Disagreement is a healthy sign in theater, I’ve always thought—the livelier the better—and for that reason I’m inclined to think that Jenny Gersten has had a big success in her first season as Artistic Director of the Williamstown Theatre Festival. I don’t believe that critics have agreed about a single one of this summer’s productions. I haven’t done a systematic survey of the reviews, but I have the impression that out-of-town critics, especially the New Yorkers, have leaned towards the positive—often enthusiastically so—while the local reviewers have been less content—in some cases attacking certain productions with anger and derision.
Grand mal Caesar. As an example of a mountain bringing forth a mouse, nothing is more perfect than reviewing an exhaustingly long, exhaustively serious drama. When the reader hears that the subject is the foibles of organized religion, the boat has sunk before the first torpedo is fired. Nevertheless.
Scandinavia’s rich cultural heritage, and the question of artistic conservatism in the modernist age, will be explored at the eighth annual Bard SummerScape festival, which once again features a sumptuous tapestry of music, opera, theater, dance, film, and cabaret, keyed to the theme of the 22nd annual Bard Music Festival. Presented in the striking Richard B. Fisher Center for the Performing Arts and other venues on Bard College’s bucolic Hudson River campus, the seven-week festival opens on July 7 with the first of four performances by Finland’s Tero Saarinen Company, and closes on August 21 with a party in Bard’s beloved Spiegeltent, which returns for the full seven weeks. This year’s Bard Music Festival explores Sibelius and His World, and some of the great Finnish symphonist’s most fascinating contemporaries provide other SummerScape highlights, including New York’s first fully-staged production of Richard Strauss’s 1940 opera Die Liebe der Danae; Noël Coward’s chamber opera, Bitter Sweet (1929); Henrik Ibsen’s classic drama The Wild Duck (1884); and a film festival, “Before and After Bergman: The Best of Nordic Film.”