The artistic visionaries behind our best professional theaters shine a light on how they plan to move forward in 2021 until COVID-19 is in the rear view mirror. Here’s snapshot in alpha order—plus an overdue happy, surprise ending . . .
American Stage
americanstage.org
In May, when I interviewed Stephanie Gularte in May about how the pandemic affected the region’s oldest, largest theatre. I wanted to know about plans to weather this storm without a foreseeable end, she didn't even hint at the retinal issue that would force her resignation a mere three months later.
Her five year tenure has been exemplary—a triumph of both artistic and management acumen. And now her board is doing a national search with a well-respected arts headhunter to fill her shoes by spring. AmStage recently finished a three play virtual series (I was able to review the estimable Janis Stevens as “Kate”).
In January, American Stage has four digital staged readings chosen from over 200 new play submissions dealing with mental health. In February, Actor/Director L. Peter Callender assumes the iconic role of Louis Armstrong in a multi-camera digital production “Satchmo at the Waldorf” by Wall Street Journal drama critic, Terry Teachout.
And one full year after its intended world premiere opening night was canceled due to COVID-19, local playwright Natalie Symons' “The People Downstairs” will be presented to audiences virtually and possibly onsite. Gularte notes that “the incredible set, designed by Scott Cooper has stood quietly in the dark on our stage, awaiting the moment when the lights can be turned back on.”
freeFall Theatre
freefalltheatre.com
freeFall’s “War of the Worlds” inaugurated its new outdoor stage to great effect. That production was followed up for the holidays by “A Christmas Carol Concert.” But like all not-for-profit theatres (especially Actor’s Equity members) there’s been lots of staff upheaval from months with no ticket income. However, community outreach director (and a leading actor in the region), Matthew McGee exudes his characteristic optimism when talking about 2021.
"We've seen great success going show to show with our Drive-In Concert Series. We will continue that until it's safe enough to go back into the theater. Our hope is to be able to present the world premiere musical ‘OZ’ this summer. Written by Eric Davis (Artistic Director) with music and lyrics by Eric Davis and Michael Raabe, OZ will be a great return to our beloved space. There's no place like freeFall."
Innovocative Theatre
innovocativetheatre.org
Innovocative Theatre—which most recently collaborated with the Lab Theatre, but in normal times performs at StageWorks’ Channelside space—is lead by Artistic Director, Staci Sabarsky. Its stated goal is that “we believe theatre should be innovative, evocative, and thought provoking. We . . . strive to produce theatre that engages the audience in powerful character-driven stories. We think theatre should make you think; that theatre should open up a dialogue, and that theatre can be a way to safely examine differing point of views.” As of yet, there’s no announcement of how it’ll reemerge in 2021.
Jobsite Theater
jobsitetheater.org
“We're of course very excited to take up residence in the Jaeb this year,” David M. Jenkins, Producing Artistic Director at Jobsite Theater said, despite the circumstances.
“We're beyond happy with what we have done in that room artistically while putting health and safety first, and how responsibly the Straz continues to act in doing everything the right way,” Jenkins added. “We've picked up a number of endorsements of how we're handling everything in that space on both sides of the curtain, including from a TGH COVID-ward doctor.” (Editor’s note: It’s true, Straz is one of the City of Tampa’s “Safe & Sound” venues, meaning it’s part of a collective of spaces that’ve pledged to strictly enforce limited-capacity shows, mask wearing and socially distancing despite the state’s weak regulations.)
“Frankenstein” (see CL’s review) was a huge success and this month Jobsite presents “Doubt: A Parable: a priest, a nun, an accusation—but no proof.” This Pulitzer- and Tony-winning drama about what may or may not have happened with a student in a Bronx parochial school shoves the certainty of faith into a shadow of a doubt. TimeOut NY hails this ambiguous turn of events as “an eloquent and provocative investigation of truth and consequences; a gripping mystery, tightly written.” That’s followed in short order by a subversive comedy, “Hand to God.” I saw both these compelling shows on Broadway, and Tampa audiences are indeed in for a socially distanced treat.
Lab Theater Project
labtheaterproject.com
New work is the lifeblood of the theater, which is what Ybor’s Lab Theater Project is all about. Artistic Director, Caroline Jett told CL she is “very much looking forward to the new year! We are opening our season with ‘Lab Laughs: an Evening of Comedy Shorts,’ running Jan. 21-24, bringing a slate of brand new short plays and monologues from playwrights around the world. Our 2021 season will bring journalistic integrity and culture clash, ghosts of the past and finding peace, forbidden love and acceptance, and monsters and power. With a season of four exciting and thought provoking productions through 2021, Lab stays committed to bringing new works to life safely for our performers and our audience through limited theater seating and livestream.”
Stageworks Theatre
stageworkstheatre.org
Producing Artistic Director Karla Hartley is mindful of keeping her audience and actors safe as they return to live performance at their Channelside space.
“We at Stageworks are very much looking forward to welcoming audiences who wish to gather together in person. At the same time we are preparing to serve people who are either unable or willing to venture out. We will be producing high quality live stream performances of the season that can be watched in the privacy of your own home,” she told CL. Stageworks is kicking off with a particularly timely play about fake news. I saw it on Broadway and it’s a great piece of theatre based on the true story of John D’Agata’s essay “What Happens There.”
“The Lifespan of a Fact” follows Fingal, who has a small job: to fact-check articles for one of the best magazines in the country. His boss has given him a big assignment: to apply his skill to a groundbreaking piece by legendary author D’Agata. But now Fingal has a huge problem. D’Agata made up a lot of his article. What starts as professional quickly becomes profane. It’s sure to kickstart a return to live performance, even if we’re not quite completely back to normal.
Tampa Repertory Theatre
tamparep.org
Tampa Rep’s Founding Artistic C. David Frankel sadly lost his battle with cancer at the beginning of March just a week before COVID-19 shutdown our world. While mourning its leader and mentor, the nine-year-old company managed to survive under the leadership of acclaimed actor Emilia Sargent, who has taken the reigns as Producing Artistic Director/CEO.
The company just finished a fully produced theatre production streamed by Broadway on Demand (with quarantined actors in a studio setting) of “I and You,” by award-winning playwright Lauren Gunderson, who herself attended their post show talkback. Sargent confirms that “we have a couple of projects we are working on that we cannot announce yet. One will be for digital streaming, and each other would be an outdoor performance with a socially distant audience. Additionally, we intend to fully produce our postponed season beginning with ‘The Elephant Man’ in September 2021.”
Fingers crossed that we may all be sharing this iconic tale in the dark together by then.
Theatre Tampa Bay
theatretampabay.org
Theatre Tampa Bay (TTB) is the region’s service organization for professional theatre. Its website is a great resource for up to date information of what’s playing across Tampa Bay. TTB also runs annual awards and unified auditions each June. Board Member, Kim Rosenthal, told CL that “Theatre Tampa Bay is committed to the safety of volunteer judges and member theatres.”
After consultation with all parties and considering the highly inhomogeneous nature of member programming this year, Theatre Tampa Bay has suspended the full judging program for the 2020-2021 Season.
However, TTB Recommendations will continue as “TTB 2 Thumbs Up,” to promote excellence among the various performances offered by all our member theatres. Four judges will be assigned to each performance and ‘Two Thumbs Up’ will be awarded to shows that are recommended by at least two judges.”
“Anyone Can Whistle”
CD or Digital Download; no streaming services
jayrecords.com
As the year ends and we mourn the loss of what amounts to an entire season of butts in seats, one very happy note has emerged. Or, I should say thousands of notes from an under-appreciated cult musical by Broadway’s reigning master, Stephen Sondheim. In 1964 (the heyday of “Hello Dolly” and “Funny Girl”), Sondheim and his “West Side Story/Gypsy” collaborator, Arthur Laurents, wrote the first absurdist musical, “Anyone Can Whistle.”
It’s a free-wheeling socio political satire that was ahead of it’s time. As playwright George S. Kaufman quipped though, “satire is what closes on Saturday night.” The show only ran for 13 performances; as Sondheim notes, “there’s a very thin line between smart and smart-ass, and we over-stepped it.” Still the OBC recording introduced Angela Lansbury and a second CD was a 1995 Carnegie Hall concert with Bernadette Peters. Now, gloriously, a complete version of the score with all the incidental and dance music has been released for Sondheim’s 90th birthday year. The leading ladies are England’s best Sondheim interpreters at the top of their game; it’s been in the vault (long story) since 1997. Julia McKenzie is giddy and brassy, while Maria Friedman is touchingly vulnerable—her rendering of the title song brought me to tears. The National Symphony Orchestra rips into Don Walker’s orchestrations with abandon. Sondheim confesses that “the brilliance of this recording gives the show more energy and sparkle than it’s ever had. It made me proud of it.” While we’re waiting for normalcy to return, this is not to be missed.
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This article appears in Jan 28 – Feb 3, 2021.