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Andrew Scott in “Vanya” at the Lucille Lortel Theatre, Adam Driver in Kenneth Lonergan’s “Hold on to Me Darling” also at the Lortel, Lily Rabe in Mark O’Rowe’s adaptation of Ibsen’s “Ghosts” at Lincoln Center Theater’s Mitzi E. Newhouse and Nina Hoss and Adeel Akhtar in the Donmar Warehouse production of “The Cherry Orchard” at St. Ann’s Warehouse left me feeling, as only theater can, more consciously alive and connected.

Bernstein lived in New York, walking distance from Carnegie Hall and, when it was built, Lincoln Center.

Yet for whatever reason, an L.A. mindset does seem to have reached the New York Philharmonic and Lincoln Center.

L.A. opera directors Yuval Sharon and Peter Sellars, nowhere to be found in L.A. at the moment, are prominent at the Lincoln Center.

“We took this band from humble beginnings — underground clubs, college radio — and we put them onstage at Lincoln Center, which is a phenomenal career arc,” says Perry.