Who: Julie Benko, Andréa Burns, Carolee Carmello, Nikki Renée Daniels, Laura Darrell, Ali Ewoldt, Marina Kondo, Emilie Kouatchou, Bryce Pinkham, Scarlett Strallen, Jessica Vosk, Sally Wilfert, more What:Tribute to Broadway favorite Rebecca Luker Where:Symphony Space, 2537 Broadway at Ninety-Fifth St. When: Monday, May 22, $35-$250, 8:00 Why: On May 10, 2018, Alabama-born Broadway star Rebecca Luker presented “Project Broadway: The Rebecca Luker Songbook” at Symphony Space, a concert featuring the world premiere of eighteen songs written specifically for her by such composers as Deborah Abramson, Sam Davis, Stephen Flaherty, Jenny Giering, Sheldon Harnick, Henry Krieger, Andrew Lippa, Matthew Sklar, and Joseph Thalken. The three-time Tony nominee (Show Boat,The Music Man,Mary Poppins) announced in 2020 that she had ALS, and she died on December 23 of that year, survived by her husband, Tony winner Danny Burstein, and his two sons.
On May 22, a wonderful collection of Broadway stars will honor Luker and the fifth anniversary of “The Rebecca Luker Songbook” when they gather at Symphony Space and debut twenty-four different songs written for Luker, by Carmel Dean, Scott Eyerly, Giering, Mike Heitzman and Ilene Reid, Krieger, Lippa, David Loud, Martin Lowe, Joshua Rosenblum, Sam Willmott, and others. (The project included more than eighty original numbers.) Among those performing will be Julie Benko, Andréa Burns, Carolee Carmello, Nikki Renée Daniels, Laura Darrell, Ali Ewoldt, Marina Kondo, Emilie Kouatchou, Bryce Pinkham, Scarlett Strallen, Jessica Vosk, and Sally Wilfert; Thalken will serve as music director, with Deborah Avery on clarinet, Katherine Cherbas on cello, Craig Magnano on guitar and ukulele, and Benny Koonyevsky on percussion. The concert will raise funds for Project ALS, which “identifies and funds the most promising scientific research that will lead to the first effective treatments and a cure for ALS. We recruit the world’s best scientists and doctors to work together — rationally and aggressively — to develop a better understanding of the ALS disease process and, in parallel, better therapeutic strategies.” Tickets range from $35 to $250; the concert, directed by producer Annette Jolles, will also be livestreamed for $35.
Ryan Dickie and Abigail Horton’s Blow Up My Life opens the 2023 Harlem Film Festival
THE 2023 HARLEM INTERNATIONAL FILM FESTIVAL
AMC Magic Johnson Harlem 9 Theatres, 2309 Frederick Douglass Blvd.
The Forum, 601 West 125th St.
Maysles Documentary Center, 343 Malcolm X Blvd.
May 18-28 harlemfilmfestival.org
The eighteenth edition of the Harlem International Film Festival kicks off May 18 with the New York premiere of Ryan Dickie and Abigail Horton’s Blow Up My Life, a pharmaceutical thriller starring Jason Selvig, Kara Young, Ben Horner, Davram Stiefler, and Reema Sampat, followed by a filmmaker Q&A and preceded by Eunice Levis’s InVade, a short that mixes undocumented immigration and environmental disaster. InVade is one of four films in the Harlem Spotlight section, along with Hans Augustave’s eight-minute I Held Him, with Brian Teague Williams, Alphonso Walker Jr., and Malik Yoba; Ryan Fenson-Hood’s twenty-one-minute The Obituary of Jasper James, about an unhoused man who moves into a mausoleum; and Patrick Heaphy’s feature-length documentary The Sacred Space Between Earth and Space, about Harlem Stage’s Afrofuturism series produced during the pandemic.
“This year we are celebrating over a century of Harlem Renaissance and Resilience with an amazing slate of films from the area,” HI program director Nasri Zacharia said in a statement. “Music runs throughout our schedule with amazing documentaries, very special honorees, culminating in a big day of music films and a special live performance. This film festival has always emphasized the idea of being a festival with exciting and entertaining events inspired by the films we screen, and this year really underlines that idea.”
Reggie Austin will perform live following NC Heikin’s Life & Life documentary about Austin’s experience in prison; other music docs look at bluesman James Cotton, jazz pianist Arturo O’Farrill, trumpeter Roy Hargrove, and double bassist Ron Carter, who will be honored with the Renaissance Award.
On May 20, Columbia University’s Forum presents free showings of Ashwin Chaudhary’s documentary Blind Eye Artist, about painter Justin Wadlington, whose art will be on display; Jenny Mackenzie’s documentary The Right to Read, about an NAACP activist, a teacher, and two American families dealing with literacy issues; and a special collection of Harlem shorts by local filmmakers.
Other in-person films include Tamika Miller’s Honor Student, David Bell and Mecca Medina’s #Brokeboi paired with William Alexander Runnels’s The Closet B!tch, Clayton P. Allis and Doug E. Doug’s In the Weeds with Doug in person, and Christina Kallas’s Paris Is in Harlem. In addition, STARZ will host the world premiere of the first two episodes of season two of Run the World, with stars Amber Stevens West, Bresha Webb, and Corbin Reid participating in a panel discussion after the Friday Night Spotlight screening. There will also be an extensive virtual section of the festival; keep watching this space for more information.
Beyond the Visible profiles the life and work of master abstractionist Hilma af Klint
BEYOND THE VISIBLE: HILMA AF KLINT (Halina Dyrschka, 2019)
Metrograph
7 Ludlow St. between Canal & Hester Sts.
Opens Friday, May 19 metrograph.com zeitgeistfilms.com
In 2013, a new hero burst onto the art scene, despite being dead for nearly seventy years. First came “Hilma af Klint — A Pioneer of Abstraction,” by all accounts an eye-opening show that toured Europe, followed five years later by the smash Guggenheim exhibit “Hilma af Klint: Paintings for the Future,” which propelled the extraordinary work of the Swedish abstractionist into the mainstream. I fondly remember making my way through the show, mouth agape at the many wonders I was seeing. German director Halina Dyrschka continues the celebration of this previously little-known painter in the documentary Beyond the Visible — Hilma af Klint, which is screening May 19-25 at Metrograph, with art historian Max Rosenberg, contributor to the book Hilma af Klint: Tree of Knowledge, on hand for an extended introduction to the 3:00 screening on May 21.
In her debut full-length film, Dyrschka digs deep into who af Klint was, what inspired her unique achievements, and why she had been overlooked until the 2010s. “Now we have a real scandal,” German art critic and af Klint biographer Julia Voss says. “Suddenly, more than fifty years after history was written, completely out of the blue, at least for the general public, we discover this woman who painted abstract works before Kandinsky, creating this huge oeuvre, fully independently, and by a kind of miracle it’s all stayed together. It’s like finding a time capsule in Sweden. And now we have to ask: How should we integrate it?”
Born in Stockholm in 1862, af Klint incorporated physics, mathematics, the natural world, and spiritualism into her paintings, abstract canvases that predated Wassily Kandinsky and Piet Mondrian, who both, like af Klint, died in 1944. She didn’t exhibit any of her work until 1906, and after that only sparingly. Upon her death, her estate was not permitted to show anything for twenty years; her first posthumous exhibition was held in LA in 1986.
“We are not here forever,” Dyrschka narrates early in the film. “So it is not at all astonishing that someone once wondered about what it means to be in the world and how everything fits together — and came up with a huge answer. The strange thing is I only found out about it more than one hundred years later. Art history has to be rewritten.” Among the others lobbying for af Klint’s ascension into the art canon are artists Josiah McEhleny and Monika von Rosen, novelist Anna Laestadius Larsson, art historians Ernst Peter Fischer and Anna Maria Bernitz, Eva-Lena Bengtsson of the Royal Academy of Fine Arts in Stockholm, collector Valeria Napoleone, and gallerist Ceri Hand, offering different perspectives of the value and legacy of her her work. Lending more personal insight are Ulla af Klint, the widow of Hilma’s nephew Erik (from a 2001 interview); Johan af Klint, Ulla’s son, who ran the Hilma af Klint Foundation, which oversees the artist’s 1,500 paintings and 26,000 pages in notebooks; and Marie Cassel and Brigitta Giertta, descendants of two of Hilma’s closest friends. Together they paint a compelling portrait of the iconoclastic af Klint, who filled her work with cutting-edge and fringe philosophy and science. But you don’t have to agree with her offbeat world view to fall in love with her gorgeous canvases, many of which are displayed in the film.
The extraordinary canvases of Swedish artist Hilma af Klint are on view in Beyond the Visible
Curator Iris Müller-Westermann explains, “Never in her lifetime did she put any of her abstract work on show. Hilma af Klint’s project was something much grander than what we today call ‘art.’ It was all about seeing the world we live in in a larger context, to understand who we really are in a cosmic perspective.”
Cinematographers Alicja Pahl and Luana Knipfer often let the camera linger on peaceful shots of water, flowers, the sky, and other natural elements that morph into Klint’s paintings and reenactments of af Klint working on a large-scale painting on the floor of her studio. Petra van der Voort reads excerpts from af Klint’s writings in voice-over, narrating from books that we can follow along with, zooming in on her penmanship, while Damian Scholl supplies a wide-ranging, eclectic score.
“She was well educated, she had a mind of her own, and she painted like nobody else,” Johan af Klint says. McElheny points out, “In order to tell the history of abstraction now, you have to rewrite it.” Beyond the Visible confirms that it’s time for a new history.
Jacolby Satterwhite’s An Eclectic Dance to the Music of Time is on view at Lincoln Center (photo by Nicholas Knight)
Who:Jacolby Satterwhite What:Public Art Fund Talk Where:The Cooper Union’s Frederick P. Rose Auditorium, 41 Cooper Sq., Third Ave. at Seventh St. When: Wednesday, April 26, free with advance RSVP for in-person or livestream, 6:30 Why: In a 2021 “Meet the Artist” interview with the Haus der Kunst museum in Munich, multimedia artist Jacolby Satterwhite explains, “The influences I draw on are from pop culture, politics, my family, my personal histories, queer theory, art history, postructuralism and design, gaming. It’s sort of like, you know, the simulacra of the universe.” Born in 1986 in Columbia, South Carolina, the New York–based Satterwhite’s latest installation is An Eclectic Dance to the Music of Time, on view on the fifty-foot-long Hauser Digital Wall in the Karen and Richard LeFrak Lobby in David Geffen Hall, home of the New York Philharmonic.
Commissioned by Lincoln Center for the Performing Arts in collaboration with the Studio Museum in Harlem and Public Art Fund, the nearly half-hour work explores the past, present, and future of Lincoln Center, featuring more than seventy-five dancers and more than fifty musicians from local performing art schools amid HD color video and 3D animation incorporating real-life figures, archival footage, trees, buildings, text, paintings, and photographs. On April 26 at 6:30, Satterwhite will be at the Cooper Union’s Frederick P. Rose Auditorium to discuss An Eclectic Dance to the Music of Time and place it within the context of his career as well as the arts community it celebrates. “I wanted to describe time and history through a vehicle of abstraction, using color, shape, landscape, horizontality, and movement as a way to kind of reorient the history in a way that it hasn’t been normally told,” he says in the above Lincoln Center video. You can hear more on April 26 either at the Cooper Union or via livestream, both free with advance RSVP.
ESTROGENIUS FESTIVAL: BAN(NED) TOGETHER
The Kraine Theater, 85 East Fourth St.
UNDER St. Marks, 94 St. Marks Pl.
Arts on Site, 12 St. Marks Pl.
721 Decatur Street Community Garden, Bushwick
March 15 – April 2, sliding scale $20 www.estrogenius.nyc
Since 2000, the EstroGenius Festival has been celebrating “the artistry of femme, nonbinary, nonconforming, and trans womxn artists.” The 2023 edition, presented by FRIGID New York and Manhattan Theatre Source, launches March 15 with “Funny Women of a Certain Age,” an evening of comedy with Amanda Cohen, Jessie Baade, Laura Patton, and Carole Montgomery. The festival, curated by maura nguyễn donohue, Melissa Riker, and John C. Robinson, kicks into high gear March 18 through April 2 with nearly two dozen productions taking place at the Kraine Theater, UNDER St. Marks, Arts on Site, and the 721 Decatur Street Community Garden in Bushwick, from concerts and plays to discussions and burlesque.
On March 19 at 3:30, Joya Powell and Pele Bauch team up for the open dialogue “Who We Are | Ban(ned) Together,” getting to the heart of this year’s theme: “Ban(ned) Together,” a response to the overturning of Roe v. Wade and the violence being committed against trans and femme bodies.
Claire Ayoub heads down memory lane in her solo show The GynoKid. Marina Celander shares the family-friendly story The Tale of An-Noor, incorporating dance and puppets. In the duet Develop(ing) Together: BEAR, c/s movement projects investigates balance, exhaustion, and tolerance. Molly Kirschner’s BiPolar Brunch brings together four characters seeking connection. Alt-folkers Brokeneck Girls perform songs from The Murder Ballad Musical.
“An Evening with Peterson, Savarino & Wells” features Muriel “Murri-Lynette” Peterson’s Black Enough, Kim Savarino’s Blue Bardo, and Portia Wells’s Inside Flesh Mountain, Part II. Anabella Lenzu examines herself as a woman, a mother, and an immigrant in Solo Voce: The Night You Stopped Acting. Hip-hop takes center stage with Yvonne Chow’s #Unapologetically Asian and an excerpt from Janice Tomlinson’s PRN. There are also works by sj swilley, Emily Fury Daly, Vanessa Goodman, Donna Costello, Kayla Engeman, Leslie Goshko, Soul Dance Co., and Petra Zanki, among many others.
F. Murray Abraham will discuss his long career at National Arts Club virtual event (photo courtesy HBO)
Who: F. Murray Abraham, John F. Andrews What:Virtual conversation Where:The National Arts Club online When: Tuesday, February 21, free with RSVP, 6:00 Why: At the 2010 National Arts Club gala, the Shakespeare Guild honored actor F. Murray Abraham with its Gielgud Award for Excellence in the Dramatic Arts, calling the Pittsburgh-born, El Paso–raised Syrian American actor “one of the most versatile artists of our time.” Among those celebrating him were Tom Hulce, Jerry Stiller, Anne Meara, Oskar Eustis, and Michael Feingold.
Over a six-decade career onstage and small and big screen, Abraham has accumulated one Oscar, two Obies, one Grammy nod, three Emmy nominations, and other accolades with stellar performances in Amadeus,Homeland,The White Lotus,Uncle Vanya,The Grand Budapest Hotel, and so many more productions. On February 21 at 6:00, the eighty-three-year-old Abraham, who lost his wife of sixty years, Kate Hannan, this past November, will discuss his long, wide-ranging career, in conversation with Shakespeare Guild president John F. Andrews. The special National Arts Club virtual event is free with advance RSVP here.
Samantha Soule and Daniel Talbott’s Midday Black Midnight Blue kicks off New Ohio Theatre’s seventh and final NYCITFF
NYC INDIE THEATRE FILM FESTIVAL
New Ohio Theatre
154 Christopher St.
February 16-19 in person, February 20-26 streaming, passes $35-$50, individual screenings $14-$20 newohiotheatre.org
There will be a melancholy cloud hovering over New Ohio Theatre’s seventh NYC Indie Theatre Film Festival (NYCITFF); this iteration will be its last, as founding artistic director Robert Lyons announced earlier this week that the company will cease operations at the end of the current season after thirty years of presenting experimental and cutting-edge theater and film.
“The decision is the result of a confluence of factors, including my intention to step down as artistic director, the shifting landscape and dynamics of the field, and increased financial pressures on the organization,” Lyons wrote in a statement. “The board and I believe theater organizations have their own natural life spans, and felt the time was right for New Ohio to step aside and make space for the next generation of theater-makers and producers. We believe this is an important moment for new ideas, new energy, and new models for the indie theater scene.”
The final NYCITFF takes place February 16-19 at New Ohio’s longtime home on Christopher St., with encore streamings of all films February 20-26. The festival consists of six features, thirty-four shorts in four programs (“Non-traditional Storytelling,” “Dating Drama,” “Everything Changes,” “Friendship Bonds”), two workshops (“Infinite Space: Making Theater in Virtual Reality” with Jocelyn Kuritsky, Alex Basco Koch, and Meghan Finn, and “Staging Film: Tricks of the Trade, Merging Stage and Film” with Kevin Laibson), and a reception and a happy hour.
The opening night selection on February 16 at 8:00 is Samantha Soule and Daniel Talbott’s Midday Black Midnight Blue, a drama set on Whidbey Island where a man (Chris Stack) is haunted by a lost love (Soule); the cast includes two-time Emmy winner Merritt Wever (Nurse Jackie,Godless) and off-Broadway favorite Dale Soules (I Remember Mama,The Capables). In-person screenings conclude February 19 at 4:00 with Rat Queen Theatre Co and Colt Coeur’s The Goddamn Looney Tunes, a multimedia musical about a teen punk band.
Director Reid Farrington gives instructions to Rafael Jordan on set of Mendacity (photo by Miguel Aviles)
The work that perhaps best encompasses the intersection of film and theater is Mendacity, which uses real political protests as a way into exploring lies through a production of Tennessee Williams’s Cat on a Hot Tin Roof at the Connelly Theater, starring Lindsey Graham as Maggie the Cat (Adam Patterson), the United States of America as Brick (Rafael Jordan), AOC as SisterWoman (Jennifer McClinton), Tr*mp as Big Daddy (Kevin R. Free), and Jared Kushner as Big Mama (assistant director Laura K Nicoll). When Brick tells Maggie, “I can’t be trusted anymore,” it takes on multiple meanings. Married director and editor Reid Farrington and writer Sara Farrington have been melding film and theater for more than fifteen years, in such original and complex shows as The Passion Project (Carl Th. Dreyer’s The Passion of Joan of Arc), Gin & “It” (Alfred Hitchcock’s Rope), and CasablancaBox (Michael Curtiz’s Casablanca), so Mendacity is a natural next step for them. (In addition, Sara Farrington’s Untitled Ukraine Project was part of New Ohio’s “Now in Process” earlier this month.)
