Summer theater 2021: Great because it happened
TROY, N.Y. — In the world of entertainment, Labor Day officially marks the end of summer. Yes, there are concerts at SPAC, some theater companies who operate only in the summer are still producing and you probably are still enjoying dining outside.
Sorry, it’s after Labor Day, so they are now “summerish” experiences.
The first reaction to looking at summer through the rearview mirror is the universal joy that comes from having any entertainment at all. I don’t think anyone forgot the loss of everything in 2020. It was a summer filled with gratitude about pleasures we had taken for granted.
But, at least in theatre, everything was different. Not only was it different, it was constantly evolving. It’s important to realize that what was produced on stage was planned and organized back in February and March.
With increased vaccinations came new heath guidelines, especially in the area of face masks.
The majority of theater companies used at least one tent for a performance space. Whether the performance was outside or inside most venues had firm safety mandates — which varied throughout the season.
As for vaccinations, I can’t think of a company that doesn’t demand proof of vaccination to enter the theater.
But masking policies were constantly changing. At many venues it went from mandatory masks at all times, to no masks necessary, to masks only when moving about, going full circle, at most theaters it’s back to having to wear masks at all times.
The commonsense approach of performing outdoors wherever possible resulted in many rained out performances and stressful rehearsals.
Perhaps the most egregious example was the Williamstown Theatre Festival production of the world premiere of the musical “Row.”
It is about the first woman to row alone across the Atlantic Ocean. The site of the production was the Reflecting Pool of the Clark Museum in Williamstown.
A rainy couple of weeks led to a delayed opening, many cancelled performances, and a torturous rehearsal period that included a work stoppage by the crew that protested working conditions. Eventually critics were invited to the show but banned from writing reviews.
Another consequence of creating a season in a pandemic was a preponderance of one and two-person shows. There were very few large-cast book shows, with the focus on either small musical reviews or one-person concert events. A large cast was four or five people. To be on stage in 2021 was a lonely place.
But small casts did offer some wonderful experiences. At Barrington Stage Company the two-man play “Chester Bailey” was, arguably, the most provocative play I saw this summer.
Too, Harriet Harris’ performance in “Eleanor,” the one-person biography of Eleanor Roosevelt was a high point of the season. Her work was especially impressive as it came weeks after her irresistible portrayal of Lady Bracknell in Berkshire Theatre Group’s “The Importance of Being Earnest.”
Another significant aspect of the summer season was the sincerity of organizations to encourage diversity in casting and producing plays that dealt with racial issues.
Chester Theatre Company, operating under a tent at Hancock Shaker Village in Hancock, MA. presented the complex twoperson play, “Niceties.” It was a well-performed piece about an African-American student being marginalized by her liberal white professor. It was provocative without being preachy and smart without being pretentious.
However, the most exciting work about racism was the musical-drama “Nina Simone: Four Women” at Berkshire Theatre Group. It featured an unforgettable portrayal by Felicia Curry as Nina Simone, a successful singer who turned activist in the 1960s.
Her debate with three other African-American women who share her goals without supporting her methods are challenging, revealing and dramatic. The singing was superior and supportive of the themes, making it a great theater experience.
Park Playhouse, Albany’s Washington Park attempt at social siggnificance was less successful. The five African-American performers made the show a musical success as they thrilled audiences with most of the Fats Waller songs.
However, the work lacked insight to the trials of minority entertainers working in the 1930s and 40s. It was an entertaining piece of theater that ultimately failed to shed any social light on the Black experience.
On the topic of disappointment, nothing equaled “King Lear” at Shakespeare & Company. The title role was played by Christopher Lloyd.
The actor is beloved for his film work in the “Back to the Future” franchise and his contributions on the television series, “Taxi.”
Sadly, Lloyd came to the Berkshires totally unprepared and the result was a long, dismal night of Shakespeare. It ran for almost two months, and hopefully it improved in August.
The summer of 2021 was filled with good experiences, but its greatness came just by happening at all. Let’s hope next spring, we can say the same for the fall and winter season.