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


Boston Lyric Opera reimagines Philip Glass’s The Fall of the House of Usher for the virtual world (photo courtesy BLO)

Boston Lyric Opera /
Available on demand through June 30, $10 for seven-day stream
Live conversation March 3, free with RSVP, 8:00

As with theater and dance, opera has been developing a new life online during the pandemic lockdown. It’s not a replacement for what we had before, and will have after, but some companies have been spurred to creative leaps by the crisis, not merely to raise money and stay busy and relevant, but also to explore what it can look like for artists to work together over Zoom or in person only with those in their pod, in empty theaters, energized by this weird new world.

White Snake Projects’ Alice in the Pandemic reimagined the Lewis Carroll character going down a rabbit hole filled with deserted streets and crowded hospitals, incorporating 3-D animation. City Lyric Opera’s interactive Threepenny Opera asked the at-home audience to bring signs and participate in other ways. On Site Opera’s audio-only To My Distant Beloved took place over the phone, performed for one person at a time. Here Arts Center’s all decisions will be made by consensus was the first Zoom opera, streamed live over the growing platform. Jean-Luc Fafchamps’s Is this the end? found soprano Sarah Defrise playing a teenager on the run through the nooks and crannies of la Monnaie in Brussels, escaping from mysterious masked figures. And Marina Abramović explored operatic endings in her multimedia 7 Deaths of Maria Callas, streamed live in front of a masked, socially distanced audience at Bayerische Staatsoper in Munich.

Boston Lyric Opera has made a splash with its highly inventive virtual adaptation of Philip Glass’s 1988 opera, The Fall of the House of Usher, featuring a libretto by Arthur Yorinks based on the 1839 Edgar Allan Poe short story, which was also made into a popular horror film in 1960 by Roger Corman starring Vincent Price. BLO takes a unique approach in telling the tale of twins Roderick (Jesse Darden) and Madeline Usher (Chelsea Basler), who are visited by an old friend of Roderick’s, William (Daniel Belcher), who quickly notices that something is amiss in the mansion. Also on the scene are the Ushers’ servant (Jorgeandrés Camargo) and physician (Christon Carney).

Several distinct visual elements and contrasting narratives make up the opera, as director James Darrah, screenwriter Raúl Santos, and cinematographer Pablo Santiago cut between the Ushers’ impending demise, employing puppets and stop-motion animation, and the desperate journey undertaken by the mute Luna, a young Guatemalan girl attempting to enter the United States, told using hand-drawn charcoal drawings and cutouts. The ninety-minute work includes archival footage of danger, devastation, old television ads, recent news reports of ICE detention centers, and happy families while touching on issues of mental illness as seen both in the nineteenth century and today. The show is bookended by Sheila Vand as a Rod Serling–like host, welcoming us with “Good evening. Not what you expected? Well, there’s nothing to be scared of just yet.” The score was conducted by David Angus remotely; Annie Rabbat serves as concertmaster. Production designer Yuki Izumihara creates a spectacularly creepy atmosphere, with costumes and dolls by Camille Assaf and art direction by Yee Eun Nam.

Produced during the pandemic lockdown, The Fall of the House of Usher looks and sounds great, although the haunting story doesn’t always mesh together, leaving you occasionally scratching your head, and the final twist is likely to both delight and confound you. Perhaps some of your questions will be answered in the live Zoom community conversation taking place March 3 at 8:00. In addition, the interactive digital reading room complete with Easter eggs for a gamelike frisson and an essay on the company’s website expand the experience.


Times Square, HERE Arts Center, and online
January 8-16, free (except for Modulation, $25-$75)

During the pandemic lockdown, theater, dance, and music creators have had to reimagine what they do, transitioning to online works instead of in-person productions, at least temporarily but for longer than initially anticipated. That has given audiences access to plays, concerts, operas, movement pieces, and other live and prerecorded shows from around the world, allowing them to explore disciplines they might not have known much about before the coronavirus crisis. I’ve watched dozens of works by international and American companies that I’d never been able to see previously, and it has been a boon during this challenging time while venues are shuttered.

One January festival that might not have been on your radar is Prototype, an annual collection of experimental opera that usually takes place at such locations as Baruch Performing Arts Center, the Gerald W. Lynch Theater, the Joyce, BRIC House, FIAF, St. Ann’s Warehouse, and festival presenter HERE Arts Center. The ninth season, running January 8-16, has gone mostly virtual, and five of the six events are free, with two that require you to leave the confines of your apartment, one in Times Square, the other at HERE on Dominick St. Below is the full schedule, including live Q&As and discussions with the artists; be adventurous and check out one or more of these works to see what kind of innovation has been happening during quarantine.

January 8-16 (live event after January 8 show at 8:00, $75), $25
Modulation, featuring works by thirteen composers investigating isolation, identity, fear, and breath during the pandemic.

January 9-16 (live event January 12 at 5:00), free
Out of Bounds: Times3 (Times x Times x Times), by composer Pamela Z and theater artist Geoff Sobelle, site-specific sonic experience in and about Times Square.

January 9-16 (live event January 14 at 5:00), free
Ocean Body, multimedia presentation set in the waters of the Gulf Coast, composed and performed by Helga Davis and Shara Nova, directed and filmed by Mark DeChiazza, with embodied sculpture by Annica Cuppetelli, HERE Arts Center, advance RSVP required.

January 10-16 (live events January 10 at 8:00 & 9:00), free
The Planet — A Lament, staged song cycle and live dance about the creation of the world and impending environmental disaster, composed and performed by Septina Rosalina Layan, directed by Garin Nugroho, and choreographed by Joy Alpuerto Ritter, with Mazmur Chorale, Serraimere Boogie, Rianto, Heinbertho J. B. D. Koirewoa (Douglas), Pricillia EM Rumbiak (Elis), and Paul Amandus Dwaa (Becham).

January 10-16 (live events January 16 at 11:00 & noon), free
Wide Slumber for Lepidopterists, based on a rawlings’s book about sleep, dreams, moths, and butterflies, composed by Valgeir Sigurðsson, directed by Sara Martí, and choreographed by Valgerður Rúnarsdóttir, with text by a rawlings and animation and video art by Pierre-Alain Giraud.

January 10-16 (live events January 16 at 1:00 & 3:00), free
The Murder of Halit Yozgat, film about the assassination of Halit Yozgat in Germany in 2006, composed by Ben Frost and Petter Ekmann, directed by Frost, choreographed by Sasha Milavic Davies, with a libretto by Daniela Danz, and featuring Sabrina Ceesay, Mathias Max Herrmann, Nicolas Matthews, Tahnee Niboro, Gudrun Pelker, Yannick Spanier, and Hubert Zapiór.


EdgeCut and New York Live Arts offer new way to experience live events with other people

When I posted the first edition of the Pandemic Awards on July 4, I never expected that on January 1, 2021, we would still be at least six months away from opening venues for live, in-person entertainment. As I wrote then, it would be “the first of hopefully only two This Week in New York Pandemic Awards.” Well, here is the second round, with a third likely to come in July. Once again, there’s only one rule for eligibility: There must be a live facet to a performance — either the performance is happening at the minute one is watching onscreen or has an interactive element such as a live Q&A or live chatting.

We’ve come a long way since March, as creators have displayed remarkable ingenuity and forward thinking in coming up with innovative and exciting ways of developing virtual works, from dance, music, and art to theater, literature, and discussion, from all around the globe. Below is the best of the best, productions both big and small, that took the ball and ran with it. I can’t wait to see what will evolve over the next six months to keep us entertained online while we continue to shelter in place.

Happy 2021 to all!

The Line, written by Jessica Blank and Erik Jensen, directed by Blank, the Public Theater. Blank and Jensen’s Coal Country had to be postponed because of the lockdown, so they turned their attention to the health crisis, teaming again with the Public Theater to present a harrowing look at what New York healthcare workers were experiencing as Covid-19 raged through the city, with Santino Fontana, Alison Pill, John Ortiz, Arjun Gupta, Nicholas Pinnock, Lorraine Toussaint, and Jamey Sheridan speaking the real words of doctors, nurses, EMTs, and others on the front lines of this dread virus.

Woolly Mammoth Theatre Company, This Is Who I Am, written by Amir Nizar Zuabi, directed by Evren Odcikin. Amir Nizar Zuabi’s poignant livestreamed tale of an estranged father (Ramsey Faragallah) and son (Yousof Sultani) preparing a family dish together over Zoom is a warm and heartfelt look at loss, loneliness, and reconnection.

pen/man/ship, written by Christina Anderson, directed by Lucie Tiberghien, Molière in the Park. Brooklyn-based Molière in the Park went contemporary with Christina Anderson’s pen/man/ship, a smart, moving play that takes place in 1896 aboard a ship heading for Liberia shortly after the US Supreme Court decided in Plessy v. Ferguson to uphold the constitutionality of racial segregation under the concept of “separate but equal”; the solid cast features Crystal Lucas-Perry as Ruby, the only woman on board, Kevin Mambo as an unyielding minister named Charles, Jared McNeill as his son, Jacob, and Postell Pringle as Cecil, who is working on the ship, with interstitial animation by Emily Rawson, sea-shanty music by Victoria Deiorio, and green-screen set design by Lina Younes that mimic being on a real ship.

Crave, Chichester Festival Theatre. Chichester presented a stirring, socially distanced revival of Sarah Kane’s brutal Crave, happening in real time as a masked audience watched Tinuke Craig’s fierce adaptation that was the closest thing yet to capturing the feeling of live theater online.

The Flying Lovers of Vitebsk, written by Daniel Jamieson, directed by Emma Rice, recorded at the UK’s Bristol Old Vic Theatre. The virtual tour of the Bristol Old Vic, Kneehigh, and Wise Children’s beautifully staged adaptation of The Flying Lovers of Vitebsk, about the romance between painter Marc Chagall (Marc Antolin) and Bella Samoylovna Rosenfeld (Audrey Brisson) amid some very difficult situations in the world, made its way to Skirball, where viewers were treated to its lush look, outstanding acting, and compelling, intimately told story.

Ali Ahn and William Jackson Harper, Outside Time without Extension, written by Ben Beckley, directed by Vivienne Benesch, Red Bull Theater. A few minutes into Ben Beckley’s Outside Time without Extension, part of Red Bull’s Tenth Annual Short New Play Festival, Ali Ahn and William Jackson Harper joined together in the same Zoom box, the first time I saw two actors in the same space. It turns out that they are partners living together; they would later appear in Matt Schatz’s two-character play The Burdens as a Jewish brother and sister.

Joshua D. Reid, A Christmas Carol, directed by Michael Arden. As good as Jefferson Mays’s mostly one-man version of Charles Dickens’s A Christmas Carol looked, it sounded even better, immersing the audience in the more ghostly aspects of the story, including one moment that made my heart drop into my stomach.

Inside the Wild Heart, Group.BR. In Inside the Wild Heart, New York–Brazilian company Group.BR ingeniously used the digital platform to allow the audience to guide their avatar across various rooms and floors and interact with other viewers as they navigated through a recorded version of the multidisciplinary show about author Clarice Lispector and her writings.

Lilli Taylor tantalizes the audience during countdown to New Group reunion reading of Aunt Dan and Lemon

Lilli Taylor, Aunt Dan and Lemon, the New Group. The New Group’s reunion reading of Wallace Shawn’s Aunt Dan and Lemon begins with three minutes of narrator Lilli Taylor getting ready by calmly looking around and making all kinds of facial gestures during the countdown to the start of the play.

Edie Falco, The True, the New Group. Edie Falco gave a master class in Zoom acting as she re-created her role as the real-life Albany political mover and shaker Polly Noonan in Sharr White’s powerful play, alongside Michael McKean, Peter Scolari, John Pankow, and the rest of the original cast of this New Group production.

Mandy Patinkin, The Princess Bride. Mandy Patinkin was a hoot as the revenge-seeking swashbuckler Inigo Montoya in the reunion-reading benefit for the Democratic Party of Wisconsin, having trouble remaining in his Zoom box while joined by original costars Cary Elwes, Robin Wright, Carol Kane, Chris Sarandon, Wallace Shawn, and Billy Crystal, along with director Rob Reiner and Josh Gad as Fezziwig.

Read Subtitles Aloud, written by Onur Karaoglu and Kathryn Hamilton. Media Art Xploration and PlayCo teamed up for this thirteen-part series in which the viewer supplies half the dialogue, reading off the screen in response to the words spoken by the prerecorded actors onscreen.

LeeAnne Hutchison, Pigeon, written by Amy Berryman, directed by Amber Calderon, Eden Theater Company. LeeAnne Hutchison was mesmerizing as a conspiracy theorist dealing with the death of her husband from Covid-19 in Pigeon, one of Eden Theater Company’s “Bathroom Plays.”

Marsha Mason and Brian Cox, Dear Liar, Bucks County Playhouse. Marsha Mason and Brian Cox are deliciously wicked in Bucks County Playhouse’s Zoom reading of Jerome Kitty’s Dear Liar, about the longtime correspondence between George Bernard Shaw and actress Mrs. Patrick Campbell; Cox is so good as Shaw that even Mason has a ball watching him.

Brian Cox and family get involved in some playful high jinks in Melis Akers’s Fractio Panis for the Homebound Project

The Coxes, Fractio Panis, written by Melis Aker, directed by Tatiana Pandiani, Homebound Project 5: Homemade. Melis Aker’s Fractio Panis, part of the Homebound Project benefiting No Kid Hungry, took us inside the country home of Brian Cox, his wife, Nicole Ansari-Cox, and their children, Orson and Torin, as they have a ball baking bread and discussing rectal thermometers.

The Wolves, Philadelphia Theatre Company. Sarah DeLappe’s 2017 Pulitzer finalist The Wolves felt more empowering than ever in Philadelphia Theatre Company’s Zoom version, with a terrific cast of young women in uniform in front of a green-screened practice field as soccer became a metaphor for what ails us and what brings us together.

“The Great Work Begins,” amfAR. An amazing lineup performed moving scenes from Tony Kushner’s Angels in America AIDS epic, benefiting amfAR’s Fund to Fight Covid-19, with Andrew Rannells, Paul Dano, and Brian Tyree Smith as Prior Walter, Glenn Close as Roy Cohn, Jeremy O. Harris, Larry Ownes, and S. Epatha Merkerson as Belize, Laura Linney, Vella Lovell, and Lois Smith as Harper Pitt, and Daphne Rubin-Vega, Linda Emond, Nikki M. James, Patti LuPone, and Brandon Uranowitz in other parts, not in Zoom boxes but in well-designed backdrops.

Ralph Fiennes, Antony and Cleopatra, Act 4, Scene 14, Shakespeare Everywhere. Shakespeare has been just about everywhere during the pandemic, but no one got into the heart of the Bard as much as Ralph Fiennes did at Shakespeare Theatre Company’s Shakespeare Everywhere gala, where he chewed up all of the desert scenery in his prerecorded soliloquy from Antony and Cleopatra, the camera getting up close and personal with his grizzled face; Fiennes portrayed Antony opposite Sophie Okonedo’s Cleopatra at the National Theatre in 2018.

Patrick Page, RemarkaBULL Podversations, Red Bull Theater. Patrick Page delivers the “I hate the Moor” speech from Othello, then delves into the nature of the character, the play, and Shakespeare himself in an unforgettable discussion that will leave you exhausted and exhilarated.

Gore Vidal’s The Best Man, Tomorrow Tix. Discount ticket service Today Tix rebranded itself as Tomorrow Tix in streaming prerecorded Zoom versions of Broadway plays with all-star casts, including Morgan Freeman, John Malkovich, Zachary Quinto, Vanessa Williams, Stacy Keach, Rashad, Reed Birney, Robert Sella, and Katie Finneran for Gore Vidal’s play about a vicious election, but the wallpaper around the tall, vertical Zoom boxes garnered plenty of attention itself.

The Irish Rep, A Touch of the Poet, written by Eugene O’Neill, directed by Ciarán O’Reilly. The Irish Rep has been among the most innovative of theater companies during the lockdown, each successive filmed production getting closer and closer to the real thing, and in its revival of A Touch of the Poet, director Ciarán O’Reilly incorporates props, costumes, and photographs and video of Charlie Corcoran’s set to make it appear that the actors are in the same room, sometimes even seated at the same table, even though they are Zooming in from different locations.

Why Would I Dare: The Trial of Crystal Mason, directed by Tyler Thomas, Rattlestick Playwrights Theater. In Rattlestick’s Zoom staging of the transcript of the trial of Crystal Mason, an ex-con who was facing jail time for trying to vote in the 2016 election, Crystal Dickinson is electrifying as she and her lawyer (Shane McRae) battle with the judge (Peter Gerety) and the prosecutor (Peter Mark Kendall), but as gripping as the production is, it’s hard not to notice Dickinson’s six-year-old son playing in the background of the large living room where she is broadcasting from, a sign of better times to come.

Celine Song transports The Seagull to the Sims 4 for New York Theatre Workshop

The Seagull on the Sims 4, written and performed by Celine Song, New York Theatre Workshop. Playwright Celine Song busted down barriers with her spectacularly inventive adaptation of Anton Chekhov’s The Seagull, re-creating the classic work live on the simulation game “Play with Life: The Sims 4,” chatting with the audience and several other theater creators as she molded Irina, Konstantin, Nina, Trigorin, Medvendenko, and others from scratch using the digital platform and then placed them in a virtual world where they had free will.

“Here We Are,” Theatre for One. Theatre for One reinvented the solo show with “Here We Are,” a collection of eight microplays written by, starring, and directed by BIPOC women (except for one male actor), performed live for one person at a time, with their camera and audio on so each could see the other and, in some of the works, interact; a virtual lobby allowed attendees to communicate anonymously, as if in a real theater, waiting for the lights to go down and the show to begin.

The cast of The Amen Corner, “I’m Not Tired Yet,” and “Sonnet 69,” Biko’s Manna and Family, Shakespeare Everywhere. DC’s Shakespeare Theatre Company hosted one of the best gala fundraisers, including a pair of exciting musical performances, with the cast of The Amen Corner delivering a rousing Zoom version of “I’m Not Tired Yet” and Biko’s Manna and Family performing a lovely rendition of the Bard’s “Sonnet 69.”

The Flaming Lips, “Listen to Her Heart,” Tom Petty’s 70th Birthday Bash. Dozens of musicians sent in musical contributions to celebrate what would have been Tom Petty’s seventieth birthday, but it was the Flaming Lips’s herky-jerky take on “Listen to Her Heart” that warranted repeat viewing, in addition to Benmont Tench and Mike Campbell’s touching finale.

“Live Streaming at the Vanguard,” Village Vanguard. The legendary Village Vanguard began streaming live jazz concerts from its intimate stage, without an audience, with concerts by Ron Carter’s Golden Striker Trio, the Eric Reed Quartet, Joe Lovano’s Trio Fascination, and others.

The Threepenny Opera, City Lyric Opera. Audience members were sent advance instructions so they could take part in City Lyric Opera’s extremely fun virtual production of Kurt Weill and Bertolt Brecht’s opera for the people, with Justin Austin as Macheath, Philip Kalmanovitch as Mr. Peachum, Rachelle Pike as Mrs. Peachum, Sara LaFlamme as Polly Peachum, Michael Parham as Tiger Brown, Sara LeMesh as Lucy Brown, Shanelle Valerie Woods as Jenny, and Kameron Ghanavati as Filch, with live and prerecorded scenes ingeniously staged at HERE Arts Center in individual rooms and boxes terrifically lit by Karina Hyland and designed by Anna Driftmier.

Is This the End? Part One: Dead Little Girl, libretto by Éric Brucher, music and lyrics by Jean-Luc Fafchamps, directed by Ingrid Von Wantoch Rekowski, La Monnaie. FIAF streamed Jean-Luc Fafchamps’s frantic “New Pop Requiem,” Is This the End? from the Brussels company La Monnaie, in which Sarah Defrise plays a teenager on the run through La Monnaie’s labyrinthine buildings, with Amaury Massion as the man and Albane Carrère as the woman in a futuristic nightmare scenario.

The virtual opera Alice in the Pandemic takes place down an alternate New York City rabbit hole

Alice in the Pandemic, libretto by Cerise Lim Jacobs, music by Jorge Sosa, art by Anna Campbell, White Snake Projects. Boston’s White Snake Projects incorporated cutting-edge digital animation in its livestreamed production of the one-act opera Alice in the Pandemic, as the title character (Carami Hilaire) traverses a lonely city in search of her ill mother (Eve Gigliotti) with the help of the White Rabbit (Daniel Moody).

Only You Will Recognize the Signal, libretto by Rob Handel, music by Kamala Sankaram, directed by Kristin Marting, video design by David Bengali, virtual stage design by Liminal, HERE Arts Center. HERE’s seven-part, seventy-minute space opera, Only You Will Recognize the Signal, will shake you out of your therapeutic hypothermia and blast you off into another dimension, where a cast of pseudo-astronauts and a humanlike AI system (Paul An, Christopher Burchett, Hai-Ting Chinn, Adrienne Danrich, Joy Jan Jones, Joan La Barbara, Jorell Williams) share their fears amid kaleidoscopic imagery, melting wallpaper, video of Cambodia and NYC, high- and low-tech computer graphics, and a fab score.

Speaking Truth to Power / Egmont, Orpheus Chamber Orchestra. Orpheus Chamber Orchestra went to the Beechwood Park bandshell in New Jersey to perform a socially distanced version of Beethoven’s Egmont, Op. 84, with a new English translation by Philip Boehm, featuring soprano and activist Karen Slack and narration by Liev Schreiber.

Marina Abramović, 7 Deaths of Maria Callas, Bayerische Staatsoper. Performance artist Marina Abramović died seven times as she reenacted death scenes from seven operas in which Maria Callas had played the lead, accompanied by dancers onstage in masks and Willem Dafoe onscreen.

Michael Wall, Brown Eyes, BalletX, Works & Process at the Guggenheim. Penny Saunders’s haunting black-and-white Brown Eyes, danced by Andrea Yorita and Zachary Kapeluck, among the first pandemic pieces to feature dancers touching each other, is set to Michael Wall’s propulsive percussive score that features ventilator-like breathing and a constant knocking that evokes a clock running out of time.

Rooms, Sokolow Theatre/Dance Ensemble. The New York–based Sokolow Theatre/Dance Ensemble was preparing to present Anna Sokolow’s 1955 Rooms when the pandemic hit, so it adapted the forty-five-minute work, with such aptly titled sections as “Alone,” “Escape,” “Going,” “Desire,” and “Panic,” for online viewing, with dancers filming themselves from wherever they were sheltering in place, both indoors and outdoors, set to Kenyon Hopkins’s groovy jazz score.

Alvin Ailey American Dance Theater, Revelations Reimagined. For its winter virtual season, Alvin Ailey presented an exuberant sixtieth anniversary outdoor version of its signature masterpiece, retitled Revelations Reimagined, weaving together old footage with new scenes shot at Wave Hill, directed by Preston Miller.

Sara Mearns appears in triplicate in L.A. Dance Project work

Sara Mearns, Sonata for Saras, choreographed by Janie Taylor. New York City Ballet principal dancer Sara Mearns has been a star during the pandemic, appearing in Joshua Bergasse’s Storm for Works & Process at the Guggenheim, Molissa Fenley’s State of Darkness for the Joyce, and Justin Peck’s Thank You, New York for NYCB’s Festival of New Choreography, but in Janie Taylor’s Sonata for Saras for LA Dance Project, we get three versions of Mearns, in a cute, short red dress, dancing together against a white background, flipping her long hair for six delightful minutes.

Molissa Fenley, State of Darkness, JoyceStream. Molissa Fenley revisited her 1994 epic solo, State of Darkness, for the Joyce, where it was performed by Jared Brown, Lloyd Knight, Sara Mearns, Shamel Pitts, Annique Roberts, Cassandra Trenary, Michael Trusnovec, and Peter Boal, displaying how the same choreographic movements are interpreted by difference dancers.

Continuous Replay / Come Together, Bill T. Jones / Arnie Zane Dance Company, New York Live Arts. Bill T. Jones reimagines his partner Arnie Zane’s Continuous Replay in a glorious reinvention featuring a large, wide-ranging cast spanning four decades and four continents performing in Zoom boxes that video editor Janet Wong turns into a futuristic digital architectural landscape in constant motion.

Untitled (perfect human), Danspace Project. Dean Moss’s Untitled (perfect human) offered a kaleidoscopic, nearly scientific exploration of the human body, inspired by Jørgen Leth’s 1967 The Perfect Human, while commenting on our epic loneliness.

“’s okay too. Feel,” Hope Boykin, BalletX, Works & Process at the Guggenheim. Savannah Green and Ashley Simpson dance separately in Hope Boykin’s “’s okay too. Feel,” which includes poetic narration wondering what comes next for all of us.

Yoann Bourgeois, I wonder where the dreams I don’t remember go, Nederlands Dans Theater. Streamed live from NDT’s Zuiderstrandtheater in front of a limited audience, Yoann Bourgeois’s I wonder where the dreams I don’t remember go is a mesmerizing, meditative, awe-inspiring, gravity-defying piece about identity and personal relationships that uniquely captures the emotional and physical ups and downs of life during this age of Covid-19 and quarantine.

iyouuswe II, White Wave Dance. Young Soon Kim took her company’s name literally for iyouuswe II, a short dance film with Mark Willis, Katie Garcia, and Joan Rodriguez in the water and on the sand at Jones Beach, with music by Greg Haines and cinematography by Alexander Sargent.

The Love Space, the New Harmony Project. Gabrielle Hamilton, Janae Snyder-Stewart, Zaire Michel, and Jamal Josef join hands in Jace’s The Love Space, with text by Mfoniso Udofia and choreography by Josef, part of the New Harmony Project’s digital Sunrise Gallery series.

“Event2 for Jasper Johns,” Whitney Museum of American Art. Seventy former members of the Merce Cunningham Dance Company celebrated the ninetieth birthday of artist and Cunningham friend and collaborator Jasper Johns with excerpts from more than three dozen Cunningham works, filmed by the dancers at lovely outdoor locations, hitting the bull’s-eye.

Lee Mingwei and Bill T. Jones, Our Labyrinth, Metropolitan Museum of Art. Taiwanese-American contemporary artist Lee Mingwei and American choreographer, director, dancer, and activist Bill T. Jones collaborated on Our Labyrinth, a trio of four-plus-hour meditative, hypnotic performances recorded at the Met’s Great Hall consisting of a dancer sweeping a sand labyrinth and a vocalist, including one iteration with the indefatigable Sara Mearns and Alicia Hall Moran.

A Jam Session for Troubling Times, choreographed by Jamar Roberts, music by Charlie Parker and Dizzy Gillespie, narration by Max Roach, directed by Emily Kikta and Peter Walker, Alvin Ailey American Dance Theater. Jamar Roberts’s Cooped was the most explosive, fierce five minutes of dance of the first part of the pandemic; his twelve-minute Jam Session for Troubling Times, which premiered at AAADT’s virtual winter season and features seven dancers reveling in newfound freedom — even though they never touch one another — is a celebration of the nightclub scene of the 1940s and ’50s and the glorious sounds of Charlie Parker and Dizzy Gillespie, at a time when New Yorkers are still wondering when they’ll be allowed back in jazz and other music venues.

The Gaze: No_Homo. Larry Powell’s twelve-part series follows the fictional Evergreen Theatre Festival as young actor Jerome Price (Galen J. Williams) fights for his personal beliefs and battles institutional racism with director Miranda Cryer (Sharon Lawrence); TC Carson stands out as the wise and experienced Buddy DuBois.

Jordan E. Cooper, Mama Got a Cough. Jordan E. Cooper’s laugh-out-loud hysterical Zoom call was actually posted in the first half of the year, but I only saw it recently and so am including it here, the funniest sketch I saw in 2020, with Amber Chardae Robinson, Brittany Inge, Da’Vine Joy Randolph, Dewayne Perkins, Juanita Jennings, Marcel Spears, and Danielle Brooks meeting up online to discuss the health of the family matriarch.

Woolly Mammoth, Telephonic Literary Union’s Human Resources. Woolly Mammoth takes listeners down an audio rabbit hole in Human Resources, a choose-your-own-adventure play on the telephone, offering the chance to acquire the super-secret happiness access code.

Marilu Henner, Taxi, Stars in the House. While it was great to watch Juddy Hirsch, Danny DeVito, Carol Kane, and Christopher Lloyd reminisce about their Taxi days, it was Marilu Henner, who played Elaine Nardo in the 1977-83 hit sitcom, who stole the show, not only for looking a generation younger than the other actors but for displaying an unbelievable level of recall for names, dates, places, and dialogue because of her highly superior autobiographical memory, a rare condition that only about a hundred people in the world have.

Reunited Apart, The Karate Kid and Cobra Kai. Josh Gad keeps serving up fun cast reunions for his Reunited Apart series, including a dual reunion of the stars of the 1984-94 Karate Kid movie franchise and the actors of the current YouTube/Netflix sequel, Cobra Kai, which brings back Ralph Macchio, William Zabka, and others.

Eugene Levy, Newport Beach Film Festival. When Eugene Levy was presented with the Lifetime Achievement Award at the virtual 2020 Newport Beach Film Festival, he was surprised with Zoom tributes from Martin Short, Andrea Martin, Steve Martin, Jason Biggs, and his entire Schitt’s Creek family, resulting in lots of tears and laughter.

The cast of Fast Times at Ridgemont High, CORE. The all-star cast assembled for a live table read of Amy Heckerling’s 1982 fave Fast Times at Ridgemont High — including Brad Pitt, Morgan Freeman, Jennifer Aniston, Ray Liotta, Jimmy Kimmel, Julia Roberts, John Legend, Dance Cook, Matthew McConaughey, and Sean Penn not as Spicoli — was having an absolute blast watching their fellow actors as they made their way through the script, especially Shia Lebeouf as Spicoli in this fundraiser for CORE’s COVID-19 relief efforts.

Raja Feather Kelly, Any Given Wednesday, New York Live Arts. Half the fun of watching director and choreographer Raja Feather Kelly’s sneak peak at his upcoming documentary, Any Given Wednesday, about the making of his show Wednesday, a unique take on Sidney Lumet’s Dog Day Afternoon, was following the live chat, in which Kelly excitedly interacted with friends, collaborators, and just plain audience members, sharing insight into his thought process while having a grand old time.

Baldwin vs. Buckley, BRIC. BRIC restaged the famous February 1965 debate between James Baldwin (Teagle F. Bougere) and William F. Buckley (Eric T. Miller) at Cambridge, which asked the question “Is the American Dream at the expense of the American Negro?,” an inquiry that feels just as relevant today as it did then.

The Commissary, “Lessons in Survival,” Vineyard Theatre. A group named the Commissary, with such actors and directors as Marin Ireland, Peter Mark Kendall, Tyler Thomas, and Reggie D. White, re-created important speeches and interviews involving such Black creators and leaders as James Baldwin, Nina Simone, Angela Davis, Maya Angelou, Nikki Giovanni, Bobby Seale, Muhammad Ali, and others, but as striking as those reenactments were, it was their open live rehearsals that were revelatory, regarding not only the works to be performed but the genuine, infectious pleasure they were experiencing in being able to collaborate with others during the pandemic.

Paul Giamatti, “Bartleby, the Scrivener,” by Herman Melville. Emmy-winning, Oscar-nominated actor Paul Giamatti gives a wonderfully spry reading of Herman Melville’s classic story, “Bartleby, the Scrivener,” along with an in-depth analysis of the tale and the author with scholar Andrew Delbanco.

Theater in Quarantine, Footnote for the End of Time. Joshua William Gelb’s endlessly creative use of his closet continued with this retelling of Jorge Luis Borges’s short story “The Secret Miracle,” in which Gelb narrated the tale of Jewish writer Jaromir Hladik as the Nazis take over Prague, with live black on white and red drawing by Jesse Gelaznik, music by Alex Weston (performed by Rob Walker on clarinet, Alex Weill on violin, Susan Mandel on cello, and Weston on piano) inspired by Olivier Messiaen’s Quartet for the End of Time, and movement by Katie Rose McLaughlin, directed by Jonathan Levin

Theater of War, “Poetry for the Pandemic.” Theater of War moved away from its virtual readings of classic works to bring together established poets and National Student Poets for an evening of readings in which each young poet read a piece by an older poet and vice versa, with both onscreen to watch and listen, along with contributions from Bill Murray and Tracie Thoms, followed by a discussion.

The Baptism, written and performed by Carl Hancock Rux, directed by Carrie Mae Weems. Commissioned by Lincoln Center, Carl Hancock Rux’s tribute to John Lewis and C. T. Vivian, a sharecropper’s son and the boy from Boonville, features lush videography of scenes from nature by Herman Jean-Noel, James Wang, and Ermanno de Biagi, music by Brian Eno, and such text as “The lifeblood of transition, one city to the next city, story upon story, house upon house, our wanting always cleaning the air, nourishing the soil of insistence. Every being is a building with music — grace upon grace upon grace.”

Chuck Palahniuk, The Invention of Sound, Garden District Book Shop. New Orleans’s Garden District Book Shop had difficulty getting Chuck Palahniuk to join the Zoom launch for his latest novel, The Invention of Sound, so the first try turned into a gossipfest with fans talking amongst themselves, displaying singed copies, treats won at the author’s famed in-person events, and Chuck tattoos; the rescheduled evening was a fascinating journey inside the mind of Palahniuk, who has also written such books as Fight Club and Invisible Monsters.

“Frick on the Move,” the Frick. In addition to appearances by Rosanne Cash, Maira Kalman, Nico Muhly, Aimee Ng, Simon Schama, and others, the Frick’s virtual gala was highlighted by a new edition of “Cocktails with a Curator” with Xavier F. Salomon and a sneak peek behind the scenes of the Frick Madison with director Ian Wardropper.

Yoshiko Chuma, Love Story, the School of Hard Knocks, La MaMa Experimental Theatre Club. Yoshiko Chuma celebrated the fortieth anniversary of her collective with an extraordinary live, twenty-four-hour virtual presentation incorporating dance, film, discussion, music, art, and just about anything else you could think of.

Unfinished Live. Host Baratunde Thurston led audiences through unique explorations of “Economy & Justice,” “Democracy & Voice,” “Technology & Humanity,” and “Questions, Culture & Change,” with contributions from Abigail Disney, Julián Castro, Yo-Yo Ma, Carrie Mae Weems, Hank Willis Thomas, Alfredo Jaar, Andrew Yang, Nadya Tolokonnikova, Lynn Hershman Leeson, Alicia Garza, Hans Ulrich Obrist, Anna Deavere Smith, Bruce Springsteen, and others, along with a live, interactive chat.

“EdgeCut,” New York Live Arts. In “Captivity” and “Sanity,” EdgeCut used the Nowhere platform, placing each attendee in an oval pod they steer through fantastical landscapes to watch short presentations (dance, art installations, experimental technology demos, music videos) and talk to other viewers and the creators themselves; I’ve tried just about every form of online entertainment while we’re all sheltering in place and arts venues are closed, and nothing else comes close to this one, even given various hiccups that require patience.


Katelyn Halpern and Paul Pinto’s Living Room video is part of “EdgeCut: Sanity”

Who: Malena Dayen, Karen Lancel & Hermen Maat, Caitlin & Misha, Katelyn Halpern, Paul Pinto, divinebrick, Chris SooHoo
What: 3D live, interactive experience
Where: New York Live Arts
When: Saturday, December 5, $7-$15, 1:00 - 4:00
Why: On October 10, EdgeCut introduced us to the remarkable NowHere platform for the first part of its collaboration with New York Live Arts, “Captivity,” five hours of short performance works, discussions, and networking in which audience members navigated through different levels in order to watch livestreamed events in little pods and hang out with curators, creators, and other visitors in their pods. You could steer through fantastical landscapes, float in space, and pull up next to another pod and talk about where you’d been so far or where you were off to next, with cameras on so your face is visible on the front of your pod. I’ve tried just about every form of online entertainment while we’re all sheltering in place and arts venues are closed, and nothing else comes close to this one, even given various hiccups that require patience.

The second iteration, “Sanity,” takes place December 5 from 1:00 to 4:00, a more manageable three hours that will feature four unique rooms. In the Growth Room, you can catch director and singer Malena Dayen's opera While You Are with Me and the bright and colorful Living Room music video of dancing television heads by multidisciplinary artists Katelyn Halpern and Paul Pinto; in the Worry Room, you can let out steam with Caitlin & Misha’s Infinite Worries Bash, a participatory installation of electroacoustic piñatas that inquires, “Can the destruction of these interactive worry vessels create space for clarity?”; in the Transformation Room, you can meditate to divinebrick and Chris Soohoo’s Performance Prayer; and in the Kissing Room, you can share private moments courtesy of intimacy agents Karen Lancel and Hermen Maat, who ask, “Can we measure a kiss and what kissers feel together?”

Intimacy agents Karen Lancel and Hermen Maat explore what online kissing is like at “EdgeCut: Sanity”

Curated by Heidi Boisvert and Kat Mustatea, the EdgeCut program, which originally convened at the New Museum’s NEW INC incubator for art, tech, and design for in-person presentations, is now seeking to expand and redefine the virtual 3D experience during the pandemic lockdown, exploring the question “How do we create collective experience and transformative gatherings in this moment of ‘a crisis within a crisis’ that speak to transition, change, healing, humanity?” The works were chosen through an open call; the finale of the trilogy, “Humanity,” is scheduled for February 13, 2021. Tickets range from $7 per room to $15 for the full experience, which has to be seen to be believed.


City Lyric Opera reinvents Brecht and Weill’s Threepenny Opera for online viewing and participation

Who: Sara LaFlamme, Sara LeMesh, Michael Parham, Rachelle Pike, Gretchen Pille, Mary Rice, Thomas Walters, Shane Brown, Geddy Warner, Shanelle Valerie Woods, the Curiosity Cabinet
What: Live virtual two-part performances
Where: City Lyric Opera Zoom
When: Thursday - Sunday, October 29 - November 15, viewing $12, live audience with toolkit $24, 8:00
Why: In Die Dreigroschenoper, or The Threepenny Opera, one of composer Kurt Weill’s goals in his collaboration with Bertolt Brecht was to bring opera, primarily an art form enjoyed through the centuries by the wealthy, snobbish elite and royalty, to the common people, making the story and music accessible and the production affordable. During the pandemic, technological online innovation has accomplished just that organically, with such shows as White Snake Projects’ excellent Alice in the Pandemic, which sent the protagonist, an ER nurse, down the rabbit hole in search of her coronavirus-infected mother, journeying through an animated video-game-like dark and empty wonderland, with the singers performing live (October 23-27, free); Orpheus Chamber Orchestra’s version of Beethoven’s Egmont, with the masked, socially distanced musicians playing in a New Jersey bandshell, accompanied by narrator Liev Schreiber and soprano Karen Slack (October 17-22, $15); Here Arts Center’s Zoom opera for all decisions will be made by consensus, a short work broadcast live on Facebook and Zoom about a Zoom meeting (April 24-26, free); and On Site Opera’s To My Distant Love, an adaptation of Beethoven’s six-song cycle, An die ferne Geliebte, delivered via email and cell phone (June - August, $40). Meanwhile, the Met, which will be closed through at least next summer, has been streaming more than 150 video and audio recordings of performances dating back to the 1950s (initially free, now $4.99 each or $14.99 monthly).

So it makes sense that City Lyric Opera (CLO), founded in 2016 by Megan Gillis and Kathleen Spencer to “provide a one-of-a-kind experience for audience members by welcoming them to the operatic art form without judgment, expectation, or financial burden,” is taking on The Threepenny Opera itself. “With the Dreigroschenoper we reach a public which either did not know us at all or thought us incapable of captivating listeners,” Weill explained way back when. “Opera was founded as an aristocratic form of art. If the framework of opera is unable to withstand the impact of the age, then this framework must be destroyed.” Weill and German playwright and librettist Brecht adapted John Gay’s 1728 The Beggar’s Opera, translated by Elisabeth Hauptmann, Brecht’s lover at the time, adding several songs based on works by fifteenth-century French poet and thief François Villon. The work, set during the Victorian era, premiered in Berlin in 1928; it was a Broadway failure in 1933, in a translation by Jerrold Krimsky and Gifford Cochran. However, Marc Blitzstein’s 1952-54 English translation became a hit and is the version we know today, and the one that will be used by CLO, which was scheduled to stage a full, in-person production this season. It has now been reimagined for the internet, being livestreamed in two back-to-back parts, Thursday to Sunday from October 29 to November 15. Tickets are $12 to watch and $24 with a live, interactive toolkit that incorporates the audience into the narrative. (Glow sticks, anyone?) The piece was developed at Here Arts Center, where director Attilio Rigotti and scenographer Anna Driftmier worked with the cast socially distanced in separate Covid performance boxes, each with its own design and lighting.

The company features baritone Justin Austin as Macheath, tenor Kameron Ghanavati as Filch/Smith/Ensemble, baritone Philip Kalmanovitch as Mr. Peachum, soprano Sara LaFlamme as Polly Peachum, soprano Sara LeMesh as Lucy Brown, baritone Michael Parham as Jackie “Tiger” Brown, mezzo-soprano Rachelle Pike as Mrs. Peachum, soprano Gretchen Pille as Dolly, mezzo-soprano Mary Rice as Bob/Berry, tenor Thomas Walters as Jake, baritone Shane Brown as Walt, tenor Geddy Warner as Matt, and mezzo-soprano Shanelle Valerie Woods as Jenny. The conductor and music director is Whitney George, leading the Curiosity Cabinet: Jared Newlen (reed I: clarinet, alto sax), Ben Solis (reed II: clarinet, alto sax), Hugh Ash (trumpet I), Clyde Dale (trumpet II), David Whitwell (trombone), Markus Kaitila (piano/celeste/harmonium), Joe Tucker (timpani, percussion), and Justin Rothberg (banjo, guitar). With its bitingly satirical view of capitalism and societal norms, The Threepenny Opera should feel right at home online in 2020, as we are all sheltering in place, in the midst of health and economic crises and a contentious presidential election where decency, humanity, wealth inequality, health care, and the social contract are on the ballot.

dwb (driving while black)

Baruch Performing Arts Center and Opera Omaha will present virtual chamber opera dwb (driving while black) beginning October 23

Who: Roberta Gumbel, Susan Kander, Chip Miller, New Morse Code (Hannah Collins, Michael Compitello), J. T Roane, Erica Richardson, Teona Pagan, Yael Meegan
What: Virtual opera
Where: Baruch College online
When: October 23, 9:00 am - October 29, 10:00 pm, free with RSVP (donations accepted); live discussion Thursday, October 29, free with RSVP, 6:00

“Mobility is essential to freedom,” historian Gretchen Sorin says in Ric Burns’s new PBS documentary, Driving While Black, based on her book Driving While Black: African American Travel and the Road to Civil Rights. “It allows us to understand the way that African Americans have moved forward in this country and the way that African Americans have been pushed back.” The phrase “driving while black” is a loaded one that white Americans will never fully understand; they don’t have to have “the talk” with their children about what to do when stopped by a police officer. Baruch Performing Arts Center and Opera Omaha have teamed up to explore the issue in the virtual chamber opera dwb (driving while black), streaming for free October 23-29. Previously presented in a 2019 concert version, dwb has been reimagined for the internet, featuring a libretto by soprano Roberta Gumbel and music by Susan Kander; the fifty-minute piece is directed by Chip Miller and is performed by Gumbel and New Morse Code, the duo of cellist Hannah Collins and percussionist Michael Compitello, with videography by Four/Ten Media and audio by Ryan Streber and Oktaven Studios.

“This March was to have been the New York premiere of dwb (driving while black) at Baruch Performing Arts Center,” BPAC director Ted Altschuler said in a statement. “It is a musical provocation to engage with the essential conversation of our day: racial justice. Live performances are paused for the moment, but the need for learning and dialogue is not. Given the brevity of the piece and the uncertainty of live performances, our organizations are collaborating to help create a high-quality version of dwb directed explicitly for streaming presentation. Not everyone has the capacity to create content in this moment, but the conversation this piece provokes is urgent. As an arts center located on one of the most diverse public university campuses in the U.S., we exist to promote inquiry and discourse, something we will encourage via post-performance events.” On closing night, October 29, at 6:00, there will be a live discussion with Gumbel, Arizona State University assistant professor of African and African American Studies J. T Roane, Baruch College assistant professor of English Erica Richardson, and students Teona Pagan, the president of the Black Student Union, and journalism major Yael Meegan.


White Snake Projects
October 23, 25, 27, free with RSVP, 7:30

Alice goes down a very different kind of rabbit hole in Alice in the Pandemic, a virtual opera from Boston-based White Snake Projects. The production seeks to push the envelope of technological innovation during the Covid-19 lockdown as performers — and their 3D avatars — sing from wherever they are sheltering in place. The show features a libretto by creator Cerise Lim Jacobs, with music by Jorge Sosa, direction by Elena Araoz, and art by Anna Campbell; the cast includes Carami Hilaire as Alice, an ER nurse at Fair Hospital; Eve Gigliotti as Mrs. Lee (Alice’s mother, who falls ill) and other characters; and Daniel Moody as the White Rabbit, who Alice meets in the subway. Tickets are free with advance RSVP; there will be live shows October 23, 25, and 27 at 7:30. The sixty-minute digital opera will be told in ten scenes in one act, leading the audience on a wild ride through an alternative wonderland and a health crisis that is all too real.