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Foo Fighters Convey Rock Again to Madison Sq. Backyard

The house lights inside Madison Square Garden went down Sunday night, and the thousands of fans, packed like sardines in their seats, stood as if on cue. As they roared their approval, bouncing in place on the balls of their feet, the ground began to tremble. Cellphone flash lights illuminated the darkness.

The sound of a keyboard echoed through the rafters. Dave Grohl, the Foo Fighters’ frontman, appeared on the stage.

“It’s times like these, you learn to live again,” Grohl sang.

The lyrics had seldom felt so on point.

After many difficult months of illness, death, hardship and pain, and shifting limits on how many people could gather, especially indoors, arena rock returned to New York City just over a year after the city was the center of the outbreak. It was the Garden’s first concert in more than 460 days, and it drew a full-capacity crowd that was asked to show proof of vaccination to enter. Inside, people grooved, tightly packed, with few masks visible.

On Sunday, a concert attendee would have had to squint to see signs of the pandemic persisting. In many ways, the evening felt like prepandemic times.

In a sea of thousands, only a few patrons here or there wore face coverings. Thousands of vaccinated people, their faces bare, belted out the lyrics to well-known songs, sending aerosols flying through the air. No one seemed concerned.

Fans were packed together. A sudden arm gesture could send a beer flying. Strangers hugged and high-fived. They bumped into each other in the busy concourse. They punched the air, swung their hair and danced, twisting and swaying at their seats in a state of high-decibel music-induced bliss.

It was “just epic,” said Rachael Cain, 51, who was among the first people to arrive at the Garden on Sunday afternoon.

But there were subtle reminders of the pandemic everywhere. Hand sanitizer pumps were clamped to the walls, and wipes could be found near any napkin dispenser. Ticketing was digital and concession buying appeared mostly cashless.

At the entrances, staff members checked people’s vaccine cards with varying levels of scrutiny. Some asked for identification to match with proof of inoculation, in a slow-moving process. Other checkers simply waved people through as they flashed their passes while walking by. A small anti-vaccine protest on the sidewalk outside drew little attention.

Several patrons said that the vaccine requirement helped them feel safe about returning to such a big indoor gathering.

“I was expecting it to be a little longer before I came to a concert again,” said Nick Snow, 29, who was among the few fans who wore a mask while inside the arena. “The precautions with the vaccinated only, they help.”

Grohl himself took care to acknowledge from the stage the unique milestone he and his band were participating in. At various points during the roughly three-hour show, he asked the crowd rhetorically if they had missed music, and mused about how good it felt to be around thousands of people while playing rock songs. The band sang “My Hero” as a tribute to those who had made the concert possible. And in a surprise cameo to celebrate the occasion, the band brought out the comedian Dave Chappelle to sing a cover of Radiohead’s “Creep.”

“Welcome back, New York City!” Chappelle yelled as he exited the stage.

The show represented the return of some old, familiar comforts that music lovers may not soon take for granted again. There was call and response; people gesturing wildly to no one in particular; fans screaming the lyrics to songs only to realize their voices were drowned out by the music; and an entire floor section jumping up and down as one wave.

“I would get vaccinated 10 times over just to see a live show like this with people,” said Rich Casey, 53, of Massachusetts.

Having reached the ground floor of the venue and the echoey plaza that leads to the street, Foo Fighters fans seeking one last communal experience for the night sent up a chant, reveling again in one of the band’s most well-known songs, “Best of You.”

Ohhhhhh
Ohhhhhh.
Ohhhhhh.
Ohhhhhh.

Then they erupted in one final cheer and walked out into the New York night.

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Entertainment

A Uncommon Peek Inside a Semi-Secret ‘Secret Backyard’

When Marsha Norman suggested the idea to producer Jerry Goehring to stream the 2018 workshop over a deadlocked Broadway revival of “The Secret Garden” as a benefit, he thought it was a great idea.

He just didn’t know if it would be possible.

“I said,” To be honest, I don’t know it’s ever been done before, “said Goehring, a member of the team that was out to bring the magnificent musical, which has never been revived there since the Tony Award, onto Broadway In 1991 he won the production with Mandy Patinkin.

Securing the rights to stream a musical – let alone a workshop, footage that should never see the light of day and show actors in their harshest form – can be complicated.

But it helped that Norman, the musical’s Pulitzer Prize-winning writer, was already on board – as was new director Warren Carlyle (“After Midnight”) and all 21 actors, including Sierra Boggess (Lily) and Clifton Duncan (Archibald Craven) and Drew Gehling (Neville Craven).

“They all asked ‘Please, what can we do to help?'” Goehring said this week.

The buy-in of all the members involved and the compensation of the actors were the conditions for the Actors’ Equity Association, the union, to give approval for the project, which will benefit the Dramatists Guild Foundation and the Actors Fund.

“They said they rarely get requests for archive footage,” said Goehring, who teamed up with producers Michael F. Mitri and Carl Moellenberg to develop the project. “But if at the end of the day 100 percent of the members on the show agree, we could do it.”

The two-hour workshop, which includes a full run of the show with no costumes or sets, premieres on Thursday, May 6th at 8 p.m. on Broadway on Demand and will remain available until May 9th. It is dedicated to Rebecca Luker, the musical Original Lily, who died in December aged 59, less than a year after announcing she had ALS

“It’s wonderful and terrifying at the same time,” said Carlyle, who directed and choreographed the workshop. “It’s at its roughest, with all of my terrible ideas and some good ideas. It’s really like pulling the curtain back. “

Göhring said the workshop showed the production in its “early stages” – and was never intended to be seen by any kind of audience, let alone the public.

“We weren’t going to invite anyone,” he said, noting that at first the writers just wanted the opportunity to get a first look at the entire show – artistically. “But it turned out to be so special that everyone agreed that we should invite our friends in the industry, including Broadway theater owners, to hear their opinions.”

Based on the 1911 children’s novel by Frances Hodgson Burnett, the musical tells the story of an orphaned English girl whose personality blossoms when she and a sick cousin restored a neglected garden. The original Broadway production brought in three Tonys including Luker, Patinkin, a pre-Hedwig John Cameron Mitchell, and 11-year-old Daisy Eagan, who won Mary Lennox for her performance as heroine.

The revival, Carlyle said, is a “total redesign”. It will offer reduced sets, more intimate orchestrations and a different scenic design. But all of Lucy Simon’s songs are intact, he assured the fans of the original, who just shifted – not that anyone would dare cut “Lily’s Eyes”.

“We joke that we lost a lot of big bushes,” he said. “A lot of the big scene transitions from the early 1990s have been eliminated, so it really goes a lot better.”

It is clear, said Carlyle, that the workshop is a rough draft: the garden is imaginary; the dress code more t-shirts than vests. Pieces of tape on the bare floor mark the edge of the stage and the position of the grand pianos. There are few props.

“There are no frills,” he said. “This enables me, as a director, to ensure that we understand the story correctly.”

To keep track of scene changes, the team added digital renderings by production designer Jason Sherwood (“Rent: Live”) as transitions. But in the end, said Carlyle, the material speaks for itself.

“The book Marsha wrote and Lucy’s music are so powerful that you can be in an empty room with talented artists and move around just like it’s on a Broadway stage,” he said.

There are reasons the Broadway show never got revived: critics said the elaborate set and costumes made the actors struggle to be in focus, and the book was overflowing with supporting characters.

“Whether ‘The Secret Garden’ is a compelling dramatic adaptation of its source or just a beautiful, stately shrine is sure to be the subject of intense public debate,” wrote New York Times theater critic Frank Rich in his review of the original. “For one thing, I often had problems getting the pulse of the show.”

Broadway is still a destination for the future, said Goehring, although the pandemic has set the time axis in motion.

“We are currently not looking for new investments,” he said. “Our only goal is to raise money for nonprofits.”

The 2018 workshop was the last in a series of high-profile iterations of the musical, which included a 2016 concert at Lincoln Center with Ben Platt, Ramin Karimloo and Boggess. David Armstrong directed a production at 5th Avenue Theater in Seattle and the Shakespeare Theater Company in Washington DC in 2016-17.

No cast has yet been determined or the theater secured, but Göhring hopes the orchestrations will take shape in the fall.

“As soon as we’re all back in the same room, we’ll keep working on it,” he said.

“Our ultimate goal is to do this as best we can,” he added. “No matter how long that takes.”

In the secret garden: workshop and livestream experience
May 6th to 9th; livestream.broadwayondemand.com