What does the Belgian dramatist Ivo van Hove have in widespread with the American-Canadian singer Rufus Wainwright? For one, they’re each artists whose homosexual identification is neither incidental to their work nor all-consuming. For an additional, they’re each tireless creative explorers, catholic within the excessive. Wainwright, son of the ’70s singer-songwriters Loudon Wainwright III and Kate McGarrigle, fused indie folks and tender glam right into a sequence of extremely private albums, starting along with his eponymous debut in 1998 and persevering with by way of his pair of dynamic 2003-4 “Need” albums. Then he determined to put in writing operas — the second, “Hadrian,” with a libretto by Daniel MacIvor, premiered in Toronto in October — and to compose music for the famend American experimental theater director Robert Wilson’s 2009 staging of Shakespeare’s sonnets in Berlin. These works introduced him into the inventive orbit of the Amsterdam-based van Hove, whose freewheeling multimedia diversifications pay equal homage to avant-garde efficiency pioneers like Wilson and august playwrights like Arthur Miller, whose “The Crucible” and “A View From the Bridge” he reimagined earlier this decade. (His theater firm, Internationaal Theater Amsterdam, lately premiered “A Little Life,” tailored from the novel written by T’s editor in chief, Hanya Yanagihara.) Wainwright and van Hove met up one October night time in a Japanese restaurant in downtown New York; van Hove, 60, had simply completed a day of rehearsals for the Broadway adaptation of Sidney Lumet’s prescient 1976 media satire, “Community” (opening Dec. 6), which he’s directing and which stars Bryan Cranston. Wainwright, 45, had simply flown in from his house in Los Angeles, the day after debuting his tense, lovely and political new single, “Sword of Damocles,” as he prepares to go on tour. They have been coming from disparate locations, operating on completely different clocks, however instantly opened up about that which issues most to them: politics, popping out, the multiplicity of the self — and the advantages of boarding faculty.
RUFUS WAINWRIGHT: Considered one of my husband Jörn [Weisbrodt]’s nice heroes is Ivo. I believe the very first thing that I noticed of his was “Angels in America” on the Brooklyn Academy of Music in 2014, which was unbelievable, after which “A View From the Bridge” and “The Crucible.” We’ve wished to do one thing collectively for years. It may take many varieties: definitely an opera or a musical. Right this moment, once I got here to the photograph shoot, it was within the basement of a church. And I mentioned, “What is that this, an A.A. assembly?” Then it dawned on me that that is the place you’re rehearsing “Community.” I had the identical factor with my final opera: I believe it was an previous cigar manufacturing facility — a really sacred aura, but in addition unglamorous and badly lit. So, when are you getting out of that room?
IVO VAN HOVE: In per week’s time. I’m completely happy. However making theater, if you’re the director, you must consistently be the chief; lots of people need to embrace your concepts. Rufus, you’re far more the god of your creation. Are you disciplined?
RW: My mom beloved to drink and luxuriate in life, however when it got here to music, she was extremely exacting, and there was all the time a necessity for high quality and trueness, and that actually translated once I began making my early information. I labored with producers who tried to combat that a bit bit, and I wound up often profitable. I’m simply on the early levels of my theatrical profession, although I’m most likely solely going to put in writing three operas. All people’s been telling me incessantly, “Come on, Rufus, you must write a musical.” I’m persevering with my training.