twi-ny recommended events

GIBNEY DANCE COMPANY: AMY MILLER & BRYAN ARIAS

Amy Miller reenvisions Valence as part of split bill at Gibney with Bryan Arias (photo courtesy Gibney Dance)

Gibney 280 Broadway
Entrance at 53A Chambers St.
May 3-5, $15-$20
gibneydance.org

This week Gibney Dance Company is pairing new works by Senior Company Director Amy Miller and guest choreographer Bryan Arias on a split bill May 3-5. Dancer, choreographer, educator, and advocate Miller will present a revised version of her 2009 piece, Valence, a work for five dancers, mostly in duets, that compares the bonding of atoms to making personal connections, with a sonic soundscape by Oberlin Conservatory of Music professor and composer Peter Swendsen. Puerto Rican–born Arias, who has danced with Complexions Contemporary Ballet, Nederlands Dans Theater, and Kidd Pivot, among others, delves into society and human existence and time in the premiere of One Thousand Million Seconds, which totals thirty-three years. “Being able to be on a split bill with Bryan Arias and to be dancing in his work and revisioning mine are a great way of kind of switching the hat,” Miller says in a Gibney video about the performances. “When I go to a split bill show, I’m looking for the connection between the two pieces, but oftentimes I’ll just allow them to live beside each other, challenging dancers to switch gears, to be superhuman and then human, or to be connected and then to be isolated or to be incredibly lush and full and then have movement that’s very pedestrian or fragmented or subtle, and have all of those things be valuable. Maybe we help to dissolve some of the labels between things, the labels we have about dance, the labels we have about art and life.”

CAROUSEL ON BROADWAY

Julie Jordan (Jessie Mueller) and Billy Bigelow (Joshua Henry) fall in love in Carousel revival at the Imperial (photo by Julieta Cervantes)

Imperial Theatre
249 West 45th St. between Broadway & Eighth Ave.
Tuesday – Sunday through January 6, $59-$169
carouselbroadw ay.com

Pardon the pun, but the matinee I saw of the Broadway revival of Rodgers & Hammerstein’s beloved Carousel at the Imperial Theatre had more than its share of ups and downs, including something I had never before experienced in a theater. About ten minutes into the first act, which begins with a beautiful dialogue-free ballet with gorgeous new choreography by New York City Ballet soloist and resident choreographer Justin Peck, a loudspeaker announcement asked the actors to leave the stage due to a medical emergency in the audience. Theater personnel and doctors tended to an ill man at the far right side of the orchestra for about fifteen minutes before the show resumed, restarting shortly before the place where it had been stopped. Later, about ten minutes into the second act, during what is the emotional high point of the narrative, cries of help could be heard from a few rows behind where I was sitting. Again, the voice came over the loudspeakers, asking the cast to leave the stage because of another medical emergency. This time it appeared to be a small child choking; it took another ten minutes or so for things to calm down as the boy, who seemed to be okay, and his family were escorted into the lobby. Again, the show then restarted a moment before it had been stopped. It is a tribute to the cast and crew that both situations were handled gracefully and professionally, but it’s still an unusual occurrence that left an uncomfortable aura in the air — much as the plot of Carousel does, especially today.

Julie Jordan (Jessie Mueller) delights in hearing about best friend Carrie Pipperidge’s (Lindsay Mendez) trip to New York City in Carousel (photo by Julieta Cervantes)

The production itself, directed by three-time Tony winner Jack O’Brien (The Coast of Utopia, Hairspray), with splendid costumes by Oscar and Tony winner Ann Roth (The English Patient, The Nance), lovely sets (the carousel itself earns deserved applause) by four-time Tony winner Santo Loquasto (Café Crown, Hello, Dolly!), and wonderful orchestrations by EGOT winner Jonathan Tunick (Titanic, A Little Night Music), is first-rate all the way, even with some critical miscasting and the always problematic second act. The plot, adapted from the 1909 Hungarian play Liliom by Ferenc Molnár, is the classic tale of a good girl falling for a bad boy and trouble ensuing. Local mill worker Julie Jordan (Jessie Mueller) is attracted to carousel operator Billy Bigelow (Joshua Henry), agreeing to meet him one night in a park. She brings along her best friend and coworker, Carrie Pipperidge (Lindsay Mendez), who is not sure this is the best idea. Billy arrives, proving to be a bit of a cad, but even when a policeman (Antoine L. Smith) advises Julie of Billy’s questionable dealings with other women, she can’t stop herself, risking her job and more to be with him. Meanwhile, Carrie is in love with the much less dangerous wannabe herring king, Enoch Snow (Alexander Gemignani). Billy and Julie marry and have a child, but money is scarce, so when Jigger Craigin (NYCB principal dancer Amar Ramasar) approaches Billy with a plan to make a quick buck, Billy takes the chance, and tragedy follows.

Opera superstar Renée Fleming makes a point as Nettie Fowler in Broadway revival of Rodgers & Hammerstein classic (photo by Julieta Cervantes)

The immensely talented Mendez (Significant Other, Dogfight) is charming as the dependable Carrie; Gemignani (Les Misérables, Sweeney Todd) is terrific as her beau, forward-thinking in business and woefully conservative otherwise; Tony winner Mueller (Beautiful: The Carole King Musical, Waitress), who played Carrie to Kelli O’Hara’s Julie in a 2013 Live from Lincoln Center concert version with the New York Philharmonic, again shows off her marvelous voice and wide-eyed innocence; retired opera star Renée Fleming excels as seaside spa owner Nettie Fowler; Margaret Colin (Defiance, The Columnist) is effective as carousel owner Mrs. Mullin; and Tony nominee John Douglas Thompson (Jitney, The Emperor Jones) is stoic as the mysterious Starkeeper, who keeps watch over all the goings-on until getting more involved in the fantastical second act. But two-time Tony nominee Henry (The Scottsboro Boys, Violet) is out of place, like he’s in a different show, his anger and rage so overwhelming that it becomes hard to imagine why Jessie first falls for him, then stays with him. O’Brien doesn’t shy away from the domestic abuse subplot, although it is difficult to watch in the #MeToo generation. “I knew why you hit me. You were quick-tempered and unhappy. That don’t excuse it. But I guess I always knew everything you were thinking,” Julie says, while Nettie sings, “What’s the use of wond’rin’ if he’s good or if he’s bad. He’s your feller, and you love him — that’s all there is to that.” The show debuted on Broadway in 1945 and has been revived in 1957 and 1994, in addition to being made into a film in 1956; it features such timeless songs as “June Is Bustin’ Out All Over” and “You’ll Never Walk Alone” as well as an emotional ballet in the second act that begins as a solo, performed here by NYCB principal dancer Brittany Pollack. But the scenes involving heaven feel dry and stale, detracting from the otherwise powerful, earthy story. This Carousel reaches for the brass ring but comes up too short.

THE SEAFARER

Five men celebrate Christmas Eve with plenty of drink in Irish Rep revival of The Seafarer (photo by Carol Rosegg)

Irish Repertory Theatre, Francis J. Greenburger Mainstage
132 West 22nd St. between Sixth & Seventh Aves.
Wednesday – Sunday through May 24, $50-$70
212-727-2737
www.irishrep.org

Lightning doesn’t quite strike twice for director Ciarán O’Reilly, star Matthew Broderick, and playwright Conor McPherson in the Irish Rep revival of The Seafarer. In June 2016, O’Reilly directed Broderick in a haunting revival of McPherson’s 2004 West End hit, Shining City, which was nominated for Best Play and Best Actor (Oliver Platt) when it moved to Broadway in 2006. Two years later, The Seafarer garnered four Tony nods, including Best Play and Best Director (McPherson). The current version of The Seafarer, continuing on the Francis J. Greenburger Mainstage through May 24, is a stormy black comedy that takes place on Christmas Eve morning in a squalid, creaky basement apartment in Baldoyle, a coastal settlement north of Dublin City, that looks like a hurricane just passed through. Sharky (an exceptional Andy Murray) is cleaning up after what must have been one helluva drunken gathering the night before. Bottles and cans are strewn all over Charlie Corcoran’s vividly detailed, dank and dingy, crowded set, a shambles stuffed full of piles of junk, old record albums, ratty furniture, stained wallpaper, a small iron stove, and a puny fake Christmas tree. Recently on the wagon, Sharky is an uptight, tense fisherman and chauffeur who is taking care of his perpetually drunk, recently blinded, overweight wastrel of an older brother, Richard (Colin McPhillamy). Their friend Ivan (Michael Mellamphy) spent the night, too drunk to go home to his wife and kids. Ivan has misplaced his car and his glasses, which serves as a metaphor for all the characters, who are each unable to look ahead and move forward in life. Sharky is none too keen when Nicky (Tim Ruddy) arrives, a somewhat slicker man who is now living with Sharky’s ex-girlfriend. Nicky also brings a special guest, the well-dressed, well-spoken Mr. Lockhart (Broderick), who is more than he appears to be. “I’ve seen you. On your travels. On your wandering ways,” Lockhart tells Sharky when the two of them are alone. “I’ve seen all those hopeless thoughts, buried there, in your stupid scrunched-up face.” The mysterious Lockhart has come to collect on a debt, one that Sharky might not even have realized he still owes but has been tearing at his soul for decades. In the second act, the five men sit down for a game of cards in which the stakes are a lot higher for Sharky than for his drinking buddies.

Mr. Lockhart (Matthew Broderick) and Sharky (Andy Murray) have a lot riding on a game of cards in Conor McPherson play (photo by Carol Rosegg)

The Seafarer was inspired by an Olde English poem about the hardships men suffer as well as the Irish folktale “The Hellfire Club,” involving a rather dramatic card game. All five characters, including Lockhart, are carrying personal demons, but it’s Sharky’s tale that drives the narrative, and Murray (War Horse, The Emperor Jones) is more than up to the task, playing Sharky — whom he also portrayed in a 2008 production in California — with the brooding intensity of a once-proud man whose chances are quickly running out. His penetrating eyes reveal a deeply troubled individual who might at last be coming to terms with the things he has done and the choices he has made. Two-time Tony winner Broderick (Brighton Beach Memoirs, How to Succeed in Business . . .), fiddling with an Irish brogue, gets to break out of his stiffness near the end in a part previously played by Ron Cook, Ciarán Hinds, and Tom Irwin. Ruddy (The Weir, Swansong) is fine as the thinly drawn Nicky, but Mellamphy (Guy Walks into a Bar, When I Was God) is underwhelming as Ivan, and McPhillamy (The Woman in Black, Shakespeare in Love) severely overplays Richard; true, it’s a big, meaty part, one that earned Jim Norton an Olivier and a Tony, but McPhillamy never gets inside the character, playing his many physical and psychological maladies too broadly. Irish Rep producing director O’Reilly (The Emperor Jones, The Weir) does a good job with the surprise revelations that come at the end of each act, but the play is saddled with too much repetition, a few unresolved issues, and too many distractions, particularly the winos creating a ruckus outside. As with The Weir and Shining City, the supernatural is dealt with in clever ways, this time more overtly. And speaking of the supernatural, religion is key as well. There are numerous depictions of Jesus hanging on the walls, but the only thing the failed men worship is booze. When Richard proclaims, “I have so little left to live for!,” it could apply, in different ways, to every one of them, who, in the tradition of many alcoholic Irishmen before them, live only for the next drink.

GOODBYE RHINOS: THE LAST THREE

Eco-warriors Gillie and Marc Schattner have installed “Goodbye Rhinos: The Last Three” in Astor Plaza (photo by twi-ny/mdr)

Astor Place
Daily through May, free
www.goodbyerhinos.org
flickr slideshow

Australian husband-and-wife sculptors and eco-warriors Gillie and Marc Schattner sought to make a statement when they installed “Goodbye Rhinos: The Last Three,” a life-size rendering of the last three living northern white rhinos — females Najin and Fatu and male Sudan — balancing one on top of the other in Astor Plaza. They got even more attention than they expected when shortly after the installation, forty-five-year-old Sudan died at Ol Pejeta Conservancy in Kenya. Sponsored by Nat Geo Wild, the tallest rhino sculpture in the world was created “to inspire, educate, and mobilise a global community to raise their voices and affect real change against rhino horn sales,” according to the Schattners’ website. Gillie and Marc spent time with Sudan, his daughter Najin, and his granddaughter Fatu in March 2017; you can watch a video of their interactions with the three rhinos and the making of the sculpture here. Sudan was too old to mate, and Najin and Fatu are infertile, so they can’t even breed with the other four species of rhinos; thus, nothing can be done about their impending extinction except to raise awareness and funds to prevent the end of other animals, particularly those that are illegally poached for their horns or tusks, supposed medicinal benefits, or trophies for hunters.

“Goodbye Rhinos: The Last Three” calls attention to illegal poaching and the potential extinction of certain animal species in Africa (photo by twi-ny/mdr)

“In urban environments, it’s easy for humans to forget our impact on the world,” Gillie said in a statement. “Marc and I believe it’s never been more critical to connect people to nature so that we’re visibly confronted with what we’re doing to the planet.” Gillie and Marc, who have worked together for more than twenty-five years, have taken their “Travel with Love” public art project around the world, featuring anthropomorphized crabs, paparazzi dogs, Taz the Tasmanian tiger, various magpies, and their characters Dogman and Rabbitgirl. “Our mission is to collect at least one million goodbye messages and put them towards a petition for approaching governments about eliminating the demand for rhino horns through education,” Gillie added, encouraging people to post photos on social media, use their app, donate to the Ol Pejeta Conservancy, and go to Kenya to see Najin and Fatu. Trophy hunting is moving artists to take action in many ways; coincidentally, two-time Pulitzer Prize winner Lynn Nottage’s powerful new play,

MoMA PRESENTS: TAMER EL SAID’S IN THE DAYS OF THE LAST CITY

Khalid (Khalid Abdalla) experiences loss of many kinds in Cairo in Tamer El Said’s In the Last Days of the City

IN THE LAST DAYS OF THE CITY (Tamer El Said, 2016)
Museum of Modern Art, MoMA Film
11 West 53rd St. between Fifth & Sixth Aves.
April 27 – May 3
212-708-9400
www.moma.org
bigworldpictures.org

Tamer El Said’s extraordinary debut feature, In the Last Days of the City, is an elegiac love letter to his deeply troubled hometown, Cairo, as well as a treatise on the responsibilities filmmakers have to their art and to society as a whole. Almost ten years in the making, the film was shot between 2008 and 2010, finishing shortly before the Arab Spring uprising in January 2011 in Tahrir Square, and was not completed and screened until 2016, when it started winning prizes at festivals around the world. It finally receives its New York theatrical release at the Museum of the Modern Art, running April 27 through May 3, where El Said will take part in a postscreening conversation on opening night at 7:00; in addition, on April 30 at 7:00, MoMA’s “Modern Mondays” series will present “An Evening with Tamer El Said,” in which the director will discuss Cairo’s Cimatheque — Alternative Film Centre, which he and actor and activist Khalid Abdalla cofounded in 2012 to help grow independent cinema in Egypt. In the Last Days of the City is about loss of all kinds; Abdalla (The Kite Runner, United 93) stars as Khalid, a thirtysomething filmmaker living in Cairo whose life is unraveling: His girlfriend, Laila (Laila Samy), has left him, he needs to find a new apartment, his hospitalized mother (Zeinab Mostafa) is very sick, and his city is crumbling right before his eyes. He meets with three friends and fellow filmmakers, Hassan (Hayder Helo), from Baghdad, Tarek (Basim Hajar), an Iraqi living in Berlin, and Bassem (cinematographer Bassem Fayad), from Beirut. They decide that each of them is going to film their cities and send the footage to Khalid, who will incorporate it into the work he is already making but has reached a block. Throughout, radios and televisions report state news about Hosni Mubarak, the Egyptian football team, and the Muslim Brotherhood, revealing Egypt to be a country on the brink of something big, but neither the characters nor the filmmaker expected what actually occurred.

Khalid (Khalid Abdalla) looks over a Cairo about to undergo radical change in Tamer El Said’s In the Last Days of the City

Four friends meet in Cairo and decide to collaborate on a film in Tamer El Said’s In the Last Days of the City

Fayad captures a city bathed in a golden glow and facing an ominous future. Historic locations are surrounded by buildings turned into rubble. El Said and editors Mohamed Abdel Gawad, Vartan Avakian, and Barbara Bossuet cut between the film and the film-within-the-film, as Khalid interviews Maryam (Maryam Saleh), Hanan (Hanan Youssef), Laila, and others, trying to find out more about himself and his past as well as the Cairo he loves and fears. In a nod to the French New Wave, the camera occasionally continues on a subject with the dialogue not synced — for example, they look out contemplatively, their mouth not moving, their words heard in voice-over. The camera often loses focus, blurring the character as Khalid wrestles with various aspects of his life and career. Most of the film is improvised — El Said initially wrote a fake script in order to get permits, then went through numerous rehearsals before starting shooting. Although there are autobiographical elements, including Khalid living in El Said’s own apartment, the director considers it more of a personal venture and not about himself, a melding of fiction and reality. The film moves with the pace and rhythm of the city as a cloud hangs over it; while it was clear that something was going to happen, El Said did not anticipate the revolution that took place, centered in Tahrir Square. He also chose not to film any of the actual riots and protests and instead decided to participate and join the fight. It’s an option that Khalid does not take in the film; there are several scenes in which he sees violence but decides to either walk away or photograph it without trying to stop it or report it.

In the Last Days of the City is very different from the 2011 documentary Tahrir, in which Italian director Stefano Savona immediately went to Cairo upon hearing about the rebellion, got right in the middle of the action, and released the film shortly after the events. In the Last Days of the City is very much about the filmmaker’s role in the social contract. One of the reasons it took so long for El Said to complete the film was because he and Khalid, who was a major figure in Jehane Noujaim’s 2013 documentary, The Square, also about the Arab Spring, spent several years constructing and establishing Cimatheque, an arts institution where independent filmmakers can flourish in a country without any kind of cinematic infrastructure. Of course, there were budgetary issues as well. In the end, even though In the Last Days of the City very specifically searches for the soul of Cairo, it could really be about any person trying to find his or her place in their hometown, as change — personal, political, societal — looms on the horizon.

THE METROMANIACS

David Ives’s The Metromaniacs is a nonstop laugh fest (photo by Carol Rosegg)

Red Bull Theater
The Duke on 42nd St.
229 West 42nd St. between Seventh & Eighth Aves.
Tuesday – Sunday through May 26, $75-$95 ($45 with code MANIAC3)
www.redbulltheater.com
dukeon42.org

It’s easy to go crazy for The Metromaniacs, David Ives’s gleeful romp set during the poetry craze in 1738 France. Ives’s third collaboration with director Michael Kahn, in which they present long-lost French comedies (following Corneille’s The Liar in 2010 and Regnard’s The Heir Apparent in 2011), The Metromaniacs is a “transladaptation” of Alexis Piron’s scandalous 1738 La Métromanie (“The Poetry Craze”), based on a real-life incident in which Voltaire declared his love for a French poetess who turned out to be a man using a woman’s name in order to get published. (Although La Métromanie was performed at the Comédie Française, Piron never got into the Académie Française because he had also written “Ode to the Penis.”) The two-act, 105-minute Red Bull production, which opened Sunday night at the Duke on 42nd St., is entirely in delectable rhyming verse, and Ives never misses a chance for a devilishly clever quatrain or couplet. The story takes place in the elegant home of Francalou (Adam LeFevre), a wealthy wannabe poet whose work is looked down upon. To send up the establishment, he has been publishing ridiculous pastorals under the female pseudonym Meriadec de Peaudoncqville. Francalou is throwing a small party for his virginal daughter, Lucille (Amelia Pedlow), who is returning home from university; the shindig will include a play written for the occasion by Francalou, called The Metromaniacs, set in the parlor, which has been turned into a silly sylvan forest with fake trees and rocks. (The fab set is by James Noone.) Francalou has cast the saucy maid, Lisette (Dina Thomas), as his daughter. “Of course, I only wrote it for a laugh. / But here and there’s a joke, a paragraph, / A rhyme or two I might not call un-juicy. / What a choice welcome-home gift for my Lucy!” he declares. The guests at the party are Damis (Christian Conn), a young poet, using the pseudonym Cosmo de Cosmos, who is determined to meet and wed Meriadec de Peaudoncqville; Mondor (Adam Green), Damis’s valet, who has the hots for Lisette, thinking she is Lucille; Dorante (Noah Averbach-Katz), a dullard who is seeking Lucille’s hand but knows that will be difficult, given that his father is immersed in a legal battle with Francalou; and Baliveau (Peter Kybart), Damis’s uncle and a judge who wrongly believes that his nephew is away at law school, which he is paying for. Over the course of one wild night, lust, love, literature, and the law are thoroughly mocked through cases of mistaken identity and purposeful deception that grow more hysterical by the minute.

Lucille (Amelia Pedlow) and Lisette (Dina Thomas) discuss love and literature in The Metromaniacs (photo by Carol Rosegg)

The Metromaniacs is chock-full of bawdy humor, physical slapstick, playful anachronisms, asides to the audience, splendid costumes by Murell Horton, awesome wigs by Dori Beau Seigneur, inside jokes, and spectacular rhyming verse. Early on, Lisette says of Lucille, “I’d be amazed if she were ever wived, / Locked in her room reading since she arrived. / See, she’s a metromaniac. That’s her curse.” Dorante asks, “Crazy for subways?” Lisette responds, “No, crazy for verse. / An inflammation of the mental bursa. / Where verse becomes your vice — and vice-a-versa.” Occasionally a character will pause ever so slightly, giving the audience the opportunity to guess what rhyme might be next, something that gets a little harder with such words as “dramaturgy,” “chartreuse,” “Brittany,” “distich,” and, over and over, “incognito.” The seven-person cast might be having even more fun than the audience. At one point the night I saw it, a prop misfired, and Conn and Averbach-Katz couldn’t control themselves, trying their best to hold back laughter as they quickly ad-libbed and the audience erupted. Perdlow is establishing herself as one of the leading period comedians in New York, having previously cracked wise in Red Bull’s ’Tis Pity She’s a Whore and Kate Hamill’s Pride and Prejudice. Thomas (Tribes, Clever Little Lies) is a hoot as Lucille, Lefevre (Awake and Sing, The Diary of Anne Frank) is goofily charming as Francalou, Conn (The School for Scandal, Venus in Fur) is cool and confident as Damis, and Green (The Witch of Edmonton) lends just the right amount of manly slime to Mondor. Tony nominee Kahn (Show Boat, Cat on a Hot Tin Roof) refuses to allow a dull moment in this nonstop laugh fest, which also can be rather self-referential. Here’s a gem from Damis about Francalou, but it could just as well be about Tony winner Ives (Venus in Fur, All in the Timing): “Oh, he’s a lovely man, don’t get me wrong. / Generous and open, sunshine all day long. / But then in middle age he gets this itch / And now he writes the most appalling kitsch. Oh, sure, he’ll say he wrote it ‘for a laugh’ — / Then make you sit through every lumbering gaffe. / Tonight we’re putting on his so-called ‘play’ . . . ? / But wait. I see him coming. Run away!” Of course, don’t run away; run to the Duke to catch this high-falutin’ comic extravaganza, which continues through May 26.

BRIC OPEN: BORDERS

BRIC House exhibit serves as inspiration for four-day free festival on borders (photo by twi-ny/mdr)

BRIC House exhibit serves as inspiration for four-day free festival about borders (photo by twi-ny/mdr)

BRIC House
647 Fulton St., Brooklyn
April 26-29, free (advance RSVP recommended)
718-683-5600
www.bricartsmedia.org

The theme of this year’s BRIC OPEN festival is “Borders,” four days of free programs focusing on borders both real and imagined, physical and ideological. The series is being held in conjunction with the exhibition “Bordering the Imaginary: Art from the Dominican Republic, Haiti, and Their Diasporas,” a collection of sculpture, painting, installation, and video that, in the words of BRIC contemporary art vice president Elizabeth Ferrer, “consider the complicated interrelated histories of two Caribbean countries that share a single island, their tradition of cultural and social exchange, and the social injustices that have long burdened the people of both nations.” The exhibit includes impressive work by Raquel Paiewonsky, Pascal Meccariello, Fabiola Jean-Louis, iliana emilia garcia, Patrick Eugène, and others. “Borders” begins April 26 at 7:00 with “Art Intersecting Politics,” a conversation between Paola Mendoza and Darnell L. Moore, preceded by a spoken-word performance by slam poet Venessa Marco. Friday night’s schedule consists of a concert by Blitz the Ambassador, Lido Pimienta, and the Chamanas (as well as a screening of Blitz’s fifteen-minute film, Diasporadical Trilogia), the ninety-minute walking tour “Borders We Carry” led by Kamau Ware through downtown Brooklyn, an Immigration Action Fair, and Alicia Grullón’s “Empanar!” mobile art project.

On Saturday, there will be a family art-making workshop in which participants can add to a Building Bridges mural; a Greenlight Bookstore pop-up shop; a “Drawn Together” workshop led by “Bordering the Imaginary” artists Vladimir Cybil Charlier, Antonio Cruz, and garcia; Juanli Carrión’s “Memelismos: Memories from the Other Side” participatory storytelling installation; more walking tours; screenings of short films and Jeremy Williams’s On a Knife Edge; the discussions “Reflections on the DACA and the DREAM Act: Erika Harrsch & Yatziri Tovar” and “Haiti-NYC-DR: Reflections from the Diaspora,” the latter with Suhaly Bautista-Carolina, Edward Paulino, Albert Saint Jean, Ibi Zoboi, and moderator Carolle Charles; and a RAGGA x BRIC dance party with DJs Oscar Nñ of Papi Juice, Serena Jara, LSXOXOD, and Neon Christina and a live performance by Viva Ruiz. Sunday features a gallery tour and the closing talk “Biscuits without Borders” by Jess Thorn, aka Touretteshero. In addition, the exhibitions “Under the Same Sky . . . We Dream” by Erika Harrsch and “What time is it there?” by Katie Shima will be on view throughout the festival.