There’s theatre on Broadway. You just have to adjust your sights.
More than a hundred blocks north of Manhattan’s shuttered theatre district but on that same famed thoroughfare, an actor recently read his lines from a huge stage.
But there was no applause. Instead, all that was heard was a strange command for the theatre: “And cut!”
Tony Award-winner Jefferson Mays was performing multiple roles for a high-tech “A Christmas Carol” that was being filmed for streaming this month at the empty 3,000-seat United Palace.
The one-man show is an example of how many who work in theatre are increasingly defying Covid-19 by refusing to let it stop their art, often creating new hybrid forms.
“Because it’s such a roll-up-your-sleeves business, theatre people figure it out,” said Tony Award-winning producer Hunter Arnold, while watching Mays onstage.
Live theatre is uniquely tested by the virus, one reason it will be among the last sectors to return to normal. Props and costumes are usually touched by dozens each night, an orchestra is crammed into a pit, backstage areas are small and shared, and audiences are usually packed into seats. New ways are needed.
Mays’ “A Christmas Carol,” which was filmed on a high-tech LED set, veers much more filmic than most other streaming theatre options and is raising money for suffering regional theatres — one stage production helping others during the pandemic.
Other green shoots include radio plays, virtual readings, online variety shows and drive-in experiences that combine live singing with movies. A musical version of the animated film “Ratatouille” is being explored on TikTok.
“We will conquer it. We are theatre people. By God, we will conquer it and get it done,” says Charlotte Moore, the artistic director and co-founder of the acclaimed Irish Repertory Theatre in New York City.
Her company has put on a free streaming holiday production of “Meet Me in St. Louis” with a dozen cast members, each filmed remotely and then digitally stitched together. Moore directed it — appropriately enough — from St. Louis.
The cast was mailed or hand-delivered props, costumes and a green screen. They rehearsed via Zoom and FaceTime. A masked and socially distant orchestra recorded the score.
Like many other theatrical hybrids venturing into the digital world these days, it’s not clear what to call it. It’s not technically live theatre, but its soul is theatrical.
“It’s not definable in our current vocabulary,” Moore said. “It has to have a new definition, truly, because it’s certainly unlike anything that has been done.”
One of the companies to show the way forward was Berkshire Theatre Group in western Massachusetts, whose “Godspell” in August became the first outdoor musical with union actors since the pandemic shut down productions.
Artistic director and CEO Kate Maguire refused to entertain the notion that the company — established in 1928 — would have an asterisk beside 2020 that said no shows were produced that year.
“We’re theatre makers, we’re creators, she said. ”We should be able to figure out how to create something.”
So they used plexiglass partitions between each masked actor. The performers were tested regularly — at a cost of close to $50,000 — and had their own props and a single costume. In an open-air tent, they managed to pull off a crucifixion scene without any touching or lifting, itself a miracle.
Audiences underwent temperature checks and were separated by seats. Staff were placed in three protective bubbles: artistic, production and front-of-house. And there was monitoring: Last year it was an intimacy officer; this year it was a Covid-19 one.
Since that first brave step, other theatre companies have plunged into the void. Play and musical licensor Concord Theatricals says theatre companies across the country are looking for flexibility in case of virus restrictions.
“We’re seeing many groups applying for small cast, easy to produce, plays and musicals. They’re even seeking casting flexibility and asking for permission to perform with or without an ensemble,” said Sean Patrick Flahaven, chief theatricals executive.
Playwright Natalie Margolin decided to write a new play during the pandemic but not a conventional one. She imagined what the world would look like when it was a given that all social life existed on Zoom.
Hence “The Party Hop,” a play specifically to be performed on Zoom that’s set three years into quarantine in which three college girls hit the town — online. It became her first published play, and she got stars such as Ben Platt and Ashley Park to perform in an online version, currently on YouTube. She hopes high schools and colleges will be attracted to a play reflecting the era.
Theatre makers have also leaned into the storytelling part of their craft, making The Broadway Podcast Network a hub for everything from audition advice to behind-the-scenes stories.
Launched shortly before the pandemic with 15 podcasts, the theatre shutdown initially wiped out its revenue streams, advertising and sponsorship. The network has since righted itself and is growing with some 100 podcasts — from the likes of Tim Rice and Tonya Pinkins — plus benefits, show reunions and original programs, like the digital theater-based frothy soap opera, “As the Curtain Rises” with stars Alex Brightman, Sarah Stiles and Michael Urie.
“It’s not anything that will ever replace live theatre, but it’s an extension. It’s a different way of doing that,” said Dori Berinstein, co-founder of the network.
(This story has been published from a wire agency feed without modifications to the text.)
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