Haglund's Heel

observations 12/28

NYCB has cancelled all remaining performances of The Nutcracker.  It's hard to see how the environmental situation could  be much different in three weeks when the Winter Season is supposed to start.  Here's hoping that NYCB has some type of a plan. The cancellation refunds don't seem to be coming as quickly as they should be.

Meanwhile, we highly recommend grabbing a ticket to The Music Man. Hugh Jackman is phenomenal. The understudies are superb. The ushers and COVID safety personnel are in total control of the audience. No food concessions are open which further adds to the safety of the attendees.

Also, Christopher Wheeldon's MJ The Musical is supposed to resume very soon. This is a fantastic show. Go now, because the tickets will be scarce when the show emerges from previews.

Merry Christmas

observations 12/22

NYCB has cancelled all Nutcracker performances through December 27th due to the COVID outbreak at the company. What a shame.

Interesting how the Met Opera is marching on – at least as of this hour. Holiday Presentations of The Magic Flute and Cinderella are still scheduled for this week. The Broadway League put out a statement that said it had no plans for an industry-wide shutdown despite the fact that several shows have had to suspend some performances.

Fingers crossed that Hugh Jackman and The Music Man play on this week so that Haglund doesn't have to ask for a refund of the most expensive theater ticket he has ever purchased in his life.

 

 

observations 12/21

Casting computer Watson Waltz must have blown a tube or melted a circuit. It seems NYCB has had to cancel tonight's performance due to a COVID outbreak. [Edited to add: and tomorrow's performances as well] If they need someone to drive Marie's bed or pull that rope that attaches to the Sugarplum Fairy's balancing floorplate, Haglund will volunteer.

Let's get this show back up on its legs, folks! Wobbly as they might be, let's do it! Left foot, right foot, left foot, right foot...

 

 

NYCB Nutcracker 12/17

Chek-hov another fine Nutcracker performance at New York City Ballet where the drama of our time swirls invisibly around us propelled by every clearing of the throat, indeed every breath. The Rockettes at Radio City Music Hall have now gone down like dominoes. MJ can't beat it. Moulin Rouge has gone noir. NYCB dances on.

But for how long, we must ask. Answer: Until they finish the last damn step. Make no mistake - this is a race against time.

Last night our Dewdrop Isabella LaFreniere made that clear with a huge performance charged with high energy and a determination to pack the most into every last count. All of those tricky relevé turn combinations were as solid as could be -- if we had more time, we would ask for eight more counts of each. But we're in a race to the finish line.

Ashley Laracey as the Sugarplum Fairy plucked her finely arched pointes like she was playing the celesta. Poised, elegant, always lovely. Russell Janzen as her Cavalier brought his customary, much appreciated nobility to the role. He has the expansive pianist's hands that every ballerina longs for. They are always precisely in the right place at the right time.

As announced at curtain, apprentice David Gabriel stepped in for Roman Mejia in Tea and performed magnificently. Looking forward to seeing more of this young man whose big jumps have butter-soft landings.

Daniel Ulbricht's brilliant Candy Cane got the crowd roaring and no doubt sent those respiratory droplets flying through the face masks.

With no time to waste, Emma Von Enck dished out a triple pirouette in Marzipan. Olivia Boisson and Mary Elizabeth Sell led the gorgeous Flowers.

Behind the scenes the casting computer Watson Waltz whirled away, his circuits sweating, lights blinking through – dare we say – AR tears. Keep dancing, NYCB. Keep dancing.

Our H.H. Pump Bump Award, a Fendi stiletto at the edge of danger, is bestowed upon Isabella LaFreniere for her thrilling Dewdrop.

Please mask up and get boosted.

 

NYCB Nutcracker 12/16

Not that NYCB's Nutcracker has ever needed a B12 shot in the arm, but it sure got one last evening when the cast danced like it was their last dance. Sadly, a number of Broadway shows have had to suspend performances this week due to COVID outbreaks, but NYCB is still going strong. The casting computer Watson Waltz may be giving off smoke as it whirls through hundreds of DeepQA what-if scenarios, but so far, it has kept up. Let's keep dancing!

NYCB is already rich with radiant Dewdrops, many of whom are still corps members, e.g., Kikta, LaFreniere, Hod. Last night yet another member of the corps de ballet, Mira Nadon, brought her glistening interpretation to the stage for the first time. She exemplified the artist who patiently grows her balances by soaking up every note of music. Throughout her solo, one could see the music rising through her entire body and extending outward to the end of her limbs. Nadon made so many individual musical choices that it was almost like watching Dewdrop for the first time. Her every step created our new anticipation for her next phrase. In a Nutshell, she is a rare artist.

Our Sugarplum Fairy, Indiana Woodward, who is another musically-gifted dancer, gave a flawless performance filled with charm and unforced precision. It was impossible not to notice the Angels' smiling faces when she danced for them -- clearly the thrill of a lifetime for these kids. SPF's Cavalier, Harrison Ball, brought along some seriously dazzling turns a la second to go with his exceptional partnering.

Megan LeCrone captivated the audience's attention with her quietly alluring Coffee. Sebastian Villarini-Velez soared in the Tea variation. Harrison Coll made perfection look easy as the lead Candy Cane. Our exquisite lead Flowers, Emilie Gerrity and Ashley Hod, were such joy to watch. And we want to mention how much better the Act I sword fighting has been this season. Last night there was real serious clank in the contest between David Riccardo's dangerous Mouse King and Reed Ouimet's brave, committed Nutcracker Prince.

We're going to try to get to a few more Nutcrackers ASAP because one never knows which way the stage curtain may go in the coming weeks. Thanks again to the vigilant ushers for laying down the law with regard to mask wearing.

Our H.H. Pump Bump Award, an intensely interesting, multicolored Louboutin stiletto which is not on sale at Neiman Marcus, is bestowed upon the lovely Mira Nadon for her stunning debut as Dewdrop.

 

 

observations 12/15

The Met Opera will require booster shots for admittance beginning January 17, 2022.

They will be checking eligibility closely. Anyone who is not yet eligible for a booster will still be admitted. Also, the Met will allow a two-week grace period from the eligibility date for the booster shot before denying entrance into the opera house.

Negative COVID tests will no longer be an acceptable substitute for anyone. No children under five years old will be permitted in the opera house unless and until they are vaccinated.

Thank you to the Met Opera for leading the way.

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The Northwest corner of West 64th Street and Columbus Avenue will be named Jacques d'Amboise Way. City Council approved the change today. No word on whether there will be a ceremony. Maybe NYCB could throw a little something together? That would be nice.

 

 

observations 12/10

Where was everybody today, huh?

Haglund was sure that he would get caught up in an MJ-type crowd when he happily hopped down to the AMC Empire 25 cinema on W. 42nd St to see the very first public screening of the new West Side Story movie. But alas, only a dozen people showed up for the 12:30 p.m. showing of this wonderful new movie.

The movie is good. Most people probably have hearts that are big enough to embrace two different movie versions of West Side Story. The new one has more violence and blood in it to satisfy the evolved appetite of the contemporary audience. This film has much more focus on the immigrant experience than the original film. It invests a lot and sometimes strains to emphasize cultural inequities when in fact everyone in the film is in the same poor economic condition. And as can be the case in Spieberg's movies, the camera often tried too hard to be the star of the scenes.

The young Rachel Zegler gave a remarkably honest portrayal of Maria and had a very lovely singing voice. Ansel Elgort acquitted himself well as Tony; his appeal grew throughout the movie and Haglund was sorry to see him meet his tragic end. Ariana DeBose as Anita also gave a very strong dramatic and dancing performance. Harrison Coll delivered the most spirited dancing of the Jets and looked every inch the inner city troubled gang member.

But the highlights for Haglund were the performances of Rita Moreno as Valentina and David Alvarez as Bernardo. Wow, Alvarez had an especially intense presence on the big screen -- fiercely dramatic with an expressive face that held the viewer's attention. Of course, his dancing was fabulous. Moreno was marvelous in this new supporting role of the empathetic and compassionate Valentina. She drew attention without having to say much and when she did speak, Haglund was hanging on every word.

The choreography surprisingly was less important to the film than in the original possibly because the dance scenes were chopped up into 5-10 second clips of dance. The camera jumped all over the place almost as if it was trying to be one of the dancers. So, one never got the feel of watching a complete performance. Too much of Justin Peck's choreography carried his signature hunched shoulders and poor posture that show up in his work and often showed up in his own dancing when he was a performer with NYCB. No new ground was broken here.

This film may well be worth going back for a second viewing of the work of David Alvarez. He was a major standout in a very watchable cast.

 

 

OMG OMJ

Christopher Wheeldon's MJ, the Musical opened in Previews last night at the Neil Simon Theatre in Manhattan. It is packed with brilliant performances from Quentin Earl Darrington who plays Michael's manager and father, Ayana George who portrays Michael's mother, and most certainly from Myles Frost, Tavon Olds-Sample, and Walter Russell III who play Michael as an adult, teenager, and child.

The show, which centers on Michael Jackson's rehearsal period for The Dangerous Tour in 1992, is so physically taxing that it is almost inconceivable how these performers will be able to put it on eight times per week. Thirty-seven musical numbers were staged in this preview performance which lasted more than 2-1/2 hours. For a comparison, An American in Paris has sixteen numbers, The Band's Visit has seventeen, and Hamilton has forty-six.

Lynn Nottage's book frequently and clearly shifts the time period from present time back to when Jackson was a child and back to when he was a teen. It is all handled brilliantly.

It is simply astonishing how Wheeldon has put this show together. It marks such a step outside of his comfort zone that it might seem like a step off a steep cliff. If it's a step off a steep cliff, then Wheeldon has shown that he has serious eagle's wings.

So where's the ballet in this production, you ask? It only lies between the lines now and then, so to speak. One may recognize a similarity to Balanchine's Prodigal Son where the Son in tatters is backed up against and attached to the upended table. Or Robbins' Fancy Free may come to mind when a performer starts to dive through someone's arms that form a circle. But all in all, Wheeldon's choreography stays true to Michael Jackson's Fosse fetish. The pop star's admiration for Fosse is illustrated on the front scrim with his handwritten notes of what the Dance of Tomorrow will look like: get all Bob Fosse movies dances, study these inside out, know every cut, move, music, etc.; study the greats and become greater; Flash Dance, All that Jazz, Bandwagon "girl hunt" number. His obsession with dance became our obsession.

If there is a weakness in this show at its first preview performance, it would be in the characters of Rachel and Alejandro who play a reporter and photographer on the hunt for the dark truth of Jackson's substance abuse. Something like these characters might be a necessary part of any story about Jackson, or they might not be. The audience can pick up on the drug use when MJ downs pills or when he's prescribed narcotics by a physician. This well-known aspect of Jackson's life may not require the frequent intrusions of a reporter and photographer who hammer home that dark story. But then, Wheeldon would be roundly criticized if he ignored it in the show.

This will be a great show when it emerges from previews. It already is.

 

 

Irish Arts Center opens in Hell's Kitchen

The brand new, made-of-old-bricks, sparkling, state-of-the-art beautiful Irish Arts Center opened its doors for its first public performance last night. This theater on 11th Avenue between W. 51st and 52nd Streets is about to become the hub of the far west side of Hell's Kitchen. The brick facade of the old Cybert Tire Shop has been preserved and restored to its historical beauty during this $60 million gut renovation that included connecting the new theater with the old Irish Arts Center on W. 51st St. Renovating the old facility is the next project.

The first floor cafe was up and running full speed last night as the opening night patrons mingled and relaxed in the cushy chairs that had arrived only hours before. Artwork installed throughout the floors of the building includes a project called the Irish Tree Alphabet. The medieval Ogham alphabet that was used to write the early Irish language is represented by drawings of trees of Ireland.

The risers of the steps that lead to the theater on the second floor are adorned with Irish poetry and quotes from Irish literature and songs.

You can click on all of these pictures for larger versions that show more detail.

The black box theater that can hold around 250 (maybe a few more) is a flexible model with telescopic seating (comfy chairs on bleachers) that can be reconfigured to accommodate a variety of performances including dance. Seán Curran will collaborate with Irish dance choreographer Darrah Carr for a specially-commissioned season next fall.

Last night's opening performance was by Camille O'Sullivan, a singer/actress whose rep includes David Bowie, Leonard Cohen, Christmas carols, traditional Irish songs, Sondheim, James Joyce's final paragraph from The Dead, and much more. Backed up with a five-piece band, O'Sullivan's style is reminiscent of Judy Garland's during her later years when her tragedy began to unfold publicly.

Yes, those are lamps suspended in free fall from the ceiling:

Coming up in a few months will be Irish fiddle phenom Martin Hayes and the Common Ground Ensemble (piano, cello, guitar, bouzouki, harmonium and concertina) followed by the Bluegrass Situation. There will be much more before, in between, and later.

So, come on down, over or up to the Irish Arts Center in Hell's Kitchen. Check out the website.