New York Theater

I go through peaks and valleys of loving/hating New York, as I'm sure many New Yorkers experience. My main frustration with this town usually happens whenever dealing with rush hour crowds, slow walkers who stop short for no discernible reason, and slow or non-existent trains. These frustrations mount considerably when faced with the nearly impossible task of finding an affordable apartment in the city, a headache I wouldn't wish on my greatest enemy. During these times, I imagine myself in an isolated part of the world, remote and beautiful, living a simple, yet fulfilling life. Usually, there are small-town elements: a quirky cast of locals, bucolic landscapes, talking animals, etc. I am under no delusion that I would be eternally content in such a place, as I thrive in the fast-paced and exciting New York lifestyle. But the prospect of running away is very enticing.

However, most of the time, I feel a surge of love and pride at being a New Yorker. I especially feel this way after seeing a particularly good piece of theater. It's no secret that the performing arts is robust in this city. There is such a wealth of options. The experience of live theater usually leaves me feeling grateful and a bit more alive. Even if I'm leaving a theater near Times Square, the annoying crowds don't bother me if it's been a good show.

Broadway shows aren't the only things to see in New York City that give me the warm fuzzies. I recently had the opportunity to see the Vanguard Jazz Orchestra perform at the legendary Village Vanguard when a friend was visiting from out of town. They were extraordinary, a superband with an explosive sound and exciting solos. Another favorite of mine is Too Much Light Makes the Baby Go Blind, performed by the New York Neo-Futurists. The ongoing show, an attempt to perform 30 short plays in an hour, is usually quirky, funny, and moving. Then there was the awesome short-lived Jump, a kung fu slapstick comedy that played at the Union Square Theater.

In general, my only complaint about theater is the expense. It can be costly, but I consider it a worthy investment most of the time. It's investing in dreams, music, stories, life. Still, there are many opportunities for discounts. I won't necessarily pay $100 for a musical, but I will stand on line for cheap rush tickets or a lottery. I don't mind paying for the cheapest possible seat and seeing a show from the last row, because I'm still there to experience it. For instance, when Gypsy first opened, I paid less than $50 for mezzanine seats. For such a big show, it doesn't matter where you are in the audience, in my opinion. Of course, its nice to sit up close. That way, you get more into the world of the play. But I'd sacrifice that experience to save a few bucks. Some shows have a lottery for cheap orchestra seats, including In the Heights. You submit your name 2 hours before curtain and only have to wait half an hour to see if you've won tickets. The payoff is front orchestra seats for $26.50. I plan on taking advantage of this offer.

For those 18-35 years old, the Roundabout Theatre Company offers $20 tickets for all their shows with Hiptix. Earlier this year, I saw the excellent, Tony-nominated Sunday in the Park with George through this program. Next season, the Roundabout is producing Samuel Beckett's Waiting For Godot. I can't tell you how excited I am for this, as the production will star Bill Irwin and Nathan Lane, two actors I have not seen enough of.

Perhaps the best example of cheap theater is The Public Theater's annual summertime Shakespeare in the Park. All tickets are free for this festival, with two shows per season, sometimes featuring celebrated actors or directors. I'll never forget seeing Hair this summer at the Delacorte Theater. Being in the audience felt like a gift and a triumph; the triumph of enduring a long wait on line for ticket hand-outs. The show was outstanding and was only heightened by the experience of waking up at dawn to sit on cold, hard ground for hours. It sounds silly, but it was very much in keeping with the spirit of the age in which the show originally took place. Not that I felt like a hippie or anything, but it just made sense for the show to take place outdoors, from the process of getting a ticket to the performance itself.

There is nothing like free, outdoor theater. I don't know if this qualifies, but one of my most memorable New York moments happened one night not too long ago. It was a Friday night this summer and I was in the West Village with a couple of friends. We stopped by Father Demo Square, which is really a triangle at the cross-section of 6th Avenue, and Carmine and Bleecker Streets. This is one of my favorite spots in the city because if you face away from 6th Avenue toward the water fountain in the center, it doesn't feel like you're in New York City at all. You're transported to a small, charming European city, perhaps Nice or Siena. During the summer, there's a guy who brings out his piano and plays in this "square." He does a mixture of classical, pop, and classic rock tunes. This one night in particular, he was playing a classical piece, and a few young couples started dancing. Then the male counterparts burst into ballet and danced for a good half hour. The girls were more shy and sat out most of the time, but they eventually returned to their partners for a pas de deux. We later learned that they were ballet students from the LaGuardia Performing Arts High School. They could have fooled me into believing they were professional.