This Week in New York Insider's Guide to Arts & Culture in New York City Since 2001


what the dickens

Who: The New York City Master Chorale, Megan Abbott, Scott Adsit, Mike Albo, Jami Attenberg, Sandra Bauleo, Tara Isabella Burton, Alexander Chee, Vinson Cunningham, Maria Dahvana Headley, Marcy Dermansky, Jo Firestone, Angela Flournoy, Alice Gregory, Jill Hennessy, Suki Kim, Maris Kreizman, Victor LaValle, Min Jin Lee, Lisa Lucas, Noreen Malone, Leon Neyfakh, Max Read, Rosie Schaap, Elissa Schappell, Rob Spillman, J. Courtney Sullivan, Sarah Weinman, and more
What: “What the Dickens?”
Where: Housing Works Bookstore Cafe, 126 Crosby St., 212-334-3324
When: Saturday, December 15, free with advance RSVP, 12 noon - 4:30 pm
Why: On December 15, Housing Works will present its ninth annual marathon reading of Charles Dickens’s 1843 holiday classic, a ghost story about a poor family and a wealthy miser. “Marley was dead: to begin with. There is no doubt whatever about that,” the novel begins. “The register of his burial was signed by the clergyman, the clerk, the undertaker, and the chief mourner. Scrooge signed it: and Scrooge’s name was good upon ’Change, for anything he chose to put his hand to. Old Marley was as dead as a door-nail.” The event kicks off at 12 noon with Christmas carols sung by the New York City Master Chorale, followed by dozens of performers reading passages from the book. Seasonal treats will be available for purchase, and everything in the store will be ten percent off. Admission is free and you can come and go as you please, but advance RSVP is recommended.


Gary Shteyngart will present his latest book at the JCC on December 12 (photo by Brigitte Lacombe)

Gary Shteyngart will present his latest book at the JCC on December 12 (photo by Brigitte Lacombe)

Who: Gary Shteyngart
What: Arts + Ideas — Conversations
Where: Marlene Meyerson JCC Manhattan, 334 Amsterdam Ave. at 76th St., 646-505-4444
When: Wednesday, December 12, $20, 8:00
Why: Leningrad-born author Gary Shteyngart will be at the Marlene Meyerson JCC Manhattan on December 12 for the latest “Person Place Thing” event, being held in conjunction with the publication of his most recent book, Lake Success (Random House, September 2018, $28). Shteyngart, whose previous novels include Super Sad True Love Story and Absurdistan, will discuss the book and sign copies; there will also be live klezmer music by Brooklyn-based new traditionalists Tsibele. “Barry Cohen, a man with 2.4 billion dollars of assets under management, staggered into the Port Authority Bus Terminal. He was visibly drunk and bleeding. There was a clean slice above his left brow where the nanny’s fingernail had gouged him and, from his wife, a teardrop scratch below his eye. It was 3:20 a.m.” So begins Lake Success, the first chapter of which is titled “Destination America.”


Maira Kalman, Sometimes the women were jailed for months, gouache on paper, 2018

Maira Kalman, “Sometimes the women were jailed for months,” gouache on paper, 2018 (courtesy Julie Saul Gallery)

Who: Maira Kalman
What: Book signing and exhibition
Where: Julie Saul Gallery, 535 West 22nd St. between Tenth & Eleventh Aves., sixth floor, 212-627-2410
When: Saturday, December 1, free, 3:00 -6:00
Why: Artist Maira Kalman will be at Chelsea’s Julie Saul Gallery on Saturday for the opening of her latest exhibit, “Bold & Brave,” in the project gallery, consisting of twenty-nine gouache paintings made in association with the book Bold & Brave: Ten Heroes Who Won Women the Right to Vote (Knopf, November 13, $18.99), written by Sen. Kirsten Gillibrand and illustrated by Kalman. Kalman will be signing books from 3:00 to 6:00. (She will also be signing copies of Sara Berman’s Closet, which she wrote with her son, Alex Kalman.) Among the heroes depicted in the book are Susan B. Anthony, Harriet Tubman, Alice Paul, Inez Milholland, Ida B. Wells, Mary Church Terrell, Elizabeth Cady Stanton, Sojourner Truth, Jovita Idar, and Lucy Burns. “They fought so women could be heard,” writes Gillibrand, who also pays tribute to her grandmother Dorothea “Polly” Noonan, who was recently portrayed by Edie Falco in the New Group world premiere of The True. Also on view at the gallery is Sarah Anne Johnson’s “The Cave.”


Kyabgön Phakchok Rinpoche and Erric Solomon will discuss ancient wisdom, the tech future, and radical happiness at the Rubin on November 10 (photo by twi-ny/mdr)

Kyabgön Phakchok Rinpoche and Erric Solomon will discuss ancient wisdom, the future of tech, and radical happiness at the Rubin on November 10 (photo by twi-ny/mdr)

Rubin Museum of Art
150 West 17th St. at Seventh Ave.
Saturday, November 10, $25 (VIP $45), 3:00

“Getting to know your own mind should be fun,” former Silicon Valley tech executive Erric Solomon said at a recent cocktail party celebrating the release of Radically Happy (Shambhala, $24.95), the new book he cowrote with his longtime friend, Tibetan Buddhist teacher Kyabgön Phakchok Rinpoche, who explained, “It’s about how you can be happy, not why. We already know why we should be happy.” Solomon and Phakchok Rinpoche will be at the Rubin Museum on November 10 at 3:00 for the talk “Ancient Wisdom and Tech Future”; this past summer, Rinpoche appeared at the Rubin for two presentations, a mindfulness meditation and “Stories of Padmasambhava.” Radically Happy: A User’s Guide to the Mind features a foreword by Daniel Goleman and Tara Bennett-Goleman, colorful artwork by Julian Pang, and such chapters as “Why You Need Radical Happiness, or How to Be Less of a Dog and More of a Lion,” “The Looking-for-Happiness Conundrum,” and “Contemplating the Interdependent Nature of Reality.” As the Golemans note, “Phakchok Rinpoche lives much like the rest of us and so can draw on his own doubts, anger, and other familiar feelings to illustrate ways we can each find steadier footing in the rocky realities of our lives.” Solomon and Rinpoche might use the word “radical” a lot in the book, but their approach applies common sense to everyday existence, believing that problems can “be resolved by being more present-moment focused and by thinking of the welfare of others. Could the path to happiness really be that simple?” Part of the Rubin’s yearlong investigation into the future, the talk will be followed by a book signing; general admission is $25, but for $45 you get a signed copy of the book, preferred seating, and a karma tour.


Faith Ringgold, “United States of Attica,” offset lithograph on paper, © 2018 courtesy ACA Galleries, © 2018 Faith Ringgold

Faith Ringgold, “United States of Attica,” offset lithograph on paper, © 2018 courtesy ACA Galleries, © 2018 Faith Ringgold

Brooklyn Museum
200 Eastern Parkway at Washington St.
Saturday, November 3, free (some events require advance tickets), 5:00 - 11:00

The Brooklyn Museum explores art and Black Power in the November edition of its free First Saturday program. There will be live performances by Antoine Drye, Shelley Nicole’s blaKbüshe, and the Brooklyn Dance Festival; an Art & Dialogue discussion with curators Valerie Cassel Oliver and Catherine Morris; a hands-on workshop in which participants can create miniature paintings inspired by jazz and the work of Alma Thomas, William T. Williams, and others; a curator tour of “Soul of a Nation: Art in the Age of Black Power” with Ashley James; original poetry and music by Jaime Lee Lewis, Jennifer Falu, Joekenneth Museau, Asante Amin, Frank Malloy, and Terry Lovette in addition to excerpts from the 1968 collection Black Fire: An Anthology of Afro-American Writing; pop-up poetry with Sean DesVignes, Joel Dias-Porter, and Omotara James of Cave Canem; an “Archives as Raw History” tour with archivist Molly Seegers; and the community talk “Black Art Futures Fund.” In addition, the galleries will be open late so you can check out “Soul of a Nation: Art in the Age of Black Power,” “Syria, Then and Now: Stories from Refugees a Century Apart,” “One: Do Ho Suh,” “Half the Picture: A Feminist Look at the Collection,” “Something to Say: Brooklyn Hi-Art! Machine, Deborah Kass, Kameelah Janan Rasheed, and Hank Willis Thomas,” “Cecilia Vicuña: Disappeared Quipu,” “Rob Wynne: FLOAT,” “Infinite Blue,” “A Woman’s Afterlife: Gender Transformation in Ancient Egypt,” and more.


(photo by Joey Stocks)

John Kevin Jones pays tribute to Edgar Allan Poe at historic Merchant’s House Museum (photo by Joey Stocks)

Merchant’s House Museum
29 East Fourth St. between Lafayette St. and the Bowery
October 12-31, $18

Purely by coincidence, I saw three one-man shows this week, on three successive nights, and all three have strong reasons for me to recommend them. On Tuesday, I was at the historic Merchant’s House Museum on East Fourth St. to see John Kevin Jones in Killing an Evening with Edgar Allan Poe: Murder at the Merchant’s House. Jones has a kind of cult fan club for his annual one-man version of A Christmas Carol at the museum, a home built in 1831-32 that was occupied continuously by the Tredwell family from 1835 to 1933. The nineteenth century feels very present in the house, which was one of the first twenty buildings to gain landmark status under the city’s 1965 law and functions as a museum, preserving the Tredwell family’s furnishings as they would have appeared when Poe, coincidentally, lived nearby for a time at 85 West Third St. and later in a cottage in the Bronx. Dressed in nineteenth-century-style jacket, vest, top hat, and ascot, Jones celebrates Edgar Allan Poe with three of his most popular writings, preceded by short introductions about each work and Poe’s career.

Forty people are squeezed into the Tredwells’ candlelit double parlor — with a coffin at one end and a dining table at the other — and Jones walks up and down the narrow space between, where the audience is seated on three sides, boldly delivering two classic Poe tales of treachery and murder, “The Tell-Tale Heart” and “The Cask of Amontillado,” both from memory. His deep, theatrical voice resonates through the room as he catches the eye of audience members, adding yet more chills and thrills to the mystery in the air. He then sits down with a book for the long poem “The Raven,” evoking the great Poe actor Vincent Price. Jones, director Dr. Rhonda Dodd, and stage manager Dan Renkin, the leaders of Summoners Ensemble Theatre, keep the focus on Poe’s remarkable narrative technique; you might be watching one man, but you’ll feel like you’re seeing each of Poe’s characters in vivid detail. The sold-out show continues October 22, 23, and 31; tickets for A Christmas Carol, however, are still available.

Asaaf Mandvi brings back his Obie-winning (photo by Lisa Berg)

Aasif Mandvi brings back his Obie-winning Sakina’s Restaurant to the Minetta Lane (photo by Lisa Berg)

Audible Theater at Minetta Lane Theatre
18 Minetta Lane between Sixth Ave. and MacDougal St.
Tuesday - Sunday through November 11, $57-$97

On Wednesday night I headed to the Minetta Lane Theatre, where Audible has been staging one-person shows that are also available as audios. First, Billy Crudup starred in David Cale’s modern noir Harry Clarke, then Carey Mulligan excelled in Dennis Kelly’s intense Girls & Boys, and now Aasif Mandvi has brought back his Obie-winning 1998 show, Sakina’s Restaurant. Born in India and raised in England, Mandvi studied with acting teacher Wynn Handman, whose students have also included solo specialists Eric Bogosian and John Leguizamo. In the slightly revamped autobiographical tale, directed by Kimberly Senior (Disgraced, The Niceties), Mandvi plays six characters, beginning with Agzi, an eager young man who is leaving his small, tight-knit Indian village to go to America, where he will be sponsored by Hakim (his father’s real name) and Farrida, who run Sakina’s Restaurant on, of course, East Sixth St. Before leaving, Agzi promises his mother he will write to her from all across the United States. “I will even write to you from Cleveland! Cleveland, Ma! Home of all the Indians!”

Mandvi (Disgraced, Halal in the Family) creatively slips into each character, adding glasses, a tie, a dress, or a Game Boy to delineate among Hakim, a serious man who wants only the best for his family; Farrida, who desires more out of her mundane life; their high-school-age daughter, Sakina, who has an American boyfriend and wants to immerse herself in Western culture but who has already been promised to an Indian man by their fathers; their younger son, Samir, who doesn’t really care about anything but his immediate enjoyment; Ali, Sakina’s nervous intended in the arranged marriage; and Agzi, who is not having as exciting a time as he imagined in America. Wilson Chin’s set looks just like several Sixth St. Indian restaurants I’ve been to. The story itself occasionally drags and has trouble skirting stereotypes, but Mandvi is superb, warm and likable, particularly when he talks directly to the audience as Agzi, sharing his hopes and dreams.

(photo by Carol Rosegg)

Bill Irwin shares his love of all things Samuel Beckett at the Irish Rep (photo by Carol Rosegg)

Irish Repertory Theatre
Francis J. Greenburger Mainstage
132 West 22nd St. between Sixth & Seventh Aves.
Tuesday – Sunday through November 4, $50-$70

On Thursday night I was at the Irish Rep to see On Beckett, Bill Irwin’s very personal exploration of the work of Samuel Beckett and, in many ways, a combination of the two previous one-man shows I saw, evoking John Kevin Jones’s mastery of Edgar Allan Poe’s texts and Aasif Mandvi’s expert handling of multiple characters. For eighty-seven minutes, Tony-winning actor and certified clown Irwin delves into his vast enthusiasm for Beckett’s writings without ever becoming professorial or pedantic. “I am not a ‘Beckett scholar’ — nooo. Nor am I a Beckett biographer,” he admits. “Mine is an actor’s relationship with this language. By which I mean the deep knowledge that comes from committing words to memory, and speaking them to audiences.” Irwin (Old Hats, Who’s Afraid of Virginia Woolf?) performs selections from Beckett’s 1955 collection Texts for Nothing, his 1950s novels The Unnamable and Watt, and the Irish writer’s most famous play, Waiting for Godot, significantly altering his delivery style, voice, and rhythm for each work.

Irwin adds fascinating insight to Beckett and his oeuvre, discussing the Nobel Prize winner’s punctuation and pronoun usage, his identity and heritage, the possible influence of vaudeville on his work, his detailed stage directions, and other intricacies. “Was Beckett a writer of the body, or of the intellect?” Irwin asks. “Smells like a question you could waste a lot of time on, but I think you can say that he was a writer acutely attuned to silhouette.” His appreciation of Beckett echoes that of Jones’s for Poe, while his simple but effective costume changes — switching among numerous bowlers, putting on baggy pants and clown shoes — work like Mandvi’s to distinguish individuals. Irwin spends a significant part of the show on Waiting for Godot, discussing the correct pronunciation of the title character’s name, examining the role of Lucky, and reminiscing about the production he appeared in with Robin Williams, John Goodman, Steve Martin, and Nathan Lane. Charlie Corcoran’s spare black set consists only of a podium and two rectangular boxes that Irwin can rearrange for various purposes. Irwin is a delight to watch, his passion for Beckett infectious. He occasionally goes off topic in comic ways, wrestling with a microphone and toying with the podium, but he eventually gets back on track for an enchanting piece of theater about theater.

The following evening, my string of one-man shows came to an end with the Wheelhouse Theater’s new adaptation of Kurt Vonnegut’s Happy Birthday, Wanda June, opening Tuesday at the Duke. Bringing the theme full circle, Wanda June features a ferocious performance by Jason O’Connell, whom I saw last year in his own solo outing, The Dork Knight, about his lifelong affinity for Batman.


Ivo Dimchev: P PROJECT

Ivo Dimchev’s P Project offers audience members cash in exchange for a performance

NYU Skirball Center for the Performing Arts and other NYU locations
566 La Guardia Pl. between Third & Fourth Sts.
October 17-28, free with advance RSVP

This past May, Karl Marx would have turned two hundred years old. The NYU Skirball Center is celebrating his bicentennial with twelve days of special free programming honoring the man who wrote, “The mode of production of material life conditions the social, political, and intellectual life process in general. It is not the consciousness of men that determines their being, but, on the contrary, their social being that determines their consciousness.” Audiences can also determine if they want to contribute to the performances based on supply and demand and their own consciousness; the events are all free with advance RSVP but donations are welcome. The “Karl Marx Festival: On Your Marx” begins October 17 at 7:30 with London-based Bulgarian performance artist Ivo Dimchev’s one-hour show, P Project, in which people from the audience will get paid by agreeing to do spur-of-the-moment things involving words that begin with the letter “P.” For example, Dimchev will present them with tasks that might involve such words as Piano, Pray, Pussy, Poetry, Poppers, etc. On October 18 at 6:00, NYU professors Erin Gray, Arun Kundnani, Michael Ralph, and Nikhil Singh will discuss “Racial Capitalism” at the Tamiment Library. On October 19 at 9:30, DJs AndrewAndrew will spin Marxist discs along with readings by special guests from Das Kapital and The Communist Manifesto.

marx festival

On October 19 and 20 at 7:30, Brooklyn-based Uruguayan dancer and choreographer luciana achugar will present the world premiere of Brujx, which explores ideas of labor. On October 22 at 6:30, Slavoj Žižek will deliver the Skirball Talks lecture “The Fate of the Commons: A Trotskyite View.” On October 23 at 5:30, NYU professors Lisa Daily, Dean Saranillio, and Jerome Whitington will discuss “Futurity & Consumption” at the Department of Social & Cultural Analysis. On October 24 at 4:00, author Sarah Rose will talk about her 2017 book, No Right to Be Idle at the eighth floor commons at 239 Greene St. On October 25 at 5:30, luciana achugar, Julie Tolentino, and Amin Husain will join for the conversation “Labor, Aesthetics, Identity” at the Department of Performance Studies. On October 26 at 7:30, Malik Gaines, Miguel Gutierrez, Latasha N. Nevada Diggs, Ryan McNamara, Seung-Min Lee, and Alison Kizu-Blair will stage “Courtesy the Artists: Popular Revolt,” a live-sourced multimedia work directed by Alexandro Segade and Amy Ruhl. The festival concludes October 28 at 5:00 with Ethan Philbrick’s Choral Marx, a singing adaptation of Karl Marx and Friedrich Engels’s Manifesto for the Communist Party, performed by Benjamin Bath, Gelsey Bell, Sarah Chihaya, Hai-ting Chinn, Tomás Cruz, Amirtha Kidambi, Brian McQueen, Gizelxanath Rodriguez, and Ryan Tracy.