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ANDROMEDA’S SISTERS: AN ARTS & ADVOCACY GALA

Who: The Neo-Political Cowgirls
What: Fifth annual benefit gala
Where: NPC Cowgirls online and Leiber Collection Museum in East Hampton
When: Saturday, June 26, $25 streaming, $125-$250 in person, 5:00
Why: Last summer, the nonprofit organization the Neo-Political Cowgirls hosted the fourth annual “Andromeda’s Sisters” online, two virtual evenings of short performances, workshops, and discussion focused on advocacy, including, most memorably, Catherine Curtin in Joy Behar’s stirring monologue Where Are You At? and Laura Gómez in Dipti Bramhandkar’s Brown Girl’s Guide to Self-Pleasure. This year, “Andromeda’s Sisters: An Arts & Advocacy Gala,” which took place in person in 2019 at Guild Hall, goes hybrid, happening online as well as at the Leiber Collection Museum in East Hampton on June 26 at 5:00.

The 2021 event includes a reading of Kathryn Grant’s one-act play Order My Steps, about a prison inmate reconnecting with her estranged adult daughter, directed by Florencia Lozano and NPC founder Kate Mueth and starring Curtin and Irene Sofia Lucio, followed by a panel discussion on social justice and advocacy with Planned Parenthood Federation of America president and CEO Alexis McGill Johnson, New Hour for Women and Children — Long Island founder Serena Ligouri, and novelist and editor Angie Cruz. Founded in 2007, the Neo-Political Cowgirls “are committed to making work for women and about women — to creating a space where women and girls from all walks of life can share their experiences, joys, concerns, and spirits through professional dance.” The gala gets its name from the legend in which Princess Andromeda, captured by Poseidon, is saved by the daughters of the God of the Sea, leading to the idea that sisters should seek to help one another in these difficult times. Access to the livestream is $25; in-person tickets are $125-$250.

DANIEL GWIRTZMAN DANCE COMPANY: DANCE WITH US

Who: Daniel Gwirtzman Dance Company with special guests Seán Curran, Michael Novak, Dante Puleio, and Tiffany Rea-Fisher
What: New dance films and launch of dance platform
Where: Daniel Gwirtzman Dance Company Zoom
When: June 25-27, free with RSVP, 7:00
Why: “Contemporary dance has been seeping more and more into the mainstream culture for decades, enhanced with the advent of shows such as So You Think You Can Dance and Dancing with the Stars,” dancer, choreographer, and educator Daniel Gwirtzman said in a statement. “With the proliferation of dance online, increased exponentially during the pandemic, more people are arguably seeing contemporary dance than ever. And an appetite for innovative choreography is a byproduct of this exposure. The development of Dance with Us was in place years before the pandemic, with resources that have been created over the past two decades, an extension of programming we have offered as a company since our inception in 1998. We have long been committed to conversing about dance, empowering audiences to trust their opinions, and gain more knowledge of dance in pursuit of expanding one’s dance literacy. The ubiquity of dance on film, finding more currency in popular culture, is not going to change. This platform gives everyone, regardless of their exposure to dance, tools to use to speak about dance, encouraging them to understand their viewpoint is as valid as that of an ‘expert.’ At this moment when there is so much dance to see, this platform seeks to serve as a how-to primer.”

The New York-based Daniel Gwirtzman Dance Company is launching the educational digital platform Dance with Us with a series of special events June 25-27, all free with RSVP. Gwirtzman will host each evening, joined by Paul Taylor Dance Company artistic director Michael Novak, accompanied by Limón Dance Company artistic director Dante Puleio the first night, Elisa Monte Dance artistic director Tiffany Rea-Fisher the second, and Seán Curran Company artistic director Curran the third. The presentation will begin at 6:45 with an online slideshow, followed at 7:00 with Amuse-Bouche: Parade; screenings of two short dance films recorded last August in Newfield, New York, Willow, set to Scott Joplin’s “Weeping Willow,” and Dollhouse, set to George Gershwin’s “I Got Rhythm,” played by pianist Jonny May; a virtual tour of the new website and the Library, which holds DGDC’s archives; a look at the Fantasyland Project; and a sneak peek at such upcoming works as Castillo, Adrift, and Dandelion. There will be an interactive live discussion at 8:00, and the program will conclude at 8:30 with an after-party that includes learning how to do the Bus Stop. “I don’t want to see any more dances of dancers in their living rooms,” Gwirtzman wrote to troupe members last summer about the Fantasyland Project, which also relates to Dance with Us. “I think this moment in time is one in which we all are fantasizing: about life before, and after, the pandemic. To the extent that this project can reflect the urgent events shaping all of our lives — how this theme of utopia and harmony fits against the current climate — is something the company is interested in investigating.”

ARTISTS & COMMUNITY: THE ORESTEIA

Kelley Curran reprises her STC role of Clytemnestra in virtual TFANA production (photo from STC world premiere by Scott Suchman)

Who: Obi Abili, Corey Allen, Helen Carey, Kathleen Chalfant, Kelley Curran, Franchelle Stewart Dorn, Rinde Eckert, Robin Galloway, Ismenia Mendes, Rad Pereira, Reynaldo Piniella, Sophia Skiles, Simone Warren, Emily Greenwood, Drew Litchenberg
What: Virtual production of Ellen McLaughlin’s adaptation and translation of Aeschylus’s trilogy and talks
Where: TFANA online
When: June 25, 7:00 through June 29, 7:00, free with RSVP
Why: In the spring of 2019, Ellen McLaughlin’s The Oresteia, an adaptation of Aeschylus’s trilogy of Agamemnon, The Libation Bearers, and The Eumenides, had its world premiere at the Shakespeare Theatre Company in DC. “The Oresteia are three of the oldest plays we have,” McLaughlin (Tongue of a Bird, Blood Moon) said at the time. “They show us Aeschylus grappling with the experiment of civilization — considering, with clear eyes, its weaknesses and its hopes. The Greeks had no illusions about the fragility of society and of democracy. They knew all too well that the whole undertaking was always at risk, threatened by forces both without and within.”

As part of its digital programming and its “Artists & Community” series, Brooklyn-based Theatre for a New Audience is presenting a virtual production of The Oresteia, streaming for free June 25-29. The 160-minute work, which delves into the nature of history, justice, and humanity, is directed by Andrew Watkins (The Yellow Wallpaper, Before You Go), who has been assistant or associate director on several TFANA shows (The Skin of Our Teeth, A Doll’s House), with original music by Kamala Sankaram (Looking at You, The Parksville Murders). The outstanding cast features Reynaldo Piniella as Orestes, Obi Abili as Agamemnon, Kelley Curran as Clytemnestra, Rinde Eckert as Chorus A and Watchman, Corey Allen as Chorus B, Sophia Skiles as Chorus C, Robin Galloway as Chorus D, Rad Pereira as Electra and Chorus E), Helen Carey as Nurse and Chorus F, Franchelle Stewart Dorn as Chorus G, Ismenia Mendes as Cassandra and Chorus H, Simone Warren as Iphigenia and Chorus I, and Kathleen Chalfant as the Narrator. Seven of the actors are reprising their roles from the STC world premiere. “We have to remember that these stories were as ancient to the Greeks as they are to us,” McLaughlin added. “They used these old stories to look at their own times and to assess their souls, the size of them, what they were capable of, and what they were up against. I believe that’s what artists do, and if you’re lucky, you do it with an extraordinary company like this one.” In addition to the stream, TFANA will host a pair of discussions, on June 26 at 4:00 moderated by Yale classics professor Emily Greenwood and on June 27 at 2:00 moderated by STC dramaturg Drew Litchenberg; you can register for the talks here.

NY CLASSICAL THEATRE: KING LEAR WITH HAPPY ENDING

NY Classical returns to live, in-person performances with King Lear in parks around the city this summer

KING LEAR
Multiple locations
Tuesday – Sunday, June 24 – August 8, free with RSVP, 7:00
nyclassical.org/king-lear

In June 2020, with the pandemic lockdown shuttering live performance around the country, theater companies scrambled for ways to present work in virtual platforms. NY Classical, which has presented more than seven hundred free, mostly outdoor shows since 2000, was working on an adaptation of King Lear for that summer, using Nahum Tate’s 1681 “happy ending.” Instead, they staged an online Zoom reading last June. In a twi-ny talk, artistic director Stephen Burdman explained, “King Lear, with alternating endings (both Shakespeare’s and Tate’s), was always our plan for our 2020 summer season. This is the culmination of a three-year project of investigating how Shakespeare’s company toured their shows outside London. In the time of plague, theaters were closed in Elizabethan London, and while we never expected to have a pandemic of our own. . . . We also had great success with both our six-actor Romeo and Juliet as well as the alternating versions of The Importance of Being Earnest, so this project was a combination of these recent experiments. We auditioned and hired the actors and staff prior to New York State on Pause, and we wanted to make sure to keep our commitments to these wonderful people. In addition to a union salary, they are receiving pension and healthcare. This is an opportunity for us to develop the production with these artists and serve our audience community in the safest way possible.”

With the lockdown over and New York rising from the ashes of a devastating health and economic crisis, NY Classical is ready to stage King Lear the way it originally intended to, in parks across the city. The cast features John Michalski as Lear, Connie Castanzo as Cordelia and the Fool, Jasminn Johnson as Goneril, Aryana Sedarati as Regan, Nick Salamone as Gloucester, Linden Tailor as Edgar, Amar Atkins as Edmund, Michael Stewart Allen as Cornwall, Grant Chapman as Oswald, Cedric Lamar as Kent, and Clay Storseth as Albany, with Ollie Corchado, Evan Moore-Coll, and Saleemah Sharpe. The two-hour production, directed by Burdman, will run Tuesdays to Sundays beginning June 24 through July 11 in Central Park at West 103rd St., followed July 13-18 at MetroTech Commons in Brooklyn, July 20-25 in Carl Schurz Park, and July 27 – August 8 at the Battery. Admission is free, but advance RSVP is strongly suggested, as tickets are limited.

HARLEM AIR SHAFT

The collaborative Harlem Air Shaft features art, dance, music, spoken word, and activism

Who: James Brandon Lewis, Thomas Sayers Ellis, Kwami Coleman, Todd Bryant Weeks, Bianca Cosentino, Dolores Sanchez, Emily Tellier, Omari Wiles
What: Experimental multidisciplinary street performance ritual exploring links between jazz and memory in Harlem
Where: 126th & 125th Sts. between Fifth & Madison Aves.
When: Thursday, June 24, free, 5:00
Why: Conceived by new media artist Justin Randolph Thompson, choreographer Stefanie Nelson, and visual artist Bradly Dever Treadaway, Harlem Air Shaft takes place on June 24 at 5:00, a forty-minute live performance that recalls the rent parties of the 1930s and 1940s. Melding jazz and memory through ritual, the improvisatory, immersive piece features dancers Bianca Cosentino, Dolores Sanchez, Emily Tellier, and Omari Wiles, saxophonist James Brandon Lewis, poet Thomas Sayers Ellis, musicologist Kwami Coleman, and jazz union representative Todd Bryant Weeks, paying tribute to the community and local jazz history, including Duke Ellington (whose 1940 composition lends its name to the work), in the neighborhood where Art Kane took his famous “A Great Day in Harlem” photo.

“With Harlem Air Shaft, I continue the work that started with Friskin’ the Whiskers – a performance project I initiated in 2014 which focuses on bringing together people connected to the jazz community to highlight the economic realities in which jazz musicians have to function,” Thompson said in a statement. “Jazz and economy have a long and complicated history where strategies for developing new systems of community support have always been prevalent. The pandemic made evident to all what many of us already knew. To me, the various forms of cultural production as represented by practitioners from different fields in this piece speaks to the constant need for reminding ourselves about art’s inherent social dimension.” Nelson added, “I have a longstanding interest in the fleeting nature of memory, which I have been exploring in numerous projects with my dance ensemble. Justin, who has been my collaborator over the years, gave me an idea of presenting this concept in the context of jazz and the history of this unique neighborhood. We would like for this piece to inspire the memory of Harlem’s resilient past for a more hopeful, community-driven, creative future.” Admission is free, with no RSVP required.

AILEY VIRTUAL SPRING GALA: HOPE, PROMISE, AND THE FUTURE

Kanji Segawa’s Future is part of Alvin Ailey virtual spring gala (photo by Cherylynn Tsushima)

Who: Alvin Ailey American Dance Theater, Lonnie G. Bunch III, James E. Clyburn, Michelle Obama, DJ M.O.S., DJ Kiss
What: Virtual gala
Where: Alvin Ailey online
When: Thursday, June 24, free with RSVP, 7:30 (available for forty-eight hours)
Why: Alvin Ailey American Dance Theater’s virtual spring gala looks ahead with a public celebration of “Hope, Promise and the Future.” On June 24 at 7:30, the company, founded in 1958 and dedicated “to further the pioneering vision of the choreographer, dancer, and cultural leader Alvin Ailey by building an extended cultural community which provides dance performances, training and education, and community programs for all people,” will present a special program of dance and recognizing honorees. The evening features works by Ghrai DeVore-Stokes (Hope), Chalvar Monteiro (Promise), and Kanji Segawa (Future), filmed in such locations as Hudson Yards, St. Nicholas Park, and the Unisphere, in addition to artistic director Robert Battle’s For Four, set to Wynton Marsalis’s “Delfeayo’s Dilemma,” and Bird Lives!, a Charlie Parker tribute with Clifton Brown and students from the Ailey School. AAADT will also honor Secretary of the Smithsonian Lonnie G. Bunch III and the late congressman John L. Lewis, the latter with reflections from Congressman James E. Clyburn, excerpts from Jamar Roberts’s March on Washington Film Festival commission In Memory, and an appearance by former first lady Michelle Obama. “Over the past year, we’ve learned to focus on the opportunity of this moment, not the challenges, and the privilege of carrying on the legacy of Alvin Ailey that speaks to all of us,” Battle said in a statement. “Instilled in movement is a message of hope that helps us look towards the bright promise of our future together. We’re delighted to have this opportunity to share Ailey’s inspiring artistry in new dance films and honor a legend of the civil rights movement as we join in a virtual celebration with our community around the world.” The gala will be followed by a dance party with DJ M.O.S. and DJ Kiss. Admission is free with RSVP although donations will be accepted, and the presentation will be available on demand for forty-eight hours.

OFF BROADWAY

Who: Dylan Baker, Becky Ann Baker, Jessica Frances Dukes, Jason Butler Harner, Hal Linden, Jillian Mercado, Richard Kind, Kara Wang
What: New streaming play by Torrey Townsend, directed by Robert O’Hara
Where: Broadstream
When: June 24-27, free with RSVP
Why: Playwright Torrey Townsend (The Workshop, Executioners) and director Robert O’Hara (Antebellum, BootyCandy) started working on the new play Off Broadway prior to the Covid-19 crisis, but it has been reimagined for online viewing, about a nonprofit theater that suddenly has to reinvent itself over Zoom in order to keep functioning. Presented by Jeremy O. Harris, the play, streaming for free June 24-27, features an all-star cast consisting of Dylan Baker, Becky Ann Baker, Jessica Frances Dukes, Jason Butler Harner, Hal Linden, Jillian Mercado, Richard Kind, and Kara Wang. “Championing challenging, exciting new work during this pandemic has been my chief mission,” Harris (Slave Play, “Daddy”) said in a statement. “Torrey Townsend’s Off Broadway is a brilliant satire that dares to ask questions of a community that, though attempting, still has a long way to go. Knowing that arguably our country’s best satirist is directing the piece made this the most exciting piece to put my energy behind this year.”

O’Hara added, “Before the pandemic, Torrey and I had been developing his brilliant new satire examining the white supremacy that has been lurking behind the walls of the American theater. For months, I couldn’t get it out of my head, so I suggested that we do exactly what theater was doing during the pandemic — go digital — because, of course, the same systemic issues remain ‘off-line.’ I’m so excited to share this new work as we begin to reopen our theaters and hopefully prepare to come back in a more equitable and much less toxic manner.” Ari Fulton designed the costumes and props, with Teniece Divya Johnson as intimacy director, Twi McCallum as sound designer, and Leah Vicencio as technical director and video editor. I’m in for anything Harris is involved with, but with Linden and Kind in the cast, there’s even more reason not to miss this short-run show.