Who:Chorus Productions What: Live online escape room challenge Where: Zoom (link emailed to ticket holders at 9:45) When: Saturday nights at 10:00, $10 (tickets available here) Why: While sheltering in place, exiled to our rooms, all of us could use a little escape. The internet has become the go-to diversion for live entertainment, with Zoom, Facebook Watch, and Instagram Live concerts, plays, dance, interviews, art tours, and more. New York City-based theater company Chorus Productions, which specializes in immersive presentations, has come up with a unique approach to escape rooms, where friends and strangers have to come together in order to solve a mystery that takes them through different physical spaces. On Saturday nights at 10:00, you can experience Eschaton, a sixty-minute Zoom journey through a virtual nightclub that, as the game’s name implies, could lead to the end of the world if you don’t figure out the puzzle; you’ll need your cell phone in addition to your desktop computer. Each room features dancers, DJs, and others (including pole dancer Alethea Austin, burlesque performer Lilin, and magician Greg Dubin) who offer clues on how to continue your adventure and eventually save the planet from destruction. The show is still in its early stages, so there might be some technical glitches here and there, but it is evolving every week. Tickets are only $10, but there are very limited spots available. Good luck!
A man (Godfrey L. Simmons Jr.) in Berlin shares his thoughts and fears during the pandemic in six-part online play (screenshot by twi-ny/mdr)
FELT SAD, POSTED A FROG (and other streams of global quarantine)
May 7-8, 7:30, and May 9, 2:30, $15-$35 (depending on what you can afford and how many people are watching with you) www.thecherry.org
“Why does catastrophe turn me on so much?” asks one of the characters in the Cherry Artists’ Collective’s Felt Sad, Posted a Frog (and other streams of global quarantine). The new play, which premiered last weekend and continues May 7–9, was created specifically for these difficult times; it consists of six interwoven tales related to the coronavirus pandemic, written by playwrights from around the world and performed by actors in their homes, where they are sheltering in place.
I wouldn’t say that catastrophe turns me on; the Covid-19 crisis has been a rocky rollercoaster ride and will be for quite some time to come, eliciting an ever-changing onslaught of emotional (and physical) upheaval. For the first several weeks following the March 12 shutdown, I was in a quandary. As someone who has been covering art and culture in New York City since May 2001, I didn’t know what to do with myself, with no plays, art exhibitions, concerts, films, dance programs, food festivals, or book launches to attend and write about. I’ve always focused on events that require people to get off their couches and leave their residence, and now we were all stuck inside. While Netflix bingeing can serve its purpose, it’s not a replacement for live entertainment.
My last post prior to the shutdown was, ironically enough, a March 11 review of a stirring production of Young Jean Lee’s We’re Gonna Die at Second Stage. For the next month, I wrote only a few pieces about public sculpture; I usually post two or three times a day, but I didn’t have anything to cover while creators were dealing with the shuttering of their outlets. Part of me reveled in the newfound freedom I had, even though I was trapped at home, but I could also feel my motivation fading away. And then came Zoom (and Instagram Live and Facebook Watch Parties) and a whole new approach to livestreaming — which brings us back to the Ithaca, NY–based Cherry.
A single woman (Erica Steinhagen) gets virtual dating advice from WikiHow (Dean Robinson) in brightness of the screen warming our skin (screenshot by twi-ny/mdr)
I watched a seven-minute prerecorded short film about a Zoom meeting. I checked out new dance performances, unfiltered celebrity interviews. I saw a live fifteen-minute Zoom opera about a Zoom meeting. Prior to the pandemic, I was obsessed with FOMO, a fear of missing out on a cool event when I was already at a different cool event. Before arts organizations started figuring out what to do during the shutdown, my life actually got a bit more peaceful and calm, if not necessarily exciting. But what was initially a trickle of livestreaming arts turned into a barrage, and the conflicts were unnerving me. Should I watch experimental theater or a conversation and viewer Q&A with a favorite artist, which were happening at the same time? I needed, craved live stimulation, watching something with other people simultaneously. And then I was invited to Felt Sad, Posted a Frog (and other streams of global quarantine), a live two-hour show about how various men and women were dealing with sheltering in place, written by six playwrights from around the world, performed by actors in their homes. I was giddy with anticipation, ready to experience live theater again, prepared to sit down at my computer and pretend that I was at the venue. Even though I could pause the show and come back to it later, I was determined to make it through the entire play without getting up to get a drink, without checking Facebook, without going to the bathroom, without answering the telephone, as if I were in my seat on the aisle and not alone in my home office. It turned out to be so much harder than I imagined.
Directors Samuel Buggeln and Beth F. Milles shift back and forth among six distinct tales. In German playwright Rebekka Kricheldorf’s Felt Sad, Posted a Frog, a man in Berlin (Godfrey L. Simmons Jr.) is keeping a video diary, making short statements about what he is going through. He keeps going to the open closet behind him, as if it might contain some answers. In Argentine film director Santiago Loza’s Buenos Aires, a recently separated older couple (Nora Susannah Berryman and Rafael Eric Brooks) deal with their sudden isolation after having been together for so long; it’s the only section that contains visual, cinematic elements involving light and color.
Romanian-American writer, poet, and journalist Saviana Stanescu’s Zoom Birthday Party gathers Oana (Helen T. Clark), a college student in New York, her brother, Radu (Joseph D’Amore), who is with their grandparents in Oești, Romania, and their mother, Lia (Elizabeth Mozer), who is taking care of a handsy elderly man in Milan; Oona’s online birthday celebration doesn’t go quite as planned. In Salvadoran playwright Jorgelina Cerritos’s After, a woman in San Salvador (Natasha Lorca Yannacañedo) worries about her family while a narrator (Jeffrey Guyton) watches over her from above. A man from WikiHow (Dean Robinson) in a small frame at the top right gives advice to a single woman (Erica Steinhagen) obsessed with dating in Iva Brdar’s brightness of the screen warming our skin, which is set in the playwright’s native Belgrade. And in National Book Award finalist Lyrae Van Clief-Stefanon’s untitled segment, Jamie (Amoreena Wade), Chelle (Cynthia Henderson), and Coretta (Sylvie Yntema) are in Upstate New York, hopeful for the future.
Jamie (Amoreena Wade) and Coretta (Sylvie Yntema) have an online confab in Lyrae Van Clief-Stefanon’s segment of Felt Sad, Posted a Frog . . . (screenshot by twi-ny/mdr)
The six sections explore a potpourri of pandemic problems, from toilet paper, essential services, cats, and misinformation to bats, race, alcohol, and salvation. Some of the vignettes are more successful than others, with the work of Simmons Jr., Yntema, and Steinhagen standing out. Noah Elman effectively handles the live video mixing and design. (Be prepared to see a lot of nostrils.)
Although I did indeed view the show straight through, uninterrupted, it was not easy. At more than two hours, it is too long; it just kept going and going, eventually making me angry, although I enjoyed it overall. But at least part of that reaction might have been more of my FOMO; throughout the play, the temptation to check my email, post something on Facebook, look for news updates about the virus, see what my family was up to, etc., was simply overwhelming. It’s not even about the quality of the production; I’ve been unable to sit through all of the National Theatre Live presentation of Frankenstein with Benedict Cumberbatch and Jonny Lee Miller, and it took me three days to finish Albert Serra’s extraordinary film Liberté. I was able to read a short story in the New Yorker by Haruki Murakami but am making ridiculously slow progress on his latest novel.
I feel like Jimmy Stewart in Alfred Hitchcock’s Rear Window, whose character, photographer L. B. Jefferies, is stuck in his New York City apartment, confined to a wheelchair as he recovers from a broken leg. The antsy Jeff hangs out by the window, using binoculars to peer into the rooms across the courtyard; they used to represent different television channels, each depicting a different genre, but now they mimic a Zoom meeting screen or the endless websites that offer alternative forms of entertainment these days. We’ve trained our brains to jump from window to window, whether browser or app, with no small amount of help from clever advertising tech fiends eager for precious seconds of our attention. Jeff eventually focuses on one specific apartment, where a murder might have taken place. Now I have to figure out a way that I can do the same, concentrate on one play, dance, concert, interview, art tour, etc., at a time and not wilt under the barrage. And yes, I did post a frog.
Who: Frances McDormand, John Turturro, Oscar Isaac, Jeffrey Wright, Frankie Faison, David Strathairn, Glenn Davis, Marjolaine Goldsmith, Jumaane Williams What: Live Zoom theatrical production by Theater of War Where: Eventbrite link sent with RSVP When: Thursday, May 7, free with RSVP, 7:00 Why: Theater of War Productions (TOWP) presents dramatic readings of plays and speeches by Sophocles, Tennessee Williams, Euripides, Conor McPherson, Aeschylus, Dr. Martin Luther King Jr., Eugene O’Neill, Frederick Douglass, and others, examining them through a contemporary sociocultural lens, focusing on such themes as addiction and substance abuse, gun violence, the prison system, natural disasters, consent, genocide, and caregiving. On May 7 at 7:00, the company, which was cofounded in 2009 by Bryan Doerries and Phyllis Kaufman, will turn its attention to the current pandemic with the Oedipus Project, a free online initiative that will feature an all-star roster of actors giving a live, dramatic reading of scenes from Sophocles’s fifth-century BCE classic, Oedipus the King. The play deals with such elements as arrogance, pride, power, guilt, and truth and was first performed during the Plague of Athens, an epidemic that killed about a third of the population. The impressive cast, who will be performing from wherever they are sheltering in place, consists of Frances McDormand, John Turturro, Oscar Isaac, Jeffrey Wright, Frankie Faison, David Strathairn, Glenn Davis, and Marjolaine Goldsmith. “There are people suffering out there, dying from the hateful plague, and this is what you choose to do with your time?” Jocasta asks in Doerries’s translation; Doerries also directs the show and will facilitate a live, interactive discussion about the impact of Covid-19 on families and communities, joined by New York City public advocate Jumaane Williams. TOWP is planning other productions to help those facing loneliness, trauma, loss, and mental and physical illness during this time of isolation.
Frick Chief Curator Xavier F. Salomon chose a Manhattan to drink while exploring Bellini’s St. Francis in the Desert from home (courtesy the Frick Collection)
Among the things that many of us are missing the most during the Covid-19 crisis are art and travel. They might not be essential businesses, but they’re key parts of a full and rewarding life. Both serve as respites from the everyday; they entertain and educate us, offering escape from our daily toil. “How Can We Think of Art at a Time Like This?” is the titular question of Barbara Pollack and Anne Verhallen’s ongoing online exhibition, which features new and recent work from major living artists addressing the pandemic and politics. The answer, of course, is how can we not?
Xavier F. Salomon has found his own unique method of thinking about art in the time of coronavirus, adding related travel as well. Salomon, who was born in Rome to an English mother and a Danish father, was raised in Italy and England, and received his BA, MA, and PhD from the Courtauld Institute of Art in London, is the Peter Jay Sharp Chief Curator at the Frick Collection. Every Wednesday and Friday, he takes over the Frick’s YouTube channel with deep dives into art history. On Wednesday’s “Travels with a Curator,” Salomon, who previously worked at the British Museum, the National Gallery and the Dulwich Picture Gallery in London, and the Met here in New York — quite a resume for a man only just in his forties — gives an illustrated lecture about art and architecture in specific cities; so far he has guided us through Castel Sant’Angelo, Rome, and Ca’ d’Oro, Venice.
Frick Chief Curator Xavier F. Salomon is becoming an internet star during pandemic (photo by Michael Bodycomb)
He is fast becoming an internet superstar for his Friday talks, “Cocktails with a Curator,” my preferred manner of ending the workweek. At 5:00, Salomon pairs a masterpiece from the Frick with a cocktail and spends between fifteen and twenty minutes discussing the Frick gem and the drink, placing them in context of the current pandemic. Seen in the lower-right-hand corner of the screen, the bald, bearded, handsome, and ever-charming Salomon has helped us look deeply into Rembrandt’s Polish Rider with a Szarlotka, Bellini’s St. Francis in the Desert with a Manhattan, and Van Dyck’s Sir John Suckling with a Pink Gin. (On May 1, curator Aimee Ng explored Constable’s White Horse with a gin and Dubonnet.)
On May 8, Salomon will visit with Joseph Mallord William Turner’s Harbor of Dieppe: Changement de Domicile while enjoying a Widow’s Kiss. (The recipes, which include alcohol-free versions, are posted on the YouTube page in advance.) The Frick is my personal favorite museum, a place I go to often to see familiar works that both relax and energize me — including Harbor of Dieppe, which I’ve marveled at on many occasions — so I’m finding these talks, which are prerecorded but stream live (and can be also watched later), absolutely essential in every way. Salomon recently took a break from his art history forays to discuss art and travel in the age of coronavirus.
twi-ny: Last year, before the pandemic, you started examining specific works from current Frick special exhibitions in a Facebook series called “Live from the Frick!” How did that evolve into “Cocktails with a Curator”?
xavier f. salomon: The Frick Collection has had a long tradition of online offerings (exhibition virtual tours, online live streaming of scholarly lectures, and Facebook “Lives,” among many examples). As soon as the lockdown began, we started to think, as a team, as to what we could offer to as varied an audience as possible. The idea of weekly appointments – with “Cocktails” on Fridays and “Travels” on Wednesdays – is designed to take our minds away from our current problems and to “meet” virtually. The idea was to match art with something we may miss from our previous life: things such as going out with friends for a drink, or traveling.
twi-ny: Do you consider yourself a cocktail aficionado? Are you trying new drinks, or are you choosing some of your favorites?
xaf: I do like cocktails very much. I am starting with a number of favorites, but as the series will continue, I am definitely planning to explore new options.
twi-ny: As a Frick regular, I feel that many of the paintings and sculptures in the museum are like old friends and members of the family that I thought I knew so well. I’ve stared at “St. Francis in the Desert” dozens of times, but as I watched your description on “Cocktails,” I felt as if I’d never really seen it. Because you are presenting this with a slightly adjusted context, referencing the pandemic, do you find yourself learning surprising things about works that you thought you knew so well?
xaf: The Frick is a museum of masterpieces. And I always believed that great works of art, first of all, can improve our lives but can also mean a number of different things at different times. One of the most common questions I have been asked in the last few years is: “Are works of art by Old Masters relevant?” The answer is: “YES!!!” And I hope to demonstrate this with this series. One thing that this virus is making apparent to everyone is how fragile human beings are. Artworks are the best that human beings have produced in the last few thousand years, and they can help us understand why and how we live. People a thousand years ago, five hundred years ago, a hundred years ago, were dealing with life as we do, with love, with friendship, with knowledge, with financial issues . . . and with epidemics and death. So I have been working on matching works at the Frick with broad issues we are thinking about today. And – not surprisingly – it is actually quite easy. And I am enjoying thinking about our works in this way.
twi-ny: I’m also appreciative of how fresh your analysis is. In the most recent Frick Collection magazine, you wrote about van Dyck’s “Sir John Suckling,” but your “Cocktails” talk about it explored the painting differently. I gather you would agree that “perspective is everything”?
xaf: Yes, I fully agree. And that is the importance of great works of art. They can be understood in a number of ways and can touch different chords in us. The same work of art meant different things to me when I was a teenager, or ten years ago. . . . We change as we go through life, and a truly great masterpiece can be for us a travel companion or a great friend. We change and they alongside us.
twi-ny: The camerawork is extraordinary, taking us deep inside the paintings. Is that footage already available, or might someone be taking new shots inside the museum?
xaf: The Frick has always had an in-house photographer, and our works have been very well photographed over the years by very talented people. All of the photographs of our works are from our archives. No new photography has been commissioned for these online programs. And many of the photos of locations I have taken myself over the years on my travels.
twi-ny: For the third “Cocktails” presentation, you cleverly changed where you were sitting when giving the talks. What part of the city are you sequestered in, and are you sheltering in place with any humans or animals?
xaf: I have been playing with different corners of my apartment to find an ideal location for the filming. It is a first for me, to film myself in my own apartment. I live in Washington Heights, in Manhattan, an area I like very much. I am, unfortunately, sheltering in place alone, as my partner (in the same situation) is across the Atlantic, in Europe. I would love to have a pet, especially during these times. But I cannot complain, because in my “hermitage” at least I have books.
Xavier F. Salomon brings the Frick into his home and ours in weekly online series (courtesy the Frick Collection)
twi-ny: Most curators exist in the background; the public might read essays by them in catalogs and wall text, or maybe see them if they go to an illustrated lecture at a museum. But you’re becoming a virtual sensation, with fans tuning in not just to hear about a masterpiece but to specifically see you and have a drink together. How does that feel?
xaf: I am not sure I would describe myself as a “virtual sensation.” But I also don’t believe that curators or art historians should live in the “background.” Art is for everyone, and if people want to know more about museums or works of art, curators need to be accessible. It is not about spending our lives in ivory towers and being buried in our libraries or our museums. As much as many of us (myself included) don’t necessarily dislike that idea, there is the fundamental fact that we need to put our knowledge and studies somewhere out there and have it available for the general public. I am not looking for fans, but I have to confess that it feels very rewarding to know that, with a very small contribution, I have somewhat enhanced people’s lives at a particularly difficult time.
twi-ny: You appear to love what you do, and you can be very funny, but on camera you never break character as a serious art historian. What does it take to make you burst out laughing?
xaf: I love, adore, what I do. I live for it. I could not imagine doing anything else with my life. I don’t know why, but I always feel awkward when laughing in public. But many things make me laugh out loud, and, it is usually female comedians. Women have such a wonderful sense of humor! But, maybe, you are right, I should be less serious on my online programs. . . .
twi-ny: What artworks might be coming up, or would you prefer to keep them a secret until closer to showtime? If you take requests, I have a few.
xaf: The answer is that I know a few works (Turner, Velázquez, Holbein, Bronzino) and places (the Monastery of the Temptation in Jericho, Santa Maria delle Carceri in Prato, the towns of Osuna in Spain and Valenciennes in France) that will come up, but I am still not sure about the exact timing and I do not have a full list. I keep thinking and choosing as I go along. And, yes, suggestions are well received!!! I was surprised to see that people have written to me with suggestions for specific cocktails (and I apologize for all those people who really expected me to offer a Bellini with a Bellini painting — come on, guys!!! — I need to be a bit more original than that . . .), but no one so far has suggested a work of art or a place. Please send me your ideas! [ed. note: How about Goya’s The Forge, Vermeer’s Officer and Laughing Girl, El Greco’s Purification of the Temple, or Constable’s Salisbury Cathedral from the Bishop’s Grounds?]
Who: Christopher Abbott, Glenn Davis, William Jackson Harper, Jessica Hecht, Marin Ireland, Raymond Lee, Alison Pill, Elizabeth Rodriguez, Thomas Sadoski, Amanda Seyfried, more What: New online theatrical works to benefit No Kid Hungry Where: Link supplied by the Homebound Project upon donation When: May 6-10, 20-24, June 3-7, $10 or more, 7:00 Why: With audiences, playwrights, actors, directors, teachers, students, and most everyone else sheltering in place with theaters and schools closed, playwright Catya McMullen and director Jenna Worsham have come up with a unique program to bring works to a play-starved populace while also raising money for children in need. The Homebound Project pairs playwrights and actors in works created specifically for this time, performed from wherever everyone is hunkering down during the pandemic. From May 6 to 10, May 20 to 24, and June 3 to 7, ten short plays by ten playwrights performed by ten actors will stream for a limited time. To get the key to the virtual doorway, you have to make a minimum donation of $10 for each section; all proceeds go to the national nonprofit No Kid Hungry, which, as part of Share Our Strength, seeks to solve poverty and hunger issues around the country, and especially right now amid a terrible crisis. Worsham said in a statement, “The Homebound Project grew from a desire to support frontline organizations by doing what we artists do best: creating and gathering, in newly imagined ways. Our mission is to provide sustenance: critical provisions for those in need, an opportunity for isolated artists to collaborate, and (we hope) a way for audiences to access the communal empathy that theater provokes.”
The first ten actor/playwright combinations have been announced, and the list is beyond impressive, dealing with the theme of “home”: Christopher Abbott (James White,The Rose Tattoo)/Lucy Thurber (The Insurgents, Transfers), Glenn Davis (Bengal Tiger at the Baghdad Zoo, Moscow Moscow Moscow Moscow Moscow Moscow)/Ren Dara Santiago (Siblings, Something in the Balete Tree), William Jackson Harper (An Octoroon, The Good Place)/Max Posner (Sisters on the Ground, Snore), Jessica Hecht (The Assembled Parties,Fiddler on the Roof)/Sarah Ruhl (In the Next Room, or the Vibrator Play; How to Transcend a Happy Marriage), Marin Ireland (On the Exhale,Ironbound)/Eliza Clark (The Metaphysics of Breakfast, Edgewise), Raymond Lee (Tokyo Fish Story,Vietgone)/Qui Nguyen (Living Dead in Denmark,Vietgone), Alison Pill (Three Tall Women,Blackbird)/C. A. Johnson (All the Natalie Portmans, Thirst), Elizabeth Rodriguez (Halfway Bitches Go Straight to Heaven,The Motherfucker with the Hat)/Rajiv Joseph (Bengal Tiger at the Baghdad Zoo,Describe the Night), Thomas Sadoski (Other Desert Cities,reasons to be pretty)/Martyna Majok (Cost of Living,Ironbound), and Amanda Seyfried (Big Love, Mamma Mia!)/Catya McMullen (Everything Is Probably Going to Be Okay, A**holes in Gas Stations). Each section will be available from 7:00 pm of the first day to 7:00 pm of the last day, after which the link will be taken down. The participants for round two, which will examine “sustenance,” are Uzo Aduba/Anne Washburn, Nicholas Braun/Will Arbery, Utkarsh Ambudkar/Marco Ramirez, Betty Gilpin/Lily Houghton, Kimberly Hébert Gregory/Loy A. Webb, Hari Nef/Ngozi Anyanwu, Mary-Louise Parker/Bryna Turner, Christopher Oscar Peña/Brittany K. Allen, Zachary Quinto/Adam Bock, Taylor Schilling/Sarah DeLappe, and Babak Tafti/David Zheng; among those expected for the third segments are actors André Holland, Joshua Leonard, Ashley Park, and Will Pullen and playwrights John Guare and Daniel Talbott, so it’s hard to go wrong, especially for this cause and with donations starting at a mere ten bucks. (Feel free to give more if you can.) Rachel Sabella, director of No Kid Hungry in New York, explained, “In New York City alone, kids in need are missing nearly 850,000 school meals every day while schools are closed because of the coronavirus. We have a plan to feed kids, but the need is great, and it’s going to take all of us — actors, cafeteria staff, elected officials, everyday people — to offer the time, talent, and resources to reach them.”
Who: Marlo Thomas, Phil Donahue, Rob Reiner What: Live online book launch and conversation celebrating fortieth wedding anniversary Where:92nd St. Y online When: Thursday, May 7, $20, 7:30 Why: To celebrate their fortieth anniversary, actress and social activist Marlo Thomas and longtime talk show host Phil Donahue wrote What Makes a Marriage Last: 40 Celebrated Couples Share with Us the Secret to a Happy Life (HarperCollins, May 2020, $29.99), in which they interview dozens of other happily married celebrity couples, including Kevin Bacon and Kyra Sedgwick, James Carville and Mary Matalin, Jamie Lee Curtis and Christopher Guest, Ted Danson and Mary Steenburgen, Michael J. Fox and Tracy Pollan, Melissa McCarthy and Ben Falcone, John McEnroe and Patty Smyth, Tony Shalhoub and Brooke Adams, Sting and Trudie Styler, Lily Tomlin and Jane Wagner, and Rob and Michele Reiner. On May 7 at 7:30, Rob Reiner will interview Thomas and Donahue, who got married on May 21, 1980, via the 92nd St. Y’s online portal. Virtual tickets are $20 and go to help the losses suffered by the 92nd St. Y because of the pandemic.
Who: Cynthia Nixon, Bobby Cannavale, Derek McLane, Edie Falco, Erica Schmidt, Donja R. Love, Scott Elliott What: Weekly discussions about the draw and power of theater Where:The New Group Facebook page When: Wednesdays at 4:00, May 6 – June 10, free with advance RSVP, followed by limited Zoom Q&A for $100 donation Why: Theater companies have been coming up with unique ways to stay in touch with their audiences now that all live, in-person staged productions have been postponed or canceled for the near future. The New Group is joining the online gatherings with “Why We Do It,” a weekly conversation series hosted by company founding artistic director Scott Elliott. Every Wednesday at 4:00, Elliott will speak live online with a member of the New Group family, beginning May 6 with Cynthia Nixon, who has directed Steve and Rasheeda Speaking for the troupe. The impressive lineup continues May 13 with Bobby Cannavale (Hurlybury), May 20 with set designer extraordinaire and board chairman Derek McLane, May 27 with Edie Falco (The True), June 3 with playwright and director Erica Schmidt (Cyrano,All the Fine Boys), and June 10 with playwright Donja R. Love (one in two). All conversations are free, but advance registration is necessary. Each talk will be followed by a smaller “Drinks with” Zoom Q&A with the main guest, limited to twenty participants who make a $100 tax-deductible donation and will get a recipe for an original drink from mixologist Sammi Katz.
