THE LAST SHIP: 10^th ANNIVERSARY REUNION CONCERT – 54 Below – New York, NY – November 4^th

Rock star/composer Sting is joined by members of the original cast of his musical The Last Ship for two reunion concerts at 54 Below. Tickets for both events sold out long ago. But you can live stream the event at 7 PM ET/4PM PT and catch all the action.

Amongst the cast members joining Sting are Michael Esper, Jamie Jackson, Sally Ann Triplett and Rachel Tucker.

A portion of the proceeds from the concerts and the livestream will benefit Project ALS. Aaron Lazar, who originated the role of Arthur Millburn, announced he was diagnosed with ALS aka Lou Gehrig’s disease earlier this year. These concerts are a celebration of him as well as the musical itself.

For livestream tickets and more information, please go here.

WAITING FOR GODOT  – Geffen Playhouse – Westwood, CA – November 6th – December 15^th

Samuel Beckett’s classic play is once again on stage in Los Angeles. This production, produced in association with Gare St Lazare Ireland, finds Rainn Wilson and Aasif Mandvi starring as Vladimir and Estragon – two men waiting endlessly for the arrival of Godot.

Joining them are Conor Lovett as Pozzo and Adam Stein as Lucky.

The role of Boy will be performed by Lincoln Bonilla and Jack McSherry (they will alternate performances). Judy Hegarty Lovett directs.

For tickets and more information, please go here.

ROUVALI LEADS JULIA WOLFE, STRAUSS & SIBELIUS  – New York Philharmonic – New York, NY – November 7-November 12^th

Life’s journey has inspired many a composer. This concert focuses on three different works that explore explorations of life at various ages.

The program opens with Julia Wolfe’s Fountain of Youth. By its name you know what part of life this represents.

Richard Strauss’ Four Last Songs, a powerful work, makes it clear what stage of life Strauss explored with this work. Soprano Miah Persson will sing this incredibly moving work.

The concert closes with Sibelius’ celebration of his own 50^th birthday in his Fifth Symphony.

Santtu-Matias Rouvali conducts these four concerts.

For tickets and more information, please go here.

MUTI & THE CSO – Chicago Symphony Orchestra – Chicago, IL – November 8^th – November 9^th

Works by Chabrier, Donizetti, Falla and Verdi are on this program. But what makes these two concerts compelling is the world premiere of the Megalopolis Suite by Osvaldo Golijov. This is a suite of music from his wonderful score for the Francis Ford Coppola film Megalopolis.

Audiences didn’t exactly flock to see this movie, but they missed out. I personally loved the film and have played the score multiple times since seeing the film.

Golijov is a terrific composer and this CSO Commission will certainly showcase that to all who attend these concerts. This is a score that deserves attention and will hopefully find some love during awards season.

Riccardo Muti conducts.

For tickets and more information, please go here.

ISAIAH COLLIER & THE CHOSEN FEW – Soka Performing Arts Center – Aliso Viejo, CA – November 9th

Saxophonist/composer Collier is an artist who deftly joins jazz traditions with a unique blend of other styles including soul, gospel and funk. This concert will be focused on his latest release The Almighty – a 63-minute album that explores the role of spirituality in his life and by extension our own. It’s a terrific album that should be even more alive when performed live.

The chosen few joining Collier for this concert are Richard Gibbs III on piano, Jermain Paul on bass and Damien Reid on drums.

For tickets and more information, please go here.

This concludes our Best Bets: November 4th – November 10th. For readers in the United States, don’t forget to vote on Tuesday.

Enjoy your week!

Main Photo: Rachel Tucker and Aaron Lazar in The Last Ship on Broadway (Photo by Joan Marcus)

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THIS IS THE TENTH OF OUR BEST OF 23 REVIEW OF INTERVIEWS: Legendary screen star Ava Gardner burst onto the scene with her performance as Kitty Collins in the 1946 film The Killers. From there she skyrocketed to fame appearing in such films as The Snows of Kilimanjaro, The Barefoot Contessa and The Night of the Iguana. Elizabeth McGovern first entered cinema lore for her role in the Oscar-winning film Ordinary People from 1980. She, too, found fame in such films as Ragtime, Once Upon a Time in America, King of the Hill (a personal favorite) and more recently, Downton Abbey.

McGovern has long been a fan of old Hollywood, but she also knows that era was not without significant challenges for women in the business. That was one of the reasons she set about writing the play Ava: The Secret Conversations.

It is based on the book by Peter Evans and Ava Gardner which was published after both its subject and the author had passed away. Gardner brought in Evans to write her autobiography in the 1980s.

In McGovern’s play, Gardner is an at-times reluctant interview. Evans (played by Aaron Costa Ganis) gets to the heart of her relationships with Mickey Rooney, Artie Shaw, Howard Hughes and Frank Sinatra. The way in which she depicts those relationships is one of the more intriguing aspects of the story being told.

The play was first performed in early 2022 in London. McGovern also starred as the screen legend. This week a revised version of Ava: The Secret Conversations officially opens at the Geffen Theatre in Los Angeles with McGovern once again playing Gardner.

I recently spoke with McGovern about the spell Gardner continues to cast on people, what she wanted to explore with the story and about the eternal appeal Hollywood has for people around the world. What follows are excerpts from our conversation that have been edited for length and clarity.

Actresses from Marcia Gay Harden (Sinatra) to Kate Beckinsale (The Aviator) have portrayed Ava Gardner at one point in their careers. What is the appeal that she continues to hold over us as a person, as a character, that inspired your desire to write about and portray her?

The more I looked into her life, the more I fell in love with her. I think there are a few reasons for that. One of them is she was such an authentic person. She was somebody who carried herself with actually quite a lot of humility. Yet she was incredibly smart and obviously so unbelievably beautiful. 

I think one of the things that appeals to me about her is that she lived her life, in every decision she made, as a feminist, as a progressive person politically, as a very intuitively bright person. And yet she was never a someone who ascribed to any sort of cause. Her gift to the world was her life and her personality, even beyond the scope of her work as an actress.

Gardner is quoted as saying about herself, “What you have to understand about me, honey, is that I am a normal human being just like any other.” Do you see her as a normal human being?

I think that is what presented itself to me as the challenge of the play and kind of the core of the play. You can see this very normal human being, somebody who considers herself to be just an average, not extraordinary person, [whose] image was blown up so big at that period of time in history – when movies were so incredibly powerful in the cultural imagination and how that impacted her personal life. It was, of course, a blessing and a curse and it did take a toll. That’s one of the things I’m hoping to explore in the play.

And I’m hoping that what the play does is that it makes you fall in love with all those old movies and the images they created and the ideas, particularly of romantic love, that hold the public imagination so deeply. But it also explores the sometimes detrimental impact that had on the actual participants in the machine. 

Speaking of that machine, did you come to any conclusions either in research or in your writing as to whether actors had it any easier then than actors do now? 

That’s a very interesting question. I think that they don’t have it any easier now. I think things have changed and I think that there is, particularly in the last couple of years, an increased awareness about the pitfalls of the whole system and that there is now a language to deal with it that they did not have in Ava’s day.

I wanted to portray this character very much as a woman of her time. A woman that experienced the particularly machismo aspects of the Hollywood culture without having any concept or idea that she could expect anything different than the kind of experience she had. And literally without having the language to grapple with it that we have today. So I wanted to look at that from today’s perspective, but keep her every inch who she was, not make her a modern woman of today.

What did you learn from the London production and how did that influence the changes that you’ve made in the play prior to opening in Los Angeles?

Thank you also for asking me that question, because I feel so grateful to the London production for teaching me so much about playwriting and particularly this kind of challenge that I gave myself in this piece. I think mostly I was able to improve the Peter story and improve the story of the the growing relationship between Peter and Eva and their journey toward intimacy as two people that embarked on this project together.

I think I’ve gotten a lot closer to doing what I wanted to do with bringing their mutual journey together alive.

It also strikes me that the intimacy between Eva and Peter serves as perfect counterpoint to these disastrous relationships she had in her life. 

That’s absolutely right. I wanted to give her a journey of intimacy with Peter that was, in some ways, the mirror journey that one takes when they’re embarking on romantic escapades with people. That there’s a beginning, middle and end arc to it. A person and their biographer do go on a journey of intimacy because they are getting close through the conversations they have. So I thought it would be a kind of a perfect sort of metaphor.

In reading the transcripts that became Peter’s book has it given you any thoughts as to whether you would ever want to do an autobiography with a writer? 

Oh, no! There’s no way in hell I would ever contemplate it. Not in this lifetime. 

As the playwright you have ideas that you want to express in certain ways. As the actress you’re on stage bringing those words and ideas to life. Has the actress side of you ever had different thoughts than the playwright side of you and have you had to reconcile what seems good on paper but works differently on stage? 

That’s an interesting question. Yeah. What I really miss saying is that thing that you often say to bond with your fellow actor, “Who wrote this?” I really regret not being able to do that. You have to sort of put on a different brain. We are right now in our technical rehearsal and I’m just having to take my playwright brain and just put it in a drawer. I almost do find myself saying to Aaron at times, “Who wrote this shit” because it’s a different muscle that you have to make the thing work.

Ava’s story, apart from her own excesses, strikes me a study in how differently actresses are treated in the business than men. Was that an important part of her story for you? Does that also mirror some of your own experiences that you have faced? 

Yes, of course. I’m not the first person to say that it is a man’s world. I have had a wonderful life in my career and I live eternally grateful for it every single day. Nevertheless, there’s no getting around the fact that I participate in a business that is geared to a man’s vision. The stories are, most of the time, the male story, the male point-of-view.

I’ve written a play that is also the male point-of-view that gives a platform for a woman to speak. That’s just the way it is and I think things are changing. I think it is a different world that my two daughters are entering. One of my daughters is starting a career in show business as a writer and I think she is changing things. She’s writing a different kind of thing than most of the scripts I did growing up in show business.

Sadly it’s still a lot tougher for women of a certain age than it is for men of a certain age.

Absolutely. Men are still sexy in their sixties and seventies. Women feel eternally ashamed of the most natural process in the world which is aging. I’m a product of my time as well. I feel it, but I don’t I don’t let myself indulge in it. But it’s hard to escape. 

You’ve appeared on stage in plays written by William Shakespeare, Anton Chekhov, David Hare, Tina Howe and J.B. Priestley. What appeal does the stage have for you as an actor? Now that you’re a playwright, has that altered your perception of what it is to work in the theater? 

I feel more passionate about the theater than I ever have. Now we live in a world of too many screens. And the availability of screens at any moment of the day or night has cheapened their value. I feel like there is something very healthy psychologically about a group of people convening at a specified time and having an experience together that they share.

I’ve been working on almost exclusively plays for the last couple of years with the odd exception. But it it makes me feel more mentally healthy because I have to just decide to concentrate on one thing and to have a shared experience with a group of people rather than sit watching things in a kind of ad hoc way all the time on a screen, my phone or the TV.

I think there’s something that’s fracturing to us mentally about that. So I just believe that it’s important to ask people to sit down and give themselves over to a mutual exercise of concentration and then talk about it. Whether they like it or hate it, they’ve had this experience together that they can then share. I think it’s good for our brains. If I did nothing but theater for the rest of my life, I would be very happy. 

You’ve been in the public eye since 1980 with your performance as Janine Pratt in Ordinary Peoplet. How has your own relationship with fame evolved since then? 

I don’t think I think about it very much. I’m not sure I ever really did. It’s been on the periphery of my life for so long and it’s come and it’s gone. I’ve set up a structure for myself where it doesn’t really make too much difference to me one way or another. I have decided to just carry on. I’ve been doing this for really quite a long time. There’s obviously these [times] I’m experiencing a wave of attention and that goes. It doesn’t really affect my day-to-day that profoundly, to be perfectly honest.

Dirk Bogarde, who worked with Ava Gardner in The Angel Wore Raid and became a very close friend, said about her that she was “essential to the Hollywood myth about itself.” What can what can we learn about Ava Gardner from your play and about the myth of Hollywood? Did you want to debunk that myth?

I hope this is not unsatisfactory if I say that I want to express how much I love old Hollywood. At the same time I pick it apart and examine it so that one can see the danger and the pitfall of the machine. Basically it debunks the myth of the romantic love story and the hypocrisy that’s built into it.

Partly it’s the romantic love story that has tended to serve the man just like everything else. Like the me too aspect of the business of the powerful man exploiting his power. But it’s also this kind of the romantic idea that “I love you. I love you. I love you.” That means you serve my every need.

That’s part of the Hollywood myth that my mother and I – and her mother before her – bought into lock, stock and barrel as a woman. But I also loved it. I also love the images and I love love. I think that is an empowering feeling. So I want to do both. I want people to walk away and talk about that and come to their own conclusions. 

Ava: The Secret Conversations runs through May 14th at the Geffen Playhouse in Los Angeles, California

Main Photo: Aaron Costa Ganis and Elizabeth McGovern in Ava: The Secret Conversations (Photo by Jeff Lorch/Courtesy Geffen Playhouse)

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13: THE MUSICAL – Netflix – Starts August 12^th

Tony Award-winning composer Jason Robert Brown (Parade, The Bridges of Madison County) had the world premiere of his musical 13 at the Mark Taper Forum in Los Angeles in 2006. The musical tells the story of a Evan Goldman who desperately wants the cool kids at his new school in Indiana to attend his Bar Mitzvah so he can avoid being forever labeled a geek.

Tamara Davis directed this film version that has a script by Robert Horn (Tootsie: The Musical). The cast includes Eli Golden, Gabriella Uhl, Debra Messing and Rhea Perlman.

I saw the musical in 2007 in Los Angeles and thoroughly enjoyed it. 

2:22 – A GHOST STORY – Ahmanson Theatre – Los Angeles – Now – December 4^th

We might as well start Halloween week with this supernatural thriller written by Danny Robins. It’s a simple premise: Jenny (Constance Wu) believes she hears footsteps coming from her baby’s room every morning at 2:22 AM. Her husband Sam (Finn Wittrock) doesn’t believe her. They invite Lauren (Anna Camp) and Ben (Adam Rothenberg) over for dinner and vow to wait up to see whether Jenny or Sam is correct.

Of course, it wouldn’t be much of a play if Sam is right, would it? 

2:22 – A Ghost Story earned rave reviews when it opened in London. This production is the first US production of the play. Matthew Dunster directs.

For tickets and more information, please go here.

DEATH OF A SALESMAN  – Hudson Theatre – New York City – Now – January 15^th STRONGLY RECOMMENDED

Arthur Miller’s classic play features an all-Black Loman family in this production from the Young Vic in London. Wendell Pierce (The Wire; Clemency) stars as Willy with Tony Award nominee Sharon D. Clarke (Caroline, or Change) as Linda. Khris Davis and McKinley Belcher III play sons Biff and Happy with Tony Award-winner André De Sheilds (Hadestown) as Willy’s brother Ben.

Miranda Cromwell, who co-directed the UK productions with Marianne Elliott, directs.

Ben Brantley, in his opening sentence of his New York Times review of the London production said, “The tired old man has had an unexpected transfusion. And he has seldom seemed more alive – or more doomed.” In other words, attention must be paid.

This is the most emotional production of Death of a Salesman we’ve ever seen.

For tickets and more information, please go here.

EVERYTHING FOR DAWN – All Arts – Now Available

Fifteen different composers and/or librettist have combined forces to create this 10-part opera mini-series. Dawn is a teenager dealing with the aftermath of her artist father’s suicide. Set in Detroit, the first three episodes take place in 1997 when Dawn her mother find a box of paintings. Episodes 4-7 go back two years prior and depict the father in a mental health facility. Episodes 8-10 take place in 2001 as Dawn’s father becomes widely acknowledge as a master of outsider art.

Clarice Assad, Jason Cady, Adrienne Danrich, Lauren D’Errico, Melissa Dunphy, Miguel Frasconi, Paul Kerekes, Pauline Kim Harris, Phil Kline, Krista Knight, Jerry Lieblich, Jerome A. Parker Kamala Sankaram, Aaron Siegel and Matthew Welch are the composers and lyricists.

Episodes 1-6 are already available. Episodes 7-8 get released on October 28^th and the final two episodes will be released on November 4^th.

There is no charge to watch Everything for Dawn which can be found on the ALL ARTS app or at AllArts.org. here.

INTO THE WOODS – St. James Theatre – New York City – Now – January 8^th STRONGLY RECOMMENDED

This often-produced musical by Stephen Sondheim and James Lapine was such a hit at New York City Center’s Encores series that it was inevitable the show would transfer to Broadway…and it has and the reviews and ticket sales are proof that was a great idea.

If you don’t know the musical, multiple fairytales are all taking place in the same forest at the same time. We’re big fans of Act II where not everything is as happy as it first seems. Most people love the first act and don’t know what could happen in that second act. Ah…the surprise!

Lear deBessonet directs. The current cast includes Stephanie J. Block as the Baker’s Wife, Gavin Creel as Cinderella’s Price and the Wolf, Brian D’Arcy James as the Baker, Andy Karl as Rapunzel’s Prince (Joshua Henry returns to the role beginning November 24^th), Patina Miller as the Witch on Fridays, Saturdays and Sundays with Montego Glover performing the role on Tuesdays, Wednesdays and Thursday and Krysta Rodriguez as Cinderella (Denée Benton takes over the role beginning on November 21^st.

Katy Geraghty practically steals the show as Little Red Riding Hood and Kennedy Kanagawa gives enormous life to the Milky White puppet.

Tony Award-winner Joaquina Kalukango (Paradise Square) will take over the role of The Witch beginning December 16th and remain with the show for the rest of the run.

For tickets and more information, please go here.

KIMBERLY AKIMBO – The Booth Theatre – New York City – Opening November 10^th

When this musical by David Lindsay-Abaire and Jeanine Tesori opened at the Atlantic Theater in December of last year, critics and audiences recognized immediately this was something special. 

Based on the play of the same name by Lindsay-Abaire, it tells the story of Kimberly Levaco  (Victoria Clark – Tony Award winner for The Light in the Piazzai) who is aging far faster than she is growing old. She seems to be north of sixty, but still is in high school.

As Jesse Green said in his New York Times review, “Kimberly Akimbo is realdy the rare example of a good play that has become an even better musical.”

Kimberly Akimbo will definitely be a priority on our next trip to New York City.

For tickets and more information, please go here.

LITTLE SHOP OF HORRORS – Westside Theatre Upstairs – New York City – Now running STRONGLY RECOMMENDED

Howard Ashman and Alan Mencken’s delightful musical about a man-eating plant gets the perfect revival in this production directed by Michael Mayer.

Currently starring as Seymour is Tony Award-winner Matt Doyle (Company). He just replaced Rob McClure who finished his run on November 13th. Lena Hall, Tony Award-winner for Hedwig and the Angry Inch, stars as Audrey. Andrew Call is her abusive boyfriend Oren Scrivello; Brad Oscar is Mushnik and Aaron Arnell Harrington is the voice of Audrey II.

This is a thoroughly enjoyable production. As Audrey, Hall has created a woman who isn’t as fragile as is traditionally depicted. She’s a tough-as-nails survivor with a vulnerable streak that is heartbreaking. We saw McClure in the show and thought he was perfect. Doyle will certainly put his own spin on the nebbish young man who provides sweet understanding. After all, Seymour IS Audrey’s man. But don’t feed the plants!

For tickets and more information, please go here.

A STRANGE LOOP – Lyceum Theatre, New York – Now – January 15^th  STRONGLY RECOMMENDED

The 2022 Tony Award for Best Musical and the 2020 Pulitzer Prize for drama went to Michael R. Jackson’s musical A Strange Loop. It’s an aptly named meta-musical about a gay Black man who’s writing a musical about a gay Black man who is writing a musical about…You get the picture.  

Stephen Brackett directs A Strange Loop. The ensemble features Antwayn Hopper, L Morgan Lee, John-Michael Lyles, James Jackson, Jr., John-Andrew Morrison, Jaquel Spivey and Jason Veasey.

This is a wholly original musical that challenges everything we imagine a Broadway musical to be. Jackson does it in all the best possible ways.

For tickets and more information, please go here.

DANIIL TRIFONOV RECITAL – Multiple Venues – November 10^th – December 7^th

Pianist Trifonov performs a solo piano recital featuring works by Tchaikovsky (Children’s Album); Robert Schumann (Fantasy in C Major); Mozart (Fantasia in C Minor), Ravel (Gaspard de la nuit) and Scriabin (Piano Sonata No. 5).

He’ll be at The Royal Conservatory in Toronto on December 2^nd; Shriver Hall in Baltimore on December 4^th  and Carnegie Hall in New York on December 7^th.

For tickets and more details, please click on each venue’s name.

Main Photo: Joshua Henry and Gavin Creel in Into the Woods (Photo by Matthew Murphy and Evan Zimmerman for MurphyMade)

The post BEST BETS STILL AVAILABLE – November 2022 appeared first on Cultural Attaché.

“We don’t share everything about ourselves. And of course, we move through the world trying to project an image of ourselves that has some relationship to the totality of who we are and our experience,” actor Seth Numrich recently told me. “But it’s curated, right? We’re always trying to put our best foot forward or show people what we think they want to see from us.”

It’s an intriguing concept going into an interview with an actor like Numrich who is currently appearing in Power of Sail with Bryan Cranston and Amy Brenneman at the Geffen Playhouse.

Written by Paul Grellong, Power of Sail is about a Harvard (Cranston) professor whose invitation to a White Nationalist to speak there stirs up a hornet’s nest of controversy amongst the staff and the students. Numrich plays Lucas Poole who is a grad student who is hoping to get a prestigious fellowship that has launched several other Harvard students into high-profile and well-paying jobs.

“We come to understand and make and form opinions and judgments about these characters early in the play,” says Numrich. “And then because of the nature of the journey that the play goes on, each one of the characters something new is revealed about them. Then the audience gets to learn something and then reassess the assumptions that they made earlier in the evening. And I just think that that’s so cool and exciting because we’re all complicated.”

Numrich is accustomed to playing complicated and complex characters. He’s appeared on Broadway in Tom Stoppard’s Travesties, Golden Boy by Clifford Odets and The Merchant of Venice by William Shakespeare. The 35-year-old actor also appeared opposite Kim Cattrall in a 2013 production of Sweet Bird of Youth by Tennessee Williams.

“What I get really excited about is when the storytelling is truly happening through the characters. With the best writers you never feel like you’re being explained anything or you’re being taught anything. I appreciate plays that can find an entry into big, interesting, important – whatever that word means – questions about the human experience.”

Sometimes those roles require that Numrich do soul-searching to discover what he may or may not have in common with his character. When he appeared in Afghanistan, Zimbabwe, America and Kuwait by Daniel Talbott at Rattlestick Playwrights Theater in 2015 he told StageBuddy.com that “I truly believe as an actor, as well as a person, that we all have the same capacities inside of us. We don’t like to look at the dark side of our nature, and we often say, ‘Oh, I could never do that. That would never be me.’ But in the right circumstances, you really don’t know.” It’s a perspective he brings to every role.

“I still believe that and it’s very important to me, in terms of the work that I do as an actor, that judging our characters makes it impossible to play any character. It’s never my job to sympathize with a character and their actions and beliefs. But it is my job to empathize with them as a human being. I feel like it’s kind of our superpower as actors is that we are professionally empathetic because we always have to be looking for and trying to understand, why is this person doing what they’re doing? Why are they behaving the way that they are? Why do they choose to move through the world in the way that they do?”

With Power of Sail Numrich says that exploration starts with the play itself.

“What I love about Paul’s writing is I think he does dialogue really well. When you’re speaking his words it never feels unnatural in any way. It always feels real and grounded, which is such a luxury. There’s so much to mine and that’s just exciting because I can just invest myself as the actor in the work I want to do there. And that feels like it naturally illuminates the text and vice versa. I don’t think I’m going to get bored by the end of this run. When I go into any scene I always have more to work on. And that’s not necessarily true of every writer.”

One of the producers of Power of Sail is Daryl Roth (a 12-time Tony Award winner for plays and musicals that includes War Horse in which Numrich appeared) which is fueling speculation that the play might soon set sail for Broadway. If it does, Numrich is confident it will be just as provocative in its next incarnation.

“There’s a lot that people can take from this play. I’ve talked to a lot of people after the show. What’s going on on stage is a mirror of what’s going on in the whole room. We’re asking people to sit for two hours with people living through these questions. It’s a nice reminder that [theater] does have something to offer that these other media do not have, which is that we’re going to all sit together in the same physical space breathing the same air. That feels like a radical, dangerous concept right now in the world. It also feels necessary and so I’m appreciative of this opportunity to do that in a way that feels really connected to the questions that certainly I have been experiencing and living through in the last couple of years.”

Power of Sail continues at the Geffen Playhouse through March 27th. More tickets and more information, please go here.

Photo: Seth Numrich in Power of Sail (Photo by Jeff Lorch/Courtesy Geffen Playhouse)

The post Actor Seth Numrich: “We’re All Complicated” appeared first on Cultural Attaché.

The Geffen Stayhouse offered Helder Guimarães in The Present in May of last year and the show ran for 5 months and gave birth to a second show by the magician. They introduced David Kwong’s Inside the Box before The Present concluded its run and continued with streaming shows through June of this year.

As the Geffen Playhouse is about to embark on its slightly delayed 25th anniversary season, this seemed like a good time to talk to Shakman about the decisions they made early on in the pandemic and how the lessons they learned from the past year will influence the future of the Westwood venue.

What follows are excerpts from our conversation last week that have been edited for length and clarity.

Do you agree with that assessment that the choices you and the team made at the Geffen made COVID less of a factor for you than it might have been for other companies? 

Such a difficult time for everybody and it continues to be difficult. We’re getting ready to reopen right now and every day we we have to wrestle with various issues and decide how best to open up in a safe way. But when the pandemic hit in March of 2020 the first thing we did was pivot to creating short form content so that we, as an institution, could stay creatively active and so that we could stay in touch with our alums who we knew were equally at sea in this new moment. We wanted to see how they were experiencing this odd time in the world and we wanted to create content so we could be in touch with our audience. It didn’t have anything to do with financial impact. We knew at that moment that there was no way to make any money off of that. And we were just trying to continue to do what we love to do.

We structured it, intentionally, like everyday business. We were running at eight shows a week. We were taking Mondays off. We had opening nights and closing nights and press nights. And I think just having a familiar rhythm in a very unfamiliar time was deeply reassuring to everyone at the Geffen and to our audiences as well. 

It seems like as time went on the production values went up. I’m wondering how much of your own background as a director and a producer [Shakman received 2 Emmy Award nominations for WandaVision and will be directing the new Star Trek film] enabled you to rely on technology that perhaps other companies either weren’t thinking of doing, didn’t have the resources to do or just chose not to?

We got better at it for sure because we had never done it before. We had never done a show on Zoom. We were reaching out to Zoom and they were wonderful, very helpful, helping us to figure out how to maximize the platform to work for what we are trying to do. I had reached out to people who work in the camera department on other shows that I’ve done about what cameras we should be using and settings and ways to just make it look as good as possible on Zoom, which is a standard def format. So we’re not getting that high def that you’re used to seeing on Netflix and streaming at home. So how we can make our image look as good as possible over Zoom. Frank Marshall, who is the director of both of our Helder Guimarães shows, is himself a legendary producer and director. And he was reaching out to folks that he worked with as well. So we were trying to get better with every version.

You were just in the New York Times recently in a story about about streaming and you talked about how as time went on and things started to open up you saw a drop in how much you were able to to get people to attend online shows. We’re living in an interesting time where technology is making it much more possible for people to just stay at home. Do you see any component of what you do moving forward at the Geffen being designed for this rapidly growing stay-at-home crowd? 

It is a challenge because I have noticed that now that we can go back into shared spaces the desire for people to find their entertainment through online options like what we were offering during the lockdown is definitely less pronounced. But I agree that we need to continue to think about the future. And to that end we are partnering with several artists about how we can do all virtual shows in the future that we think will be able to still appeal in a quote unquote new normal and also be connected to productions that we’re doing at the theater. I can’t speak to specifically about either of them because they’re still in their early phases. But I think they offer an opportunity to continue to grow our audience, to take down barriers to entry that are financial and geographical. We want to be able to to have theater available to everyone. So we’ll see if we can figure out what a hybrid looks like. I think being curious is the first step and then we’ll see where we go. 

Bilbo Baggins, a character from Tolkien’s The Hobbit and someone with whom I know you have some familiarity dating back to a production you were in when you were four-and-a-half, says in one of the books, “The road goes on and on; down from the door where it began. Now, far ahead, the road has gone and I must follow if I can.” Where does the road in the next few years lead for the Geffen Playhouse and for you as well? 

I am really excited about the next twenty five years for the Geffen. We have been through a lot, as the rest of the country has been, and I think we’re coming out of it with renewed focus and determination. The season that we have planned is a really exciting one that I think honors both the past and looks forward to a bright future. 

And I think there’s a healthy interest in coming back to the theater now. Many people speak about the the Roaring Twenties that are coming. I don’t know that I’ve heard the roar, but I definitely hear a good, strong growl. And I think people are ready to come out and and be with each other. So hopefully by next year, things will start to feel like normal again. And I’m excited to help be a caretaker for it as it moves forward into the future.

Photo of Matt Shakman by Jeff Lorch (Courtesy Geffen Playhouse)

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Rao is the author of 2017’s Bollywood Kitchen: Home-Cooked Indian Meals Paired with Unforgettable Bollywood Films. As the title suggests, food and film are paired in this book. We learn from him during the show that the book pays tribute to his mother by using many of her recipes.

During the course of his roughly 70-minute show – which streams live from his Manhattan apartment – Rao walks the audience through the creation of three different recipes: a variation of a Moscow Mule, chicken curry and chai affogato. While he allows us to cook along with him, he tells us about his upbringing in Pennyslvania as the son of immigrant parents.

As is certainly the case for many such children, he is seen as an “other” for not just his ethnicity, but for what he matures to realize is his homosexuality.

Throughout the stories he tells about his life and his parents with excerpts from some of his favorite Bollywood films that illustrate the points he’s making.

There are three ways to experience Bollywood Kitchen. The first is with the Chef’s Table ticket ($175 per household) which includes the Bollywood Box of ingredients, spices and recipe cards, the ability to be on-camera and cook with Sri, an autographed copy of his cookbook and a Vimeo link to watch the show after it is over.

The Bollywood Foodie ticket ($95 per household) gives you the full Bollywood Box and a streaming-only ticket for the show.

Lastly there is the Here for the Party ticket ($40 per household) which gives you a digital link to the recipes and you’re on your own for all the ingredients, but you can cook along and stream the show.

As a vegan, a few of the recipes were not things I would eat, though Rao does offer an alternative to the chicken curry with chana masala (a chickpea-based curry).

Whether you watch the show and cook or not, I strongly encourage you open the spices and get a good whiff of each of them. That fully puts you into the mood for Bollywood Kitchen. (Maybe the Mumbai Mule helps, too!)

Bollywood Kitchen is directed by Arpita Mukherjee.

Photo: Sri Rao in Bollywood Kitchen (Photo by Kyle Rosenberg/Courtesy Geffen Playhouse)

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The Future finds gambling, perception and stunning card tricks at the core of Guimarães’ storytelling. Perspective is the fulcrum through which we will view the story and we, as the audience, guide its direction. We have a say at multiple times during the show as to which perspective we will view this story.

Ticket holders receive a mysterious cylinder in the mail prior to showtime. We are told not to open it until instructed to do so during the performance. The performance takes place via Zoom and don’t be surprised if you get called on to participate in the show.

It would be unfair to reveal much else about the show except to say that as a long-time fan of magic, I was very impressed. What I will say is that Guimarães has significantly raised the stakes for The Future.

Frank Marshall, who directed The Present, returns to direct here. The Future runs approximately 80 minutes.

Will there also be a show next year called The Past? It does seem as though we are in the midst of a well-planned trilogy of shows.

Tickets are $95 and the first announced dates have sold out. An extension – the first, so far – has been announced through March 14th. If this show is as successful as The Present, a second extension is probably in the cards.

Photo: Helder Guimarães in The Future (Photo by Catarina Marques/Courtesy Geffen Playhouse)

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Barbecue is this week’s offering in the Spotlight on Plays series from Broadway’s Best Shows. The streaming reading becomes available on December 10th and will remain available through Monday, December 14th.

This is a very funny play that has an early twist you don’t see coming. Reviews of the play have often given away that twist, but I say, the less you know the better.

On a very basic level the play is about a family intervention disguised as a barbecue. They are all there to help one family member who has a substantial drinking problem. Things from there don’t go quite as the characters planned, nor as the audience thinks they will. And there are more twists ahead.

Christopher Isherwood, writing in the New York Times, had issues with the second act, but admitted, “Mr. O’Hara, the author of last season’s audacious Bootycandy, has a heat-seeking imagination when it comes to style and structure.” (There are spoilers in his review, so if you want to be surprised, don’t read it.)

I enjoyed the play when I saw it at the Geffen Playhouse in 2016. That production was directed by Colman Domingo who appears in this reading.

The rest of the cast includes Carrie Coon (2013 revival of Who’s Afraid of Virginia Woolf?), Kimberly Hébert Gregory (By the Way, Meet Vera Stark), Annie McNamara (Tony nominee for Slave Play), S. Epatha Merkerson (Come Back Little Sheba), Laurie Metcalf (Three Tall Women), David Morse (The Iceman Cometh), Kristine Nielsen (Present Laughter), Tamberla Perry and Heather Simms – both of whom appeared in Barbecue at The Public Theater.

Tickets are only $5 with proceeds benefitting The Actor’s Fund.

Photo: Robert O’Hara (Courtesy Playwrights Horizons)

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Quite a few of this week’s offerings are concerts. We have jazz, classical, Broadway vocals and one jazz/dance combination.

I’ve made a change to help you navigate my listings. Before each title there is a category that defines the genre of the listing. So if you only want to find jazz concerts, just look for JAZZ. For ballet or dance, look for DANCE. And in the case of our hybrid event, you’ll find DANCE/JAZZ combined. All listings are in order of when they become available.

Topping our list this week is the world premiere of a new work by composer Nico Muhly that is being performed by organist James McVinnie on Saturday.

Here are my choices as your Best Bets at Home: December 4th – December 6th.

PLAY: The Night of the Iguana – La Femme Theatre Productions – Now – December 6th

Tennessee Williams’ The Night of the Iguana gets an all-star reading from New York’s La Femme Theatre Productions.

Williams based the play on his own short story that in and of itself was inspired by his cousin. The Night of the Iguana had its Broadway debut in 1961.

Reverend Shannon has been forced out of his church after a sermon where he demonized God. He’s relegated to serving as a tour guide and accused of statutory rape of a 16-year-old girl.

While escorting a group of women to Acapulco and staying at a cheap motel, Shannon battles the pressures from the outside world and the demons within himself.

Dylan McDermott stars as Reverend Shannon; Phylicia Rashad plays Maxine; Roberta Maxwell as Judith Fellowes; Austin Pendleton as Nonno and Jean Lichty as Hannah, with Keith Randolph Smith, Carmen Berkeley, Eliud Kauffman, Julio Macias, Stephanie Schmiderer, Bradley James Tejeda and John Hans Tester. Emily Mann directs.

Tickets are range from $10 – $250 depending on your ability to pay. This reading serves as a fundraiser for The Actors Fund.

DANCE: in the absence of things – Baryshnikov Arts Center – Now – December 15th

In this ten-minute experimental dance short film, Somi Kakoma explores the impact the pandemic is having on her and her creative process.

Instead of being on the road, she returned home to Illinois and found herself wrestling with the the desire to create and perform and the need to just live.

Movement, art songs, spoken word and more are utilized to tell her story. Kakoma’s mother provides some of the film’s narration. There is also music from a recent live album, Holy Room – Live at Alte Opera with Frankfurt Radio Big Band in the film.

CLASSICAL: Beethoven’s The Creatures of Prometheus – The Philharmonia Orchestra of London – Beginning December 4th – 2:30 PM EST/11:30 AM PST

In February of this year, the Los Angeles Philharmonic had one of their most exciting concerts when Esa-Pekka Salonen, Simon McBurney and Gerard McBurney collaborated on The Weimar Republic: Salonen Conducts The Seven Deadly Sins.

Starting on Friday, Salonen and Gerard McBurney are once again collaborating on a concert. The Philharmonia Orchestra of London is performing Beethoven’s The Creatures of Prometheus.

Most concertgoers are familiar with the work’s overture; far fewer are familiar with the complete score Beethoven composed for this ballet that had its world premiere in Vienna in 1801.

McBurney has written a new script for this concert. There will be animation by Hillary Leben whose work has been seen in performance with the Boston Symphony Orchestra, the Chicago Symphony Orchestra, Silk Road Ensemble and more.

When you add that the narration will be performed by Stephen Fry, what else do you need?

The link takes you directly to The Philharmonia Orchestra of London’s YouTube page where this performance can be seen.

DANCE/JAZZ: waiting – 92nd Street Y – December 4th – 7:00 PM EST/4:00 PM PST

Dancer/choreographer Sidra Bell was working on waiting in anticipation of its world premiere performance in June of this year. That was postponed due to the pandemic.

The work is a collaboration with jazz composer/saxophonist Immanuel Wilkins.

Wilkins’ debut album, Omega, was named the Best Jazz Album of 2020 by the New York Times this week.

What is being shown is a work-in-progress of waiting. Sidra Bell and Immanuel Wilkins will participate in a post-performance Q&A.

Tickets are $10.

JAZZ: Christian McBride – Village Vanguard – December 4th – December 5th – 8:00 PM EST/5:00 PM PST

Bassist Christian McBride is joined by Marcus Strickland on saxophone; Josh Evans on trumpet and Nasheet Waits on drums for these two performances from New York’s Village Vanguard.

McBride’s most recent album is The Movement Revisited: A Musical Portrait of Four Icons.

On this record McBride celebrates Rosa Parks, Malcom X, Muhammad Ali and Martin Luther King, Jr.

He just received two Grammy Award nominations recently for Round Again (which finds him recording with Joshua Redman, Brad Mehldau and Brian Blade) and also for Trilogy 2 (which is a live recording with Chick Corea and Blade). He can’t win both awards unless there is a tie – he’s competing against himself.

Tickets are $10 for each performance.

JAZZ: Robert Glasper Acoustic Trio – The Kennedy Center – December 4th – 8:00 PM EST/5:00 PM EST

Composer, pianist, producer Robert Glasper is equally comfortable working in the hip-hop world (Kendrick Lamar’s To Pimp a Butterfly, Maxwell, Common) and the jazz world (Terence Blanchard, Roy Hargrove, Christian McBride).

He has released albums that find him collaborating with such artists as Kamasi Washington, Terrace Martin, Phoelix and Herbie Hancock.

For this concert at The Kennedy Center he’s working in the trio configuration with Vicente Archer on bass and Justin Tyson on drums. As befits an artist who works in multiple genres, the trio will be joined by DJ Jahi Sundance.

I believe Glasper is one of our most interesting musicians and this should be a terrific concert.

After the performance, Glasper will be joined by Jason Moran for a conversation. Moran is the Kennedy Center Artistic Director for Jazz.

Tickets are $20 and the program will remain available for renting beyond this premiere showing.

PLAY/MAGIC: The Future – Geffen Stayhouse – December 4th – January 31st

It seems like only yesterday that magician Helder Guimarães just concluded his run of The Present with the Geffen Playhouse. He’s back with a new show and given its title I’m wondering if a trilogy is being planned.

The Future finds gambling at the core of Guimarães’ storytelling and perspective is the fulcrum through which we will view the story and guide its direction.

Frank Marshall returns as director. Will there also be a show next year called The Past?

Tickets are $95 with a majority of the performances already sold out. If you’re interested, act quickly. To do otherwise might gamble away your chance to get a look into The Future.

JAZZ: Pink Martini – SFJAZZ – December 4th – 8:00 PM EST/5:00 PM PST

This week’s Fridays at Five concert from San Francisco Jazz is a holiday concert by Pink Martini that was performed at the venue last December.

This seventeen-member ensemble successfully blends musical styles to create a sound all their own. For instance, did you ever think this rhythm would be part of “We Three Kings?”

Having watched many a concert from this Fridays at Five series, I’m always pleased with how good these shows look and how great they sound.

The concert will air only at this one time. Tickets are $5 for a one-month subscription or $60 for a one-year subscription.

BROADWAY VOCALS: Vanessa Williams: Live from the West Side – Segerstrom Center – December 5th – 8:00 PM EST/5:00 PM PST

In the third and final concert from the Women of Broadway series Live from the West Side, Vanessa Williams take to the stage.

Williams was a Tony Award and Drama Desk Award nominee for Best Actress in a Musical for her performance as The Witch in Stephen Sondheim and James Lapine’s Into the Woods revival from 2002.

She made her Broadway debut when she joined the cast of Kiss of the Spider Woman as Aurora/Spider Woman in 1994. Her other Broadway credits include 2010’s Sondheim on Sondheim and the 2013 revival of The Trip to Bountiful.

Beyond her Broadway career she’s had best-selling albums and singles including The Colors of the Wind from the Disney animated film Pocahontas.

Tickets are $30 and allow for additional viewings for 72 hours.

JAZZ: Arturo Sandoval Live from the Broad Stage – The Broad Stage – December 5th – December 13th

In October of this year, trumpeter Arturo Sandoval and a small ensemble of musicians came together to film a live concert at the Broad Stage in Santa Monica. The end result is 60 minutes of Latin jazz sure to entertain.

Sandoval is a 10-time Grammy Award winner who was born in Cuba. There isn’t enough space to list all the recordings he’s made and all the musicians with whom he’s recorded. But perhaps the names Bennett, Estefan, Keys, Monk and Sinatra might sound familiar.

Joining him are Will Brahm on guitar; Ricard Pasillas on percussion; Johnny Friday on drums; John Belazaguy on bass and Max Haymer on piano.

Tickets are $10 for non-members. Free for members.

JAZZ: Barbara Morrison: Standing on Their Shoulders – The Wallis – December 5th – 11:00 PM EST/8:00 PM PST

No jazz vocalist can claim not to have been influenced by Ella Fitzgerald, Billie Holiday, Sarah Vaughan and Dinah Washington. Singer Barbara Morrison is no exception.

In this concert, part of the virtual version of The Sorting Room from The Wallis, Morrison will put her own stamp on the songs these women made famous.

Tickets are $25 and allow for viewing for 24 hours. There are more concerts in this series and package deals are available for viewing either half or all six of The Sorting Room series.

CLASSICAL: James McVinnie Live from Concert Hall ‘Latvija’ in Ventspils – December 6th – 12:00 EST/9:00 AM PST

In February of 2018 I saw and heard organist James McVinnie give the world premiere performance of Register by Nico Muhly. It was an amazing performance of truly fascinating music.

It wasn’t their first collaboration. Muhly wrote 2013’s Cycles for McVinnie. Muhly and McVinnie have collaborated again on Nativity Cycle.

This music was written specifically for this concert and for McVinnie by Muhly.

The composer was inspired by plainsong. That term refers to unaccompanied church music sung in medieval modes and free rhythm. The text is taken from liturgical material.

Each of Muhly’s pieces will include the plainchant at the end, but expect him to transform the original music into something that is at times, much simpler and at other times, much more complex. All of which suits McVinnie’s talents.

Tickets are €8 which is just under $10 as of press time. This does not include any service charges. There is a note on the website that says ticket prices will increase as the concert dates get closer.

JAZZ: Billie Holiday: A Concert Celebration – 92nd Street Y – December 6th – December 9th

On November 21st, the Emmet Cohen Trio was joined by singers Catherine Russell and Veronica Swift for a celebration of the music of Billie Holiday filmed at New York’s 92nd Street Y. That concert will start being available on Sunday at 3:00 PM EST/12:00 PM PST and remain available for renting through December 9th.

Also joining the concert is saxophonist Tivon Pennicott who joins for a special tribute to the collaborations Holiday had with Lester Young.

I wasn’t familiar with Swift before reading about this concert. She’s quite good. It will be exciting to see where she goes with her career.

The members of Cohen’s trio are Yasushi Nakamura on bass and Kyle Poole on drums. (Cohen, of course, plays piano.)

Tickets are $15.

BROADWAY VOCALS: Eva Noblezada Live from Adelphi – Adelphi PAC Concert Hall – December 6th – 5:00 PM EST/2:00 PM PST

Eva Noblezada has appeared on Broadway in two musicals: She played Kim in the 2017 revival of Miss Saigon. She originated the role of Eurydice in the Tony Award-winning musical Hadestown. She was Tony nominated for both performances. In other words, she’s gotten a nomination for every role she’s performed on Broadway. She hasn’t yet snagged one of the trophies, but just you wait.

You’ll be able to see what makes her so engaging in this live concert on Sunday. I’ve seen her in Hadestown. She’s very talented and this should be a great opportunity to see her shine.

Tickets are $15.

CLASSICAL: McGill/McHale Trio – Shriver Hall Concert Series – December 6th – 5:30 PM EST/2:30 PM PST

Clarinettist Anthony McGill and his flautist brother Demarre met pianist Michael McHale when they were artists-in-residence at Bowling Green University. The trio first performed together in 2014 and they’ve been making music together ever since.

For this program, which took place at New York’s 92nd Street Y last December, the trio will celebrate dance. The concert features works by Chris Rogerson, Francis Poulenc, Antonin Dvořák, Guillaume Connesson, Claude Debussy and Paul Schoenfield.

There will be a post-performance Q&A with the artists available after the concert.

Tickets are $15 and allow for continued viewing through December 9th.

BROADWAY VOCALS: Ana Gasteyer with Seth Rudetsky – December 6th – 8:00 PM EST/5:00 PM PST

Columbia, Elphaba and Mrs. Peachum are all familiar characters to fans of musicals. Martha Stewart, Celine Dion and Hillary Rodham Clinton are familiar to most people.

Saturday Night Live veteran Ana Gasteyer has played them all.

Her Broadway debut came in the 2001 Broadway production of The Rocky Horror Show. Several years later she played that oh-so-green woman in Wicked after having appeared in a new production of The Threepenny Opera with Alan Cumming.

She joins Seth Rudetsky for his concert series this weekend. The live performance takes place on Sunday. If you are unable to watch that performance, it will be re-streamed on Monday, December 7th at 3:00 PM EST/12:00 PM PST.

Tickets for either performance are $28.50 (which includes service charges).

That concludes my selections of the Best Bets at Home: December 4th – December 6th. But there are always going to be a few reminders:

Ute Lemper’s Rendezvous with Marlene has a final streaming performance on Saturday, December 5th at 2:00 PM EST/11:00 AM PST.

Larry Powell’s The Gaze…No Homo continues with new episodes at The Fountain Theatre’s website.

Greenway Court Theatre’s If I Should Wake makes both parts available for the first time beginning on Friday. The show ends its streaming on December 10th.

All concerts that are part of the Los Angeles Philharmonic’s Sound/Stage series remain available for streaming. The Solitude episode, featuring works by Thomas Adés and Duke Ellington, will only be available through December 15th.

The Metropolitan Opera concludes its Stars in Signature Roles week with Elīna Garanča in Bizet’s Carmen on Friday; Jessye Norman, Kathleen Battle and Tatiana Troyanos in Strauss’ Ariadne auf Naxos on Saturday and Shirley Verrett, Luciano Pavarotti and Cornell MacNeil in Puccini’s Tosca on Sunday.

Now we’ve truly come to the end of the Best Bets at Home: December 4th – December 6th. Enjoy your weekend and enjoy the culture!

Photo: James McVinnie (Photo ©Magnús Andersen/Courtesy of McVinnie’s website)

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One year later Time Stands Stills opened at Manhattan Theatre Club’s Friedman Theatre. Later that same year it moved to Broadway where the play received two tony Award nominations including one for Best Play. The production starred Eric Bogosian, Brian d’Arcy James, Laura Linney (the other Tony nominee) and Alicia Silverstone. Daniel Sullivan directed.

The Broadway cast is reuniting for this week’s edition of Spotlight on Plays from Broadway’s Best Shows under Sullivan’s direction. The reading begins streaming December 3rd and will remain available through December 7th.

The play depicts the relationship between a couple who are both journalists: James (d’Arcy James) is a reporter and Sarah (Linney) a photographer. Not long after James left Sarah back in war-torn Iraq, she is badly injured in an attack. Back home in New York they try to re-acclimate themselves into domestic life while recovering not just from the physical cost of war, but the psychological one as well.

That recovery gets complicated when Sarah’s mentor and former editor Richard (Bogosian) re-enters her life with his hot new girlfriend, Mandy (Silverstone). How dissimilar are James and Sarah’s lives post-war than those of her mentor and his girlfriend? Will that alter their perceptions of life upon their return just as they struggle to overcome their recent experiences.

Charles Isherwood, in his New York Times review of the play, summed up the challenges the characters face in Time Stands Still.

“Sarah and James have spent much of their lives bearing witness to horrific violence, but Mr. Margulies’s quietly powerful drama illustrates just how much pain and trauma are involved in the everyday business of two people creating a life together, one that accommodates the mistakes of the past, the reality of the present and the changes that the future may bring.”

Tickets to watch this reading are $5 and are available through Today Tix. The premiere is at 8:00 PM EST/5:00 PM PST on December 3rd and allows for repeated viewing through December 7th. A portion of the proceeds will go to The Actors Fund.

Photo: Playwright Donald Margulies (Courtesy Geffen Playhouse)

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