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      Shakespeare to Hit the Road While Central Park Theater Is Closed

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      The Delacorte is being renovated, so this summer will instead bring a mobile production and then a filmed play to outdoor sites in the city’s five boroughs.Free Shakespeare in the Park, one of the longtime treasures of summer in New York City, will be smaller-scale and itinerant this year because a gut renovation of the program’s Central Park home is underway.The Public Theater, the nonprofit organization that presents the annual Shakespeare festival, announced Tuesday that, instead of its usual large-scale productions at Central Park’s Delacorte Theater, this year it would send a smaller production of “The Comedy of Errors” to parks and plazas around the city between Memorial Day and the end of June, followed by outdoor screenings of a filmed production of “Much Ado About Nothing” in July, August and early September.The production of “The Comedy of Errors” is a 90-minute bilingual musical adaptation from the director Rebecca Martinez and the composer Julian Mesri that the Public staged last year at city parks and recreation centers as part of the theater’s mobile unit. This summer’s five-week touring production will have a slightly larger company, and will visit some larger venues than last year’s production. It will start in Manhattan, with a week on a plaza in front of the New York Public Library’s flagship building in Bryant Park, followed by a series of dates at Hudson Yards and other locations in Manhattan, Queens, Brooklyn, the Bronx and Staten Island. All performances will be free.“It’s not a replacement for the Delacorte — it’s not intended to be a replacement — but my hope is that it will be successful enough as an experiment that this expanded version of what the mobile unit does can keep going indefinitely,” Oskar Eustis, the artistic director of the Public, said in an interview.The filmed production of “Much Ado About Nothing,” directed by Kenny Leon and starring Danielle Brooks and Grantham Coleman, was shot during a run in Central Park in 2019; it will be screened outdoors, free, at sites in all five boroughs.“Much Ado About Nothing,” filmed for the PBS series Great Performances, will also be among four Shakespeare in the Park productions that can be streamed online during May and June. The others are a 2023 production of “Hamlet,” a 2022 production of “Richard III” and a 2021 production called “Merry Wives.” Streaming the Great Performances films will be free.The Delacorte has been closed since last fall for a $78 million renovation. A groundbreaking was held in October and the project is scheduled to finish sometime next year, and the summer of 2025 is expected to include Shakespeare back in Central Park. More

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      ‘Manahatta’ Review: Tracing the Blood-Soaked Roots of American Capitalism

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      Straddling the 17th and early 21st centuries, Mary Kathryn Nagle’s play at the Public Theater examines the exploitation of the Lenape by Dutch settlers.Acknowledgments that New York was once home to the Lenape people have become a familiar refrain at arts venues. In “Manahatta,” the playwright Mary Kathryn Nagle undertakes a vital investigation of that willfully forgotten history so often rendered in shorthand. Now open at the Public Theater, just a few subway stops away from Wall Street, Nagle’s play traces the origins of American finance and the follies of its bottomless appetite for capital to the exploitation of the Lenape by the city’s Dutch settlers.The Lenape people have been so forcefully expelled from their Northeastern homelands that the descendants Nagle depicts, beginning in 2002, live in what is now Oklahoma. Jane (Elizabeth Frances), an MIT and Stanford graduate, is interviewing for an entry-level Wall Street job when her father dies on an operating table. By the time she returns home, her sister Debra (Rainbow Dickerson) and their mother Bobbie (a delightfully dry Sheila Tousey) are preparing for his funeral, and Bobbie is stuck with medical bills because the Indian Health Service, a government agency responsible for providing health services to Native peoples, has refused payment.Intercut with this family drama are fable-like scenes set in 17th-century Manahatta, where West India Company traders barter with the Lenape for furs coveted by the women they left behind in the Old World. The ensemble of seven actors appear in both timelines, including Enrico Nassi, who plays Luke, Jane’s childhood friend and would-be sweetheart, and Se-ket-tu-may-qua, an emissary who communicates with the Dutch and teaches Le-le-wa’-you, a Lenape woman also played by Frances, to speak their foreign tongue. Back in Manhattan, Jane is learning the sort of blustery talk necessary to chart her climb through the corporate ranks.First developed at the Public in 2014, when Nagle was a member of its Emerging Writers Group, “Manahatta” premiered at the Oregon Shakespeare Festival in 2018. Its purview is promising and ambitious: In addition to the blood-soaked roots of American capitalism, Nagle addresses the erasure of Native languages through forced assimilation, and the irrevocable impacts of Western violence, religion and consumer currency on Native culture.But the concept of homeownership, in the modern sense of subprime mortgages and the more ancient one of who can lay claims to land, forms the strongest throughline: The Dutch dupe a Lenape elder, played by Tousey, into selling them Manahatta for a song, while Michael (David Kelly), who is both the local pastor and a banker, helps Bobbie take out a loan against her house. Jane, though not without her misgivings, is meanwhile helping to manufacture the 2008 financial crisis, by selling mortgage-backed securities — it turns out she works for Lehman Brothers.Sheila Tousey, center, with ensemble members, all of whom appear in both timelines.Sara Krulwich/The New York TimesDirected by Laurie Woolery, the production shifts seamlessly between the alternating time periods and locales, on a wilderness-meets-boardroom set by Marcelo Martínez García, and with particular help from Lux Haac’s costumes, whose fusion of fabrics and styles (a pinstripe pilgrim silhouette, for example) accomplish an impressive narrative arc on their own.The play draws direct, and at times reductive, parallels between the past and recent present. Jane’s bigwig bosses, played by Joe Tapper and Jeffrey King, are flat, greedy villains, figured as heirs to the deceptive, and ultimately murderous, founders of the market system (Tapper’s Dutch trader, at least, demonstrates some measure of humanity). But the white bad guys’ lack of complexity, though a missed opportunity, isn’t the most pressing problem.The Native characters, too, are almost exclusively products of circumstance, reacting to the systems that oppress them rather than approaching life with innate motivations. That defensive posture is understandable in the colonial context, but when Jane is asked why she wants to work on Wall Street, her only answer is because she has overcome obstacles to get there. Jane’s professional trajectory is rather one piece of Nagle’s grand design, which feels undersynthesized throughout much of the show’s 105-minute running time until it reaches a too-obvious conclusion.Even if this corrective account does not feel convincingly yoked to the drama onstage, an urgent significance to the facts is laid out in “Manahatta.” Nagle notes in the script that the play is a work of fiction, though it’s based on real events and was written in consultation with Lenape elders, whose ancestors are often evoked before curtains rise on New York stages. We would all do well to remember what they have lost.ManahattaThrough Dec. 23 at the Public Theater, Manhattan; publictheater.org. Running time: 1 hour 45 minutes. More

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      Alicia Keys’s ‘Hell’s Kitchen’ to Open on Broadway This Spring

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      The musical, now midway through a sold-out Off Broadway run at the Public Theater, will transfer to the Shubert Theater in March.Alicia Keys’s semi-autobiographical coming-of-age musical, “Hell’s Kitchen,” has been selling out night after night during its Off Broadway run at the Public Theater. Next up, to no one’s surprise: The show is transferring to Broadway.Keys, a singer-songwriter who has sold millions of albums and has won 15 Grammy Awards, announced at a Public Theater fund-raiser on Monday night that the musical, which ends its 12-week downtown run on Jan. 14, will transfer to the Shubert Theater — one of Broadway’s most desirable houses. The first preview is scheduled for March 28, and opening night is set for April 20.“I’m out of my mind with joy, excitement, thrill,” Keys said in a telephone interview. She noted that her mother, as a teenager, had moved to New York from Ohio to pursue an acting career, and said she saw in this moment the arrival at a long-sought destination for her family.“We get to announce the ultimate dream — the dream that my mother chased from a little girl, that brought her here, which is the reason why I’m here, which is the reason why this city raised me, and the reason why I can even tell this story,” she said. “Hell’s Kitchen,” a loosely fictionalized story inspired by Keys’s own childhood, depicts a short chapter in the life of a 17-year-old growing up surrounded by artists in a New York housing development where most of the units are subsidized for performers. The protagonist, a girl being raised by her single mother, discovers a love for piano, and an attraction to an adult man, while chafing at her mother’s efforts to keep her safe in a gritty neighborhood.The musical features new arrangements of Keys’s biggest hits, including “Fallin’,” “Girl on Fire,” “No One” and “Empire State of Mind,” as well as several new songs the pop star wrote for this show. Keys, who does not perform in “Hell’s Kitchen,” has been working on it for more than a decade with the playwright Kristoffer Diaz, who wrote the book.In an unusual move that demonstrates Keys’s long determination to retain control of her own intellectual property and career arc, the musical’s lead producer will be AKW Productions, which is a company Keys owns and describes as “focused on creating diverse, real, authentic and genuine stories in film, television, theater and music.” Asked whether the stage production, like most commercial Broadway musicals, would also have investors, Keys said, “Yes, there’s going to be some really special people that are coming along for the ride.”The musical is directed by Michael Greif, and choreographed by Camille A. Brown. The downtown cast is led by Maleah Joi Moon as the protagonist, joined by Shoshana Bean as the mother, Brandon Victor Dixon as the absentee father, and Kecia Lewis as the piano teacher. The Broadway cast has not yet been announced.Reviews were mixed, with many critics praising the performances and the production but saying they wanted more from the story. Writing in The New York Times, the critic Jesse Green called the first act “thrilling,” but said it “disappoints after the mid-show break.” In The Washington Post, the critic Peter Marks was underwhelmed, calling it “a perfectly nice musical,” but in The Los Angeles Times, the critic Charles McNulty was far more enthusiastic, writing, “I was surprised by how rapturously I fell under the musical’s spell.”Keys said she does not concern herself with reviews.“I’m not a huge, huge review reader — that’s been a practice of mine since I did my second album, because I’ve realized everybody’s going to have a thought, everybody’s going to have an opinion,” she said. “The true critics, to me, are the people in the seats, and when they come away feeling uplifted, inspired, ignited, transformed — they’re crying because they feel so connected to the stories in their lives — those are the critics that I really pay attention to.”Having said that, Keys also added that the creative team would continue to work on the show.“Of course, you always are able to refine, you’re always able to find places that you want to bring more, bring less, try this, do that, and that’s going to, of course, happen as we transfer to make it just better and better and better,” she said. “But I’m really proud that the spirit is there. It’s been there since the beginning of it, and now the goal is to keep that spirit and make it even better.” More

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      ‘Manahatta,’ Mary Kathryn Nagle’s Play About the Lenape, Comes Home

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      The show, which toggles between the 17th century and the early 21st, arrives on the island on which it is largely set.Mary Kathryn Nagle moved to Manhattan in 2010. Back then, she would often run to work along a path that skirted the East River, absorbing the city and its history from the shoreline.“I was interested in learning more about whose lands I was on,” she said.Nagle, a lawyer and a playwright, grew up in Oklahoma, an enrolled citizen of the Cherokee Nation. She had not known much about the Lenape, Manhattan’s original residents, though Lenape tribes (some of whom refer to themselves as Delaware Indians) lived in Anadarko and Bartlesville, not far from her hometown. That year, through contacts at the National Museum of the American Indian in New York, she discovered more, including details of the purchase of Manhattan, which was then part of the Lenape’s homeland, Lenapehoking, by Dutch colonists.This was not long after the 2008 financial crisis. Nagle’s firm, Quinn Emanuel, was engaged in litigation, suing banks implicated in that crisis. The ceding of Manhattan and the subprime mortgage catastrophe began to mingle in her mind, especially once she discovered that Wall Street, a fulcrum of the subprime collapse, was named for the wall built by the Dutch to keep the Lenape out.These dueling histories, recent and long ago, inspired Nagle’s play “Manahatta.” Now in previews at the Public Theater, it will run through Dec. 23. Named for the Lenape word for Manhattan, which translates to “island of many hills,” the drama volleys between the 17th century and the early 21st, and between Manahatta and Manhattan and Anadarko. The seven actors in the cast each play a character in each period. This is the play’s third production, but the first on the island on which it is largely set.“It got really real when we all descended upon Manhattan,” said Rainbow Dickerson, an actress who has been with the play since 2018. “We feel it. We feel it every day.”I met with Nagle, who was nine months pregnant, earlier this month on a warmish Saturday evening just after rehearsal. She had agreed to walk around Lower Manhattan, along streets that pertain to the play. We began on Pearl Street, named, Nagle said, for the mounds of oyster shells the Lenape had left there.Then she moved past Beaver Street, named to reflect the fur trade, and onto Wall Street, where no trace of a wall remained, and then to Broadway, which runs at an oblique angle, reflecting a Lenape trading route. “It is not a street created by the colonizers,” she said.It was dark by then. And any vestiges of the Lenape were long paved over. “At the end of the day, even when you do see grass in Manhattan, it was probably concrete and then changed back to grass,” she said. But she could still feel some remnant, she said, particularly at the island’s tip.Rainbow Dickerson, standing, and Sheila Tousey in “Manahatta” at the Public Theater in Manhattan.Sara Krulwich/The New York Times“They had ceremony, they had prayer at the water’s edge,” she said. “So even though we have changed the outline of the island in terms of where it meets the water, that shoreline is still here.” So is the sun, she continued. And the moon. “We’ve imposed so much on top of this island,” she added. “But in a way nature is still here.”Nagle, 40, has the focused, no-nonsense demeanor one might expect of a lawyer specializing in federal Indian law and appellate litigation, and the occasional flights of lyricism fitting for a playwright. She wrote the first draft of “Manahatta” in 2013, as part of the Public Theater’s Emerging Writers Group. She moved back to Oklahoma in 2015, but the play stayed with her. “Manahatta” had its world premiere in 2018 at the Oregon Shakespeare Festival and was produced in 2020 by Yale Repertory Theater.“Nagle,” one reviewer of the Oregon production wrote, “weaves the stories together skillfully, one mirroring the other, often using the same language, to drive home the point that the American story has always been one of putting commerce above people, especially when those people aren’t white. It’s devastating.”As “Manahatta” evolved, it came to center on Jane Snake, a Lenape econometrics whiz hired by a Manhattan investment bank. (The same actress also plays Le-le-wa’-you, a 17th-century Lenape woman.) Through Jane’s conflicting ambitions, desires and loyalties, Nagle explores questions of ownership and allegiance. Jane reminds her in some ways of herself, a young woman who believed she had to leave Oklahoma to make her way in the world. The character’s choices are not always ones that Nagle, who has since relocated to Washington, D.C., might have made, but it was important to her that Jane felt real and active, not merely the victim of a wider, non-Indigenous world.“Probably every play of mine is critiquing a white system of power that has been forced on us,” she said. “But also, it’s 2023, we’re all living in it now. So how are we responsible? How are we involved?”The director Laurie Woolery has been with the play since its premiere in Oregon. She was initially attracted to the challenge of the play and how it demanded that the actors move back and forth in time without any major change of scene.“I’m really drawn to work that feels impossible to stage,” she said during a recent interview at the Public Theater.But traveling between two eras was only one difficulty. Avoiding stereotypes was just as important. “There’s so many different ways in which we have been depicted in American culture not based on fact, reality or truth,” Nagle said. “If you want to present the truth, you’re doing that in a space where your representation has been not authentic. So you’ve got to deconstruct that before you can fully introduce the authentic, and that’s a challenge.”While there is no Lenape performer among the cast (casting directors would not have asked about particular tribal enrollment during auditions), the production has hired Joe Baker, a co-founder and the executive director of the Lenape Center in New York, as a cultural consultant.Baker has advised the production on matters of costume, props, language and Lenape aesthetics. “We’ve had many conversations about different traditions, different characters,” he said in a phone interview. Asked if Nagle’s play felt truthful to the Lenape experience, he said that it did.“There is clarity there,” he said. “She totally understands the protocol, the practice.”Lenape artists have also contributed some of the show’s props and design elements, including a wampum necklace, which Woolery shared as she led a recent technical rehearsal. “It’s a gift for us,” she said, holding out the three-strand necklace, “to keep us rooted.”Avoiding stereotypes is perhaps slightly easier now than it was a decade ago, when Nagle began her playwriting career. (Her other plays include “Sliver of a Full Moon,” Sovereignty” and “Crossing Mnisose.”) Recent years have brought many more depictions of Native Americans onscreen, often in projects created by or with Native writers and directors. And Native playwrights are experiencing more prominence, too. Nagle mentioned peers like DeLanna Studi (“Flight”), Madeline Sayet (“Where We Belong”) and, particularly, Larissa FastHorse, whose “Thanksgiving Play” had its Broadway debut last season.“The whole landscape has changed,” Nagle said. “It’s not enough. It’s definitely not enough. But we had our first Native woman on Broadway, which is a big deal.”What would be enough?“When we’re as much in the American theater canon as any other group,” she said.Nagle’s ambitions have always been as political as they are literary. If she has a need to tell stories, she also has the canny understanding that stories can be more persuasive than any number of appellate briefs.“In playwriting you can make an argument and force people to listen to it and hear it, in a way that they will never listen to it or hear it in a legal argument,” she said.The arguments here have to do with how history repeats itself and the dangers of making homes into tradable commodities. And as the play began preview performances just before Thanksgiving — the rare holiday that involves Indigenous history, however mythologized — and opens just after, it is also intended as a corrective to previous forms of representation.“My hope with ‘Manahatta’ is that we can provide non-Native Americans with a genuine narrative about Native people that just might supplant one or more of the false narratives American society has ingrained in them,” Nagle said.The significance of telling this particular story only a mile or two from where it happened has not been lost on any of the “Manahatta” cast or crew. “How do we recognize that we are standing on the ground of Lenapehoking and the genocide and forced removal of that tribe?” Woolery asked just before a rehearsal. “That’s a lot to hold.”Baker, the Lenape cultural consultant, was glad to see the play come home. He sees traces of the Lenape everywhere in Manhattan. “Everything you see is Lenape,” he said. “The breath and vitality of this place continues.” He hopes that audiences will learn something of the place’s history and its Indigenous people.“It’s a significant, significant moment,” he said. “And it’s exciting to share this moment.” More

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      ‘Hell’s Kitchen’ Review: Alicia Keys’s Musical Is Ambitious

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      A promising Off Broadway jukebox musical features hits by the R&B star (including “Fallin’,” “If I Ain’t Got You” and “No One”) and a story much like her own.Even in the Golden Age of musical theater, shows so commonly died after intermission that critics came up with a name for the disease. “Second act trouble” presented in many ways: unmoored songs, desperate cutting, illogical crises, hasty workarounds. Yet all those second act symptoms arose from the same underlying condition: first act ambitions.So it’s not really surprising that an enormously ambitious new musical like “Hell’s Kitchen,” the semi-autobiographical jukebox built on the life and catalog of Alicia Keys, disappoints after the mid-show break, tumbling directly into the potholes it spent its first half so smartly avoiding. What’s surprising in this promising show, which opened at the Public Theater on Sunday with the obvious intention of moving to Broadway, is how thrilling it is until then.Surprising to me, anyway. I find that jukeboxes — especially biographical ones, like “Motown” and “MJ” — almost inevitably add to the ordinary difficulties of musical construction with difficulties unique to their provenance. The involvement of the original artists (or their estates) leads to historical sugarcoating. A rush to hit all the high points results in a cherry-picked résumé. The catalog retreads, written for a different reason, fail to move the action forward. And since those songs are the show’s selling point, they wind up wagging the story.But Keys, working with the playwright Kristoffer Diaz and the director Michael Greif, steps around most of those pitfalls in the show’s first hour, setting up the story with notable verve and efficiency. In neat succession it introduces the main characters (17-year-old Ali and her single mother, Jersey), the primary setting (the Midtown Manhattan neighborhood of Hell’s Kitchen in the late 1990s), the parameters of the plot (Ali’s thirst for love and art) and an imminent source of conflict (Mom).At the same time, it floods us with music to establish the worlds it’s taking us into, well beyond the R&B and pop that Keys is best known for. In a marvelous elevator sequence, Ali encounters opera, jazz, merengue and classical piano as she descends from the one-bedroom 42nd-floor apartment she shares with Jersey, a sometime actor juggling two jobs. (The building, Manhattan Plaza, offers affordable housing for artists.) Then, when Ali reaches the street, a giant rush of sound enfolds her; all of New York, it seems, is singing, playing and, in Camille A. Brown’s excitingly contextual choreography, dancing.Shoshana Bean, left, and Brandon Victor Dixon as the young protagonist’s parents.Sara Krulwich/The New York TimesWe are only a few minutes into the show and its armature is fully in place. We know that this is going to be a mother-daughter love-and-letting-go story, as Jersey (Shoshana Bean, warm and pyrotechnic) tries to keep Ali fed and safe. Though race isn’t explicitly an issue between them, Jersey is white and Ali is biracial, and Ali (Maleah Joi Moon in a sensational debut) will gradually be drawn away from her mother’s smothering by the wider group of people she encounters.One is the classical pianist, Miss Liza Jane (the magisterial Kecia Lewis), who will demand that Ali take lessons from her — though in truth Keys started studying at 7, not 17. And out on the street, to the strains of the 2003 hit “You Don’t Know My Name,” Ali will flirt with a bucket drummer named Knuck (Chris Lee, sweet as pie) even though he’s in his mid-20s. He’ll resist — at first.And so, over the course of 11 songs, the first act does the work of ambitious first acts everywhere: expanding the show’s horizon to the larger world in which the action takes place (not a fair world for young Black New Yorkers) and deepening our knowledge of the main characters through conflict. Also humor: Diaz — whose hilarious professional wrestling play, “The Elaborate Entrance of Chad Deity,” was a Pulitzer Prize finalist — saves the story from too much earnestness. Credit Greif, too, whose steady management of tone and tension coaxes drama from a tale that could easily have been too interior.Together with Keys they also solve, or at least delay, many of the jukebox problems. By keeping a very narrow focus on just a few weeks in Ali’s life, “Hell’s Kitchen” chooses the possibility of dramatic depth over career highlights. Nor is there much sugarcoating: Keys seems quite willing to present her ambitious stand-in as a hormonal teenager immune to common sense — and Moon, 21, is precociously clever and fearless in delivering that complex portrait.Most important, Keys’s songs, even hits like “Fallin’,” “If I Ain’t Got You” and “No One,” fit into the story (and into the mouths of a variety of characters) without too much jimmying. If they don’t, the situation is acknowledged effectively. When Ali finally does spend the night with Knuck — right on time, just before the various story lines merge in a dreadful event at the end of the first act — Ali’s friend Tiny (Vanessa Ferguson) is miffed, for this is supposed to be an unapologetically woman-centered story. “The world is hers ’cause she got a man now?” she complains, interrupting the 2012 banger “Girl on Fire,” here repurposed as a joyful “I’m on top of the world” song. “That’s what we’re doing?”Moon’s dreamy Ali tries to woo Chris Lee, who plays a bucket drummer named Knuck.Sara Krulwich/The New York TimesAlas, “that’s what we’re doing?” is how I felt the moment the second act started. As if the creators had run out of time for finesse — though Keys and Diaz have been working on “Hell’s Kitchen” for more than a decade — its wit curdles into lectures as the story, especially Jersey’s, goes blurry. Her strained relationship with Ali’s father, here a jazz pianist though in reality a flight attendant, bears the characteristic signs of dramaturgical whiplash. (On the other hand, he’s played by Brandon Victor Dixon, a human aphrodisiac, vocally and otherwise.) An argument between Jersey and Miss Liza Jane feels similarly trumped up, until it is resolved in an obvious twist of pathos. And despite Bean’s skill, Jersey’s love for her daughter, the core of the show, gets lost in the attempt to complicate it.The second act songs follow suit; it is no coincidence that the three new ones Keys wrote for the production, all good, are at the top of the show. And though well-structured musicals typically have far fewer songs in the second half than the first to make way for the complexities of plot resolution, here there are a whopping 14, ending indulgently if unavoidably with the 2009 New York anthem “Empire State of Mind.” As a result, “Hell’s Kitchen” nearly becomes what it tried to avoid at the start: a hit dump.But because those hits are hits for a reason, there is still pleasure in hearing them. The singing, arrangements and orchestrations (by various hands including Adam Blackstone, Tom Kitt, Dominic Follacaro and Keys herself) are thrilling, if strangely unbalanced in Gareth Owen’s sound design. The fire-escape sets (by Robert Brill), expressive projections (by Peter Nigrini), saturated lighting (by Natasha Katz) and often hilarious costumes (by Dede Ayite) are all Broadway-ready.I hope “Hell’s Kitchen” will be too. Of course, many musicals make the transfer without ever solving their first act problems, let alone their second. That would be a shame here. Though not perfectly told, Ali’s discovery that art is love, with or without the guy, is too rich not to reach a bigger audience, and a million more girls on fire.Hell’s KitchenThrough Jan. 14 at the Public Theater, Manhattan; publictheater.org. Running time: 2 hours 30 minutes. More

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      Alicia Keys Steps Into a New Spotlight

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      “Hell’s Kitchen,” a musical inspired by the singer-songwriter’s teenage years in New York, is set to open Off Broadway.One night this summer, Alicia Keys fell asleep listening to show tunes.She was on vacation following a five-week concert tour, but her mind was still at work: For 12 years, she has been developing “Hell’s Kitchen,” a musical based on her adolescence in a then-gritty New York neighborhood, and at the top of her to-do list was writing a new song for the actress playing the main character’s mother.So she took a nap with her headphones on, listening to a playlist of theatrical mom songs (think “Rose’s Turn” from “Gypsy” and “Little Girls” from “Annie”). When she woke up, she could feel the rhythm. She could hear the chords. She could see the title.She ducked into a closet and began to sing into her phone. She hopped online, doing a little research to strengthen her lyrics. And then, when she returned to New York, she began to write, in the wee hours after the meetings and the calls and the rehearsals, noodling at an upright piano in her Chelsea recording studio.“This is occupying a lot of space in my mind,” Keys said about the musical, considered but candid as she was driven to a downtown rehearsal hall, tuning out the traffic and focusing on getting where she wants to go.Maleah Joi Moon is making her professional stage debut as the show’s protagonist, the 17-year-old Ali.Elias Williams for The New York TimesThat day, where she wanted to go was the Public Theater, the celebrated but pandemic-weakened nonprofit where “Hell’s Kitchen” is to begin an Off Broadway run on Oct. 24. Even though Keys is not in it, demand is high: Each time more tickets go on sale, they are snatched up.“I am thinking a lot about ‘Hell’s Kitchen,’ and obviously the goal for it to be tremendously beloved and really something that comes into the world in a way that is just like a storm, an incredible storm,” Keys said. “And the goal, obviously, is to transfer to Broadway. So that’s heavy on my mind.”With 15 Grammys, five No. 1 albums and about 5 billion song streams, Keys is an unusual figure in the music world — a classically trained pianist turned R&B singer-songwriter who signed a recording contract as a teenager and remains, at 42, determined, driven and resolutely in control of her creative and commercial life.Her musical, “Hell’s Kitchen,” is unusual too, in ways that seem promising. Unlike many biographical jukebox shows chronicling childhood to celebrity, this one is both focused and fictionalized, depicting a few months in the life of a 17-year-old named Ali.“This is not Tina Turner, this is not the Temptations, this is not MJ, this is not Carole King — although all of those are phenomenal,” Keys said, referring to shows about pop stars. “It’s really so much more about relationships and identity and trying to find who you are, which I think is a continuous theme in all of our lives: Who are we? Who do we want to be? Who are we becoming?”In “Hell’s Kitchen,” Ali, like Keys, is the daughter of a white mother and a Black father and is growing up in Manhattan Plaza, a subsidized housing development just outside Times Square where 70 percent of the units are for performing artists. The supporting characters — a hyper-protective single mother, a life-changing piano teacher, an older boyfriend and an unreliable father — are based on figures in Keys’s own upbringing.At its heart, “Hell’s Kitchen” is a mother-daughter love story, featuring the stage veteran Shoshana Bean, left, during a rehearsal with Moon.Elias Williams for The New York Times“We’ve highly fictionalized the specifics,” said Kristoffer Diaz, a playwright and librettist who has been working with Keys on the show for more than a decade. Along the way, Keys and Diaz have been joined by the Broadway veteran Michael Greif, who directed “Dear Evan Hansen,” and by the choreographer Camille A. Brown, an in-demand dance-maker.In some ways, the show’s narrative structure resembles that of Steven Spielberg’s semi-autobiographical film, “The Fabelmans”: It is a coming-of-age story about a gifted teenager with a fractured family; it ends with the protagonist’s trajectory unclear, but audiences can fill in the blanks based on what they already know about the author’s accomplishments.Keys resisted suggestions that the musical give audiences a road map to Ali’s future — a future in which she might, like Keys, become a big star. “Sometimes they would push: ‘And how about we…?’ And I was like, ‘No.’ ‘No,’” she said. “You just need to know that she is going to find something. Everything else is irrelevant.”“Hell’s Kitchen” is, in the eyes of its creative team, a mother-daughter love story. And, in an era when many musicals market themselves as love letters either to Broadway or to New York, this one falls squarely into the latter camp: Keys’s identity, as a person and as a songwriter, was shaped by the city in the 1990s, and that informs the show’s sounds (like bucket drumming) and movement (with echoes of social dances like the Running Man).The score, played by a band that will include a pianist visible to the audience even when actors pretend to be tickling the ivories, features Keys’s best-known hits: “Fallin’,” “No One,” “Girl on Fire,” “If I Ain’t Got You,” and, of course, “Empire State of Mind,” her 2009 collaboration with Jay-Z that has become an inescapable New York City anthem. Keys said she has written four new songs for the show, but that even existing songs have a new sound because they have been rearranged.“I almost felt obligated to create that piece that would be something that people who absolutely can’t stand musical theater would love,” Keys said, reflecting on her initial aspirations for “Hell’s Kitchen.”Elias Williams for The New York Times“The songs that you think you know,” she said, “you never heard like this.”Making a musical might seem like a swerve for Keys, but the truth is the overlap between the recording industry and musical theater is substantial. There is an ever-growing inventory of jukebox musicals biographical (“MJ,” about Michael Jackson) and fictional (“& Juliet”), as well as shows with original scores written by pop stars (“Here Lies Love”).Keys is a lifelong theatergoer who has dabbled in acting — she played Dorothy in a preschool production of “The Wizard of Oz” and had a cameo on “The Cosby Show” at 4 — but her passion was always music. She studied piano from age 7, was performing in a girl group and wrote her first song at around 11, and signed that recording contract at 15. Childhood moved fast — she skipped two grades and moved out at 16.“She knew a lot before she should have,” said her mother, Terria Joseph. (Mother and daughter both use stage names.)When Keys was a child, Joseph was a struggling actor — that’s how she qualified to live at Manhattan Plaza — who took survival jobs, particularly as a paralegal, while trying to find work as a performer. (Keys’s father, a flight attendant, did not live with them and was mostly not around; though Keys was close to her paternal grandparents, she was often estranged from her father. Now, she says, they are good.)Keys would tag along to auditions and rehearsals when her mother couldn’t afford a babysitter; when there was enough money, they would stand in line at the TKTS booth and buy discount theater tickets. Her mother recalls an early trip to “Cats,” and Keys remembers “Miss Saigon,” but the show that stands out most is “Rent,” in part because it’s about AIDS, which hit Manhattan Plaza, with its high population of gay artists, quite hard. “Rent,” like “Hell’s Kitchen,” was directed by Greif.She was valedictorian of her graduating class at the city’s Professional Performing Arts School, and attended Columbia University for a month before dropping out to pursue music. In 2001, with the release of “Fallin’,” and boosted by an appearance on “The Oprah Winfrey Show,” her career took off.Keys has continued to see theater when she can, and in 2011 she co-produced a Broadway play, “Stick Fly,” about an affluent Black family wrestling with race and class. According to her mother, who is always trying to take her to more theater, Keys has long been thinking about developing her own show. “It was on her bucket list for some time,” Joseph said.“People know her centrality to decision-making matters to her,” the Public Theater’s artistic director, Oskar Eustis, said of Keys (above, at a rehearsal). “There’s nothing of the absent star about her.”Elias Williams for The New York Times“Stick Fly,” Keys said, “ignited this desire in me, across all mediums in regards to storytelling, to be able to start to hear, feel and see stories that I know exist, but in so many ways the world doesn’t see.” And when she started cooking up “Hell’s Kitchen,” she had audacious goals.“Because I have all the experience with seeing theater since a kid, I just was really ready to reinvent theater, too,” she said. “I just felt like there was so much to bring, so many worlds to collide and cross. I almost felt obligated to create that piece that would be something that people who absolutely can’t stand musical theater would love.”Hang on! There are people who can’t stand musical theater? Apparently, yes, and one of them is Keys’s husband, Swizz Beatz, a renowned hip-hop producer.“He’s not a fan,” Keys said, laughing. “Do not bring him to the show where in the middle of the sentence they break out into the song. He falls asleep. He cringes. He can’t take it.”So one goal, Keys said, is simply to create a show her husband will like. (The two make up a power couple, with multiple homes and a significant contemporary art collection; they have two children together, and are also helping to raise his three children from previous relationships.)And what about reinventing theater? When I ask her about that word, she qualifies it — mindful of how it might sound and wary after two decades talking to journalists. Keys said she thinks about her project differently now, because she believes that over the last decade, Broadway has made strides.“I don’t want you to now quote me and say I’m reinventing Broadway,” she said. “I want to be clear that there’s so many pieces that exist now that really do challenge, I think, what we were seeing. There of course needs to be more diversity on Broadway. Is there more already? Hell yeah. And we still need more.”I write about the business of Broadway, so one thing that has struck me, as I’ve been working on this profile, is Keys’s ownership — economic as well as artistic — of “Hell’s Kitchen.” Rather than finding Broadway producers to finance and shepherd the show, thus far she is doing so herself, retaining the rights to its commercial future.“I want to own my story,” she told me. “And I deserve to.”She consults, and is heard, on every strategic and creative choice: writing, casting, staging, marketing.Keys has been shuttling between her recording studio in Chelsea and the rehearsal space, while fine-tuning the show’s sound.Elias Williams for The New York Times“People know her centrality to decision-making matters to her,” said Oskar Eustis, the artistic director of the Public. “She’s been as involved as any artist I’ve ever worked with — she gets involved on a level of granularity that’s just astonishing. It’s not just music, but every sentence, every relationship, every actor. There’s nothing of the absent star about her.”Maleah Joi Moon, who at 21 is making a professional stage debut playing Ali, was taken aback to realize that Keys, whose music was a staple in Moon’s childhood home, would actually be involved on a day-to-day basis.“When I saw the project, I was like, no way was she really attached to this,” Moon said. “And to find out, once I got into the rehearsal room, that she was going to be so heavily involved — it was insane.”Keys radiated warmth as well as intensity during a rehearsal, a novel (“The Vanishing Half”) at her elbow while she bounced in her chair to the beat and tapped out ideas on her phone. “She’s very specific with her notes,” said Shoshana Bean, the actress playing Ali’s mother.She teaches songs to the ensemble. (“You’ve never been to a more charged, lively and thrilling music rehearsal than when she’s running them,” Greif said.) She instructs the stars on vocal technique. (“She has expressed herself about what parts of my voice she wants me to use,” said Brandon Victor Dixon, who plays Ali’s father.)She even attended auditions for understudies, and she told me she was relocating a piano in her studio to try to replicate the sonic environment of the theater, thinking she would record the songs in the show and give demos to the band “so they get the feel, they get the swing, they get the idea, they get the energy.”“I’m very, very anal,” she said, “and I know how I want everything to sound.”Control has been a central theme of Keys’s career. While still a teenager, she successfully extricated herself from the contract she had signed with Columbia Records, chafing at efforts to mold her image and sound.“It’s important for me to properly express how I feel at the moment and not have it filtered through other people,” she told Oprah at age 20. Now she preaches self-determination. “If you don’t know what you want for yourself, then you’ll never, never get there,” she told me. “You’ll always be deterred.”Several times, as we talked, she circled back to her concerns about the way the music industry treats artists, and she said one of her long-term goals is “redesigning the industry.”“I feel like as a young artist, we get very taken advantage of, and it’s unfortunate we find ourselves in these circumstances that do not benefit us to the level that it should,” she said. “And I’m lucky. I am in control of all of my music and all of the things that I’ve created. But let me tell you, that’s not the normal story. And I had to fight for it.”Maintaining creative and financial control has become “a mission,” she said, and with “Hell’s Kitchen,” she believes the lessons she has learned are paying off.“For the first time in my life,” she said. “I’m doing something exactly right.”That startled me, given her success. “Really?” I asked.The score is a mix of new songs and Keys’s best-known hits, including, of course, “Empire State of Mind,” her 2009 collaboration with Jay-Z.Elias Williams for The New York Times“I really do,” she said. She explained that with previous projects, “I didn’t start out right, but kind of ended up right.” But this time, she said, “I didn’t want to go out and get too diluted and get too many partners. We have all the right partners, all the right minds. It’s the right mixture of experience and also newness that I think is important to continue to create a new world.”One night in mid-July, I took the subway to Barclays Center to watch Keys do what she is best known for: perform. For 90 minutes she entertained a rapturous crowd of 11,894 — strikingly more diverse, and younger, than most theater audiences. Her sparkling Yamaha piano was in the center of the arena, on a rotating stage, with runways extending out so she could work the crowd.Just before the concert, as she often does, she presided over what she calls a Soulcare Session, promoting her skin care line (“I call them offerings, not products — products is too transactional”), talking up empowerment (“The theme today is reminding ourselves to own our own power”), and posing for pictures with superfans who had paid a steep premium for up-close access (“You can talk to me about anything you want,” she said). Her staff sprayed the patrons with a “reviving aura mist” and invited them to select keys (get it?) with words of affirmation; attendees sat on embroidered pillows, black beanbags and purple cushions and asked Keys about her wardrobe, her writing process, her childhood. Some spoke about how her songs had helped them endure disease or emotional hardship.Keys has long had an entrepreneurial streak — she started a babysitters club when she was 11 — and it is ever-expanding. “I’m really interested in business at this point,” she told me when I asked about what’s next.She’s all-in on “Hell’s Kitchen,” of course. She intends to further build up Key SoulCare. And she’ll make more music.“I feel like I’m in a place where I can express myself clearly,” she said. “I am clear about what I want, what I don’t want. Who I want to do it with, who I don’t want to. I’m unafraid to be very vocal and verbal about that, and I feel like I’m in a place where I can do anything, anything. And I haven’t even begun yet.” More

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      Stephen Sondheim’s Final Musical is Opening. How Complete Was It?

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      Sondheim said days before his death in 2021 that he did not know when it would be finished, but the musical, now called “Here We Are,” begins performances Thursday.Stephen Sondheim, asked days before his death if he had any sense of when his final musical would be finished, offered a simple answer: “No.”The great composer and lyricist, who was 91 at the time, in late 2021, had been working on and off for years on the show, which was adapted from two Luis Buñuel films. He had written songs for the first act but was struggling with the second. “I’m a procrastinator,” he told me then. “I need a collaborator who pushes me, who gets impatient.”Now, two years after his death, the show, which Sondheim had been calling “Square One” but which was later renamed “Here We Are,” is being presented for the first time, in a 526-seat theater at the Shed, a nonprofit cultural center in Hudson Yards on the Far West Side of Manhattan. Performances of the show, which is based on Buñuel’s “The Discreet Charm of the Bourgeoisie” and “The Exterminating Angel” and billed as “the final musical by composer Stephen Sondheim,” are set to begin Thursday and to run until January,So what changed? How did a show that Team Sondheim suggested was incomplete at the time of his death get to a point where it was ready for public consumption?The show’s creative and producing team say that two months before Sondheim’s death, he had agreed to let the show go forward, following a successful reading of the material that existed at that point. They had come up with a rationale for a second act that is light on songs. And they note that, following that reading, Sondheim had appeared on Stephen Colbert’s late-night show and had said, “We had a reading of it last week and we were encouraged. So we’re going to go ahead with it, and with any luck we’re going to get it on next season.”So is the show being staged a finished musical? “Who would consider a musical ‘finished’ until it has gone through a full preview process?” the show’s producing and creative team said in written responses to questions for this article. “What we are putting on stage now is as finished as any production about to play its first preview. It’s ready for audiences, and very much the musical Steve envisioned.”The creative team said that all of the show’s songs, and all of its lyrics, were written by Sondheim, and that “as is the case with every musical, the orchestrator and arranger take the composer’s melodies and motifs and use them to arrange and orchestrate the instrumental interstitial music.”The musical will be based in part on Luis Buñuel’s 1972 film “The Discreet Charm of the Bourgeoisie.” Rialto Pictures“There isn’t a note in this score that wasn’t born out of Steve’s compositions, as will be abundantly clear to audiences,” they said.The book, on the other hand, has been revised since Sondheim’s death by its writer, David Ives, and director, Joe Mantello. But the team said that “the three collaborators agreed after the informal reading that took place on Sept. 8, 2021, that Steve’s songwriting for both acts was complete.”There is a long history of work in various stages of completion being released after the death of an artist. Mozart’s Requiem, Puccini’s “Turandot” and Berg’s “Lulu” were all left unfinished when their composers died and are now considered classics.“The work that David and Stephen did should absolutely be seen,” said Oskar Eustis, the artistic director of the Public Theater, which was working with Sondheim to develop the show until a few years ago. “It’s a jewel, it’s small, it’s incomplete, but it’s absolutely delightful and smart and gorgeous, and it would be a crime for it not to be seen. So I’m entirely in favor of the work being shown in public.”James Lapine, who as a librettist collaborated with Sondheim on shows including “Into the Woods” and “Sunday in the Park With George,” agreed. “I really trust David and Joe, and don’t think they would be putting up something they didn’t feel was finished — not on this scale,” he said. “They’re smart cookies, and if they wanted to do a workshop because it wasn’t finished, they could. But they see it as finished, and Steve gave his blessing, so it’s going to be an addition to the canon.”The show, in Sondheim’s pithy description in that last interview, has a “so-called plot” in which “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.”When Sondheim seemed stymied by the second act, Ives and Mantello suggested that perhaps, once the characters are trapped, they can no longer sing.“Hopefully it won’t feel unfinished,” said the actor Nathan Lane, who took part in the 2021 reading. “It makes sense that these characters, once they’re trapped, they can’t sing any more.”“Here We Are,” like many new musicals, has had a complicated developmental journey.Long before he appeared on Colbert’s show, Sondheim had made suggestions that a production could be imminent. In 2014, during an appearance at the New York Film Festival, Sondheim said that he and Ives had just finished a first draft. In 2016, the producer Scott Rudin, who had been consulting with Sondheim about the show, told the “Fresh Air” interviewer Terry Gross that he hoped it would be staged in 2017. Two months later Sondheim, speaking at the Glimmerglass Festival in Cooperstown, N.Y., said he also hoped the show would be staged in 2017, “if I can finish the score in time.”Sondheim had been working on the project off and on for years. Daniel Dorsa for The New York TimesThere was a reading and three workshops before the pandemic — all led by the Public Theater — but no productions.“My impression was that Steve hadn’t finished it in his mind to where he wanted it to be exactly, but an unfinished Sondheim song still sounds like a pretty amazing song,” said Michael Cerveris, an actor who took part in two readings at the Public.At one point Sondheim set aside work on the musical; he and Ives returned to another project, called “All Together Now,” and the Public’s rights to the Buñuel films lapsed.Then Mantello and Ives pulled together the 2021 reading, with a starry cast led by Lane and Bernadette Peters. The reading was a one-afternoon event, with no singing — the assembled actors read the words of the script and the song.“It was two acts, and the lyrics were witty and clever, unsurprisingly,” Lane said. Sondheim, he said, “had written an act and the beginning of the second act, and there was some material in the script that was suggesting perhaps he might turn some long monologue into a song — I wasn’t privy to those conversations.”There is uncertainty among some Sondheim biographers about how to view this show.“I’m both eager and apprehensive,” said Daniel Okrent, who is writing a book about Sondheim. “I’m eager because I so admire his work, and I’m apprehensive because of his public statements that suggested he wasn’t very happy with what he had done, or that he didn’t think it was complete.”Several people who spoke with Sondheim in his final years said they were surprised by the turn of events. “He thought it was never going to happen,” said the director Ivo van Hove, who spent time with Sondheim while directing a 2020 Broadway revival of “West Side Story,” “but it’s happening now.”Others would like more transparency from the creative team about how they have pulled this show together, a process partly described by Frank Rich in New York magazine.“I think we’d all like to know more about how the sausage was made, especially the second act sausage,” said D.T. Max, a staff writer at The New Yorker and the author of “Finale: Late Conversations With Stephen Sondheim.”Sondheim was known for revising many of his shows throughout the preview process, which makes this one unusual. (He wrote “Comedy Tonight,” the opener of “A Funny Thing Happened on the Way to the Forum,” and “Being Alive,” the 11 o’clock number in “Company,” after out-of-town pre-Broadway productions had begun.)“Steve going on Colbert and saying ‘we’re going to do a show’ and then being around for rehearsals and previews and developing and rewriting as always is one thing,” said David Benedict, a writer who is also at work on a Sondheim biography. “It’s a very different proposition when the composer-lyricist isn’t with you.”The show has a sizable budget for an Off Broadway production — the commercial producers who are financing the show (Tom Kirdahy, Sue Wagner, John Johnson and The Stephen Sondheim Trust) expect to raise between $7 million and $8 million, according to a spokesman for the production. The ticket prices are also steep for Off Broadway: Prime seats are being priced at $349.Alex Poots, the Shed’s artistic director, said he had been thrilled when the Sondheim estate approached him last year about staging the musical.“We’re here to support artists who advance their fields,” he said. “I was literally doing back somersaults — for the most important and groundbreaking theater composer and lyricist to have his final work at the Shed is wonderful for us.” More

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      Review: In Central Park, ‘The Tempest’ Sings Farewell to Magic

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      A joyful, bumpy musical version of Shakespeare’s late romance closes the Delacorte Theater before an 18-month renovation.“The isle is full of noises,” sings Caliban, and on Tuesday night it certainly was. Helicopters, radios, sirens and birdsong were competing to be heard in the Manhattan air.Yet all of them melted away, as they usually do, at the Delacorte Theater in Central Park, where the Public Theater’s new musical version of “The Tempest” was giving its opening-night performance. (It runs only through Sunday.) The seventh in the Public’s series of Public Works productions, it will also be the last for the time being; this fall, the Delacorte begins much-needed renovations that will put it out of commission until 2025.“The Tempest” makes for a fitting farewell, having opened the series, in a different adaptation, in 2013. That “Tempest” introduced the innovative Public Works idea: civic theater made for everyone, with members of local community organizations performing alongside professional actors. This new “Tempest,” adapted by Benjamin Velez (whose songs are tuneful and sweet) and Laurie Woolery (whose staging is bumpy but joyous), continues the tradition but emphasizes a new note: the pang of goodbyes.The goodbyes are generally the same ones Shakespeare plotted around 1610. Prospero, a sorcerer living for 12 years in exile on an enchanted island, must forswear the magic that has helped him survive and, with it, his fury over the betrayal that landed him there. He must also release from servitude his chief sprite, Ariel, and his monstrous slave, Caliban. And when his daughter, Miranda, having little experience of men, falls for one who washes up on shore, Prospero, deferring to love, must give her up too.“Am I not the liar/If I deny her?” he sings in the oddly named “Log Man,” a highlight of the nine-song score.Actually, make that “she sings,” because in this production, Prospero, played by Renée Elise Goldsberry in gorgeous voice, is a woman, and not gratuitously so. Her interactions with Miranda are specific to her gender. “Innocence flies like the last gasp of summer/Childhood dies in the arms of a lover/And no one tries to hold on like a mother,” she notes in a later verse of “Log Man,” getting a big laugh on the inevitability of that last word.Renée Elise Goldsberry, as Prospero, knows how to shape a moment for maximum impact, our critic writes.Sara Krulwich/The New York TimesAt least for the first half of the 100-minute show, the Shakespeare is effectively translated to musical theater — perhaps not so surprising given that musical theater is in many ways a translation of Shakespearean templates to begin with. (Songs and monologues often do similar structural work.) Here, Velez’s poppy melodies and gentle slant rhymes usually serve a second function, crystallizing the themes in quickly recognizable and memorable gestures, as the harsh economy of musicals requires.So Prospero’s opening number, “Cast a Spell,” sets up her conflict instantly: She must “finally be free of the tempest in me.” When Miranda (Naomi Pierre) meets Ferdinand (Jordan Best), the Disneyesque “Vibin’ on to You” characterizes their instinctual infatuation in its first funky measure. A merry operetta drinking song (“A Fool Can Be King”) gives Joel Perez, as the soused clown Stephano, a rousing production number, and the song that introduces Sebastian (Tristan André) and Antonio (Anthony Chatmon II) might as well have “comic villain specialty” stamped on it.Of course, those villains aren’t so comic in the Shakespeare, where their threats recall the culture of deceit and violence bred by greed and politics. But that’s one of the trade-offs of Public Works. You do get to see charming nonprofessionals like Pierre (from the Center for Family Life in Sunset Park, Brooklyn) work side-by-side with Broadway talent like Jo Lampert (who makes an acid-queen Ariel) and Theo Stockman (a piteous Caliban). But you’re not likely to see any of them get the chance to dig terribly deep.The production’s rushed second half shows why, as the late-night subway schedule bears down and the plot gets ruthlessly trimmed to beat it. We don’t miss the cut scenes so much as the connective tissue that might hold up what’s left. Also missed: the rich language that creates emotional context for a story that, with its spirits and spells, can otherwise seem almost inhuman.And though there’s a lovely finale called “A Thousand Blessings” — with members of Oyu Oro, an Afro-Cuban experimental dance ensemble, flooding the stage — the songs now come too close together to represent peaks of feeling. A landscape with only peaks is flat.Woolery, who leads Public Works and directed its terrific “As You Like It” in 2017, too often exacerbates that problem. With as many as 88 people moving about, plus five musicians in a tipped-over house remaindered from this summer’s “Hamlet” (the sets are by Alexis Distler), the stage can sometimes look like a busy airport instead of a nearly deserted island. And the clown scenes, so dependent on imaginative physical comedy, exceptional timing and an understanding of pathos, are not reliably funny.But one of the nice things about watching nonprofessionals in the limelight, especially the children, is that they don’t cover their excitement, which is funny (and moving) in itself. And one of the nice things about watching professionals in the limelight is that they know how to shape a moment for maximum impact.This is something Goldsberry does over and over, no more so than near the end, when Prospero must act on her insight that “the rarer action is in virtue than in vengeance.” As she breaks her magic staff in two, several feelings — fear, wonder, resolve — seem to scud across her face. Has she done right in making that choice?Has Public Works done right in making a similar one? Producing work that by traditional measures lacks polish, it has prioritized the virtue of engagement with actual people, and lots of them, over the secret magic known only to a few.As a critic, I feel obliged to ponder the trade-off. But as a citizen I have no doubts. Even in its lesser outings, Public Works makes its own kind of magic: a communitarian charm sorely missed these furious days. We need the series back in the park as soon as possible — albeit with better seats, more accessible bathrooms and raccoonless backstage facilities — to keep making beautiful music for our beleaguered isle of noises.The TempestThrough Sept. 3 at the Delacorte Theater, Manhattan; publictheater.org. Running time: 1 hour 40 minutes. More