Studio Seaview

If you missed Andrew Scott's tour de force solo turn in Vanya last year, you now have another chance to get him alone—if you can afford the tickets, which start at $299 a pop. In the one-act monologue Sea Wall, written for Scott in 2008 by Simon Stephens (The Curious Incident of the Dog in the Night-Time), the actor plays a catalog photographer who opens up to the audience about the great sadness he carries with him in the aftermath of a trip to southern France. (Scott reprised the role in London in 2018 and streamed it during the pandemic; Tom Sturridge essayed it beautifully on Broadway in 2019.) The play a marvel of compression and detail; it earns your trust and then gently breaks your heart. Scott's two-week run will be recorded for a future film documenting the production, its creation and its reception.

When the indie singer-songwriter and musical-theater composer Duncan Sheik died suddenly in September, he was on the brink of a career-spanning autumn season: the world premiere of his newest show, Memoirs of Amorous Gentlemen; the West End debut of Nero, which expands a 2006 piece he wrote with librettist Steven Sater into a full-fledged musical; and finally a major revival of his earliest and most successful theater work, 2006's Spring Awakening, which he and Sater adapted from Frank Wedekind’s still-shocking 1891 drama about teenage lust and its casualties. The last of these, directed by Danya Taymor and choreographed by Celia Rowlson-Hall, stars Tyler Jordan Wesley, Ashlyn Maddox and Ryo Kamibayashi in the principal roles, joined by George Abud and Lilli Cooper—the youngest member of the original ensemble 20 years ago!—as all of the adults. (At least two other parts were cast in a much-publicized open call this summer.)