“Christmas Spectacular”
A theatrical tradition, even one in its nineties, has to change a little with the times. Recent years have seen the Radio City Rockettes and the animals of the Living Nativity surrounded by more digital projections and such technological innovations as fairy drones that fly over the audience. But the old verities retain the most durable magic, especially the well-maintained precision of the dancers and the built-to-last construction of the “Parade of Wooden Soldiers” number, which has been collapsing with a comforting continuity since 1933. (Radio City Music Hall; through Jan. 5.)
“The Dead, 1904” and “A Child’s Christmas in Wales”
The Irish Rep welcomes back adaptations of two holiday-forward literary works. An immersive treatment of “The Dead” (American Irish Historical Society; through Jan. 5), James Joyce’s not so short story about a family party that induces marital revelations, invites attendees to dine alongside the characters. And a staging of Dylan Thomas’s prose poem (Irish Repertory Theatre; Dec. 4-29) ornaments the writer’s childhood memories with carols.
“A Christmas Carol”
In December, 1867, Charles Dickens visited New York City, an event that forms the basis of Summoners Ensemble Theatre’s adaptation of his holiday classic about a miser turned benefactor. John Kevin Jones plays Dickens himself in a solo show at the Merchant’s House Museum, a landmarked nineteenth-century home whose candlelit parlor makes a period-appropriate venue. Also accessible via pay-per-view; not recommended for children under twelve. (Nov. 26-Dec. 29.)
Baroque Neapolitan Crèche
In Naples, the art of the Nativity scene, or presepe, is about much more than putting together a few figures to depict the birth of Jesus. These genre scenes, which you can find in many churches, are sprawling cityscapes peopled by hundreds of characters. Bakers, shepherds, and townfolk go about their lives, mingling with the three wise kings and their retinue. Angels with fluttering robes and wings carved out of wood float above them. The Met displays its vast collection of these eighteenth-century figures around a grand Christmas tree in the medieval wing. (Metropolitan Museum of Art; Nov. 26-Jan. 6.)
“The Nutcracker”
People return to New York City Ballet’s “George Balanchine’s The Nutcracker” because they know what to expect: the tree will grow extravagantly, Marie will vanquish the Mouse King with her slipper, Dewdrop will dazzle with her windswept jumps and spins. The combination of Tchaikovsky’s music and Balanchine’s choreography elicits an almost Pavlovian response: delight, and a craving for wintry things. (David H. Koch Theatre; Nov. 29-Jan. 4.) “The Hard Nut,” Mark Morris’s version of the story, is far more knowing. Morris places the opening holiday fête in nineteen-seventies American suburbia. The adults drink too much and make out; the kids brawl. But Morris is not immune to emotional outpourings. His “Snowflake Waltz,” in which the dancers, in meringue headdresses, pop into the air and spray glittery confetti, is pure magic. (Brooklyn Academy of Music; Dec. 12-22.)
“A Very Sw!ng Out Holiday”
In the joyful 2021 production “Sw!ng Out,” the tap dancer Caleb Teicher, along with musicians and dancers including LaTasha Barnes, presented swing dancing, born in nineteen-twenties Harlem, as a form very much alive in the present. It had a variety-show format, accompaniment by the Eyal Vilner Big Band, and a fluid approach to gender, leaders, and followers. Now comes “A Very Sw!ng Out Holiday,” a festive variation that maintains the original ending: dancing that the audience can join. (Joyce Theatre; Dec. 3-15.)
Holiday Carols
Although it’s charming, no doubt, to huddle with your co-workers at a holiday party, trying to remember the words to “Silent Night” (are there really six verses?), sometimes carolling is best left to the professionals. This season, cheer abounds, including performances by the New York Choral Society and the Brooklyn Chamber Orchestra for traditional carols (St. Ann & the Holy Trinity; Dec. 14); the Chanticleer ensemble for ditties old and new (St. Ignatius; Dec. 6 and 8); and the Manhattan Choral Ensemble for a chilly, Nordic-themed program (Trinity Baptist Church; Dec. 6-7).
“Peter & the Wolf”
The Guggenheim’s “Works & Process” has invented its own holiday ritual, its yearly performance of Sergei Prokofiev’s cautionary tale “Peter and the Wolf,” accompanied by Ensemble Connect and recited by Isaac Mizrahi. The action, whimsically choreographed by John Heginbotham, is depicted by a cast of eight dancers, costumed as the animals that young Peter encounters on his morning stroll through the “big green meadow”—here, Central Park. The clever twist is that each animal has a musical counterpart, offering a lesson in the instruments of the orchestra. (Guggenheim Museum; Dec. 6-8.)
“Messiah”
More than two hundred and eighty years after its début, Handel’s “Messiah” shows no sign of waning in popularity. It has become synonymous with the holiday season, when it is ubiquitous, showcased in churches and halls across the city. Performances include the New York Philharmonic joined by Musica Sacra (David Geffen Hall; Dec. 11-14); the early-music ensemble New York Baroque Incorporated with the Saint Thomas Choir of Men and Boys (St. Thomas Church; Dec. 10); the Orchestra of the Bronx with the Bronx Opera Chorus (Lehman College; Dec. 8); Trinity Baroque Orchestra and the Trinity Choir (Dec. 11); and, if you’d like to join in, a “Sing-In” at Lincoln Center, featuring seventeen different conductors and many festive audience members with creative interpretations of pitch (Dec. 17).
“The 8 Nights of Hanukkah with Yo La Tengo”
In recent years, Yo La Tengo’s run of Hanukkah shows has become one of the most beloved musical holiday traditions in the city. Each iteration brings its own wonderful set of surprises. But just as thrilling, and endearing, are the recurring rituals: special guests each night, and a rendition of “My Little Corner of the World,” performed by Ira Kaplan’s mother, Marilyn, bringing the series to a heartfelt conclusion. (Bowery Ballroom; Dec. 25-Jan. 1.)
