twi-ny recommended events

RANGERSTOWN VIEWING PARTY AND FAN FESTIVAL

rangerstown

Who: Rangers alumni and fans
What: Outdoor viewing party
Where: Bryant Park, between Fifth & Sixth Aves. and 40th & 42nd Sts.
When: Wednesday, May 20, free, 4:00
Why: Rangerstown moves to Bryant Park for all-important Game 3 of the NHL conference finals between the Broadway Blueshirts and the Tampa Bay Lightning. Starting at 4:00, fans can take part in hockey clinics, ice-skate, meet Rangers alums, get their face painted in True Blue, and win prizes. At 8:00, the game will be broadcast on the big screen, as the Rangers try to recover from their disappointing outing in Game 2. They’ll have to step up their game, particularly Martin St. Louis and Rick Nash, crash the net, use their speed, and stay out of the penalty box if they want to get the lead back in the series. Of course, these are the Rangers, where nothing comes easy.

DONN PEARCE’S COOL HAND LUKE

(photo by Jason Woodruff)

Boss Godfrey (Nick Paglino) tries to keep Luke Jackson (Lawrence Jansen) in line in COOL HAND LUKE (photo by Jason Woodruff)

59E59 Theaters
59 East 59th St. between Madison & Park Aves.
Tuesday – Sunday through May 31, $30
www.59e59.org
www.godlighttheatrecompany.org

The Godlight Theatre Company follows up its spare, Drama Desk–nominated staging of James Dickey’s Deliverance with another testosterone-fueled tale, Donn Pearce’s Cool Hand Luke. As with all of Godlight’s productions — which also include One Flew Over the Cuckoo’s Nest, In the Heat of the Night, Slaughterhouse-Five, Fahrenheit 451, and The Third Man — this latest work is based on the original novel, not the popular film, in this case Pearce’s 1965 book rather than Stuart Rosenberg’s 1967 movie, which starred Paul Newman and an all-star ensemble and earned four Oscar nominations. (Warning: The classic line “What we’ve got here is failure to communicate” is from the movie, so it is not in the play.) Lawrence Jansen stars as Luke Jackson, a smartass war hero with what would now be called PTSD who is serving time for having cut the heads off of parking meters. “Luke had the devil in him,” fellow inmate Dragline (Mike Jansen) explains in a short prologue. “Luke done some kinda deal somewheres along the line. Don’t know what. Thar’s no telling. But Luke was jes’ natcherly mad at God.” Luke becomes part of a roadside chain gang with Dragline, Curly (Lars Drew), Society Red (Brett Warnke), and Rabbit (Jarrod Zayas), who are closely watched by Boss Kean (Jason Bragg Stanley), collaborator Carr (Ken King), and the evil Boss Godfrey (Nick Paglino), who has it in for Luke from the start. But through it all, Luke keeps on smiling, as he faces off against Boss Godfrey, tries to eat fifty hard-boiled eggs in one hour, and won’t take the advice of his mother (Kristina Doelling) to put his faith in the lord. “Ain’t you scared a’ dyin’ and goin’ to hell?” Dragline asks him. “Dyin’? It’s livin’ I’m scared of,” Luke responds.

Lawrence Jansen plays a Jesus-like prisoner in Godlight Theatre adaptation of COOL HAND LUKE (photo by Jason Woodruff)

Lawrence Jansen plays a Jesus-like prisoner in Godlight Theatre adaptation of COOL HAND LUKE (photo by Jason Woodruff)

Once again, the staging is the star in this Godlight production. The story, adapted by Emma Reeves (Anne of Green Gables, Little Women), unfolds with no props or scenery in a tiny black box at 59E59, where the characters are cordoned off on the right and left by an angled row of lights on the floor, with Luke and Boss Godfrey almost always in the center, Luke in the front, Godfrey in the back, the latter watching everything from behind his dark sunglasses. Director Joe Tantalo (A Clockwork Orange, 1984), the artistic director of Godlight for more than twenty years, announces scene changes with sharp flashes of light, courtesy of set and lighting designer Maruti Evans, accompanied by the crack of a rifle loading. (The sound design is by Ien Denio.) Cool Hand Luke is filled with religious imagery, with Luke envisioned as a Christ-like figure and a saint, Boss Godfrey as the devil, the other prisoners potential disciples. In a scene from Luke’s past, he seeks help from a woman named Mary (Julia Torres, who also curiously sings a spiritual at the beginning and end of the play), while Doelling portrays a prostitute in addition to Luke’s mother, furthering biblical references. The show lacks the dramatic conflict inherent in previous Godlight shows; it is significantly more slight, a series of episodes in search of a fluent narrative as a whole. But the strong acting and expert, unique staging will keep you chained to your seats.

TWI-NY TALK: MICHAEL BUCKLEY

Michael Buckley’s YA debut, UNDERTOW, is set in Coney Island (photo by Dana Gallagher)

Michael Buckley’s YA debut, UNDERTOW, is set in Coney Island (photo by Dana Gallagher)

BookCourt
163 Court St. between Dean & Pacific Sts.
Tuesday, May 19, free, 7:00
718-875-3677
bookcourt.com
michaelbuckleywrites.com

Brooklyn-based author Michael Buckley has gone from writing advertising copy to the text for Macy’s holiday window display to a pair of New York Times bestselling series for middle-grade readers, the Sisters Grimm and N.E.R.D.S. He has now made the leap to YA with Undertow (Houghton Mifflin, May 5, $18.99), the first in a trilogy about an alien race, known as the Alpha, in Coney Island. A tall, gregarious fellow, Buckley, who was born and raised in Ohio, was a stand-up comic, and it shows in his wickedly wry and playful sense of humor. He’s just finishing up a nine-city book tour that took him to Seattle, Portland, San Francisco, Los Angeles, Salk Lake City, Minneapolis, St. Paul, and Rochester, concluding May 19 in Brooklyn, where he lives with his wife and young son. (He will also be signing at BookCon at booth #2541 at the Javits Center on May 31 at 2:00.) I’ve known Buckley for more than ten years now — his wife and my wife are partners at Stonesong, his literary agency — and it’s been exciting watching his career skyrocket. Just as he returned home from the tour, we discussed Coney Island, migraines, immigration, China, and imaginary friends.

twi-ny: On your blog, you recently wrote, “Undertow is the culmination of a lot of hard work and a whole lot of wishing and risk taking — not only by me but a whole lot of other people.” What were some of those risks?

Michael Buckley: Anytime a writer tries to do something new there’s a risk that their audience is not going to embrace it. For some, a fear of losing their fans can get in the way of growth as an artist, but I don’t do anything because it’s the safe thing to do. I want to try new stories and ways of telling them. I’m blessed to have editors and publishers who are supportive, because it’s not easy on them either. Every time I try something new, it takes a lot of energy by lots of folks to get the word out about it, to find ways to get my readers to give it a chance, and to make sure booksellers get excited about it as well. That’s a lot of long hours at work for everyone. I try not to lose sight of the fact that every risk I take is one I am not taking alone.

twi-ny: In the book, you write very candidly about migraines, which the protagonist, Lyric, suffers from and grades on a scale. Are you writing from personal experience?

MB: Actually, I rarely get headaches at all, but I have friends who get them and from what I understand they can be destructive. I asked a few what it felt like and how they handled it and most of them had different experiences and different strategies that helped them cope. Some have little tricks they do that can fend off a migraine, while others know the stimuli that cause the pain so they can avoid them. I have the utmost sympathy for these people, but I’m also in awe of them, too. There is an incredible amount of bravery and personal strength in people who suffer from migraines. They’re tough people, far tougher than me.

twi-ny: Undertow is set in Coney Island. Prior to writing the book, what was your opinion of Coney Island? Were you a regular visitor?

MB: I’ve been drawn to Coney Island since I moved to NYC in ’96 and have spent many a summer day in Rudy’s Bar or walking on the boardwalk. It’s grungy in the best possible ways — a real people’s amusement park, filled with faces from every corner of the world. I also worked in documentary films earlier in my life and researched Coney Island’s glorious history. It was once the biggest tourist attraction in the world until the original park burned to the ground in 1911.

twi-ny: What do you think about the changes going on there these past few years?

MB: I like some of the things that are happening down there now — the Cyclones’ ballpark is spectacular, and some of the new rides are fun, but it’s important to me that the park stays affordable. It’s getting a bit too expensive in my opinion, especially for the people who live in that neighborhood. I hope the city and the investors are considering the community.

undertow

twi-ny: The story in Undertow is an apt metaphor for the current heated debate over immigration in America. Where do you stand on that issue? I gather you’re not hiding much by giving the female politician most against the Alpha the last name Bachmann. Then again, you also give an ultra-right-wing conservative pundit the last name Rifkin.

MB: America is an amazing place to live, so no one should be surprised when people want to come here. We’ve also got a giant statue in New York Harbor that asks the world to send us “your huddled masses yearning to be free.” I mean, if we’re not going to welcome the world to this country, then let’s take the statue down — it’s false advertising. I think it’s hypocritical — we’re either welcoming them with open arms or we’re not. It’s not like we don’t have the room. There are plenty of places to live in the US. Have you ever been to North Dakota? Fifteen people live there! As for the Bachmann name, that could be purely coincidental. I mean . . . the character in my book is clearly insane and manipulative. She’s also a moron. Who could that be? [As far as that other name,] I’m not sure whom you’re referring to . . . ahem.

twi-ny: Undertow has elements of a number of science-fiction movies, from Alien Nation to Close Encounters of the Third Kind. Did any specific films or books either influence or inspire Undertow?

MB: I was wildly inspired by District 9. That movie blew me away — not because it was a film about aliens, but rather that it felt real to me. I have no doubt that if an alien species crash-landed here and could not fly away, we would put them in a camp with a big fence around it. I was inspired by books as well. The Outsiders was a huge influence.

twi-ny: Your previous series, the Sisters Grimm and N.E.R.D.S., were for middle-grade readers. With Undertow, did you consciously set out to write a YA trilogy, or did it just happen that way?

MB: Undertow is the first young adult novel I have written and it was daunting. I wasn’t sure I could pull it off. First, the themes and ideas in a YA book are far more complicated than in middle-grade books. You can explore ideas and feelings in a way that you can’t when writing for a younger audience, and I had never really had the opportunity to try it. To prepare, I gave myself a sort of master’s in young adult literature, reading everything I could get my hands on, then interviewing some of the authors behind the books I loved the most to find out what they thought was important for the readers, how to write a teenage girl, how far to go with adult themes — they were true friends and mentors to me. When I felt like I understood YA, and more importantly, when I realized I loved YA, that’s when I knew it was time to give it a try.

twi-ny: You’ll be at BookCourt on May 19 in Brooklyn, where you live. Is it exciting to come home, or is a book tour all just a big blur?

MB: Book tours can be both exhilarating and exhausting at the same time. I get to meet fans and booksellers and teachers and librarians and occasionally other authors, so that part is always fun, but getting up early and racing to airports and forgetting what your rental car looks like — well, there’s a million stories there. I’m excited to finally have an event here in Brooklyn. BookCourt has always been a great supporter of what I do and it’s a fantastic indie shop that really knows what people like to read.

twi-ny: Do you have anything special planned for the event?

MB: We’re going to throw a little shindig with some mermaid cupcakes and a little wine for the grown-ups. I’m hoping to see a lot of faces both familiar and new.

twi-ny: You’ve also contributed the story “Mr. Shocky” to Jon Scieszka’s sixth Guys Read volume, Terrifying Tales, and you’ll be signing copies of the book later this month at BEA. How did that come about?

MB: Jon is one of the leaders in getting boys to read, which is sometimes a complicated endeavor. He’s done a few of these Guys Read books in the past, but this was the first one in which I was able to contribute. I was thrilled to be able to write something scary — another new thing I’d never tried. I’m very excited to see how people react to it. Everyone involved has said my story is one of the scariest they’ve read.

twi-ny: I agree; it’s tremendously scary. It deals with a boy and his imaginary friend; did you ever have an imaginary friend growing up?

MB: I had an imaginary friend, but then he met another imaginary friend, and they both stopped hanging out with me. That’s sad. Wait, that could be a great story!

twi-ny: You recently got back from a trip to China with your wife and son. What was that experience like?

MB: China is nothing like I expected. Growing up in the ’70s and ’80s, during the Cold War, we were taught to fear all things Communism, and I had heard a lot of stories about China that turned out to be nonsense. What I saw was a vibrant, exciting country filled with amazing architecture and food and art. The people were friendly and kind and there was very little of the “police state” I was led to believe existed. In fact, if you ask me, they could use more police. Everyone drives like a maniac there! I can’t wait to go back.

twi-ny: Do people ever confuse you with so-called “Internet Celebrity” Michael Buckley of The What the Buck Show?

MB: I do get confused with him all the time and even get some of his fan mail. We connected on twitter awhile back. He gets some of my fan mail, too. I’ve become a fan of his — he’s hilarious, but every once in a while someone puts a picture up of him when they should have put a picture of me. Then, it’s not so funny — lol.

TRAVELOGUES: KIMBERLY BARTOSIK AND DYLAN CROSSMAN

Travelogues

Dylan Crossman and Kimberly Bartosik will present world premieres in Travelogues series at Abrons Arts Center

Who: Kimberly Bartosik and Dylan Crossman
What: Travelogues
Where: Abrons Arts Center Experimental Theater, 466 Grand St. at Pitt St.
When: May 20-23, $20, 8:00
Why: Abrons Arts Center’s new Travelogues series, which debuted earlier this year with a presentation by Daniel Léveillé Danse, continues May 20-23 with a shared program featuring the world premieres of Kimberly Bartosik’s Ecsteriority4 (Part 2) and Dylan Crossman’s Bound. Both works, by former Merce Cunningham dancers, are constructed around borders and boundaries; the former is a trio for Marc Mann, Melissa Toogood, and Crossman in which a wall plays a key component, while the latter is a solo by Crossman, performed while tied to rope, limiting his movement. (The two parts of Ecsteriority4 will come together at the Chocolate Factory in September 2016.) The Travelogues series, which is curated by Laurie Uprichard, continues in the fall with ponydance’s Anybody Waitin’? and Lionel Popkin’s Ruth Doesn’t Live Here Anymore.

FOREVER

(photo by Joan Marcus)

Dael Orlandersmith shares intimate details of her dysfunctional childhood in FOREVER (photo by Joan Marcus)

New York Theatre Workshop
79 East Fourth St. between Second & Third Aves.
Tuesday – Sunday through May 31, $75
nytw.org

Pulitzer Prize finalist Dael Orlandersmith returns to New York Theatre Workshop with the searing Forever, a harrowing, deeply intimate one-woman show about the severely dysfunctional relationship between a daughter and her alcoholic mother. In the semiautobiographical work, Orlandersmith (Yellowman, Monster, The Gimmick) spends a gripping eighty minutes discussing her artistic influences while looking back at damaging scenes from her past as she walks through Pere Lachaise Cemetery in Paris, paying tribute to Jim Morrison, Edith Piaf, Richard Wright, and other writers and musicians who helped her survive a brutal childhood in Harlem. “All of us have come / All of us who are seeking / have come to be with these people here in Pere Lachaise — who beyond our parents helped us give birth to ourselves,” she says. Statuesque and elegant in a long black dress, her braided hair falling over her shoulders and reaching toward her hips, she recalls a broken friendship with a local tomboy, being beaten by her mother over math homework, and how she felt when her mother tells her she is “fat / hateful / disgusting.” She shares her physical and psychological pain with the audience, making direct, lingering eye contact that is both soothing and uncomfortable. “I can’t believe I still can feel her slap. She’s been gone / dead / over twenty years but I can still see / feel / hear her laughing,” she says. Orlandersmith tells the story with a lyrical, poetic rhythm that is captivating and unique. She describes her Caesarian birth thusly: “October 29, 1959 / I was torn from blood/guts/water / Spanked into consciousness / Spanked into living.” Later she adds, “A scar I made a long time ago coming through you / I stare at it / Wondering how I could have been born from it / How I could have been born from you.”

(photo by Joan Marcus)

Dael Orlandersmith’s tale of her relationship with her mother is both harrowing and uplifting (photo by Joan Marcus)

About midway through Forever, which is calmly directed by Neel Keller, with excellent lighting by Mary Louise Geiger and sound by Adam Phalen, Orlandersmith relates a long, agonizing episode from her childhood in nerve-racking detail, one of the most powerful and frightening things you’re ever likely to experience from a show; it’s difficult to watch, but you won’t be able to avert your eyes from hers, finalizing an unbreakable bond between performer and audience that will stay with you long after you leave the theater. Ultimately, she tries to find closure as she revisits her mother’s death. Forever is both heartbreaking and uplifting, a shocking, poetic exploration of family, memory, and the ties that bind; it was particularly poignant the night we saw it, on the eve of Mother’s Day. Before and after the show, people are invited to write their own tributes to those they’ve lost on notecards they can tape to the long, narrow bulletin boards lining the side walls, and following the show, attendees can walk around Takeshi Kata’s central staging area and check out dozens of Orlandersmith’s family photographs on similar boards around the set. The notecards and photographs are a brilliant touch, a physical evocation of how the past embraces and surrounds both the audience and the performer’s emotional experience, providing yet more intimacy and reminding you of your own relationships. (The May 20 show will be followed by a discussion with photographers James and Karla Murray and NYU adjunct professor Cynthia Copeland, moderated by Alexander Santiago-Jirau, who will also lead a Shop Talk after the May 27 show.)

THEATRE FOR ONE: I’M NOT THE STRANGER YOU THINK I AM

Christine Jones’s mobile Theatre for One will present short plays by major playwrights in three locations May 18 - June 6 (photo by twi-ny/mdr)

Christine Jones’s mobile Theatre for One will present short plays by major playwrights in three locations May 18 – June 6 (photo by twi-ny/mdr)

Winter Garden at Brookfield Place, Zuccotti Park, Grace Building
May 18 – June 6, free, 12 noon – 7:00 pm
www.artsbrookfield.com
www.theatreforone.com

Theater can be an intimate experience, and it doesn’t get much more intimate than Christine Jones’s Theatre for One, which is exactly that: performances by one actor for one audience member at a time, inside a mobile four-by-eight-foot theater. TFO will feature new five-minute works by award-winning playwrights Craig Lucas (Prelude to a Kiss), Will Eno (The Realistic Joneses), Lynn Nottage (Ruined), José Rivera (Marisol), Thomas Bradshaw (Intimacy), Zayd Dohrn (Sick), and Emily Schwend (Take Me Back). The mobile theater is a collaboration between the architecture firm LO-TEK and the Tony-nominated Jones, who has designed the sets for such shows as Spring Awakening, American Idiot, and Coraline and is the director of the current immersive hit Queen of the Night. The short plays, which together are being called I’m Not the Stranger You Think I Am, will be performed by six actors and are directed by Jones, Rivera, Jenny Koons, and Brian Mertes; the mobile theater will be at the Winter Garden at Brookfield Place May 18-24; Zuccotti Park May 27-31; and the Grace Building June 2-6. Admission is first come, first served, and free, with each person able to see one of the plays, between 12 noon and 7:00 pm.

FREE SUMMER DANCE 2015

A canary torsi’s COURT/GARDEN (photo by Jose Espaillat)

A Canary Torsi’s COURT/GARDEN will be performed at Federal Hall June 19-20 (photo by Jose Espaillat)

The free summer dance season is upon us, with presentations in parks all around the city, including participatory programs in addition to companies from around the world and site-specific projects by local favorites. Bryant Park will be hosting several dance series, while Central Park (and others) has SummerStage and Prospect Park has Celebrate Brooklyn! River to River boasts the most exciting lineup, but you need to reserve your free space in advance. You’ll find other festivals below; more information will be added as it becomes available.

Wednesday, May 20
Dancing in Bryant Park: Swing and Lindy Hop, Fountain Terrace, 6:00

Thursday, May 21
Celebrate Brooklyn! Dance Parties: Electro Soul, with Jamie Liddell, Fixed, and Brooklyn United Marching Band, Pier 1, Brooklyn Bridge Park, 7:00

Wednesday, May 27
Dancing in Bryant Park: Samba e Mais, Fountain Terrace, 6:00

Thursday, May 28
Celebrate Brooklyn! Dance Parties: Latin Jazz, with Poncho Sanchez, Bobbito Garcia, and Salsa Salsa Dance, Pier 1, Brooklyn Bridge Park, 7:00

Wednesday, June 3
Dancing in Bryant Park: Tango, Fountain Terrace, 6:00

Saturday, June 6
SummerStage: KanKouran West African Dance Company, with Pre-Show Master Class led by Assane Konte, Red Hook Park, 7:00

Sunday, June 7
SummerStage: BattleFest League Dancers and screening of Flex Is Kings (Michael Beach Nichols and Deidre Schoo, 2013), Red Hook Park, 7:00

Wednesday, June 10
Dancing in Bryant Park: Bachata, Fountain Terrace, 6:00

Wednesday, June 17
Dancing in Bryant Park: West Coast Swing, Fountain Terrace, 6:00

Wednesday, June 17
and
Thursday, June 18

Hudson River Dance Festival, with Paul Taylor Dance Company, Parsons Dance, and Ballet Hispanico, Pier 63, Hudson River Park, Chelsea Piers, 6:30

Friday, June 19
Bryant Park Presents Modern Dance, Bryant Park Stage, 6:00

SummerStage: Laurie M. Taylor/Soul Movement, with Pre-Show Master Class led by Karisma Jay, Herbert Von King Park, 7:00

Friday, June 19, 8:00
and
Saturday, June 20, 3:00 & 8:00

River to River: Court/Garden, by A Canary Torsi, Federal Hall,

Friday, June 19
Sunday, June 21
Monday, June 22

River to River: Dance My Life, by Souleymane Badolo, Pier 15, advance RSVP required, 3:00

Friday, June 19
through
Sunday, June 28

River to River: Souvenir: Undone, site-specific dance project by Rachel Tess, St. Cornelius Chapel, Governors Island, advance RSVP required, 1:00 and/or 4:00

Twyla Tharp brings back THE ONE HUNDREDS in Rockefeller Park (photo © Tony Russell)

Twyla Tharp brings back THE ONE HUNDREDS in Rockefeller Park (photo © Tony Russell)

Saturday, June 20
SummerStage: Hearts of Men, with Pre-Show Master Class led by members of Hearts of Men, Herbert Von King Park, 7:00

River to River: The One Hundreds, by Twyla Tharp, Rockefeller Park, advance RSVP required, 7:00

Sunday, June 21
River to River: Trisha Brown: In Plain Site, Wagner Park, New York, by Trisha Brown Dance Company, Robert F. Wagner Jr. Park, advance RSVP required, 4:00 & 6:00

Monday, June 22, 6:30
Tuesday, June 23, 3:00
Wednesday, June 24, 1:00

River to River: A Body in Places: A Body in a Station, by Eiko Otake, location to be announced

Tuesday, June 23, 9:30
and
Sunday, June 28, 6:00

River to River: R2R Living Rooms with C∆N-D + DRELLA, VBar Seaport, RSVP recommended

Wednesday, June 24
Latin Dancing Festival, Fountain Terrace, Bryant Park

Dancing in Bryant Park: Cuban Salsa, Fountain Terrace, 6:00

Wednesday, June 24, 3:00
Thursday, June 25, 8:30
Friday, June 26, 8:30

River to River: The Set Up: Saya Lei, by Wally Cardona, Jennifer Lacey, and Jonathan Bepler, location to be announced, advance RSVP required

Wednesday, June 24, 5:00
Friday, June 26, 5:30
Saturday, June 27, 7:00

River to River: White, by Michelle Boulé, location to be announced, advance RSVP required

Thursday, June 25
and
Friday, June 26

River to River: 3 After 4, Experiment 4, by Sarah Michelson, location to be announced, advance RSVP required, 7:00

Thursday, June 25, 4:00 (open dress rehearsal)
Friday, June 26, 4:00
Saturday, June 27, 2:00
Sunday, June 28, 2:00

River to River: Love of a Poet, by John Kelly, Arts Center, Governors Island, advance RSVP required

Friday, June 26
Bryant Park Presents Modern Dance, Bryant Park Stage, 6:00

SummerStage: Hybrid Movement Company, the Incredible Incredible, and IMPACT Repertory Theatre
Crotona Park, 7:00

Friday, June 26, 1:00
Saturday, June 27, 5:00
Sunday, June 28, 5:00

River to River: Fall of the Rebel Angels: X, by Catherine Galasso, Yellow House, Nolan Park, Governors Island, advance RSVP required

Friday, June 26, 3:00
Saturday, June 27, 3:30
Sunday, June 28, 3:30

River to River: Cribles/Governors Island, by Emmanuelle Huynh – Company Mùa, Parade Ground, Governors Island, advance RSVP required

Saturday, June 28
River to River: Open Studios with Eiko & Emmanuelle Huynh, Arts Center, advance RSVP required, Governors Island, 1:00

River to River: Open Studios with Wally Cardona, Jonathan Bepler, and Dr. Chikako Yamauchi, Arts Center, Governors Island, advance RSVP required, 2:00

Thursday, July 2
SummerStage: Un Break à Mozart, the DASH Ensemble, Rumsey Playfield, Central Park, 7:00

Friday, July 3
Bryant Park Presents Modern Dance, Bryant Park Stage, 6:00

Saturday, July 5
SummerStage: Global Family Day, with Shine and the Moonbeams and special guest the Noel Pointer Youth Orchestra, the Red Trouser Show, Batoto Yetu, Ziporah Roney and Collaborative Artists, Rumsey Playfield, Central Park, 2:00

Friday, July 10
Bryant Park Presents Modern Dance, Bryant Park Stage, 6:00

Saturday, July 11
SummerStage — Hip Hop Dance: From the Street to the Stage, with a Master Class led by Brandon “Peace” Albright, St. Mary’s Park, 7:00

Rashida Bumbray & Dance Diaspora Collective will perform RUN, MARY, RUN in Queensbridge Park on July 18 (photo by John Rogers)

Rashida Bumbray & Dance Diaspora Collective will perform RUN, MARY, RUN in Queensbridge Park on July 18 (photo by John Rogers)

Saturday, July 18
SummerStage — Rashida Bumbray & Dance Diaspora Collective: Run, Mary, Run, with Master Class led by Jamel Gaines, Queensbridge Park, 7:00

Friday, July 24
Lincoln Center Out of Doors — Dorrance Dance: The Blues Project Revisited with Toshi Reagon and BIGLovely, Damrosch Park Bandshell, 7:30

Saturday, July 25
Lincoln Center Out of Doors Family Day: Heidi Latsky Dance, Josie Robertson Plaza, 3:30

Lincoln Center Out of Doors Family Day: National Dance Day, Josie Robertson Plaza, 4:00

Saturday, July 25, 12 noon, 5:00, 5:30, 6:00
and
Sunday, July 26, 4:00 – 6:00

Lincoln Center Out of Doors Family Day — Bridgman|Packer Dance: Truck, Jaffe Drive / Toll Porte-cochère

Sunday, July 26
Lincoln Center Out of Doors — Chinese American Arts Council Dancers: From Chinatown with Love, Hearst Plaza, 3:00

Wednesday, July 29
SummerStage: PHILADANCO! and TU Dance, Rumsey Playfield, Central Park, 7:00

Thursday, July 30
Passport Thursdays – India: Parul Shah Dance Company, Haider (Vishal Bhardwaj, 2014), Queens Museum

Saturday, August 1
Lincoln Center Out of Doors: A Celebration of the Life of Geoffrey Holder, with the panel discussion “The Life and Work of Geoffrey Holder” and screening of documentary Carmen and Geoffrey (Nick Doob, 2005) and rare archival footage, Elinor Bunin Munroe Film Center, 1:00

Lincoln Center Out of Doors: Garth Fagan Dance, Carmen de Lavallade: The Creation, the Ebony Ecumenical Ensemble, Damrosch Park Bandshell, 7:30

Sunday, August 2
Lincoln Center Out of Doors: Heritage Sunday — Opening Doors: Celebrating Immigrant New York, featuring Abdoulaye Diabaté and Super Manden, Boodoosingh Tassa Drummers, Calpulli Mexican Dance Company, Csűrdöngölő Folk Ensemble, and Ikhlaq Hussain, Hearst Plaza, 1:00

Monday, August 3
through
Saturday, August 8

Dance at Socrates: Week 1, Socrates Sculpture Park

Thursday, August 6
Lincoln Center Out of Doors: We Like It Like That! A Boogaloo Celebration with Joe Bataan; Ray Lugo and the Boogaloo Destroyers with special guest Richie Ray and Pete Rodriguez; ABAKUÁ Afro-Latin Dance Company; DJ Turmix, Damrosch Park Bandshell, 7:00

Celebrate Brooklyn! LeeSaar the Company, Ohad Naharin & Guest Dancers from Batsheva Dance Company, Prospect Park Bandshell, 8:00

Monday, August 10
through
Saturday, August 15

Dance at Socrates: Week 2, Socrates Sculpture Park

Saturday, August 8
SummerStage: Alpha Omega Theatrical Dance Company, Master Class: Karisma Jay, East River Park, 7:00

Thursday, August 13
Passport Thursdays – South Korea: Korean Traditional Music & Dance Center, Miss Granny (Hwang Dong-hyuk, 2014), Queens Museum

Monday, August 17
through
Saturday, August 22

Dance at Socrates: Week 1, Socrates Sculpture Park

Friday, September 4, 6:00
Saturday, September 5, 5:00
Sunday, September 6, 3:00 & 5:00

Suite Summer Festival, with In-Sight Dance Company, Socrates Sculpture Park