The thirty-first annual Coney Island Sand Sculpting Contest will take place at the People’s Playground on August 12, as amateurs, semiprofessionals, and professionals will create masterpieces in the Brooklyn sand, many with a nautical theme. It’s a blast watching the constructions rise from nothing into some extremely elaborate works of temporary art. The event, which features cash prizes, is hosted by the Alliance for Coney Island and features four categories: Adult Group, Family, Individual, and People’s Choice. There are always a few architectural ringers who design sophisticated castles, along with a handful of gentlemen building, well, sexy mermaids. You can register as late as eleven o’clock Saturday to participate. While visiting Coney Island on August 12, you should also check out the Coney Island Museum,the Coney Island Circus Sideshow,the Music of Curiosities Viva concert with Mystical Children and host PNK VLVT WTCH, and the New York Aquarium in addition to riding the Cyclone and the Wonder Wheel.
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
Battery Dance will perform The Wind in the Olive Grove at annual outdoor summer festival
BATTERY DANCE FESTIVAL
Rockefeller Park, Battery Park City
75 River Terr., North Esplanade
August 12-18, free with advance RSVP, 7:00 batterydance.org
The forty-second annual Battery Dance Festival goes hybrid this summer, with live presentations of works from more than forty companies from around the country and the globe, including numerous New York City and world premieres and US debuts. Free performances take place August 12-18 at 7:00 at Rockefeller Park in Battery Park City — a move from its previous home in Robert Wagner Jr. Park — and will be livestreamed as well.
“When Super Storm Sandy flooded lower Manhattan, Battery Park City Authority reached out a helping hand, providing a beautiful site for the Battery Dance Festival which we’ve all enjoyed every summer since 2013,” Battery Dance founding artistic director Jonathan Hollander said in a statement. “With the prospect of rising seas in the future, BPCA is enacting a proactive resiliency plan, lifting Wagner Park up to twelve feet, making it inaccessible this summer. But fear not! BPCA has invited us to move to Rockefeller Park this summer, where we’ll benefit from the large lawn and riverfront views as we bask in the glow of performances by local and international companies.”
As always, the Battery Dance Festival offers dance fans the chance to see multiple disciplines all in a single evening, for free, with a wide range of pieces from international troupes that explore original movement and celebrate unique culture while often taking on contemporary issues and sharing personal stories. Among this year’s special programs are “Young Voices in Dance” on August 12, “India Independence Day” on August 15, and “Tribute to Turn of the 20th Century American Modern Dance Pioneers” on August 17, honoring Isadora Duncan and Jennifer Muller, who passed away in March at the age of seventy-eight.
In addition, $1 community workshops are being held every morning at 10:30 at Battery Dance Studios (380 Broadway #5), led by festival choreographers, artistic directors, and company members; advance registration is required. Below is the full dance schedule.
Saturday, August 12: Young Voices in Dance
The Bowery Mission, Dancing to Connect
Marley Poku-Kankam, All Four
Aliyah Banerjee & Shashank Iswara, Taraana
Dareon Blowe, How Do Five Parts Construct a Whole?
Mateo Vidals, There Is Always Something Happening
Luke Biddinger, La Vie en Rose
Cameron Kay, Interface
Samanvita Kasthuri, Krtaghna
Micah Sell, Outline
Queensborough Community College, Discovering
Willem Sadler, Soullessly Flying
Tulia Marshall, A fraction of a true self
Joanne Hwang, Static State of Perfection
Sunday, August 13
Battery Dance, A Certain Mood
Reuel Rogers, Power
Keturah Stephen, A Yearning Desire
Circumstances, ON POINT
Nu-World Contemporary Danse Theatre, The Called and the Chosen
Trainor Dance Inc., Courante
IMGE Dance, (no)man
Monday, August 14
SOLE Defined, SOLE Defined LIVE
Teatr Nowszy, Close (excerpt)
Erv Works Dance, Veiled from the Womb
Jiemin Yang, Here We Root (excerpt)
Teodora Velescu and Lari Giorgescu, Special People
Circumstances, ON POINT
Fanike! African Dance Troupe, UPLIFTED!
Tuesday, August 15: India Independence Day
Rudrakshya Foundation, Kali Krishna
Durgesh Gangani, The Legacy
Amarnath Ghosh, Maragatha Manimaya
Wednesday, August 16
Julian Donahue Dance, Displacement
Citadel + Compagnie, Soudain l’hiver dernier
Tabanka Dance Ensemble, Progress
Teatr Nowszy, Close (excerpt)
Teodora Velescu and Lari Giorgescu, Special People
Jerron Herman, Lax
Carolyn Dorfman Dance, NOW
Dancers Unlimited, Edible Tales (excerpts), Soul Food & Kanaloa
Dances by Isadora will honor Isadora Duncan at Battery Dance Festival (photo by Melanie Futorian)
Thursday, August 17: Tribute to Turn of the 20th Century American Modern Dance Pioneers
Dances by Isadora, Isadora Duncan: Under a New Sky
Time Lapse Dance, American Elm and Piece for a Northern Sky
Denishawn, Denishawn (excerpts)
In memoriam: Jennifer Muller (1944-2023), Jennifer Muller/The Works, Miserere Nobis
Friday, August 18
Adriana Ogle & Toru Sakuragi, Softly as in a Morning Glow
Amanda Treiber, Wind-Up
Bruce Wood Dance, In My Your Head
Citadel + Compagnie, Soudain l’hiver dernier
Boca Tuya, Like Those Playground Kids at Midnight
Tabanka Dance Ensemble, Progress
Reuel Rogers, Power
Battery Dance, The Wind in the Olive Grove
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
John Malkovich, Hyung-ki Joo, and Aleksey Igudesman star in The Music Critic, coming to the Beacon for one night only
Who: John Malkovich, Aleksey Igudesman,Hyung-ki Joo What:The Music Critic, play with live classical music and opera Where:Beacon Theatre, Broadway at 74th St. When: Saturday, October 28, $66-$257, 7:30 Why: In such films as Being John Malkovich and cable series as The New Pope, two-time Oscar nominee and Emmy winner John Malkovich (Places in the Heart,In the Line of Fire) has shown that he has a wickedly clever sense of humor, especially when it comes to himself. Since appearing on Broadway four times from 1984 to 1987 (Death of a Salesman,Arms and the Man,The Caretaker,Burn This), his stage work in New York has been limited. In 2011, he starred as the title murderer in The Infernal Comedy: Confessions of a Serial Killer at BAM, and two years later he portrayed Giacomo Casanova at City Center in The Giacomo Variations; both traveling productions combined classical music, opera, and theater.
On October 28, Malkovich will return to the city for one night only with his latest traveling show, The Music Critic, in which he plays a cynical expositor who argues that Antonín Dvořák “indulges in ugly, unnatural music,” calls Johannes Brahms a “giftless bastard,” and claims that “the music of Debussy has the attractiveness of a pretty, tubercular maiden.” It was created and conceived by Russian violinist, poet, author, director, composer, and conductor Aleksey Igudesman, who performs in the international hit with his longtime comedy partner, Korean-British pianist, composer, and educator Hyung-ki Joo; both trained at the prestigious Yehudi Menuhin School. The irreverent comic duo of Igudesman & Joo has previously staged such productions as And Now Rachmaninoff,And Now Mozart, and BIG Nightmare Music.
“We are all happy to be back on the road, and for the first time also in the USA, participating in an evening which consists of some of the greatest compositions in the history of classical music, paired with the perhaps rather unexpected initial reactions those compositions elicited from some of the world’s renowned music critics, along with some other surprises,” Malkovich said in a statement. Igudesman added, “The Music Critic is a project very close to my heart, and bringing it to the USA is something I dreamed of from its inception. My dear friend John Malkovich in the role of the evil critic is despicable and lovable at the same time and evokes the critic in every one of us.”
The score of The Music Critic features Bach, Mozart, Beethoven, Chopin, Brahms, Schumann, Debussy, Prokofiev, Eugène Ysaÿe, Giya Kancheli, Astor Piazzolla, and Igudesman; Igudesman and Joo will be joined by cellist Antonio Lysy, violist Hsin-Yun Huang, and violinist Claire Wells. Be prepared for an unpredictable evening of fab music and comic high jinks.
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
Who: Uptown Dance Academy, the Gospel Caravan, IMPACT Repertory Theatre, Mama Foundation’s Sing Harlem! Choir, Bishop Hezekiah Walker & Choir, Ray Chew & the Harlem Music Festival All-Star Band featuring Nona Hendryx, more What: Annual Harlem Week celebration Where:U.S. Grant National Memorial Park, West 122nd St. at Riverside Dr. When: Sunday, August 13, free, noon – 7:00 pm (festival runs August 9-16) Why: One of the centerpieces of Harlem Week is “A Great Day in Harlem,” which takes place Sunday, August 13, as part of this annual summer festival. There will be an international village with booths selling food, clothing, jewelry, and more, as well as live music and dance divided into “Artz, Rootz & Rhythm,” “The Gospel Caravan,” “The Fashion Flava Fashion Show,” and “The Concert Under the Stars.” Among the performers are the Uptown Dance Academy, the Gospel Caravan, IMPACT Repertory Theatre, the Sing Harlem! Choir, and Bishop Hezekiah Walker & Choir. In addition, Ray Chew & the Harlem Music Festival All-Star Band, featuring Nona Hendryx, will perform a tribute to the one and only Tina Turner, who died in May at the age of eighty-three; Harry Belafonte, Tony Bennett, Miriam Makeba, and Tito Puente will also be honored.
The theme of the forty-ninth annual Harlem Week is “Be the Change: Hope. Joy. Love.”; it runs August 9-16 with such other free events as the panel discussion “Climate & Environmental Justice in Harlem: Storms, Heat & Wildfires,” A Harlem SummerStage concert, Senior Citizens Day, the Uptown Night Market,the Percy Sutton Harlem 5K Run & Walk & Children’s Run, “Choose Healthy Life Service of Renewal and Healing,” Great Jazz on the Great Hill in Central Park with Wycliffe Gordon and Bobby Sanabria, Imagenation Outdoor Film Festival screenings of Beat Street with DJ Spivey and Max Roach: The Drum Also Waltzes, a Youth Conference & Hackathon, Economic Development Day, an Arts & Culture Broadway Summit, Harlem on My Mind Conversations, a Jobs & Career Fair, and more. “We continue to build a stronger, more united Harlem, radiating hope, joy, and love throughout our beloved city,” Harlem Week chairman Lloyd Williams said in a statement.
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
Sylvia (Laura Bell Bundy) and Beau (Eric McCormack) discuss their future in The Cottage (photo by Joan Marcus)
THE COTTAGE
Hayes Theater
240 West Forty-Fourth St. between Broadway & Eighth Ave.
Tuesday – Sunday through October 29, $109-$169 thecottageonbroadway.com
“Why do I have a sense of impending disaster?” a character asks early in Tom Stoppard’s 1981 farce, On the Razzle. “One false move and we could have a farce on our hands.”
The best farces build comedy around impending disasters, usually involving class and romance, from Noël Coward’s Present Laughter and Oscar Wilde’s The Importance of Being Earnest to Michael Frayn’s Noises Off and Molière’s The Miser. But the less-successful farces are hampered by too many false moves.
Sandy Rustin’s 2014 drawing room comedy of manners, The Cottage, which opened July 24 at the Hayes Theater on Broadway, starts off well enough. As the audience enters the space, the stage is covered by a screen depicting the image of a colorful, idyllic cottage covered in plants and flowers — as well as several pairs of animals engaged in overt sexual behavior; a bra dangles from a tree branch, hinting at what is going on inside. The screen is then raised to reveal Paul Tate dePoo III’s wonderful set, which deservedly gets its own applause. The large room is filled with elegant furniture, sculptures, books, paintings, a bar, a globe, a gramophone, and seemingly endless knickknacks.
It’s June 1923, and Beau (Eric McCormack) is at his family’s cottage in the English countryside, in the midst of his annual tryst with Sylvia (Laura Bell Bundy), which has been going on for seven years. Sylvia is ready to take their relationship to the next level, but Beau is apprehensive.
An all-star cast cannot save the Broadway debut of The Cottage (photo by Joan Marcus)
“I wish you were my husband,” she says.
“If I were your husband you would despise me just as you despise Clarke and you would spend your evenings wishing to make love to him and not me,” Beau replies, referring to his brother, Clarke (Alex Moffat), who is married to Sylvia. “Romance, my dear, is for fairy tales. This is not a romance. This is sex,” Beau adds. “Un-wifely sex.”
Beau is none-too-thrilled when Sylvia announces that she has sent telegrams to both Clarke and Marjorie (Lilli Cooper), Beau’s wife, revealing the affair. Clarke and Marjorie soon arrive separately with secrets of their own, followed by Dierdre (Dana Steingold), a whirling dervish who is in love with Beau and is worried that her husband, Richard (Nehal Joshi), will find out where she is and kill him — but not before they all have some fun. “I didn’t expect a party. Will there be games?” Dierdre declares. The fun and games take a drastic downturn in the far-less-effective second act.
Subtitled “A Romantic and (Not Quite) Murderous Comedy of Manners,” The Cottage could be renamed The Farce That Goes Wrong. The all–North American cast (McCormack is Canadian) speaks in overly dramatic British accents. Many of the props offer surprise jokes that quickly become repetitive, while others are just plain head scratchers — antlers, I’m talking about you.
The play, gleefully helmed by the Tony-winning, Emmy-nominated Jason Alexander (Seinfeld,Jerome Robbins’ Broadway) in his directorial debut, does have its fair share of amusing exchanges, particularly in the first act, and there were two genuinely funny moments that appeared to be spontaneous, one involving a shoe, the other a bunch of grapes, resulting in the actors trying their best to hold back their own laughter and failing wonderfully. Unfortunately, there was not nearly enough of that.
Sydney Maresca’s costumes are appropriately genteel, from Clarke’s tweed suit to Sylvia’s white negligee to Beau’s smoking jacket. Justin Ellington’s sound design is overwhelmed by the actors speaking way too loud, which often impacts the believability of the plot; numerous times, characters have discussions they don’t want others to hear, but it’s hard to believe that a person knocking at the front door can’t hear what two people are saying as they shout right on the other side.
The cast is all in, but the lack of subtlety drags the show down; it might have worked better as a ninety-minute one-act instead of two hours with intermission. The actors, particularly Saturday Night Live veteran Moffat and Steingold (Beetlejuice,Avenue Q), display a talent for physical comedy, but a gaggle of gags feels tossed in purely for giggles, not organic to the story. A stage farce needs to be clever and witty first, without the pratfalls, in order to capture the audience; otherwise, as with The Cottage, you end up with an overlong episode of a mediocre sitcom or SNL skit.
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
In 1984, Dance Theater Workshop executive director David R. White founded the Bessie Awards, named after dance teacher Bessie Schönberg and given to outstanding work in the field of independent dance. Among the winners in the inaugural year were Trisha Brown, Pina Bausch, Yoshiko Chuma and the School of Hard Knocks, Mark Morris, Anne Bogart, and Eiko & Koma, a lofty group of creators. This year’s ceremony will take place August 4 at 7:30 at Lincoln Center’s Damrosch Park as part of the Summer for the City program, with free admission to all; it’s a fantastic opportunity to join in the celebration of movement while seeing some of the best contemporary performers and choreographers.
Pina Bausch’s Água (1995/2023) is up for Outstanding Revival at the 2023 Bessies (photo by Julieta Cervantes)
The thirty-ninth annual event will be hosted by the Illustrious Blacks (Manchildblack x Monstah Black) and feature performances by Dance Theatre of Harlem (in honor of Lifetime Achievement in Dance recipient Virginia Johnson), Princess Lockerooo’s Fabulous Waack Dancers, Earl Mosley’s Diversity of Dance, Ladies of Hip-Hop Collective (in honor of Service to the Field of Dance honoree Michele Byrd-McPhee), and students from AbunDance Academy of the Arts. Presenters include Mireicy Aquino, George Faison, Jhailyn Farcon, Dionne Figgins, Erin Fogerty, Tiffany Geigel, Dyane Harvey Salaam, Karisma Jay, Gian Marco Riccardo Lo Forte, Fredrick Earl Mosley, Abdel Salaam, Paz Tanjuaquio, and Ms Vee; this year’s jury panel consists of Ayodele Casel, Kyle Marshall, and luciana achugar.
Awards will be given out in the following categories: Outstanding Choreographer / Creator, Outstanding “Breakout” Choreographer, Outstanding Performer, Outstanding Revival, Outstanding Sound Design / Music Composition, and Outstanding Visual Design, for works presented at such venues as the Joyce, Gibney, the Shed, BAM, Danspace Project, Movement Research at the Judson Church, Performance Space New York, City Center, Arts on Site, and New York Live Arts (formerly Dance Theater Workshop). Nominees include Pina Bausch & Tanztheater Wuppertal, Camille A. Brown & Dancers, marion spencer, Vanessa Anspaugh, Sidra Bell, Rennie Harris, Deborah Hay, Shamel Pitts, and Niall Jones.
Following the ceremony, there will be a special Bessies Silent Disco After-Party with DJ Sabine Blazin on Josie Robertson Plaza, where a giant disco ball dangles over the Revson Fountain.
THE LITTLE SHAKESPEARE FESTIVAL
UNDER St. Marks
94 St. Marks Pl.
August 3-19, $20 streaming, $25 in person www.frigid.nyc/festivals/shakesfest
One of the most important aspects of William Shakespeare’s canon is how open each play is to interpretation and adaptation. The Bard’s works are regularly retold with changes in time and location, race and gender, style and genre. It’s gotten so that it is rarer to see a traditional production than one involving significant alterations, including such elements as contemporary pop music, modern-day political issues, the rise of a minor character, and zombies.
Presented by FRIGID New York, the Little Shakespeare Festival offers Bard fans the opportunity to see seven shows that take unique looks at different aspects of Shakespeare’s genius. Running August 3-19 at UNDER St. Marks in the East Village, the third annual fest is curated by Conor D Mullen, who created As You Will with David Brummer and George Hider, an unscripted evening of improv in which the audience shouts out titles of plays that Shakespeare might have written had he not died in 1616 at the age of fifty-two, and then the cast acts them out; among the past titles are Eight Merry Spiders,That Doth Not Go There, and 1601: A Space Odyssey.
Kristina Del Mar stars in Djingo Productions’ Wheel of Fortune at Little Shakespeare Festival (photo by Miguel Garzón Martínez)
“Sitting in UNDER St. Marks, it’s not too hard for me to imagine William Shakespeare working here,” Mullen said in a statement. “He’d have used his words to turn this space into a Roman dungeon, a Scottish castle, or a moonlit Athenian forest. His actors would have loved having the audience so close they could speak with them directly. And, of course, he would have been very approving of a bar inside the theater, since in his own time audience members who wanted a drink had to leave the theater and visit a local bar. It’s a reminder for me that Shakespeare doesn’t just live on when performed in giant, open air amphitheaters or big, Broadway houses; he also lives in these most humble of places, where I think he would have felt quite at home. Here, with you and me, at the Little Shakespeare Festival.”
Five of the six presentations (one is a double bill) are also available as livestreams so you can watch them in your own home. Barefoot Shakespeare Company’s Lady Capulet, written by Melissa Bell and directed by Emily Gallagher, is a prequel to Romeo and Juliet that explores the role of women in today’s society; Jianzi Colón-Soto stars as Rose Capulet. Djingo Productions’ Wheel of Fortune, written and directed by Jing Ma, is a problem play dealing with isolation, connection, and mass shootings in the digital age. C.A.G.E. Theatre Company’s THE ROOM of Falsehood, written and directed by Michael Hagins, reimagines Tommy Wiseau’s late-night cult favorite, The Room, through a Shakespearean lens. First Flight Theatre Company’s Shakespeare’s Deaths and Shakespeare’s Ladies at Tea, both directed by Frank Farrell, are a forty-five-minute double header in which, first, five actors depict all major deaths in Shakespeare, and then, second, eight female Bard characters sit down for a chat in which they can only speak lines that Shakespeare wrote for them. And in Hamlet Isn’t Dead’s Shrew You! written by David Andrew Laws and directed by Sophia Carlin, four actresses repair The Taming of the Shrew.
Most of the shows run an hour or less (Lady Capulet is 110 minutes); in-person tickets are only $25, while livestream access is $20, in order to get an intimate little taste of Shakespeare in 2023.
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
