twi-ny recommended events

TWI-NY TALK — RICK CRANDALL & JOE COSGRIFF: THE DOG WHO TOOK ME UP A MOUNTAIN

(photo courtesy Rick Crandall)

Rick Crandall lifts Emme at a 14er summit (photo courtesy Rick Crandall)

IN THE AUTHOR’S CORNER
The AKC Museum of the Dog
101 Park Ave. between Fortieth & Forty-First Sts.
Friday, November 8, free with RSVP, 2:00
museumofthedog.org
rickcrandallbooks.com

In 2001, Rick Crandall was looking for something different. The New York-born Michigan grad had experienced tremendous success in early tech, cofounding the computer timeshare business Comshare. “But after our talented team defied long odds to keep the company relevant, innovative, and (mostly) profitable for over twenty-five years, I found myself in my mid fifties and burned out mentally, physically, and spiritually,” he explains in The Dog Who Took Me Up a Mountain: How Emme the Australian Terrier Changed My Life When I Needed It Most (HCI, September 2019, $15.95), which he cowrote with Joseph Cosgriff. He went through “the emotional lows and anxieties that were the fallout of a sad and difficult divorce” but found love with Pamela Levy after moving to Colorado. They were married and the next year added to their family on April 5, 2001, by getting a tiny Australian terrier they named Emme. “There were pastrami sandwiches at Katz’s Deli that were larger and weighed more than this puppy,” he writes.

Crandall, once named one of the Five Leading Pioneers of the Computer Industry, started going on hikes with the dog, and together they were soon climbing Colorado’s fourteeners, peaks of at least fourteen thousand feet in altitude. He blogged about their adventures and was then teamed with Hasbrouck Heights native, raconteur, and sports and jazz aficionado Cosgriff, a former star athlete dedicated to the New York Rangers and Boston Red Sox and who wrote the song “I Like Jersey Best” for his close pal John Pizzarelli. Cosgriff, a friend of mine, had previously collaborated with Pizzarelli on the latter’s memoir World on a String and with publishing scion Richard Press on Rebel without a Suit: The Not-So-Casual Road to Casual Friday. In his book, Crandall, now seventy-six, tells his compelling, irresistible story in such chapters as “Pint-Sized Pup, Giant Personality”; “Take Me Higher”; and “Everybody’s Got a Mountain to Climb.” On November 8, he and Cosgriff will be at the American Kennel Club Museum of the Dog on Park Ave. to talk more about The Dog Who Took Me Up a Mountain in an Author’s Corner event, followed the next afternoon by a talk and signing at Bookends Bookstore in Ridgewood, New Jersey. Below is an edited, combined transcript of separate interviews I conducted with them.

twi-ny: Rick, what was your single favorite moment with Emme? When did you realize she was special?

rick crandall: It was when I first realized how strong was her will to push forward and upward on a hike or climb regardless of the challenges. She had a drive to get to the highest place wherever we ventured. On a hike near Aspen, we were on a trail that had high grass on both sides; we saw two massive bulls headbutting right across our trail. I was debating whether to turn around or fight through sidetracking in the bush.

Then I noticed Emme continuing a steady march right towards the bulls. She let out a single low-pitched “rrrruff,” and both bulls turned their head to see what the noise was. Emme stared them down as she continued straight towards them without a single hesitation. Astonishingly, the bulls each backed up about ten feet like two semi-trucks in reverse. Emme proceeded to march right through that temporary truce as if saying, “Make way, I’m coming through, and I’m bringing my human with me.”

I saw no option but to follow her, nervously. She got through and so did I right behind her. Soon after we passed, the bulls went right back to headbutting across the path — I have the photo. It was then I saw how unstoppable was her spirit, which served us so well afterwards going for the high peaks. She was undeterred by high wind, hail, boulders, or slippery rocks and it motivated me to adopt the same will, which then transformed into a passion.

twi-ny: What do you think it was about her that made her such an extraordinary outdoor companion?

rc: Two things: First is that she never backed down, never quit; second is that she watched out for me. For example, the mountains get increasingly rocky as you go higher, and after the freeze/thaw of winter, many rockslides often make some rocks unstable underfoot. She was always ahead of me, and when she got on a rock that teetered she would stop and teeter while turning her head to me as if to say, “Dad, this one moves, don’t come here.”

Also, when climbing I was always with friends who were younger and faster than me. When they would get far enough above me to be out of sight, she would climb up quickly, spot them, and then come back down just far enough so I could see her like a sentinel and I would know where they went. She was a connector and she knew it.

twi-ny: As a child, you had Jiggs, a Boston terrier, which was a great experience, and much later you had Simba, Pamela’s cat, which didn’t go so well, and more recently Tucker, who ended up getting along famously with Emme. Have any other animals prior to or after Emme played an important part in your life?

rc: Emme just passed a few years ago at age fifteen. Pamela and I have been looking for the next Emme. Pamela has been breeding some of Emme’s descendants and we currently have a young Aussie similarly named Ella, who is behaving like she may be my next climbing buddy. She is irrepressible with an alpha personality, just like Emme. Even fresh out of the womb, while the smallest in the litter, she climbed on top of the other pups and right out of the whelping box. Now we see her seeking the highest point around, just like Emme. She is fearless and adventurous. That would be so cool, because while I have finished climbing all fifty-eight fourteeners in the Rockies, I have a lot of great thirteeners to enjoy and would love to have a dog buddy with me.

twi-ny: Joe, have you had any pets that had an impact on your life? Do you consider yourself a dog or cat person?

joseph cosgriff: Working backwards, I’m definitely a dog person, especially after bonding with Emme through Rick’s stories. Also from reading the works of Alexandra Horowitz, most notably Being a Dog. I missed the four years of our family’s dog experiment while in college and away playing baseball, although I seem to recall that the dog (or a hungry sibling) ate one of my baseball gloves.

(photo courtesy Rick Crandall)

Rick Crandall and Joseph Cosgriff talk about The Dog Who Took Me Up a Mountain: How Emme the Australian Terrier Changed My Life When I Needed It Most at a special event (photo courtesy Rick Crandall)

twi-ny: Rick, in addition to Ella, what’s your pet situation now?

rc: Currently we have six Aussies, some of which are there to carry on Emme’s line with more litters, and one, Ralfie, is a record-setting show dog in the breed. Pamela has been having about one litter every eighteen to twenty-four months. She loves everything dog and the Australian terrier meets all her checkboxes.

twi-ny: As a native New Yorker, what do you miss most about the city?

rc: NYC has the most intense and densely located feast of stimuli for anyone searching for a new passion in life. Colorado has mountains that became such an important real part of my life, but the mountains in my story in the book also serve as a metaphor for any passion that can raise the quality of life for any New Yorker, especially with so many choices.

twi-ny: What do you miss the least?

rc: Everything worth climbing has an elevator!

twi-ny: Joe, have you had any experience climbing mountains or going on long hikes?

jc: Rick has promised to take me up into the mountains, so I’m hoping to mix some hiking and jazz in Aspen this summer.

twi-ny: Have you climbed any metaphorical mountains in your life?

jc: Sure, we all have mountains to climb every day. The lesson of Rick and Emme is that allowing one’s senses to enjoy every aspect of a hike is as important as reaching the summit.

twi-ny: Have you ever been to Colorado and, if so, how did you like it?

jc: I have been to Colorado for business a few times, which included “team building” via white water rafting and a few novice hikes with office colleagues. I look forward to a summer trip that lets me explore firsthand several of the climbs we wrote about.

twi-ny: Rick, what was the best part of collaborating with Joe?

rc: The best part is that we quickly developed a relationship due to the intense interaction that only longtime friends get to know about each other. The older I get, the more I cherish a friendship like that.

twi-ny: What was the most challenging part?

rc: The most challenging part wasn’t very challenging. Joe is passionate and highly knowledgeable about MLB — baseball — and he is prone to introduce baseball quotes here and there. He would throw some in and I would go, Huh? But we had no trouble getting to a balance closer to my world — i.e., more mountain and dog quotes. 😊

twi-ny: Joe, what was the best part of collaborating with Rick?

jc: The best part was that Rick came to the book armed with a central, overarching theme — the importance of finding a passion for the final third of one’s life. But those words would have fallen flat like bromides without the stories that put the reader on the mountain trails with Rick and Emme.

Cover Final - Soft Cover
twi-ny: What was the most challenging?

jc: As you’d expect from someone who has been a business founder, a management consultant, and a chairman of the board of several corporations, Rick has strong opinions. No surprises there.

twi-ny: You’ve also collaborated with John Pizzarelli and Richard Press. How did those collaborations compare with the one with Rick?

jc: Those collaborations were different in that I had known both men for a while, and the published book was at least our third or fourth project together. In the case of Pizzarelli, we had known one another for over thirty years and had already cowritten songs and worked out material for Red Sox luncheons both in New York and in Boston.

The highest compliment I would hear about the Pizzarelli and Press books was “Why did they need you?” I know both voices well and tried to tell those stories using each one’s style. Not being as familiar with Rick’s voice, I worked extra hard to describe the world as he does and not as, say, Jean Shepherd would have.

twi-ny: Rick, you climbed all fifty-eight fourteeners in the Rockies with Emme, beginning when you were sixty-four, and thirteeners might be in your immediate future with Ella. Do you have any other grand adventures coming up, with or without an animal companion?

rc: Yes, this is an often-asked question, especially by people trying to figure out how to discover what their next passion should be and from where that idea might come. Mine came from the unlikely source of following my irrepressible dog who had already discovered her passion.

Now, even though she is gone from this earth, the impact on my life continues as I work to get the inspirational message underlying this book in front of as many eyeballs and hearts as I can.

Increasingly I am hearing that my talks at author events, like the one coming up at the Museum of the Dog on November 8, is inspiring to others. That is as much a gift to me and I am all over it, treating this book as my next adventure. I do still climb and I will continue until I can’t, but I don’t have a goal to reach a number; rather, I want to smell the different roses all the way up to each summit.

twi-ny: Joe, next up for you are a music documentary and a children’s book. Anything you can talk about yet?

jc: Yes, I am working on a music documentary that will likely air on public television in early 2021. The director is Jim Burns, who also directed the terrific PBS pledge-week doc a few years ago about the great songwriter and WWII test pilot Jimmy Van Heusen [Swingin’ with Frank & Bing]. My next book will be about the 1904 baseball season and the first pennant race ever between the New York and Boston teams that became the Yankees and the Red Sox. And the children’s book Pizzarelli and I are planning is built around a song near and dear to our hearts — “I Like Jersey Best.” It will be a trip to the Jersey Shore and other Garden State landmarks as seen through the wondering eyes of two eight-year-olds.

twi-ny: Rick, how did the Museum of the Dog event come about?

rc: They schedule a monthly series called the Author’s Corner. When Joe heard that after thirty-two years the AKC had moved the museum back to New York City, he brought a copy of the book over. They called the next day, excited to have us. I am also doing an article for the AKC community, which is impressively large.

twi-ny: How would you say your book is different from the many other dog-related books out there?

rc: On the surface it is an easy flowing mix of humor, adventure, and uncanny stories about an improbably older guy following his small dog up the highest mountains in the continental US in pursuit of their new passion in life. Underlying is the joy and inspiration that takes the reader away from all the negatives bombarding us daily and gives us something important to think about.

twi-ny: Speaking of being bombarded, while you’re in New York, what else do you plan to do for fun?

rc: Hunt around for a jazz club; too many are shutting down, but still some of the best jazz in the country is right here in the city.

LITTLE STEVEN & THE DISCIPLES OF SOUL / PETER WOLF & THE MIDNIGHT TRAVELERS

Little Steven & the Disciples of Soul will play the Beacon on November 6 (photo by twi-ny/mdr)

Little Steven & the Disciples of Soul will play the Beacon on November 6 (photo by twi-ny/mdr)

Beacon Theatre
2124 Broadway between West 74th & 75th Sts.
Wednesday, November 6, $45 – $125, 7:30
www.msg.comwww.littlesteven.com

“Somebody open up the door / Well yeah, I’m back to rock some more / If you’re a little on the shy side / Don’t worry, girl, I’ve got the cure,” Stevie Van Zandt sings on “Communion,” the opening song on his first album of original material in twenty years, Summer of Sorcery. Made with the Disciples of Soul, the record is another electrifying collection of heavy groovin’ rock, pop, R&B, Latin, funk, and soul. Little Steven and the Disciples of Soul were in the midst of a North American jaunt supporting the disc when he had to cut the tour abruptly short on doctor’s orders. “I thought I could shake this sinusitis, but it doesn’t seem to be going away,” he announced in a statement. “I’ve never canceled shows before. I feel terrible about this, but my doctors are telling me there’s just no way to continue right now. I really hope we can make up these dates someday somehow.” Fans in New York, where Stevie lives, and Massachusetts, Bronx-born opener Peter Wolf’s longtime home, have caught a break, however, as Little Steven preserved two dates, November 2 at the Chevalier Theatre in Medford and November 6 at the Beacon; the latter is being recorded for DVD release.

Summer of Sorcery has a cinematic scope with a determinedly summer feel. “Please let this be the first summer of the rest of my life,” he pleads on “Love Again.” On the well-titled “Soul Power Twist,” he sings, “It’s an endless summer night / Liberation’s in the air / I wanna say I love you to everybody everywhere / I see the whole gang they’re all here tonight / They’re making a scene because the time is right.” The girl-group-influenced “A World of Our Own” sounds like it takes place on a street corner on a steamy August day. And the propulsive “Vortex” could be the theme song for a gritty summer action thriller. Van Zandt might be turning sixty-nine later this month, but he’s inextricable from the youthful energy of rock and roll. “Hey, old man, get out of my way / I got no interest in anything you gotta say,” he declares on “Superfly Terraplane.” Little Steven’s live performances features songs from most of his solo albums, from 1982’s Men without Women and 1987’s Freedom — No Compromise to 1989’s Revolution and 2017’s comeback, Soulfire, as well as unexpected covers, including one from his boss of his main gig. Wolf, who has made numerous guest appearances with the E Street Band over the decades, opens things up with the Midnight Travelers, whose latest album is 2016’s A Cure for Loneliness. November 6 should indeed provide a cure with summer long over and the darkness of fall settling in.

LITTLE SHOP OF HORRORS

(photo © Emilio Madrid-Kuser)

Seymour Krelborn (Jonathan Groff) suddenly discovers the bloody secret of Audrey Two in Little Shop of Horrors (photo © Emilio Madrid-Kuser)

Westside Theatre
407 West 43rd St. between Ninth & Tenth Aves.
Tuesday – Sunday through January 19, $69-$179
littleshopnyc.com

Little Shop of Horrors is back where it belongs, off Broadway, in Michael Mayer’s exhilarating adaptation continuing at the Westside Theatre through January 19. The 1982 satire of “science fiction, ‘B’ movies, musical comedy itself, and even the Faust legend,” as noted by book writer, lyricist, and original director Howard Ashman, debuted in 1982 at the WPA Theatre and soon moved to the Orpheum in the East Village, where it ran for more than five years. A smash hit that became one of the most-produced shows around the country, it was based on Roger Corman’s 1960 black-and-white comedy about a milquetoast floral assistant on Skid Row who is raising a rather odd plant. It was turned into a successful film by Frank Oz in 1986 and made it to Broadway — something Ashman, who died of AIDS complications in 1991 at the age of forty, was against — in 2003. But Mayer returns it to its roots (I know that phrase is part of the ad campaign, but it’s a darn good one), playing to sold-out houses in the Westside Theatre’s 270-seat upstairs space even though the star-studded musical easily could have done big business on the Great White Way.

Jonathan Groff is sweetly endearing as Seymour Krelborn, a schlemiel working in a failing flower shop on Skid Row owned by the gruff Mr. Mushnik (Tom Alan Robbins), who has raised the orphan Seymour since he was a child, although not with much love. Seymour pines for his coworker, Audrey (Tammy Blanchard), a squeaky redheaded bombshell who has an abusive boyfriend, black-leather-jacketed sadistic dentist Orin Scrivello (Christian Borle). The trio of Ronnette (Ari Groover), Crystal (Salome Smith), and Chiffon (Joy Woods) — yes, they are named for three popular 1960s girl groups, and they sing in that style — serve as a kind of Greek chorus, participating in some of the action as they hang out on a pair of grimy stoops. Mushnik is about to shut down the shop when a strange, unidentifiable plant that Seymour is nursing, which he calls Audrey Two (or Twoey), quickly becomes a local sensation; the store starts doing extremely well, and Seymour and Audrey’s drab existence is reinvigorated. The only problem is that Audrey Two, which is growing at an absurd rate, needs special food to survive: human blood. “Feed me,” Audrey Two, voiced by Kingsley Leggs, demands, not sounding at all like a destitute denizen of Skid Row.

(photo © Emilio Madrid-Kuser)

Orin Scrivello, DDS (Christian Borle) thinks he has Seymour (Jonathan Groff) just where he wants him in Michael Mayer adaptation (photo © Emilio Madrid-Kuser)

A riotous take on movies about monsters, aliens, and serial killers in addition to romantic comedies, Little Shop of Horrors is also a trenchant look at class and capitalism in post-depression America. The play is set on Skid Row, where bums sprawl out next to garbage cans and kids never finish school. When Mushnik asks the three girls how they intend to better themselves, they sing about their lack of hope: “You go downtown / Where the folks are broke / You go downtown / Where your life’s a joke / You go downtown / When you buy your token, you go — / Home to Skid Row . . . / Where the cabs don’t stop . . . / Where the food is slop . . . / Where the hop-heads flop in the snow!” It’s a far cry from the downtown lovingly portrayed by Petula Clark in 1965 (“The lights are much brighter there / You can forget all your troubles, forget all your cares . . . / Downtown, everything’s waiting for you.”)

Audrey desperately wants a traditional suburban life where she’s not poor and beaten down, physically and psychologically. “A matchbox of our own / A fence of real chain link / A grill out on the patio / Disposal in the sink,” she sings. “I’m his December bride / He’s father, he knows best / Our kids play Howdy Doody / As the sun sets in the West / A picture out of Better Homes / and Gardens magazine / Far from Skid Row / I dream we’ll go / Somewhere that’s . . . / Green.” It’s no coincidence that Audrey Two is green, offering them all a way out, although not the one they pray for.

(photo © Emilio Madrid-Kuser)

Seymour (Jonathan Groff) pines for Audrey (Tammy Blanchard) in Little Shop of Horrors (photo © Emilio Madrid-Kuser)

Two-time Tony nominee and Obie winner Groff (Spring Awakening, Hamilton) and Emmy winner and two-time Tony nominee Blanchard (Life with Judy Garland: Me and My Shadows, Gypsy) are adorable in roles originated onstage by Lee Wilkoff and Ellen Greene and onscreen by Rick Moranis and Greene. (The always terrific Gideon Glick will step in as Seymour from November 5 to 17.) It might not appear that Seymour and Audrey belong together at first, but then comes the beloved “Suddenly Seymour” and their love blossoms. Two-time Tony winner Borle (Peter and the Starcatcher, Something Rotten!) plays Orin and a bunch of other smaller roles with ketchup, mustard, and relish, devouring them with a sly wit, including several in just a few minutes, featuring hysterical, super-fast costume changes (the duds are by Tom Broecker) as Seymour and Audrey Two go viral the old-fashioned way, eons before social media and the 24/7 news cycle.

Tony winner Mayer (Hedwig and the Angry Inch, Spring Awakening) maintains a sweet intimacy, even as Audrey Two threatens to overtake Julian Crouch’s period set and the small theater itself. Ellenore Scott adds fun choreography harking back to 1960s pop; the puppet design is by Nicholas Mahon based on Martin P. Robinson’s original. The score, performed by an offstage four-piece band led by conductor and keyboardist Will Van Dyke, is chock full of nuggets, from the impossibly catchy title song and previously mentioned tunes to “Dentist” and “Da-Doo,” many of which will have you singing and dancing down the street afterward, which doesn’t happen often nowadays. “There will be a temptation to play it for camp and low-comedy,” Ashman, who also collaborated with Menken on Kurt Vonnegut’s God Bless You, Mr. Rosewater and the Disney animated films The Little Mermaid and Beauty and the Beast, explains in his author’s note in the script, adding, “When Little Shop of Horrors is at its most honest, it is also at its funniest and most enjoyable.” It’s hard to get rid of all the camp, but this Shop is nothing if not honest, funny, and most enjoyable.

COMPOSING FOR THE SUN: A CONVERSATION WITH PHILIP GLASS

(photo © Richard Hubert Smith / English National Opera)

Philip Glass will be at Japan Society on November 6 to talk about Akhnaten (photo © Richard Hubert Smith / English National Opera)

Who: Philip Glass, Tom Hare, Anthony Roth Costanzo
What: Conversation, performance, reception
Where: Japan Society, 333 East 47th St. at First Ave., 212-715-1258
When: Wednesday, November 6, $28, 6:30
Why: On November 8, the Met is premiering a new production of Philip Glass’s Akhnaten, directed by Phelim McDermott, conducted by Karen Kamensek, and featuring countertenor Anthony Roth Costanzo as the monotheistic title pharaoh and mezzo-soprano J’Nai Bridges as Nefertiti. On November 6, Japan Society is hosting “Composing for the Sun: A Conversation with Philip Glass,” in which the eighty-two-year-old Glass, whose other operas include Einstein on the Beach, In the Penal Colony, Satyagraha, and The Civil Wars: A Tree Is Best Measured When It Is Down, will sit down with Princeton professor Tom Hare to talk about the opera; as a bonus, Costanzo will perform an excerpt from the work, and there will be a post-event reception with the artists. Tickets are sold out, but a waitlist will start one hour before the start time. The presentation is part of Japan Society’s Emperor Series, celebrating Emperor Naruhito’s ascension to the Chrysanthemum Throne in May.

BAM NEXT WAVE: HAMNET / HE DID WHAT?

(photo by Ed Lefkowicz)

Dead Centre makes its BAM debut with Hamnet (photo by Ed Lefkowicz)

HAMNET
BAM Fisher, Fishman Space
321 Ashland Pl.
Through November 3, $25
718-636-4100
www.bam.org/hamnet
www.deadcentre.org

What is a son without a father? What is a father without a son? Those questions are at the heart of Dead Centre’s Hamnet, making its New York premiere this week at BAM. The sixty-minute multimedia show is part of new BAM artistic director David Binder’s inaugural Next Wave Festival consisting exclusively of BAM debuts, and this one is highlighted by a dynamite performance by Aran Murphy as the title character, in his professional acting debut. Murphy is a contemporary Hamnet, William Shakespeare’s only son, who died tragically in 1596 at the age of eleven. The boy is dressed in modern clothes, carries around a backpack, and regularly asks Google for information; it’s as if he’s been searching for his father, who abandoned him and his twin sister, Judith, and their mother, Anne Hathaway, in order to write his plays, for more than four hundred years. “To be, or not to be,” he declares several times, hoping that maybe his dad’s writings will help him find him.

Written and directed by Dead Centre founders Bush Moukarzel and Ben Kidd, Hamnet features a large screen at the back of the stage, where the audience is live-streamed through most of the show. Jose Miguel Jimenez’s innovative video design and Liv O’Donoghue’s choreography form a kind of magic as Hamnet roams Andrew Clancy’s set, sometimes disappearing onscreen even though he is right in front of us, or vice versa, and growing even more complex and eerie when the ghost of his father (Moukarzel) appears. The narrative at times becomes murky and confusing, but the technical wizardry and Murphy’s astounding portrayal overshadow its shortcomings. “Who would fardels bear, / To grunt and sweat under a weary life, / But that the dread of something after death, / The undiscovere’d country, from whose bourn / No traveller returns, puzzles the will, / And makes us rather bear those ills we have / Than fly to others that we know not of?” Hamlet asks. Hamnet is a hypnotic puzzle about death, grief, and personal identity, albeit one that is not easily unravele’d.

(photo by twi-ny/mdr)

BAM presents free animated street opera on building facade (photo by twi-ny/mdr)

HE DID WHAT?
Peter Jay Sharp Building
30 Lafayette Ave. at St. Felix St.
Through November 2, free, 7:00 – 10:00
718-636-4100
www.bam.org
www.dumbworld.co.uk

After seeing Hamnet, make your way around the corner to BAM’s main home, the Peter Jay Sharp Building, which houses the Howard Gilman Opera House, to catch the world premiere of Dumbworld and Irish National Opera’s He Did What? The ten-minute animated film, conceived and created by Brian Irvine and John McIlduff with video by Killan Waters and Conan McIvor, is projected onto the facade of the building at the corner of Lafayette Ave. and St. Felix St. The audience is given headsets through which they hear the hysterical story of three alter kockers with walkers parading slowly down the street, a man followed by two women. The two women are gossiping about him, as his wife recently caught him in bed with another woman and is deciding what to do about it. The characters are sung by Doreen Curran, Sylvia O’Brien, and Dan Reardon, with music composed by Irvine and played by the RTE Concert Orchestra, conducted by Fergus Shiel. The piece was written and directed by McIlduff; the riotous words also appear on the wall in goofy, graffiti-like type, complementing KAWS’s BAM mural and David Byrne’s bike rack across the street. While Hamnet will have you wondering, “How did they do that?,” the free presentation of He Did What?, running 7:00 to 10:00 nightly through November 2, will have you saying again and again, “He did what?” as well as “Oh no she didn’t. Oh yes she did.”

BELLA BELLA / A WOMAN OF THE WORLD

(photo by Carol Rosegg)

Kathleen Chalfant is radiant as Mabel Loomis Todd in A Woman of the World (photo by Carol Rosegg)

A WOMAN OF THE WORLD
59E59 Theaters
59 East 59th St. between Park & Madison Aves.
Tuesday – Sunday through November 17, $25-$35
212-279-4200
www.59e59.org

Currently two one-person shows about real women are running off Broadway, both with a feminist bent, both starring New York theater legends. Yet they could not be more different, one far superior to the other. At 59E59, five-time Obie winner Kathleen Chalfant is beautifully portraying Mabel Loomis Todd (1856–1932) in the Acting Company’s world premiere of Pulitzer Prize finalist Rebecca Gilman’s utterly delightful A Woman of the World. It’s 1931, and Todd is giving a lecture, “The Real Emily Dickinson,” at the Point Breeze Inn on Maine’s Hog Island. In the 1890s, Todd edited several collections of Dickinson’s poetry, published after the reclusive New England poet’s death in 1886 at the age of fifty-five, and Todd built a lucrative and unusual career around her association with Dickinson. Todd’s talk is supposed to be about Dickinson, but it ends up instead delving into Todd herself as she shares intimate stories about her own life, including her relationship with her husband, astronomer David Todd; her close friendship with Emily and her brother Austin; and her affection for Hog Island, much of which she owns.

(photo by Carol Rosegg)

Mabel Loomis Todd (Kathleen Chalfant) details her relationship with Emily Dickinson and her family in A Woman of the World (photo by Carol Rosegg)

“If you haven’t already, do step outside tonight and look at the sky. It’s one of those clear nights on Hog Island when the stars are so close you feel like you could reach out and touch Polaris,” she says wistfully. “And while you’re out there, listen closely and you’ll hear — well, besides the wind in the trees — and the waves on the rocks — which together comprise the most peaceful sound I know. . .” Margaret Montagna’s sound design includes chirping birds that add to the allure. Todd continually turns to her unseen daughter, Mrs. Millicent Bingham, who is signaling her from the back, particularly as her mother gets distracted and goes off topic, letting her personal biases and vengeful character show through, as well as her extreme self-aggrandizement. “I confess to you, it’s been something of a burden to me over the years that men have always found me impossible to resist. And it’s not because of anything I actively do to attract them,” she boasts. “It’s because the average man is rarely exposed to someone of my natural talents, and singular charm. When I was young, I was renowned for my beauty. But more than that, I was an accomplished artist.” There’s seemingly nothing Todd couldn’t do, and she wants the audience to know about it all.

But soon after she notes that “like all families, the Dickinsons had their secrets,” it’s the Todd family secrets that come pouring out, one after another, offering myriad surprises and more than a few shocks. Chalfant (Wit, Talking Heads) fully embodies the elegant and graceful Todd, wearing an ankle-length off-white dress with a long necklace and short hair like a second skin. (The costume is by Candice Donnelly.) She is captivating and beguiling as she slowly glides around Cate McCrea’s tiny yet cozy set, featuring a wooden bench, a pair of carpets, and two stacks of books on the floor, with framed pictures of plants on the wall and a window revealing clouds and sky. Gilman (Soups, Stews, and Casseroles: 1976; The Glory of Living) and director Valentina Fratti (Williston, R.U.R.) turn the 2019 audience at 59E59 into the 1931 crowd in the parlor at the Point Breeze Inn as we hang on Todd’s every word and movement, enraptured by the house of cards she has so carefully constructed. Todd was clearly ahead of her time, in more ways than one.

(photo by Jeremy Daniel)

Harvey Fierstein plays firebrand Bella Abzug in Bella Bella (photo by Jeremy Daniel)

BELLA BELLA
Manhattan Theatre Club
MTC at New York City Center
130 West 56th St. between Sixth & Seventh Aves.
Tuesday – Sunday through December 1, $99-$139
212-581-1212
www.manhattantheatreclub.com
bellabellaplay.com

Four-time Tony winner Harvey Fierstein pays tribute to another woman ahead of her time, Bella Savitsky Abzug (1920-98), in Bella Bella, an MTC production making its world premiere at New York City Center. Fierstein wrote the play, based on Battling Bella’s own words, and stars as the Bronx-born firebrand, an antiwar social activist, feminist, and lawyer who spent three terms as a US Congresswoman. It’s September 15, 1976, and Abzug is cooped up in the cluttered bathroom of a room at the Summit Hotel on West Fifty-Seventh St. while awaiting the returns in her Senate primary race against Daniel Patrick Moynihan. Her husband, Martin; daughters, Eve and Liz; sister, Helene; press secretary, Harry Holzer; and famous friends Shirley, Lily, and Gloria are all gathered outside the bathroom, cheering on the outspoken Abzug, who spends the time regaling the audience with anecdotes from her personal and professional life, focusing on how she has never backed away from a challenge.

“When I started this whole senatorial campaign,” she explains, “a pollster handed me a survey and was surprised when I threw it back in his face. ‘Would you vote for a woman if she was qualified?’ Now why the hell does a woman have to be qualified when a man only has to be a man?” Further regarding woman politicians, she declares, “We are not all good any more than all men are bad. But to my grave I will defend the right of a woman to be an unqualified asshole and still become president just like a man.”

(photo by Jeremy Daniel)

Harvey Fierstein wrote and stars in Bella Bella (photo by Jeremy Daniel)

The play is stuffed with such quotes, in addition to Yiddish phrases, and Fierstein (Torch Song Trilogy, Casa Valentina often mugs to the audience for extra laughs. It’s more like a series of gags than a compelling narrative. Fierstein first appears onstage silhouetted in the shower entrance, holding one of Abzug’s trademark large hats. The hat “kinda became my thing,” she later notes. “And the press, the only thing they wrote about was, ‘The hat. The hat. The hat.’ I finally said, ‘Anyone want to know what’s under the hat?’” But Fierstein puts away the hat after the beginning and chooses not to impersonate Abzug or her style; instead, he speaks like himself, and he wears a black shirt and pants, standing barefoot on the stage. (The costume is by Rita Ryack.) Thus, we’re all too well aware that we are watching Harvey Fierstein as Bella Abzug, a stark contrast to Kathleen Chalfant’s expert personification of Mabel Loomis Todd. Director Kimberly Senior (Disgraced, The Niceties) seems limited by John Lee Beatty’s busy set, which includes a stellar rendering of the facade of the Summit Hotel but nothing is done with it aside from a very brief, very tiny shadow of a person walking down the hall. Abzug was a central figure of life in New York City in the 1970s, a passionate leader and fighter, but Fierstein never grabs hold of the era or the woman, and neither do Caite Hevener’s period projections. We never get to know any more about what’s under the hat than we did when we came in, which is a shame, because there was no one else quite like Bella.

FIRST SATURDAYS: CROSSING ASIAN AMERICA

Xu Bing, Square Word Calligraphy: Crossing Brooklyn Ferry, Walt Whitman, ink on paper, 2018

Xu Bing, Square Word Calligraphy: Crossing Brooklyn Ferry, Walt Whitman, ink on paper, 2018 (photo courtesy of the artist)

Brooklyn Museum
200 Eastern Parkway at Washington St.
Saturday, November 2, free (some events require advance tickets), 5:00 – 11:00
212-864-5400
www.brooklynmuseum.org

The Brooklyn Museum parties with Asian pride in the November edition of its free First Saturday program. There will be live performances by the Brooklyn Symphony Orchestra (playing works by Mastora Goya and Chen Yihan, featuring such instruments as the koto, erhu, guzheng, and pipa), Hong Kong-born, Brooklyn raised singer-songwriter Reonda, the Metropolitan Opera (previewing Philip Glass’s Akhnaten with countertenor Anthony Roth Costanzo, the Brooklyn Youth Chorus, Gandini Juggling, and the Philip Glass Institute at the New School’s College of Performing Arts), Collective BUBBLE_T (with DJ sets by Tito Vida and Stevie Huynh, Clara Lu performing “The Butterfly Lovers” on guzheng, and Walang Hiya NYC), Miho Hatori’s New Optimism, and comics Fumi Abe, Karen Chee, Saurin Choksi, Aidan Park, and Irene Tu; a screening of Mountains That Take Wing (C. A. Griffith & H. L. T. Quan, 2009), followed by a talk with community organizer Akemi Kochiyama, granddaughter of one of the film’s subjects; poetry readings by Diannely Antigua, Mark Doty, and Jessica Greenbaum, hosted by Jason Koo, celebrating Walt Whitman, the inspiration behind the exhibition “One: Xu Bing”; teen pop-up talks in the Arts of Japan galleries; a curator tour of the Arts of China galleries and “One: Xu Bing” with Susan L. Beningson; a hands-on art workshop in which participants can make works on paper with brushpens inspired by the calligraphy in Arts of Asia galleries; and a community talk with the W.O.W. Project about the future of Chinatown. In addition, the galleries will be open late so you can check out “Garry Winogrand: Color,” “Nobody Promised You Tomorrow: Art 50 Years After Stonewall,” “JR: Chronicles,” “Pierre Cardin: Future Fashion,” “Infinite Blue,” and more.