New Play ‘Last Call’ Explores Leonard Bernstein And Herbert Von Karajan’s Chance Meeting

Peter Danish wrote his new play, Last Call, thanks to a piece of cake.

During a vacation in Vienna, Danish, the bestselling author of books The Tenor and I’ll Give You Exactly Five Minutes, wanted to sample the Sacher-Torte, perhaps the world’s most famous chocolate dessert. Seated amidst the Blaue Bar’s brocade walls and crystal chandeliers, he tried to capture the waiter’s attention but found little success. Danish pulled out his travel reading, The Leonard Bernstein Letters.

The waiter stopped, patted the book, and related that he had waited on the famous American composer many times. Danish mentioned that he was reading about Bernstein attending a performance of the Berlin Philharmonic, conducted by Herbert von Karajan, considered among the greatest conductors of the 20^th century. The waiter leaned in, saying he had an anecdote that likely wasn’t in the book. Both men, fierce rivals, were once staying in the hotel, ran into each other by accident in the Hotel Sacher’s hallway, and sat down for an impromptu conversation about their lives.

Danish was so captivated by the possibility of exploring this chance encounter that he asked to sit at their table. After the waiter directed him to a corner near the door, Danish pulled out his laptop and penned the play’s first draft in one sitting. Now, the work opens off-Broadway in New York’s New World Stages on March 16^th.

The decision to focus on Bernstein and von Karajan was driven by Danish’s fascination with their contrasting reputations and profound cultural influences. Bernstein, an outspoken American Jewish conductor renowned for iconic compositions like West Side Story and Candide, was widely admired for his artistic genius and fervent political activism, including marching with Dr. Martin Luther King, Jr during the 1960s. In contrast, von Karajan, despite being one of Europe’s most celebrated maestros, carried a controversial legacy due to his membership in the Nazi Party from 1933 to 1942. Though exonerated by an Allied tribunal after World War II, von Karajan’s American debut in 1955 triggered public protests.

The director of Last Call, Gil Mehmert, is acclaimed for visually and emotionally rich productions such as German productions of ONCE, The Elephant Man, and Cabaret. He was initially drawn to the theatrical work for its depth and symbolic resonance. “At first glance, two legends of classical music meet here and work on their personal themes, but at second glance, America meets Europe, and a large part of the last century is explored,” Mehmert explains. “I appreciate it when, in a microcosm, the whole world is somehow told, and how the present is reflected here in the past.”

In a twist, Mehmert suggested casting women in the roles of Bernstein and von Karajan. “I found it appealing that the physicality of these frail old men, their exaggerated male self-confidence, and their artistically sensitive side, would not be directly replicated by male actors, but instead interpreted through a female lens,” Mehmert says.

Helen Schneider, acclaimed internationally for powerful portrayals in musicals like Sunset Boulevard, Evita, and her one-woman show A Walk on the Weill Side, embraced the complexities of portraying Leonard Bernstein. “To try to embody a man who was so much a part of my life as a young musician is incredibly thrilling,” Schneider shares. “Portraying Bernstein is one of the most exciting and challenging projects I’ve ever encountered.”

Similarly, Lucca Züchner, recognized for her captivating performances across Germany in productions such as Cabaret, Hair, and On the Town, immersed herself deeply in her role as Herbert von Karajan. “I studied intensely his methods of conducting, read biographies, and watched extensive footage of his directing,” Züchner says. “I’ve truly fallen in love with him as a character because he’s far more complex and charismatic than I initially realized.”

Danish openly addresses the historical controversy surrounding von Karajan’s Nazi Party affiliation, emphasizing that Last Call tackles these issues directly through candid and deeply personal exchanges between the two men. The playwright believes this frankness lends the play a relatable and powerful authenticity, prompting audiences to reflect deeply on issues of legacy, morality, and historical accountability.

Audience fascination with Bernstein and von Karajan, Danish argues, stems from a contemporary hunger for authentic portrayals of human complexity. Amid current societal uncertainty and polarization, he says, people seek relatable figures who embody both greatness and imperfection. Bernstein and von Karajan, Danish continues, exemplify this duality, engaging openly with universal human issues like ambition, mortality, regret, and reconciliation.

Music, central to both conductors’ lives, plays a significant role in Last Call. Although it is a play rather than a musical, the production features an expressive and atmospheric soundscape crafted by composer Lindsay Jones, known for his work on Broadway’s Slave Play and The Nap. Bernstein and von Karajan’s debates about their artistic methods and philosophies are underscored by musical segments, enhancing emotional depth and providing poetic resonance to their conversations.

Despite broad enthusiasm for the innovative casting, Danish acknowledges some pushback, especially from traditionalists protective of Bernstein’s legacy. His response emphasizes theater’s strength: emotional authenticity over literal imitation. He firmly believes Schneider’s and Züchner’s performances transcend gender constraints, offering audiences a richer, deeper understanding of these historical icons.

Looking ahead, Danish sees the innovative casting in Last Call as part of a larger theater movement that challenges traditional norms and explores fresh creative approaches. He hopes the play will provoke meaningful discussions about representation, empathy, and the transformative power of storytelling, ultimately making theater more inclusive and dynamic.

Schneider and Züchner share Danish’s enthusiasm for breaking new ground. Schneider notes, “Exploring these roles through a female perspective adds new layers of complexity. It provides an entirely fresh viewpoint that allows us to portray these legendary figures in a way audiences haven’t seen before.” Züchner agrees, emphasizing that “this creative choice opens the door to deeper emotional exploration, transcending the historical figures’ public images.”

Last Call is already garnering significant international interest due to its universal themes and the legendary status of Bernstein and von Karajan. While Danish remains optimistic about potential Broadway interest, his current focus is on delivering a compelling and authentic portrayal at New World Stages. Danish concludes, “My ultimate hope is for Last Call to deeply resonate with audiences worldwide, spurring further productions and fostering ongoing conversations about these complex, extraordinary individuals.”

Tickets for Last Call are available via Telecharge and New World Stages box office.