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


French pop icon Johnny Hallyday stars as an alternate version of himself in Jean-Philippe

French pop icon Johnny Hallyday stars as an alternate version of himself in Laurent Tuel’s Jean-Philippe

French Institute Alliance Française, Florence Gould Hall
55 East 59th St. between Madison & Park Aves.
Monday, January 22, $14, 7:30

On December 5, 2017, singer and actor Johnny Hallyday, known as the French Elvis, died of lung cancer at the age of seventy-four after eight years of serious health problems. “We all have a piece of Johnny Hallyday inside every one of us. The public today is in tears, and the whole country mourns,” President Emmanuel Macron said in a statement. More than a million people lined the streets of Paris for the funeral procession of the national hero, who sold more than one hundred million records and was married five times to four women. On January 22, FIAF will pay tribute to the motorcycle-loving Hallyday, born Jean-Philippe Smet, with the special program “An Evening Celebrating Johnny Hallyday.” The tribute begins with a screening of Laurent Tuel’s 2006 film, Jean-Philippe, in which the pop icon portrays a fictional version of himself, just a regular person, opposite Fabrice Luchini. The screening will be followed by a wine reception with live performances of some of the Chevalier of the Légion d’Honneur’s many hits.


winter restaurant week 2018

Who: More than three hundred and seventy-five restaurants throughout the city
What: Winter Restaurant Week
Where: All five boroughs
When: January 22 - February 9, three-course lunches $29, three-course dinners $42
Why: Reservation lines are now open for Winter Restaurant Week, in which hundreds of New York City eateries offer three-course prix-fixe lunches for $29 and dinners for $42. Some restaurants do only lunch or dinner, and others offer the deals only on weekdays. You can search by menu, notable chef, trending restaurants, and Open Table Diner’s Choice in addition to cuisine and location. Many of the prix-fixe menus are available online so you know just what you’re in for. Among the many restaurants are such favorites as Amada, Aureole, Bann, Barbetta, Blue Fin, the Breslin, Burke & Wills, Calle Ocho, Casa Lever, Charlie Palmer Steak, Cherche Midi, Chez Josephine, Darbar, DB Bistro Moderne, Docks Oyster Bar, Dos Caminos, Esca, Estiatorio Milos, Felice 64 & 83, Freud NYC, Gotham Bar & Grill, HanGawi, Haru, Hearth, i Trulli, Il Mulino, Indochine, Irvington, Lure Fishbar, Maxwell’s Chophouse, Mercer Kitchen, Molyvos, Monkey Bar, Morimoto NY, Momofuku Nishi, Nobu, Park Avenue Winter, Periyali, Quality Eats, the Red Cat, Rosa Mexicano, Rôtisserie Georgette, the Russian Tea Room, Shun Lee Palace, the Stanton Social, Strip House Speakeasy, Tao, Toloache, Tribeca Grill, Triomphe, Untitled, and Victor’s Cafe.


(photo by Mati Bardosh Gelman)

Counting Sheep re-creates the February 2014 Maidan revolution in Kiev with music and mayhem (photo by Mati Bardosh Gelman)

3LD Art and Technology Center
80 Greenwich St. at Rector St.
Through December 17, $20-$59.50

Theater doesn’t get much more immersive — or personally involving — than Mark and Marichka Marczyk’s Counting Sheep, a nonstop, exhilarating, highly emotional experience that puts you right in the middle of a re-creation of the stalwart Revolution of Dignity that took place in February 2014 in Kiev, as Ukrainians rose up against President Viktor Yanukovych’s corrupt, Russia-friendly, anti-EU policies. The international Occupy movement meets Les Miz in the multimedia production, continuing at 3LD through December 17. Ingeniously conceived by the Marcyzks, who met during the protests and fell in love, the seventy-five-minute interactive show invites the audience to participate as much as they’d like, from dining at a long, communal table with various characters to carrying banners, throwing (foam) bricks, singing songs, dancing, and building a barricade. It’s virtually all in Ukrainian, except for occasional facts, figures, and slogans projected onto the walls in English, but that won’t prevent you from understanding what the common people and revolutionaries are singing and saying as they battle the special police force known as the Berkut. The dedicated cast, wearing sheep masks, consists primarily of Toronto’s Lemon Bucket Orkestra (which refers to itself as “a guerilla-punk-balkan-folk-brass band”), featuring violinist Mark Marczyk, trombonists Eli Camilo and Nathan Dell-Vandenberg, darbouka player Jaash Singh, trumpeter Michael Louis Johnson, guitarist Alex Nahirny, percussionist Oskar Lambarri, singer Tamar Ilana, dancer and percussionist Stephania Woloshyn, cellist Volodymyr Bedzvin, and Natalia Telentso and George Rush. (Music director Marichka Marczyk was only recently replaced in the cast because she is in her third trimester.) The revolutionaries are played by Joshua Hopkins, Taylor Kozak, Matt McGill, Adam Munoz, and Danielle Ruth, with Dima Nechepurenko as the roving cameraman, his live shots often projected onto the walls, along with archival footage and actual television reports.

(photo by Mati Bardosh Gelman)

Cocreator Mark Marczyk surveys the damage done in immersive multimedia production at 3LD (photo by Mati Bardosh Gelman)

Don’t worry if you didn’t spring for the extra thirty bucks to sit at the table and eat the opening meal; the menu, from Veselka, includes fried pierogi, borscht, kasha, mushroom stroganoff, cucumber salad, rye bread, sliced pickles, sour cream, applesauce, and fried onions, but some of it is served later for free as sustenance is needed to keep the struggle going. The actors will not force you to do anything you don’t want to, but the more you get involved, the more you will get out of this breathtaking, breathlessly paced show, which is directed by Kevin Newbury and the Marczyks, with the ever-frantic set design and costumes by Vita Tzykun, lighting by Eric Southern, movement by Chloe Treat, fight direction by Joseph Travers, and video design by Greg Emetaz, immersing the audience in the carefully controlled chaos. Photography is allowed, but don’t get too caught up in capturing things on film and instead go full throttle with your participation, constructing lasting memories in your head and heart. Billed as an “Immersive Guerrilla Folk Opera,” Counting Sheep might ostensibly be about the Maidan revolution, but it could really be about any of the recent events in which the people stood up to the government, usually paying a high price. By the end, you’ll be exhausted and uplifted and might even break into tears. Finally, there is no program to give further information about the cast, crew, and show; instead, you’re left to venture into the good night, processing your own private experience of this unique and powerful creation. (The Lemon Bucket Orkestra will be celebrating the end of the New York run of Counting Sheep with a concert at 3LD on December 16 at 11:00 pm; tickets are $20.)


Le Theatre du Soleil performs A Room in India directed by Ariane Mnouchkine at the Park Avenue Armory on December 4, 2017.  A collective creation by the Théâtre du Soleil Directed by Ariane Mnouchkine Music by Jean-Jacques Lemêtre Together with Hélène Cixous With the exceptional participation of Kalaimamani Purisai Kannappa Sambandan Thambiran (photo by Stephanie Berger)

Hélène Cixous gives a tour-de-force performance in Théâtre du Soleil’s epic A Room in India at Park Ave. Armory (photo by Stephanie Berger)

Park Ave. Armory, Wade Thompson Drill Hall
643 Park Ave. at 67th St.
December 5-20, $45-$150

One of the true joys of experiencing anything at the Park Ave. Armory, from film and dance to music, theater, and art installations, is to see how the spectacle-driven institution has reinvented itself for its latest production. Kenneth Branagh and Rob Ashford’s Macbeth took place in a narrow stone-bounded pathway that turned to mud. Audience members were encouraged to walk around the space to fully immerse themselves in Shen Wei’s Undivided Divided. And visitors could have fun on large swings in Ann Hamilton’s The Event of a Thread. Ariane Mnouchkine and Théâtre du Soleil’s epic four-hour A Room in India, running through December 20, does not disappoint. Upon entering the armory, guests are wanded by the Great Police Security Brigade, guards wearing fanciful uniforms. In one of the period rooms, attendees who preordered dinner sit down for a buffet-style meal by chef Gaurav Anand of Moti Mahal Delux. (During intermission, free chaat, masala peanuts, wine, and water are served as well.) Inside the massive Wade Thompson Drill Hall, you’ll first come upon an open dressing room tucked under the seat risers, where you can talk to the performers as they are getting ready, applying makeup and getting into costume. To the left is a bookstore, while to the right is a carpeted and pillowed area where some of the actors prepare with vocal exercises about fifty minutes before showtime and which ticket holders are invited to watch. The long, deep set is on the east side of the hall; the audience seating rises on the west. Even the program is unique, a booklet packed with information, including inspirational quotes and excerpts from the main character’s journal. “It was as if we were refugees from history,” Cornélia writes. “All about our bedroom, the times had been unleased. We wondered what would become of us, we wondered what to call this, this chaos.”

A Room in India the Théâtre du Soleil (photo by Stephanie Berger)

Ariane Mnouchkine returns to the Park Ave. Armory with latest spectacle, A Room in India (photo by Stephanie Berger)

A Room in India is chaotic indeed, but wonderfully so, with a decidedly feminist take on the state of the planet, especially one lacking in legitimate, compassionate leadership. A theater company is in India for a performance when its leader suddenly has a manic episode and quits the troupe, leaving his assistant, Cornélia (Hélène Cixous), in charge, to her surprise and dismay. The entire play takes place in the same enormous room, in which the furniture is constantly being moved around and changed save for an ever-present bed, where Cornélia sleeps; it is often difficult to know which scenes are really happening and which are Cornélia’s (Freudian?) dreams and nightmares come alive, often spurred by telephone calls from the company’s administrator, Astrid (Thérèse Spirli). Mnouchkine, who was previously at the armory with Les Éphémères in 2009 as part of the Lincoln Center Festival, throws just about everything she can into the mix as she explores the responsibility that theater has both to inform and entertain, shining a light on society’s ills and thrills; among those making an appearance are Shakespeare (Maurice Durozier), King Lear (Seietsu Onochi) and Cordelia (Man-Waï Fok), Mahatma Gandhi (Samir Abdul Jabbar Saed), Anton Chekhov (Arman Saribekyan), the God Krishna (Palani Murugan), and Charlie Chaplin, along with bumbling police led by Lt. Ganesh-Ganesh (Omid Rawendah), local mobster S. S. Loganathan (Duccio Bellugi-Vannuccini), monkeys (Seear Kohi, Saribekyan) who can’t believe what evolution has wrought, a holy white cow (Ghulam Reza Rajabi or Saribekyan), a pimp (Rawendah), the Taliban, and rickshawallahs. Torture alternates with farce, including a riotous Terukkuttu scene of a film being made in the desert. Two sections from The Mahābhārata are presented. Meanwhile, Jean-Jacques Lemêtre’s entrancing music is played in a separate room stage left by Ya-Hui Liang and Marie-Jasmine Cocito. Mnouchkine — whose father, Alexandre, produced such films as Jean Cocteau’s L’Aigle à deux têtes, Jean-Jacques Annaud’s The Name of the Rose, Philippe de Broca’s L’Homme de Rio, and Claude Lelouch’s Un homme qui me plait — doesn’t seem to have an “off” switch; the show does not need to be four hours long, as there is repetition and various needless moments, but Cixous is so delightful as Cornélia, and the cast of thirty-five is having so much fun, that you might not really care that much about the shortcomings and instead just revel in the daring, exhilarating spirit of the superb production as a whole.


A Room in India

Ariane Mnouchkine and Théâtre du Soleil return to Park Ave. Armory with the epic A Room in India

Park Ave. Armory, Wade Thompson Drill Hall
643 Park Ave. at 67th St.
December 5-20, $45-$150

In 2009, Ariane Mnouchkine and Théâtre du Soleil staged the epic Les Éphémères at Park Ave. Armory as part of the Lincoln Center Festival, asking the question “What would you do if the end of the world were imminent?” Mnouchkine and her avant-garde collective now return to the armory with the North American premiere of their latest epic, A Room in India, exploring the question “What is the role of theater and art in a world dominated by terrorism and hostility?” Directed by Mnouchkine with music by Jean-Jacques Lemêtre and Hélène Cixous and featuring a cast of thirty-five actors from around the world, the spectacle, performed in French, English, Tamil, Arabic, Japanese, and Russian (with English supertitles), explores Eastern and Western traditions as a French theater company is stranded in India and chaos descends in the form of contemporary sociopolitical issues. The production is three hours and fifty-five minutes with one intermission; to get in the mood, the armory is offering a preshow Indian meal ($30; must be ordered at least two days in advance), by chef Gaurav Anand of Moti Mahal Delux, that includes Paneer Tikka Masala, Dal Tadka, and Aloo Dum, rice, bread, naan, Indian pastries, and beer, wine, and water. On December 8 at 6:00, Mnouchkine will participate in an artist talk with Tony Kushner and New Yorker editor David Remnick. In a letter about the show, Théâtre du Soleil stirs up curiosity with a playful conversation:

“So, you’re going to put on another play about India?”

“It won’t be about India but rather will take place in India. In a room in India. That’s even the title of the play.”

“Come again? What do you mean? What happens in an India that’s not India?”

“Visions, dreams, nightmares, apparitions, moments of panic, doubts, revelations. Anything and everything that might haunt the actors and technicians of a poor theater troupe desperately in search of resolutely contemporary, political theater, a troupe stranded there by deeply moving events beyond its control, just as they are beyond our control and move us, leaving us looking for a way to face them, a way to suffer through them without resigning ourselves to adding evil to Evil through our words and our deeds.”

“And so what?”

“For now, that’s it, which is already quite a lot.”


politics of food

Conference: NYIT, 1871 Broadway, $45 - $215, 8:00 am - 12:30 pm
Festival: Museum of American Finance, 48 Wall Street, $95 - $215, 6:00 - 9:00
Thursday, November 16

The Politics of Food will bring together more than 250 chefs, politicians, experts, and policy makers, examining the current state of nutrition in New York State and serving signature dishes. Held on November 16, the day begins at 8:00 in the morning at the New York Institute of Technology for a conference that includes the panel discussions “Future of food programs for NYC’s vulnerable communities,” with Barbara Turk, Donna M. Corrado, Margarette Purvis, and Joel Berg, “Legislating Nutrition and Sustainability,” with Charles Platkin, Elizabeth Balkan, Gale A. Brewer, and Kim Kessler, and “Food Dialogue with Farmers and Consumers: Common values? Common ground?” Richard Ball will deliver the keynote address, with closing remarks by Julia Turshen. The fun really begins at 6:00 at the Museum of American Finance for the Taste of Lower Manhattan Food Festival, hosted by Wylie Dufresne and boasting samples from chefs Jay Strauss, Jin Ruan, Joseph Mallol, Louis Goral, Mark Rosati, Matt Deliso, Nicolas “Nico” Abello, and Shaun Acosta and restaurants Amada, Benares, Blacktail at Pier A, Brushstroke, the Dead Rabbit, Blue Ribbon Federal Grill, Four Seasons Hotel New York Downtown, Harry’s Cafe and Steak, Harry & Ida’s Luncheonette, Jing Fong, L’Appart, Pier A Harbor House, Shake Shack, the Tuck Room, and Westville. Tickets for the conference are $45 and the food festival $95, with various VIP incentives at higher prices.


Tony Curtis dances with glee as he readies for Nitehawks A Nite to Dismember, which includes The Manitou

Tony Curtis dances with glee as he readies for Nitehawk’s “A Nite to Dismember,” which includes The Manitou

Nitehawk Cinema
136 Metropolitan Ave. between Berry St. & Wythe Ave.
Saturday, October 28, $65, 12 midnight to 6:00 am

Nitehawk Cinema’s fifth annual “A Nite to Dismember” is dedicated to horror films based on novels, including several bloody-strange choices that should get your blood flowing for Halloween. Running a mere 540 minutes, “A Nite to Dismember: The Haunted Library” begins at midnight with Roger Corman’s 1964 favorite The Masque of the Red Death, starring Vincent Price and Jane Asher, based on the Edgar Allan Poe book and the Poe short story “Hop Frog.” Batting second is James Whale’s seldom-screened The Old Dark House, based on J. B. Priestley’s Benighted and boasting the spectacular cast of Boris Karloff, Charles Laughton, Eva Moore, Gloria Stuart, Melvyn Douglas, and Raymond Massey. Next up is Hideo Nakata’s genuinely creepy and scary 1998 game changer, Ringu, based on the Kôji Suzuki book; the flick was followed by sequels and a decent Hollywood remake, but there’s nothing like the original. In the cleanup spot is Jennifer Kent’s 2014 sleeper hit, The Babadook, about a children’s pop-up book with some downright frightening elements. The all-night scares conclude with a very odd yet inspired selection, William Girdler’s 1978 The Manitou, based on Graham Masterton’s first novel and featuring Michael Ansara, Susan Strasberg, Burgess Meredith, and Tony Curtis in a supernatural tale about a neck tumor that turns out to be the rather unhappy title character. The evening will also include a new short film, a costume contest hosted by Jameson Caskmates, FG. Freaks candy from Eugene J., David Lynch Organic Coffee, a library of horror books curated by Sam Zimmerman, Kris King, and Caryn Coleman, trivia with prizes from Shudder and Out of Print, gift bags, and a free eggs-and-tater-tots breakfast if you make it all the way through.


A mother (Essie Davis) and her young son (Noah Wiseman) must get past terrible tragedy in The Babadook

THE BABADOOK (Jennifer Kent, 2014)

A sleeper hit at Sundance that was named Best First Film of 2014 by the New York Film Critics Circle, The Babadook is a frightening tale of a mother and her young son — and a suspicious, scary character called the Babadook — trapped in a terrifying situation. Expanded from her 2005 ten-minute short, Monster, writer-director Jennifer Kent’s debut feature focuses on the relationship between single mom Amelia (Essie Davis), who works as a nursing home aide, and her seemingly uncontrollable six-year-old son, Samuel (Noah Wiseman), who is constantly getting into trouble because he’s more than just a little strange. Sam was born the same day his father, Oskar (Ben Winspear), died, killed in a car accident while rushing Amelia to the hospital to give birth, resulting in Amelia harboring a deep resentment toward the boy, one that she is afraid to acknowledge. Meanwhile, Sam walks around with home-made weapons to protect his mother from a presence he says haunts them. One night Amelia reads Sam a book that suddenly appeared on the shelf, an odd pop-up book called Mister Babadook that threatens her. She tries to throw it away, but as Sam and the book keep reminding her, “You can’t get rid of the Babadook.” Soon the Babadook appears to take physical form, and Amelia must face her deepest, darkest fears if she wants she and Sam to survive.

Writer-director Jennifer Kent brings out classic horror tropes in her feature debut, the sleeper hit THE BABADOOK

Writer-director Jennifer Kent explores classic horror tropes in her feature debut, the sleeper hit The Babadook

The Babadook began life as a demonic children’s book designed by illustrator Alex Juhasz specifically for the film — and one that was available in a limited edition, although you might want to think twice before inviting the twisted tome into your house. The gripping film, shot by Polish cinematographer Radek Ladczuk in subdued German expressionist tones of black, gray, and white with bursts of other colors, evokes such classic horror fare as Stanley Kubrick’s The Shining, Roman Polanski’s Repulsion, and Edgar Allan Poe’s The Fall of the House of Usher, where place plays such a key role in the terror. The Babadook itself is a kind of warped combination of the villains from F. W. Murnau’s Nosferatu, Robert Wiene’s The Cabinet of Dr. Caligari, and Hideo Nakata’s Ringu. Kent, a former actress who studied at Australia’s National Institute of Dramatic Art with Davis, lets further influences show in the late-night television Amelia is obsessed with, which includes films by early French wizard Georges Méliès. But the real fear comes from something that many parents experience but are too ashamed or embarrassed to admit: that they might not actually love their child, despite trying their best to do so. At its tender heart, The Babadook is a story of a mother and son who must go through a kind of hell if they are going to get past the awful way they were brought together.