Author: jason

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Come From Away

I have a new favorite musical!!!

Finally saw the last of the Tony Awards Best Musical nominees tonight. What an incredible show! What an engaged audience! A large Newfoundland flag flew high over the mezzanine at the end of the show. Must be a lot of Canadians in attendance today.

Definitely my pick for best musical this year. Quite possibly, the show might even have edged out “Hamilton” to become my all-time favorite.

“Come From Away” is set in Newfoundland, an island on the eastern tip of Canada, in the days following the 9/11 attack. It’s about the 38 flights and 7000 passengers who were diverted to Gander, Newfoundland when the US airspace was shut down. It’s about the 9000 townspeople who took in the “plane people” even though it’s a huge resource and logistic challenge, and welcomed everyone regardless of their nationality, religion, and sexual orientation.

Among the stories: American Airlines’ first ever female captain (“Me and the Sky”). Passengers who met there and then, and later married each other (“Stop the World”). A gay couple who were initially afraid, only to learn how open the Canadians are. A mother who lost her firefighter son. And so on.

Over the past 15 years, the “plane people” eventually put together $2 million in scholarship for the town’s high school students, for the kindness and generosity shown to them at a time of need.

It’s a musical that will melt your heart. A musical that celebrates human kindness in the midst of a disaster. A musical about a heavy topic but delivered with so much humanity, so much humility, so much genuine care that you can’t help but laugh along with the characters, as they try to address the surreal events unfolding in front of their eyes.

Most importantly, Come From Away will make you believe in people, in humanity again. ❤️

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Bandstand

Went in tonight expecting jazz music and swing dance. Came out with tears in my eyes from a powerful story. Love the show!

I think Bandstand got snubbed in not receiving any Tony nominations. Laura Osnes is amazing in her singing, acting, and dancing. Corey Cott tells a powerful story with his fellow WWII veterans. I can’t help but start crying in “Welcome Home” at the end.

The lighting and staging, especially ones portraying flashbacks to the battlefields, are not only theatrically stunning but also emotionally startling. A glance into how seemingly-everyday interactions can feel to those who braved the war.

As for the music and dancing. They’re fabulous too. There is no one single big dance piece, but there is always dancing somewhere on stage throughout the whole show. I thought it’s a unique touch.

I would totally go back and watch Bandstand again, for its story.

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Restless Creature: Wendy Whelan

Wow!!! An incredible documentary about ballerina extraordinaire, Wendy Whelan, as she approaches her 30th year with the New York City Ballet.

First and foremost, it’s a story about the extraordinary strength and the unimaginable perseverance of dancers. The film opens with Wendy undergoing a gruesome surgery, as we discover that Wendy has been dancing for nearly a year despite a completely torn cartilage in her hip joint. Wendy recovers, rebuilds, and drives herself right back to the dance floor. Dancers are some of the world’s strongest athletes. If anyone ever has any doubt, ask them to watch this opening sequence.

Second, it’s a story about love. Not just the love of ballet but the love of chasing after a life-long dream: To be always dancing. To want to dance more than to live. And to give 200% of what you have, in order to live that dream.

Finally, it’s about the friendship, kinship among dancers. Cultivating in one touching beautiful final performance on the stage of Lincoln Center.

Wendy Whelan took on one of the most demanding jobs in the world, both physically and emotionally. She’s doing it. Living it. Loving it. And she continues to learn and reinvent herself even after 30 years. Go see the film. You will be inspired!

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Le Corsaire

My favorite ballet so far this season at American Ballet Theatre!

Such a dynamic, high-energy, non-stop show from beginning to end. So many incredible moments tonight.

Jeffrey Cirio as Lankendem draws applause from the audience two seconds into his solo for the most amazing and powerful split leap. Cassie Trenary, Catherine Hurlin, and Katherine Williams are absolutely gorgeous as the odalisques. Love the musicality, energy, and playfulness of Craig Salstein and Zhong-Jing Fang‘s duet as Birbanto and the Lead Pirate Woman.

Male dancers have so many fun leap-and-turn combos in this ballet. Love James Whiteside as Conrad and Joo Won Ahn as Ali. Both the theatrical and technical sides of Misty Copeland Misty Copeland shine through as Gulnare. She’s “dramatically” shy tonight unlike Queen of Shemakhan, but oh my look at those turns and lifts!!! Of course, the leading ballerina Hee Seo as Medora is so lovely too. No wonder a whole kingdom plus some more pirates all fall for her.

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Natasha, Pierre & The Great Comet of 1812

An extravaganza this afternoon with Natasha, Pierre, and The Great Comet of 1812.

So what does a show with 12 Tony nominations look like? Well, for one, the entire theater is the stage. No matter where you sit, you will come within a few feet away from the performers. (I’m in rear mezz today and have on-stage seating next week.)

Lighting, costumes, scene design, and the interactive atmosphere are all super unique and unlike anything else. Love the choreographies especially ones where the cast sprawl across the entire theater. Kudos to the ensemble member who barrel rolls his way around the entire center stage. I hope the show wins in these categories! (Well, you also can’t top the tap dancing in Holiday Inn, another nominee for choreography.)

The cast and band members are scattered, often singing and playing their instruments as they climb up and down between the stage, orchestra, and the balcony. We got to interact with the band! While original, the acoustics inevitably suffer. I find it difficult to understand parts of the play, especially with characters who don’t speak loud enough.

The most surprising of all, however, is how small a part the two lead characters have in the show. Both are nominated for the Tonys, but we were genuinely confused whether Pierre or Anatole was the lead actor. (Josh Groban didn’t appear today. Hope to catch him next week, but I’m talking about the characters’ roles here.)

On the other hand, love Lucas Steele as Anatole and Brittain Ashford as Sonya!

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The Golden Cockerel

Vibrant colors and dazzling costumes in The Golden Cockerel by American Ballet Theatre.

A rather distinctive experience at the ballet tonight. Everything about the Golden Cockerel is different. The bold vibrant colors. The dazzling and elaborate costumes. A backdrop that makes the theater feel more like a painting than a stage. Altogether, the dancers look as if they were well-crafted puppets and lovely dolls moving through a painting.

The ballet, a comedy, showcases more dramatic moments, comical interactions, and playful seduction than technically-demanding moves. Misty Copeland is the perfect femme fatale as Queen of Shemakhan. Skylar Brandt is amazing as the Golden Cockerel, who has the most challenging and exhausting choreography. Also, love Craig Salstein as the hilarious melodramatic General Polkan.

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War Paint

Beautiful music, a great story, and lots of heavy thoughts.

The Musical

Strong performance by the two leading actresses, to pair with the story of two strong women who shattered glass ceilings in the 20th century. We understood who’s in charge tonight even before the curtain opened, when the announcer greeted us with “Welcome ladies! … and the men accompanying the ladies.”

The World Then

I’m ambivalent about the cosmetic industry, but the courageous stories of Elizabeth Arden and Helena Rubinstein shine through. Arden was deemed inferior to other women because “she worked.” Rubinstein was denied the purchase of her dream apartment for her gender. Despite heart-breaking moments in “Pink” and “Forever Beautiful”, here’s the advice from Elizabeth Arden to Miss Beam…

“You have the power to reinvent yourself and become anything you’d like to be. Young lady, better yourself to be the best you that you can. Once you better yourself, you won’t be taken for trash.”

The World Now

I consider myself a feminist, and have been for 20+ years. I pushed for curriculum changes in high school, to ensure the next generation understands gender equity. I physically battled anti-abortion protesters in college, to safeguard women’s rights to their own body. Yet, just when I thought we had finally made progress, America elected a sexual predator to its highest office.

Today, unrelated to the musical, I feared for my life for the first time. I was physically assaulted on the streets of Manhattan. A white man knocked me to the ground, kicked me, before he sped away in his Illinois-plated Mercedes-Benz. (I am bruised, swollen, monitoring for concussion but otherwise okay. Will press assault charges if/when police finds the man.)

I’m at a complete loss about the sexist, racist, free-for-all-I’ll-scorch-the-Earth-before-I-give-up-one-percent-of-my-entitlement mentality of the American Right. (And scorch the Earth they did yesterday, when their pedophile president pulled out of the Paris Agreement.)

No matter how much you try to better yourself, I guess, someone will always take you for trash.

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Rioult Dance

Saw the two sides of Rioult Dance NY at the Joyce Theater tonight.

First, one of Pascal Rioult’s first work as he formed his company. Second, a new world premier built on rock music.

My favorite part of the night is actually the curtain chat. Really enjoyed watching the friendly collegial interactions between Pascal and the three dancers who’ve danced with him for 10-18 years. Also unforgettable is sitting behind the rows of teens cheering on the company. It’s wonderful to see a well-run organization where dancers stay, collaborate, and grow together… and one that is deeply committed to and connected to its community. Well done, Rioult Dance!

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Giselle

Young love, broken hearts, and forgiveness tonight with Giselle at American Ballet Theatre.

Sarah Lane is gorgeous as Giselle, and perfectly captures the sorrow, the sadness, and the anguish in Giselle before her death. Likewise, Herman Cornejo is amazing with his turns, leaps, and extensions (how does he kick so high?) cultivating in his dramatic death in front of the wilis.

Two random thoughts: Puppies on stage tonight!!! Why is that our best so often comes out only at the final moments, of death or farewell?