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LINCOLN CENTER SUMMER FOR THE CITY: THE BESSIE AWARDS

The Illustrious Blacks wil host the 2023 Bessie Awards outside at Lincoln Center (photo by Gregory Kramer)

THE BESSIE AWARDS
Damrosch Park, Lincoln Center for the Performing Arts
Friday, August 4, free (Fast Track RSVP available), 7:30
www.lincolncenter.org
bessies.org

In 1984, Dance Theater Workshop executive director David R. White founded the Bessie Awards, named after dance teacher Bessie Schönberg and given to outstanding work in the field of independent dance. Among the winners in the inaugural year were Trisha Brown, Pina Bausch, Yoshiko Chuma and the School of Hard Knocks, Mark Morris, Anne Bogart, and Eiko & Koma, a lofty group of creators. This year’s ceremony will take place August 4 at 7:30 at Lincoln Center’s Damrosch Park as part of the Summer for the City program, with free admission to all; it’s a fantastic opportunity to join in the celebration of movement while seeing some of the best contemporary performers and choreographers.

Pina Bausch’s Água (1995/2023) is up for Outstanding Revival at the 2023 Bessies (photo by Julieta Cervantes)

The thirty-ninth annual event will be hosted by the Illustrious Blacks (Manchildblack x Monstah Black) and feature performances by Dance Theatre of Harlem (in honor of Lifetime Achievement in Dance recipient Virginia Johnson), Princess Lockerooo’s Fabulous Waack Dancers, Earl Mosley’s Diversity of Dance, Ladies of Hip-Hop Collective (in honor of Service to the Field of Dance honoree Michele Byrd-McPhee), and students from AbunDance Academy of the Arts. Presenters include Mireicy Aquino, George Faison, Jhailyn Farcon, Dionne Figgins, Erin Fogerty, Tiffany Geigel, Dyane Harvey Salaam, Karisma Jay, Gian Marco Riccardo Lo Forte, Fredrick Earl Mosley, Abdel Salaam, Paz Tanjuaquio, and Ms Vee; this year’s jury panel consists of Ayodele Casel, Kyle Marshall, and luciana achugar.

Awards will be given out in the following categories: Outstanding Choreographer / Creator, Outstanding “Breakout” Choreographer, Outstanding Performer, Outstanding Revival, Outstanding Sound Design / Music Composition, and Outstanding Visual Design, for works presented at such venues as the Joyce, Gibney, the Shed, BAM, Danspace Project, Movement Research at the Judson Church, Performance Space New York, City Center, Arts on Site, and New York Live Arts (formerly Dance Theater Workshop). Nominees include Pina Bausch & Tanztheater Wuppertal, Camille A. Brown & Dancers, marion spencer, Vanessa Anspaugh, Sidra Bell, Rennie Harris, Deborah Hay, Shamel Pitts, and Niall Jones.

Following the ceremony, there will be a special Bessies Silent Disco After-Party with DJ Sabine Blazin on Josie Robertson Plaza, where a giant disco ball dangles over the Revson Fountain.

THE LITTLE SHAKESPEARE FESTIVAL

THE LITTLE SHAKESPEARE FESTIVAL
UNDER St. Marks
94 St. Marks Pl.
August 3-19, $20 streaming, $25 in person
www.frigid.nyc/festivals/shakesfest

One of the most important aspects of William Shakespeare’s canon is how open each play is to interpretation and adaptation. The Bard’s works are regularly retold with changes in time and location, race and gender, style and genre. It’s gotten so that it is rarer to see a traditional production than one involving significant alterations, including such elements as contemporary pop music, modern-day political issues, the rise of a minor character, and zombies.

Presented by FRIGID New York, the Little Shakespeare Festival offers Bard fans the opportunity to see seven shows that take unique looks at different aspects of Shakespeare’s genius. Running August 3-19 at UNDER St. Marks in the East Village, the third annual fest is curated by Conor D Mullen, who created As You Will with David Brummer and George Hider, an unscripted evening of improv in which the audience shouts out titles of plays that Shakespeare might have written had he not died in 1616 at the age of fifty-two, and then the cast acts them out; among the past titles are Eight Merry Spiders, That Doth Not Go There, and 1601: A Space Odyssey.

Kristina Del Mar stars in Djingo Productions’ Wheel of Fortune at Little Shakespeare Festival (photo by Miguel Garzón Martínez)

“Sitting in UNDER St. Marks, it’s not too hard for me to imagine William Shakespeare working here,” Mullen said in a statement. “He’d have used his words to turn this space into a Roman dungeon, a Scottish castle, or a moonlit Athenian forest. His actors would have loved having the audience so close they could speak with them directly. And, of course, he would have been very approving of a bar inside the theater, since in his own time audience members who wanted a drink had to leave the theater and visit a local bar. It’s a reminder for me that Shakespeare doesn’t just live on when performed in giant, open air amphitheaters or big, Broadway houses; he also lives in these most humble of places, where I think he would have felt quite at home. Here, with you and me, at the Little Shakespeare Festival.”

Five of the six presentations (one is a double bill) are also available as livestreams so you can watch them in your own home. Barefoot Shakespeare Company’s Lady Capulet, written by Melissa Bell and directed by Emily Gallagher, is a prequel to Romeo and Juliet that explores the role of women in today’s society; Jianzi Colón-Soto stars as Rose Capulet. Djingo Productions’ Wheel of Fortune, written and directed by Jing Ma, is a problem play dealing with isolation, connection, and mass shootings in the digital age. C.A.G.E. Theatre Company’s THE ROOM of Falsehood, written and directed by Michael Hagins, reimagines Tommy Wiseau’s late-night cult favorite, The Room, through a Shakespearean lens. First Flight Theatre Company’s Shakespeare’s Deaths and Shakespeare’s Ladies at Tea, both directed by Frank Farrell, are a forty-five-minute double header in which, first, five actors depict all major deaths in Shakespeare, and then, second, eight female Bard characters sit down for a chat in which they can only speak lines that Shakespeare wrote for them. And in Hamlet Isn’t Dead’s Shrew You! written by David Andrew Laws and directed by Sophia Carlin, four actresses repair The Taming of the Shrew.

Most of the shows run an hour or less (Lady Capulet is 110 minutes); in-person tickets are only $25, while livestream access is $20, in order to get an intimate little taste of Shakespeare in 2023.

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]

LIVE FROM THE GREENE SPACE: THE REVOLVING DOOR

Who: Jessie Eisenberg, Daphne Rubin-Vega, Chad Coleman, David Strathairn
What: Live dramatic reading and discussion from Theater of War Productions
Where: The Greene Space, 44 Charlton St.
When: Monday, July 31, free with RSVP, 7:00
Why: In his May 22 New Yorker article “The Revolving Door,” titled “The System That Failed Jordan Neely” online, Adam Iscoe uses the incident between Jordan Neely and Daniel Penny to examine mental health issues, homelessness, and law enforcement in New York City. On May 1, the thirty-year-old Black Neely died after being put into a chokehold for several minutes by twenty-four-year-old White former marine Daniel Penny on a northbound F train. Iscoe writes, “The N.Y.P.D. questioned Penny, then released him. (His lawyers say that he was acting in self-defense.) ‘We don’t know exactly what happened here,’ Mayor Eric Adams said, afterward. ‘We cannot just blanketly say what a passenger should or should not do in a situation like that.’ Kathy Hochul, the governor of New York, said, ‘There’s consequences for behavior.’ Was she talking about Neely, or the man who killed him?”

On July 31, the Greene Space will kick off its new series, “Theater of War Productions: Live from the Greene Space,” with a dramatic reading of Iscoe’s article, featuring the all-star cast of Jessie Eisenberg, Daphne Rubin-Vega, Chad Coleman, and David Strathairn. That will be followed by an in-depth guided community discussion with paramedics, psychiatric nurses, case workers, law enforcement, transit workers, the unhoused, those who serve them, and concerned citizens. There is limited in-person seating for the free event at the Greene Space, but everyone is invited to watch the program over Zoom.

Since 2009, Theater of War has been presenting dramatic readings and discussions, pairing classical and modern works with hot-button topics, including Sophocles’s Oedipus, the King with the pandemic and the climate crisis, William Shakespeare’s King Lear with caregiving and death, Aeschylus’s Prometheus Bound with incarceration, Eugene O’Neill’s Long Day’s Journey into Night with addiction and substance abuse, and Sophocles’s Antigone with racialized police violence. The organization, founded by Bryan Doerries, was active during the pandemic, hosting dozens of programs with such participants as Bill Murray, Oscar Isaac, Taylor Schilling, John Turturro, Samira Wiley, Ato Blankson-Wood, Frances McDormand, Keith David, Jeffrey Wright, Kathryn Erbe, and Frankie Faison.

“In and out. Around and around. One institution to the next: 7-Eleven, Kirby Forensic, Atlantic Armory, Manhattan Psychiatric, Maimonides, Lincoln, Kings County, Bellevue,” Iscoe writes. “Tonight, there are more than seventy thousand people without beds of their own sleeping in homeless shelters and temporary-housing programs and other places, too. Some shelters have kitchens that serve freshly stewed chicken thighs and homemade strawberry pie; others serve chicken that is undercooked and mealy apples for dessert. Many shelter beds are seven inches off the ground and bolted to the floor. For the mentally ill, there are forty-nine hundred beds in mental-health shelters, but more than forty-nine hundred people want to sleep in them. And so tonight mentally ill men and women are sleeping in large intake shelters, on the street, in the trains. Tomorrow, they will wake up and go about their day.”

NORTH CIRCULAR

North Circular tells the story of a Dublin road through music and its wide-ranging residents

NORTH CIRCULAR (Luke McManus, 2022)
DCTV Firehouse Cinema
87 Lafayette St.
Opens Friday, July 28
212-966-4510
firehouse.dctvny.org

“All the time I said I’d move away / I’m thinkin’, ‘Gemma, were you going insane?’” Gemma Dunleavy sings to a packed club audience over the closing credits of Luke McManus’s gorgeous, elegiac documentary musical, North Circular, opening July 28 at DCTV Firehouse Cinema.

Shot in stark, emotionally resonant black-and-white that forges a timeless atmosphere, the film takes viewers across all of Dublin’s North Circular Road, from Phoenix Park to Dublin Port, as locals talk about their lives, play music, and rail against gentrification while defending their communities.

“I think the North Circular bears the marks of its history: the marks of power and of privilege . . . Pain and poverty . . . unravelling of lives,” one man says. “The pageantry of empire, but also the reality of its military violence.”

Kids hang out on a stoop on North Circular Road in documentary musical

A slow-moving, often still camera focuses on animals, monuments, cricketers, birds, kids on stoops, construction, a pet shop, a waterfall, a cemetery. It follows a group trying to save the Cobblestone pub. It shows fans of the Bohemian Football Club, known as Bohs, preparing for a match against their archrivals, the Shamrock Rovers, at Dalymount Park. The camera lingers on images — dark passages, fireworks, unique architecture, a helicopter flying over a stadium, a man walking his ferret, the sun, the moon and clouds — making everything and everybody equal. Not a single person in the film is identified, by name, occupation, or otherwise.

A former inmate stands outside Mountjoy Prison and admits, “Not knowing what was going to happen when you went in, and actually not knowing what was going to happen when you came out, because you walked that road, whatever direction you went in. . . . The road took me in a different direction, so to speak. Because the last time I got out I walked out onto the North Circular Road and I took a different route. I took the route of looking for help.”

Along the way, people sing traditional ballads and new dirges in pubs and on the street, including Annie Hughes (“The Blackbird of Avondale”), John Francis Flynn (“The Lag’s Song”), Julie Kavanagh (“Siúil a Rún”), Séan Ó Túama (“An Cualann”), Jerry O’Reilly (“Van Diemen’s Land”), Eoghan O Ceannabháin (“Dark Horse on the Wind”), Ian Lynch (“Banks of the Nile”), and Dunleavy (“Up de Flats”), using guitar, banjo, drums, pennywhistle, and bagpipes.

“I think the hardest thing about the pipes sometimes is listening to them, you know?” a military bagpiper says, worrying that the younger generation is not turning to the instrument. (You can find out more about the music in the film here.)

In his directorial debut, McManus, who has lived just off North Circular Road for twenty years, beautifully weaves together music, dialogue, and imagery; the emotive score features incidental music by Kevin Murphy and Thomas Haugh of Seti the First, in addition to the vocal quartet Landless, that maintains the even-keeled pace.

The documentary was edited by John Murphy with a heart-wrenching, mesmerizing attention to detail; nothing is random. McManus, who cites
Gianfranco Rosi’s Sacro GRA and Zed Nelson’s The Street as inspiration, refers to the film as a “documentary musical,” explaining in a director’s note, “The use of music as a specific technique of storytelling is both an aesthetic and an editorial decision — to make a documentary that combines the musical and the factual film in a way that isn’t simply a documentary about music but is more a documentary
musical.”

North Circular is a paean to what was, what is, and what might be, in Dublin and, essentially, in tight-knit neighborhoods everywhere, particularly when it comes to class, colonialism, and gentrification. “There are people who have lived their whole lives on the road, and it is their world,” one man says. “But there are also people for whom it’s a place of transience. The flow of people is fundamental to the area.” Because in the end, it’s the people who make a place a home.

(There will be five performance Q&As with McManus, Hughes, Maeve O’Boyle, John Riordan, Donal Foreman, John Lee, and the Cobblestone’s Meabh Mulligan opening weekend at DCTV Firehouse Cinema, featuring discussion and music.)

NEW YORK CITY POETRY FESTIVAL 2023

(photo by twi-ny/mdr)

You can relax with a wide range of poetry at annual festival on Governors Island (photo by twi-ny/mdr)

NEW YORK CITY POETRY FESTIVAL 2023
Governors Island
Colonels Row
July 29-30, free with RSVP (donation suggested), 11:00 am – 6:00 pm
newyorkcitypoetryfestival.com
new york city poetry festival slideshow

Hosted by the Poetry Society of New York, the twelfth annual New York City Poetry Festival returns to Governors Island this weekend, honoring Gotham’s literary heritage with stages named after such iconic landmarks as the Algonquin, the White Horse, and Chumley’s. Poets from dozens of publishing houses, university presses, and nonprofit organizations read their works, in addition to the Ring of Daisies open mic and other places where poetry just pops up. There should be lots of booths, with food and drink.

Walking across the big Colonels Row field, you can listen as one poem from one location morphs into one from another and then one from another in a kind of audio rainbow of words and expression. The 2023 headliners are Danez Smith, Franny Choi, Saeed Jones, and torrin a. greathouse. The festival also comes with a content warning, which reads in part: “We at the Poetry Society of New York want to acknowledge that the content of this festival may potentially cover triggering and graphic topics ranging from mental illness to imagery of painful human experiences. We have asked our readers to give content warnings before their readings. . . . We aim to create a safe space for both our readers and our attendees, so please be mindful that you may encounter themes that are uncomfortable to engage with.” The lineup should be posted here any time now.

NUGGETS FIFTIETH ANNIVERSARY CONCERTS

GOLDEN JUBILEE ANNIVERSARY
City Winery New York
25 Eleventh Ave. at Fifteenth St.
Friday, July 28, and Saturday, July 29, $35-$125, 8:00
646-751-6033
citywinery.com

The greatest rock compilation in the history of pop music, Nuggets: Original Artyfacts from the First Psychedelic Era, 1964-1968 was released in October 1972 and led to the creation of generations of rock fans and garage bands. Assembled by Elektra Records founder Jac Holzman and record store employee and music critic Lenny Kaye, the double album consisted of seventy-eight minutes of twenty-seven gems, most under three minutes.

The collection was impeccable, beginning with the Electric Prunes’ “I Had Too Much to Dream (Last Night)” and the Standells’ “Dirty Water” and continuing with the Seeds’ “Pushin’ Too Hard,” the 13th Floor Elevators’ “You’re Gonna Miss Me,” Count Five’s “Psychotic Reaction,” the Leaves’ “Hey Joe,” the Amboy Dukes’ “Baby Please Don’t Go,” Blues Magoos’ “Tobacco Road,” and the Chocolate Watchband’s “Let’s Talk About Girls” before concluding with the Nazz’s “Open My Eyes,” the Premiers’ “Farmer John,” and the Magic Mushrooms’ “It’s-a-Happening.” I have never heard anything like it before or since.

On July 28 and 29, an all-star roster will be at City Winery performing songs from the original double album, the follow-up that was initially shelved, and “Also Dug-Its,” which have been released in a five-LP anniversary edition from Rhino. The additional tunes are from such groups as Love, the Swingin’ Medallions, the Beau Brummels, Syndicate of Sound, and ? & the Mysterians.

The outrageously cool lineup of musicians includes Patti Smith, Ivan Julian, Peter Buck, James Mastro, Marshall Crenshaw, Joan as Police Woman, Juliana Hatfield, Bob Mould, Steve Wynn, Ed Rogers, Eric Ambel, Mary Lee Kortes, Tom Clark, Vicki Peterson, Richard Lloyd, Link Cromwell, and Tammy Faye playing with the Jubilee house band: Tony Shanahan, Jack Petruzzelli, Glen Burtnik, Dennis Dike, and Kaye himself. A different set of songs will be performed each night.

“Oh Yeah” (the Shadows of Knight), there’s “No Time Like the Right Time” (the Blues Project) to “Run, Run, Run” (the Third Rail) to City Winery and show your “Respect” (the Vagrants), ’cause this ain’t just a bunch of “Talk Talk” (Music Machine); “It’s-a-Happening.”

JAPAN CUTS: FESTIVAL OF NEW JAPANESE FILM 2023

Under the Turquoise Sky is centerpiece of 2023 Japan Cuts fest

JAPAN CUTS: FESTIVAL OF NEW JAPANESE FILM
Japan Society
333 East 47th St. at First Ave.
July 26 – August 6
212-715-1258
www.japansociety.org

Always one of the best fests of the year, Japan Society’s Japan Cuts is back for its sixteenth iteration, consisting of two dozen features and fifteen shorts from across genres, including sci-fi/fantasy, romance, action-adventure, animation, comedy, mystery, thriller, and family drama. The Festival of New Japanese Film opens July 26 with Takehiko Inoue’s The First Slam Dunk, based on his 1990s manga about the Shohoku High School basketball team. The centerpiece is the US premiere of KENTARO’s Under the Turquoise Sky, a road movie set in Mongolia. The festival closes August 6 with the US premiere of Ryuhei Kitamura’s The Three Sisters of Tenmasou Inn, a supernatural drama set in a way station.

Japan Cuts pays tribute to the late composer Ryuichi Sakamoto with a special screening of Elizabeth Lennard’s 1985 documentary Tokyo Melody: A Film about Ryuichi Sakamoto, introduced by Akiko Yano, one of the pianist’s ex-wives, and will be followed by a Q&A with the director. The Next Generation sidebar comprises a half dozen flicks by emerging filmmakers, from actor Hiroki Kono’s debut, J005311, and Yusuke Morii’s Amiko to Ryohei Sasatani’s award-winning, 1960s-set Sanka: Nomads of the Mountain and Yuho Ishibashi’s When Morning Comes, I Feel Empty (followed by a Q&A with the director). Below is a look at several of this year’s selections, with more to be added as the festival continues.

Yuta Shimotsu’s Best Wishes to All weaves between past and present focusing on a frightening recipe for happiness

BEST WISHES TO ALL (みなに幸あれ) (MINA NI KO ARE) (Yuta Shimotsu, 2023)
Thursday, July 27, 9:00
japansociety.org

“Are you happy?” an elderly woman asks her grown granddaughter in Yuta Shimotsu’s creepy existential horror film, Best Wishes to All, making its North American premiere July 27 in Japan Society’s Japan Cuts festival. When a young Tokyo nursing student (Kotone Furukawa) returns to her grandparents’ farm in the Chikuho region, she is greeted by a surprise behind one of the doors. Or maybe it’s not really such a shocker, especially when her parents and little brother arrive and try to tell her what they claim she knew all along but refuses to face. Meanwhile, she rekindles a friendship with an old friend who is decidedly against what her family is doing.

Released earlier this year, Chie Hayakawa’s Plan 75 was a fictional, though frighteningly believable, tale about a government program in which Japanese citizens, upon reaching seventy-five years of age, could receive cash and free cremation in exchange for being euthanized in order to prevent further population growth. In Best Wishes to All, Shimotsu offers a bizarre twist on the idea of life, death, and happiness, involving — well, it wouldn’t be fair to say any more about that. But suffice to say it isn’t pretty. “I’m sorry that young people are sacrificed for old folks like me,” an old woman says to the befuddled nurse. And her grandmother scolds, “I bet you believe the world is good, right? You know nothing about the world.”

Written by Rumi Kakuta based on a story by Shimotsu, Best Wishes to All evokes such films as Takashi Miike’s The Happiness of the Katakuris and Gozu and Takashi Shimizu’s Ju-On series, the latter of which makes sense, as Shimizu is an executive producer on the film. Shimotsu and cinematographer Ryuto Iwabuchi weave between the past and the present as the secret is slowly revealed, but don’t try to think too hard about it, as it doesn’t make a whole lotta sense. Furukawa (Wheel of Fortune and Fantasy) is appealing as the nurse, and the rest of the cast ably do their part playing characters who have no names, adding to the mystery and confusion.

A trio of new friends try to save humanity in From the End of the World

FROM THE END OF THE WORLD (世界の終わりから) (SEKAI NO OWARI KARA) (Kazuaki Kiriya, 2023)
Saturday, August 5, 9:30
japansociety.org

Kazuaki Kiriya’s fourth film in twenty years, From the End of the World — following 2004’s Casshern, 2009’s Goemon, and 2015’s Last Knights — is a rousing thriller, if not quite the epic it aims to be. It’s 2030, and seventeen-year-old Hana Shimon (Aoi Itô) has just lost her beloved grandmother who raised her after her parents were killed in an accident. Instead of sending her to a children’s home, Shogo Ezaki (Katsuya Maiguma) and Reiko Saeki (Aya Asahina), who may or may not be some kind of government agents, lets her stay in her home if she tells them about the dreams she’s been having. Hana often slips into terrifying black-and-white nightmares involving death and destruction, where she is joined by a young girl named Yuki (Mio Masuda) and an unidentifiable creature.

She soon finds out from an old woman with spectacular hair (Mari Natsuki) that the world will be ending in two weeks and that Hana is the only one with the power to prevent disaster. “What’s your impression of the word destiny?” the woman asks Hana. At school, Hana is befriended by Takeru (Jiei Wakabayashi), bullied by Sora (Ai Tominaga), and taught by a teacher played by director Shunji Iwai; she is also pursued by Chief Cabinet Secretary Satoshi Koreeda (Katsunori Takahashi), who has other plans for her. As the clock keeps ticking, a time capsule serves as a critical plot point as past and present merge toward an uncertain future.

Evoking elements of Stranger Things as well as both Takashi Miike (The Great Yokai War) and Hayao Miyazaki (Spirited Away, My Neighbor Totoro), From the End of the World — which Kiriya says will be his final directorial effort — looks fantastic, courtesy of cinematographer Chigi Kanbe, with gorgeous production design throughout as Hana travels through history. Itô (Missing, Gangoose) captures the fear and trepidation experienced by teenagers, whether having to turn in homework, battle a bully, or, well, save the Earth.

“Humans aren’t looking for salvation,” a hooded figure tells Hana. She might not have asked to be in this position, but does she have a choice?