We've already established that any previous rules don't apply this year, and since I only saw three concerts and 15 plays this year, I decided to create just one live performance category. Honestly, at this point, I'm grateful that I got to see ANY live performances this year – but I am particularly lucky to have seen these six specifically.
54 Below, 24 January
Seeing Orfeh and Andy Karl's Legally Bound cabaret show was everything I hoped for and more! These two possess such amazing talent and fit more hits into 90 minutes than should be *legally* allowable. Songs from their set included: "Hotel California," "If I Can't Have You," and "Piece of My Heart" (Orfeh); "Smooth" and "Seeing You" (Andy); duets of "Freedom," "Kiss," "If I Could Change the World;" a mash-up of "Yesterday," "Time After Time," and "The Shallow," and so much more. To top it all off, the bits and banter between the songs were pure gold. Even though the set was jam-packed, it still felt too short, and I hated to leave when it was over.
Cherry Lane Theatre, 24 February
This one-night-only one-man show by Patrick Page was, quite simply, flawless. It turned a random Monday night in February into a perfect NYC night during which I saw one of my favorite actors deliver a masterclass on Shakespeare’s villains, ran into a friend at the theater, and then got a slice of pizza at Joe’s on my way to the subway. Nights like this one are exactly why I live in New York (and why I can't imagine moving elsewhere, despite the pandemic). Patrick Page commanded a theater for over two hours. I have never been in a theatre that was as quiet as this one when Patrick delivered scenes from a plethora of Shakespeare's works, with masterful performances featuring fully realized characters brought to life for mere minutes. In between scenes, he also provided elucidating commentary on the evolution of villains in Shakespeare's work from Henry VI to The Tempest. All the Devils are Here is a magic show of the most practical sort, and I would go see it again in a heartbeat if I could.
Music Hall of Williamsburg, 7 February
I hadn't seen an actual, straight-up Mayer Hawthorne show since 2016 (!!), so it was great to hear songs from A Strange Arrangement and How Do You Do performed live after such a lengthy hiatus. Indeed, Mayer played a great mix of songs from all his albums, plus most of his new singles, and a couple of Tuxedo songs. It was a highly satisfying set list, and a great way to spend a Friday night.
Tupelo Music Hall Drive-in Experience, 30 August
My parents & I were supposed to see Carbon Leaf on March 14th, but they ended up being my first event casualty of the pandemic. Things have a funny way of working out though, because Carbon Leaf turned out to be the first concert I was able to see since Mayer Hawthorne in February, and only my third concert of 2020 (!!!). The Drive-in Experience at Tupelo Music Hall was great: an outdoor show with lots of distance, friendly staff, car or table/tent options (we opted for the latter), and tasty food. Carbon Leaf played an energetic and upbeat set stacked with Indian Summer-era tunes and classics from earlier in their catalog as well.
Broadhurst Theatre, 25 January
Every single performer in this show has an amazing voice, especially the actor who sings "Hand In My Pocket" and “You Oughta Know,” the latter of which nearly brought the house down. The original story (i.e. not an Alanis bio) is creative and meaningful. It is set in the present-day and incorporates perhaps a few too many hot-button issues (opioid addiction, queer identity, racial identity, rape culture), but the thoughtfulness with which the songs are integrated into the narrative make Jagged Little Pill much better than most musicals on Broadway that are designed around existing IP. Worth seeing if the Jagged Little Pill CD holds a significant place in your youth / memories of the 90s.
Joyce Theater, 25 January
I am not normally into ballet or modern dance, but when I read about a new ballet work (Love Rocks) set to the music of Lenny Kravitz, I knew I had to check it out. Love Rocks was just one piece of the program (which also included excerpts from the company's repertoire: Dear Frederic, Testament, Elegy, Woke, Wonder-full, On Holiday, and Choke), but the whole show has stuck with me for the entire year. The company of Complexions Contemporary Ballet is highly talented, and their work and stage presence are truly memorable. Jillian Davis, Larissa Gerskze, and Brandon Gray were particularly captivating every moment they were on stage. The choreography showcases the athleticism of ballet, and made me wish that I knew more about dance so that I could have appreciated what I was seeing on a more technical level. As it was, I was able to respond on an emotional level, though often more to the music than the movement itself.
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