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      Seymour Press, a Behind-the-Scenes Fixture on Broadway, Dies at 98

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      He started playing in Broadway orchestras in 1957, and eventually he began recruiting those orchestras as well.Seymour Press, who for more than 60 years served an important role — though one that went largely unnoticed by audiences — in dozens of Broadway and Off Broadway shows, first as a member of pit orchestras and later as the person who assembled those orchestras, died on Monday at an assisted living facility in Hackettstown, N.J. He was 98.His daughter, Gwynn Press Anidjar, said the cause was advanced myelofibrosis, a bone marrow cancer.Mr. Press, known as Red because he had red hair in his younger days, played multiple instruments, including saxophone; he first sat in a Broadway pit for the 1958 musical “The Body Beautiful,” one of the first shows to feature music by Jerry Bock and lyrics by Sheldon Harnick. In the mid-1970s he began taking on the demanding job of musical coordinator (also called music contractor), although he continued playing in orchestras well into the 2000s.His primary duty as coordinator was hiring orchestras for shows. But he also scheduled rehearsals, made sure musicians were paid, handled issues between their union and management, and ironed out all manner of problems.“The guy who waves his arm is the music,” he said in a 2018 episode of the podcast “Behind the Curtain: Broadway’s Living Legends,” referring to the conductor. “Everything else that has to do with the orchestra is me.”For 28 years, he filled that role for the Encores! revival series at New York City Center; he announced his retirement only this spring. He was also working on Broadway until just a few months ago, receiving the coordinator credit on the current productions of “The Music Man,” “Funny Girl” and “Into the Woods,” all of which opened this year.In 2007, he received a Tony Honor for Excellence in Theater, which recognizes outstanding achievement in theater by those who do not qualify in a traditional Tony Award category.Mr. Press in 2016. He was the music coordinator for the Encores! series at New York City Center for 28 years before announcing his retirement this year.Walter McBride/Getty ImagesSeymour Press was born on Feb. 26, 1924, in the Bronx. His mother, Rose (Guttman) Press, was a homemaker, and his father, Arthur, was a salesman and “a frustrated musician,” as Seymour Press put it in the podcast. His father’s cousin, he said, played the saxophone and introduced him to the instrument; Mr. Press later added flute, clarinet, piccolo and others to his arsenal.Mr. Press graduated from DeWitt Clinton High School in the Bronx. In his second year at what is now the City University of New York, he enlisted in the Army. He had expected to be drafted, he said, so when he saw a poster recruiting for the Army band, he bit.He spent his service playing for troops as they shipped out of Newport News, Va. It was, he said, both a safe assignment and good music training.“I went in an amateur saxophone player,” he said on the podcast. “I came out a professional.”After mustering out in 1946, he toured with various bands, small-time ones at first and eventually those of Tommy Dorsey and Benny Goodman. But by the mid-1950s, big-band music was fading; “the musical style I thought would last my lifetime was gone,” he said. He married Nona Gwynn Holcomb in 1957 and began looking to trade life on the road for something at least somewhat more stable.“The Body Beautiful” didn’t last long, but in 1959, Mr. Press found himself in the pit for a show that did: the original production of “Gypsy.”“Not only was it the first hit show I had,” he said, but it was also “the first time I could look at myself and say, ‘I’m going to be working 52 weeks a year,’ which was a big thing.”Mr. Press’s wife died in 2021. In addition to his daughter, he is survived by a stepson, Edward Finkenberg, and two grandchildren.In his decades as a pit player and musical coordinator, Mr. Press saw lots of change: orchestra sizes and instrumentation varied, the pits moved (often to create more seats), and sound engineering became more sophisticated. He also fielded his share of odd requests. On the podcast, he recalled being asked to recruit a trio for one production: cello, violin, piano. But, the director told him, not just any players would do.“He wanted one to be tall and thin, one to be overweight and one to be very short,” Mr. Press said. “That was a problem.”Mr. Press got an insider’s view of countless shows, but his tastes weren’t infallible. He remembered working on “Annie 2: Miss Hannigan’s Revenge,” a sequel to the 1977 smash “Annie.” He first heard it at a backers’ audition.“I left that and I called my wife and said, ‘It’s going to be a giant hit,’” he said.Audiences at the pre-Broadway tryout in Washington in 1990 disagreed.“I watched them walk out — in throngs, not just four people, not just five people,” he recalled, adding, “We opened in Washington and closed in Washington.” More

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      Interview: Diving into The Drought

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      Playwright Nina Atesh and Director Chloe Cattin talk about The Drought

      A psychological horror in an original setting with a tight, smart script and performances to match.

      That’s how we described The Drought in our review when it played at King’s Head Theatre. With the play now returning to Old Red Lion Theatre as part of Grimfest, we caught up with its writer Nina Atesh and director Chloe Cattin to talk about life on the seabed.

      Tell us a little about The Drought, what can audiences expect?

      Nina: The Drought is a story set on a Victorian British Navy ship, several months into an unexpected disaster where all the ocean all over the world has disappeared. The crew have left their ship, and the only two people remaining aboard are the Captain and his steward. I would say don’t expect your typical horror story. There are no jump scares – not a lot of graphic gore. What I tried to create with this play is a sense of desperation, a chilling dread in the wake of something terrible and unimaginable happening… and what that does to the human mind. Essentially it is a story about madness – but there are other major themes in there of colonialism, hierarchy and servitude. 

      Chloe: Nina has written a beautiful play – even on the second run of it, it still brings up questions and interpretations in the rehearsal room. I think audiences can be expected to be confronted with their own humanity. The pandemic is still quite recent – our lives were disrupted for a time and we entered into our own modes of survival. That’s where we meet the Captain and his Steward – in survival mode. They cling and claw onto what is familiar in the midst of this unspeakable happening.

      How did you feel the run at King’s Head theatre last month went? Reviews, including ours, were quite positive, you must have been pleased? Have you made (m)any changes for this second run?

      Nina: This is my first ever play – so to have it debut at the King’s Head was just an incredible experience! It’s a really hard time for Fringe theatre at the moment, so the support I had from the theatre and the audiences was so great. The feedback was really positive, I was certainly surprised considering we didn’t have the chance for previews or any R&D’s in the lead up. I just kind of threw the production in at the deep end! But I had faith in the story, and a lot of faith in the performers, who are all incredible – so I think it worked out well for us. As a writer, you’re always thinking of tweaks, or what could be done differently. I watched the show every night, and I knew we had another run coming up in November so I came away sort of buzzing to get back into the script again. There hasn’t been a great deal of time to make too many drastic changes, and you’re always limited by what you can do on a Fringe stage(!) but there are certainly some things I took away from that first run that we’re trying to inject into the upcoming one. 

      Chloe: Alex McCarthy and Nina did such a wonderful job for the run at the King’s Head. Alex – for his beautiful direction and sound design and Nina for her incredible script. It’s exciting to have another chance to work on the play in a different space because every performance is site specific in a way. It’s not a question of transposing the play from one venue to another but looking at what challenges and opportunities the space yields. So whilst the script has had a few tweaks, the staging has changed quite a bit.
      The King’s Head Theatre was laid out in the traverse so the actors could be seen by the audience from all angles – there was nowhere to hide! The two sides of the audience were seeing two sides of the story. We performed on the set of another show as well so had a few elements we had to work with at the last minute.
      In the Old Red Lion, there is a more traditional, end on, configuration and the space is ours for our entire run so we can really settle in! It feels more intimate and confrontational, almost claustrophobic. Walking up the stairs up to the theatre feels like a ship. It feels a bit more immersive.

      Chloe, you are taking over as director in Old Red Lion, have the cast been welcoming or have you had to stamp your authority down immediately? Tell us a little about first working on the show in King’s Head and now moving to directing it in ORL? 

      They’re such a great group, it’s lovely to be working together again after the first run!

      The creative team made it clear early on that I shouldn’t have a carbon copy of the show at the Old Red Lion but to use the second run as an opportunity to take on the feedback from the first run, and have another iteration of the show. Alex said he wasn’t ‘precious’ about the work but just to make it even better. Which is quite a unique position to be in as an associate director because usually the originating artist is very specific about what they want. 

      As the stage manager for the King’s Head run, I got to know the production on a technical level – doing pre-show checks, writing lists, giving the actors calls, operating sound and lights and generally holding the space for the cast and creative team. Whilst operating the sound and lights, you get a feel for how the piece breathes and moves with the performers. As a director I’ve still got all those elements in my head but I’m now in a position to influence the piece with feedback from the first iteration and my own understanding of the play.

      Nina, take us a step further back in the development of the show: how did Andrew Callaghan, Jack Flammiger and Caleb O’Brien come together to become your naval trio?

      We did group auditions and funnily enough, Andrew, Jack and Caleb all auditioned together. For me it was a thing of just seeing these performers instantly gel, and thinking to myself almost as soon as they walked through the door – oh my god. This is our cast. These are my characters! There was an instant dynamic there, and they brought things to the characters I hadn’t even thought of whilst writing it. I think that’s what you look for in a performer – someone who can see things between the lines. It was a fascinating process for me, someone who’s come from a performance background myself and being on the other side of it was just so thrilling. I remember loving that day – it was such a rewarding part of the process. 

      Listening to our recent podcast where we chatted with Nina and a couple of the cast, it sounded like The Drought became a very collaborative process once the script met the rehearsal room, can you expand a little on that?

      Nina: Yes, it really was. Again it’s that thing of the actors finding so much in these characters, that you don’t want, or even need, to push them back and say – no he wouldn’t do that, or say that – because they understand the story and their characters so well, that it’s easy to make those edits in the rehearsal room because you know they work and make sense. I remember Andrew (who plays the Captain) coming in on one of our first rehearsals with this whole fleshed out background for the character, with a family and a career history and everything! And I just thought wow… this guy knows the character even better than I do!
      What was great about the creative process too, is that the team weren’t afraid to question things in the script, maybe even things about the characters or their intentions that I had overlooked. So it was a really fun process. I think writers can have a tendency to be quite insular – can get stuck away in their own little world and then just shield themselves from the rehearsal room. I’m the complete opposite of that – I want to see it grow and take a shape. I think it makes you realise things about your own writing that you never would’ve thought of before. The Drought is one of those stories with lots of unreliable narrators… there’s a lot of deception – who is telling the truth? So it’s really important for a play like this to be worked through in a way that is collaborative.

      Chloe: And it’s still a very collaborative process going into the Old Red Lion! It’s my favourite way to work as a theatre maker! Everyone takes an active part in the making of the work, the work is never done. The actors know these characters so well and are constantly interrogating the work. Nina’s encyclopaedic knowledge of the Navy is indispensable in staging the work too. It really is a very collaborative process. 

      You are back in rehearsals this week; we imagine it’s a somewhat different process when everyone knows each other already and has at least some familiarity with the script. How has it been going?

      Nina: Honestly I couldn’t wait to get back into rehearsals, not just to get stuck into the play again, but also because I genuinely just enjoy everyone’s company! It sounds cliche – but they really are just a lovely bunch to work with. I think there’s been enough time since the first run that it feels a bit fresh, but not too long that it’s been easy to get back into the swing of it and immerse ourselves back into this world. It’s a different space so it’s interesting to think of the set up of the cabin (which is where the whole play takes place) and think about new things we can do with the set with the extra time we have.
      Chloe: There’s a shorthand not only with the group but with the play itself so we have been able to dive right back in! It’s so rare to get the opportunity to work on a play again, to look at it with all the experience of the first run but with the novelty of a new space. 

      Moving on from The Drought, what is next for you both and for Pither Productions? Is there anything coming up you can tell us about?

      Nina: The British Navy and Victorian expeditions really are enveloping my life at the moment! There’s some very very brief and early stage discussions about possibly adapting The Drought for TV but that really is dependent on some higher up the food chain powers that be! For now I’m just really enjoying it being on stage, and would love to take the show on tour next year if we can get the funding for it. But away from dried out earth and hairy sea captains… I’d love to bring more horror on to the stage. I’m really keen to promote more of these chilling, atmospheric tales that can have such an impact in small intimate venues like fringe theatres – and not just for the Halloween season(!) So I plan on spending this winter putting pen to paper again and maybe writing something new. So watch this space… 😉 

      Chloe: I’ve got a busy and varied season of work coming up! After The Drought, I am directing a rehearsed reading of The Prophet of Monto by JP Murphy which we have just cast. Then I’m directing a Christmas show Deck the Stalls, an anti-panto written by Lydia Brickland, for a mini London tour in December. I’m also prepping for Dead Positive by Hannah Kennedy which has a run in February next year. We’ve also just finished casting it so it’s wonderful to have it slowly come together.

      Our thanks to Nina and Chloe for taking a break from rehearsals to chat with us. All photo credits: Bethany Monk-Lane 

      The Drought plays at Old Red Lion Theatre from 1 – 4 November . Tickets and further information can be found here. More

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      ‘Walking With Ghosts’ Review: Gabriel Byrne Roams His Past

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      The Irish actor’s one-man show on Broadway delves into painful and playful memories alike. He even imitates the oddballs of his Dublin boyhood.The Irish actor Gabriel Byrne has a genius for listening. On the HBO show “In Treatment,” playing a psychologist wrestling with his own internal conflicts, he spent minutes at a time in silence, as tides of concern and compassion flowed and ebbed across his handsome, craggy face. But “Walking With Ghosts,” his autobiographical one-man show at the Music Box Theater, directed by Lonny Price, finds him alone onstage, within a series of retreating golden frames. And so Byrne, with no one to listen to, kindles into speech.The show is drawn, often verbatim, from Byrne’s recent memoir of the same name. Slipping back and forth in time, the book traces the 72-year-old actor’s life from boyhood on the rural outskirts of Dublin to his eventual success. The wispy show, by contrast, follows a strict chronology, but even here Byrne favors association over causality, image over argument — offering a slide show of the mind, with little relation between and among the anecdotes. He claims to feel like “an intruder in my own past. Emigrant, immigrant, exile.” Yet his recollections are vivid and immediate. At times the form echoes Wordsworth’s “The Prelude,” a catalog of experiences that will go on to shape the mature artist’s mind and soul.“Walking With Ghosts” has the texture of a vanity project. Nearly every autobiographical show does. And during a preview performance, the audience — “In Treatment” fans, perhaps, or devotees of Byrne’s 1995 film “The Usual Suspects” — rewarded that vanity, laughing at jokes before Byrne delivered the punch lines, sighing sympathetically at the sad parts. But Byrne is a serious writer, rendering memory and image in the energetic vernacular of his childhood: “slingeing along,” “stravaging,” “gobdaw.” And he is a serious actor, too, which eases the self-indulgence. The script, while often mournful, allows him to show a playful side and a gift, neglected in Hollywood, for physical comedy. In one sequence, he imitates the oddballs of his boyhood. In another, he shows how the various actors in the amateur theater troupe he joined take their bows. Who wouldn’t want to spend a clinical hour with this man? Or two, plus intermission.And yet, the transition from page to stage feels undermotivated, incomplete. The lively language shifts easily enough from prose to monologue, and Byrne — with his wide, serious face, his bright, worried eyes, his voice like the growl of a polite bear — is compulsively watchable. What the show lacks (and this is true of the memoir, as well) is a sense of why he’s examining his life now. In public. Why would a man lay himself bare like this, on Broadway? It’s hard to discern because the show all but ignores the latter part of his life and acting career.“Walking With Ghosts” never provides satisfying answers, even as it keeps the focus relentlessly on Byrne, with little to distract from his performance. He wears the same clothes throughout — blue shirt, blue vest, blue blazer, gray slacks — and he sketches characters sparingly, with accents and funny voices kept to a minimum. Byrne, who last visited Broadway in 2016 with “Long Day’s Journey Into Night,” appears at ease on the stage, bestriding it as easily as another man might stroll his own patio.Minimal set and lighting design, by Sinéad McKenna, keeps the focus on Byrne’s performance.Sara Krulwich/The New York TimesFor better or worse, Price’s direction is mostly unfelt. Price has him move backward, beyond another arch or two, as he reaches into the past and forward as he nears the present day, finally sitting at the lip of the stage as he discusses his alcoholism and the sobriety he ultimately achieved, twentysome years ago. Otherwise the interventions are few.The design can also feel less than intentional, slapdash almost. As imagined by Sinéad McKenna, the set’s back wall is a mirror, riven with cracks. Apt enough. But the way in which the lights (McKenna) play against it turns Byrne’s shadow upside down, so that it lurks behind him, like a vampire bat. The sound and music, by Sinéad Diskin, come and go, sometimes offering a sense of place, at other times leaving place ambiguous, universal.Byrne unearths embarrassing memories and painful ones, like the death of a boyhood friend and an incident of predation by a priest at the seminary he attended for a few years. Later, he finds that the priest doesn’t remember him. Byrne, though he has blacked out some of what occurred, can’t forget it. But in general, he seems to have had that rare thing for an artist — a happy childhood, loved by parents who loved each other. He is elegiac in recalling a celebration at the Guinness brewery, his grandmother’s love of the movies.Whether discussing good memories or bad ones, the show rarely draws connections — the kinds a clinician might encourage — between the boy Byrne was and the actor he became. In fairness, neither does “The Prelude.” At times, Byrne suggests some internal restlessness and malleability, an inability to settle himself to any particular practice or trade, which may have fitted him for acting. (With the priesthood barred, he rapidly cycled through stints as a plumber, a dishwasher and a toilet attendant.) But aside from one comic story about scenery chewing — and scenery breaking — on an early television play, he never discusses his practice or art. The boy and the professional man seem to exist separately, not continuously.The show seems to conclude with a kind of resignation and acceptance, that if the people of his past are dead now, they persist within him. How those ghosts have made him and shape him and haunt his work still? That remains unspoken.Walking With GhostsThrough Dec. 30 at the Music Box Theater, Manhattan; gabrielbyrneonbroadway.com. Running time: 2 hours 15 minutes. More

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      In a Marathon of One-Act Plays, Boundaries Are Pushed and Pulled

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      Ensemble Studio Theater’s 38th Marathon of One-Act Plays showcases what can be accomplished in short-form productions, and how, in some cases, they hem ideas in.In Harron Atkins’s multigenerational saga “Still…,” artistic ambitions rub up against personal relationships. Careers wax and wane. A couple forms, bickers, ends — and may or may not be reborn on different terms. We even hear exquisite renditions of “Doo Wop (That Thing)” and “Valerie.”All of this in only 40 minutes.The scope and length of “Still…” make it an outlier not just in Ensemble Studio Theater’s 38th Marathon of One-Act Plays, but in short-form theater in general, which tends to focus on economical vignettes and snapshots. Not here: Atkins follows Noah and Jeremy, starting with their meet-cute as tweens, then tracking them as young adults uploading songs on social media before they eventually make moves in the music industry, and going all the way to their reminiscing — but also looking ahead — when they are in their 60s. Much of the time is spent with the young-adult versions of Jeremy (Eric R. Williams) and Noah (Deandre Sevon) as their friendship morphs into love, which in turn becomes strained when Noah’s career takes off while Jeremy’s stalls.At times it feels as if we are watching a live pitch for a movie or television series, a connection Atkins does not shy away from with a joke about the TV show “Empire.” (Referring to a character played by Taraji P. Henson, Jeremy asks Noah, “Did you think I was about to roll in there causing a scene like Cookie Lyon?”) But “Still…,” directed by Cameron Knight, also functions on its own terms and has a genuine breadth that works within the boundaries of its current format.Atkins’s piece closes Series A, part one of this year’s two-part marathon, which is resuming for the first time since 2019. The theater marathon features a lineup of 11 plays — 10 in person and an extra one, presented with Perseverance Theater out of Juneau, Alaska, available via streaming — by artists who are Black, Indigenous or people of color. The playwright Mike Lew (“Teenage Dick”) and the writer-director Colette Robert (“Behind the Sheet”) curated the project, and their efforts pay off most in Series A, which is not only superior to Series B but also to the other Ensemble Studio Theater marathons I have attended in the past. (This year’s marathon runs through Nov. 13.)At their best, the works in the first series introduce distinctive writers who make me crave more. One of them is Dominic Colón, whose “Prospect Ave or the Miseducation of Juni Rodriguez” had already been performed, beginning in 2020, as part of “The M.T.A. Radio Plays,” an audio anthology from Rattlestick Theater. It’s a pleasure to revisit the lovely chance meeting of Juni (Justin Rodriguez) and Macho (Ed Ventura) on a 2 train, when an overheard phone conversation leads to something more direct and, maybe, more real. Bonus points for an excellent Foot Locker joke and the apropos use of McDonald’s takeout.From left, Brenda Crawley, Cristina Pitter and Denise Manning in Vivian J.O. Barnes’s “Intro To.” Carol Rosegg“Intro To,” by Vivian J.O. Barnes (“Duchess! Duchess! Duchess!”), also boasts a superb use of language — florid, funny, and suggestive in every sense of the word — which is especially fitting for a piece set during a class where erotic writing is being taught. With the instructor delayed, Kara (the Off Off Broadway darling Cristina Pitter) takes charge and leads the participants in readings of their stories. The shy Shanice (Denise Manning), a biology student, has come up with a surprisingly evocative tale, but it’s when the older Mary (Brenda Crawley) steps up that the play takes a turn for the weird — halfway between heavy-breathing sensuality and body horror.Another pleasure to be found in “Intro To,” which is directed by Keenan Tyler Oliphant, is Manning’s terrific comic performance, driven by precision timing and constant inventiveness. She makes the most of the material, then fills the silences with a hilariously fidgety presence. Other superlative turns can be found in the Series B closer, “blooms,” by a.k. payne. This evocative slice of life about a pair of lovers, played with rare warmth by Alisha Espinosa and Kai Heath, takes place in the 10 minutes before the grocery store that employs them opens. Decisions must be made, and payne sketches the situation with tenderness and sympathetic humor.Fernando Gonzalez, left, and Will Dagger in Keiko Green’s “Prepared.”Carol RoseggAnother fine performance lurks in Series B’s “Prepared,” by Keiko Green, in which Will Dagger portrays a Boy Scout trying to survive the apocalypse with what’s left of his troop. Unfortunately, unlike the aforementioned cast members, Dagger must make the most of a rickety piece that tries way too hard for whimsy and is burdened by the tiresome monologues that the Scoutmaster (Fernando Gonzalez) delivers on a radio. As short as it is, the play feels padded, a problem that also afflicts Bleu Beckford-Burrell’s “Tr@k Grls (pt1),” which runs in circles. Since the play is about two teenagers training for the track team, this might be pushing form and function a little too far.Goldie E. Patrick’s “Breath of Life: a Choreoplay of Black Love,” directed by Jonathan McCrory and also featured in Series B, is trickier to appraise. It begins with a suspenseful urgency suffused by pervasive, realistic dread. It’s 2020 and the asthmatic Drew (Biko Eisen-Martin) finds himself in the middle of a Black Lives Matter demonstration; his partner, Toni (Ashley Bufkin), is becoming increasingly panicky because she can’t reach him. Patrick skillfully builds tension as Drew, fearing both police violence and catching Covid, works his way through the throngs. About two-thirds of the way through, the piece’s four actors start switching roles: for example, Margaret Odette portrays Drew after having played his friend Ayo — meaning that Toni and Drew are now both women. As the story continues, more permutations follow that might suggest that love is love is love. As for the “Choreoplay” subtitle, that remains confounding since there is no dancing.Dance does, however, play a big role in Vera Starbard’s streaming piece “Yan Tután,” set during a rehearsal by an Indigenous group in Alaska. The piece moves in a fairly herky-jerky manner until Ernestine Hayes enters and takes command as the elder Auntie Dolly, who recounts a harrowing story of cultural erasure with a happy epilogue. In a flash, we see all that was lost but also all that might be gained, and Starbard builds to an emotional finish that feels entirely earned. More

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      ‘Chekhov’s First Play’ Review: A Play-by-Play of the Play Within the Play

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      At Irish Arts Center, a wry, experimental iteration doesn’t do much to untangle the playwright’s unwieldy early work.If Anton Chekhov gave a name to the early play that surfaced years after his death, we don’t know what it was. This is part of the lore around that script, a relished detail in the story of its discovery: The title page was missing.The text is a mammoth, unwieldy beast, as playwrights’ juvenilia often is. Written when Chekhov was 18, or 19, or 20 — that fact is uncertain, too — it’s a stylistic mishmash that would run five or six hours, staged whole. But dramatists are drawn to it, in part because its elements are recognizable from his later work: the grand old estate, the money woes, the crowd of characters living restless, listless lives. And, of course, the gun.So adapters dive in, gather what they like and leave the rest. Michael Frayn called his rendition “Wild Honey.” David Hare’s is “Platonov,” which is the usual title for the play in English. And if you remember the amusing spectacle of Cate Blanchett, on Broadway nearly six years ago, removing her bra without taking off her dress — well, then you’ve seen the version known as “The Present,” by Andrew Upton.“Chekhov’s First Play,” at the Irish Arts Center in Hell’s Kitchen, is Bush Moukarzel and Ben Kidd’s wry, experimental iteration. Directed by the pair for Dead Centre — their Dublin company, familiar to New York audiences for the shows “Lippy” and “Hamnet” — it whittles Chekhov’s script down to a bare 70 minutes. That includes time for the location to shift from the late 19th-century Russian countryside to early 21st-century Dublin, and for a wrecking ball and a pneumatic drill to do some damage to Andrew Clancy’s scenery.Languor escalates into havoc for the characters — among them Anna (Ali White), the financially indebted owner of a house she can’t afford; her friend Triletsky (Paul Reid), who, like Chekhov, is a doctor with tuberculosis that he fails to diagnose; and Platonov, who arrives quite late, played by an audience member. Not that you are likely to care much about the characters, let alone the plot, as story is not exactly at the forefront here. The performance we watch is, in a sense, the play within the play.The whole experience is framed by Moukarzel’s running commentary, spoken into audience members’ ears via the headphones we wear throughout. (Sound design is by Jimmy Eadie and Kevin Gleeson.) It’s funny and often snarky; in one slightly crude line, Moukarzel sounds like a sports broadcaster giving a play-by-play of a rare Chekhov move. But Moukarzel also expounds on the themes of the play — like private property and the ravenousness of the rich — and laments that he cut so many characters from Chekhov’s script.“It was hard to decide what matters,” he says, “and who you can just throw away.”This, really, is the nub of “Chekhov’s First Play,” which had its premiere in 2015. That’s also when Irish artists were sifting through the human wreckage of the Celtic Tiger, an economic boom that collapsed into painful recession and left Ireland littered with abandoned housing developments.When these characters talk of cancer, it’s a metaphor for harmful, unchecked growth; their scorn for banks is rooted in reckless lending that ruined lives. Even Moukarzel and Kidd’s decision not to give the Chekhov play a proper title is significant — because of that other meaning of title: legal ownership. Historically, one name for the found Chekhov text has been “Play Without a Title.”Trouble is, the Celtic Tiger is so many crises removed from the present that it’s a little obscure, even at the Irish Arts Center, which co-commissioned the play.Similarly, the headphones would have been novel in 2015 — the year that downtown theatergoers experienced Anne Washburn’s “10 out of 12” that way, and the year before Simon McBurney’s “The Encounter” gobsmacked headphone-wearing Broadway audiences with its binaural sound design. Now, as a tool, they’re underwhelming.“Chekhov’s First Play” surely felt much bolder and fresher when it was new. But if you ask the question “Why this show now?” the answer seems to be that it was in the wings.Chekhov’s First PlayThrough Nov. 6 at the Irish Arts Center, Manhattan; irishartscenter.org. Running time: 1 hour 10 minutes. More

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      Feature: Shaftesbury Theatre: Dramatic Transformation

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      How Shaftesbury Theatre’s exciting renovations are helping put heart into the art of the West End

      The Shaftesbury Theatre, currently home to & Juliet, this week revealed the latest stage of its £10 million ‘Dramatic Transformation’ programme, and Everything Theatre was invited along to see what they’ve been up to. It’s an impressive project; but the tour revealed that what’s unique about the theatre is more than just the building itself.

      The Shaftesbury is the largest independent theatre in the West End. A gloriously ornate Edwardian structure, built in 1911, it has withstood two world wars and a more recent global pandemic. Our host, Executive Director James Williams, explained not only how the Grade II listed building has been carefully future-proofed with a massive investment in its infrastructure, but spoke with passion of community connections, networks and wellbeing.

      In 2013 a series of building improvements began, including installation of offices and an impressive £5 million flytower, which are visible from the roof. The foundations and steel legs for this were installed during just two eight week dark periods back then, and the top section followed, in 2015. The theatre remained open throughout, with construction work during the day and performances of Memphis and The Illusionists each evening. In 2016 a lift was fitted down to stage level, where there is an accessible dressing room and toilet for performers with mobility issues.

      The seed for further improvements began when Camden Council announced its intention to develop Princes Circus, including pedestrianising areas around the site. Realising that the theatre owned the land beneath the road, they seized on the opportunity to extend their basement premises. This week sees the launch of the beautiful 1911 stalls bar, constructed 3.5 metres underground. The renovation process revealed layers of the past, such as the bare bricks of the bar, which have been kept. The white tiles of the former heating plant also remain, but the space is now innovatively reinvented as a cosy hospitality area: the new Taffner Suite, named in honour of the late Don Taffner Sr (former Chairman of the Shaftesbury’s Theatre of Comedy Company and father of the current Chairman, Donald Taffner Jnr).

      The theatre’s beautiful historic ceilings have now been renovated, allowing for working platforms in the technical void above the dome ceiling. Formerly technical staff would be unable to stand when working above stage.

      Further refurbished public spaces have also been unveiled, including over fifty new toilets, a state of the art air-conditioning system and reconfigured seating in the auditorium. Access needs have been enhanced with the fitting of a public lift from street level to the stalls, along with thirteen new wheelchair spaces and removeable seats, which will eventually be installed throughout.

      All of these improvements set the theatre up for a great future. But clearly there is more to it than bricks and mortar. James spoke of the Shaftesbury as above all a space for people; a place to “feed the soul”. Wellbeing is at the heart of many of the changes. A flat space set back from the steels of the flytower offers a peaceful rooftop recreation area for staff, whilst the stylish entertainment spaces open the building to new visitors by day, for meetings and creative events. And it’s good relationships in the industry, at the council and in the local community that forge the distinctive, independent personality of the Shaftesbury, making it unique.

      This is a fabulous West End theatre that truly has a beating heart beneath its art. Its new features will allow it to welcome customers new and old to fabulous shows for many years to come.

      & Juliet is booking at the Shaftesbury Theatre until Saturday 25 March 2023. Details are available at https://www.shaftesburytheatre.com/events/juliet/ More

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      Review: Praise the Lord for ‘Tammy Faye’

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      A new musical about the life of the televangelist Tammy Faye Bakker, composed by Elton John, makes spectacular entertainment from a righteous subject.LONDON — Praise the lord for “Tammy Faye,” the new musical that opened Wednesday at London’s Almeida Theater. Telling the unlikely story — for the English stage at least — of the American televangelist Tammy Faye Bakker, the show has a heart as big as the title character’s bouffant hairdo, and runs through Dec. 3.Rupert Goold’s vigorous production is also an increasing London rarity: a musical with an original score at a time when most repackage existing hits. That the composer is Elton John has only intensified interest in a project that also includes the Scissor Sisters frontman Jake Shears as lyricist and the prolific playwright James Graham as book writer. John’s most recent musical, “The Devil Wears Prada,” ran aground in Chicago over the summer, so it’s a relief to report that “Tammy Faye” is, for the most part, spectacularly entertaining, even if it could do with some trims and the toning down of a few tasteless sections.And when the astonishing Katie Brayben in the title role seizes center stage to rock out at the close of both acts, you can feel the intimate Almeida transformed into the sort of pulsating arena that Tammy Faye would surely love. “Show me mercy, open your hand,” she sings, letting rip in one of several impassioned numbers, “Empty Hands,” that comes from the gut. I was right there with her, as I was in the comparable “If You Came to See Me Cry” near the end, in which Tammy Faye reflects on her legacy from heaven. (Where else?)We know she’s headed there right from the start. The show begins with the revelation that Tammy Faye has colon cancer, and a sexually explicit joke that comes after the diagnosis indicates that this won’t exactly be family fare.We then turn back the decades to chart her progression from her modest Minnesota origins to a wealthy televisual messiah with a hotline to God. “If I hadn’t lived it,” she says, “I wouldn’t believe it.”Bunny Christie’s deliberately antiseptic set consists of a back wall of TV screens that allows for a recreation of the Praise the Lord satellite network that Tammy Faye and her first husband, Jim Bakker (the Broadway star Andrew Rannells, making a firm-voiced London debut), founded in the 1970s. Her second husband, Roe Messner, is never mentioned.Brayben, left, and others in “Tammy Faye.” Brayben displays such fervor and commitment in the title role that you fall under her sway.Marc Brenner John’s score throughout is a savvy amalgam of country twang and rousing pop-rock ensemble numbers. The musical, as expected, has campy fun with its subject, but doesn’t condescend, and Graham’s canny script always places the Bakkers in the historical context of a larger conservative movement whose presence is felt to this day. We note the importance at the time of Ronald Reagan, Pat Robertson and Jimmy Swaggart, three men in the couple’s orbit who are presented as meanspirited foils of sorts to Tammy Faye’s worldview; Tammy Faye, by contrast, is all smiles and eyelashes, and Brayben communicates her generosity of spirit with ease.The show’s prevailing villain is Jerry Falwell (a sonorous Zubin Varla), who looks on in loathing at the Bakkers and is given more brooding solo numbers than the musical really needs: One would be enough. Falwell becomes the resident Iago of the piece, a rival consumed by envy who has no time for Tammy Faye’s tolerance of gay people.The second act dramatizes Tammy Faye’s famous 1985 interview with Steve Pieters (Ashley Campbell) the gay pastor and AIDS patient who finds in her a celebrity soul mate. (Love, Tammy Faye reports, gets many more mentions in the Bible than hate: 489 vs. 89, by her tally). It also charts the breakdown of the Bakkers’ blissful domestic life, when it was revealed that Jim had had a sexual encounter with Jessica Hahn, a church secretary, and was also sentenced to 45 years in prison for fraud.“Tammy Faye” is Goold’s third show this season on the stage of the Almeida, a theater he runs, after a coronavirus pandemic-delayed “Spring Awakening” and “Patriots,” a play about President Vladimir V. Putin of Russia and Boris Berezovsky, an exiled Russian oligarch, that transfers to the West End next year. Goold and the choreographer Lynne Page have assembled a splendidly drilled ensemble that writhes and snakes across the stage in collective ecstasy. The show also hints at the fickle nature of that same crowd, who at one revealing moment turn on the couple in fury.Through it all, Brayben displays such fervor and commitment in the title role that you fall under the sway not just of Tammy Faye, but of a performer giving her career-enhancing all to a part that Brayben was born — Tammy Faye would surely say destined — to play.Tammy FayeThrough Dec. 3 at the Almeida Theater in London; almeida.co.uk. More

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      Avant-Garde Theater, or a Musical: Who Says You Need to Choose?

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      In Germany, a sonically daring Chekhov adaptation and a post-apocalyptic western “opera” are breaking down barriers between genres.FRANKFURT — Ever since Bertolt Brecht and Kurt Weill served up “The Threepenny Opera,” their “play with music,” in Berlin in 1928, the dividing line between spoken and musical theater in Germany has been remarkably porous.Music is everywhere in contemporary German theater, often used to heighten or subvert emotional effects. Some of the credit or blame goes to Frank Castorf, the influential East Berlin director, whose long, demanding productions at the Volksbühne owed much of their unique, frenetic energy to the eclectic soundtracks devised by the theater’s longtime music director, Sir Henry.The quota of live music on dramatic stages here also seems to be increasing. Recent memorable examples have included the furious drumming that provides a rhythmic backbone to the Trojan War segment of Christopher Rüping’s monumental “Dionysos Stadt” and the dronelike chanting in Ulrich Rasche’s takes on classic works.And two of last year’s most discussed shows — Bonn Park’s “Gymnasium” and Yael Ronen’s “Slippery Slope” — were bona fide musicals, with impressive scores and singing, although they were a far cry from your typical Broadway or West End fare. Watching both productions, I felt we might be on the cusp of a breakthrough, with serious theater makers here channeling the vulgar and gleeful tunefulness of “Avenue Q” or “The Book of Mormon.”Such thoughts swirled in my head as I sat down to watch “Burt Turrido. An Opera” in Frankfurt this month. A four-hour post-apocalyptic western, it will travel to Hamburg and Berlin in the coming weeks.Behind the show is Nature Theater of Oklahoma, an influential American avant-garde theater collective that was founded in New York in 2006 and has become increasingly prominent on European stages in the past decade. The troupe’s co-founders, Kelly Copper and Pavol Liska, are serious artists whose shrewd approach and mischievous creative drive combine elements of European and American avant-gardes. Formally daring, energetic and unpredictable, their work is hard to pin down precisely because it encompasses so many genres and styles.From left, Bence Mezei, Robert M. Johanson, Anne Gridley and Gabel Eiben in “Burt Turrido.”Jessica SchäferSadly, the theatrical exuberance and innovation that characterize Copper and Liska’s best efforts are in short supply in “Burt Turrido,” a loopy mock-opera whose silliness would be bearable if the meandering libretto had anything to say, or if the canned score was not a succession of immediately forgettable folk and country tunes.The title character (a bewildered-looking Gabel Eiben) is a red-bearded castaway with amnesia who washes ashore on a barren island. He is rescued by Queen Karen (a scene-chewing Anne Gridley) and King Bob (Robert M. Johanson, who also wrote the music), petty despots who seized control of the island after it was swept by waves of environmental catastrophe, war and genocide. Burt is pursued by Karen, who wants his child, and a lovesick ghost named Emily (Kadence Neill, the cast’s best singer). Oh, and there’s Joseph (Bence Mezei), Emily’s ex-husband and Karen’s ex-lover, who has more than a little in common with his biblical predecessor. (For starters, he’s thrown into a pit.)The characters circle one another in an endless dance of romantic intrigue, suspicion and shifting power dynamics. Copper and Liska keep the tone light, with some silly sci-fi and horror effects (ghosts in sheets; a chintzy U.F.O.) and only a handful of genuinely moving scenes.This is a show with legs: It has already been performed in the Netherlands, Austria, Switzerland, Norway and Greece. (So far, however, no U.S. dates have been announced.) And it does seem to have been devised and designed for maximum portability. Luka Curk’s set consists of little more than flat, hand-painted backdrops, cutout waves jerked back and forth by the performers, and a shimmering blue cloth to represent the sea.Of course, a certain level of flimsiness is precisely the point of this winking, knowing operatic sendup: It’s decidedly a bargain basement production, and Copper and Liska’s ability to create a convincing and clean theatrical aesthetic out of the bare-bones staging is their main achievement here. Yet at even half its current length, “Burt Turrido” would be excruciating. Its 14 scenes (and epilogue) feel like a goofy sketch that has metastasized to operatic proportions.I would have felt bad for the performers who needed to drawl, warble and dance their way through the overlong evening, except that they appeared to be having more fun than the audience, a large portion of which fled at intermission. Beyond the spirited performances, there’s little to recommend “Burt Turrido,” which mostly feels like a joke that goes on far too long. Perhaps the biggest disappointment is how little the music adds. Here, too, the constant singing registers mostly as a gimmick, and there is little flair to Johanson’s score. The result is an impoverished “opera” where neither the music nor the drama is enriched through their combination.The cast of “Waiting for Platonov,” directed by Thom Luz, at the Residenztheater.Sandra ThenFor a sly and haunting marriage of those two elements, turn to “Waiting for Platonov,” an arrestingly musical production by the Swiss director Thom Luz at the Residenztheater in Munich. The title character of Chekhov’s early play, a womanizing schoolteacher who broods on his life of failure, never materializes during the production’s two and a half hours. Instead, a troupe of 10 actors recite snippets of dialogue drawn from the Russian writer’s work and break out in song while performing an energetic choreography that is precisely timed to a witty, inventive sound design.The title, with its nod to Beckett, can be interpreted in several ways. First of all, it proposes the Russian dramatist as a sort of precursor to the Irish Nobel Prize winner in his examination of futility as an existential component of human life. Chekhov’s characters cavort in dachas, while Beckett’s take up residence in trash cans — but they all feel the stifling dread and purposelessness of existence. The title may also refer to the fact that it took over four decades for Chekhov’s 1878 work to be published. The actors’ excitement and increasing exasperation over Platonov’s impending arrival parallels the writer’s frustrations with the play, which was rejected by Maria Yermolova, the great Russian actress to whom he sent the manuscript.Luz, an in-house director at the Residenztheater, brings a compositional rigor to his work that is occasionally reminiscent of the style of Christoph Marthaler and Herbert Fritsch, two influential older directors with keen musical sensibilities and a penchant for absurdity, but his enigmatic and astringent style is entirely his own. The show’s soundscape, devised by Luz, is full of popping mics, uncanny reverberations, sustained clusters of discordant notes and an out-of-tune mechanical piano. As the actors ascend and descend two large onstage staircases (also designed by Luz), their footfalls describe musical scales.Luz balances between the production’s abstract, aural elements and Chekhov’s decontextualized dialogue, which takes on a musical function as well through chanting. Although it is as far from traditional musical theater as “Burt Turrido. An Opera” is from “La Traviata,” “Waiting for Platonov” is a fusion of music, sound and text that is hypnotic, compelling and utterly fresh.Burt Turrido. An Opera. Directed by Kelly Copper and Pavol Liska. Oct. 27-29 at Kampnagel, in Hamburg; Nov. 3-5 at HAU — Hebbel am Ufer, in Berlin; Nov. 11-13 at Espoo City Theater, in Espoo, Finland.Waiting for Platonov. Directed by Thom Luz. Through Dec. 7 at the Residenztheater, in Munich. More