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    ‘The Effect’ Review: Dissecting the Science of Desire

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    In Jamie Lloyd’s revival of Lucy Prebble’s play, Paapa Essiedu and Taylor Russell are a couple who fall in love during a pharmaceutical trial.A white plastic bucket sits on a spare stage at the Shed, where the director Jamie Lloyd’s stark, riveting production of “The Effect” opened on Wednesday night. By the time its content — a human brain — is revealed, Lucy Prebble’s heady and scintillating drama is already interrogating the biology of desire.What begins as the drug trial of an antidepressant shifts into more slippery territory when a flirtation develops between two of the participants. As they circle each other, neurons blazing, questions swirl about whether their attraction has been chemically engineered — and if love controls the mind or the other way around.The simplicity of a brain plopped in a pail for scientific research becomes something of a mordant sight gag.Previously staged Off Broadway in 2016, “The Effect” digs into what one of the study’s architects calls “nothing short of a revolution in medicine”: drug intervention that considers the psyche a plastic aspect of the self. Lloyd’s production, which premiered in August at the National Theater in London, poses the play’s philosophical inquiries on a stark and minimal plane that feels both cosmic and atomically intimate.During the experiment’s intake, we learn that Connie (Taylor Russell) gets sad but isn’t depressed (“when I’m sad, I’m sad,” she says) and that Tristan (Paapa Essiedu) has a playful swagger, half-flirting with the study’s administrator, Dr. Lorna James (a game and frank Michele Austin), while she asks about his medical history.Kobna Holdbrook-Smith, left, and Austin (with Essiedu and Russell seated onstage) portray the two psychiatrists running the pharmaceutical trial. Sara Krulwich/The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      In ‘The Effect,’ Investigating Love and Other Drugs

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      The world of experimental medical research might not seem like it has much to say to the world of theater, but Lucy Prebble sees connections. Both require subjects and observers, both take place within a carefully controlled environment and both depend on a certain amount of luck.“The more I thought about it, the more I thought, ‘That’s kind of what we do,’” said Prebble, a British playwright and screenwriter.In 2006, Prebble became fascinated with one botched medical trial in particular, in which six healthy young Britons experienced multiple organ failure after taking a novel drug. The incident partly inspired “The Effect,” Prebble’s play about two participants in a drug trial that alters the course of their lives. First produced in 2012 at the National Theater in London (and performed in New York at the Barrow Street Theater in 2016), it was revived there last fall and will come to New York on March 3 for a limited engagement at the Shed.Like the London revival, the New York run will star Paapa Essiedu (“I May Destroy You,” “Black Mirror”) and Taylor Russell (“Waves,” “Bones and All”) as Tristan and Connie, two people from different class backgrounds with near opposite personalities who are given an antidepressant with the potential to induce feelings of love. When the drug proves stronger than expected — testing the boundary between love and mania — the trial’s administrators (played by Michele Austin and Kobna Holdbrook-Smith) struggle to keep it from spinning out of control.“I couldn’t quite work out whether it was a tragedy or a triumph,” Essiedu said of the play. “Even now, having done it for two months, I never quite settle on what I believe.”Kalpesh Lathigra for The New York Times“They know what they feel but they don’t know why they feel it,” Essiedu said of Tristan and Connie. “Are they experiencing something that’s 1 in 1 billion? Or will it be here today and gone tomorrow?”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Here We Are’ Review: The Last Sondheim, Cool and Impossibly Chic

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      This inventive, beguiling and not quite fully solved puzzle of a show is a worthy and loving farewell to the great musical dramatist.Stephen Sondheim had a genius for genre. Some of his best works were adapted from very niche sources like penny dreadfuls (“Sweeney Todd”), epistolary novels (“Passion”) and Roman comedies (“A Funny Thing Happened on the Way to the Forum”). Leaning hard into their specific styles, he mined their expressive potential in songs that could hardly be improved and never sounded alike.Still, for him and for others, surrealism was often a genre too far. Musical theater is surreal enough already. (Why did that taciturn man suddenly start singing? Who are those dancing women in lingerie?) Building a show on a willfully irrational source risks doubling down on the weirdness, leading to “Huh?” results like Andrew Lloyd Webber’s “Cats” and Sondheim’s own “Anyone Can Whistle.”So as we waited what seemed like decades for what would turn out to be his last musical, never quite knowing if he’d ditched it or not, the dribbles of information he and his collaborators let drop suggested that the new show — eventually titled “Here We Are” — might be misbegotten.Not only are the two Luis Buñuel films that Sondheim and the playwright David Ives took as their inspiration maximally surrealist, they are also surreal in different, seemingly incompatible ways. “The Discreet Charm of the Bourgeoisie” (1972) is a sunny romp about a group of friends who, seeking a meal, are mysteriously unable to find one. “The Exterminating Angel” (1962) is a much darker affair, about a dinner party no one can leave. Both movies ridicule aristocrats who are underfed yet over-sated: people for whom nothing is ever enough. But one is like the silky tartness of a lemon meringue pie and the other like chicken bones stuck in your throat.The best good news about “Here We Are,” the combo platter Buñuel musical that opened on Sunday at the Shed, nearly two years after Sondheim’s death in November 2021, is that it justifies the idea of merging these two works and succeeds in making a surrealist musical expressive. In Joe Mantello’s breathtakingly chic and shapely production, with a cast of can-you-top-this Broadway treasures, it is never less than a pleasure to watch as it confidently polishes and embraces its illogic. Musically, it’s fully if a little skimpily Sondheim, and entirely worthy of his catalog. That it is also a bit cold, only occasionally moving in the way that song would ideally allow, may speak to the reason he had so much trouble writing it.There are just a few songs in Act II, which, inspired by Luis Buñuel’s “The Exterminating Angel,” takes a darker turn.Sara Krulwich/The New York TimesThe first act, about an hour long and with perhaps seven numbers — though it’s hard to count because they weave in and out of the dialogue — introduces us to Ives’s American versions of Buñuel’s French gourmands from “The Discreet Charm of the Bourgeoisie.” Leo Brink (Bobby Cannavale) is a crass tycoon and Marianne Brink (Rachel Bay Jones) a society decorator; their Saturday morning is interrupted when four of their circle arrive at the couple’s hyper-sleek apartment, insisting they’ve been invited for brunch.The interlopers include Paul Zimmer (Jeremy Shamos), a plastic surgeon celebrating his 1,000th nose job, and his wife, Claudia Bursik-Zimmer (Amber Gray), an agent, she brays, for “a major entertainment entity.” Along with them are Raffael Santello Di Santicci (Steven Pasquale), the horndog ambassador from a Mediterranean country called Moranda, and Fritz (Micaela Diamond), Marianne’s sour younger sister, a revolutionary with champagne tastes.Ives quickly and amusingly delineates the six with specific and almost universally obnoxious traits. Raffael, who butchers his English, and Claudia, quick to pull rank, have a weekly assignation behind Paul’s back; Paul and Leo run a drug cartel with Raffael’s ambassadorial assistance. Fritz is a pill. As they go on the road in search of a meal, accompanied by a Sondheim vamp that starts out marvelously jaunty and ends like water swirling down a drain, each reveals worse and worse traits, except for Marianne, who is too dim to be venal. When she asks her husband to “buy this perfect day” for her, it seems less acquisitive than sentimental.The changes of scenery as they visit various establishments featuring outré waiters (Tracie Bennett and Denis O’Hare) in ever more ludicrous wigs (by Robert Pickens and Katie Gell) are accomplished with swift grace on David Zinn’s shiny white box of a set, as neon marquees descend from the flies and then descend further to form tables or banquettes. (Zinn’s costumes are also telegraphic, including Leo’s velour sweatsuit and Claudia’s sky-high purple Fendis.) The theme-and-variations format is enchanting, allowing Sondheim, the great puzzler, to treat songs almost as anagrams. Eventually, along with three other characters they pick up — a colonel (Francois Battiste), a soldier (Jin Ha) and a bishop (David Hyde Pierce) — the crew lands, by now starving, at Raffael’s embassy, where they dine as Act I ends.Here the musical hinges into “The Exterminating Angel,” only instead of a completely different set of characters (Buñuel’s were Spanish, living under Franco), Ives, in a neat piece of joinery, continues with Leo and Marianne and the others. It is they who find it impossible to leave after dinner, and wind up, in Act II, sleeping, bickering and eventually fighting over food scraps as their metaphysical entrapment persists for days. Ives also complicates Buñuel’s antifascist, anti-bourgeois glee, in which plutocrats are exposed as pigs, by implicating the revolution as well; Fritz turns out to be less of a threat to her own way of life than she intended.Clever as all that is, the windup has problems, as is true for many new shows finding their final shape. To make the characters in “Here We Are” worthy of punishment in the second act has meant making them too obviously awful in the first. Their brutishness throughout also lets us off Buñuel’s hook: His movies are about people whose sophistication and disposable income we should recognize, but “Here We Are,” which sometimes feels like a butterfly box, is about people we don’t dare to.In the first act, inspired by Buñuel’s “The Discreet Charm of the Bourgeoisie,” the characters visit various establishments, each distinguished with swift grace by neon marquees that descend to form tables or banquettes.Sara Krulwich/The New York TimesHad Sondheim written more songs for Act II — there are just a few, bunched at the beginning — that problem might have been eased. In any case, Mantello and Ives decided to reframe the dearth as an opportunity. Before his death, Sondheim apparently agreed with them that the lack of songs in fact made structural sense: Once trapped in a repeating nightmare of deprivation, these characters would have no reason to sing. But then why retain the ones he’d already written?Perhaps because the songs he did write are everything you could want them to be. There are fewer trick rhymes than usual, but laugh-out-loud jokes nonetheless. A rhapsodic love song for the soldier and a paean to superficiality for Marianne — “I want things to gleam./To be what they seem/And not what they are” — have the familiar Sondheimian depth and luster to crystallize complex insights.Though we sorely miss that in Act II, and especially at the attempted triple lutz of an ending (which is probably two lutzes too many), Ives, the author of “Venus in Fur” and innumerable clever comedies, has done much to compensate. Some of his dialogue scenes — including a riveting colloquy between the questing Marianne and the questioning bishop — have the shape, rhythm and sorrowful wit of a Sondheim song. (Jones and Pierce are standouts in the excellent cast.) Also lovingly filling in blanks are the musical supervisor, Alexander Gemignani, and Sondheim’s longtime orchestrator, Jonathan Tunick, who have arranged themes from the earlier part of the show as instrumental interludes to take up the slack in the later part.You can understand their care. Pending the discovery of some unpublished juvenilia or yet another iteration of the penultimate “Road Show,” this is the last Sondheim musical we will ever have. That alone makes the production historic, a pressure that happily does not show in the product, which is fleet and flashy. Natasha Katz’s lighting, Tom Gibbons’s sound and Sam Pinkleton’s droll choreography do a lot of the heavy lifting for Mantello’s agenda.More important, “Here We Are” is as experimental as Sondheim throughout his career wanted everything to be. To swim through its currents of echoes of earlier work — some “Anyone Can Whistle,” some “Passion,” some “Merrily We Roll Along” — is to understand the characters’ monstrous insatiability. We, too, will always want more, even when we’ve had what by any reasonable standards should already be more than enough.Here We AreThrough Jan. 21 at the Shed, Manhattan; theshed.org. Running time: 2 hours and 20 minutes. 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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      What Spatial Audio Can and Cannot Do for Classical Music

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      Immersive audio formats, while newer for pop, have been used by composers for decades. But not all works call for spatial treatment.Recent developments in spatial audio — albums old and new being mixed for immersive formats — have made news in the world of pop.Given the right production process (in the studio) and tech setup (at home), headphone sounds no longer need feel so statically pressed to each ear; instead, they can seem to whiz around your head or beckon from the nape of your neck.Or simply breathe anew. Whether you’re focusing on a stray slide-guitar accent in the Dolby Atmos mix of Taylor Swift’s “Mine (Taylor’s Version)” or appreciating the serrated details of brass-arrangement filigree in Frank Zappa’s vintage “Big Swifty,” the idea is to bring the souped-up, three-dimensional feel of large-speaker arrays into your ears.But classical music was there decades ago. Deutsche Grammophon and the Philips label both experimented with “Quadraphonic” — or four-channel releases — in the 1970s. More recently, binaural recordings and mixes, designed to simulate that 3-D feel, have been a delight. Now, though, these and other spatial-production practices are enjoying deeper corporate investment, including head-tracking technology as a feature of Apple’s newest Beats headphones. (When you move your head while wearing these — with the tracking option enabled — sound-points seem to stay fixed in your 360-degree field, even if you swerve about.)Head-tracking seemed largely pointless to me — even distracting — until I tried it with the new archival recording “Evenings at the Village Gate,” featuring John Coltrane and Eric Dolphy.Hearing Dolphy’s bass clarinet in front of my face — in a way that remained stable, even when I shook my head in wonder at his playing — allowed me the fleeting sensation that I was sharing space with the legend. A neat trick, though not one more important than Dolphy or Coltrane’s playing on its own terms.Around the time that recording was made, classical composers were bringing spatialized concepts into their creative practice. Even before the comparatively meek technology of two-channel stereo sound was standard in every home, Karlheinz Stockhausen and others were using more complex mixes for works involving electronics or taped elements.There’s a reason Stockhausen is one of the cultural worthies on the cover of the Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band”: The composer’s works, like “Gesang der Jünglinge,” from 1956, employed a five-speaker mix (including one on the ceiling). That made a lasting impression on Paul McCartney, who once described “Gesang” as his favorite “plick-plop” piece by Stockhausen.Now, more traditional corners of the classical music world are getting in on spatial audio as well.Esa-Pekka Salonen rehearsing with the San Francisco Symphony, which has released spatial audio recordings.Ulysses Ortega for The New York TimesLeading conductors in the orchestral world — including Riccardo Muti and Esa-Pekka Salonen — have personally approved spatial audio mixes of their recent recordings, which have been released on Apple Music and its stand-alone classical streaming app. And, as with other genres, Apple has gathered playlists of spatialized remixes.The regular players in classical music’s immersive cohort have meanwhile continued to ply their trade: Members of SWR Experimentalstudio came to the Time Spans Festival in New York this month, bringing surround-sound works by the Italian modernist Luigi Nono. And the American composer-saxophonist Anthony Braxton brought a new surround-sound concept, “Thunder Music,” to the Darmstadt Summer Course in Germany.Those live performances were terrific. It’s a different story on recordings: After listening to a variety of Dolby Atmos mixes recently, I sensed that classical music’s more mainstream slate of spatial offerings remains a work in progress.Somewhere in between was the Sonic Sphere, a realization of a spatial audio concept by Stockhausen, at the Shed in New York this summer. Its 124-speaker setup encircled about 200 listeners at a time. In early July, I heard a new mix of Steve Reich’s “Music for 18 Musicians” that suffered from muddy bass frequencies. This, unfortunately, also robbed the work of its chiseled, Minimalist grace; instead of following the bass clarinet lines, you just guessed that they were there. A sense of drama had been frittered away.Similarly, some selections you can find in Apple Music’s “Classical in Spatial Audio” playlists seem poorly selected for the format. A recording of a profound solo work like Bach’s “The Well-Tempered Clavier” isn’t exactly crying out for the spatial treatment. But when it receives one — as in an otherwise pleasant recording by Fazil Say — it merely sounds like it’s had its reverb levels jacked to the sky. It’s more distracting than moving. Such extraneous mixes are also a poor advertisement for what Dolby Atmos can provide when applied to the right repertoire.For a contrast, look to the opening work on the Chicago Symphony Orchestra’s recent album “Contemporary American Composers,” Jessie Montgomery’s “Hymn for Everyone.” That track is plenty inviting in its regular stereo mix; even as its singable opening motif is passed between sections, taking on new timbral colors, it never loses its openhearted sense of invitation. In the Dolby Atmos mix on Apple Music, that enveloping effect deepens. The spaces among bowed strings, brasses and percussion are wider. A centrally mixed pizzicato line takes on an even more dramatic, bridging role.The orchestra’s audio engineer, Charlie Post, said in an interview that “contemporary music seems to lend itself particularly well for this.” And he related how, since joining the Chicago Symphony in 2014, he’s been “future-proofing” sessions by recording with more microphones than are strictly necessary for radio broadcast or archival purposes. Now, when a format like Dolby Atmos comes into play, the ensemble is ready with a robust audio-capture program — think of it as a highly detailed orchestral data set — from each performance.After working with the producer David Frost and the spatial-mixing expert Silas Brown, Post is then required to get the sign-off from Riccardo Muti, the Chicago Symphony’s music director. Post recalled that when the conductor, wearing Sennheiser headphones, heard a binaural rendering of the 2018 album “Italian Masterworks,” he counted himself impressed — and gave the ensemble’s spatial-audio team his blessing to do more in this realm.“He thought it was more wide and pleasing to him,” Post said. “So that was a great thumbs-up to get.”At the San Francisco Symphony, Salonen has been equally enthusiastic — and even more hands on — with engineers as he plots coming performances and releases.“We have a very, very good team, so they don’t need any kind of mothering,” he said in a video interview. “But I’m just fascinated by the process myself, because it’s a new kind of mixing. When you position sound objects in 360 space, it becomes like a superfun computer game — very entertaining. And there are some musical artistic gains which are not gimmicky. It doesn’t have to be technology for the sake of technology; there can be an expressive purpose.”That much is clear in Salonen’s recent San Francisco recordings of music by Gyorgy Ligeti, several of which now exist as Dolby Atmos-enabled singles. (A take on Ligeti’s “Lux Aeterna,” which Stanley Kubrick famously used in “2001: A Space Odyssey,” is also available on YouTube in a binaural, headphone-optimized version.)In Ligeti’s “Ramifications” — a piece that requires different orchestral groups to play in microtonally different tunings — the Dolby Atmos mix brings across the peculiar differences. Eerie, branching strings are easier to locate and appreciate, smeared across a wide soundstage; the chattering climax has fresh force.Salonen, who has been interested in blending technology with the traditional orchestra, both as a conductor and as a composer, thought about which Dolby Atmos recordings he would like to see. Thinking about Stockhausen’s “Gesang der Jünglinge,” he said, “I would buy that!”Karlheinz Stockhausen, a pioneer of spatial audio in composition, conducting in 1984.Agence France-Presse, via Getty ImagesIn an email, Kathinka Pasveer, Stockhausen’s longtime companion and collaborator, said that there were no plans to remix the Stockhausen Verlag catalog. The market, she added, is currently too small.Apple’s market share could change that. But for now, there are other distributors of cutting-edge spatial audio compositions.The composer Natasha Barrett’s recent album “Leap Seconds” — perhaps the most vivid spatial-audio work I’ve encountered in the past decade — comes with a headphones-only binaural mix when bought from the Sargasso label. And the British label All That Dust has been releasing binaural mixes of albums on its Bandcamp page.This year, the best spatial audio purchase I’ve made was an All That Dust download of Stockhausen’s “Kontakte” for piano, percussion and electronic sounds. That may not be as newsworthy as the latest buzzy technology, but neither is it as expensive.The week I visited the Shed, tickets for the Reich show started at $46, for a concert that amounted to an hourlong playback session. But my “Kontakte” recording was something of a corrective: just 5 pounds ($6.37). With that binaural release and ones like it, you don’t need to be hustled into hyped equipment from Apple. Anyone with solid over-ear headphones — as with the Sennheiser line that Muti used in Chicago — can experience this magic. More

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      in Theater

      The Shed Hires Boston Ballet’s Meredith Hodges as New C.E.O.

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      As the new arts space faces financial challenges, it tapped Meredith Hodges to take over its administrative leadership from Alex Poots, who will remain as artistic director.After a mixed beginning that was complicated by the coronavirus pandemic, the Shed in Manhattan’s Hudson Yards announced Wednesday that it had tapped Meredith Hodges, known as Max, the executive director of the Boston Ballet, to become its new chief executive officer.“She is the right combination to join the Shed at this moment,” said Jonathan M. Tisch, who in April succeeded the Shed’s founding chairman, Daniel L. Doctoroff, and who — with his wife, Lizzie — donated $27.5 million in 2019 toward the building’s construction. “She is a proven leader who understands the business side of culture, but also has an affinity for the culture side of culture.”The chief executive position was initially held by Alex Poots, who previously founded the Manchester International Festival and served as the artistic director of the Park Avenue Armory. But he gave up the chief executive title in January, when the organization said he would solely focus on his role as artistic director.Having opened with great promise in 2019, the Shed saw some of its initial ambitious programming meet with mixed reviews. And it had little time to build momentum or an audience before it was hit, like so many other cultural institutions, by the pandemic: 28 of its 107 full-time workers were laid off in July 2020, and its annual operating budget was reduced to $26.5 million from $46 million.In a telephone interview, Hodges, who will start later this year, said she felt confident about the institution’s prospects. “The Shed opened on the eve of one of the worst crises the art world has ever had to weather,” she said. “There is a huge amount to be proud of in the Shed’s short existence.”The Shed’s founding chairman, Doctoroff, who had been a deputy mayor under former Mayor Michael R. Bloomberg, stepped back from the role because of illness.As mayor, Bloomberg helped jump-start the project by securing a $75 million city grant for the Shed, and he has personally donated $130 million of his own fortune toward the architecturally ambitious $475 million arts center.“Obviously it’s a very difficult moment for all cultural institutions,” Tisch said. “The Shed is no different.”Despite its economic challenges, the Shed has had some noteworthy successes, namely sold-out performances for “Straight Line Crazy,” the recent play about Robert Moses featuring Ralph Fiennes, and an ambitious three-part exhibition by the Argentine artist Tomás Saraceno.Poots will report to Hodges, who said she felt “lucky and excited” to work with him and “to get to free Alex to put all his energy and attention on his passion.”Poots said that he looked forward to working with her. “Having her expertise will enable me to entirely focus on our artistic direction,” he said in a statement, “to produce and present ambitious new productions, and to develop new artistic formats.”Hodges described herself as “strategic” and “data driven.” Asked whether she had any targets for building the Shed’s audience, revenue or the endowment, Hodges said: “I’m a quantitative person, so I’m sure that will come.”Hodges, a graduate of Harvard College and Harvard Business School, was also a senior associate consultant with Bain & Company.At the Boston Ballet, which she has led since 2014, Hodges more than doubled the endowment, to $36 million from $14 million; helped lead the organization’s diversity, equity and inclusion efforts; and built attendance to 170,000 for the company’s 2022-23 season, its second highest ever.Before going to the Boston Ballet, she served as the executive director of Gallim Dance, a contemporary dance company in Brooklyn, and in various roles at the Museum of Modern Art, including project director leading strategic development, membership and technology initiatives. More

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      Inside the Shed’s Sonic Sphere

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      A hanging concert hall at the Shed in Manhattan purports to offer something “experimental, experiential and communal.” Our critic climbs the stairs.“Whoa,” a man near me said as the curtains swept open.He, I and a couple of hundred other people had been waiting in a large room at the Shed, the arts center at Hudson Yards in Manhattan. Portentous, woozy background music was playing, as if an alien encounter was imminent.Then those curtains parted, and a much larger room was revealed: the Shed’s vast McCourt space, in which a sphere, 65 feet in diameter and pocked like Swiss cheese, had been suspended from the faraway ceiling and bathed in red light.This arresting — indeed, “whoa”-inducing — sight was the Sonic Sphere, a realization of a concert hall design by the brilliant, peerlessly loopy composer Karlheinz Stockhausen (1928-2007), who inspired Germany to build the first one for the 1970 World Exposition in Osaka, Japan.Stockhausen, an impresario of electroacoustic experimentation and far-out notions like a string quartet playing inside a helicopter, imagined the audiences for his “Kugelauditorium” sitting on a sound-permeable level within the sphere, so that speakers could be placed under, as well as around and over, them.During the six months that the Osaka exposition was open, hundreds of thousands of people came and heard taped music adapted for the in-the-round playback possibilities, as well as live performances. Then, for the next half century, the idea lay dormant; Carnegie Hall and Vienna’s Musikverein remained intact, having not been replaced by giant spheres.Enter, a few years ago, a team led by Ed Cooke (whose biography calls him “a multidisciplinary explorer of consciousness”), the sound designer Merijn Royaards and Nicholas Christie, the project’s engineering director.They have built Sonic Spheres in France, Britain, Mexico and the United States. Each time, like the plant in “Little Shop of Horrors,” the contraption has grown. The Shed iteration, open through the end of July, is the first to hang in midair, at a cost of more than $2 million.As in Osaka, some of the presentations offer taped music; some, live. On Saturday, I climbed the many steps to the sphere’s entrance and reclined, like everyone else, in a comfortable hammock-like seat, listening to the seductively sullen 2009 debut album by the British band the xx. Forty-five minutes after that was over, the pianist Igor Levit appeared in person to perform, for a fresh audience, Morton Feldman’s “Palais de Mari,” from 1986.Colors and configurations of lights on the fabric skin of the Sphere tended to shift with the music’s beat as Levit performed.James Estrin/The New York TimesLights, in colors and configurations that tended to shift with the music’s beat, played on the fabric skin of this big Wiffle ball. But for an audience that could be seeing the high-definition stadium shows of Beyoncé or Taylor Swift this summer, the visuals were blurry, rudimentary stuff; this was the aspect of the presentation that felt most trapped in 1970.And the audio experience that emerged from the 124 speakers was unremarkable at best. The xx remix did nicely separate the bass, coming up palpably but not too heavily out of the bottom of the sphere, from the voices around and above. To no compelling end, though, and the album’s whispery intimacy was supersized into a much blander grandeur.The situation was more distressing for Levit. While the spare, spacious chords of “Palais de Mari” registered more or less cleanly, with only slight fuzz, the sound was muddy for the Bach chorale he played as a prelude; it was the perennial challenge of amplifying acoustic instruments, times 124. And the jittery lighting, a collaboration between Levit and the artist Rirkrit Tiravanija, could hardly have been more uncomprehending of Feldman’s glacial austerity.For all the souped-up spiffiness of the Sonic Sphere, the programming on Saturday felt like a retread of artists who were more interesting when Alex Poots, the Shed’s artistic director, presented them during his stint at the Park Avenue Armory uptown.There, in 2014, the xx did a celebrated (live) residency in front of only a few dozen people per show. Levit, the following year, played Bach as part of an ornate concentration exercise orchestrated by Marina Abramovic. (Will he, now a fixture of New York’s more unconventional spaces, end up hanging upside-down at the piano once the Perelman Performing Arts Center opens this fall?)Those Armory shows were more memorable than either Shed set. Both of them on Saturday were under 40 minutes, but I found myself getting antsy well before time was up. Perhaps the audiences at Burning Man, the techno-hippie hedonist bonanza in the Nevada desert where a Sonic Sphere was built last year, were more engrossed, experiencing it on harder drugs than the Coke Zero I’d had with dinner.Sober, none of the music was more interesting, effective, illuminated or illuminating in this space than it would have been elsewhere. It was clear that the main point was that first reveal, as the curtains opened and everyone’s phones came out, ready to post images of something big and glamorous on social media.So, millions of dollars for Instagram bait — but fine, if its creators didn’t also hype it as “an unlimited instrument of empathy” that’s “experimental, experiential and communal.” I felt, in fact, more distant from my fellow audience members in the Sonic Sphere, even the ones reclining next to me, than I have at most any traditional concert hall.In this, the sphere is of a piece with the other current offering at the Shed: a weird virtual-reality simulacrum of a solo piano concert by the composer Ryuichi Sakamoto, who died in March.The Sonic Sphere was billed as “an unlimited instrument of empathy” that’s “experimental, experiential and communal.”James Estrin/The New York TimesEmpathy? Communal experience? No, the hologram-like specter of Sakamoto was more vivid and substantial than the other people watching with me, who, while I wore the VR glasses, faded into transparent ghostliness.The wall text in the holding room for the Sonic Sphere acknowledges that technology can isolate us from each other, but adds that mustn’t necessarily be the case: “We need it to delight and inspire us, not just passively, but in ways that provoke action.”But, as with so much ambitious, empty-headed, underwhelming, ultimately depressing tech, the action that’s provoked by this expensive spectacle is merely a passing moment of “whoa.” More

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      Sonic Sphere, a Concert Hall That Hangs Like a Disco Ball

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      The lights inside the cavernous McCourt space at the Shed had been dimmed, and a mystical soundtrack was playing. “Your journey begins in five minutes,” a recorded voice announced to the roughly 200 people gathered there on a recent evening.A curtain opened, revealing a 50-ton spherical, suspended concert hall that glowed red and orange.There were whispers among audience members that the hall, called the Sonic Sphere, resembled a spaceship, Epcot, a disco ball or the Death Star. Some people, snapping photos, joked that it might take flight during the nearly 70-minute program, a listening session of Steve Reich’s “Music for 18 Musicians.” Others were expecting a more spiritual experience.“I want to lose myself in the sound,” Stephen Ross, an architect, said as he made his way up a flight of stairs to the main entrance. “I want to be transported.”The Sonic Sphere, a realization of a modernist dream by the composer Karlheinz Stockhausen, aims for a new kind of listening experience: surrounding the audience with 124 meticulously arranged speakers and an array of lights that change color with the music.The 66-foot-diameter Sonic Sphere suspended and under construction at the Shed.George Etheredge for The New York TimesThe Sonic Sphere was overseen by a team that includes Ed Cooke, Merijn Royaards, Nicholas Christie, Chester Chipperfield and Jessica Lair.George Etheredge for The New York TimesThe infrastructure includes 1,178 steel struts, 3,500 yards of cloth and 12 structural cables supporting the sphere from the roof.George Etheredge for The New York TimesThis summer, the Sonic Sphere will host listening sessions of music remixed for its spatial sound design, including the xx’s debut album, from 2009. The lineup also includes playlists by the D.J.s Yaeji and Carl Craig, and live performances by the pianist Igor Levit, who will play Morton Feldman’s “Palais de Mari” with a visual accompaniment by Rirkrit Tiravanija.The Shed’s iteration of the Sonic Sphere — overseen by a team that includes Ed Cooke, Merijn Royaards, Nicholas Christie, Chester Chipperfield and Jessica Lair — is the 11th and the largest, with a diameter of about 66 feet and a capacity of roughly 250 people, who sit or lie in netted areas.“It’s about a change in consciousness that leaves a memory,” Cooke said of the project. “Can people have an experience where they touch some new territory of consciousness, not in a way that is like an altered state, but one that actually leaves a trace?”George Etheredge for The New York TimesStockhausen conceived of a spherical concert hall known as the Kugelauditorium, a form of which was erected at the 1970 World Exposition in Osaka, Japan. There, Germany’s pavilion presented works written for the dome, including music by Stockhausen himself. Crowds of music fans visited, but the idea never caught on.Since 2021, Cooke and his team have revived the concept, building Sonic Spheres in France, the United Kingdom, Mexico and the United States, including at Burning Man. Each time, the hall has grown bigger; the first one, at the Féy commune in northeastern France, was 10 feet in diameter and cost about $1,000.Events at the Sonic Sphere include listening parties of albums remixed for its 124 meticulously arranged speakers, as well as live performances by the pianist Igor Levit.Christopher Lee for The New York TimesThe version in New York has 1,178 steel struts, 3,500 yards of cloth and 12 structural cables supporting the sphere from the roof. The hall’s opening was pushed back a week because of delays receiving supplies, including trusses and floor plates. The result is the first Sonic Sphere to be suspended in air, at a cost of more than $2 million, with much of the financing from technology investors and entrepreneurs.Alex Poots, the Shed’s artistic director, who in his early career worked with Stockhausen, said that the Sonic Sphere’s aim was to bring the focus back to sound.Christopher Lee for The New York Times“These days, we talk about going to see a concert, which is kind of nuts,” he said. “We’re so dominated by the visual. Here we’re bringing music back to the center of the experience, and that’s really beautiful and important.”At the “Music for 18 Musicians” listening session last week, audience members had a range of opinions about the hall.Ryan Mannion, a software engineer in New York, said he was able to lose himself in the music: “I found myself just sort of sitting back and closing my eyes and enjoying it.” Some, though found the experience too noisy, and too long. “There were a few moments when it was sublime,” said Sarah Watson, an executive coach, “but not all the time.”The Sonic Sphere’s main entrance is reached by a staircase of about 50 steps.Christopher Lee for The New York TimesOne audience member, Ryan Mannion, said, “I found myself just sort of sitting back and closing my eyes and enjoying it.”Christopher Lee for The New York TimesWatson’s 9-year-old daughter, Matilda Morton, said that she enjoyed the session but found some parts excessive. “It felt like we were secret agents in an alien mother ship,” she said. “It was pretty overwhelming with the red lights and the loud, vibrating noises.”The Shed’s Sonic Sphere will close on July 30, but is expected to return next year. Before then, it will move to another location, possibly on the West Coast or in Europe.Cooke said that he hoped the agility and accessibility of the spheres, which can be built and taken down relatively quickly, would allow them to become more common.“People are more and more desperate to come together and experience rich, transformational things,” Cooke said. “We want to give them something magical.” More

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      The Shed Plans to Bring a Modernist Dream to Life

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      A spherical concert hall inspired by the composer Karlheinz Stockhausen’s ideas will be suspended in the Shed’s McCourt space.At the height of musical modernism, the composer Karlheinz Stockhausen conceived a spherical concert hall — the Kugelauditorium — that would surround its audience with dozens of meticulously arranged speakers for an entirely new kind of listening experience.A form of it came to life at the 1970 World Expo in Osaka, Japan, where Germany’s pavilion presented works written for the Buckminster Fuller-esque dome, including music by Stockhausen himself. Hundreds of thousands of people visited it, but the idea never caught on.Next month, though, the Shed in Manhattan will erect the Sonic Sphere, a modern realization of Stockhausen’s idea, with listening events and interdisciplinary concerts, the performing arts center announced on Tuesday.Alex Poots, the Shed’s artistic director, said in an interview that as he worked with Stockhausen earlier in his career, they often talked about the Kugelauditorium and about “centering the auditory experience.”“We talk about going to see concerts, when we’re probably going to hear them more than we see them,” Poots added. “The idea of centering the sound — I find that fascinating.”This iteration of the Sonic Sphere — the creation of a group founded by Ed Cooke, Merijn Royaards and Nicholas Christie — is the 11th and the largest, with a diameter of 65 feet and an audience capacity of roughly 250. Visitors will be surrounded by more than 100 speakers arranged throughout the geodesic frame, which will be suspended within the Shed’s cavernous McCourt space.In a statement, Cooke recalled reading about the Kugelauditorium as a teenager, learning that it was presented in the same fair as the first mobile phone. “In the decades that followed,” he said, “I became increasingly confused that since 1970 our society had created 15 billion mobile phones but no further spherical concert halls.”The sphere’s programming at the Shed will run from June 9 through July 7 and will feature a D.J. set by Yaeji as well as one by Carl Craig, who plans to map the family tree of electronic music through a playlist. There will be listening sessions of the xx’s debut album, released in 2009 but remixed for the Sonic Sphere, as well as of Steve Reich’s “Music for 18 Musicians.”Artists will also perform live, including the pianist Igor Levit, who — in a programming departure from his usual New York appearances at Carnegie Hall — will play Morton Feldman’s “Palais de Mari,” with a visual accompaniment by Rirkrit Tiravanija.“I’ve tried to have quite a broad charge in terms of what we’re doing,” Poots said. “I view the Sonic Sphere almost like an instrument. We’re trying to figure out how to play it, but I think it has huge potential.” More