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      Lend Us Your Ears, and Don’t Forget Your Farm Boots

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      Seeing a play at Willow Wisp Organic Farm in Damascus, Pa., has a simple but highly recommended dress code: sturdy shoes.At the farm, which recently finished a run of a site-specific play about climate change, the boundless stage includes a courtyard lined with hydrangeas, greenhouses and a field of flowers. Over four nights last week, audience members trekked the outdoors there, walking from scene to scene, as the actors, musicians and stilt walkers performed in vibrant, whimsical costumes.The performance is the second installment of a decade-long series, “Dream on the Farm,” in which the Farm Arts Collective, whose home is on the 30 acres, plans to produce one play a year centered on climate change.“This is an intense and troubled time and as an organic farmer and theater maker, we’ve got to keep making work about this issue,” said Tannis Kowalchuk, the ensemble’s artistic director, who started the farm — which sits just across the river from New York — with her husband, Greg Swartz. (They sell their wares at the Union Square and Grand Army Plaza farmers’ markets.)Tannis Kowalchuk, artistic director of Farm Arts Collective, directed the show. She is also a co-owner of Willow Wisp Organic Farm with her husband, Greg Swartz.Jess Beveridge, left, and Annie Hat at a rehearsal in June. The show was the second of 10 annual plays about climate change that the collective is planning to perform.A rehearsal inside a Farm Arts Collective greenhouse on a rainy day. The collective is a group of artists and farmers. This year’s play transported guests into an “Alice in Wonderland”-esque fantasy in which two scientists, the astronomer Carl Sagan and the biologist Lynn Margulis, are brought back from the dead to help save life on Earth from the climate disaster. Audience members watch as Sagan encounters eccentric characters representing the atmosphere and the hydrosphere, as well as a man trying to find a way to escape the planet through space travel. The rest of the group followed the Margulis character on the other side of the farm. (The audience was split into two to avoid overcrowding.)At the end of the show, the audience of about 80 people received chilled cucumber soup made from ingredients grown on the land.Audience members walked from scene to scene, including through a corridor of painted fabric, essentially going on a walking tour of the farm.Audience members made their way to the next act.An assistant director’s notes and a snack from the harvest table.Waiting in the wings: Daniel Lendzain chilled out before making his entrance on opening night.It was the job of Simon Kowalchuk-Swartz (son of Kowalchuk and Swartz), to transport the musical instruments. The pianist Doug Rogers, left, also helped compose original music, and the guitarist Melissa Bell helped write the play.But the reality of the pandemic burst the fantasy bubble on Sunday after one of the people in the accompanying band tested positive for the coronavirus, despite having been vaccinated, and the arts collective decided to cancel the fifth and final performance.Kowalchuk said she hopes the play will be performed again, though. She has imagined bringing it to New York City, where the ensemble might be able to find a new stage in a park or botanical garden.The “Alice in Wonderland”-esque play posed a question: Is it better to look at climate change through a wide angle lens or a microscope?Marguerite Boissonnault played the character Fungus.Gregg Erickson played the character Hydrosphere.Cast members, including Hudson Williams-Eynon, center, in white, faced off in a tug-of-war.Williams-Eynon, Beveridge and the rest of the cast took a bow after a performance. More

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      Review: Shakespeare’s ‘Merry Wives,’ Now in South Harlem

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      Jocelyn Bioh reshapes a comedy of clever women, frail men and harsh revenge into one of love and forgiveness, just when New York needs it.Who couldn’t use a warm welcome back to live theater like the one being offered these late-summer evenings in Central Park? There, Jocelyn Bioh’s “Merry Wives,” a joyful adaptation of Shakespeare’s “The Merry Wives of Windsor” set in an African diasporic community in Harlem, is doing everything a comedy can do to embrace all comers.First, the director Saheem Ali, who was born in Kenya, delivers enthusiastic greetings over the Delacorte Theater’s loudspeakers. Next, Farai Malianga, a drummer from Zimbabwe, leads the audience in a call and response chorus of vernacular African salutations: “Asé” (Nigeria), “Yebo” (South Africa) and “Wau-Wau” (Senegal) among them. By the time the play proper starts, we are all guiltless cultural appropriators.Or should I say the play improper? Purists who pine for the original (circa 1597) text — and possibly the world in which it existed — will find plenty that gets their goat in Bioh’s makeover, including roasted goat. She has cut the number of characters nearly in half and the running time by more than a third. (Ali’s production comes in at a swift 110 minutes, with no intermission.) Much of Shakespeare’s wordplay, incomprehensible without an Elizabethan thesaurus, has been swept away along with words like “master” and “mistress” and their buzzkill implications.Thankfully, Bioh has not replaced them with woke lecturing. She has said she wanted a “Merry Wives” that her Ghanaian family could enjoy, and in achieving the goal has not excluded the rest of us. Or, rather, she has made us all a part of the family, perhaps erasing some of Shakespeare’s worldview in the process, but underlining the human qualities we know from our own households — or, if not, from popular culture.So Jacob Ming-Trent, as the idle, appetitive Falstaff, hilariously combines into one bigger-than-life portrait your drunk uncle, a horndog Redd Foxx and some would-be Barry White. The identical mash letters he writes to the two upright wives of the title — the tart Madam Ekua Page (Pascale Armand) and the glamorous Madam Nkechi Ford (Susan Kelechi Watson) — are instantly familiar as the delusions of a sitcom character who, in thinking he’s a catch, sets himself up to be caught.Jocelyn Bioh’s “Merry Wives” takes audiences to 116th Street in South Harlem, an area teeming with West African shops and culture.Sara Krulwich/The New York TimesThat the letters are discovered while Madam Page is having her hair done at a Senegalese braiding salon on 116th Street tells you a lot about the production’s good humor. The salon is part of Beowulf Boritt’s elaborate transforming puzzle of a set, which also includes an urgent care clinic run by Dr. Caius (David Ryan Smith) and Mama Quickly (Shola Adewusi), and a laundromat, wittily called the Windsor, where the women’s revenge on Falstaff is eventually carried out amid baskets of “foul linen.”If the production — including Dede Ayite’s costumes and Cookie Jordan’s wigs — looks especially grand, that is part of the welcome too. The Public Theater could not of course stage any Shakespeare in the Park last year, and for 2021 decided to make the most of its resources by combining its usual two productions into one. The choice of material was likewise a twofer: a big comedy when we really needed one after a small, grim year, yet also a play celebrating Black life in America, when we really needed that as well.Not just Black life, though. The celebration is universal, which does not always jibe with the petty meanness of the Shakespeare. Casually misogynist references have therefore been excised, so that one character, Anne — the marriageable daughter of Madam Page and her husband, Kwame (Kyle Scatliffe) — is said to speak “sweet-sweet like a woman,” not “small” like one. Abuse of even a fictional female has been flipped: When Falstaff, in the second of his three comeuppances, is beaten “most pitifully” while wearing a ludicrous disguise, it’s as the old man of Benin (“dressed like some ol’ Black Dumbledore”) instead of Shakespeare’s old woman of Brentford. And Bioh has made several adjustments to embrace queerness where the original used it merely for humor.MaYaa Boateng, left, as Fenton and Abena as Anne Page, who is courted by three suitors in “Merry Wives.”Sara Krulwich/The New York TimesThese substitutions do not feel politically correct so much as warmly embracing. Anne’s three suitors still include the dim Slender (Joshua Echebiri) and the frankly mincing Dr. Caius. But the third, Fenton, is now a pure-hearted woman (MaYaa Boateng) instead of a fortune-seeking man. That Anne’s parents make no fuss about Fenton’s sex (their objections are mostly financial) may feel somewhat utopian, but Anne’s sure preference for her, as expressed in a performance by the actress Abena that’s a standout even in this across-the-board excellent ensemble, is indisputable.The spurned suitors are let off lightly here; in a switch from the original, both end up liking the match they are tricked into when they cannot have Anne. Unfortunately, the Falstaff part of the story is not, as it should be, more dangerous. With his shin-length shorts and virtual reality goggles, chatting with the audience about a pandemic spent watching Netflix and eating snacks, Ming-Trent’s Falstaff is more of a clown than a menace. As Bioh has written the character, we are forced to conclude that his lust is grotesque because, in an otherwise body-positive production, it is housed in a figure “about two yards wide.”From left, Susan Kelechi Watson, Pascale Armand and Kyle Scatliffe in the play, with costumes by Dede Ayite and an elaborate set by Beowulf Boritt.Sara Krulwich/The New York TimesIf that puts too much emphasis on the character’s outer traits, missing the opportunity to use his story to examine men’s inner frailty, Bioh’s script — and Ali’s supple direction — balance that in the story of Madam Ford’s husband, who suffers from the jealous fear that his wife is unfaithful. In a conventional production, Ford is laughable; here, Gbenga Akinnagbe makes the man’s misery quite real. His relief, when his wife forgives him after first torturing him with false evidence, is thus a more moving moment than usual.Forgiveness, instead of revenge, is the evening’s unexpected theme. And not just for the characters. Near the end, in a coup-de-outdoor-theater, Boritt’s set slides away and offers us all a magical view of Central Park, lit as if it were a heavenly playground by Jiyoun Chang. Can we hope that this marks the beginning of a happier moment in our city and country?Bioh suggests as much. It is not merely Falstaff she has in mind when demonstrating, in this healing adaptation, that even the worst old reprobates can be taught a lesson and welcomed back into the family. After all, whether from Ghana or Zimbabwe or Brooklyn or Stratford-upon-Avon, we are all, if you look back far enough, an African diasporic community.Merry WivesThrough Sept. 18 at the Delacorte Theater, Manhattan; publictheater.org. Running time: 1 hour 50 minutes. More

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      Review: ‘The Tempest’ Starkly Amplifies Prospero’s Evolution

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      A strong ensemble, music and movement round out the Hudson Valley Shakespeare Festival’s last production in its longtime home at Boscobel House and Gardens.GARRISON, N.Y. — Prospero’s grievance has been gnawing at him a dozen years when at last he speaks of it to his teenage daughter, Miranda, explaining how they were forced from their noble life in Milan into island exile.His own treacherous brother snatched his dukedom away, propelled by “an evil nature” and a craving for power that Prospero — bookish sorcerer, kindly father, distracted ruler — hadn’t suspected in him.Does he sense his own darkness, though? His own lust for dominion? The way Prospero spins his tale, he is a great man and a good guy wronged. But in Ryan Quinn’s fitfully magical production of “The Tempest” at Hudson Valley Shakespeare Festival, the cruelty that lurks in him is abundantly on display.The long-lashed, gold-dusted spirit Ariel (Britney Simpson), forced to do Prospero’s bidding, desires her freedom from him more than anything. The brutish Caliban (Jason O’Connell) wants the same, and to be left in peace on the island that was his before this enslaving invader arrived. Both of them call him master.What’s curious is that Howard W. Overshown’s Prospero, played with a recessiveness consistent with a character most at home in his library, does not dominate the play. He does, however, orchestrate all that happens in it, starting with the storm he whips up to shipwreck his brother (Sean McNall), the queen of Naples (Nance Williamson) and others in a quest for retribution.Comedy is the strongest suit here, led by O’Connell’s bedraggled, delicate Caliban, who sounds like John Lithgow might if he were a downtrodden brute with a sympathetic case to plead. The production’s rollicking high point comes with his discovery by the delightfully put-upon Trinculo (Ralph Adriel Johnson), and their joint discovery by the drunken butler Stephano (Kurt Rhoads).The young lovers Miranda (Kayla Coleman) and Ferdinand (an extraordinarily charming Tyler Fauntleroy) are sweet to watch, while much of the magic of the island comes from the lovely sung enchantments of Ariel.Plumped up with music (sound design and music composition are by Charles Coes and Nathan Roberts) and movement (choreography is by Susannah Millonzi), this production is the festival’s last in its longtime home at Boscobel House and Gardens, where performances take place in an airy tent that frames the expansive lawn and the hills beyond as background scenery. (The company is moving just a few miles away.)Cast members emerge from billowing clouds of fog at the beginning of the play.T. Charles EricksonWhen the show begins with clouds of fog billowing just where the lawn slopes down, and the figures of the company rising through it and coming toward us, we know that Quinn will use the landscape well.There is some flatness to the production, though. At the performance I saw, the first frisson of pleasure came with Caliban’s initial scene: the laughter of an audience that suddenly finds itself in the palm of an actor’s hand. Standout performances — by Simpson and O’Connell, Fauntleroy and Johnson — are more memorable than the storytelling as a whole.But in Overshown’s finely understated interpretation, Prospero’s evolution is starkly clear. When he asks Ariel how the shipwrecked queen and nobles are, she suggests that they are pitiful from his torments: that if he could see them, his “affections would become tender.”“Dost thou think so, spirit?” he asks.“Mine would, sir, were I human,” she says, with such gentleness and dignity that compassion seems the only proper course.And we feel him, very subtly, doing something that wounded, angry rulers seldom do. He begins to let go of his vengefulness.The TempestThrough Sept. 4 at Hudson Valley Shakespeare Festival, Garrison, N.Y.; hvshakespeare.org. Running time 2 hours 15 minutes. More

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      ‘West Side Story’ Will Not Return to Broadway

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      The reimagined revival was closed by the pandemic, and then its lead producer, Scott Rudin, said he would step back from active participation in his shows after being accused of bullying.“West Side Story,” an ambitious, reimagined revival of the classic musical, will not reopen when Broadway returns this fall, the show announced Monday, making it one of the biggest productions yet to become a casualty of the pandemic.The show’s lead producer, Scott Rudin, announced in April that he was stepping back from active roles in his Broadway productions after he came under fire for a long history of bullying employees. But Rudin said at the time that while the decisions about the future of “West Side Story” and his other shows would be left to others, he hoped that they would return to Broadway when theaters were allowed to reopen.The “West Side Story” revival — put together by a creative team with avant-garde credentials, including the director Ivo van Hove and the choreographer Anne Teresa De Keersmaeker — opened in February 2020, less than a month before the coronavirus outbreak shut down Broadway and brought performances around the nation to a halt.“This difficult and painful decision comes after we have explored every possible path to a successful run, and unfortunately, for a variety of reasons, reopening is not a practical proposition,” Kate Horton, a producer on the show, said in a statement. “We thank all the brilliant, creative artists who brought ‘West Side Story’ to life at the Broadway Theater, even for so brief a time, especially the extraordinary acting company, 33 of whom made their Broadway debuts in this production.”News of the closure of “West Side Story” comes as Broadway is cautiously preparing for a return. Preview performances of the play “Pass Over” began last week, and are scheduled to be followed next month by the return of longtime favorites including “Hadestown,” “Hamilton,” “Wicked” and others.Several other shows produced by Rudin are planning to return to Broadway. Aaron Sorkin’s stage adaptation of “To Kill a Mockingbird” plans to resume performances on Oct. 5 with Jeff Daniels back in the cast; the production announced that the show would now be overseen by Orin Wolf, who would be given the title of executive producer.Scott Rudin, center, the lead producer of “West Side Story,” said in April that he would step back from active participation in his shows after he was accused of abusive behavior. Sara Krulwich/The New York TimesBut even as Broadway prepares for a triumphant return, the departure of “West Side Story” offers a reminder of the toll the pandemic has taken on the industry.Last May, only two months into the pandemic, Disney Theatrical Productions announced that its stage adaptation of “Frozen” would not reopen. “Mean Girls,” a Broadway adaptation of the 2004 film with a book by Tina Fey, also announced it would not return.The “West Side Story” production, while daring, opened to mixed reviews. A new film adaptation by Steven Spielberg is scheduled to be released in December, but the Broadway show will not be around to capitalize on any interest that the new film version generates. More

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      ‘The Most Happy Fella,’ Sliced, Diced and Not Very Happy

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      Having revamped “Oklahoma!” into a dark X-ray of itself, Daniel Fish rethinks another Golden Age classic with “Most Happy in Concert.”RED HOOK, N.Y. — It was useful to remember as I watched “Most Happy in Concert,” the bizarre and fascinating 75-minute cantata that just finished a run here on Saturday evening, that the neatly cut lawn at Montgomery Place, the grand Hudson River estate where the show was performed, does not much resemble the vineyards of Napa Valley. That’s where “The Most Happy Fella,” the 1956 Frank Loesser musical on which the concert was based, takes place.But however I tried to convince myself that despite their enormous differences, the two works, like the two locales, might both be beautiful, my ear told me no. The original is a heart-lifting achievement; the concert merely sucks its blood.To be fair, “Most Happy in Concert” is very much a work in progress, easy to react to but difficult to assess. Originally scheduled for a staged production as part of the Bard SummerScape series in 2020, following workshops going back to 2018, it was postponed by the pandemic and emerged into public view for this three-night stand in denatured form, fully orchestrated but without scenery, costumes or movement. Even with those provisos, and with a relatively high tolerance for tinkering with classic musicals, I felt that Daniel Fish, who conceived and directed the adaptation, had not yet made a convincing argument for what made the tinkering worth it.Fish could be forgiven for heaving a been-there sigh right now. Much the same criticism was lobbed at his SummerScape production of “Oklahoma!” in 2015, even though it became a hit at St. Ann’s Warehouse in Brooklyn three years later and, after transferring to Broadway, won the 2019 Tony Award for best revival of a musical. That adaptation set the Rodgers and Hammerstein classic in a kind of community party room, with streamers and banjos and chili at intermission. You could hardly have missed — and many critics were enthralled by — the way this new light seemed to reveal the work’s bones like an X-ray delivering bad news.“The Most Happy Fella” is a different animal. Though some consider it an opera, Loesser preferred to call it “a musical with a lot of music” — almost three glorious hours’ worth. Everything he could turn into song, he did, brilliantly absorbing the story of Tony, a Sicilian immigrant grape farmer, and Rosabella, the much younger bride he obtains through deception, into arias, toe-tappers, recitatives and chorales. The result is a long, difficult and, at this point, almost prohibitively costly show to mount; with its intricate echoes and leitmotifs it is also hard to cut. Still, Broadway’s Golden Age produced few more exhilarating works, and some of us will go anywhere to find it.That seems to be what Fish did, too.Tina Fabrique, singing “Young People,” in the concert production by Bard SummerScape.Maria BaranovaMikaela Bennett singing “Somebody, Somewhere” in the concert production at Montgomery Place.Maria BaranovaWorking with his “Oklahoma!” collaborators Daniel Kluger and Nathan Koci, Fish must have realized that he could not preserve the integrity of the score or the wide-screen story in a small-scale production. His solution, which will displease purists, and plenty of impurists as well, was to do away with the dialogue altogether and put the music through a high-speed chipper.Many great numbers were lost in the process; the climactic “My Heart Is So Full of You,” for instance, emerged as a few wisps of melody dispersing in the night air. The songs or song particles that survived this almost aleatory process were assigned to seven performers — all female or nonbinary and sitting glumly on stools — in kaleidoscopic shufflings that prevented the creation of any sustained characterization. Everyone played anyone, and thus no one.If you didn’t know the plot, you would therefore be unable to discern it here. Melodies were handed over in mid-phrase, songs were sung out of order or sampled briefly before crashing into others. On the rare occasion when Fish allowed a number to be performed intact, it was, as he may have intended, a revelation, like the moon cracking through clouds. Yet even this seemed random. It made sense to let the ravishing soprano Mikaela Bennett sing all of “Somebody, Somewhere,” Rosabella’s aching introductory number, but in another extended solo, the belter Tina Fabrique made an R&B showstopper out of “Young People,” originally a minor minuet.I don’t mind that the soundscape of Loesser’s Napa, with its tarantellas and Italianate arioso, was dumped in favor of arrangements and orchestrations for a 12-player ensemble that favored smoky bebop, sour jazz fusion and — was this sarcastic? — something you might have heard on an Andy Williams special. (To listen to the spectacular original orchestrations, by Don Walker, I need merely hit play on the original cast album.) And I enjoyed discovering new ideas inside many of the songs, even if the formerly celebratory, up-tempo “Abbondanza” now had all the vivacity of a funeral march.But unlike Fish’s “Oklahoma!” — in which the dialogue and score were left intact — “Most Happy in Concert” works so hard to be new for newness’ sake that it feels like open season on musical comedy. In a developing work, that arrogance is understandable and maybe even necessary; I look forward to seeing “Most Happy” again. I hope that when I do, I’ll be able to discern what Fish is trying to develop it into.Mary Testa, center, with the cast of this Bard SummerScape program.Maria BaranovaIt’s not as if the original needs “correcting” for dramaturgical or political reasons, like so many Golden Age musicals. And though it was nice to hear sopranos and altos sing a score that typically includes tenors, baritones and basses as well, it has to be said that few of the singers, who also included Jules Latimer, Erin Markey, April Matthis, Mallory Portnoy and Mary Testa, made musicality a priority; angst and anomie were the top notes. Their sound was sometimes, I assume deliberately, harsh and unbeautiful.And yet the show’s emotional world is often harsh and unbeautiful too. Tony, for all his heartiness, has spent a lifetime believing he’s too homely and stupid to marry. Rosabella — which isn’t even her real name — thinks that as a poor woman she has no choice but to go with any man who might ask.These feelings, Fish seems to posit, belong not just to them. Dissociating the story’s emotions from individual characters and even plot may be a way of showing that they exist universally, as a kind of magma boiling beneath us all.Perhaps it’s best, then, to look at “Most Happy in Concert” as an abstract painting that creates meaning through a collision of forms. Which is not to say it has no theme. The pun in the evening’s title lets you know you are listening to the cries (sometimes gorgeous, sometimes ugly) of people who are “most happy” not when alone but “in concert”: who crave love but don’t know it, or are too afraid to ask.Of course, that was the show’s theme in the first place. More

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      The First Play Returning to Broadway Is Doing Things Differently

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      Anna Martin and Phyllis Fletcher and After the opening night performance of “Pass Over,” hundreds gathered for a block party. The playwright, Antoinette Nwandu, spoke to the crowd from a balcony above the theater marquee.Jeenah Moon for The New York TimesThis episode contains strong language.Antoinette Nwandu’s “Pass Over” made its Broadway debut this week. Drawing on “Waiting for Godot” and the Book of Exodus, the play follows two Black men trapped on a city block — both by existential dread, and by the fear of being killed by police.But Broadway audiences won’t see the play’s original ending, which featured the death of one of the main characters.“I no longer wanted to work on a play that ended with the murder of a Black man,” said Nwandu, who rewrote the final scene. “I want to focus on life.”Nwandu’s play was the first to debut on Broadway since theaters closed their doors in March of 2020 and the first since a coalition of theater artists of color demanded change from the theater ecosystem in America.Nwandu spoke with the theater reporter Michael Paulson about the changes she is personally bringing to theater, and her hopes for the industry — still grappling with the pandemic — as the curtains rise again.“Thank you for celebrating Black joy!” Nwandu told celebrants at an afterparty on West 52nd Street, outside the theater. Jeenah Moon for The New York TimesAudience members in masks react after the curtain call.Jeenah Moon for The New York TimesTheatergoers gave a standing ovation to the three actors: Jon Michael Hill, left, Namir Smallwood and (unseen) Gabriel Ebert.Jeenah Moon for The New York Times More

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      Arthur French, Negro Ensemble Company Pioneer, Dies at 89

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      He more or less stumbled into a career as an actor, but it proved to be a long and prolific one, on film, on television and especially on the stage.Arthur French, a prolific and acclaimed (if relatively unsung) actor who was a founding member of the Negro Ensemble Company, died on July 24 in Manhattan. He was 89.His death, in a hospital, was announced by his son, the playwright Arthur W. French III, in a post on Facebook.Mr. French more or less stumbled into his theatrical career. After abandoning early plans to become a preacher, he aspired to be a disc jockey, but when he showed up at the D.J. school he had hoped to attend, he found that it had closed after bribery investigations began into the radio payola scandal of the late 1950s.Fortunately, the Dramatic Workshop, where Lee Strasberg and Stella Adler taught, was located in the same building, and Mr. French signed up for classes. He was coached by the actress Peggy Feury; he caught the attention of Maxwell Glanville’s American Negro Theater; and his career as a supporting actor was born.Mr. French made his professional debut Off Broadway in “Raisin’ Hell in the Son,” a spoof of Lorraine Hansberry’s “A Raisin in the Sun,” at the Provincetown Playhouse in 1962. Three years later he appeared in Douglas Turner Ward’s “Day of Absence,” which spawned the Negro Ensemble Company. He first appeared on Broadway in Melvin Van Peebles’s musical “Ain’t Supposed to Die a Natural Death” in 1971.“That’s when I decided to quit my Social Service job,” he said in a recent interview with the arts journal Gallery & Studio. He had been working days as a clerk with New York City’s welfare department.Mr. French appeared in Broadway revivals of “The Iceman Cometh” (1973), “Death of a Salesman” (1975) and “You Can’t Take It With You” (1983). His films included Spike Lee’s “Malcolm X” (1992) and “Crooklyn” (1994). Among his many television appearances were three episodes of “Law & Order,” two of “Law & Order: Special Victims Unit” and one of “Law & Order: Criminal Intent.”Reviewers often called attention to his sonorous voice and the civility of his performances; his notices in The New York Times were consistently positive. Reviewing his portrayal of Bynum, a “conjure man,” in a 1996 revival of August Wilson’s “Joe Turner’s Come and Gone” at the Henry Street Settlement, Vincent Canby called it “a variation on the seer, sometimes the idiot savant, who turns up with regularity in Mr. Wilson’s work but never as fully realized as the character is here.”When Mr. French was seen in “Checkmates” at the same theater that year, Lawrence Van Gelder wrote in The Times, “The real treats are Ruby Dee and Arthur French as the Coopers, gifted old pros who tickle the funny bone and touch the heart.”He occasionally directed, most recently a 2010 production of Steve Carter’s 1990 play “Pecong,” a retelling of the Medea story set in the Caribbean, at the Off Off Broadway National Black Theater.Mr. French taught at the HB Studio in New York. He received an Obie Award for sustained excellence of performance in 1997 and a Lucille Lortel Award for his supporting role in August Wilson’s “Two Trains Running” in 2007. In 2015, he was awarded a Paul Robeson Citation from the Actors’ Equity Association and the Actor’s Equity Foundation for his “dedication to freedom of expression and respect for human dignity.”Mr. French, right, with Frankie Faison in the Signature Theater Company’s 2006 production of August Wilson’s “Two Trains Running.” Mr. French won a Lucille Lortel Award for his performance.Sara Krulwich/The New York TimesArthur Wellesley French Jr. was born on Nov. 6, 1931, in Harlem to immigrants from Saint Vincent and the Grenadines in the Caribbean. His father, a former seaman, died young; Arthur himself survived a bout with asthma. His mother, Ursilla Idonia (Ollivierre) French, was a garment workers’ union organizer, and Arthur helped her earn extra money by embroidering material she took home.His mother encouraged him to take music lessons, which led to a piano recital at Carnegie Hall. He attended Morris High School in the Bronx before transferring to the Bronx High School of Science; after graduating, he attended Brooklyn College.In 1961, he married the singer Antoinette Williams. She died before him. In addition to their son, he is survived by a daughter, Antonia Willow French, and two grandchildren.In the Gallery & Studio interview, Mr. French was asked what he had learned about himself during his 50-year career.“I like the world of fantasy,” he replied. “And my father told me, ‘Learn something so well that you won’t have to lift up anything heavier than a pencil.’” More

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      The One Where It’s a Live Musical Parody of Your Favorite TV Show

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      “We made these musicals to get people who don’t go to musicals to go to musicals,” said a creator of the Off Broadway “Friends” and “The Office” parodies. “They’re a gateway drug.”The titles of the songs in “Friends! The Musical Parody,” now playing at the Theater Center on West 50th Street, will be familiar to anyone with even a passing acquaintance with the sitcom about six coffee shop lingerers in New York. Joey sings an ode to the art of seduction entitled “How You Doin’?” Chandler and Monica’s amorous duet is “Could I Be Any More in Love With You?” There’s a song about adapting to challenging circumstances called “Pivot,” and, naturally, the post-interval number is “We Were on a Break.”“Friends” isn’t the only television show that has wound up on the musical stage recently. This month, audiences can go see screwy, unauthorized takes on the workplace sitcom “The Office” (“The Office! A Musical Parody”) and Netflix’s sci-fi horror series “Stranger Things” (“Stranger Sings! The Parody Musical”).The shows resemble elongated “Saturday Night Live” sketches with Off Broadway production values. (The monstrous Demogorgon in “Stranger Sings” is partly made out of pool noodles, duct tape and press-on nails.) It’s “Forbidden Broadway” for those more familiar with Ross and Rachel, or Jim and Pam, than Rodgers and Hammerstein.The creators of the “Friends” and “The Office” parodies, Bob McSmith and Tobly McSmith (both 41, and not related), have been making what they loosely call parody musicals for nearly 20 years. “We made these musicals to get people who don’t go to musicals to go to musicals,” Tobly McSmith said. “They’re a gateway drug.”The pair, who met as housemates in Park Slope, bonded over a shared appreciation — equal parts amusement and bemusement — of the high school sitcom “Saved by the Bell.” “It was just on in the morning,” Tobly said. “We’d watch it, we’d smoke pot, we’d go to work.”In that state of herbal-assisted merriment, they hit upon the idea of a “Saved by the Bell” musical. Despite their rudimentary musical skills, and the fact that neither had any experience in the theater, they wrote a bunch of songs and sketches, posted a call for actors on Craigslist, and started to put on the show for free in 2005 at Apocalypse Lounge in the East Village. The place was packed every night. “It was a beautiful mess,” Tobly said. “The audience loved it.”From left, Laura Mehl, Danny Adams and Emma Brock in “The Office! A Musical Parody.”Russ RowlandSince then, they have created spoofs of the TV shows “Beverly Hills, 90210” and “Full House,” as well as a mash-up of “Keeping Up With the Kardashians” and the musical “Cats.” A “Parks and Recreation” parody is on the way, and when the “Friends” show leaves for its national tour — it has already played in Las Vegas; Portland, Maine; and Australia — it will be replaced by the McSmiths’ take on “Love Actually.”Each show finds its own balance between paying tribute and sending up. “We try to evoke the same humor but in different ways,” Tobly said, “and surprise people with things they notice about the show but never really internalized.” The McSmiths are also undeterred by the seeming tautology of presenting comic reinterpretations of comedies. “We call that a hat on a hat on a hat,” Tobly said. “If you can get to five hats — that’s hilarious.”In the case of “Friends! The Musical Parody,” part of the fun is the hectic combination of pointed critique, 10 seasons’ worth of plot, and extratextual jokes about the actors’ salaries and post-“Friends” careers. There’s a whole song dedicated to the near-obligatory observation of the massiveness of Monica and Rachel’s apartment but, also, more spikily, a reference to the blinding whiteness of the cast.Ross’s pet monkey, Marcel, gets a song, too. “The idea that Ross has a pet monkey for a few episodes is the most ridiculous thing,” Bob McSmith said. Ultimately, “Friends! The Musical Parody” is a show by fans for fans. “We call all our shows loving lampoons,” he said. “Parody doesn’t have to be cruel.”“Stranger Sings: The Parody Musical” — opening on Thursday at the Players Theater with book, music and lyrics by Jonathan Hogue — similarly springs from a place of love. “Parody can be a dirty word in the industry,” said Savannah-Lee Mumford, who plays Barb. “What this show does so well is take care to honor the source material rather than poke at its flaws. It enhances it.”Honoring the source material in “Stranger Sings! The Parody Musical”: From left, Adele Simms, Jalen Bunch, Dean Cestari, Patrick Howard and Ariana Perlson.Bruce GlikasThe Netflix series, about suburban adolescents battling paranormal forces, draws from a host of inspirations, including the works of Steven Spielberg and Stephen King, as well as the teen rom-com “Sixteen Candles.” “Stranger Sings” honors that spirit, musically. Eleven, the psychokinetic young girl prone to nosebleeds, has an “I Want” song modeled on “Somewhere That’s Green” from “Little Shop of Horrors.” Steve Harrington, the well-coiffed teenage lunk, has a swaggering hair-metal tune; and Joyce Byers (played by Winona Ryder on the series), the perpetually frazzled single mother of a missing boy, gets a high-camp diva number worthy of Patti LuPone.“That’s part of the fun of parody as a form,” Hogue said. “You get to throw in as many references as you want.”Hogue also incorporated some of the online discourse about the TV show. Most notably, the character of Barb — a fan favorite who abruptly met her demise, inspiring the #JusticeForBarb hashtag on social media — gets the big moment she was denied onscreen, belting out the lyric: “Clearly I’m not central to this plot.”“We heard the internet,” Mumford said. “She definitely got the short end of the stick on the TV series. So this a gift for the fans.”“Stranger Sings” originated as a concert at Feinstein’s/54 Below, where these sorts of screen-to-stage mutations are something of a mainstay: In recent years, it has hosted musical adaptations of “Star Wars,” “Dexter” and “Pokémon,” to name a few. Before “Stranger Sings,” Hogue directed his own “Friends” musical concert for Feinstein’s/54 Below.Clearly, the more improbable the transformation, the better. But are these any more unlikely than musicals adapted from, say, a B-movie about a man-eating plant or an 800-page biography of Alexander Hamilton?This is all legal, by the way, under the laws regarding parody and fair use, as long as the shows are genuine adaptations — not mere facsimiles — and don’t give the impression of being officially sanctioned. The McSmiths have had only one run-in along these lines. “Andrew Lloyd Webber did not find our Kardashians-Cats musical as funny as we did,” Tobly said. “We agreed to change the music tracks to a couple songs, including ‘Meow-mories’ sung by Cat-lyn Jenner, and they left us alone.”Perhaps, after a year’s worth of pandemic binge-watching at home, some audiences will be drawn to theater that recreates television in all its reassuring comfort-food predictability, with familiar characters in familiar settings acting out familiar story lines. There’s something to be said for a live show that manages to recreate the laid-back atmosphere of your living room.“From the outset, we were trying to parody ‘Saved by the Bell,’ but also trying to parody theater,” Tobly said. “We’ve always felt so far away from Broadway. And we like that.” More