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

TELL THE STORY: CELEBRATING STEPHEN SONDHEIM AND JOHN WEIDMAN’S ASSASSINS

Who: Stephen Sondheim, John Weidman, John Doyle, Becky Ann Baker, Quincy Tyler Bernstine, Mario Cantone, Patrick Cassidy, Michael Cerveris, Adam Chanler-Berat, Eddie Cooper, André De Shields, Raúl Esparza, Victor Garber, Mary Catherine Garrison, Alexander Gemignani, Greg Germann, Tavi Gevinson, Brad Giovanine, Annie Golden, Lyn Greene, Andy Grotelueschen, Jonathan Hadary, Ann Harada, Bianca Horn, Greg Jarrett, Eddie Korbich, Ken Krugman, Marc Kudisch, Judy Kuhn, Whit K. Lee, Terrence Mann, Joe Mantello, Audra McDonald, Debra Monk, Rob Morrison, Anne L. Nathan, Denis O’Hare, William Parry, Steven Pasquale, Mary Beth Peil, Chris Peluso, Ethan Slater, Will Swenson, George Takei, Wesley Taylor, Brandon Uranowitz, Sally Wilfert, Lee Wilkof, Katrina Yaukey, Tony Yazbeck, Jerry Zaks, Secretary Hillary Rodham Clinton
What: Celebration of Assassins by Stephen Sondheim and John Weidman
Where: Classic Stage Company online
When: Thursday, April 15, free with RSVP, 8:00 (available on demand through April 18 at 8:00)
Why: Last spring, Classic Stage Company was set for a highly anticipated all-star revival of Stephen Sondheim and John Weidman’s Assassins when the coronavirus shut down theaters. The impressive cast includes Adam Chanler-Berat as John Hinckley Jr., Tavi Gevinson as Lynette “Squeaky” Fromme, Andy Grotelueschen as Samuel Byck, Judy Kuhn as Sara Jane Moore, Steven Pasquale as John Wilkes Booth, Ethan Slater as Lee Harvey Oswald, Will Swenson as Charles Guiteau, Wesley Taylor as Giuseppe Zangara, and Brandon Uranowitz as Leon Czolgosz. CSC has promised to open the show as soon as it can now that the lockdown is coming to an end, but in the meantime you can catch the online presentation “Tell the Story: Celebrating Stephen Sondheim and John Weidman’s Assassins,” streaming for free on April 15 at 8:00.

The event will feature appearances by an impressive lineup of stars connected to the 1990 world premiere at Playwrights Horizons and the Roundabout’s Broadway staging at Studio 54 in 2004, as well as big fans of the show and CSC, starting with Sondheim, Weidman, and CSC artistic director John Doyle as well as Mario Cantone, Michael Cerveris, André De Shields, Raúl Esparza, Victor Garber, Annie Golden, Terrence Mann, Joe Mantello, Audra McDonald, Debra Monk, Denis O’Hare, George Takei, Tony Yazbeck, Jerry Zaks, Hillary Rodham Clinton, and the full cast of the CSC musical (Chanler-Berat, Eddie Cooper, Gevinson, Brad Giovanine, Grotelueschen, Bianca Horn, Kuhn, Whit K. Lee, Rob Morrison, Pasquale, Slater, Swenson, Taylor, Uranowitz, and Katrina Yaukey). For more on Assassins, check out the many Classic Conversations that Doyle hosted with members of the new cast here.

THEATER OF WAR: THE SUPPLIANTS PROJECT

Who: David Zayas, David Denman, Andrea Patterson, Frankie Faison, Daphne Rubin-Vega, Dorina Castillo, Bryan Doerries, more
What: Dramatic reading of Aeschylus’s The Suppliants and community discussion on human trafficking, immigration, and the current refugee crisis
Where: Theater of War Zoom
When: Wednesday, April 14, free with RSVP, 7:30
Why: Theater of War Productions continues its exploration of contemporary times as seen through the lens of Greek tragedy and other classic(al) works with The Suppliants Project, a livestreamed all-star reading and community discussion taking place over Zoom on April 14 at 7:30. Previous virtual events have related Sophocles’s Antigone to the murder of Michael Brown in Ferguson in 2014, Shakespeare’s King Lear to caregiving and death during the coronavirus crisis, MLK’s “The Drum Major Instinct” to racism and social justice, the Book of Job to natural disasters, and Sophocles’s Oedipus Rex to the pandemic itself. Translated, directed, and facilitated by artistic director Bryan Doerries, the Suppliants Project features David Zayas, David Denman, Andrea Patterson, Frankie Faison, Daphne Rubin-Vega, and Dorina Castillo reading Aeschylus’s The Suppliants, about fifty female refugees, the daughters of Danaus known as the Danaids, who are seeking asylum from forced marriage and domestic violence. They are joined by a chorus of Garifuna singers and musicians from Belize, Honduras, and Guatemala. The reading will be followed by a live, interactive discussion about the current battle over immigration and the refugee situation, copresented by Illuminations: The Chancellor’s Arts and Culture Initiative at the University of California, Irvine, Northwestern University, and the University of Chicago. Admission is free with advance RSVP.

A SWIM IN THE POND IN THE RAIN: AUTHOR GEORGE SAUNDERS IN CONVERSATION WITH KEITH GESSEN

Who: George Saunders, Keith Gessen
What: Livestreamed conversation
Where: National Arts Club Zoom
When: Wednesday, April 13, free with RSVP, 7:00
Why: In his latest publication, A Swim in a Pond in the Rain: In Which Four Russians Give a Master Class on Writing, Reading, and Life (Penguin Random House, January 2021, $28), Man Booker Prize winner and Syracuse professor George Saunders writes, “Why do we keep reading a story? Because we want to. Why do we want to? That’s the million-dollar question: What makes a reader keep reading? Are there laws of fiction, as there are laws of physics? Do some things just work better than others? What forges the bond between reader and writer and what breaks it? Well, how would we know? One way would be to track our mind as it moves from line to line. A story (any story, every story) makes its meaning at speed, a small structural pulse at a time. We read a bit of text and a set of expectations arises.”

Expectations always arise when new material is published by Saunders, a former geophysical prospector, roofer, doorman, and technical writer born in Amarillo, Texas, and raised in Oak Forest, Illinois. Books such as Lincoln in the Bardo and Tenth of December are among the best of the century. On April 13 at 7:00, Saunders will speak with editor, translator, author, and n+1 founding editor Keith Gessen (All the Sad Young Literary Men, A Terrible Country) in a live conversation hosted by the National Arts Club, focusing on A Swim in a Pond in the Rain, which was inspired by the MFA class Saunders has been teaching at Syracuse for twenty years on the Russian short story; the book is structured around works by Chekhov, Turgenev, Tolstoy, and Gogol as Saunders ponders reading and writing. “Now your mind is not so blank. How has the state of your mind changed?” he asks. “If we were sitting together in a classroom, which I wish we were, you could tell me. Instead, I’ll ask you to sit quietly a bit and compare those two states of mind: the blank, receptive state your mind was in before you started to read and the one it’s in now.” Admission to the talk is free with advance RSVP.

MARTHA GRAHAM DANCE COMPANY: SPECIAL MARTHA MATINEE

Who: Martha Graham Dance Company
What: Special “Martha Matinee”
Where: Graham Patreon
When: Saturday, April 10, $10, 2:30
Why: The Martha Graham Dance Company is getting ready for GrahamFest 95, a virtual celebration of the troupe’s ninety-fifth anniversary, scheduled for April 30 to May 2, with a special edition of its popular “Martha Matinee” program. On April 10 at 2:30, MGDC will present rare footage of Graham coaching young members of the company in her classic 1930 solo piece, Lamentation, set to Zoltán Kodály’s Piano Piece Op. 3, No. 2; archival photographs from Graham’s childhood and early years in dance; and a recent performance of Prelude to Action, from the 1936 antiwar work Chronicle. The event will also include a live Q&A moderated by Martha Graham Resources director Oliver Tobin. In addition to “Martha Matinee,” the company has kept busy during the pandemic creating the thrilling virtual production Immediate Tragedy, the beachside Opus One, and an online reimagining of the 1944 favorite Appalachian Spring in addition to streaming interviews, workshops, classes, and more, most of which is available for free here.

SET BREAK

Who: Alanis Morissette, Leon Bridges, Dawes, Black Pumas, Sara Bareilles, Bob Weir & Wolf Bros, Ben Folds, Oteil Burbridge, Los Lobos, Michael Franti, K. Flay, Galactic, American Authors, Larkin Poe, Deer Tick, DJ Millie, Old Dominion, Wyclef Jean & Jerry Wonda, Bailey Bryan, Mimi Naja, Phoffman, Souleye, Kenny Vasoli, Tom Morello, Lily Cornell Silver, Laura Leezy, Danny Clinch, YOLA, more
What: Livestream fundraiser
Where: The Relix Channel on Twitch
When: Saturday, April 10, free, 2:00 pm - midnight
Why: On April 10 beginning at 2:00 and running for ten hours, an all-star lineup of musicians will participate in “Set Break,” a virtual concert fundraiser for Backline, a nonprofit organization whose mission is to “connect music industry professionals and their families with a trusted network of mental health and wellness providers.” Among those performing and/or providing public service announcements are Alanis Morissette, Leon Bridges, Dawes, Black Pumas, Sara Bareilles, Bob Weir & Wolf Bros, Ben Folds, Oteil Burbridge, Los Lobos, Michael Franti, Larkin Poe, Deer Tick, Wyclef Jean & Jerry Wonda, Souleye, Tom Morello, and Lily Cornell Silver. With the pandemic lockdown, the music industry has been particularly hard hit over the last thirteen months; the event is free, but donations will be accepted to help artists, managers, agents, crew, producers, labels, and their families in need of wellness programs, support groups, and other resources.

HINDSIGHT 2020

Who: Rebecca Haley Clark, Cody Holliday Haefner, Cree Noble, Gilda Mercado, Helen Hy-Yuen Swanson, Katherine Tanner Silverman, Rylan Gleave, Sanjay Lago, Simone Seales, Stephanie Mareen, Vic Rodriguez
What: Virtual time capsule of 2020
Where: Those Women Productions Zoom
When: April 9-11, 16-17, suggested donation $15 ($1 minimum)
Why: The year “2020 saw a global pandemic, over sixty countries protesting in solidarity with Black Lives Matter, widespread economic crises of historical magnitude, wildfires sweeping much of the world, and social and political unrest everywhere,” theater artist Rebecca Haley Clark says about her latest project, Hindsight 2020, which she conceived and directs. “There were births, deaths, Zoom weddings, virtual graduations, glorious concerts held from tiny balconies, and sporting events played out to stadiums full of cardboard cutouts. As artists we wanted to provide a space for contemplation and healing found through the stories that we tell one another about this past year.”

Clark has teamed up with Berkeley-based Those Women Productions and a diverse group of international artists from different disciplines to look back at the year that was in unique and unexpected ways. Clark and assistant director Cree Noble, Cody Holliday Haefner, Gilda Mercado, Helen Swanson, Katherine Tanner Silverman, Sanjay Lago, Simone Seales, Stephanie Mareen, Rylan Gleave, and Vic Rodriguez will go live April 9 (7:30), 10 (noon & 6:00), 11 (11:00 am & 5:00 pm), 16 (7:30), and 17 (7:30), exploring the question “What parts of 2020 will you leave behind or bring with you?” Tickets for each presentation are a suggested donation of $15, with a $1 minimum; twenty-five percent of the proceeds go to the nonprofit organizations Equal Justice Initiative, Acting for Others, the Solutions Project, Sylvia Rivera Law Project, and Stand with Farmers. You can also donate at Hindsight 2020’s Go Fund Me page.

RICH KIDS: A HISTORY OF SHOPPING MALLS IN TEHRAN

Javaad Alipoor and Peyvand Sadeghian guide viewers through multimedia, immersive Rich Kids: A History of Shopping Malls in Tehran

RICH KIDS: A HISTORY OF SHOPPING MALLS IN TEHRAN
Woolly Mammoth Theatre Company
April 1-18, $15.99 ($7 with code WHOIAM7)
www.woollymammoth.net
javaadalipoor.co.uk

The Javaad Alipoor Company’s Rich Kids: A History of Shopping Malls in Tehran is a virtual production of, by, and for its time like no other. Previously presented at the Public Theater’s Under the Radar festival in January, the immersive online experience, now livestreaming from DC’s Woolly Mammoth Theatre Company through April 18, takes on capitalism, consumerism, climate change, government corruption, income inequality, colonialism, the collapse of civilization, geopolitics, and just about everything else under the sun as it relates to the past and future of the Anthropocene Epoch, all stemming from a fatal car accident in Iran in 2015.

On May 1 of that year, the New York Times reported that twenty-year-old Parivash Akbarzadeh and twenty-one-year-old Mohammad Hossein Rabbani-Shirazi were killed when his brand-new yellow Porsche, which she was driving, crashed after reaching speeds of more than 120 miles per hour. The focus of the story, however, went beyond the tragedy and instead zeroed in on the public reaction in the aftermath, particularly how people took to social media to lambast Parivash and Hossein, the latter described by the Times as “the nouveau riche grandson of an ayatollah,” for their carefree, luxurious lifestyle, which they and those like them show off on Instagram, flaunting the country’s rigid Islamic laws.

The follow-up to 2017’s multimedia The Believers Are But Brothers, about the birth of Islamic radicalization over the internet and WhatsApp, Rich Kids was previously staged at the Edinburgh Festival and various venues in England but has been reimagined for online viewing. Written by Alipoor, created by Alipoor and Kirsty Housley, and performed by Alipoor and Peyvand Sadeghian, the seventy-minute show goes backward in time from the crash itself to the specific events leading up to it as well as to the decades and centuries before that impacted the development of current Iranian culture, including the role of American politics and capitalism. The narrative toggles between Instagram Live, where text and photos tell the story of Parivash and Hossein with hashtags to such other pages as #richkidsoftehran and #mallwave and the internet, where Alipoor and Sadeghian go on a deep dive into the anthropological annals of the world using animation, archival footage, European and traditional Safavid painting, and video of a burning planet bathed in dripping red. “History isn’t linear,” they point out. “No past. No future. There’s no reason why time as we feel it should be a physical thing.”

In its nine-part manifesto, the Javaad Alipoor Company declares, “Every work we make should say something directly about politics,” “Every project needs to speak to history, and find something new about how we got here,” and “Things have to be fun,” among other statements of purpose. Rich Kids accomplishes that and more, although it can at times be bumpy as you switch screens and technological elements overlap. Along the way it makes hard-hitting observations about who and where we are in the twenty-first century, not just Iranians or the wealthy children of the elite filled with contempt but every one of us. “We’re not the first people to feel like our world is ending,” they explain. “We spend a lot of time thinking about how the world will end, but we almost never think to ask those whose worlds have already ended.” They also make note of how “we now upload more pictures to Instagram every day than existed in total a hundred years ago.”

The play is perhaps best summed up by an image of a huge fireball exploding as Alipoor and Sadeghian wonder “why we find it easier to imagine the end of the world than the end of humanity.” To keep the investigation going, performances on Friday will be followed by community conversations with such facilitators as Héctor Flores Komatsu, Adam A. Elsayigh, and Trà Nguyễn, while Sunday shows will conclude with talkbacks featuring Alipoor and journalists and cartoonists, moderated by Cynthia Schneider.