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    15 Summer Theaters for That Nearby, Out-of-Town Experience

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    Easygoing days of drama and comedy are just a few hours away (or even closer) in New York, Connecticut and Massachusetts.Summer used to be when playgoing in the city came to a full stop. With no air-conditioning, most shows closed, at least until fall.But now that urban theater is a year-round sport, Memorial Day is more like a comma than a period. Notable productions play straight through the hot months — some even opening in August, even on Broadway.So what has happened to the regional festivals, straw-hat theaters and avant-garde outposts that once flourished as the city languished? Many are struggling. Yet others are surging.Regardless, they’re worth visiting.There’s something different about summer theater outside the city. Subways are rarely involved, though a train ride or overnight stay at a lovely inn might be. Dress is casual — by which I mean “more casual than usual” because I’ve seen people at Shakespeare in the Park in pajamas. And the fare is more varied, including not just the prestige and tourist-bait extremes of the spectrum but also the hokey, offbeat and silly stuff in between.Another plus: what you spend on that inn, you’ll save on the tickets.So here’s a selection of theater that will help you get out of the city — or at least make you feel like you did.The Big MagnetsFormerly the jewel of the summer theater circuit, famous for classics and knotty new works, the Williamstown Theater Festival, in Williamstown, Mass., is regrouping after its production model, dependent on unpaid labor, collapsed. This season includes just one fully staged production: David Ives’s detective drama, “Pamela Palmer” (starting July 23). But much more is going on, including a multigenre, multistage event called “WTF Is Next” (Aug. 1-4). Think of it not as crisis management but as a tasting platter of ideas for the future.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Reeling From Heartbreak, and Then ‘Penelope’ Showed Up

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      Alex Bechtel’s new musical, sort of “a pandemic parable,” gives voice to a mythical character in “The Odyssey.”The composer and lyricist Alex Bechtel didn’t go looking for Penelope, the mythical character in “The Odyssey” famed for her clever weaving and steadfast endurance of long abandonment.At a low moment in Bechtel’s romantic life, Penelope came to him, inspiring music that developed into a concept album. A breakup album, really, begun in 2020 during the early months of the coronavirus pandemic. Bechtel was at home in Philadelphia, far from his partner in Boston, as their relationship fell apart — and as he wondered, with the nation’s stages shuttered, whether he would ever be able to work in theater again.The music, then, was also fed by what he called his “terror and confusion and grief and longing for this thing that I have chosen to do with my life.”“I started writing songs from the point of view of Penelope,” he said. “I never sat down to say, ‘Wouldn’t it be interesting to do an adaptation of “The Odyssey” from her point of view?’ It’s just, I was going through this large experience, and that character was within arm’s reach.”For the next couple of weeks, on a sandy-floored stage in Garrison, N.Y., she will blossom into three dimensions. “Penelope,” the delicate, contemporary, unconventional musical that evolved from Bechtel’s aching album of the same name, has a preview on Saturday and opens Sunday at Hudson Valley Shakespeare Festival. With five musicians — pianist, percussionist and strings — who function at times as a chorus in the ancient Greek sense, the show has a cast of one, Tatiana Wechsler, who plays Penelope.“It’s kind of like if she were putting on her own cabaret act,” Wechsler said, “but then she gets stuck in the imaginings.”Directed in its world premiere by Eva Steinmetz, “Penelope” has a size well suited to the American theater’s lately straitened economics.That’s coincidental, though. While Bechtel joked that it’s lucky he “didn’t come out of the pandemic with a 45-person musical,” a solo piece simply seemed right for expressing Penelope’s isolation and loneliness as she waits for her adventuring husband, Odysseus, to return.“It needed to just be her,” Bechtel said on a cool and rainy August afternoon, fresh from playing the keyboard at a rehearsal down the road from the festival’s tented stage.Wechsler and Bechtel at a rehearsal for the musical, which grew out of an album project that was released digitally on Bandcamp.Tony Cenicola/The New York Times‘Sort of dream time’When Bechtel and Steinmetz talk about the project’s origins, a slight but unmistakable haze of nostalgia sometimes softens their recollections.“He and I were having what we called weekly office hours,” Steinmetz said, “which was sitting on my porch drinking wine and eating pizza and talking about life and love and politics and art and grief. It was really sweet.”“Part of that for me,” he said, “processing this thing I was moving through, was asking her opinion on this music that I was trying to construct into an album that had a narrative and a shape and was theatrical in its sort of construct. A lot of the ways that that album moves are because of things she was whispering in my ear.”“As it grew,” she said, “and we realized that there really was a character here and this really was a story, then office hours became the sort of dream time when we imagined what it would be like to live in a world where we could do live theater again, and where we could turn it into a show, but kind of couldn’t imagine what that world would look like.”The phrase that Bechtel uses to describe music appearing unbidden in his mind is “showing up,” which is how the album project had begun. What surprised him, after he had sent the tracks into the world, releasing them digitally on Bandcamp, was that new “Penelope” music kept showing up.“Partly,” he said, “that was the cyclical, unpredicted and nonlinear nature of healing. Like, you can’t just decide you’re done healing from a heartbreak. That’s not how the heart works.”But hope was also in the mix. As the reopening of theaters started to seem possible, Bechtel had reason to keep writing. He and Steinmetz started shaping the songs into a musical.To workshop the show, they asked the actor and writer Grace McLean — of “Natasha, Pierre & the Great Comet of 1812,” and more recently of “Bad Cinderella” — to play Penelope.McLean was already a fan of “The Appointment,” the critically embraced Off Broadway abortion musical that Steinmetz and Bechtel made with Alice Yorke and the company Lightning Rod Special. But that show, which juxtaposes the lurid absurdism of imaginary fetuses singing for their lives with the stark realism of pregnant women seeking abortions, would seem to have little overlap with “Penelope.”Yet Steinmetz sees a common thread in each musical’s effort to “take a wild and often monstrous myth and expose the everyday humanity at the center of it. In both stories, there’s a person on the periphery, enduring consequences of the myth.”With “Penelope,” running through Sept. 17 at Hudson Valley Shakespeare Festival, Bechtel said he wanted his character to say “the stuff that she didn’t get to say in that poem.”Tony Cenicola/The New York TimesPenelope’s voiceBechtel’s long-ago first exposure to “The Odyssey” was an episode of “Wishbone,” the 1990s PBS children’s series where, he explained helpfully, “a dog becomes the lead character of classic tales of literature.” Penelope, however, “was a human woman, as I recall.”An inauspicious introduction? Maybe. Now, though, he has a long list of volumes that he considers the “works consulted” in the making of “Penelope.” Emily Wilson’s translation of “The Odyssey” is on it, as well as Margaret Atwood’s “The Penelopiad,” Mary Oliver’s “Devotions: Collected Poems,” and Annie-B Parson’s “The Choreography of Everyday Life,” a pandemic meditation that considers “The Odyssey.”The book that spoke powerfully to McLean was Madeline Miller’s novel “Circe,” in which Penelope and her loom figure vividly. McLean borrowed Bechtel’s copy — “He tends to carry all of his little source material books around,” she said by phone — and in it she “saw the influence of this strong, witchy woman that they wanted to invoke in their Penelope.”If the character was Bechtel and Steinmetz’s when they brought her on, the three of them tailored it to fit McLean, who ultimately wrote the musical’s book with them. Through improvisation, they found what she called “the connective tissue” between the songs. Then professional and personal scheduling conflicts kept her from taking on the role at Hudson Valley Shakespeare.“But what I’m hearing from Alex and Eva,” McLean said, “is that it’s not necessarily just bespoke to Grace McLean — that it’s translating to Tatiana as well. That makes me feel like we hopefully tapped into something that sounds like Penelope’s voice, not just Grace’s or Alex’s or Eva’s.”The sound of Penelope’s voice, of course, is open to invention. “The Odyssey,” for one, isn’t much interested in her.Bechtel, though, was drawn to that empty space where her voice might have been: “The stuff that she didn’t get to say in that poem, and the stuff that she didn’t get to experience in that poem.”This “Penelope” is all her story — and what he calls “a pandemic parable,” too. She is a woman trapped at home, suffused with longing, and taking the same nature walk too many times a day.Remember that? More

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      in Theater

      Review: Young Bros and Maidens Harmonize in ‘Love’s Labor’s Lost’

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      This peculiar early Shakespeare comedy gets updated with 10 songs for a youthful alfresco production.“Let’s rock!” is something I’m pretty sure no character in Shakespeare ever said. But on a sandy stage under a jaunty tent, with a green hillside as a welcoming backdrop, it seemed an apt way to begin “Love’s Labor’s Lost.”It is, after all, a young man’s play, both in its authorship (Shakespeare was about 30) and story (four callow bros fall madly in love with four sharp maidens). And this production, directed by Amanda Dehnert for the Hudson Valley Shakespeare Festival, intensifies the youth-crush factor with 10 emo songs. Neither fully true to the strange original nor completely remade as a viable musical, it swings between those poles in ways that are both tiresome and charming.Let’s start with the charming: The catchy songs, by Dehnert and the Chicago-based composer André Pluess, tap the sappy heart of summer and are danceable to boot. (You may be the audience member asked at one point to prove it.) Whether folky or funky, and despite lyrics that sound little like Shakespeare — “she’s a nice girl, always thinking twice girl” — they match the story emotionally, with titles like “The Infinite Ones” (as youth always sees itself) and “Change to Black” (as youth at some point must do).That the songs don’t match the story structurally is probably an insuperable problem. “Love’s Labor’s Lost,” with or without the British “u,” is a very youthful, disjointed text, its thin thread of plot repeatedly cut by clowns, dullards, puns, pomposities and noodling that goes nowhere. Misdelivered letters and absurd disguises contribute. By the time you get to the masque near the end, featuring impenetrable spoofs of the nine classical “worthies,” you may doubt young Shakespeare’s judgment of worthiness.And yet his ear for the painful paradoxes of love is already fully in evidence. The four young men of Navarre, who form a “Seinfeld”-like pact to abjure the company of women for three years, break it almost instantly when a delegation of four visiting gentlewomen arrives from France to resolve a diplomatic issue. (After many readings and viewings of the play, I still don’t know what that issue is.) In supple pentameter, Shakespeare explores the difference between the book learning the young men meant to engage in and the learning that emerges, despite their plans, from “the prompting eyes of beauty’s tutors.”From left, Mayadevi Ross, Emily Ota, Antoinette Robinson and Phoebe Lloyd in the play, with music and lyrics by Amanda Dehnert and André Pluess.Sara Krulwich/The New York TimesStill, theirs is a bumpy road to maturity. Spurred on by Berowne, “a man replete with mocks,” they double down on whimsy, dressing up for some reason as Russians to bamboozle their intendeds. (In Dehnert’s staging, the “Muscovites” are a rock group.) In response, the women, spurred on by Rosaline, whose eye “Jove’s lightning bears,” disguise themselves as one another to confuse and trump the men. But just as all of this gets sorted, with a quadruple marriage (or more) in sight, a last-minute death delays the nuptials and forestalls a normal resolution.“Our wooing doth not end like an old play,” Berowne says. “Jack hath not Jill” — which if true enough to life, is way too sudden for dramaturgy.The Hudson Valley Shakespeare production is not the first to struggle with such problems in musicalizing “Love’s Labor’s Lost.” But unlike the 1973 opera by Nicolas Nabokov, with a libretto by W.H. Auden and Chester Kallman, or the musical comedy presented by the Public Theater in 2013, with songs by Michael Friedman, Dehnert’s version does not use its songs to deepen character and propel the story.They are generally too short and atmospheric for that, most being sung between scenes instead of during them, and by members of the multitasking cast-slash-band (guitars, drums, accordion) who are observing the action, not experiencing it. The addition of songs, however beguiling, thus winds up emphasizing the play’s ungainliness by adding another unintegrated element and stretching the run time. A full-blown musical might have worked better, but at two hours and 40 minutes, it’s already too long for a summer romp.That’s a shame, because some of the singers — including Melissa Mahoney, who plays the “wench” Jaquenetta, and Luis Quintero, one of the dullards — have great voices. Others compare favorably only with the chorus of mosquitoes that always accompanies a Hudson Valley Shakespeare outing. But if discipline is not the top vocal note, rawness verging on excessiveness is a kind of authenticity in a show about raw, excessive youth.Authenticity is not sufficient when speaking the verse, though; it requires more finesse than some of the young actors yet possess. Getting your mouth around the overlapping and oddly shaped dialogue can be like eating an unpeeled pineapple.Luckily, Stephen Michael Spencer as Berowne and Antoinette Robinson as Rosaline are standouts, fully inhabiting the process of growing up and growing wise. At first almost adversaries — he impulsive and she haughty — they gradually move toward the middle as the invented trials of infatuation give way to the real ones of love. Both are also generally spared the over-emphatic jollity that Dehnert has evidently encouraged as a way of plowing through difficult passages of dialogue and forcing the weird jokes to bloom. It’s no fun when the people onstage are having more fun than you.Still, despite its lapses and longueurs, “Love’s Labor’s Lost” remains in this version a fascinating and feelingful taste of Shakespeare to come. And if in his later works he generally improved on many of the tricks pioneered here, that too is apt. Like those tricks, this musical, as it develops for future productions, may one day improve on its first, green outing.Love’s Labor’s LostThrough Aug. 27 at the Hudson Valley Shakespeare Festival, Garrison, N.Y.; hvshakespeare.org. Running time: 2 hours 40 minutes. More

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      in Theater

      A Guide to Summer Theater Festivals in New York and the Berkshires

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      In summertime, a lot of stage talent heads for the Hudson River Valley and western Massachusetts, where curious audiences follow. Here is some of what theaters there have on tap this year.Hudson Valley Shakespeare FestivalAmong this summer’s offerings at Hudson Valley Shakespeare Festival is a production of “Henry V,” directed by Davis McCallum, the company’s artistic director.T. Charles EricksonThis company has a knack for magnificent vistas. Its new home is high above the Hudson River in Garrison, N.Y., with breathtaking views. Picnicking, should you care to, is very much part of the preshow experience, and performances are alfresco, under a sturdy, festive, big white tent. But productions here often use the landscape just outside for striking tableaus, with the tent’s wide, arced entrance framing bits of action on the sloping lawn.This season’s shows are Shakespeare’s “Henry V” (through Aug. 21), directed by Davis McCallum, the company’s artistic director; a musical spin on Shakespeare’s “Love’s Labor’s Lost” (through Aug. 27), adapted and directed by Amanda Dehnert, who wrote the pop-rock score with André Pluess; and “Penelope” (Sept. 2-17), a solo musical re-envisioning of “The Odyssey,” directed by Eva Steinmetz, with music and lyrics by Alex Bechtel, who wrote the book with Grace McLean and Steinmetz. (hvshakespeare.org)New York Stage and FilmThe dance musical “Paradise Ballroom,” featuring choreography by Princess Lockerooo, above, will close out New York Stage and Film’s season next weekend.Kenny RodriguezThere is a particular excitement to seeing theater by daring artists while it is still taking shape. Such is the allure of New York Stage and Film’s readings and workshops, on the campus of Marist College in Poughkeepsie. Last weekend, people filing in to see Lauren Yee and Heather Christian’s new musical adaptation of Madeleine L’Engle’s “A Wrinkle in Time” were handed a slip of paper advising that many lyrics would be spoken, not sung. “There is much music still to be written,” it said. Disappointing? Not if you approach these shows knowing that they are incubating. Also, Katrina Lenk was playing Mrs. Whatsit, fabulously.The company’s new-play readings this weekend are “The Good Name” (July 29), written by Sopan Deb, a New York Times reporter, and directed by Trip Cullman; and “Downstairs Neighbor” (July 29), by Beth Henley, directed by Jaki Bradley. The season closes with the dance musical “Paradise Ballroom” (Aug. 4-6), directed by Colette Robert, with book, lyrics and choreography by Princess Lockerooo, and music by Harold O’Neal; and a workshop presentation of “Like They Do in the Movies” (Aug. 5-6), a solo show written and performed by Laurence Fishburne, directed by Leonard Foglia. (newyorkstageandfilm.org)Williamstown Theater FestivalFrom left, Jon-Michael Reese, Natalie Joy Johnson and Eden Espinosa at a recent WTF Cabaret performance. The loose and lively weekend concert series has a rotating roster of performers.Emilio MadridWestern Massachusetts’s most powerful magnet for boldface-name stage artists is taking a sparer approach this year — minimal physical production, a focus on works in progress, blink-and-you-miss-them runs. But even as the company looks for a less costly, more sustainable way forward, it has not left glamour behind.At the ’62 Center for Theater and Dance at Williams College, in Williamstown, Mass., the play reading on the main stage this weekend is Chekhov’s “Three Sisters” (July 29-30), with Meryl Streep’s daughters, Louisa Jacobson, Mamie Gummer and Grace Gummer, in the title roles, and her son, Henry Wolfe Gummer, as the sisters’ brother. Next weekend, Quincy Tyler Bernstine, Michael Chernus and Alison Pill star in a reading of Martin McDonagh’s “The Pillowman” (Aug. 5-6).The loose and lively WTF Cabaret, on the same intimate stage, is hosted this week by the comedian Lewis Black (July 27-29) and next week by the comedian Jaye McBride (Aug. 3-5). The band is terrific.The festival’s Fridays@3 reading series takes place close by, at the Clark Art Institute, where you might want to leave time to see the exhibition “Edvard Munch: Trembling Earth” or dip your toes in the three-tiered reflecting pool outside. (It’s allowed.) With Diana Oh in the cast, Clarence Coo’s “Chapters of a Floating Life” (July 28) is about two couples from China in postwar New York City. The series finishes with Aurora Real de Asua’s “Wipeout” (Aug. 4), a septuagenarian surfing comedy with Emily Kuroda, Becky Ann Baker and Candy Buckley. (wtfestival.org)Barrington Stage CompanyA revival of Pearl Cleage’s “Blues for an Alabama Sky,” with Tsilala Brock, left, and Ryan George, is at Barrington Stage Company through Aug. 5.Daniel RaderIn downtown Pittsfield, Mass., this theater has a slate of full productions this summer. A beautifully acted, vibrantly designed revival of Pearl Cleage’s “Blues for an Alabama Sky” is on the Boyd-Quinson Stage (through Aug. 5), followed by a revival of William Finn and James Lapine’s musical “A New Brain” (Aug. 16-Sept. 10). With a cast that includes Adam Chanler-Berat, Andy Grotelueschen and Mary Testa, it’s produced in association with Williamstown Theater Festival.A few blocks away, on the St. Germain Stage at the Sydelle and Lee Blatt Performing Arts Center, Julianne Boyd directs Brian Friel’s classic “Faith Healer” (Aug. 1-27), a drama told in monologues. Downstairs, Mr. Finn’s Cabaret presents a lineup of Broadway veterans: Lillias White (Aug. 13-14), currently playing Hermes in “Hadestown”; Hugh Panaro (Aug. 21), a former Phantom in “The Phantom of the Opera”; the composer-lyricist Jason Robert Brown (Aug. 31-Sept. 1), whose musical “Parade” just won the Tony Award for best revival; and Alan H. Green (Sept. 2-3), a company favorite. (barringtonstageco.org)Berkshire Theater GroupChristine Lahti in Berkshire Theater Group’s production of the actress’s autobiographical solo show “The Smile of Her.”Emma K. Rothenberg-WareThis is the final weekend to catch Christine Lahti in “The Smile of Her” (through July 29), an autobiographical solo show about her suburban family in the patriarchal 1950s, at the Unicorn Theater in Stockbridge, Mass. Next up, also at the Unicorn, is the world premiere of the musical “On Cedar Street” (Aug. 12-Sept. 2), about two widowed small-town neighbors who start sleeping side by side to alleviate their loneliness. Adapted from Kent Haruf’s final novel, “Our Souls at Night,” it has a book by Emily Mann, music by Lucy Simon and Carmel Dean and lyrics by Susan Birkenhead. (berkshiretheatregroup.org)Shakespeare & CompanyBrian D. Coats and Ella Joyce in a production of August Wilson’s “Fences,” through Aug. 27, at Shakespeare & Company in Lenox, Mass.Eran ZelixonNot a lot of Shakespeare is among the theater happening this summer in green and gorgeous Lenox, Mass., but “A Midsummer Night’s Dream” (Aug. 1-Sept. 10) is coming right up in an open-air production, with the excellent Jacob Ming-Trent as Bottom. Ken Ludwig’s two-hander “Dear Jack, Dear Louise” (through July 30) is wrapping up its run in another of the company’s outdoor spaces.Indoors are August Wilson’s “Fences” (through Aug. 27), William Gibson’s “Golda’s Balcony” (Aug. 5-20) and Donald Margulies’s “Lunar Eclipse” (Sept. 15-Oct. 22), making its world premiere with Karen Allen and Reed Birney at the tail end of summer. Also inside: a staged reading of “Hamlet” (Sept. 1-3), with Finn Wittrock in the title role and Christopher Lloyd, who played the mad monarch in Shakespeare & Company’s “King Lear” two summers ago, as Polonius. (shakespeare.org) More

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      in Television

      Review: In ‘Mr. Burns,’ Apocalypse Now, With ‘The Simpsons’ and Songs

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      Anne Washburn’s 2012 play about a post-pandemic society reckoning with loss has not aged at all, our critic writes.Stories, like viruses, are transmissible. In the brain, in the blood, they mutate and change. Tragedies become comedies; dramas become myths. And in Anne Washburn’s visionary and wackadoo “Mr. Burns, a Post-Electric Play,” revived by the Hudson Valley Shakespeare Festival, an episode of “The Simpsons” becomes an opera and that opera becomes a way for a post-apocalyptic society to reckon with all it has lost.After a devastating contagion and concomitant nuclear meltdowns, the American population has shrunk to maybe a million, maybe half that. In the first act, set in the very near future, somewhere in the northeast, a few survivors have gathered around what should be a campfire (did the fire marshal not allow it?) to tell stories. Or as on this night, one particular story. Collectively, they piece together the events and jokes of “Cape Feare,” a Season 5 episode of “The Simpsons.”Recalling Sideshow Bob’s flourishes and Homer’s doofus behavior connects them to a lost world in a way that feels bearable. Real memories are too painful. Memories of a television show — in a time when televisions no longer work — are what they can manage. In the second act, these scattershot remembrances have been refashioned into a revue. The third act, set decades later and entirely sung through, with music from the composer Michael Friedman, transmutes them further.“Mr. Burns” debuted in May 2012 at the Woolly Mammoth Theater in Washington, and then moved to Playwrights Horizons. Sept. 11 was more vivid in the cultural memory a decade ago. One passage includes a haunting reference to twin towers of light. But with the pandemic, we have a new cataclysm to absorb, which makes “Mr. Burns,” directed by the festival’s artistic director, Davis McCallum, a timely selection. (Will there always be some new disaster? Will this play always seem of the moment? Yes. Probably. Ugh.) In its invention, its cool ruthlessness, its interrogation of why and how we use narrative, it has not aged at all.Sean McNall, Merritt Janson, Quintero, Karaman, Ota, and Zack Fine. With three-quarter seating, the director and his designers sometimes struggle to make the action visible to all.T. Charles EricksonIn some ways, the festival, with its sandy floor and jaunty tent, provides an ideal location. The opening at the back of the tent looks out into some old-growth trees. Even considering the mowed lawn — a concession to picnickers and the tick-averse — it suggests what the landscape might look like if nature made a comeback. (If the vista had shown the recently decommissioned Indian Point nuclear plant, located just down the Hudson, that might have been even more evocative.) But the play was built for a proscenium stage, not three-quarter seating, and McCallum and his designers sometimes struggle to make the action visible to all, particularly in the final act.The acting is uneven here, the rhythms sometimes off, though Sean McNall, a festival veteran, has a terrific turn as a newcomer in the first act, and Merritt Janson, a welcome Off-Broadway presence, does pointed and specific work as an actor-manager in the second. Zachary Fine, who operates on a very low-key in the first two acts, triumphs in the third. During that act, a chorus member banged a drum straight into my ear, which I could have done without.And yet, if you are in the area, and you can book a seat away from that drum, you should see “Mr. Burns.” Here’s why: It seems to me that no new work of art — theater, television, film, fiction — produced in these past few years has really represented the pandemic, at least as I’ve experienced it. Sometimes the more on the nose they were (“Station Eleven,” say) the further away they felt.“Mr. Burns” doesn’t exactly capture it either, but it captures something else. In these past two years, when I have had a moment of downtime, I have turned to comedies and procedurals, shows that made the world feel regular and knowable. “Mr. Burns” explores the ways that we use stories, even seemingly irrelevant stories, to make sense of our lives. “Mr. Burns” is a play about where we find comfort and it is also, more chillingly, about the limits of that comfort, about how reality can intrude even before the credits roll.Reality sometimes intruded, even here, out of the city, out of doors. The show’s opening had been delayed owing to coronavirus cases among the cast. The spectators closest to the actors were asked to wear masks; most did. Still, we could lose ourselves for a while, in imagining how a society much like ours might handle a disaster much worse than this one, how we might or might not come through it. To watch this feels pleasurable and painful and mysterious and weird. Or to put it another way: D’Oh.Mr. Burns, a Post-Electric PlayThrough Sept. 17 at the Hudson Valley Shakespeare Festival, Garrison, N.Y.; hvshakespeare.org. Running time: 2 hours 30 minutes. More

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      ‘Romeo & Juliet’ Review: Older, Gentler Star-Crossed Lovers

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      With age-blind casting at the Hudson Valley Shakespeare Festival, two actors who have been married for 38 years play the teenage leads.GARRISON, N.Y. — A romance and a love story are two different things. In art, we’re not great at differentiating.Take “Romeo and Juliet,” a corpse-ridden romantic tragedy routinely mistaken for a tale of deepest love, even though the lovers are teenagers who’ve only just met — people who, despite their ferocious infatuation, would absolutely flunk a quiz about each other’s likes and dislikes, dreams and histories.They’re passionate, sure; isn’t everyone at that age? But the rash young people in “Romeo and Juliet,” both the title characters and some of their friends, die from their own impetuosity. They’re not old enough to know better than to kill one another in anger in the street, or agree to a harebrained plan that involves faking one’s own death and being interred in a real tomb.Gaye Taylor Upchurch’s staging — which opened on Friday night at the Hudson Valley Shakespeare Festival’s new 98-acre riverside site, under the canopy of its familiar tent — presents the tragedy as a love story, with a twist. Romeo and Juliet are played by festival regulars Kurt Rhoads and Nance Williamson, actors who have been married for 38 years and done 68 previous shows together. Upon which background, apparently, the central idea of this production mistakenly depends.“With Kurt and Nance in the title roles,” Upchurch writes in a program note, using an ampersand as her production’s title does, “we get to take it for granted that Romeo & Juliet truly love each other.”Even if we could, and I don’t believe we can, that assumption wouldn’t be terribly helpful to a drama that’s driven by the urgency of fresh desire yet played here with the languor of long acquaintance, as if guided by Friar Laurence’s admonition to “love moderately.” And so the sparking attraction between Romeo and Juliet ignites not a raging conflagration but a glowing ember — warmth, not heat.The fault isn’t in the chronologically incongruous casting; audiences are sophisticated enough not to bat an eye at the actors’ ages. And in a summer when Ian McKellen is returning again to the title role in “Hamlet,” which he last played onstage a year ago, at 82, other well-seasoned actors might also want to take their shots at interpreting Shakespearean youths.Upchurch’s elegant interspersing of ethereal choral music by Heather Christian is one of this production’s most alluring features, along with costumes in eye-popping patterns by Enver Chakartash. But Upchurch hasn’t built a frame or puzzled out a conceit that supports her age-blind casting. The idea feels forced, not organic — grasping for meaning rather than providing it.Romeo and Juliet, adolescents still under their parents’ roofs, take drastic measures to wrest control of their lives and futures. But the even-keeled Rhoads and Williamson imbue these teens with none of the tidal-wave emotions that make them idealistic enough to defy their families’ hatred for one another, and heedless enough not to pause for rational thought.Without that palpable, desperate, cocktail-of-hormones recklessness, their actions make no sense. And if we don’t believe the characters, the play loses its stakes and its heft. As when Lady Capulet (a solid Britney Nicole Simpson) urges the almost 14-year-old Juliet to marry her suitor Paris, saying: “I was your mother much upon these years that you are now a maid.” There’s gut-punch potential in that line about girls and imposed maternity, but in the context of this wan production, it merely evaporates.Paris (Erin Despanie), though, is interesting: unusually affable, and thus uncommonly sympathetic. You feel a little bad for the guy as he innocently looks forward to his wedding. And if Kimberly Chatterjee’s appealing Friar Laurence doesn’t manage to reconcile his own honorable objective — ending the antagonism between the Capulets and the Montagues — with his deranged death-faking scheme, he is nonetheless one of the more fully inhabited characters.A hillside along the Hudson River serves as a captivating backdrop, with costumes in eye-popping patterns by Enver Chakartash.T. Charles EricksonThe tent in which this all plays out, with little more than chairs for a set, is a temporary structure nestled at the foot of a sloping hill. It’s due to be replaced nearby with a permanent open-air theater designed by Studio Gang, with Hudson River views — the sort of vista that festival goers enjoyed for decades at Hudson Valley Shakespeare’s former longtime home, on the grounds of the neighboring Boscobel House and Gardens.That backdrop is gone for now, but the customary soft sand stage floor is in place, to be traipsed across by spectators on the way to their seats. Also comfortingly unchanged: the dexterous use of the landscape outside the tent as a playing space. After mortally wounding Romeo’s friend Mercutio (Luis Quintero), Juliet’s cousin Tybalt (Zoë Goslin) runs off to the hill, where, in dramatic side lighting (by Stacey Derosier), he surveys the damage from a distance. Upchurch does well with such tableaus.Covid-19 cases in the company delayed the opening night of this “Romeo & Juliet.” Even when it arrived, two actors wore face masks onstage. It’s impossible to know how much the disruption of illness might have foiled the depth of characterization in this production.But more time would not have alchemized the central elements that refuse to meld: the onstage fiction of Romeo and Juliet’s ruinous romance, and the offstage reality of two veteran actors’ devoted love.Romeo & JulietThrough Sept. 18 at Hudson Valley Shakespeare Festival, Garrison, N.Y.; hvshakespeare.org. Running time: 2 hours 45 minutes. More

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      Review: ‘The Tempest’ Starkly Amplifies Prospero’s Evolution

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      A strong ensemble, music and movement round out the Hudson Valley Shakespeare Festival’s last production in its longtime home at Boscobel House and Gardens.GARRISON, N.Y. — Prospero’s grievance has been gnawing at him a dozen years when at last he speaks of it to his teenage daughter, Miranda, explaining how they were forced from their noble life in Milan into island exile.His own treacherous brother snatched his dukedom away, propelled by “an evil nature” and a craving for power that Prospero — bookish sorcerer, kindly father, distracted ruler — hadn’t suspected in him.Does he sense his own darkness, though? His own lust for dominion? The way Prospero spins his tale, he is a great man and a good guy wronged. But in Ryan Quinn’s fitfully magical production of “The Tempest” at Hudson Valley Shakespeare Festival, the cruelty that lurks in him is abundantly on display.The long-lashed, gold-dusted spirit Ariel (Britney Simpson), forced to do Prospero’s bidding, desires her freedom from him more than anything. The brutish Caliban (Jason O’Connell) wants the same, and to be left in peace on the island that was his before this enslaving invader arrived. Both of them call him master.What’s curious is that Howard W. Overshown’s Prospero, played with a recessiveness consistent with a character most at home in his library, does not dominate the play. He does, however, orchestrate all that happens in it, starting with the storm he whips up to shipwreck his brother (Sean McNall), the queen of Naples (Nance Williamson) and others in a quest for retribution.Comedy is the strongest suit here, led by O’Connell’s bedraggled, delicate Caliban, who sounds like John Lithgow might if he were a downtrodden brute with a sympathetic case to plead. The production’s rollicking high point comes with his discovery by the delightfully put-upon Trinculo (Ralph Adriel Johnson), and their joint discovery by the drunken butler Stephano (Kurt Rhoads).The young lovers Miranda (Kayla Coleman) and Ferdinand (an extraordinarily charming Tyler Fauntleroy) are sweet to watch, while much of the magic of the island comes from the lovely sung enchantments of Ariel.Plumped up with music (sound design and music composition are by Charles Coes and Nathan Roberts) and movement (choreography is by Susannah Millonzi), this production is the festival’s last in its longtime home at Boscobel House and Gardens, where performances take place in an airy tent that frames the expansive lawn and the hills beyond as background scenery. (The company is moving just a few miles away.)Cast members emerge from billowing clouds of fog at the beginning of the play.T. Charles EricksonWhen the show begins with clouds of fog billowing just where the lawn slopes down, and the figures of the company rising through it and coming toward us, we know that Quinn will use the landscape well.There is some flatness to the production, though. At the performance I saw, the first frisson of pleasure came with Caliban’s initial scene: the laughter of an audience that suddenly finds itself in the palm of an actor’s hand. Standout performances — by Simpson and O’Connell, Fauntleroy and Johnson — are more memorable than the storytelling as a whole.But in Overshown’s finely understated interpretation, Prospero’s evolution is starkly clear. When he asks Ariel how the shipwrecked queen and nobles are, she suggests that they are pitiful from his torments: that if he could see them, his “affections would become tender.”“Dost thou think so, spirit?” he asks.“Mine would, sir, were I human,” she says, with such gentleness and dignity that compassion seems the only proper course.And we feel him, very subtly, doing something that wounded, angry rulers seldom do. He begins to let go of his vengefulness.The TempestThrough Sept. 4 at Hudson Valley Shakespeare Festival, Garrison, N.Y.; hvshakespeare.org. Running time 2 hours 15 minutes. More

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      A Guide to Theater Festivals in New York and the Berkshires

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