A 'cultural' New York Christmas
After the border closures during the pandemic, when Michelle Dursun was given the opportunity to experience a northern hemisphere "cultural Christmas" New York-style, she grasped it with both hands. So, as you are preparing for an Australian festive season, she shares some of her dance, musical theatre and cultural highlights.
On the first day of Christmas New York delivered me a saxophone serenade in Central Park – Christmas carols of course – against the spectacular but fading autumn leaves and city backdrop. Carols followed us as we walked around the city with school groups performing and a large gospel choir in Times Square.
On the second day of Christmas New York delivered me Christmas Spectacular with the Radio City Rockettes. This iconic American show at Radio City Music Hall is the perfect way to kick off a Cultural Christmas experience in New York. All pizzazz and precision, the Christmas Spectacular was a sequined celebration of Christmas in true chorus line style, with an inclusive cast of all cultures, statures and abilities. It was definitely back in full force (2020 was the only year since they began in 1933 that the Christmas Spectacular did not run). Combining fantastic 3D CGI, snow fairy drones and cleverly adaptable sets, the seamless show celebrated all that is Christmas in New York including a Big Red bus tour, ice skating rink, the iconic wooden soldiers on parade, a Teddy Bear’s Nutcracker and full Christmas story re-enactment with real sheep, camels and donkeys.
On the third day of Christmas New York delivered me a jazz class at Alvin Ailey. Ailey Extension is an off-shoot of Alvin Ailey American Dance Theatre, founded by Alvin Ailey in 1958. The community dance classes embrace the ethos and belief of Alvin Ailey that “dance comes from the people and should be given back to the people by making dance accessible to all people in a welcoming and non-competitive environment”. Our joy-filled class lead by the fabulously inclusive, ex-Broadway star and former Rockette, Judine Somerville, was dedicated to the memory of Irene Cara and featured routines and music from Fame and Flashdance.
On the fourth day of Christmas New York delivered me a visit to the Rockefeller Christmas Tree. In a tradition dating back to 1931, the tree is lit each year in a star studded and televised celebrity event, just after thanksgiving.
On the fifth day of Christmas New York delivered me the sass of Moulin Rouge on Broadway. From the moment you enter the intimate Al Hirschfeld Theatre you are in the immersive world of Moulin Rouge where anything is possible. The aristocrats were seated at tables in the orchestra pit, while the bohemians were seated in the stalls. New York audiences are bolshy, loud and very demonstrative. Audience etiquette was forgotten. There were catcalls, wolf whistles and cheers of delight with each recognisable hit (there are lots of them) that was given the Rouge treatment. But perhaps that is what you’d expect from a bevy of bohemians.
On the sixth day of Christmas New York delivered me the magic of the Bryant St Christmas Market. The Winter Village at Bryant Park is a European style outdoor Christmas market with artisan stores set up around an open-air ice rink and Christmas tree. After a couple of hours shopping, the reward was some hot cocoa and a candy cane macaroon.
On the seventh day of Christmas New York delivered me Rigoletto by the Metropolitan Opera. Giuseppe Verdi’s opera premiered in Venice in 1851 and this production, with debut female conductor Speranza Scappucci in the sumptuous Metropolitan Opera House with its five levels of balconies, was joyously received by a very demonstrative and appreciative audience. An elderly man in our box who was visibly moved by the music (he conducted each phrase from our box) explained that he had seen Rigoletto over 50 times and it was new to him each time.
On the eighth day of Christmas New York delivered me the Museum of Modern Art (MOMA) on West 53rd Street. Brimming with a collection spanning the last 140 years, MOMA really requires a full day to do it justice. We almost saw it all – but there is never really enough time.
On the ninth day of Christmas New York delivered me a history tour at the Tenement Museum on the Lower East Side. Specifically, this tour was a walk back in time to 1933 and the life of the Baldizzi Family from Italy. Their recreated three-room tenement apartment was a far cry from their rural origins in Sicily. Their story of living in a cultural melting pot on the Lower East Side, surviving the Great Depression, and their life in a new country, echoes the stories of many in New York.
On the 10th day of Christmas New York delivered me the all-American musical, Hamilton. Very much at home in the Richard Rodger’s Theatre (of Rodgers and Hammerstein fame), the subject matter clearly resonated with the local audience with a passionate performance by Miguel Cervantes in the lead role of Alexander Hamilton. The role of King George (all caricature and spoof) was aptly played by Euan Morton and drew sniggers and giggles from the unapologetically proud and partisan American audience. The standing ovation was practically assured.
On the 11th day of Christmas New York delivered me jazz at Dizzy’s Club in the Lincoln Centre. With sensational views of Manhattan, Dizzy’s is the place to experience cool jazz in a relaxed and intimate setting. On the evening of our visit, a jazzed-up version of the Sugar Plum Fairy opened the set, followed by Mary Stallings and the Emmet Cohen Trio, who lulled us into a smooth and groovy frame of mind.
On the 12th day of Christmas New York delivered me magical memories of a lifetime and a glimpse into the cultural revival underway in New York. The post-pandemic recovery of the arts in New York is in full force. The city is relishing its rebound in its famous optimistic way. Apart from the Christmas joy de vivre, the spirit of performers in New York is buoyant and the joy of being back in theatres and on stages is obvious. Patrons are also flocking to theatres and performances in droves. Box office queues are long and audience appreciation for a sector that had very little in the way of a safety net, over the past few years, is wonderful to see.
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