Guenevere (Phillipa Soo) and Arthur (Andrew Burnap) contemplate their future in Camelot (photo by Joan Marcus)
CAMELOT
Vivian Beaumont Theater at Lincoln Center Theater
150 West 65th St. between Broadway & Amsterdam Ave.
Tuesday – Saturday through July 23, $58-$298
212-362-7600 www.lct.org
You know there’s a problem when you cringe every time the conductor at a musical signals to the orchestra that the next song is going to begin. That was my experience at the current revival of Alan Jay Lerner and Frederick Loewe’s Camelot, running at Lincoln Center’s Vivian Beaumont Theater through July 23.
To make matters worse, director Bartlett Sher, who has given us delightful stagings of South Pacific,The King and I, and My Fair Lady in recent years, and book adapter Aaron Sorkin, the author of A Few Good Men and a contemporary rereading of To Kill a Mockingbird, have drained all of the magic out of the show, literally and figuratively, leaving us with the ghost of a beloved musical journey.
Based on T. H. White’s 1958 best-selling novel The Once and Future King,Camelot is the story of young King Arthur (Andrew Burnap), his promised bride, French princess Guenevere (Phillipa Soo), and the brave knight Lancelot Du Lac (Jordan Donica), who swears to defend Arthur while coveting Guenevere. In the opening scene, the king’s three closest knights, Sir Dinadan (Anthony Michael Lopez), Sir Sagramore (Fergie Philippe), and Sir Lionel (Danny Wolohan), are furious when the carriage carrying Guenevere breaks protocol and stops at the bottom of a hill, the princess escaping into the woods.
Guenevere (Phillipa Soo), Arthur (Andrew Burnap), and Lancelot (Jordan Donica) are involved in a dangerous love triangle in Lincoln Center revival (photo by Joan Marcus)
“A thousand-year-old tradition, Merlyn — royal brides are greeted at the top of the hill,” Lionel says. Merlyn (Dakin Matthews), Arthur’s mentor, answers, “Alright, well, in the name of Arthur, King of all England, it is decreed that royal brides will henceforth be met at the bottom of the hill. A new tradition. Does that do it?” It is as if Sher and Sorkin are announcing that they are creating a new tradition with this updated interpretation of the old-fashioned musical, but they are unable to inject life into this venerable warhorse.
Songs such as “The Simple Joys of Maidenhood,” “The Lusty Month of May,” “If Ever I Would Leave You,” and “Fie on Goodness” are flat and lifeless, corpses dug up from the past. Merlyn is not a mage but a wise adviser; as in the 1993 Broadway revival, the same actor also portrays Pellinore, a ratty, doddering old man who takes Merlyn’s place in Arthur’s life.
Arthur’s former lover, Morgan Le Fey (Marilee Talkington), is not a witch or an enchantress but a brilliant scientist. “In the new century, science is going to crack the world wide open. And I wouldn’t want to see your face when you realize it didn’t make a difference,” Morgan tells Arthur, as if trying to convince him to follow Dr. Anthony Fauci and not Fox News and get vaccinated. “There’ll be greed and injustice and hate and horror,” she adds.
The words justice and injustice appear about a dozen times throughout this Camelot: “If we’re to care about justice, we have to care more about injustice,” Arthur tells Lancelot and Pellinore. The Sorkinization extends to equality as well: “Equality is a myth made by the less-than-equal,” Sir Lionel says to Dinadan and Sagramore. It’s safe to say that this Camelot is not stuck in the Middle Ages.
Talking to Guenevere about human nature, Arthur espouses, “It has an impulse to be generous and it has a fierce desire for fairness.” But when it comes to a final decision Arthur must make, he instead hews inflexibly to his ethics: No one is above the law, not even a king and his queen.
Sher and Sorkin are so focused on contemporary standards of correct behavior that no electricity ever develops among Tony winner Burnap (The Inheritance,This Day Forward), who is a nice, kind Arthur; Tony nominee Soo (Into the Woods,Hamilton), who is a strong, charming Guenevere; and Donica (My Fair Lady,The Phantom of the Opera), who is a brash, overbearing Lancelot.
Sorkin goes out of his way to make Arthur a regular man of the people; instead of celebrating how he miraculously became king, he invents the following exchange: “You’re talking to a man who pulled a sword out of a stone. I was the ten thousandth person to try. How do you explain that?” Arthur asks Guenevere, who responds, “Nine-thousand, nine-hundred, and ninety-nine people loosened it.” Guenevere then adds, for good measure, “We have greatness in our grasp, humanity does. But for some reason, every time we see it, we assign the responsibility to some supernatural force. Or to God,” as if Sorkin is railing against modern-day belief systems.
Taylor Trensch (Bare the Musical,Matilda the Musical) is miscast as Mordred, Arthur’s miserable son, but Talkington (A Nervous Smile,The Middle Ages) stands out as his mother, even if she’s way ahead of her time. Camden McKinnon (A Raisin in the Sun,Renfield) never has a chance as twelve-year-old Tom of Warwick, who gets caught up in the didactic conclusion as Arthur — or, if you will, Sher and Sorkin — promise a better, more equitable future.
Michael Yeargan’s sets are spare but attractive, with doors, tables, desks, and royal chairs rolled on and off by the cast, although an iron gate used for Arthur’s privacy gets confusing and the “round table” is actually rectangular; the shadowy lighting is by Lap Chi Chu, with effective sound by Marc Salzberg and Beth Lake, uncomplicated choreography by Byron Easley, colorful costumes by Jennifer Moeller, and projections by 59 Productions that identify location and the weather, from the castle to a forest.
At one point, Arthur insists, “This is Camelot. People don’t run from here, they run to here.”
I cannot in good faith recommend that anyone run to Lincoln Center to see this Camelot.
Wyatt Saveyer (cowriter Bret Raybould) and Gene Yus (producer Dean Edwards) go for quite a ride in Race: The Movie: The Play (photo by Eddie Merino)
RACE: THE MOVIE: THE PLAY
Soho Playhouse
15 Vandam St. between Varick St. & Sixth Ave.
Wednesday – Saturday through May 27, $41 ($31 with code RACISMSOLVED) www.racethemovietheplay.com www.sohoplayhouse.com
For more than two years, beginning during the pandemic lockdown, I’ve spent many Tuesday nights watching the livestreamed “This WAS The Uncle Floyd Show,” in which master pianist, puppeteer, and vaudeville-style comedian Floyd Vivino revisits his no-budget television program that ran on various stations from 1974 to 1998. A collection of haphazard, unrehearsed sketches pushing the limits of good taste, performed by a ragtag, close-knit cast and featuring impressive musical guests, it was beloved by a devoted cult that included David Bowie, John Lennon, and Paul Simon.
This past Tuesday night, however, I found myself at the Soho Playhouse watching Race: The Movie: The Play, which has a similar comic sensibility as The Uncle Floyd Show and deserves just a devoted following. Taking on the enormous issue of racism in Hollywood, RTMTP spoofs, references, and/or skewers such high-profile films as Green Book,12 Years a Slave,Get Out,The Help,Hidden Figures,Black Panther,Django Unchained,Bamboozled,Moonlight,Driving Miss Daisy,Blazing Saddles, and others.
Written by Cristian Duran and Bret Raybould, directed by Duran, and produced by Ted Alexandro, Dean Edwards, and Raybould, RTMTP began life as an award-winning film script, but when the producers couldn’t get funding to make a movie, they turned to the theater. Edwards stars as the distinguished Gene Yus, a gay Frederick Douglass–like character who is about to embark on a concert tour through the Deep South. Raybould is Wyatt Saveyer, a lanky Italian who is hired by Interracial Cab Company head Don Freeman (Andre D Thompson) to drive the stagecoach, led by the white horse Meta and the black horse Phor. Instead of money, Wyatt will receive a solid gold OOTGO badge, confirming that he is “One of the good ones,” which he recognizes as “a distinction white allies, and me an Italian one, can earn from the Black community.” Don explains, “With this OOTGO badge, you will get lifetime access to any cookout.” Wyatt adds, “And you get to say the N word one time,” to which Don quickly replies, “No the fuck you don’t.” Who gets to use the N word is a running gag throughout the ninety-eight-minute play.
A white-coated narrator (Patrice Battey-Simon) shares fun facts in Race: The Movie: The Play (photo by Eddie Merino)
On the road, Gene and Wyatt meet racist hillbilly repairman Wyatt Devil (David Healy), racist white plantation owner Ray Cist (Nick Whitmer) and his daughter, Jen Trifier (Amanda Van Nostrand), prison guard Tuwoke (Patrice Battey-Simon), Black plantation owner Pyler Terry’s Damea (Thee Suburbia), wannabe rapper Stretch (Eagle Witt), touchy-feely Doctor Bukkake (Healy), strapped Black cowboy D-Jango (Menuhin Hart), Kawanda king T’Challa-Latte (Quan Wiggins), evil villain Thanus (Rhyis Knight), mouth breather Max Hayte (Derek Humphrey, who also portrays the squeaky Mick E. Mouse), and Judge Hughbythecolorofyourskin (R. Alex Murray).
Gene and Wyatt encounter racism in many forms while confusingly shifting between time periods, breaking the fourth wall, and poking fun at themselves as Wyatt learns how to be an ally, proudly proclaiming his growth as a human being. When Gene asks Wyatt for help amid a fight, Wyatt admits, “Oh yeah. Sorry, I got lost in a brief spat of character development.” Early on, Wyatt says to Gene, “Hmm . . . a lot of your accomplishments are making me question my preconceived notions about you.” Later, Gene yells at Wyatt, calling him “quite possibly the most helpless, hapless, shiftless shit-for-brains idiot I’ve ever met! What’s your great struggle, what’s your cross to bear: Learning to be less racist and understand privilege? BOO FUCKING HOO!” And Wyatt tells himself with wonder, “Maybe it is harder to be a Black man in America . . . NAH!”
Throughout the show, musical director Andrew Hink, gleefully sitting at his keyboard stage right, plays an eclectic collection of instrumentals, from Britney Spears’s “Baby One More Time” to Scott Joplin’s “Maple Leaf Rag.” (Every episode of The Uncle Floyd Show featured Vivino performing old standards on piano, though with vocals.)
A wacky cast explores racism and white supremacy in fun spoof at Soho Playhouse (photo by Eddie Merino)
Is RTMTP wildly uneven? You betcha. Do they sledgehammer home their points? Sure, but they are pretty important points. Do more jokes miss than hit their targets? Probably — I wasn’t keeping score — but there are a ton of one-liners, and even the very best baseball players reach base only forty percent of the time.
The depiction of what happens when someone gets canceled is pure genius, the danger of telegraphing while driving is made clear, and T-shirts are emblazoned with playful but serious political messages. Throw in some S&M, a bit of blackface, goofy costumes and props, some improvising in response to audience reaction, low-rent projections that show where the action is taking place, and a cast that is ready, willing, and able to laugh at itself and you have the ingredients of a lively, enjoyable evening, though I would skip the chicken cutlet sandwich. (Plus, if you’re white, you’ll feel like you’ve earned another notch toward your own OOTGO badge.)
One of the highlights the night I went was when Edwards was unable to get a line right after trying several times, so he asked Wiggins, as T’Challa-Latte, for help; it was almost too perfect that the sentence he couldn’t get out was “Let me get this straight, so the only way for us to unlock the power of diversity is if we fulfill the white q’uota?”
Race: The Movie: The Play might not run for a quarter-century and four thousand episodes like The Uncle Floyd Show did — it’s scheduled to close May 27 — but Duran and Raybould are still hoping to make that film, which will, of course, be called Race: The Movie: The Play: The Movie.
New York City is the star of wide-ranging Film Forum festival
THE CITY: REAL AND IMAGINED
Film Forum
209 West Houston St.
May 12 – June 8
212-727-8110 filmforum.org
Last month Ohio rep. Jim Jordan came to New York City to hold a field hearing in which he made wild accusations about the state of the five boroughs and attacked Manhattan DA Alvin Bragg, ignoring that, per capita, crime is actually worse in his state; he could not differentiate between the real and the imagined.
No one knows how to put on a New York City film festival like Film Forum does, and their latest is another doozy, melding the real with the imagined. Running May 12 through June 8, “The City: Real and Imagined” consists of more than seventy-five features, shorts, and documentaries in which NYC is essentially a character unto itself, if not the star. Held in conjunction with the Museum of the City of New York’s centennial exhibition “This Is New York: 100 Years of the City in Art and Pop Culture,” the festival’s opening weekend boasts a dozen wide-ranging titles, from Alexander Mackendrick’s Sweet Smell of Success and Spike Lee’s Do the Right Thing to Alexander Hall’s My Sister Eileen and Martin Scorsese’s Taxi Driver.
Hollywood stars are everywhere: Al Pacino, Rosalind Russell, Ernest Borgnine, Jane Fonda, Henry Fonda, Madonna, Richard Roundtree, Diane Keaton, Martin Sheen, Elaine May, Fred Astaire, Cyd Charisse, Sammy Davis Jr. Among plenty of well-known favorites, master programmer Bruce Goldstein has slipped in Sidney M. Goldin and Aubrey Scotto’s Uncle Moses, Julie Cohen’s The Sturgeon Queens, Leon Ichaso and Orlando Jiménez Leal’s El Super, Alberto Lattuada’s Mafioso, and Leo Penn’s A Man Called Adam.
Below is a closer look at sixteen of the gems. In addition, there will be intros, Q&As, and other special presentations at twenty-one screenings, for such films as Alfred Hitchcock’s The Wrong Man, Claudia Weill’s Girlfriends, Michael Roemer’s The Plot Against Harry, Joan Micklin Silver’s Hester Street, Stanley Kubrick’s Killer’s Kiss, Leslie Harris’s Just Another Girl on the I.R.T., and Michael Campus’s The Education of Sonny Carson, with stars Rony Clanton and Joyce Walker-Joseph. Rep. Jordan should move into Film Forum for a month and learn what New Yorkers are really about.
Ray Salyer and Gorman Hendricks are two of the forgotten men in Lionel Rogosin’s unforgettable On the Bowery
ON THE BOWERY (Lionel Rogosin, 1956)
Friday, May 12, 12:15
Sunday, May 21, 6:15
Thursday, May 25, 4:45
Friday, May 26, 2:35
Tuesday, May 30, 4:50 www.ontheboweryfilm.com
Lionel Rogosin’s On the Bowery is one of the greatest cinematic documents ever made about New York. The stunning 35mm restoration offers a new look at this underground classic, which caused a stir upon its release in 1956, winning prizes at the Venice Film Festival while earning criticism at home for daring to portray the grim reality of America’s dark underbelly. After spending six months living with the poor, destitute alcoholics on Skid Row as research, idealistic young filmmaker Rogosin spent the next four months making On the Bowery, a remarkable examination of the forgotten men of New York, ne’er-do-wells who can’t find jobs, sleep on the street, and will do just about anything for another drink.
Rogosin centers the film around the true story of Ray Salyer, a journeyman railroad drifter stopping off in New York City seeking temporary employment. Salyer is quickly befriended by Gorman Hendricks, who not only shows Salyer the ropes but also manages to slyly take advantage of him. Although the film follows a general structure scripted by Mark Sufrin, much of it is improvised and shot on the sly, in glorious black-and-white by Richard Bagley. The sections in which Bagley turns his camera on the streets, showing the decrepit neighborhood under the El, set to Charles Mills’s subtle, jazzy score and marvelously edited by Carl Lerner, are pure poetry, yet another reason why On the Bowery is an American treasure. Photographer Harvey Wang will show some of his own Bowery photographs at the May 21 screening.
Rupert Crosse, Hugh Hurd, and Lelia Goldoni examine racism in John Cassavetes’s seminal underground film Shadows
SHADOWS (John Cassavetes, 1959)
Friday, May 12, 2:15
Monday, May 15, 8:10
Saturday, May 20, 12:15
Friday, June 2, 5:30 filmforum.org
John Cassavetes’s directorial debut, Shadows, is a landmark moment in the history of independent cinema and one of the most influential films ever made. Shot in black-and-white with a 16mm handheld camera on a modest budget of $40,000, much of which was raised following Cassavetes’s appearance on Jean Shepherd’s radio show — the credits include the line “Presented by Jean Shepherd’s Night People” — Shadows is a gritty, underground examination of race in New York City, one of the first major anti-Hollywood American movies. Although the script is credited to Cassavetes, the film is primarily improvised by a group of mostly nonprofessional or first-time actors using their real first names, set to a jazzy, moody score by Charles Mingus saxophonist Shafi Hadi. Lelia Goldoni stars as twenty-year-old Lelia, a confused young woman who loses her virginity to Tony (Anthony Ray), who thought it was a one-night stand but then decides they should start dating after she becomes clingy. However, Tony freaks out when he meets one of Lelia’s brothers, singer Hugh (Hugh Hurd), who is black. Meanwhile, their other brother, trumpeter Ben (Ben Carruthers), spends his nights with his two buddies, Dennis (Dennis Sallas) and Tom (Tom Reese), bumming money and trying to pick up chicks.
Amid Bohemian parties, street fights, and visits to Central Park, Port Authority, Grand Central Terminal, and MoMA’s sculpture garden, Cassavetes and the cast explore life, love, and racism in realistic ways, even if some of the actors are a lot better than others and certain scenes fall flat. Gordon is particularly annoying through much of the film; the most interesting relationship exists between Hugh and his devoted agent, Rupert (Rupert Crosse, who spent the next thirteen years appearing in myriad television series). Look for Cassavetes in the scene in which a stranger harasses Lelia in Times Square. Shadows comes alive with the rhythm and energy of late 1950s New York; Cassavetes died in 1989 at the age of fifty-nine, leaving behind quite a legacy.
Chantal Akerman combines footage of 1970s New York with letters from her mother in News from Home
NEWS FROM HOME (Chantal Akerman, 1977)
Friday, May 12, 4:15
Saturday, May 20, 2:15 filmforum.org
In 1971, twenty-year-old Chantal Akerman moved to New York City from her native Belgium, determined to become a filmmaker. Teaming up with cinematographer Babette Mangolte, she made several experimental films, including Hotel Monterey and La Chambre, before moving back to Belgium in 1973. But in 1976 she returned to New York City to make News from Home, a mesmerizing work about family and dislocation, themes that would be prevalent throughout her career. The film consists of long, mostly static shots, using natural sound and light, depicting a gray, dismal New York City as cars move slowly down narrow, seemingly abandoned streets, people ride the graffiti-laden subway, workers and tourists pack Fifth Ave., and the Staten Island Ferry leaves Lower Manhattan.
The only spoken words occur when Akerman, in voice-over, reads letters from her mother, Natalia (Nelly) Akerman, sent during Chantal’s previous time in New York, concerned about her daughter’s welfare and safety. “I’m glad you don’t have that job anymore and that you’re liking New York,” Akerman reads in one letter. “People here are surprised. They say New York is terrible, inhuman. Perhaps they don’t really know it and are too quick to judge.” Her mother’s missives often chastise her for not writing back more often while also filling her in on the details of her family’s life, including her mother, father, and sister, Sylviane, as well as local gossip.
Although it was not meant to be a straightforward documentary, News from Home now stands as a mesmerizing time capsule of downtrodden 1970s New York, sometimes nearly unrecognizable when compared to the city of today. The film also casts another light on the relationship between mother and daughter, which was highlighted in Akerman’s final film, No Home Movie, in which Chantal attempts to get her mother, a Holocaust survivor, to open up about her experiences in Auschwitz. Nelly died shortly after filming, and Akerman committed suicide the following year, only a few months after No Home Movie played at several film festivals (and was booed at Locarno). News from Home takes on new meaning in light of Akerman’s end, a unique love letter to city and family and to how we maintained connections in a pre-internet world.
Rosemary (Mia Farrow) doesn’t know who she can trust in Roman Polanski’s horror classic
ROSEMARY’S BABY (Roman Polanski, 1968)
Saturday, May 13, 2:20
Tuesday, May 23, 2:15 filmforum.org
Based on the frightening novel by Ira Levin, Rosemary’s Baby is one of the greatest psychological horror films ever made — and one of the best ever about the hell that apartment life in New York City can be. When Rosemary (Mia Farrow) and Guy Woodhouse (John Cassavetes) move into the fancy Upper West Side apartment complex the Bramford (the Dakota), ready to start a family, Rosemary slowly grows suspicious of Guy’s new friends, particularly the sweet old couple next door (Oscar winner Ruth Gordon and Sidney Blackmer), with good reason.
Written and directed by Roman Polanski, Rosemary’s Baby works primarily because it is so believable, with recognizable characters and situations that never go over the top. It’s not just about a satanic underworld gathering in New York City; it delves headfirst into urban paranoia and the fear of adulthood and responsibility, focusing on career success and parenting, with the baby-faced Farrow expertly cast as the mom-to-be. The frightening thriller, which is filled with truly scary scenes, has held up well over the years, so beware if you’re afraid of the dark. In any case, be prepared to have the bejesus scared out of you.
Jimmy Stewart and Grace Kelly might have just stumbled into the middle of a murder mystery in Hitchcock classic
REAR WINDOW (Alfred Hitchcock, 1954)
Sunday, May 14, 7:10
Sunday, May 21, 8:15 filmforum.org
Watching Alfred Hitchcock’s Rear Window makes people happy. One of the Master of Suspense’s best films, it’s an unforgettable voyeuristic thriller starring James Stewart as temporarily wheelchair-bound photojournalist L. B. Jeffries and Grace Kelly as his society-girl friend (and extremely well dressed) Lisa Carol Fremont. Bored out of his mind, Jeffries grabs a pair of binoculars and starts spying on the apartments across the courtyard from him, each one its own television show, including a musical comedy, a lonely romance, an exercise program, and, most ominously, perhaps a murder mystery. Ever the reporter, Jeffries decides to go after the possible killer, Lars Thorwald (Raymond Burr), and he’ll risk his life — and Lisa’s — to find out the truth. Sensational from start to finish, Rear Window works on so many levels, you’ll discover something new every time you watch it.
Kitty Winn and Al Pacino struggle with love and addiction in The Panic in Needle Park
THE PANIC IN NEEDLE PARK (Jerry Schatzberg, 1971)
Wednesday, May 17, 7:00
Thursday, May 18, 3:10 filmforum.org
Al Pacino burst onto the cinematic landscape in The Panic in Needle Park, his first starring role. Pacino is fabulously unsettling as Bobby, a junkie always looking to score around Sherman Square at 72nd St. and Broadway, known then as Needle Park. Bobby hooks up with Helen (Kitty Winn, who was named Best Actress at the 1971 Cannes Film Festival for her performance), and the two of them do whatever is necessary to stay high as they wander the streets of the city. Director Jerry Schatzberg (Scarecrow, The Seduction of Joe Tynan, Street Smart) uses natural sound and light to give the film a more realistic feel, as if you are walking through the streets with Bobby and Helen.
Several scenes will break your heart, including the one on the Staten Island Ferry; the powerful screenplay was the first written by novelist Joan Didion. The film launched Pacino’s stellar film career; his next five movies were The Godfather, Scarecrow, Serpico, The Godfather Part II, and Dog Day Afternoon, arguably the best start to an acting career ever. Gritty, realistic, and surprisingly tender, The Panic in Needle Park will be screening May 17 at 7:00 and 18 at 3:10; Schatzberg will sit down with Film Forum repertory artistic director Bruce Goldstein after the first show, focusing on the director’s photography, which was recently on view at Fotografiska.
Popeye Doyle battles his inner demons and an international drug ring in New York City classic The French Connection
THE FRENCH CONNECTION (William Friedkin, 1971)
Thursday, May 18, 8:00
Saturday, May 20, 6:30
Saturday, May 27, 8:40 filmforum.org
William Friedkin’s Oscar-winning classic The French Connection is a whole lot more than just a car chase. But oh, what a car chase. Adapted by screenwriter Ernest Tidyman from a nonfiction book by Robin Moore, the gripping 1971 thriller is about obsession and paranoia, setting the stage for a decade filled with gritty, soul-searching films centered around troubled antiheroes. Way down on the list of actors to play Popeye Doyle, Gene Hackman won an Academy Award for his portrayal of the undercover detective willing to do anything to get his man. In this case, his targets are suave local hoodlum Sal Boca (Tony Lo Bianco) and elegant French drug kingpin Alain Charnier (Fernando Rey), less-than-affectionately known as Frog One.
Sure that a major international deal is about to go down, Doyle and his partner, Cloudy Russo (Roy Scheider), trail Boca and Charnier, highlighted by a marvelous cat-and-mouse game between Doyle and Charnier on the subway and then, of course, the car chase to end all car chases, as Doyle speeds underneath an elevated train in a Pontiac LeMans, determined to catch hit man Pierre Nicoli (Marcel Bozzuffi). Shot in muted browns and grays by Owen Roizman, who photographed such other New York City tales as The Taking of Pelham One Two Three, Three Days of the Condor, and Tootsie, the film was inspired by real-life situations involving cops Eddie Egan and Sonny Grosso, both of whom appear in the film (but not as themselves).
Michael Beck tries to lead the Warriors back home to Coney Island against all odds
At a huge gang meeting in the Bronx (actually shot in Riverside Park), the Warriors are wrongly accused of having killed Cyrus (Roger Hill), an outspoken leader trying to band all the warring factions together to form one huge force that can take over the New York City borough by borough. The Warriors then must make it back to their home turf, Coney Island, with every gang in New York lying in wait for them to pass through their territory. This iconic New York City gang movie is based on Sol Yurick’s novel, which in turn is loosely based on Xenophon’s Anabasis, which told of the ancient Greeks’ retreat from Persia.
Michael Beck stars as Swan, who becomes the de-facto leader of the Warriors after Cleon (Dorsey Wright) gets taken down early. Battling Swan for control is Ajax (Dexter’s James Remar) and tough-talking Mercy (Too Close for Comfort’s Deborah Van Valkenburgh). Serving as a Greek chorus is Lynne (Law & Order) Thigpen as a radio DJ, and, yes, that young woman out too late in Central Park is eventual Oscar winner Mercedes Ruehl. Among the cartoony gangs of New York who try to stop the Warriors are the roller-skating Punks, the pathetic Orphans, the militaristic Gramercy Riffs, the all-girl Lizzies, the ragtag Rogues, and the inimitable Baseball Furies. Another main character is the New York City subway system itself.
There are eight million stories in the Naked City, and Film Forum is showing some of the best ever
THE NAKED CITY (Jules Dassin, 1948)
Monday, May 22, 1:00
Monday, May 29, 4:45
Thursday, June 8, 4:40 filmforum.org
Jules Dassin’s police procedural was one of the first films shot on location in New York City, bringing to life the grit of the streets. Barry Fitzgerald stars as Lt. Muldoon, an Irish cop who knows the game, never allowing anything to get in the way of his sworn duty to uphold the law while never getting too emotionally involved. A model has turned up dead, and young detective Jimmy Halloran (Don Taylor) is heading up the investigation, which includes such suspects as swarthy Frank Niles (Howard Duff). Producer Mark Hellinger’s narration is playful and knowing, accompanying William Daniels’s great camerawork through Park Avenue and the Lower East Side, stopping at little city vignettes that have nothing to do with the story except to add to the level of reality. The thrilling conclusion takes place on the Williamsburg Bridge. The May 29 screening will include Film Forum repertory artistic director Bruce Goldstein’s short 2020 documentary Uncovering the Naked City, made during the pandemic lockdown.
Young Elgar Winthrop Julius Enders’s (Beau Bridges) spoiled life of privilege is about to dramatically change in The Landlord
THE LANDLORD (Hal Ashby, 1970)
Thursday, May 25, 8:15
Friday, May 26, 12:15
Tuesday, May 30, 2:30
Tuesday, June 6, 4:30 filmforum.org
When rich kid Elgar Winthrop Julius Enders (Beau Bridges) finally decides to do something with his spoiled life of privilege, he takes a rather curious turn, buying a dilapidated tenement in a pregentrified Park Slope that resembles the South Bronx in Hal Ashby’s poignant directorial debut, The Landlord. At first, the less-than-worldly Elgar doesn’t quite know what he’s gotten himself into, believing it will be easy to kick out the current residents and then replace the decrepit building with luxury apartments. He pulls up to the place in his VW bug convertible, thinking he can just waltz in and do whatever he wants, but just as his car is vandalized, so is his previously charmed existence, as he gets to know wise house mother Marge (Pearl Bailey), the sexy Francine (Diana Sands), her activist husband, Copee (Louis Gossett Jr.), and Black Power professor Duboise (Melvin Stewart), none of whom is up-to-date with the rent. Meanwhile, Elgar starts dating Lanie (Marki Bey), a light-skinned half-black club dancer he assumed was white, infuriating his father, William (Walter Brooke), and mother, Joyce (a delightful, Oscar-nominated Lee Grant), who are in the process of setting up their daughter, Susan (Susan Anspach), with the white-bread Peter Coots (Robert Klein).
Elgar has a whole lot of learning to do in Hal Ashby’s New York City–set black comedy
Based on the novel by Kristin Hunter, The Landlord is a telling microcosm of race relations and class conflict in a tumultuous period in the nation’s history, as well as that of New York City, coming shortly after the civil rights movement and the free-love late ’60s. The film is masterfully shot by Astoria-born cinematographer Gordon Willis (Klute, Annie Hall, Manhattan, all three Godfather movies), who sets the bright, open spaces of the Enderses’ massive estate against the dark, claustrophobic rooms of the dank tenement. Screenwriter Bill Gunn (Ganja and Hess) and Ashby avoid getting overly preachy in this at-times outrageous black comedy, incorporating slapstick along with some more tender moments; the scene in which Joyce meets Marge is a marvel of both. And just wait till you see Coots’s costume at a fancy fundraiser. The Landlord began quite a string for Ashby, who followed it up with Harold and Maude, The Last Detail, Shampoo, Bound for Glory, Coming Home, and Being There in a remarkable decade for the former film editor (In the Heat of the Night) who died in 1988 at the age of fifty-nine.
Screening of cult subway graffiti film Stations of the Elevated will be hosted by director Manfred Kirchheimer
STATIONS OF THE ELEVATED (Manfred Kirchheimer, 1981)
Friday, May 26, 6:20 filmforum.org
Thirty-three years after screening at the New York Film Festival, Manfred Kirchheimer’s Stations of the Elevated finally got its official U.S. theatrical release, in a gorgeous new restoration. In 1977, Kirchheimer, whose family escaped Nazi Germany in 1936, went to the Bronx and filmed graffiti-covered subway cars at the train depot and rushing across the elevated tracks, kids playing in a burned-out housing project, and giant billboards advertising hamburgers, cigarettes, alcohol, and suntan lotion. Shot on 16mm reversal stock, Stations of the Elevated is more than just a captivating document of a bygone era; it is a deeply poetic socioeconomic journey into class, race, art, and freedom of expression, told without a single word of narration or onscreen text.
Instead, producer, director, editor, and photographer Kirchheimer (Colossus on the River, Bridge High with Walter Hess) shifts from the natural sound of the environment to a superb jazz score by Charles Mingus while cutting between shots of trains covered in tags and illustrations (and such phrases as “Heaven Is Life,” “Invasion of the Earth,” “Never Die,” and “Earth Is Hell”) by such seminal figures as Blade, Daze, Lee, Pusher, Shadow, and Slave and views of colorful billboards filmed peeking through the geometric architecture of the elevated railways and set against bright blue skies. Most often, the camera focuses on the painted eyes in the ads, looking right back at the viewer as they dominate the scene, evoking the optician’s ad in that famous novel of American class, The Great Gatsby. (The concentration on the eyes also predicts how Madison Ave. was watching the graffiti movement, eventually coopting the imagery into mainstream advertising.) Through this dichotomy of meaning and execution, Kirchheimer reveals similarities in artistic styles and how the elements influenced each other; a particularly telling moment occurs when a man is shown hand painting a billboard who could have just as well been spray painting a subway car.
Kirchheimer remains outside during the course of the forty-five-minute documentary, never venturing into the tunnels, capturing the elevated train lines as if they’re just another part of New York City architecture, which of course they are. And it’s especially powerful because it was made at a time when the city was in the midst of a severe economic crisis and rampant crime epidemic, as Mayor Koch sought to eliminate the scourge of graffiti, while Kirchheimer celebrates its beauty (and New York-ness) in this glorious little film. Stations of the Elevated, which elevates the station of subway graffiti artistry with an entrancing calmness, is being shown at Film Forum on May 26 at 6:20 with other shorts by the ninety-two-year-old Kirchheimer, who will be on hand to discuss his work with film programmer Jake Perlin.
A group of straphangers are terrorized by thugs in Larry Peerce’s The Incident
THE INCIDENT (Larry Peerce, 1967)
Saturday, May 27, 4:00
Tuesday, May 30, 12:15 filmforum.org
One of the ultimate nightmare scenarios of 1960s New York City, Larry Peerce’s gritty black-and-white The Incident takes viewers deep down into the subway as two thugs terrorize a group of helpless passengers. Joe Ferrante (Tony Musante) and Artie Connors (Martin Sheen, in his first movie role) are out for kicks, so after getting some out on the streets, they head underground, where they find a wide-ranging collection of twentieth-century Americans to torture, including Arnold and Joan Robinson (Brock Peters and Ruby Dee), Bill and Helen Wilks (Ed McMahon and Diana Van der Vlis), Sam and Bertha Beckerman (Jack Gilford and Thelma Ritter, in her last role), Douglas McCann (Gary Merrill), Muriel and Harry Purvis (Jan Sterling and Mike Kellin), Alice Keenan (Donna Mills), soldiers Felix Teflinger and Phillip Carmatti (Beau Bridges and Robert Bannard), and others, each representing various aspects of contemporary culture and society, all with their own personal problems that come to the surface as the harrowing ride continues.
It’s a brutal, claustrophobic, highly theatrical film that captures the fear that haunted the city in the 1960s and well into the ’70s, with an all-star cast tackling such subjects as racism, teen sex, alcoholism, homosexuality, war, and the state of the American family. Some of this rarely shown drama was filmed in the actual subway system against the MTA’s warnings.
Walter Matthau tries to get to the bottom of a bizarre subway heist in The Taking of Pelham One Two Three
THE TAKING OF PELHAM ONE TWO THREE (Joseph Sargent, 1974)
Saturday, May 27, 6:10
Monday, May 29, 12:15 filmforum.org
Loosely adapted from the book by John Godey, Joseph Sargent’s underground thriller The Taking of Pelham One Two Three wonderfully captures the cynicism of New York City in the 1970s. Four heavily armed and mustached men — Mr. Blue (Robert Shaw), Mr. Green (Martin Balsam), Mr. Gray (Hector Elizondo), and Mr. Brown (Earl Hindman), colorful pseudonyms that influenced Quentin Tarantino’s Reservoir Dogs — hijack an uptown 4 train, demanding one million dollars in one hour from a nearly bankrupt city or else they will kill all eighteen passengers, one at a time, minute by minute. The hapless mayor (Lee Wallace) is in bed with the flu, so Deputy Mayor Warren LaSalle (Tony Roberts) takes charge on the political end while transit detective Lt. Zachary Garber (a great Walter Matthau) and Inspector Daniels (Julius Harris) of the NYPD team up to try to figure out just how in the world the criminals expect to get away with the seemingly impossible heist.
Sargent (Sybil) offers a nostalgic look back at a bygone era, before technology radically changed the way trains are run and police work is handled. The film also features a very funny, laconic Jerry Stiller as Lt. Rico Patrone and the beloved Kenneth McMillan as the borough commander. It was remade as a television movie in 1998, starring Edward James Olmos, Vincent D’Onofrio, and Lorraine Bracco, and as an embarrassingly bad big-budget bomb in 2009 by Tony Scott. Film Forum repertory artistic director Bruce Goldstein will give an illustrated lecture preceding the May 27 screening.
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)
Sunday, May 28, 12:15
Monday, May 29, 2:30 filmforum.org
Morris Engel’s charming Little Fugitive is one of the most influential and important — and vastly entertaining — works to ever come out of New York City. 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 their 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 underground classic, which 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, will be screening at Film Forum with Engel’s 1953 short The Dog Lover and will be introduced by Engel and Orkin’s daughter, Mary Engel.
Harold Lloyd has a crazy time in Coney Island in Speedy
SPEEDY (Ted Wilde, 1928)
Sunday, May 28, 2:30 filmforum.org
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, so he vows to save the day. Along the way, he gets to meet Babe Ruth. Ted 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. The restored 35mm print of Speedy is being shown May 28 at 2:30 at Film Forum with live accompaniment by pianist Steve Sterner and will be followed by Bruce Goldstein’s 2015 documentary, In the Footsteps of Speedy.
Zero Mostel and Gene Wilder, along with Kenneth Mars, concoct a crazy plan that just might work in The Producers
THE PRODUCERS (Mel Brooks, 1968)
Wednesday, May 31, 12:15
Sunday, June 4, 6:15
Tuesday, June 6, 12:30 filmforum.org
No way around it; this is one funny movie. Written and directed by Mel Brooks (who won an Oscar for Best Original Screenplay), The Producers stars Zero Mostel as Max Bialystock, a once great Broadway producer now relegated to wooing old ladies for their checkbooks. Gene Wilder earned an Oscar nomination for Best Supporting Actor as Leo Bloom, a by-the-book accountant who figures out that it could be possible to make more money from a bomb than a hit. And the bomb they turn to is the extraordinary Springtime for Hitler, featuring a great turn by Kenneth Mars as a neo-Nazi. Brooks, Mostel, Wilder, Mars, and the rest of the crazy cast — which also includes Dick Shawn, Lee Meredith, Estelle Winwood, Christopher Hewett, Renee Taylor, Barney Martin, Bill Macy, and William Hickey — don’t just play it for laughs but for giant guffaws and jaw-dropping disbelief in this riotous romp that was turned into a very good but overrated Broadway musical and a terrible film version of the show, both starring Nathan Lane and Matthew Broderick, neither of whom can fill Mostel and Wilder’s shoes.
In late summer 2021, On Site Opera (OSO) presented What Lies Beneath, a collection of six vignettes on board the 1885 cargo ship the Wavertree at the South Street Seaport.
In April 2022, the Manhattan-based company brought its stirring version of Giacomo Puccini’s Gianni Schicchi, the first work in the Italian composer’s Il Trittico (“The Triptych”), to the Prince George Ballroom on East Twenty-Seventh St.
Now OSO is teaming up again with the South Street Seaport Museum for the second part of Puccini’s trilogy, Il tabarro (“The Cloak”), with a libretto by Giuseppi Adami, on board the 1908 lightship Ambrose; the audience will be seated on Pier 16, with minimal interaction with the cast. The approximately sixty-minute story of a love triangle gone bad — does it ever go well? — runs May 14-17 and stars baritone Eric McKeever as barge owner Michele, soprano Ashley Milanese as his wife, Giorgetta, and tenor Yi Li as dockhand Luigi. The ensemble features mezzos Claire Coven and JoAnna Vladyka, sopranos Yohji Daquio, Lindsey Kanaga, Theodora Siegel, and Kiena Williams, baritone Paul LaRosa, bass Brian McQueen, and tenor Daniel Rosenberg, with costumes by Howard Tsvi Kaplan, lighting by Shawn Kaufman, props by Rachel Kenner, and sound by Scott Stauffer. The orchestra will be conducted by Geoffrey McDonald, and the production will be helmed by Laine Rettmer, the first guest director of a full show in OSO’s eleven-year history; OSO co-founding director Eric Einhorn will be leaving the company at the end of the year.
On Site Opera rehearses Il tabarro at Sunlight Studios (photo by Bowie Dunwoody)
“What we have planned for this next installment of Puccini’s Il Trittico promises to be the perfect marriage of found site and libretto,” Rettmer said in a statement. “You will experience the overlay of 2023 merging into 1916 in this engrossing sixty-minute tale set against the setting sun on New York City’s Seaport.”
Ticket holders can also order in advance a $25 boxed dinner from Cobble Fish, which can be eaten before or during the show. The Ambrose, aka Lightship LV-87, is a National Historic Landmark and was the first lightship to have a radio beacon; it served in various capacities, including as an examination vessel during WWII, through 1963. The Seaport Museum offers free guided tours of the lightship Wednesday through Sunday. OSO will ultimately conclude Puccini’s Il tabarro with Suor Angelica at a date to be announced.
Two couples can’t reach a genuine understanding in God of Carnage (photo by Carol Rosegg)
GOD OF CARNAGE
Theatre Row
410 West 42nd St. between Ninth & Tenth Aves.
Tuesday – Sunday through May 20, $72.50 www.tbtb.org
“Why does everything always have to be so exhausting?” Veronica (Christiane Noll) asks in Theater Breaking Through Barriers’ (TBTB) splendid off-Broadway premiere of Yasmina Reza’s 2008 dark comedy, God of Carnage, running at Theatre Row through May 20. The prescient fifteen-year-old show feels even more relevant today as we deal with exhaustion of all kinds on a seemingly endless basis.
Before the actors take the stage, they identify themselves in voiceover: what they’re wearing and what the set looks like, the words projected onto the back wall, which Veronica explains “is composed of approximately twenty square and rectangular panels and is painted bright red. Because the panels are all different sizes and overlap each other, the wall presents as fractured with an illusion of depth to it. It is reminiscent of the cubism movement of the early twentieth century.” In this revival, “illusion of depth” and “cubism” would be two ways to describe what happens over the course of ninety minutes.
Founded in 1979, TBTB is “dedicated to advancing artists and developing audiences of people with disabilities and altering the misperceptions surrounding disability”; thus, some of the actors have disabilities (that are not necessarily noticeable and aren’t the point), and the dialogue is projected through the entire play for those who are hard of hearing (though often a distracting second or two behind the action). God of Carnage is an excellent choice for TBTB, as part of the plot involves a drug that might be causing side effects that mimic certain disabilities.
Michael Novak (Gabe Fazio), who runs a wholesale household goods company, and his wife, Veronica, a writer who works in an art history bookstore, have invited over Alan Raleigh (David Burtka), a hotshot corporate lawyer, and his wife, Annette (Carey Cox), who’s in wealth management, to discuss an unfortunate situation: The Raleighs’ eleven-year-old son, Benjamin, struck the Novaks’ eleven-year-old, Henry, across the face with a stick in Cobble Hill Park, knocking out two of his teeth. For legal and insurance purposes, the parents are drafting a document explaining precisely what happened. The disagreements begin from the very start, when Veronica states that Benjamin was “armed with a stick” but Alan objects to that word and they decide on “furnished” instead.
The narrative plays out like a courtroom drama as the audience shifts its sympathies among the four characters, who eventually all show their true colors, some of them unexpected. Alan spends much of his time on his cell phone, handling a crisis for a pharmaceutical company in a bind because of serious issues with one of its drugs. He remains in the living room, speaking loudly to his colleagues and clients, oblivious to whether or not everyone hears what he’s saying because he’s sure that it’s far more important than arguing about a couple of boys being boys.
Gabe Fazio, David Burtka, Christiane Noll, and Carey Cox star in off-Broadway debut of Tony-winning play (photo by Carol Rosegg)
Annette is furious at her husband’s disrespect and neglect and is at first insistent that Benjamin must apologize in person to Henry. But as more facts come out, she starts pulling back and pointing fingers. Veronica is appalled at this change, although she at times seems more concerned about her collection of rare art volumes and the book she’s writing on Sudan. Meanwhile, Michael sees nothing wrong with how he disposed of his daughter’s beloved hamster, while his mother keeps calling on the landline, worrying about her own health situation.
Every time the Raleighs get up to go, something happens to keep them in the living room, reminiscent of Luis Buñuel’s The Exterminating Angel, in which people at a dinner party are unable to leave. And as the two couples’ discussions get more combative — there’s even a debate over the homemade clafouti Veronica serves — the parents get more and more cruel as things devolve into mayhem.
Translated from the original French by Christopher Hampton, who has translated five of Reza’s plays, including the Tony-winning ‘Art,’God of Carnage debuted on Broadway in February 2009 with an impressive cast: Jeff Daniels as Alan, Hope Davis as Annette, James Gandolfini as Michael, and Marcia Gay Harden as Veronica. All four actors were nominated for Tonys; Gay Harden won for Best Actress and Matthew Warchus for Best Director, and the show took home the Best Play prize. Roman Polanski’s 2011 film starred Christoph Waltz as Alan, Jodie Foster as Annette, John C. Reilly as Michael, and Kate Winslet as Veronica.
TBTB’s adaptation might not boast huge names, but it is a small gem that celebrates the sharp writing, which is filled with hilarious absurdities while turning modern-day Brooklyn parenting inside out. The show takes place on the cusp of the social media revolution, when bullying was still mostly limited to physical rather than online interaction. The Novaks and the Raleighs are practically the opposite of helicopter parents; at one point, when Annette criticizes her guests’ parenting skills, Alan gives her permission to say anything she wants to Benjamin, something that is unlikely to happen today, especially in the Cobble Hill area.
Bert Scott’s set is centered by an off-white sofa and matching armchair, with a glass coffee table, beige rug, utility table with bottles of alcohol, Parson chair, and end table with a vase of yellow tulips; the soft lighting and projections are by Samuel J. Biondolillo, with sound by Eric Nightengale and appropriate bourgeois Brooklyn costumes by Olivia V. Hern.
Burtka (Gypsy,It Shoulda Been You) is strong and unflappable as Alan, a selfish man who cares more about his job than his wife and son. “I really wish you would just turn off your cell phone and focus on your family for a change,” Annette yells at him during TBTB’s added introduction. “There is nothing worse than someone who is so addicted to their cell phone that they can’t shut it off for a time and focus on what is right in front of them.” Cell-phone rudeness has only gotten worse since 2008, so Reza was right on target with Alan. When Annette says under her breath to the audience, “Blah blah blah, it’s the same nonsense all the time,” Alan asks, “Who are you talking to?,” as he is unable to see anyone else but himself, including the audience. (Echoing Alan and Annette, when Michael describes himself to the audience in the guise of testing out a new voice recorder, Veronica grumbles, “Michael, what are you doing?”)
Cox (The Glass Menagerie,The Handmaid’s Tale) kicks it into high gear as Annette, who is getting sick and tired of being pushed around by everyone because of her generally mousey demeanor; she is like the hamster, ready to break free from Alan, who calls her “Woof-woof” as if she is his pet. Meanwhile, Fazio (The Last Days of Judas Iscariot,The Good Nurse) captures Michael’s unpredictability, the character drifting in his own world, reaching for the fancy rum when things get rough. And Tony nominee Noll (Ragtime,Chaplin) holds nothing back as Veronica, whose carefully orchestrated existence is coming unhinged despite her best efforts to remain in control, even regarding her clafouti recipe.
TBTB artistic director Nicholas Viselli, who just received a Legend of Off-Broadway Award from the Off Broadway Alliance, builds the narrative at an ever-increasing pace as the Novaks and the Raleighs discover that they might be more alike than they ever imagined. No one is left unscathed in this spirited tale that begins as a taut psychological drama and slowly evolves into all-out physical chaos. These scenes of carnage may have been penned fifteen years ago, but in this stinging production it feels like they could have been written yesterday.
Gego installing Reticulárea 1981, 1980, permanent collection display, Sala Gego (Gego Room), Galería de Arte Nacional, Caracas (photo by Christian Belpaire, courtesy Archivo Fundación Gego)
Who: Mónica Amor, Vered Engelhard, Geaninne Gutiérrez-Guimarães, Pablo León de la Barra, Sean Nesselrode Moncada, Luis Pérez-Oramas, Mari Carmen Ramírez, Álvaro Sotillo What: Symposium on “Gego: Measuring Infinity” Where:Solomon R. Guggenheim Museum, 1071 Fifth Ave. at Eighty-Ninth St. When: Friday, May 12, $15-$25, noon – 5:00 Why: German-Venezuelan artist Gertrud Goldschmidt, better known as Gego, is the subject of the outstanding new Guggenheim exhibition “Gego: Measuring Infinity,” consisting of nearly two hundred drawings, etchings, watercolors, letters, and, primarily, mesmerizing, fragile, architectural sculptures that Gego called drawings without paper. On May 12, the Guggenheim is hosting the five-hour seminar “Gego: Weaving Lines of Thought,” examining the life and career of Gego, who was born in Hamburg in 1912 and died in Caracas in 1994. Organized by exhibition cocurators Pablo León de la Barra and Geaninne Gutiérrez-Guimarães, the symposium, part of the Guggenheim’s Latin American Circle Presents series, will feature presentations by León de la Barra, Gutiérrez-Guimarães, Mónica Amor, Vered Engelhard, Sean Nesselrode Moncada, Luis Pérez-Oramas, and Mari Carmen Ramírez in addition to longtime Gego collaborator Álvaro Sotillo. The exhibition continues through September 10; make sure to save time for the remarkable “Sarah Sze: Timelapse” as well.
The Actors Studio continues its seventy-fifth anniversary celebration with several special free events this month (photo courtesy the Actors Studio)
THE ACTORS STUDIO IN PROCESS
The Actors Studio
432 West Forty-Fourth St. between Ninth & Tenth Aves.
May 12-13, free with RSVP, 7:00
Additional events May 14, 19-20, 25-26 theactorsstudio.org
If you haven’t been paying attention, the Actors Studio has been celebrating its seventy-fifth anniversary with some outstanding public events. Last month, “Directed by Estelle Parsons” featured the Oscar- and Obie-winning actress helming three works; in December, Carroll Baker was on hand for a talk following a screening of Elia Kazan’s Baby Doll; and in October, Al Pacino hosted a screening of Sidney Lumet’s Dog Day Afternoon at United Palace.
The party continues this weekend with Tony and Obie winner Lois Smith and others taking audiences behind the scenes in “The Actors Studio in Process.” On May 12 and 13 at 7:00, there will be open rehearsals of scenes from three plays: Elizabeth Stearns’s Hillbilly Women, directed by Marilyn Fried and starring Smith, Jacqueline Knapp, and Taylor Plas; writer-director Dennis Russo’s Midnight and Sky, with Russo and Marc Solomon; and Chris Stack and Scott McCord’s We Might Fall Apart, with McCord, Stack, and Plas. Admission is free with RSVP.
On May 14 at 3:00, an encore of “The Playwright: Tales from the Color Line” consists of scenes from plays exploring race, followed by Q&As, with Phillip Hayes Dean’s This Bird of Dawning Singeth All Night Long, directed by Paul Calderon and starring Martha Gehman and Richarda Abrams; James Baldwin’s Blues for Mister Charley, directed by Patricia Floyd and featuring McCord, Robert Mobley, Samuel Pygatt, Delissa Reynolds, and Lawrence Stallings; Lorraine Hansberry’s The Sign in Sidney Brustein’s Window, with Michael Billingsley, Aprella Godfrey-Barule, and Omar Ezat and directed by JoAnna Rhinehart; and Charles Gordone’s No Place to Be Somebody, with Mobley, Brittaney Chatman, Rony Clanton, Marcus Naylor and Steven Vause, directed by Naylor.
The festivities carry on later in the month with “On the Fly 2023: Then and Now” on May 19 and 20, a two-part presentation of short plays by BIPOC writers and directors, the first night a screening of Zoom plays streamed during the pandemic, the second live works, and May 25 and 26 with “Areyto: Latine Celebration,” an immersive theatrical ceremony rooted in equatorial tribal origins, followed by a reception.
