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


dancing dialogues

Who: Joyce Theater
What: Online discussions about dance during the coronavirus crisis
Where: Joyce online
When: Monday, July 20 & 27 and August 10, free with RSVP, 6:00
Why: On July 20, the Joyce Theater is kicking off an exciting live panel series, “Dancing Dialogues,” which gathers together dance makers and artists in interactive online discussions about dance and the state of the world during the pandemic lockdown. On July 20 at 6:00, “Realized Cultural Resonance” features Ronald K. Brown, Rosie Herrera, Emily Johnson, Virginia Johnson, and Michael Sakamoto with moderator Phil Chan. On July 27, “Reinvention: The Art of Pivot” consists of Patricia Delgado, Francesca Harper, and Vernon Scott with moderator Adrian Danchig-Waring. And on August 10, “Rebuilding Dance Audiences: Virtual to Actual” will delve into how performing arts organization are handling the crisis. Admission is free with advance RSVP, but donations are encouraged. In addition, you should check out JoyceStream, where you can see A.I.M’s Meditation: A Silent Prayer and Olivier Tarpaga’s Declassified Memory Fragment for a limited time, with Shantala Shivalingappa’s Bhairava and Urban Bush Women’s Women’s Resistance up next.


Dance Theatre of Harlem

Dance Theatre of Harlem will present online premiere of Nacho Duato’s Coming Together this week (photo courtesy DTH)

Who: Dance Theatre of Harlem
What: Livestreamed performances and discussions
Where: Dance Theatre of Harlem YouTube channel
When: July 16-18, free
Why: Dance Theatre of Harlem is continuing its fiftieth anniversary, dubbed “50 Forward,” with virtual presentations this summer. DTH on Demand launched last month with Arthur Mitchell and Frederic Franklin’s adaptation of Creole Giselle, Grand Moultrie’s Vessels, Robert Garland’s Return, and Annabelle Lopez Ochoa’s Balamouk. The next iteration is under way, featuring an extended look at last year’s Works & Process performance at the Guggenheim and exciting programs built around Nacho Duato’s Coming Together. Last week the troupe livestreamed “Inside Works & Process: The Four Temperaments, a panel discussion with George Balanchine Trust répétiteur Deborah Wingert, ​New York City Ballet solo pianist​ Susan Walters, and DTH company artist Daphne Lee; Tones II — A Reflection on Arthur Mitchell,” a talk with company artists Derek Brockington, Choong Hoon Lee, Amanda Smith and former DTH ballerina and board member China White, former ballerinas Gayle McKinney and Brenda Garrett-Glassman, and former principal dancer Donald Williams; and the online premiere of the full-length Guggenheim Rotunda performance from September 30, 2019, consisting of Nyman String Quartet No.2 (choreographed by Robert Garland, with music by Michael Nyman), the first three of The Four Temperaments (choreographed by George Balanchine, with music by Paul Hindemith), and Tones II (choreographed by Mitchell, with a score by Tania León).

This week DTH delves into Duato’s powerful piece, which was commissioned in 1991 for Compania Nacional de Danza in Madrid and was inspired by a letter Attica prisoner Sam Melville wrote on May 16, 1971. The letter reads today as if it were composed during the coronavirus pandemic: “I think the combination of age and a greater coming together is responsible for the speed of the passing time. It’s six months now and I can tell you truthfully few periods in my life have passed so quickly. I am in excellent physical and emotional health. There are doubtless subtle surprises ahead, but I feel secure and ready. As lovers will contrast their emotions in times of crisis, so am I dealing with my environment. In the indifferent brutality, incessant noise, the experimental chemistry of food, the ravings of lost hysterical men, I can act with clarity and meaning. I am deliberate — sometimes even calculating — seldom employing histrionics except as a test of the reactions of others. I read much, exercise, talk to guards and inmates, feeling for the inevitable direction of my life.” Melville was shot and killed during the Attica uprising four months later. On July 16 at 8:00, company artist Crystal Serrano and professor and former dancer Eva Lopez Crevillen will take viewers “Inside Coming Together: Staging the Ballet”; on July 17 at 8:00, “The Greater Coming Together” explores the minimalist score by Frederic Rzewski; and on July 18 at 8:00, the full work will have its virtual premiere, hosted by company artist Lindsey Donnell and including a live interactive chat on YouTube with company artist Dylan Santos. DTH has also been holding live open classes and artist talks regularly on its Instagram and Facebook pages.


closet works

Who: Joshua William Gelb, Sanaz Ghajar, Veronica Jiao, Nehemiah Luckett, Nate Stevens, Raja Feather Kelly
What: Live performance series from an East Village closet
Where: Joshua William Gelb YouTube channel
When: Thursday, July 16, free, 7:00 (encore at 9:00)
Why: Feeling claustrophobic? Wait till you get a load of Joshua William Gelb. During the pandemic, the writer, director, performer, and librettist has been presenting short, livestreamed works from his 2' x 4' x 8' converted closet in his East Village apartment, making creative use of the space in a series he calls Theater in Quarantine. Among the pieces you can still catch on his YouTube channel are Franz Kafka’s The Neighbor, Hypochondriac! (based on Moliere’s The Imaginary Invalid), Scott R. Sheppard’s Topside, and box thrree. spool five. a piece of krapp, from Beckett’s Krapp’s Last Tape. On July 16 at 7:00 and 9:00, Gelb will premiere closet works v.2, featuring choreography by regular collaborator Katie Rose McLaughlin and guest artists Sanaz Ghajar, Veronica Jiao, Nehemiah Luckett, Nate Stevens, and Raja Feather Kelly, offering a whole new interpretation of digital space.

In a statement, Gelb (The Black Crook, A Hunger Artist) explained, “I often think about Peter Brook’s invocation of the empty space when standing in front of my closet. How can this utilitarian container, so uncomfortably small, so disproportionate in its aspect ratio, become a stage for the imagination? And it’s here I find the central metaphor, and perhaps appeal, of the entire project — it’s about as obvious as you might expect — that my attempts not only to make art in this confinement but to exist whatsoever, are not so dissimilar from what many of us are experiencing. There is frustration, and boredom, and lots of loneliness. But there is also great potential and for once an expanse of time that we have the chance to fill not with mere anxiety but with the thoughtful, rigorous creative impulse.” The series, held in conjunction with the Invisible Dog Art Center, continues August 13 and September 12; admission is free, but you can donate to the project here. Also on the schedule for Theater in Quarantine is The 7th Voyage of Egon Tichy on July 30, an adaptation of Stanisław Lem's Star Diaries directed by Jon Levin and written by Josh Luxenberg; and the spoken-word chamber opera Footnote for the End of Time on August 27, based on Jorge Luis Borges’s short story “The Secret Miracle,” directed by Levin and with music by Alex Weston inspired by Olivier Messiaen’s Quartet for the End of Time.


Who: Baryshnikov Arts Center
What: Free virtual series
Where: Baryshnikov Arts Center online
When: Thursdays at 5:00, free (available through the following Tuesday at 5:00)
Why: Baryshnikov Arts Center is celebrating its fifteenth anniversary virtually, streaming a wide range of archival performances that display its diversity, from dance and music to theater and poetry. Its second series of “PlayBAC: Performances from the Archive” begins July 16-21 with Trisha Brown Dance Company’s Opal Loop / Cloud Installation #72503, filmed ten years ago in the Howard Gilman Performance Space, where Leah Morrison, Nicholas Strafaccia, Laurel J. Tentindo, and Samuel von Wentz move quietly around a smokey stage, with costumes by Judith Shea, lighting by Beverly Emmons, and visual presentation by Fujiko Nakaya creating a mystical atmosphere. The look back continues with Aszure Barton’s Over/Come July 23-28 (with members of Hell’s Kitchen Dance), the Quodlibet Ensemble July 30 - August 4, Company SBB / Stefanie Batten Bland’s A Place of Sun August 6-11, Laurie Anderson, Lou Reed, and Patti Smith reading Catalan poetry August 13-18, and doug elkins choreography, etc.’s Scott, Queen of Marys August 20-25, featuring Javier Ninja. The videos will be introduced by founding artistic director Mikhail Baryshnikov and several of the artists. The first series consisted of works by Rocío Molina, the Latvian National Choir, Rashaun Mitchell, Merasi: Master Musicians of Rajasthan, Vertigo Dance Company, and singer/songwriter Somi, but you cannot see them anymore because they are available for only a limited time, so don’t miss this opportunity to see this second collection of cutting-edge presentations, for free.

July 16-21
Trisha Brown Dance Company, Opal Loop / Cloud Installation #72503 (1980), Howard Gilman Performance Space, filmed April 10, 2010

July 23-28
Aszure Barton, Over/Come (2005), Studio Showing, Rudolf Nureyev Studio, filmed June 16, 2005

July 30 - August 4
Quodlibet Ensemble: Music by Biber, Martynov + Sharlat, Jerome Robbins Theater, filmed December 5, 2018

August 6-11
Company SBB / Stefanie Batten Bland, A Place of Sun (2012), world premiere, Jerome Robbins Theater, filmed May 17, 2012

August 13-18
Laurie Anderson, Lou Reed, and Patti Smith: A Reading of Catalan poetry, Howard Gilman Performance Space, filmed March 23, 2007

August 20-25
doug elkins choreography, etc., Scott, Queen of Marys (1994), Howard Gilman Performance Space, filmed December 7, 2012


Black Dance Stories

Who: Jamar Roberts, Tiffany Rea-Fisher, Cynthia Oliver, Marjani Forté-Saunders, Lorenzo “Rennie” Harris, J. Bouey, Kyle Marshall, Okwui Okpokwasil, Charmaine Warren
What: Live discussions with Black dance artists
Where: Zoom and Black Dance Stories YouTube channel
When: Thursdays in July, free, 6:00
Why: “Our dance world was pummeled by Covid-19 and Black dance artists around the world are finding ways to talk about life during this time,” Black Dance Stories founder Charmaine Warren said in a statement about her new online discussion series. “Our world was further turned upside down after horrible events ensued nationally and globally, bringing attention, yet again, to the need for the Black Lives Matter movement. Black dance artists have not been quiet since. Black dance artists have been doing the work. Black dance artists continue to make work. To stay involved, we will hold weekly impromptu discussions and tell stories — Black Dance Stories. This is one action — we will stay involved.” Performer, producer, and dance writer Warren kicked things off last Thursday with Ayodele Casel and Stefanie Batten Bland; the live Zoom talks continue Thursday nights at 6:00 in July with a stellar lineup.

On July 9, Warren will be speaking with longtime Alvin Ailey dancer and choreographer Jamar Roberts, whose Cooped is a searing testament to society’s current ills, and choreographer and Elisa Monte Dance artistic director Tiffany Rea-Fisher, who is also the vice president of the Stonewall Community Development Corporation and a member of Women of Color in the Arts. On July 16, Warren will Zoom with Bronx-born choreographer, actor, dancer, and performance artist Cynthia Oliver and artist, educator, and organizer Marjani Forte Saunders, who won a Bessie for her solo show Memoirs of a . . . Unicorn. On July 23, Warren meets with Philly native and street dance pioneer Rennie Harris, founder of Rennie Harris Puremovement, who choreographed the much-talked-about Lazarus for Alvin Ailey, and dance artist, writer, and choreographer J. Bouey, founder and cohost of “The Dance Union Podcast” and current member of the Bill T. Jones/Arnie Zane Company. And on July 30, Warren chats with choreographer, educator, and dancer Kyle Marshall, whose Kyle Marshall Choreography “sees the dancing body as a container of history, an igniter of social reform, and a site of celebration,” and Brooklyn-based writer, performer, and choreographer Okwui Okpokwasili, who just won an Antonyo Award for her stirring performance in the Public Theater revival of For Colored Girls Who Have Considered Suicide/ when the rainbow is enuf and who was the subject of Andrew Rossi’s 2017 documentary, Bronx Gothic. It will be hard not to stay involved with this roster of exciting creators.


The inaugural Antonyo Awards celebrated the best of Black theater on and off Broadway (screenshot by twi-ny/mdr)

The inaugural Antonyo Awards celebrated the best of Black theater on and off Broadway (screenshot by twi-ny/mdr)

I’ve been writing about New York City arts and culture since May 2001, focusing on events that require people to leave their homes and venture out to museums, theaters, movie houses, restaurants, botanical gardens, clubs, and other venues to experience art, film, dance, plays, music, nature, and other forms of entertainment.

But as of March 12, all of that was shut down. I had anticipated that twi-ny would effectively be shut down as well, but to my surprise and delight many arts institutions, once they realized they would be closed for a long period of time, embraced the situation and began making works they presented over Zoom, Instagram Live, Facebook Live, YouTube, and their own sites. I was initially worried that I would not know what to do with the sudden free time I had — I’m used to going out five or six nights a week, covering whatever is happening in the city — but soon enough I was ridiculously busy watching and writing about the endless stream of productions being made for the internet and, often, about the pandemic itself, exploring ideas of loneliness and confinement and, once the George Floyd protests began, equality, racism, and freedom. It’s been exciting navigating through so much creativity and following how so many individuals and companies are experimenting with online technology in ways that are not only thrilling to watch but beckon toward the future, with the ability to reach a global audience all at the same moment, at the touch of a button.

And so, as we celebrate America’s 244th birthday — one in which we have come to understand that we have a lot of work to do to face a shameful past that continues into the present — and most of us will be partying from wherever we are sheltering in place, it’s also time to celebrate the ingenuity of actors, directors, artists, writers, musicians, composers, dancers, choreographers, journalists, comedians, thinkers, and others who are making this crisis so much more bearable than it could have been.

Below are the first of hopefully only two This Week in New York Pandemic Awards, honoring the best in live programming that took place between March 13 and June 30. The only rule is that there has to be a live facet to it — either occurring at that minute and/or with an interactive element such as a live Q&A or live chatting. Depending on how the reopening goes and with many arts venues unlikely to start having in-person audiences until 2021, we will be back in December for what we fervently hope will be the second and last Pandemic Awards.

Happy Fourth!

Arlekin Players Theatre, State vs. Natasha Benin, based on Natasha’s Dream by Yaroslava Pulinovich, translated by John Freedman, directed by Igor Golyak, performed by Darya Denisova. Filming live from their bedroom, married couple Igor Golyak and Darya Denisova collaborate with an inventive team to come up with an ingenious participatory experience that has been extended through July 12 (free).

The Public Theater, What Do We Need to Talk About? Conversations on Zoom, written by Richard Nelson, with Jay O. Sanders, Maryann Plunkett, Sally Murphy, Laila Robins, and Stephen Kunken. Richard Nelson adds an unexpected chapter to his Apple Family Plays as Richard, Barbara, Marian, Tim, and Jane gather together on Zoom to take stock of their lives once again in this poignant, moving work that closed June 28. But you can catch up on the clan again in Nelson’s follow-up, And So We Come Forth — The Apple Family: A Dinner on Zoom, which continues on YouTube through August 26.

The Homebound Project. Benefiting No Kid Hungry, each iteration of the Homebound Project consists of ten short pandemic-related solo tales by an all-star team of writers (Michael R. Jackson, Sarah Ruhl, C. A. Johnson, Sarah DeLappe, Qui Nguyen, Anne Washburn, Samuel D. Hunter, Bess Wohl, John Guare, Clare Barron), directors (Steven Pasquale, Leigh Silverman, Jerry Zaks, Trip Cullman, Danya Taymor), and performers (Amanda Seyfried, Daveed Diggs, Diane Lane, Blair Underwood, Phillipa Soo, Zachary Quinto, Mary-Louise Parker, William Jackson Harper, Jessica Hecht, Marin Ireland), streamed for a limited time; the fourth edition is scheduled for July 15-19 (minimum donation $10).

The 24 Hour Plays. These Viral Monologues are divided into thematic groupings called rounds that comprise intimate solo plays between four and fifteen minutes in length, with Tony Shalhoub, Marin Ireland, Daveed Diggs, Ashley Park, Santino Fontana, Rebecca Naomi Jones, Jake Gyllenhaal, Cynthia Nixon, David Hyde-Pierce, Maddie Corman, Michael Cerveris, Elizabeth Marvel, Brandon J. Dirden, Quincy Tyler Bernstine, Ethan Hawke, and others in works by Lynn Nottage, Kristoffer Diaz, Donald Margulies, Lydia Diamond, David Lindsay-Abaire, Preston Max Allen, Jonathan Marc Sherman, and more, each iteration benefiting a different charity based on that round’s topic (free).

Diane Lane

Diane Lane was luminescent in Michael R. Jackson’s Let’s Save the World for the Homebound Project (screenshot by twi-ny/mdr)

Diane Lane, Let’s Save the World, written by Michael R. Jackson, The Homebound Project. Academy Award nominee Diane Lane is luminescent in Pulitzer Prize winner Michael R. Jackson’s bright, shiny tale about angels and hope.

André De Shields, “A Father’s Sorrow,” written by Shaka Senghor, The 24 Hour Plays. Tony winner De Shields is a force in Shaka Senghor’s “A Father’s Sorrow,” playing Elder Qualls, a priest whose son has been incarcerated.

Mandy Patinkin and Kathryn Grody, Twitter, directed by Gideon Grody-Patinkin. Nearly every day, Gideon Grody-Patinkin takes out his smartphone and records his parents, actors Mandy Patinkin and Kathryn Grody, as they have breakfast, experience computer problems, discuss TikTok, and just live life during a pandemic; this is about as real as it gets, and it’s funny as hell.

Tony Shalhoub and Brooke Adams, Happy Days, written by Samuel Beckett, Plays in the House, part of Stars in the House, hosted by indefatigable pandemic MVPs Seth Rudetsky and James Wesley. After beating their coronavirus infections, Tony Shalhoub and Brooke Adams, who have been married since 1992, revisited Samuel Beckett’s Happy Days, which they toured with in 2015, performing it live from their bedroom for Stars in the House, with proceeds benefiting the Actors Fund.

Lynn Nottage, “Pilgrims,” TrickleUP NYC Artists Network. Two-time Pulitzer Prize winner Lynn Nottage shared a remarkable true story about a tree in her backyard for TrickleUP, a grassroots subscription video platform (minimum donation $10/month) with short performances by a wide range of talent including Suzan-Lori Parks, Taylor Mac, Kathleen Chalfant, Lucas Hnath, Jane Houdyshell, Tonya Pinkins, Jefferson Mays, Rachel Chavkin, Miguel Gutierrez, Paula Vogel, Faye Driscoll, Thomas Jay Ryan, Dominique Morisseau, Basil Twist, Latanya Richardson Jackson, Alan Cumming, and many more, benefiting artists affected by the Covid-19 cancellations.

LAByrinth Theater Company, Our Lady of 121st Street, A LAByrinth Virtual Reading and Benefit, written by Stephen Adly Guirgis, with Elizabeth Canavan, Liza Colón-Zayas, Scott Hudson, Russell G. Jones, Portia, Al Roffe, Felix Solis, David Zayas, Bobby Cannavale, John Doman, Laurence Fishburne, Dierdre Friel, David Deblinger, and Elizabeth Rodriguez. The LAByrinth Theater Company gave a blistering Zoom reading of Stephen Adly Guirgis’s 2002 play about a group of people gathering for the funeral of a murdered nun whose corpse has gone missing; the acting, led by David Zayas and Bobby Cannavale, was the best I’ve seen online during this crisis.

Theater of War, The Oedipus Project, with Frances McDormand, John Turturro, Oscar Isaac, Jeffrey Wright, Frankie Faison, David Strathairn, Glenn Davis, Marjolaine Goldsmith, and Jumaane Williams, translated and directed by Bryan Doerries. Theater of War, which specializes in presenting ancient Greek and modern plays and examining them through a razor-sharp sociocultural lens, put on a stunning Zoom reading of several scenes from Sophocles’s Oedipus the King, followed by a community discussion about elder care, relating the play to what is happening in nursing homes during the pandemic; Oscar Isaac as the doomed ruler tore the house down with an unforgettable finale.

Molière in the Park, Tartuffe, directed by Lucie Tiberghien, with Raúl E. Esparza, Samira Wiley, Kaliswa Brewster, Toccarra Cash, Chris Henry Coffey, Naomi Lorrain, Jared McNeill, Jennifer Mudge, Rosemary Prinz, and Carter Redwood. Molière in the Park founding artistic director Lucie Tiberghien and cofounding producer Garth Belcon usually stage works by Jean-Baptiste Poquelin, aka Molière, in Prospect Park, but this summer season they have gone virtual, staging an exciting adaptation of Tartuffe on Zoom; the fab production design by Kris Stone makes it look as if the performance is taking place on the gorgeous estate of Orgon, one of the main characters. The cast features Raúl E. Esparza as the villainous scoundrel Tartuffe and Samira Wiley as Orgon (free; extended through July 12 on YouTube).

Raúl E. Esparza, Tartuffe, Molière in the Park. Four-time Tony nominee Raúl E. Esparza shocked and excited the audience when he dropped trou during the first performance, setting the chat board on fire with squeals of delight from fans all over the world at the sight of his bare bottom.

Simon McBurney, The Encounter. From May 15 to 22, St. Ann’s Warehouse streamed a recording of The Encounter, a primarily one-man play about human contact that uses sound in extraordinary ways, from his London-based Complicité company. McBurney stretches the bounds of what we think we see and hear in his spectacularly inventive lockdown-related introduction, toying with technology like a master magician with a fantastic, childlike sense of humor and wonder.

Red Bull Theater Company, RemarkaBULL Podversations. Red Bull has been busy during the coronavirus crisis, presenting reunion readings of such previous productions as Coriolanus and The Government Inspector as well as talks with actors about specific speeches from the theatrical canon, what they call “RemarkaBULL Podversations,” including Elizabeth Marvel discussing and delivering the “Cry Havoc” speech from Julius Caesar, Michael Urie exploring the “Queen Mab” monologue from Romeo & Juliet, and Chukwudi Iwuji digging deep into the “Homely Swain” soliloquy from Henry VI.

Broadway Black, The Antonyo Awards, directed by Zhailon Levingston. The inaugural Antonyo Awards was an eye-opening experience as the best in Black theater was celebrated in ways that the Tonys and others would never be able to; it was all the more powerful given that it took place on Juneteenth as the country was reaching critical mass over the George Floyd protests and the Covid-19 pandemic.

Dropkick Muprhys

Dropkick Murphys jam with Bruce Springsteen at empty Fenway Park (screenshot by twi-ny/mdr)

Dropkick Murphys: Streaming Outta Fenway, with special appearance by Bruce Springsteen. Boston’s Dropkick Murphys took over an empty Fenway Park with a ferocious two-hour live set that had me dancing like a madman in my home office. It reached a nearly impossible crescendo when Bruce Springsteen joined in from his New Jersey farm. The benefit for Feeding America, Habitat for Humanity Greater Boston, and the Boston Resiliency Fund can still be seen here; be sure to crank it up to eleven.

Hello from FitzGerald’s: @StayAtHomeConcert caravan with Jon Langford. British troubadour Jon Langford, of the Mekons, the Waco Brothers, the Pine Valley Cosmonauts, the Skull Orchard, and Wee Hairy Beasties, traveled through the streets of suburban Chicago regaling the neighborhood with jaunty songs delivered on the back of music club FitzGerald’s white truck, his saucy humor and lovely acoustic songs as intoxicating as ever.

Brian Stokes Mitchell, “The Impossible Dream.” One of the most inspiring moments of the pandemic occurred nightly after the 7:00 clap as Tony winner Brian Stokes Mitchell, trying to regain his voice following a difficult battle with Covid-19, stuck his head out his West Side apartment window and crooned “The Impossible Dream,” changing a few words to honor the essential health-care workers who helped him and who continue to lead the fight against the virus despite the inherent risks. Mitchell had to stop doing it when the crowds reached unsustainable levels, making social distancing itself impossible.

Richard Thompson, couch concerts with Zara Phillips. Every few weeks, British musician Richard Thompson, one of the world’s great guitarists and songwriters, takes a seat in his Montclair, New Jersey, living room and performs tunes from throughout his fifty-plus-year career, joined by his partner, singer-songwriter and adoption activist Zara Phillips. Being able to see Thompson’s guitar playing thisclose is worth the price of admission — it’s free, but donations are accepted for the Community FoodBank of NJ — and his wry quips, delivered with a devilish smile, are a joy in these hard times. Thompson will be performing his brand-new pandemic EP, Bloody Noses, in its entirety on July 5 at 4:00; he is also thrilled to finally have a live gig, backing Phillips at a free July 15 outdoor show in Woodbridge.

Chick Corea, Piano Improvisation. Legendary jazz pianist Chick Corea, who turned seventy-nine last month, has been performing gorgeous piano improvisations on Facebook Live, a necessary respite on that platform from arguing politics with high school classmates you haven’t seen in years.

Swizz Beatz, Verzuz. Hip-hop producer Swizz Beatz is on a mission to support and celebrate living artists during this pandemic, and he is doing so by hosting a series of online battles between Alicia Keys and John Legend, Kirk Franklin and Fred Hammond, Bounty Killer and Beanie Man, Nelly and Ludacris, Erykah Badu and Jill Scott, and Babyface and Teddy Riley.

D-Nice, Club Quarantine. Harlem-born D-Nice was the first deejay to get the internet cooking once everything shut down, getting people up and grooving to his live Club Quarantine parties on Instagram.

“Raise You Up,” Kinky Boots International Pride Cast Reunion, with Billy Porter, Stark Sands, Annaleigh Ashford, Wayne Brady, Harvey Fierstein, Cyndi Lauper, and more. Reunion videos are hot, but none captured the heat like this Pride anthem from Kinky Boots, performed by an all-star cast.

Modern English, “I Melt with You.” British band Modern English resuscitated its 1982 smash hit with a quarantine edition that is melting the internet, with leader Robbie Grey impressing not only with his vocals but his lockdown look.

Jamar Roberts, Cooped, WPA Virtual Commission, choreographed by Jamar Roberts. Longtime Ailey dancer Jamar Roberts’s Cooped is the most explosive five minutes to come out of the arts world during the pandemic; with fierce determination, Roberts investigates solitude, confinement, and the black body, set to a searing score by David Watson on bagpipes and Tony Buck on drums.

Sara Mearns, Storm, WPA Virtual Commission, choreographed by Joshua Bergasse. NYCB principal dancer Sara Mearns glides across her New York City apartment, stopping by the window to assess the world outside, in this sensitive, reaffirming work choreographed by her husband, Joshua Bergasse, and set to Margo Seibert’s rendition of pianist Zoe Sarnak’s “The Storm Will Pass Soon Now.”

Jaqlin Medlock, #GIMMESHELTER, Stephen Petronio Company. Native New Yorker Jaqlin Medlock dazzled in Stephen Petronio’s work choreographed over Zoom for the company’s gala fundraiser, performing breathtaking movement in her apartment.

Martha Graham Dance Company, Immediate Tragedy, Martha Matinees, choreographed by Janet Eilber. Martha Graham Dance Company has been presenting classic archival footage in its Martha Matinees series, but for Immediate Tragedy, artistic director Janet Eilber reimagined Graham’s lost 1937 solo for a company of dancers over Zoom, moving around the individual Zoom boxes like a thrilling game of Tetris; just magnificent.


STREB gala featured new Zoom dance focusing on the grammar of the human body (screenshot by twi-ny/mdr)

STREB, Body Grammar, choreographed by Elizabeth Streb. Elizabeth Streb’s Action Heroes, who combine acrobatics, athletics, and dance on unique apparatuses in jaw-dropping ways, focuses in on the performers’ heads, hands, feet, arms, legs, and torsos in an experimental work that would make Bruce Nauman proud.

On Site Opera, To My Distant Beloved, Beethoven’s An die ferne Geliebte, music by Ludwig van Beethoven, song text by Alois Isidor Jeitteles, additional English dialogue by Monet Hurst-Mendoza, directed by Eric Einhorn, with soprano Jennifer Zetlan and pianist David Shimoni or baritone Mario Diaz-Moresco and pianist Spencer Myer. On Site Opera was in a bind during the pandemic, as the New York City–based company specializes in site-specific productions in unique locations. But it has come up with a splendid alternative, a twenty-minute performance adapted from Beethoven’s An die ferne Geliebte, delivered over the phone for one listener at a time. To enhance the romantic tale of longing, each listener receives emailed love letters prior to either a soprano or baritone calling you up and singing just for you, with interactive dialogue as well. You don’t have to know anything about opera to fall in love with this experience, one of the best — and most unusual — of the pandemic, and even better now that it’s been extended through August 9 ($40).

92nd Street Y, 92Y Online. The 92nd Street Y has always featured a great lineup of guests from across the artistic, sociocultural, culinary, and geopolitical spectrum, and it’s been no different during the coronavirus crisis, with its doors on the Upper East Side closed for the near future. But that hasn’t stopped the Y from presenting live, online talks about just about any topic imaginable, with celebrities galore and hot-button issues. Many of the events are free, but you have to pay for some of the archived discussions. Our favorite is a free one with Pamela Adlon chatting with her friend Mario Cantone, a wild and woolly conversation that never lets up.

Ken Davenport, The Producer’s Perspective. Theater producer Ken Davenport has been one of the busiest guys during the lockdown, speaking with dozens of theater stalwarts about the state of the industry and what they’re doing during the crisis. Among his sixty guests have been Alan Cumming, Kate Rockwell, David Henry-Hwang, Jason Alexander, Marilu Henner, Kenny Leon, Jenn Colella, Santino Fontana, Ashley Park, Dominque Morisseau, and Kerry Butler, with Steven Pasquale, Danny Burstein, and Raúl E. Esparza coming up.

Josh Gad, “Reunited Apart.” Cuddly, lovable Josh Gad lets his fan-geek show by bringing back the casts of classic films from the 1980s and ’90s, and you might be shocked to see that just about everyone participates from wherever they are sheltering in place. So far he has brought together the cast and crew of Ghostbusters, The Goonies, The Lord of the Rings, Splash, Back to the Future, and Ferris Bueller’s Day Off, all of which can be watched for free on YouTube, with donations accepted for specific charities.

Xavier F. Salomon discusses classic works from the Frick while enjoying specialty cocktails in weekly talk

Xavier F. Salomon discusses classic works from the Frick while enjoying specialty cocktails in weekly talk

The Frick Collection, “Cocktails with a Curator,” with Xavier F. Salomon. Frick chief curator Xavier F. Salomon has become an internet sensation, hosting “Cocktails with a Curator” every Friday at 5:00, exploring in depth a work from the Frick Collection, relating it to the current crisis, and selecting a cocktail to accompany the fifteen-minute talk. His warm, genteel, engaging demeanor, vast historical knowledge, and love of highballs are just the recipe for an art-starved public. You can also catch him on Wednesdays going around the world in “Travels with a Curator.”

“Art at a Time Like This,” curated by Barbara Pollack and Anne Verhallen. Curators Barbara Pollack and Anne Verhallen have been asking the question, “How can we think of art at a time like this?” since March 17, when they began exploring existing and/or new work by one specific artist a day, Monday through Friday, putting it in context of the Covid-19 crisis and, later, the George Floyd protests. Among the impressive list of participants are Ai Weiwei, Chitra Ganesh, William Kentridge, Petah Coyne, Dread Scott, Laurie Simmons, Mel Chin, Alfredo Jaar, and Mary Lucier. Pollack and Verhallen have also hosted weekly live, interactive Zoom discussions with many of the artists, examining fascinating aspects of the intersection of art and politics. Of course, their basic question focuses on painting, sculpture, video, and installation art, but it also relates to dance, music, theater, literature, film, television, and more. How can we think of any of this at a time like this? All of the above awardees, and everyone else who is creating art during a time like this, should be justly celebrated, not only for entertaining and educating us, but for shining a light on what the world may be like on the other side of this.



The Jpyce will stream Olivier Tarpaga’s Declassified Memory Fragment followed by a live Q&A on July 2

Who: Olivier Tarpaga, Eva Yaa Asantewaa, Aaron Mattocks
What: Online premiere of prerecorded dance work with live Q&A
Where: JoyceStream
When: Thursday, July 2, free (donations accepted), 7:00 (performance can be streamed through July 31)
Why: During the pandemic lockdown, the Joyce Theater Foundation has been presenting limited-run streams of previously recorded works by Trisha Brown Dance Company, Batsheva — The Young Ensemble, Malpaso Dance Company, Stephen Petronio Company, Ronald K. Brown/EVIDENCE, and others, accompanied by live Q&As. On July 2 at 7:00, JoyceStream will feature the online premiere of Olivier Tarpaga’s Declassified Memory Fragment, followed by a live Q&A; the piece will be available through July 31, while the Q&A will be added to the growing archive you can watch here. Declassified Memory Fragment was directed and choreographed by dancer, choreographer, Princeton professor, and musician Tarpaga, exploring power, history, political corruption, and culture clashes in Kenya, Ivory Coast, Zimbabwe, and, primarily, his native country, Burkina Faso.

Tarpaga designed the costumes and also appears in the production, along with Ousséni Dabaré, Aziz Dermé, Jérôme Kaboré, and Adonis Nébié. The music was conceived of and composed by Tarpaga and his band, Dafra Kura Band, and is played by Flatié Dembelé, Boubacar Djiga, Daouda Guindo, and Tarpaga; the lighting is by Cyril Givort, with sets by Face-O-Sceno, props by Sahab Koanda, and dramaturgy by Esther Baker-Tarpaga, Olivier’s wife, who runs the Baker & Tarpaga Dance Project with him. (Previous works by the company include Whiteness Revisited and When Birds Refused to Fly.) Olivier Tarpaga will take part in the Q&A with Gibney Dance editorial director and senior director of artist development and curation Eva Yaa Asantewaa and Joyce director of programming Aaron Mattocks.