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<!DOCTYPE html> <html lang="en" class=" story nytapp-vi-article " xmlns:og="http://opengraphprotocol.org/schema/"> <head> <meta charset="utf-8" /> <title data-rh="true">Incidental Music in ‘Winter’s Tale’ and ‘Merchant of Venice’ - The New York Times</title> <meta data-rh="true" name="robots" content="noarchive, max-image-preview:large"/><meta data-rh="true" name="description" content="Notable composers have written music for theater that is anything but incidental."/><meta data-rh="true" property="twitter:url" content="https://www.nytimes.com/2010/07/20/arts/music/20incidental.html"/><meta data-rh="true" property="twitter:title" content="Musical Spells Cast in Theatrical Margins (Published 2010)"/><meta data-rh="true" property="twitter:description" content="Notable composers have written music for theater that is anything but incidental."/><meta data-rh="true" property="twitter:image" content="https://static01.nyt.com/images/2010/07/20/arts/0720INCIDENTAL/0720INCIDENTAL-articleLarge.jpg?year=2010&h=315&w=600&s=4cd2b3489dfd0d7e4dcaddfa4e783d0db5cb6c8f715e06c3ee98ad6d86c90a2f&k=ZQJBKqZ0VN&tw=1"/><meta data-rh="true" property="twitter:image:alt" content="Ruben Santiago-Hudson and Linda Emond in “The Winter's Tale,” a Shakespeare in the Park production, with a score by Tom Kitt. 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0h10.192c.24 0 .47.107.64.297.169.19.264.448.264.717V18ZM1.157 1.268v14.288l4.96-3.813 4.753 3.843V1.268H1.158Z"></path></g></svg></button></li></ul></div></div><div data-testid="imageblock-wrapper"><figure class="sizeSmall layoutHorizontal css-nlqgyf" aria-label="media" role="group"><div class="css-1xb94ky" data-testid="imageContainer-children-Image"><img alt="" class="css-rq4mmj" src="https://static01.nyt.com/images/2010/07/20/arts/0720INCIDENTAL/0720INCIDENTAL-articleLarge.jpg?quality=75&auto=webp&disable=upscale" srcSet="https://static01.nyt.com/images/2010/07/20/arts/0720INCIDENTAL/0720INCIDENTAL-articleLarge.jpg?quality=75&auto=webp 600w,https://static01.nyt.com/images/2010/07/20/arts/0720INCIDENTAL/0720INCIDENTAL-articleLarge.jpg?quality=75&auto=webp 600w" sizes="50vw" decoding="async" width="600" height="315"/></div><figcaption data-testid="photoviewer-children-ImageCaption" class="css-ktho12 e3rygrp0"><span class="css-jevhma e13ogyst0">Ruben Santiago-Hudson and Linda Emond in “The Winter's Tale,” a Shakespeare in the Park production, with a score by Tom Kitt. Mr. Kitt wanted the music to be live and intimate.</span><span class="css-14fe1uy e1z0qqy90"><span class="css-1ly73wi e1tej78p0">Credit...</span><span><span aria-hidden="false">Sara Krulwich/The New York Times</span></span></span></figcaption></figure></div><div data-testid="byline-timestamp" class="css-xt80pu eakwutd0"><div class="css-p6m5rf"><div class="byline-container css-1e2jphy epjyd6m2"><div class="css-233int epjyd6m1"><p class="css-4anu6l e1jsehar1"><span class="byline-prefix">By </span><a href="https://www.nytimes.com/by/anthony-tommasini" class="last-byline css-ojhyzr e1jsehar0" itemProp="name">Anthony Tommasini</a></p><div class="css-1gqes1i epjyd6m0"></div></div></div><ul class="css-1cgskve epjyd6m4"><li class="css-ccw2r3 epjyd6m3"><time class="css-1uc6ajg e16638kd0" dateTime="2010-07-19T17:26:08-04:00">July 19, 2010</time></li></ul></div></div><div class="css-1guqxks"><a class="css-1vknhtq" href="https://archive.nytimes.com/www.nytimes.com/2010/07/20/arts/music/20incidental.html">See how this article appeared when it was originally published on NYTimes.com.</a></div></header><section name="articleBody" class="meteredContent css-1r7ky0e"><div class="css-s99gbd StoryBodyCompanionColumn" data-testid="companionColumn-0"><div class="css-53u6y8"><p class="css-at9mc1 evys1bk0">Few terms in the realms of musical composition and theater are as imprecise, let alone patronizing, as incidental music. The phrase has long been applied to music that provides atmosphere, accompanies an action or enhances the mood or moment in a play. The word incidental suggests that such music should call no attention to itself. </p><p class="css-at9mc1 evys1bk0">Yet since the 17th century when Purcell wrote ingenious music for English plays, notable composers have written music for the theater that was hardly incidental. Grieg composed nearly 90 minutes of music for Ibsen’s “Peer Gynt.” The original 1876 production lasted some five hours. Grieg later extracted two popular orchestral suites from the score. But those who know “In the Hall of the Mountain King” only from the suite would be stunned to hear the <a class="css-yywogo" href="http://www.nytimes.com/2005/06/19/arts/music/19tomm.html" title="Anthony Tommasini review of a recording of the incidental music for “Peer Gynt.“">chilling original version</a>, with includes a shrieking chorus and thunderous percussion. </p><p class="css-at9mc1 evys1bk0">Mendelssohn’s beloved incidental music for Shakespeare’s “Midsummer Night’s Dream” is so elaborate that it was not hard for later composers to fashion the various pieces into an evening-length ballet score. American Ballet Theater recently performed <a class="css-yywogo" href="http://www.nytimes.com/2010/06/10/arts/dance/10ashton.html" title="New York Times review of “The Dream.“">Frederick Ashton’s magical 1964 ballet “The Dream,”</a> using John Lanchbery’s effective arrangement of Mendelssohn’s music. On the other hand, many fine composers have embraced the deferential approach to writing incidental music while still showing that such scores can be arresting and sophisticated on their own terms. Two good examples can be heard in New York at the Public Theater’s Shakespeare in the Park productions of <a class="css-yywogo" href="http://theater.nytimes.com/2010/07/02/theater/reviews/02winter.html" title="New York Times review of “The Winter’s Tale.“">“The Winter’s Tale,”</a> with soft-spoken, precisely rendered incidental music by Tom Kitt, and <a class="css-yywogo" href="http://theater.nytimes.com/2010/07/01/theater/reviews/01merchant.html" title="New York Times review of “The Merchant of Venice.“">“The Merchant of Venice,”</a> with an atmospheric, intricately textured score by Dan Moses Schreier.</p><p class="css-at9mc1 evys1bk0">Mr. Kitt is best known for his Tony Award-winning score for the rock musical <a class="css-yywogo" href="http://www.nytimes.com/2009/04/16/theater/reviews/16norm.html" title="New York Times review of “Next to Normal.“">“Next to Normal,”</a> which also brought the Pulitzer Prize in drama to Mr. Kitt and his collaborator Brian Yorkey, who wrote the book and lyrics. The songs are woven almost continuously into “Next to Normal,” the story of how a woman’s struggle with bipolar disorder affects her family. Although the songs basically adhere to generic rock and pop styles, the music teems below the surface with rich details, and the score abounds in intricate ensemble writing. </p></div><aside class="css-ew4tgv" aria-label="companion column"></aside></div><div data-testid="Dropzone-1"></div><div class="css-s99gbd StoryBodyCompanionColumn" data-testid="companionColumn-1"><div class="css-53u6y8"><p class="css-at9mc1 evys1bk0">But in “The Winter’s Tale” Mr. Kitt’s acute ear and originality come through even more. His score is a triumph of the less-is-more approach to incidental music.</p><p class="css-at9mc1 evys1bk0">“The Winter’s Tale” tells of Leontes, the king of Sicilia, who irrationally concludes that his wife, Hermione, has been unfaithful and borne a baby girl to his childhood friend Polixenes, the king of Bohemia. A wondrous mix of enchantment, comedy, mysticism and exotica, the play cries out for music to set the scenes and connect the threads. In a recent telephone interview Mr. Kitt, 36, who majored in economics at Columbia, recalled his first planning sessions with Michael Greif, the director of “The Winter’s Tale” (and also of “Next to Normal”).</p><p class="css-at9mc1 evys1bk0">“I was kind of surprised by Michael’s vision for music in the production and by how much music he wanted,” Mr. Kitt said. There were to be long stretches of underscoring, when music played in the background, as well as themes and songs that would recur, Mr. Kitt explained.</p><p class="css-at9mc1 evys1bk0">He wanted the music to be live, meaning nothing recorded. To keep it intimate (and the budget reasonable) he wrote the score for just four musicians: a violinist, a cellist, a percussionist and a conductor playing a digital keyboard synthesizer. </p><p class="css-at9mc1 evys1bk0">From the first strains, you hear isolated two-note intervals and softly piercing clusters played in haunting repetition. What comes through immediately is that the chords, riffs, fragments and themes have been chosen with precision. </p></div><aside class="css-ew4tgv" aria-label="companion column"></aside></div><div data-testid="Dropzone-3"></div><div class="css-s99gbd StoryBodyCompanionColumn" data-testid="companionColumn-2"><div class="css-53u6y8"><p class="css-at9mc1 evys1bk0">“I wanted to pick the notes so that they counted,” Mr. Kitt said. “I did not want to overpower the play, or make the music too dense.” </p><p class="css-at9mc1 evys1bk0">The play’s settings are ambiguous and sometimes nonsensical: one scene takes place in the deserts of Bohemia. Deserts in what is the modern-day Czech Republic? Mr. Kitt took this looseness as license to have fun. In the opening scenes in Sicilia, the music sounds almost Indian, with hints of ragas and cyclic riffs. But later, in Bohemia, the music has a rustic, dancing Eastern European character. </p><p class="css-at9mc1 evys1bk0">When the accused Hermione, standing trial, proclaims her innocence and invokes the judgment of Apollo, we hear an eerily beautiful extended episode. The music is anchored by a sustained pedal tone, with searching intervals floating above and bits of phrases that slowly coalesce into an insistent five-note theme.</p><p class="css-at9mc1 evys1bk0">The “Merchant of Venice” music, which is recorded, is comparably engrossing but of a different style entirely. Though Mr. Schreier has a sizable résumé of scores for the theater, he may be best known as an astute sound designer, especially for his work in recent years on productions of Stephen Sondheim musicals, which consistently sound less amplified and more natural than typical Broadway shows.</p><p class="css-at9mc1 evys1bk0">For “The Merchant of Venice,” directed by Daniel Sullivan, Mr. Schreier’s music is thick textured and lush, with multiple overlapping elements: choralelike chords, melodic bits, hazy clouds of harmonies. Yet every strand comes through with striking clarity, and nothing sounds overlayered.</p><p class="css-at9mc1 evys1bk0">When Mr. Schreier wants to shake up the audience and intensify a scene, the music becomes a din, with scrambling scales moving every which way, as in the music of Steve Reich, or a burst of chimes and metallic clanking. But when tenderness is called for, a simple melody on a consoling oboe or a wash of chords, like out-of-focus Debussy, is subtly heard.</p></div><aside class="css-ew4tgv" aria-label="companion column"></aside></div><div data-testid="Dropzone-5"></div><div class="css-s99gbd StoryBodyCompanionColumn" data-testid="companionColumn-3"><div class="css-53u6y8"><p class="css-at9mc1 evys1bk0">Sometimes a play demands that incidental music be more pervasive and powerful, as with Mark Bennett’s near-symphonic score for <a class="css-yywogo" href="http://www.nytimes.com/2007/03/21/arts/music/21coas.html" title="Anthony Tommasini notebook on the incidental music for “The Coast of Utopia.“">“The Coast of Utopia,”</a> which played at the Lincoln Center Theater in 2006-7. Because this nine-hour Tom Stoppard trilogy spanned decades of mid-19th-century Russian history, philosophy and culture, strong music was needed to bring cohesion to the narrative, which boldly jumped time periods and locales. </p><p class="css-at9mc1 evys1bk0">But it’s Shakespeare who seems to have brought out the best in composers for the theater in recent years. Although Jeanine Tesori is best known for her scores to the musicals “Caroline, or Change” and “Shrek the Musical,” her most enthralling work, for me, was her enchanting score for Nicholas Hytner’s production of “Twelfth Night” at Lincoln Center more than a decade ago. </p><p class="css-at9mc1 evys1bk0">Ms. Tesori went to percussion stores all over New York asking to see the instruments that no one ever rented, the more exotic the better. She wound up writing an otherworldly score played on Tibetan temple bowls, gongs, wood blocks and hand drums, along with guitars, woodwinds, strings and more. But all the sounds were natural, nothing was amplified, and the music she wrote was rich with mystical modal harmonies and plaintive melodic lines.</p><p class="css-at9mc1 evys1bk0">My favorite backstage story about incidental music involves the composer Virgil Thomson, who wrote the score for the landmark 1936 production of “Macbeth” presented by the Negro Unit of the Federal Theater Project, with the young Orson Welles directing a black cast. Welles set the play on an island that could have been Haiti in the 19th century. The witches were voodoo priestesses. A troupe of authentic African drummers was recruited to play along with the pit orchestra. The lead drummer professed to be an actual witch doctor.</p><p class="css-at9mc1 evys1bk0">Thomson wanted real voodoo music for the voodoo scenes. But when the African musicians played some, he thought it sounded a little tame. He kept pressing them, asking, “Is this stuff really voodoo?” The African musicians assured him it was. Finally, under Thomson’s grilling, they admitted it was not, that is was just some spells to ward off beriberi. They did not dare use the real thing since, naturally, it would have worked.</p><p class="css-at9mc1 evys1bk0">The scores to “The Winter’s Tale” and “The Merchant of Venice” cast only metaphorical spells, of course. But composers who want a model of how to write effective incidental music should head over to the Delacorte Theater.</p></div><aside class="css-ew4tgv" aria-label="companion column"></aside></div></section><div class="bottom-of-article"><div class="css-etcxp5"><p>“The Winter’s Tale” and “The Merchant of Venice” run in repertory at the Delacorte Theater in Central Park through Aug. 1; shakespeareinthepark.org.</p> </div><div class="css-lojhqv">A version of this article appears in print on <span class="css-1dmwf73"> </span>, Section <!-- -->C<!-- -->, Page <!-- -->1<!-- --> of the New York edition<!-- --> with the headline: <!-- -->Musical Spells Cast In Theatrical Margins<span>. <a href="https://www.parsintl.com/publication/the-new-york-times/">Order Reprints</a> | <a href="https://www.nytimes.com/section/todayspaper">Today’s Paper</a> | <a href="https://www.nytimes.com/subscriptions/Multiproduct/lp8HYKU.html?campaignId=48JQY">Subscribe</a></span></div><div class="css-b9twaf e9ne27s0">See more on: <a href="https://www.nytimes.com/topic/tom-kitt">Tom Kitt</a>, <a href="https://www.nytimes.com/topic/organization/shakespeare-in-the-park">Shakespeare in the Park</a></div><div role="toolbar" data-testid="share-tools" aria-label="Social Media Share buttons, Save button, and Comments Panel with current comment count" class="css-yomkvi"><div></div><div class="css-n8j48p"></div><div data-testid="share-tools-menu" class="css-6p9mwl"><ul data-testid="share-tools-list" class="css-1atjma0"><li class="css-atthsv"><div class="css-vxcmzt"><div class="css-79elbk"><button type="button" aria-label="" aria-expanded="false" class="css-1eeh360 actionbar-button" data-testid="gift-article-button"><span class="css-10d8k1f"><svg aria-hidden="true" width="19" height="19" viewBox="0 0 19 19"><path d="M18.04 5.293h-2.725c.286-.34.493-.74.606-1.17a2.875 2.875 0 0 0-.333-2.322A2.906 2.906 0 0 0 13.64.48a3.31 3.31 0 0 0-2.372.464 3.775 3.775 0 0 0-1.534 2.483l-.141.797-.142-.847A3.745 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"}],"textAlign":"DEFAULT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":false,"index":0},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"Yet since the 17th century when Purcell wrote ingenious music for English plays, notable composers have written music for the theater that was hardly incidental. Grieg composed nearly 90 minutes of music for Ibsen’s “Peer Gynt.” The original 1876 production lasted some five hours. Grieg later extracted two popular orchestral suites from the score. But those who know “In the Hall of the Mountain King” only from the suite would be stunned to hear the "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"Anthony Tommasini review of a recording of the incidental music for “Peer Gynt.“","uri":null,"url":"http:\u002F\u002Fwww.nytimes.com\u002F2005\u002F06\u002F19\u002Farts\u002Fmusic\u002F19tomm.html"}],"text":"chilling original version"},{"__typename":"TextInline","formats":[],"text":", with includes a shrieking chorus and thunderous percussion. "}],"textAlign":"DEFAULT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":false,"index":1},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"Mendelssohn’s beloved incidental music for Shakespeare’s “Midsummer Night’s Dream” is so elaborate that it was not hard for later composers to fashion the various pieces into an evening-length ballet score. American Ballet Theater recently performed "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"New York Times review of “The Dream.“","uri":null,"url":"http:\u002F\u002Fwww.nytimes.com\u002F2010\u002F06\u002F10\u002Farts\u002Fdance\u002F10ashton.html"}],"text":"Frederick Ashton’s magical 1964 ballet “The Dream,”"},{"__typename":"TextInline","formats":[],"text":" using John Lanchbery’s effective arrangement of Mendelssohn’s music. On the other hand, many fine composers have embraced the deferential approach to writing incidental music while still showing that such scores can be arresting and sophisticated on their own terms. Two good examples can be heard in New York at the Public Theater’s Shakespeare in the Park productions of "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"New York Times review of “The Winter’s Tale.“","uri":null,"url":"http:\u002F\u002Ftheater.nytimes.com\u002F2010\u002F07\u002F02\u002Ftheater\u002Freviews\u002F02winter.html"}],"text":"“The Winter’s Tale,”"},{"__typename":"TextInline","formats":[],"text":" with soft-spoken, precisely rendered incidental music by Tom Kitt, and "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"New York Times review of “The Merchant of Venice.“","uri":null,"url":"http:\u002F\u002Ftheater.nytimes.com\u002F2010\u002F07\u002F01\u002Ftheater\u002Freviews\u002F01merchant.html"}],"text":"“The Merchant of Venice,”"},{"__typename":"TextInline","formats":[],"text":" with an atmospheric, intricately textured score by Dan Moses Schreier."}],"textAlign":"DEFAULT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":true,"bad":false,"index":2},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"Mr. Kitt is best known for his Tony Award-winning score for the rock musical "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"New York Times review of “Next to Normal.“","uri":null,"url":"http:\u002F\u002Fwww.nytimes.com\u002F2009\u002F04\u002F16\u002Ftheater\u002Freviews\u002F16norm.html"}],"text":"“Next to Normal,”"},{"__typename":"TextInline","formats":[],"text":" which also brought the Pulitzer Prize in drama to Mr. Kitt and his collaborator Brian Yorkey, who wrote the book and lyrics. The songs are woven almost continuously into “Next to Normal,” the story of how a woman’s struggle with bipolar disorder affects her family. Although the songs basically adhere to generic rock and pop styles, the music teems below the surface with rich details, and the score abounds in intricate ensemble writing. "}],"textAlign":"DEFAULT"},{"__typename":"Dropzone","adsDesktop":true,"adsDesktopHoldout":true,"adsHybrid":true,"adsMobile":true,"adsMobileHoldout":false,"bad":false,"index":3},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"But in “The Winter’s Tale” Mr. Kitt’s acute ear and originality come through even more. His score is a triumph of the less-is-more approach to incidental music."}],"textAlign":"DEFAULT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":false,"index":4},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"“The Winter’s Tale” tells of Leontes, the king of Sicilia, who irrationally concludes that his wife, Hermione, has been unfaithful and borne a baby girl to his childhood friend Polixenes, the king of Bohemia. A wondrous mix of enchantment, comedy, mysticism and exotica, the play cries out for music to set the scenes and connect the threads. In a recent telephone interview Mr. Kitt, 36, who majored in economics at Columbia, recalled his first planning sessions with Michael Greif, the director of “The Winter’s Tale” (and also of “Next to Normal”)."}],"textAlign":"DEFAULT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":false,"index":5},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"“I was kind of surprised by Michael’s vision for music in the production and by how much music he wanted,” Mr. Kitt said. There were to be long stretches of underscoring, when music played in the background, as well as themes and songs that would recur, Mr. Kitt explained."}],"textAlign":"DEFAULT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":true,"bad":false,"index":6},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"He wanted the music to be live, meaning nothing recorded. To keep it intimate (and the budget reasonable) he wrote the score for just four musicians: a violinist, a cellist, a percussionist and a conductor playing a digital keyboard synthesizer. "}],"textAlign":"DEFAULT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":true,"adsMobileHoldout":false,"bad":false,"index":7},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"From the first strains, you hear isolated two-note intervals and softly piercing clusters played in haunting repetition. What comes through immediately is that the chords, riffs, fragments and themes have been chosen with precision. "}],"textAlign":"DEFAULT"},{"__typename":"Dropzone","adsDesktop":true,"adsDesktopHoldout":true,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":false,"index":8},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"“I wanted to pick the notes so that they counted,” Mr. Kitt said. “I did not want to overpower the play, or make the music too dense.” "}],"textAlign":"DEFAULT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":true,"adsMobile":false,"adsMobileHoldout":false,"bad":false,"index":9},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"The play’s settings are ambiguous and sometimes nonsensical: one scene takes place in the deserts of Bohemia. Deserts in what is the modern-day Czech Republic? Mr. Kitt took this looseness as license to have fun. In the opening scenes in Sicilia, the music sounds almost Indian, with hints of ragas and cyclic riffs. But later, in Bohemia, the music has a rustic, dancing Eastern European character. "}],"textAlign":"DEFAULT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":true,"bad":false,"index":10},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"When the accused Hermione, standing trial, proclaims her innocence and invokes the judgment of Apollo, we hear an eerily beautiful extended episode. The music is anchored by a sustained pedal tone, with searching intervals floating above and bits of phrases that slowly coalesce into an insistent five-note theme."}],"textAlign":"DEFAULT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":true,"adsMobileHoldout":false,"bad":false,"index":11},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"The “Merchant of Venice” music, which is recorded, is comparably engrossing but of a different style entirely. Though Mr. Schreier has a sizable résumé of scores for the theater, he may be best known as an astute sound designer, especially for his work in recent years on productions of Stephen Sondheim musicals, which consistently sound less amplified and more natural than typical Broadway shows."}],"textAlign":"DEFAULT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":false,"index":12},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"For “The Merchant of Venice,” directed by Daniel Sullivan, Mr. Schreier’s music is thick textured and lush, with multiple overlapping elements: choralelike chords, melodic bits, hazy clouds of harmonies. Yet every strand comes through with striking clarity, and nothing sounds overlayered."}],"textAlign":"DEFAULT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":false,"index":13},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"When Mr. Schreier wants to shake up the audience and intensify a scene, the music becomes a din, with scrambling scales moving every which way, as in the music of Steve Reich, or a burst of chimes and metallic clanking. But when tenderness is called for, a simple melody on a consoling oboe or a wash of chords, like out-of-focus Debussy, is subtly heard."}],"textAlign":"DEFAULT"},{"__typename":"Dropzone","adsDesktop":true,"adsDesktopHoldout":true,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":true,"bad":false,"index":14},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"Sometimes a play demands that incidental music be more pervasive and powerful, as with Mark Bennett’s near-symphonic score for "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","title":"Anthony Tommasini notebook on the incidental music for “The Coast of Utopia.“","uri":null,"url":"http:\u002F\u002Fwww.nytimes.com\u002F2007\u002F03\u002F21\u002Farts\u002Fmusic\u002F21coas.html"}],"text":"“The Coast of Utopia,”"},{"__typename":"TextInline","formats":[],"text":" which played at the Lincoln Center Theater in 2006-7. Because this nine-hour Tom Stoppard trilogy spanned decades of mid-19th-century Russian history, philosophy and culture, strong music was needed to bring cohesion to the narrative, which boldly jumped time periods and locales. "}],"textAlign":"DEFAULT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":true,"adsMobile":true,"adsMobileHoldout":false,"bad":false,"index":15},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"But it’s Shakespeare who seems to have brought out the best in composers for the theater in recent years. Although Jeanine Tesori is best known for her scores to the musicals “Caroline, or Change” and “Shrek the Musical,” her most enthralling work, for me, was her enchanting score for Nicholas Hytner’s production of “Twelfth Night” at Lincoln Center more than a decade ago. "}],"textAlign":"DEFAULT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":false,"index":16},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"Ms. Tesori went to percussion stores all over New York asking to see the instruments that no one ever rented, the more exotic the better. She wound up writing an otherworldly score played on Tibetan temple bowls, gongs, wood blocks and hand drums, along with guitars, woodwinds, strings and more. But all the sounds were natural, nothing was amplified, and the music she wrote was rich with mystical modal harmonies and plaintive melodic lines."}],"textAlign":"DEFAULT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":false,"index":17},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"My favorite backstage story about incidental music involves the composer Virgil Thomson, who wrote the score for the landmark 1936 production of “Macbeth” presented by the Negro Unit of the Federal Theater Project, with the young Orson Welles directing a black cast. Welles set the play on an island that could have been Haiti in the 19th century. The witches were voodoo priestesses. A troupe of authentic African drummers was recruited to play along with the pit orchestra. The lead drummer professed to be an actual witch doctor."}],"textAlign":"DEFAULT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":true,"bad":false,"index":18},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"Thomson wanted real voodoo music for the voodoo scenes. But when the African musicians played some, he thought it sounded a little tame. He kept pressing them, asking, “Is this stuff really voodoo?” The African musicians assured him it was. Finally, under Thomson’s grilling, they admitted it was not, that is was just some spells to ward off beriberi. They did not dare use the real thing since, naturally, it would have worked."}],"textAlign":"DEFAULT"},{"__typename":"Dropzone","adsDesktop":false,"adsDesktopHoldout":false,"adsHybrid":false,"adsMobile":false,"adsMobileHoldout":false,"bad":false,"index":19},{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"The scores to “The Winter’s Tale” and “The Merchant of Venice” cast only metaphorical spells, of course. But composers who want a model of how to write effective incidental music should head over to the Delacorte Theater."}],"textAlign":"DEFAULT"}]},"storyFormat":null,"storylines":[{"__typename":"AssociatedStoryline","ruleName":"styln-broadway","storyline":{"__typename":"Storyline","context":null,"displayName":"Performances in N.Y.C.","experimentalJsonBlob":"{\"data\":[{\"version\":1,\"type\":\"experimentalJsonBlob\",\"data\":[{\"version\":1,\"type\":\"guide\",\"data\":{\"title\":\"More on N.Y.C. Theater, Music and Dance\",\"leadIn\":\"\",\"sections\":[{\"section\":[{\"type\":\"bulletedList\",\"value\":[\"\u003Cstrong\u003EVinny DePonto Wants to Bring More Awe:\u003C\u002Fstrong\u003E In “Mindplay,” a mentalist show, the magician asks his audience: “\u003Ca href=\\\"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F02\u002F12\u002Ftheater\u002Fmindplay-vinny-deponto-mentalist.html\\\"\u003EWhat is most meaningful to you\u003C\u002Fa\u003E?”\",\"\u003Cstrong\u003ETaking Up the Banner of Sidelined Artists:\u003C\u002Fstrong\u003E With their Tent Theater Company, Tim Sanford and Aimée Hayes want to \u003Ca href=\\\"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F02\u002F10\u002Ftheater\u002Ftent-theater-company-older-playwrights.html\\\"\u003Eraise the profiles of older artists\u003C\u002Fa\u003E.\",\"\u003Cstrong\u003EKeeping ‘The Lion King’ in Motion:\u003C\u002Fstrong\u003E “Everything in the show moves,” said Ruthlyn Salomons, whose job for 25 years has been to \u003Ca href=\\\"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F02\u002F10\u002Farts\u002Fdance\u002Fruthlyn-salomons-lion-king-broadway.html\\\"\u003Eoversee all the parts, people and puppets\u003C\u002Fa\u003E of this kinetic musical.\",\"\u003Cstrong\u003EThe Orchestra of St. Luke’s Turns 50:\u003C\u002Fstrong\u003E The ensemble, a New York original, keeps its players busy with \u003Ca href=\\\"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F01\u002F31\u002Farts\u002Fmusic\u002Fst-lukes-orchestra-carnegie-classical-music.html\\\"\u003Ework off the beaten path\u003C\u002Fa\u003E, whether Schubert rarities or “The Lord of the Rings.”\",\"\u003Cstrong\u003EA Blue Man Group Farewell:\u003C\u002Fstrong\u003E Over 34 years, the show gave Fred Armisen a drumming gig, “Arrested Development” a hilarious story line and more. \u003Ca href=\\\"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F01\u002F30\u002Ftheater\u002Fblue-man-group-new-york-closing-off-broadway.html\\\"\u003ENow the cultural sensation comes to an end in New York\u003C\u002Fa\u003E.\"]}]}]}}]}]}","guide":{"__typename":"StorylineGuide","displayName":"More on N.Y.C. Theater, Music and Dance","leadIn":null,"sections":[{"__typename":"StorylineGuideSection","items":[{"__typename":"StorylineGuideItem","content":{"__typename":"ListBlock","content":[{"__typename":"ListItemBlock","content":[{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[{"__typename":"BoldFormat"}],"text":"Vinny DePonto Wants to Bring More Awe:"},{"__typename":"TextInline","formats":[],"text":" In “Mindplay,” a mentalist show, the magician asks his audience: “"},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","uri":"nyt:\u002F\u002Farticle\u002F165ec20f-3665-59e9-b4ae-17f4b6206295","url":"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F02\u002F12\u002Ftheater\u002Fmindplay-vinny-deponto-mentalist.html"}],"text":"What is most meaningful to you"},{"__typename":"TextInline","formats":[],"text":"?”"}]}]},{"__typename":"ListItemBlock","content":[{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[{"__typename":"BoldFormat"}],"text":"Taking Up the Banner of Sidelined Artists:"},{"__typename":"TextInline","formats":[],"text":" With their Tent Theater Company, Tim Sanford and Aimée Hayes want to "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","uri":"nyt:\u002F\u002Farticle\u002F5c4eab06-a25f-5603-9d40-8cd8bed53864","url":"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F02\u002F10\u002Ftheater\u002Ftent-theater-company-older-playwrights.html"}],"text":"raise the profiles of older artists"},{"__typename":"TextInline","formats":[],"text":"."}]}]},{"__typename":"ListItemBlock","content":[{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[{"__typename":"BoldFormat"}],"text":"Keeping ‘The Lion King’ in Motion:"},{"__typename":"TextInline","formats":[],"text":" “Everything in the show moves,” said Ruthlyn Salomons, whose job for 25 years has been to "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","uri":"nyt:\u002F\u002Farticle\u002Fd3b2727a-4057-5d93-9ca6-d59425a557a0","url":"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F02\u002F10\u002Farts\u002Fdance\u002Fruthlyn-salomons-lion-king-broadway.html"}],"text":"oversee all the parts, people and puppets"},{"__typename":"TextInline","formats":[],"text":" of this kinetic musical."}]}]},{"__typename":"ListItemBlock","content":[{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[{"__typename":"BoldFormat"}],"text":"The Orchestra of St. Luke’s Turns 50:"},{"__typename":"TextInline","formats":[],"text":" The ensemble, a New York original, keeps its players busy with "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","uri":"nyt:\u002F\u002Farticle\u002F7386f6bc-2774-5639-86c9-24b2d04384b3","url":"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F01\u002F31\u002Farts\u002Fmusic\u002Fst-lukes-orchestra-carnegie-classical-music.html"}],"text":"work off the beaten path"},{"__typename":"TextInline","formats":[],"text":", whether Schubert rarities or “The Lord of the Rings.”"}]}]},{"__typename":"ListItemBlock","content":[{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[{"__typename":"BoldFormat"}],"text":"A Blue Man Group Farewell:"},{"__typename":"TextInline","formats":[],"text":" Over 34 years, the show gave Fred Armisen a drumming gig, “Arrested Development” a hilarious story line and more. "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","uri":"nyt:\u002F\u002Farticle\u002F646c3a26-6e28-5a3b-a64d-097dda14e0c8","url":"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F01\u002F30\u002Ftheater\u002Fblue-man-group-new-york-closing-off-broadway.html"}],"text":"Now the cultural sensation comes to an end in New York"},{"__typename":"TextInline","formats":[],"text":"."}]}]}]}}]}]},"hubAssets":[],"primaryAssets":[{"__typename":"StorylinePrimaryAsset","asset":{"__typename":"Article","uri":"nyt:\u002F\u002Farticle\u002F4adae2b6-fa60-5ad8-8fe1-6549206147e3","url":"https:\u002F\u002Fwww.nytimes.com\u002Farticle\u002Fbroadway-shows-musicals.html"},"displayName":"Broadway Guide","status":null},{"__typename":"StorylinePrimaryAsset","asset":{"__typename":"Article","uri":"nyt:\u002F\u002Farticle\u002Febf12957-cc56-5572-abc0-d40e60a2de6e","url":"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F02\u002F12\u002Ftheater\u002Fnight-sings-its-songs-review-fosse.html"},"displayName":"‘Night Sings Its Songs’","status":null},{"__typename":"StorylinePrimaryAsset","asset":{"__typename":"Article","uri":"nyt:\u002F\u002Farticle\u002Fd662224e-0d8c-5d1c-8ff2-8262988f2b1f","url":"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F02\u002F12\u002Ftheater\u002Fhenry-iv-review.html"},"displayName":"‘Henry IV’","status":null},{"__typename":"StorylinePrimaryAsset","asset":{"__typename":"Article","uri":"nyt:\u002F\u002Farticle\u002F488ba63c-b657-5ba7-97d0-779f397d33b6","url":"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F02\u002F11\u002Ftheater\u002Fdoomers-review-ai-gasda.html"},"displayName":"‘Doomers’","status":null},{"__typename":"StorylinePrimaryAsset","asset":{"__typename":"Article","uri":"nyt:\u002F\u002Farticle\u002F03fcf115-0605-5758-87a5-a3021f6b619f","url":"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F02\u002F06\u002Ftheater\u002Furinetown-review-encores.html"},"displayName":"‘Urinetown’","status":null},{"__typename":"StorylinePrimaryAsset","asset":{"__typename":"Article","uri":"nyt:\u002F\u002Farticle\u002F55747cfa-13d4-54ff-9e3d-501b23376eef","url":"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F01\u002F23\u002Ftheater\u002Fenglish-review-broadway-toossi.html"},"displayName":"‘English’","status":null},{"__typename":"StorylinePrimaryAsset","asset":{"__typename":"Article","uri":"nyt:\u002F\u002Farticle\u002F3c51e4fc-24ba-594a-82d2-ecad921a7381","url":"https:\u002F\u002Fwww.nytimes.com\u002F2024\u002F12\u002F22\u002Ftheater\u002Fall-in-review.html"},"displayName":"‘All In’","status":null}],"promotedLiveAssets":[],"tone":"FEATURE","topLinks":null,"uri":"nyt:\u002F\u002Fstoryline\u002F885a8ffc-0350-4a43-b8e5-006e83bde658","url":"https:\u002F\u002Fwww.nytimes.com\u002Fstoryline\u002F885a8ffc-0350-4a43-b8e5-006e83bde658"},"testName":""},{"__typename":"AssociatedStoryline","ruleName":"styln-performing-arts-global","storyline":{"__typename":"Storyline","context":null,"displayName":"Performing Arts","experimentalJsonBlob":"{\"data\":[{\"version\":1,\"type\":\"experimentalJsonBlob\",\"data\":[{\"version\":1,\"type\":\"guide\",\"data\":{\"title\":\"Performing Arts Across the Globe\",\"leadIn\":\"\",\"sections\":[{\"section\":[{\"type\":\"bulletedList\",\"value\":[\"\u003Cstrong\u003EAnna Netrebko Tries U.S. Comeback:\u003C\u002Fstrong\u003E The Russian singer, shunned over her past support of Vladimir Putin, made \u003Ca href=\\\"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F02\u002F04\u002Farts\u002Fmusic\u002Fanna-netrebko-us-opera-putin.html\\\"\u003Eher first American appearance since 2019\u003C\u002Fa\u003E at a gala for Palm Beach Opera.\",\"\u003Cstrong\u003ELarissa FastHorse Doesn’t Want to Be a Cautionary Tale:\u003C\u002Fstrong\u003E After a delay, “Fake It Until You Make It,” the writer’s follow-up to her Broadway satire, “\u003Ca href=\\\"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F02\u002F04\u002Ftheater\u002Flarissa-fasthorse-fake-it-until-you-make-it.html\\\"\u003EThe Thanksgiving Play,” is finally onstage in Los Angeles\u003C\u002Fa\u003E.\",\"\u003Cstrong\u003EHandling the Greek Classics:\u003C\u002Fstrong\u003E Sophocles is suddenly everywhere on London’s stages. In concurrent shows, \u003Ca href=\\\"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F02\u002F07\u002Ftheater\u002Frami-malek-oedpius-brie-larson-elektra-sophocles-london.html\\\"\u003ERami Malek is playing Oedipus and Brie Larson is taking on Elektra\u003C\u002Fa\u003E.\",\"\u003Cstrong\u003EA Blue Man Group Farewell:\u003C\u002Fstrong\u003E Over 34 years, the show gave Fred Armisen a drumming gig, “Arrested Development” a hilarious story line and more. \u003Ca href=\\\"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F01\u002F30\u002Ftheater\u002Fblue-man-group-new-york-closing-off-broadway.html\\\"\u003ENow the cultural sensation comes to an end in New York\u003C\u002Fa\u003E.\",\"\u003Cstrong\u003EAgainst All Odds: \u003C\u002Fstrong\u003EIn Las Vegas, the land of mega-spectacles and oversize flash, there’s a \u003Ca href=\\\"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F01\u002F21\u002Ftheater\u002Flas-vegas-local-theater.html\\\"\u003Epalpable hunger for theater on a smaller scale\u003C\u002Fa\u003E.\",\"\u003Cstrong\u003ELoved in London, Not in New York: \u003C\u002Fstrong\u003EWhat happened to the stage productions “Sunset Boulevard,” “Back to the Future,” “Cinderella” and “Tammy Faye” \u003Ca href=\\\"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F01\u002F10\u002Ftheater\u002Fcinderella-tammy-faye-london-ny-theater.html\\\"\u003Ewhen they crossed the Atlantic\u003C\u002Fa\u003E?\"]}]}]}}]}]}","guide":{"__typename":"StorylineGuide","displayName":"Performing Arts Across the Globe","leadIn":null,"sections":[{"__typename":"StorylineGuideSection","items":[{"__typename":"StorylineGuideItem","content":{"__typename":"ListBlock","content":[{"__typename":"ListItemBlock","content":[{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[{"__typename":"BoldFormat"}],"text":"Anna Netrebko Tries U.S. Comeback:"},{"__typename":"TextInline","formats":[],"text":" The Russian singer, shunned over her past support of Vladimir Putin, made "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","uri":"nyt:\u002F\u002Farticle\u002Fd57d4df8-007c-5e0a-9e5a-1b6cf2ae7e6b","url":"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F02\u002F04\u002Farts\u002Fmusic\u002Fanna-netrebko-us-opera-putin.html"}],"text":"her first American appearance since 2019"},{"__typename":"TextInline","formats":[],"text":" at a gala for Palm Beach Opera."}]}]},{"__typename":"ListItemBlock","content":[{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[{"__typename":"BoldFormat"}],"text":"Larissa FastHorse Doesn’t Want to Be a Cautionary Tale:"},{"__typename":"TextInline","formats":[],"text":" After a delay, “Fake It Until You Make It,” the writer’s follow-up to her Broadway satire, “"},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","uri":"nyt:\u002F\u002Farticle\u002F7f807dd5-4cce-5385-8ddc-d533d6c51063","url":"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F02\u002F04\u002Ftheater\u002Flarissa-fasthorse-fake-it-until-you-make-it.html"}],"text":"The Thanksgiving Play,” is finally onstage in Los Angeles"},{"__typename":"TextInline","formats":[],"text":"."}]}]},{"__typename":"ListItemBlock","content":[{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[{"__typename":"BoldFormat"}],"text":"Handling the Greek Classics:"},{"__typename":"TextInline","formats":[],"text":" Sophocles is suddenly everywhere on London’s stages. In concurrent shows, "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","uri":"nyt:\u002F\u002Farticle\u002F389c31a3-89fa-5ccb-8337-d4a1a0478ecd","url":"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F02\u002F07\u002Ftheater\u002Frami-malek-oedpius-brie-larson-elektra-sophocles-london.html"}],"text":"Rami Malek is playing Oedipus and Brie Larson is taking on Elektra"},{"__typename":"TextInline","formats":[],"text":"."}]}]},{"__typename":"ListItemBlock","content":[{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[{"__typename":"BoldFormat"}],"text":"A Blue Man Group Farewell:"},{"__typename":"TextInline","formats":[],"text":" Over 34 years, the show gave Fred Armisen a drumming gig, “Arrested Development” a hilarious story line and more. "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","uri":"nyt:\u002F\u002Farticle\u002F646c3a26-6e28-5a3b-a64d-097dda14e0c8","url":"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F01\u002F30\u002Ftheater\u002Fblue-man-group-new-york-closing-off-broadway.html"}],"text":"Now the cultural sensation comes to an end in New York"},{"__typename":"TextInline","formats":[],"text":"."}]}]},{"__typename":"ListItemBlock","content":[{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[{"__typename":"BoldFormat"}],"text":"Against All Odds: "},{"__typename":"TextInline","formats":[],"text":"In Las Vegas, the land of mega-spectacles and oversize flash, there’s a "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","uri":"nyt:\u002F\u002Farticle\u002Ff3bba06c-f443-58b1-baef-4c8cfe948e84","url":"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F01\u002F21\u002Ftheater\u002Flas-vegas-local-theater.html"}],"text":"palpable hunger for theater on a smaller scale"},{"__typename":"TextInline","formats":[],"text":"."}]}]},{"__typename":"ListItemBlock","content":[{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[{"__typename":"BoldFormat"}],"text":"Loved in London, Not in New York: "},{"__typename":"TextInline","formats":[],"text":"What happened to the stage productions “Sunset Boulevard,” “Back to the Future,” “Cinderella” and “Tammy Faye” "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","uri":"nyt:\u002F\u002Farticle\u002Fb32875ff-b9a3-530e-8976-52ca4fc54964","url":"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F01\u002F10\u002Ftheater\u002Fcinderella-tammy-faye-london-ny-theater.html"}],"text":"when they crossed the Atlantic"},{"__typename":"TextInline","formats":[],"text":"?"}]}]}]}}]}]},"hubAssets":[],"primaryAssets":[],"promotedLiveAssets":[],"tone":"NEWS","topLinks":null,"uri":"nyt:\u002F\u002Fstoryline\u002F9a48e295-4b0a-4094-b6ef-56093ee7c013","url":"https:\u002F\u002Fwww.nytimes.com\u002Fstoryline\u002F9a48e295-4b0a-4094-b6ef-56093ee7c013"},"testName":""},{"__typename":"AssociatedStoryline","ruleName":"styln-classical-music","storyline":{"__typename":"Storyline","context":null,"displayName":"Classical Music Guide","experimentalJsonBlob":"{\"data\":[{\"version\":1,\"type\":\"experimentalJsonBlob\",\"data\":[{\"version\":1,\"type\":\"guide\",\"data\":{\"title\":\"Let Us Help You Love Classical Music Even More\",\"leadIn\":\"Spend 5 minutes digging a little deeper into the best parts of music.\",\"sections\":[{\"section\":[{\"type\":\"bulletedList\",\"value\":[\"Take five minutes to discover the varied, explosive, resonant sounds of \u003Ca href=\\\"https:\u002F\u002Fwww.nytimes.com\u002F2021\u002F06\u002F02\u002Farts\u002Fmusic\u002Fclassical-music-percussion-five-minutes.html\\\"\u003Epercussion instruments\u003C\u002Fa\u003E, whether struck, shaken, pounded or scratched.\",\"Listen to the sweeping musical statements at the foundation of the orchestral repertory: \u003Ca href=\\\"https:\u002F\u002Fwww.nytimes.com\u002F2021\u002F07\u002F07\u002Farts\u002Fmusic\u002Fclassical-music-symphony.html\\\"\u003Esymphonies\u003C\u002Fa\u003E.\",\"Learn to love \u003Ca href=\\\"https:\u002F\u002Fwww.nytimes.com\u002F2021\u002F05\u002F05\u002Farts\u002Fmusic\u002Ffive-minutes-classical-music-choral.html\\\"\u003Echoral music\u003C\u002Fa\u003E — ancient, contemporary, gospel, opera, sacred, romantic — with selections from our favorite artists.\",\"Looking for specific musicians? 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Check out "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","uri":"nyt:\u002F\u002Farticle\u002Ffb0c9eb1-9d16-5d1f-9a65-f593658acadb","url":"https:\u002F\u002Fwww.nytimes.com\u002F2021\u002F10\u002F06\u002Farts\u002Fmusic\u002Fopera-classical-music-maria-callas.html?action=click&module=card&pageType=fiveMins2020Link"}],"text":"Maria Callas"},{"__typename":"TextInline","formats":[],"text":", opera’s defining diva; the genre-spanning genius of "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","uri":"nyt:\u002F\u002Farticle\u002F985af30c-8fbe-5ad7-bf22-d8b258415f8b","url":"https:\u002F\u002Fwww.nytimes.com\u002F2020\u002F07\u002F01\u002Farts\u002Fmusic\u002Fclassical-music-mozart.html"}],"text":"Mozart"},{"__typename":"TextInline","formats":[],"text":"; and "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","uri":"nyt:\u002F\u002Farticle\u002F974c14e0-57fa-5106-b71d-2cb9612cb1af","url":"https:\u002F\u002Fwww.nytimes.com\u002F2020\u002F08\u002F05\u002Farts\u002Fmusic\u002Ffive-minutes-classical-music.html"}],"text":"21st-century composers"},{"__typename":"TextInline","formats":[],"text":" like Caroline Shaw and Thomas Adès."}]}]},{"__typename":"ListItemBlock","content":[{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[],"text":"That’s just the beginning: "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","uri":"nyt:\u002F\u002Finteractive\u002Fc6fcc6cc-f575-5028-b0c3-035bfad61d61","url":"https:\u002F\u002Fwww.nytimes.com\u002Finteractive\u002F2020\u002Farts\u002Fmusic\u002Ffive-minutes-love-music.html"}],"text":"Here are five minutes to fall in love with"},{"__typename":"TextInline","formats":[],"text":" tenors, the flute, the trumpet, Brahms, string quartets and so much more."}]}]}]}}]}]},"hubAssets":[],"primaryAssets":[],"promotedLiveAssets":[],"tone":"NEWS","topLinks":null,"uri":"nyt:\u002F\u002Fstoryline\u002F486d84b2-e244-48c4-83b5-5d7992c9ff67","url":"https:\u002F\u002Fwww.nytimes.com\u002Fstoryline\u002F486d84b2-e244-48c4-83b5-5d7992c9ff67"},"testName":""},{"__typename":"AssociatedStoryline","ruleName":"styln-music","storyline":{"__typename":"Storyline","context":null,"displayName":"Music Guide","experimentalJsonBlob":"{\"data\":[{\"version\":1,\"type\":\"experimentalJsonBlob\",\"data\":[{\"version\":1,\"type\":\"guide\",\"data\":{\"title\":\"Find the Right Soundtrack for You\",\"leadIn\":\"Trying to expand your musical horizons? 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Carpenter flirts with country, and "},{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","uri":"nyt:\u002F\u002Farticle\u002F47561d52-0fd5-50da-ac9d-c6aa4df3eb1d","url":"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F02\u002F14\u002Farts\u002Fmusic\u002Fplaylist-sabrina-carpenter-dolly-parton.html"}],"text":"12 more new songs"},{"__typename":"TextInline","formats":[],"text":"."}]}]},{"__typename":"ListItemBlock","content":[{"__typename":"ParagraphBlock","content":[{"__typename":"TextInline","formats":[{"__typename":"LinkFormat","uri":"nyt:\u002F\u002Farticle\u002F119a8f8d-93bd-5534-a63f-d2c94a07c0a6","url":"https:\u002F\u002Fwww.nytimes.com\u002F2025\u002F02\u002F12\u002Farts\u002Fmusic\u002Fjesse-welles-middle.html"}],"text":"Jesse Welles"},{"__typename":"TextInline","formats":[],"text":", a folk musician who “sings the news,” is turning the 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