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Associated Press
01-08-2025
- Business
- Associated Press
NexGen Energy to Host Q2 2025 Conference Call on Rook I Project Developments
Vancouver, British Columbia--(Newsfile Corp. - August 1, 2025) - NexGen Energy Ltd. (TSX: NXE) (NYSE: NXE) (ASX: NXG) ('NexGen' or the 'Company') is pleased to announce that the Company will host its 2025 second quarter conference call on Wednesday, August 7, 2025, at 8:30 am Eastern Standard Time. During the call, NexGen's Founder, President and Chief Executive Officer, Leigh Curyer, Chief Commercial Officer, Travis McPherson, and Chief Financial Officer, Benjamin Salter, will provide a comprehensive update on the Company's 100%-owned Rook I Project (the 'Project'). This includes insights on project development including progress on the 2025 site infrastructure program, an update on the latest insight on the market as experienced by the Company, and preparations for the final Commission Hearing - alongside exciting exploration updates from the developing world-class PCE. Call-in Details: Date: Wednesday, August 7, 2025 Time: 8:30 am Eastern Standard Time Participants should advise the operator that they are joining the 'NexGen Energy Ltd. Conference Call' to ensure proper admission to the event: North America Toll Free Number: 1-833-752-3734 Australia Local Toll Number: +61-3-8592-6289 Participants accessing the call via either of the provided links will be automatically connected to the NexGen Energy Ltd. conference without the need to speak with an operator: Prior to the call, the Company will file its 2025 second quarter Financial Statements and Management Discussion & Analysis on Tuesday, August 5 th, post-market. These fillings will be available for review on the NexGen website under Reports and Filings and on the Company's SEDAR+ profile at In addition, a replay will be available on the NexGen website under Events & Presentations. Further Information is available at About NexGen NexGen Energy is a Canadian company focused on delivering clean energy fuel for the future. The Company's flagship Rook I Project is being optimally developed into the largest low cost producing uranium mine globally, incorporating the most elite standards in environmental and social governance. The Rook I Project is supported by a NI 43-101 compliant Feasibility Study which outlines the elite environmental performance and industry leading economics. NexGen is led by a team of experienced uranium and mining industry professionals with expertise across the entire mining life cycle, including exploration, financing, project engineering and construction, operations and closure. NexGen is leveraging its proven experience to deliver a Project that leads the entire mining industry socially, technically and environmentally. The Project and prospective portfolio in northern Saskatchewan will provide generational long-term economic, environmental, and social benefits for Saskatchewan, Canada, and the world. NexGen is listed on the Toronto Stock Exchange, the New York Stock Exchange under the ticker symbol 'NXE' and on the Australian Securities Exchange under the ticker symbol 'NXG' providing access to global investors to participate in NexGen's mission of solving three major global challenges in decarbonization, energy security and access to power. The Company is headquartered in Vancouver, British Columbia, with its primary operations office in Saskatoon, Saskatchewan. Contact Information Leigh Curyer Founder & Chief Executive Officer NexGen Energy Ltd. +1 604 428 4112 [email protected] Travis McPherson Chief Commercial Officer NexGen Energy Ltd. +1 604 428 4112 [email protected] Monica Kras Vice President, Corporate Development NexGen Energy Ltd. +44 (0) 7307 191933 [email protected] Forward-Looking Information The information contained herein contains 'forward-looking statements' within the meaning of applicable United States securities laws and regulations and 'forward-looking information' within the meaning of applicable Canadian securities legislation. 'Forward-looking information' includes, but is not limited to, statements with respect to mineral reserve and mineral resource estimates, the 2021 Arrow Deposit, Rook I Project and estimates of uranium production, grade and long-term average uranium prices, anticipated effects of completed drill results on the Rook I Project, planned work programs, completion of further site investigations and engineering work to support basic engineering of the project and expected outcomes. Generally, but not always, forward-looking information and statements can be identified by the use of words such as 'plans', 'expects', 'is expected', 'budget', 'scheduled', 'estimates', 'forecasts', 'intends', 'anticipates', or 'believes' or the negative connotation thereof or variations of such words and phrases or state that certain actions, events or results 'may', 'could', 'would', 'might' or 'will be taken', 'occur' or 'be achieved' or the negative connotation thereof. Statements relating to 'mineral resources' are deemed to be forward-looking information, as they involve the implied assessment that, based on certain estimates and assumptions, the mineral resources described can be profitably produced in the future. Forward-looking information and statements are based on the then current expectations, beliefs, assumptions, estimates and forecasts about NexGen's business and the industry and markets in which it operates. Forward-looking information and statements are made based upon numerous assumptions, including among others, that the mineral reserve and resources estimates and the key assumptions and parameters on which such estimates are based are as set out in this news release and the technical report for the property, the results of planned exploration activities are as anticipated, the price and market supply of uranium, the cost of planned exploration activities, that financing will be available if and when needed and on reasonable terms, that third party contractors, equipment, supplies and governmental and other approvals required to conduct NexGen's planned exploration activities will be available on reasonable terms and in a timely manner and that general business and economic conditions will not change in a materially adverse manner. Although the assumptions made by the Company in providing forward-looking information or making forward-looking statements are considered reasonable by management at the time, there can be no assurance that such assumptions will prove to be accurate in the future. Forward-looking information and statements also involve known and unknown risks and uncertainties and other factors, which may cause actual results, performances and achievements of NexGen to differ materially from any projections of results, performances and achievements of NexGen expressed or implied by such forward-looking information or statements, including, among others, the existence of negative operating cash flow and dependence on third party financing, uncertainty of the availability of additional financing, the risk that pending assay results will not confirm previously announced preliminary results, conclusions of economic valuations, the risk that actual results of exploration activities will be different than anticipated, the cost of labour, equipment or materials will increase more than expected, that the future price of uranium will decline or otherwise not rise to an economic level, the appeal of alternate sources of energy to uranium-produced energy, that the Canadian dollar will strengthen against the U.S. dollar, that mineral resources and reserves are not as estimated, that actual costs or actual results of reclamation activities are greater than expected, that changes in project parameters and plans continue to be refined and may result in increased costs, of unexpected variations in mineral resources and reserves, grade or recovery rates or other risks generally associated with mining, unanticipated delays in obtaining governmental, regulatory or First Nations approvals, risks related to First Nations title and consultation, reliance upon key management and other personnel, deficiencies in the Company's title to its properties, uninsurable risks, failure to manage conflicts of interest, failure to obtain or maintain required permits and licences, risks related to changes in laws, regulations, policy and public perception, as well as those factors or other risks as more fully described in NexGen's Annual Information Form dated March 3, 2025 filed with the securities commissions of all of the provinces of Canada except Quebec and in NexGen's 40-F filed with the United States Securities and Exchange Commission, which are available on SEDAR+ Edgar Although the Company has attempted to identify important factors that could cause actual results to differ materially from those contained in the forward-looking information or statements or implied by forward-looking information or statements, there may be other factors that cause results not to be as anticipated, estimated or intended. Readers are cautioned not to place undue reliance on forward-looking information or statements due to the inherent uncertainty view the source version of this press release, please visit
Boston Globe
08-07-2025
- Entertainment
- Boston Globe
Richard Greenberg, whose plays probed love and baseball, dies at 67
'Among his peers,' New York Times theater critic Ben Brantley wrote in 2003, 'only Tony Kushner matches Mr. Greenberg in linguistic richness and playfulness.' Profiling Mr. Greenberg in 2020, The New York Times style magazine called him 'the Bard of American Privilege.' Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up Mr. Greenberg's characters were snobbish but self-aware, with a tendency to speak in pithy one-liners and epigrams. In his breakout hit 'Eastern Standard,' which opened on Broadway in 1989, two siblings discuss their mother, who is said to be so conservative that 'there's not a revolution in history that would have failed to execute her.' Advertisement Another of his Broadway plays - 2013's 'The Assembled Parties,' which brought him his second Tony nomination for best play - was set at a family's lavish Upper West Side apartment, taking place across two Christmas celebrations 20 years apart. Advertisement Although he often returned to elegant and urbane settings, Mr. Greenberg ranged widely, taking inspiration from historical figures while telling stories about self-invention, obsession, or deceit. In 'Night and Her Stars' (1994), he dramatized the quiz show scandals of the 1950s, using real-life celebrity Charles Van Doren as a central figure. 'The Dazzle' (2002) was inspired by New York City's most famous hoarders, the Collyer brothers, who were found dead in their overstuffed home in 1947. 'The Violet Hour' (2002) centered on an upstart book editor modeled after Maxwell Perkins, who discovered and published F. Scott Fitzgerald and Ernest Hemingway. 'We're always trying to make a cogent story out of our existence,' Mr. Greenberg told a Princeton University interviewer in 2013, 'and people in my plays often feel they have the story, but almost invariably they're wrong.' Two of his plays, 'Three Days of Rain' and 'Take Me Out,' were finalists for the Pulitzer Prize for drama. The first, a study of familial disconnection, featured a trio of actors playing parents as well as their children. It ran off-Broadway in 1997 and became what Mr. Greenberg described as 'my cash calf,' appearing in theaters around the country and coming to Broadway in 2006, with a cast featuring Julia Roberts, Paul Rudd, and Bradley Cooper. In 'Take Me Out,' Mr. Greenberg explored racism and homophobia more than a decade before same-sex marriage was legalized nationwide. The play imagined what would happen if an active major leaguer publicly announced that he was gay - a moment that Mr. Greenberg, a gay man who steadfastly rooted for the New York Yankees, was still waiting for when he died. Advertisement After premiering in London in 2002, 'Take Me Out' transferred to the Public Theater in New York and moved to Broadway in 2003, running for 355 performances. Its cast was led by Daniel Sunjata as Darren Lemming, a beloved and biracial center fielder for the fictional New York Empires, and Denis O'Hare as Mason Marzac, Darren's new accountant, who is also gay. The play won Tony Awards for Mr. Greenberg, O'Hare, and director Joe Mantello. A much-lauded 2022 revival also won Tonys, including for actor Jesse Tyler Ferguson, who delivered one of Mr. Greenberg's most acclaimed monologues while playing the role of Marzac, who comes to love baseball while working with his new client. 'Baseball is better than democracy - or at least than democracy as it's practiced in this country - because unlike democracy, baseball acknowledges loss,' he says. 'While conservatives tell you, leave things alone and no one will lose, and liberals tell you, interfere a lot and no one will lose, baseball says: Someone will lose. Not only says it - insists upon it!' 'Democracy is lovely,' he adds, 'but baseball's more mature.' The younger of two sons, Richard Greenberg was born in the Long Island suburb of East Meadow, N.Y., on Feb. 22, 1958. His father was a movie theater executive, and his mother was a homemaker. In high school, Mr. Greenberg played viola and acted in plays, winning a local theater prize for his performance in Jean-Paul Sartre's 'No Exit.' He majored in English at Princeton, where he wrote his senior thesis - a 438-page novel titled 'A Romantic Career' - under Joyce Carol Oates. She gave it an A. After graduating in 1980, he enrolled in an English PhD program at Harvard. He soon grew bored and, on the side, wrote a play that won him admission to Yale's playwriting program. By the time he received his MFA in 1985, one of his plays, 'The Bloodletters,' had been staged off-off-Broadway. Advertisement Mr. Greenberg gained a wider following with 'Eastern Standard,' which premiered in Seattle in 1988 and soon moved to Broadway. The show followed a quartet of young New York City strivers whose lives are upended when one of the group is diagnosed with AIDS. By Act Two, the friends have decamped to a summer house in the Hamptons and, partly out of guilt, invited a homeless woman to join them. The play found a high-profile champion in Times critic Frank Rich, who said it 'captures the romantic sophistication of the most sublime comedies ever made in this country.' Yet it also came in for criticism from detractors who argued that Mr. Greenberg, in writing a screwball comedy, failed to address AIDS with the seriousness it deserved. 'That was both the best-and worst-reviewed play of the season,' Mr. Greenberg told the Sunday Times of London in 2002, 'and, at the time, I had no idea who I was; I only knew myself by the way I'd been reviewed.' In the aftermath, Mr. Greenberg faded from public view, sticking mainly to his Chelsea apartment and a nearby diner he used as an office. In part, he told The New York Times, he avoided the spotlight because he wanted to focus on work. He had successfully battled Hodgkin's lymphoma in his 30s, and the illness left him with a newfound sense of his mortality. In addition to working on original plays, Mr. Greenberg adapted August Strindberg's 'Dance of Death' for a 2001 Broadway production starring Ian McKellen and Helen Mirren. Advertisement He also wrote the book for the Tony-nominated 2008 revival of 'Pal Joey,' a Rodgers and Hart musical, featuring actors Stockard Channing, Martha Plimpton, and Matthew Risch; adapted Truman Capote's novella 'Breakfast at Tiffany's' for a short-lived Broadway play starring Emilia Clarke in 2013; and wrote the book for a musical adaptation of 'Far From Heaven,' filmmaker Todd Haynes's homage to the 1950s melodramas of Douglas Sirk, which ran off-Broadway the same year. Before his death, Mr. Greenberg was working with director Robert Falls on a contemporary adaptation of Barry's play 'Holiday,' the basis of an acclaimed 1938 film starring Katharine Hepburn and Cary Grant. The play is slated to premiere in January at Chicago's Goodman Theatre. 'His plays held a mirror up - not just to society but to the strange inner workings of the human heart,' Falls wrote in a tribute on Bluesky. 'He wrote about baseball and betrayal, family and fame, loneliness and grace - always with elegance, irony, and a touch of something ineffable.'
Los Angeles Times
08-07-2025
- Entertainment
- Los Angeles Times
Playwright Richard Greenberg, the Mozart of verbal arias, brought an exquisite fluency to the American stage
Playwright Richard Greenberg was the maestro of shimmering verbal arias. His well-born characters spoke as if they had been transplanted against their will from a Henry James novel to the later 20th century. Their circumlocutions were as entrancing as their ability to find the most precisely ironic words for difficult-to-name realities. Greenberg, who died on July 4 at 67 from cancer, shot to the theater world's attention with a rave New York Times review of 'Eastern Standard.' Of the play's 1988 New York premiere at Manhattan Theatre Club, Frank Rich wrote, 'If Mr. Greenberg's only achievement were to re-create the joy of screwball comedies, from their elegant structure to their endlessly quotable dialogue, 'Eastern Standard' would be merely dazzling good fun. But what gives this play its unexpected weight and subversive punch is its author's ability to fold the traumas of his own time into vintage comedy without sacrificing the integrity of either his troubling content or his effervescent theatrical form.' There was tremendous excitement when 'Eastern Standard' moved to Broadway, where I saw the play as a student the following year. My experience didn't quite live up to Rich's lavish praise, but I was indeed dazzled by Greenberg's New York wit, which struck me as an acutely sensitive, off-angle version of George S. Kaufman's Broadway brio. Anne Meara was the talk of the town in the role of a bag lady who spurned the self-congratulatory charity of guilty swells. But the play also showcased a new generation of acting talent, including Patricia Clarkson and Dylan Baker, two classmates of Greenberg's from the Yale School of Drama who, having been steeped in Shakespeare and Shaw, had no problem delivering the rapid-fire repartee of the play's carefully sculpted dialogue. But it was years later, in 'Three Days of Rain,' that Greenberg more fully realized his gifts. I'm referring, of course, not to the 2006 Broadway premiere that occasioned the publicity earthquake of Julia Roberts' Broadway debut, but the 1997 New York premiere at Manhattan Theatre Club, where I saw its unparalleled cast, Clarkson (in even more mesmerizing form), John Slattery and Bradley Whitford. 'Three Days of Rain' was commissioned and first produced by South Coast Repertory. Greenberg, in fact, received more commissions than any other playwright in SCR's history, 10 of which were produced by the theater, along with other of his plays. 'When we made a commitment to undertake a program to support new American playwrights and produce their work, Richard's work stood out,' David Emmes, SCR's co-founding artistic director with the late Martin Benson, said by email. 'This was a writer with extraordinary capability who had great potential. Whatever the subject matter, it was always dealt with in an unexpected way, but always brimming with intelligence and wit.' The characters in 'Three Days of Rain' talk their way into theatrical existence — as much for the audience's benefit as for their own. The adult children of renowned architects who had tragic lives, they're struggling to find a path forward from the wreckage of the past. Slattery's Walker, brilliant and unbalanced, with shades of his mentally ill mother, is the most troubled. He's a constant source of worry for his sister, Nan (Clarkson), who hasn't time to dwell on her own fragility with her brother hyper-articulating his nervous breakdowns. Pip (Whitford), the son of the architectural partner of Walker and Nan's father, is a daytime television actor who has made peace with being highly successful rather than a genius. His ostentatious well-being is scorned by Walker, who equates equilibrium with compromise. But Pip rebukes Walker for 'changing the temperature' of every room by 'tyrannical, psychosocial … fiat.' The play, a diptych, has a second act in which the same actors play the roles of the parents of their first-act characters. Greenberg ironically examines the inscrutability of the past, whose main connection to the present may live in the shared vulnerability to 'error' — the final word in this gorgeously written play. The Broadway revival of 'Three Days of Rain,' not being as confidently performed, revealed a common frailty in Greenberg's dramaturgy — the tendency toward structural abstraction. His plays are held together by thematic ideas James would have put to good use in his novels but are harder to build a dramatic world upon. (Greenberg told me that he dropped out of Harvard's grad program in English and American literature after not finishing James' 'The Princess Casamassima' for a seminar, but his sensibility was the most Jamesian of all contemporary American playwrights.) There are two moments in 'Three Days of Rain' where conversation on artistic matters reveals quite a bit about Greenberg's own relationship to his chosen art form. Nan, invoking Goethe (something not anomalous in a Greenberg play), refers to architecture as 'frozen music' (a lovely description of the play's dialogue) and talks about the way a great building contains something that can't be anticipated by the plan, no matter how scrupulously designed. Walker, finishing his sister's point, explains, 'There's an intuition held in reserve, a secret the architect keeps until the building is built.' Something similarly latent inheres in Greenberg's dramaturgy. Later, Nan, describing the type of play her mother favored when she first came to New York, allows Greenberg to indulge in some delectable self-irony. She tells Pip that her mother would attend one of those matinees 'you could never remember the plot of, where the girl got caught in the rain and had to put on the man's bathrobe and they sort of did a little dance around each other and fell in love. And there wasn't even a single good joke, but my mother would walk out after and the city seemed dizzy with this absolutely random happiness.' That is precisely how I exited Manhattan Theatre Club when I first saw 'Three Days of Rain.' My euphoria stemmed as much from the mandarin eloquence of the characters as from the unanticipated magic that can happen when a playwright finds his community of actors. Greenberg was a prolific writer, which may have been unfairly held against him. I think the bigger issue was that his enormous gifts left many admirers waiting impatiently for his American stage masterpiece, which never quite came together. 'Take Me Out,' about a star baseball player who breaks a cultural taboo by coming out as gay, is the most celebrated of Greenberg's works. Winner of the Tony for best play in 2003, it also won awards for Joe Mantello's direction and Denis O'Hare's performance as gay financial advisor Mason Marzac, who becomes an unlikely rabid baseball fan. There's a breathless monologue in which Mason deconstructs the art of baseball as 'the perfect metaphor for hope in a democratic society.' One of the great theatrical speeches written in the last 25 years, this vertiginous paean to America's pastime was no doubt a factor in O'Hare's win. Jesse Tyler Ferguson, who was in the Tony-winning 2022 Broadway revival, won a Tony for the same role, a testament to a supple comic performer and an evergreen part. I admire what Greenberg attempts in 'Take Me Out,' though I don't think he entirely succeeds. It's not just that the locker-room banter sometimes sounds like a faculty lounge at some competitive liberal arts college. It's that the swirling ideas of the play and the dramatic construction aren't a seamless fit. 'The Assembled Parties,' the title of Greenberg's 2013 Broadway play, is an apt metaphor for the challenge that playwright had in coalescing his sparkling chat-fests into satisfying dramas. So often the whole seemed slightly less than the sum of its scintillating parts. The smaller canvas of the one-act form allowed Greenberg to hone in his theatrical vision. Perhaps this accounts for the enduring success of 'The Author's Voice,' an early Kafkaesque work that literalizes the divide between an artist's primitive side that does the grunt creative work and the camera-ready side that basks in the empty glory. But Greenberg's disappointments could be worth more than other writers' triumphs. He wrote magnificently for actors, endowing them with powers of speech that surpass the capacities of most mere mortals. To hear Judith Light, Jessica Hecht, Linda Lavin, Peter Frechette, Slattery or Whitford converse in this heightened theatrical patois was to become instantly spellbound. Clarkson, in a league of her own, turned the gold of Greenberg's prose into embodied thought and feeling. But magniloquence was hardly the whole story. The vulnerable sound of Slattery's delicate stammer in the second half of 'Three Days of Rain' and the opinionated maternal astringency of Jenny O'Hara in 'Our Mother's Brief Affair' at South Coast Repertory point to the various registers of the playwright's wide-ranging vocabulary. Greenberg, a somewhat reclusive personality, stayed away from the spotlight, but was deeply connected to the community of artists who helped him find his voice. Among them, director Evan Yionoulis, another Yale School of Drama classmate, who directed 'Three Days of Rain' at Manhattan Theatre Club and shepherded many other of his plays from development to the stage. 'Rich was a gentle man with an acerbic wit,' Yionoulis wrote via email. 'A keen observer, he wrote about people negotiating their place in the American landscape. Under his always sparkling dialogue, there is a powerful undercurrent of loneliness and longing that reveals his characters' aching humanity — and our own.' The laughter echoes down decades. I can still hear the sisters in 'Everett Beekin,' one of those Greenberg's works I wanted so badly to like more than I did, talking competitively about their upwardly mobile dreams in their mother's Lower East Side tenement. Greenberg captures the postwar ethos in a single line when one of the sister's explains to a visitor that her family lives 'in Levittown for the time being, but later on, you never know.' Greenberg, a native son of Long Island, encoded his social observations about the frenzied real estate hierarchy in comic language that rarely if ever missed its mark.
Yomiuri Shimbun
08-07-2025
- Entertainment
- Yomiuri Shimbun
Richard Greenberg, Whose Plays Probed Love and Baseball, Dies at 67
Richard Greenberg, a Tony Award-winning playwright who was widely celebrated for his playful and sophisticated style, including in the locker room drama 'Take Me Out,' about a major league baseball player who comes out as gay, died July 4 at a nursing home in Manhattan. He was 67. The cause was cancer, said Edward Greenberg, his brother and only immediate survivor. Mr. Greenberg was one of America's most established dramatists, responsible for some 30 plays staged on or off Broadway since the mid-1980s. His work was wry yet tender, nipping at the divide between comedy and drama, and delved into questions of family, love and friendship – often in a worldly, upper-crust setting that sparked comparisons to the drawing-room plays of Philip Barry and Noël Coward. 'Among his peers,' New York Times theater critic Ben Brantley wrote in 2003, 'only Tony Kushner matches Mr. Greenberg in linguistic richness and playfulness.' Profiling Mr. Greenberg in 2020, the New York Times style magazine T called him 'the Bard of American Privilege.' Mr. Greenberg's characters were snobbish but self-aware, with a tendency to speak in pithy one-liners and epigrams. In his breakout hit 'Eastern Standard,' which opened on Broadway in 1989, two siblings discuss their mother, who is said to be so conservative that 'there's not a revolution in history that would have failed to execute her.' Another of his Broadway plays – 2013's 'The Assembled Parties,' which brought him his second Tony nomination for best play – was set at a family's lavish Upper West Side apartment, taking place across two Christmas celebrations 20 years apart. Before the first get-together, a college-age visitor seems to speak for the audience when he calls home to chat with his mother: 'You would love the apartment, Mom – it's like the sets of those plays you love. With the 'breezy dialogue.' They sort of talk that way and everybody's unbelievably nice and, like, gracious and happy. It's like you go to New York and you look for New York but it isn't there? But it's here.' Although he often returned to elegant and urbane settings, Mr. Greenberg ranged widely as a playwright, taking inspiration from historical figures while telling stories about self-invention, obsession or deceit. In 'Night and Her Stars' (1994), he dramatized the quiz show scandals of the 1950s, using real-life celebrity Charles Van Doren as a central figure. 'The Dazzle' (2002) was inspired by New York City's most famous hoarders, the Collyer brothers, who were found dead in their overstuffed home in 1947. 'The Violet Hour' (2002) centered on an upstart book editor modeled after Maxwell Perkins, who discovered and published F. Scott Fitzgerald and Ernest Hemingway. 'We're always trying to make a cogent story out of our existence,' Mr. Greenberg told a Princeton University interviewer in 2013, 'and people in my plays often feel they have the story, but almost invariably they're wrong.' Two of his plays, 'Three Days of Rain' and 'Take Me Out,' were finalists for the Pulitzer Prize for drama. The first, a study of familial disconnection, featured a trio of actors playing parents as well as their children. It ran off-Broadway in 1997 and became what Mr. Greenberg described as 'my cash calf,' appearing in theaters around the country and coming to Broadway in 2006, with a cast featuring Julia Roberts, Paul Rudd and Bradley Cooper. In 'Take Me Out,' Mr. Greenberg explored racism and homophobia more than a decade before same-sex marriage was legalized nationwide. The play imagined what would happen if an active major leaguer publicly announced that he was gay – a moment that Mr. Greenberg, a gay man who steadfastly rooted for the New York Yankees, was still waiting for when he died. After premiering in London in 2002, 'Take Me Out' transferred to the Public Theater in New York and moved to Broadway in 2003, running for 355 performances. Its cast was led by Daniel Sunjata as Darren Lemming, a beloved and biracial center fielder for the fictional New York Empires, and Denis O'Hare as Mason Marzac, Darren's new accountant, who is also gay. The play won Tony Awards for Mr. Greenberg, O'Hare and director Joe Mantello. A much-lauded 2022 revival also won Tonys, including for actor Jesse Tyler Ferguson, who delivered one of Mr. Greenberg's most acclaimed monologues while playing the role of Mason, who comes to love baseball while working with his new client. 'Baseball is better than Democracy – or at least than Democracy as it's practiced in this country – because unlike Democracy, baseball acknowledges loss,' he says. 'While conservatives tell you, leave things alone and no one will lose, and liberals tell you, interfere a lot and no one will lose, baseball says: Someone will lose. Not only says it – insists upon it!' 'Democracy is lovely,' he adds, 'but baseball's more mature.' The younger of two sons, Richard Greenberg was born in the Long Island suburb of East Meadow, New York, on Feb. 22, 1958. His father was a movie-theater executive, and his mother was a homemaker. In high school, Mr. Greenberg played viola and acted in plays, winning a local theater prize for his performance in Jean-Paul Sartre's 'No Exit.' He majored in English at Princeton, where he wrote his senior thesis – a 438-page novel titled 'A Romantic Career' – under Joyce Carol Oates. She gave it an A. After graduating in 1980, he enrolled in an English PhD program at Harvard. He soon grew bored and, on the side, wrote a play that won him admission to Yale's playwriting program. By the time he received his MFA in 1985, one of his plays, 'The Bloodletters,' had been staged off-off-Broadway. Mr. Greenberg gained a wider following with 'Eastern Standard,' which premiered in Seattle in 1988 and soon moved to Broadway. The show followed a quartet of young New York City strivers whose lives are upended when one of the group is diagnosed with AIDS. By Act Two, the friends have decamped to a summer house in the Hamptons and, partly out of guilt, invited a homeless woman to join them. The play found a high-profile champion in Times critic Frank Rich, who said it 'captures the romantic sophistication of the most sublime comedies ever made in this country.' Yet it also came in for criticism from detractors who argued that Mr. Greenberg, in writing a screwball comedy, failed to address AIDS with the seriousness it deserved. 'That was both the best-and worst-reviewed play of the season,' Mr. Greenberg told the Sunday Times of London in 2002, 'and, at the time, I had no idea who I was; I only knew myself by the way I'd been reviewed.' In the aftermath, Mr. Greenberg faded from public view, sticking mainly to his Chelsea apartment and a nearby diner he used as an office. In part, he told the New York Times, he avoided the spotlight because he wanted to focus on work. He had successfully battled Hodgkin's lymphoma in his 30s, and the illness left him with a newfound sense of his mortality. In addition to working on original plays, Mr. Greenberg adapted August Strindberg's 'Dance of Death' for a 2001 Broadway production starring Ian McKellen and Helen Mirren. He also wrote the book for the Tony-nominated 2008 revival of 'Pal Joey,' a Rodgers and Hart musical, featuring actors Stockard Channing, Martha Plimpton and Matthew Risch; adapted Truman Capote's novella 'Breakfast at Tiffany's' for a short-lived Broadway play starring Emilia Clarke in 2013; and wrote the book for a musical adaptation of 'Far From Heaven,' filmmaker Todd Haynes's homage to the 1950s melodramas of Douglas Sirk, which ran off-Broadway the same year. Before his death, Mr. Greenberg was working with director Robert Falls on a contemporary adaptation of Barry's play 'Holiday,' the basis of an acclaimed 1938 film starring Katharine Hepburn and Cary Grant. The play is slated to premiere in January at Chicago's Goodman Theatre. 'His plays held a mirror up – not just to society but to the strange inner workings of the human heart,' Falls wrote in a tribute on Bluesky. 'He wrote about baseball and betrayal, family and fame, loneliness and grace – always with elegance, irony, and a touch of something ineffable.'
Time of India
01-07-2025
- Entertainment
- Time of India
Dandadan chapter 201 release date and time: When and where to read the famous manga
Dandadan chapter 201 release date and time | Credit: X Dandadan chapter 201 release date and time: With its blend of quirky humour and unexpected plot twists, the supernatural comedy manga Dandadan keeps readers hooked week after week. As the narrative progresses, fans are excited to see what developments await in Chapter 201. If you're caught up so far, here's everything to know about when the next chapter will be released and what might happen next. Dandadan chapter 201 release date and time 200 Chapters of Dandadan. 🎉#DanDaDan #DanDaDan200 — Shadz (@ShadzMangaOnly) June 30, 2025 Dandadan chapter 201 is all set to be released on 8th July 2025. The time and date however will differ as per your time zone. Check out the list below: Pacific Standard Time: Monday, July 7 – 8:00 am Eastern Standard Time: Monday, July 7 – 11:00 am British Summer Time: Monday, July 7 – 4:00 pm Central European Summer Time: Monday, July 7 – 5:00 pm Indian Standard Time: Monday, July 7 – 8:30 pm Philippine Standard Time: Monday, July 7 – 11:00 pm Australia Central Daylight Time: Tuesday, July 8 – 1:30 am Where to read Dandadan chapter 201? Dandadan chapter 201 will be available across several digital platforms, including Shueisha's MANGA Plus, Viz Media's official website, and Shueisha's Shonen Jump+ service. While MANGA Plus and Viz Media allow readers to access content for free, they only make the first chapter and the latest three chapters freely available. To read the entire series, fans can use the Shonen Jump+ platform or the MANGA Plus app. What to expect from Dandadan chapter 201? Sportskeeda speculates that now that Momo's group has safely reached Shimane, Dandadan chapter 201 is anticipated to return to its main goal of bringing Momo back to her normal size from her current miniaturized form. Additionally, this chapter may finally uncover the secret behind the mysterious item Seiko gave Manjiro to pass on to Okarun, shedding light on its meaning and purpose. For more news and updates from the world of OTT, and celebrities from Bollywood and Hollywood, keep reading Indiatimes Entertainment. First Published: Jul 01, 2025, 15:11 IST Iraa Paul writes for Indiatimes Entertainment section - She has equal passion for hot coffee and hot OTT content. She is a pro at suggesting movies and series to watch on the weekend or when you are having a bad day.
