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


fall for dance 2017

New York City Center
131 West 55th St. between Sixth & Seventh Aves.
Tickets go on sale Sunday, September 10, 11:00 am (get place in line starting at 10:00 am)
Festival runs October 2-14, $15

One of the hottest tickets of the season is always the annual Fall for Dance Festival at City Center, ten days of performances by twenty companies from around the world, each show a mere fifteen bucks. This year’s lineup is stellar once again, with such troupes as Trisha Brown Dance Company, American Ballet Theatre, Alvin Ailey American Dance Theater, Abraham.In.Motion, the San Francisco Ballet, Stephen Petronio Company, and the Pennsylvania Ballet performing works by such choreographers as Christopher Wheeldon, Kyle Abraham, Alexei Ratmansky, Ronald K. Brown, Crystal Pite, Mark Morris, and Michelle Dorrance. Most evenings will be preceded by free dance lessons by members of one of that night’s performing companies, open to all ticket holders (Tango Fire, October 4; Cie Art Move Concept, October 5; Alvin Ailey American Dance Theater with Ronald K. Brown, October 6; Ballet BC, October 11; Company Wang Ramirez, October 12; Danza Contemporanea de Cuba, October 13). More advanced dancers can sign up for master classes ($15) with Dorrance Dance (tap) on October 3 at 6:00 and with Wendy Whelan (ballet) on October 14 at noon. Tickets go on sale Sunday, September 10, at 11:00 am, but you need to get your place in line at 10:00, so don’t waste any time if you want to see any of the below programs, because these events sell out ridiculously fast.

Monday, October 2, and Tuesday, October 3, 8:00
Miami City Ballet
Vincent Mantsoe, GULA, choreographed by Vincent Sekwati KoKo Mantsoe
Trisha Brown Dance Company, You can see us, choreographed by Trisha Brown
Dorrance Dance, Myelination, world premiere Fall for Dance commission, choreographed by Michelle Dorrance

Wednesday, October 4, and Thursday, October 5, 8:00
Pennsylvania Ballet, Rush©, choreographed by Christopher Wheeldon
Cie Art Move Concept, Nibiru, choreographed by Soria Rem and Mehdi Ouachek
Stephen Petronio Company, Bloodlines: Yvonne Rainer and Steve Paxton
German Cornejo’s Tango Fire, Tango Fire, choreographed by German Cornejo

Friday, October 6, and Saturday, October 7, 8:00
Sanjukta Sinha, IceCraft Dance Company, Kin-Incede, choreographed by Padma Bhusan Kumudini Lakhia
American Ballet Theatre, Souvenir d’un lieu cher, choreographed by Alexei Ratmansky
Alvin Ailey American Dance Theater, Open Door, choreographed by Ronald K. Brown
Les Ballets Trockadero de Monte Carlo, Paquita, after Marius Petipa

Wednesday, October 11, and Thursday, October 12, 8:00
Gauthier Dance//Dance Company Theaterhaus Stuttgart, Streams, choreographed by Andonis Foniadakis
Abraham.In.Motion, Drive, world premiere Fall for Dance commission, choreographed by Kyle Abraham
Sara Mearns and Honji Wang, No. 1, world premiere co-commission, choreographed by Honji Wang and Sébastien Ramirez
Ballet BC, Bill, choreographed by Sharon Eyal and Gai Behar

Friday, October 13, and Saturday, October 14, 8:00
Hubbard Street Dance Chicago, Solo Echo, choreographed by Crystal Pite
San Francisco Ballet, Concerto Grosso, choreographed by Helgi Tomasson
David Hallberg, Twelve of ’em, world premiere Fall for Dance commission, choreographed by Mark Morris
Danza Contemporanea de Cuba, Matria Etnocentra, choreographed by George Céspedes



Trophy explores hunting and conservation of wild animals in African in surprising and complex ways

TROPHY (Shaul Schwarz & Christina Clusiau, 2017)
Quad Cinema
34 West 13th St. between Fifth & Sixth Aves.
Opens Friday, September 8

In 2015, Minnesota dentist Dr. Walter Palmer shot and killed the beloved Cecil the lion in Zimbabwe, setting off international outrage about trophy hunting. Director Shaul Schwarz and codirector Christina Clusiau explore the much-reviled sport, with surprising results, in Trophy. The film, beautifully photographed in South Africa, Zimbabwe, and Namibia by Schwarz and Clusiau, can be extremely difficult to watch, but it is a must-see even though it includes several scenes of brutal animal shootings, including the harrowing killing of an elephant that cries out after it falls to the ground, its family nearby. But what starts out as a horrific look at hunters who pay seemingly ridiculous amounts of money to hunt the Big Five — it can cost upwards of half a million dollars to shoot a buffalo, leopard, elephant, lion, and rhino — quickly turns into a compelling study of conservation, poaching, and sustainability. “I know that a lot of people are confused how hunting and conservation go together,” Safari Club International Foundation president Joe Hosmer says. Despite a serious decline in the number of lions, elephants, and rhinos in the world since 1900 — the film points out that sixty percent of all wild animals have been lost since 1970 — some argue that hunting is necessary and that breeders are helping keep these animals from disappearing from the planet, while others claim just the opposite. “There’s a big industry in our country, not just the crocodiles — the lions, the sable, the buffalo. Everything has been bred for a purpose,” says Christo Gomes, hunting outfitter for Mabula Pro Safaris. “So, yeah, sure, some of them will be hunted. We as humans are going to eat it, we are going to use the skins; that’s the cycle of life.” Born Free USA CEO Adam Roberts explains, “You can just pick whatever animal you want from the menu that they offer you, see the price, and book the kill.” Ecologist and author Craig Packer sees both sides of the issue but can’t escape the basic idea that “canned hunting [is] not sport; it’s just killing.” South African Predator Association president Pieter Potgieter complains, “If we can’t get hunters to hunt our lions, we slaughter the lions and sell their bones.” Somewhere in the middle is South African wildlife officer Chris Moore, whose job is to find a balance between canned hunting, poaching, and animals that can destroy local families’ livelihoods. “Every single morning I look in the mirror because we’ve got to make sure that we don’t cross the bounds . . . that we can’t lose our humanity for humanity,” he says, acknowledging that some hunting is absolutely necessary to help both the animal population and the people, who are desperately poor, but adding, “We have to keep this fight going.”


John Hume is on a virtual one-man crusade to protect the rhinos in Trophy

One of the central figures in the film is Buffalo Dream Ranch owner John Hume, the world’s largest rhino breeder, who has been selling off his vast assets to maintain the species. Every two years, Hume shaves off his rhinos’ horns so poachers won’t kill the animals in order to get the valuable objects; he firmly believes that the legalization of the rhino horn trade is essential to the survival of the animals. “The odds are stacked against them, and I’m always for the underdog. But more to the point, I got to know them, and they are the last animal in the world that deserves the persecution,” he says. “They don’t deserve it. They are the nicest, most user friendly animal that wants to stay this side of extinction.” Schwarz and Clusiau also follow Texas sheep breeder Philip Glass, a Bible thumper who comes from a hunting family and is seeking to score the Big Five. In describing a kill, Glass says, “And then you pull the trigger, and boom! You got him. And then all of that anticipation changes into a different emotion, of joy, and relief, and excitement, and anticipation, because you want to go over to him and see, what does he look like. What does he feel like. Where did he fall.” But it’s hard to feel much sympathy for the hunters as they clean up their kill, cover up the blood, and then pose for photographs over their trophy. As professional hunter Gysbert van der Westhuyzen, who leads trips in Namibia, says, “You have to work for your trophy. We believe here that if you want to hunt, it’s all in the foot, it’s walk and stalk. It’s also giving the animal a chance.” But he then tears up and heads off camera when asked if he ever gets attached to any of the animals he ultimately releases to be hunted. “There [are] animals you can’t let go of. You know, you will be playing with them and they become like a friend.” The film also includes a breeding auction, a look inside the Safari Club Convention in Las Vegas, a heated court case, and an intense debate over conservation between Hume and Born Free Foundation CEO Will Travers. But then you watch a hunter shoot a crocodile and yell, “It’s party time!” and it’s hard to think of anything other than what’s right in front of you. Schwarz (Narco Cultura) and Clusiau, who previously collaborated on A Year in Space and Aida’s Secrets, have done an outstanding job examining all sides of a surprisingly complex issue, which is about a lot more than just a dentist shooting a gorgeous beast and proudly posing with his victory. Trophy opens September 8 at the Quad with a series of Q&As with Schwarz and Clusiau on September 8 at 6:50 joined by producer Chris Moore and editor Jay Sternberg, September 9 at 6:50 with Time magazine photo editor Kira Pollack, and September 10 at 4:20 and then 6:50 with New York Times international photo editor David Furst.


Nicolaus Czarnecki

Crossett, Arkansas, pastor David Bouie leads fight against Koch Industries over environmental injustice and corporate accountability in Company Town (photo by Nicolaus Czarnecki)

COMPANY TOWN (Natalie Kottke-Masocco & Erica Sardarian, 2016)
Cinema Village
22 East 12th St. between University Pl. & Fifth Ave.
Opens Friday, September 8

In Company Town, director, writer, and producer Natalie Kottke-Masocco and codirector, writer, and producer Erica Sardarian investigate the cancer cluster affecting Crossett, Arkansas, which has experienced an alarming number of men, women, and children suffering from the disease. Pastor David Bouie and others firmly place the blame on illegal dumping and sewage wastewater from the local Georgia-Pacific paper and chemical plant, which was purchased by Koch Industries, owned by controversial billionaire brothers Charles and David Koch, in 2005. Kottke-Masocco and Sardarian spent nearly four years in Crossett, documenting the town’s fight against big business, an uphill battle all the way as it makes its case to the EPA, the Crossett Water Commission, ADEQ (Arkansas Department of Environmental Quality), the Arkansas Department of Health, and other organizations that are responsible for public health issues. “Koch Industries is one of the all-time champions of using the levers of political influence throughout the nation . . . and, yes, including Arkansas,” says investigative journalist and professor Charles Lewis. Former Obama administration environmental adviser Van Jones adds, “This is happening all across America; this is not just about one town. This is about a whole series of small towns in vulnerable neighborhoods that are being preyed upon by economic power and big polluters. They think they can get away with this. It is a century-defining problem, but it’s going to be resolved by little towns like Crossett fighting their way to some kind of justice.” The fight is led by Pastor Bouie, who refuses to take no for an answer as Crossett, the Forestry Capital of the World, uncovers the abuses by Georgia-Pacific and the “door-to-door cancer” occurring in the town of about 5,500 people, primarily of African-American heritage. Among those residents willing to go on camera and speak out against the plant that is also the financial lifeblood of the community are Jessie Johnson, Hazel Parker, Leona Edwards, young child and cancer sufferer Simone Smith, and former GP contractor Ken Atkins. They are joined by environmental scientist (and folk musician) Barry Sulkin; Elaine Shannon, editor in chief of Environmental Working Group; Huffington Post reporter Paul Blumenthal; research scientist Anthony Samsel; chemist Wilma Subra of the Louisiana Environmental Action Network; whistleblower Diki Guice, who only reveals his identity after he loses his job at GP; environmental law and policy expert Heather White; and Ouachita Riverkeeper Cheryl Slavant, who declares, “Everyone who lives in Crossett or works in Crossett is in danger.”

Nicolaus Czarnecki

A community comes together to fight environmental and corporate injustice in Company Town (photo by Nicolaus Czarnecki)

Company Town is one of those documentaries that reveals mind-boggling injustice, where the average person seemingly has no recourse against corporate greed and a government turning its back on them. When regional EPA administrators finally do come to Crossett to check out the residents’ claims firsthand, it is clear that Georgia-Pacific, which did not respond to requests from the filmmakers to participate in the film in any way, was warned in advance and has made some changes that last only a week. Despite evidence that families in eleven of fifteen homes on one block have members who have died from or are battling cancer, the various government organizations don’t find that unusual. Pastor Bouie, who is also a former GP employee and reserve deputy sheriff, is determined to never give up. “How many of us that have worked to keep the company going, keep the company in business, how many of us have to die? How many of our children and family members have to die in order to keep one job at this plant?” he says. And his wife, Barbara Bouie, states the situation very succinctly. “They know what they’re doing is wrong, and they need to correct it.” Unfortunately, there is still a long way to go. The film opens September 8 at Cinema Village, with the 8:00 shows Friday and Saturday night followed by Q&As with Kottke-Masocco and Sardarian along with producer Adam Paul Smith and cinematographer, editor, and producer Edgar Sardarian. The Friday night discussion will also feature New York State attorney general Eric Schneiderman and members of the cast.


Larry Wilmores Black on the Air podcast is part of festival

Larry Wilmore’s Black on the Air podcast is part of Now Hear This festival

Javits Center
655 West 34th St. at 11th Ave.
September 8-10, Saturday pass $125, Sunday pass $50, three-day GA pass $180, VIP pass $340

You might be used to listening to podcasts with headphones on while at your desk or wandering through the city, but now you can see some of the best of these audio shows at the second annual Now Hear This Podcast Festival, taking place at the Javits Center this weekend. More than two dozen shows are participating, featuring such podcastors as Chris Gethard, Phoebe Judge, Jon Lovett, Aaron Mahnke, Sam Roberts, Jon Gabrus & Lauren Lapkus, Larry Wilmore, LeVar Burton, Alex Schmidt, Colt Cabana, Neil deGrasse Tyson, Kulap Vilaysack & Howard Kremer, and Ryback. Day passes for Friday are sold out, but you can still catch those shows with a three-day pass; single-day passes are still available for Saturday and Sunday. According to the website, among the items not allowed in are pets, weapons, and emotional baggage. Be ready to make some tough choices, as several of the best podcasts are scheduled for the same time; below are only some of the highlights.

Friday, September 8
Beautiful Stories from Anonymous People, with Chris Gethard, Fracture Theatre, 7:00

Lovett or Leave It, with Jon Lovett & Friends, Virtue Stage, 7:00

Found, with Davy Rothbard and special guests, Podswag Stage, 7:00

Saturday, September 9
Black on the Air, with Larry Wilmore, Virtue Stage, 11:30 am

Nancy, with Kathy Tu and Tobin Low, Podswag Stage, 1:30

The Flop House, with Dan McCoy, Stuart Wellington and guest flopper Ronny Chieng, Fracture Theatre, 3:30

LeVar Burton Reads, with LeVar Burton and special guests, Virtue Stage, 5:30

Comedy Bang! Bang! with Scott Aukerman and special guests, Stitcher Stage, 7:30

Sunday, September 10
Doughboys, with Nick Wiger and Mike Mitchell, Virtue Stage, 11:00 am

The Art of Wrestling, with Colt Cabana and special guests, Mack Weldon Stage, 12:15

StarTalk All-Stars, with Helen Matsos and Neil deGrasse Tyson, Virtue Stage, 1:00

The Weeds (from VOX), with Matt Yglesias, Sarah Kliff, and special guest, Fracture Theatre, 1:00

Conversation with the Big Guy, with Ryback, Pat Buck, and friends, Mack Weldon Stage, 1:30


“Mud Muse” is one of many collaborations in MoMA exhibit “Robert Rauschenberg: Among Friends” (photo by twi-ny/mdr)

“Mud Muse” is one of many collaborations in MoMA exhibit “Robert Rauschenberg: Among Friends” (photo by twi-ny/mdr)

Museum of Modern Art
11 West 53rd St. between Fifth & Sixth Aves.
Through September 17

“Robert Rauschenberg: Among Friends” is almost too much of a good thing, a massive MoMA retrospective of the interdisciplinary artist who died in 2008 at the age of eighty-two. The exhausting exhibition consists of more than 250 works, highlighting his collaborations while celebrating the vast nature of his practice. “Oh, I love collaborating, because art can be a really lonely business, if you’re really just working from your ego,” he says in an old interview on the audio guide. The show follows the Texas native from his Black Mountain College years through his time in Italy and North Africa, from his early combines and classical-influenced pieces to performances, silkscreens, objects, “Experiments in Art and Technology” (E.A.T.), and more. Many of his greatest hits are here, including “Bed,” “Monogram,” “Canyon,” “Gift for Apollo,” and his illustrations for Dante’s Inferno, alongside collaborations with Jasper Johns, John Cage, Jean Tinguely, Willem de Kooning, Susan Weil, Brice Marden, Sturtevant, Alex Hay, and more. Among the most unusual works is the bubbling “Mud Muse” created with Carl Adams, George Carr, Lewis Ellmore, Frank Lahaye, and Jim Wilkinson. And most entertaining is Rauschenberg’s involvement in the dance world, making sets for and even performing in pieces by Paul Taylor, Merce Cunningham, Trisha Brown and Laurie Anderson, Harry Shunk and Janos Kender, and others, some filmed by Charles Atlas. The exhibition is supplemented with works by such Rauschenberg contemporaries as Aaron Siskind, Cy Twombly, Lucinda Childs, Andy Warhol, Marcel Duchamp, Niki de Saint Phalle, and Robert Whitman. Meanwhile, the audio guide includes contributions from Yvonne Rainer, Calvin Tompkins, Weil, Marden, Brown, Virginia Dwan, Atlas, Julie Martin, and Rauschenberg’s son, Christopher. So how does one make sense of it all? MoMA is hosting a series of talks and performances to help sort everything out. The exhibition continues through September 17; the below “gallery experiences” are free with museum admission, with no advance RSVP required. (Only the September 12 “Dante Among Friends” performance requires paid ticketing.)

Peter Moore. Performance view of Robert Rauschenberg’s Pelican (1963), 1965. © Barbara Moore/Licensed by VAGA, New York, NY. Courtesy Paula Cooper Gallery, New York

Peter Moore, “Performance view of Robert Rauschenberg’s Pelican (1963),” 1965 (© Barbara Moore/Licensed by VAGA, New York, NY. Courtesy Paula Cooper Gallery, New York)

Wednesday, September 6, 11:30 & 3:30
“Dance among Friends: Robert Rauschenberg’s Collaborations with Trisha Brown, Merce Cunningham, and Paul Taylor,” featuring Changeling, Three Epitaphs, Tracer, You Can See Us, and excerpts from other works, Sculpture Garden

“Robert Rauschenberg’s Process,” with Lauren Kaplan

Wednesday, September 6, 11:30
Thursday, September 7, 1:30
Wednesday, September 13, 1:30
Thursday, September 14, 11:30 & 1:30

“No One Is an Island,” with Kerry Downey

Thursday, September 7, 1:30
“Rauschenberg Among Friends,” with Elisabeth Bardt-Pellerin

Saturday, September 9, 11:30
Sunday, September 17, 1:30

“100 Ways to Make a Picture,” with Petra Pankow

Sunday, September 10, 11:30
Monday, September 11, 11:30

“A Bit of This and That: Robert Rauschenberg’s Combines,” with Jane Royal

Tuesday, September 12
“Collaborators, Friends, Lovers,” with Tamara Kostianovsky, 11:30

“Dante among Friends,” with Robin Coste Lewis and Kevin Young responding in music and poetry to Rauschenberg’s Thirty-Four Illustrations for Dante’s Inferno, curated and hosted by Terrance McKnight, $5-$15, 7:00



Joey Norton goes on the adventure of a lifetime in Coney Island in underground indie classic Little Fugitive

LITTLE FUGITIVE (Morris Engel, Ray Ashley, and Ruth Orkin, 1953)
Film Forum
209 West Houston St.
Monday, September 4, 12:30 & 4:00
Series continues through September 5

Labor Day is the traditional end of summer, and Film Forum gets in on the fun with an inspired double feature of two Coney Island specials. Screening at 12:30 and 4:00, Morris Engel’s charming Little Fugitive is one of the most influential and important — and vastly entertaining — works to ever come out of the city. The underground classic won the Silver Lion at the Venice Film Festival in 1953, was nominated for a Best Screenplay Oscar, and was entered into the National Film Registry in 1997. Written and directed with Ray Ashley and Ruth Orkin, Engel’s future wife, Little Fugitive follows the gritty, adorable exploits of seven-year-old wannabe cowboy Joey Norton (Richie Andrusco, in his only film role), who runs away to Coney Island after his older brother, Lennie (Richard Brewster), and his brother’s friends, Harry (Charlie Moss) and Charley (Tommy DeCanio), play a trick on the young boy, using ketchup to convince Joey that he accidentally killed Lennie. With their single mother (Winifred Cushing) off visiting her ailing mother, Joey heads out on his own, determined to escape the cops who are surely after him. But once he gets to Coney Island, he decides to take advantage of all the crazy things to be found on the beach, along the boardwalk, and in the surrounding area, including, if he can get the money, riding a real pony.

A no-budget black-and-white neo-Realist masterpiece shot by Engel with a specially designed lightweight camera that was often hidden so people didn’t know they were being filmed, Little Fugitive explores the many pleasures and pains of childhood and the innate value of home and family. As Joey wanders around Coney Island, he meets all levels of humanity, preparing him for the world that awaits as he grows older. Meanwhile, Engel gets into the nooks and crannies of the popular beach area, from gorgeous sunrises to beguiling shadows under the boardwalk. In creating their beautifully told tale, Engel, Ashley, and Orkin use both trained and nonprofessional actors, including Jay Williams as Jay, the sensitive pony ride man, and Will Lee, who went on to play Mr. Hooper on Sesame Street, as an understanding photographer, while Eddie Manson’s score continually references “Home on the Range.” Rough around the edges in all the right ways, Little Fugitive became a major influence on the French New Wave, with Truffaut himself singing its well-deserved praises. There’s really nothing quite like it, before or since. The 12:30 show will be introduced by Mary Engel, the daughter of Morris Engel and Ruth Orkin.

Harold Lloyd has a crazy time in Coney Island in Speedy

SPEEDY (Ted Wilde, 1928)
Film Forum
209 West Houston St.
Monday, September 4, 2:00
Series continues through September 13

In between the two showings of Little Fugitive is another delightful treat, Ted Wilde’s Speedy, with live musical accompaniment by pianist Steve Sterner. Much like the end of the silent film era itself, the last horse-drawn trolley is doomed in Harold Lloyd’s final silent film. Big business is playing dirty trying to get rid of the trolley and classic old-timer Pop Dillon. Meanwhile, Harold “Speedy” Swift, a dreamer who wanders from menial job to menial job (he makes a great soda-jerk with a unique way of announcing the Yankees score), cares only about the joy and wonder life brings. But he’s in love with Pop’s granddaughter, Jane (Ann Christy), so he vows to save the day. Along the way, he gets to meet Babe Ruth. Wilde was nominated for an Oscar for Best Director, Comedy, for this thrilling nonstop ride through beautiful Coney Island and the pre-depression streets of New York City. Film Forum’s second annual Festival of Summer Double Features continues through September 5 with such other sweet pairings as Panique and Peeping Tom, Point Blank and The Killers, and The Big Lebowski and The Last Picture Show.