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    ‘Moonlight’ Writer Tarell Alvin McCraney to Lead Geffen Playhouse

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    The prominent Los Angeles nonprofit chose the playwright to oversee its artistic programming at a time of crisis for American theaters.Tarell Alvin McCraney, an acclaimed playwright who won an Oscar for writing the story that became the 2016 film “Moonlight,” has been named the next artistic director of the Geffen Playhouse, a prominent nonprofit theater in Los Angeles.The Geffen, like many regional theaters in the United States, has been hit by a downturn in the field — as of this spring, its subscriptions were 40 percent below prepandemic levels. But it was among the more innovative theater companies when theaters were closed during the pandemic, producing some popular virtual shows, and it is now in better shape than many.McCraney, 42, said he was fully aware of the crisis facing the field, which he said was the impetus for him to decide to step into leadership.“We’re at a place where, if I really love this, if I really want to effect change, I have to get in,” he said. “I can’t just sit on the sidelines. Across entertainment and across the arts there is a strong shift for everybody. Everybody is feeling this new something — that something else is coming — and I could wade through it, or I could be helpful by being in leadership.”McCraney, an important figure in the American theatrical landscape, won a so-called genius grant from the MacArthur Foundation in 2013, and he recently wrapped up six years as chairman of the influential playwriting program at Yale’s David Geffen School of Drama. He is also a member of the ensemble at Steppenwolf Theater Company in Chicago, and an associate artist at the Royal Shakespeare Company in Britain.His play “Choir Boy,” about a gay adolescent at an elite prep school, was staged on Broadway in 2019 and has been performed in theaters around the country, including at the Geffen. Among his other plays are “The Brothers Size” (a part of his “Brother/Sister Plays” trilogy), which has been discussed for a possible Broadway production, and “Head of Passes.”“Moonlight” was adapted from a script McCraney wrote called “In Moonlight Black Boys Look Blue”; in 2017 he and Barry Jenkins shared the Academy Award for adapted screenplay.McCraney said he would keep writing his own work, for the Geffen and for other theaters, even as he assumes this new role, in which he will choose the productions staged at the Geffen and oversee their artistic development.Stepping into a leadership role, he added, is not as much of a swerve as it might seem. “It’s been something that’s been with me for a long time,” he said. “As a young person in Miami, I always imagined I would run the Coconut Grove Playhouse, which has been shuttered for years.”The Geffen, founded in 1995, has two stages — the 512-seat Gil Cates Theater and the 149-seat Audrey Skirball Kenis Theater. The Geffen has 45 full-time staffers (and another 150 part-timers) and a $12 million annual budget. McCraney succeeds Matt Shakman as artistic director; Gil Cates Jr., whose father founded the theater, serves as its executive director and chief executive.McCraney currently lives in Miami, which is where he grew up; he said he would relocate to Los Angeles. He has worked in Los Angeles, not only on “Moonlight,” but also in the writers room for the television show “David Makes Man,” and for a variety of other projects, including a production of “Head of Passes” at the neighboring Center Theater Group.“Los Angeles is a city that is reminiscent of Miami,” he said, “and it has a theater scene that is often thought of as secondary, but I always thought it had a rich community of artists who were hybrid, and that’s exciting for me to connect to folks who have those multi-hyphenate careers.”Building stronger relationships with U.C.L.A., which is across the street from the Geffen, will be among his priorities, he said, as well as nourishing playwrights in a way that he felt nourished by nonprofit theaters early in his career.“We don’t necessarily take care of our artists,” he said. “I want to be more intentional about that.” More

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      Why Some Black Playwrights Are Saying Their Shows Must Not Go On

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      Several Black playwrights have canceled productions of their works, in some cases after performances started, because of concerns about conditions at the theaters presenting them.In Ohio, the playwright Charly Evon Simpson scuttled last month’s planned Cleveland Play House production of her latest work, “I’m Back Now,” after the director said that the theater had mishandled an actor’s report that she was sexually assaulted at the building where the theater housed artists.In Chicago, Erika Dickerson-Despenza forced Victory Gardens Theater to stop its production of “cullud wattah,” her Flint water crisis-prompted family drama, in the middle of its run last summer to protest actions that included the ouster of the theater’s artistic director.And in Los Angeles, Dominique Morisseau shut down a Geffen Playhouse production of her play “Paradise Blue” a week after its opening in late 2021, saying that Black women who worked on the show had been “verbally abused and diminished.”The steps by playwrights to halt productions of their own work reflects concerns by Black artists frustrated by what they see as a failure of theater administrators to live up to the lofty promises made during and after the spring of 2020, when George Floyd’s death at the hands of Minneapolis police prompted nationwide protests and calls for change in many corners of American society, including the arts. In theater, an anonymously-led coalition of artists, known by the title of its first statement, “We See You, White American Theater,” circulated a widely read set of demands for change.“We don’t want to be pulling our plays — we are playwrights, we want our plays to be done, we are walking away from money, and we are walking away from seeing our work onstage,” Morisseau said. “But this is not an ego act and it is not a diva act. What we are doing is standing up when no one else will.”The cancellations have come just as theaters have been trying to reopen and rebuild following the lengthy pandemic shutdown.There has been notable change to address concerns about diversity and representation: An increase in the number of plays by Black writers staged on Broadway and beyond; a wave of appointments of administrators of color to high-level theater industry positions; the renaming of two Broadway houses after Black performers (James Earl Jones and Lena Horne).More on N.Y.C. Theater, Music and Dance This SpringMusical Revivals: Why do the worst characters in musicals get the best tunes? In upcoming revivals, world leaders both real and mythical get an image makeover they may not deserve, our critic writes.Rising Stars: These actors turned playwrights all excavate memories and meaning from their lives in creating these four shows, which arrive in New York in the coming months.Gustavo Dudamel: The New York Philharmonic’s new music director, will conduct Mahler’s Ninth Symphony in May. It will be one of the hottest tickets in town.Feeling the Buzz: “Bob Fosse’s Dancin’” is back on Broadway. Its stars? An eclectic cast of dancers who are anything but machines.But the cancellations reflect recurrent concern about conditions in the industry. There is pain all around — although actors are often still paid, the playwrights can lose fees and the theaters lose box office revenue and sunk production costs. And there are reputational risks: Will theaters still want to hire these artists? Will artists still want to work at these theaters?“It’s damaging to the theaters, it’s damaging to the playwrights, and it’s damaging to all the artists involved, but it puts a spotlight on issues that need a spotlight, and I hope it’s catching the field’s attention and reminding us that we haven’t solved all the problems,” said Sheldon Epps, a senior artistic adviser at Ford’s Theater in Washington, the former artistic director of the Pasadena Playhouse, and the author of a new memoir, “My Own Directions: A Black Man’s Journey in the American Theater.” “We had all those conversations and all those conference calls, and the talk was valuable but clearly a lot more action is needed.”The playwright Jeremy O. Harris threatened to pull “Slave Play” from the Center Theater Group in Los Angeles to protest its dearth of works by women. After they agreed to stage more, the play, starring Antoinette Crowe-Legacy and Paul Alexander Nolan, went on.Craig SchwartzThese cancellations began in October of 2021, when Jeremy O. Harris posted on Twitter an email he had sent to the Center Theater Group of Los Angeles, saying he wanted to “begin the process” of canceling that theater’s production of “Slave Play,” his acclaimed drama about interracial relationships. The Los Angeles production was to be the first since a pair of buzzy Broadway runs, but Harris was upset that the theater had announced a season with just one work by a woman.The reaction was immediate. The company apologized publicly, and within a week had pledged that the following season at its Mark Taper Forum would feature only work by women or nonbinary playwrights. Harris then allowed “Slave Play” to proceed; the production became the best-selling show at the Taper since the pandemic shutdown.“We have nothing to lose by telling a theater that we don’t want to be their mascots any longer,” Harris said.“Here’s the thing: writing a play is an act of community service, and even in pulling the play you are doing an act of community service — that is theater as well, because the conversation that gets sparked is similar to the conversation sparked by doing the play,” he added. “The only cost is to the ego of theater administrators who have dropped the ball in upholding the politics of the playwrights they’ve programmed.”Harris ultimately praised the Center Theater Group for its responsiveness, and Meghan Pressman, the theater’s managing director and chief executive, said she was “grateful” for Harris’s confrontation, even though it was difficult.“We’re being called to task, and we learned a lot,” she said. Morisseau was next, pulling the rights for “Paradise Blue” from the Geffen. The precipitating incident has never been made public, but Morisseau said at the time that “Harm happened internally within the creative team, when fellow artists were allowed to behave disrespectfully.” The Geffen apologized, saying, “an incident between members of the production was brought to our attention and we did not respond decisively in addressing it.”In an interview, Morisseau said she considered pulling her play a last resort.“I felt there was nothing else for me to do,” she said.And why have there been several cancellations in recent months? “I think what you’re seeing is a failure of institutions and institutional leadership to take seriously the harms against Black women,” Morisseau said. “It’s nothing new to us, but it is very disappointing to experience it in a theater ecosystem that we all seek to be better. You can’t welcome us and our stories, and not welcome the people who tell our stories and the bodies on whom our stories are told.”Playwrights, unlike screenwriters, have enormous power over the use of their work, sometimes by virtue of their contracts, and sometimes by virtue of the nature of their relationships with regional theaters.Prepandemic, there were occasional instances of playwrights exercising such rights for a variety of reasons. In 2016, Penelope Skinner withdrew a Chicago theater’s right to stage her dark comedy, “The Village Bike,” after a news report detailed allegations that the theater’s leader had mistreated performers; in 2012, Bruce Norris withdrew a German theater’s right to stage his Pulitzer Prize-winning race-relations satire, “Clybourne Park,” because he was angry about plans to cast a white actor to play a Black character; and in the 1980s, several playwrights canceled productions because of a union dispute.“We encourage authors to exercise all of their contractual rights to the extent possible,” said Ralph Sevush, the executive director of business affairs at the Dramatists Guild of America, an association representing playwrights.For the affected theaters, the cancellations have been disruptive — in each case, tickets had already been sold. Victory Gardens, which was already imploding when “cullud wattah” was pulled, has since stopped producing shows; the Cleveland Play House and Geffen Playhouse both issued apologies.“Cleveland Play House acknowledges there were missteps in efforts to respond to a sexual assault,” that organization said in a statement last month.The financial implications vary from case to case. Morisseau said that, when “Paradise Blue” was canceled, “Every artist got paid through their contracts. I, as the writer, and the Geffen, as the institution, are the only ones who took any financial hit.” David Levy, a spokesman for the labor union Actors’ Equity Association, said that “Every Equity agreement anticipates worst case scenarios in which a production is canceled before the full run of the show is completed. When that happens, the union does our part to enforce the contract so that actors and stage managers are taken care of.” In Cleveland, the union filed grievances that led to payment to its members for the canceled show there.The current round of cancellations is directly tied to the racial reckoning that has roiled theaters over the last three years; there have been a wide array of calls for change, from term limits for industry leaders and more diverse creative teams sought by the We See You petitions, to the renaming of theaters and the use of racial sensitivity coaches won in a pact negotiated by the organization Black Theater United.Black artists have cited the issues that propelled those movements in describing their current concerns. In Chicago, Dickerson-Despenza pulled the rights to her play after the dismissal of the theater’s artistic director, Ken-Matt Martin, who was one of three Black leaders in top positions at Victory Gardens. At the time Dickerson-Despenza decried the “white supremacist capitalist patriarchal values” of the board. On Wednesday, the board issued a statement saying, “Victory Gardens Theater vehemently disagrees with the characterization,” noting that it had had a diverse staff and board, and adding that “it is our hope that, rather than jumping to conclusions and casting aspersions, we can all move forward with a shared goal of having a vibrant and inclusive theater community for all.”Stori Ayers, who directed both the canceled production of “I’m Back Now” in Cleveland and the canceled production of “Paradise Blue” in Los Angeles, used similar language in an Instagram post about the two experiences, citing “white supremacy theater making culture.” Both of those theaters declined to comment beyond their written statements.Simpson, the playwright who pulled the rights for “I’m Back Now” from the Cleveland Play House, said she had decided to take that step after Ayers withdrew from the production over the theater’s response to an actor who said she had been sexually assaulted in an elevator at the theater’s artist housing.“To put it simply: if the health, safety and well-being of people working on my play is in question, then there’s no reason for the play to happen,” Simpson said. “I could no longer trust that the theater was going to take care of the people putting on my show.”Simpson said she’s not sure what will happen next with “I’m Back Now,” because it was commissioned by the Cleveland Play House, and this was to be its first production. The play is about three generations of Cleveland residents, including a historical figure named Sara Lucy Bagby, who was the last person forced to return to slavery under the Fugitive Slave Act.“You want the production, and you want to make it possible, and many of us are taught to be so grateful for that and to ignore things that may bother us,” Simpson said. “I didn’t ever imagine having to pull the rights.” More

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      For Two Broadway Stars, a Love Story Blossoms in a Honky-Tonk Bar

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      The new musical “The Lonely Few,” starring Lauren Patten and Ciara Renée, puts a romance between two women at its very heart.LOS ANGELES — During a rehearsal of “The Lonely Few” at the Geffen Playhouse, Lauren Patten, a Tony winner for her performance in “Jagged Little Pill,” was sharing a stage with Ciara Renée, whose Broadway credits include “Waitress” and “Frozen.” The performances were mesmerizing, and loud (drumsticks were broken; earplugs were provided), with Patten steam-rolling her way through a pair of headbangers about the joys of rock ’n’ roll and the desire to escape, and Renée filling the room with a heartbreaking ballad about unrequited love.“I would go see that band,” Zoe Sarnak, the show’s composer and lyricist, said during a break.The setting was about as far from a Broadway stage as one could imagine: a small rehearsal space in the Westwood neighborhood. And the actual performance space for the show, the Geffen’s Audrey Skirball Kenis Theater, isn’t that much larger. The 114-seat theater has been reconfigured to resemble a dive bar in backwoods Kentucky, so audience members, sitting at tables and bar stools amid the players, will feel as if they’re at a neighborhood watering hole.“The minute you walk into the theater, you’re going to feel like you’re not at the Geffen,” said Ellenore Scott, who is sharing directing duties with Trip Cullman. “Performers will be walking right by you, or using your table, or doing an entire scene next to you.”For venues this size, Patten said, vocal adjustments need to be made. You’re still playing to the guy in the back row, she said, but with a care for the audience member sitting a few feet away. “I also think that with a show like this, with music like this,” she said, “it’s got to smack you in the face.”After five years of development, which included pandemic-related breaks, “The Lonely Few” is now having its world premiere, with preview performances scheduled to start Thursday and opening night set for March 9. In the musical, Patten plays Lila, a Save-A-Lot clerk who leads the Lonely Few, a preternaturally gifted band that plays Friday nights at Paul’s Joint, the local honky-tonk. Rounding out the band is Damon Daunno (“Oklahoma”), Helen J Shen (“Man of God”) and Thomas Silcott (“Birthday Candles”); Joshua Close (a star of the 2022 film “Monica”) portrays Lila’s brother Adam, the loving but troubled albatross around her neck.When Amy (Renée), an established musician, enters the club and offers Lila a chance to come on the road with her and open for her band, choices must be made, both practical and romantic.The new show has provided the two leads with a rare opportunity to create roles from the ground up. It’s a welcome change for Renée, who took over but didn’t originate the roles of Jenna in “Waitress” and Elsa in “Frozen,” both on Broadway.A recent rehearsal in Los Angeles. The show’s vibe is honky-tonk dive bar.JJ Geiger for The New York Times“I’ve done a lot in my career where I’ve been the Black woman who steps into a white role,” she said. “But this play doesn’t exist anywhere. It’s totally new. And there’s so much beauty in that.”“The Lonely Few” is also that rarest of shows: a musical that puts a love story between two women at its very heart.More on N.Y.C. Theater, Music and Dance This SpringMusical Revivals: Why do the worst characters in musicals get the best tunes? In upcoming revivals, world leaders both real and mythical get an image makeover they may not deserve, our critic writes.Rising Stars: These actors turned playwrights all excavate memories and meaning from their lives in creating these four shows, which arrive in New York in the coming months.Gustavo Dudamel: The New York Philharmonic’s new music director, will conduct Mahler’s Ninth Symphony in May. It will be one of the hottest tickets in town.Feeling the Buzz: “Bob Fosse’s Dancin’” is back on Broadway. Its stars? An eclectic cast of dancers who are anything but machines.“Fun Home,” the musical adaptation of Alison Bechdel’s award-winning graphic novel, features the coming out narrative of an adolescent girl, as does “The Prom,” which opened on Broadway in 2018. But the romantic relationships in both of those musicals — though crucial to the stories — are largely secondary.“Those pieces are incredibly important to the canon, and I’m so thankful for them,” said Sarnak, whose previous shows include “A Crossing” for Barrington Stage Company. “But I can’t think of a show where the narrative center is a love story between two women who are out.”The first seeds of the show were planted in 2018, when Sarnak was talking with Rachel Bonds, who wrote the show’s book, about working together. They wanted to do a piece about two women with music in it, telling a story that could pull from their own experiences.For years, Sarnak had written songs about her life and past loves. “There are several relationships in my life that find their way into the show,” she said. “The first woman I ever dated, who I was with for four years, and then my marriage and divorce, and then relationships after that. It’s not any one relationship. There are pieces of anyone I’ve ever been with or been in love with.”For the play’s setting and people, Bonds drew from her childhood growing up in Sewanee, Tenn., home of the esteemed University of the South. “Sewanee is up on a mountain, and when you go down into the valley, it’s a whole different world,” she said. “There’s a real separation,” she added, “and I grew up very aware of that.”“Southerners are often portrayed as stupid or ignorant, and small-town folks are often portrayed as people without dreams or meaning in their lives,” Bonds continued. “I really wanted to fight against that.”Over time, the project morphed from “a play with music” to a full-blown book musical, a first for Bonds, whose plays include “Goodnight Nobody” and “Michael & Edie.” Many of Sarnak’s songs shaped the show’s plot about the star-crossed lovers Lila and Amy. “I think we both felt that these songs wanted to be a love story, this play had to be a love story,” Bonds said.Not long after, the two began considering possible leads. Sarnak had worked with Patten on readings and workshops, but never anything that had been produced.“We both felt that these songs wanted to be a love story, this play had to be a love story,” said Rachel Bonds, right, with Zoe Sarnak.JJ Geiger for The New York TimesGrowing up in Downers Grove, Ill., Patten was an early bloomer, staging home concerts in her living room when she was 3. “Apparently, the first song I sang was a Hank Williams song, ‘Long Gone Lonesome Blues,’ where he talks about drowning himself in a river because his woman left him,” she said. Commercials and theater roles soon followed.Patten made her Broadway debut in “Fun Home.” In 2021, she received a Tony for her role in “Jagged Little Pill,” but the show was criticized for changing Patten’s character, Jo, from seemingly nonbinary to gay and cisgender when the production moved from Boston to Broadway. In 2021, Patten released a mea culpa, in the form of a video conversation with the trans writer and activist Shakina Nayfack. “There’s a lot I wish was handled differently,” Patten said, looking back. “But I do feel grateful that even with something that was obviously a painful moment, I think it has a potential to move things forward in the industry.”Like Patten, Renée also began performing at an early age, winning singing competitions by the time she was 12. “I thought I was going to be a Christian music artist,” she said. In high school, however, she fell in love with the theater, and at 22, within three months of arriving in New York, she was offered roles in three Broadway shows. “I picked the flop,” she said of “Big Fish.”Then came a starring role in “Frozen,” though her run was cut short by the coronavirus pandemic. “Every night I’d see these little girls, Black girls, girls of color, wearing Elsa, Anna, Olaf,” she said. “They were just so excited about their favorite characters, and about getting to see the leads of a show being played by women of color. I know how impactful that is, because I know that, growing up, I never saw it.”AS INITIALLY WRITTEN, the character of Amy in “The Lonely Few” was racially nonspecific, but that soon changed, even more so after Renée came aboard. “This whole piece could be open casting,” Bonds said. “But then when we started to place it in the South, we were interested in the tensions they’re in, and we really started to nail down who these women were.”So was Amy created for Renée? “I think it’s certainly being heavily shifted by my presence,” Renée said with a laugh.“It’s a testament to Rachel and Zoe really caring about my story as a Black woman,” she added, “and about this Black character in the South being queer, that there are things that complicate that in a way that’s different than if this character were white.”The show’s creators made a point of the care they are taking with the love story, and they have hired an intimacy director to help. “I feel a lot of trust in the room with Ciara,” Patten said. “We’re both doing very intense, emotional, vulnerable things in the show, and I feel very safe to do that with her.”During a break in rehearsal, the directors gave notes. In Lila’s line about chewing gum, Cullman told Patten it sounded like she was saying “gun.”“Oh my god,” Patten said. “Gum. Guuum.”“I feel a lot of trust in the room with Ciara,” Patten said. “We’re both doing very intense, emotional, vulnerable things in the show, and I feel very safe to do that with her.”JJ Geiger for The New York TimesBoth directors offered suggestions to Renée and Patten about their first scene together, when the two lock eyes in Paul’s Joint and the rest of the world (and the rest of the band) fades away.Many of the tweaks made over the past days and months are intended to ensure the show is as truthful to the place and its people as possible. The creators are quick to point out that the love story is the focus, not any sort of hatred or violence a lesbian relationship might provoke in the community. “I’m just not interested in seeing women get brutalized anymore,” Bonds said.In many ways, the musical toys with several possible expectations theatergoers might have coming into the show. How will this interracial love story between two women play out in a Kentucky dive bar? And just what is a band this good doing in a Kentucky dive bar in the first place?“This setting, this little bar, has become a bit of an enclave for folks who might feel like outsiders or weirdos or misfits,” Bonds said. “I think the community where Lila comes from actually surprises you in the end.”Despite the show’s specificity, the creators believe “The Lonely Few” will have broad appeal. “In my heart of hearts, I hope we have an Off Broadway run in New York,” Bonds said. “And then I hope we have a Broadway run.”“This is a queer love story,” she continued. “It’s a love story between two women. But my hope is that anybody could watch it, and be moved by it, and see themselves in it.” More

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      One More Project for David Geffen: Building His Legacy

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      In Los Angeles, you can wander through Judy Baca murals at the cavernous Geffen Contemporary at MOCA, view “Beetlejuice” at the sphere-like David Geffen Theater at the Academy Museum, watch “The Inheritance” at the Geffen Playhouse, and follow the progress of the new David Geffen Galleries, a striking work of architecture that will span Wilshire Boulevard, at the Los Angeles County Museum of Art.New York now has not one but two David Geffen Halls: an academic building at Columbia Business School and the remake of the Lincoln Center home of the New York Philharmonic, which reopened this month after a $550 million renovation that he jump-started with a $100 million gift.At 79, Geffen, the entertainment magnate, has planted himself into the pantheon of leading American philanthropists. He has handed out $1.2 billion over the past 25 years to museums, theaters, concert halls, universities and medical centers, according to the Geffen Foundation, and pledged to “give every nickel away” of a fortune estimated to be $7.7 billion. As a result, Geffen has become avidly sought by culture and education leaders looking to finance a wave of new construction that is enlivening cities as the nation emerges from the coronavirus pandemic.“When you need a gift of this scale, there aren’t many people who are doing what David is doing, which is investing big-time in the cultural infrastructure of major cities — New York, Los Angeles,” said Michael Govan, the head of LACMA, who spent a year convincing Geffen to give $150 million toward the galleries there that will bear his name.Geffen’s gifts are often contingent upon naming rights. When Avery Fisher Hall was renamed for him in 2015, 61 signs and maps around Lincoln Center were changed. Brian Harkin for The New York TimesGeffen is hardly some modern-day version of Andrew Carnegie, who made his fortune from steel and financed one of the great waves of philanthropy in the nation’s history. He is an openly gay entertainment mogul whose life, romances, yacht, mansions, art acquisitions, business deals, celebrity adventures and political engagement with, in particular, the Clintons and Barack Obama make him as engrossing a character as anyone in Hollywood.It’s hard to imagine, for instance, Carnegie dating Cher or Marlo Thomas when he was young, which Geffen did; comforting Yoko Ono at the hospital the night that John Lennon was assassinated, which Geffen did; watching Joni Mitchell in his apartment when she wrote “Woodstock,” which Geffen did; or working with Janis Joplin, the Doors and Peter, Paul and Mary, which Geffen did.The Reopening of David Geffen HallThe New York Philharmonic’s notoriously jinxed auditorium at Lincoln Center has undergone a $550 million renovation.Reborn, Again: The renovation of the star-crossed hall aims to break its acoustic curse — and add a dash of glamour.Who Is David Geffen?: The entertainment magnate, who jump-started the renovation, has become avidly sought by culture and education leaders looking to finance a wave of new construction.San Juan Hill: Etienne Charles’s composition for the reopening of the hall honors the Afro-diasporic musical heritage of the neighborhood razed to build Lincoln Center.Expert Assessment: Right after the reopening our critic wrote that the renovation had a mightily improved sound. In the weeks that followed his feelings became more complicated.His skill at spotting up-and-coming musical talent (Jackson Browne; Crosby, Stills, Nash & Young; Guns N’ Roses), producing hit movies (“Risky Business” and “Beetlejuice”) and backing Broadway shows (“Dreamgirls” and “Cats”), and his work building record labels and movie studios has made him one of the wealthiest people in America. He has homes in New York, Los Angeles and East Hampton for when he is not entertaining boldfaced friends (think Tom Hanks and Oprah Winfrey) on his yacht, the Rising Sun. He once startled a dinner of journalists in Washington by disclosing that he had not flown on a commercial airplane since the late 1970s; that night he took a private jet back to Beverly Hills.Geffen is hardly shy about his philanthropy, as can be seen by the growing list of institutions bearing his name, including the David Geffen School of Medicine at the University of California, Los Angeles, and the David Geffen School of Drama at Yale, which his gift made tuition-free. (“I don’t agree that the best giving is anonymous,” Geffen once told Fortune. “We should be examples to our friends and communities. I should be an example to young, gay kids.”) But he is, in his own way, low key about it — he declined an invitation to speak at the gala celebrating the opening of Geffen Hall this past week, and seemed reluctant to stand when he was acknowledged from the stage.The lobby of the revamped hall.Todd Heisler/The New York TimesAnd he is not like other wealthy donors, who can range from hands-on to micromanaging when it comes to projects bearing their names. “They want to check the carpet designs,” said Deborah Borda, the head of the New York Philharmonic. By contrast, the gala was the first time Geffen saw the redone hall bearing his name; he never joined the hard-hat construction tours that Lincoln Center gave to dignitaries over these past two years.“David said, ‘I want to leave this in your hands: I don’t need any input on the selection of the architect and driving the design,’” said Katherine G. Farley, the chair of the board of Lincoln Center for the Performing Arts, recounting her conversation with Geffen when she asked him for money to rebuild what was then called Avery Fisher Hall. “He kept repeating, ‘Make sure you do something great.’”Geffen, who declined a request for an interview, looks for transformative cultural projects that are struggling for credibility and financing, according to friends and associates. His contributions cover just a portion of the total cost — $100 million toward the $550 million Geffen Hall at Lincoln Center; $150 million toward the $750 million Geffen Galleries at LACMA — and are designed to goad other donors, while establishing Geffen as the primary patron.“He’s making big bets,” said Marie-Josée Kravis, the chairwoman of the Museum of Modern Art in New York, to which he donated $100 million toward a three-floor David Geffen Wing in 2016. “They’re transformative. It’s not incremental.”His gifts are usually contingent on naming rights. Lincoln Center agreed to a $15 million payment to the Fisher family to relinquish its naming rights so the center could promise Geffen that his name would remain on the hall in perpetuity. Although some argued that the naming rights should have commanded a higher price, Farley said, “Without his gift, there is no question that would not have happened.”By contrast, when David H. Koch, the oil-and-gas billionaire, gave $100 million in 2008 to renovate what had been called the New York State Theater at Lincoln Center, it came with the provision that the theater could be renamed for a new donor after 50 years.Arianna Huffington, the founder of The Huffington Post and a longtime friend of Geffen’s, said that “the arts have basically dominated his life,” and that they are what motivated his philanthropy.“I personally have very little patience for people who question why anybody gives — as long as they give,” she said.Geffen took a hands-off approach to the renovation, and never stopped by for a hard-hat tour when it was a construction site.Todd Heisler/The New York TimesGeffen has become more reclusive in recent years, first visiting the Geffen Theater at the Academy Museum of Motion Pictures in Los Angeles this month — a year after its red-carpet opening. He temporarily shut down his Instagram account at the start of the pandemic after he came under fire for posting a photo of his yacht floating in safe seclusion. “Isolated in the Grenadines avoiding the virus,” he wrote. “I’m hoping everybody is staying safe.”Geffen is a college dropout who grew up in Brooklyn, where he attended New Utrecht High School. After creating Asylum Records — where he signed Joni Mitchell and Bob Dylan — in 1971, he sold it two years later to Warner Communications for $7 million. He founded Geffen Records in 1980; he would sell that a decade later to MCA for $550 million in stock, which increased in value significantly when Matsushita then bought MCA. He co-founded, with Steven Spielberg and Jeffrey Katzenberg, DreamWorks SKG in 1994, and left the company in 2008.Geffen can be combative in his business dealings, and he lamented the “shameful” lack of support by New York donors in 2017 when Lincoln Center and the Philharmonic went back to the drawing board with plans to rebuild the hall, in part because it was growing too costly. Just after the move to rethink the New York project was announced, LACMA announced Geffen’s $150 million gift — timing that appeared to send a message, though officials said the gift had long been in the works.Associates said that Geffen’s background in business and culture, and particularly music, drives his philanthropic choices.“He comes from the music business,” said David Bohnett, another philanthropist based in New York and Los Angeles. “You grow up around music, you grow up around entertainment, it just seems logical that you are going to put your name on theaters and music halls and museums.”Some say it helps explain his hands-off approach to the projects he supports. “He’s made a career out of respecting artists and understanding what artists need,” said Henry Timms, the president of Lincoln Center. “And I think that’s the same context for this — he’s not assuming he can do this job better than the architects.”Geffen is intimately involved in deciding what projects to support. “He is a very engaged philanthropist and is involved in every funding decision made at the foundation,” said Dallas Dishman, the executive director of the Geffen Foundation, to which Geffen is the sole contributor.As he approaches his 80th birthday, and with over $7 billion left, Geffen is contemplating his mortality and his legacy, his friends say. Yet on Wednesday night in New York, when he finally rose from his chair at the gala marking the opening of the latest building bearing his name, he seemed taken aback by the intensity of the applause. He just smiled slightly and sat down, without saying a word.“He doesn’t reveal himself very much,” said Kravis, of the Museum of Modern Art. “He just gives. I respect his search for privacy and I’ve never pushed him on it.” More

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      Dominique Morisseau Pulls Play From L.A. Theater, Citing ‘Harm’

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      The playwright ended a run of “Paradise Blue” a week after it opened at the Geffen Playhouse. The theater acknowledged “missteps.”The playwright Dominique Morisseau has ended the run of her play “Paradise Blue” just a week after it opened at the Geffen Playhouse in Los Angeles, saying that Black women who worked on the show had been “verbally abused and diminished.”Morisseau did not specifically describe what happened. But in a 1,100-word Facebook post on Wednesday, she said that members of the creative team had been “allowed to behave disrespectfully,” that she had demanded an apology from one member of the team and that “instead of staunchly backing this, the Geffen continued to enable more abuse.”“Harm was allowed to fester,” Morisseau said in the Facebook post.“I gave the theater an ultimatum,” she added. “Respect the Black womxn artists working on my show, or I will pull my play.”In a statement about the cancellation, the Geffen Playhouse said that officials had “apologized to everyone involved” and acknowledged having “fallen short” in its commitment to artists.“An incident between members of the production was brought to our attention and we did not respond decisively in addressing it,” the theater’s statement, released on Wednesday, said. “As a result of these missteps, some members of the production felt unsafe and not fully supported.”“Paradise Blue,” which is set in 1949, is part of Morisseau’s trilogy of Detroit plays, which have been widely produced at theaters around the country. It played Off Broadway in 2018; the Geffen production had opened to strong reviews on Nov. 18, and had been set to run through Dec. 12.“Skeleton Crew,” another play in the trilogy, is scheduled to begin Broadway performances on Dec. 21.The theater declined to comment beyond its written statements. Morisseau did not respond to a request for additional comment.Morisseau’s decision to pull the play over what she described as the mistreatment of Black artists and the dismissal of their complaints comes as theater continues to grapple with how to reform itself and improve its culture.The protests over the police killing of George Floyd in the summer of 2020 ignited a nationwide reckoning over racism and inequality in America that resonated in the theater world. As artists prepared to return from the long pandemic shutdown, some have grown more outspoken about what they say are pervasive problems in the industry.This summer Broadway power brokers signed a pact pledging to strengthen the industry’s diversity practices as theaters were preparing to reopen.In her Facebook post, Morisseau — who earned a Tony Award nomination as the book writer for “Ain’t Too Proud: The Life and Times of the Temptations”— said she had been “gutted” by what had transpired with “Paradise Blue.”She urged the theater industry to “look inward and acknowledge a pervasive culture of anti-blackness, anti-womxness, and anti-black-womxnness.” More

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      The Play Is Coming From Inside the House

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      Three new virtual productions, set in haunted homes and an interactive hotel, give you the excitement of exploring spaces that are off limits.Exploring a home that isn’t your own carries a voyeuristic thrill, a feeling that you’re intruding on a private space. This excitement holds even if you have paid for your admission, even if no one has lived there for decades. A rare upside of the pandemic — at least until people discovered decent virtual backgrounds — was the opportunity to peer into (and immediately judge) colleagues’ rooms.Back when interior spaces weren’t so perilous, I was a fiend for a historic home tour. Summer palaces, period rooms at the Met, living history installations with basket-weaving how-tos — yes, absolutely, all of them. Last summer, during the pandemic’s darker days, I spent some happy hours “visiting” Newport’s cottages online.Recently, digital theater has gotten in on this domestic act, offering virtual tours of spaces imagined and actual, in works such as Peter Sinn Nachtrieb’s “A House Tour of the Infamous Porter Family Mansion With Tour Guide Weston Ludlow Londonderry … At Home!”; Jared Mezzocchi’s “Someone Else’s House”; and Blast Theory’s “A Cluster of 17 Cases.” They may not provide the frisson of walking through actual spaces — and surreptitiously fingering the occasional embroidered tablecloth — but the latter two offer the shivery pleasure of entering a space where you clearly don’t belong.“A House Tour,” directed by Jason Eagan, began in 2016 in San Francisco as an in-person event, which took an audience from room to creatively rendered room. It has been re-envisioned as an audio-only drama, accompanied by a deluxe mailer. (Mailers are another pandemic upside; sometimes they include wine.) This one contains two figurines that you are invited to decorate with feathers and pipe cleaners — I dragooned my children for this part — and a number of cunning packages.Danny Scheie in the original 2016 production of “A House Tour of the Infamous Porter Family Mansion With Tour Guide Weston Ludlow Londonderry.”Julie SchuchardThe Broadway actress Lilli Cooper provides the introduction, a flawless parody of a museum audio guide. Her voice informs us that the Porter Family Mansion has doors, windows, rooms and “some of the finest world collections of many different things.” (The house is wholly imaginary.) Danny Scheie’s Weston takes over. Scheie was also the star of the in-person version, and his Weston has a strange and malevolent energy. He delights in sharing the most scandalous details of the lives and sweaty loves of Hubert and Clarissa Porter, the fictional one-percenters who built the mansion.The monologue leans heavily on innuendo and smutty puns. This salaciousness extends to the participatory elements, as when Weston tells us to fold up a card and put it in our “undies.” Let’s just say that even an obedient audience member — I had, as directed, mashed the figurines together in a simulation of sex — has her limits. (The children, thankfully, had already gone to bed.)More frustrating than the lewdness is how incompletely the creators have reimagined this experience for at-home consumption. The house never really comes into mind’s eye view and the items in the box, almost entirely irrelevant, don’t help. Also, the audio runs nearly two hours, which is an awfully long time to sit at your computer, headphones in, staring at concupiscent dolls. And the humor is beyond juvenile. I had hoped that “A House Tour” would create a kind of memory palace, a mansion of the mind, but it just loiters, endlessly, in the gutters.“Someone Else’s House,” produced by Geffen Playhouse in Los Angeles, is an altogether shorter, tauter and shrewder work. Developed for an online audience and running just under an hour, it’s a chiseled piece of at-home horror, ostensibly based on a colonial-era New Hampshire house that Mezzocchi’s parents and siblings once inhabited. “This isn’t just a ghost story,” Mezzocchi says. “It’s real. It happened to my family.”“Someone Else’s House” also has an accompanying box. This one contains items relating to the house’s history, like a family tree and antique sketches and photographs. It also includes a candle, scented for some reason like decomposing vanilla.Mezzocchi, in flannel shirt, wool beanie and quarantine beard, makes an appealing narrator. The story he tells, from a location that becomes clear as the tale proceeds, is an extremely creepy one. (The short version: Maybe don’t buy a house with a former slaughtering cellar in the basement?) The design is meticulous, the archival photos unsettling, the “are they or aren’t they?” Zoom glitches unnerving. And if you have ever suspected that your furniture is out to get you, this is the digital work for you.Mezzocchi, who also wrote “Someone Else’s House,” makes an appealing narrator of this taut and shrewd work. via Geffen PlayhouseWhat’s strange, though, is how Mezzocchi doesn’t fully trust the theatrical form. If you have seen his previous work, like “Russian Troll Farm: A Workplace Comedy,” you know that he’s an absolute wizard at making online theater feel live. “Someone Else’s House” ends in a frightening digital coup-de-theatre, but none of the multimedia effects are more uncanny than the low-tech vision of Mezzocchi sitting in front of his laptop, spinning a tale in a slowly darkening room.And yet, the scariest online house tour may be the brief one offered by the experimental English theater Blast Theory, which has produced a virtual version of its 2018 work, “A Cluster of 17 Cases.” Created when Blast Theory were artists in residence at the World Health Organization, the piece explores the transmission of the SARS virus to 17 people on the 9th floor of Hong Kong’s Metropole Hotel. The company has built a scale model of the hotel, in lightweight aluminum. An interactive site allows you to take the elevator up and explore it.“Some people will leave unscathed, and some people will die. It’s time to choose your room,” a narrator says, coolly. There are only three rooms to discover, plus trips back down to the lobby to learn how many other people the rooms’ occupants infected once they left the hotel and flew home. (As Covid-19 has taught us, aerosolized particles are no joke.) The nerve-shredding experience lasts perhaps 15 minutes. Like “At Home” and “Someone Else’s House,” it’s ultimately a cautionary tale. For more than a year most of us have been told to stay indoors, but as these shows argue, inside isn’t so safe either.A House Tour of The Infamous Porter Family Mansion with Tour Guide Weston Ludlow Londonderry … At Homeporterfamilymansion.com.Someone Else’s HouseThrough July 3; geffenplayhouse.org.A Cluster of 17 Casesblasttheory.co.uk. More

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      How a Multimedia Whiz Became the Go-To for Virtual Productions

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      The projection designer Jared Mezzocchi has become a go-to guy for ambitious virtual productions. Next up: Starring in his own haunted house play.In March 2020, live venues closed, and the theater industry was shocked into numbness. But for the multimedia designer and director Jared Mezzocchi, the moment felt like a ringing alarm.Mezzocchi warmed up in early May by co-directing a livestreamed student production of the Qui Nguyen play “She Kills Monsters” at the University of Maryland, where he is associate professor of dance and theater design and production. The show made imaginative use of filters in Zoom. Who knew that you could generate creature features in an app conceived for office meetings?Numerous projects of diverse sizes and genres followed, playing to strengths Mezzocchi had developed as a projection designer, the person making new images or fashioning existing footage to be shown onstage. He is comfortable in the digital realm, can create a visual environment to tell a story, and has the technical know-how to handle virtual live performances — he is a whiz with Isadora, a software that allows users to mix and edit Zoom on the spot.Highlights have included Sarah Gancher’s acclaimed “Russian Troll Farm: A Workplace Comedy,” which Mezzocchi directed with Elizabeth Williamson; video and web design for “The Manic Monologues”; and multimedia design and direction on Mélisande Short-Colomb’s recent “Here I Am.”Next, Mezzocchi is starring in his own interactive virtual play, “Someone Else’s House,” which starts previews Friday at the Geffen Playhouse in Los Angeles.To be sure, Mezzocchi, 35, didn’t wait for March 2020 to get busy. In 2017, for example, he won Obie and Lucille Lortel Awards for his projection design on the Manhattan Theater Club production of Nguyen’s “Vietgone.”But his workload and influence have exploded over the past 13 months. Last September, he further extended his reach by creating the Virtual Design Collective (ViDCo), a think tank, networking hub and problem-solving resource (watch it in action during the live event “Word. Sound. Power. 2021” at the Brooklyn Academy of Music on Friday).“He’s unafraid to ask bigger questions and push what’s really possible theatrically,” May Adrales, the “Vietgone” director, said over video.“Someone Else’s House,” produced in association with ViDCo, is yet another experiment for Mezzocchi, who is stepping in front of the camera to recount a haunting story that happened to his family in their home state of New Hampshire.“I’ve never seen myself as a tech person,” he said in an email. “Hell, I was an actor my whole childhood and through grad school. Multimedia became an extension of myself as a storyteller — not the other way around. So this is a really thrilling moment of convergence for me.”Based in Silver Spring, Md., Mezzocchi maintains strong ties to New Hampshire: Since 2015, he has been the producing artistic director at Andy’s Summer Playhouse in Wilton, which he attended as a kid and where he now implements many of his ideas about the interconnection of community, art and technology.He discussed them and more in a pair of conversations conducted on — what else? — Zoom.Mezzocchi described the chance to perform “Someone Else’s House,” an interactive play about his family, as a “thrilling moment of convergence for me.” Greg Kahn for The New York TimesDo you think the disappearance of live theater has changed the way we approach storytelling?Without getting into better or worse, I think this period has allowed for more strategies to emerge. Think of TikTok or Snapchat: We hear words with visuals in a way that we weren’t 10 years ago — we’re now telling full stories with a series of memes online. The most successful works I’ve seen this year had technology as a scene partner, not as lipstick and blush. I hope that remains when we get back to in-person.Ideally, what should happen when in-person performances return?First, everyone’s like, “I can’t wait for theater to be back.” I don’t want to nitpick, but I would love us to say: “I can’t wait for in-person theater to allow us to create story inside of a venue again.” People are making performance right now, and we need to embrace that. A lot of theaters are not going to stop the digital marketplace because they’ve seen great value in the accessibility to it. I’m excited for where that takes us when digital performance is a choice rather than survival.Haskell King in “Russian Troll Farm: A Workplace Comedy,” which Mezzocchi co-directed.via TheaterWorks HartfordYou were a video projectionist at the Manhattan nightclub Santos Party House for a few years starting in 2008. How did that influence your theater work?I would spend hours making the perfect thing, and no one would care, and then I would put up a cat video and everyone would cheer! Learning pop culture, learning how to engage with an audience, how to listen to a D.J., how to engage with a band — it became much more musical to me. Sarah Gancher comes from a musical background, and on “Russian Troll Farm” we found ourselves talking about cadence, tempo, percussiveness. It’s not about, “This is what it’s going to look like,” but, “Here’s the energy we’re trying to generate.”In an essay for Howlround Theater Commons, you wrote that “theater must stop making films during the pandemic.” Ouch! Do you think being live defines theater?Absolutely, and that’s unchangeable for me. You make different decisions when you have to make them in the moment, and I think it has to do with audience engagement. If an audience feels like it’s important that they’re there and listening, they’re going to listen differently. And if the performer knows there’s an audience listening in a particular way, it’s going to be different. Is it perfect? Totally not [laughs]. Digital technology’s value system, for whatever reason, is married to spectacle and a different kind of quality. I’ve noticed a lot of people running from liveness so they can get a higher spectacle at a higher quality. I’d rather be rough and dirty and maintain liveness.You often talk about community-building, which has included instituting talkbacks at Andy’s Summer Playhouse. Why is that important to you?It’s important to leverage localism so that we can really understand communities. Right now the only way into a community is often a national tragedy, and that’s too late. How can art help? Well, there’s no tragedy involved when you’re creating something. I love Andy’s because it reminds people that debate is important, and that kids can and should lead a lot of conversations in local environments. They are the reminder that change is beautiful and necessary. More

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      You’re New Here, Aren’t You? Digital Theater’s Unexpected Upside

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      #masthead-section-label, #masthead-bar-one { display: none }At HomeWatch: ‘WandaVision’Travel: More SustainablyFreeze: Homemade TreatsCheck Out: Podcasters’ Favorite PodcastsAdvertisementContinue reading the main storySupported byContinue reading the main storyYou’re New Here, Aren’t You? Digital Theater’s Unexpected UpsideCompanies and venues that put work online are finding big, new and younger audiences — but little revenue.Pittsburgh Public Theater has found an audience for streamed shows like “The Gift of the Mad Guys,” an adaptation of O. Henry’s “The Gift of the Magi.”Credit…via Pittsburgh Public TheaterFeb. 24, 2021Five days after the coronavirus quieted performing arts venues, the Irish Repertory Theater found its voice.It was St. Patrick’s Day, after all — not an occasion to go unacknowledged, even during a pandemic. So the humble nonprofit started posting homespun videos of company members performing Irish-themed songs, poems and monologues on social media.The response was encouraging, and in the 11 months since, the theater has added nine full-length digital productions. A house manager with no video editing experience stitched together the first such effort, a three-person play about a blind woman called “Molly Sweeney,” using video actors shot of themselves on their phones.By the time the theater was ready to attempt a holiday musical, “Meet Me in St. Louis,” it was considerably more ambitious, shipping green screens, tripods, lighting and sound equipment to actors’ homes.Was there an audience for these virtual ventures? Decidedly, yes.Over the course of this pandemic year, 25,000 households have reserved tickets — they are free, but there is a suggested donation — for at least one of Irish Rep’s digital productions (and many of them watch more than one show). That’s double the 12,500 people who buy tickets to at least one of the company’s productions in an ordinary year, when it’s comparatively safe to see live performances while sitting next to strangers.Even more striking: 80 percent of those who have watched an Irish Rep production over the last year are newbies who have never been to the company’s 148-seat theater, nestled in Manhattan’s Chelsea neighborhood.“We’re batting down barriers we’ve been wrestling with for decades,” said Frances Howorth, the theater’s director of marketing and digital strategy. “We’ve reached audiences we couldn’t have imagined reaching.”From left, Paul O’Brien, Geraldine Hughes and Ciaran O’Reilly in the Irish Repertory Theater’s virtual production of “Molly Sweeney.”Credit…via Irish RepThe pandemic has, of course, been devastating for theaters, costing lives, jobs and dollars. And many longtime theatergoers find streaming unsatisfying — no substitute for the you-are-there sensory experience.But across the country, and beyond its borders, many theaters say new audiences for their streaming offerings has been an unexpected silver lining — one that could have ramifications for the industry even after it is safe to perform live again and presenters try to return patrons to their seats.“We’ve been excited and somewhat surprised at the eagerness and size of the audience that we’ve uncovered,” said Oskar Eustis, the artistic director of the Public Theater, a large New York nonprofit best known for its free Shakespeare in the Park program. The theater, which has streamed both video and audio shows during the pandemic at no charge, has drawn an audience of 700,000 for its digital productions. And while measuring the size of online audiences can be imprecise, the theater has attracted people from every state and 68 countries.“I got a fan letter from Kazakhstan, which is a first for me,” Eustis said.The pattern, although not universal, is widespread. In California, La Jolla Playhouse has seen its audience grow sixfold, from about 100,000 during a typical in-person season, to 640,000 thus far for its digital programming, which included a three-part radio horror show.Christopher Ashley, the theater’s artistic director, said he imagined digital programming would be a less dominant part of his programming post-pandemic, but that because so many people had been interested in watching it, “we’re not going to just shut off that stream.”There are reasons to be cautious about the metrics. The basic tools used by theaters to measure audience can’t determine how many people are watching within a household, and generally don’t reflect how many people watch or listen for just a moment and move on.But many theater executives assert that online theater has brought them a significantly larger audience than they saw in-person, a growth they attribute to price (much of the digital content is free or low-cost); geography (you can check in from anywhere with internet access); and, in many cases, ease (watch at your convenience, with no advance planning).Some of the content is full-length, but much is also bite-size, reflecting online viewing habits. And it comes in many flavors: archival and new, recorded and live, in some cases seeking to capture the feeling of being in Row J, and in others embracing digital theater as a new art form. Rattlestick Playwrights Theater, a nonprofit in New York, has streamed not only plays, concerts and conversations, but also a court transcript reading, a “communal ritual” and, now underway, a 17-part audio series set on the No. 2 train.David Kwong (framed in yellow) with members of the digital audience gathered for his Geffen Playhouse production “Inside the Box.”Credit…via Geffen PlayhouseThere is even money to be made. The Geffen Playhouse in Los Angeles has earned $2.5 million selling tickets to a series of live and interactive shows featuring magic, puzzles, cooking and a murder mystery. That theater has been quite aggressive — it has held more than 600 live performances since last May, including several scheduled for the convenience of international audiences — and reports that 88 percent of its audience during the pandemic had never been to a show at the playhouse.But digital content, in most instances, generates far less revenue: At the Center Theater Group in Los Angeles, which decided to make most digital programs free to donors and subscribers, streaming has brought in $154,000 during the pandemic, whereas by this time in a normal season, that theater would expect about $23.5 million in box office revenue. Most nonprofit theaters are staying afloat thanks to a combination of philanthropy and layoffs; they say the digital work is not for revenue, but to maintain audience and provide work for artists. Often, theaters must navigate thorny health and labor issues as part of the process.“We started this for our members as a way to keep them close when we had to shut down our stages, and, quite frankly, so they wouldn’t ask us for ticket refunds,” said Kara Henry, the marketing director for the Steppenwolf Theater Company in Chicago.Many of the theater’s longtime patrons greeted the initiative with a shrug, but newcomers were more enthusiastic. Now Steppenwolf has 2,500 digital-only members, who pay $75 for a subscription. “Our virtual-only members are a full decade younger than our traditional members, so obviously that thrilled us,” Henry said.Marya Sea Kaminski, the artistic director of Pittsburgh Public Theater, has been pleased to reach senior citizens by streaming shows to their residential communities.Credit…Ross Mantle for The New York TimesPittsburgh Public Theater not only has seen audience growth, but also has found ways to reach the hard-to-reach: It arranged to stream its productions on the television sets at residential senior communities in western Pennsylvania. “This has been a truly fascinating time to really think about who we are, what is our mission, and to have a lot of important conversations about access and accessibility,” said Marya Sea Kaminski, the theater’s artistic director.Streaming helped TheatreSquared in Fayetteville, Ark., avoid layoffs and persuade three-quarters of its subscribers to renew during the pandemic. The theater has created 10 streaming productions, five of them filmed onstage using safety protocols, including Jocelyn Bioh’s acclaimed “School Girls; or, the African Mean Girls Play,” which has been extended through March 14. (Another play, about Marie Curie, is watchable through that date as well.)“Obviously, it’s better to sit down in the theater,” said Martin Miller, the organization’s executive director. “But tell that to a kid in a rural school 100 miles away who might not otherwise have a theater to go to, or to the patron who came for years but can’t leave home anymore home due to mobility issues.”The virtual pivot is not for everyone. In interviews, several theater-lovers around the country expressed screen fatigue, quality concerns and technology woes. “I tried,” said Jonathan Adler, a 42-year-old psychology professor in Massachusetts. “Much of it is quite entertaining, some of it is quite moving, and a bit of it is dreck, but, quite frankly, none of it is theater.”But to others, streaming is a gift — even preferable to live performance. Before the pandemic, Rena Tobey, a 62-year-old freelance educator in New York, subscribed to multiple local theaters; now, citing comfort, sightlines and sound quality, “I will be thrilled to give them all up to watch from home.”Even when theaters resume live productions for live audiences, many are planning to put money behind streaming as part of their offerings. Ma-Yi Theater Company and Dixon Place, both in New York, have invested in studio-quality equipment, hoping for rental income as well as to innovate in their own work.From left, Carly Sakolove, Amy Hillner Larson and Michael West in “NEWSical the Musical,” the first show produced and streamed by the Lied Center for Performing Arts.Credit…via Lied Center for Performing ArtsThat future has already arrived at the Lied Center for Performing Arts in Lincoln, Neb., where socially distanced performances returned in July. The center bought a five-camera system to broadcast work from its theater and has been using it since September. Its spring 2021 season — yes, it has a spring season — will feature Kelli O’Hara, the Silkroad Ensemble and mandolinist Chris Thile, all viewable either in person or online.And the Oregon Shakespeare Festival recently announced a 2021 season that promises both live and virtual productions, including a “Cymbeline” released in episodes over two years. Nataki Garrett, the festival’s artistic director, said the pandemic had expedited her efforts to reach new audiences.“We are providing a door,” she said, “for anybody to enter.”AdvertisementContinue reading the main story More

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      Review: A World of Cardsharps and Zoom Dupes in ‘The Future’

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyReview: A World of Cardsharps and Zoom Dupes in ‘The Future’In his latest magic show, Helder Guimarães shuffles an old genre into a new technology with mixed results.Helder Guimarães in “The Future,” his Zoom magic show for the Geffen Playhouse.Credit…Julie RenfroDec. 14, 2020When a used-car salesman says, “I will be honest,” it’s a sure sign he won’t be.Same with a card huckster. For him, “I will be honest” means “Don’t look at my hands.” Other tells may include “You saw for yourself that this deck was legitimately shuffled.” (It wasn’t.) Or “I want this to be as fair as possible.” (Watch your wallet.)All of these are part of Helder Guimarães’s patter in “The Future,” a Zoom magic show from the Geffen Playhouse trying very hard to be more — but only partly succeeding. Oddly, it’s the magic part that most disappoints, at least as theater. The “more” part, a stretch toward greater meaning, is engaging even as you wonder if it too is a deception.That stretch comes between card tricks, as Guimarães offers glimpses of his life’s journey from fanboy to sorcerer’s apprentice to fast hand for hire. The tension between entertainment and crookery that’s built into the business eventually grows into a full-blown dilemma when he meets his childhood idol in Marseille.The idol, a British cardsharp named Kevin who presents himself as a reformed gambler, at first fulfills Guimarães’s teenage fantasies. Kevin seems to be the kind of man who would ply his trade in purple rooms with velour curtains and Venetian landscapes on the wall.The reality, in the form of a rigged high-stakes poker game Kevin invites Guimarães to join, is somewhat seedier. Eventually the younger man has to make a choice between betraying his idol and maintaining what he thought were his values.“I wanted to put some wonder in the world,” he says. Kevin, on the other hand, “wanted to outsmart people for money.”By the time Guimarães finds himself rigging raffles at corporate parties, the bright-line difference between those two worldviews has blurred. We never do learn what choice he made about Kevin, which makes sense theatrically, if not morally or magically. Who creates an illusion but refuses to complete it?To the extent the show’s tricks are meant to illustrate that story, they are effective. Many of the ones Guimarães learned from Kevin or saw him perfect — “second dealing, center dealing, stacking the deck, false shuffling, mucking” — are performed live during “The Future.” Narratively, that’s satisfying.Guimarães displays a hucksterish eagerness, but on Zoom, “pick a card, any card” doesn’t work.Credit…Geffen PlayhouseBut as magic for magic’s sake, the tricks, however brilliant, are baffling, for the very reason they succeed: They’re invisible. That’s especially the case on Zoom, where “pick a card, any card” doesn’t work.It’s less than awe-inspiring, for instance, that Guimarães has to tell us he has completed Kevin’s “cold deck” deception, a holy grail act of prestidigitation in which all 52 cards are secretly switched out for 52 others. On the evidence of our senses, nothing at all has happened except the elaborate setup and the surprising conclusion. I oohed but wasn’t sure what I was oohing at.Guimarães’s hucksterish eagerness, in contrast to his questing thoughtfulness in other contexts, doesn’t help in this one. As a workaround for the Zoom problem, he hammers so hard at the transparency of his deceptions that, like a character in a play, he invites skepticism about them. We know they are tricks; why keep badgering us to say that they aren’t?It’s misdirection, of course, the art of keeping our minds off whatever a magician doesn’t want us to notice. Kevin’s version, during that rigged poker game, was to have a confederate shatter a wineglass; on Zoom, with its lack of real eye contact, the task of distracting the eye is naturally much harder. That’s probably why a ticket to “The Future” includes a collection of props, including a deck of cards, mailed to each audience member in a chic black capsule: misdirection for the pandemic age.So although I admired Guimarães’s skill in “The Future” as much as I had in “The Present,” his previous show for the Geffen, I tired of his more elaborate tricks even faster than I did in the past. And though his storytelling — this time more evocatively realized in Frank Marshall’s direction — was lively, it wasn’t so distracting as to quell my suspicion that it was merely another form of misdirection.This suggests a genre problem. (Or it may just be a me problem; most of the 50 or so participants seemed to have a grand time throughout.) Magic, like ventriloquism, mind-reading, mime and other para-theatrical forms, has long sought greater legitimacy on what used to be called the legitimate stage. Working Vegas like some elephantless variety act is no longer enough for ambitious magicians; they aspire to the condition of drama.I think that’s a mistake. If the choice, as Guimarães expresses it, is between putting some wonder in the world and outsmarting people for money — tickets for “The Future” are $95 — I vote for wonder. I’d rather have some sequins and a rabbit than a three of clubs with a résumé.The FutureThrough March 14; geffenplayhouse.org.AdvertisementContinue reading the main story More