Tag Archives: Helen Pickett

Hope in the Time of COVID Sees Sleeping Beauty Reawakening in December

Review:  The Arts in the Time of COVID

By Perry Tannenbaum

The COVID collapse happened quickly on March 13. “We were hours away from the curtain rising on our all-new Fairy-Tailored Sleeping Beauty when we had to postpone the season,” says Hope Muir, Charlotte Ballet’s artistic director. On the morning before that, Charlotte Symphony’s new director of communications, Deirdre Roddin, met with me to discuss future concert coverage at this publication. But the upcoming Saint-Saëns Organ Concerto concert would soon be postponed, among the first performing arts dominoes to fall to the pandemic in the week that followed – along with an annual Women in Jazz fest at the Blumenthal Performing Arts Center, the annual Charlotte Jewish Playwriting Contest at the Levine JCC, a chamber music concert at the Bechtler Museum, and Theatre Charlotte’s production of Cat on a Hot Tin Roof.

Tom Gabbard, president and CEO at Blumenthal Performing Arts, last attended a live show on March 11 – in the UK, before he and his wife Vickie returned home and tested positive for COVID-19. The Gabbards quarantined and recovered, but by the day after Ballet’s postponement, Gabbard had announced that all events at all Blumenthal venues were suspended through April 12. Complying with NC Governor Roy Cooper’s executive order suspending all public gatherings of 100 or more people, the Blumenthal directive took all decision making on the Saint-Saëns concert, scheduled for March 20, out of Symphony’s hands. Both of CSO’s primary venues, Belk Theater and Knight Theater, are managed by Blumenthal.

So far, Symphony has had to cancel 49 concerts. “That’s obviously a huge blow to the organization, both artistically and financially,” says Michelle Hamilton, CSO’s interim president and CEO. “The estimated financial impact of these concerts alone is in excess of $1.5 million. This does not include the impact of the pandemic on future concerts and attendance.”

On the revenue side, Opera Carolina wasn’t as seriously damaged as Symphony, losing just one event, an extensively revised version of Douglas Tappin’s I Dream. “The company received support through the Payroll Protection Plan [PPP],” says Opera artistic director, James Meena. “That has allowed us to maintain our staff and redirect funds to our new online series iStream, which has provided employment to our resident company.”

PPP funding has flowed to the most established arts organizations in Charlotte, including Theatre Charlotte, Children’s Theatre of Charlotte, Actor’s Theatre of Charlotte, Blumenthal Performing Arts, and Charlotte Symphony. “However,” Children’s Theatre artistic director Adam Burke points out, “the PPP was designed to help organizations through what Congress thought was going to be a short-term, 8-week issue.”

Blumenthal drew the largest PPP allotment, $1.7 million, that helped with payroll in May and June. “We avoided furloughs until July 5,” says Gabbard, “when three full-time and 114 part-time team members were furloughed – 105 full-time remain, mostly working from home, with some working in the venues on various maintenance projects. PPP made a big difference.”

What lies ahead for all Charlotte performing arts groups is very murky, subject to weekly health directives from city or state government officials loosening or tightening restrictions. “Opera is dealing with a multitude of challenges,” says Meena, “caused by COVID-19 and now the 43% reduction in ASC [Arts & Science Council] support for the 2020-2021 season. We are evaluating audience concerns for attending performances, and perhaps more dauntingly, health and safety concerns for our performing company.

“Singing is one of the most effective ways to spread the coronavirus. Many church choirs are rehearsing remotely, so imagine a 50-voice opera chorus, principal artists, extras and the more than 30 technicians who normally work on an opera production. Additionally, health and safety concerns for the orchestra musicians (imagine being confined – maybe consigned is a better word – to the orchestra pit where social distancing is all but impossible) are challenges to performing Grand Opera that we have never experienced before.”

All of the companies we’ve mentioned have pivoted to online programming, but all weren’t equally prepared to make the switch. Charlotte Ballet, the first company impacted by the COVID ban on public assembly, was quickest to steer a fresh course. “I had implemented a much more robust structure for archiving and curating digital content over the past three years,” says Muir, “not just performance footage but interviews with artists, designers, collaborators and behind-the-scenes rehearsal footage as well as the documentation of the Choreographic Lab. That commitment, I think, is why we were able to get out of the gate so quickly.”

Raiding their digitized vaults, Ballet was able to present Dispersal online, repackaging the company’s Innovative Works 2019 program with behind-the-scenes footage for a new kind of digital experience on March 27, just two weeks after Sleeping Beauty had been scheduled to premiere. Opera Carolina’s iStream series began in April and is archived on its YouTube channel, while Charlotte Symphony has logged an assortment of live Zoom and pre-recorded material online. For six straight Wednesday evenings, ending on July 29, they streamed a series of Al Fresco chamber music concerts recorded on video in the backyard of principal cellist Alan Black. It’s an avenue that will likely be revisited. Meanwhile, CSO has extensive recorded inventory to call upon, but unlike Charlotte Ballet’s, it is entirely audio, so their outlet of choice has been WDAV 89.9, where past concerts are aired on Friday evenings.

The mass exodus to streaming platforms has been global, creating a glut of available online events that don’t quite measure up to live performances. Charlotte Ballet has responded to this oversaturation by thinking outside the box. “I worked with choreographer Helen Pickett to discuss our options and this resulted in an opportunity for five of our dancers,” says Muir. “Charlotte Ballet joins artists from Alvin Ailey American Dance Theatre and Dance Theater of Harlem for part III of a trilogy Helen developed titled Home Studies, which is entirely choreographed and rehearsed via Zoom.”

Other companies are pushing the envelope by reimagining live performance under COVID restrictions. Rehearsing with masks and performing unmasked live at their dance studio, Caroline Calouche & Co. presented two online showings of A Love Show on July 25, charging admission for a ticket link. Theatre Charlotte is trying a more audacious outdoor model, presenting Grand Nights for Singing: The Parking Lot Performances on Friday nights outside their building, limiting audience size to 25, and charging $10 per ticket. Each of two performing singers wields a separate mic, there are no duets, and the audience is expected to provide their own chairs, snacks, and beverages.

“We are most likely not going to be able to perform for an audience in TC until at least December and maybe beyond,” says Ron Law, who was scheduled to retire June 30 but has extended for another season as Theatre Charlotte artistic director – and as President of the Board of the North Carolina Theatre Conference. “We have purchased appropriate video equipment so we can livestream productions. At this time, we are planning on doing performances of What I Did Last Summer by A.R. Gurney that will be livestreamed, with a per household ticket charge, on three dates in September.’

Waiting until June 11 to announce their 2020-21 season, Theatre Charlotte has prudently delayed their musical productions, The Sound of Music and Pippin, until spring 2021 – with understandable contingency plans. For their fall plays, they are tentatively offering their audience the options of live performances or streaming. Children’s Theatre have allowed themselves less wiggle room for 2020-21, eliminating musicals entirely from their slate. Yet their company, with video production a longtime component of their educational offerings, is probably the most adept we have in Charlotte when it comes to hybrid, live-or-streamed presentation skills.

While closing down all public performances at their two ImaginOn theaters, Children’s Theatre was at the tail-end of a 20-week School of Theatre Training programs, which culminates in four fully-produced OnStage presentations, two plays and two musicals. “We decided to move all four productions to a virtual format,” says Burke. “We’ve made other adjustments as well. We started some online educational programming and shifted our June summer camps to virtual experiences. In July we offered students the choice of virtual or in-person camps. We’ve kept close watch on all CDC, state and federal guidelines and have invested in some technologies that help us to maintain safety.”

Like Charlotte Ballet, Children’s has plenty of past performance video on file. They’ve edited these multi-camera shoots and served them up on a series of “Watch Party” webcasts. The new work keeps coming, further underscoring CTC’s technical prowess. “We’ve continued to move forward, as best we can, with the works that are in development including a collaboration with 37 children’s theatres across the country to adapt, as a virtual performance, the book A Kids Book About Racism.” That new piece launched into cyberspace on August 1. Other projects in the pipeline are Tropical Secrets: Holocaust Refugees in Cuba, and a stage adaptation of the award-winning The Night Diary.

On March 12, the day before performing arts in Charlotte abruptly shut down, the town was abuzz in anticipation of Mecklenburg County announcing its first case of COVID-19. A surreal five months later – without any improvement, to be sure – announcements for the 2020-21 season, sensibly stalled in March, are beginning to flow amid a chaotic atmosphere in anticipation of the fall. Once again, Charlotte Ballet is at the vanguard, announcing that the long-delayed premiere of Sleeping Beauty: A Fairy-Tailored Classic will open at Belk Theater on December 10 – replacing the traditional Yuletide presentation of Nutcracker. Makes sense: the trimmed-down Tchaikovsky ballet remains family-friendly with a helpful narrator to keep us abreast of the storyline. Unlike Nutcracker, the Tailored Sleeping Beauty doesn’t consign the Charlotte Symphony to the orchestra pit, and it doesn’t recruit 150 sacrificial lambs for children’s roles, including the ever-lovable Clara.

Iffier but on the schedule is Charlotte Ballet’s 50th Anniversary Celebration, scheduled for April 22-24. Muir is “holding onto a beacon of hope” that CSO will be able to collaborate with Symphony on that auspicious event, booked at Belk Theater. Opera Carolina maestro Meena has seen his own commitments scuttled in Italy, where he had planned to conduct Andrea Chenier, Manon Lescaut and Turandot. He doesn’t expect opera to resume in Italy until December, so he isn’t counting on Opera Carolina collaborating with CSO before 2021. Meanwhile, expect the unexpected as OpCarolina fires up a new chamber music series, reviving their iStream Online concerts the week of September 11, returning every two weeks through November 16.

Keeping his eyes open for online options and live opportunities, Actor’s Theatre artistic director Chip Decker isn’t counting on returning to live performance at Queens University before July 2021. Tom Hollis, theatre program director at Central Piedmont Community College, retired on August 1. But he didn’t go out directing a final season of CPCC Summer Theatre as he had planned, so he’s expecting to reprise the complete 2020 slate in the spring or summer of 2021. Sense and Sensibility, originally set for this past April, may also figure in the mix.

Gabbard, the first to respond to our questionnaire on July 14, said that over 300 performances had already been cancelled at Blumenthal’s multiple facilities and wasn’t expecting national tours – their bread and butter – to resume “until at least late fall, and perhaps early 2021.” Even outdoor stopgaps that Gabbard might stage in Charlotte’s Uptown must remain on the back burner until public gatherings of 100 or more are approved.

On the lookout for best practices and inspiration, Gabbard is looking globally, “including Seoul, Korea, where big musicals like Phantom have played throughout the pandemic. I was asked to join the COVID-19 Theater Think Tank in New York, where we are speaking with academics and thought leaders in a search not only for short-term solutions, but also ways to improve our venues and hygiene practices long-term.”

Bach Akademie Charlotte artistic director Scott Allen Jarrett slowly realized last spring that there was no way to mobilize the musicians, patrons, and audience that would be necessary to make the third annual Charlotte Bach Festival happen last June. Hurriedly, he pulled together a four-day virtual festival that streamed on Facebook, YouTube, and Zoom. Much like Actor’s Theatre and CPCC Summer Theatre, Jarrett is hoping that the June 2020 event will happen in June 2021.

The experience shook him. “The recognition that I hadn’t made music with another human being in a month hit me hard on Easter Sunday morning,” Jarrett recalls, “and I grieved deeply for several weeks. Gradually, the shared recognition of all that we were losing with one another affirmed a shared value for communal music making. Those conversations continue to sustain me.”

Jarrett is busy, busy, busy these days up in Boston, working as artistic director with the Back Bay Chorale on their new Zoom curriculum and as director of music at Boston University’s Marsh Chapel – and expecting to stay healthy. BU has taken the plunge, plowing millions of dollars into testing in an attempt to bring their student body back to campus, aiming to test all faculty weekly and all students twice weekly. Plans for the 2021 Charlotte Bach Festival are on hold, says Jarrett, until a proven vaccine delivers true COVID immunity.

Yet he’s clearly upbeat, even if he’s forced to deliver the 2021 Bach Experience via Zoom. Describing her own company’s trials, Charlotte Ballet’s Muir offers the best explanation for this paradox: “Once we realized this virus was not going anywhere quickly, we had to pivot and focus on new ways to keep the team motivated and creative. And this is where artists thrive! At our core, we are shape-shifters and it’s exhilarating to think of new ways to communicate and engage with one another.”

“Spring Works” Delights With Sensuous, Satirical, and Classic Vibes

Review: Charlotte Ballet’s Spring Works

IN Cognito by Taylor Jones-1

By Perry Tannenbaum

Go figure. On opening night of Charlotte Ballet’s Spring Works, the most famous choreographer on the program wasn’t listed in the program booklet. Nor was his dance repeated at the next three performances after the Friday opening. Unless you noticed the insert inside your program booklet, you never did know that Merce Cunningham, who would have been 100 years old on April 16, was the mystery choreographer of the night. Or that Anson Zwingelberg, Charlotte Ballet’s representative at a Centennial Celebration at the Brooklyn Academy of Music on that night, was the dancer who repeated his performance from the special “Night of 100 Solos” gala.

For those of us who did eventually discover the insert, then looked up the celebrations – in London, Brooklyn, and LA – and tracked down the Vimeo replays of the live streams, most of the mystery was solved, except for the title of Zwingelberg’s solo. Others who freewheel their spectating without consulting their programs might still be puzzling the connection between what Zwingelberrg did and the Opus.11 pas-de-deux that followed.

With my program spread out before me, I knew instantly that I wasn’t watching Alessandra Ball James or Josh Hall, respectively in their 13th and 7th years with the company and listed as the partners in David Dawson’s Opus.11. Completing his second year, Zwingelberg is best remembered for his villainous Karl in The Most Incredible Thing last March. He wore a costume then. Although credits for designing Zwingelberg’s attire were given to Reid Bartelme and Helene Jung, your initial impression of their handiwork might be to assume that Zwingelberg had escaped from a work prisoners’ detail along the margins of I-77.

In his brightly colored jumpsuit – somewhere in the neighborhood of mauve, DayGlo orange, and Band-Aid – Zwingelberg performed one of Cunningham’s less dancelike solos. Arm, hand, and leg movements had an eccentric inward quality to them, occasionally endearingly comical, emphatically anti-musical, and occasionally spasmodic and crazy. A formal onstage introduction of some kind would have helped, to be sure, although it would likely have been nearly as long as the solo.

Opus11-1

Described as a “love letter” to Dawson’s two collaborators, dancer/costume designer Yumiko Takeshima and dancer/choreographic assistant Raphaël Coumes-Marquet, Opus.11 was unmistakably about love. Greg Haines’ hypnotic music and Dawson’s intimate lighting cast a nocturnal spell, more than sufficient to rekindle the chemistry between James and Hall. It should be familiar to CharBallet subscribers by now. If you’ve forgotten their man-goddess pairing at last year’s Spring Works, they’ve been Sugar Plum Fairy and Cavalier in Nutcracker and Peter Pan and Wendy in the meantime.

For James to reach such depths of sensuous surrender in a dance, she must trust Hall completely when she lets go. Years of dancing together have built a confidence in James that now appears to be absolute, so it’s really exquisite to see them so sinuously, emotionally, and fearlessly in action. It probably didn’t hurt that Coumes-Marquet himself was on hand to stage and rehearse this satisfying piece.

Helen Pickett, the choreographer who paired James and Hall so effectively last spring in her “Tsukiyo,” returned with the world premiere of a more complex work, IN Cognito. Dedicated to Blowing Rock native Tom Robbins with a title inspired by Villa Incognito, one of his later novels, Pickett plays with the idea of performers hiding behind their roles – yet exposing their true selves. Lighting by Les Dickert and costumes by Charles Heightchew evoked the brightness of 60’s and 70’s décor, yet there was regimentation and repetition in the early ensemble action that made me think Pickett had something pungent to say about peer groups and humdrum workplaces.

IN Cognito by Taylor Jones2-1

The 10 performers, including special guest Robert Plant, executed their impersonal dance moves amid innocuous furnishings. A couch, complementary ottomans, floor lamps, descending window frames and ceiling lamps defined a domesticated indoor space where people interacted without really connecting. Satire? Music by Oscar-nominated Jóhann Jóhannsson and Mikael Karlsson occasionally heightened the urgency of this dance but didn’t warm up its cold vibe. When the couch was put into service as a runway, the dancers briefly took flight.

Reprising Johan Inger’s Walking Mad, CharBallet recalled artistic director Hope Muir’s triumphant arrival in the fall of 2017, when this was the opening work on her first program. Premiered at Nederlands Dans in 2001, toured by Alvin Ailey, and staged by an international who’s who of companies, Walking Mad can be anointed a classic even if Inger’s name still isn’t a household word. It features nine dancers in moods ranging from giddy silliness to deep despair – and a very versatile wall – mostly dispelling the obsessive spell of Maurice Ravel’s famed Bolero.

Replacing Ryo Suzuki, who launched the piece in 2017, Maurice Mouzon Jr. made his entrance from the Knight Theater orchestra pit, dressed in a drab overcoat and a Magritte bowler hat, the first of numerous bowlers we would see. No music yet, wall only dimly evident in the gloom. Mouzon and Sarah Hayes Harkins would dominate the pre- and post-Bolero moments, the first in silence and the moody finale set to Arvo Pärt’s “Für Alina.” Withdrawn and grumpy, Harkins wouldn’t accept Mouzon’s coat, letting it drop to the ground.

The first uptick in intensity comes as the simple wall springs to life, plowing Mouzon towards us. Then the mood also begins to shift when there’s a breakout of silent vaudeville comedy at opposite ends of the wide wall, our first visual confirmation that other dancers are conspiring in the comedy. Silent film comedy, you might say, appropriate for when Bolero was premiered in 1928. Doors appear in the wall. Another uptick: Men dressed in dopey maroon party hats begin to chase around and through the wall. Women in similar hats, looking equally dopey, join the party.

We tend to forget – or not even know – that Ravel’s Bolero actually began as a ballet. But not like this!

Abruptly, the wall was bent into a perpendicular shape, the music was muted, and Elizabeth Truell dominated the enclosure, by turns unresponsive, terrified, and violent toward the men who tried to reach her. She was clearly the maddest of Inger’s walking mad, conceivably in an isolation ward, and most bizarre when she and her partners suspended themselves in the corner of the half-folded wall. Slamming all three of his dancers against the wall in this segment, the choreography had a sprinkling of French apache as we awaited the return of the Bolero.

Walking Mad-1

The logic seemed to be that the music returns to full volume when Truell peeps over the top of the wall, but that logic didn’t hold in this surreal world. Gradually the music and the snare drum’s tattoo returned. After an old vaudeville mirror shtick early on, Ingel had laid part of the wall down like a palette and turned it into a slightly elevated dance floor. Now the whole wall came down, and in a Kafkaesque sequence, the former partyers all returned in Magritte bowlers, dancing in manic unison rather stumbling glee. in the process, the mob tormented Mouzon, tossing off their overcoats as Bolero roared to its end.

Applause inevitably greeted that wild moment, although Mouzon remained spotlit downstage awaiting Pärt’s wan piano sonata to cue up. With business between Mouzon and Hayes centering on his coat once again, the two dancers came marginally closer to connecting. If Mouzon had strengthened and persisted in his overtures for an hour or so, the diffident Hayes might have relented a bit, but the young man didn’t have that kind of resolve.

You could have called Mouzon’s exit Chaplinesque if it had a sunnier energy – or any true animation, though he did scale to the top of the wall and balance himself there. Instead of jumping or throwing himself off the edge, Mouzon merely leaned forward and fell out of sight. Classic.

Divinity, Orgy, and Terror Are Excitingly Mixed into Charlotte Ballet’s “Spring Works”

Review:  2018 Charlotte Ballet’s “Spring Works”

By Perry Tannenbaum

Spring is always considered a season of growth and renewal, and at Charlotte Ballet, where Hope Muir is completing her first year as artistic director, that old maxim was explosively confirmed on opening night of Ballet’s Spring Works at Knight Theater. Indications were strong that Muir and the company had turned a corner with the triumphant American premiere – after a one-night postponement – of Javier de Frutos’s The Most Incredible Thing in early March, reaffirming that CharBallet could take on bigger challenges and fill anybody’s shoes. The current sequel has brought in Bryan Arias, Helen Pickett, and Filipe Portugal, three choreographers the company had never presented before, and a rousing reprise of Ohad Naharin’s masterful Minus 16 suite.

The evening began with the splendid partnering of Alessandra Ball James and Josh Hall in Pickett’s “Tsukiyo,” premiered by Boston Ballet in 2009. Having watched The Shape of Water on a flight from Rome the previous morning, I saw a common thread between the Oscar-winning film and Pickett’s pas de deux, which is set to Arvo Pärt’s Speigel im Speigel. Both have the look of an amorous encounter between the human and the divine. James emerged from a mist like Botticelli’s Venus, supremely elegant and graceful, radiating a regal and divine assurance.

Hall approached her with worshipful awe, initially repulsed by the goddess, but he didn’t flee, continuing to circle her with awestruck wonder. Somehow Hall, who is the title character of the piece (and a god) as far as I could determine, wasn’t upstaged by James’s perfection. After starring as Leo the Creator in The Most Incredible Thing, Hall may have given an even richer characterization here, often curving his body to a picture of humility, yet strong and worthy of the goddess in those few moments when she yielded to him. The chemistry was profound, meshing beautifully with the music. Costumes by Charles Heightchew and lighting by John Cuff enhanced the magic.

In the wake of this powerful intensity, the next two pieces, both in their world premiere presentations, were comparatively abstract. Set to generous selections from the “Tirol Concerto” by Philip Glass, Portugal’s “Stepping Over” shuttled from fast to slow and back to fast in classic style. Action, divided among eight couples, was lively in the fast sections, most effectively in the final movement, where the music has a ragtime flavor. But I most enjoyed the slower middle movement with its style and grace.

Costume design by Christopher J. Parker detracted from the overall impression, barely transcending workout togs, matching blue outfits for the three lead couples and teal for the others. Hall and James made fairly quick costume changes into blue, each taking on a new partner, Chelsea Dumas and Drew Grant respectively, but it was hard for me to take my eyes off Sarah Hayes Harkins. Eclipsed and maybe a little enervated for much of the 2017-18 season, Harkins regained all her old sparkle and precision paired with James Kopecky, dancing with a new joy and rejuvenated spirit. An impressive North American debut for Portugal.

The only true intermission came after “Stepping Over,” though the program booklet deceptively places another one after the world premiere of “When Breath Becomes Air” by Arias. With more time devoted to ensemble movement, dancers were more detached and impersonal in the Arias piece than in the Pickett. Yet there was something more conceptual going on, since Arias has set his dance to Six Breaths by Ezio Bosso. As his title hints, part of Arias’s intent was the give physical shape to the invisible. All-white costumes by Márian Tatán heightened the molecular quality of the ensemble’s motion. Arias seemed to break away from that mold in the midsections of the piece, breaking down his ensemble into four different couples. Perhaps because these couples came on an evening that was already highlighted by the exploits of James and Hall, I was more enchanted by the trio of Colby Foss, Lexi Johnston, and Harkins.

Lights come up at Knight Theater after the Arias piece and the curtain comes down, but you shouldn’t leave the hall. Naharin’s piece explores the sometimes-ambiguous borderlines between playfulness and madness in a society under constant threat of terrorism. The most famous part of the Israeli choreographer’s Minus 16 is where he sets the Tractor’s Revenge modernization of a Passover song for a tightly regimented group of dancers who curve from one side of the stage to the other, mostly sitting and moving on chairs as “Echad Mi Yode’a” cycles from one to 13 in much the same fashion as “The 12 Days of Christmas.” Naharin brought this part of the piece to the Carolinas when his Batseva Dance Company made its Spoleto Festival USA debut in 2007. But the first complete performances of the suite in the Carolinas came at Knight Theater in 2012 when the Alvin Ailey American Dance Theatre brought it to town in 2012 – on their way to presenting it at Spoleto. Charlotte Ballet latched onto the piece in 2016 with smashing success.

The encore presentation seemed even better. While the lights were up for “Intermission,” Kopecky came out for his solo, a potpourri of spasmodic, graceful, and acrobatic movement – mixed with stony motionlessness and paranoid scrutiny of the audience. Of course, the sensation of all this wackiness increased as audience members returned from the lobby to discover it. (Maurice Mouzon Jr., who originated this role in 2016 while still a member of Charlotte Ballet II, will do this solo on the evening of April 27 and at an April 28 “family matinee” which will omit “When Breath Becomes Air.”)The curtain rose and fell many times during Minus 16, most shockingly when we suddenly see the “Echad Mi Yode’a” tableau, where costumes resemble those worn by ultra-orthodox Haredi Jews.

Primed by Kopecki’s antics, the audience was inclined to laugh at the end of each refrain, where a wave of prayerful motion sweeps from left to right, to Hebrew words that translate as “One is our God,” capped by one solitary man who explodes from his chair and falls face down onto the stage. It’s only when the ensemble’s collective actions grew crazier, all of them shedding an article of clothing in each refrain, that the laughter subsided – perhaps with the realization that the fallen man was a victim of a terrorist bomb. Maybe the sight of ultra-orthodox Jews tossing off their hats was their cue.

Amazingly, the chaos of clothing strewn across the stage gave way to frantic joy as the borderline was crossed once more to energetic, orgiastic celebration. All of the dancers eventually came out into the audience, as “Over the Rainbow” poured from the loudspeakers, and picked out members of the crowd who came back with them onstage. It really got crazy when the stage filled up again, as a block party broke out to the strains of “Hooray for Hollywood” and Dean Martin’s iconic “Sway.” Joy, laughter, and escape were fully consummated.