NYC NYE 2023 (part one)

Mural, American Airlines Theatre Penthouse Lounge

New Year’s is a big deal for us. Not that we have traditionally been extravagant at the turning of the calendar. In fact, we have been quite modest the past few years. Even before the pandemic, we chose to stay home, alone. We only ever need each other, anyway.

Auspicious subway find.

We met on the street the year we rang in the 90s, headed to the same gathering, and have spent every NYE together since, for better and for worse. And last year we decided we would go to New York, where we fell in love and shared so many early relationship memories. Omicron be damned, and it was awesome.

When I missed the American Repertory Theatre production of 1776 in Boston this summer due to health issues, and they announced a Broadway run, I suggested we do it again – spent NYE in NYC. Maybe this is going to be our New Year’s tradition, from here on out. We would both be very happy with that. My wife scored first class seats, and we enjoyed Bloody Marys and held hands at 10,000 feet.

The wife found us a sweet little Airbnb where Washington Heights meets Inwood, and just a short walk to Fort Tryon Park. The place had a really nice reclaimed wood aesthetic. We asked our contact where we could get lunch and she suggested Koko Seafood, a Dominican joint on Nagle.

The ghosts of Steve & Eydie
hath appeared to me —
at Sardi's once ...

The guy dropped two menus but he also suggested we could have whatever they already had prepared, so we said yeah, what do you have back there? She got the stewed chicken, I got the grilled chicken, we each got red beans and rice. We were made very, very happy.

It was such a good meal that, following a much-needed nap (I think I got four hours of sleep the night before) we decided to skip dinner and just get drinks somewhere in Times Square. She asked if I’d ever been to Sardi’s, I said that I had not. We enjoyed cocktails seated next to a festooned caricature of Steve Lawrence, which was only appropriate.

Then onto the American Airlines Theatre for the Roundabout production of 1776. Here’s the thing about 1776, the original score for this show (music and lyrics by Sherman Edwards, book by Peter Stone) is part of my earliest memories. My father enjoyed it a great deal, and why wouldn't he. A lively celebration of the origins of our nation, created in 1969, possibly the worst point in our history. The vinyl was on regular rotation in my house growing up, I still have it somewhere. And the 1972 film was a must-see whenever it came on the TV, usually around Independence Day.

Festive NYC streets.

However, it has not aged well, as it sands down the sins of “our forefathers'' even as it attempts to address them. Even Lin-Manuel Miranda did this in creating Hamilton, entirely omitting the fact that Alexander Hamilton himself was once a slaver.

In subsequent productions of 1776, in community theaters and colleges around the country, people of color and women have been cast as members of a company of historical figures who were all white men. After the success of Hamilton, I wondered how long it would take before someone attempted a diverse professional production. The A.R.T. production (produced on Broadway by the Roundabout Theatre) features an acting company composed entirely of people who identify as women or non-binary.

This has not been without controversy, which was to be expected. I loved the production, I really did. You could say it had been produced for me or someone exactly like me, a privileged, middle-aged, liberal, white person – and one who already enjoys the score. Attending a performance like this would naturally soothe my sensibilities, as it would ideally present an opportunity for those affected by these men's actions, but not present in their decision making, to interpret and hopefully to provide context for the founders limitations.

Sara Porkolob in "1776"
(Photo: Sara Krulwich)

Company member Sara Porkolob, who plays South Carolina Congressman Edward Rutledge, started a firestorm among the theater community last October in which they dared to answer questions about the production with candor and honesty. They did not agree with the suggestion that the production is artistically fulfilling – for them – and even more aggressive comments for saying they only give 75% to this show a night.

Much, much more interesting, however, are their comments about the frustration of being a multidisciplinary performance artist who takes a job as solely a performer in someone else’s work. The fact that, in their opinion, the show still does not go far enough in critiquing the so-called “American experiment." It is a rich and interesting interview with an amazing artist, and I strongly recommend reading the entire thing.

The best excuse for being controversial, however, is when you are also brilliant. The most emotionally disturbing song in the entire show, no matter where you are seeing it, and the only part of the show which comes even close to addressing the massive errors in the American experiment which are still with us today, is the the eleven o’clock number Molasses to Rum, led by Porkolob, for which they say they give 90% and which they entirely walk away with. If what I heard that night was 90% of what they have to offer, I am literally frightened to experience their talent at full bore. I hope that someday I will.

Photo: TRG Reality

My one personal regret was that I did not get to see Elizabeth A. Davis as Jefferson, though the family did last summer. We were in the company of The Merry Wives of Windsor at Great Lakes together in 2005 as she was completing her studies at Case, and she participated in an odd “Mr. Shakespeare” photo shoot in which we first recreate the famous V-J Day photograph and then I apparently drop her (right.)  Maintaining the role in Boston on then Broadway while visibly and increasingly pregnant over the course of the fall, Davis left the production as scheduled around Christmas.

After the show, my wife and I headed back to Inwood, and sat around our Airbnb in the nude enjoying wine and adobada-flavored potato chips.

To be continued.  

The Roundabout Theatre Company production of "1776" at the American Airlines Theater closes tomorrow, Sunday, January 8, 2023.

Source: Molasses To Rum: 1776’s Sara Porkalob Has Some Notes by Jason P. Frank, Vulture, 10/14/2022 

On Sight (Recovery)

Had my morning after, follow up exam. Things look pretty good, except they reevaluated the way I have to hold my head.

See, there’s a gas bubble in my eye. They put it there, I even have a green wristband to let any potential EMT know there’s a gas bubble in my eye. It’s there to keep fluid away from my now repaired retinal tear to allow healing.

The tear is in the back of my eye, gas rises, therefore I need to keep my head down to keep the bubble up. Yesterday, they thought I just needed to tilt my head to the right side, today it is a bit more extreme.

I will literally need to sleep like Joseph Merrick, propped up with pillows, my head hanging down.

It’s funny, people kept texting me yesterday, checking in, asking how I am, if I need anything. But texting was a real pain, because I had to keep my head up and to the side.

Now that I’ve been told to look down and slightly to the right, I have been texting all day. More than I’ve ever texted before. Long, hour long text conversations with people in Idaho, colleagues working the BorderLight Festival, offers to bring meals turn into recollections of thirty year old productions, I’m getting updates on how well last night‘s premiere performance of The Learned Ladies (Cleveland Shakespeare Festival) went. Just texting people I feel more social than I have in weeks.

Liz Mikel (center) as John Hancock in "1776"
(American Repertory Theatre, 2022)

Last night my family gave me their assessment of the A.R.T production of 1776. All three of them thought it was absolutely amazing. Just beautifully and powerfully performed, and heartbreakingly timely. And I’m heartbroken to have missed it. This was my idea! When tickets went on sale I expressed my deep desire to see this production, of a musical which I have loved since I was a child, reinterpreted in just this way.

So, when my wife assumed they would stay home, at least until my surgery was through, I insisted that they not. I wanted all of us to see it. All of us not seeing it would’ve been so much worse.

And it’s going to Broadway! So, you know what? I’m going to Broadway. Because God knows, I want to travel.

On Sight (Pre-Operative)

Image of my Future Foretold
Self as Kent in "King Lear"
(Beck Center, 2019)

The good news is I will now be in town for the Borderlight Festival!

That’s a joke. I was going out of town for the week, now I am staying home to have surgery to repair a detached retina, so I’m not going anywhere. Jokes really do suffer when you explain them.

The Borderlight Festival, for those of you who are unaware, is an international theater and performing arts festival that takes place in downtown Cleveland and the only reason you haven’t read anything about it here is because it has always taken place when I am out of town.

I can’t tell you how much it pains me that there is now an international theater and performing arts festival in Cleveland, Ohio and that I am not part of it. But my family comes first, and I have no regrets about that. I have tried this year to flog a few of their offerings on social media, and hope someday to attend or even submit a production.

And up until yesterday afternoon, I was planning to leave town. A week long vacay with the entire family. They were ready to suspend travel, at least until I had undergone surgery, but I insisted they go. My son has a college trip schedule for tomorrow morning in upstate New York, and we have tickets to see the A.R.T. revival of 1776. That was my idea, I so wanted to see this production. But it would be a shame for everyone to miss it, I need them to report back to me how it plays.

Then onto Maine. My family vacation spot. My brother’s family is coming, my eldest will be joined by their partner – whose parents are also joining us (I mean them) ostensibly for my birthday, which is Tuesday. And the cousins, the cove, the view from the deck of the Barnstable.

One week out of the year, every year. Not this year, not for me. Having them miss it too would have made me even more miserable than I currently am.

Yesterday a doctor examined my eyes, prodding them with a medal stick. It was very painful. She remarked at how well I managed, so calm. My blood pressure, my pulse were normal, better than normal. My wife said she watched me breathe during this examination, that my hands and arms were relaxed. I was practicing my breathing. But it hurt. It hurt a lot. I did my crying later.

Today I am lying on my left side, so the damage doesn’t increase. After the procedure, I am to lie on my right side for the week. This is not a vacation. I cannot do anything.

So, I am depressed about not being with my family. I am extremely apprehensive about the procedure itself. I am anxious about not being able to run for the foreseeable future. 

And I am very, very worried about being alone with my thoughts for an entire week. Because I do not like being alone. I do not like being alone at all.

The BorderLight Festival continues through July 24, 2022 from Playhouse to Public Square in Downtown Cleveland.