Columns

ROCKETTES AROUND THE CLOCK

December 2007 Laura Jacobs Mark Seliger
Columns
ROCKETTES AROUND THE CLOCK
December 2007 Laura Jacobs Mark Seliger


They're as lovely as Ziegfeld girls, as leggy as showgirls, as apple-pie as pom-pom girls, and they inhabit a surreal realm between A Chorus Line and a halftime band (only with T-straps instead of tubas). They make Busby Berkeley's mad tappers look sloppy, and their grueling performance schedule—up to five 90-minute shows per day for almost eight weeks running—requires the stamina of Seabiscuit. They're the fabled Rockettes of Radio City Music Hall, and this year's Christmas Spectacular, November 9 through December 30, marks the 75th anniversary of a show that's like no other on earth.

The act began in 1932 and was soon presented as free entertainment between screenings of the first-run movies playing Radio City Music Hall. Today, the Rockettes are the show, a kick-line calculus that begins with an illusion. A Rockette can be between five feet six and five feet ten and a half, but "on the line" the tallest are in the middle, a trick of perception that evens things up. And though the kick line appears to be linked (a sequined centipede!), the women don't touch. Says one Rockette, a 15-year veteran, "When you have four or five shows a day, and that's maybe 800, 900 kicks, you just have to do it on your own." The result—36 women moving as one, and with the finesse of Fosse dancers—is a stirring sight that sells more tickets in two months than any Broadway hit sells in a year.

"Most companies would have said, 'It's a classic, it works, leave it alone,'" says Jonathan Hochwald, executive V.P. of productions at MSG Entertainment, which produces the show. This company, however, sees the 75th anniversary as perfect timing for a millennial re-invention. New numbers, costumes, technology, grand finale, and even new snow—not to mention a real live double-decker tour bus—all are taken to cutting-edge levels of virtuosity.

Rockette-heads need not worry. The amazingly mathematical Parade of the Wooden Soldiers" (like Balanchine on acid) and the beloved "Living Nativity," a tableau vivant complete with sheep and three camels, both in the show since 1933, remain as historical touchstones. But these, too, have been spruced up. "There's not a moment that we haven't addressed," says Hochwald. "This show's going to have more Rockette numbers than ever—each of them a tour de force."