
Jessica Lange in Broadway’s ‘A Streetcar Named Desire’ (1992)
Brigitte LaCombe
James Walsh, whose many Broadway producing credits in the 1980s and ’90s included the Tony Award winning productions of 1986’s I’m Not Rappaport starring Judd Hirsch and 1989’s Pulitzer-winning The Heidi Chronicles, died of sepsis Thursday, August 27, in New York City. He was 89.
His death was announced by his wife, the Emmy- and Oscar-winning casting director Juliet Taylor.
Born May 6, 1937, in Antonito, Colorado, Walsh attended UCLA before beginning his career as a Ford Foundation intern for administration in the arts at the Metropolitan Opera from 1961-1963. He then worked at the Repertory Theatre of Lincoln Center under Robert Whitehead and Elia Kazan, helping to manage their repertory company based in Greenwich Village at the ANTA Theatre while the Vivian Beaumont was still under construction. ANTA productions included such future stars as Faye Dunaway, Jason Robards and Roy Scheider.
He began his Broadway career as an assistant general manager on 1964’s After The Fall by Arthur Miller, directed by Elia Kazan. Over the next 20 years he served, with one notable exception, he served as company manager, general manager or assistant manager for such memorable, even seminal, Broadway shows as Miller’s Incident at Vichy (1964), Tartuffe with Hal Holbrook and Salome Jens (1965), Jay Presson Allen’s The Prime of Miss Jean Brodie starring Zoe Caldwell (1968), Arthur Kopit’s Indians starring Stacy Keach, Charles Durning, Raul Julia, Sam Waterston and many others (1969); Julian Barry’s Lenny Bruce bioplay Lenny starring Cliff Gorman (1971); Brian Friel’s The Freedom of the City (1974); Herb Gardner’s Thieves starring Richard Mulligan and Marlo Thomas (1974); I Have a Dream starring Billy Dee Williams as Dr. Martin Luther King, Jr. (1976); Barnum starring Jim Dale and Glenn Close (1980); The Music Man revival with Dick Van Dyke (1980); Lena Horne: The Lady and Her Music (1981); and Beth Henley’s The Wake of Jamey Foster starring Anthony Heald and Holly Hunter (1982).
The one notable exception to his management roles from the era was The Watering Hole starring William Devane, Shirley Knight, Vivian Nathan and Ralph Waite. He produced the play by Lyle Kessler that opened – and closed – on March 12, 1969.
When he returned to producing 14 years later, it was with considerably more splash if not immediately greater success: Doonesbury, a high-profile musical with book and lyrics by Garry Trudeau, based on his wildly popular comic strip and with music by Elizabeth Swados, was neither a critical nor commercial success when it opened in 1983. Though it garnered considerable attention, the musical played only 20 previews and 104 performances.
Walsh’s luck would change drastically with his third producing effort: Herb Gardner’s I’m Not Rappaport, the 1985 play directed by Daniel Sullivan and starring Judd Hirsch and Cleavon Little. The play about two elderly men who become unlikely friends as they spend their days together on a park bench was a hit, winning Tony Awards for Best Play, for Hirsch’s performance and for lighting design. (A 1996 film adaptation starred Walter Matthau and Ossie Davis).
Walsh followed up that success with an even more celebrated production: Wendy Wasserstein’s The Heidi Chronicles (1989), a generational touchstone starring Joan Allen, Peter Friedman, Boyd Gaines, Cynthia Nixon and others. The play, about a young feminist who choose to adopt a child on her own, won the Pulitzer Prize for Drama and was nominated for six Tony Awards, winning for Best Play and Best Featured Actor (Gaines).

Jessica Lange in Broadway’s ‘A Streetcar Named Desire’ (1992)
Brigitte LaCombe
The early ’90s brought continued success for Walsh, with Broadway productions of Tony-nominated Once on This Island (1990), 1992’s Conversations with My Father, again starring Hirsch along with Tony Shalhoub, Jason Biggs and others; and, also that year, Gregory Mosher’s revival of Tennessee Williams’ A Streetcar Named Desire starring Alec Baldwin, Jessica Lange and Amy Madigan.
Although the starry production was one of the most anticipated shows of the season and proved a major box office success, it received mixed-to-negative critical reviews and no Tony nominations. Lange’s performance would be favorably reappraised over the years, and in 1995 she was Emmy nominated when she starred, along with Baldwin, in a CBS film adaptation of the Broadway production.
Walsh largely retired from the theater following Streetcar, returning briefly in 2003 to produce the musical Never Gonna Dance, a short-lived project based on the 1936 Fred Astaire/Ginger Rogers film Swing Time, starring Noah Racey, Nancy Lemenager, Karen Ziemba and Peter Gerety, with direction by Michael Greif and choreography by Jerry Mitchell.
In addition to Broadway, Walsh produced two notable Off Broadway plays in 1967: Norman Mailer’s The Deer Park and The Beard, Michale McClure’s controversial take on Billy the Kid and Jean Harlow (the playwright and poet would later go on to co-author the song “Mercedes Benz” with Janis Joplin).
Walsh also served on the Board of Governors for the League of American Theaters and Producers and on the Theatre Advisory Board for the American Soviet Theatre Initiative.
In addition to his wife, he is survived by sons Sam Walsh and Jason Walsh.
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The time has finally come: Coyote vs. Acme is now playing in theaters.
To celebrate the film’s official release day, director Dave Green shared a thank-you letter on social media, writing in part, “COYOTE VS. ACME IS FINALLY, GLORIOUSLY, IN THEATERS NOW. Which means one thing. WE WON. You can go see this movie. In a theater. In your favorite seat. With your favorite snacks. With your favorite people. You can head into a dark room and laugh with strangers. Together. Congratulations to everyone who made this happen.”
Coyote vs. Acme, a hybrid live-action and animated movie set in the Looney Tunes universe, follows Wile E. Coyote as he sues the Acme Corporation after its products repeatedly fail him in his pursuit of the Road Runner. The film stars Will Forte, John Cena, Lana Condor, Eric Bauza and Martha Kelly.
The film’s journey to theaters has been anything but typical. The Hollywood Reporter exclusively reported in November 2023 that Warner Bros. had shelved Coyote vs. Acme after the movie was completed. The project had been in development at the studio for years and was originally intended as an HBO Max streaming original before Warner Bros. ultimately decided not to release it.
At the time, Warner Bros. said the decision came as the studio shifted its global strategy to focus on theatrical releases following the relaunch of Warner Bros. Pictures Animation. However, reports indicated that the studio planned to take an estimated $30 million tax write-down by shelving the approximately $70 million movie.
The decision sparked widespread backlash from fans, filmmakers and the film’s stars, who continued to publicly advocate for the movie’s release.
In March 2025, Ketchup Entertainment acquired the worldwide distribution rights to Coyote vs. Acme from Warner Bros., giving the film a path to a theatrical release. The deal was reportedly valued at around $50 million.
Green went on to explain why the film’s theatrical release is a “victory.”
“It’s a record of the cast and crew, post, prep and animation teams who poured so much love and passion into it over years and years,” he wrote. “It’s shared, permanently, with the audience who fought so hard for its survival. Your fight is the reason this film finally made it to the big screen. Thank you @ketchupentertainment for hearing the audience. We’re so grateful that you did.”
“This is a celebration, it’s proof that movies don’t just go away. We make work so it can be seen and shared — that’s the whole reason we do what we do. Persistence and resilience have truly won the day. Enjoy Coyote vs. Acme on the big screen. Where it was always meant to be seen!” Green concluded his letter.
Forte took to X on Friday to reply to Green’s letter, writing, “Beautifully put, Dave.” He also shared a video thanking people for their efforts to push for the movie’s release and explaining how its messages correlate with the film’s journey.
“It’s about hope and determination. It’s about fighting injustice, and it’s about the importance of friendship and the importance of community. And that last one really strikes a chord because we went through some weird times with this movie, and it is only because of the support of the community that we’re here today, seeing this movie,” Forte said. “You guys lifted us up on your shoulders and just fought and fought for this movie. Most of you, without even having seen it. So I am forever thankful, and just want you to know that I’m so excited for you to see this because I think you’re going to see that it was worth the fight.”
In THR‘s profile of Green, published earlier this month, DC Studios co-head James Gunn, who produced the feature and worked on the story, also reflected on Coyote vs. Acme‘s journey.
“Dave was a great guy throughout the ups and downs. He was never overly bitter and negative, although a little bit of bitterness and negativity was understandable in the given circumstances,” he said. “However, I think you see, when people show true character in the face of adversity, the world rises up to meet them. And in this case, it did — Coyote vs. Acme being saved is because of Dave’s character and because he made a great movie too powerful to be buried. And gosh, perseverance is kind of what Wile E. and the movie are all about.”
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Although the MCU has expanded the multiverse to bring back multiple Spider-Men, Shailene Woodley‘s Mary Jane Watson remains lost on the cutting room floor.
The 2x Golden Globe nominee recently recalled her performance as Mary Jane Watson being cut from 2014’s The Amazing Spider-Man 2 after filming scenes with Andrew Garfield’s Peter Parker.
“Oh, we shot it. That was a fun phone call,” she said in a talk with SAG-AFTRA. “I was cast as Mary Jane for Spider-Man, which was my dream. Oh my god, Spider-Man’s my favorite superhero, Mary Jane was my favorite character growing up. So, when I got it, I was like, ‘This is so exciting!’
“And then, we filmed like three scenes together, me and Andrew Garfield. And then, like a year later, they were like, ‘So, you’re not in the movie anymore.’ And I was like, ‘What? What do you mean?’ And they’re like, ‘We’ve introduced a lot of new characters in this last one, and we’re going to wait for whatever happens between [Emma Stone] and Andrew [Garfield].’”
Woodley continued, “They were like, ‘Let’s wait for her to die, and then we’ll introduce Mary Jane.’ Which made sense, but then they didn’t make that film. So, there was no reintroduction. … That’s what I was told, but again, who knows what the truth is? I could have been terrible, and they were like, ‘We can’t do this.’”
Although Garfield’s Spider-Man teamed up with Tom Holland and Tobey Maguire in 2021’s Spider-Man: No Way Home, he said “unequivocally fucking no” to reprising the role in Avengers: Doomsday, premiering Dec. 18 in theaters. But he hasn’t completely ruled out another movie in his Spidey continuity, which could give Woodley’s Mary Jane her long-overdue debut.
“I really love playing Spider-Man. I would love to play the character again in some capacity, but I think it would have to be very weird,” said Garfield last year. “I think I would want to do something very strange.”
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The Department of Homeland Security confirmed that Immigration and Customs Enforcement have detained right wing commentator Milo Yiannopoulos for overstaying his visa.
According to a statement posted on the DHS X account, Yiannopoulos, described as an “illegal alien from the United Kingdom, was arrested at Louis Armstrong New Orleans International Airport on Thursday.
“Yiannopoulos legally entered the country on May 14, 2019, through New York City, New York. He chose to overstay his welcome in violation of our nation’s laws,” DHS said.
“Yiannopoulos was issued a final order of removal by an Immigration Judge on July 22, after failing to show up for his immigration hearing. He will remain in ICE custody pending removal.”
Laura Loomer, one of Yiannopoulos’ foes on the right, wrote on X that she was the first to report that he was in the U.S. illegally. “I told you all that Milo was an illegal alien,” she wrote.
Yiannopoulos rose to prominence as an early backer of Donald Trump, with a Breitbart.com column and a determination to generate controversy. He resigned from Breitbart in 2017 amid the furor over remarks in which he appeared to condone sex with minors. He later worked for Kanye West’s 2024 presidential campaign and has supported the mass deportation operations during Trump’s second term. He wrote on X last summer, “Total legal immunity for ICE agents when they’re on duty.”
DHS appeared to be using the visibility of the Yiannopoulos detention to make a point. The department said in the X post that “being in detention is a choice. We encourage all illegal aliens to take control of their departure with the CBP Home App. The United States is offering illegal aliens $3,000 and a free flight to self-deport now. We encourage every person here illegally to take advantage of this offer and reserve the chance to come back to the U.S. the right legal way to live the American dream. If not, you will be arrested and deported without a chance to return.”
ICE also linked to a TMZ story on the arrest.
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