Performance in a pandemic: How Yale artists adapted to life during COVID
One of the COVID-19 pandemic’s many harsh impacts has been its stifling effect on live performance. From the days when Broadway went dark to the crash of the arts economy that followed, performers worldwide have felt the consequences of the pandemic over the past two years.
The same has also been true at Yale, which is home to dozens of performance groups, not to mention hundreds of students whose academic curricula require honing their skills in front of live audiences.
But, as they say, the show must go on. And from the earliest days of the pandemic, through the recurrent waves, Yalies have taken creative steps to keep performance alive, exploring ways to engage in their craft — and connect with audiences — in safe and meaningful ways.
This spring, the campus has enjoyed a slow return of live performance, from the reopening of the Yale Repertory Theatre in February to in-person concerts at Yale School of Music. But the process has been a slow, unsteady one, forcing students, faculty, and staff to find innovative ways to convene with each other and communicate their art to audiences. They’ve produced online plays, staged virtual musical collaborations, recorded dance videos, and devised strategies that allowed technical crews to operate remotely.
More than two years since stages went quiet, we take a look back at some of these ways the Yale community found to keep performing.
“Together, we adapted,” said Yale School of Music Dean Robert Blocker. “And with the help of technology and even the availability of outdoor spaces on our campus, our students have been able to continue their impassioned work, albeit in less-than ideal circumstances.”
Finding the ‘mood in a Zoom room’
For the Theater and Performance Studies program, whose mission is grounded in live, embodied transmission of knowledge, the pandemic presented obvious and immediate barriers. During the first year of the pandemic, including the entirety of the 2020-21 school year, social distancing requirements prevented artists from rehearsing onstage and performing before audiences in theaters.
So in February, 2021, Emily Coates, professor in the practice of Theater and Performance Studies, helped launch a new project. “Transpositions: Dance Poems for an Online World” gave artists work and creative outlets, while fostering connections for students through space.
Created in collaboration with the Yale Dance Lab — a faculty-directed, co-curricular arts research initiative — in partnership with the Yale Schwarzman Center, the project connected students with 16 professional choreographers to create digital “dance poems.”
“The project helped us learn more about what the virtual space can and can’t do,” said Coates, who has a secondary appointment in the directing program at the David Geffen School of Drama. “‘Space-eating,’ a stage practice that enables performers to fly across a stage, which makes dance spectacular — is not an option, squeezed in a bedroom, dancing between your bed and dresser!”
But Coates and the other Transpositions collaborators found surprising possibilities of dancing on Zoom.
“Energy exchange is possible over Zoom — that was a clear lesson,” Coates said. “You can feel the mood in a Zoom room, and you can tune in to what another mover is putting out into the space, even on mute, by really listening to their energy.”
Theater Studies professors Nathan Roberts and Elise Morrison also explored some of the profound possibilities of digital performance. The pair co-taught a course during the spring semester in 2021 year called “Alone Together: Live Performance during COVID-19.”
“When Broadway shut down in March 2020, it didn’t seem clear how performance would continue,” Roberts said. “Elise and I noticed there were an astonishing amount of creative performance that occurred in the eight months immediately after that moment that was really worthy of attention and study.”
The course analyzed past digital works and culminated in an original live performance by two students over Zoom. The performance, titled “Camera-Ready,” explored themes of surveillance through a “choose your own adventure” style plot, allowing the audience to make choices that would influence the paths the show could take.
“Our hope in creating this class was to help students understand that the work emerging in the midst of the global pandemic was extraordinary, but that it was actually a continuation of a long lineage of digital performance,” Roberts said.
In his role as production manager for the curricular Theater Studies season, Roberts and his colleague, Technical Director Tom Delgado, helped students and faculty use technology to create an innovative and robust virtual theater season during the pandemic.
Working with Yale Information Technology Services, they set up remote network systems so that individual actors could access the theater while stage and tech crews worked remotely. These systems allowed directors, lighting designers, sound engineers, and stage managers to control digital equipment far from the stage.
In fact, for one show — a senior project by Chayton Pabich Danyla ‘21 called “Flores caídos” — a stage manager triggered lighting, sound, and camera cues using his smartphone. At the time he was in California. For this show, Pabich Danyla was allowed to work unmasked, in total isolation in the theater, while all other collaborators worked remotely. This show, which premiered in October 2020, was the first senior project of the 2020-2021 season, and the department’s first attempt at a virtual production.
“Our students are developing skills that are going to serve them in their work beyond Yale, because they've been practiced in crafting digital theater,” said Roberts. “It's going to be another tool they can draw upon in making their own work marketable to producers, designers and directors.”
Finding silver linings
During the first year of the pandemic, student extracurricular groups also used hybrid formats. Rhythmic Blue, Yale’s hip hop-inspired dance group, learned dances on Zoom and recorded videos of their group dancing in-person and distanced in Beinecke Plaza. The group shared videos on social media, creating a series of virtual dance numbers.
“While connecting and dancing over Zoom was lovely, nothing beats moving together and feeding off each other’s energy in real life,” said Ke’ala Akau ’22, who served as co-president of Rhythmic Blue last year. “[But] during a time that often felt so physically isolating, I cherished the opportunity to simply be with people.”
The hybrid experience revealed some other silver linings.
“Learning movement over Zoom comes with its own challenges such as impaired visibility of the choreographer, directionality challenges, and missing out on nuances in the choreographer’s quality of movement,” Akau said. “This made it difficult to exactly match the choreographer. However, I believe these changes allowed for more interesting, stylistic interpretation of the movements which, as a choreographer, I loved seeing.”
This year, members of Rhythmic Blue were able to resume in-person semester showcases with reduced capacity and masked dancers and audience members.
COVID-19 also disrupted Yale’s vibrant a cappella community. By developing careful public health procedures, however, campus groups were able to resume in-person performances this spring.
The Yale Singing Group Council (SGC), an umbrella organization for a cappella groups led by four senior co-chairs, helped make it possible for a safe return to in-person singing by crafting protocols. This year’s season kicked off in early September with a hybrid concert in Sheffield-Sterling-Strathcona Hall featuring 16 groups singing before prospective group members.
“The excitement and enthusiasm for a cappella from groups and prospective members this year was unlike any other I’ve seen,” said Grace Larrabee ’22, a SGC co-chair who is a member of the group Whim ‘n Rhythm. “The a cappella community on Yale’s campus is so special. I felt honored to have been a part of its return.”
All together now
During the 2020-21 school year, rehearsals for the Yale Symphony Orchestra (YSO) were performed virtually on Zoom, with groups of musicians split up by instrument.
Last fall, however, musicians were able to rehearse live and in real time, wearing masks. Featuring 93 members, the orchestra performs four concerts per year, plus specialty concerts such as the Halloween Show and a joint “Messiah” concert with the Yale Glee Club. Tickets for this year’s Halloween Show, which was held in person with restricted capacity, sold out in under a minute.
“The fact that musicians are able to gather in one place and make music again was a breath of fresh air,” said Supriya Weiss ’24, student president of YSO.
A few weeks into rehearsal last fall, Weiss relished the energy of returning to performance. “You can hear the excitement of the orchestra in every note we play. More than anything, this past year showed me the unwavering resilience of our musicians.”
At the Yale School of Music, during the early months of the pandemic students relied on online instruction and outdoor rehearsals in response to public health restrictions, said Dean Robert Blocker.
Now, nearly two years later, the School of Music is inviting audiences to witness the extraordinary musical gifts of students in person once again. Concerts at the Yale School of Music, which are held in venues such as Sudler Recital Hall, Morse Recital Hall, and Woolsey Hall, are now open to members of the public who are asymptomatic and vaccinated.
“Performing for live audiences is what drives and motivates us, and it is what inspires and offers hope to our audiences,” Blocker said. “For our students, whose optimism and spirit gave us the confidence to find a way forward during seemingly impossible conditions, this moment is well deserved.”
Bess Connolly : email@example.com,