THE HOUR OF LIBERATION — DECOLONIZING CINEMA, 1966-1981: THE BATTLE OF ALGIERS
Members of the FLN hide from French paratroops in Gillo Pontecorvo’s neo-Realist classic The Battle of Algiers
THE BATTLE OF ALGIERS (Gillo Pontecorvo, 1966)
Film Forum
209 West Houston St.
May 24-25, June 6-7, 11, 13
Series runs May 24 - June 13
212-727-8110
filmforum.org
Film Forum kicks off its impressive three-week series “The Hour of Liberation: Decolonizing Cinema, 1966-1981” with Italian director Gillo Pontecorvo’s 1966 masterpiece, The Battle of Algiers, one of the most important films about colonialism ever made. To lend additional insight, Elaine Mokhtefi, author of Algiers, Third World Capital: Freedom Fighters, Revolutionaries, Black Panthers, will participate in a Q&A following the 8:30 show on May 24, and cultural historian Kazembe Balagun will introduce the 9:20 screening on June 11. In Pontecorvo’s gripping neo-Realist war thriller, a reporter asks French paratroop commander Lt. Col. Mathieu (Jean Martin), who has been sent to the Casbah to derail the Algerian insurgency, about an article Jean-Paul Sartre had just written for a Paris paper. “Why are the Sartres always born on the other side?” Mathieu says. “Then you like Sartre?” the reporter responds. “No, but I like him even less as a foe,” Mathieu coolly answers. In 1961, French existentialist Sartre wrote in the preface to Frantz Fanon’s Wretched of the Earth, the seminal tome on colonialism and decolonialism, “In Algeria and Angola, Europeans are massacred at sight. It is the moment of the boomerang; it is the third phase of violence; it comes back on us, it strikes us, and we do not realize any more than we did the other times that it’s we that have launched it,” referring to European colonization.
“There are those among [the oppressed creatures] who assert themselves by throwing themselves barehanded against the guns; these are their heroes. Others make men of themselves by murdering Europeans, and these are shot down; brigands or martyrs, their agony exalts the terrified masses. Yes, terrified; at this fresh stage, colonial aggression turns inward in a current of terror among the natives. By this I do not only mean the fear that they experience when faced with our inexhaustible means of repression but also that which their own fury produces in them. They are cornered between our guns pointed at them and those terrifying compulsions, those desires for murder which spring from the depth of their spirits and which they do not always recognize; for at first it is not their violence, it is ours, which turns back on itself and rends them; and the first action of these oppressed creatures is to bury deep down that hidden anger which their and our moralities condemn and which is however only the last refuge of their humanity. Read Fanon: you will learn how, in the period of their helplessness, their mad impulse to murder is the expression of the natives’ collective unconscious.” Sartre’s brutally honest depiction of colonialism serves as a perfect introduction to Pontecorvo’s film, made five years later and then, unsurprisingly, banned in France. (In 1953, the Martinique-born Fanon, who fought for France in WWII, moved to Algeria, where he became a member of the National Liberation Front; French authorities expelled him from the country in 1957, but he kept working for the FLN and Algeria up to his death in 1961. For more on The Wretched of the Earth, see the documentary Concerning Violence: Nine Scenes from the Anti-Imperialistic Self-Defense.)
Terrorism and counterinsurgency take to the streets in Oscar-nominated The Battle of Algiers
In The Battle of Algiers, Pontecorvo (Kapò, Burn!) and screenwriter Franco Solinas follow a small group of FLN rebels, focusing on the young, unpredictable Ali la Pointe (Brahim Haggiag) and the more calm and experienced commander, El-hadi Jafar (Saadi Yacef, playing a character based on himself; the story was also inspired by his book Souvenirs de la Bataille d’Alger). Told in flashback, the film takes viewers from 1954 to 1957 as Mathieu hunts down the FLN leaders while the revolutionaries stage strikes, bomb public places, and assassinate French police. Shot in a black-and-white cinema-vérité style on location by Marcello Gatti — Pontecorvo primarily was a documentarian — The Battle of Algiers is a tense, powerful work that plays out like a thrilling procedural, touching on themes that are still relevant fifty years later, including torture, cultural racism, media manipulation, terrorism, and counterterrorism. It seems so much like a documentary — the only professional actor in the cast is Martin — that it’s hardly shocking that the film has been used as a primer for the IRA, the Black Panthers, the Pentagon, and military and paramilitary organizations on both sides of the colonialism issue, although Pontecorvo is clearly on the side of the Algerian rebels. However, it does come as a surprise that the original conception was a melodrama starring Paul Newman as a Western journalist.
All these years later, The Battle of Algiers, which earned three Oscar nominations (for Best Foreign Language Film in 1967 and Best Director and Best Original Screenplay in 1969), still has a torn-from-the-headlines urgency that makes it as potent as ever, and it looks better as well, having recently undergone a 4K restoration for its fiftieth anniversary. “The Hour of Liberation: Decolonizing Cinema, 1966-1981” runs May 24 - June 13 and includes such other political works as Ousmane Sembène’s Black Girl, Joaquim Pedro de Andrade’s Macunaíma, and Hai Ninh’s The Little Girl of Hanoi.
BARBARA RUBIN & THE EXPLODING NY UNDERGROUND
Documentary explores the fast and furious life of underground filmmaker Barbara Rubin
BARBARA RUBIN & THE EXPLODING NY UNDERGROUND (Chuck Smith, 2018)
IFC Center
323 Sixth Ave. at West Third St.
Opens Friday, May 24
212-924-7771
junofilms.com
www.ifccenter.com
At the beginning of Chuck Smith’s Barbara Rubin & the Exploding NY Underground, which opens May 24 at IFC, author Ara Osterweil discusses the first time she saw Barbara Rubin’s 1963 avant-garde shocker Christmas on Earth. “I remember just watching it and being utterly blown away, really not being able to believe that a film like that even existed. I said, Who made this film? Who is Barbara Rubin?” I felt the same way last fall when I saw the exhibition “The Velvet Underground Experience,” which included a tribute to Rubin by Jonas Mekas as well as a small room where Christmas on Earth was projected. Fifty-five years after its release, after the pill, the sexual revolution, and Stonewall, the film still merits a warning sign, as the daring, provocative sexuality it depicts and the work’s unusual visual style are not for everyone.
The special relationship between Allen Ginsberg and Barbara Rubin is key part of film
Smith traces Rubin’s dramatic life and career through home movies, photographs, letters, archival footage, and more, much of it provided by Mekas, who had saved all the material Rubin shot and the letters they sent to each other, some of which are read in the film. Rubin was born in Cambria Heights in 1945, was institutionalized as a teenager, experienced drug problems, and got a job interning for Mekas at the Film-Makers Cooperative. She made Christmas on Earth when she was only eighteen and quickly became a spark in the downtown community, serving as muse and catalyst, bringing unique people together, and attacking her art with energy and zeal. “She had the most transcendentally beautiful face I’ve ever seen,” author and film critic Amy Taubin says. “She didn’t look like a boy. She didn’t look like a girl. She looked like someone decided to paint an angel.”
Barbara Rubin made Christmas on Earth when she was still a teenager
Rubin and Mekas tied up a projectionist at a Belgian film festival so they could show Jack Smith’s controversial Flaming Creatures; she introduced Andy Warhol to the Velvet Underground; she appeared in one of Warhol’s Screen Tests and in Kiss; she fell in love with Allen Ginsberg and organized an important poetry event in London; she studied Judaism with Bob Dylan. “Barbara embraced underground film with a religious fervor, and she thought that the act of filming something could change the world,” film critic and curator J. Hoberman explains. And then, in a decision just as shocking as the rest of her life, she gave up the freedom and individuality she so coveted to marry a Hasidic Jew, moving to France and starting a family, following the strict precepts of Orthodox Judaism. It’s a twist that would not be believed in a fiction film.
Smith (Forrest Bess: Key to the Riddle) also speaks with Rubin’s fellow filmmakers Wendy Clarke and Stephen Bornstein; her friends Debra Feiner Coddington — the star of Christmas on Earth — and Rosebud Feliu-Pettet; playwright Richard Foreman; Warhol actor Randall Bourscheidt; photographer Gordon Ball; and Rubin’s aunt and cousin, who all share unique stories about her, as if they are describing different people rather than the same woman. Smith, who directed, produced, and edited Barbara Rubin & the Exploding NY Underground, compiles his documentary by mimicking Rubin’s style, employing split screens and superimpositions along with an avant-garde score by Lee Ranaldo and songs by Dylan, the Velvet Underground, John Coltrane, and others. It’s a riveting tale of an extraordinary, seemingly uncontrollable force, a supremely talented woman dealing with mental illness, a central figure in an artistic movement who was gone too soon. Smith will participate in Q&As at the 7:30 show on May 24 with Peter Hale of the Allen Ginsberg Estate and at the 5:30 show on May 27 with Taubin.
BURGERS, BOURBON & BEETHOVEN FESTIVAL
The inaugural Burgers, Bourbon & Beethoven Festival takes place in Green-Wood Cemetery on May 25
Green-Wood Cemetery
Fifth Ave. and 25th St., Brooklyn
Saturday, May 25, $80 (twenty-one and older only), 7:00
www.green-wood.com
Historic Green-Wood Cemetery kicks off its second season of the Angel’s Share classical music concert series and summer with the inaugural Burgers, Bourbon & Beethoven Festival. On May 25 by the Gothic Arch, you can sample sliders from Harlem Public and Madcap Café and vote for the winner of the Golden Spatula, enjoy tastings from Angel’s Envy, Blackened American Whiskey, Five & 20, NY Distilling Co, Van Brunt Stillhouse, Widow Jane, and other distilleries, and listen to Beethoven’s Fifth Symphony performed by the String Orchestra of Brooklyn, conducted by Eli Spindel. The evening is presented by Death of Classical and the Green-Wood Historic Fund and will be hosted by Matt Abramovitz of WQXR. In addition, there will be a preconcert sunset reception with a view of New York harbor and the Manhattan skyline.
CONTINUITY
Alex Hurt, Jasmine Batchelor, Megan Ketch play actors making an ecological disaster flick in Bess Wohl’s Continuity (photo © Matthew Murphy)
Manhattan Theatre Club
MTC at New York City Center
The Studio at Stage II
130 West 56th St. between Sixth & Seventh Aves.
Tuesday - Sunday through June 9, $69-$90
212-581-1212
continuityplay.com
www.manhattantheatreclub.com
At one point in Bess Wohl’s fiendishly clever Continuity, the Manhattan Theatre Club world premiere that opened last night at Stage II at City Center, the stage is empty for several minutes. The set, designed by Adam Rigg, is anchored by a white styrofoam ice floe with a wall of ice in the back, leaning ominously forward. It’s an uncomfortably funny moment, the barenness a warning of what just might happen if the world keeps on its current pace, because the play is as much about narrative continuity as the continuity of humanity itself. The show within a show is about global warming, as in real life politicians, scientists, environmentalists, artists, and lay people fiercely disagree on what to do about climate change and whether it’s already too late; the deserted stage predicts a time in the not-too-distant future when living beings no longer exist on our doomed planet. But Wohl and director Rachel Chavkin, who previously collaborated on the smash hit Small Mouth Sounds, are not just preaching to the choir or spewing grandiose melodramatic rhetoric. Continuity is a sublime one-hundred-minute journey into the glorious stupidity of humanity as it faces its possible demise.
Jake (Alex Hurt) and David (Darren Goldstein) watch some monkeys online in Manhattan Theatre Club world premiere at City Center (photo © Matthew Murphy)
A film crew is in the New Mexico desert making an ecological disaster epic. Director Maria (Rosal Colón), a Sundance Award–winning indie filmmaker, is helming her first studio picture, not wanting to screw up her big break, while needy Hollywood star Nicole (Megan Ketch), who is playing environmentalist Eve, is having some issues, creating maddening delays for the crew and her fellow actors, the good-looking Jake (Alex Hurt), who is playing George, an ecoterrorist, and earnest, underutilized Anna (Jasmine Batchelor), who portrays Lily, a climatologist who has been captured by a gun-wielding George. “The time for science is over,” the Keanu Reeves–like hunk declares. “It’s time for action.” When screenwriter David Caxton (Darren Goldstein) arrives unexpectedly, Maria worries that the studio has sent him to keep an eye on her. Soon Larry (Max Baker), the crotchety science adviser, is questioning plot points that will wreak havoc on the film’s narrative and drain the story of its special-effects-laden promises. Through it all, the loyal PA (Garcia) does whatever is asked of him, no matter how patently absurd.
Maria (Rosal Colón) and David (Darren Goldstein) find themselves at odds while on-set in New Mexico (photo © Matthew Murphy)
Continuity was partly inspired by Wohl’s experience writing the cancer movie Irreplaceable You, so the film shoot feels authentic. The title of the play comes not only from the technical term for maintaining consistent details in a movie but also from the idea of uninterrupted existence, which is in global danger because of climate change. Wohl (Barcelona, American Hero) explores carbon neutrality, recycling, hypocrisy, science, capitalism, and other concepts as she litters the dialogue with such silly puns and wonderfully chosen phrases as “Stop shifting the ground under my feet,” “Water under the bridge,” and “The pace is glacial.” She and Chavkin (Hadestown, Natasha, Pierre & the Great Comet of 1812) also probe race, gender, the #MeToo movement, and sexual orientation as Maria’s attempt to finish the scene before it gets dark mimics humankind’s not-so-concerted effort to save the Earth. “Please take care of our iceberg,” the offstage first assistant director tells everyone about a prop that people keep ruining, as if reminding all of us of the tenuousness of our situation. Lily and Jake watch a video on his phone of a monkey doing something amazing, as if evolution is being turned around. David is giving himself a fake tan, like a natural one is out of the question. It’s no coincidence that Maria won an award at Sundance, both because of the name of the festival itself as well as its relationship with seminal environmentalist Robert Redford. The stage production is doing what it can to not leave its own carbon footprint, reusing plastic bottles and other props and recycling cut-up paper into falling snow. Wohl calls Continuity “a play in six takes,” but we don’t have that many chances left to get it right.
ESTER KRUMBACHOVÁ — UNKNOWN MASTER OF THE CZECHOSLOVAK NEW WAVE: VALERIE AND HER WEEK OF WONDERS
Valerie (Jaroslava Schallerová) comes of age rather early in Valerie and Her Week of Wonders
VALERIE AND HER WEEK OF WONDERS (VALERIE A TÝDEN DIVŮ) (Jaromil Jireš, 1970)
Film Society of Lincoln Center, Francesca Beale Theater
144 West 65th St. between Broadway & Amsterdam Aves.
Saturday, May 25, 6:30, and Monday, May 27, 8:30
Series runs May 24-29
212-875-5050
www.filmlinc.org
The Film Society of Lincoln Center’s “Ester Krumbachová: Unknown Master of the Czechoslovak New Wave” series, presented in collaboration with the Czech Center New York, pays tribute to the career of writer, director, set designer, and costume designer Ester Krumbachová (1923-96), who was blacklisted by the communist government for her work. The six-day festival consists of ten films by such directors as Karel Kachyňa (Coach to Vienna, The Ear), Vojtěch Jasný (All My Compatriots), Věra Chytilová (Fruit of Paradise, Daisies), and Jan Němec (Diamonds of the Night), Krumbachová’s onetime husband and muse. On May 25 and 27, Jaromil Jireš’s Valerie and Her Week of Wonders will be shown, an extremely strange, totally hypnotic film on which Krumbachová served as writer and production designer. (Producer and curator Irena Kovarova will introduce the latter screening.) Based on the 1945 Gothic novel by Vítězslav Nezval (which was written ten years earlier), Valerie is a dreamy adult fairy tale, inspired by “Little Red Riding Hood,” “Alice in Wonderland,” and other fables, about the coming of age of Valerie, a nymphette played by thirteen-year-old Jaroslava Schallerová in her film debut. Valerie lives with her icy, regal grandmother, Elsa (Helena Anýzová), in a remote village, where visiting missionaries and actors are cause for celebration. In addition, Valerie’s best friend, Hedvika (Alena Stojáková), is being forced to marry a man she doesn’t love. Valerie, who is in possession of magic earrings, is being courted by the bespectacled, bookish Eaglet (Petr Kopriva) as well as the Constable (Jirí Prýmek), who just happens to be an evil, ugly vampire who has a mysterious past with Elsa. Also showing an untoward interest in the virginal Valerie is the local priest, Gracián (Jan Klusák).
But don’t get too caught up in the hallucinatory narrative, which usually makes little sense. Characters’ motivations are inconsistent and confusing (especially as Jireš delves deeper and deeper into Valerie’s unconscious), plot points come and go with no explanation, and the spare dialogue is often random and inconsequential. And don’t try too hard looking for references to the Prague Spring, colonialism, and communism; just trust that they’re in there. Instead, let yourself luxuriate in Jan Curík’s lush imagery, Lubos Fiser and Jan Klusák’s Baroque score, Krumbachová’s enchanting production design, and Jan Oliva’s weirdly wonderful art direction. Valerie’s white bedroom is enchantingly surreal, a private world in a darkly magical Medieval land beset by incest, rape, fire, murder, self-flagellation, paganism, and monsters, everything dripping with blood and sex. No, this is most definitely not a fantasia for kids. “Ester Krumbachová: Unknown Master of the Czechoslovak New Wave” runs May 24-29 and also includes Zbyněk Brynych’s . . . and the Fifth Horseman Is Fear in addition to all the films listed above as well as Krumbachová’s own The Murder of Mr. Devil, the only film she directed, screening with introductions May 24 and 27.
BJÖRK’S CORNUCOPIA
Björk’s Cornucopia is a stunning world premiere commission at the Shed (photo by Santiago Felipe)
The McCourt at the Shed
The Bloomberg Building
545 West 30th St. at Eleventh Ave.
May 22, 25, 28, and June 1
646-455-3494
theshed.org
www.bjork.com
In 2012, Icelandic musician, actress, and international fashion plate Björk presented Biophilia at Roseland, a multimedia performance based on her 2011 app album, an exploration of the relationship between nature, music, and technology. In 2015, her Vulnicura tour opened at Carnegie Hall, an emotional and personal examination of her breakup with longtime partner Matthew Barney. And now the Iceland- and Brooklyn-based artist has inaugurated her latest elaborate production, Björk’s Cornucopia, at the Shed’s McCourt concert venue, where the dazzling show, based primarily on her 2017 concept album about love and nature, Utopia, continues through June 1. Cornucopia begins with several a cappella songs performed by Iceland’s Hamrahlíð Choir in front of the stage, including Björk’s “Sonnets/Unrealities XI” and “Cosmogony,” the boys wearing dark slacks and white shirts buttoned to the top, the girls in traditional folk outfits; at one point the members of the choir — which Björk belonged to when she was a teenager and is still led by the same conductor, founder Þorgerður Ingólfsdóttir — darted up and down the aisles of the raised rows of seating.
Björk dazzles in ethereal multimedia production at the McCourt (photo by Santiago Felipe)
It’s then Björk’s turn, and she takes the multilevel stage in a nautilus-like costume designed by Olivier Rousteing of Balmain and Iris Van Herpen, with a headdress by co-creative director and frequent collaborator James Merry that covers much of her eyes. She emerges from behind a curtain of hanging ropes where Tobias Gremmler’s giant color-drenched videos of animated flora and cosmic fireworks (and an avatar of Björk) are projected; the video also appears on a large rear screen. Chiara Stephenson’s set features a pod that looks like an alien-head silo and a platform that extends four rows into the center of the audience. The music is played by Icelandic flute septet Viibra, dressed like fairies, along with harpist Katie Buckley, percussionist Manu Delago, and Bergur Þórisson on electronics; the complex lighting design is by Bruno Poet, with choreography by Margrét Bjarnadóttir. All the elements, under the direction of Argentine film director Lucretia Martel (The Headless Woman, Zama), come together to form a celestial wonderland where Björk’s ethereal music, less dance-oriented than on previous tours, transports the audience on an otherworldly adventure.
Nature comes to the forefront in Björk’s Cornucopia (photo by Santiago Felipe)
Björk performs twelve of Utopia’s fourteen tracks, including “The Gate,” “Arisen My Senses,” “Claimstaker,” and “Blissing Me” (joined by experimental musician serpentwithfeet), as well as such older songs as “Show Me Forgiveness” and “Mouth’s Cradle” from Medúlla, “Hidden Place” and “Pagan Poetry” from Vespertine, and “Venus as a Boy” from Debut, each with its own unique sonic and visual flourishes. Delago swishes upside-down bamboo-like bowls in a tank of water. A metal ring drops from the ceiling, surrounding Björk as four members of Viibra play flutes embedded in the circle. Björk sings from inside the closed pod. There are different ways to experience the show; if your seats are near the front, it feels more intimate, especially with Björk singing such lyrics as “Just that kiss / Was all there is / Every cell in my body / Lined up for you / Legs a little open / Once again / Awaken my senses / Head topless / Arisen my senses” and “Utopia / It’s not elsewhere / It’s here” in close proximity. But from farther back, the epic scope of the videos and staging combine for a bolder, more immersive effect.
Björk is joined by Icelandic flute septet Viibra for Cornucopia (photo by Santiago Felipe)
Prior to the encores, a recording of sixteen-year-old Swedish activist Greta Thunberg is projected, the schoolgirl explaining that “we are about to sacrifice our civilization for the opportunity of a very small number of people to continue making unimaginable amounts of money. The biosphere is being sacrificed so that rich people in countries like mine can live in luxury. . . . We cannot solve a crisis without treating it as a crisis . . . And if the solutions within this system are so impossible to find, then maybe we should change the system itself.” It’s a powerful statement that Björk follows with “Future Forever,” in which she opines (in a lush new costume), “Imagine a future and be in it / Feel this incredible nurture, soak it in / Your past is on a loop, turn it off / See this possible future and be in it.” It’s hard not to get on board with that direct yet hopeful sentiment.
FLEET WEEK 2019
Fleet Week will feature celebrations, commemorations, and memorials May 22-28 in all five boroughs (photo courtesy Fleet Week New York)
Intrepid Sea, Air & Space Museum and other locations in all five boroughs
Pier 86, 12th Ave. & 46th St.
May 22–28
www.intrepidmuseum.org
militarynews.com
The U.S. Navy, Marine Corps, and Coast Guard will be pouring into New York City for Fleet Week, which takes place May 22-28 at the Intrepid, in Times Square, and at other locations. The annual celebration, which began in 1982, leads into Memorial Day weekend, reminding everyone that the holiday is not just about barbecues and beaches. Below are only some of the highlights, all free and open to the public. Admission to the museum, which is hosting many indoor demonstrations, exhibitions, and performances, is $24-$33 but free for all U.S. military and veterans.
Wednesday, May 22
Parade of Ships, New York Harbor, Pier 86, 8:00 am
Musical Performance: U.S. Fleet Forces “Brass Band,” South Street Seaport, 12 Fulton St., 12:30
Musical Performance: Navy Band Northeast’s “Ceremonial Band,” Washington Square Park arch, 4:00
Thursday, May 23
USNA Yard Patrol Squadron, visiting ship tour, Pier 86, 10:00 am - 3:00 pm
USCGC Lawrence Lawson, visiting ship tour, Pier 86, 10:00 am - 3:00 pm
Musical Performance: U.S. Fleet Forces “Brass Band,” Union Square Park, noon
Thursday, May 23
through
Saturday, May 25
Navy Dive Tank, Military Island, Times Square, 10:00 am - 5:00
Friday, May 24
USNA Yard Patrol Squadron, visiting ship tour, Pier 86, 10:00 am - 3:00 pm
USCGC Lawrence Lawson, visiting ship tour, Pier 86, 10:00 am - 3:00 pm
USCG Silent Drill Team, Military Island, Times Square, 2:30
USMC Martial Arts Program demonstration, Military Island, Times Square, 3:15
Summer Movie Night: Top Gun (Tony Scott, 1986), Intrepid Flight Deck, 7:00
Musical Performance: U.S. Fleet Forces “Brass Band,” Military Island, Times Square, 7:30
Saturday, May 25
U.S. Marine Corps, U.S. Air Force Auxiliary/Civil Air Patrol, LEGOLAND New York Resort, U.S. Coast Guard Auxiliary, Intrepid Education, American Red Cross, Restored and Antique Military Vehicle Clubs, Guide Dog Foundation/America’s Vet Dogs — The Veterans K-9 Corp, American Legion and FDNY, Pier 86, 10:00 am - 6:00 pm
USCGC Lawrence Lawson, visiting ship tour, Pier 86, 10:00 am - 6:00 pm
Musical Performance: RamCorps, University of Mobile, Pier 86 main stage, noon
Facepainting: Faces by Derrick, Pier 86, noon - 4:00
Musical Performance: Latin Giants of Jazz, Pier 86 main stage, 1:00
USCG Silent Drill Team, Rockefeller Center Plaza, 2:00
Musical Performance: USMC Battle Color Detachment, including the USMC Silent Drill Platoon and Drum and Bugle Corps, Marine Day at Prospect Park, 3:30
Musical Performance — America's Sweethearts: Vintage Vocal Trio, Pier 86 main stage, 3:00 & 5:00
Musical Performance: 78th Army Band, Pier 86 main stage, 4:00
Musical Performance: Navy Band Northeast’s Rock Band “Rhode Island Sound,” Military Island, Times Square, 6:00
Musical Performance: USMC Battle Color Detachment, including the USMC Silent Drill Platoon and Drum and Bugle Corps, Father Duffy Square, Times Square, 8:00
Sunday, May 26
U.S. Marine Corps, U.S. Air Force Auxiliary/Civil Air Patrol, U.S. Coast Guard Auxiliary, Intrepid Education, American Red Cross, Restored and Antique Military Vehicle Clubs, Guide Dog Foundation/America’s Vet Dogs — The Veterans K-9 Corp, LEGOLAND New York Resort, American Legion, and FDNY, Pier 86, 10:00 am - 6:00 pm
USCGC Lawrence Lawson, visiting ship tour, Pier 86, 10:00 am - 6:00 pm
Facepainting: Faces by Derrick, Pier 86, noon - 4:00
Musical Performance: RamCorps, University of Mobile, Pier 86 main stage, noon & 2:00
Musical Performance — America's Sweethearts: Vintage Vocal Trio, Pier 86 main stage, 1:00 & 3:00
Musical Performance: singer, songwriter and Marine Corps veteran Laura Rice, Pier 86 main stage, 4:00
Musical Performance: Navy Band Northeast’s Rock Band “Rhode Island Sound,” Military Island, Times Square, 5:00
Monday, May 27
U.S. Marine Corps, U.S. Air Force Auxiliary/Civil Air Patrol, Intrepid Education, LEGOLAND New York Resort, and FDNY, Pier 86, 10:00 am - 6:00 pm
Memorial Day Ceremony, Pier 86, 11:00 am
Facepainting: Faces by Derrick, Pier 86, noon - 4:00
USCGC Lawrence Lawson, visiting ship tour, Pier 86, noon - 6:00 pm
USCGC Silent Drill Team Performance, Pier 86, 2:00
Gazillion Bubble Show: Interactive Bubble Garden, Pier 86, 2:00 - 6:00
American Cornhole League: Games and Challenges, Pier 86, 2:00 - 6:00
USCGC Search and Rescue Demonstration, West End Pier 86, 3:00
