WHAT DO YOU WANT FROM ME!

That’s the line so effortlessly said by Ethan Hawke who played the insane but relatable character of Ivanov in Chekov’s first play. It stuck to me. And it stuck to me well.

I can’t even begin to describe this feeling of amazement and engagement that swept through me while watching this play. It has been a while since I actually watched something of the sort. I was so used to watching media from the comfort of my home with a remote in hand. But there was something different…the engagement of actor and audience, even though there wasn’t supposed to be one. Not to sound pretentious or anything but the “connection” that actors and directors strive for was present, especially within Ethan Hawke.

Believability. Strength. Commitment. Right from the first scene, I could see Hawke’s true talent. Behind the tall set, there was a chair in which actors on deck could wait. Many of the actors just sat on the couch with anticipation. However, Hawke “fell asleep” and tuned into that crazy but sympathetic character that is reminiscent of his recent performance in Sinister. So captivating and enrapturing was Hawke’s performance that I couldn’t take my eyes off of him. In the scene before he breaks down in front of the doctor (Who in my opinion I wanted to punch in the face because he thought he was so correct and pompous with his knowledge.) His eyes, along with his visual saliva and spit episodes, told me everything and his dynamics within his tone of voice kept me trembling and engaged in his train of thought.

While listening to what Ivanov was ranting about, I couldn’t help but have a moment of Déjà vu. I kept saying to myself, “This guy is crazy. A bitch. A loner. A loser. How could one do that?” However, at the same time, I realized that he was describing a lot of people, like myself.

In the midst of midterm week, I was almost frightened to see my own character and personality come to life on stage, especially with Hawke’s skills. He began to speak of his failures in life, along with these overwhelming feelings that forced you to become paralyzed within life. I definitely knew the feeling. When school, work, love life (if there is one), just start collapsing on your shoulders that you slip to the point of almost surrender, wanting to just die to relieve all this stress. (Yes, I know this confession is dark, but this play brought it out of me.) And when people continuously nag you about your life and disappointments, you just yell…WHAT DO YOU WANT FROM ME? And that’s what Hawke did. So true to this feeling of failure and paralysis did he portray this performance. Although at times I called him crazy, I couldn’t blame him because I knew what it was like. (Although not to the point of adultery) He was human and that was it. So simple but complex did Chekov explore the aspect of human error.

Along with this analytic first half, one other thing that got my attention was the way in which actors chose the delivery of their lines. While reading the synopsis of the play, I was very surprised to find all these comedic undertones. From all the context, it seemed as though Ivanov was a very strict and stern play about failure and such. At first, I thought I was watching a completely different play from hearing all of this laughter but I soon got the jest of the comical play. (The obnoxious laugh of the man in the upper deck was a clue.)

Even though many of the actors and actresses couldn’t match Hawke’s energy and emotion, I enjoyed the psychological aspect of the play. It brings up the idea of sanity, which is normal and human.

As a dancer, I must say that I was looking forward to this performance for quite some time. Although I am an avid hip-hop or street jazz dancer that occasionally tiptoes in ballroom, I was very excited to see a new style of dance, most notably a modern or contemporary piece!

As I walked into the BAM theatre, I must say that I was very pleased. It was a very different sight from the night before of extravagant city life at the Met. Here, in downtown Brooklyn, there was definitely a different vibe that exuded not only through the neighborhood, but through the crowd that entered. In addition to the more intimate mood placed upon the smaller venue with a smoke filled ambiance, the crowd was definitely not as dressed up or aristocratic as the night before. Instead of elite socialites, we had the “yuppies” with tattoos, eclectic hairstyles, and young urban working class that came out to enjoy the night. It was definitely a breathe of fresh air.

Now back to the good stuff – the movement, the art, the dance.

The rock and roll atmosphere set upon the venue by loud guitar strums and crazy acoustics threw me off a bit as the show began. At first, I couldn’t help but think if I was in the wrong place. But then the dancing began…

Right from the get go, I knew I was going to be in for an interesting night to say the least as I knew that all these types of dances were going to be different from what I was used to. The movement and style of these dancers were so crazy and hectic, but in a good way! This new profound movement of jittering and random motion almost felt tribal and rustic. The almost purging movement of hands reminded me of a sacrificing ceremony almost with a hint of jazz. I also appreciated the different shapes that the dance company offered to the audience. Usually in dance, judges and critics emphasize on lines but the choreographer did an amazing job in incorporating a different geometrical outlook.

Besides the actual movement, I thought that the musicality that the dancers were moving to was very similar to street styles. A lot of the movements accentuated the loud percussions and the way in which the strings were manipulated was illustrated through the fluid but staccato like accents. Overall, I thought the whole dance was quite enjoyable. Although different from the norm that I am used to, the crazy Dionysian art that exuberated through the opera house was something new and tantalizing. It wasn’t the ordinary modern or contemporary moves with fragile emotions. Instead, Political Mother went beyond that and gave us an emotion filled show.

Personally, throughout the show, I was wondering what the whole concept was all about. Not even in the small pamphlets could you find a small synopsis. I must admit that some type of information would have probably added to my appreciation for the show already. Instead, I was left wondering throughout the whole show, which at the same time could be a good thing. After all, art is subjective; the best part about it is that you can either take it for what it is, or simply interpret it into something more. I feel that for this performance, I was able to take it  for what it was and truly appreciate the movement and ability of the dancers instead of understanding it.

Overall, I thought this energetic and eclectic piece was a wonderful production that made me look at the concept of dance in a whole new way. If you wanted something new besides the typical So You Think You Can Dance or Dancing With the Stars movement, then this would have definitely been something to watch. It’s full of crazy movements, energy, and sound that won’t disappoint.

Considering the fact that I’ve never been to any opera, or show of such sort, I must say that my first experience will forever be a grand memory. From the high-class red velvet arena of classical Italian melodies to chandeliers that have more crystal and shimmer than Lady Gaga’s normal wardrobe, L’Esir d’Amore definitely made lasting impression and has changed my opinion of boring binocular viewed operas.

Even before the entering the venue, the whole essence of New York City and the arts came to life right before my eyes as the fountain, in contrast to the dark city sky, indicated a magical night. I couldn’t help but snap a quick default picture for Instagram. As I continued into the Met, I must admit that I felt out of place. In the midst of tuxedos and red velvet everything, I thought I was in an episode of Gossip Girl. To top that off, my class was practically in the last row in the family circle. I could touch the wooden ceiling…literally.

However, as the Gaga-esque chandeliers raised and the crowd grew silent, all these thoughts of foreignism went away.

I was immediately drawn by Nemorino’s strangely hypnotizing voice. Played by Matthew Polezani, Nemorino’s lonely but relatable character belts out his heart and soul into every scene with either pity, comedic relief, or as in one memorable scene, heart wrenching sorrow that was just asking the audience to hug him (Which actually got him a round of applause). Throughout the play, his character drew me in even more as his versatility between his acting and singing combined into a perfect performance.

In addition to Nemorino, his female counter part, Adina, portrayed by Anna Netrebko, plays an equally powerful counterpart with an octave range similar to that of Mariah Carey, something that I would think was impossible. At first, I was dismissive of Adina’s character due to her elitist attitude in choosing her suitor. However, her character grew on me as she became somewhat relatable to people when she learned of her jealous heart for Nemorino. Her humility in the play gained my respect in a sense as it reminded me of past personal situations. Nonetheless, the balance of acting and voice, like Nemorino’s character, was just right. This chemistry and relationship almost reminded me of many characters on Glee in the sense of relationship drama and musicality.

While Nemorino and Adina may be the two stars of the play, I must also tip my hat off to Ambrogio Maestri, who plays the misleading but comical Dulcamara, the doctor with the love potion who puts this whole story in motion. If it wasn’t for his tactile businessman skills and salesman comedic charm, I don’t think I would have been as interested and into the play as I was. In any form of play or movie, especially in comedy-drama, there seems to be that one character who knows what to say with that good punch line or pun. In this case, it’s definitely Dulcamara. The ingeniousness of Donizetti sees Maestri’s character sing, in my opinion, the most memorable song of the night: Utide, Utide o Rustici. Donizetti combines the whit of Dulcamara with his deep but infectious voice to make the audience laugh not once, but twice, including the end. This standout song definitely had me laughing here and there with its ironic notations of love, fortune, and health. It’s definitely something one could see as a Broadway song. Moreover, I can say that Dulcamara’s character definitely stole the show, for me at least.

Besides the whole show itself, I must also talk about the actual and physical experience of such a show. Our professor told us how we were going to sit at the very back and I thought he was actually kidding but, as luck goes, he wasn’t. However, he noted that due to the acoustic arrangement of the Met, we had the best seats in the house, aurally. And although I can’t judge from the audience’s view from below us, I must admit that I was able to hear pretty well. Professor Minter wasn’t joking when you could hear everything! That cough from way down low during a dramatic pause was definitely a killer.

To be honest, I wasn’t expecting so much “life,” if I can call it that, at an opera. When I imagine operas, I stereotype aristocratic elitists dressed in the finest of clothing with handkerchiefs that cost more than a ticket, to be primed with their noses so high up. In addition, I imagined a very plain and dry play. But I’m glad I was proven wrong. My eyes were opened to a new field of the arts that I definitely enjoyed.

There’s a first time for everything…and I definitely won’t forget this culturing and refined experience. Although I may not find myself sitting in at the Met anytime soon due to prices I shall not speak of, if given the opportunity, I would definitely grab those tickets. It’s an enriching experience that you can only gain something from! You can’t lose! (Maybe money. Shout out to Macaulay for those far but free tickets!)