“And see, this is the big aisle that people walk through, so it’s 9 feet, 5 inches,” Rivera continued, raising his voice to be heard over the whirring of a third colleague zooming around the room on an industrial floor scrubber.įive floors up, Josh Phagoo, an operations engineer, checked up on one of the Shed’s most important technologies for Covid safety: the HVAC system. He and another facilities employee, Steven Quinones, had been arranging the chairs for some two hours, ensuring that the setup matched a detailed paper diagram.
That made the grade: According to state rules, the distance between audience members had to be over six feet. “From here to here, it’s 6-foot 4,” he announced, bending to scrutinize his yellow tape measure. José Rivera pointed at the space between two clusters of seats. Later that afternoon, Fleming arrived at the Shed for a three-hour rehearsal, where she and the musicians discussed harmonies, tempos and spots for improvised solos. “She was so happy to come in,” Stinchcomb said. He’s been doing her hair for more than two decades, often traveling around the world when she performs.īut last winter Fleming moved from New York to Virginia, and the pandemic had prevented her from visiting Stinchcomb until the day before her Shed performance. Stinchcomb has been an avid fan since the 1990s and first met Fleming backstage at Carnegie Hall. “We still have a lot to figure out in terms of how we’re arranging everything.”Īs Frisell was reviewing the sheet music to Cole Porter’s “Down in the Depths (on the Ninetieth Floor),” Fleming was up on East 57th Street, visiting her longtime hair stylist, Michael Stinchcomb, at Vartali Salon. “It adds a level of stress to the event, no question,” Fleming said. He had played alongside Fleming before - they had recorded an album in 2005 - but never alongside Tepfer or McBride. Pandemic restrictions meant only one in-person rehearsal before the day of the show, and Frisell was in study mode.
Onstage nyc full#
Before they entered the Shed, concertgoers would need to check one of three boxes: show proof of full vaccination demonstrate a negative PCR test taken within 72 hours of the event or have taken a rapid antigen test, which is less reliable, within six hours of showtime. Gone was the chance to rush to a concert after work and plop down into your seat as the curtain rose. Audience members who did secure tickets had already received the first of four emails explaining the coronavirus protocols they would need to follow.
In the days leading up to the concert, the Shed had asked to double capacity from 150 to 300, which would still only be a fraction of the roughly 1,200 people the McCourt, its largest performance space, can seat.īut the state had essentially told them: Not so fast. The venue had not received state permission to expand the size of the audience. “We do the barest minimum,” said Laura Aswad, the Shed’s producer, noting that Fleming, who had acted in a play during the Shed’s opening season, wouldn’t be left completely untended: Bottled water, tea bags and a kettle would be in her dressing room.Īlex Poots, the Shed’s chief executive, had one big announcement to share with the staff. They are each hand-numbered, and will bear the estate chop mark and a signature stamp in the margin.There would be no servers bringing the talent tea, coffee or food, per health department edict. A larger size may also become available, please inquire if you are interested in something larger.Įstate limited editions are printed on Hahnemühle Photo Rag Pearl, 100% cotton paper fine art paper. Please contact us to inquire whether this piece is available in this collection!Įstate authorized photographs are now available as limited edition prints in 2 sizes listed below.
Onstage nyc archive#
When Richard Aaron passed away in 2016, he left a small archive of signed photographs behind, which are now available for sale. The album featured contributions from such musical legends as Ringo Starr, Harry Nilsson, and Joe Walsh, among countless others. This was the year Moon released his only solo album, a collection of pop covers titled Two Sides of the Moon. The Who drummer Keith Moon, known for his exuberant drumming and destructive lifestyle (often involving hotel rooms), onstage during a performance in 1975.
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