I noticed the ticket sales… very unfortunate and likely a direct result of not having star names; an unfortunate dynamic performing arts is going through right now, including Broadway. I saw the show twice, once from 1Mezz A401 and again in Orch ZZ413. The emptiness of the Hall in both cases was alarming. However, being in the orchestra provided a dramatically different experience overall… one of much more energy from the stage, which is to be expected.
rcdt, I think your critical opinion, being so close to the show, would be very interesting. That said, of course one must appreciate your need for professional discretion.
Very happy to report that the New York Spectacular is in fact that. It is a rather extraordinary experience, full of the spectacle that one expects from the Music Hall. The story is pretty brain-numbing, with an outright unlikeable character (the daughter), but who ever went to RCMH for the plot line? The rest is a joy ride. It’s big, it’s loud (the soundtrack is pretty juiced up, or shall I say “very produced”), it’s colorful, the dancing is awesome and innovative. Stages rise and fall, lighting and projections on the arches are beautiful and sometimes staggering and it’s all very good and very right. The most old-school might think it a bit garish, and some of the traditional elements (i.e., the organ, the band car traveling vertically across the stage) aren’t part of the experience, but I think it’s very relevant and appropriate for our time and still provides and experience that is singular to the Music Hall. Is it better than a dark stage? Of course! But it’s actually really something to see… albeit with a modern spirit and open mind. There’s obviously a big crew of talent working behind the scenes to make this happen and they are to be applauded. I don’t know enough about what qualifies as “projection” to comment on that element specifically, so I’ll leave that to one of the experts in this community. And oh, those 36 leggy ones… they’re looking very good and appear to be having a ball. Support the Music Hall, its faithful employees, the talent on the stage and, if you saw last year’s show, see what innovative direction can do.
Anyone else see it? I’m not opposed to alternative perspectives.
Thanks, rcdt. You know, I really do think there is an amazing amount of the past that lives today at Radio City Music Hall. Sure the digital age has necessitated some changes but one needs that to stay relevant (and follow the money to run the joint). When I walk into the building today, what I see in the general public spaces and the auditorium really do look remarkably as they did in the ‘80’s when I was working there and if someone really wants to push the limit of a production technically, all the capability (and crew) is still there.
I believe the standard for a Rockette-driven number is 36 for New York, and that has been for some time as it is the maximum that can fit within the proscenium of the RCMH. Road tours use 18 or 24, I believe. It’s multiples of six. Or, at least, that’s the story tour guides were fed!
LOL. Well, I think an appropriate staffing change was made.
Baby boomers make up the largest segment of society with disposable income… I have faith that with some really smart marketing, the romance and excitement of Radio City can make a “Spring Spectacular” a commercial success.
Actually, there’s some video from rehearsals that’s starting to flow out, and frankly, I’m not sure I wouldn’t have pulled the plug myself. Bad story, bad direction of the characters, cloying (i.e., repetitive without any creativity) choreography. And so many people who have worked so hard on this project – I feel for them.
It may be time for a new directorial perspective. I’m just saying…
I’ve really enjoyed these comments, and I’ve got another dimension for everyone to consider: the surmise of film is likely part of a larger loss… that of the tradition of spectacular theater, as opposed to just “entertainment.”
I, too, saw the Spectacular this year and observed the continuation of a trend that brings a bit of sadness. While there are clearly so many talented and dedicated people working on this show, it is becoming sub-standard when measured against what the Hall is actually capable of doing. The magic and surprise of transitioning sets are gone, the numbers no longer crescendo and build, one of the world’s most technically proficient and unique stages is more or less static, the organ at best is used as a sweetener for the soundtrack. When new technology is introduced, it comes off as weak gimmick. (Those who saw the “snowflake” number understand what I’m talking about all too well… did anyone at all watch the stage or did we all just look up, wonder and worry about the weirdo orbs?)
No doubt there is a very real need for contemporizing the show for younger audiences – we don’t want to end up where we were in the mid-seventies with an irrelevant format putting the theater in danger of extinction. As a theater-goer, I’m first likely to hang the director, who admittedly has done wonderful things to restore the proficiency of the Rockettes (though while putting them through the paces of the most sophomoric choreography –- what’s with all the incessant pointing?!).
I think this is a three-pronged problem… art vs. commerce vs. talent. The first two are a necessary evil and will forever co-exist. The third, well, that’s just a shame — a lack of imagination and understanding of spectacle in the middle of an embarrassment of riches that is The Showplace of the Nation.
I’m not giving up. My fingers are crossed for Hearts & Lights. Pensively.
LOL. That site is a ticket brokerage, so they’re a bit inflated… just a bit(!). I suspect actual prices direct through RCMH will be 30%-40% off the Christmas show $$$.
Also, you have to remember, television transmission from RCMH is high-definition now, which amps up the intensity of this visual in a big way, giving it a bit of Las Vegas gloss and less of the old-school opulence that we all love!
The contour curtain is open in the current show. And probably, and rightfully, because it wouldn’t fit into the Zarkana production design… It’s too dramatic and grand. Zarkana is dark and mysterious… And a little creepy, quite frankly.
The Cirque commitment is for three years each summer, with an option for another two. Re: changes to the structure… I would think the landmark status of RCMH would prohibit any permanent change to the proscenium. Regarding the show specifically, I’ve seen it and, well, let’s just say it’s not a spectacular Roxy would have mounted —– more like Alice in Wonderland meets Las Vegas. They’re using the music hall stage for its size, not for it’s technical ability. Mind you all, this is just one man’s opinion.
While we’re talking technology, see the links below for two articles (in PDF format) regarding the original technical specs of the Music Hall and also the restoration. Both of these articles are out of print and unavailable for purchase, so copyrights are not being violated.
Frankly, I also just have to believe that a new director makes tweeks where they can and as the Music Hall, and Christmas show specifically, pushes to keep up with contemporary tastes of new audiences the style is bound to change. And let’s face it, the toy-laden marquee was rather “vintage” albeit in theme with the holidays.
If you really want to be concerned… take a look at how few set pieces are actually built now — the huge LED screen has now taken place of those larger-than-life, artistic feats that we saw just ten years ago. Personally, I’m a little down on the movement — the fun and magic of theater is giving way to electronic efficiency… and at Radio City Music Hall at least, I need more than a dropped screen — the bare stage is just too obvious (and sad).
As Rocket J. Squirrel would say, “Now here’s something we hope you really like…” See the link below I just stumbled onto. This is a piece of music the truly awesome Tom Bahler & Don Dorsey wrote for The Christmas show in the early-mid eighties, when Bob Jani was making magic. It’s the Twelve Days of Christmas and it’s classic RCMH for it’s time… full use of projection capabilities, a continued obsession with synthesized music, which started around 1980, if I remember correctly in a summer stage show called America.“ Sadly, the actual stage projections aren’t shown here (they were pretty great) but you’ll get the flavor and will imagine the wonderfully precise pandemonium that’s on a stage with every pair of legs that can dance in a frenzy by the end of the number.
Hi, Den & Vito. Thanks for the welcome. I saw the Christmas show earlier in the month (as I have every year since 1979) and I can report it is as shiny last year, and tweaked just a little bit, in a hardly noticeable way but someone is watching details, which is good to know. I’ll always be a purest and prefer the magic of many physical set changes over a LED screen, but I suppose change is inevitable. For those concerned about Wurlitzer magic, not to worry, it’s there. A short pre-show concert, a send off after the curtain comes down, and if you’re paying attention, you’ll notice rumble of some pedal occasionally throughout the show as a sweetener to give the orchestration some gravitas.
Wow, what an extraordinary blog. I was recently searching for a review of an old RCMH show from the eighties and found you all. I came to NYC in 1982 and started by indoctrination to NYC by guiding tours at the Music Hall.
I"m working my way through all the comments from the beginning and while it’s likely I’ll be able to add anything that hasn’t already been covered… who knows!
I noticed the ticket sales… very unfortunate and likely a direct result of not having star names; an unfortunate dynamic performing arts is going through right now, including Broadway. I saw the show twice, once from 1Mezz A401 and again in Orch ZZ413. The emptiness of the Hall in both cases was alarming. However, being in the orchestra provided a dramatically different experience overall… one of much more energy from the stage, which is to be expected.
rcdt, I think your critical opinion, being so close to the show, would be very interesting. That said, of course one must appreciate your need for professional discretion.
Very happy to report that the New York Spectacular is in fact that. It is a rather extraordinary experience, full of the spectacle that one expects from the Music Hall. The story is pretty brain-numbing, with an outright unlikeable character (the daughter), but who ever went to RCMH for the plot line? The rest is a joy ride. It’s big, it’s loud (the soundtrack is pretty juiced up, or shall I say “very produced”), it’s colorful, the dancing is awesome and innovative. Stages rise and fall, lighting and projections on the arches are beautiful and sometimes staggering and it’s all very good and very right. The most old-school might think it a bit garish, and some of the traditional elements (i.e., the organ, the band car traveling vertically across the stage) aren’t part of the experience, but I think it’s very relevant and appropriate for our time and still provides and experience that is singular to the Music Hall. Is it better than a dark stage? Of course! But it’s actually really something to see… albeit with a modern spirit and open mind. There’s obviously a big crew of talent working behind the scenes to make this happen and they are to be applauded. I don’t know enough about what qualifies as “projection” to comment on that element specifically, so I’ll leave that to one of the experts in this community. And oh, those 36 leggy ones… they’re looking very good and appear to be having a ball. Support the Music Hall, its faithful employees, the talent on the stage and, if you saw last year’s show, see what innovative direction can do.
Anyone else see it? I’m not opposed to alternative perspectives.
Thanks, rcdt. You know, I really do think there is an amazing amount of the past that lives today at Radio City Music Hall. Sure the digital age has necessitated some changes but one needs that to stay relevant (and follow the money to run the joint). When I walk into the building today, what I see in the general public spaces and the auditorium really do look remarkably as they did in the ‘80’s when I was working there and if someone really wants to push the limit of a production technically, all the capability (and crew) is still there.
I believe the standard for a Rockette-driven number is 36 for New York, and that has been for some time as it is the maximum that can fit within the proscenium of the RCMH. Road tours use 18 or 24, I believe. It’s multiples of six. Or, at least, that’s the story tour guides were fed!
Keep the faith, brother!
LOL. Well, I think an appropriate staffing change was made.
Baby boomers make up the largest segment of society with disposable income… I have faith that with some really smart marketing, the romance and excitement of Radio City can make a “Spring Spectacular” a commercial success.
Fingers crossed for this Spring!
http://variety.com/2014/legit/news/msg-harvey-weinstein-partner-spring-spectacular-broadway-talent-1201335790/
Actually, there’s some video from rehearsals that’s starting to flow out, and frankly, I’m not sure I wouldn’t have pulled the plug myself. Bad story, bad direction of the characters, cloying (i.e., repetitive without any creativity) choreography. And so many people who have worked so hard on this project – I feel for them.
It may be time for a new directorial perspective. I’m just saying…
rcdt55b: Anything you can/want to share about Heart & Lights?
I’ve really enjoyed these comments, and I’ve got another dimension for everyone to consider: the surmise of film is likely part of a larger loss… that of the tradition of spectacular theater, as opposed to just “entertainment.”
I, too, saw the Spectacular this year and observed the continuation of a trend that brings a bit of sadness. While there are clearly so many talented and dedicated people working on this show, it is becoming sub-standard when measured against what the Hall is actually capable of doing. The magic and surprise of transitioning sets are gone, the numbers no longer crescendo and build, one of the world’s most technically proficient and unique stages is more or less static, the organ at best is used as a sweetener for the soundtrack. When new technology is introduced, it comes off as weak gimmick. (Those who saw the “snowflake” number understand what I’m talking about all too well… did anyone at all watch the stage or did we all just look up, wonder and worry about the weirdo orbs?)
No doubt there is a very real need for contemporizing the show for younger audiences – we don’t want to end up where we were in the mid-seventies with an irrelevant format putting the theater in danger of extinction. As a theater-goer, I’m first likely to hang the director, who admittedly has done wonderful things to restore the proficiency of the Rockettes (though while putting them through the paces of the most sophomoric choreography –- what’s with all the incessant pointing?!).
I think this is a three-pronged problem… art vs. commerce vs. talent. The first two are a necessary evil and will forever co-exist. The third, well, that’s just a shame — a lack of imagination and understanding of spectacle in the middle of an embarrassment of riches that is The Showplace of the Nation.
I’m not giving up. My fingers are crossed for Hearts & Lights. Pensively.
Thanks for the clarification, RobertEndres!
i believe that Dolby sound, along with High Definition video broadcast) was installed during the last renovation.
LOL. That site is a ticket brokerage, so they’re a bit inflated… just a bit(!). I suspect actual prices direct through RCMH will be 30%-40% off the Christmas show $$$.
Also, you have to remember, television transmission from RCMH is high-definition now, which amps up the intensity of this visual in a big way, giving it a bit of Las Vegas gloss and less of the old-school opulence that we all love!
The contour curtain is open in the current show. And probably, and rightfully, because it wouldn’t fit into the Zarkana production design… It’s too dramatic and grand. Zarkana is dark and mysterious… And a little creepy, quite frankly.
The Cirque commitment is for three years each summer, with an option for another two. Re: changes to the structure… I would think the landmark status of RCMH would prohibit any permanent change to the proscenium. Regarding the show specifically, I’ve seen it and, well, let’s just say it’s not a spectacular Roxy would have mounted —– more like Alice in Wonderland meets Las Vegas. They’re using the music hall stage for its size, not for it’s technical ability. Mind you all, this is just one man’s opinion.
Absolutely stunning. Never fails to thrill.
While we’re talking technology, see the links below for two articles (in PDF format) regarding the original technical specs of the Music Hall and also the restoration. Both of these articles are out of print and unavailable for purchase, so copyrights are not being violated.
View link
View link
Frankly, I also just have to believe that a new director makes tweeks where they can and as the Music Hall, and Christmas show specifically, pushes to keep up with contemporary tastes of new audiences the style is bound to change. And let’s face it, the toy-laden marquee was rather “vintage” albeit in theme with the holidays.
If you really want to be concerned… take a look at how few set pieces are actually built now — the huge LED screen has now taken place of those larger-than-life, artistic feats that we saw just ten years ago. Personally, I’m a little down on the movement — the fun and magic of theater is giving way to electronic efficiency… and at Radio City Music Hall at least, I need more than a dropped screen — the bare stage is just too obvious (and sad).
As Rocket J. Squirrel would say, “Now here’s something we hope you really like…” See the link below I just stumbled onto. This is a piece of music the truly awesome Tom Bahler & Don Dorsey wrote for The Christmas show in the early-mid eighties, when Bob Jani was making magic. It’s the Twelve Days of Christmas and it’s classic RCMH for it’s time… full use of projection capabilities, a continued obsession with synthesized music, which started around 1980, if I remember correctly in a summer stage show called America.“ Sadly, the actual stage projections aren’t shown here (they were pretty great) but you’ll get the flavor and will imagine the wonderfully precise pandemonium that’s on a stage with every pair of legs that can dance in a frenzy by the end of the number.
Check this out:
View link
Hi, Den & Vito. Thanks for the welcome. I saw the Christmas show earlier in the month (as I have every year since 1979) and I can report it is as shiny last year, and tweaked just a little bit, in a hardly noticeable way but someone is watching details, which is good to know. I’ll always be a purest and prefer the magic of many physical set changes over a LED screen, but I suppose change is inevitable. For those concerned about Wurlitzer magic, not to worry, it’s there. A short pre-show concert, a send off after the curtain comes down, and if you’re paying attention, you’ll notice rumble of some pedal occasionally throughout the show as a sweetener to give the orchestration some gravitas.
Wow, what an extraordinary blog. I was recently searching for a review of an old RCMH show from the eighties and found you all. I came to NYC in 1982 and started by indoctrination to NYC by guiding tours at the Music Hall.
I"m working my way through all the comments from the beginning and while it’s likely I’ll be able to add anything that hasn’t already been covered… who knows!