After 91 years of cancans and kicklines in the annual Christmas Spectacular, seeing the Radio City Rockettes remains a staple in many families’ holiday traditions. Sitting on the edge of my seat and gripping the back of the chair in front of me, I reverted back to my five-year-old self, absorbed by a Christmas world where people danced all day and ate candy canes for every meal. The outstanding spirit and humor rekindled the inner child that had been extinguished by the past month’s assignments.
However, the Yuletide merriment and mesmerizing synchronicity didn’t stop me from noticing the fundamental missteps of this year’s show. I was constantly distracted and taken aback by the use of virtual reality, live animals and the lack of diversity among the dancers.
Not having seen the show for a couple of years, I assumed extravagant lights and exploding confetti cannons would still be the extent of their technology use. I did not expect a virtual reality set and flying drones acting as snow fairies. I understand the commercial need to bring audiences back season after season, promising bigger and more extravagant displays, but there is a limit to how much technology should be used in classic performances before they lose their quintessential charm.
Modern technology in high-production shows isn’t inherently bad, but it should only be leveraged to enhance the set, not replace it. The indoor ice skating rink during the Big Bus tour scene is an example of engineering technology adding true holiday whimsy. Replicating Central Park’s Wollman Rink, the Rockettes prance around a small pond of ice in the middle of the stage where a couple of figure skaters leap and twirl. Not only was the science behind it impressive, but the skaters’ choreography, despite the pond’s small size, made it even more applaudable.
For many, Christmas is about the spirit of believing. The imagination of a child is boundless, and the talent of the dancers and singers alone could bring the winter wonderland to life for them. The projected animations of Santa’s sleigh prevents children from being able to imagine Santa for themselves. Some things are meant to be left to the limitless possibilities of the imagination.
The excess use of 3D technology surprised me, but I was shocked when I saw them lead live sheep onto the stage, followed by two camels in the next scene. Bringing live animals into the music hall is disorienting. The amount of effort and risk the show took by using live animals was not worth it. The backlash the production has received from activist organizations, like Peoples for the Ethical Treatment of Animals and public figures like Alec Baldwin, highlight the concern of using live animals. Broadway shows like “The Lion King” exemplify that live animals don’t need to be used to awe audiences. The musical’s entire cast of animals is engineered through creative makeup and costumes. Director of the Christmas Spectacular, Julie Branam, could have used more artistic creativity — letting the kids imagine the animals were actually walking and talking.
From my perspective, I noticed a lack of diversity in the audience that was mirrored on stage. During the “Dance of the Frost Fairies” act, only a few of the 17 dancers on stage were people of color. The essence of the Rockettes’ impressive dance style relies heavily on uniformity, which historically has manifested in a low tolerance for diverse casting. Russell Markert, founder and longtime director, wouldn’t permit his white dancers to get suntans because “audiences might think they were black.” Although he worked with the Rockettes nearly 100 years ago, the company has a legacy of disdain against diversity. Christmas brings people together from all different backgrounds, but the group’s emphasis and regulation on height, weight and skin color makes the production counter to the holiday.
The Rockettes have evolved in their use of technology too much, but still neglect to change the foundational issues with their show. Martial uniformity of physical appearance doesn’t make or break the Christmas Spectacular. Inadequate representation, excessive technology and live animals do. The show has thrived on years of tradition, tourism and theatrics, but real changes need to be made for it to survive another 100 years.
Contact Bella Simonte at [email protected].