Act Two New York

It’s Christmas in New York, and as fall turned to winter it looked like things were going to be festive in a way they hadn't been since 2019. One sign of new life was the return of The Nutcracker, in George Ballanchine’s classic production, performed by the dancers and orchestra of the New York City Ballet as it has been (almost) every year since 1954. Despite new safety protocols and re-workings, the show was as magnificent as always and brought a little holiday magic back to midtown (at least for a few weeks). 

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Lincoln Center is the great city on the hill of performing arts in the United States, home to arguably the most distinguished opera company, ballet company, and symphony orchestra in the country, as well as our most famous music school, the world’s largest performing arts library, and much, much more… But for all of the highbrow excellence of these institutions, none of them had much to offer a city taking its first tentative steps out of quarantine, which craved ways to come together, inclusively and outdoors. 

So Lincoln Center threw open its massive and under-utilized outdoor campus to some amazing performers that normally wouldn’t have the opportunity to perform there. Among them was Debra Ann Byrd, a theater veteran who’s one-woman show “Becoming Othello: A Black Girl’s Journey” tells a tale of perseverance, perfect for this city right now. 

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The craziness of the last few years has made for some unexpected partnerships around the city. None of these were stranger and more successful than the shotgun wedding of a tiny neighborhood history museum and a risk-taking collective of burlesque artistes known to some as a “Voltron of gay strippers”. This unlikely collaboration not only saved them both financially, but pushed them both into bold new creative directions they never would have otherwise discovered. 

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Special Thanks: Nightlife Documentrian Andres (Insta  @legomojo

Like many smaller classical music ensembles, the celebrated PubliQuartet found ways to keep going during the shutdown - largely by performing outdoors in some very unorthodox settings. One of these was the catacombs of The Green-Wood Cemetery, one of the venues where Death of Classical has been presenting eclectic performances since early 2020. What’s it like to perform during a pandemic in a space where you’re literally surrounded by the dead? Remarkably transcendent, it turns out. 

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Held back in June, “Brand New Day” was an ecstatic takeover of Times Square, with singers and dancers from Broadway and beyond celebrating what they hoped was the imminent return of New York Theater. But some of the featured performers couldn’t help but wonder - was the closing of New York an opportunity to do better than rebuilding on the same outdated foundations?

We spoke with Jason A. Rodriguez of the hit TV show “Pose” and his long-time business partner Ricardo Sebastian about their vision for a new day in New York that supports performers who have long been marginalized and exploited. 

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Prior to 2020, Jeff Fairbanks, Alex Jeun, and the rest of the Street Beat Brass Band worked steadily – playing their New York spin on New Orleans second line to venues and events all over the city.

After a long, quarantined dry spell, the group was brought back to life by joining the Hells Kitchen Happiness Krewe – the madcap brainchild of Hally-Anne Devlin, a theatrical producer who would spare no expense to bring a little joy back to her beloved Manhattan. 

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Host: Tania Mohammad
Producers: Tania Mohammad and Garret Tiedmann.
Post-production, Original Music, and Sound Design: Garrett Tiedemann
Production Manager: Gabriela Montequin
Executive Producer, Theme Music: David Hoffman 

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Stand-up comedian Joe Orecchio faced a choice at the start of the pandemic. Would he grieve the state of his show, Comedy Cabaret, and it’s unknown future? Or would he use this opportunity to make the show everything it could be? Lucky for his audience, he chose the latter. Tanya Moberly, the Booking Manager at Don’t Tell Mama, a world famous venue in the heart of New York City, was eager to welcome him back to showcase his new vision. Join Tania Mohammad as she visits another small but mighty performance space striving to survive in the shadow of the pandemic along with the brilliant artists who make venues like Don’t Tell Mama great. 

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Cast & Crew of Comedy Cabaret

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As the summer ramped up, Tania headed out to the Empire Rooftop to speak with Dawn Durham, VP and Director of Operations at Hospitality Holdings, Inc. Like so many venues, the Empire Rooftop struggled throughout 2020. But when Dawn received a call from Melissa Gerstein and Kimberly Giannelli, Co-Founders of iHeartDance NYC, about organizing a dance performance on the rooftop, Dawn couldn’t resist. Suddenly dancers like Ingrid Silva and Gilbert Bolden were performing for the first time in well over a year. 

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Produced by Tania Mohammad. Additional production by Charlotte Moore-Lambert. Executive produced by David Hoffman. Post-production, original music, and sound design by Garrett Tiedemann. Production managed by Gabriela Montequin 

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In early May, Tania ventured out to 3 Dollar Bill, an energetic gay bar in Brooklyn that was one of the first places in the city to bring back live drag performances. Owner Brenda Breathnach was working tirelessly to maintain the bar’s atmosphere and serve patrons while still adhering to the strict restrictions that were in place at the time, while the performers struggled to rethink their acts for a masked and seated audience. 

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Produced by Tania Mohammad. Executive produced by David Hoffman. Post-production, original music, and sound design by Garrett Tiedemann. Production managed by Gabriela Montequin.

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Racecar Radio presents an all-new series about the performers and venues across New York City who are fighting to survive in the aftermath of Covid-19. New episodes every other Friday, starting August 13th!