twi-ny recommended events

CITI POND WINTER FILM FESTIVAL: GROUNDHOG DAY

Bill Murray stars as a cynical weatherman reliving day over and over until he gets it right in GROUNDHOG DAY

GROUNDHOG DAY (Harold Ramis, 1993)
Bryant Park
West 40th to 42nd Sts. between Fifth & Sixth Aves.
Monday, January 30, free, 7:30
Series continues through February 13
www.bryantpark.org/things-to-do/pond.html

“Well, what if there is no tomorrow?” asks weatherman Phil Connors in Groundhog Day. “There wasn’t one today.” Bill Murray gives one of his most nuanced performances in the 1993 comedy, ably directed by his Stripes cohort, SCTV alum Harold Ramis. Murray stars as cynical, smarmy, mean-spirited meteorologist Phil Connors, who has been sent by his local TV station to Punxsutawney, Pennsylvania, to cover the annual Groundhog Day festivities and report on whether Punxsutawney Phil sees his shadow. He is joined by segment producer Rita (a radiant Andie MacDowell) and cameraman Larry (the always funny Chris Elliott), who find him to be a pompous ass. But just like Punxsutawney Phil comes out of his hole every February 2, Phil Connors is soon getting out of bed reexperiencing the same exact day, given the chance over and over to change, for better or worse. Besides being downright hysterical, Groundhog Day has a lot of heart, making it the kind of movie you can watch, well, over and over again, still pulling each time for Connors to do the right thing and become a worthwhile human being. It seems that Murray does some of his best work when paired with a small, furry creature, like when he desperately tried to catch and kill a too-smart gopher in Caddyshack. Groundhog Day is screening for free on January 30 at the second annual Citi Pond Winter Film Festival in Bryant Park, which continues February 6 with Edward Scissorhands and February 13 with the animated favorite Lady and the Tramp.

THE GERSHWINS’ PORGY AND BESS: THE BROADWAY MUSICAL

Audra McDonald and Norm Lewis deliver terrific performances in memorable new version of PORGY AND BESS (photo by Michael J. Lutch)

Richard Rodgers Theatre
226 West 46th St. between Seventh & Eighth Aves.
Tickets: $40-$145
877-250-2929
www.porgyandbessonbroadway.com

Forget the controversy; the new Broadway production of the Gershwins’ Porgy and Bess — the full title of which is actually now The Gershwins’ Porgy and Bess — is one for the ages. Based on the DuBose Heyward 1925 novel Porgy, the show has been undergoing constant change since its debut in 1935, facing cries of racism, plot and music tinkering, and other criticisms as it went from opera to musical theater to film and television. But pay no attention to all the naysayers who are furious that alterations have been made yet again; the current production of Porgy and Bess, which opened January 12 at the Richard Rodgers Theatre, is a wonderful evening of outstanding theater that hopefully enjoys a much-deserved long run. Adapted by award-winning playwright Suzan-Lori Parks and composer Diedre L. Murray at the behest of the Gershwin estate, the A.R.T. production stars Norm Lewis and Audra McDonald as the ill-fated titular characters, he a poor cripple, she married to the strong-armed town bully, Crown (Philip Boykin). They live on South Carolina’s dilapidated Catfish Row, a poverty-stricken wharf area where the close-knit residents can’t even afford to bury their dead. After Crown kills Robbins (Nathaniel Stampley), the brute takes off, leaving Bess behind. With her husband gone, Bess moves in with Porgy, an older, wise man who needs to walk with a cane, dragging his feet horribly as he moves around. The townspeople might have no money, but temptation is always in their midst, in the form of slick city gambler and drug dealer Sporting Life (David Alan Grier). As Porgy and Bess grow closer and closer, situations both within and beyond their control threaten to tear them apart forever.

NaTasha Yvette Williams and David Alan Grier offer solid support in stellar PORGY AND BESS (photo by Michael J. Lutch)

With music by George Gershwin and lyrics by DuBose and Dorothy Heyward and Ira Gershwin, Porgy and Bess is chock-full of memorable songs, from “Summertime,” “I Got Plenty of Nothing,” and “Bess, You Is My Woman Now” to “It Ain’t Necessarily So,” “I Loves You, Porgy,” and “I’m on My Way,” delivered by a stellar cast headed by beautiful performances by the two leads, four-time Tony winner McDonald, whose operatic voice soars, and Lewis, whose dulcet tones rumble through the soul. The pair makes the iconic roles — previously played by such duos as Todd Duncan and Anne Brown on Broadway in 1935, Louis Armstrong and Ella Fitzgerald on a 1948 record, William Warfield and Leontyne Price in a 1952 touring company, Harry Belafonte and Lena Horne on a 1959 album, Dorothy Dandridge and Sidney Poitier in Otto Preminger’s 1959 movie, Simon Estes and Grace Bumbry at the Met in 1985, and Clarke Peters and Nicola Hughes in Trevor Nunn’s 2006 adaptation — their own, energizing the theater for a mesmerizing two and a half hours. Diane Paulus directs the show with just the right mix of humor and heartbreak, enhanced by Ronald K. Brown’s exciting, fast-paced choreography. Controversy? What controversy? This is a don’t-miss Porgy and Bess, making a very memorable and welcome return to Broadway.

THALIA FILM SUNDAYS: THE INTERRUPTERS

Former gang members try to stop the violence on the streets of Chicago in THE INTERRUPTERS

THE INTERRUPTERS (Steve James, 2011)
Symphony Space, Leonard Nimoy Thalia
2537 Broadway at 95th St.
Sunday, January 29, $13, 4:45
212-864-5400
www.symphonyspace.org
www.interrupters.kartemquin.com

For The Interrupters, director, producer, and editor Steve James (Hoop Dreams, At the Death House Door) teamed up with journalist Alex Kotlowitz (There Are No Children Here) to hit the dangerous inner-city streets of Chicago with the men and women of CeaseFire, a grass-roots organization of former gang members who are now trying to stop the violence. Inspired by Kotlowitz’s New York Times Magazine article, the two men concentrate on three primary stories. Ameena Matthews, the Muslim daughter of notorious gang leader Jeff Fort, is working with a deeply troubled young woman who’d rather fight than flee, even if it means being sent back to prison. Cobe Williams has his hands full with the angry, recently released Flamo, who thinks the whole world is against him. And Eddie Bocanegra is attempting to come to grips with a cold-blooded revenge murder he committed when he was a teenager by visiting schools and talking about turning his life around. One of the most poignant moments of the film occurs when Williams brings Lil Mikey back to the barbershop he and several of his cohorts robbed at gunpoint as he again faces some of his victims. Matthews, Williams, and Bocanegra are paid employees of CeaseFire, which was founded by Dr. Gary Slutkin, an epidemiologist who believes that violence is a disease that can be treated in similar ways, and is run by Tio Hardman, who handles his extremely tough task with intelligence and dignity as he deals with what he calls “the madness.” But in a society in which “words’ll get you killed,” as Matthews says early on, these tireless violence interrupters put their own lives on the line every day, battling a sickness that seems to have no end in sight. The award-winning film, a hit at numerous film festivals, felt a bit long at its original 144 minutes, but James edited it down to a more streamlined 124 minutes for its recent theatrical release. The Interrupters is screening January 29 at 4:45 as part of Symphony Space’s “Thalia Film Sundays” series, which continues in February with Patrick Takaya Solomon’s Finding Joe and Philipp Stölzl’s Young Goethe in Love.

MICHAEL SNOW: IN THE WAY

Michael Snow, “The Viewing of Six New Works,” installation view, seven looped video projections, silent, touch design recording technology by Greg Hermanovic, 2012

Jack Shainman Gallery
513 West 20th St. between Tenth & Eleventh Aves.
Tuesday – Saturday through February 11, free, 10:00 am – 6:00 pm
212-645-1701
www.jackshainman.com

Canadian conceptual artist Michael Snow has been creating cutting-edge multimedia works for more than fifty years, including such seminal experimental films as Wavelength and Corpus Collosum and such site-specific projects as “Flightstop” and “The Audience.” In his latest gallery show, the eighty-two-year-old Guggenheim Fellow and chevalier de l’ordre des arts et des lettres explores the creation and perception of visual art itself in the four-part installation “In the Way.” Visitors first encounter “La Ferme,” in which Snow takes 16mm footage of grazing cows, then arranges eleven successive frames horizontally, the way it was actually seen as the film was made, instead of vertically, the way the frames would appear in the developed film itself; the 1998 work announces that you are in for a unique experience that is going to examine ways of seeing while laying bare the process behind it all. In a room off to the left, “In the Way” (2011) features a twenty-three-minute video loop projected onto the floor; you have to stand right on it in order to get the full impact of the panning shots taken from a truck, making you feel like you’re moving over green fields, dirt, asphalt, and rocks, each surface giving you a different visceral experience. Experience is at the heart of “The Viewing of Six New Works” (2012), as Snow projects seven changing geometric shapes, in varying bright colors, onto the walls of a large room, each image shifting based on how the eye reads a rectangular work of art on the wall, following ocular patterns of perception and forcing viewers to see these images in the same way. “When attention is not being paid to it,” Snow explains in the press release, “the object/rectangle is not there.” The fourth piece, 1985’s “Exchange,” involves a holographic set-up in a daring red that falls short of expectations, with little happening as you move around it. Continuing at Jack Shainman in Chelsea through February 11, “In the Way” is another engaging example of how we look at art, from one of the masters of the genre.

VIDEO OF THE DAY — THE KILLS: “THE LAST GOODBYE”

The Kills’ latest single from 2011’s Blood Pressures album, “The Last Goodbye,” has been turned into a classy, claustrophobic black-and-white video directed by actress Samantha Morton (Sweet and Lowdown, Minority Report) in which Alison Mosshart and Jamie Hince play around in a photo booth while Mosshart proclaims, “It’s the last goodbye, I swear / I can’t survive on a half-hearted love / that will never be whole.” Also on the cinematic front, Giorgio Testi has made the short documentary Into the Unknown, in which the duo talk about their music right before taking the stage at Brixton Academy in London. The Kills will be back in New York City on February 11, playing a sold-out show at Terminal 5 with one of our favorites, Jeff the Brotherhood, and Hunters.

AI WEIWEI: SUNFLOWER SEEDS

Ai Weiwei, “Sunflower Seeds,” detail, hand-painted porcelain (photo by twi-ny/mdr)

Mary Boone Gallery
541 West 24th St. between Tenth & Eleventh Aves.
Tuesday – Saturday through February 4, free
212-752-2929
www.maryboonegallery.com
www.aiweiwei.com
sunflower seeds slideshow

In October 2010, Chinese artist and activist Ai Weiwei installed 100 million porcelain sunflower seeds in the Tate Modern’s Turbine Hall. The individual husks were made by hand by 1,600 workers over a period of two and a half years in Jingdezhen, long famous for its porcelain production, dating back to the Song Dynasty (960-1279). Three million of the hand-painted seeds are now on view at Mary Boone in Chelsea, where they form a rather neat rectangular field in the middle of the spacious gallery. You can walk around the field and take pictures, but if you get too close, a security guard will warn you to back off. When the work opened at the Tate, visitors were encouraged to actually walk and lie on the seeds, stepping right on and crunching the seemingly endless black-and-white pieces, but that interaction created a dust that was determined to be a health hazard, so from then on visitors could only look and not touch. “Sunflower Seeds” is loaded with references, from the historical and political to the economic and the governmental; in fact, near the end of its run at the Tate, Ai was arrested and disappeared for nearly three months. Approaching the piece now, it is difficult not to imagine Ai himself lost in it, his disappearance, which led to outcry from human rights and arts organizations around the world, like a needle in the haystack of the Chinese people. The installation raises questions of mass production and exploitive labor, the Cultural Revolution (Mao badges often included yellow sunflowers), cheap “Made in China” global exports, world hunger, the lack of individuality in an overpopulated Communist Chinese society, and the value of art itself. (Last February, a 100-kilogram collection of the seeds sold for more than half a million dollars at Sotheby’s.) Even the dust-up at the Tate, though not intentional, calls to mind the numerous health hazards that have recently arisen in Chinese food products. Ai also honors his father, the poet Ai Qing, an enemy of the revolution who was banished to a province where the exiles ate many sunflower seeds. The installation at Mary Boone is a far cry from the Tate original, a commission for the museum’s Unilever Series. It feels too neat, and the security guard adds a tension to the viewing that was clearly not the artist’s initial intent. Still, if you just let yourself get lost in the piece, putting away the camera and just allowing your eyes to roll over its abundance, “Sunflower Seeds” is a compelling work that can be as deep as you want it to be.

METS IN THE MORNING: MILESTONES, MEMORIES, MIRACLES, AND MORE

Mets legend Bud Harrelson will take part in fiftieth anniversary conference on January 28

Society of American Baseball Research
Mid-Manhattan Library
40th St. & Fifth Ave., sixth floor
Saturday, January 28, $25 with preregistration, 10:00 am – 3:30 pm
www.nyc.sabr.org

Back in 1962, a new baseball team came to town, a group of ne’er-do-wells that finished a woeful 40-120 under the leadership of the great Casey Stengel. For the New York Mets’ first seven seasons, they finished either ninth or tenth out of ten teams in their division but then miraculously pulled off the amazing feat of winning the World Series in 1969. The franchise has been back in the doldrums for the last three seasons, and not much is expected of them this year either. But you can expect lots of special events surrounding the team’s fiftieth anniversary, looking back at both the good days and the bad. On January 28, the Society of American Baseball Research will honor the Mets at its annual Casey Stengel Chapter meeting, which is open to the public. At 10:30, Ernestine Miller will moderate “Mets in the Morning: Milestones, Memories, Miracles, and More,” a panel discussion and Q&A with shortstop Bud Harrelson, statistical analysts Benjamin Baumer and TJ Barra, and memorabilia collector Harvey Poris. Following a lunch break, historian Lee Lowenfish, Yankees scout Cesar Presbott, and Cubs scout Billy Blitzer will talk about the state of professional scouting. At 2:00, George Vecsey will lecture on his sports writing career and his latest book, Stan Musial: An American Life. Stan Teitelbaum will conclude the all-day symposium with the research presentation “How Sports Writers Influence the Image of Major Leaguers.”