January 12-30, 2022
Tuesday – Saturday at 7:30 pm
Sunday at 5pm

150 First Ave. Second Floor, NYC 10009

Tickets, now on sale, are $25 and available through The Public Theater.

Mabou Mines’ and Weathervane Productions’ unique celebration of the legendary, late playwright and director María Irene Fornés—a pairing of Philip Glass’ transformation of her five-page play Drowning into an opera and a version of her acclaimed play Mud, both directed by Mabou Mines co-founder JoAnne Akalaitis —returns as part of The Public Theater’s Under the Radar Festival. These intimate productions, both with new music composed by Glass, were first presented at Mabou Mines in February, 2020.

For both works, Akalaitis and her collaborators have developed an aesthetic and philosophical framework to honor the homemade quality of many of Fornés’ own stagings—a “production style that understood just how profound stillness, sparseness, and playful humor could be” (Los Angeles Times).  Akalaitis describes these works as “a conversation between the actors, design, the music, the singers, and of course the primary conversationalist in all this is Irene. They are seemingly stylistically very different—with the quotidian atmosphere and language of Mud and the monstrosity of the characters and opaqueness of the poetry in Drowning—but the heartbeat of both these pieces is in the same body.”


SUPPORT FOR MABOU MINES is provided by the National Endowment for the Arts, The New York State Council on the Arts, the New York City Department of Cultural Affairs in Partnership with the City Council and Materials for the Arts, The NYC Women’s Fund by the City of New York Mayor’s Office of Media and Entertainment/The New York Foundation for the Arts, the Axe-Houghton Foundation, Foundation for Contemporary Arts, Howard Gilman Foundation JKW Foundation, The NYC COVID-19 Response and Impact Fund in The New York Community Trust, Emma A. Shaefer Charitable Trust, Shubert Foundation, the Tides Foundation and the W Trust.ation, the W Trust and Emma A. Shaefer Charitable Trust.



Comedian Kirill Sietlov, who was jailed earlier this year in Russia after claims he organized a protest rally, a charge he denied. He recently set up a Telegram channel for traumatized comedians to share their stories of persecution.
(Photo by Maksim Morozov)

(Robyn Dixon’s and Mary Ilyushina’s article appeared in The Washington Post, 12/2; via the Deudge Report.)

MOSCOW — A Russian video comedy troupe in a small provincial city was doing just fine. It clocked up millions of YouTube views with mischievous political satire.

Then the comedians did a gag in which a drunken political boss with a grenade launcher blows up an election poster for President Vladimir Putin’s United Russia party.

They each face up to eight years in jail, charged with “extreme hooliganism.”

“We’re not criminals. They’re trying to make us into criminals. We are not hooligans. We are just an ordinary film crew,” said director Andrei Klochkov in an interview with Russian independent media.

The team in Ussuriysk, north of Vladivostok, has since been barred by a court from speaking to media, said its lawyer, Alexei Klyotskin.

For years, Russian authorities have expanded their crackdowns: curbing freedom of speech, sweeping away activists, pressuring rights lawyers and jailing Putin’s opponents. Prosecutors last month called for the liquidation of venerable human rights group, the International Memorial Society, with roots in Soviet-era dissent.

Now they are arresting comedians — seeking to muzzle any edgy comedy that might offend Putin loyalists or be seen as mocking Russian patriotism.

Until recently, stand-up comedy and freewheeling Internet posts were refuges from censors, said comedian Kirill Sietlov, who was jailed earlier this year after claims he organized a protest rally, a charge he denied.

He recently set up a Telegram channel for traumatized comedians to share their stories of persecution.

 “It seemed that this was a truly free art form. Everything there was possible. There were no restrictions,” he said.

Now, however, Sietlov said the state “has launched a real campaign of fear — fear and hatred.” Besides the police and intelligence agencies, informers and snitches play their part, drumming up outrage, claiming that comedians offended someone’s beliefs or dignity.

Stand-up comedians are scrolling through their old online content, removing cheeky jokes. YouTube comedy creators are fearful. Police and suspected plain clothes agents turning up at stand-up comedy clubs. Comics are getting death threats.

Even harmless pranksters are targeted.

On an irreverent YouTube channel known as BARAKuda, a fictional character, Vitaly Nalivkin (the name is a play on pouring a drink), parodies a provincial official, slurring his words, issuing crazy orders and making local problems worse.

“This is a guy who thinks he always knows what to do, is very confident, who can never be wrong and is always right. He does whatever he wants. He’s funny because he is so recognizable to people,” said Andrei Ostrovsky editor of independent newspaper Novaya Gazeta in Vladivostok in Russia’s Far East.

He said the sketch mocks the fawning local TV coverage of Ussuriysk’s mayor, Yevgeny Korzh, a member of Putin’s party — although director Andrei Klochkov and the BARAKuda team insist it is not supposed to be political.

The episodes are based on real Ussuriysk problems.

One skit addresses the city’s public toilet shortage. So the fictional character Nalivkin orders up rickety wooden latrines with no internal walls to be installed on every street.

(Read more)


(Andrew Gans’s article appeared on, 11/28; via Pam Green; Photo:  Angela Lansbury and George Hearn in Sweeney Todd Martha Swope.)

The five-time Tony winner spoke exclusively to Playbill about the loss of the Pulitzer Prize-winning composer and lyricist.

Angela Lansbury, whose musical theatre career is book-ended by performances in two Stephen Sondheim musicals—Anyone Can Whistle in 1964 and the 2009 Tony-nominated revival of A Little Night Music—spoke exclusively to Playbill following the November 26 passing of the legendary composer-lyricist.

Five-time Tony winner Lansbury, who also sensationally created the role of Mrs. Lovett in Sondheim and Hugh Wheeler’s Sweeney Todd and played Rose in the 1974 Broadway revival of Sondheim, Jule Styne, and Arthur Laurents‘ Gypsy, told Playbill, “I was so sorry to hear about Stephen. I am so infinitely grateful because, as he liked to jokingly remind me, he was really responsible for launching my career in the theatre. The first show we did together was Anyone Can Whistle. Then, we did Gypsy, Sweeney Todd, and A Little Night Music.

“He was so brilliant and talented,” Lansbury added, “and not only did he have a great impact on my life, but also on the lives and careers of so many others that had the good fortune to work with him, while bringing joy to the countless number of people all over the world who saw his shows and listened to his wonderful music and lyric. I will miss his friendship and presence in my life.”

(Read more)


(Ryan Lattanzio’s and Chris Lindahl’s article appeareded on IndieWire, 11/29; via Drudge Report; photo 20th Century Studios.)

Steven Spielberg’s musical has finally screened, and ecstatic first reactions are pouring in: “Everyone is at the top of their game.”

Steven Spielberg’s adaptation of the beloved musical “West Side Story” finally began to screen for awards voters over the weekend ahead of its Christmas Day release. First reactions are pouring out as the film’s official premiere at the El Capitan Theatre in Los Angeles gets underway. Early reactions are offering praise for Spielberg’s direction and high marks for Rachel Zegler as Maria in her film debut.

The musical premiered mere days after the death of Stephen Sondheim (who wrote the lyrics for the original production, with a book by Arthur Laurents and score by Leonard Bernstein) at the age of 91. Highest praise for the new film version came from the composer himself, who back in September dropped by “The Late Show with Stephen Colbert” to talk about the most recent stage production of “Company” and, of course, Spielberg’s movie.

“It’s really terrific,” Sondheim said of the film. “Everybody go. You’ll really have a good time. And for those of you who know the show, there’s going to be some real surprises.”

Sondheim said that’s because of Pulitzer Prize-winner Tony Kushner, who has received two screenplay Oscar nominations for adapting the Spielberg films “Munich” and “Lincoln.”

Sondheim said Kushner “has done some really imaginative and surprising things with the way the songs are used in the story, and the whole thing has real sparkle to it and real energy, and it feels fresh. It’s really first-grade, and movie musicals are hard to do and this one, Spielberg and Kushner really, really nailed it.”

In addition to Zegler, this new version stars Ansel Elgort as Tony, Ariana DeBose as Anita, and David Alvarez as Bernardo. Rita Moreno, Best Supporting Actess Oscar winner for the original Best Picture-winning film, also makes a cameo appearance as Valentina.

WEST SIDE STORY is *phenomenal.* Steven Spielberg has been talking about making a musical for almost his entire career, and this was worth the wait. This is top-tier Spielberg.

— Chris Evangelista (@cevangelista413) November 30, 2021

Steven Spielberg’s West Side Story 2.0 is an ecstatic act of ancestor-worship: a vividly dreamed, cunningly modified, visually staggering revival, passionately conservative but brilliant. No-one but Spielberg could have brought it off – review later

— Peter Bradshaw (@PeterBradshaw1) November 30, 2021

WEST SIDE STORY: If it’s not quite essential, it’s still tremendously entertaining. Vivid, beautiful work from our greatest living American moviemaker. Invigorating choice to have subtitle-less Spanish comprise ~40% of dialogue. David Alvarez is the breakout, but everyone’s aces.

— Barry Hertz (@HertzBarry) November 30, 2021

Embargo lifted: I saw West Side Story tonight and I’m happy to report that musical theater will show up at the Oscars for impeccable visuals, Ariana DeBose is A DAMN STAR and it’s only the beginning for Rachel Zegler. I love this for us.

— Ayanna P. (@AyannaPrescod) November 30, 2021

More on WEST SIDE STORY on the whole in a bit, but first … HOLY MOLY, Mike Faist as Riff. One of those performances that grabs you by the collar, stops your pulse, and demands attention. That exceedingly rare pleasure of feeling like a star is forming before your eyes. A thrill.

— Marshall Shaffer (@media_marshall) November 30, 2021

Hot damn. So, yes, as it turns out, Steven Spielberg knows how to make a WEST SIDE STORY movie

— Mike Ryan (@mikeryan) November 30, 2021


Steven Spielberg directs the hell out of a mediocre script. What an eye-roll inducing story.

Anything related to The Jets is insufferable, hell most of The Sharks are as well. The ladies do the heavy-lifting. This is Zegler, DeBose, and Moreno’s movie

— EJ Moreno (@EJKhryst) November 30, 2021

Spielberg’s West Side Story does understand that the best thing that can happen on film is a bunch of people strutting toward the camera singing in harmony

— Jackson McHenry (@McHenryJD) November 30, 2021

WEST SIDE STORY has rocked my world.

(Read more)


(Amy Weiss-Meyer’s article appeared in The Atlantic 11/27; via Pam Green; photo:  Douglas Elbinger / Getty.)

His work was strongest when it lingered in the pain of knowing that no ever after lasts long.

Back in 2020, I might’ve imagined the end of the pandemic being something like that gum commercial: everyone together, vaccinated, picking the same time to come safely and communally out of lockdown and get back to the way things were before, so grateful to be alive we practically leapt into one another’s arms as soon as we got the chance. That is not, of course, the way things have gone in 2021. But the closest I’ve felt to that gum-commercial feeling came from being in the audience at the Bernard B. Jacobs Theatre on a recent Monday night, an experience I’ve played and replayed in my head since learning that Stephen Sondheim died suddenly on Friday at 91.

November 15 was the reopening night for Sondheim’s Company, which had abruptly ceased previews in mid-March 2020. This production, directed by Marianne Elliott, had previously run in London, and it makes the formerly male protagonist of the show, Bobby, a female Bobbie instead. My colleague Sophie Gilbert has aptly described Elliott’s reimagining of the musical as “a kind of 21st-century Lewis Carroll fever dream.” Bobbie becomes our latter-day Alice, a disoriented but intrepid navigator trying to make sense of the strangeness of contemporary bourgeois life. In that way, it is sort of a perfect show for right now, when a lot of us feel a bit like observers trying to relocate our place as participants in the world. “It’s much better living it than looking at it,” Bobbie’s friends say. They’re talking about love and marriage, but the line takes on a more expansive meaning during a pandemic. In the audience, it was hard not to feel elated to be living.

The nervous excitement in the crowd reminded me of the opening-night energy at a school musical, every member of the audience hoping for the best, just so proud and happy to be there. These were the die-hards, people who had waited throughout the pandemic for this moment. An older man and woman in the row ahead of me compared notes on the many versions of the show they’d seen over the years; the two people next to me kept turning to each other and shrieking. Every seat had a shiny party hat on it, and audience members gamely strapped them on—a nod to the evening’s celebratory mood and to the surprise birthday party at the center of the show.

At first, when some people stood up and started clapping, I was confused; the show wasn’t starting yet. Then a few more joined, and soon most of the theater was standing, facing a row in the middle of the orchestra section. Sondheim himself was taking his seat for the evening. How did he look? everyone I later told about the performance wanted to know. Did he seem well?

From the few, partial glimpses I caught of Sondheim from the mezzanine, he seemed better than well, smiling wide enough you could tell despite the mask. (He doesn’t seem to have been ill; indeed, he reportedly enjoyed a Thanksgiving dinner with friends the night before he died.) He was so very alive, in fact, applauding so joyfully after every number, that his presence was utterly reassuring: We had, all of us, made it through. We could be surrounded, once again, by hundreds of strangers and not fear for our lives. It was tempting to think that everything, maybe, would actually be okay, and this genius composer who never really aged would live forever to help guide us through the difficult, confusing times ahead.

(Read more)


(Bruce Weber’s article appeared in The New York Times, 11/26; via Marit Shuman; photo: Stephen Sondheim, one of Broadway history’s songwriting titans, whose music and lyrics raised and reset the artistic standard for the American stage musical, died early Friday at his home in Roxbury, Conn. He was 91.)

He was the theater’s most revered and influential composer-lyricist of the last half of the 20th century and the driving force behind some of Broadway’s most beloved and celebrated shows.

Stephen Sondheim, one of Broadway history’s songwriting titans, whose music and lyrics raised and reset the artistic standard for the American stage musical, died early Friday at his home in Roxbury, Conn. He was 91.

His lawyer and friend, F. Richard Pappas, announced the death, which he described as sudden. The day before, Mr. Sondheim had celebrated Thanksgiving with a dinner with friends in Roxbury, Mr. Pappas said.

An intellectually rigorous artist who perpetually sought new creative paths, Mr. Sondheim was the theater’s most revered and influential composer-lyricist of the last half of the 20th century, if not its most popular.

His work melded words and music in a way that enhanced them both. From his earliest successes in the late 1950s, when he wrote the lyrics for “West Side Story” and “Gypsy,” through the 1990s, when he wrote the music and lyrics for two audacious musicals, “Assassins,” giving voice to the men and women who killed or tried to kill American presidents, and “Passion,” an operatic probe into the nature of true love, he was a relentlessly innovative theatrical force.

The first Broadway show for which Mr. Sondheim wrote both the words and music, the farcical 1962 comedy “A Funny Thing Happened on the Way to the Forum,” won a Tony Award for best musical and went on to run for more than two years.

In the 1970s and 1980s, his most productive period, he turned out a series of strikingly original and varied works, including “Company” (1970), “Follies” (1971), “A Little Night Music” (1973), “Pacific Overtures” (1976), “Sweeney Todd” (1979), “Merrily We Roll Along” (1981), “Sunday in the Park With George” (1984) and “Into the Woods” (1987).

Mr. Sondheim at the piano and Leonard Bernstein, right, with cast members during a 1957 rehearsal for “West Side Story.”Credit…Friedman-Abeles/New York Public Library for the Performing Arts

In the history of the theater, only a handful could call Mr. Sondheim peer. The list of major theater composers who wrote words to accompany their own scores (and vice versa) is a short one — it includes Irving Berlin, Cole Porter, Frank Loesser, Jerry Herman and Noël Coward.

Though Mr. Sondheim spent long hours in solitary labor, usually late at night, when he was composing or writing, he often spoke lovingly of the collaborative nature of the theater. After the first decade of his career, he was never again a writer for hire, and his contribution to a show was always integral to its conception and execution. He chose collaborators — notably the producer and director Hal Prince, the orchestrator Jonathan Tunick and later the writer and director James Lapine — who shared his ambition to stretch the musical form beyond the bounds of only entertainment.

Mr. Sondheim’s music was always recognizable as his own, and yet he was dazzlingly versatile. His melodies could be deceptively, disarmingly simple — like the title song of the unsuccessful 1964 musical “Anyone Can Whistle,” “Our Time,” from “Merrily,” and the most famous of his individual songs, “Send In the Clowns,” from “Night Music” — or jaunty and whimsical, like “Everybody Ought to Have a Maid,” from “Forum.”

They could also be brassy and bitter, like “The Ladies Who Lunch,” from “Company,” or sweeping, like the grandly macabre waltz “A Little Priest,” from “Sweeney Todd.” And they could be exotic, like “Someone in a Tree” and “Pretty Lady,” both from “Pacific Overtures,” or desperately yearning, like the plaintive “I Read,” from “Passion.”

Tonys and a Pulitzer

He wrote speechifying soliloquies, conversational duets and chattery trios and quartets. He exploited time signatures and forms; for “Night Music,” he wrote a waltz, two sarabandes, two mazurkas, a polonaise, an étude and a gigue — nearly an entire score written in permutations of triple time.

Over all, he wrote both the music and the lyrics for a dozen Broadway shows — not including compendium revues like “Side by Side by Sondheim,” “Putting It Together” and the autobiographical “Sondheim on Sondheim.” Five of them won Tony Awards for best musical, and six won for best original score. A show that won neither of those, “Sunday in the Park,” took the 1985 Pulitzer Prize for drama.

Of the many revivals of his shows, three won Tonys, including “Assassins” in 2004, even though it had not previously 

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(Charles Bramesco’s article appeared in the Guardian, 11/18; via Pam Green; Photo:  Charlie Chaplin was ‘chameleonic in the way he reflected back to people what they wanted’. Photograph: Footage File, LLC/Courtesy of Showtime.)

In a definitive new documentary, a deeper look at the much-loved movie star provides more insight into ‘one of the greatest rags-to-riches stories ever told’

When a normal person ascends to the firmament of fame, their sense of identity is split in two. The self-perception they’ve developed over their life up to that point – the “true” self, allowed to emerge in intimate moments – must contend with an outward-facing image over which they can exert unsettlingly minimal control. The more canny-minded celebrities seize the reins of their own PR by cultivating a persona they can get out in front of, caricaturing themselves before someone else gets the chance.

Charlie Chaplin, perhaps the first A-lister to contend with this existential quandary of exposure, went one step further by inventing a character he could plaster over himself. The Real Charlie Chaplin, a new documentary in cinemas this week, posits his Little Tramp alter ego as a shield and veil. If audiences were looking at the bowler hat, toothbrush moustache, and rubbery cane, they’d never see the man wearing them.

“I remember, even as a child, having an image of Charlie Chaplin in my head,” co-director James Spinney tells the Guardian. “Like most people, the costume was known to me. We saw these films with lots of preconceptions; he’s emblematic of an early, cartoonish style of cinema comedy, slapstick, films played at the wrong speed. As an adult revisiting these, I was struck by how modern they felt, how subversive, how there’s no sense of the antiquated whatsoever. Everyone has an idea about Charlie Chaplin. But people who knew him best felt that he was hard to create a connection with, that they didn’t really know him, that he was always performing.”

The top-to-bottom bio-doc examines Chaplin as a once-in-a-generation funnyman, while recognizing that as only one of the many roles he played in his eventful life: the Dickensian child laborer, the innovative vaudevillian, the big-hearted humanist, the vindictive lover, the Tinseltown captain of industry, the witch-hunted commie, the reclusive Swiss expat. In what Spinney describes as “one of the greatest rags-to-riches stories ever told”, the only connecting thread through the many ups and downs is the tension between Chaplin’s private and public lives. He prized his hordes of fans and loathed interviews, subsisting on the admiration while contending with the anxiety of being known and yet not-known.

For Spinney and co-director Peter Middleton, the prospect of gaining fresh insight into the aspects of himself Chaplin took pains to conceal was too intriguing to pass up. “One thing we knew very early on was that there was no single, solid, stable version of Charlie Chaplin,” Spinney says. “We’re not trying to link them all up, because there are too many of them, and they don’t always add up. He was chameleonic in the way he reflected back to people what they wanted.”

Their producer, Ben Limberg, had negotiated with Chaplin’s estate and the British Film Institute for a master list of materials they’d be permitted to access, the most obscure of which caught the directors’ eyes. In particular, they fixated on an “enigmatic” tape containing raw audio from a three-day profile sit-down for Life Magazine, conducted by Richard Meryman in 1966 at Chaplin’s twilight-years home on Lake Geneva. “We realized that we’d arrived at an opportune moment in history, where an archival source such as that can be restored,” Middleton says. “We started breaking that down and though it feels like there are 700 books written about Chaplin, we thought that could be our way in to something new.”

Secured after one full year of negotiations, the soundbites provide a condensed memoir with a candid running commentary as Chaplin recalled his early days of tribulation and hardship. His parents’ severe debts resulted in him being sent to Lambeth Workhouse at the tender age of seven, a plight he escaped through his natural inclination for the stage. From dance troupes and small plays to a breakout gig under vaudeville mainstay Fred Karno, an undeniable showmanship carried him out of abject poverty and across the Atlantic for a shot in the nascent movie business. It was there that he debuted the Little Tramp, whose penniless misfortunes mirrored his own background at the Central London District school for paupers.

(Read more)


People hang Cuban flags over the windows of Yunior Garcia Aguilera’s home in an attempt to stop him from communicating with the outside, in Havana, Cuba, Sunday, Nov. 14, 2021. (AP Photo/Ramon Epinosa)

(Mary Beth Sheridan’s article appeared in the Washington Post, 11/15; via the Drudge Report.)

Security forces surrounded the homes of Cuban activists on Sunday, the day before a planned march that will test the strength of the protest movement that erupted last summer when Cubans poured into the streets to demand more political freedoms on the communist-ruled island.

The best-known organizer of Monday’s protest, 39-year-old playwright Yunior García Aguilera, had announced he would march alone through Havana at 3 p.m. on Sunday, carrying a white rose in solidarity with Cubans who had been prevented from participating the following day. But hours before he set out, plainclothes police swarmed his block and besieged his building. He tried to signal to journalists from his apartment, displaying a white sheet in support of the protests, and a rose. People dropped giant Cuban flags over the side of the building to cover the windows.

“We all know we can be detained within a few hours,” García Aguilera said in a Facebook Live post on Sunday morning, appearing nervous but calm. “I will face this with dignity. I believe this country will change.”

He called on people around the nation to clap at 3 p.m. to show their “thirst for freedom,” but there did not appear to be a widespread response. “I won’t renounce my ideas,” he told The Washington Post later Sunday. He said, however, he was penned in by hundreds of security forces outside his home. “The lives of my family members are in danger,” he said.

Cuban authorities had hoped to celebrate the island’s grand reopening to tourists on Monday, following a coronavirus shutdown of nearly 20 months that has crippled an already weak economy. Instead, the day has become symbolic of the confrontation between the government and pro-democracy activists.

Thousands of Cubans, fed up with food shortages, a battered health system and electricity blackouts, spontaneously joined demonstrations last July. They were the biggest protests in six decades.

Activists planned a nationwide “Civic March for Change” on Monday. But with the advance warning, the government has moved aggressively to derail another massive protest. It denied the organizers a permit, claiming they were tied to “subversive organizations” financed by the U.S. government.

n recent days, García Aguilera said, his phone lines and Internet connection were cut. Authorities summoned independent Cuban journalists and activists for questioning and warned they could face charges of public disorder.

On Sunday, the crackdown intensified. Several government critics, including Washington Post opinion contributor Abraham Jiménez Enoa, said that security forces were preventing them from leaving their homes. The Facebook forum Archipiélago, run by García Aguilera and other activists, reported that its moderator, Daniela Rojo, had vanished. Security forces detained another leader of the site, Carlos Ernesto Diaz Gonzalez, in the city of Cienfuegos, according to Archipiélago. The government suspended the credentials of several Havana-based reporters working for EFE, the Spanish news agency.

Journalists who drove to García Aguilera’s apartment building on Sunday morning were driven away by pro-government demonstrators, the playwright said. Several hours later, he appeared at his window, brandishing a white rose, according to reporters at the scene. At one point, he flashed a sign reading: “My house is blocked.” That’s when people on the roof unfurled giant Cuban flags that cascaded down the side of the three-story building, cutting him off from view.

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(Desiree Ibekwe’s article appeared in The New York Times, 11/12; via Pam Green. Photo: From left, the actress Clare Perkins, who plays the lead in “The Wife of Willesden”; the writer Zadie Smith; and the director Indhu Rubasingham, at the Kiln Theater in London.Credit…Adama Jalloh for The New York Times.)

Two decades into her career, the writer’s stage debut is “The Wife of Willesden,” an adaptation of the Wife of Bath’s tale set and staged in the British capital.

LONDON — Zadie Smith grew up around the corner from the Kiln Theater, which sits on the bustling Kilburn High Road in Northwest London. She took drama classes at the theater as a child and remembers when a fire caused significant damage to the building more than 30 years ago.

Now, her relationship with the theater has become even more intertwined, with the Kiln’s staging of Smith’s first play, “The Wife of Willesden,” which runs until Jan. 15.

“It’s very moving, if I allow myself to think about it very much — which I don’t, we don’t have time,” Smith, 46, said in a recent interview at the theater. “We’ve got work to do.”

“The Wife of Willesden” — which opened on Friday — is an adaptation of the Wife of Bath’s tale from Geoffrey Chaucer’s “The Canterbury Tales,” transposing the prologue and tale into a love letter to contemporary London (Willesden is an area neighboring the theater).

The author of numerous essays and five novels — many of which, like “NW” and her debut, “White Teeth” are also set in northwestern London — Smith is a newcomer to playwriting.

“Doing this is really, genuinely new, having colleagues and stuff, wearing a lanyard,” Smith said, laughing, during a lunch break from rehearsals. “This is a new part of my life.”

Indhu Rubasingham, the show’s director, said that she had entered the creative partnership with Smith with some trepidation. When Smith is writing a novel, “She’s on her own. She doesn’t have to check in with anyone,” said Rubasingham, who is also the theater’s artistic director. “I was like, ‘Oh God, this is going to be a whole different experience, how is she going to take it?’”

As it turned out, “She’s been incredibly collaborative, really,” Rubasingham said.

“The Wife of Willesden” is not the first time that Smith has explored different forms of writing. This year, she released a children’s book, “Weirdo,” co-written with her husband, Nick Laird, a novelist and poet, and she appeared as a songwriter and background vocalist on “91,” the lead track of Jack Antonoff’s most recent Bleachers album.

The play weaves together several threads from Smith’s life. It was written as part of the celebrations for the local district of Brent’s designation as the “London Borough of Culture 2020” — a project established three years ago by the capital’s mayor, Sadiq Khan, that awards money to an area of the city to put on a yearlong program of cultural events.

Smith, who sat in on the first few weeks of rehearsals, described watching the actors as “even more enjoyable” than the writing process.

“It’s genuinely been lovely seeing the actors,” she said. “I hear voices, but it’s different when people have bodies attached and they add so much.”

Writing the play itself, Smith said, was like “really interesting homework.” She remembered having to translate Chaucer into contemporary English during her studies at Cambridge University.

“So I’ve done it before, but I’ve never done it in a way that was enjoyable for me or anyone else,” she said, laughing.

“The Canterbury Tales,” written by Chaucer in about the late 14th century, is a collection of 24 stories told by a group of pilgrims during their journey to Canterbury Cathedral, 60 miles east of London.

One of the pilgrims is called Alyson, or the Wife of Bath. In her tale’s prologue, she reveals that she has been married five times, and she shares her beliefs on femininity and sexuality, critiquing the value that medieval society placed on virginity.

“I’ve always liked the Wife of Bath, I read it in college,” Smith said. “Just incredible energy in this character, just so wild. I like writing women like that.”

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(Nobuko Tanaka’s article appeared in the Japan Times, 11/11.) 

For “The Doctor,” playwright Robert Icke adapted the 1912 play “Professor Bernhardi,” changing the setting to the modern age with a female protagonist.

After its premiere at north London’s Almeida Theatre in 2019, Robert Icke’s “The Doctor” earned glowing reviews and plaudits, most notably Olivier Award nominations for best new play and best actress. However, just as it was set to take on the West End, the production was shuttered by COVID closures.

Thankfully, in Tokyo, theaters have resumed business as usual after a grueling 18 months of multiple state of emergencies, and this latest work by Icke is running now through Nov. 28 at the Parco Theatre in Shibuya. Taking on the title role of Dr. Ruth Wolff, a Jewish physician, is actress Shinobu Otake, under the direction of seasoned veteran Tamiya Kuriyama.

“I had a chance to see the play at the Almeida, and although I couldn’t understand everything, I was able to grasp the characters’ relationships and the story,” Otake, 64, says. “I especially enjoyed the characters’ arguments, which had a brilliant rhythm and tempo. I was also greatly impressed by the main actress Juliet Stevenson. Her acting was truly realistic, and she was so energetic and cool.”

Otake, an acting veteran with three Japan Academy Film Awards under her belt, says that while she was enthusiastically applauding the show from the front row of the cozy theater, it never occurred to her that she would be performing the lead role in Japan a couple of years later.

For “The Doctor,” Icke freely adapted Viennese author Arthur Schnitzler’s 1912 play “Professor Bernhardi,” setting the story in the modern age with a female protagonist. Ruth is the founding director of a prestigious institute specializing in Alzheimer’s disease, and one day, a 14-year-old girl comes to her needing emergency care after a self-administered abortion. When the patient’s condition becomes dire, Ruth refuses to allow a Catholic priest (Toru Masuoka) to perform last rites, on the basis that they’re unsure of the young girl’s religious beliefs and that she should be allowed to die in peace.

Soon the priest’s side of the incident goes viral on social media, putting Ruth at the center of a scandal that reveals the contending values and sexist and racist attitudes of those around her as well as the general public.

Otake says she was surprised when she read the play in preparation for the Japanese production, as the story touches upon multiple weighty topics, such as gender, religion, degenerative disease and medical ethics.

“I understand that Ruth is an intelligent, strong and independent woman, but she definitely has a weakness that doesn’t usually show at her workplace,” she says. ”It’s normal to have different versions of yourself, and I realized anew that people shouldn’t be quick to judge others because they usually have several different personalities within them at the same time.

Shinobu Otake, who plays the title role of Dr. Ruth Wolff in the Japanese production of ‘The Doctor,’ was impressed by the ‘brilliant rhythm and tempo’ of the characters’ arguments when she first watched the play in London. | MAIKO MIYAGAWA

“I suppose Ruth has confidence in herself to always make the right decision. However, even though she doesn’t intend to, she hurts people without noticing. I think that those kinds of human contradictions, namely, that people are not able to be perfect 100% of the time, is one of the very interesting points of this play.”

Although the play takes place in England and discusses issues related to race and religion that may be less familiar to Japanese audiences, Otake insists that contemporary theater provides an important opportunity for viewers to become aware

“Many people in Japan today live without experiencing conflicts over religion and race,” she says. “However, through our staging of this English drama, which intricately weaves in sensitive issues such as Jewish-Christian relations, I hope audiences realize what is happening outside Japan and see how the issues of other countries are relevant to them.

“That’s why it is important to stage non-Japanese dramas, and why I want many young people to see this play.”

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