Shilvock, Matthew

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    ‘The Opposite of Airlines’: When Larger Audiences Require Fewer Seats

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    Yes, the comfy chair. The War Memorial Opera House in San Francisco put in roomier seats just in time to try to lure audiences back from the couches they got used to during the shutdown.SAN FRANCISCO — Wagner was the worst. Five hours — sometimes more — of squirming in 1932-era seats at the War Memorial Opera House here, sinking into lumpy, dusty cushions, suffering the bulge of the springs and the pinch of the wide armrests, craning for a glimpse of the stage around the head of the tall person one row ahead.“Particularly on a long opera — oh my God,” said Tapan Bhat, a tech executive and a season-ticket holder at the San Francisco Opera since 1996.When the San Francisco Opera opens Saturday, starting its scaled-back 99th season with Puccini’s “Tosca” after a shutdown of more than a year, those punishing seats will be gone. The opera has used its forced sabbatical to complete a long-planned $3.53 million project to replace all 3,128 seats with more comfortable, roomier ones. The opera used its forced sabbatical to complete a long-planned $3.53 million project to replace its 3,128 seats. Kelsey McClellan for The New York TimesAnd San Francisco is not alone. Theaters, concert halls and sports arenas around the country have been increasingly investing in comfort in recent years — with wider and plusher seats — to try to accommodate audiences that have grown in breadth, if not in numbers. In the early 1960s, when the War Memorial Opera House was only a few decades old, the average weight of adult men in the United States was 168 pounds, according to federal data; it is now 199.8 pounds.Since the pandemic struck, the owners of theaters and live venues have come to see such investments as more urgent than ever. As coronavirus restrictions are dropped, presenters face the challenge of luring back patrons who, during more than a year without theaters, have grown accustomed to consuming home entertainment from the sprawling comfort of their own couches and recliners.“The entire patron experience has really been under a lot of scrutiny,” said Gary F. Martinez, a partner with OTJ Architects, a Washington-based firm. “Venues are working diligently to improve that experience. We’ve never spent so much time on seats.”The Lyric Opera of Chicago put in wider seats in the summer of 2020, following the example of the Music Hall in Cincinnati and the Academy of Music in Philadelphia. On Broadway, where older theaters have been notorious for cramped quarters, the Hudson Theater added wider seats during a recent renovation. The seats in the new Yankee Stadium are wider than those in the old one, and venues including the Daytona Speedway and Oriole Park at Camden Yards in Baltimore added wider seats during recent renovations.The old seats were thick with faded cushioning and challenging to climb out of, and had wide armrests that made them feel narrower.Kelsey McClellan for The New York TimesEven before the shutdown, audience members of all sizes were growing accustomed to ever-larger, ever-sharper television screens with an ever-broader array of streaming options. And when people did go out, many had seen the what-could-be potential in movie theaters that had installed wide, comfortable stadium-style seats, which recline and have slots for drinks and, sometimes, trays for snacks. Why pay as much as 20 times the cost of a movie — tickets at the San Francisco Opera go for up to $398 a seat — to be scrunched up in a cramped holdover from the last century?“I think anything we can do to break down barriers and improve the experience we should be doing,” said Matthew Shilvock, the general director of the San Francisco Opera. “If someone is having an uncomfortable evening at the opera that is an experience they should not be having.”“The seats have historically been patrons’ No. 1 concern for the building,” he said. “Letters to me. Letters to the box office. Letters to the city. And with some justification. We had springs coming through some of the seats.”San Francisco put in its new seats just in time for the reopening of the opera and the San Francisco Ballet, which share the stage of the War Memorial. The new seats have wooden backs, which could improve the acoustics, and cup holders. (No clinky ice cubes will be allowed, though.)Kelsey McClellan for The New York TimesThe new, ergonomically tuned chairs are slightly higher, roomier and firmer than the old ones. There is 2.5 inches more leg room, and the chairs have been staggered to improve sightlines, giving even the shortest operagoers and balletomanes a better shot at seeing what is taking place onstage. The seat widths are about the same as before, ranging from 19 inches to 23 inches, but the new armrests are narrower, making seats feel roomier. And there are cup holders for those who want to bring a drink to their seat. (Ice, though, with all its clinking distractions, is not permitted).Comfort comes at a cost: This will mean a loss of 114 seats, and the revenue they bring.The situation in Chicago was not quite as dire as in San Francisco — its seats were at least renovated in 1993 — but they were decidedly in need of replacement. The widths of Lyric seats ranged from 18 to 22 inches before the renovation; now they range from 19 to 23 inches. The number of seats there was reduced from 2,564 to 2,274.“We are doing the opposite of airlines,” said Michael Smallwood, the technical director at the Lyric Opera, referring to the practice of cramming more narrow seats onto planes. “Now you can sit at home and watch Netflix. People want to be comfortable. Operas want to be long. People expect different things.”“To put it bluntly, it takes a lot more effort to sell a ticket these days,” Smallwood said. “You want it to be comfortable so they’ll be here again.”Many of the seats in the New York Philharmonic’s Lincoln Center home, David Geffen Hall, will be a bit wider as well when its current renovation is complete. While most of the seats in its old hall were 20 inches wide or less, more than three-quarters of the new seats will be 21 inches wide or wider.The San Francisco Opera will return to the opera house on Saturday with “Tosca.” Alfred Walker, left, and Michael Fabiano sang at a recent rehearsal.Cory WeaverThe seat backs in San Francisco were once covered with cushioning. The back of each seat is now wood; doing away with that cushioning means more leg room for those sitting behind. “I am 6-foot-1 without shoes,” said Danielle St. Germain-Gordon, the interim executive director of the San Francisco Ballet. “And I have very long legs. They were the type of seats that when I sat in them, my knees came up to my belly button.”The old seats at the War Memorial had become vintage relics, thick with faded cushioning and challenging to climb out of, a particular concern to the opera crowd, which tends to skew older.“Like those seats you saw when you went to your grandma’s,” said Jennifer E. Norris, the assistant managing director of the San Francisco War Memorial and Performing Arts Center, who oversaw the project. “You know, when your grandma had her favorite chair and it sits a little too low, and was a little too worn.”With uncushioned seat backs, the sound in the hall should be crisper. “Applause won’t die in the room, so you’ll have a great sense of enthusiasm around you,” Norris said. “It’s also possible the lady with the candy wrapper will annoy us more. I am hoping that peer pressure will remind her to unwrap her candy before the performance begins.”The renovation began in 2013 with replacement of seats on the box level, and it includes 12 bariatric seats, designed to hold weights of up to 300 pounds, that will be 28 inches wide, as well as 38 spaces for wheelchairs, an increase of six from before the renovation. The project was funded by a ticket fee ranging from $1 to $3.The new seats were designed by Ducharme Seating of Montreal, which also installed seats at the renovated David H. Koch Theater at Lincoln Center, as well as halls in Philadelphia, Cincinnati and Toronto. The historical nature of the Beaux-Arts building near San Francisco City Hall — it opened in 1932 — and the exacting demands of its high-end opera house and ballet made this project particularly complicated.“This is the most extensive design we have ever done on a seat,” said Eric Rocheleau, the president of Ducharme Seating. “The opera houses are always the most stringent customers.”Germain-Gordon said that theaters probably have little choice but to invest this kind of money as the world slowly returns to normal after the pandemic. “People can have in their home a beautiful media room,” she said. “Back in the olden days, if you wanted to see something you had to go see it. Nobody had TVs the size of movie screens, or La-Z-Boys. But people are investing in their comfort and they want to see it when they go out.”Bhat, the tech executive, said anything would be better than the seats he had suffered over 25 years of long nights at the opera.“They were creaky,” he said. “The upholstery would be fraying. So if you’re sitting in an opera in less than comfortable seats, something that’s going on for four and a half hours, or the first act of ‘Götterdämmerung,’ which is like 90 minutes long — it’s torture.” More

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      Rossini at the Drive-In, as San Francisco Opera Returns

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      SAN FRANCISCO — It feels almost too good to be true after a pandemic closure of Wagnerian scale: an audience watching a cast of singers enter the War Memorial Opera House here to rehearse and perform Rossini’s classic comedy “The Barber of Seville.”And, indeed, we’re not quite there yet. After 16 months, San Francisco Opera did return last week to live performance with “The Barber of Seville,” but not indoors at the War Memorial, its usual home. Rather, it is presenting the work through May 15 some 20 miles north, in a Marin County park. The cast for this abridged version is pared down to six main characters, who appear as singers coming back to work at the opera house to embody their Rossinian counterparts.Much of the plot has been reconfigured as a day of rehearsals, culminating in a performance of the final scenes “on” the War Memorial stage. By then, contemporary street clothes have been replaced with 18th-century-style costumes — the illusion of art restored, at long last.“We wanted to ignite and celebrate the return of this living, breathing art form with a sense of joy and hope and healing,” Matthew Ozawa, who adapted the opera and directed the production, said in an interview. “Audiences really need laughter and catharsis.”About 400 cars form the capacity crowd for this open-air “Barber” at the Marin Center in San Rafael, Calif. The orchestra’s sound is mixed with that of the singers and transmitted live as an FM signal to each car’s radio. Kelsey McClellan for The New York TimesSan Francisco Opera needs it, too. With its centennial season fast approaching, in 2022-23, the company is trying to write the most dramatic crisis-and-comeback chapter of its history at breakneck speed.The damage has been brutal. Arts organizations around the world have been devastated by pandemic shutdowns, but San Francisco has been closed significantly longer than most. Because of the structure of its season, which splits its calendar into fall and spring-summer segments, its last in-person performance was in December 2019.This enforced silence has come at great cost: Eight productions had to be canceled, wiping out some $7.5 million in ticket revenue. The company, which struggled with deficits even before the pandemic, has had to make around $20 million in cuts to its budget of roughly $70 million. In September, its orchestra agreed to a new contract containing what the musicians have called “devastating” reductions in compensation.Top, Catherine Cook, familiar to San Francisco audiences as the housekeeper Berta, warms up before the performance.Kelsey McClellan for The New York TimesMatthew Shilvock, the company’s general director, said of the production, “I see this as a signpost to something new in our future.”Kelsey McClellan for The New York Times“We felt that it was so important to get back to live performance when we could,” said Matthew Shilvock, the company’s general director. “There has been such a hunger, a need for that in the community.”Like opera companies in Detroit, Chicago, Memphis, upstate New York and elsewhere, San Francisco’s return has a retro precursor: the drive-in. “The Barber of Seville” is being presented on an open-air stage erected at the Marin Center in San Rafael. Audience members, in their cars, can opt for premium “seats” with a head-on view of the stage, or for a neighboring area where the opera is simulcast on a large movie screen — for a total capacity of about 400 cars.A cellist gets ready in the tent that serves as the production’s orchestra pit.Kelsey McClellan for The New York TimesThe drive-in presentation meant jettisoning the company’s house production and conceptualizing and designing a brand-new staging in a just few months.Kelsey McClellan for The New York TimesRoderick Cox, in his San Francisco Opera debut, conducts the singers by video feed — while wearing a mask.Kelsey McClellan for The New York TimesThe logistics necessary to bring this off have been complex — not only to adapt to an unaccustomed space, but on account of Covid protocols, which in the Bay Area have been among the strictest in the country. The company has adhered to a rigorous regimen of testing and masking; wind players have used specially designed masks, and in rehearsals the singers wore masks developed by Dr. Sanziana Roman, an opera singer turned endocrine surgeon. Even during performances, the cast members must remain at least eight and a half feet away from each other — 15 feet if singing directly at someone else.Shilvock realized in December that it might be possible to bring live opera back around the time of the company’s originally planned April production of “Barber,” but only if he could “remove as many uncertainties as possible.” The idea of a drive-in presentation began to take shape. But that meant jettisoning the company’s house production and conceptualizing and designing a brand-new staging in a just few months.“I’ve had to rethink some of my tempi and how to keep that excitement,” Cox said. “To know when to press on the gas a little bit more.”Kelsey McClellan for The New York TimesA village of tents behind the stage houses the infrastructure and staff needed to run the show. One tent acts as an orchestra pit, where the conductor Roderick Cox, making his company debut, leads a reduced ensemble of 18 players. Along with adapting to using video screens to communicate with the singers — while wearing a mask — Cox noted an added layer of challenge in the absence of audible responses from the audience.“I’ve had to rethink some of my tempi and how to keep that excitement,” he said. “To know when to press on the gas a little bit more.”The orchestra’s sound is mixed with that of the singers and transmitted live as an FM signal to each car’s radio. “Rather than sound coming through big speaker clusters, across a massive parking lot,” Shilvock said, “it comes straight from the stage and from the orchestra tent into your vehicle.”Alek Shrader, who sings the opera’s dashing tenor hero, said he felt “a combination of nostalgia and excitement for what’s to come.”Kelsey McClellan for The New York TimesDaniela Mack, Shrader’s lover in “Barber” and his wife in real life, spoke of the cathartic effect of finally being able “to perform for actual people.”Kelsey McClellan for The New York TimesA sense of drive-in populism — keeping in mind the comfort and attention spans of automobile-bound listeners — resulted in the decision to present a streamlined, intermission-less, English-language “Barber,” about 100 minutes long. All of the recitative is cut, along with the choruses.The familiar War Memorial Opera House is conjured through projections of the theater’s exterior and replicas of its dressing rooms as part of Alexander V. Nichols’s two-level set. Ozawa’s staging takes as a poignant underlying theme the transition back to live performance: The singers, with sometimes witty self-consciousness, must negotiate a labyrinth of distancing precautions, but with a hopeful sense of soon being able to return to much-missed theaters.The mezzo-soprano Daniela Mack, who stars as Rosina, spoke in an interview of the cathartic effect of finally being able “to perform for actual people, to have that connection with an audience.” The tenor Alek Shrader, her lover in the opera and her husband in real life, said he felt “a combination of nostalgia and excitement for what’s to come.”For all of the production’s novelty, there was something reassuring about the familial ease with which the cast interacted. Mack and Shrader are reprising roles they have performed previously here in San Francisco opposite Lucas Meachem’s charismatic Figaro. And Catherine Cook’s sympathetic housekeeper Berta has been a fixture of “Barber” at the company since the 1990s. All four, as well as Philip Skinner (Dr. Bartolo) and Kenneth Kellogg (Don Basilio), emerged from San Francisco’s Adler Fellowship young artists program.Much of the plot has been reconfigured as a day of rehearsals, culminating in a performance of the final scenes “on” the War Memorial Opera House stage, conjured through projections.Kelsey McClellan for The New York TimesShilvock said the production costs for “Barber” were comparable to what the company would have spent for the 2021 summer season it had planned prepandemic — but building the temporary venue and Covid restrictions added between $2 and $3 million in extra costs.Still, Shilvock said it has been worth it — and on opening night on April 23, the curtain calls were greeted with an exuberant chorus of honks. Shilvock said that around a third of “Barber” ticket buyers were new to the company.“I’m not seeing this in any way just as a band-aid to get us through to the point where we go back to normal,” he said. “Rather, I see this as a signpost to something new in our future. It’s creating this energy for opera for people who would never have otherwise given us a thought.” More