twi-ny recommended events

TICKET ALERT: THE MUSIC OF ARETHA FRANKLIN (AND LIVE REHEARSAL SHOW)

the music of aretha franklin

Who: Kenny Loggins, Melissa Etheridge, Rhiannon Giddens, Bettye LaVette, Allen Stone, Glen Hansard, Taj Mahal & Deva Mahal, Living Colour, G. Love, Sarah Dash, Sam Moore, Ledisi, Todd Rundgren, Ceelo Green, Naomi Shelton, Richard Thompson, and Antibalas
What: Fundraising tribute to Aretha Franklin
Where: Carnegie Hall, Stern Auditorium / Perelman Stage, 57th St. & Seventh Ave., 212-247-7800
When: Monday, March 6, $48-$160, 8:00 (Live Rehearsal Show March 5 at City Winery, $40-$65, 8:00)
Why: Legendary R&B singer Aretha Franklin just announced her retirement from touring (she will still record at least one more album, with Stevie Wonder), so “The Music of Aretha Franklin” tribute being held March 6 at Carnegie Hall couldn’t be much more timely. City Winery owner Michael Dorf’s “Music of” celebrations, benefits for numerous music education programs for underprivileged youth, in the past have honored such musicians as Prince, the Rolling Stones, Neil Young, the Who, R.E.M., Bruce Springsteen, Joni Mitchell, and Bob Dylan; this year an all-star lineup pays R.E.S.P.E.C.T. to the Memphis-born soul superstar who will turn seventy-five on March 25; her #1 hits include “Chain of Fools,” “Think,” “Jump to It,” “Freeway of Love,” and, of course, “Respect.” In addition, on March 5, City Winery will be hosting the annual Live Rehearsal Show, in which many of the artists performing at the Carnegie Hall show will rehearse in front of an audience, led by house band Antibalas.

THE OBJECT LESSON

(© Joan Marcus)

Geoff Sobelle’s THE OBJECT LESSON is a participatory tour de force (photo © Joan Marcus)

New York Theatre Workshop
79 East Fourth St. between Second & Third Aves.
Tuesday – Sunday through March 19, $69
www.nytw.org
www.geoffsobelle.com

“That’s all you need in life, a little place for your stuff. That’s all your house is — a place to keep your stuff,” George Carlin said in his famous “A Place for My Stuff” routine. The popular comedy bit served as inspiration for Geoff Sobelle’s tour-de-force one-man show, The Object Lesson, which was first seen in New York City in a brief four-day run at BAM in November 2014 and is currently in the midst of an extended seven-week engagement at New York Theatre Workshop. The ever-malleable NYTW space has been transformed by designer and multidisciplinary artist Steven Dufala into a large storage room cluttered with hundreds of boxes; although there are some chairs and couches along the perimeter, the majority of the audience sits on small boxes that they take from piles in the central area. Arrive at least fifteen minutes before the official start time so you can look inside any of the myriad boxes that are not taped shut, finding strange and unusual items that might trigger memories of your own. You can also peruse a card catalog filled with yet more stuff and listen in on a conversation coming through a tin can in an old phone booth in the corner. Ultimately, Sobelle emerges from the audience, as if he could be any one of us, and for the next hundred minutes he explores his life through the things he’s saved in the boxes. Channeling Buster Keaton, he sets up small, decidedly analog vignettes that involve ingenious illusions and audience participation as he comes upon objects that bring up remembrances that are touching and funny as well as sad and heartbreaking. They also make us, the audience, consider our own relationship to our collected stuff; don’t be surprised if you go home after the show and start gathering items to be thrown away — only to put some of them back.

(photo © Joan Marcus)

Boxes of personal items shed light on Geoff Sobelle’s life in THE OBJECT LESSON (photo © Joan Marcus)

Director David Neumann keeps the action moving all around the space, on the floor and high into the mountains of boxes, so it really doesn’t matter where you sit, although if you’re on a box, you can move around somewhat to follow Sobelle, the co-artistic director of rainpan 43 and longtime member of Philadelphia’s Pig Iron Theatre Company. Christopher Kuhl’s lighting is extraordinary, a character unto itself (which is especially true in one of the later scenes). The boxes and the “stuff” they contain evoke the way humans compartmentalize memories in the brain, storing some away forever while others keep popping up, making the psyche not just a house but a home, to paraphrase and invert David Byrne’s “Glass, Concrete & Stone,” which Sobelle plays on a turntable early on. The pace of the show can change depending on who Sobelle asks to participate; note that none of them are plants. When I saw the production at BAM, the participants were not only seamless but added to the overall performance; however, when I saw it at NYTW, a few of those moments came to a screeching halt because of some of the participants (although the primary one was great). The play concludes with a scintillating journey through time that is utterly brilliant and beautifully cathartic. Winner of three major awards at the 2014 Edinburgh Fringe, The Object Lesson is about the roots that hold us together and tear us apart, the lifetime of cords that connect and disconnect us, the archaeology of memory, and the very things that make us who we are.

ESCAPED ALONE

(photo by Johan Persson)

Mrs. Jarrett (Linda Bassett), Sally (Deborah Findlay), Lena (Kika Markham), and Vi (June Watson) prepare for the end of the world in Caryl Churchill’s ESCAPED ALONE (photo by Johan Persson)

BAM Harvey
651 Fulton St.
February 15-26, $30-$90
718-636-4100
www.bam.org

Award-winning British playwright Caryl Churchill takes an unusual view of the apocalypse in her 2016 show Escaped Alone, making its U.S. premiere February 15-26 at BAM’s Harvey Theater. The Royal Court Theatre Production features the original cast of Linda Bassett, Deborah Findlay, Kika Markham, and June Watson, who have something to say about the end of the world. The fifty-minute play is directed by Churchill’s longtime collaborator, James Macdonald (Cloud Nine; Love and Information,) who was most previously at BAM in 2011 with John Gabriel Borkman, while Churchill’s Blue Heart (consisting of Heart’s Desire and Blue Kettle) was at BAM in winter 1999. The seventy-eight-year-old Churchill (Top Girls, Serious Money), who has won four Obies, has been having quite a renaissance of late in the city, with successful plays at the Atlantic and New York Theater Workshop, and this should continue that trend.

GIRL X

HANCHU-YUEI will perform GIRL X at Japan Society February 16-18

HANCHU-YUEI will perform GIRL X at Japan Society February 16-18 (photo © Hideto Maezawa)

Japan Society
333 East 47th St. at First Ave.
February 16-18, $30, 7:30
212-715-1258
www.japansociety.org
www.hanchuyuei.com

In March 2016, Japan Society presented an English-language reading of Suguru Yamamoto’s Girl X (Yojo X). Now the fully staged, original Japanese version will be making its North American premiere at Japan Society, with three performances February 16-18 at 7:30. Written and directed by Yamamoto and performed by his theater collective HANCHU-YUEI, the black comedy takes place in Shinjuku in 2013, focusing on the after-effects of the March 11, 2011, earthquake. Kazuki Ohashi and Sachiro Nomoto play all the parts, primarily a young man with a hammer, his ex-girlfriend, and her younger brother, interacting with projections on a screen, casting giant shadows amid changing colors and text from other family members as Yamamoto (I Can’t Die without Being Born) explores communication between people and technology in contemporary society. The opening-night presentation will be followed by a reception with members of the cast and crew.

STRANGER THAN FICTION: THE LOVING STORY

The illegal interracial marriage of Mildred and Richard Jeter and their fight for justice is at center of powerful documentary

THE LOVING STORY (Nancy Buirski, 2011)
IFC Center
323 Sixth Ave. at West Third St.
Tuesday, February 14, 7:00
212-924-7771
www.ifccenter.com
www.lovingfilm.com

On June 2, 1958, Richard Loving and Mildred Jeter got married in Washington, DC. Shortly after returning to their Virginia home, Loving, a white man, and Jeter, a black and Native American woman, were arrested and imprisoned by the local sheriff, facing prison sentences because interracial marriage was illegal in their home state. Banished from Virginia, they spent nine years fighting in the courts, and their remarkable tale is now being told in the 2012 Oscar shortlisted documentary The Loving Story. First-time director Nancy Buirski, who founded the Full Frame Documentary Film Festival, and editor Elisabeth Haviland James weave together never-before-seen archival footage shot by photojournalist Grey Villet, old news reports and interviews, and family home movies with new interviews with the Loving children and lawyers Bernard S. Cohen and Philip J. Hirschkop, who were ready to take the case to the U.S. Supreme Court if necessary. One of the many fascinating aspects of the film is that Richard and Mildred had no desire to be trailblazers fighting miscegenation laws; they were just a man and a woman who had fallen in love at first sight and wanted to live happily ever after, in a community that fully accepted their situation. They of course have the perfect last name, because The Loving Story is a story of love and romance as much as it is about an outdated legal system, bigotry, and white supremacy. And it is more relevant than ever, given the new administration that has just taken office. Told in a procedural, chronological format, The Loving Story is also absolutely infuriating, since this all happened not very long ago at all, with many of the protagonists and antagonists still alive — and race still being such a central issue in America. An HBO production that won a prestigious Peabody Award, The Loving Story is having a special Valentine’s Day screening at IFC Center as part of the “Stranger Than Fiction” documentary series and will be followed by a Q&A with Buirski, who is likely to also discuss Jeff Nichols’s Loving, the fictionalized retelling with Joel Edgerton as Richard and an Oscar-nominated Ruth Negga as Mildred that was based on her movie. The STF series continues Tuesday nights through March 28 with such other nonfiction films as David Farrier and Dylan Reeve’s Tickled, Joe Berlinger and Bruce Sinofsky’s Brother’s Keeper, and Amanda Micheli’s Vegas Baby.

A MAN OF GOOD HOPE

A Man of Good Hope Based on the book by Jonny Steinberg Adapted by Isango Ensemble  6 Oct - 12 Nov A Young Vic and Isango Ensemble Production co-produced by The Royal Opera, Repons Foundation, BAM and Les Thމtres de la Ville de Luxembourg Direction Mark Dornford-May Conductor Mandisi Dyantyis Music Direction Mandisi Dyantyis & Pauline Malefane Movement Lungelo Ngamlana Light Mannie Manim Speech and Dialogue  Lesley Nott Manim  International Producer  Claire Bejanin

A MAN OF GOOD HOPE looks at the life of a Somalian refugee through music and dance (photo by Keith Pattison)

BAM Howard Gilman Opera House
30 Lafayette Ave. between Ashland Pl. & St. Felix St.
February 15-19, $24-$80
718-636-4100
www.bam.org

Cape Town’s Isango Ensemble specializes in adapting Western works with a South African sensibility; since 2000, director Mark Dornford-May and music director Pauline Malefane have presented such classics as A Christmas Carol, The Magic Flute, La bohème, and Aesop’s Fables. The troupe has now teamed up with the Young Vic for A Man of Good Hope, based on Jonny Steinberg’s book about Asad, a young man who becomes a refugee because of the civil war in Mogadishu in the early 1990s. “I felt a whim rising. A man who can break a twig and take me with him to another world, I thought, is a man about whom I ought to write a book,” Steinberg explains in a program note about meeting Asad. The protagonist is played by Ayanda Tikolo, Siposethu Juta, Phielo Makitle, Zoleka Mpotsha, and Luvo Tamba at different stages of his life. Directed by May, with musical direction by Malefane and Mandisi Dyantyis, movement by Lungelo Ngamlana, and lighting by Mannie Manim, the show features music and dance built around the marimba. A Man of Good Hope runs February 15-19; on February 18 at 5:30 ($20), Ethiopian American writer Dinaw Mengestu will join Steinberg and Iranian American writer and moderator Roya Hakakian for the PEN America panel discussion “Reflecting on the Refugee Crisis” at BAM Fisher’s Fishman Space.

MARTHA GRAHAM DANCE COMPANY AT THE JOYCE

Anne Souder and Lloyd Mayor perform in Martha Graham’s “Dark Meadow Suite.” (photo by Hibbard Nash Photography)

Anne Souder and Lloyd Mayor perform in Martha Graham’s “Dark Meadow Suite,” which will be part of two-week season at the Joyce this month (photo by Hibbard Nash Photography)

The Joyce Theater
175 Eighth Ave. at 19th St.
February 14-26, $10-$60
212-691-9740
www.joyce.org
marthagraham.org

The Martha Graham Company will explore various aspects of magical thinking in three separate programs in its winter season at the Joyce, taking place February 14-26. Program A consists of a world premiere by Annie-B Parson, inspired by Graham’s Punch and the Judy and with text by playwright Will Eno, and Pontus Lidberg’s Woodland, both of which were created for the company, and Graham’s Dark Meadow Suite and Maple Leaf Rag. Program B comprises a new work by Sidi Larbi Cherkaoui dealing with Sufi mysticism, Nacho Duarte’s Rust, and Graham’s Primitive Mysteries and Diversion of Angels. Program C features the new Parson and Cherkaoui works in addition to Graham’s Clytemnestra Act II and Maple Leaf Rag. There will be an All-City Panorama University Partners Showcase on February 18 at 2:00, with Graham classics Helios, Panorama, Plain of Prayer, Prelude to Action, and Steps in the Street performed by high school and college dancers from around the country, and the February 22 show will be followed by a Curtain Chat. The company, which began life as the Martha Graham Studio in 1926, is currently made up of dancers So Young An, PeiJu Chien-Pott, Laurel Dalley Smith, Abdiel Jacobsen, Lloyd Knight, Charlotte Landreau, Jacob Larsen, Lloyd Mayor, Ari Mayzick, Marzia Memoli, Anne O’Donnell, Lorenzo Pagano, Ben Schultz, Anne Souder, Leslie Andrea Williams, Konstantina Xintara, and Xin Ying, under the artistic direction of former principal dancer Janet Eilber.