Best Photos of the Day

From left: Michael Potts, John David Washington and Danielle Brooks in the Broadway revival of August Wilson's "The Piano Lesson" at the Ethel Barrymore Theater in Manhattan, Sept. 19, 2022. (Sara Krulwich/The New York Times)

The New York Philharmonic performs at David Geffen Hall in New York, Oct. 12, 2022. The performance was the orchestra's first subscription program in the new space. (Amir Hamja/The New York Times)

Mark Morris company dancers rehearsing "The Look of Love" at his studios in Brooklyn, Sept. 30, 2022. Mark Morris’s “The Look of Love” is set to Bacharach songs. “People are always saying, ‘Oh my God, he wrote that?’ That’s why I’m doing it,” Morris said. (Jeenah Moon/The New York Times

Jamie Lee Curtis in Santa Monica, Calif., Sept. 5, 2022. Whether it’s her return to her horror roots in “Halloween Ends” or her buzzy performance in “Everything Everywhere All at Once,” freedom is what the actress is after. (Ryan Pfluger/The New York Times)

Solea Pfeiffer, left, as Penny Lane and Casey Likes as William Miller in the musical "Almost Famous" in New York, Oct. 1, 2022. Cameron Crowe adapted his Oscar-winning screenplay, about writing for Rolling Stone in the ’70s, preserving parts of the movie’s soundtrack and zingers (Don’t take drugs!) for the stage. (Sara Krulwich/The New York Times)

Kate Nash in New York, Sept. 16, 2022. After the twists and turns of a pop career, the British singer-songwriter adds a new string to her bow: musical composer. (Dolly Faibyshev/The New York Times)

Alice Gerrard at her home in Durham, N.C., Oct. 5, 2022. Six decades ago, the singer’s duo with Hazel Dickens revolutionized the genre. As their albums are reissued, she reflected on her unexpected life in folk music and what’s next. (Alycee Byrd/The New York Times)

LaTasha Barnes, center with blond hair, and her fellow dancers perform in “The Jazz Continuum” at the Joyce Theater in New York on Oct. 11, 2022. In a joyous program, Barnes and company show the relationships among Black social dance forms. It’s all connected, and it’s all jazz. (Andrea Mohin/The New York Times)

In an undated photo via Royal College of Music, a page from Vaughan Williams’ Fifth Symphony on which he referred to “Pilgrim’s Progress” with the inscription “Upon this place stood a cross, and a little below a sepulchre.” The English composer deserves a fresh assessment as the world does (and doesn’t) observe the 150th anniversary of his birth. (Via Royal College of Music via The New York Times

In an image via the artist and Sadie Coles HQ, London, photo by Nick Turpin, “Sandwich” (2011-20) by Sarah Lucas. Three-dimensional art is everywhere in London this autumn, from pocket parks to the financial district and Regent’s Park to Trafalgar Square. (The artist and Sadie Coles HQ, London, photo by Nick Turpin via The New York Times