live performance

MAGIS THEATRE COMPANY: THE ALCESTIAD AT FOUR FREEDOMS PARK

Who: Magis Theatre Company
What: Covid-delayed production of Thornton Wilder’s The Alcestiad
Where: Franklin D. Roosevelt Four Freedoms Park
When: June 18-20, free with RSVP, 7:00
Why: Thornton Wilder’s lesser-known The Alcestiad followed the most productive period of his career, arriving after 1938’s Pulitzer Prize winner Our Town and The Merchant of Yonkers, the 1942 Pulitzer winner The Skin of Our Teeth, and the 1954 Yonkers revision The Matchmaker, the inspiration for the 1964 musical Hello, Dolly! Wilder, who would have turned 125 next year, wrote about The Alcestiad, a tale of tyranny and plague from Greek mythology that involves Princess Alcestis and her husband, Admetus, King of Thessaly, along with Apollo and Hercules: “On one level, my play recounts the life of a woman – of many women – from bewildered bride to sorely tested wife to overburdened old age. On another level it is a wildly romantic story of gods and men, of death and hell and resurrection, of great loves and great trials, of usurpation and revenge. On another level, however, it is a comedy about a very serious matter. . . . Yet I am aware of other levels, and perhaps deeper ones that will only become apparent to me later.”

In 1938, Wilder started working on the play, which was inspired by Euripides’s 438 BCE Alcestis; it premiered at Assembly Hall at the Edinburgh Festival in 1955 as A Life in the Sun, with Irene Worth starring as Alcestis, directed by Tyrone Guthrie. The Brooklyn-based nonprofit Magis Theatre Company, which specializes in bringing back neglected texts, is presenting the rarely performed play during the summer solstice, June 18-20, at 7:00 outdoors in Four Freedoms Park on Roosevelt Island, in the shadow of the landmarked remains of the James Renwick Jr.—designed Smallpox Hospital, which treated about seven thousand men, women, and children a year suffering from the dread disease between 1865 and 1875, after which it became a nurses’ dormitory. The cast features Jeanne Castagnaro, Russ Cusick, Margi Sharp Douglas, George Drance, Jack Fadner, Kimbirdlee Fadner, Jacqueline Lucid, Tony Macht, Rachel Benbow Murdy, Gabriel Portuondo, Mae Roney, Diego Tapia, and Jenna Wyman, with music by Sara Gallassini and production design by GianMarco Lo Forte and Mark Tambella. “This has been a very long and trying year for all of us, and although we continued to meet online as a company, we are beyond thrilled to announce that we will be performing live this summer,” director George Drance said in a statement. “We chose The Alcestiad long before the pandemic, and the plague it deals with speaks to our present reality. Performing at Four Freedoms Park reminds us that there is still work to be done on ‘the freedom from fear.’ The ruins of the Smallpox Hospital remind us of how we have made it through all this before.”

In a January 1941 speech to Congress, FDR outlined the four freedoms: “The first is freedom of speech and expression — everywhere in the world. The second is freedom of every person to worship God in his own way — everywhere in the world. The third is freedom from want — which, translated into world terms, means economic understandings which will secure to every nation a healthy peacetime life for its inhabitants — everywhere in the world. The fourth is freedom from fear — which, translated into world terms, means a world-wide reduction of armaments to such a point and in such a thorough fashion that no nation will be in a position to commit an act of physical aggression against any neighbor — anywhere in the world.” Tickets for the three performances, which follow all Covid-19 regulations, are free but must be reserved in advance.

STATE OF DARKNESS AT THE JOYCE

STATE OF DARKNESS
Joyce Theater
175 Eighth Ave. at 19th St.
June 16-20, $500-$1,000 for one-to-four-seat pods
212-242-0800
www.joyce.org/state-darkness

Last October, the Joyce presented a digital version of Molissa Fenley’s State of Darkness, in which seven dancers performed Fenley’s thirty-five-minute solo onstage, the first shows to take place at the Joyce since the pandemic lockdown began, albeit without an audience. Now, from June 16 to 20, six of those dancers will be back onstage, playing to a socially distanced crowd organized in pods of one to four people who paid between $250 to $2,000 in a benefit for the theater. The lineup features Annique Roberts on June 16 at 8:00, Jared Brown on June 17 at 8:00, Sara Mearns on June 18 at 8:00, Lloyd Knight on June 19 at 2:00, Michael Trusnovec on June 19 at 8:00, and Cassandra Trenary on June 20 at 2:00. Each performance, set to Stravinsky’s “Le Sacre du Printemps” (“The Rite of Spring”), will be followed by a Q&A with the dancer and Fenley, along with a Champagne toast.

In October, Joyce executive director Linda Shelton said, “It has been truly inspiring and uplifting to see the dancers and Molissa tackle State of Darkness during this difficult and unprecedented interruption to our lives. To me, this piece is about emerging from the darkness we have been coping with since March.” Fenley added, “In 1988, environmental, political, and social unrest inspired me to create State of Darkness. Today, a response to similar influences affecting us feels even more urgent and necessary.” With theaters back open and audiences allowed in, “urgent” and “necessary” only begin to tell the story.

BLOOMSDAY REVEL 2021

Who: Terry Donnelly, Fiona Walsh, Una Clancy, Ed Malone, Aidan Redmond, Fiona Walsh, Gina Costigan, Sarah Street, Alan Gogarty
What: In-person and livestreamed Bloomsday celebration
Where: Blooms Tavern, 208 East 58th St., and online
When: Sunday, June 13, $45, 3:00
Why: For nearly one hundred years, people have been celebrating Bloomsday, when James Joyce’s Ulysses takes place, June 16, 1904. Yes, the seven-hundred-plus-page novel about Leopold Bloom and Odysseus, Molly Bloom and Penelope, and Stephen Dedalus and Telemachus is set during one day in Dublin. On Sunday, June 13, at 3:00, Origin Theatre Company is presenting its eighth annual “Bloomsday Revel,” happening both live at Blooms Tavern on East Fifty-Eighth St. as well as online. The socially distanced afternoon features dramatic readings by such New York-based Irish actors as Terry Donnelly, Fiona Walsh, Una Clancy, Ed Malone, Aidan Redmond, Fiona Walsh, Gina Costigan, and Sarah Street, musical interludes from Alan Gogarty, and a juried costume contest. Tickets for the in-person show, cocurated by Paula Nance and Michael Mellamphy, are $45 and include Bloomsday-inspired hors d’oeuvres and an open bar. “Luckily we didn’t miss a year in 2020,” new Origin artistic director Mellamphy said in a statement. “We were fully virtual last year, in a program packed with great performances and heartfelt messages. But this year we are creating an all-new hybrid that celebrates the many ways we share experiences like this unique and important literary holiday. James Joyce after all was all about setting new rules in art. . . . We’re immensely pleased to continue that tradition in 2021.”

WORLDS FAIR INN

Worlds Fair Inn explores nuclear annihilation and serial killing with a vaudeville sensibility (photo by Regina Betancourt)

WORLDS FAIR INN
Axis Theatre
One Sheridan Sq. between West Fourth & Washington Sts.
Wednesday – Saturday through June 19, $20, 8:00
866-811-4111
www.axiscompany.org

On March 11, 2020, I was in Axis Theatre Company’s small, intimate downstairs space at One Sheridan Square, getting ready to watch artistic director Randy Sharp’s adaptation of Henry James’s Washington Square. Shortly before the show started, a few of us chuckled as a woman roamed the aisles, unable to choose a seat. (The venue is general admission.) When she was right behind me, I heard her mutter, “I’m not going to get sick. This virus is not going to get me.” A few of us looked at one another, thinking she had gone a bit overboard. Little did I know that Washington Square would be the last live theater with actors and an in-person audience I would experience for nearly fifteen months because of a virus that has killed more than six hundred thousand Americans and shuttered live entertainment venues around the globe.

On June 4, 2021, there I was, back at the Axis Theatre, to see my first indoor play with actors and an audience since the pandemic lockdown was lifted. It was the premiere of Sharp’s Worlds Fair Inn, performed by a cast of five to an audience of fifteen people in masks. Not only was it thrilling to be in the theater, but the hourlong work is a fab absurdist journey through madness and tragedy, a strange and enticing mix of Samuel Beckett’s Waiting for Godot, Mary Wollstonecraft Shelley’s Frankenstein, and the Three Stooges.

Axis producing director Brian Barnhart stars as Frank, a creepy character right out of a low-budget Roger Corman horror-comedy, a composite of Victor Frankenstein, the fictional mad scientist who built a creature out of dead bodies; theoretical physicist J. Robert Oppenheimer, “the father of the atomic bomb”; and H. H. Holmes, a con artist and serial killer who owned the World’s Fair Hotel, aka the Murder Castle, near the 1893 Chicago World’s Fair. Two loony bowler-hatted fellows, Eric (George Demas) and Bill (Jon McCormick), arrive at the inn, seeking shelter and company. All three men wear dark clothing and giant Frankenstein-style shoes on a set littered with dozens of bottles of whiskey, a hotel front desk that doubles as a killing casket, and a neon sign advertising the name of the place. The set is designed by Sharp, with period costumes by Karl Ruckdeschel, fun props by Lynn Mancinelli, eerie lighting by David Zeffren, and playfully sinister sound and music by former Blondie member Paul Carbonara.

“What do you think it would take to make a living man out of a bunch of cut-up dead people? I mean if you cut them up and glued them together?” Frank, who boasts that he’s a scientist, a doctor, an American, and an architect, asks.

“Why wouldn’t you use whole dead people and bring them back to life?” Eric answers, pauses, then adds, “Oh! Maybe you need separate parts so you can see how to make them work? Then stick them back?”

“Right,” Frank responds. “Or maybe I would just use the whole person. I’m an architect. It’s scientific. I just want to see what happens.”

Eric and Bill jump at the chance to help Frank in his unnatural mission, displaying no hesitancy at the prospect of killing people, chopping them up, then assembling the pieces into a new whole. “We’re builders,” Bill offers. “Not scientists. Just to be sure. We can fix things! Hard workers! . . . We’re contractors!”

Frank’s first two victims are Machine (Edgar Oliver), an erudite oddball, and Lady (Britt Genelin), a coquettish factory worker; both fall for the men’s ruse, undone by their own pride in their willingness to embrace new ways.

Lady (Britt Genelin) brings light to the dark proceedings of Worlds Fair Inn (photo by Regina Betancourt)

Worlds Fair Inn feels like a uniquely charming, deranged vaudeville act with Moe/Shemp (Frank), Larry (Bill), and Curly (Eric) filtered through Corman’s Tales of Terror. The cast is wonderfully over the top, highlighted by the risible interplay between Demas (Maverick, Last Man Club) and McCormick (Dead End, Donkey Punch). Pay particular attention to McCormick even when he’s not talking; he moves in herky-jerky fits and starts, overcome by nerves and fear, often leaving his thoughts unfinished as his eyes dart about the stage.

Barnhart (High Noon, Dead End) channels Angus Scrimm from Phantasm and John Carradine in Woody Allen’s Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask) as he delivers his lines with great bombast. It’s fab to see Oliver, a solo specialist who has presented In the Park, East 10th St.: Self Portrait with Empty House, and Attorney Street at Axis, as part of an ensemble; he and Genelin (Washington Square, High Noon) are adorable as vaudeville versions of the Creature and the Bride of Frankenstein, trapped in a skit they don’t fully comprehend.

Writer-director Sharp (Strangers in the World, Seven in One Blow) adeptly maneuvers between high and low comedy as she takes on nuclear annihilation, a different kind of rather effective serial killing — Frank, Eric, and Bill bow every time Japan is mentioned — and melds Dr. Frankenstein’s laboratory, Oppenheimer’s Los Alamos, and Holmes’s murder hotel into a supremely funny and memorable show. As we finally emerge from this dark year, we may not have much hope for the future of humanity, but Axis gives us hope for the future of theater. (And I hope the woman I foolishly chuckled at in March 2020, before Washington Square at the Axis, is alive and well and gets to catch this terrific satire, as you should too.)

THE NEW YORK PHILHARMONIC IN BRYANT PARK

The New York Philharmonic will perform in front of a limited audience in Bryan Park June 9-12 (photo by twi-ny/mdr)

Who: The New York Philharmonic
What: Four live and livestreamed concerts
Where: Bryant Park Facebook, Instagram, YouTube
When: June 9-12, free, 7:00
Why: The New York Philharmonic is not yet ready to play live to an audience at its David Geffen Hall home at Lincoln Center, but the classical music company is continuing its outdoor pandemic appearances with four concerts in Bryant Park, June 9-12 at 7:00. The free tickets have all been scarfed up, but the shows will be streamed live over Facebook, Instagram, and YouTube so you can enjoy them from your own home. These picnic performances, with twenty-five members of the orchestra, will be conducted by Lina González-Granados in her NYPhil debut and will feature works by Mozart and Joseph Bologne, Chevalier de Saint-Georges, in addition to a new piece by NYPhil Very Young Composer Ilana Rahim-Braden. Upcoming shows in Bryant Park include New York City Opera on June 18 and July 2, New York Chinese Cultural Center on June 25, Joe’s Pub: Mykal Kilgore on June 26, Carnegie Hall Citywide: Toshi Reagon and BIGLovely on July 9, Spanish Harlem Orchestra on July 16, the Knights on July 23, Adrienne Warren & Friends on July 31, and Greenwich House Music School: Riley Mulherkar and Ella Bric on July 31. Free tickets become available for each show about ten days in advance.

PERFORMANCE MIX FESTIVAL 2021

Lisa Parra and Daniel Pinheiro’s LAND Project kicks off Performance Mix Festival

PERFORMANCE MIX FESTIVAL
122 Community Center courtyard and Movement Research
150 First Ave. at Ninth St.
June 10-13, suggested donation $15 per event
newdancealliance.org

The thirty-fifth annual Performance Mix Festival, hosted by New Dance Alliance at Movement Research at 122 Community Center and the Courtyard at 122CC, will be a hybrid of live and filmed experimental dances with immersive installations and a ritualistic happening in Prospect Park. Running June 10-13, the festival features such creators as Lisa Parra and Daniel Pinheiro, Dana Michel and Tracy Maurice, Johnnie Cruise Mercer/TheREDprojectNYC, Degenerate Art Ensemble, and Anh Vo; tickets are a suggested donation of $15. Sari Nordman’s Tower will be on view all four days, a multimedia installation that explores climate change and the tower of Babel. All COVID-19 safety protocols will be observed; below is the complete schedule.

Thursday, June 10
Lisa Parra and Daniel Pinheiro, LAND Project, live and virtual, with Parra in New York and Pinheiro in Portugal using video-conferencing, 7:00

Anh Vo, non-binary pussy, live, 8:30

Friday, June 11
Andrew Tay, livestreamed performance of queer moments of reflection, transformation, dream, and perversion, 3:00

Dana Michel and Tracy Maurice, Lay them all down (video installation), 7:00

Shared program: Videos and films by Camilo Godoy (lecture-demonstration from What did they actually see?), Jil Guyon (Widow’s End and Coda), Rosy Simas (yödoishëndahgwa’geh [a place for rest]), and Andrew Tay, 8:00

Saturday, June 12
Johnnie Cruise Mercer/TheREDprojectNYC, Baptism (Part I), part of Process memoir 6: thenowlater (HEART), ritualistic happening, Prospect Park, noon

Looking Back: Highlights from the Performance Mix Festival 1986-2020, 7:00

Shared program: Degenerate Art Ensemble (new work performed by director/dancer Haruko Crow Nishimura, composer/musician Joshua Kohl, and video artist Leo Mayberry, with costumes by Wyly Astley) and Johnnie Cruise Mercer/TheREDprojectNYC, Baptism (Part II), 7:30

Sunday, June 13
Christopher “Unpezverde” Núñez,” A Garden in the Shape of Dreams, noon

Shared program: Co-creation Hadley Smith/Johanna S. Meyer, Rachel Thorne Germond Performance Collage (Enigma of an Afternoon), we are: anna, Kimiko, s., Symara, Tara, Taylor, Ogemdi and marion (to love the rise/pt 2), and Yvonne Meier (Phantasiewelt, with music by Zeena Parkins and Ikue Mori), 2:00

Shared program: Alethea Pace (excerpts from Here goes the neighborhood), Leslie Cuyjet, MOLLY&NOLA, and Nami Yamamoto (powerless creature keeps going . . . [working title]), 4:00

VIRTUAL MUSEUM MILE FESTIVAL 2021

Who: Metropolitan Museum of Art, Neue Galerie New York, Solomon R. Guggenheim Museum, the Jewish Museum, Museum of the City of New York, El Museo del Barrio, the Africa Center, and the Cooper Hewitt, Smithsonian Design Museum
What: Virtual arts festival
Where: Online (a few in-person events)
When: Tuesday, June 8, free, 9:00 am – 9:00 pm
Why: For more than forty years, on the second Tuesday of June, art lovers packed the cultural institutions on Fifth Ave., from the Met to El Museo del Barrio, filling the streets and lining up to experience special programs inside and outside for a few hours. With Covid-19 regulations still in place for theaters and museums, the 2021 Museum Mile Festival will be hybrid, with a few events happening in person but most accessible by streaming from home, over Facebook, Instagram, and Twitter. Everything is free, although some events require advance RSVP, but another bonus is that the festival lasts twelve hours, from nine in the morning to nine at night. Below are some of the highlights from each participating museum.

The Africa Center
“‘Home Is . . .” Series #2: Home Is Where Music Is,’” with Sampa the Great, Wunmi, Jupiter & Okwess, Daniel Dzidzonu, Georges Collinet, Eme Awa, noon
Discussion with Jessica B. Harris, curator of “African/American: Making the Nation’s Table,” and Pierre Thiam, executive chef and co-owner of Teranga, 5:00
Virtual contribution to the Legacy Quilt; child-friendly animation workshop led by artist Ezra Wube

Museum of the City of New York
“Photographing City Life: Live Session with Photographer Janette Beckman,” 4:40
“Curators from the Couch: Stettheimer Dollhouse Up Close,” with Sarah Henry and Simon Doonan, 5:30
“Your Hometown: A Virtual Conversation with Playwright Lynn Nottage,” 6:00
“When the Garden Was Eden: Remembering the 1970s New York Knicks,” with Bill Bradley, Willis Reed, Walt Frazier, Earl Monroe, Bill Murray, and Harvey Araton, 7:00

The Jewish Museum
Lawrence Weiner talks about his career and All the Stars in the Sky Have the Same Face, on the facade of the museum; Rachel Weisz recites Louise Bourgeois’s own words on audio guide for “Louise Bourgeois, Freud’s Daughter”; Edmund de Waal and Adam Gopnik discuss de Waal’s latest book, Letters to Camondo; videos of poet Douglas Ridloff responding to the Jewish Museum collection in ASL; panel discussion about public art and equity in museums; family-friendly performances by Aaron Nigel Smith and Joanie Leeds; an interview with Rachel Feinstein about the exhibition “Rachel Feinstein: Maiden, Mother, Crone”; discussion with artists Rachel Feinstein and Lisa Yuskavage, filmmaker Tamara Jenkins, and curator Kelly Taxter about storytelling, gender, and identity-based art making; family-friendly performance by the Paper Bag Players at Home

Cooper Hewitt, Smithsonian Design Museum
“Design at Home: Design a Repeating Pattern”; “Rebellion in Design: Developing a Blueprint for the Future,” with Virgil Abloh, James Wines, and Oana Stănescu; virtual tour of “Contemporary Muslim Fashions”; “Studio Series: Quilting,” with William Daniels, 4:00 (RSVP required)

Solomon R. Guggenheim Museum
“Summer Solstice” live virtual tour of works featuring the sun and light; an audio guide for “Off the Record” exhibition; “Spotlight” video series with Guggenheim Abu Dhabi collection artists; prerecorded conversation with curator Vivien Greene and scholar Maile Arvin as part of the Artwork Anthology series, about Gauguin’s In the Vanilla Grove, Man and Horse

Metropolitan Museum of Art
Drop-in Drawing — “How to Draw The Met Using Perspective Drawing”; Storytime with the Met — You Can’t Take a Balloon into the Metropolitan Museum; Silent Gallery Tour — the Temple of Dendur in the Sackler Wing; Silent Gallery Tour — the Roof Garden Commission: Alex Da Corte, As Long as the Sun Lasts; MetTeens — “Little-Known Met”; #MetKids — “How Do You Dance in Armor?”; #MetKids — “How Did They Get All This Art into the Museum?”; Artist Interview — The Facade Commission: Carol Bove, The séances aren’t helping; “Conserving Degas,” with conservator Glenn Peterson

El Museo del Barrio
Virtual tour of “Estamos Bien — La Trienial 20/21” led by the curators; recorded interviews with participating artist Candida Alvarez; in-person outdoor performance by NYC-based Afro-Caribbean group San Simón at Central Park’s Harlem Meer at 6:00

Neue Galerie New York
Prerecorded lectures, virtual tours, and concerts