Bishop, Andre

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    ‘Ghosts’ Review: The Sins of the Father, Visited on Everyone

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    Ibsen’s scathing drama about medical and moral contagion gets a high-sheen Off Broadway staging starring a riveting Lily Rabe.As if under the weather, Jack O’Brien’s production of “Ghosts,” the 1881 Ibsen drama about medical and moral contagion, coughs three times to get started.First, as work lights illuminate a handsome study representing the home of Helena Alving, the cast arrives in rehearsal mode: Lily Rabe carrying a slouchy bucket bag and Billy Crudup a copy of The New York Times. Levon Hawke grabs a mint-green script from the library table as Hamish Linklater and Ella Beatty run the opening lines of the play — tonelessly, as if feeling all of its 144 years.Then comes a restart. Now the scene between Linklater (playing Engstrand, an alcoholic carpenter) and Beatty (playing Regina, Mrs. Alving’s maid) seems less perfunctory. They look at each other a little, instead of just their lines.Finally, as the work lights disappear into the flies, the scene is repeated and we are given the real, often remarkable, thing. The play’s opening argument — for Regina is not just Mrs. Alving’s maid but Engstrand’s estranged daughter — is now fully polished: lit, costumed and performed, in the Lincoln Center Theater manner, to a high upper-middlebrow sheen.I don’t know why O’Brien chose to place such a stock contemporary frame around the timelessly alarming 19th-century action. (The device returns briefly at the end of the show.) Perhaps he means his version of “Ghosts,” which opened Monday at the Mitzi E. Newhouse Theater in an adaptation by the Irish playwright Mark O’Rowe, to honor the process of repetition and refinement by which old ideas become new again as they are brought to life by succeeding generations.Certainly his casting suggests that. Rabe is the daughter of the playwright David Rabe, whose work has frequently been produced in this building. Linklater, her partner, is the son of the theatrical vocal coach Kristin Linklater. Hawke’s father, Ethan, played Macbeth and Hotspur here; his mother, Uma Thurman, played Mrs. Alving at Williamstown. Crudup has been a house star since “Arcadia” in 1995. And if Beatty’s connection to the company is less clear, well, she’s a daughter of Warren Beatty and Annette Bening. Enough said.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Lincoln Center Theater Chooses Lear deBessonet as Artistic Director

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      DeBessonet, currently the artistic director of Encores!, will work alongside Bartlett Sher, who will serve as executive producer.Lincoln Center Theater, a leading nonprofit theater with a long track record of producing luxe Broadway musical revivals as well as contemporary plays, has chosen new leadership for the first time in more than three decades.The theater’s next artistic director will be Lear deBessonet, 44, a stage director who specializes in musical revivals as the artistic director of the Encores! program at New York City Center. DeBessonet will succeed André Bishop, who has led Lincoln Center Theater since 1992, most recently with the title of producing artistic director; he is retiring in June.DeBessonet will work with Bartlett Sher, 65, a Tony-winning director who is a resident director at the organization, and who will now assume the title of executive producer. DeBessonet will select and oversee the theater’s shows and its day-to-day operations; Sher will focus on strategic planning, fund-raising and global partnerships. They will both report to the board’s chairman, Kewsong Lee.In an interview, DeBessonet said that “there is no greater job I can imagine” than running Lincoln Center Theater. “The American theater is the great passion of my life,” she said. “I’ve wanted to be a director and to run a theater since I was a 5-year-old in Baton Rouge.”The changes come amid a tidal wave of turnover throughout the American theater, prompted by a variety of factors, including the retirements of many regional and Off Broadway theater pioneers, as well as the ousters of some leaders who lost support. Across the industry, leaders are facing a new reality: These jobs have become increasingly challenging as nonprofits face rising costs, dwindled audiences, pressures to feature programming that advances social justice but also sells tickets, and changing entertainment consumption habits.Bartlett Sher, who has been directing at Lincoln Center Theater for two decades, will become the nonprofit’s executive producer. Cindy Ord/Getty Images For Tony Awards ProWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      André Bishop Will Depart as Head of Lincoln Center Theater

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      His pending departure, in 2025, means that there are job openings for the top artistic positions at three of the four nonprofits operating Broadway theaters.André Bishop, the producing artistic director of Lincoln Center Theater, will step down in the spring of 2025, ending a 33-year run leading one of the nation’s most prestigious nonprofit theaters.The organization has under Bishop’s stewardship been a leading producer of grand Broadway revivals of Golden Age musicals, and has simultaneously committed itself to nurturing emerging artists by constructing a black box theater for that purpose on its rooftop.“I’m exhilarated and sad at the same time,” Bishop said in an interview. “I will have been here many, many years — almost half my life — and it’s time for someone new and fresh to come in and pick up where I left off and go into other directions and do other things if they want to.”Bishop, 74, said he is choosing to leave at the end of the 2024-25 season because that is when his current contract ends, and because that will allow him to join in that season’s celebrations of Lincoln Center Theater’s 40th anniversary.His decision means that there are job openings for the top positions at three of the four nonprofits with Broadway houses, portending potentially significant change, and uncertainty, in a key sector of the theater industry that has had almost no leadership turnover for decades. Nonprofit theaters, which pay lower artist wages than commercial productions and are funded by philanthropy as well as box office sales, have become an important part of the Broadway ecosystem; Lincoln Center Theater has been able to stage musicals on a larger scale than many commercial producers can afford.On Wednesday, Carole Rothman, the president and artistic director of Second Stage Theater, said that after 45 years she would be leaving that institution, which she co-founded; Second Stage operates the Helen Hayes Theater on Broadway. And Roundabout Theater Company currently has an interim artistic director following the death in April of Todd Haimes, who led that organization for four decades; Roundabout operates three Broadway houses, including the American Airlines, the Stephen Sondheim and Studio 54.Lincoln Center Theater, which is a resident organization at Lincoln Center for the Performing Arts, has three stages of varying sizes, and has produced a wide variety of work. The company currently has an annual budget of $34.5 million and 55 full-time employees; Bishop received $783,191 in total compensation during fiscal 2022, according to an I.R.S. filing.The Vivian Beaumont Theater, where Lincoln Center Theater has staged Broadway revivals of “Camelot,” “South Pacific,” “The King and I” and “My Fair Lady,” is the third-largest stage in New York, after Radio City Music Hall and the Metropolitan Opera; it also features a thrust configuration that is quite rare on Broadway.When asked about the productions he was proudest of he named “The Coast of Utopia,” Tom Stoppard’s trilogy about 19th-century Russian intellectuals, which began running in 2006 and won the 2007 Tony Award for best play. Lincoln Center Theater’s other Tony-winning productions during Bishop’s tenure include “Carousel,” “The Heiress,” “A Delicate Balance,” “Contact,” “Henry IV,” “Awake and Sing,” “South Pacific,” “War Horse,” “The King and I” and “Oslo.”This season Lincoln Center Theater is planning to stage a Broadway revival of “Uncle Vanya,” with a new translation by Heidi Schreck; an Off Broadway production of “The Gardens of Anuncia,” a new musical by Michael John LaChiusa; and an Off Off Broadway production of “Daphne,” a new play by Renae Simone Jarrett. Bishop also plans, before he leaves, to produce new plays by J.T. Rogers and Ayad Akhtar, and a world premiere musical.“I’m proud of the variety of plays and musicals that we’ve done, from young experimental shows to well-known revivals,” Bishop said. He added that the theater is financially healthy and rebounding from the pandemic; although it has had fewer productions since the pandemic shutdown, he said he expected full-strength seasons ahead. “I think the future is glorious — we have an incredible staff and a very strong board and I see nothing but good things ahead.”Bishop arrived at Lincoln Center Theater in 1992 as artistic director, and he became producing artistic director in 2013. He had previously spent 16 years at a smaller Off Broadway nonprofit theater, Playwrights Horizons, where he served as artistic director for a decade.The Lincoln Center Theater board will conduct a search for Bishop’s successor. More