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      Todd Haimes, 66, Who Rebuilt the Roundabout Theater Company, Dies

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      After rescuing the company from bankruptcy, he turned it into a major player on Broadway and one of the largest nonprofit theater companies in the country.Todd Haimes, who rescued New York’s Roundabout Theater Company from bankruptcy and built it into one of the largest nonprofit theaters in America, died on Wednesday in Manhattan. He was 66.A spokesman, Matt Polk, said his death, at Memorial Sloan Kettering Cancer Center, was caused by complications of osteosarcoma. Mr. Haimes had lived with the cancer since 2002, when he was diagnosed with sarcoma of the jaw.As the artistic director and chief executive at Roundabout, Mr. Haimes had an extraordinarily long and effective tenure. He led the nonprofit company for four decades, turning it into a major player on Broadway, where it now runs three of the 41 theaters.Roundabout has focused on classics and revivals but has also been a supporter of new work. Under Mr. Haimes’s leadership, it excelled on both fronts, winning 11 Tony Awards for plays and musicals it produced and nurturing the careers of contemporary American writers, including Stephen Karam, Joshua Harmon and Selina Fillinger.Among Roundabout’s biggest successes during his tenure was a 1998 revival of “Cabaret,” originally starring Alan Cumming and Natasha Richardson, that survived a bumpy start (a construction accident interrupted performances for four weeks) and then ran for nearly six years. It returned a decade later for a one-year reprise.There were many other triumphs, including a 2020 revival of “A Soldier’s Play” that is now touring the country. Both productions won Tony Awards.Catalyzed by America’s social unrest over racial inequality in 2020, Mr. Haimes led Roundabout in an effort to unearth lost gems written by artists of color. One result was an acclaimed Broadway production of the Black playwright Alice Childress’s 1955 backstage drama, “Trouble in Mind.” It had never made it to Broadway because Ms. Childress had refused to soften the show’s ending to make it less challenging for white theatergoers.Mr. Haimes joined Roundabout in 1983 as managing director. He was just 26, and the company, founded in 1965 and saddled with debt, was operating in rented space in Manhattan’s Chelsea neighborhood. At one particularly desperate point he used his own credit card to keep the company afloat. But a few weeks after he arrived, the board of directors voted to shut it down.A board member subsequently donated enough money to buy the company some time, and Mr. Haimes engineered a turnabout — cutting the staff, reducing expenses, improving marketing and, over time, expanding the audience with measures such as early weekday curtain times to attract an after-work crowd, special events for singles and gay theatergoers, and discounts for children. In 2016, he became the first presenter to allow the livestreaming of a performance of a Broadway show, a much-praised revival of “She Loves Me.”Mr. Haimes, right, with Gene Feist, Roundabout’s artistic director, in the theater in 1986. “I have no desire to be on stage, but I get a tingle just being around one,” he said.Jack Manning/The New York TimesBernard Todd Haimes was born on May 7, 1956, in Manhattan to Herman and Helaine Haimes. His father was a lawyer, his mother a homemaker.His onstage life was exceedingly brief: In elementary school on the Upper East Side of Manhattan, he wore a dress to play the title role in a production of “Mary Poppins.” He later claimed that he had landed the part because he was the only child who could pronounce “supercalifragilisticexpialidocious.”He earned a bachelor’s degree at the University of Pennsylvania and an M.B.A. at Yale. Before arriving at Roundabout, he was general manager of the Hartman Theater Company in Stamford and managing director of the Westport Country Playhouse, both in Connecticut.“I had no desire to trade stocks and bonds, and making Nivea cream wouldn’t turn me on,” he told The New York Times in 1986. “I’ve loved the theater all my life. I have no desire to be onstage, but I get a tingle just being around one, ever since I worked on the stage crew for ‘How to Succeed in Business’ on Broadway when I was in 10th grade.”He became producing director of Roundabout in 1989 and added the title of chief executive in 2015.“The advantage of my background is that all of my artistic decisions are being informed by management concerns,” Mr. Haimes said in 2004. “No one’s ever going to accuse me of being a crazy artist. The disadvantage is the same: that perhaps there are brilliant things other people could accomplish that I just can’t.”He is survived by his wife, Jeanne-Marie (Christman) Haimes; two children, Dr. Hilary Haimes and Andrew Haimes; two stepdaughters, Julia and Kiki Baron; and four grandchildren. His first two marriages, to Dr. Alison Haimes and Tamar Climan, ended in divorce.Mr. Haimes led Roundabout’s move to Broadway in 1991, when he began presenting work in the Criterion Center, which no longer exists. The move was a turning point for the company. “Because of the Tony Award eligibility,” he said, “we will have a tremendous advantage when it comes to obtaining the rights to plays, securing directors and attracting distinguished actors.”In 2000, he moved the company into the renamed American Airlines Theater, which is now Roundabout’s flagship house. It has since also acquired the theater at Studio 54 and assumed operations of the theater now known as the Stephen Sondheim.Among the Tony-winning shows produced by Roundabout during Mr. Haimes’s tenure were revivals of the plays “Anna Christie” and “A View From the Bridge” and of the musicals “Nine,” “Assassins,” “The Pajama Game” and “Anything Goes.” Roundabout was also among the producers of Tony-winning productions of two new plays, “Side Man” and “The Humans.”The company now runs five theaters, all in Midtown Manhattan, including the three Broadway houses, an Off Broadway theater and an Off Off Broadway black-box space that it developed to give a platform to emerging playwrights.Over the years there have also been flops and budget deficits, and some critics have suggested that Roundabout was overextended. Its enormous real estate footprint became a financial challenge that the company addressed partly by renting out some of its Broadway venues to commercial producers. The company made a significant amount of money, for example, by renting out the Sondheim for five years to the producers of “Beautiful,” the Carole King biomusical.Mr. Haimes was one of a handful of leaders of nonprofit theater companies in New York whose decades-long tenures have raised eyebrows among those who want more turnover. He held onto the Roundabout job even when he took another one, as artistic director of the deeply troubled Toronto theater company Livent, in 1998; that company collapsed, and Mr. Haimes stayed at Roundabout.Roundabout’s size — 150 employees and a $50 million annual budget — has given it the ability to support significant endeavors offstage. It operates education and training programs, including school partnerships that serve more than 4,000 students each year and a partnership with the stagehands union to train theater technicians.But like many nonprofits, it has not yet fully rebounded from the effects of the coronavirus pandemic. Roundabout staged one show on Broadway this season, a revival of “1776.”Mr. Haimes, who was often content to remain in the background, was a well-liked and enthusiastic figure in the industry. He was active in both the Broadway and the Off Broadway communities, serving on numerous committees, and over the years he taught at Yale and Brooklyn College.But he remained a businessman and a booster at heart.“Basically I’m incredibly insecure and don’t take myself seriously as an artist,” he said in a 1998 interview. “But somehow my taste seems to match up with what the public wants.” More

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      Cabaret Mainstay 54 Below Enters a New Era: As a Nonprofit

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      The midtown venue’s owners hope to raise close to 20 percent of an annual budget approaching $10 million from supporters.After nearly 11 years in operation, one of New York City’s most high-profile cabaret venues has decided to transition from a commercial entity to a nonprofit. The owners of 54 Below, a popular forum for both Broadway stars and rising performers and composers, say they intend to raise close to 20 percent of an annual budget approaching $10 million from supporters, with sponsorships, multiyear donations and naming opportunities figuring into the new model.Richard Frankel, one of the owners, described the move as motivated by both economic challenges and artistic ambitions. “There’s no doubt it’s been a struggle, financially, combining the restaurant and theater businesses,” he said, adding that the club, which occupies the space below the 1970s nightlife fixture-turned-Broadway theater Studio 54, “puts on about 600 shows a year, which is insane. So we have a structure that’s not cheap.”Those shows have included performances by marquee names such as Patti LuPone, Kelli O’Hara and Brian Stokes Mitchell, as well as series and concerts spotlighting lesser-known artists and works. “Diversity has become very important to us, presenting new musicals and young performers, many of color,” Frankel said. “And we want to be able to pay them more and expand the audience, with artist subsidies and ticket subsidies. That can be very difficult, if not impossible, to do on a self-sustaining commercial basis.”Frankel noted that two of 54 Below’s competitors, Joe’s Pub and Dizzy’s Club, both enjoy the backing of nonprofit organizations: the Public Theater and Jazz at Lincoln Center. “We’ve been incredibly envious of them,” Frankel said.As a nonprofit, 54 Below will focus on raising money to offer discounted tickets and subsidize artists’ production costs, as well as continue livestreaming its performances.A newly formed board for 54 Below includes, in addition to Frankel and his fellow owners, names from the entertainment, business and nonprofit sectors, among them the actress and entrepreneur Brenda Braxton; Robert L. Dilenschneider, president and chief executive of the Dilenschneider Group, Inc; Stanley Richards, deputy chief executive of the Fortune Society; and Lucille Werlinich, chair of the Purchase College Foundation.54 Below opened in June 2012 and entered a partnership with the veteran performer and American songbook champion Michael Feinstein in 2015; that collaboration ended in July 2022, when Feinstein teamed up with Cafe Carlyle. Last June, 54 Below received an honor at the Tony Awards for excellence in the theater.“I’m expecting the funding sources to be generous, though I don’t know how many Santa Clauses there can be,” Frankel said. “But we’re committed to this, as a way for us to survive and thrive in the future.” More

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      Final Sondheim Musical Will Be Staged in New York This Fall

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      His long-gestating final show, now titled “Here We Are,” is coming to the Shed; it is inspired by two Luis Buñuel films.Stephen Sondheim’s long-in-the-works Luis Buñuel musical, which he described as unfinished just days before his death, will be staged in New York this fall, giving audiences the chance to see the final show by one of the most important artists in musical theater history.The musical, now titled “Here We Are,” is inspired by two Buñuel films, “The Discreet Charm of the Bourgeoisie” and “The Exterminating Angel.” Sondheim wrote the music and lyrics; the book is by the playwright David Ives (“Venus in Fur”), and Joe Mantello (“Wicked”) will direct.The show, scheduled to begin performances in September, will be a commercial Off Broadway venture, produced by Tom Kirdahy (“Hadestown”) in a 500-seat theater at the Shed, a multidisciplinary arts venue in Hudson Yards. The Shed, a nonprofit, is being described as a co-presenter.It is not entirely clear when Sondheim began working on the show, but he first discussed it publicly in 2014, and there were delays and setbacks in the years following. He talked about it occasionally during public appearances; for a time it was called “Buñuel,” and then “Square One”; it was backed at various points by the commercial producer Scott Rudin and by the nonprofit Public Theater. And there were workshops over the years, including one in 2016, and one in 2021 featuring Nathan Lane and Bernadette Peters; casting for the production at the Shed has not been announced, but there are no indications that Lane and Peters have remained with the project.In an interview days before his death in late 2021, Sondheim described it this way: “I don’t know if I should give the so-called plot away, but the first act is a group of people trying to find a place to have dinner, and they run into all kinds of strange and surreal things, and in the second act, they find a place to have dinner, but they can’t get out.”Sondheim described the show as incomplete, as did some of his collaborators in the days following his death. It is not clear what state it was in when he died, and what kind of work has been done to it since.Sondheim’s posthumous career has been booming. This season has featured Broadway revivals of “Into the Woods” (which opened last summer) and “Sweeney Todd” (which opens this month), as well as Off Broadway revivals of “Assassins” and “Merrily We Roll Along.” The “Merrily” revival is scheduled to transfer to Broadway in September, the same month that “Here We Are” is now expected to begin at the Shed. More

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      New Ohio Theater Announces It Will Close After Three Decades

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      Robert Lyons, the founding artistic director, said it was time for a new generation to take over the West Village stage.At a time when theaters are struggling to reach prepandemic audience levels, the New Ohio Theater, a staple for artists and independent theater companies for 30 years, announced it would present its final Manhattan performance in August.The shifting theater landscape and increased financial pressures led to the decision, said the founding artistic director, Robert Lyons, who is also a playwright and director. “It’s just a good time to step aside and pass the baton,” he added, explaining that he envisioned a new generation taking on the space.The closing will end programs like the Ice Factory, Now in Process, Theater for Young Minds, New Ohio Presents and New Ohio Hosts. The Archive Residency program will conclude in the spring of 2024.The theater, originally known as the Ohio Theater and located off Wooster Street in SoHo, was founded as a nonprofit in 1993, and before that provided a shared space for independent companies and artists to brainstorm and perform. In 2011, the company moved to 154 Christopher Street in the West Village as the New Ohio Theater, and continued to operate as a hub for independent theater. Over time, New Ohio oversaw a renovation project at the theater that included the installation of a new sprung stage, new risers, an HVAC system and a bathroom in the dressing room.For 16 years, Edward Einhorn, the artistic director of the Untitled Theater Company No. 61, has collaborated with the theater; he plans to present his absurdist dark comedy “The Shylock and the Shakespeareans” there in June. Einhorn said theaters like the New Ohio have been essential to the development of indie performance works since the late ’90s.“I’m slowly losing my homes,” Einhorn said. “There are a few left, but it’s a hard time still, hard to get audiences, hard to know what to do next.”The “Moulin Rouge!” director Alex Timbers and the “Hadestown” director Rachel Chavkin are among those who worked at the theater early in their careers.Kristin Marting, the founding artistic director of HERE Arts Center, who was part of a company that booked a season at the theater when she was 21, said it was the first theater she worked in. Marting said it greenlighted less conventional works, like an immersive “Alice in Wonderland” she directed in the late ’80s, and served as a sanctuary for generations of emerging theater makers.The plan is to reserve the 74-seat space for use by nonprofit companies. The building’s landlord, Rockrose Development, will accept proposals from theater companies looking for a home beginning Wednesday.Marting said the New Ohio would be sorely missed.“I hope that the new entity that comes in embraces the same level of experimentation and inclusion and invites a broad spectrum of the community to make work,” she said. More

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      BAM Artistic Director David Binder to Step Down in July

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      Binder, who was a Broadway producer before joining the nonprofit in 2019, plans to return to theater’s commercial sector.David Binder, the artistic director of the Brooklyn Academy of Music, will step down in July, as the venerable institution faces ongoing turnover and the challenge of pandemic-era rebuilding after decades of stability in its leadership team.BAM, which began presenting work in 1861 and describes itself as the nation’s oldest performing arts center, long played a key role in New York’s cultural life, presenting adventurous theater, film, music and dance from artists around the world. But the institution was quieter than some at the height of the coronavirus pandemic, and Binder’s departure will follow the 2021 exit of the institution’s president, Katy Clark, and the 2020 death of its board chairman, Adam Max.Binder joined BAM as artistic director in 2019, making his tenure significantly shorter than those of his two predecessors, Joseph V. Melillo, who spent 35 years at the institution, and Harvey Lichtenstein, who led BAM’s artistic work for 32 years.Similarly, on the institution’s executive side, Clark left BAM after five years in the post (keeping an apartment the institution helped her purchase); she had succeeded Karen Brooks Hopkins, who had spent 36 years at the institution, including 16 as president. BAM’s current president is Gina Duncan, who started just last year, after a year in which that position was vacant.Binder, who had been producing Broadway shows as well as arts festivals before joining the institution, said he was leaving voluntarily and is planning to return to commercial producing after leading the nonprofit’s artistic programming through the upheaval of the pandemic as well as the change in the organization’s executive staff.BAM said Binder would continue to consult for the organization until next January as it searches for a new artistic leader. Binder began working with Melillo when his appointment was announced in early 2018.“I feel like I’ve accomplished what I set out to do there, and I want to get back to making work and producing work,” Binder said in an interview. “I want to keep growing.”Duncan characterized the transition similarly, saying, “David decided to move on, and I appreciate him letting me know now.” She added, “We have a strong team in place, and I have time to do a search and find someone to be my artistic partner.”Binder’s departure comes as many performing arts institutions around the nation are seeing turnover at the top — New York’s theater leaders have tended to hang on longer than most, which is a source of criticism as well as stability, but there is wholesale change unfolding in San Francisco, Chicago and elsewhere.Binder, who is 55, has drawn some buzzy work to BAM, which primarily presents shows developed by other companies.Last year’s pandemic-delayed production of “Cyrano de Bergerac,” which starred James McAvoy and transferred from London, was both a critical and a popular success, becoming the best-selling show in the history of the BAM Harvey Theater. And this month, BAM was the only institution with two shows on The New York Times’s list of things critics are looking forward to this year: the theater critic Jesse Green wrote about anticipating a production of “The Sign in Sidney Brustein’s Window,” with Oscar Isaac and Rachel Brosnahan in the starring roles, and the dance critic Gia Kourlas wrote hopefully about BAM’s U.S. premiere of Pina Bausch’s “Água,” a piece created two decades ago in Brazil.Binder arrived at BAM saying he wanted to bring in new artists — his first Next Wave festival there, in 2019, featured only artists who had not previously performed there. Over the course of his tenure, Binder said he will have presented more than 50 debuts of artistic companies as well as solo performers.Ticket sales during his time have generally exceeded projections; BAM says it is attracting new audiences, and there have been multiple programming highlights: Simon Stone’s “Medea” adaptation, produced by BAM, starring Rose Byrne and Bobby Cannavale; a new spring music series, curated last year by Hanif Abdurraqib and this year by Solange; and an annual artist residency program.“Through the pandemic and through the leadership changes, I feel that the team and I at BAM have stayed focused on putting fantastic work on our stages, and when we couldn’t do it on our stages, we did it outdoors or site-specific or virtually. And the work we’ve done has been really successful,” he said. “We always tried to mix it up: We had the National Theater of Korea’s opera of ‘Trojan Women,’ and ‘Kiki and Herb Sleigh’; we had the Lithuanian opera ‘Sun & Sea,’ which won the Golden Lion at Venice; and we also hosted the world premiere of Madonna’s ‘Madame X’ tour.”In the commercial arena, Binder is best known as the lead producer of “Hedwig and the Angry Inch,” which won the Tony Award for best musical revival in 2014. Binder said that he would soon announce that “Hedwig” was “finally coming to the West End in a big way.”Beyond “Hedwig,” Binder is among a handful of commercial producers who have continued to focus on the production of plays, which tend to be riskier than musicals. He says he plans to resume work on his longtime effort to bring the German director Thomas Ostermeier’s production of “An Enemy of the People” to Broadway. (Last fall, Binder brought Ostermeier’s “Hamlet” to BAM; that production was in German, but “An Enemy of the People” would be presented in English.)Binder said he was also working with the innovative British director Jamie Lloyd, who helmed the “Cyrano” revival at BAM, to develop a new play that he was not yet ready to describe.BAM, like other arts organizations, shrank during the height of the pandemic, but is now nearly back to where it was, according to a spokeswoman: Its current annual budget is $56 million, up from $55 million prepandemic; it has 222 full-time staff positions, down from 256; its most recent Next Wave festival had 13 shows, down from 16 prepandemic; and last spring, BAM presented 17 shows, up from 16 during the final prepandemic spring.“I think we’re doing as well as one can, given the circumstances of the world,” Duncan said. “We’ve had some success in audience growth, and our membership numbers are starting to increase again. Everything is heading in the right direction, and now it’s a matter of time.” More

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      Live Performance Is Back. But Audiences Have Been Slow to Return.

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      Attendance lagged in the comeback season, as the challenges posed by the coronavirus persisted. Presenters hope it was just a blip.Patti LuPone, Hugh Jackman and Daniel Craig came back to Broadway. The Norwegian diva-in-the-making Lise Davidsen brought her penetrating voice to the Metropolitan Opera. Dancers filled stages, symphonies reverberated in concert halls and international theater companies returned to American stages.The resumption of live performance after the long pandemic shutdown brought plenty to cheer about over the past year. But far fewer people are showing up to join those cheers than presenters had hoped.Around New York, and across the country, audiences remain well below prepandemic levels. From regional theaters to Broadway, and from local orchestras to grand opera houses, performing arts organizations are reporting persistent — and worrisome — drops in attendance.Fewer than half as many people saw a Broadway show during the season that recently ended than did so during the last full season before the coronavirus pandemic. The Met Opera saw its paid attendance fall to 61 percent of capacity, down from 75 percent before the pandemic. Many regional theaters say ticket sales are down significantly.“There was a greater magnetic force of people’s couches than I, as a producer, anticipated,” said Jeremy Blocker, the managing director at New York Theater Workshop, the Off Broadway theater that developed “Rent” and “Hadestown.” “People got used to not going places during the pandemic, and we’re going to struggle with that for a few years.”Many presenters anticipate that the softer box office will extend into the upcoming season and perhaps beyond. And some fear that the virus is accelerating long-term trends that have troubled arts organizations for years, including softer ticket sales for many classical music events, the decline of the subscription model for selling tickets at many performing arts organizations, and the increasing tendency among consumers to purchase tickets at the last minute.A few institutions are already making adjustments for the new season: The Baltimore Symphony Orchestra has cut 10 concerts, after seeing its average attendance fall to 40 percent of capacity last season, down from 62 percent in 2018-19.Many Broadway shows have struggled to match prepandemic salesPercent change in weekly gross sales in 2021 and 2022, compared with the same week in 2019 More

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      New Haven's Long Wharf Theater to Become Itinerant

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      Long Wharf Theater, a regional nonprofit on New Haven’s waterfront, is ending a long, bumpy chapter there, hoping to expand access and reduce costs.New Haven’s Long Wharf Theater will move out of its longtime headquarters and embrace itinerancy as the company seeks a fresh start after a period of extraordinary upheaval.The leadership of the nonprofit theater is framing the move as an opportunity to reach new audiences and reimagine its operations, and the city is supporting the change, which it says will help the organization better serve the community.The move is the latest chapter in a time of extensive change at the theater, which in 2018 fired its executive director, Gordon Edelstein, a day after The New York Times reported sexual misconduct allegations against him. As the company remade itself, it faced a real estate quandary: whether to renew its expiring lease at the New Haven Food Terminal, just off Interstate 95, where it has been performing for 57 years.The theater, which has been among the nation’s leading regional nonprofits, also faces the same challenges as its peers: demonstrating to patrons, artists and donors that it can move forward following the lengthy pandemic shutdown, and that it is committed to shifting priorities in response to industrywide calls for more diversity, equity and inclusion.“Long Wharf Theater has an incredible legacy, and it’s had some complicated challenges,” said Jacob G. Padrón, the theater’s artistic director. “The next several years will be about discovery.”The theater’s leaders said they could have chosen to renew its lease when it expires in June, but that they opted not to, both because the theater was spending too much money on rent and upkeep, and because its location, once treasured for free parking and easy highway access that appealed to suburbanites, was inconvenient for some New Haven residents and difficult to access via public transit.The theater, which had thought of the industrial waterfront location as temporary when it opened there in 1965, has contemplated relocating before. In 2004, it announced plans to move to downtown New Haven, but in 2011, citing a worsening economy, it abandoned those plans, opting to renovate the Food Terminal location instead.Padrón said he views the decision to relocate to a variety of yet-to-be-determined spaces around New Haven as a way of rethinking “how a regional theater makes its art,” and a way to “expand our imagination of how a theater can show up for its community.”“It’s exciting to think about what’s the project, and what’s then the right container for that project,” he said.Jacob G. Padrón, the theater’s artistic director, said that “the next several years will be about discovery.”Gabriella Demczuk for The New York TimesThe theater’s leadership, including not only Padrón but also the managing director, Kit Ingui, and the board chairwoman, Nancy Alexander, all said that they believe the institution is financially stable, and that it would benefit from the flexibility of its next phase. They said that the new arrangement should not only reduce its costs but also expand its reach to audiences who, because of geography, transportation or economics, have not found their way to the waterfront district from which the theater takes its name.“There’s no sense that we’re hanging on by a thread or that we have to live on a shoestring,” Alexander said. “We have been blessed with some longtime givers who have created a strong endowment for us, and we are projecting budgets that will work.”Long Wharf plans to stage at least two more shows at its current location — a new play called “Dream Hou$e,” by Eliana Pipes, which the theater describes as being about “the cultural cost of progress in America,” and “Queen,” by Madhuri Shekar, about “brilliant women confronting inconvenient truths.” The theater is still talking with its landlord about whether it might continue producing in the building later this year, but by the fall of 2023 the leadership expects to present full productions at other locations in and around New Haven — possibly in rented theaters, and possibly in spaces not traditionally used for theater.“We believe you can produce theater anywhere,” Ingui said.Long Wharf, which in 1978 won the Tony Award for regional theater, survived the pandemic with significant support from the federal and state governments. Its staff is less than half the size it was — about 30, down from 65 before the pandemic; the annual budget, which had been about $6.5 million before the pandemic, is now a little over $5 million.The theater’s leaders said they have not yet decided whether they will remain itinerant long-term, or whether this will be a short-term phase. But they all said the crises faced by the theater were catalysts, not causes, for the move.“We’re going into this with excitement,” Alexander said. She said that the theater’s pandemic performances in city parks demonstrated that new locations could attract new audiences, and that by moving around New Haven, Long Wharf is seeking to become “a theater that is much more widely in our community, and, we hope, valued by our community.”“We really are being mindful that this is a period of exploration and experimentation, but I wouldn’t be surprised if we ultimately decided to have something like an anchor space and then continue producing in some other creative spaces as well, in some kind of hybrid model,” she said.Adriane Jefferson, New Haven’s director of cultural affairs, said Long Wharf was one of the most important nonprofits in the city, and that its move would strengthen both the organization and the city. She said she believed the shift would help Long Wharf become more anti-racist, in keeping with the city’s new cultural equity plan, which called attention to “inequities that prevent people from participating in arts and culture in every corner of our city.”“Long Wharf’s idea of being more mobile, moving throughout the city and coming to communities who are not making it down to where Long Wharf is now, is very responsive to our plan,” Jefferson said. “I would have concerns if they weren’t thinking along these lines.” More

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      Broadway Play “Clyde's” Will Be Livestreamed

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      The digital experimentation born of the pandemic shutdown is continuing: the final 16 performances of Lynn Nottage’s “Clyde’s” will be streamed, for $59.The coronavirus closures prompted many theaters around the country to experiment with online offerings. Now, even though theaters have reopened, a new Broadway play is planning to try streaming some performances.Second Stage Theater, a nonprofit that operates a small Broadway house, plans to sell a limited number of real-time, virtual viewings in January for the final 16 performances of “Clyde’s,” a dramedy about a group of ex-cons working at a sandwich shop. The show, by the two-time Pulitzer winner Lynn Nottage, opens Tuesday.The decision to stream some performances, which Second Stage views as an experiment, suggests that some of the survival strategies theaters embraced during the pandemic could have a lasting effect on the art form.“Over the 18 months when we had to pivot, and shift a lot of storytelling to Zoom, that opened up a new door of opportunity for many of us who make theater,” Nottage said. “What we’re hoping is that folks who are reluctant to come out because of the virus, or for whom theater is not accessible, will have access because of this streaming.”They are not aiming for a mass audience. The streams will cost $59, which is the same price as the least expensive ticket at the box office, so as not to undercut in-person sales. (There will also be a $30 ticket for people aged 30 and under, as with in-person performances.)The virtual tickets will be limited in number — probably to around 200 to 300 a performance — because as part of an agreement with labor unions, the theater will cap the number of streaming tickets sold so as not to exceed the total capacity of the theater over the course of the play’s run.The move is significant because, even though the Metropolitan Opera has been streaming performances to cinemas for years, and a number of leading symphony orchestras have long been streaming their concerts, Broadway has been resistant to such a step, in part because of quality concerns, in part because of the cost of compensating artists, and in part because of a fear of eroding the appetite for in-person attendance.In 2016, when BroadwayHD live-streamed a single performance of the Roundabout Theater Company’s revival of “She Loves Me,” the event was so unusual that it was recognized by Guinness World Records; a few months later, the same company also live-streamed a performance of Roundabout’s “Holiday Inn.”The pandemic prompted theaters to take digital work more seriously: with their buildings closed, many Off Broadway and regional theaters, as well as some prominent theaters in Britain, embraced streaming as one way to continue connecting to audiences. There were complications both mundane (which labor unions represent theater artists onscreen?) and existential (what is theater, anyway?), but one upside was increased access for people unlikely to attend in-person performances because of disability, geography or finances.For Broadway shows, there were some limited pandemic experiments with filmed performances, but not livestreaming. A “Hamilton” movie, using footage shot and edited in 2016, was released during the pandemic by a streaming platform, as was a filmed version of David Byrne’s “American Utopia”; the musicals “Come From Away” and “Diana” filmed invitation-only run-throughs during the pandemic, and those filmed performances were also released on streaming platforms.Now, as theaters reopen, some are discussing the pros and cons, as well as the feasibility, of a so-called hybrid model, in which stage shows can be seen either in-person or at home. Second Stage, working with the company Assemble Stream, earlier this fall offered its subscribers an opportunity to livestream some performances of an epistolary Off Broadway play, “Letters of Suresh”; encouraged by that experience, the nonprofit decided to try the hybrid approach for “Clyde’s,” which is its first post-shutdown Broadway show.“In-person activity is our priority, but we’ve learned a lot from the pandemic, as far as finding other ways of engaging with audiences,” said Khady Kamara, the executive director of Second Stage. There are a number of potential audiences — those still leery of public gatherings, those who live outside the New York area, those with a variety of accessibility concerns — and Nottage said she also hopes at some point that the play could be streamed in prisons.Kamara said the theater would livestream “Clyde’s,” which stars Uzo Aduba and Ron Cephas Jones, in real time during performances from Jan. 4 to Jan. 16 — it can’t be watched on demand.Is there a risk that the project will dissuade people from coming to see the show at the theater? “I really believe that the magic of being inside the theater, and being so close to the stage, is not something that goes away,” Kamara said. “I think that most people are still going to want to go with the in-person experience.”The performances will be captured by five to seven cameras mounted by Assemble Stream inside the Helen Hayes Theater; the footage will be edited, remotely, in real time, as with a live television broadcast, according to Katie McKenna, the company’s vice president of marketing and business development.Kamara and McKenna said the theater would not need to remove any seats to accommodate the cameras, and that the cameras would not obstruct any patron’s sightlines; the cameras will be operated remotely. “Our goal is to be as nondisruptive as possible,” McKenna said.Neither party would detail the financing arrangement, but Kamara said, “To begin with, we’re not looking at this as a revenue stream, as much as we’re looking at it as an additional avenue for us to provide access to the work that we put on our stages.”And will Second Stage seek to stream other Broadway shows in the future? Kamara described the “Clyde’s” streaming as a pilot project. “We are learning, and will continue to learn, and we’ll see what the future holds,” she said. “Certainly, if there is a market for it, hopefully we’re able to continue to offer it.” More