Show Time

This past winter I had the pleasure of seeing three performances: the Shanghai Circus, a delightful display of feats of strength, balance and derring-do; Savion Glover, a delightful exploration of percussive tap dancing to live flamenco music; and the Queen of Spades, a delightful slog through a four-hour Pushkin opera at the Met.

In all three cases, I had to surrender. The shows had no heady dialogue to follow in order to occupy my mind. I had to take off my coat and stay a while, acknowledging to myself that in order to get the full effect of the entertainment experience, I had to completely immerse myself and let it wash over me. It meant turning off the cell phone, turning off my brain and giving over the controls to someone else until further notice. It meant begging off the scheduling nymphs and list fairies and allowing awe and wonder to scramble up from where they’d been bound and gagged, waiting patiently to see the light of day again. In all three cases it worked, and as I relaxed and let go, I was dazzled.

Pushkin was up to his same old melodramatic tricks at the Met but with a compelling avant-garde flair. The depth and scope of the vast stage’s starkly compelling sets elicited gasps from the opera-goers around me each time the curtain was raised, and the costumes’ design and palette thrilled the fashionistas in the audience with their modern take on an age-old winter wardrobe. I read the summary in the program and then decided to leave the LED narration off and float through. The story line was simple enough to explain to a stranger in one subway stop and because this was Pushkin I just assumed that everyone would either die of consumption or a broken heart, but that they were sure to suffer madness on their way there. I was right, and since the opera clocked in at about the same length as a flight to Phoenix, I cozied-in and, once again, surrendered.

The Shanghai Circus was mind blowing. It’s performers showed such nimble control, such deft coordination, that my son and I found our selves unable to decide which act impressed us most. Was it the strongest man I’m likely ever to see; able to support and balance his own body weight in impossible, one-armed ways? Was it the mad, multi-ball hand juggler or the whimsical foot jugglers; passing balls to each other in Dr. Seuss fashion? Naturally I was attracted to the plate spinners, whose ability to multi-task-- spinning twelve plates on twelve sticks with each hand while moving and grooving-- spoke to the mother in me, and the eerie, science-fictiony, high-pitched hum they gave off was mesmerizing.

Savion Glover was mesmerizing, too. Having discovered the percussive seduction of flamenco, he teamed up with the equally mesmerizing Carmen Estevez of Spain. The daughter of a jazz drummer father and a flamenco singing mother, she drummed and sang with the cool, detached rasp of an aloof femme fatale while Savion-- two feet away on a tap platform—listened and let her music soak into his every pore until his head was so wrapped up deep inside the music that and only his tapping feet remained free. My mom and I watched—along with the flamenco guitarist nearby-- like voyeurs to a flirtation. Carmen played and sang as Savion hoofed and tapped and together they wound and weaved not so much a story but an experiential journey, like when you felt your way through the woods with your eyes closed, on a dare, when you were young.

During intermission, my mom told me about a Tap Happening she went to with Dad back in the 1960s at the Dixie Hotel on W.43rd (now the Hotel Carter, named
the dirtiest hotel in the US for 4 years in a row). Metal folding chairs were set up down in the basement and a record player sat in the corner. As my parents sat in awe, Howard "Sandman" Sims, Charles "Honi" Cole, Jimmy Slyde and Chuck Green tried to best each other; walking to the record player one at a time to put the needle down on the song that would take them to that place where body and imagination paired up and left the head in the dust. Mom said that tap had gone out of style at the time, but these guys just wanted to get together to keep it alive, to see old friends and to work their craft with nothing but camaraderie and fun as their goal. Having grown up seeing these greats on the big screen, Mom and Dad were blown away.

During the second half of the show, I thought about the plate spinners and opera singers and wondered if they’ll ever get together someday in a basement, just to catch up with old friends and show each other what they’ve still got. I thought about how much fun they would have without the pressure of a theater crowd and itchy costumes and marveled at the sight of them smiling and laughing it off as plates and notes were dropped. A lifetime of hard work and show times behind them, I pictured the plate spinners teaching the opera singers that it’s all in the wrist, and the opera singers giving voice to the muted acrobats.

Then the lights came on and the show was over. It was time to put my coat on and head back.