twi-ny recommended events

SUMMERSTAGE — THE NUYO PRESENTS: STACEYANN CHIN / NTOZAKE SHANGE / SARAH KAY

Ntozake Shange (photo © Adger Cowans 2015)

Ntozake Shange will be at free SummerStage spoken-word show August 9 in East River Park (photo © Adger Cowans 2015)

Who: Staceyann Chin, Ntozake Shange, Sarah Kay
What: SummerStage program with Nuyorican Poets Cafe
Where: East River Park, FDR Drive between Jackson & Cherry Sts.
When: Wednesday, August 9, free, 7:00
Why: Any chance to see poet, playwright, activist, novelist, children’s book writer, and feminist Ntozake Shange is a special opportunity, so don’t miss her on August 9 when she comes to East River Park in a spoken-word SummerStage program held in conjunction with the Nuyorican Poets Cafe. Winner of Obie Awards for Mother Courage and Her Children and for colored girls who have considered suicide / when the rainbow is enuf, the Pushcart Prize, and a Guggenheim fellowship and nominated for a Tony, a Grammy, and an Emmy, Shange changed her given name from Paulette Williams while in graduate school, choosing one that means “she who comes with her own things” (Ntozake) and “who walks like a lion” (Shange), which represents her quite well. She’ll be joined at East River Park by Brooklyn-based, Jamaica-born Staceyann Chin, a self-described “out poet and political activist” and single mother who has appeared on and off Broadway and written a memoir, The Other Side of Paradise, as well as New York poet and Project VOICE founder and codirector Sarah Kay, who began reading her poetry publicly in the city when she was fourteen, has published such books as No Matter the Wreckage, b, and The Type, and gave the extremely popular TED talk “If I should have a daughter . . .” in 2011.

TICKET ALERT: THEN A CUNNING VOICE AND A NIGHT WE SPEND GAZING AT STARS

Emily Johnson’s Then a Cunning Voice and a Night We Spend Gazing at Stars will take place overnight on Randall’s Island on August 19 (photo by Chris Cameron)

Who: Emily Johnson / Catalyst
What: All-night outdoor performance gathering
Where: Randall’s Island Park
When: Saturday, August 19, $50, dusk to after sunrise
Why: You don’t just go to a show by Emily Johnson / Catalyst; you become part of an experience. In such presentations as Niicugni and Shore, Johnson builds a sense of community for all involved, including cast, crew, and audience. On August 19, her multiyear project Then a Cunning Voice and a Night We Spend Gazing at Stars reaches its next level on Randall’s Island, where people will gather for an evening of song, dance, storytelling, quilting, ritual, and more under the night sky. The world premiere, presented by Performance Space 122, is directed by three-time Obie winner Ain Gordon (The Family Business, Spalding Gray: Stories Left to Tell) and features performers Tania Isaac, twelve-year-old Georgia Lucas, and Johnson, with visual design by textile artist Maggie Thompson, lighting by Lenore Doxsee, and quilt construction by volunteers from around the country. The ten-to-twelve-hour piece explores such questions as “What do you want for your well-being? For the well-being of your chosen friends and family? For your neighborhood? For your town, city, reserve, tribal nation, world?” You can participate as much as you want as the audience is led into discussions and programs about engaged citizenship, safety, Indigenous people, and making connections. Four thousand square feet of quilts will serve as home base for performances, resting, and just hanging out. Supper, breakfast, and snacks will be served as well. Johnson is a magnetic personality who cares very deeply about the future of all the people and animals living on this planet, so Then a Cunning Voice and a Night We Spend Gazing at Stars should be a powerful and moving experience, in addition to being a lot of fun. Look for our interview with Johnson about the project coming soon; in the meantime, you can contribute to the Kickstarter campaign to help fund this project here.

THE ACADEMY AT METROGRAPH: PHASE IV

Kendra (Lynne Frederick) gets a close look at the enemy in Saul Bass’s cult classic, Phase IV

PHASE IV (Saul Bass, 1974)
Metrograph
7 Ludlow St. between Canal & Hester Sts.
August 4-10
212-660-0312
metrograph.com

Metrograph’s celebration of the career of logo designer, title credits innovator, and Oscar-winning director Saul Bass has just added his sole feature film, the 1974 sci-fi thriller Phase IV. The long-unavailable work, which was comically crucified on Mystery Science Theater 3000, is an underrated gem, a thinking person’s horror film that is too intellectual for its own good. As the result of some kind of space anomaly, ants are doing things that they’re not supposed to do, communicating among different ant species and developing what appears to be a surprising sentience and intelligence. Dr. Ernest D. Hubbs (Nigel Davenport) and scientist and mathematician James Lesko (Michael Murphy) head out to an awesomely shaped circular lab in the middle of the Arizona desert, where the ant rebellion has begun. Dr. Hubbs tells the Eldridge clan — Mr. Eldridge (Alan Gifford), his wife, Mildred (Helen Horton), their granddaughter, Kendra (Lynne Frederick), and ranch hand Clete (Robert Henderson) — that they’re being evacuated for their own safety, but they don’t listen until it’s too late. As Dr. Hubbs and Lesko continue their complex study of the ants, the creatures start playing a fascinating cat-and-mouse game with the humans, challenging them both mentally and physically. The ants even show more compassion and consideration for their dead; while Dr. Hubbs refuses to mourn the Eldridge grandparents, the ants hold a touching ceremony for their fallen. It all leads to a surreal, psychedelic finale that is part 2001: A Space Odyssey, part Colossus: The Forbin Project, and part The Holy Mountain. Don’t expect the conclusion to make much sense, especially because Paramount edited it down from its original glory (while leaving some bits of it in the official trailer); you can watch the full ending here; it’s a doozy.

phase iv

While most genre movies make their killer creatures giant, like Empire of the Ants, The Deadly Mantis, and Them!, Bass keeps his bugs regular size, but they are often shot in spectacular close-ups by National Geographic time-lapse expert and insect photographer Ken Middleham (The Hellstrom Chronicle, Damnation Alley), making them appear to be enormous. Despite their size, the ants build some amazing structures, one a Stonehenge-like series of towers that would make Spinal Tap drool. (The production designer was John Barry, who later worked on the Star Wars and Superman series, while Dick Bush did the less-than-stellar cinematography.) The script, by playwright and screenwriter Mayo Simon (Futureworld, Marooned), is no mere stale Cold War parable or military manifesto but subtly references totalitarianism and communism while recognizing the coming climate change crisis. (In 1980, Bass would make The Solar Film with his wife, Elaine, about solar energy.) Meanwhile, the creepy, ominous score is by Brian Gascoigne, Stomu Yamashta, David Vorhaus, and Desmond Briscoe. Davenport (A Man for All Seasons, Bram Stoker’s Dracula) is gruff as the determined Hubbs, while the sensitive Murphy (Manhattan, An Unmarried Woman) and Frederick (Voyage of the Damned, Nicholas and Alexandra) form a sweetly innocent bond. The film is quite a warning, one that humankind is clearly still not taking seriously all these years later. Phase IV — which was also poorly marketed, as evidenced by the poster at left — is screening August 4-10 at Metrograph in the new Academy of Motion Picture Arts and Sciences’ year-long residency there, which also includes the program “Why Man Creates — the Work of Saul Bass,” consisting of the Bronx-born Bass’s Why Man Creates, which won the Academy Award for Best Short Documentary Subject, The Solar Film, Saul Bass: In His Own Words, a trailer reel, a commercial reel, and classic title sequences.

THE ELEPHANT IN THE ROOM: THE FILMS OF ALAN CLARKE

Anthology Film Archives is hosting a mostly free retrospective of the work of British director Alan Clarke

Anthology Film Archives
32 Second Ave. at Second St.
August 4–20, free (except for two screenings)
212-505-5181
anthologyfilmarchives.org

Working-class British theater, television, and film director Alan Clarke wrote and directed socially conscious, provocative works that challenged the status quo. “As a director, it seems to me that Clarke had it all — he had range, he had vision, he put energy on the screen, he could tell a story, he discovered fantastic actors and got great performances from them, and he could use a camera like a dream. He remains, in my eyes, quite simply the greatest British director of my lifetime,” Paul Greengrass said in the Guardian in 2005 on the occasion of the fifteenth anniversary of Clarke’s passing. The BBC is remastering nearly two dozen films he made for the channel, which has spurred Anthology Film Archives to host the retrospective “The Elephant in the Room: The Films of Alan Clarke,” which runs August 4-20. And just as most of Clarke’s films were shown on free television, most of the screenings in the retrospective will be free as well. The series begins August 4 with 1987’s Christine and 1989’s Elephant and continues with such other films as 1985’s Contact, 1970’s Sovereign’s Company, 1974’s Penda’s Fen, 1970’s The Hallelujah Handshake, and 1972’s To Encourage the Others. The only screenings that require paid admission are 1986’s Rita, Sue and Bob Too and the 1979 version of Scum, both of which were released in cinemas. (The 1977 theatrical version of Scum is free.) Don’t worry if the titles of most of the films are unfamiliar to you; among the stars are David Bowie, Tim Roth, Ray Winstone, Jane Horrocks, Gary Oldman, and others. In his book Alan Clarke, Dave Rolinson wrote, “Clarke was, as W. Stephen Gilbert argued upon the director’s untimely death from cancer at the age of fifty-four, ‘an unswerving champion of the individual voice and the noncomformist vision.’ He gave voice to those on the margins of society. . . . Individuals often come into contact with institutions, and are either initiated into them or broken, rehabilitated or cut adrift, rendered compliant or silenced. They face a struggle to articulate themselves in their own language.” Anthology is doing a great service by bringing back Clarke’s unswerving voice, and especially primarily for free.

4 DAYS IN FRANCE

Pierre Thomas (Pascal Cervo) uses Grindr as a GPS in Jérôme Reybaud’s 4 Days in France)

4 DAYS IN FRANCE (JOURS DE FRANCE) (Jérôme Reybaud, 2016)
Quad Cinema
34 West 13th St. between Fifth & Sixth Aves.
Opens Friday, August 4
212-255-2243
www.quadcinema.com
www.cinemaguild.com

Jérôme Reybaud’s feature debut, 4 Days in France, is a hypnotic existential road movie about deep-set, pervasive loneliness, tinged with bittersweet dark humor. In the middle of the night, Pierre Thomas (Pascal Cervo) packs a bag and quietly walks out on Paul (Arthur Igual), who doesn’t notice he’s gone until he wakes up in the morning, mystified by his lover’s absence. Pierre heads out across the French countryside and through small towns in his white Alfa Romeo sedan, using Grindr as his GPS, seeking out anonymous sex with men in remote gay hook-up areas. The distraught Paul, meanwhile, goes to the opera — Mozart’s Così fan tutte, which can be translated as “Women are like that” — without Pierre and realizes how much he misses him, so he takes off after his errant partner. He follows him on Grindr as well, but he is already far behind. As this slow-speed “chase” goes on, both Pierre and Paul encounter a series of lonely individuals, played by well-known French actors and celebrities, including Fabienne Babe as Diane Querqueville, who performs at an out-of-the-way nursing home; Natalie Richard as a bookseller who Pierre doesn’t remember; Lætitia Dosch as a philosophical thief; Liliane Montevecchi as Pierre’s elegant aunt; Jean-Christoph Bouet as an older man who services strangers; Florence Giorgetti as a strong-willed woman protecting her turf; Corinne Courèges as a Happy Dough employee with a surprising proposition for Paul; Hervé Colas as an unfriendly butcher; Dorothée Blanck as a woman pulling a wagon; Bertrand Nadler as a traveling salesman Pierre encounters in a hotel parking lot; Marie France as a woman who has an unexpected task for Pierre to help her with; and Emilien Tessier as a man literally standing between two worlds. Neither Paul nor Pierre ever say that much, although we do learn that Pierre is rather fastidious and naturally polite, preferring to follow rules and not be touched unless he wants to be.

Paul (Arthur Igual) doesn’t understand why his lover left him in 4 Days in France)

We actually learn more about the minor characters, some of whom are onscreen for a very short period of time, than we do about Paul and Pierre; there’s no back story establishing who they are and what kind of relationship they have, no explanation of why Pierre left and what he is searching for, yet writer-director Reybaud gets us to become wholly involved in their lives, desperately hoping that Paul catches up to Pierre and they make up, even as neither is exactly faithful during this trying dilemma. But each vignette, in the spirit of such Jim Jarmusch films as Stranger Than Paradise, Night on Earth, and Coffee and Cigarettes, comments about the state of human existence in the twenty-first century in abstract, obscure, yet tantalizing ways. The wall that separates Pierre from the salesman in the hotel is the centerpiece of the film, the two men on opposite sides, both in need of almost any kind of connection. Another critical scene is when a young woman steals Pierre’s travel bag and they end up going through it together, figuring out what his various possessions are worth — compared to the value of being with other people. Reybaud prefers long scenes with little camera movement, particularly in cars; Pierre drives for miles and miles, through such gorgeous scenery as the Alps and vast green landscapes — the lovely cinematography is by Sabine Lancelin, who has worked with Manoel de Oliveira, Chantal Akerman, Michel Piccoli, Éric Rohmer, and Raoul Ruiz — and the camera mostly remains still, as if putting the viewer in the backseat in this strange yet involving journey.

And despite clocking in at 140 minutes, 4 Days in France is utterly addictive even though nothing of great significance ever really happens. Early on, when Pierre drives a stranded Diane to the nursing home, she asks if he wants to come in and watch her show. He says no; he would never do anything like that, at least partly because he is likely to be suffering from a fear of death, among several other private maladies. But Reybaud lets the audience see Diane as she whisper-sings in a sparkly costume. When it comes right down to it, this film is not about why Pierre walked out on Paul and set out on his own; it’s really just about how none of us wants to be alone. “Where are you going?” the woman with the wagon asks Pierre, who casually responds, “I don’t know.” 4 Days in France opens August 4 at the Quad, with Reybaud participating in Q&As following the 6:40 shows on Friday and Saturday night.

IN CONCERT: SHUT UP AND PLAY THE HITS

James Murphy says farewell to LCD Soundsystem in multifaceted concert documentary

SHUT UP AND PLAY THE HITS (Dylan Southern & Will Lovelace, 2011)
BAMcinématek, BAM Rose Cinemas
30 Lafayette Ave. between Ashland Pl. & St. Felix St.
Sunday, August 6, 7:30
Series runs through August 13
718-636-4100
www.bam.org
www.shutupandplaythehits.com

On April 2, 2011, after ten years of building a devoted following that was still growing, electronic dance-punk faves LCD Soundsystem played what was supposed to be its farewell show at Madison Square Garden. Directors Dylan Southern and Will Lovelace, who previously documented the British band Blur in No Distance Left to Run, capture the grand finale in the often bumpy, sometimes revelatory concert film Shut Up and Play the Hits. The movie is divided into three distinct sections that take place before, during, and after the massive blowout, with Southern and Lovelace weaving between them. There is extensive footage of the event at the Garden, including performances of such LCD classics as “Dance Yrself Clean,” “All My Friends,” “Us v Them,” “North American Scum,” and “Losing My Edge.” Although the multicamera approach tries to make you feel like you’re there, onstage and backstage with front man Murphy, keyboardist Nancy Whang, bassist Tyler Pope, drummer Pat Mahoney, and various special guests, it lacks a certain emotional depth, and the sound, primarily during the first songs, is terrible, although that could have been the fault of the tiny theater where we saw it more than the film itself. The second section features music journalist Chuck Klosterman (Sex, Drugs, and Cocoa Puffs: A Low Culture Manifesto) interviewing Murphy at the Spotted Pig in the West Village a week before the concert, asking inane, annoying questions that Murphy strains to answer.

But the most fascinating part of the film by far, and how it starts, involves Murphy the day after the show. He allows the camera to follow him everywhere, from waking up in his bed with his dog to carefully shaving with an electric razor to visiting the DFA offices for the first time in a year. It’s hard to believe that the night before he was a grandiose rock star but now he is walking his pooch, sitting on a bench in front of a coffee shop, and spending most of the day alone. The camera gets right into his face, showing every gray hair, zooming in on his puffiness and his deep-set, nearly dazed eyes. The film would have benefited from less time with Klosterman and more with Murphy as he contemplates his past, present, and future. It also would have been interesting to hear from the other members of the band, but Shut Up and Play the Hits is specifically about Murphy, who, at forty-one, suddenly doesn’t know what to do with his life, having left an extremely successful gig that was only gaining popularity. (However, in January 2016 the band reunited, once again hitting the road, including a fab headlining gig at the Panorama festival that July.) Shut Up and Play the Hits is screening August 6 at 7:30 in the BAMcinématek series “In Concert,” which continues through August 13 with such other live-music films as Bill and Turner Ross’s Contemporary Color, D. A. Pennebaker’s Monterey Pop, and Mel Stuart’s Wattstax.

SHAKESPEARE IN THE PARK: A MIDSUMMER NIGHT’S DREAM

Annaleigh Ashford steals the show as Helena in Shakespeare in the Park presentation of A Midsummer Night’s Dream (photo by Joan Marcus)

Central Park
Delacorte Theater
Tuesday-Sunday through August 13, free, 8:00
shakespeareinthepark.org

Since 2013, Public Works founder and resident director Lear deBessonet has presented special short-run summer productions of classic works at the Delacorte Theater consisting of professional and nonprofessional actors, with casts of more than two hundred men, women, and children, from community organizations from all five boroughs in addition to theater veterans. The Public Theater initiative has included musical adaptations of The Tempest, The Winter’s Tale, Twelfth Night, and The Odyssey. DeBessonet also directed Bertolt Brecht’s Good Person of Szechwan indoors at the Public’s Martinson Hall. But now the thirty-something Baton Rouge native and longtime Brooklynite is moving to one of the Public Theatre’s largest and best-loved programs, making her Shakespeare in the Park directorial debut. She’s helming the Bard’s A Midsummer Night’s Dream, which would appear to be a terrific vehicle for her sensibilities but which turns out to be a mixed bag, though still fun. The romantic comedy is one of Shakespeare’s most delightful and well-structured plays, with four intersecting plots dealing with the notion of love in all its forms. Theseus, the Duke of Athens (Bhavesh Patel), is preparing to wed Hippolyta, queen of the Amazon (De’Adre Aziza). Hermia (Shalita Grant) is in love with Lysander (Kyle Beltran), but her father, Egeus (David Manis), insists that she marry Demetrius (Alex Hernandez) or face severe punishment. Helena (Annaleigh Ashford) is madly in love with Demetrius, who has no interest in her. Meanwhile, an acting troupe of artisans known as the Mechanicals — carpenter Peter Quince (Robert Joy), weaver Nick Bottom (Danny Burstein), bellows mender Francis Flute (Jeff Hiller), tinker Snout (Patrena Murray), joiner Snug (Austin Durant), and tailor Robin Starveling (Joe Tapper) — have come to Athens to put on a production of Ovid’s Pyramus and Thisbe, about a pair of Babylonian lovers, a wall, and a lion, but professionalism is not their forte. And deep in the forest are the Fairies, including King Oberon (Richard Poe) and Queen Titania (Phylicia Rashad), who are battling over a changeling boy (Benjamin Ye), along with Robin Goodfellow, better known as Puck (Kristine Nielsen), Peaseblossom (Vinie Burrows), Cobweb (Manis), and Mustardseed (Warren Wyss). Magical elixirs, mistaken identity, and animal transformation ensue. “The course of true love never did run smooth,” Lysander tells Hermia. And Puck declares, “Lord, what fools these mortals be!”

Titania (Phylicia Rashad) finds a strange bedfellow in Nick Bottom (Danny Burstein) in Bard show at the Delacorte (photo by Joan Marcus)

A Midsummer Night’s Dream practically demands to be performed outside, and the Delacorte is a splendid home for it. Tony winner David Rockwell’s (She Loves Me) fairy-tale set features three lush green trees, a movable stone wall entranceway, a tree house where the band plays, and a playground slide amid the clouds, stars, flying insects, and backstage raccoons. The fab costumes, including a glamorous shout-out to Beyoncé, are by Tony winner Clint Ramos (Eclipsed). Tony winner Ashford (Kinky Boots, You Can’t Take It with You) steals the show as Helena, once again displaying her spectacular aptitude for physical comedy; her line deliveries, facial expressions, and wacky movements make the production worthwhile all on their own. Six-time Tony nominee Burstein (Fiddler on the Roof, Cabaret) has a ball as Bottom, who is turned into a donkey, although the play-within-a-play drags on a bit too long. Casting senior citizens as the fairies, dressed in white night clothing, is cute at first but eventually slows things down, and not even the always outstanding Nielsen can turn it around. And there’s usually sexual tension surrounding the changeling, but deBessonet has made him a young boy searching for a home. Marcelle Davies-Lashley belts out some hot New Orleans–tinged R&B as a fairy singer in a glitzy gown, but her appearances are disruptive to the narrative, taking the audience out of Shakespeare’s fantasy world. (The band consists of music director Jon Spurney on keyboards and guitar, Jeremy Chatzky on bass, Christian Cassan on drums and percussion, Andrew Gutauskas on reeds, Freddy Hall on guitar, and Matt Owens on trumpet and flugabone.) Despite the production’s disjointedness, there is nary a better way to spend a night outdoors in New York City, especially for free. As Puck relates, “If we shadows have offended, / Think but this, and all is mended, / That you have but slumbered here / While these visions did appear.”