twi-ny recommended events

AMERICAN MASTERPIECES: MOLISSA FENLEY AND DANCERS

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Molissa Fenley will present prop-driven world premiere at the Joyce SoHo this week (photo by Julie Lemberger)

Joyce SoHo
155 Mercer St.
November 4-7, $22
212-242-0800
www.joyce.org
www.molissafenley.com

The Joyce SoHo’s American Masterpieces series continues with the world premiere of Molissa Fenley’s THE PROP DANCES, a work for three dancers, Katie McGreevy, Cassie Mey, and Fenley, divided into five sections, each of which features props created by a different visual artist (to be worn or carried) and a score by a different composer: “Pieces of Land” has props by Jene Highstein, music by Jason Hoopes; “94 Feathers,” Merrill Wagner, Cenk Ergun; “Planes in Air,” Roy Fowler, Joan Jeanrenaud; “Mass Balance,” Todd Richmond, Cenk Ergun; and “Prop Dance #5,” Keith Sonnier, Lainie Fefferman. The artists were given carte blanche on what type of prop they could design, with Fenley agreeing to use whatever they came up with. The evening will also include Fenley’s 1995 work REGIONS, which consists of “Chair,” “Ocean Walk,” and “Mesa,” with music by Maggi Payne, lighting by David Moodey, and set design and sculpture by Fowler. An After Hours Q&A will take place after the November 5 performance, moderated by choreographer Elizabeth Streb, who recently performed Trisha Brown’s “Man Walking Down the Side of a Building” on the Whitney facade. Fenley will also be choreographing and dancing in Leslie Scalapino’s play FLOW-WINGED CROCODILE on November 16 at Dixon Place.

BOB MOULD & LENNY KAYE / MARSHALL CRENSHAW

Bob Mould should have plenty of sly tricks up his sleeve at City Winery shows with Lenny Kaye and Marshall Crenshaw (photo by twi-ny/mdr)

City Winery
155 Varick St. between Spring & Vandam Sts.
Lenny Kaye: Thursday, November 4, $30-$40, 9:30
Marshall Crenshaw: Friday, November 5, $30-$40, 9:00
212-608-0555
www.citywinery.com
www.myspace.com/bobmould

Back in January, former Hüsker Dü guitarist Bob Mould played a pair of solo gigs at City Winery, offering up a mix of favorites and lesser-known gems while musing about Conan O’Brien, the Highline, and Peter Criss’s “Beth.” He was as engaging, relaxed, and funny as we’ve ever seen him, and we’ve seen him a lot over the last twenty-five years. But turning fifty and releasing a deeply personal album, LIFE AND TIMES, has not slowed down the punk icon, who still knows how to turn up the volume and thrash that six-string. Mould will be back at City Winery for two very special shows this week, teaming up first with legendary producer and guitarist Lenny Kaye, who has worked extensively with Patti Smith and is responsible for putting together one of the all-time great compilations, the Nuggets collections of classic garage rock. The next night, November 5, Mould will be joined by singer-songwriter Marshall Crenshaw, who has been crafting beautifully infectious pure pop since his highly acclaimed 1982 debut, which included “Someday, Someway,” up to his most recent album, 2009’s JAGGEDLAND. There’s no telling where these two pairings will go, as the potential setlists are as exciting as they are unpredictable. (Mould will also be at the Rock Shop on Fourth Ave. in Brooklyn on November 6, with Chris Brokaw opening.)

SASHA WALTZ & GUESTS: GEZEITEN

Sasha Waltz returns to BAM with U.S. premiere of GEZEITEN (photo by Gert Weigelt)

Next Wave Festival
BAM Howard Gilman Opera House
30 Lafayette Ave. between Ashland Pl. & St. Felix St.
November 3, 5, 6, $20-$55, 7:30
718-636-4100
www.bam.org
www.sashawaltz.de

Berlin-based choreographer Sasha Waltz returns to BAM’s Next Wave Festival with the U.S. premiere of GEZEITEN (TIDES), following 2002’s KÖRPER, which we called “playful and powerful, enlightening and frightening,” and 2005’s IMPROMPTUS, which we described as “a beautifully expressive piece.” Set in a postapocalyptic world, GEZEITEN incorporates physical objects and smoke and fire as the dancers deal with disaster. The nearly two-hour piece features music by Jonathan Bepler and Johann Sebastian Bach, costumes by Beate Borrmann, lighting by Martin Hauk, and stage design by Waltz and Thomas Schenk. As shown by her previous appearances at BAM, Waltz is a creative choreographer who is not afraid to push the envelope, keeping audiences rapt, never knowing quite what is going to happen next. There are only three performances of GEZEITEN, so don’t miss out on this rare opportunity to see this daring company in Brooklyn.

DOC NYC: DARKNESS ON THE EDGE OF TOWN

Full December 2009 performance of classic 1978 album is centerpiece of doc fest

Ziegfeld Theatre
141 West 54th St. between Sixth & Seventh Aves.
Thursday, November 4, $25, 7:00
Festival runs November 3-9 at the IFC Center and NYU
www.docnyc.net

In December 2009, Bruce Springsteen and the E Street Band performed DARKNESS ON THE EDGE OF TOWN in full in an empty Paramount Theatre in Asbury Park, filmed by Thom Zimny, who also directed the current festival hit THE PROMISE: THE MAKING OF DARKNESS ON THE EDGE OF TOWN. Both films will be included in the DARKNESS box set due November 16, but you can catch the world premiere of the concert November 4 at the Ziegfeld as part of DOC NYC, a seven-day event billed as “New York’s Documentary Festival.” The digital projection of DARKNESS will be followed by a conversation between Zimny and E Street Band drummer Max Weinberg. The festival is being held at the IFC Center and NYU and gets under way Wednesday with a 3-D presentation of Werner Herzog’s CAVE OF FORGOTTEN DREAMS at NYU’s Skirball Center; Herzog is one of the focuses of the festival, which will also include screenings of his LAND OF SILENCE AND DARKNESS (1971), WINGS OF HOPE (1999), and MY BEST FIEND (1999), and the iconoclastic director will participate in a conversation at the IFC Center on Thursday. The career of Errol Morris is also being celebrated, with screenings of FIRST PERSON (2001), A BRIEF HISTORY OF TIME (1992), THE THIN BLUE LINE (1988), and TABLOID (2010), with Morris on hand for a conversation on November 7 at NYU’s Kimmel Center. The third central figure of the fest is Kevin Brownlow, whose examinations of Hollywood will be on view, including LON CHANEY: A THOUSAND FACES (2000), GARBO (2005), IT HAPPENED HERE (1966), WINSTANLEY (1975), CECIL B. DeMILLE: AMERICAN EPIC (2004), and a double feature of I’M KING KONG! THE EXPLOITS OF MERIAN C. COOPER (2002) and THE TRAMP AND THE DICTATOR (2005). The festival will also be screening such works as Janus Metz’s ARMADILLO, Henry Corra’s THE DISAPPEARANCE OF McKINLEY NOLAN, Josef Birdman Astor’s LOST BOHEMIA, and David Soll’s PUPPET, about downtown artist Dan Hurlin. Many of the screenings will be followed by discussions with the subjects and/or creators.

BIG APPLE FILM FESTIVAL

Big Apple Film Festival will celebrate twentieth anniversary of GOODFELLAS with special guests

Tribeca Cinemas
54 Varick St. at Laight St.
November 2-6, $20 per program
www.bigapplefilmfestival.com
www.tribecacinemas.com

The seventh annual Big Apple Film Festival gets under way November 2, kicking off five days of screenings of more than one hundred shorts and features, focusing on independent cinema in New York and around the country. The first few days include a diverse range of films, including Marvin Suarez’s ZOMBIE CHRONICLES: THE INFECTED, Aaron Kodz’s DYING LOVE, Adam Reid’s HELLO LONESOME, Jonathan Furmanski’s THE WEIRD WORLD OF BLOWFLY, Adam Blank’s ADAM BLANK GETS A VASECTOMY, and Amy Glazer’s SEDUCING CHARLIE BARKER. Among the more New York–centric flics are Roger Sherman’s THE RESTAURATEUR, about Danny Meyer; Alexandra Schwimmer’s VERTICAL VILLAGE, about the Seward Park Cooperative; Michael Gartland and Robert Weiss’s YANKEELAND: IN THE SHADOW OF THE STADIUM; and Monty Diamond’s WORLD TRADE CENTER IN THE MOVIES. The festival comes to a close Saturday with some all-star programs, beginning with a panel discussion on “DIY Distribution” and concluding with screenings of DG Brock’s MONTANA AMAZON: THE ADVENTURES OF THE DUNDERHEADS, which will be followed by a Q&A with star Haley Joel Osment; Thomas LaSorsa’s CIRCUS MAXIMUS, followed by the presentation of the Golden Apple Award to Kevin Corrigan and the Spirit of New York Award to Mario Cantone; and a twentieth-anniversary celebration of Martin Scorsese’s gangster classic GOODFELLAS, with special guests hosted by Tony Darrow.

KUROSAWA’S SAMURAI: THRONE OF BLOOD

Kurosawa offers a different kind of MACBETH in THRONE OF BLOOD

BAM will be screening Kurosawa’s THRONE OF BLOOD in conjunction with the New York premiere of Ping Chong’s theatrical adaptation as part of the Next Wave Festival

THRONE OF BLOOD, AKA MACBETH (KUMONOSU JÔ) (Akira Kurosawa, 1957)
BAMcinématek
30 Lafayette Ave. between Ashland Pl. & St. Felix St.
Wednesday, November 3, 4:30 & 9:30
Thursday, November 4, 4:30, 6:50, 9:10
718-636-4100
www.bam.org

Akira Kurosawa’s marvelous reimagining of MACBETH is an intense psychological thriller that follows one man’s descent into madness. Following a stunning military victory led by Washizu (Toshirô Mifune) and Miki (Minoru Chiaki), the two men are rewarded with lofty new positions. As Washizu’s wife, Asaji (Isuzu Yamada, with spectacular eyebrows), fills her husband’s head with crazy paranoia, Washizu is haunted by predictions made by a ghostly evil spirit in the Cobweb Forest, leading to one of the all-time classic finales. Featuring exterior scenes bathed in mysterious fog, interior long shots of Washizu and Asaji in a large, sparse room carefully considering their next bold move, and composer Masaru Sato’s shrieking Japanese flutes, THRONE OF BLOOD is a chilling drama of corruptive power and blind ambition, one of the greatest adaptations of Shakespeare ever put on film. BAMcinématek is screening the film in conjunction with the centennial of Kurosawa’s birth and the Next Wave Festival presentation of Ping Chong’s theatrical version of THRONE OF BLOOD, running at the BAM Howard Gilman Opera House November 10-13. The film series continues with KAGEMUSHA on November 5, THE HIDDEN FORTRESS on November 6, YOJIMBO on November 7, SANJURO on November 14, and RAN on November 21.

TWI-NY TALK: MARLO THOMAS

Marlo Thomas will be at the Lincoln Triangle B&N on November 4 to sign copies of her latest book

Barnes & Noble Lincoln Triangle
1972 Broadway at 66th St.
Thursday, November 4, free, 7:30
212-595-6859
www.marlothomas.aol.com
www.hyperioncatalogs.com

In the first chapter of her entertaining memoir, GROWING UP LAUGHING: MY STORY AND THE STORY OF FUNNY (Hyperion, September 2010, $26.99), Marlo Thomas writes about how her family “celebrated everything.” The book itself is a celebration as well: of her life and career; of her father, famous actor and comedian Danny Thomas; and of comedy in general. The star of the early feminist television series THAT GIRL and the creator of FREE TO BE . . . YOU AND ME, which has helped raise several generations of children by teaching kids and parents about compassion, individuality, tolerance, friendship, and the value of family, Thomas has been one of America’s genuine sweethearts for some fifty years. In the book, Thomas, who has been married to talk-show legend Phil Donahue for thirty years, alternates between personal chapters and interviews about comedy with some of her famous friends, including Don Rickles, Tina Fey, Conan O’Brien, Kathy Griffin, Stephen Colbert, Elaine May, Alan Alda, Whoopi Goldberg, and Chris Rock, who all help tell the “story of funny.” Thomas recently talked with twi-ny about the book and her career as she continued her whirlwind promotional tour, which brings her to the B&N at Lincoln Triangle on November 4 at 7:30 for a reading, discussion, and signing.

twi-ny: You’re used to being the one interviewed, but in your new book, you interview some of your favorite comics, including Jerry Seinfeld, Billy Crystal, Robin Williams, Joan Rivers, and Lily Tomlin. How does it feel to be on the other side of the table, asking the questions?

Marlo Thomas: It was a lot harder and actually more interesting than I expected. I’m certainly familiar with the interview dynamic, having sat for so many of them throughout the years; and because many of my interview subjects in the book were already friends of mine, I instantly felt comfortable with them. But what I learned quickly was how important it is to thoroughly prepare going into an interview — even with someone you think you know. I read their books, watched their specials, even though I’d seen many of them before, so that when we sat down to talk I had a lot of background in my head, not just a lot of questions — which I think makes for a better conversation and leads to a better interview. It was also challenging for me to keep guiding the conversation to where the funny was.

These are interesting people that are great to talk with on a variety of subjects, but since the book is about laughter I had to stay on topic. Luckily, all of my subjects are famously funny people, so they enjoyed exploring the area. But I know I’ll never again sit for an interview without being acutely aware of the hard work that’s going on on the other side of the table.

twi-ny: You write that GROWING UP LAUGHING is your “first and only memoir,” implying that this public examination of your life is not something you’ll be doing again. Was it difficult to open up about your life and share so much of yourself?

MT: I’ve always believed that unless you’re one of those people who have lived more than one kind of life — like Ted Turner or Grace Kelly — or unless you live to an unusually old age — like George Burns — one memoir is pretty much all you need to tell a life story. And as I say in my prologue to GROWING UP LAUGHING, the stories I tell in the book have been humming in my head all my life, so I feel wonderfully satisfied at having written them down at last.

But the life of an entertainer or any public person is no different from anyone else’s in that we’ve all lived through experiences that are painful or difficult or simply sad to recall, and so it was occasionally challenging for me to relive some of those moments in my book — particularly the death of my father. But as in acting, I wanted to create as complete and honest a picture as I could of my “character” — which in this case happened to be the real me. Fortunately, the concept for the book permitted me to take a break from my own story from time to time and explore the lives of these wonderful comedians and get some great laughs along the way.

twi-ny: In addition to being about your life and your family, your book is about comedy in general. How do you think the state of comedy has changed, if at all, since your father’s heyday? And if it has changed, is it for the better?

MT: Comedy is always changing as times and taboos change but what doesn’t change is how important laughter is to our lives. It can be a release of tensions. It can be a healing from pain. And nothing brings people together better than laughter. It is deliciously contagious. When I asked Jerry Seinfeld about all the different styles of comedy and how it changes from generation to generation, he likened it to a perfume counter at a department store — different people like different smells, and that’s what makes comedy so personal. Chris Rock told me that he can sit at the computer for hours on end watching clips on YouTube of legendary comics from all eras — from Lenny Bruce to Richard Pryor. To me, that says it all about the timelessness — and durability — of laughter.