twi-ny recommended events

WILL RAWLS, UNCLE REBUS

(photo by Maggie Heath)

Will Rawls, I make me [sic], TBA Festival, 2017 (photo by Maggie Heath)

Who: Will Rawls
What: High Line Performance Art
Where: On the High Line at Seventeenth St., Sunken Overlook
When: Tuesday, July 10, through Thursday, July 12, free with RSVP, 6:00 – 8:00 pm
Why: Brooklyn-based choreographer, curator, writer, and performer Will Rawls will present the site-specific Will Rawls, Uncle Rebus on the High Line in the Sunken Overlook at Seventeenth St. and Tenth Ave. on July 10-12 from 6:00 to 8:00; admission is free, but advance RSVP is required. Rawls, who has performed with Shen Wei, Marina Abramović, Nicholas Leichter, Maria Hassabi, Tino Sehgal, Jérôme Bel, Noemie LaFrance, and others and is half of the performance art duo Dance Gang (with Kennis Hawkins), reimagines the controversial Uncle Remus narrator and his Brer Rabbit tales, joining Trinity Bobo, Stanley Gambucci, and Jasmine Hearn, in costumes by Eleanor O’Connell, as they use a custom keyboard to tell a rather different story in the form of a choreographed meditation on language, race, tradition, and the human body.

DAVID BOWIE IS

Heroes contact sheet, 1977 (photograph by Masayoshi Sukita. © Sukita/The David Bowie Archive)

Heroes contact sheet, 1977 (photograph by Masayoshi Sukita. © Sukita/The David Bowie Archive)

Brooklyn Museum
200 Eastern Parkway at Washington St.
Morris A. and Meyer Schapiro Wing and Iris and B. Gerald Cantor Gallery, fifth floor
Daily through July 15, $20-$35
212-864-5400
www.brooklynmuseum.org

Any major career survey of gender-bending, genre-redefining, multidisciplinary, intergalactic superstar David Bowie must be innovative, unique, cutting-edge, and unusual, for nothing less would do justice to the man born David Jones in Brixton in 1947. The Brooklyn Museum’s “David Bowie is,” the most successful exhibition in the institution’s history, is just that, an illuminating exploration of the actor, musician, singer-songwriter, fashion icon, painter, video artist, husband, father, and more. Given unprecedented access to Bowie’s personal archive, the wide-ranging, highly ambitious, immersive multimedia presentation collects hundreds of items, from sketches of his parents to his baby pictures, from handwritten lyric sheets to books that influenced him, from posters of his early bands to drawings of his costumes and sets for live performances, among a multitude of other memorabilia and paraphernalia. One section is devoted to a single song, “Space Oddity,” with video, photographs, screenprints, album artwork, music sheets, related toys, and more, another looks at his various stage personas (the Thin White Duke, Ziggy Stardust, Hamlet), and another explores his work in film and theater, including Labyrinth, The Man Who Fell to Earth, The Elephant Man, The Last Temptation of Christ, Basquiat, and The Image. A five-minute clip from the 1969 promotional film Love You till Tuesday features “The Mask (A Mime),” in which Bowie performs as a mime.

Original lyrics for “Ziggy Stardust,” by David Bowie, 1972. Courtesy of The David Bowie Archive. Image © Victoria and Albert Museum

Original lyrics for “Ziggy Stardust,” by David Bowie, 1972 (Courtesy of The David Bowie Archive. Image © Victoria and Albert Museum)

Organized by the Victoria and Albert Museum in London, the show gets everything right that MoMA’s 2015 disaster, “Björk,” got wrong. Purchasing timed tickets in advance, visitors traverse the exhibition at their own pace and in whatever order they would like, wearing headphones that, in a move of genius, react to where they are physically. Thus, when you’re in front of a video screen depicting Bowie performing “The Man Who Sold the World” on Saturday Night Live, that is what you are hearing. Turn around and take a few steps in any direction and the audio will switch to whatever you are now looking at, whether it’s an interview with designer Kansai Yamamoto, Bowie’s preparations for the never-made Diamond Dogs film, or a small room dedicated to his final record, Blackstar. There is something to experience in almost every nook and cranny, so sometimes it is fun to let the audio guide you, attracted by what you hear instead of what you see.

David Bowie with William Burroughs, February 1974. Photograph by Terry O'Neill with color by David Bowie. Courtesy of The David Bowie Archive. Image © Victoria and Albert Museum

David Bowie with William Burroughs, February 1974 (Photograph by Terry O’Neill with color by David Bowie. Courtesy of The David Bowie Archive. Image © Victoria and Albert Museum)

Among the items to watch out for are a series of line drawings that serves as an artistic conversation between Bowie and Laurie Anderson; Guy Peellaert’s original painting for the Diamond Dogs album cover; the original lyrics to “Rebel, Rebel”; a Bowie painting of Iggy Pop in a Berlin landscape; a letter from Jim Henson to Bowie about Labyrinth; a John Lennon sketch (“For Video Dave . . .)”; Bowie’s script for the Lazarus musical; a Bowie doodle on a cigarette pack; a telefax from Elvis Presley; and Bowie’s charcoal drawing of his adopted home, New York City. The exhibition culminates in high style in a room blasting the original “Heroes” video and live footage of “Rebel, Rebel” from the Reality Tour and “Heroes” from the Concert for New York City, headphones off, everyone experiencing transcendence as one. “Though nothing, nothing will keep us together / We can beat them, forever and ever / Oh, we can be heroes just for one day,” Bowie declares, leaving behind a remarkable legacy that will continue to keep people together, believing that every one of us has the possibility of being a hero. On July 7 (exhibition ticket required, 8:00), Resonator Collective will perform a Bowie tribute, on July 14 ($16, 2:00), there will be a conversation between Daphne Brooks and Jack Halberstam about Bowie’s lasting influence, and on July 15 ($16, 2:00), the final day of the exhibit, the museum hosts the discussion “The Soulfulness of David Bowie” with Carlos Alomar, Robin Clark, and Christian John Wikane. After seeing the exhibit, you’ll have yet more ways to end the already tantalizing sentence fragment “David Bowie is . . .”

MOVIES UNDER THE STARS: RISE OF THE PLANET OF THE APES

Caesar has had quite enough in Planet of the Apes reboot

RISE OF THE PLANET OF THE APES (Rupert Wyatt, 2011)
Father Macris Park
Lamberts Ln. & Arlene St., Staten Island
Friday, July 6, 8:30
718-667-3545
www.apeswillrise.com
www.nycgovparks.org

Director Rupert Wyatt and writers Rick Jaffa and Amanda Silver reimagine Pierre Boulle’s original Planet of the Apes story in the exciting and inventive reboot Rise of the Planet of the Apes. Taking elements from the first five Apes films, especially the fourth flick, Conquest of the Planet of the Apes, the blockbuster is a more science-based thriller that delves into the evolutionary (and devolutionary) nature of humans and animals. James Franco stars as Will Rodman, a scientist working on the anti-Alzheimer’s drug ALZ-112 for Gen-Sys, a big pharmaceutical company run by Steven Jacobs (David Oyelowo). After a demonstration for potential investors goes terribly wrong, Jacobs orders all of the ALZ-112 test subjects to be destroyed, but the baby of the primary subject survives and is brought home by Will, who raises Caesar (a motion-captured Andy Serkis) as if the chimpanzee were his own child, with the help of his scientist girlfriend, Caroline (Slumdog Millionaire’s Freida Pinto) and his father (John Lithgow), who was suffering from Alzheimer’s but is seeing remarkable improvement as Will secretly treats him with the controversial drug. As Caesar grows up, he gains insight into the state of the world, especially how apes are forced to literally live like caged animals, and soon he is ready to do something about it. Rise of the Planet of the Apes is no mere remake or summer popcorner capitalizing on the fame of the series (for that, see Tim Burton’s terrible 2001 disaster); instead, it is a moving, thoughtful study of the development of mammalian intelligence and the very basic need to be free. Wyatt (The Escapist) moves things along at a slow pace in the first half of the film, allowing Caesar’s character to blossom, leading to a believable revolution that culminates in an action-packed showdown on the Golden Gate Bridge. Serkis, who previously played such motion-capture characters as Gollum and King Kong, breathes remarkable life and emotion into Caesar, so much so that there was Oscar buzz around his performance.

Although it is not a remake or a sequel, Rise does fit within the Apes mythology, and it includes numerous tributes to its predecessors: Gen-Sys head Jacobs is named for the producer of the five original films, Arthur P. Jacobs; Gen-Sys chimp handler Robert Franklin (Tyler Labine) is a subtle nod to the director of the first film, Franklin J. Schaffner; the circus orangutan Maurice pays tribute to Maurice Evans, who played the orangutan Dr. Zaius in the original; the chimp Cornelia is a sly combination of favorite characters Cornelius and Dr. Zira from the first flicks; and Brian Cox as John Landon and Tom Felton as Dodge, his son, remember original Apes astronauts Landon (Robert Gunner) and Dodge (Jeff Burton). In addition, at one point a television monitor shows a clip of Charlton Heston playing Julius Caesar, and one of the most famous lines from the original makes an appearance in this reboot, which ends with more than a hint that sequels are to follow, leading to Matt Reeves’s even better Dawn of the Planet of the Apes in 2014 and the excellent War for the Planet of the Apes in 2017. Rise is screening July 6 at 8:30 in the free “Movies Under the Stars” series in Father Macris Park in Staten Island.

BRIC CELEBRATE BROOKLYN! FESTIVAL — LES BALLETS JAZZ DE MONTRÉAL: LEONARD COHEN’S DANCE ME

Leonard Cohen

Les Ballets Jazz de Montréal will present U.S. premiere of Dance Me in Prospect Park on July 6

Prospect Park Bandshell
Prospect Park
Ninth St. & Prospect Park West
Friday, July 6, free, 8:00
www.bricartsmedia.org
www.bjmdanse.ca

In November 2016, Canadian troubadour Leonard Cohen passed away at the age of eighty-two. The poet, singer-songwriter, novelist, and Zen monk left behind a six-decade legacy of investigating love and the human condition like no one else. In 1972, the year after Cohen released one of his masterpieces, Songs of Love and Hate, Les Ballets Jazz de Montréal was founded, a company dedicated to merging classical dance with more contemporary styles. On July 6, the troupe will present the U.S. premiere of Dance Me at the Prospect Park Bandshell as part of the free BRIC Celebrate Brooklyn! Festival. The eighty-minute piece was commissioned, prior to Cohen’s death, for Montreal’s 375th anniversary and debuted in Canada last December. Set to songs from throughout Cohen’s long career and organized around the cycles of existence as experienced through the changing seasons, Dance Me was conceived by BJM artistic director Louis Robitaille and is choreographed by Andonis Foniadakis, Annabelle Lopez Ochoa, and Ihsan Rustem for fourteen performers, with musical direction by Martin Léon, scenic design by Pierre-Étienne Locas, lighting by Cédric Delorme-Bouchard and Simon Beetschen, video by Hub Studio (Gonzalo Soldi, Thomas Payette, and Jeremy Fassio), sound by Guy Fortin, and costumes by Philippe Dubuc. On December 20, 2012, Cohen played the Barclays Center in Brooklyn, opening the show with “Dance Me to the End of Love,” from his 1984 album Various Positions, in which he croons, “Dance me to your beauty with a burning violin / Dance me through the panic till I’m gathered safely in / Lift me like an olive branch and be my homeward dove / Dance me to the end of love.” BJM’s Dance Me should lift the Brooklyn audience in the beautiful confines of Prospect Park.

MACY’S FOURTH OF JULY FIREWORKS 2018

macys fireworks 2018

Televised live on NBC-TV beginning at 8:00 pm
Broadcast live on WINS 1010
Wednesday, July 4, free, 9:25 pm (approx.)
212-494-4495
www.macys.com/social/fireworks

Macy’s July Fourth extravaganza celebrates its forty-second anniversary of lighting up the night sky on Wednesday, with seven barges between Twenty-Third and Fortieth Sts. on the East River. The festivities will be hosted by Akbar Gbajabiamila and Matt Iseman, with live performances by Ricky Martin, Blake Shelton, Keith Urban, the West Point Glee Club, the West Point Band, and Kelly Clarkson singing “God Bless America,” which turns one hundred this year. The score includes “Stars & Stripes Forever,” “The Star-Spangled Banner,” and a tribute to Leonard Bernstein’s centennial, with “New York, New York” from On the Town and “Mambo” and “America” from West Side Story. Among the best viewing points are along the elevated portions of the FDR Drive, with access at Houston, Eighteenth, Twenty-Third, Thirty-Fourth, and Forty-Second Sts. You should avoid Battery Park, Battery Park City, Roosevelt Island, Hunter’s Point South Waterfront Park, and Brooklyn Bridge Park. The fireworks display, featuring more than seventy-five thousand shells launching from twelve computer firing systems and reaching more than a thousand feet high, is designed by Pyro Spectaculars by Souza; keep a lookout for the neon pinwheels, swirling water fountains, brocade horse tails, ghosting fans, blooming ring chases, and pulsing hearts in more than two dozen hues.

NEW YORK ASIAN FILM FESTIVAL 2018: THE BIG CALL

The Big Call

Xu Xiaotu (Jiang Mengjie) goes deep undercover to foil a complex phone-scam ring in The Big Call

HONG KONG PANORAMA: THE BIG CALL (巨额来电) (Oxide Pang, 2017)
Film Society of Lincoln Center, Walter Reade Theater
165 West 65th St. between Eighth Ave. & Broadway
Wednesday, July 4, 2:40
Festival runs through July 15
212-875-5050
www.filmlinc.org

Hong Kong-born filmmaker Oxide Pang Chun has his work cut out for him in The Big Call, a thriller about phone scams somewhat more complicated than the classic Nigerian cons. “It’s a war with keyboards,” one character proclaims, and indeed, much of the film is spent showing people on their smartphones and typing at computers, trying to explain the often inexplicable plot, which is riddled with ridiculous twists and turns yet still has its compelling moments and, ultimately, foot and car chases, torture, and violence. After his high school teacher commits suicide because of a scam, young cop Ding Xiaotian (Cheney Chen) begins investigating a ring of high-tech thieves who trick and/or threaten people in order to drain their bank accounts. Run by lovers Lin Ahai (Zhang Xiaoquan) and Liu Lifang (Gwei Lun-mei), the operation recruits women and essentially imprisons them in Thailand, where they make the calls in a carefully orchestrated system that rarely fails. They have been infiltrated by Xu Xiaotu (Jiang Mengjie), an ambitious officer who went to the academy with Ding, who has joined the Anti-Telecommunication Fraud Centre, where he butts heads with Inspector Tan Sirong (Zhang Zhaohui). When Lin Xiaoqin (Peng Xinchen), Lin’s sister, gets scammed and Taiwan mastermind Lu Chixiong (Luo Dahua) makes an aggressive bet with Lin Ahai, the risks rise and the blood-spilling ratchets up.

The Big Call

Ding Xiaotian (Cheney Chen) and Xu Xiaotu (Jiang Mengjie) are on the case in Oxide Pang’s The Big Call

Pang has made a series of popular films with his twin brother, Danny Pang Phat, including Bangkok Dangerous,
The Eye, and Re-Cycle. Working solo here, Pang, who cowrote the screenplay with Liu Hua, keeps the tension building, pulling you back in every time the ever-more-absurd story nearly flies off the handle. Taiwanese star Lun-mei (Girlfriend, Boyfriend; Black Coal, Thin Ice) is ultracool as the vicious Liu and the main reason to keep on watching. The Big Call is screening July 4 at 2:40 at Lincoln Center in the Hong Kong Panorama section of the “Savage Seventeenth” edition of the New York Asian Film Festival, which continues through July 15 with a wide range of movies from China, Hong Kong, Indonesia, Japan, Malaysia, the Philippines, South Korea, Taiwan, Thailand, and Denmark, by such directors as Wilson Yip, Zhou Ziyang, Dante Lam, Shinsuke Sato, Lee Byeong-heon, Huang Xi, and Masato Harada.

CONFLICT

(photo by Todd Cerveris)

A surprise guest (Jeremy Beck) in the middle of the night shocks Lord Bellingdon (Graeme Malcolm) and Major Sir Ronald Clive (Jeremy Beck) in Conflict (photo by Todd Cerveris)

The Mint Theater
The Beckett Theatre at Theatre Row
410 West 42nd St. between Ninth & Tenth Aves.
Tuesday – Sunday through July 21, $65
minttheater.org
www.theatrerow.org

Ah, thank goodness for the Mint Theater Company. Amid all the world’s problems, the Mint has been a breath of a fresh air for more than two decades, offering exquisitely rendered productions of long-forgotten works by little-known playwrights under the leadership of producing artistic director Jonathan Bank. The troupe has now followed up its Drama Desk-nominated Hindle Wakes with the impeccably staged Conflict, an exceptional 1925 romantic political tale by British character actor, dramatist, and social reformer Miles Malleson, whose Yours Unfaithfully was given the superb Mint treatment last year. The play is set in 1920s London, where the upstart Labour Party is trying to make inroads against the Conservatives in the upcoming elections. Jessie Shelton stars as Lady Dare Bellingdon, a highly privileged young woman on the verge of becoming independent, a carefree spirit who abhors boredom and is determined to make her own choices instead of following convention and doing what is expected of her class and gender. Her stern father, the very wealthy Lord Bellingdon (Graeme Malcolm), approves of her relationship with Major Sir Ronald Clive, DSO (Jeremy Beck), a straightforward, overly formal military hero who is running for Parliament and wants to marry Dare, who is not exactly ready to settle down yet.

(photo by Todd Cerveris)

Major Sir Ronald Clive (Jeremy Beck) has his heart set on Lady Dare Bellingdon (Jessie Shelton), but she is about to become woke in Mint production (photo by Todd Cerveris)

One evening they are interrupted by the appearance of Tom Smith (Jeremy Beck), a beggar with a rather pathetic tale to tell, one that Lord Bellingdon isn’t buying. “I don’t want to mock or sneer. It was wrong of me if I seemed to. I hope I’m not hard-hearted; but I’m hard-headed,” the rich man says. “I don’t believe a man falls through society — to the bottom, as you’ve done — without something in himself to drag him down.” Smith responds, “That’s a fine thing for a man to say who’s at the top. By God, it shows a complacency, a self-satisfaction, that’s almost splendid. You must be damn pleased with yourself.” Lord Bellingdon and Clive offer him food, whiskey, and cash and send him on his way, but they and Dare are surprised by what they see when he returns eighteen months later, with quite another tale to tell.

(photo by Todd Cerveris)

Lady Dare Bellingdon (Jessie Shelton) looks on as her father (Graeme Malcolm) can’t believe what he hears in Miles Malleson’s Conflict (photo by Todd Cerveris)

Directed with wit and verve by Jenn Thompson (Women without Men, Abundance), Conflict never descends into preachy pablum as it explores the socioeconomic and cultural differences among rich and poor, conservative and liberal, male and female in post-WWI England. Though written nearly a century ago — it was also adapted into the 1931 film The Woman Between — the play is very much of today as the personal gets very political, and the political gets very personal, especially as so many twenty-first-century Americans use party affiliation and faith (or lack thereof) in the current government to help determine their friends and lovers, on social media and in real life. As is Mint tradition, the set, by John McDermott, is utterly lovely, a fancy drawing room with a garden; a later scene in Smith’s hovel of a bedroom further differentiates the haves from the have-nots, as does Martha Hally’s costume finery. Beck (Hindle Wakes, The Cocktail Party) and Clarke (Private Lives, Baskerville) excel as rivals in more ways than one, Malcolm (Equus, Mary Broome) plays Lord Bellingdon with delicious relish, his mustache and eyebrows practically a character unto themselves, while Jasmin Walker (Avenue Q, Only Children) makes the most of her small role as Mrs. Tremayne, a merry widow who encourages Dare to live her life the way she wants to, unbound by tradition. (The cast also features James Prendergast as Daniells, the Bellingdons’ much-put-upon butler, and Amelia White as Mrs. Robinson, Smith’s nosy landlady.)

“It’s not loving him I’m bothering about — it’s marrying him,” Dare tells Mrs. Tremayne about Clive. “I don’t want my marriage to be a sort of brown-paper parcel in which I wrap up my romance, and seal it and say ‘That’s that.’ . . . I want my marriage to be . . . something more.” A high-minded socialite and good-time girl slowly becoming woke, Lady Dare is portrayed magnificently by Shelton (Hadestown, The Skin of Our Teeth) with an intoxicating hope that life can get better, for everyone. Delivered by a company that needs to be on your radar if it isn’t already, Conflict is an elegant and precise work that demands, and is more than worthy of, close attention, filled with myriad small touches that almost pass you by as you get caught up in its all-too-relevant story of strange bedfellows indeed.