Just watch this.
Just watch this.
Based on a ghastly experience last night at the St. James Theater showing of Frozen the Musical, I thought this guide might be useful, especially if it were forwarded far and wide to people who might actually need the information provided.
When buying tickets for a show, be sure you understand the seating, restroom and stairs/elevator situation in the theater you’re going to attend. Many New York theaters were built many years ago when people with physical limitations never attended shows or if they did, their interests were ignored in the design. Most of the older theaters have chosen not to spend the resources to update their facilities; apparently, the law does not require them to do so.
It is, therefore, common to find that tiny restrooms are not anywhere near your seats or indeed on the same level as your seats. This can be disconcerting during what are sometimes short breaks relative to the lines that form even at the men’s facilities. By way of example only, our balcony seats at the St. James involved a 77- step climb from the entry level, and the men’s room up there had two urinals. There are no elevators. The extent of the climb is not covered on the ticketing website, www.frozenthemusical.com but only in the Accessibility section of the website for the theater where no tickets may be purchased and that took some searching to find. https://www.jujamcyn.com/shows/frozen/
Note carefully whether your show has intermissions. Many Broadway shows run two hours or more without an intermission. This can be challenging for … well, you know.
When considering a show to see, think carefully about the likely makeup of the audience. Frozen’s website says it is “intended for ages 8+ and is not recommended for anyone under the age of 4. If you have already purchased a ticket for a child under 4, please contact Disney Theatrical Guest Services.” All well and good, but there were many children under 4 in the audience on Saturday night. However, candor compels me to note that by-and-large the children were better behaved than some of the “adults.” More on that later.
One of the consequences of a show like this is that many children need booster seats to see over the heads of adults in front of them. This was not so much as issue for most of the small kids, but once the “adults” saw what was happening, they too asked for booster cushions. This led to a cascading effect as people in higher rows were confronted with tall adults now even taller and they too asked for cushions. And so on.
Another consequence of such a show is that many audience members have seen the movie, know the story and react viscerally to events. This led to considerable hooting and hollering at various developments in the show. While audience enthusiasm should be encouraged, it can be disconcerting and overshadow what is happening on the stage. It seems more important to these guests to make noise than to hear what is happening next. Be prepared.
Now, for some rules of “adult behavior.” These are based on observed behavior at musicals, shows and even ballet performances at Lincoln Center.
Last night, the young woman seated next to my wife did this during the break, taking photo after photo as she adjusted her hair, changed the tilt of her head, made “sexy” shapes of her mouth and so on. It was distracting and obnoxious.
Last night there was an unexpected break in the show, when a prop malfunctioned. An announcement was made but no directive to remain seated. Two stage staff struggled to fix the problem. Numerous “adults” now decided to go to the restroom or to the bar, then returned after the show started, struggling to return to their seats in the dark. The theater personnel should have prevented this, but regardless, act like an adult and have some respect for the other guests and for the performers.
I have once again had the opportunity to attend a New York City Ballet orchestra rehearsal of for both Stravinky’s Firebird and Tschaikovsky’s Allegro Brillante starting tonight. It started at 10 am with a volunteer’s explanation of the background of Stravinsky’s composition of the music for Firebird, after which the group of attendees (perhaps 25 in number) was ushered into the seating area as the rehearsal began. The seating area is near the front of the orchestra, the best seats I’m likely to ever have. And the price ($0) was right.
Even more right was the music itself. While we were told that the rehearsal was not a performance but only a practice that would likely be interrupted by the conductor, the reality was that they orchestra initially played the entire music through from beginning to end before the conductor took them through the changes. Our membership thus earned an opportunity to hear what amounted to a full concert. The music, even without the dancers, is simply stunning. Conductor Andrew Litton clearly knows the score in great depth. After running through the entire piece, Litton worked through many sections he wanted to be done differently, covering all of the iconic sections as well as less well-known parts that tie everything together.
One of the most amazing aspects of a professional orchestra is that the conductor can call on it to start anywhere in the lengthy score and they can immediately pick up the music at that place at the proper pace and volume. Their knowledge of the music is total.
After a short break, the orchestra moved into Allegro Brillante, again playing, I believe, the entire piece before going back to clean up a few details that only the conductor heard.
As I sat there, I thought “how lucky I am that on this frigid January morning, I am able to sit in this beautiful classically-styled concert hall and listen to some of the most extraordinary music ever composed being performed by a world-class orchestra.” Every time this happens, I believe I am permanently changed into a slightly better person. It’s analogous, I suppose, to being sick and receiving a super medicine that makes you well again immediately. It may not work forever but while it’s magic is happening, it is sublime.
Yesterday we visited Fotografiska New York, a Swedish transplant museum dedicated to photography. The museum is housed in the old Church Missions House that resembles an old-Europe church from the outside, situated at Park Avenue South and 22nd Street. The building dates to 1894, squarely within the Gilded Age. Inside, it’s all modern, with a coffee shop in the lobby and five upper floors, four of which contain the exhibits. If not disposed to climb a lot of stairs, you can take the very modest (maybe six passengers) elevator to Floor Six and then walk down.
On Sunday there were two particularly compelling exhibits. A one-woman show by Ellen von Unwerth entitled “Devotion! 30 Years of Photographing Women” contained some extraordinary photographs. Be advised, however, that some of these photos are very explicit and not for most young children’s eyes. We were also impressed especially by Tawny Chatmon’s “Inheritance” show, consisting of stunning shots of Black women and children enhanced with elaborate ornamentation added by hand to the photographs. The result are powerful portrayals of people not normally found in museums that tend to feature extensive historical portraits of white people in room after room.
Helene Schmitz’s “Thinking like a Mountain” is a series of large frame shots of natural formations that dramatically illustrate the impact of man’s rapacious reshaping of the natural landscape of even the most resistant zones of pure rock.
Fotografiska is not a large museum – you can see everything in less than an hour. And it’s open early (9 am daily) and stays late, really late, as in 11 pm except for Thursday through Sunday when it’s midnight.
Finally, my one serious beef with the place and this is not unique to Fotografiska. The labels explaining the titles of photographs and some, usually limited, information in small type-face were typically placed at the lower corner so that a person of six-foot height would have to bend way down to read them, often in limited light. This was not only uncomfortable but in many cases I simply could not make out what the labels said. I can’t understand what the thinking was behind the decision to place the labels so low and in dim light or full shadow, particularly in a museum clearly focused on an adult audience. If the positioning is intended to assist visitors in wheelchairs, wonderful, but then why not (1) put some light on the labels and (2) have a second label at roughly eye-level for average walking visitors so that everyone can read them.
That gripe notwithstanding,, Fotografiska New York is well worth a visit.
Since we are catching up on holiday photos, I am going to share a large “sample” of shots taken during our visit to the Bronx Zoo for its Zoo Lights exhibit before Christmas past. It was really cold and there were relatively few people there, a fact I would normally celebrate, but during the holidays, making for a somewhat strange experience. That said, we persevered and discovered the mother lode of displays in the back half of the imposingly large zoo. Here is much of what we saw.
Better late than never, I suppose, the following sample of photos was taken while we were showing a good friend around the city on a cold and not-quite-wet night before Christmas.. The first ten shots are from the holiday fair at Bryant Park and the lion statue at the New York Public Library. The rest are mainly from stores along 5th Avenue, plus, of course, Rockefeller Center where the large tree attracts huge numbers of viewers every night. The sequence of castle-like light displays is from the facade of Saks Fifth Avenue, a spectacular show that also attracts huge crowds.Happy Belated Holidays!
We discovered this marvel of a restaurant in the below-street level at East 50th Street about 15 years ago. We reserve it for very special occasions, most recently for our 13th anniversary last night. It never disappoints.
As the photos below show, DeGrezia is a “traditional” Italian establishment, tastefully decorated with soft music as background so you can have quiet conversation – no need to shout over the music. A lot of Frank Sinatra, Sarah Brightman and Billie Holiday, among others. This creates an atmosphere in which everyone’s conversation is muted. The wait staff wears tuxedos and are attentive without being overbearing. The overall atmosphere is one of muted sophistication, a really nice way to enjoy a special occasion meal. The scale of the main dining area is such that even at full capacity the typical din of a New York restaurant is usually avoided.
Then, there is the food. We started by sharing a “giant shrimp” dish with white beans in a delicious red sauce. Since there were two giant (really) shrimp, it was easy to share and there was no pushback from the waiter. It was so big and tasty that I failed to take a photo.
The main courses were even better. A cream sauce covered my lobster ravioli special with very small shrimp generously added. Even the tiny shrimp had great flavor. My wife ordered gnocchi with Bolognese sauce and had to get a doggy bag (pictured below) to take some home. We completed the meal by sharing a flourless chocolate cake and a surprisingly robust decaf coffee.
With two glasses of wine and a club soda with lime, the total bill for this feast was only $120, an amazingly reasonable price, especially for a fine restaurant in New York City. DeGrezia is a gem that will satisfy anyone looking for fine food in a pleasant atmosphere.