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    ‘This House’: An Intimate, Intergenerational Opera Is Also a Family Affair

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    Ricky Ian Gordon and Lynn Nottage tell the story of three generations in a Harlem home. Enter a second Nottage generation, her daughter, on the creative team.During the Covid pandemic, lockdowns made our homes seem like leading characters in our daily lives; those familiar confines became as much a presence in our experiences as any living creature. For the creative trio of the composer Ricky Ian Gordon and the librettists Lynn Nottage and Ruby Aiyo Gerber, that experience fueled “This House,” a new opera having its world premiere on Saturday at the Opera Theater of St. Louis. (It runs through June 29.)This project reunites Nottage and Gordon, who previously worked together on the chamber opera “Intimate Apparel,” a Metropolitan Opera commission that ran at the Lincoln Center Theater in 2022 after a pandemic delay.Gordon and Nottage, a two-time Pulitzer Prize winner, found they had a deep rapport. “The hardest thing when you’re collaborating is when you see different things,” Nottage said in a Zoom interview with the three creators. “I’ve been in collaborations where I see red, and then I realize, ‘Oh, my collaborator sees blue.’ So then how do we get to purple? That was not the case with Ricky. We had a shared vocabulary.”That common language expanded with the addition of a second librettist: Gerber, Nottage’s daughter, a writer and multimedia artist. The mother-daughter pairing seems particularly suited to “This House,” which explores the bonds and struggles of three generations of the Walker family in Harlem.(This House) ((Brad Bickhardt (Glenn) and Briana Hunter (Zoe) )))Eric WoolseyJustin Austin, left, and Kearstin Piper Brown in Gordon and Nottage’s “Intimate Apparel” at the Mitzi E. Newhouse Theater at Lincoln Center.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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      Soprano Patricia Racette to Lead Opera Theater of St. Louis

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      Patricia Racette, who has a recent history of performing in and directing productions with the company, will begin as its artistic director this fall.The soprano Patricia Racette has performed on some of the world’s biggest stages, but she has long felt a special connection to Opera Theater of St. Louis, where she made her debut in 1993.Now Racette, 59, will deepen her ties to St. Louis: She will lead Opera Theater as its next artistic director, the company announced on Tuesday.Racette, who has directed productions for the company and overseen its young artist program for six years, said she was excited by the challenge of working to keep opera fresh and relevant.“It feels like a very natural evolution for me,” she said. “I feel we all have a stake in this.”She begins her tenure in October and will succeed James Robinson, who departed last year to lead Seattle Opera as general and artistic director.Racette said she would build on Opera Theater’s reputation for experimentation. The company, founded in 1976, has given the premiere of works like Terence Blanchard’s “Fire Shut Up in My Bones,” which later became the first work by a Black composer to be presented by the Metropolitan Opera. She said that she hoped to work with a variety of contemporary composers, including Kevin Puts, Jonathan Dove and Missy Mazzoli.“I have a perspective and passion for new works, and I’m going to enjoy applying that perspective and passion again on the other side of the curtain,” she said.Racette, who made her debut at the Met in 1995, is known for her portrayals of Puccini heroines. She has also ventured into other genres, including cabaret, which she said she hoped to bring to St. Louis. She said opera companies should not fear crossover repertoire.“These are our stories and traditions,” she said. “It’s an opportunity for accessibility, relevance and impact.”Many opera companies, including Opera Theater of St. Louis, are grappling with rising costs and the lingering effects of the pandemic. The company has benefited from a robust endowment, which is currently valued at about $100 million, and is exploring building a new home at the former headquarters of a shoe company in Clayton, a suburb of St. Louis. (Its theater is in another suburb, Webster Groves.)Racette said she was not daunted by financial challenges.“We’re just going to have to get more creative,” she said. “The arts in troubling times are more important than ever.” More

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      Strike First, Strike Hard: How ‘The Karate Kid’ Became a Musical

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      The new production, an adaptation of the classic 1984 martial arts film, is onstage now just outside St. Louis and aiming for a Broadway run.CHESTERFIELD, Mo. — Robert Mark Kamen was through with “The Karate Kid,” his semi-autobiographical 1984 martial arts film that spawned a string of movies, an animated program and the hit Netflix series “Cobra Kai,” until he saw “Hadestown” in 2019. That’s when he realized: He loved musicals.“When you watch a movie, the camera is limited to one dimension,” Kamen, 74, said in early May during a break from rehearsals for “The Karate Kid — The Musical,” which is debuting at the new $25 million Kirkwood Performing Arts Center just outside St. Louis. “With this thing, you can have three dimensions, people doing something [pointing] here, here, here, going up and down, around and around, all at the same time. … It opened up so many possibilities.”Sy, center, rehearsing a number with, clockwise from left: Isidro Rafael, Cardoza and Zachary Downer. The musical puts a greater emphasis on the character of Chojun Miyagi, played by Sy.Whitney Curtis for The New York TimesAn inspired Kamen went back to his hotel — and wrote what would become the opening of a new musical, complete with taiko drums and dancing ancestors. He also called the person who’d sent him to New York as a homework assignment, the producer Kumiko Yoshii, who had been campaigning since 2016 for the rights to “The Karate Kid” franchise, which Kamen owned with Sony Pictures.“He was so excited and had so many ideas,” Yoshii said. “But at the heart of it all was still the relationship between Daniel and his mentor, Mr. Miyagi.”The result is a musical adaptation of the classic film about a teenage American boy (Ralph Macchio) who learns martial arts from an Okinawan-born janitor and karate master (Pat Morita, whose performance earned an Oscar nomination) to defeat a high school bully. The musical stars John Cardoza (“Jagged Little Pill”) as Daniel LaRusso, the titular karate kid, and the Canadian actor Jovanni Sy as his mentor, Chojun Miyagi.Ralph Macchio, left, and Pat Morita in the 1984 movie “The Karate Kid.”Columbia PicturesThough the plot closely follows that of the original film — the story is still set in the 1980s — the musical’s cast and creative team of more than 40 artists is markedly more diverse.The director, Amon Miyamoto, was the first — and remains the only — Japanese citizen to direct a show on Broadway (a 2004 revival of the Stephen Sondheim-John Weidman musical “Pacific Overtures”); Keone and Mari Madrid, the married Filipino American choreographers, have worked with Justin Bieber and Billie Eilish and recently directed and choreographed the Britney Spears jukebox musical “Once Upon a One More Time”; and the costume designer Ayako Maeda, has won numerous awards in her native Japan. Kamen wrote the book, and the songwriter Drew Gasparini, known for his work on “Smash,” wrote the music and lyrics.“It’s an American film,” the director, Miyamoto, 64, said in Japanese via an interpreter during a rehearsal break in early May. “But we’ve added Japanese elements.”Those elements include putting a greater emphasis on Mr. Miyagi by framing the story as his recollection of events, which Kamen said was his original vision for the film before the filmmakers decided to focus on Macchio’s Daniel. There is also a score by Gasparini that blends pop, rock and Okinawan music; costumes featuring traditional Japanese attire, including a kimono, by Maeda; and a dance-heavy production that fuses the Madrids’ hip-hop choreography style with karate.“If we’re doing exactly the same thing as the film, there’s no reason we have to create this for the stage,” Robert Mark Kamen said of his approach to writing the book for the new musical.Whitney Curtis for The New York Times“There has to be a reason to adapt it into a musical,” Kamen said. “If we’re doing exactly the same thing as the film, there’s no reason we have to create this for the stage.”INSIDE A FORMER CHURCH in Chesterfield, Mo., on a Saturday morning in early May, ribbons of light shone through stained glass windows as a line of dancers fanned out like peacock feathers on both sides of Sy, who was singing the song “Bonsai,” which extols the power of patience and focus.“Needles start to bend,” he sang as the dancers undulated up and down, raising and lowering their arms in sync. Eventually, they would be backlit to look like a bonsai tree.Kamen, among the creative team at the rehearsal that day, thanked Keone Madrid, calling the scene “beautiful.”“Then you’re going to see ‘Strike First. Strike Hard.’ and want to run through a wall afterward,” a smiling Keone Madrid said, referring to the musical’s next song, a pulsing anthem with pounding drums and frenetic kicks and punches.Kamen, at first, had been less than keen on musicalizing his signature franchise. But after a few months of meeting requests from Yoshii, his agent persuaded him to have dinner with her in Los Angeles in January 2017.Not knowing he was a vineyard owner and wine enthusiast, she let him choose the wine (an expensive bottle of Burgundy) at dinner. “To him, the fact that I let him select the wine was important,” she said. “After that, his response to every idea I had was, ‘OK, let’s give it a shot.’” (Kamen confirmed this, adding he was won over by his fourth glass.)“The character of Mr. Miyagi spoke to me a great deal growing up,” said Yoshii, who was a high school exchange student in Bozeman, Mont., when the film was released in theaters in 1984. “Because of Miyagi, kids talked to me about the Japanese karate element.”The choreographer Mari Madrid demonstrating the crane kick.Whitney Curtis for The New York TimesBecause “The Karate Kid” is Kamen’s story, he was the natural choice to write the book, Yoshii said. There was just one problem: He didn’t know anything about musicals. “I called my agent, Jack Tantleff, and I said, ‘Now what the [expletive] do I do?’ I don’t know how to do this,” he said. “He said, ‘You’ll learn.’”Kamen and Gasparini, began meeting up in New York, where they would see four shows a week. Then Gasparini, who is from California, would spend time at Kamen’s guesthouse in Sonoma, with a portable piano, working on the score.Drew Gasparini, who wrote the show’s music and lyrics, is known for his work on the TV series “Smash.”Whitney Curtis for The New York TimesGasparini decided on a blend of pop, rock and Okinawan music, which included traveling to Okinawa, Japan, in October 2019 to study with two musicians. Two songs for Mr. Miyagi feature a sanshin, a three-stringed instrument made of snake skin. (For the war-hardened John Kreese, played by Alan H. Green, the antagonist and leader of the Cobra Kai dojo, he went with Metallica-inspired electric guitars.)Capturing the essence of the characters from the film, who also include Ali Mills (Jetta Juriansz), Daniel’s love interest, and his mother, Lucille LaRusso (Kate Baldwin), is also the approach that Miyamoto said he tried to adopt in his direction. “With Kreese and Mr. Miyagi especially, we delve into what makes them who they are, and how they got that way,” he said.Kreese, for instance, is a Vietnam veteran grappling with the lingering trauma of his experiences, and Yoshii said they wanted the cast to understand what that meant.Sheet music and other items in the rehearsal space.Whitney Curtis for The New York TimesSo they had, among others, a Marine veteran and a World War II historian (Mr. Miyagi is a World War II veteran) speak to the cast about the two wars that come into play in the story.“Robert’s script goes a little deeper in the musical than the movie,” Yoshii said. “So it was like if we’re going to do that, we have to talk to these guys, so the actors aren’t just doing what they think or what their imagination conjures up about what experiences are.”But for the added gravity of both men’s wartime experiences, the film’s lighthearted center remains. The secret weapon, Kamen said, is the choreography.“The dance will be the thing that takes people by surprise,” said Cardoza, 28, who was a fan of the film growing up. “You think ‘Karate Kid, combat fighting.’ You don’t think ‘dance.’”Alan H. Green, as John Kreese, with some of the ensemble members playing students of the Cobra Kai dojo.Whitney Curtis for The New York TimesDuring rehearsals last month, those two elements blended as 14 dancers playing Cobra Kai students, clad in shorts and kneepads, emerged from behind a semicircle of rolling mirrors. Green, stone-faced in a black tank top and sweats, prowled their ranks.“Fear does not exist in this dojo, does it?” he shouted.“No, sensei!” they answered.“Pain does not exist in this dojo, does it?”“No, sensei!”“What is our motto?”“Strike first! Strike hard! No mercy!”They launched into a rock number, kicking, pumping their fists then turning outward and stutter-stepping forward like synchronized robots, all in a matter of seconds.Mari Madrid said they approached the musical realizing that they were not going to make black belts out of the cast over a monthlong rehearsal period. “It was about giving inspiration to the essence of it,” she said. “Can they punch properly? Can they block properly?”That’s not to say some cast members didn’t come prepared. Sy earned a brown belt in karate, and Cardoza, who does indeed do the crane kick, was a competitive figure skater for 15 years. (Sakura Kokumai, who represented the United States in the women’s kata event at the 2020 Olympics, was also brought in to teach foundational moves.)Keone and Mari Madrid are also responsible for choreographing the movements of five new characters, the spirits of fire, water, earth, tree and metal, who symbolize the tradition of karate. They shadow Mr. Miyagi’s movements, in a nod to the kuroko of Japanese Kabuki theater — actors clad in all black who the audience see but are trained to ignore, who magically make things happen onstage.“Keone and Mari are able to infuse something that is invisible into their visible dance,” Miyamoto said, adding that in Japan “we’re used to seeing reality onstage that way — he’s there, but I’m not seeing him. So it’ll be interesting to see how an American audience reacts to that.”Ensemble members including Justice Moore, top, and Sangeetha Santhebennur, second from top, practicing Keone and Mari Madrid’s choreography.Whitney Curtis for The New York TimesIN A BLACK POLO AND TROUSERS during rehearsals, Sy was an unassuming presence — until he began practicing a scene.“DANIEL SAN!!” he thundered.“What?” a resentful Cardoza asked.“Show me ‘Wax on.’”He moved his right hand in a semicircle.“Wax off.”He repeated the motion with his left.“Now you.”Cardoza imitated him.“Wax on.” Sy did a slow-motion chest punch. Cardoza blocked it.“Wax off.”Cardoza’s eyes lit up with understanding.Moments like this one, immediately recognizable to any “Karate Kid” fan, are as much a part of the musical as the fleshed-out story lines and infusion of dance, Kamen said.“No one is coming to see this who doesn’t know ‘The Karate Kid,’” he said. “But they have no idea how far out to the edges we’ve taken the song and dance.”Among the first to witness those changes will be some of the original film’s cast members, who are planning to be at opening night on Wednesday. They include Macchio and William Zabka, who played Johnny Lawrence, Cobra Kai’s top student and Daniel’s rival. Yoshii said there are plans to take it to Broadway next season.“It’s Christmas morning once again for ‘The Karate Kid,’” Macchio said in a phone interview in mid-May. “It’s like unwrapping another version of this gift. I want to be humming Drew Gasparini’s tunes on the way to the parking lot.” More

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      in Theater

      Staging ‘The Glass Menagerie’ on the Fire Escapes That Inspired It

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      At Tennessee Williams’s childhood apartment in St. Louis, one of his most famous works has become an immersive event.ST. LOUIS — There’s a knowing twinkle in Tom Wingfield’s eye.He’s standing out on the second-floor fire escape, delivering the opening monologue of Tennessee Williams’s “The Glass Menagerie” like a magician who knows his audience recognizes the trick. Wingfield, the play’s narrator and a thinly veiled self-portrait of Williams himself, played here by Bradley James Tejeda, sets the scene: “I take you back to an alley in St. Louis.”And there’s that twinkle, reminding us where we are.We’re not just in St. Louis, where Williams grew up and where his semi-autobiographical memory play unfolds. And not just in an alley, in the parking lot behind a fire-escape-covered apartment building much like the one where the Wingfield family might reside.Brenda Currin, left, and Bradley James Tejeda on a fire escape at 4633 Westminster Place in St. Louis.Whitney Curtis for The New York TimesWe are on the corner of Westminster and Walton in the city’s Central West End neighborhood, outside the actual apartment building where Williams once lived. These are the fire escapes that likely helped inspire “The Glass Menagerie” in the first place.Williams’s family moved to 4633 Westminster Place — now called “The Tennessee” — from Mississippi in 1918, when Williams was 7, and lived there for four years before moving elsewhere in the city. He was long gone by the time he wrote “The Glass Menagerie,” his first hit, in 1944 — but this production, which opened Thursday from the Tennessee Williams Festival St. Louis, still feels unexpectedly immersive, with a set that stretches from a small stage in the parking lot to the existing maze of metal walkways that cover the side of the building.“We’re using fire escapes that he probably walked on,” the director, Brian Hohlfeld, said in an interview the week of opening night, adding, “It is very humbling and very daunting.”Hohlfeld and Carrie Houk, the festival’s executive artistic director, had initially targeted a local auditorium with ties to Williams’s early theater career for a 2020 “Menagerie” production. (That edition, last November, became a radio play.) As they weighed venue options for this year’s festival with health and safety considerations during the pandemic, the apartments seemed to be a serendipitous fit.The director, Brian Hohlfeld, left, and the executive artistic director, Carrie Houk, before a performance.Whitney Curtis for The New York TimesHouk tracked down the owner of the building through Airbnb, where most of the nine units are available to rent — “The boyhood home of playwright Tennessee Williams” is listed as a main draw, with the going rate at the time of publication around $160 a night. The owner, Houk said in an interview, gave an immediate yes.Hohlfeld, a St. Louis native who now lives in California, and the cast — which also includes Brenda Currin, Elizabeth Teeter and Chauncy Thomas — are staying on location in the apartments during the run, which ends on Aug. 29. The housing decision was made, in part, to meet the Actors’ Equity Association’s ventilation guidelines — and frankly, Houk said, they needed the doorway. Many of the show’s entrances and exits are made through the back door of one of the units, to and from the second-floor fire escape.The festival has had the typical concerns that most open-air productions have — mainly, the unpredictability of St. Louis weather in August. But unlike other outdoor undertakings here — the Muny and the St. Louis Shakespeare Festival have both dealt with their fair share of rainy Missouri summers — putting on a show in an active neighborhood, on a residential street, comes with its own challenges.“Yesterday during rehearsal, this guy comes out to empty his trash. He walked down three stories with his trash bag, and we had to direct him toward the trash bin,” Hohlfeld said. “He was polite enough to go around front when he came back.”Opening night conditions were slightly better. Actors only had to compete with a car alarm, a distant siren or two and a passing car’s thumping bass in the alley.Watching a play on a residential street comes with challenges.Whitney Curtis for The New York TimesBut, Hohlfeld conceded, the ambience can also add something neat: “Occasionally lights will be turned on in the units, turned off, and it just gives it real life.”At least from the outside, nearby residents don’t seem to mind the noise — most passers-by on Thursday night stopped to take in a scene or two from the sidewalk, and a neighbor gave a standing ovation from the porch next door.“One of the things we were worried about is the neighbors complaining,” Houk said, “but I think they’re fascinated by it.”St. Louis is admittedly an odd location for a festival celebrating Williams, considering that it’s a place he notoriously despised. “When the Williams family moved to St. Louis from the South, it was a different St. Louis than it is now,” Houk said.Houk, who added that getting the festival started several years ago was a “battle” for that reason, thinks Williams didn’t hate the city so much as his family’s circumstances, many of which are on display in “The Glass Menagerie.”“It’s really about how he was trying desperately to get out of St. Louis, but at the same time, it captures the city and why he wanted to get out,” Hohlfeld said. “I think if he had moved here at a different time, he might have had a different attitude.”Still, the script is riddled with plenty of St. Louis references, all of which serve as additional winks to the audience: mentions of Washington University, where Williams attended for a time, and of several institutions in Forest Park (a bucolic spot that easily rivals Central Park, to anyone you ask here) — the art museum, the zoo’s massive 1904 World’s Fair bird cage and the Jewel Box greenhouse.And on Thursday night, in case any further reminder was needed of exactly where we were, one man stretching his legs during intermission posed the most familiar and inconsequential St. Louis greeting there is: Where, he wondered, did Williams go to high school? 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      in Theater

      André De Shields Isn’t Done With ‘King Lear’ (or ‘Hadestown’)

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      The actor is performing the coveted role for a second time, and is already aiming for a third. But first: He’s returning to Broadway in September.A throne fit for André De Shields: The actor is portraying “King Lear” at the St. Louis Shakespeare Festival. “The lesson we learn about empathy is for 21st-century America still going through the woes of the pandemic,” he said of the play.Whitney Curtis for The New York TimesST. LOUIS — It takes André De Shields two and a half hours to lose his mind.His turbulent descent into madness, as King Lear at the St. Louis Shakespeare Festival in Forest Park here, comes with the moments of grandiosity we now expect from the man who won a Tony Award for playing a god, Hermes, in “Hadestown” on Broadway. He dances onto the stage in one early scene, jubilantly waving an automatic weapon in the air alongside the Afrofuturistic soldiers of his North African nation; later he stumbles through the park in a leafy makeshift crown, hollering in the face of an unsuspecting patron seated in the grass.But De Shields’s towering presence is somehow more captivating in the quiet beats — perhaps most strikingly when he carries the corpse of his daughter in his arms, unwavering, halfway across the stage.“André has a natural majesty and regality in his being that to me denotes majesty and command, just the way he moves through time and space,” the director, Carl Cofield, said in an interview. “And I’m happy to report that he brings it.”De Shields, 75, has kept remarkably busy through the pandemic: When Broadway theaters were shuttered, he portrayed Frederick Douglass in a one-man performance at Flushing Town Hall in Queens, starred in “Ratatouille: The TikTok Musical,” did a virtual reading at Red Bull Theater, narrated a Greek mythology-inspired audio series. And between his closing-night performance of “King Lear” on June 27 and his return to “Hadestown” on Broadway on Sept. 2, he has concert performances lined up at the Cabaret in Indianapolis and Feinstein’s/54 Below.During a recent phone interview, De Shields discussed returning to Broadway, the importance of believability in storytelling and playing Lear a second time. These are edited excerpts from the conversation.How do you have the strength and stamina to pull off the kind of physically demanding performance you’re giving in “King Lear”?We had a long discussion about, first of all: Was André De Shields fit enough, strong enough, to carry his daughter Cordelia, who is actually taller than he is? I convinced my collaborators that is not the question to be asked — because I am strong at 75, I’m physically fit.The real question is: Considering the emotional roller coaster that King Lear has to ride in this play, how could you even consider that he wouldn’t have the delicious burden of having to carry the corpse of his daughter that he so mistreated? To have the king not carry the body, you’d have the entire audience questioning the validity of the performance. I use as my evidence the film version of King Lear that was done by the master Lear, Sir Laurence Olivier. He does the “howl, howl, howl” speech, and he’s holding Cordelia in his arms, but cinematic technology had not advanced so much then that if you looked very hard, you could see the piano wires holding up the body.Even then as a young person, I thought, this is outrageous. It absolutely undoes the excellence of the performance to know that any part of it is false. Now, I had no dreams of doing “King Lear” at the time, but it was a lesson that I took into my toolbox about the believability of storytelling. So when it came for my first experience in assaying the role of Lear, which was in 2006 with the Classical Theater of Harlem, the director said to me, “As much as I want you to play the role, if you cannot carry Cordelia’s body onstage, I can’t cast you.” And I said, “Well, you’ve chosen the right guy. Because not only can I carry her body onstage; I can do the entire monologue with her in my arms.”That was during the marking of my 60th birthday, and I thought then, I’d like to revisit Lear in about 10 years. So this was 15 years later, and the question comes up again. And my response was the same. I must. I can, but it must happen.From left, Brian McKinley, André De Shields, Nicole King and Michael Tran in an Afrofuturistic “King Lear.”Phillip Hamer PhotographyIt is believed that Shakespeare wrote this play on the heels of a pandemic. Has that been on your mind in preparing for this show during such a unique time?Yes. It is informed by that bubonic plague, where the ordinary citizen, if you will, was reacting to the same things we were reacting to: fear, outrage, chaos, stasis, all of the rules of society that come to bear when the playing field has been finally leveled. What the pandemic did was to create a kind of society where everyone had to obey the same rules — whether you’re rich or poor or white or Black, you have to wear the face mask, you have to practice physical distancing, you have to shelter in place. And this drove people nuts. It drove me nuts.So part of what we are revealing here is that the king that we are encouraged and taught to have so much empathy for is probably one of the most specific illustrations of unmitigated white male supremacy, and all of the evils that go with it — like homophobia, misogyny — that’s all part of the king’s character. You can’t see it immediately because it’s hidden by so much language. But when you strip that language away, you see exactly that this is a man, to put it mildly, who does not like womanhood and blames everything on what he sees as the evil of his daughters. So the lesson that he knows at the end, when he bemoans the death of Cordelia, is a lesson for us in the 21st-century world. The lesson we learn about empathy is for 21st-century America still going through the woes of the pandemic.Did you approach this role differently than you did 15 years ago?The first thing I did was to forget that I had done “King Lear” before. I had to look at this man through the eyes of someone who was now closer to his specific age. That’s why I mentioned that the first time I did it, I was 60. The second time I’m doing it, I’m 75. So the next time I do it, I will be age-specific: King Lear is remembered to be 83. And I am going to do it a third time.But what is more important than the relativism of age is the curiosity that is lodged by doing the play a second time. One of the things we lose as we mature is curiosity: being interested in things other than yourself, other than your corner of the world. But returning to “King Lear” during a pandemic has actually opened me up. And that muscle of curiosity is stronger than it’s ever been — which is one of the reasons why, for two and a half hours, I can assault the stage the way I do.“I want to get to the pinnacle of ‘Hadestown’ and then look up and keep climbing,” André De Shields said of why he’s eager to return to Broadway in September.Whitney Curtis for The New York TimesIn a year in which many of us have struggled with staying productive and creative, how have you kept this busy?I’ve been answering the call that is obvious, to me anyway, that the zeitgeist, the paradigm, is changing. And it’s calling for healers, those of us who see the malady, who want to look for the people who understand that this is the time for coordination, cooperation, communication, collaboration. We need one another.The need now is those of us who want to build bridges, not destroy them. Those of us who want to help the new world come to life, not those of us who look over our shoulders and say, “Oh, wasn’t that a better time.” And that would keep you busy. There’s a lot of work to be done.How does it feel to be coming back to “Hadestown”?I don’t know if you’re familiar with my Tony Award acceptance speech — I received my award and shared with the audience what I called my three cardinal rules for sustainability and longevity. Because they tell you if you’re fortunate enough to receive the award, you have only 90 seconds to speak — and I’ve seen too many of my colleagues try to thank 100 people in 90 seconds. You can’t do it. So I thought, let me drop a wisdom bomb.The first thing I said was, surround yourself with people whose eyes light up when they see you coming. Rule No. 2 was: Slowly is the fastest way to get to where you want to be. And then the third, which is why I’m bringing this whole thing up: The top of one mountain is the bottom of the next. As you achieve different pinnacles, don’t ever think you’ve made it. Don’t ever think you’ve arrived. Take a few moments, take in the view, the vista, the panorama, then lift your chin and see there is another mountain that you have to ascend. That’s called life.The pandemic interrupted the timing of that particular mountain. So I want to get to the pinnacle of “Hadestown” and then look up and keep climbing. Now I’ve already mentioned, but one of the other mountains is the third time that I play the role of King Lear — and then I want to direct it.But here’s my mountain of mountains: I want to break the Methuselah Code. Methuselah is the longest living individual in the history of mankind. He lived to be 969 years. I want to live to be 970. More

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      in Television

      Getting to Know You, Again

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      #masthead-section-label, #masthead-bar-one { display: none }At HomeExplore: A Cubist CollageFollow: Cooking AdviceVisit: Famous Old HomesLearn: About the VaccineAdvertisementContinue reading the main storySupported byContinue reading the main storyGetting to Know You, AgainThe pandemic has sent many people back to their parents’ homes, giving both generations new insight and a chance at a different kind of relationship.Before the pandemic, the comedian Nikki Glaser, left, pitched a show about moving back in with her parents, E.J. and Julie Glaser, as an adult. The pandemic made what seemed like an unlikely scenario into a reality.   Credit…Whitney Curtis for The New York TimesFeb. 5, 2021, 5:00 a.m. ETPatricia Mitchell was newly widowed, still grieving and adjusting to living alone after 50 years of marriage, when her daughter, Emily Mitchell-Marell, called last March. It was the early days of the coronavirus pandemic and lockdowns. Ms. Mitchell-Marell had recently given birth to a baby girl. She also had a 4-year-old son, and the schools in Brooklyn, where she lives, had been closed.Ms. Mitchell, a 74-year-old retired family therapist, heard the stress and panic in her daughter’s voice. “Having a baby, a job, a son and a pandemic was completely overwhelming to her,” she said. “Emily asked to come here.”And so, in the kind of surprising life upheaval the pandemic has made almost commonplace, Ms. Mitchell’s youngest daughter, her son-in-law and two grandchildren moved into her rambling old house outside Woodstock, N.Y. Eleven months later, the family is still there, eating dinner together every night and amazed to be doing so.“I have not spent this kind of time with Emily in 20 years,” Ms. Mitchell said. Her tone was that of someone who had received a complicated gift.For Patricia Mitchell, living with her granddaughter, Vera, has been “a real treat.”Credit…Tony Cenicola/The New York TimesLast July, a remarkable survey by the Pew Research Center found that more than half of people between the ages of 18 and 29 were living with their parents. Not since the Great Depression had so many adult children dwelled at home. It wasn’t only young adults, either. Job losses, school closings or other pandemic-induced reasons have driven many older children like Ms. Mitchell-Marell, who is 40, back to the nest.Because the young dominate the public’s attention, and because they own the bully pulpit of social media, the demographic phenomenon has been told largely from their viewpoint. The consensus attitude was perhaps best expressed by the young woman who made a TikTok set to the tune of “New York” by Alicia Keys, describing her quarantine with her mom and dad in the ’burbs. Sample lyric: “My parents won’t let me use their car/My friends all live too far/Twenty-five minutes from Dallas, Dallas, DALL-ASSSSSS!!!!!!!!”But as a middle-aged woman named Randi Cohen, whose 30-year-old daughter moved home to Columbus, Ohio, last spring, said, in what sounded like mild aggrievement, “There is another side to all of this.” Ah, yes, the side that doesn’t express themselves on TikTok.Imagine you have dutifully raised your children and released them into the world, growing accustomed to infrequent visits around the holidays, and then suddenly they’re back, a decade or more later, sleeping in their old bedrooms and sacking the fridge. It’s the sort of whiplash plot Hollywood movies are built on. Yet for millions of parents during the pandemic, it became a reality.Whether it played as a domestic comedy or psychological thriller depends on individual family dynamics. But every parent-child relationship is, to varying degrees, an emotional minefield. Navigating it successfully only grows harder when the child living in your house is all grown up: How do you make a 30-year-old pick up his dirty laundry?Getting ReacquaintedPatricia Mitchell, far right, who was recently widowed, finds herself living with her daughter, Emily, her son-in-law, Ben, and her grandchildren, Maximus and Vera.Credit…Tony Cenicola/The New York TimesReflecting on her experience over the past year, Ms. Mitchell expressed both gratitude and fatigue. She’s had the chance to observe, up close, her daughter’s happy marriage and mature approach toward work and motherhood, which has been gratifying as a parent. Helping raise her granddaughter from birth has been “really a treat,” and a welcome distraction from her grief and loneliness. Her son-in-law became the man of the house, doing chores and repairs.But living in a crowded, active, child-centered household again at her age can be exhausting. “There’s more food shopping and dishes and cleaning and laundry,” Ms. Mitchell said. “The noise level. The house wakes up very early. The level of activity is a bit shocking to my system, if you want to know the truth.”Parents have had to make adjustments of all kinds, as they welcome back children whose lives may have diverged widely from their own, and of which they may have only a vague idea. Empty nesters, they’ve been plunged back into hands-on parenting and asked to fulfill seemingly exotic requests.“He has a trainer that he works with and this trainer also has a specific diet” for him, said Janet Schaffler, 65, about her 34-year-old son, Kyle, who lives in Manhattan and came home to Indianapolis for two months at the start of the pandemic, and then again for weekslong stretches. Ms. Schaffler, who handles the cooking and shopping, found herself running what amounted to an Equinox juice bar out of her kitchen.“Everything had to be weighed. It was high protein, no bad carbs,” she said. “I needed to go to Trader Joe’s to buy this, another supermarket for that,” on top of shopping and cooking for herself and her husband. “Making sure everyone had what they needed, I never had any rest.”Ms. Cohen discovered that her daughter, Hannah Berkeley Cohen, while living in Cuba as a freelance journalist and tour guide, had evidently became a gourmet, because back home in Ohio, she now objected to her parents’ more simple meals.“She comes in and she’s a foodie and she’s appalled by what we eat. We don’t spend an hour preparing food and adding sauces because that’s what she and her boyfriend do,” Ms. Cohen said. “We had some talks about, ‘This is how we live. If you want to make dinner for us, that’s lovely.’”Bill Vien, 58, welcomed his daughter and son, both in their 20s, back home to Vermont for several months last year. His daughter, Corinne, co-hosts, “Two Girls One Ghost,” apodcast about ghosts and the paranormal. Mr. Vien and his wife were asked to maintain complete silence — no talking, no TV, not even shoes on the hardwood floors — while she recorded for three hours twice a week.“My wife never lets laundry get ahead of her,” Mr. Vien said. “Of course, we have one of those washers and dryers that make a chime.”Diane Camara welcomed her son, Jared Alexander, back home after his theater tour was canceled.Credit…Tony Cenicola/The New York TimesFor Diane Camara, whose 25-year-old son, Jared Alexander, an actor and writer, moved back into her home in Stratford, Conn., after the show he was scheduled to perform in was canceled, the adjustment was more internal, one of perception.“When he came back, I went into mom mode. I was thinking to myself, ‘I’m taking care of you. What do you have to worry about, you’re just a kid,’” Ms. Camara, 50, said. “It took me a minute to realize, ‘No, he’s an adult. And he’s going through it just like I’m going through it. And in some ways worse than me. He’s the one displaced, he lost his tour.”A Gift of TimeIndeed, these were not like the carefree stays of a summer home from college. Nor were they brief visits with the pressure release valve of a known end date. The children returned during a year of health risks, economic ruin and social and political upheaval, and with their own careers and adult responsibilities to manage through a global pandemic that has stretched on without end.But once the shock of events wore off and everyone found a routine, many parents said they were brought closer to their grown children. For the first time in years, and with a different feeling, there were family dinners, game nights, watching TV together, exchanging ideas as mature adults.“We drink a glass of wine and talk. We sit and watch movies,” Ms. Cohen, whose daughter remains at home, said. “We’ve never done that before. She can be a girlie girl, so she does my nails. It is lovely spending time with her.”Ms. Camara and Mr. Alexander in the garden they planted together last summer.Credit…Jared AlexanderLast summer, Ms. Camara and her son planted a flower garden in her backyard, the first garden for both of them. “We just got out there. We worked together as a team really well,” Ms. Camara said.A reluctant gardener initially, Mr. Alexander said watering the flowers and watching them slowly grow became a way to not only bond with his mother but come to terms with his interrupted life. He wrote an essay about the experience for a website.“It helped me adjust,” he said. “This isn’t going to be two weeks, two months. It’s going to be awhile. It wound up turning into something special.”There was, for parents, the added marvel of really seeing who their children had become as adults. Back under the same roof, they had a window into their children’s work and social lives and relationships.Leroy Rutherford has watched his daughter, Chrissy, start a business while back home. “That was nice seeing her start up something of her own,” he said.Credit…Tony Cenicola/The New York TimesLeroy Rutherford, 72, watched his daughter, Chrissy Rutherford, start a brand consultancy out of her childhood bedroom in Bedford, N.Y., where she’s been staying since giving up her apartment in Manhattan last April. He may complain about the dirty dishes Ms. Rutherford leaves in the sink, but he admires her work ethic. “She gets up from 8 in the morning and starts working. And 7 or 8 at night, she’s still on her phone or her computer,” Mr. Rutherford said. “That was nice seeing her start up something of her own.”Ms. Schaffler, the mother in Indianapolis, concurred. “You always think they’re never going to be able to grow up and cope by themselves,” she said. “Well, he can and he has. Just listening to him on his work calls. Not eavesdropping but just listening. He’s sounding just like his dad now. I could appreciate and be quite proud of that.”More than anything, there was time. Precious, unexpected time. In the summer months, Mr. Vien, his wife and two children would stop working each day and have lunch together on the deck. He got to watch his son and daughter, four years apart and usually living on opposite coasts, develop a tighter relationship over their stay. His daughter had gone off to college in California at 17 and stayed there during breaks to do internships, and Mr. Vien and his wife had felt time with her had been “stolen.” The pandemic gave it back.Shannon Holtzman, whose grown daughters, Carolyn and Larkin, both returned home to New Orleans for several months (Carolyn remains there), echoed the sentiment. “I regret the pandemic and wish it had never happened,” Ms. Holtzman said. “But for us, this has been a gift. We’ll likely never have this time again.”She marveled aloud, “This was the first birthday of mine where I had both daughters home since 2004.”The Stuff of Comedy“I thought this would destroy us,” said Nikki Glaser of moving back in with her parents, E.J. and Julie Glaser. The opposite has been true.Credit…Whitney Curtis for The New York TimesIf there could be a poster family for quarantining together during the pandemic, it would be the Glasers — that is, Nikki Glaser, a 36-year-old stand-up comedian and actress, and her parents, E.J. and Julie Glaser. When the pandemic struck, Ms. Glaser was in Los Angeles on a work trip. She had invited her parents along, and so she decided not to return to her New York apartment but to go back with them to her childhood home, in St. Louis. As the pandemic grew worse and her comedy gigs and other projects were canceled, she stayed. “I thought this would destroy us, me living there for 10 months,” she said. “But I didn’t want to leave.”Ms. Glaser has turned being back in her Midwestern childhood home as a single woman and famous person into an extended bit. In TV interviews, like one with Conan O’Brien last May, she appeared on Zoom from her father’s home office. When she guest-hosted Jimmy Kimmel Live!, in July, she booked her parents as the house band, cutting to them in their living room (Mr. Glaser plays acoustic guitar and Mrs. Glaser sings). A show Ms. Glaser had been writing before the pandemic, in which she gets canceled by the internet and has to move back home to St. Louis — “Which used to be some, like, kind of sci-fi thing,” she told Mr. O’Brien — became her lived experience. Meanwhile, her parents have become minor celebrities through their appearances on TV and on her social media channels.“I have 16,000 followers on Instagram,” Mr. Glaser said.His wife chimed in, “He had two before this.”More important, the couple have reconnected with their daughter, who for years saw her family infrequently as she built her comedy career on the coasts. “I’ve tried to get her to sing with me ever since she was a small child,” Mr. Glaser said. “She started learning guitar and we played and sang together a lot during the last few months.”After 10 months living with her parents, Ms. Glaser recently moved out and rented her own apartment again — in St. Louis. Nikki Glaser in a stand-up performance.Credit…Ben Vogelsang“I always argued that it was for the best,” Ms. Glaser said about choosing to live away from home. “This year has made me reflect upon what actually makes me happy. I love my family and I love being around them.”Shifting RelationshipsAs the pandemic stretches on, some parents, including Ms. Mitchell, continue to house their grown children. Her newborn granddaughter is nearly one, and she and Ms. Mitchell-Marell are closer than ever. In fact, Ms. Mitchell-Marell and her husband are considering relocating to the Hudson Valley. “I do want to be near her now in a way that wasn’t as important to me,” Ms. Mitchell-Marell said. “And I don’t want to separate her and my baby.”Said Ms. Mitchell, “They wouldn’t have come back without the pandemic. I do think they’re going to find a place in the valley. And be nearby. And that will be very great.” Other parents are empty nesters again.Marilyn LaMonica, 76 and a psychoanalyst, welcomed her 48-year-old son, daughter-in-law and 5-year-old grandson into the Brooklyn house she shares with her husband for three months last spring.At first, to be together seemed like a fantasy fulfilled, a return to the large Italian family of her childhood. But between cooking for five people three times a day, worrying about her loved ones getting the virus and balancing the competing needs of everyone in the house, the experience was something more complicated. Ms. LaMonica called those months “a blur” and “a bundle of mixed feelings,” summing up how other parents said they felt.And yet, when it was over, and her son and his family returned to their Manhattan apartment, Ms. LaMonica admitted to a sense of sadness, as if she were letting her child go all over again.“It’s not rational,” she said. “But I felt a very deep sense of loss.”For weekly email updates on residential real estate news, sign up here. Follow us on Twitter: @nytrealestate.AdvertisementContinue reading the main story More