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      A Guide to Theater Festivals in New York and the Berkshires

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      From the Williamstown Theater Festival to New York Stage and Film, theatergoers can experience world premieres, concerts and more.Most summers, as tourists pour into New York City to see theater, New Yorkers pour out to see theater elsewhere. This summer, though, they may do so with extra ardor. As the pandemic lifts, the pent-up demand for live, in-person theater is first being met in the Berkshires and in the mid-Hudson region, where companies are putting up tents, arranging outdoor immersive experiences and welcoming audiences to buildings that have been empty for too long.Some of those companies are old and some new: The Williamstown Theater Festival has been at it since 1955, but Great Barrington Public Theater just started in 2019. Shakespeare & Company, as its name implies, goes heavy on classics — starting July 2, Christopher Lloyd plays King Lear — while Barrington Stage Company focuses on musicals and new plays. For mainstream fare (if “The Importance of Being Earnest,” opening next week, counts as mainstream), look to the Berkshire Theater Group. For something more experimental, try Bard SummerScape or New York Stage and Film.Wherever you go — below, our critics highlight five possibilities — you will still find pandemic precautions in place. (Check each theater’s website for specific safety policies.) Even so, after a dark time, these summer shows and festivals truly offer something to celebrate. JESSE GREENWilliamstown Theater FestivalAudiences have always been drawn to the Williamstown Theater Festival for its artistry, which is strong, and its geography, which is sublime. Tucked amid the Berkshires on the campus of Williams College, in a corner of western Massachusetts that’s just a meander away from Vermont, it seems like the kind of spot that would have an open-air stage or two.In an ordinary summer, no such luck. But this year, Williamstown is taking its slate of world premieres outside.The first stop is the front lawn, where the season starts with “Celebrating the Black Radical Imagination: Nine Solo Plays.” Curated by Robert O’Hara, a current Tony Award nominee for his direction of “Slave Play,” the production offers three separate programs, each made up of three 30-minute plays: by Guadalís Del Carmen, France‑Luce Benson and NSangou Njikam (July 6 to 10); J. Nicole Brooks, Terry Guest and Ike Holter (July 13 to 18); and Charly Evon Simpson, Ngozi Anyanwu and Zora Howard (July 20 to 25).“Row,” a production of the Williamstown Theater Festival, will take place on the grounds of the Clark Art Institute, which a reflecting pool.Tony Cenicola/The New York TimesDown the road at the Clark Art Institute, from July 13 to Aug. 8, the museum’s vast reflecting pool will become the stage for “Row,” Daniel Goldstein and Dawn Landes’s musical, starring the singer-songwriter Grace McLean, part of the original Broadway cast of “Natasha, Pierre & the Great Comet of 1812.” Directed by Tyne Rafaeli, “Row” is inspired by Tori Murden McClure’s memoir, “A Pearl in the Storm,” about rowing solo across the Atlantic Ocean.And from July 20 to Aug. 8 around the town of Williamstown, audiences can experience the immersive performance “Alien/Nation” on foot or by car. The director Michael Arden and his company, the Forest of Arden, who made last summer’s immersive “American Dream Study” in the Hudson Valley, teamed up with the playwrights Jen Silverman and Eric Berryman for this one, which uses local history from 1969 as a starting point. (wtfestival.org) LAURA COLLINS-HUGHESBard SummerScapeThe Frank Loesser musical “The Most Happy Fella” boasts one of the most wondrous scores of the 1950s — a decade filled with stiff competition. The show is packed with songs whose styles are mixed and matched with formidable agility, going from operatic arias to dance romps to jazzy croons and back again.Yet “The Most Happy Fella” is less famous than, say, Loesser’s “Guys and Dolls,” and that might have something to do with what some might generously call its baggage. The middle-aged, homely title character, Tony, an Italian immigrant prone to mangling English, falls for, deceives and eventually wins over a younger waitress. This plot has not aged well.This makes the prospect of the director Daniel Fish’s “Most Happy in Concert” (Aug. 5-7) even more intriguing — especially since his ensemble is made up of seven female and nonbinary performers. (While SummerScape events usually take place on the Bard campus, in Annandale-on-Hudson, N.Y., this year’s productions will be performed at the Stage at Montgomery Place, an outdoor venue in nearby Red Hook.)Daniel Fish’s upcoming “Most Happy in Concert” at Bard SummerScape will feature Mallory Portnoy, third from left above, and Mary Testa, above right. They both appeared in Fish’s “Oklahoma!” production, above, at Bard in 2015, with, from left: Mitch Tebo, James Patrick Davis, John Carlin and Benj Mirman.Lauren Lancaster for The New York TimesOf course, the experimentally minded director has been there and successfully done that already: In 2015, also at Bard, he took “Oklahoma!,” long associated with a certain aw-shucks all-Americanness, and pulled off a “vibrant, essential excavation,” as Ben Brantley put it in his review of the premiere production. The show went on to win the Tony Award for best revival four years later.Now Fish is teaming up again with his “Oklahoma!” musical collaborators, Daniel Kluger and Nathan Koci, and the actresses Mary Testa (Aunt Eller) and Mallory Portnoy (Gertie Cummings), who will sing alongside the likes of the “Toni Stone” star April Matthis and the protean performer Erin Markey. Whether a full production ever happens remains a mystery for now, but the prospect of this director with this cast and this score is enough to light up August. (fishercenter.bard.edu) ELISABETH VINCENTELLIBarrington Stage CompanyLast year, this regional theater in the Berkshires, a proving ground for new musicals, announced a truncated summer season. But state directives meant that its artistic director, Julianne Boyd, had to constrict it even further, moving an indoor show, “Harry Clarke,” outdoors. But summer 2021 promises more shows in more venues, inside and out.Mark H. Dold in last year’s production of “Harry Clarke,” at Barrington Stage Company.Daniel RaderThis season begins, in a tent on the Barrington Stage Campus, with a celebration of the songs of George Gershwin (June 10-July 3). Directed by Boyd, it stars Allison Blackwell, Alan H. Green, Britney Coleman, Jacob Tischler and Alysha Umphress. The tent will also host “Boca” (July 30-Aug. 22), an evening of Jessica Provenz’s short comedies about Florida seniors; as well as concert evenings featuring the Broadway stars Elizabeth Stanley (June 28), Jeff McCarthy (July 24) Joshua Henry (Aug. 16), and the husband-and-wife pair Orfeh and Andy Karl (Aug. 23). The couple, who met in the Broadway adaptation of “Saturday Night Fever” and later appeared together in “Legally Blonde,” call the show “Legally Bound.” Aaron Tveit, a current Tony nominee for “Moulin Rouge! The Musical,” will perform at the theater’s gala.Indoors, the father-and-son Reed and Ephraim Birney star in the lachrymose two-hander “Chester Bailey,” starting on Friday. Harriet Harris then appears in “Eleanor” (July 16-Aug. 1), Mark St. Germain’s one-woman play about Eleanor Roosevelt. And the New Yorker writer Alec Wilkinson adapts his article about the conceptual art project, the Apology Line, into a new play, “Sister Sorry” (Aug. 13-29), directed by Richard Hamburger. (barringtonstageco.org) ALEXIS SOLOSKINew York Stage and FilmTheater is not just what you see when it’s finished, it’s what goes on beforehand. New York Stage and Film, an incubator of works in development, provides that “beforehand”; something called “The Hamilton Mixtape” showed up there in 2013, two years before it opened as “Hamilton” on Broadway.Usually held on the campus of Vassar College in Poughkeepsie, the festival looks a little different this year. The pandemic has pushed its events into various venues around town, and the Black Lives Matter movement has pushed it, like all arts organizations, to rethink programming. The new artistic director, Chris Burney, has responded with a promising slate of work from Black, Latinx and Asian American artists.The big draw, on July 31 and Aug. 1, is Michael R. Jackson’s “White Girl in Danger,” a follow-up to his 2020 Pulitzer Prize winner, “A Strange Loop.” Directed by Lileana Blain-Cruz, “White Girl” is a satire of Lifetime Original-style movies as seen from a Black woman’s perspective, but Jackson’s radically sympathetic worldview suggests more than a little love in the critique.Daveed Diggs, left, and Lin-Manuel Miranda working on “The Hamilton Mixtape” at New York Stage and Film in 2013.Buck Lewis, via New York Stage and FilmJackson is not the only theater artist exploring race and danger in Poughkeepsie this summer. “Mexodus,” a “concept album” created and performed by Brian Quijada and Nygel D. Robinson, is about the thousands of enslaved people who instead of heading north on the Underground Railroad went south to Mexico (July 17 and 24). “South,” by Florencia Iriondo and Luis D’Elias, is a one-woman musical inspired by Iriondo’s experiences as a Latina in the United States (July 23 and 24). And “Interstate,” by Melissa Li and Kit Yan, follows a transgender slam poet and a lesbian singer-songwriter on an eventful cross-country journey (July 25).New York Stage and Film is for artists, yes, but since artists need feedback, it’s for audiences as well. (Most events are “pay what you can.”) Who isn’t it for? Critics. We can go, but can’t review, which makes it a real vacation for everyone. (newyorkstageandfilm.org) JESSE GREENHudson Valley Shakespeare FestivalThe serenity that descends on visitors upon arrival at the Hudson Valley Shakespeare Festival has everything to do with the landscape as seen from the bluff — breathtaking river, low mountains and sky. Never mind the saber-rattling name of the town, Garrison, or the fact that West Point is across the water, barely downstream. These grounds, at the historic Boscobel House and Gardens, are a soothing setting for pre-performance picnics and a gorgeous backdrop to the stage in the open-air tent as sunset turns to night.“As You Like It,” at the Hudson Valley Shakespeare Festival in 2016.T Charles Erickson, via Hudson Valley Shakespeare FestivalStill, it is an area with a particular reverence for the Revolutionary War, which makes the festival’s season opener an enticingly provocative match. “The Most Spectacularly Lamentable Trial of Miz Martha Washington” — directed by Taylor Reynolds and running June 24 to July 30 — is by James Ijames, one of the most exhilarating playwrights the American theater has right now. Set at Mount Vernon as the widowed Martha lies ill, tended to by enslaved people whose freedom is promised as soon as she dies, it is described as a fever dream — and if it’s anywhere near as brilliant as Ijames’s Sally Hemings-Thomas Jefferson satire “TJ Loves Sally 4 Ever,” it could be unmissable.So it’s helpful that both of the festival’s live productions this summer will be filmed for streaming. But if you can, do yourself a favor and go in person. “The Tempest,” directed by Ryan Quinn and running Aug. 5 to Sept. 4, will be the company’s goodbye to Boscobel, its home of 34 years. The theater isn’t going far — just upriver to Philipstown — but if you want to catch that stellar view from the tent, this is last call. (hvshakespeare.org)LAURA COLLINS-HUGHES More

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      Alix Dobkin, Who Sang Songs of Liberation, Dies at 80

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      She broke new ground in 1973 with her album “Lavender Jane Loves Women,” recorded and distributed by women for women, which sketched out a lesbian separatist utopia.Long before K.D. Lang transformed herself from a country artist into an androgyne pop idol and sex symbol, smoldering in a man’s suit on the cover of Vanity Fair being mock-shaved by the supermodel Cindy Crawford; long before Melissa Etheridge sold millions of copies of her 1993 album, “Yes I Am,” and in so doing came out as a gay rock star; and long before the singer-songwriter Jill Sobule’s “I Kissed a Girl” hit the Billboard charts, the folk singer Alix Dobkin chopped her hair off, formed a band and recorded “Lavender Jane Loves Women.”Released in 1973, it was the first album recorded and distributed by women for women — arguably the first lesbian record. Ms. Dobkin started her own label, Women’s Wax Works, to do it.Once a folk star playing Greenwich Village clubs with Bob Dylan and Buffy Sainte-Marie, Ms. Dobkin turned to writing songs like “View From Gay Head” (“Lesbian, Lesbian/Let’s be in No Man’s Land”). Her lyrics sketched out a lesbian separatist utopia and also poked fun at its vernacular and customs, as she did in “Lesbian Code,” which contained lines like “Is she Lithuanian?,” “Is she Lebanese?” and “She’s a member of the church, of the club, of the committee/She sings in the choir.”Her music was the soundtrack for many young women coming out in the 1970s and ’80s, a rite of passage spoofed by Alison Bechdel, the graphic memoirist, in her long-running comic strip, “Dykes to Watch Out For.” (A panel titled “Age 21” showed a young woman with cropped hair and pinwheel eyes, smoking a bong and reading Mary Daly’s “Gyn/Ecology,” another feminist touchstone, as the lyrics from Ms. Dobkin’s “The Woman in Your Life Is You” waft around her, a Lavender Jane album cover propped up in a corner.)“I can’t tell you how cool it was as a young dyke to see those album covers,” said Lisa Vogel, founder of the Michigan Womyn’s Festival, otherwise known as Michfest, where Ms. Dobkin would perform for decades. “To see someone not trying to pass one bit.”Ms. Dobkin died on May 19 at her home in Woodstock, N.Y., after suffering a brain aneurysm and a stroke. She was 80. Her former partner Liza Cowan announced the death.She was a star of the women’s festivals that were an expression of the alternative economy lesbian feminists were building in the ’70s — a byproduct of second-wave feminism — with their own books, publishing companies, record labels and magazines. Michfest was the biggest, an entire city built from scratch each season in Oceana County, complete with health care clinics, crafts, workshops and food for thousands. It was a complete matriarchal society. No men were allowed.When the festivals began in the mid-’70s, there were no safe spaces for lesbians, said Bonnie J. Morris, a historian and archivist of feminist music and the author of “Eden Built by Eves: The Culture of Women’s Music Festivals.” “You weren’t welcome to have a double bed in a hotel; there were no Disney Gay Days. Festivals were a way to get together, share information and recharge.”It was backstage at a women’s festival in 1983 that Ms. Etheridge first met Ms. Dobkin. “She was in the tradition of the classic folk troubadour, changing the world through song and cleverness,” Ms. Etheridge said in an interview.“She made an impact,” she added, “and she did it with humor. Until I heard Alix, I had no idea I would be an out lesbian performer; I just wanted to be a rock star.”“When I told her I was thinking of recording an album, she said, ‘Oh, Melissa, there’s no radio station that’s going to play a lesbian.’ After ‘Yes I Am’ came out — and I came out — she said to me, ‘Damn it, you proved me wrong. I’m so grateful.’”Alix Cecil Dobkin was born on Aug. 16, 1940, in New York City. She was named for an uncle, Cecil Alexander Kunstlich, a womanizing, drug-addicted ne’er-do-well who cleaned up his act and was killed in the Spanish Civil War. Her parents, Martha (Kunstlich) and William Dobkin, were, like many Jewish intellectuals of the time, Communist Party members and social activists. Alix grew up listening to the folk music of Pete Seeger, and Woody Guthrie, as well as the Red Army Chorus and Broadway show tunes, and singing at home with her parents.Ms. Dobkin at her home in Woodstock, N.Y., in 1980.Liza CowanAlix was 16 when the F.B.I. began investigating her. She had joined the Communist Party that year, but her parents had become disillusioned and left; there were too many F.B.I. informants, her father told her later.The F.B.I. followed Ms. Dobkin until she turned 30, noting in her file that she had become a housewife and mother. The file, which Ms. Dobkin retrieved in 1983 under the Freedom of Information Act, proved useful decades later, when she was writing her memoir, “My Red Blood” (2009). It recorded her many addresses and helpful dates, like that of her wedding in 1965, though it had the venue wrong.Ms. Dobkin studied art at the Tyler School of Art and Architecture at Temple University in Philadelphia, earning a bachelor’s degree, with honors, in 1962. A fellow student and Communist Party member was also a booker at a local nightclub, and he began to manage her, often along with a young comic named Bill Cosby. He found the pair regular work at the Gaslight in Greenwich Village, where she met her future husband, Sam Hood, whose parents owned the place, as well as Mr. Dylan and other folk luminaries. When Ms. Dobkin married Mr. Hood, her career as a performer took a back seat to his as a producer. They divorced amicably in 1971, when their daughter, Adrian, was a year old.Like many women in that transitional time, Ms. Dobkin was frustrated by her role as a housewife and had joined a consciousness-raising group. When she heard Germaine Greer, the feminist author of “The Female Eunuch,” interviewed on the countercultural radio station WBAI, it was a revelation. She wrote to Ms. Cowan, a producer at the station who had conducted the interview. Ms. Cowan invited her on the program to perform, and the two women fell in love.After they got together, Ms. Dobkin decided she wanted to make music for and by women only. Ms. Cowan would go on to found lesbian magazines like Dyke, A Quarterly. In the mid-’70s, the couple bought a 70-acre farm in rural Schoharie County, in central New York State — not an easy locale to plunk down a gay family.“I remember being called a ‘hobo’ by the kids in school,” Adrian Hood said, “though they were trying to say ‘homo’. I craved a normal mom with long hair.”Ms. Dobkin in performance in Ulster County, N.Y., in 2017. “She made an impact,” her fellow singer Melissa Etheridge said, “and she did it with humor.”Retts ScauzilloMs. Dobkin’s tour schedule slowed down a bit in the late ’90s, and when Ms. Hood had her own children, Ms. Dobkin took on a new role.“She was a stay-at-home grandma by choice, which allowed me to work full time,” said Ms. Hood, who is dean of students and director of admissions at a day school in Woodstock. “That was a huge gift. She was able to express that everyday maternal attention that she missed with me.”In addition to her daughter, Ms. Dobkin is survived by her brother, Carl; her sister, Julie Dobkin; and three grandchildren. In 2015, a photograph of Ms. Dobkin taken by Ms. Cowan wearing a T-shirt that read “The Future Is Female” exploded on social media, thanks to an Instagram post by @h_e_r_s_t_o_r_y, an account that documents lesbian imagery. It brought the T-shirt, originally made in the 1970s by Labyris Books, the first feminist bookstore in New York City, back into production — and introduced Ms. Dobkin to a new generation of young women.“I’ve prepared all my life for this job,” Ms. Dobkin told the crowd at a women’s music festival in 1997. “Because being a Jew and being a lesbian are very similar. That’s why I look so much alike. I have so much in common. It’s OK to be a Jew, it’s OK to be a lesbian — as long as you don’t mention it. And what we also have in common is that we were never supposed to survive.” More

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      Everything Was Canceled in 2020. What About 2021?

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      From the French Open and the Tokyo Olympics to New York Pride, a look at which global events are canceled, postponed or moving ahead (with altered plans) in 2021.Early last year, as international lockdowns upended daily life, they took with them, one by one, many of the major cultural and sporting events that dot the calendar each year. The N.B.A. suspended its season, the French Open was postponed for several months and the Tokyo Olympics were delayed a year. The future of the Glastonbury Festival and the Coachella Valley Music and Arts Festival were in doubt. It was a bleak time.Recently, as conditions in many places around the world have slowly begun to improve, and as countries have begun mass vaccination campaigns, some events and cultural staples have made plans to return, albeit with modifications. While few events, if any, have plans to go ahead free of restrictions this year, some are taking a hybrid approach. Others remain postponed or canceled.Here’s the status of some of the major events around the world.The Tokyo Olympics are set to start on July 23.Shuji Kajiyama/Associated PressSports: The Olympics are full steam ahead.The Tokyo Olympics, which were delayed for a year because of the coronavirus pandemic, are scheduled to begin on July 23 with an opening ceremony. The bulk of the athletic events will begin the next day. The first round of Wimbledon begins on June 28 and will run through mid-July. Officials said they were working toward a spectator capacity of at least 25 percent.The 125th Boston Marathon, which is usually held in May, is now scheduled for Oct. 11, and the 50th New York City Marathon is set for Nov. 7.The 105th Indianapolis 500 will go on as planned on May 30. Officials will allow about 135,000 spectators in — 40 percent of the venue’s capacity. The event was organized with state and local health officials and was approved by the Marion County Public Health Department, race officials said.The French Open, one of the premier tennis competitions, has been postponed one week to a new start date of May 24. The decision was made in agreement with the authorities in France and the governing bodies of international tennis, said officials, who want the tournament played in front of the largest possible number of fans.Coachella was canceled in 2020, and again in 2021.Amy Harris/Invision, via Associated PressMusic: Coachella and Glastonbury are holding off.The Coachella Valley Music and Arts Festival, which typically draws big headliners like Beyoncé and is an annual pilgrimage for the more than 100,000 fans who trek to Southern California, is canceled again this year.In January, organizers for the Glastonbury Festival said it would not take place this summer.The Essence Festival of Culture, which usually draws more than a half million people to New Orleans over the Fourth of July weekend every year, will host a hybrid experience this year over two weekends: June 25-27 and July 2-4.Headliners like Billie Eilish, Post Malone and ASAP Rocky will take the stage at the Governors Ball Music Festival, which is scheduled for Sept. 24-26 at Citi Field in Queens. Organizers say the event will return to its typical June dates in 2022.Burning Man, the annual countercultural arts event that typically draws tens of thousands of people to Black Rock Desert in Nevada, has been canceled again this year because of the pandemic. It will return in 2022, organizers said.After being canceled last year, the Austin City Limits Music Festival, the event in the capital of Texas, is scheduled to return to Zilker Park on Oct. 1-3 and Oct. 8-10.Lady Gaga at the Met Gala in 2019. The event this year is scheduled for September.Karsten Moran for The New York TimesCultural events: Broadway is coming back.A delayed 2021 Met Gala, the annual benefit at the Metropolitan Museum that draws scores of celebrities and fashion-industry elites, will happen on Sept. 13. A second event is scheduled for May 2022.NYC Pride 2021 will move forward in June with virtual and in-person events. The Pride March, which was canceled last year, will be virtual this time. (San Francisco Pride, also in June, is planning similar adjustments, while Atlanta Pride is planning to hold an in-person event in October.)The Lucerne Festival, which offers a range of events featuring classical orchestras, ensembles and more in Switzerland, will run from Aug. 10. In order to keep concertgoers safe, organizers said events will not have intermissions and its venue will have a limited number of available seats. Similarly, the Salzburg Festival in Austria kicks off in mid-July with modifications.The Edinburgh International Festival, a showcase for world theater, dance and music in the Scottish city since 1947, will run Aug. 7-29. Performances will take place in temporary outdoor pavilions with covered stages and socially distanced seating.E3, one of the video game industry’s most popular conventions where developers showcase the latest news and games, will be virtual this year from June 12-15.The New York International Auto Show, which showcases the newest and latest automobiles from dozens of brands, will run Aug. 20-29. The event last year was postponed and eventually canceled because of the pandemic.The Cannes Film Festival in the South of France, one of the movie industry’s most revered and celebrated events, has been postponed to July 6-17 from mid-May. The 2021 edition of the event, which was canceled last year, is currently scheduled to be in person.After more than a year of no theater performances, Broadway shows will start selling tickets for full-capacity shows with some performances starting on Sept. 14. (Some West End shows will resume as early as May 17.)After being virtual last year, New York Comic-Con will return with a physical event Oct. 7-10 at the Jacob K. Javits Convention Center in Manhattan. The convention will run at reduced capacity to ensure social distancing, organizers said. This year’s Comic-Con International event, which is normally held in July in San Diego, has been postponed until summer 2022. There are plans for a smaller event called Comic-Con Special Edition however, that will be held in person in November. More

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      Testing, One, Two. Fans Flock to an Experimental Indoor Rock Concert.

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      An organizer said this Barcelona event, one of several planned in Europe, was “a small but important step toward normality.” The listeners there basked in being part of an audience again.BARCELONA, Spain — Mireia Serret, a 21-year old student at the University of Barcelona, said that she was not a big fan of the band that played here on Saturday, nor does she normally like large crowds.Nevertheless, Serret had snapped up one of the 5,000 tickets to Europe’s biggest indoor rock concert since the start of the pandemic because “it had just been too long since I was last able to dance and have fun at a concert.”Organized by a group of Spanish music promoters as part of an initiative called “Festivals for Safe Culture,” the concert in the Palau de Sant Jordi was presented as Europe’s boldest effort to get thousands into an indoor venue, without seating or mandatory social distancing. The sole act was Love of Lesbian, a Spanish indie rock band, which formed before Serret was born. “For me, this isn’t about whether I really like their music, but about being able to feel and live their music, right next to so many other people,” Serret said.The sole act was Love of Lesbian, a Spanish indie rock band.Albert Gea/ReutersTrial concert or festival events have been held in several European countries, including in Germany and the Netherlands, as part of efforts to allow crowds to form again to see live music. The British government will also run a series of test events next month, including one at a nightclub in Liverpool, also without requiring social distancing.Europe’s famed summer music festivals, which draw tens of thousands of fans to open outdoor spaces, are in doubt this year despite the tests. Several major festivals have already canceled their June lineups, including Rock am Ring at the Nürburgring racetrack in Germany and Sonar festival in Barcelona. Sonar’s management pushed their flagship festival to 2022 and is planning two smaller events in October. Still, Roskilde, Denmark’s biggest, hopes to go on in June with acts including the rapper Kendrick Lamar. The Danish government said last week that it aims to restart pop concerts from May 6 onward with the help of a “corona passport” that will allow people to show their status of vaccination, proof of recent negative tests for the virus or documentation they have recovered from Covid-19.At a time when countries like France and Italy have recently put their residents back under lockdown to help stop another wave of infection, the people behind the Barcelona event said their goal was to look ahead.Albert Gea/ReutersLluis Gene/Agence France-Presse — Getty ImagesOne of the organizers, Ventura Barba, the executive director of the Sonar festival, said in an interview that Saturday’s concert was “a small but important step toward normality.” Barba forecast that the Barcelona concert would break even, but he stressed that it was “not a commercial project,” nor could it be replicated for festivals that operate over several days and with other financial constraints. Ticket sales accounted for 36 percent of the Barcelona concert’s budget of about €250,000, with 30 percent covered by public authorities, 24 percent from private sponsors and 10 percent from the promoters themselves.A hospital team helped test the concertgoers for Covid-19 before the event, using as their model a smaller concert last December in another Barcelona venue, the Sala Apolo. At the Apolo, the audience of 500 people was tested before the show, as well as another 500 people who acted as a control group, and everybody got tested again eight days later. The Apolo’s concertgoers all tested negative, while two people in the control group tested positive, according to Josep Maria Llibre, a specialist in infectious diseases from the Germans Trias i Pujol hospital northeast of Barcelona who is also monitoring the Palau concert.Ahead of Saturday’s concert, six people tested positive, according to the organizers. However, the medical team is using neither a control group nor postconcert testing, relying instead on public medical records to track whether any concertgoers will later get Covid-19.Dr. Llibre said the decision was made both for financial and practical reasons. He acknowledged in an interview that the tracking method used Saturday would be less accurate than that used at the Apolo, but he argued it could still help show that a safely-organized concert “is not a super-spreading event,” contrary to what some might presume. “In the case of concerts, there has been very little or no data, but it has been empirically assumed that it is a very high risk to have people dancing together,” he said.The Palau can welcome 17,000 people, but the 5,000 ticketholders were not allowed into its stands and instead were kept divided within three areas of the dance floor, while having to wear FFP2 face masks (the European standard) provided by the organizers.Healthcare workers prepare to collect swab samples from concertgoers before the show.Albert Gea/ReutersOn Saturday, some concertgoers said they felt fully reassured by the safety protocols, but a few others said they had briefly hesitated before going.“If I had not been vaccinated already, I really would have thought twice about coming here,” said Cristina Delgado, a doctor. But Ana, her sister, who was also vaccinated because she works in health care, felt differently. “I was going to come whatever, because I want to save culture and return us to normal life,” she said.Inés Villasuso, a 24-year old nurse, also said that “it would have been better to get everybody tested again later, to have scientific evidence that can really convince the authorities that such a big event can be held safely.” But she and her twin sister, Eva, agreed that the concert outstripped their expectations. “It felt like living a total dream,” Eva said.In an interview before the concert, Julián Saldarriaga, a member of Love of Lesbian, said that the band’s decision to perform had received very broad support, but also generated “some criticism, from people who have called us irresponsible or who say that we only care about money.” But for his band, he said, “we really saw this as an opportunity to take part in the recovery of culture.”Rather than featuring a supporting act, the concert was preceded by a series of videos about Covid-19, shown on the big stage screen and interspersed with hits from the distant past — like “Come Together” and “Here Comes the Sun,” by The Beatles — whose themes warmed up the crowd.To comply with the safety protocols, on Saturday, concertgoers visited one of three smaller Barcelona music venues to get a rapid antigen test for Covid-19. The cost was included in the €23 ticket price.Christiana Guldager, a photographer, said that she cried before her test at the Razzmatazz nightclub. “I’ve been dancing so often in that place that it made me feel very emotional to find it instead converted into a mini-hospital,” she said.Santi Balmes, the lead singer, invited the crowd to deliver the chorus of a song. Lluis Gene/Agence France-Presse — Getty ImagesLater that night in the Palau, emotions also ran high. The dance floor was lit up by cellphones as well as white face masks. When Santi Balmes, the lead singer, invited the crowd to deliver the chorus of a song, he got a powerful response. “Woohoo, you still remember how to sing!” Balmes shouted back. As he brought the concert to a close, Balmes told the crowd, “the band is not important: What is important is the experience and the experience is incredible.”Pablo García, 27, an illustrator, agreed. “Of course I never stopped listening to music, but you really need to be at a concert to feel the bass right inside your heart.”Alex Marshall contributed reporting from London. More

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      A Movie Festival for One, on a Tiny Nordic Island

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      #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyA Movie Festival for One, on a Tiny Nordic IslandSweden’s Goteborg Film Festival has taken social distancing to the extreme, offering one attendee a week on a barren island, with only the competition films for company.Lisa Enroth, an emergency nurse, will spend a week in an isolated lighthouse keeper’s cottage, watching the 70 movies in competition at the Goteborg Film Festival.Credit…Ines Sebalj for The New York TimesFeb. 1, 2021As they do at the opening of any star-studded film festival, photographers scrambled for position, training their lenses on the spot where audience members would alight. But when the first — and only — guest of honor arrived, she was clad not in a tuxedo or sparkly gown, but in jeans and an orange puffer jacket (designer unknown). There was no red carpet beneath her feet, only bare frozen ground. And instead of sauntering into a plush cinema buzzing with celebrities, she climbed into a speedboat and zipped off across the frigid water to a tiny island where she would settle in for the first premiere.As festivals around the world grapple with the pandemic, the Goteborg Film Festival, which opened in Sweden’s second largest city on Jan. 29, hasn’t so much accepted social distancing as escalated it. Over the course of the coming week, it will hold screenings in two urban venues for just one festival attendee. And it has also sent a single viewer to a tiny, barren island in the North Atlantic to watch the 70 films in competition — alone.Hamneskar, a rocky outcrop some 25 miles from Goteborg, was nicknamed Pater Noster by sailors who would recite the Lord’s Prayer as they neared its treacherous waters.Credit…Ines Sebalj for The New York TimesSome festivals, like Venice’s in September, have faced the pandemic as diminished versions of their normally glitzy selves, with alternately seated theaters and mandatory temperature checks. Others, like Sundance and the Berlinale, now pushed until March 2021, have gone entirely digital, offering streaming access to films and other events. Some organizers are postponing their festivals, crossing their fingers that further down the line pandemic regulations will allow for a more usual festival experience: On Jan. 27, the Cannes festival announced that it would take place in July, rather than its customary May.But at Goteborg, the Nordic countries’ most important festival, organizers have made an unusual virtue of necessity. “So many people who have been home alone, unable to meet friends or family, have turned to cinema for company and comfort,” said the festival’s artistic director, Jonas Holmberg. “We wanted to experiment with that, to isolate that feeling, and take it to the extreme. So we thought, ‘Why don’t we isolate the person on a small island with nothing but films?’”As the only country in Europe to resist a formal lockdown, Sweden has followed its own path through the pandemic, neither recommending mask use nor shutting down schools until December, when a disproportionately high mortality rate from the disease forced it to change strategy.But much of the country has complied with guidelines issued by the government, and after months of even voluntary social distancing and lockdowns, a wintry week alone on an island with only movies for company might seem the last thing most people would need. Yet when an evocative online video announced the contest, over 12,000 people applied for the solo experience. On Jan. 19, the festival selected Lisa Enroth, a 41-year-old emergency nurse from the town of Skovde, in southern Sweden, as the winner.Some of the films Lisa Enroth will have the opportunity to see while on Pater Noster, from left: “Tove,” “Conference” (a film from the Social Distances section), “The Conversations of Donkey and Rabbit” (a short film from the Lockdown Cinema section), “Pleasure,” “Incredible Thoughts of a Woman on a Tier” (a short film from the Lockdown Cinema section) and “Another Round.”Credit…via Goteborg Film Festival Like health care workers everywhere, Enroth has found the past several months stressful. “Every day at the hospital we’ve been dealing with so much,” she said. “With all the patients, and all the new protocols, I’ve never felt so unisolated in my life.”So when she saw the video’s call for applications, she didn’t hesitate. “Alone in nature, on an island? Plus movies? I was like, ‘Yes, I need this.’”The hospital agreed to give Enroth time off (“My boss is a movie buff,” she explained) and on Jan. 30, a boat brought her to Hamneskar, a rocky outcrop some 25 miles from Goteborg that was nicknamed Pater Noster by sailors who would recite the Lord’s Prayer as they neared its treacherous waters. There, she took up residence in the former keeper’s cottage that sits aside the island’s cast-iron lighthouse, and settled in for the movie marathon.During her time on Pater Noster, Enroth will have access to the 70 films screening at the festival, which include the Finnish Oscar contender “Tove,” Thomas Vinterberg’s acclaimed “Another Round” and the Goteborg native Ninja Thyberg’s “Pleasure,” all of which are competing for best Nordic film. International films in competition include Emma Dante’s “The Macaluso Sisters,” set in Sicily, and Charlène Favier’s “Slalom,” about elite downhill skiers abused by their coach. There is also a separate section, called Social Distances, featuring films created in response to the pandemic, and one called Lockdown Cinema for short films made in quarantine.Streamed through the festival’s website and available to the public, all of the films have scheduled premiere times online. But a handful of viewers are also having their own unusually isolated encounters with them. Coinciding with each online premiere, the films will also screen at Goteborg’s Draken movie theater (capacity 708) and the Scandinavium arena (whose 12,000 seats normally host concert goers or hockey fans) for a single viewer who has won a seat through a raffle.A screening for one (in this case, Lova Lakso) at the Draken movie theater in Goteborg.Credit…Ines Sebalj for The New York TimesAt each venue a red carpet leads the viewer to the assigned seat. And although popcorn is not available, other enjoyments may be. “In some cases,” hints the festival director Holmberg, “it may be possible the filmmaker will be there to present the film.”By staging one-person viewings in iconic locations, Holmberg hopes to preserve some of the sense of occasion that an in-person festival generates. But here again, the festival organizers are experimenting. “We want to see, how does being alone affect the film experience? What happens when you’re doing nothing besides watching the film?” he said.Although she will post a daily video diary on a dedicated page of the festival website, Enroth has agreed to eschew all other forms of communication and entertainment — no phone, no books — during her time on Pater Noster. She said that she wasn’t worried about getting lonely, but didn’t rule out the possibility she may “start talking to the furniture.” And, like Holmberg, she was also interested to see how her week on the island changes the experience of watching films. “The first day, it’s just ‘Oh, I’m alone, watching a movie.’ But a few days in, I might be like, ‘OK, these people are my only company. What if I hate them?’” she said.But for the self-professed science fiction fan (her favorite movie is “The Never Ending Story”), even that will be a welcome escape. “I love watching movies, because it makes me let go of work and everything else that’s going on right now,” Enroth said. “It’ll be great to be surrounded by someone else’s reality.”“Alone in nature, on an island? Plus movies?” said Enroth. “I was like, ‘Yes, I need this.’”Credit…Erik Nissen JohansenAdvertisementContinue reading the main story More

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      Sundance Film Festival Forges Ahead, Led With 'Warrior Spirit'

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      #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixTabitha Jackson became director of the Sundance Film Festival early last year.Credit…George Etheredge for The New York TimesSkip to contentSkip to site indexWith ‘Warrior Spirit,’ a New Leader Pushes Sundance ForwardSince taking over as the film festival’s director, Tabitha Jackson has had to figure out how to hold a cinema showcase during a pandemic. Her virtual solution starts Thursday.Tabitha Jackson became director of the Sundance Film Festival early last year.Credit…George Etheredge for The New York TimesSupported byContinue reading the main storyJan. 27, 2021Updated 2:28 p.m. ETShortly after Donald J. Trump’s inauguration in January 2017, Tabitha Jackson, then the director of the Sundance Institute’s Documentary Film Program, was hosting the annual opening reception for documentary filmmakers at the festival in Park City, Utah. The British Ms. Jackson, who is mixed race and gay, took the stage, knowing many in the audience were unsettled by what had happened and what was ahead.She struggled to find the words to convey what people were feeling. Instead, in a reverse Samson moment, she asked the filmmaker Sandi Dubowski (“Trembling Before G-d”) to start chopping off her dreadlocks, which she had been growing for 20 years. The crowd went wild.“It was a release of energy,” she said in a recent interview. “A nonverbal expression of something needing to change around me leading this program and around us as a community. A little warrior spirit and also a slight howl, since we didn’t know what was going to come.”Ms. Jackson, 50, now finds herself as a leader in another moment of wider uncertainty. She took over as the director of the Sundance Film Festival in February, right before the pandemic truly took hold in the United States, and has spent the past year pivoting over and over again in order to get ready for the 37th edition of the independent cinema showcase.Set to begin Thursday in a mostly virtual setting (in-person screenings will happen in some art-house theaters in 28 cities with lower virus numbers like Atlanta, Houston and Memphis), Sundance 2021 is a lofty experiment. It will allow those who have never been able to share in the snowy ski-town extravaganza — because of either cost or the remote location — to experience it for the first time. With screening times set for each film, and live question-and-answer sessions to follow, Ms. Jackson and her team are trying to recreate the unique energy of Sundance, which has been the premier destination of American independent film for close to four decades.“It was initially depressing when we realized we couldn’t put on the festival in the way we had before,” Ms. Jackson said. “But as we began to plan, it became liberating when we thought, ‘Well, what can we do this year that we couldn’t do before?’”Ms. Jackson received roars of approval when she asked the filmmaker Sandi Dubowski to cut off her dreadlocks at the 2017 festival, when she led Sundance’s documentary program.Credit…Daniel Boczarski/Getty Images for Sundance Film FestivalThe decision to not hold the festival in Utah was made in June. But the organization had to change direction yet again in December when rising coronavirus numbers in California prompted the cancellation of a large number of drive-in screenings that had been set for the Rose Bowl.“It’s been a roller-coaster ride, but the rails that are keeping us stable and secure are our purpose around independent filmmaking,” Ms. Jackson said. “We know why we are doing this.”Ms. Jackson joined Sundance in 2013, after spending more than 20 years in London working for the BBC and Channel 4 and producing works like Nick Cave’s “20,000 Days on Earth,” a quasi-documentary that purported to show a singular day in the indie musician’s life, one filled with invented events filmed at fictitious locations.Those who know her often describe Ms. Jackson as curious, open and possessed of a quick wit. She is also committed to helping filmmakers.“She could actually host one of the top late-night talk shows, she’s that funny and witty,” said Diane Weyermann, chief content officer at Participant and a former director of the Sundance documentary program. This year, Participant will debut two films at Sundance: the documentary “My Name Is Pauli Murray” about a nonbinary Black lawyer, activist and poet who influenced both Ruth Bader Ginsburg and Thurgood Marshall, and “Judas and the Black Messiah,” the Warner Bros. film that chronicles the story of Fred Hampton, the chairman of the Illinois Black Panther Party.The documentarian Davis Guggenheim (“An Inconvenient Truth”) is bringing three films to the festival with his Concordia Studio. He said Ms. Jackson was bringing welcome change to an institution that had not evolved much over the decades.“I like that it’s no longer just a festival for the few — the few people who could go, the few people who could get tickets,” he said. “It’s a brave new world, and she’s being brave.”When she took over the documentary program, Ms. Jackson recognized that she did not want the genre to become “the preserve of the elite,” open only to those who could spend years raising money and making films.Sly Stone in the opening-night film, “Summer of Soul (… Or, When the Revolution Could Not Be Televised),” a documentary about the 1969 Harlem Cultural Festival.Credit…Mass Distraction MediaIn 2015, Ms. Jackson conducted a question-and-answer session with the first-time filmmaker Nanfu Wang in front of a slew of investors. Ms. Wang was looking for funds to complete her film “Hooligan Sparrow,” which follows activists protesting the case of six elementary-school girls who were sexually abused by their principal in China. Ms. Wang had been forced to film surreptitiously and smuggle the footage out of the country in order to complete the movie.Normally, filmmakers have a producer on hand to address the financial needs of their project, but since Ms. Wang didn’t have one, Ms. Jackson led the Q. and A. in order to introduce her to the proper financiers. The discussion led to her receiving the funds she needed to finish the work. Ms. Wang will debut her fourth feature documentary, “In the Same Breath,” which tracks the spread of Covid-19 from Wuhan, China, to the United States, at this year’s festival.“Tabitha speaks like a philosopher,” Ms. Wang said. “I felt like she saw me, not only because I was making this film about the Chinese human rights activists, but she cared as much about my background and how I became who I am today.”That ethos to try to give voice to those not always permitted to participate is personal to Ms. Jackson. A mixed-race girl adopted by white parents who later divorced, Ms. Jackson was raised in a village in rural England and learned to move between groups.“I’ve come to enjoy inhabiting the edge of things, the in-between space,” she said upon receiving an industry award in 2018. “What began as a survival mechanism is now my most comfortable place.”The programming of this year’s truncated seven-day festival illustrates those in-between places. With 72 features, down from the usual 120, Sundance will highlight movies from a diverse group of creators: 50 percent are female directors, 51 percent are filmmakers of color, 15 percent are directors who identify as L.G.B.T.Q., and 4 percent are nonbinary.“Passing,” starring Ruth Negga, left, and Tessa Thompson, is one of the more anticipated films that will debut at Sundance.Credit…Eduard GrauThe opening-night film comes from Ahmir Thompson, the Roots drummer known as Questlove. Titled “Summer of Soul (… Or, When the Revolution Could Not Be Televised),” it is a documentary that tracks the 1969 Harlem Cultural Festival, an event held to celebrate African-American music that happened the same summer as Woodstock.“Twenty minutes after Tabitha saw the film, she said not only do we want the film, we want it for the opening night and we want it for the U.S. competition,” a producer, Jon Kamen, said. “Usually, you don’t know right away. Usually, it’s all a little wishy-washy.”Ms. Jackson said she and her team, led by the director of programming, Kim Yutani, had to re-pitch the festival to many creators who were wary that the virtual environment wouldn’t be a great way to debut their work. One person they didn’t have to convince was the producer Nina Yang Bongiovi, who with her partner Forest Whitaker has had movies in competition at Sundance five out of the last seven years.They will be there this year with “Passing,” from the actress-turned-first-time-director Rebecca Hall. The film, set in 1920 and starring Tessa Thompson and Ruth Negga, tracks the story of two African-American women who can “pass” as white.“When I looked at the screen and saw Tabitha and Kim — two inclusive, diverse women — telling me and my team that our film is loved and embraced and to please come be a part of this, that meant a lot,” Ms. Yang Bongiovi said of the Zoom call when the film was accepted.“I like that it’s no longer just a festival for the few,” one filmmaker said of Ms. Jackson’s leadership.Credit…George Etheredge for The New York TimesDespite the challenges of the past year, there have been some benefits. Ms. Jackson has been able to quarantine for most of the time in Connecticut with the documentary filmmaker Kirsten Johnson (“Dick Johnson Is Dead”), whom she married last year at Sundance, on the first day of the festival. They recently bought a home with the filmmaker Ira Sachs and the artist Boris Torres, who co-parent Ms. Johnson’s 9-year old twins.That has given Ms. Johnson a ringside seat to Ms. Jackson’s process.“What’s interesting about Tabitha is she has so many perspectives given where she comes from and what her life is,” Ms. Johnson said. “She is endlessly curious about the permutations of racism around the world and the ways we struggle with identity. I think there is a real sense of how do we keep pushing for this new landscape and not be blinded by simple solutions.”AdvertisementContinue reading the main story More

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      Glastonbury Festival Canceled for a Second Year Due to Pandemic

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      Sincere, Outdoorsy, Trippy, a Music Festival Breathes Los Angeles

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