Last Call Sizzles at New World Stages

Bernstin and Von Karajan Wrestle at the Sacher Hotel in Vienna

By: Susan Hall - Mar 16, 2025

Conductors Leonard Bernstein and Herbert von Karajan knew each other.  

The playwright Peter Danish found himself reading Bernstein’s letters in the cafe of the Sacher Hotel in Vienna.  Waiting for his sacher torte, a waiter noticed the book and commented that the two conductors had talked over tea and whiskey in the cafe.  The waiter reported that hotel staff had been told to keep the two men as far apart as possible.  

The feelings of Americans for Germans who stayed in their country during the Second World War is to say the least strong.  A prominent publisher would not attend the Frankfurt Book Fair, the most important book event in the world. He would not buy a Volkswagen, a BMW or a Mercedes.When the publishing company of which he was editor-in -chief wanted to buy Albert Speer’s Memoirs, he refused to have anything to do with them. The editor was of German origin.  His family founded the public school system in the US.

Bernstein says, along the way in the evening he shares with von Karajan at the Sacher, that while he is a Jew, this does not define him. Von Karajan, a favorite of Jackie Kennedy’s, says that he did not collaborate with the Fuhrer, who walked out of a performance he gave of Meistersinger.

Hittler of course wanted to be a set designer at Bayreuth and had written an opera. He imagined himself the foremost interpreter of Wagner’s work. Von Karajan did not buy it. He didn’t leave Germany either.

There are two subjects in the play, Last Call. One is the meaning of performance.

 For von Karajan this had to do with the very specific attention to the instructions of the composers.  He is about to perform Brahms first symphony for the 163rd time.  He has made four recordings. Bernstein remarks that each is exactly like the other.  Von Karajan remarks that this is his strength.  

For Bernstein it is the emotion of the moment that is being conveyed by the music.  

Each admires the other reluctantly. Each is at the pinnacle of the music profession.

Von Karajan admits that while he didn’t collaborate, he did not fight the Nazi regime either.  Bernstein cites an example of his own failure: silent support for a demonstration against von Karajan when he returned in 1955 to conduct at Carnegie Hall.

These ideas are embodied by two brilliant actors.  Helen Schneider is Bernstein and Lucca Züchner is von Karajan.  The waiter is Victor Petersen.  The well-known German theater and musical director Gil Mehmert is at the helm.  

Melmert suggested that the conductors be played by women.  Both men were short, so the female physicality suits.  Artists tend to be soft on the inside and so do women.  Mehmert further points out that women actors don’t  have to morph into like figures, because they can’t. Instead the actors focus on the heart and soul of the characters they so well create.

Themes are heavy duty, but the production has a light touch and is often very funny. When people are nearing the end of their lives, they often find past quibbles and quarrels silly and of no consequence.  Whether or not these two men can find this space you'll find out when you see the delightful and intriguing play.  

The exploration of historical figures, music, personal redemption, and philosophical differences—all wrapped in a humorous, light-hearted approach—is a mix that should appeal. The play that sparks conversation and reflection about art, history, and the human condition.

A limited run at New World Stages Theaters in New York through May 4.