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    Under the Radar at BAM: ‘Our Class’ Review

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    The story of a 1941 massacre is told through the lives of 10 Polish classmates, five Jewish and five Catholic, in this suspenseful but humane play.A simple staging idea can have a devastating affect.As audience members file into BAM Fisher’s Fishman Space and wait for “Our Class” to start, a man can be seen writing names in white chalk on a massive blackboard. It looks like a supersize version of the kind that might be in a classroom, but the list of names here are followed by birth and death dates. We are immediately, chillingly aware of each character’s life expectancy. So when we are introduced to Zygmunt (Elan Zafir), for example, we know that he was born in 1918 and lived to see 1977. On the other hand, Jakub (Stephen Ochsner) will die when he’s about 22, in 1941.That last year is the tragic turning point of Tadeusz Slobodzianek’s play, which premiered in London in 2009 and, under the direction of Igor Golyak, is finally making a belated New York debut as part of the Under the Radar festival.Inspired by a real pogrom in Jedwabne, the show pivots on a day in 1941 when inhabitants of a Polish village killed hundreds of Jews. Many of the victims were burned alive in a barn. Afterward, the perpetrators claimed the Nazis were to blame for the massacre, a charade that went on for decades.The play (adapted by Norman Allen from Catherine Grovesnor’s literal translation) follows 10 classmates — five Jewish and five Catholic — through the years. One, Abram (Richard Topol), left in 1937 for New York, where he became a rabbi, but the others stayed put. Slobodzianek skilfully tracks people and events, giving the show a suspenseful but always humane urgency.Friendships ceased to matter during World War II, as classmate turned against classmate. Rysiek (José Espinosa) was among those lending a murderous hand on that fateful day, and he looked on as Jakub’s throat was slit open. “They were my neighbors,” Dora (Gus Birney) said. “I knew them. Just watching. Making jokes.” She and her baby died in the barn. Rachelka (Alexandra Silber) was Jewish and about 21, but, we know from that blackboard, died in 2002. How she made it through is a testament to the grim decisions one has to make in a war.It is tricky to bring this kind of tragic story to the stage, and the well-acted production from the Mart Foundation and Golyak’s Arlekin Players Theater is artistically ambitious. That is not a surprise. Golyak (“The Orchard” at Baryshnikov Arts Center) is among the most inventive directors working in the United States. His problem is one of abundance, though: He can have too many ideas and has a hard time editing them.The excessive stage business in “Our Class” often distracts from the story. Golyak unnecessarily frames the show as a play reading, for instance, with the actors in contemporary clothing, perhaps to suggest the timelessness of the issues. Mercifully he drops that conceit quickly enough.But then some scenes are overloaded with symbolism, as when the dying Jakub perilously and distractingly hangs upside down from a ladder, or when the characters draw faces on balloons, which then float up to the ceiling. Those could be powerful gestures on their own, but collectively they amount to a kind of aesthetic distancing, as if Golyak felt the audience could not withstand the story’s full horror. Tellingly, the most wrenching scenes are the more minimal ones, as when Dora quietly sings to her baby. It’s a lullaby, and a goodbye, the end of two lives and the end of a world.Our ClassThrough Feb. 4 at BAM Fisher’s Fishman Space, Brooklyn; bam.org. Running time: 3 hours. More

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      Review: In High-Tech ‘Orchard,’ It’s Hard to See the Forest for the Trees

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      Jessica Hecht, Mikhail Baryshnikov and Chekhov himself too often get overwhelmed by this ambitious Arlekin Players Theater adaptation.A black-clad figure shuffles a curving path through the cherry blossom petals carpeting the ground. Ancient, dignified, slightly stooped, he is searching for his cane in this strange and beautiful landscape where almost everything, including the cherry blossoms, is a shade of swimming-pool blue.The opening moments of “The Orchard,” Igor Golyak’s adaptation of Chekhov’s “The Cherry Orchard,” belong to Firs, the serf turned servant who has been attached for generations to the same house in the countryside, and devoted to the same frivolous family now in peril of losing their beloved home. It is Firs who reliably pierces our hearts at the end of “The Cherry Orchard,” so to start with him here is fitting — all the more so because he is played by Mikhail Baryshnikov with the ineffable magnetism and captivating grace that have always made him a riveting performer, and that now make him the quietly scene-stealing anchor of this ambitious and cluttered production.We don’t know it yet, but that brief interlude — with a single line of dialogue about the weather, and the pleasure of watching Baryshnikov whirl when a wind whips up — is the last we will have before this show starts obstructing our view of the actors with video frequently projected on its transparent downstage scrim.It is extraordinarily frustrating, like trying to watch a play through a black-and-white film: a film that is often showing a close-up of what is happening on one part of the stage while blocking something else — such as Baryshnikov making a choreographed movement that we can’t see clearly even though he’s right there in the room with us. And this theater at the Baryshnikov Arts Center is a fairly intimate space; we are not in need of a zoom lens.Baryshnikov, as the servant Firs, and Hecht as Madame Ranevskaya, the lady of the house.Maria BaranovaA clue to the root of the chaos is the giant robotic arm sitting center stage in Golyak’s production for the Massachusetts-based Arlekin Players Theater, where he is artistic director, and its Zero Gravity Virtual Theater Lab. “The Orchard” is a hybrid, meant to provide one experience to in-person audiences and another, more interactive experience to online audiences. One of the show’s multiple cameras, none particularly well deployed, is on that robotic arm. There is also a robotic dog, who is surprisingly charming. (Robotics design is by Tom Sepe.)Experimenting with virtual theater is how Arlekin made a bigger name for itself during the industry shutdown; Baryshnikov and Jessica Hecht, the other star in this cast, first worked with the company online.But the creators of this production are in thrall to technological possibilities they have yet to grasp expertly, which hampers both incarnations. Seeing it in person is better, or certainly it was on Wednesday, when I caught the matinee at the theater and watched the virtual version — which is also live, and supplemented with activities like touring virtual rooms inhabited by Baryshnikov as Chekhov — from home at night. As intended, online viewers miss the beginning of the stage performance; why this would seem like a good idea I cannot fathom.It turns out that those close-ups on the scrim can be helpful if you’re watching the show on a laptop. On the other hand, the online video jerked and stopped so often on my screen, and for so long, that there were whole chunks of action I heard but didn’t see; the video feed cut out before the curtain call; and the scripted online ending mysteriously failed to appear. The ending I watched in person, though, didn’t entirely come off, either, because the final, vital projection never happened.A robotic arm gathers some of the video that is projected live onstage and shown online. In person, the images often prove distracting to a viewer captivated by the performers.Maria BaranovaWhat about the play, though? Well, that’s exactly the problem: You have to hack your way through an enormous amount of distraction merely to get to it, and even then the production doesn’t have the storytelling clarity the play needs to land. On the sidewalk after the matinee, I overheard some audience members who had never seen “The Cherry Orchard” and were left none the wiser, in terms of plot, after “The Orchard.”This disjointed production gives the impression of not being especially interested in comprehensibility. For all its projections (designed by Alex Basco Koch), significant passages of dialogue in American Sign Language, Russian and French go untranslated.Still, it is pretty to look at, with Anna Fedorova’s set ravishingly lit by Yuki Nakase Link, and the actors clad in Oana Botez’s elegantly contemporary take on period costumes. And Hecht is a gorgeously frothy Madame Ranevskaya, the lady of the house: sentimental and self-absorbed, with a decorative layer of ever-pleasant femininity and a spritz of teasing sexiness.During Wednesday night’s performance, when Hecht broke off to take a few live-chat questions from the virtual audience, she remained in character as a viewer reported a long-frozen computer screen.“I am so sorry,” she said, noting that a solution would require someone versed in such things. “I can only speak of matters of the heart.”One would think that this production might speak eloquently of matters of the heart — not only because Chekhov’s play does, but also because the Kyiv-born Golyak and his Arlekin, with its immigrant origins, are no strangers to the reality of having to leave a beloved home and build a life elsewhere.Aside from Madame Ranevskaya’s less-favored daughter Varya, played by Elise Kibler with a touching hopefulness, there’s not much in this production beyond sweet, funny, delicate Firs to suggest a heart at all.But, ah, Firs — so certain all his life that if he looked after this family, they would do the same for him. When the truth dawns at last, with the shock of disillusion, he collapses into human wreckage. Even in utter stillness, he is fascinating.The OrchardThrough July 3 at the Baryshnikov Arts Center, Manhattan, and online; theorchardoffbroadway.com. Running time: 1 hour 45 minutes. More

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      Chekhov Two Ways, With a Robot and Baryshnikov Along for the Ride

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      When the director Igor Golyak began working on a staging of Chekhov’s “The Cherry Orchard,” he had an idea in mind. “There was a concept,” he said, then interrupted himself. “I’d rather not talk about what it used to be, if that’s OK. The war started, me being from Kyiv and having this affinity for the Russian culture. …”Golyak’s voice trailed off. He was speaking in a coffee shop a block from the Baryshnikov Arts Center, in Midtown Manhattan, where his show, now titled “The Orchard,” is set to begin previews June 7 with a cast headed by the busy stage and screen actress Jessica Hecht as the estate owner Lyubov Ranevskaya. Also onboard is the center’s namesake, Mikhail Baryshnikov, as the old servant Firs.Golyak was born in Kyiv and his family landed in the United States in 1990, part of a wave of Jewish refugees. He finished high school in Boston then studied theater in Moscow — you might say Chekhov is in his bones. But although he felt he had a handle on the Russian writer’s work, the war in Ukraine made him reconsider his approach.Mikhail Baryshnikov, center, on the set of “The Orchard,” at the Baryshnikov Arts Center. “The miracle of Chekhov’s writing is that, no matter where it’s performed, it feels local,” Baryshnikov said.Amir Hamja for The New York Times“How do you do theater and Chekhov when there’s bombings and killings?” he said. “I keep asking ‘How and why and why is it important?’ But not on the theoretical level — on the level that really touches me. For me, every show is very personal. The idea in ‘The Cherry Orchard’ is the loss of a world, loss of connection, loss of each other, loss of this family. It’s a story where a human being is forgotten — Firs is forgotten,” he added. “And right now human being is forgotten.”In the play, a family in financial straits must decide whether it should sell its beloved orchard. In “The Orchard” this will be starkly visualized in a parallel virtual version that complements rather than merely captures the physical one — though streaming viewers get to watch parts of the version being performed live. (Audience members can attend either or both.)The virtual world is a post-apocalyptic dystopia in which the Baryshnikov Arts Center stands in for the orchard. There, the building, now a husk of its former self, is for sale, and virtual audience members can tour it as if they were doing a walk-through of a home on a real estate website.“It’s almost as if you’re inside this building and you find these magical rooms, and in each room, it’s like you’re finding a lost world,” the producer Sara Stackhouse said. “You’re discovering a letter or a memory, then you discover this theater where a play is in progress and you join it.”Jessica Hecht, center, with Nael Nacer during a rehearsal.Amir Hamja for The New York TimesThis grounds the show in a historical reality — Baryshnikov portrays the playwright in the digital version, and Hecht pops up as Chekhov’s wife and his mistress — while nodding to our troubled current circumstances.“The miracle of Chekhov’s writing is that, no matter where it’s performed, it feels local to the culture,” Baryshnikov wrote in an email. “How that translates in Igor’s version remains to be seen. Obviously he speaks the language the play was written in, but he’s taking a lot of risks — technical and artistic — and avoiding clichés.”Something that definitely can’t be called a Chekhov cliché is a 12-foot robotic arm, which sits in the middle of the physical stage — it is part of the family and tries to understand humans — and was painstakingly programmed to execute such tasks as serving coffee or sweeping the floor. (The production process has demanded many hours of Zoom calls with a technical team spread all over the world.)The juxtaposition of past and future (typically, Oana Botez’s costumes for the physical version are a hybrid of period and modern), human and robot feels like yet another leap for Golyak’s Arlekin Players Theater, which is based in Needham, Mass., and has been the rare company to use the pandemic as a creative spur.Until then, it had been a bit of a tough slog. As Golyak, now 43, learned the hard way, a young Russia-trained director was not a hot commodity in the American theater scene of the early 2000s.“Nobody wanted me,” he said. “For an immigrant, it’s very difficult: Where do you go? How do you start? I had an accent — and I still do, of course. I would send résumés but nobody would call me back. At some point I decided that I’m going to stop doing theater because it’s just not possible to make a living.” His day jobs included selling ads for the Yellow Pages.Eventually Golyak befriended a small group of other immigrants from the former Soviet Union, who asked him to help them work on scenes, guide them through what worked or not. He requested a nine-month commitment, and they agreed. Arlekin Players Theater emerged from that initiative, in 2009, and the troupe, which then mostly performed in Russian, developed an esprit de corps.From left: Nacer, Elise Kibler, Mark Nelson, Hecht, John McGinty, Juliet Brett and Baryshnikov during a recent rehearsal.Amir Hamja for The New York Times“We are like a family,” said Darya Denisova, 32, an actor with Arlekin and Golyak’s wife. “We celebrate holidays together, we support each other when there are emergencies. Now that there’s this awful war going on between Russia and Ukraine, we are all trying our best to support people in Ukraine. We’re looking for ways to send more money, to support, to organize more and more help.”The company quickly earned plaudits on the community-theater circuit, but it took the pandemic to give the company a decisive push into greater recognition.Russia-Ukraine War: Key DevelopmentsCard 1 of 3Power consolidation. More

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      Review: In ‘Witness,’ Seeking a Haven for Jewish Refugees

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      The experience of Jews who fled Germany in 1939 aboard the St. Louis luxury liner is the subject of a new production from the Arlekin Players Theater.Aboard the luxury liner St. Louis, more than 900 passengers waited helplessly at sea. In May 1939, on the eve of World War II, they were Jewish refugees fleeing post-Kristallnacht Germany. Despite having papers meant to let them into Cuba, they were barred from disembarking once they got there.Hoping for a haven, the boat lingered for a while off the Florida coast, while news stories chronicled the passengers’ increasing desperation. Yet the United States also refused the refugees. As the St. Louis carried them back to Hamburg in early June, The New York Times called it “the saddest ship afloat.”That ship is the setting for “Witness,” a livestreaming documentary theater piece from Arlekin Players Theater in Needham, Mass., where the cast performs in front of green screens. Conceived and directed by Igor Golyak, Arlekin’s artistic director, the production bears witness to stories from wave after wave of Jewish refugees over many decades, and to what it sees as the eternal outsider experience of Jews in the United States.But before its ghostly shipboard vaudeville begins, we watch the Emcee (Gene Ravvin) take a smoke break, venting about the wisdom of presenting this piece in this moment.“The Holocaust, the St. Louis,” he says. “I don’t know if this is my thing. I don’t know if we need to talk about it now. I don’t.”When I watched “Witness” on my laptop Friday night, that bit of fretful grousing had a very different feel than it surely would the next day, when a man in Texas took four hostages during a service at a synagogue, and a nearly 11-hour standoff with state and federal law enforcement officers ensued. Suddenly, once again, the urgency of discussing antisemitism was palpable, and not just to people who feel the menace of that bigotry all the time.Written by Nana Grinstein, with Blair Cadden and Golyak, “Witness” is part variety show, pitting passengers against one another for an unnamed “fabulous prize.” The contest results are decided by the audience members, who vote on their screens after each act. The winner, the night I saw it, was the remarkably graceful “Skating on Glass,” set to voice-over memories of Kristallnacht.With scenography and costumes by Anna Fedorova, virtual design by Daniel Cormino and excellent sound by Viktor Semenov, “Witness” often has the digitally buffed surreality of a video game, which might sound like an insult but is not. Like a lot of online theater, it also has a slight trying-too-hard feel.Before the show starts, audience members are urged repeatedly to allow their computer’s camera to show them onscreen with the rest of the crowd during the performance. (There is no hint that acquiescing is optional, but it is.) When the wall of viewers periodically appeared, though, it often looked like people were reading something on their screens — which they might have been, since “Witness” offers chances to click for more historical context. As a visual, it didn’t exactly foster a feeling of connection.“Witness” is an experimental production, with different energy to each of its three acts, the second of which is all audio, like a radio play. Where this multilayered show loses dramatic potency is in the last act, when contemporary characters take over. They talk about antisemitism in the 21st-century United States, but without depth, and only barely connect it to the hatred against other marginalized groups.Even so, this piece does indeed bear witness to what happens when danger threatens Jews for being Jewish, and the culture shrugs.“It was supposed to be different in America,” the Emcee says. “And now look.”WitnessLivestreaming through Jan. 23; zerogravity.art. Running time: 1 hour 30 minutes. More

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      ‘chekhovOS /an experimental game/’ Review: Life on a Merry-Go-Round

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      This ingenious interactive show finds the Russian playwright’s characters plotting against their creator.What if fictional characters were stuck in an infernal, hopeless time loop, a cross between “No Exit” and being on hold with Delta Air Lines? You can imagine that the siblings in “Three Sisters” would like the opportunity to stop talking about going to Moscow and finally — finally! — do it.Such is the premise of the Arlekin Players Theater’s ingenious interactive show “chekhovOS/an experimental game/,” which takes place in a virtual realm where the Russian playwright’s characters rise up against their creator (portrayed by Mikhail Baryshnikov).“We are tired of Anton Pavlovich Chekhov’s plays being performed, and we are tired of being perpetually unhappy in his world,” they tell the audience. “We beg of you … let us move on.”The theatergoers, who are watching on Zoom, can vote to set Vanya and company free or can, for example, decide that this time around, the cherry orchard will not be cut down.Or can they? More on this later. (A review about a meta hybrid of theater and gaming can’t be expected to be entirely linear.)This conceit could fit a number of writers and texts (“Pick 1 for ‘to be,’ 2 for ‘not to be’”), but the Chekhoverse is a perfect setting to tackle issues of agency, or lack thereof, because the characters are so often in a rut, paralyzed by forces of their own making: They pine, hesitate and waffle, deprived of options by wistful regrets and elusive daydreams.The Boston company Arlekin Players and the director Igor Golyak had already come up with one of the virtual era’s most acclaimed productions with last year’s “State vs. Natasha Banina,” but “chekhovOS” — part of the 2021 International Online Theater Festival — is a leap forward in storytelling and execution.The previous show’s lead, Darya Denisova, returns as the only live actor, portraying Natasha, who in “Three Sisters” is married to the siblings’ brother. (The other live performer, introduced as “a fish called Olga,” does not contribute much and does not appear frustrated by having to swim aimlessly in a glass bowl.)In segments written by Tom Abernathy, Natasha serves as host, introducing situations and dramatis personae, and interacting with the audience. Occasionally, Baryshnikov turns up (in a recording) to read some of Chekhov’s letters in subtitled Russian.The audience votes on which play it wishes to see. At a recent show, it was “The Cherry Orchard,” presented in taped chunks and set in a stylish digital netherworld. There is a good chance you’ll end up seeing it, too (Natasha even jokes about it), just as the Chekhov characters are unable to deviate from their prescribed paths. This adds another layer to the idea of fiction as a deterministic software.The show’s master stroke is that the scenes from the play are a lot better than they needed to be. Anna Baryshnikov (Mikhail’s daughter, and currently in the Apple TV+ series “Dickinson”) is a revelation as the young Varya, but the main draw is Jessica Hecht as the impoverished orchard owner, Ranevskaya. Hecht, who is simply unable to give a conventional performance in anything, often looks up in space; the character is distracted, dreamy, maybe not entirely there. Whether you are new to “The Cherry Orchard” or have seen it a half-dozen times, this take is intriguing, absorbing. It left me wanting more, preferably live.And so, as in other devised, self-contained universes that keep you coming back for more, like a casino or an Apple device, Chekhov has the last word.chekhovOS /an experimental game/Through June 24; zerogravity.art More