The introduction of modern subway cars on the A and C lines has significantly altered the performance landscape for showtime dancers in New York City. The newer trains feature designs with two poles instead of a single one, impacting routines and choreography. Dancer Gerard Murphy, who previously utilized single poles for a variety of tricks, now faces limitations but adapts his performances. Acrobatic moves like 'flagging' have become more complex as dancers adjust to the different structure. Performances resemble a coordinated team sport, with performers assuming specific roles during routines.
Murphy, who performs on the lines with a crew of other dancers, said he used to design his routine around the original, single poles. 'With the single pole, you could do a lot. It's one pole, you could go crazy.' He said he used to be able to seamlessly twirl on any part of the single pole. Now he's relegated to the bottom half, just under where the pole splits, spinning just barely a foot off the ground.
Flips, which Murphy would pull off by grabbing both the vertical poles and the horizontal overhead handrails, are now trickier. In one of his signature moves, known as 'flagging,' Murphy hangs horizontally from the pole in a straight line. He can still do the move with a split pole, but had to extend his wingspan with one hand above the split and one hand below.
Murphy usually performs with a crew of other dancers that includes Shamel Carasco, 25, and Stefan Britt, 29, both of whom he met while out dancing. Their performance is more like a professional basketball game than a ballet. Each performer has a position to play and they move together as a team.
Britt, the most outgoing of the bunch, acts as emcee during the performance. He introduces his friends before they begin dancing, creating a lively atmosphere.
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