Recently I shared it has been a long time since we've seen two shows in one day, other than seeing both parts of Harry Potter in London that is. Back in January we saw Cable Street: A New Musical about the 1936 uprising against Owen Mosely and the Fascists. In the programme it said they were heading to New York City, so of course I asked where and when exactly. That's how we learned about 59e59, an Off-Broadway playhouse located on 59th Street. We became members so we could purchase tickets early plus receive some other benefits.
Opening day included both a matinee and evening performance. We chose the Sunday evening performance knowing it would leave the possibility of buying tickets to a matinee in a different theater.
We made brunch reservations at Pastis in New York City's meatpacking district. This is a splurge usually only made for my birthday due to stumbling upon them on my actual birthday in September 2020. Though more than we normally pay for a meal, Don agrees not to cringe when he sees the bill, their quiche is mouthwateringly delicious, and now that COVID is over, we sit indoors and feel as if we are in a Parisian bistro. As we waited for our table, we learn this is the type of place that notes your dining preferences, which might explain how we've been in the same part of the restaurant multiple times.
We had a couple of ideas for how to spend the next seven hours, but the sudden drop in the temperature was not conducive to taking the ferry back to Roosevelt Island to continue the exploring we did a couple of weeks earlier. We turned to both the Theatr and TodayTix apps to find a reasonably priced show we wanted to see, and decided on The Fear of 13 with Adrien Brody and Tessa Thompson at 3 pm. Since the show performs without an intermission, we figured that would leave us just enough time to eat dinner before the 7 pm curtain eleven street and several avenues away.
The Fear of 13 is based on a true story about Nick who was arrested for a crime he did correct, but was then convicted for a crime he did not do. He served 22 years on death row in Pennsylvania. Today he is a free man who has seen the show. I first heard about it from a Facebook story of a man who was invited by the real Nick to watch the show with him from the balcony of the James Earl Jones theater. That must have been quite the experience! Nick was the first prisoner in Pennsylvania to be exonerated once DNA evidence was allowed. The play is as powerful and gripping as you would expect. It earned the standing ovation at the end. All audience members had to put a sticker over their cell phone cameras before being allowed in the theater -- a step down from when we saw Liberation in the same theater and we had to put our cell phones in pouches, like we did when we saw "Take Me Out" in a different theater 2023, but in this case he only strips down to his boxer shorts. Afterwards they paused for the annual Broadway Cares pass the red bucket for a good cause, in this case for AIDS. I was hoping the cause would be the Innocence Project since that is who helped Nick earn his freedom. I with Nick all the best as he reclaims his life.
Emotionally spent from his journey, we still needed dinner. Out of desperation I googled "food near me." The top result was Black Iron Burger, a place we had eaten at before. Knowing the timing was tight, I made a reservation for 15 minutes in the future and hightailed it. While we still miss The Counter, Black Iron Burgers are really good, but not nearly as filling. The timing worked out. I had a truffle burger, and we had plenty of time, arriving before the doors opened.
I brought my London Cable Street programme with me. As I compared the current cast with the one I saw in London I was pleased to see they all came -- even the woman who had expressed (rightful) concerns about being able to enter the United States safely. I was glad I brought both the book and a Sharpie with me when after the show I had an opportunity to ask for autographs. Every so often I'm organized!
I overheard the couple behind me saying in their British accents that they saw Cable Street in London. They actually saw an iteration before the Off-West End production at the Marlybone Theatre because their daughter, Lu, is the costumer. I've since started following her on Instagram and am blown away by the attention to detail she incorporated into each costume. Ever since becoming a Perry reviewer I've learned to pay attention to the technical details.
I don't tend to see a show more than once, but I am really moved by this script and the chance to see it closer to home was too good to pass up. Talking to Lu's parents I learned it had a few tweaks since London, though I'm not 100% sure where the tweaks took place. The biggest difference was the size of the stage. Eyeballing it, the stage in NYC is half the width of the one on London. This impacted set design and choreography. It felt too crowded. Too squished. The three families represented in the Cable Street apartment building no longer have the ability to have their own space. Story wise, this works as their lives and stories intertwine, but from the audience it felt chaotic. When the entire cast was on stage I wanted to tell some to leave. The stage was further crowded by having the band at the top. My pictures don't quite do it justice.
| London curtain call |
| New York curtain call |