twi-ny recommended events

REMAPPING THE UNIVERSE: ENCOUNTERS IN THE MILKY WAY

Encounters in the Milky Way expands humanity’s knowledge and understanding of the universe (photo by Alvaro Keding/© AMNH)

ENCOUNTERS IN THE MILKY WAY
American Museum of Natural History
Hayden Planetarium, Rose Center for Earth and Space
Central Park West at 81st St.
Open daily, $18-$30
212-769-5200
www.amnh.org

Everything I know about space I learned from Star Trek, Stanley Kubrick, Carl Sagan, and the American Museum of Natural History. At the Hayden Planetarium, the institution continues to explore the final frontier and push the boundaries of our knowledge of the universe in its space shows, which have included 2000’s Passport to the Universe, narrated by Tom Hanks; 2002’s The Search for Life: Are We Alone? (Harrison Ford); 2006’s Cosmic Collisions (Robert Redford); 2009’s Journey to the Stars (Whoopi Goldberg); 2013’s Dark Universe (Neil deGrasse Tyson); and 2020’s Worlds Beyond Earth (Lupita Nyong’o).

In the brand-new Encounters in the Milky Way, the ubiquitous Pedro Pascal, of The Mandalorian, The Last of Us, and Narcos, takes audiences deep into our galactic neighborhood as scientists uncover surprising aspects of time and cosmic movement so unexpected that it shocked even the filmmakers. To the everyday museum visitor who just hasn’t been thinking about our universe lately, Encounters is a thrilling, jaw-dropping reminder of exactly how small we humans are in space and time, and how much remains to be explored.

“There was this day that happened, I can tell you it’s an actual day, April 25, 2018. That was the day that the European Space Agency’s Gaia Observatory . . . revealed this massive, amazing map, a map that is foundational in astrophysics. On April 24, I gave a talk in here to a sold-out crowd and I told this audience — I don’t know, they thought that I was on the Kool-Aid or something — I was, like, it all changes tomorrow,” AMNH curator Jackie Faherty said at the press preview of the twenty-four-minute film. “It’s all changing because up until that moment we had about 116,000 stars that we measured the distances to and that we knew their motion really well. But the next day we were getting nearly 2 billion. So to me, the most important thing and why this is happening now is because on April 25, 2018, Gaia dropped a map that all humans should be proud of. We mapped the cosmos in a way, and the Milky Way really was the star of it, we had never been able to do before. And because of that, that was the sheer inspiration for starting the conversations about this show. And we could test out some of the material with audiences in here with open space. But because of Gaia — sometimes I call this show a little love letter to Gaia because that map is so phenomenal.”

Encounters in the Milky Way was a huge undertaking, made with the participation of a wide range of astronomers, educators, science visualization experts, and artists from the University of Surrey, NASA’s Space Telescope Science Institute, the Southwest Research Institute, the Center for Astrophysics/Harvard & Smithsonian, Technische Universität Berlin, the Institute of Science and Technology Austria, the European Space Agency, and more than a dozen other organizations. Using the Gaia space telescope, the James Webb Space telescope, and complex digital models, the film features the Kuiper Belt, the Oort Cloud, Gliese 710, icy comets, a local bubble, and the Sagittarius Dwarf Galaxy like they’ve never been seen before. As with all space shows, the visuals are spectacular, highlighted by a spiral, found in collaboration with the Czech astronomer David Nesvorný, that jolted all involved.

“There’s this huge universe out there, and this show is concentrating on the Milky Way. . . . Because we’re being parochial, local to the Milky Way, there’s that emphasis of time, but it’s brought home to us in a kind of personal way that just as the solar system is our home, so too is the Milky Way,” director Carter Emmart, helming his seventh and final show, said. “And because we can see it organically behaving in great detail like this, there’s an aspect to it that, yes, it’s so far out there, and the time scales are so large, but then when Pedro tells you that we are twenty galactic years old and that it takes us 230 million years to make one orbit — when we were at this last orbit, it was the Triassic, and dinosaurs were just getting their legs — that’s one of the twenty orbits. It makes you understand that our story is a larger story of life and that while we are single instances, that the DNA of your children and the grandparents and so forth that you come from is a continuum, and that goes back into deep time. . . . I really feel that message comes across in this story; I hope it does. I hope that’s the takeaway, that this is a vast story. . . . For me its been a tremendous exhilaration from being ten years old, my mom bringing me to classes in the basement of this planetarium, to having a career working here. It’s been a great, great pleasure to be here across these various shows but end on something that I think is a pretty special production. It certainly is to me.”

In the film, Pascal explains, “By moving through space to observe from multiple angles, Gaia has built a three-dimensional atlas containing nearly two billion stars. That’s fifteen thousand times more than were ever mapped before, and about a million times more stars than we see with the naked eye. Could the ingredients of life be carried from one star system to another, aboard a comet or asteroid? Scientists are studying the possibilities. For us — for our sun and solar system — one orbit takes 230 million years to complete. So far, we’ve made about twenty orbits. We’re twenty galactic years old!”

The Milky Way’s collision with the Sagittarius dwarf galaxy has never been visualized before (photo © AMNH)

It’s also special to Faherty, whose excitement and sense of wonder are infectious, particularly when it comes to the map.

“I want kids coming here and being like, What’s up with this map? I’d like to see more on that map. What else does that map have? Open up the map; look for stuff,” she continued. “I’m showing you the globe, guys — this is the map, the map of your cosmos. It’s your cosmos as well; it’s humanity’s map. Go play with the map. All Gaia data is available for everybody. Look at where these stars are; look at where they’re going. You can make discoveries — so much science to be had. I hope that people walk away wanting to be scientists when they leave this room.”

On Wednesday, June 25, Faherty and Emmart will be back in the room for “Astronomy Live: The Making of a Space Show,” sharing insights into the creation of Encounters in the Milky Way. Be prepared to reconsider your current career and think about becoming a scientist yourself after you experience their unbounding enthusiasm and childlike joy at expanding our knowledge of the endless universe.

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]

WORSHIPPING LBJ: XHLOE RICE AND NATASHA ROLAND RETURN TO SOHO PLAYHOUSE WITH REMARKABLE LETTER

Natasha Roland and Xhloe Rice return to SoHo Playhouse with remarkable award-winning production (photo by Morgan McDowell)

A LETTER TO LYNDON B. JOHNSON OR GOD: WHOEVER READS THIS FIRST
SoHo Playhouse
15 Vandam St. between Varick St. & Sixth Ave.
Wednesday – Sunday through June 29, $45.50
www.sohoplayhouse.com
www.xhloeandnatasha.com

Xhloe Rice and Natasha Roland’s A Letter to Lyndon B. Johnson or God: Whoever Reads This First is back for an encore run at SoHo Playhouse, with good reason: It’s one of the best, most innovative and thoroughly satisfying shows of the year.

Rice and Roland met in high school eleven years ago and have been creating unique and inventive two-character plays and short films ever since, offering funny and poignant views of American history and culture and the elusive American dream.

Developing their own form of absurdist physical clown theater, they’ve portrayed Lewis and Clark in a pair of short films, satirized violence in the thirteen-minute Caramel Apples, and, onstage, played a rodeo clown and his shadow who want to become cowboys in And Then the Rodeo Burned Down and scrutinized the desires of 1950s housewives in What If They Ate the Baby?

They shocked the Edinburgh Fringe by winning the Fringe First award in 2022 for Rodeo, 2023 for Baby, and 2024 for Lyndon B. Johnson, their first three works, a feat never before accomplished.

A Letter to Lyndon B. Johnson or God: Whoever Reads This First packs a lot into its fast-moving sixty-five minutes; in addition to starring in the show, Rice and Roland are responsible for the writing, directing, choreography, costumes, set, and sound design, a legitimate DIY effort. Their regular collaborator Angelo Sagnelli is credited with lighting and technical management.

Xhloe Rice and Natasha Roland explore America in A Letter to Lyndon B. Johnson or God: Whoever Reads This First (photo by Morgan McDowell)

Twenty-four audience members sit on the stage in single rows of eight on the two sides and the back; the rest of the audience is in standard seating. The only prop is a large Mudstar radial M/T all-terrain tire with optimized traction; although it was chosen somewhat randomly by Roland’s father, it fits the concept of the show, in which Ace (Roland) and BFF Grasshopper (Rice) share stories of their past in small-town America and their service in Vietnam as they equate President Lyndon B. Johnson with G-d.

Ace is the tough one, from a military family, while Grasshopper is more gentle and vulnerable, raised by his grandmother. They both are barefoot and wearing Boy Scout uniforms, Ace’s covered in many more patches — evoking battle medals — than Grasshopper’s. Their faces, arms, and legs are thick with dirt and grime; Ace also has a bandanna around his head and a bandage on one calf that look like war wounds but, as we learn, aren’t.

“Stay with me,” Grasshopper says at the beginning; we’re not about to go anywhere. Running across the stage, jumping on each other, lying down on the floor, rolling and balancing on the tire, and spit-shaking, Ace and Grasshopper talk about the time Hillbilly had a problem with a high rope swing, relate an evening when their proposed prank of putting snakes in camp counselor Davis’s pillowcase went awry, and prepare for Ace to play the trombone for the president as his train passes through town. Although the trombone scene eerily recalls the 1954 thriller Suddenly, in which Frank Sinatra plays a hit man hired to assassinate the president when his train is scheduled to stop in a small California town, Ace and Grasshopper worship LBJ. They alter the Pledge of Allegiance to include him and offer their own version of the Our Father, as if praying to Johnson and G-d is the same thing; they often swear to Johnson, as if he’s in charge of it all, amid numerous references to religion. Ace has a dream in which his father becomes LBJ.

Throughout the play, Grasshopper tells a multipart fable about “a young boy who lived in a mountain village and . . . wanted nothing more than to be a man.” A witch advises that he must undertake a long, dangerous journey to find a lake filled with leeches that will suck his blood and make him a man; it loosely parallels Ace and Grasshopper’s story as they go from kids to soldiers fighting an ill-defined war in Southeast Asia, one that their hero, LBJ, escalated.

Rice and Roland are utterly charming as Grasshopper and Ace; through direct eye contact with the audience and physically reaching out with various gestures and incorporating the tire, they not only humanize the characters but instantly make them our friends. We all feel a part of the group, enhancing our emotional investment in what happens to them. Their goofing around as kids helps us reminisce about our goofing around as kids:

Ace: I’m what they call “highly decorated.”
Grasshopper: You’re what they call “highly annoying.”
Ace: [puts Grasshopper in a headlock] And what do they call your mom’s brother?
Grasshopper: Uncle! Uncle!

But their faith is tested, as shown in this brief exchange:

Grasshopper: Do you think they’ll let him be president forever?
Ace: They have to.
Grasshopper: He’ll love us.
Ace: He has to.

The immersive sound features nature and music — three Beatles songs play a prominent role, with Rice and Roland performing on that war-movie staple, the harmonica, replacing the words with notes, beginning with “Ob-La-Di, Ob-La-Da,” which contains the refrain “Ob-la-di, ob-la-da, life goes on, brah / La-la, how their life goes on.” The sound and lighting ultimately explode in a gripping, unforgettable finale.

Winner of SoHo Playhouse’s International Fringe Encore Series Overall Excellence award, A Letter to Lyndon B. Johnson or God: Whoever Reads This First captures the America of the late 1960s as well as today, as politics, religion, and the military become intertwined and the everyday struggles of the common people are completely misunderstood or purposely ignored. Rice and Roland remind us who we were, who we are, and who we still can be. I can’t wait to see where they’ll take us next.

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]

THE WHOLE MEGILLAH: YIDDISH TOUR OF “THE BOOK OF ESTHER IN THE AGE OF REMBRANDT”

Rembrandt van Rijn, A Jewish Heroine from the Hebrew Bible, oil on canvas, 1632–33 (National Gallery of Canada, purchased 1953)

Who: Rukhl Schaechter, Adina Cimet
What: Yiddish tour of “The Book of Esther in the Age of Rembrandt”
Where: The Jewish Museum, 1109 Fifth Ave. at 92nd St.
When: Friday, June 20, $40.25, 11:30 am
Why: The Jewish Museum exhibition “The Book of Esther in the Age of Rembrandt” is a surprising look at the Dutch fascination with the story of Esther, King Ahasuerus, Queen Vashti, Mordecai, and Haman (boo!!). Artists such as Rembrandt van Rijn, Jan Lievens, Aert de Gelder, and Jan Steen painted depictions of the biblical story that is related in the Megillah, which is read on the holiday of Purim; the show is supplemented with beautifully designed scrolls and contemporary works, including Fred Wilson’s 1992 Queen Esther/Harriet Tubman. Curators Abigail Rapoport and Michele Frederick make a strong case connecting the events surrounding Esther with Jewish immigration to the Netherlands during the Eighty Years’ War (1568–1648); as Rapoport writes in the catalog, “The Dutch, who saw themselves as religiously and politically oppressed by the Spanish monarchy, found in the Book of Esther a viscerally apt analogy for their own liberation and associated their war of independence with the Jewish people’s struggle with, and ultimate triumph over, the ancient Persian Empire.”

The exhibit continues through August 10; on June 20 at 11:30 am, Forverts editor Rukhl Schaechter will lead a one-hour tour of the show in Yiddish, along with sociologist Adina Cimet. Tickets are limited and include general admission to the museum, which is also hosting the terrific “Ben Shahn, On Nonconformity” exhibition.

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]

NO HOPE: THE SINS OF CARAVAGGIO

Playwright Sara Fellini stars as Caravaggio in spit&vigor’s Nec Spe (photo by Nick Thomas)

NEC SPE: THE FINAL CONFESSION OF BRUTE PAINTER CARAVAGGIO
The Players Theatre
115 MacDougal St.
Friday, June 20, and Saturday, June 21, $20-$55, 7:30
www.spitnvigor.com

In past productions, the New York City–based spit&vigor has staged works dealing with such real-life figures from centuries ago as Lord Byron, Percy Bysshe Shelley, and Mary Shelley (Mary’s Little Lamb), Irish madam Dorcas Kelly (The Wake of Dorcas Kelly), the Booth brothers (The Brutes), and Hungarian serial killer Elizabeth Báthory (Blood Countess).

The company is now reaching back to its 2019 show, Nec Spe (No Hope), which was initially presented with Nec Metu (No Fear); the former featured Adam Belvo as Italian Baroque painter Michelangelo Merisi da Caravaggio, the latter Sara Fellini as his contemporary, Italian Baroque painter Artemisia Lomi Gentileschi. This time around, troupe cofounding artistic director Fellini, who wrote the plays, will take on the role of Caravaggio, and it will be staged at spit&vigor’s tiny baby blackbox space at the Players Theatre, where I saw the excellent Anonymous in February.

In a January 2022 twi-ny talk with Fellini, she noted, “I’ve always been into history. I have trouble relating to the modern world. . . . So, while a lot of the ideas and prejudices of the past are nonsense and based in ignorance and inexperience, I do think there’s a lot to be learned from people who spent all of their time noticing, negotiating, and navigating other human beings.”

Directed by Megan Medley, the play, which deals with art, gender, politics, and murder both in the past and how it relates to what is happening today, will have two more performances, June 20 and 21, and tickets are almost gone, so act fast to check out this unique exploration of an important and influential artist.

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]

QUEERING THE MONARCHY: A PRINCELY PLAY AT PLAYWRIGHTS

Royal siblings Charlitte (N’yomi Allure Stewart) and George (John McCrea) toast to their future in Prince Faggot (photo by Marc J. Franklin)

PRINCE FAGGOT
Playwrights Horizons, the Peter Jay Sharp Theater
416 West 42nd St. between Ninth & Tenth Aves.
Tuesday-Sunday through July 27, $68.50 – $103.50
www.playwrightshorizons.org
Studio Seaview
305 West 43rd St. between Eighth & Ninth Aves.
September 11 – December 13, $69-$249
studioseaview.com

The central image accompanying Jordan Tannahill’s new play, Prince Faggot, is Salman Toor’s 2022 ink and gouache Fag Puddle with Crown and Wire, on the program cover and on view in the fourth-floor lobby of Playwrights Horizons, where the show, coproduced with Soho Rep, runs through July 27. [ed note: The production will move to Studio Seaview for an extension September 11 – December 13.] The drawing depicts assorted body parts, a candle, a crown, a wig, and other items, commenting on, among other things, colonialism and queer identity. Toor told the New Yorker, speaking of his artistic approach, “I wanted to have parts of the painting that responded to my need for realism, and other parts that were deliberately sketchlike and a bit irreverent.”

Both descriptions can be applied to Prince Faggot, which feels like two separate plays that don’t quite merge; one is more realistic, and far more engaging; the other irreverent, and far less cohesive.

The play opens with the six actors sharing anecdotes about how their queerness impacted their childhood; five stories include a photo of the performer as a child. The first one, told by Mihir Kumar, and the last, which concludes the show, from N’yomi Allure Stewart, are based on their lives; the other four narratives, related by Rachel Crowl, K. Todd Freeman, David Greenspan, and John McCrea, are fictional creations of the playwright. (The six are listed as Performer #1, Performer #2, etc., in the program, but I will refer to them by their last names here for simplification when not in royal character.)

Prince Faggot feeds off a 2017 photograph of Prince George of Cambridge, the son of William and Kate, the prince and princess of Wales. The picture of the four-year-old in blue shorts, hands on his chin, went viral; Kumar notes, “I remember literally hundreds of people on social media sharing this photo and calling George a ‘gay icon’ for his adorably fey pose.” Freeman takes offense, declaring, “Sexualising a young child like that is disgusting.” But Kumar defends the discussion, peering into the audience and explaining, “Look, the queers in the audience — and I’m assuming that’s most of you, let’s be honest — we know one of our own when we see one because we ourselves were once queer children. We can locate our younger selves in photos of George’s poses and prancing because the world taught us to notice, and isolate, and suppress these affects — or suffer the consequences.”

Kate (Rachel Crowl) and William (K. Todd Freeman) face some trouble at home in Jordan Tannahill play (photo by Marc J. Franklin)

The play soon proceeds into what McCrea calls “an act of queer prognostication”: Tannahill builds a gay fantasia in which Prince George (McCrea), now eighteen, is indeed gay, ready to introduce his boyfriend, Dev Chatterjee (Kumar), to his parents (Freeman and Crowl) at their country estate at Anmer Hall. William and Kate bring in communications director Jaqueline Davies (Greenspan) to train George and Dev — who has been outspoken about what he thinks of the British imperial past — on how to deal with the public furor that will come with the revelation of their relationship. George is close with his sister, Charlotte (Stewart), and also gets personal advice from the gay palace butler, Andrew Farmer (Greenspan), who has a unique bond with him, always ready to cover up for George when drugs, alcohol, and strange men enter the mix.

As the story travels from 2032 to 2044, including the possibility of a gay royal wedding, George continually has trouble navigating a challenging life that requires him to balance what he wants with what the monarchy demands, tropes and themes familiar to any avid romance reader.

Several times, Prince Faggot breaks the fourth wall as performers deliver first-person monologues in what appear to be actual private confessions about their lives or the play itself but are actually fictional tales. Crowl, who is trans, discusses how a specific scene in the play made her angry, giving her an “overwhelming feeling of having been denied the experience of being a trans girl.” McCrea recalls being insulted by a teacher for his effeminacy while rehearsing Henry V in college. Legendary downtown performance artist Greenspan delves into gay history — primarily, fisting during the AIDS crisis.

While each of these sidebars is poignant and moving, the interventions disrupt the play in awkward fashion. Tannahill (Botticelli in the Fire, Is My Microphone On?) is squeezing in too much, generating confusion while exploring and celebrating queer characters and performers. It’s difficult to relate to George; Tannahill might be attempting to make George’s issues with his sexuality representative of many people’s experiences, but not everyone’s parents and grandparents are kings and queens and princes and princesses. However, the play does an excellent job of examining childhood queerness and young adult rebellion — a gay royal bildungsroman.

David Zinn’s set consists of two dressing rooms in the back, a central platform stage, and chairs in the wings where the actors sometimes sit and watch when they are not part of the action; a diagonal curtain is pulled across for set changes. Montana Levi Blanco’s costumes go from contemporary casual and regal finery to comic and, well, nothing during one extremely graphic sex scene. (UnkleDave’s Fight-House is the intimacy coordinator, and they have their hands full.) Obie-winning director Shayok Misha Chowdhury (Public Obscenities, Rheology) can’t quite merge the various elements, which also feature an interminable exchange in the rain and more than a glimpse of some BDSM. (Audience members are required to put their phones in a Yondr pouch so they can’t sneak any photos.)

The ensemble is led by standout performances from two-time Tony nominee Freeman (Downstate, Airline Highway), who imbues William with a gentle understanding, six-time Obie winner Greenspan (The Patsy, I’m Assuming You Know David Greenspan), who is touching as Farmer and hilarious as Davies, and, in his off-Broadway debut, Kumar, who portrays Dev with a deep sense of honesty.

“I was very, very femme growing up, and I often felt intimidated and ostracized,” the Pakistani-born, Brooklyn-based Toor also told the New Yorker. Tannahill probes these feelings in a fresh and unexpected setting in Prince Faggot, with some clever twists, but his romantic fantasy, built around the classic tropes of a shocking love between prince and commoner and the conflict between desire and duty, all too often can’t quite bear the weight of what he seeks to achieve.

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]

MAGIC TRAIN: PASSENGERS PULLS INTO PAC NYC

The 7 Fingers pull into PAC NYC to take audiences on an unforgettable journey (photo by Matthew Murphy)

PASSENGERS
Perelman Performing Arts Center (PAC NYC)
251 Fulton St.
Tuesday – Saturday through June 29, $43-$117
pacnyc.org
7fingers.com

“There’s something about a train that’s magic,” Richie Havens sang in a series of 1980s Amtrak commercials. The 7 Fingers troupe captures that magic and more in the breathtaking Passengers, continuing at PAC NYC through June 29.

For ninety minutes, the Montreal-based company combines circus acrobatics, gymnastics, song, dance, physical theater, and prose to take audiences on an exhilarating and affecting ride on the rails, By the end, the performers feel like characters in a play more than mere strangers on a train.

Written, directed, and spectacularly choreographed by Tony nominee Shana Carroll, Passengers begins with Kaisha Dessalines-Wright, Marie-Christine Fournier, Eduardo De Azevedo Grillo, Marco Ingaramo, Anna Kichtchenko, Maude Parent, Michael Patterson, Pablo Pramparo, Méliejade Tremblay-Bouchard, Santiago Rivera Laugerud, Sereno Aguilar Izzo, and Will Underwood bringing out chairs and aligning them as if on a train, destination unknown. Over the course of approximately twenty scenes, each one highlighted by a different discipline, they make their way through tunnels and over bridges as they run, jump, tumble, leap, twirl, and throw one another high in the air, incorporating such props as suitcases, luggage racks, clothing, and the chairs.

Kichtchenko spins multiple hula hoops, holding them out for several of the men to dive through. Contortionist Parent claps her hands to stop and restart time, altering reality in between. Fournier and Grillo perform a romantic hand-to-trap pas de deux in midair on duo trapeze to a rousing version of “Saint Louis Blues.” Dessalines-Wright sings “Train Is Coming” with Grillo on ukulele, advising, “Train is coming, and not that slow / You catch it up or you let it go / Round and round the tracks they go / When you’re back you let me know.” Dessalines-Wright discusses Einstein’s theory of relativity as it applies to speeding trains and time. Grillo pulls himself up on aerial straps, then is joined by Dessalines-Wright on duo straps. Izzo juggles a growing number of white styrofoam balls, some from inside his shirt. Kichtchenko flies with aerial silks. Ingaramo impossibly rises, balances, and slides down a Chinese pole. Three performers build vertical human chains to the song “Call,” which promises, “We will no longer / We will no longer / break apart / We will no further / We will no further / Fall.” Friends and lovers come together and say goodbye.

Suitcases, luggage racks, playing cards, and other props are used alongside hula hoops, aerial straps and silks, duo trapeze, and a Chinese pole in dazzling 7 Fingers show (Renee Choi Photography)

Passengers evokes Cirque du Soleil, Pina Bausch, The Music Man’s opening number, Company XIV, and STREB but is clearly its own phenomenon. Ana Cappelluto’s ever-changing set is supplemented with Johnny Ranger’s videos of passing landscapes and tunnels, some projected on a horizontal bar at the top back of the stage, along with Éric Champoux’s lighting, which creates dazzling shadows and glowing effects. Colin Gagné composed the wide-ranging original music and designed the sound with Jérôme Guilleaume.

The performers, in naturalistic costumes by Camille Thibault-Bédard, are nothing short of spectacular, celebrating remarkable feats that push the limits of what the human body can do. But Carroll (Water for Elephants) manages to make it all relatable, as train travel is still mostly an egalitarian way to get from one place to another.

In “La hora de la hora,” the song accompanying the juggling, lyricist Boogát admits, “Soy un loco más en la locomotora (I’m just another crazy person on the locomotive).”

You’d be crazy not to get on board this magic train.

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]

IFC CENTER AT TWENTY: ME AND YOU AND EVERYONE WE KNOW

Miranda July’s Me and You and Everyone We Know returns to IFC Center in honor of theater’s twentieth anniversary

ME AND YOU AND EVERYONE WE KNOW (Miranda July, 2005)
IFC Center
323 Sixth Ave. at West Third St.
Tuesday, June 17, 12:40 & 6:50, $12.70
www.ifccenter.com
www.mirandajuly.com

Winner of a Special Jury Prize at Sundance “for originality of vision,” performance artist Miranda July’s feature-film directorial debut is a success from start to finish, an original, engaging, and utterly charming romantic comedy that is as unique as it is familiar. July, who also wrote the screenplay, stars as an idiosyncratic young performance artist who is looking for a relationship in her rather mundane life. She immediately falls for a shoe salesman (John Hawkes) who is separating from his wife and trying to understand his kids (Brandon Ratcliff and Miles Thompson), who are having a strange online dalliance with a mystery e-mailer. Meanwhile, two high school girls (Najarra Townsend and Natasha Slayton) are sexually tormenting a bizarre loner (Brad Henke) who is sexually tormenting them right back, both humorously and dangerously.

It’s nearly impossible to take your eyes off of July, whose innovative audio and visual installations and short films have been shown at the Andy Warhol Museum, the Whitney Biennial, the Kitchen, Lincoln Center, the Museum of Modern Art, Union Square Park, and the Rotterdam International Film Festival, among many other prestigious places. The Vermont native has gone on to make such other features as The Future and Kajillionaire and written such books as No One Belongs Here More Than You, The First Bad Man, and All Fours while also developing a deeply personal and boldly honest online presence.

Me and You and Everyone We Know is screening June 17 at 12:40 & 6:50 as part of IFC Center’s twentieth anniversary celebration of its opening at the old Waverly, with tickets at the 2005 price of $10.75 (plus $1.95 service fee), along with 2005 prices for drinks and popcorn. The one-day party of the theater’s original lineup also includes a 4K restoration of William Lustig’s 1980 slasher sensation Maniac, starring Joe Spinell, with Lustig in conversation with Aimee Kuge after the 7:15 screening; Yasujiro Ozu’s 1932 silent I Was Born, But . . .; and D. A. Pennebaker’s genre-redefining 1967 Bob Dylan documentary, Don’t Look Back. All screenings will be preceded by Joe Stankus’s 2014 five-minute black-and-white Marquee, in which Larry Alaimo talks about the changes in the neighborhood as he updates the IFC Center marquee.

[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]