twi-ny recommended events

BROOKLYN MUSEUM FIRST SATURDAY: WOMEN’S HISTORY MONTH

“Judy Chicago Designing the Entry Banner for ‘The Dinner Party,’” 1978 (courtesy of Through the Flower Archive)

Brooklyn Museum
200 Eastern Parkway at Washington St.
Saturday, March 3, free, 5:00 – 11:00
212-864-5400
www.brooklynmuseum.org

The Brooklyn Museum honors Women’s History Month with its free March First Saturday program, featuring live performances by Leikeli47, DJ Sabine Blaizin (Oyasound) with live percussion by Courtnee Roze, MICHIYAYA Dance (with Anya Clarke and Mitsuko Verdery leading a jam session), and Brown Girls Burlesque, presenting “Act Like a Lady! Strippin’ Fo’ the Culture,” with Hoodoo Hussy, Elektra Taste, Dakota Mayhem, Skye Siren, and Dirty Honey Shake dancers, hosted by Ravenessa; a book launch of Beverly Bond’s Black Girls Rock! Owning Our Magic. Rocking Our Truth. with Bond, Michaela Angela Davis, and Eunique Jones Gibson; pop-up gallery talks by teen apprentices in the “American Art” galleries; a community talk with representatives from THINK!Chinatown; Cave Canem Foundation poetry with zakia henderson-brown, Marwa Helal, and Aracelis Girmay; a hands-on art workshop inspired by Judy Chicago’s banners; a curator tour of “Roots of ‘The Dinner Party’: History in the Making” led by Carmen Hermo; and a Feminist Book Club discussion of Janet Mock’s Surpassing Certainty: What My Twenties Taught Me, with Glory Edim of Well-Read Black Girl. In addition, the galleries will be open late so you can check out “One Basquiat,” “Roots of ‘The Dinner Party’: History in the Making,” “Arts of Korea,” “Infinite Blue,” “Ahmed Mater: Mecca Journeys,” “Rodin at the Brooklyn Museum: The Body in Bronze,” “A Woman’s Afterlife: Gender Transformation in Ancient Egypt,” and more.

THE AMATEURS

A ragtag troupe tries to survive the plague while putting on a play about Noah’s ark in The Amateurs (photo by Carol Rosegg)

Vineyard Theatre
Gertrude and Irving Dimson Theatre
108 East 15th St. between Union Square East & Irving Pl.
Tuesday – Sunday through March 29, $79-$100
www.vineyardtheatre.org

During the first half of Jordan Harrison’s new play, The Amateurs, which opened tonight at the Vineyard, I found myself wondering just what it was I was watching. Basically, it was about a troupe of amateur actors in fourteenth-century Europe putting on a most amateurish production of Noah’s Flood. Led by Larking (Thomas Jay Ryan), who plays God, the company wants to impress their benefactor, the Duke, so much that he will make them his official troupe and allow them to live in his castle, safe from the Black Death that is sweeping across the land and has already taken one of their own, Henry (Greg Keller). “We’re actors,” Larking declares. “They bury us outside the city walls — and that’s if they like us. So we’ve got to be the best they’ve ever seen, if we want to live.” But alas, they are terrible. So is the first act of The Amateurs a farce? A parable? A historical treatise? Is it purposefully scattershot, or is it a bunch of amateurs making a play about a bunch of amateurs? Just when I was looking for Marshall McLuhan to explain it all to me (see Annie Hall), the narrative comes to a halt and Michael Cyril Creighton, who portrays simple-minded but lovable scenic designer Gregory, steps forward in contemporary dress and identifies himself as the playwright.

steals the show twice at the Vineyard (photo by Carol Rosegg)

Michael Cyril Creighton plays several key parts in The Amateurs at the Vineyard (photo by Carol Rosegg)

“Hi. Hello there,” Creighton says, addressing the audience directly. “The Vineyard Theatre thought it might be a good idea if I talked to you for a little while about, well, Why. It seems that a few ticket holders have been, um, voting with their feet, I guess you would say? And I suggested we could just lock all the doors maybe, or like lightly shame people as they’re trying to leave, but they said No. No, they said. We are all adults and it would be better if you could maybe just contextualize things a little.” And contextualize things he does, delivering a fifteen-minute monologue that goes deep into what might or might not be Pulitzer finalist Harrison’s creative process and personal past, from grammar school to the AIDS epidemic, from Bible study to art history lesson, ingeniously relating the inspiration behind the play, bringing its own drama and tension. At one point, Gregory is joined by Quincy Tyler Bernstine, who plays Hollis in the show-within-the-show; she just about tears the roof off the place with her soliloquy, sharing her feminist views comparing Noah’s unnamed wife to Bob Cratchit’s spouse, Emily, in Charles Dickens’s A Christmas Carol.

And then the magic of theater took complete hold of me. The play travels back to fourteenth-century Europe, where Hollis, Larking, Rona (Jennifer Kim), the Physic (Keller), and Brom (Kyle Beltran) again portray the Seven Deadly Sins, rehearse their terrible show, and meet the Duke’s stalwart major-domo (Beltran). However, whereas in the first act things were bumpy and odd, now every action, every piece of dialogue makes sense. We get the references, we laugh at inside jokes, we applaud the feminist angle, we even care more about the pageant players themselves, as well as the characters they play. We marvel at Harrison’s (Marjorie Prime, Maple and Vine) creative process, we get a kick out of Tony winner David Zinn’s (The Humans, Fun Home) set, which consists of a grassy field, a hill, and a ramshackle cart that serves as the troupe’s mobile stage, and we chuckle knowingly at Raphael Mishler’s strange, Scream-like masks. We appreciate Obie winner Oliver Butler’s (The Light Years, The Open House) tongue-in-cheek direction, guiding us through two time periods and the fourth wall. And we owe it all to Creighton/Harrison, for reminding us of the power of theater, where it comes from, and what it can do for us, especially in dark times.

CONCERT FOR GEORGE

Eric Clapton, Ringo Starr, Dhani Harrison, and others come together for George Harrison tribute at Royal Albert Hall

CONCERT FOR GEORGE (David Leland, 2002)
Beekman Theatre, 1271 Second Ave., 212-249-0807, Tuesday, February 27
Village East Cinema, 181-189 Second Ave., 212-529-6998, Tuesday, February 27
IFC Center, 323 Sixth Ave. at West Third St., 212-924-7771, Monday, March 5
www.concertforgeorge.com

On November 29, 2002, on the first anniversary of the death of George Harrison from lung cancer at the age of fifty-eight, friends and relatives of the Quiet Beatle gathered at London’s Royal Albert Hall for a tribute concert and fundraiser. Concert for George was captured on film by director David Leland and hit movie theaters in October 2003; it has now been remastered in 2K and 5.1 Stereo Surround Sound and is being rereleased on February 27 in honor of what would have been Harrison’s seventy-fifth birthday (on February 25). The stellar event was organized by Harrison’s longtime close friend Eric Clapton, with the support of Harrison’s widow, Olivia, and son, Dhani, who was onstage playing the guitar through the whole show. Among other musicians participating were Paul McCartney, Ringo Starr, Jeff Lynne, Tom Petty and the Heartbreakers, Billy Preston, Ravi Shankar, Anoushka Shankar, and Joe Brown, performing songs from Harrison’s career as a Beatle and a solo artist. It’s a real treat because many of these songs had never been played live by Harrison; the Beatles stopped touring in 1966, and Harrison avoided the road except for a problematic tour in 1974 and a brief visit to Japan in 1991. And through it all, large-scale photos of Harrison look down from above, taking in the festivities.

Beautifully photographed by Oscar-winning cinematographer Chris Menges and edited by Claire Ferguson, Concert for George opens with Hindu music, a favorite of Harrison’s, including the traditional prayer “Sarveshaam” and Ravi Shankar’s “Your Eyes” and “Arpan,” the latter composed specifically for the evening. Following a comic interlude featuring Month Python members Terry Gilliam, Terry Jones, Eric Idle, Michael Palin, Neil Innes, and bonus guest Tom Hanks — Harrison was a big Python fan and good friends with the troupe — the all-star band turns to Harrison’s music, which is performed with love and admiration and reveals his genius at melody and incorporating nontraditional choruses and guitar lines. Unfortunately, during too many of the songs, Leland (Wish You Were Here, Checking Out) cuts away from what’s happening onstage to show rehearsals and behind-the-scenes footage. While it’s fascinating to hear Petty talk about how Harrison helped write the Traveling Wilburys hit “Handle with Care” and see Ravi and Anoushka Shankar preparing for a special musical presentation, it would have been better to see such things in between songs. And indeed, the songs are revelatory, certifying Harrison’s genius as a songwriter as well as a guitarist. Starr excels on “Photograph,” which he wrote with Harrison and, as Ringo notes, takes on different meaning given the circumstances; McCartney is brilliant performing “For You Blue” on acoustic guitar and “Something” on ukulele, breathing new life into two old chestnuts; Clapton wails away on “Beware of Darkness” and “While My Guitar Gently Weeps”; and Preston, one of several men referred to as the Fifth Beatle, turns “Isn’t It a Pity?” into a powerful epic. The crack backup band boasts such great musicians as guitarists Andy Fairweather-Low and Marc Mann (who both play some sweet slide), pianists Gary Brooker and Jools Holland, bassists Dave Bronze and Klaus Voormann, percussionists Jim Keltner, Jim Capaldi, and Ray Cooper, and vocalists Katie Kissoon, Tessa Niles, and Sam Brown. It was filmed only a year after Harrison’s passing, but all the men and women onstage are enjoying themselves immensely, their joy extending into the audience as they celebrate an extraordinary man of peace and love. Concert for George is screening February 27 at the Beekman and Village East and March 5 at IFC Center; proceeds from the rerelease and DVD package will benefit the Material World Foundation, which Harrison founded in 1973 “to encourage the exploration of alternate and diverse forms of artistic expression, life views, and philosophies as well as a way to support established charities and people with special needs.”

INGMAR BERGMAN CENTENNIAL RETROSPECTIVE: SHAME / THE PASSION OF ANNA (WITH LIV ULLMANN PRESENT)

Eva (Liv Ullmann) and Jan (Max von Sydow) struggle to preserve their love during a brutal civil war in Ingmar Bergman’s Shame

SHAME (Ingmar Bergman, 1968)
Film Forum
209 West Houston St.
February 28, March 1-3
Series runs February 7 – March 15
212-727-8110
filmforum.org

Longtime Ingmar Bergman muse Liv Ullmann will bet at Film Forum on March 2 for a Q&A following the 6:15 screening of Shame, part of a five-week retrospective celebrating the hundredth anniversary of the Swedish director’s birth. Shame is a brilliant examination of the physical and psychological impact of war, as seen through the eyes of a happily married couple innocently caught in the middle of the brutality. Jan (Max von Sydow) and Eva Rosenberg (Liv Ullmann) have isolated themselves from society, living without a television and with a broken radio, maintaining a modest farm on a relatively desolate island a ferry ride from the mainland. As the film opens, they are a somewhat ordinary husband and wife, brushing their teeth, making coffee, and discussing having a child. But soon they are thrust into a horrific battle between two unnamed sides, fighting for reasons that are never given. As Jan and Eva struggle to survive, they are forced to make decisions that threaten to destroy everything they have built together. Shot in stark black-and-white by master cinematographer Sven Nykvist, Shame is a powerful, emotional antiwar statement that makes its point through intense visual scenes rather than narrative rhetoric. Jan and Eva huddle in corners or nearly get lost in crowds, then are seen traversing a smoky, postapocalyptic landscape riddled with dead bodies. Made during the Vietnam War, Shame is Bergman’s most violent, action-filled film; bullets can be heard over the opening credits, announcing from the very beginning that this is going to be something different from a director best known for searing personal dramas. However, at its core, Shame is just that, a gripping, intense tale of a man and a woman who try to preserve their love in impossible times. Ullmann and von Sydow both give superb, complex performances, creating believable characters who will break your heart. Shame is also being shown February 28, March 1, March 2 at 2:00 and 10:15, and March 3.

Andreas Winkelman (von Sydow) and Anna Fromm (Liv Ullmann) seek love, companionship, and the truth in Ingmar Bergman’s The Passion of Anna

THE PASSION OF ANNA (Ingmar Bergman, 1969)
Film Forum
March 2, 3, 7, 13
filmforum.org

Liv Ullmann will also be at Film Forum on March 3 for a Q&A following the 12:30 screening of The Passion of Anna, the conclusion to Ingmar Bergman’s unofficial island trilogy that began with Hour of the Wolf and Shame, each work filmed on Fårö island and starring Ullmann and Max von Sydow as a couple. Bergman throws caution to the wind in The Passion of Anna, the Swedish title of which is the more direct and honest The Passion. The 1969 film was made while Bergman and Ullmann’s personal relationship was ending, and it shows. The film opens with Andreas Winkelman (von Sydow) trying to repair his leaking roof. A divorcé, he lives by himself on the island, treasuring his isolation as he smokes his pipe and goes about his basic business. But when Anna Fromm (Ullmann) stops by to use his phone, he gets swept up into Anna’s drama — her husband and child were recently killed in an accident that left her with a bad leg — and that of her best friends, Elis Vergerus (Erland Josephson) and his wife, Eva (Bibi Andersson). Suddenly Andreas is going to dinner parties, taking in a puppy, and getting involved in the mysterious case of a rash of animal killings, whom some are blaming on off-kilter local resident Johan Andersson (Erik Hell). And the more his privacy is invaded, the worse it all could become.

For the first time, Bergman, a perfectionist of the highest order, allowed improvisation in several scenes. He gives each actor a few minutes to describe their characters during the film, breaking the fourth wall, while also adding his own narration. “Has Ingmar Bergman made a picture about his cast, or has his cast made a picture about Ingmar Bergman?” the original American trailer asks. Cinematographer extraordinaire Sven Nykvist uses a handheld camera while switching between black-and-white and color, occasionally focusing on dazzling silhouettes and close-ups that are challenged by the stark reds of a blazing fire and Anna’s hat and the bold blues of the sky and Anna’s penetrating eyes, all splendidly edited by Siv Lundgren. Bergman tackles such regular subjects as God, infidelity, dreams, war, and loneliness with a slow build that threatens to explode at any moment. The film is also very much about the search for truth, both in real life and cinema. It might be called The Passion of Anna, but there is an overarching coldness that pervades everything. The finale is sensational, the scene going out of focus until virtually nothing is left. The Passion of Anna is screening in Film Forum’s “Ingmar Bergman Centennial Retrospective” on March 2, 3, 7, and 13.

HANGMEN

Martin McDonagh’s Hangmen is set primarily in a Lancashire pub run by a government executioner (photo by Ahron R. Foster)

Atlantic Theater Company
Linda Gross Theater
336 West 20th St. between Eighth & Ninth Aves.
Tuesday – Sunday through March 25, $90-$110
866-811-4111
atlantictheater.org

British-Irish writer and filmmaker Martin McDonagh further establishes himself as one of the finest storytellers in all the land with the exquisitely rendered, Olivier Award–winning Hangmen, which has just been very deservedly extended through March 25 at the Atlantic. McDonagh is already riding high with Three Billboards outside Ebbing, Missouri, which he wrote, produced, and directed and has been nominated for seven Academy Awards; the film is a razor-sharp investigation of one mother’s determination to find out who raped and killed her daughter in a small town that wants to move on from the tragedy. Hangmen begins in 1963, when master executioner Harry Wade (Mark Addy) and his somewhat hapless assistant, Syd Armfield (Reece Shearsmith), are preparing to hang convicted child rapist and murderer Hennessy (Gilles Geary), who is fighting to stay alive. “You’re hanging an innocent man! I never even met the girl! I’ve never even been to Norfolk!” Hennessy insists. “That’s all just the whys and wherefores. That’s nowt to do with me,” the burly Harry explains shortly before pulling the lever and hanging Hennessy. “Now where’s our bloody breakfast? I, for one, am fucking starved,” Harry says after Hennessy is officially declared dead. To Harry, hanging is his job, and he is simply going to carry out the orders of the government to the best of his ability.

Harry Wade (Mark Addy) and his wife, Alice (Sally Rogers), worry about their daughter in gripping play at the Atlantic (photo by Ahron R. Foster)

Two years later, Harry is at the pub he runs with his wife, Alice (Sally Rogers). Also there are four regulars, the daft Bill (Richard Hollis), the old and deaf Arthur (John Horton), Charlie (Billy Carter), who repeats everything for Arthur, and Fry (David Lansbury), a policeman who looks the other way whenever necessary. Capital punishment, including hanging, has just been outlawed in Britain, and young reporter Clegg (Owen Campbell) is trying to get a quote from Harry, who refuses to talk — until Clegg brings up Albert Pierrepoint (Maxwell Caulfield), the most famous of Britain’s executioners and Harry’s archnemesis and former boss. They are soon joined by the mysterious Peter Mooney (Johnny Flynn), a suspicious character who appears to have an ulterior motive. After Mooney violates pub protocol, Alice says to Harry, “Don’t mind him, love. He just don’t know the ropes, does he?” to which Harry responds, “There’s ropes and there’s ropes, though, int there?,” one of several rope jokes McDonagh uses. Mooney turns more menacing as he seeks to rent a room above the pub and takes an interest in Alice and Harry’s extremely shy fifteen-year-old daughter, Shirley (Gaby French), setting up a thoroughly unpredictable, wickedly funny second act.

Hangmen is loosely inspired by the exploits of the real-life Harry Allen, an English hangman who at first assisted Pierrepoint (the subject of the excellent 2005 biopic Pierrepoint — The Last Hangman) and later, as chief executioner, hanged a man named James Hanratty who professed his innocence to the very end. The Royal Court production is expertly directed by Matthew Dunster (The Lightning Child, Mogadishu), who never allows the play to pause for a breath; none of the actors are ever just standing around, waiting, even as the action takes place elsewhere. Anna Fleischle’s set marvelously morphs twice, including a gripping scene between Mooney and Armfield in a café. Addy (Game of Thrones, The Full Monty) is utterly charming as the boisterous and blustery Harry, a bigger-than-life figure who has no regrets, except for declining an invitation to hang convicted Nazis. In his relatively brief appearance, Caulfield (Grease 2, Class Enemy) is a hoot as Pierrepoint, a serious man who brings down the house. But the success of the narrative depends on Mooney, played with devilish charm by Flynn (Richard III / Twelfth Night, Jerusalem); the questions surrounding who Mooney is, what he wants, and what he might have done are central not only to the play but to the overall debate over the effectiveness of the death penalty as justice and deterrent. And through it all, the real star is McDonagh, whose skill at writing dialogue and putting well-drawn, unique characters in emotionally and psychologically (and physically) challenging situations is unparalleled. McDonagh’s plays have won three Olivier Awards (The Lieutenant of Inishmore, The Pillowman, and Hangmen), earned two other Best Play nominations (The Beauty Queen of Leenane, A Skull in Connemara), and garnered four Best Play Tony nods; meanwhile, he was nominated for an Oscar for Best Original Screenplay for his 2008 thriller, In Bruges. The man can just plain write. Hangmen is a sizzling black comedy, one of the best plays of the season. It’s not going to hang around forever — although a Broadway transfer would be most welcome — so book your tickets now.

RELEVANCE

Dr. Kelly Taylor (Molly Camp) moderates a discussion with Dr. Theresa Hanneck (Jayne Houdyshell) and Msemaji Ukweli (Pascale Armand) in Relevance (photo by Joan Marcus)

MCC Theater at the Lucille Lortel Theatre
121 Christopher St. between Bleecker & Hudson Sts.
Tuesday – Sunday through March 11, $49-$99
212-352-3101
www.mcctheater.org

“What you hear underneath it is hate. It’s pure, unadulterated hate,” Dr. Theresa Hanneck (Tony winner Jayne Houdyshell) says at the beginning of JC Lee’s electrifying Relevance, which opened this afternoon at the Lucille Lortel Theatre. The timely and topical MCC world premiere takes place at the fictional American Conference for Letters and Culture, where Theresa, a white woman in her late fifties, is being honored with the Alcott lifetime achievement award for her influential career as an outspoken feminist writer and teacher. As the play opens, she is on a panel with up-and-coming writer and activist Msemaji Ukweli (Tony nominee Pascale Armand), a twentysomething African American woman who quickly reveals that she is not afraid to take down her idols to prove a point. The talk is being moderated by vice committee chair Dr. Kelly Taylor (Molly Camp), a white woman in her thirties who desperately wants to avoid controversy, especially involving race, gender, and age. After Theresa brings up the concept of privilege, Msemaji fires back, and the two women go for each other’s throat as Kelly tries to calm things down.

David (Richard Masur) and Theresa (Jayne Houdyshell) have a lot to talk about in MCC world premiere at the Lucille Lortel (photo by Joan Marcus)

Theresa is livid about how she was treated by Msemaji; her longtime agent and former lover, David (Emmy nominee Richard Masur), thinks she should let it go, but Theresa is dead-set on revenge, belittling her new rival. “You pick a topic people are afraid to confront, you feign bravery with a cursory glimpse, and everyone showers you with accolades for showing them a touchstone they already knew was there,” she says, convinced that Msemaji is a phony. Meanwhile, Msemaji is not going to back off just because of Theresa’s history. “Her work is a clarion call from the past, a touchstone for my generation as we move the conversation forward, unmarked by the same scars that are tokens of her survival,” Msemaji explains. The ever-widening generation gap is also evident in social media; whereas Msemaji spreads her message on Twitter and on such sites as Jezebel, Theresa has never tweeted and doesn’t even know how to scroll on her smartphone. “Twitter is hardly Vidal versus Buckley,” a defiant Theresa says. “It’s people climbing on top of one another to see what the kids at the cool table are talking about. Who can ‘out woke’ who. It’s as much a debate as a Fox & Friends panel.” But when she digs up some dirt on Msemaji, Theresa becomes digitally literate on the spot while she decides how far she is willing to go to protect her legacy and not be shoved aside.

Msemaji Ukweli (Pascale Armand) knows just what she wants in Relevance (photo by Joan Marcus)

Relevance is gripping theater, focusing on many of the key hot-button issues that have led to rising hatred on the streets, in the government, and, of course, across social media. Lee (Luce, Looking) and director Liesl Tommy (Eclipsed, The Good Negro) zero in on the bickering that exists among liberals with views not that different from each other but who find themselves at odds regarding their methods. Houdyshell (The Humans, A Dolls House, Part 2), one of the leading ladies of New York theater, is a force of nature as Theresa, a strong, determined woman who is not about to yield her place as a major figure in the women’s rights movement. Armand (Eclipsed, The Trip to Bountiful) is tough as nails as Msemaji, a bold, future-thinking woman who knows it’s her time to shine. Camp (The Heiress, Close Up Space) strikes just the right note as Kelly, whose conflict-avoidant perkiness covers a steely ambition to excel in a position long dominated by men. And Masur (Transparent, One Day at a Time) is subtle and gentle as David, a seemingly reasonable man who has his own personal agenda.

Tony winner Clint Ramos’s (Eclipsed, Sunday in the Park with George) revolving set goes from conference stage to hotel bar to bedroom, with such songs as Joan Armatrading’s “Drop the Pilot” — which includes the line “Don’t use your army to fight a losing battle” — accompanying the changes. However, Jeanette Oi-Suk Yew’s projections, mostly depicting what is happening “live” on social media, can be overwhelming and distracting. Relevance unfolds like a classic courtroom drama, with Theresa and Msemaji evoking Clarence Darrow and William Jennings Bryan going at it back and forth, each one making salient, hard-hitting points, taking on hypocrisy while also serving their own substantial egos. Lee and Tommy do a superb job navigating the deeply intellectual and philosophical arguments being made, which easily could turn to the pedantic and pretentious but instead are thought-provoking and eye-opening. In a world fraught with oversensitivity and political correctness, Relevance also stands as a cogent reminder of what could possibly be accomplished if some people could just come together and fight on the same side — and the tremendous cost incurred when they don’t.

WORK UP 4.0

The White Box at Gibney Dance
Gibney Dance Agnes Varis Performing Arts Center
280 Broadway between Chambers & Reade Sts.
March 2-3, 9-10, 16-17, $10, 8:00
646-837-6809
gibneydance.org

The fourth annual “Work Up” series at Gibney Dance takes place the first three Friday and Saturday nights in March, with shared programs by emerging dance and performance artists. Tickets are only ten dollars to get a sneak peek at some up-and-coming dancers and choreographers in a very cool space. On March 2-3, “Work Up 4.1” consists of Ainesh Madan’s Phantasies, Evelyn Lilian Sanchez Narvaez’s okay, I’m gunna start now…, and Marion Spencer’s Rosalie. On March 9-10, “Work Up 4.2” features Babay L. Angles’s May Malas Sa Loob Pero May Datating Pa (There’s been wickedness within but something else is coming).: An exploration of the Pinay Psyche in process of Decolonization, J. Bouey’s The Space Between Words, and Rourou Ye’s Phantom Duet. And on March 16-17, “Work Up 4.3” brings together Melanie Greene’s Sapphire, Summer Minerva’s Femminiello/Belonging, and EmmaGrace Skove-Epes’s in search of mirrors, and catch the light just right. Each Friday night performance is followed by a reception, and each Saturday night show concludes with a discussion with the artists. In addition, there is a free multimedia gallery exhibit, running through March 18, consisting of works by the participating artists.