $100,000; 20 percent from $100,000 to $2 million and 12 percent of the rest. Estimates do not reflect commissions.)

Abstract canvases were big sellers at the New York auctions in May and at Sotheby’s here one of Mondrian’s classic austere works, “Composition with Red, Yellow and Blue,’’ from 1927 that was from an unidentified European collector, brought $14.5 million. David Norman, a Sotheby’s expert based in New York took the winning bid on behalf of a telephone client, beating out five other contenders. The price as over its high $9.2 million estimate.
While a colorful 1909 Kandinsky was Christie’s priciest work, selling for $21.1 million, works by the artist at Sotheby’s brought mixed results. “Studie für Herbstiandschaft mit Booten,’’ a 1908 landscape sold for nearly $10 million over its high $7.5 million estimate. But a later painting by the artist â€" “Sans Titre’’ from 1941 â€" failed to sell.

The auction also featured a number of works by Picasso of varying mediums and periods. “Étreinte,’’ a 1971 drawing executed in crayon and pencil on red paper depicting one of the artist’s musketeers embroiled in a passionate sexual encounter was snapped up by a telephone bidder for $4.8 million, well above its high $3 million estimate. The drawing had belonged to Stanley J. Seeger, a famously reclusive American collector who lived in London before his death in 2011, ! who was w! ell known for his large and luscious Picasso holdings. Seeger had bought “Étreint” at Christie’s in New York in 2004 for nearly $1.5 million.

Another Picasso drawing that was once owned by Mr. Seeger, “Guitare Sur Une Table,’’ from 1912 had also belonged to Nelson A. Rockefeller. It brought $567,784 above its $378, 000 high estimate and had last been at auction at Sotheby’s in New York in 2004 where it made $400,000.

When a Surrealist canvas is good, buyers know it. Six bidders went after “L’Idée,’’ Magritte’s seminal 1966 image of a green apple suspended in air above the image of a suited man which ended up selling for $7.1 million. It had been estimated to fetch $2.7 million to $3.7 million.

“It’s a super-selective but strong market,’’ said Mary Hoeveler, a New York art adviser, who had tried to buy several works on behalf of a client but only managed to get a 1965 watercolor by Miro for $906,105.

The auctions continue here next week with sales o post-war and contemporary art.

Seattle Opera Finds Replacement for Longtime General Director

Speight Jenkins has been the general director of the Seattle Opera for 30 of the company’s 50 seasons, and given his accomplishments - which include renovating the Seattle Opera House, staging productions of the complete Wagner canon and making the company’s “Ring” cycle an international attraction - it seemed as if he would lead the company indefinitely. But Mr. Jenkins, 76, told the board in 2011 that he would like to step down, and that set in motion a two-year search that ended on Wednesday,

The company announced that the British stage director Aidan Lang, currently the general director of the New Zealand Opera, would succeed Mr. Jenkins in 2014.

Mr. Lang, 57, has held his position in New Zealand since 2006. He hasalso been artistic director of the Buxton Festival in Britain, which he expanded to include Baroque and contemporary works, from 1999 to 2006, and Opera Zuid in the Netherlands from 1990 to 1998. Concurrently with his work at Opera Zuid he was principal associate director of the Glyndebourne Festival, and director of productions of Glyndebourne’s touring company.

He also has “Ring” experience that should serve him well in Seattle: he directed the first Brazilian production of Wagner’s tetralogy at the Teatro Amazonas, in Manaus.

It would be hard to imagine a smoother transition than Mr. Jenkins, Mr. Lang and the Seattle Opera have planned. Mr. Lang joins the company as director designate next March and will work with Mr. Jenkins, who will remain general director through August 2014. Mr. Jenkins has already planned the company’s programming through the 2014-15 seas! ons, and during their overlapping months Mr. Jenkins and Mr. Lang will work together on the 2015-16 season. Mr. Lang’s first season on his own will be 2016-17.

“Seattle Opera is one of the world’s most respected opera companies and Speight Jenkins is, quite simply, a legend in our business,” Mr. Lang said in a statement. “I am honored, energized, excited and definitely humbled by the opportunity to lead the company in this next chapter.”

John F. Nesholm, the company’s chairman, said Mr. Lang had been chosen from among 42 candidates from seven countries.

Sabbath Celebrates No. 1

It’s been 43 years since Black Sabbath, the British rock band, which arguably spawned the entire heavy metal genre, first appeared on the Billboard 200 album chart. But this week it finally earned its first No. 1 album with “13,” selling 155,000 copies during the first week of release, Billboard reported. Released on Vertigo, “13” is the group’s first set of new songs with most of its original lineup â€" the singer Ozzy Osbourne, the guitarist Tony Iommi and the bassist Geezer Butler â€" since 1978’s “Never Say Die!” (The original drummer, Bill Ward, is not involved, because of contract disputes.) The only other Top 10 album the band has had in its many incarnations was 1971’s “Master of Reality,” which rose to No. 8. Last week’s No. 1 album, Queens of the Stone Age’s “… Like Clockwork,” dropped like a stone, settling at No. 15 on the chart. Daft Punk’s “Random Access Memories” remained in the second spot, followed by Justin Tmberlake’s “20/20 Experience,” which got a boost from a sale on iTunes. The boy band Big Time Rush’s new album, “24/Seven,” entered the chart at No. 4, a disappointing performance given the sales of its last CD. Three country albums â€" Florida Georgia Line’s “Here’s to the Good Times,” Darius Rucker’s “True Believers” and Blake Shelton’s “Based on a True Story …” â€" held the next three spots. The rest of the Top 10 were new releases. The Goo Goo Dolls’ “Magnetic” entered at No. 8, followed by the “Man of Steel” soundtrack and the Lonely Island’s third release, “The Wack Album.”

Black Sabbath Earns Its First No.1

It took four decades, but Black Sabbath, the British rock band that arguably spawned the entire heavy metal genre, finally earned a No. 1 album on the Billboard 200 chart this week with it’s latest release,”13,” which sold 155,000 copies, Billboard reported on Wednesday. Released on Vertigo, “13” is the group’s first set of new songs with most of its original lineup â€" the singer Ozzy Osbourne, the guitarist Tony Iommi and the bassist Geezer Butler â€" since the 1978 album“Never Say Die!” (The original drummer, Bill Ward, is not involved because of contract disputes.) The group’s only other Top 10 album was 1971’s “Master of Reality,” which rose to No. 8.

The heavy metal masters pulled off a similar feat in Britain last week, notching their first No. 1 album on the British album chart in 42 years. Its last No. 1 album there had been 1970’s “Paranoid.”

Last week’s No. 1 album, Queens of the Stone Age’s “… Like Clockwork,” fell to No. 15. Daft Punk’s €œRandom Access Memories” remained in the second spot, followed by Justin Timberlake’s “20/20 Experience,” which got a boost from a sale on iTunes. The boy band Big Time Rush’s new album “24/Seven” entered the chart at No. 4, a disappointing performance given the sales of its last CD. Three country albums â€" Florida Georgia Line’s “Here’s to the Good Times,” Darius Rucker’s “True Believers” and Blake Shelton’s “Based on a True Story …” â€" held the next three spots. The rest of the Top 10 were new releases. The Goo Goo Dolls’ “Magnetic” entered at No. 8, followed by the “Man of Steel” soundtrack and the Lonely Island’s third release, “The Wack Album.”

Another Wide-Ranging White Light Festival From Lincoln Center

Lincoln Center’s White Light Festival seemed more of a catch-all marketing construct than an actual festival when it was introduced in 2010. And it still has its amorphous qualities, but by celebrating them, instead of trying to don a thematic straitjacket, this multidisciplinary exploration of spirituality, in its many guises, has become an important part of the fall season.

The festival’s fourth edition will open with a free concert by the Campbell Brothers, a group that combines elements of country blues (Chuck and Darrick Campbell’s pedal steel guitars) and gospel, at the David Rubenstein Atrium on Oct. 24.

All told, the 2013 festival will include 23 performances, including films by Peter Mettler and Philip Gröning; dance performances choreographed by Akram Khan and Mark Morris; sacred works by Bach, Taverner, Tallis, Beethoven, Messiaen and Arvo Pärt; an overview, by Jordi Savall, of Jewish, Christian nd Muslim music from the Balkans; a concert by the Malian singer-songwriter Rokia Traoré, and a reprise of a hit from the first White Light Festival, the Manganiyar Seduction, a music-theater work by the Indian director Roysten Abel.

The festival brings several renowned early-music groups to Lincoln Center, starting with the French conductor Emmanuelle Haïm’s Paris-based ensemble, Le Concert d’Astrée, which will perform Handel’s “Aci, Galatea e Polifemo” at Alice Tully Hall, Oct. 26, and Mr. Savall’s Hespèrion XXI will offer “The Cycles of Life: A Musical Exploration of the Balkans” at Alice Tully Hall, Nov. 3. The soprano Anna Caterina Antonacci’s “Era la Notte” program, which she sings Nov. 13 and 14 at the Rose Theater, is built on Baroque repertory, and includes a performance of Monteverdi’s “Combattimento ! di Tancredi e Clorinda” in which she sings both roles as well as the narration.

Two choral groups that specialize in sacred music are on the prospectus as well: the St. Thomas Boys Choir of Leipzig - an ensemble from the church where Bach was the music director - will sing a Bach and Vivaldi program at the Church of St. Mary the Virgin on Nov. 12, and the Tallis Scholars will juxtapose Tudor works by Taverner and Tallis with recent scores by Pärt and Nico Muhly on Nov. 16.

The JACK Quartet will revisit one of its specialties, Georg Friedrich Haas’s String Quartet No. 3 (“In iij. Noct.,” 2001), which is performed entirely in darkness, at the Clark Studio Theater on Nov. 19. The Orpheus Chamber Orchestra is playing a contemporary program, too, though instead of darkness it is offering a visual component,by way of several multimedia works by the Dutch composer nd filmmaker Michel van der Aa, at the Manhattan Center on Oct. 28. And both the Cleveland Orchestra, at Avery Fisher Hall on Nov. 4, and the Estonian National Symphony Orchestra and Choir, at the same hall on Nov. 10, will move between contemporary scores and standard repertory.

Other potential highlights of the festival include the United States premiere of Akram Khan’s “DESH,” at the Rose Theater on Nov. 6 and 7; Ms. Traoré’s concert, at the Rose Theater, Nov. 15, and the return of “The Manganiyar Seduction,” a theater work about a Muslim sect from North India that includes Hindu deities in its worship, at the Rose Theater, Oct. 31 to Nov. 2. The festival ends with the Mark Morris Dance Group in one of Mr. Morris’s pivotal works, his 1988 choreography for Handel’s “L’Allegro, il Penseroso ed il Moderato,” at the David H. Koch Theater, Nov. 21 to 23.

Astrodome, Vineyard Lighthouse on List of Most Endangered Places

Houston’s Astrodome and the Gay Head lighthouse on Martha’s Vineyard are two of 11 endangered places to be cited Wednesday by the National Trust for Historic Preservation on its annual list of sites at risk of damage or destruction.

The Astrodome was the world’s first domed indoor, air conditioned stadium when it opened in 1965. Nicknamed the Eighth Wonder of the World, it became one of the most influential stadiums in the United States, but is now shuttered and professional baseball and football in the city are played in newer venues.

Also endangered, according to the trust, is the Mountain View Black Officers’ Club at Fort Huachua in Arizona, which was built in 1942 specifically for African-American officers but now faces demolition.

The Gay Head lighthouse, the first lighthouse built on Martha’s Vineyard, is threatened by erosion, the trust said.
Also on the trust’s list is Pan American’s Worldport Terminal at Kennedy Airport, an architectural symbol of the 1960s jet age.

Each year the trust selects what it considers important examples of the nation’s architectural, cultural and natural heritage that are at risk of being destroyed or irreparably damaged.

“For more than a quarter century, our list of America’s 11 Most Endangered Historic Places has called attention to threatened one-of-a-kind treasures throughout the nation and has galvanized local preservationists to help save them,” said Stephanie Meeks, president of the trust in a statement.

More than 240 sites have been highlighted on the list in the past 26 years, the trust says, and over that period only a handful of listed s! ites have been lost.

New Group’s New Season Includes Beth Henley, Thomas Bradshaw Plays

Monica Almeida/The New York Times Beth Henley

The New Group on Wednesday announced two new productions as part of its 2013-14 Off Broadway season at the Acorn Theater. Beginning in October the company will present “The Jacksonian,” a dark comedy by the Pulitzer Prize winner Beth Henley (“Crimes of the Heart”), set in 1964 in her hometown, Jackson, Miss. Directed by Robert Falls, the production will feature Ed Harris, Glenne Headly, Amy Madigan and Bill Pullman, who will reprise their roles from the play’s premiere last year at the Geffen Playhouse in Los Angeles. Additional casting is to be announced.

In January the company wil mount “Intimacy,” a new work by Thomas Bradshaw, whose play “Burning” the New Group produced in 2011. Scott Elliott, the company’s artistic director, will direct the dark comedy about three American families whose lives intersect over issues of race and sex. Casting for the production is to be announced, as is the company’s third production of the season.

Astrodome, Vineyard Lighthouse on List of Most Endangered Places

Houston’s Astrodome and the Gay Head lighthouse on Martha’s Vineyard are two of 11 endangered places to be cited Wednesday by the National Trust for Historic Preservation on its annual list of sites at risk of damage or destruction.

The Astrodome was the world’s first domed indoor, air conditioned stadium when it opened in 1965. Nicknamed the Eighth Wonder of the World, it became one of the most influential stadiums in the United States, but is now shuttered and professional baseball and football in the city are played in newer venues.

Also endangered, according to the trust, is the Mountain View Black Officers’ Club at Fort Huachua in Arizona, which was built in 1942 specifically for African-American officers but now faces demolition.

The Gay Head lighthouse, the first lighthouse built on Martha’s Vineyard, is threatened by erosion, the trust said.
Also on the trust’s list is Pan American’s Worldport Terminal at Kennedy Airport, an architectural symbol of the 1960s jet age.

Each year the trust selects what it considers important examples of the nation’s architectural, cultural and natural heritage that are at risk of being destroyed or irreparably damaged.

“For more than a quarter century, our list of America’s 11 Most Endangered Historic Places has called attention to threatened one-of-a-kind treasures throughout the nation and has galvanized local preservationists to help save them,” said Stephanie Meeks, president of the trust in a statement.

More than 240 sites have been highlighted on the list in the past 26 years, the trust says, and over that period only a handful of listed s! ites have been lost.

New Group’s New Season Includes Beth Henley, Thomas Bradshaw Plays

Monica Almeida/The New York Times Beth Henley

The New Group on Wednesday announced two new productions as part of its 2013-14 Off Broadway season at the Acorn Theater. Beginning in October the company will present “The Jacksonian,” a dark comedy by the Pulitzer Prize winner Beth Henley (“Crimes of the Heart”), set in 1964 in her hometown, Jackson, Miss. Directed by Robert Falls, the production will feature Ed Harris, Glenne Headly, Amy Madigan and Bill Pullman, who will reprise their roles from the play’s premiere last year at the Geffen Playhouse in Los Angeles. Additional casting is to be announced.

In January the company wil mount “Intimacy,” a new work by Thomas Bradshaw, whose play “Burning” the New Group produced in 2011. Scott Elliott, the company’s artistic director, will direct the dark comedy about three American families whose lives intersect over issues of race and sex. Casting for the production is to be announced, as is the company’s third production of the season.

Goodbye Across the Subway Tracks

Chester Higgins Jr./The New York Times

Dear Diary:

We met in a bar in the Hamptons 34 years ago. She was tall and beautiful and told me she was a writer. I was smitten. We dated and were lovers for five months. I am told this is the length of the average New York relationship.

In the end, we realized that we were not for each other and agreed to part. To make a proper end, we would meet one last time for dinner and to say goodbye.

When dinner was over we walked to the subway entrance at Lexington and 68th. She lived downtown and I lived up. She went down one flight of stairs and I went down the other. It was late, the platforms were mostly empty, no trains came, and it was very quiet.

We stood on opposite sids of the tracks and looked at each other. The light was bright where she was standing, and between us, where the tracks and the pillars are, it was dark. Time passed, but no trains came. We stood and looked at each other across the gap.

It was the saddest moment I remember of my years in the city. Eventually, I could stand it no longer. I went back upstairs and took a cab home.

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