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      ‘The Connector,’ a Show That Asks: Should News Feel True or Be True?

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      A new musical from Jason Robert Brown, Daisy Prince and Jonathan Marc Sherman explores the diverging trajectories of two young writers in the late 1990s.The director Daisy Prince had a flash of inspiration for a new show nearly 20 years ago: She wanted to explore the fallout from a string of partially or entirely fabricated news articles (by writers like Stephen Glass and Jayson Blair). The show would be set at a New York City magazine with a storied history — a publication much like The New Yorker. Also, it would be a musical.“I had become somewhat fixated on all these falsified news stories — these larger questions about fact, truth and story,” said Prince, who directed Jason Robert Brown’s “The Last Five Years” and “Songs for a New World.”She jotted the thought down in her great big notebook of ideas. But by the time she finally returned to it, around 2010, she was certain she had missed out.“I thought by the time we were going to be able to tell this story, it would no longer be relevant,” she said.But then the Trump presidency arrived, along with his strategy of labeling unfavorable coverage as fake news — and the premise only became more timely. Now the show, titled “The Connector,” conceived and directed by Prince with music and lyrics by Brown and a book by Jonathan Marc Sherman, is premiering Off Broadway at MCC Theater, where it is set to open Feb. 6.Ben Levi Ross, left, as Ethan Dobson and Hannah Cruz as Robin Martinez in the musical.Sara Krulwich/The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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      ‘Passport’ Review: A Master of Comedy in a Migrant Camp

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      The new show by Alexis Michalik, a star of commercial theater, wades into political battles in France, where immigration restrictions have been at the forefront of the government’s agenda.Badly injured from a fight, a man wakes up in the Calais Jungle, a ramshackle camp for migrants in northern France. His memory is gone, and all he has on him is an Eritrean passport with the name “Issa.”That’s the premise of Alexis Michalik’s brisk, effective new play “Passport,” which was greeted with a standing ovation last weekend in Paris. Until it was demolished in 2016, the overcrowded Jungle encampment stood as a symbol of Europe’s refugee crisis, which hasn’t entirely subsided. While the site itself is gone, migrants still regularly attempt to cross the English Channel from the Calais area and reach Britain.Many in the French theater world publicly supported the people living in the Jungle, and a handful of small-scale productions in France took the camp as inspiration. Still, the first major play about it came from Britain, in 2017: Joe Murphy and Joe Robertson’s immersive “The Jungle” was inspired by the directors’ time in Calais, where they set up a theater with migrants. It went on to become a trans-Atlantic hit, and was revived last year at St. Ann’s Warehouse in Brooklyn.In some ways, Michalik was an unlikely name to follow suit. A star of the commercial theater sector in France, he has built his reputation on accessible, fast-paced comedy dramas like “Edmond,” a “Shakespeare in Love”-style spin on the life of the French playwright Edmond Rostand. His last stage endeavor was a French-language adaptation of the Mel Brooks musical “The Producers.”Yet Michalik has tiptoed into heavier subject matters in recent years — first with “Intra Muros,” a play set in a maximum-security prison, then with “A Love Story,” which centered on a lesbian couple’s I.V.F. journey.“Passport,” which is playing at the Théâtre de la Renaissance through June 30, wades even more openly into current political battles in France, where immigration restrictions have been at the forefront of President Emmanuel Macron’s agenda. In response, Michalik, who wrote and directed the play, invokes the audience’s empathy. “Imagine if a war started here, in your country,” one actor tells us near the beginning. “Your life is threatened, so logically, you decide to leave.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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      ‘Days of Wine and Roses’ Review: Romance on the Rocks

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      Kelli O’Hara and Brian d’Arcy James are superb as a midcentury-modern couple free-falling into addiction in Craig Lucas and Adam Guettel’s musical.Seldom have a pair of alcoholics looked as glamorous as they do in Craig Lucas and Adam Guettel’s bruised romance of a Broadway musical, “Days of Wine and Roses,” starring Kelli O’Hara and Brian d’Arcy James as midcentury-modern Manhattan lovers free-falling all the way to hell, drinks in hand.What’s astonishing about this show, though — aside from the central performances, which are superb, and Guettel’s anxious, spiky, sumptuous score, which grabs hold of us and doesn’t let go — is the way its devastating chic snuggles right up to catastrophic self-destruction.For all the glossy come-hither of Michael Greif’s tone-perfect production, which opened on Sunday night at Studio 54, not for an instant does it glamorize the boozing itself. And yet we can sense the allure: how alcohol might become the one true thing that matters, smoldering wreckage be damned.Adapted from JP Miller’s recovery-evangelizing 1958 teleplay and 1962 film of the same name, this “Days of Wine and Roses” is like a jazz opera melded seamlessly with a play. Deeper, wiser and warmer than it was in its premiere at Off Broadway’s Atlantic Theater Company last year, it is no longer so wary of melodrama that it’s afraid of feeling, too. Gone is the emotional aridity that kept the story at a strange remove.Granted, the opening scene is still perplexing, too sparely written and staged to situate the audience properly, or let us grasp the skin-crawling 1950s creepiness of what James’s Joe Clay is up to on a yacht in the East River. A public relations guy, Joe has arranged a corporate party onboard, and procured female guests for the pleasure of the male executives.So there is a certain rancidness to his mistaking O’Hara’s Kirsten Arnesen — the impeccable secretary to the boss at the firm where they both work — for one of the women in his Rolodex. Not exactly a meet-cute, even if she does set him straight, puncturing his condescension with a tight, nice-girl smile pasted to her face.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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      ‘Once Upon a Mattress’ Review: Sutton Foster as a Perfectly Goofy Princess

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      The Encores! series returns with a concert staging of the 1959 musical, which also stars the very funny Harriet Harris and Michael Urie.Some casting choices are blindingly obvious. That does not make them lazy; it makes them right.Such is the case with Sutton Foster as the eccentric Princess Winnifred in the Encores! revival of “Once Upon a Mattress,” which opened Wednesday at City Center. The central role in this broadly goofy musical was exuberantly, indelibly originated by Carol Burnett in 1959.While Foster has displayed range over the course of her musical-theater career — she’s stepping into Mrs. Lovett’s kitchen in “Sweeney Todd” on Feb. 9, five days after completing this show’s two-week run — many of Foster’s best roles, like Janet Van De Graaff in “The Drowsy Chaperone” and Reno Sweeney in “Anything Goes,” are imprinted with an ebullient, joyful relish in the very act of performance. And Winnifred, described by another character as “a strangely energetic swamp girl,” is an ideal outlet for that sensibility.“Once Upon a Mattress” is nobody’s idea of a great musical, but it is many people’s idea of a fun one. Based on the fairy tale “The Princess and the Pea,” this vaudevillian lark — which The New York Times described, possibly not in a good way, as “a child’s introduction to Broadway” in a review of a 1964 CBS telecast — is celebrated for helping to kick-start Burnett’s career and for being the composer Mary Rodgers’s sole Broadway hit.That last clearly represents a loss: Rodgers, paired with the lyricist Marshall Barer, demonstrates startling ease with musical-theater idioms and the late-1950s vernacular. (Winnifred’s “The Swamps of Home” works as both an earnest ballad and a sly spoof of the goopy nostalgic yearnings of some numbers by Richard Rodgers, Mary’s father, and Oscar Hammerstein II.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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      Defining Antisemitism and Anti-Zionism

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      More from our inbox:Just Keeping Trump From the White House Won’t Save DemocracyPolicies on Curbing Drug AddictionLights Dim Off BroadwayAsia’s Disappearing SeaPartidarios de Israel en Los Ángeles, el mes pasadoLauren Justice para The New York TimesTo the Editor: Re “Is Anti-Zionism Antisemitism, by Definition?” (front page, Dec. 12):What is Zionism? To me, being a Zionist in 2023 means that I accept the right and the necessity of the survival of the Jewish people and the existence of a Jewish state that ensures their survival.Anything that undermines or threatens Israel’s survival also undermines or threatens the existence of the Jewish people and is, ipso facto, antisemitic.Philip B. BergerTorontoTo the Editor:I am a Jew by culture and ancestry, albeit a secular one. I abhor contemporary violence by both Hamas and Israel. Historically, however, I have found that in recent years, Israel’s aggressive behavior has been the more objectionable, and Israel seems more determined to demoralize and destroy the Gaza population than to surgically remove Hamas.In the 1950s, when I was a young child and Israel a struggling young state, I paid small sums to buy leaves that I pasted on a picture of a tree until I had bought enough for a tree to be planted in Israel in honor of my grandmother. My father bought Israel bonds — hardly the best monetary investment — in my name and those of my siblings. In the late 1960s and early ’70s, when I had my own children and when Israel had become an expansionist power, I asked him to stop.Although a Jew, I am emphatically not a Zionist, and I resent and fear the conflation of the two.Mark CohenPlattsburgh, N.Y.The writer is distinguished emeritus professor of anthropology at the State University of New York.To the Editor:Jonathan Weisman describes radically different interpretations of Zionism as, alternately, a movement ensuring Jewish sovereignty and safety, or an oppressive colonialism. What is often lost in the debate is the historic diversity among many Zionisms (plural), which continue to struggle with one another for primacy today.One version of Zionism is expansionist, deeply nationalistic and largely unconcerned about the human rights of non-Jews, while another version on the Zionist spectrum is profoundly humanist at its core and envisions an equitable coexistence between Jews and Palestinians.Supporting a Zionism that promotes pluralism and shared society is the only vision for a better future for these two peoples whose fates are intertwined.Andrew VogelNewton, Mass.The writer is the senior rabbi at Temple Sinai in Brookline, Mass.Just Keeping Trump From the White House Won’t Save Democracy Mark Peterson/Redux, for The New York TimesTo the Editor:Re “The Resolute Liz Cheney,” by Katherine Miller (Opinion, Dec. 10):While I appreciate former Representative Liz Cheney’s relentless opposition to Donald Trump because of the danger he poses to the nation, keeping him out of the White House won’t alone save democracy. We also desperately need to stop Ms. Cheney’s fellow Republicans from undermining elections in their pursuit of permanent political power.Republicans have used extreme means to draw House districts in their favor and refused to join Democrats to stop those gerrymanders even though they deprive voters of fair representation and promote polarization by increasing the number of safe seats.Almost all Republicans voted against restoring provisions of the Voting Rights Act that would help assure protection against racial discrimination. They opposed measures to enact basic ballot access standards, instead allowing states to impose restrictive rules and locate polling places to make it harder for groups they don’t favor to vote.And they refused to support bills to stop the pernicious influence of big donors, opposing even basic disclosure rules to stop secret “dark” money from warping our political priorities.Standing up to Mr. Trump does little good if we allow Republicans to destroy our democracy by other means. Voters need to elect people to protect free and fair elections before Republicans succeed in rigging them in their favor. Otherwise, we will have rule by a party instead of rule by the people, and our experiment in self-governance will be at an end.Daniel A. SimonNew York Policies on Curbing Drug AddictionPolice respond to a man who died of a suspected overdose in downtown Portland in July.Erin Schaff/The New York TimesTo the Editor: Re “Rethinking Drug Policies in an Ailing Portland” (front page, Dec. 12):As a law enforcement veteran, I believe that the police have an important role in supporting community safety. But policymakers can’t keep relying on the police as a Band-Aid to every problem. We cannot arrest our way out of addiction. And increasing criminalization to solve public drug use, as some suggest in the article, won’t work.I worked and supervised police narcotics and gang units. Eventually, I saw that the laws I was charged with enforcing didn’t make my neighbors safer. No matter how much we ramped up enforcement or how many people we arrested, it didn’t stop the flow of drugs into our community or prevent people from dying.For over 50 years, the United States has prioritized criminalization as a response to drug use, yet stronger drugs like fentanyl have emerged, and our country is facing a health crisis with record-setting overdose deaths.To make any progress toward curbing addiction, we need to increase access to the addiction services and support people need: treatment, overdose prevention centers, outreach teams to connect people to care, and housing. More criminalization is a false promise of change.Diane M. GoldsteinLas VegasThe writer, a retired police lieutenant, is the executive director of the Law Enforcement Action Partnership.Lights Dim Off BroadwaySignature Theater, an important Off Broadway institution, had no shows this fall.Sara Krulwich/The New York TimesTo the Editor: Re “Off Broadway, Vital to Theater Scene, Struggles” (front page, Dec. 8):It saddens me to read about the struggles and closures of our city’s intimate theaters. These are the institutions that nurture new work. Losing them darkens our future.During this crisis, I hope artistic directors will remember that it doesn’t have to cost a fortune to put on a play. Even a bare-bones staging gives us something Netflix never can: a story shared by strangers in person in real time.Rob AckermanNew YorkThe author is a playwright.Asia’s Disappearing SeaRusting boats in the sand in Muynak, Uzbekistan. Muynak was once a thriving port on the Aral Sea but is now a desert town since the sea disappeared.Carolyn Drake/MagnumTo the Editor: Re “A Giant Inland Sea Is Now a Desert, and a Warning for Humanity,” by Jacob Dreyer (Opinion guest essay, nytimes.com, Nov. 28), about the shrinking Aral Sea in Uzbekistan:Together, we — an archaeologist, a geographer and a historian — have extensive experience in the Aral Sea region. We take exception to Mr. Dreyer’s description of this place as resembling “hell.” Rather than stereotyping the region as a wasteland that people should flee from (Mr. Dreyer stresses his desire to leave the region as quickly as possible), we must recognize the meaning and value that the Aral Sea and its environs still hold for its residents today, and we should center those residents’ desired futures.We also need to consider the Aral Sea region a vital knowledge zone. As we confront shrinking bodies of water in many other regions around the globe, we can learn from the perseverance of Aral Sea residents. If we listen, what lessons can we learn from them as we prepare for future ecological disasters?Elizabeth BriteKate ShieldsSarah CameronDr. Brite is a clinical associate professor at Purdue University, Dr. Shields is an assistant professor at Rhodes College, and Dr. Cameron is an associate professor at the University of Maryland, College Park. More

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      Theme Park’s Selective History Appeals to a New Spanish Nationalism

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      Puy du Fou España has drawn visitors with spectacular shows about Spanish history. But part of its success lies in what goes unsaid.Moving through the darkened holds of a replica of Christopher Columbus’s ship, visitors on a recent afternoon marveled at the tangle of compasses, cordage and barrels. They stumbled as the ship swang and creaked with the swell of the sea. At last, a voice shouted “Land!” and the white sands of America appeared.“Our journey has changed the world. May it be for the greater glory of God,” Columbus was then heard telling Queen Isabella I of Castile. Referring to America’s Indigenous people, he added, “I apologize in advance if iniquities or injustices are committed.”And so ends one of the shows at Puy du Fou España, a historical theme park that is all the rage in Spain today, with over a million visitors expected this year.The popularity of the park has come as a surprise in a country that has long been shy about celebrating its history. Nationalist sentiments were largely taboo after the dictatorship of Gen. Francisco Franco, who died in the 1970s.But the time that has elapsed since Franco and the recent secessionist movement in Catalonia, which threatened to fracture the country, have helped spur a resurgent nationalism in Spain. It may now give a lift to conservatives and their far-right allies when Spaniards vote in a general election on Sunday.The theme park expects more than a million visitors this year.Samuel Aranda for The New York TimesThe park is filled with hallowed symbols like the cross and the flag, and most of the shows feature conquests and glorious battles to defend the country. The more questionable aspects of Spain’s past — from the bloody conquest of America that followed Columbus’s trip to Franco’s repressive rule — do not appear in more than 10 productions.“What we’re trying to do is present a history that’s not divisive,” said Erwan de la Villéon, the head of the park, noting that historical taboos continued to run through Spanish society.But the approach has raised concerns about the history that the park is highlighting instead — pageantry that emphasizes Spain’s Catholic identity and its unity against foreign invaders — and how it may shape visitors’ views.“This is a selective history,” said Gutmaro Gómez Bravo, a historian at Madrid’s Complutense University who has visited the park twice. “You can’t or shouldn’t teach that to people. History is not gratuitous — it carries major political weight.”The park was launched in 2019 after the founders of the original Puy du Fou in France, the country’s second most-visited theme park after Disneyland Paris, decided to take their concept abroad.Historians have long criticized the French park as promoting nationalist views. It similarly glosses over some of the most painful episodes in France’s past, such as its history of colonialism, and highlights the country’s Catholic identity.The founder of the French park, Philippe de Villiers, whom Mr. de la Villéon called “a mentor” and “a genius,” is a prominent far-right politician.Erwan de la Villéon, the head of Puy du Fou España, said he had sought to find unifying aspects of Spain’s history, and it was “too soon” to mention Franco’s dictatorship.Samuel Aranda for The New York TimesMr. de la Villéon denied that the Spanish park promoted any political line. But he called supporters of Catalan independence his “enemies” and railed against the former prime minister José Luis Rodríguez Zapatero, a Socialist who passed a memory law to honor victims of the Civil War and Franco’s repressive rule.Spain, Mr. de la Villéon said, proved an ideal place for a new park because of the country’s “great historical trajectory” of invasions and conquests. He chose to build it in Toledo, he said, because the ancient city south of Madrid once stood at the crossroads of Europe’s kingdoms.There, some 200 million euros, about $220 million, have been invested to create an impressive complex of castles, farms and medieval villages filled with terra-cotta vases and whitewashed houses with exposed beams.But it is the historical stage productions, performed in large amphitheaters, that are the big draw.“The Last Song” takes place in a rotating auditorium and follows El Cid, a knight and warlord who became Spain’s greatest medieval hero, as he fights enemies appearing successively behind large panels that open onto the semicircular stage. In “Toledo’s Dream,” the flagship evening show retracing 15 centuries of Spanish history, Columbus’s life-size ship emerges from a lake on which characters were dancing moments before.Supporters of the far-right Vox party at rally in Barcelona, Spain, in July. The party is expected to increase its vote in Sunday’s general election.Samuel Aranda for The New York TimesBoth shows received the IAAPA Brass Ring award for “Best Theater Production,” considered one of the international entertainment industry’s most prestigious prizes. On a recent afternoon, visitors were ecstatic about the experience.“Great — it’s just great. I didn’t know that history could be so appealing,” said Vicente Vidal, 65, as he exited a show featuring Visigoths fighting Romans. In the park, children could be seen playing sword-fighting, shouting, “We’ll fight for our country!”Mr. de la Villéon, who is French, said the success of the park reflected a desire among Spanish people to reclaim their past. “People want to have roots, that’s the first need that the park’s success reveals,” he said. “You come here and you think, ‘Man, it’s cool to be Spanish.’”Modern Spain has an uneasy relationship with its history because of chapters such as the Inquisition and the colonization of the Americas, said Jesús Carrobles, head of Toledo’s Royal Academy of Fine Arts and Historical Sciences, who was consulted on the park project.The Cross of Burgundy, on prominent display at the park, is a longstanding symbol of the Spanish monarchy that has also been embraced by some on the far right.Samuel Aranda for The New York Times“The park allows you to reclaim an idea of your past that you can be proud of,” Mr. Carrobles said. “A beautiful past, a past that’s worth remembering.”But it has also proved to be a selective past.The shows depict Isabella I as a visionary and a merciful queen, making no mention of her order to expel Jews during the Inquisition. The Aztecs appear once in a dance scene, but their deadly fate at the hands of the conquistadors is omitted.Perhaps most telling is the park’s treatment of the Spanish Civil War, whose legacy continues to divide the country. The conflict is only vaguely mentioned at the end of “Toledo’s Dream,” when a woman mourns her brothers who “killed each other.” The scene lasts one minute, out of a 75-minute performance, and the show ends without mentioning the subsequent four-decade dictatorship of Franco.“Too soon to talk about it,” said Mr. de la Villéon, noting that memories of Francoist Spain were still raw.Some 200 million euros, or about $220 million, have been invested in creating a medieval atmosphere.Samuel Aranda for The New York Times“It’s a very consensual show, which has glossed over the questionable aspects of Spanish history,” said Jean Canavaggio, a French specialist in Cervantes who reviewed the script of “Toledo’s Dream.” He added that the park could not have succeeded had it taken a “critical look” at Spanish history, given how politically fraught that remains.Mr. de la Villéon said that he had looked for events illustrating Spain’s unity. In Puy du Fou España, they revolve around a central element: Catholicism.Nearly every show features clerics and soldiers dedicating their fights to God. In “The Mystery of Sorbaces,” a Visigoth king converts to Catholicism as his troops fall to their knees and a church rises from underground, to the sound of emotional music.Mr. de la Villéon — who makes no secret of his faith and had a small chapel set up in the park — argued that Catholicism was “the matrix” of Spanish history.A replica of Christopher Columbus’s caravel. Catholicism is central to the park’s shows.Samuel Aranda for The New York TimesMr. Gómez Bravo, the historian, who specializes in the Civil War and Franco, said the park presented the Catholic reconquest of Muslim-ruled Spain as the foundation of Spanish unity. “This a very politically charged idea because it was promoted above all by Franco’s regime,” he said.Still, many in the Spanish park seemed to embrace the park’s mission.“Spain is a great country!” said Conchita Tejero, a woman in her 60s, who was seated with three friends at a large wooden table in a medieval-style tavern adorned with imperial flags. “This park is a way to reclaim our history.”Her friend, Esteban Garces, a supporter of the far-right Vox party, said he saw the park as a counterpoint to the “other history” that portrayed Spain as needing to make amends for its past.Exiting the park after nightfall, Mr. Garces said he had been delighted with “Toledo’s Dream.”“The true history,” he said.The idea that Spanish unity was founded on the Catholic reconquest was “charged,” one historian said, because that was the narrative promoted under Franco.Samuel Aranda for The New York Times More

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      What Improv Can Do for Mathematicians

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      Coaching sessions at the People’s Improv Theater were aimed at helping math experts connect with laypeople and give engaging presentations.Good morning. It’s Wednesday. Today we’ll solve for x and y, where x is a group of high-level mathematicians and y is an improvisational theater workshop. This one’s easy, even if you’re not very good at math. We’ll also look at Mayor Eric Adams’s fund-raising.Michelle V. Agins/The New York TimesWhat’s funny about quadratic equations? Is there something to laugh at in Euclidean geometry?Those questions went unanswered in unusual coaching sessions last week, and no wonder: The instructor’s background is not in Cartesian geometry or matrix algebra but in improvisational theater and standup comedy.The students were mathematicians from across the country — assistant professors, postdoctoral students and a few who are months away from their Ph.D.s, along with Cindy Lawrence, the executive director and chief executive of the National Museum of Mathematics, which arranged the three-day workshop.The sessions were “not so much about being funny,” explained the instructor, Kihresha Redmond, the artistic director of the People’s Improv Theater, a comedy theater and improv training center on West 29th Street that is also known as the PIT. The purpose was to show the mathematicians how to do engaging presentations for laypeople.“You don’t get a Ph.D. because you’re just so-so at something,” Lawrence said, but mathematicians “may not be quick at responding to an audience and they may not be comfortable in front of a room of strangers. Improv helps you build those kinds of skills.”Redmond did not mention it to the group, but she knew something about math. “I thought it was something I was going to major in” when she went to college, she confided one morning last week, before the group arrived. “It was a last-minute left turn to theater.”One session with the mathematicians involved no scripts, no carefully rehearsed “to be or not to be” moments — and no math. It began with Redmond leading some loosening-up exercises. Later, as a drill in thinking fast and talking in front of an audience, she had the mathematicians conduct mock news conferences. They made up companies and products to promote and assigned someone in the group to be the spokeswoman fielding questions. The others in the group played reporters.Angela Avila, a Ph.D. candidate at the University of Texas at Arlington, said the think-on-your-feet training would be useful in her work, which involves using math to solve agricultural problems, like how many more cows could be fed in a given pasture if a dairy farmer increased the nutrient yield.She said she could use artificial intelligence and “big fancy equations” to come up with an answer, but if she explained it that way, there would probably be a lot of head-scratching.“If I am speaking line from line on my research paper, they’d get lost,” she said, “but if I connect with them and read the energy in the room, that won’t happen.”Lawrence, from the math museum, said she had invited women to the workshop because women are underrepresented in mathematics and in science, technology and engineering. “It’s a problem that self-perpetuates because young women who don’t see female mathematicians get the impression that math is a field that’s not for them, it’s for men,” she said.She wants the participants to help bring about more balance by serving as role models for girls: Each workshop participant is to present a talk about her specialty in a setting like a middle school. She said the idea was “to incentivize women who maybe already have an interest in reaching the younger generation to do so” before their focus is on the publish-or-perish pressures of tenure-track academics.“One of the women told me she was not looking forward to improv and went along with it because it was part of the program,” Lawrence said. “She said this turned her mind completely around.”WeatherOn a partly sunny day with a high near the mid-80s, prepare for a chance of showers and thunderstorms persisting through the evening. At night, temps will drop into the low 70s.ALTERNATE-SIDE PARKINGIn effect until Aug. 15 (Feast of the Assumption).The latest New York newsJohnny Milano for The New York TimesGilgo Beach killings: The wife of Rex Heuermann, the suspect in the Gilgo Beach murders, was away when the killings happened and has not been charged. Experts say it’s not unusual for the spouses of serial killers to be unaware of their crimes. Rikers management: The federal judge in charge of deciding whether New York City jails will be taken over by an outside authority expressed disapproval of how Rikers Island and other lockups are managed.Housing moves: Gov. Kathy Hochul announced a series of executive actions to promote residential real estate development and ease the state’s housing crisis.Museum director: Stephanie Hill Wilchfort, who most recently served as the president and chief executive of the Brooklyn Children’s Museum, will be the next director and president of the Museum of the City of New York.Remembering Chisholm: City officials approved designs for a monument in Prospect Park to Shirley Chisholm, the first Black woman elected to Congress.Landmarks’ protector: Beverly Moss Spatt, who battled real estate and political interests as chairwoman of the city’s Landmarks Preservation Commission in the 1970s, died on Friday. She was 99.Amassing cash for a campaign that’s two years awayBenjamin Norman for The New York TimesEric Adams was a prodigious fund-raiser when he ran for mayor in 2021. Now, with his eye already on a second term, he is raising big money for 2025 — $1.3 million since January.My colleagues Emma G. Fitzsimmons and Nicholas Fandos write that Adams appears to be eager to amass a large war chest to fend off serious competitors. He faced seven serious opponents in the Democratic primary two years ago and won by only 7,197 votes.With matching funds that Adams campaign officials expect to receive under the city’s public financing system, his re-election effort is expected to have about $4.6 million on hand by the time the 2025 campaign gears up. The matching funds program can turn a $10 contribution from someone who lives in New York City into $90 for a campaign.Adams could be difficult to beat, despite recent setbacks. Chris Coffey, a Democratic strategist who was a campaign manager for Andrew Yang, an Adams opponent two years ago, said the mayor’s low approval rating was not terribly worrisome — it fell to 46 percent in a Siena College poll last month. Coffey noted that Michael Bloomberg’s approval rating dipped as low as 24 percent in his second year in office, but he went on to win two more terms.Among Adams’s donors are Marc Holliday and Steve Green, the chief executive and founder, respectively, of the city’s largest commercial landlord, SL Green. Each gave $2,100. Also on the list of Adams contributors are Alexander and Helena Durst, from the Durst real estate dynasty. In addition, the mayor has taken in $12,600 from people who work for Top Rock Holdings, a real estate investment firm.A fund-raiser for the mayor at a performance of the Broadway musical “New York, New York” last month was lucrative despite lackluster reviews for the show. Seats went for as much as $2,100 apiece. Adams’s campaign took in about $600,000 from the event, which a campaign spokesman said was organized by Frank Carone, Adams’s former chief of staff.The real estate industry is also making donations to Gov. Kathy Hochul, whose term runs through 2026. Of the $4.5 million her campaign raised from January through June, more than $885,000 came from developers and real estate investors. Among the donors contributing $18,000 — the new legal maximum for statewide candidates — were Holliday; members of the Durst family; and Scott Rechler and Jeff Blau. Both are Democratic megadonors whose firms are competing with Holliday’s for a casino license for the New York City area.METROPOLITAN diaryA sliceDear Diary:He carried the box while they held each other’s hands, their sweat stuck between warm, tanned palms.They walked down the cobblestone street, and she kept her heels out of cracks in the ground. New York heat held her neck. It smelled like new deodorant, smoke, like summertime.She put her head near his ear.They sat at the bottom of a Brooklyn stoop — the lights were on — and he passed her a slice.Their elbows touched.She wiped the corner of his lip and put her leg over his.He traced constellations between spots of orange oil on her scabby knees.“It tastes good,” she said.“The cheese?” he asked with a laugh.“Yeah.”He whispered in her ear.“But we’re on the street,” she said.“Come on,” he said, and took her hand again.— Laila Hartman-SigallIllustrated by Agnes Lee. Send submissions here and read more Metropolitan Diary here.Glad we could get together here. See you tomorrow. — J.B.P.S. Here’s today’s Mini Crossword and Spelling Bee. You can find all our puzzles here.Melissa Guerrero, Shivani Gonzalez and Ed Shanahan contributed to New York Today. You can reach the team at nytoday@nyimes.com.Sign up here to get this newsletter in your inbox. More