Lincoln Center hosts a feast of a fest
The Lincoln Center Festival has never made sense, not really. Why would New York, which already is a culture festival, need another one in the summer when, supposedly, everyone who claims to be anyone abandons the city for ocean breezes and shade trees?
And this summer, the festival that thrives by defying conventional wisdom makes even less obvious sense. Now, when large and small arts institutions are shrinking beneath their budgets, this one, which runs Tuesday through Aug. 14, is bigger and longer than it has ever been -- specifically, two weeks longer.
Nigel Redden, director of the fest since 1998, recognizes the counterintuitive reality with enthusiasm and a surprising aura of calm.
"Festival plus," he calls the impending onslaught from Russia (ballet), Japan (theater), France (opera), Ireland (theater), Denmark (opera), Brazil (popular song) and, oh yes, Cleveland (orchestra). This doesn't count Merce Fair, a daylong immersion in performances, videos and installations that celebrates the revolutionary modern dance of Merce Cunningham, who died two years ago and whose company, according to his wishes, will soon disband.
Pushing the calendar is the massive landing of England's Royal Shakespeare Company, with five productions in repertory over six weeks at the monumentally beautiful Park Avenue Armory. A full-scale replica of the RSC's new Stratford-upon-Avon thrust stage is being built for the hall.
"The RSC required a fair amount of foolhardiness," he says, clearly enjoying understatement. "We have the foolhardiness to do it."
Redden sidesteps questions about the money, which is part of the greater Lincoln Center budget. "I'm always slightly leery about having the budget become a barometer" he says. "If we spend less next year, is it a lesser festival?"
He does credit the administration of Lincoln Center, still not finished with a multiyear reconstruction project. "In other places, people might cut back on programs in favor of the bricks and mortar," he says, though he does add that, this year, a tax-deductible "donation" is built into the price of every ticket.
Some years have focused, loosely, on more esoteric projects from far-off cultures. In 2002, we saw "Ta'ziyeh," an ancient Middle Eastern epic and pageant, in a tent next door to the Metropolitan Opera House. The summer of 2009 had an emphasis on contemporary and folk theater from Eastern Europe.
This year leans more toward major mainstream institutions -- the RSC (a coproduction with Ohio State University, where the company has a residency), the Mariinsky (Kirov) Ballet (a coproduction with the Met) and the Royal Danish Opera.
Of course, I have a few forgettable memories from past festivals. Last summer, German star-director Peter Stein's dreary 12-hour production of "The Devils," in Italian, almost killed my spirit for theater marathons altogether. (Still, it was fun to spend the day on Governor's Island.) Most of my memories are treasures, including avant-garde Greek epics by French visionary Ariane Mnouchkine, and magnificent mini-festivals devoted to Samuel Beckett and Harold Pinter.
As Redden sees it, his mission is to fill gaps, to bring cultures that New York, for all its bounty, doesn't see, or doesn't see often enough. "Yes, New York is a festival the rest of the year," he says, "but there are surprising gaps in the offerings." And thanks to vacant theaters in the summer, the desolation turns out to be an advantage.
Asked if New Yorkers need another festival, he replies, "I'm not sure they need it. But they want it. There must be a whole bunch of people here in the summer . . . because someone keeps buying tickets."
Festival highlights
This year's Lincoln Center Festival features 116 performances, artists from 20 countries, seven venues, six premieres:
PETER BROOK'S "A MAGIC FLUTE" The legendary director's free adaptation of Mozart's opera, considered a companion piece to his reduction of "Carmen." Tuesday-next Sunday; July 12-17, tickets $45-$85; Lynch Theater, John Jay College, 10th Avenue at 59th Street.
ROYAL SHAKESPEARE COMPANY "As You Like It," "Julius Caesar," "King Lear," "Romeo and Juliet" and "The Winter's Tale," all with an ensemble of young actors trained at the company for three years. Wednesday-Aug. 14, $32-$200; Park Avenue Armory, Park Avenue at 67th Street.
MARIINSKY BALLET Alexei Ratmansky's full-length "Anna Karenina" and "The Little Humpbacked Horse," plus George Balanchine; orchestra is usually conducted by Valery Gergiev. July 11-16, $40-$125; Metropolitan Opera House.
CLEVELAND ORCHESTRA The historic orchestra, Franz Welser-Möst conducts, with a focus on the music of Anton Bruckner. July 13, 14, 16 and 17, $35-$90; Avery Fisher Hall.
MERCE FAIR Three-part, all-day celebration of Merce Cunningham. 10 a.m.-10 p.m., July 16, $15-$60; Rose Hall, Broadway at 60th Street.
TOM ZÉ Bossa-nova iconoclast from Brazil, July 19, $45-$60; Alice Tully Hall, Broadway at 65th Street.
AMON MIYAMOTO Japanese director stages "The Temple of the Golden Pavilion," based on Yukio Mishima's novel about the country after World War II. July 21-24, $30-$85; Rose Theater in Rose Hall, Broadway at 60th Street.
DRUID THEATRE COMPANY Tony-winning director Garry Hynes stages Sean O'Casey's anti-war drama, "The Silver Tassie." July 24 and July 26-31, $40-$80; Lynch Theater, John Jay College, 10th Avenue at 59th Street.
ROYAL DANISH OPERA U.S. premiere of "Selma Jezková," Poul Ruders' opera based on Lars von Trier's film "Dancer in the Dark," July 29. Also, orchestral music July 28 and chamber music July 30 with the Royal Danish Orchestra; $30-$75; at various locations.
Call 212-721-6500 or visit lincolncenterfestival.org.
