twi-ny recommended events

CARLOS ESTRADA-VEGA: SUITE COLOR

Carlos Estrada-Vega, “Jacoba,” wax, limestone dust, oil, olepasto, pigments on wood, 2015

Carlos Estrada-Vega, “Jacoba,” wax, limestone dust, oil, oleopasto, pigments on wood, 2015

Who: Carlos Estrada-Vega
What: “Suite Color”
Where: Margaret Thatcher Projects, 539 West 23rd St. between Tenth & Eleventh Aves., 212-675-0222
When: Through June 6, free, 10:00 am – 6:00 pm
Why: Carlos Estrada-Vega has titled his latest exhibition at Margaret Thatcher Projects “Suite Color,” and his use of color is sweet indeed. Born in Chihuahua, Mexico, and living and working in Las Cruces, New Mexico, Estrada-Vega has created a series of three-dimensional eight-inch-by-eight-inch sculpture-paintings, each one consisting of more than three hundred tiny rectangular wooden boxes that jut out of an unseen metal plate at different levels, resulting in a colorful topography grid that bursts with childlike imagination. Each block is hand-painted in pigments made of wax, limestone dust, oil, and oleopasto, laid out in color schemes inspired by Estrada-Vega’s Mexican heritage, and featuring such names as “Jacinta,” “Jordana,” “Jimena,” “Judina,” and “Jorgina,” honoring the women in his culture. “My work is like a mantra that relies on discipline, intuition, and process,” Estrada-Vega notes in his artist statement. “The path of my work is systematically determined by the physical execution and my daily experience with life. Simplicity and repetition are the vehicles of form. The physical existence of the work is meant to open and reflect.” It is easy to open and reflect while looking at these engaging grids that also recall maps, pixels, and complex data representation as well as the simpler art materials of children, such as Play-Doh and Lego blocks.

THE 2015 TONY AWARDS

CURIOUS INCIDENT is nominated for six Tony Awards (photo by Joan Marcus)

Radio City Music Hall
1260 Sixth Ave. at 50th St.
Sunday, June 7, red carpet 5:30, show 8:00
www.tonyawards.com
www.radiocity.com

The 2014-15 Broadway season was a strong one, breaking records for both gross and attendance. Quality was up as well as quantity, with a bevy of musicals and plays worthy of high praise indeed. The Tonys will be handed out on Sunday night at Radio City, and below are my predictions for who will take home the prize, named after actress, director, and producer Antoinette Perry, the cofounder of the American Theatre Wing. In addition, you can read my review of every nominated show (save for one) here.

BEST PLAY
The Curious Incident of the Dog in the Night-Time
Disgraced
Hand to God
Wolf Hall Parts One & Two
What Should Win: The Curious Incident of the Dog in the Night-Time, an utterly dazzling theatrical experience (by the way, was there really no room for Airline Highway in this category?)
What Will Win: The Curious Incident of the Dog in the Night-Time, a treat for the eyes, ears, and brain

BEST MUSICAL
An American in Paris
Fun Home
Something Rotten!
The Visit
What Should Win: Fun Home, because there’s nothing else quite like it
What Will Win: Something Rotten!, because it’s a clever Shakespearean musical that rewards the audience’s love of theater

BEST REVIVAL OF A PLAY
The Elephant Man
Skylight
This Is Our Youth
You Can’t Take It with You
What Should Win: This Is Our Youth, a powerful drama that not enough voters will remember (and hey, what about It’s Only a Play?)
What Will Win: You Can’t Take It with You, because it has aged so surprisingly well

BEST REVIVAL OF A MUSICAL
The King and I
On the Town
On the Twentieth Century
What Should Win: On the Twentieth Century, for its sheer glee and love of life
What Will Win: The King and I, because it’s The King and I

FUN HOME made a wildly successful move from the Public to Circle in the Square (photo by Joan Marcus)

BEST ORIGINAL SCORE (MUSIC AND/OR LYRICS) WRITTEN FOR THE THEATRE
Fun Home, music by Jeanine Tesori, lyrics by Lisa Kron
The Last Ship, music and lyrics by Sting
Something Rotten!, music and lyrics by Wayne Kirkpatrick and Karey Kirkpatrick
The Visit, music by John Kander, lyrics by Fred Ebb
What Should Win: Fun Home, because of its originality and daring
What Will Win: Something Rotten!, because it’s a celebration of all things Broadway

BEST PERFORMANCE BY AN ACTOR IN A LEADING ROLE IN A PLAY
Steven Boyer, Hand to God
Bradley Cooper, The Elephant Man
Ben Miles, Wolf Hall Parts One & Two
Bill Nighy, Skylight
Alex Sharp, The Curious Incident of the Dog in the Night-Time
Who Should Win: Sharp, who boggles the mind as a boy on the autism spectrum, although Boyer is outrageous as a puppet-obsessed boy on the edge
Who Will Win: Sharp, in a very strong category where all are deserving

BEST PERFORMANCE BY AN ACTRESS IN A LEADING ROLE IN A PLAY
Geneva Carr, Hand to God
Helen Mirren, The Audience
Elisabeth Moss, The Heidi Chronicles
Carey Mulligan, Skylight
Ruth Wilson, Constellations
Who Should Win: Mulligan, who is sensational as a single woman coming to terms with her life
Who Will Win: Mirren, because she’s royalty on both sides of the pond

BEST PERFORMANCE BY AN ACTOR IN A LEADING ROLE IN A MUSICAL
Michael Cerveris, Fun Home
Robert Fairchild, An American in Paris
Brian d’Arcy James, Something Rotten!
Ken Watanabe, The King and I
Tony Yazbeck, On the Town
Who Should Win: Cerveris, who gives a complex, nuanced performance as a closeted husband and father
Who Will Win: Fairchild, who brings balletic elegance to Broadway while paying homage to Gene Kelly

BEST PERFORMANCE BY AN ACTRESS IN A LEADING ROLE IN A MUSICAL
Kristin Chenoweth, On the Twentieth Century
Leanne Cope, An American in Paris
Beth Malone, Fun Home
Kelli O’Hara, The King and I
Chita Rivera, The Visit
Who Should Win: Chenoweth, who is an unstoppable force of nature
Who Will Win: Chenoweth, because there’s just no stopping her

BEST PERFORMANCE BY AN ACTOR IN A FEATURED ROLE IN A PLAY
Matthew Beard, Skylight
K. Todd Freeman, Airline Highway
Richard McCabe, The Audience
Alessandro Nivola, The Elephant Man
Nathaniel Parker, Wolf Hall Parts One & Two
Micah Stock, It’s Only a Play
Who Should Win: Parker, for his novel, downright friendly interpretation of King Henry VIII, although Freeman and McCabe are exceptional as well
Who Will Win: Freeman, who is beguiling as transgender Sissy Na Na

BEST PERFORMANCE BY AN ACTRESS IN A FEATURED ROLE IN A PLAY
Annaleigh Ashford, You Can’t Take It with You
Patricia Clarkson, The Elephant Man
Lydia Leonard, Wolf Hall Parts One & Two
Sarah Stiles, Hand to God
Julie White, Airline Highway
Who Should Win: White, for her poignant portrayal of a brave woman struggling to get by day by day
Who Will Win: Clarkson, for her poignant portrayal of the brave woman who looks into John Merrick’s soul

Brad Oscar tries to predict the Tony future for him and Brian d’Arcy James in SOMETHING ROTTEN! (photo by Joan Marcus)

BEST PERFORMANCE BY AN ACTOR IN A FEATURED ROLE IN A MUSICAL
Christian Borle, Something Rotten!
Andy Karl, On the Twentieth Century
Brad Oscar, Something Rotten!
Brandon Uranowitz, An American in Paris
Max von Essen, An American in Paris
Who Should Win: Oscar, for joyfully going way over the top as the other Nostradamus
Who Will Win: Karl, who has quickly become a Broadway favorite

BEST PERFORMANCE BY AN ACTRESS IN A FEATURED ROLE IN A MUSICAL
Victoria Clark, Gigi
Judy Kuhn, Fun Home
Sydney Lucas, Fun Home
Ruthie Ann Miles, The King and I
Emily Skeggs, Fun Home
Who Should Win: Lucas, for her marvelous turn as the youngest Alison Bechdel
Who Will Win: Lucas, who has a charming presence beyond her years

BEST DIRECTION OF A PLAY
Stephen Daldry, Skylight
Marianne Elliott, The Curious Incident of the Dog in the Night-Time
Scott Ellis, You Can’t Take It with You
Jeremy Herrin, Wolf Hall Parts One & Two
Moritz von Stuelpnagel, Hand to God
Who Should Win: Elliott, for the wildly inventive and constantly awe-inspiring Curious Incident
Who Will Win: Elliott, the mastermind behind an unforgettable production

BEST DIRECTION OF A MUSICAL
Sam Gold, Fun Home
Casey Nicholaw, Something Rotten!
John Rando, On the Town
Bartlett Sher, The King and I
Christopher Wheeldon, An American in Paris
Who Should Win: Gold, for reinventing Fun Home on its move from the Public to Broadway
Who Will Win: Sher, for his third straight beloved Rodgers & Hammerstein revival at Lincoln Center

BEST CHOREOGRAPHY
Joshua Bergasse, On the Town
Christopher Gattelli, The King and I
Scott Graham and Steven Hoggett, The Curious Incident of the Dog in the Night-Time
Casey Nicholaw, Something Rotten!
Christopher Wheeldon, An American in Paris
Who Should Win: Wheeldon, who has brought ballet back to Broadway
Who Will Win: Wheeldon, for his ingenuity and craftsmanship

BELMONT STAKES DAY 2015

American Pharoah prepares for the Belmont Stakes with a workout at Churchill Downs this week (photo by Churchill Downs / Reed Palmer Photography)

Belmont Park
2150 Hempstead Tpke., Elmont
Saturday, June 6, $15-$400, first race at 12:50 am
516-488-6000
www.belmontstakes.com

For the seventh time in this young century, including three of the last four years, a racehorse has won the Kentucky Derby and the Preakness, with only the Belmont Stakes standing in the way of history and the Triple Crown. On June 6, three-year-old American Pharoah — yes, the second name is misspelled, accidentally — will be twelve furlongs (a mile and a half) from the elusive goal (last achieved by Seattle Slew in 1977 and Affirmed in 1978), a prohibitive 4-5 favorite against only seven other horses: Frosted, Materiality, Madefromlucky, Mubtaahij, Tale of Verve, Keen Ice, and Frammento. The usual capacity is 85,000 to 90,000 fans at the park, but you can expect even more to squeeze in for this major sporting event; if you want to witness the excitement in person, you better get your tickets fast, because many sections are already sold out, and no tickets will be available on race day. Parking costs between $20 and $125, and the LIRR is a viable option as well; more than $5 million has been spent to improve on last year’s nightmare of getting everyone out after California Chrome got trounced by Tonalist. There’s no need to rush back to Penn Station right after the Stakes, as not only are there several races after that, but the Goo Goo Dolls will be playing a post-race concert (as well as a pre-race set). There will also be performances by the cast of Jersey Boys and the USMA West Point Cadets. Saturday’s schedule also features five other races with purses of at least $700,000. And more than thirty food trucks will be on hand, including Trusty Truck, Sanducci’s Wood Fired Pizza, Uncle Gussy’s, Hibachi Heaven, Nuchas Empanadas, Mr. Smith’s Seafood, and Mike ‘n’ Willie’s. Even with rain expected, there’s nothing quite like going to the park, where you can get up close and personal with the horses as they proudly parade around the paddock before each race; post time for the 147th running of the Belmont Stakes is 6:50; make sure you have a really wild hat.

FIRST SATURDAY: INTERNATIONAL LGBTQ PRIDE

Zanele Muholi (South African, b. 1972). Faces and Phases installed at dOCUMENTA (13), Kassel, Germany, 2012. (Photo: © Anders Sune Berg)

Brooklyn Museum
200 Eastern Parkway at Washington St.
Saturday, June 6, free, 5:00 – 11:00
212-864-5400
www.brooklynmuseum.org

The June installment of the Brooklyn Museum’s free First Saturday program celebrates LGBTQ Pride, with live performances by the New York City Gay Men’s Chorus, Aye Nako, DJ Lynnee Denise, DJ Ilsa, and Junglepussy with DJ Joey Labeija; an exhibition talk by Jess Wilcox on “Zanele Muholi: Isibonelo/Evidence” and ten-minute pop-up gallery talks about “Diverse Works: Director’s Choice, 1997–2015”; a flag-making workshop; a poetry performance by Dark Matter (Alok Vaid-Menon and Janani Balasubramanian); a literary workshop with bklyn boihood, focusing on its upcoming publication, Outside the XY; screenings of Seyi Adebanjo’s 2013 documentary, Trans Lives Matter! Justice for Islan Nettles, followed by a talkback with the director, and Dan Sickles & Antonio Santini’s 2014 film, Mala Mala, followed by a talkback with the directors and cast memebers Paxx and Joyce Puty; and a tribute to retiring museum director Arnold Lehman, with reflections and performances by DapperQ, Visual Aids, Harriett’s Apothecary, Haiti Cultural Exchange, CaribBEING, Afrika 21/Harriet’s Alter Ego, and Balmir Latin Dance. In addition, you can check out such exhibitions as “Basquiat: The Unknown Notebooks,” “Kehinde Wiley: A New Republic,” “Kara Walker: ‘African Boy Attendant Curio (Bananas),’” and “Chitra Ganesh: Eyes of Time.”

LIFE OF CATS: SELECTIONS FROM THE HIRAKI UKIYO-E COLLECTION

Takahashi Hiroaki (Shotei), “Nude Playing with a Cat,” color woodblock print, ca. 1927-30 (courtesy Private Collection, New York and Tokyo)

Japan Society
333 East 47th St. at First Ave.
Through Sunday, June 7, $12 (free Friday 6:00 – 9:00)
212-715-1258
www.japansociety.org

“Whenever I write a novel, music just sort of naturally slips in (much like cats do, I suppose),” Japanese novelist Haruki Murakami said in an interview about his 2002 book, Kafka on the Shore, which features a character who has a rather unique rapport with felines. (It’s not a coincidence that we named one of our cats Haruki.) Japan’s relationship with cats goes back some fifteen hundred years, when it is believed that cats came to the islands on ships carrying Buddhist scriptures from China. Cats do more than just naturally slip in in the Japan Society exhibit “Life of Cats: Selections from the Hiraki Ukiyo-e Collection,” a claw-some gathering of more than 120 color woodblock prints, hanging scrolls, paintings, and sculptures. Each work contains a cat in one form or another, sometimes hovering in the background, other times front and center, for both good and evil purposes. Dating from the Edo Period (1615-1867), the works are divided into five groups: “Cats and People,” “Cats as People,” “Cats versus People,” “Cats Transformed,” and “Cats and Play,” depicting the diverse relationship between humans and felines. “A cat is just a cat, but the cat motif contains many nuances and connotations,” the catalog points out, and indeed, the nuances and connotations are many in the exhibition. Sometimes the cat is hovering in the background, barely visible, or on the pattern of a kimono, while at other times it’s front and center, providing loving warmth or performing a dastardly dance of death. People become anthropomorphized cats, with claws, whiskers, and not-so-cute ears. Housecats turn into demonic figures, while tigers and lions lurk threateningly. A cat sits on a man’s back or cuddles at a woman’s neck. Some works are tantalizing and sexy, like Takashi Hiroaki’s “Nude Playing with a Cat,” while others, known as omocha-e, or “toy pictures,” provide moral lessons for children, like “Newly Published Scenes of Good and Evil Cats,” by an unknown artist. There are works by Utagawa Kuniyoshi, Kanagaki Robun, Utagawa Hiroshige, Kitagawa Utamaro, Utagawa Kunisada, Katsushika Hokusai, and even Édouard Manet, depicting cats in a multitude of ways, not always as adorable as they are in online videos. (If you saw the show prior to the end of April, you might want to go back, as nearly fifty pieces were rotated in on April 29.) Essentially, the exhibition reveals what we already know: that cats rule, and there’s nothing you can do about it.

SHANNON EBNER WITH DAVID REINFURT: A HUDSON YARD

Shannon Ebner and David Reinfurt’s “A Hudson Yard” public art collaboration will be celebrated on June 4 on the High Line (photo by Timothy Schenck)

Who: Shannon Ebner, David Reinfurt, Alex Waterman
What: Launch of art-project pamphlet with live music
Where: 14th Street Passage on the High Line at 14th Street
When: Thursday, June 4, free, 6:00 – 8:00
Why: From May 2014 to April 2015, New Jersey-born artist Shannon Ebner, who lives and works in Los Angeles and specializes in combining sculpture, photography, and language, added a four-by-six-foot wheat-pasted poster of different versions of the capital letter “A” in Chelsea and the Meatpacking District, giving odd, mysterious ratings to street corners, construction sites, and random walls, one at the beginning of each month, in collaboration with New York City-based graphic designer and writer David Reinfurt. Once put up, the posters remained for between one day and one week, depending on the weather or someone taking it down. On June 4 at 6:00, the work, known as “A Hudson Yard,” will be celebrated with the release of a pamphlet containing photographs and text by the artists, who will be on the High Line, at the 14th Street Passage, for its public unveiling, accompanied by “Clouds and Crowds for 12 Singers,” a new composition by Alex Waterman that will be performed at 6:30.

CEDAR LAKE CONTEMPORARY BALLET FAREWELL PERFORMANCES

BAM Howard Gilman Opera House, Peter Jay Sharp Building
230 Lafayette Ave.
June 3-6, $20-$55
718-636-4100
www.bam.org
cedarlakedance.com

For a dozen years, Cedar Lake Contemporary Ballet has been one of the most innovative and entertaining American dance companies, an immensely talented troupe collaborating with an impressive collection of international choreographers. So it will be more than a little bittersweet when Cedar Lake comes to BAM this week for its final farewell performances, as it was announced earlier this year that the Chelsea-based group was closing its doors for good when its primary donor, Walmart heiress Nancy Laurie, decided to pull the plug on her contributions. Under the leadership of artistic director Alexandra Damiani, Cedar Lake will be at the Howard Gilman Opera House June 3-6, presenting two programs of company favorites and new works. Program A (June 3 & 5) consists of 2008’s Ten Duets on a Theme of Rescue, choreographed by Crystal Pite, with costumes by Junghyun Georgia Lee and music from Cliff Martinez’s soundtrack for Steven Soderbergh’s remake of Solaris; the New York premiere of Rain Dogs, with choreography, sets, and costumes by Johan Inger and music by Tom Waits; and the world premiere of My Generation, choreographed by Richard Siegal, with costumes by Bernhard Willhelm and music by Atom™. Program B (June 4 & 6) includes Ten Duets as well, in addition to 2013’s Indigo Rose, with choreography and décor by Jiří Kylián, costumes by Joke Vissar, and music by Robert Ashley, François Couperin, John Cage, and J. S. Bach, and 2012’s Necessity, Again, choreographed by Jo Strømgren, with costumes by Lee, music by Charles Aznavour, text by Jacques Derrida, and additional music by Bergmund Skaslien. It’s worth mentioning each member of this versatile, virtuosic company, several of whom have been with Cedar Lake for quite some time: Jon Bond, Nickemil Concepcion, Navarra Novy-Williams, Matthew Rich, Joaquim de Santana, Vânia Doutel Vaz, Ebony Williams, Rachelle Scott, Ida Saki, Jin Young Won, Joseph Kudra, Guillaume Quéau, Madeline Wong, Raymond Pinto, and apprentices Daphne Fernberger and Patrick Coker.