twi-ny recommended events

LA BELLE HÉLÈNE

The students of Fiorello H. LaGuardia High School will perform Offenbach operetta March 28-30 (photo by Margo Drucker)

LA BELLE HÉLÈNE
Concert Hall at Fiorello H. LaGuardia High School
100 Amsterdam Ave.
March 28-30, students $15, adults $25
212-496-0700 ext228
www.laguardiahs.org

In December 1864, Jacques Offenbach’s operetta, La belle Hélène (“The Beautiful Helen”), premiered in Paris, a playful romp through the Homeric story of Helen and the Trojan War and Greek mythology. The three-act opéra bouffe, with lyrics by Henry de Meilhac and Ludovic Halévy, features such characters as Agamemnon, Menelaus, Paris, Orestes, Achilles, Bacchis, and Ajax I and II. This weekend, the Fiorello H. LaGuardia High School of Music & Art and Performing Arts will present La belle Hélène as its annual opera, in an English-language version by Geoffrey Dunn, conducted by Lucinda Santiago, directed by Mary Ann Swerdfeger, and choreographed by Mary Brienza. Performances take place in the Concert Hall on March 28 at 7:30, March 29 at 2:00 and 7:30, and March 30 at 2:00; tickets are $15 for students and $25 for adults.

VISIONS AND VOICES — CHINA: RICHARD III

National Theatre of China makes its U.S. company debut with RICHARD III at Skirball Center (photo by Liu Weilen)

NATIONAL THEATRE OF CHINA: RICHARD III
NYU Skirball Center for the Performing Arts
566 La Guardia Pl. between Third & Fourth Sts.
March 26-30, $39-$65
212-992-8484
nyuskirball.org

In just the last two years, New York has seen numerous productions of Richard III, from Mark Rylance in the throwback Globe version on Broadway to Kevin Spacey’s star turn as part of the Bridge Project at BAM, from Ron Cephas Jones’s multiborough performance in the Public Theater’s Mobile Shakespeare Unit to Alessandro Colla in a suit and tie for Shakespeare in the Parking Lot’s outdoor production on the Lower East Side. Each of those shows had its own unique take on the Bard’s exploration of power, desire, and corruption, but perhaps the most unusual rendition is the National Theatre of China’s presentation, which comes to NYU’s Skirball Center March 26-30 as part of the second annual “Visions + Voices” festival. Streamlined to a mere hundred minutes, this Richard III will feature Chinese costumes, martial arts, acrobatics, music, and other elements of traditional Eastern staging by the National Theatre of China, in its U.S. company debut. The March 27 performance will be followed by a talk with director and National Theatre vice president Wang Xiaoying and script editor and dramaturge Luo Dajun, and the March 28 and 30 shows will be followed by conversations with Wang and actors Zhang Donglei and Zhang Xin; in addition, the panel discussion and audience Q&A “Beyond Puck: Performing Shakespeare in Asian America” will take place March 28 at 5:30 (free with advance registration) with Farah Bala, Ruy Iskander, Ching Valdes-Aran, Danielle Ma, Vandit Bhatt, Tisa Chang, and Ariel Estrada. “Visions + Voices: China” continues April 12 with a screening of Zhang Meng’s The Piano in a Factory and May 12 with Tan Dun’s “The Map” and “Concerto for String Orchestra and Pipa,” performed by the NYU Symphony Orchestra, featuring conductor Andrew Cyr, pipa virtuoso Zhou Yi, and cellist Wendy Sutter.

Chinese production of RICHARD III leaves a lot to the imagination (photo by Liu Weilen)

Update: The National Theatre of China’s American debut ended up being a rather curious affair. What was advertised as a one-hundred-minute Chinese production of Shakespeare’s Richard III with English surtitles ended up being around two and a half hours, with extremely limited descriptive sentences (that often worked improperly) instead of a full translation. The action, which includes acrobatics and martial arts, takes place on Liu Kedong’s spare but elegant set, featuring two carved columns and an ornate throne behind which hangs a series of calligraphy banners displaying such words as “Truth,” “Blood,” and “Conspiracy.” Zhang Dongyu portrays the title character with a sexy bravado, hunching and limping only when he’s delivering his scheming monologues; otherwise, he stands tall and proud as he woos Lady Anne (Zhang Xin) and kills off all possible challengers; following each death, blood drips down the banners, almost as if keeping score. Shakespeare’s story of the power struggles within and between the Yorks and the Lancasters, rival dynasties fighting for the English crown, moves easily across cultures, settling smoothly into an imperial Chinese milieu. But even for those who are very familiar with the details of Shakespeare’s tale, the decision to not translate any of the dialogue left many in the dark; it was particularly disconcerting when those members of the audience who understood Mandarin would laugh at a line, making everyone else feel left out — and resulting in dozens of people not returning after intermission. It also made it difficult to figure out why three witches seemed to have come over from Macbeth. But the costumes are colorfully grand, and percussionist Wang Jianan virtually steals the show, as no translation is needed for his thrilling, evocative live score.

TICKET ALERT: THE DREAM-OVER

Rubin Museum
150 West 17th St. at Seventh Ave.
Tickets on sale Tuesday, March 25, $108, 11:00 am
Event takes place May 10-11, 8:00 pm – 9:00 am
212-620-5000
www.rubinmuseum.org

Tickets go on sale this morning at eleven o’clock for a uniquely satisfying and rewarding program at the Rubin Museum. The Dream-Over, which began in 2011, will be held this year on Mother’s Day weekend, May 10-11, offering visitors the opportunity to spend a special evening inside the museum, exploring the inner workings of their mind in a fascinating way. Each lucky participant fills out a Dreamlife Questionnaire in advance, giving details about themselves that will help consultants, under the leadership of Dr. William Braun of the New York Psychoanalytic Society, select a specific work of art in the museum under which they will sleep; hopefully the painting, photograph, or sculpture will influence their dreams. Dreamers are required to arrive at the Rubin already in pajamas, robe, and slippers and must bring their own bedding. Food and drink are not allowed; there will be a midnight snack and a Tibetan breakfast. Couples can sleep and dream under the same work of art. In the morning, Dream Gatherers and Dream Interpreters will speak individually with the participants to figure out what their dreams might mean. This year’s theme is Tibetan medicine, in conjunction with the new interactive exhibit “Bodies in Balance: The Art of Tibetan Medicine,” in which visitors can determine which of three healing forces are dominant within them. (You can take the quiz here.). Tickets for the Dream-Over sell out immediately, so don’t hesitate if you want to take part in this ultracool event. In addition, as part of the “Bodies in Balance” programs, “Diagnosis III: Dreams” brings together a Tibetan doctor and Jungian analyst Morgan Stebbins for ninety-minute discussions involving the Four Tantras and urinalysis on April 9 and pulse on April 16 and May 7.

TALES OF US: GOLDFRAPP LIVE

AMC Empire 25, 234 West 42nd St. at Eighth Ave.
IndieScreen, 289 Kent Ave. at South Second St.
Tuesday, March 25, and Thursday, March 27, IndieScreen 7:00, AMC Empire 8:00
www.goldfrapp.com

“Every word is soft as fur / I’m drifting deep, deeper in,” Alison Goldfrapp sings on “Stranger,” one of ten tracks on Tales of Us (Mute, September 2013), the sixth full-length album from the English duo known as Goldfrapp, consisting of Will Gregory and Alison Goldfrapp. Formed in 1999, Goldfrapp has gone from trip-hop to dance pop to electronica; on Tales of Us, the sound is far more subdued and mysterious, bathed in a dreamy atmosphere highlighted by whispery vocals amid luminous orchestrations. On March 25 and 27, select theaters around the world will present a thirty-minute film by Goldfrapp based on five interrelated songs on the new album, “Stranger,” “Laurel,” “Jo,” “Drew,” and “Annabel.” Directed by film editor Lisa Gunning (Seven Psychopaths, Salmon Fishing in the Yemen), the haunting video, shot in both color and black-and-white, traces love, romance, and escape in such natural settings as vast fields, forests, and water. The film will be followed by a live broadcast of Goldfrapp at Air Studios in London playing songs from throughout their career, including “Utopia” from Felt Mountain and “Train” and “Strict Machine” from Black Cherry. (A recorded version of the mini-concert will be seen in the States.) Tickets are available in advance for this intimate look at a fascinating band.

DOCUMENTARY IN BLOOM: BROTHERS HYPNOTIC

Documentary follows Hypnotic Brass Ensemble as brothers travel the world sharing their artistic vision

NEW FILMS PRESENTED BY LIVIA BLOOM: BROTHERS HYPNOTIC (Reuben Atlas, 2013)
Maysles Cinema
343 Malcolm X Blvd. between 127th & 128th Sts.
March 24-30, 7:30
212-582-6050
www.mayslesinstitute.org
www.hypnoticbrassfilm.com

A real family affair, the Hypnotic Brass Ensemble includes eight sons of jazz musician Kelan Phil Cohran, a trumpeter who played with such legends as Jay McShann and Sun Ra, cofounded the Association for the Advancement of Creative Musicians, and started the Affro-Arts Theatre in Chicago. HBE’s compelling story is told in Reuben Atlas’s spirited feature documentary debut, Brothers Hypnotic, which is having its exclusive U.S. theatrical premiere March 24-30 as part of Livia Bloom’s “Documentary in Bloom” series at Harlem’s Maysles Cinema. Atlas followed the band for four years, from its hometown of Chicago to Amsterdam, from Ireland to London, and to numerous spots in New York City, a kind of second home for the group, which consists of siblings Gabriel “Hudah” Hubert on trumpet, Saiph “Cid” Graves on tenor trombone, Amal “Baji” Hubert on trumpet, Tycho “L.T.” Cohran on bass/sousaphone, Jafar “Yosh” Graves on trumpet, Uttama “Rocco” Hubert on euphonium, Seba “Clef” Graves on bass trombone, and Tarik “Smoove” Graves on trumpet (in addition to Christopher Anderson on drums). Atlas shows the band playing its unique blend of funk, jazz, and hip-hop at major festivals, in clubs, on the street, in the subway, and in the studio. Their music comes together organically, as evidenced onstage and on such albums as Flipside, Bulletproof Brass, and The Brothas, highlighted by such original songs as “War,” “Balicky Bon,” “Touch the Sky,” “Black Boy,” and “Party Started.” The members of HBE talk about what it was like being raised by two mothers on Chicago’s South Side (the eight brothers come from three different women; their father has nearly two dozen children total) and a father who would get them up at six in the morning to start rehearsing in what became the Phil Cohran Youth Ensemble. They discuss their father’s legacy and their career strategies, in particular an offer from Atlantic Records; meet with managers Knox Robinson and Mark Murphy; and, later, hang with Blur frontman Damon Albarn, who runs the independent label Honest Jon’s. Along the way, they get to play with Yasin Bey (Mos Def) and Prince while striving to maintain their artistic integrity and high moral values. It’s a feel-good tale that turns poignant when they reconvene with their father near the end of the film. Atlas and members of the band will be on hand for Q&As following the March 28 and 29 screenings; HBE will also be performing live at the Knitting Factory in Brooklyn on March 29 and 30.

WAITING FOR GODOT / NO MAN’S LAND

Didi (Patrick Stewart) and Gogo (Ian McKellen) joke around while waiting for Godot in Samuel Beckett masterpiece (photo by Joan Marcus)

Cort Theatre
138 West 48th St. between Sixth & Seventh Aves.
Extended through March 30, $40 – $147
www.twoplaysinrep.com

For the past five months, British thespians Patrick Stewart and Ian McKellen have been having a blast in New York, as they perform two existential masterpieces in repertory on Broadway and travel all over the city in their bowler hats, posting fabulous pictures on their twitter sites. Sir Ian and Sir Pat are now entering the last week of two marvelous productions, Samuel Beckett’s Waiting for Godot and Harold Pinter’s No Man’s Land, running at the Cort Theatre through March 30. The two men, who have previously starred opposite each other as frenemies in the X-Men movies, first teamed up for Godot in London in 2009; they had such a good time, they decided to bring it to Broadway. It was director Sean Mathias’s idea to add Pinter’s 1975 drawing-room romp, and the two plays work extremely well together, like a pair of old friends enjoying each other’s company. In Waiting for Godot — the last word of which you will forever pronounce with the accent on the second syllable after seeing this show — McKellen is Estragon (Gogo) and Stewart is Vladimir (Didi), two homeless men who are expecting a man named Godot to arrive. In between Gogo’s concern for his boots and Didi’s frequent trips to relieve himself, the drifters engage in such surreal dialogue as E: “He should be here.” V: “He didn’t say for sure he’d come.” E: “And if he doesn’t come?” V: “We’ll come back tomorrow.” E: “And then the day after tomorrow.” V: “Possibly.” E: “And so on.” V: “The point is —” E: “Until he comes.” V: “You’re merciless.” E: “We came here yesterday.” V: “Ah no, there you’re mistaken.” E: “What did we do yesterday?” V: “What did we do yesterday?” E: “Yes.” V: “Why . . . Nothing is certain when you’re about.” Indeed, nothing is certain in the two-and-a-half-hour, two-act play, even when the pompous Pozzo (Shuler Hensley) arrives, led by his apparent human slave, Lucky (Billy Crudup). What’s it all about? That’s something that theatergoers and critics have been contemplating and arguing about for some fifty years, getting little help from Beckett himself. The beauty of Godot is that it is about everything and nothing, perhaps the most entertaining and perplexing Rorschach test ever conceived. It’s really about whatever you want it to be, including, very simply, exceptional theater.

Spooner (Ian McKellen) and Hirst (Patrick Stewart) rehash the past in Harold Pinter classic (photo by Joan Marcus)

Much is left up to the audience to figure out in the absurdist black comedy No Man’s Land as well. After meeting in a pub, the wealthy, impeccably dressed Hirst (Stewart, wearing a wonderful pair of bright blue socks and a fashionable toupee) brings home the somewhat less erudite but scholarly Spooner (McKellen) for further conversation and top-shelf liquor. The two men discuss life and love, aging and infidelity, poetry and memory, occasionally joined by Foster (Crudup) and Briggs (Hensley), who may or may not be Hirst’s sons or servants. (The four characters are named after great cricketers — not that that lends insight into who they are or what they actually represent, other than that Pinter is playing yet more games with his story.) Stewart and McKellen, in roles originated by a pair of other sirs, Ralph Richardson and John Gielgud, respectively, are utterly delightful as the two gents. Are they old college friends? Romantic competitors? Two halves of the same person? As in Waiting for Godot, the significantly more acerbic No Man’s Land is open for vast interpretation as well, although it provides far more clues. Both plays are splendidly directed by Mathias (Bent), who honors the spirit of each play without getting overly fancy or dramatic, and feature exemplary sets and costumes designed by Stephen Brimson Lewis that evoke heaven, hell, and the way station in between. Over the past dozen years or so, McKellen (King Lear, Dance of Death) and Stewart (A Christmas Carol, Macbeth) have appeared on the New York stage separately, but there’s nothing quite like seeing them together on Broadway, in a pair of stellar productions that allow them to have just as much fun as the audience.

NEW DIRECTORS / NEW FILMS 2014: OF HORSES AND MEN

Human nature is explored through the eyes of horses in wildly entertaining Icelandic tale

OF HORSES AND MEN (HROSS Í OSS) (Benedikt Erlingsson, 2013)
Film Society of Lincoln Center, Walter Reade Theater
165 West 65th St. between Eighth Ave. & Broadway
Monday, March 24, 6:30
Series runs through March 30
212-875-5050
www.newdirectors.org

Iceland’s entry for the 2013 Academy Awards, Benedikt Erlingsson’s black comedy, Of Horses and Men, takes an absurdist look at the relationship between humans and horses, incorporating love, sex, pain, responsibility, friendship, religion, and death in darkly comic and heart-rending ways. In a tight-knit community spread across a sweeping rural landscape in Iceland, horses are far more plentiful than people. One morning, Kolbeinn (Ingvar E. Sigurdsson) goes for a ride aboard his gorgeous white mare as men, women, and children come outside to watch him pass by like it’s a parade. But a shocking, unexpected encounter with Solveig’s (Charlotte Bøving) black stallion sets into motion a series of interconnected vignettes, each successive one featuring a minor character from a previous scene. Lust, land disputes, gender distinction, and other agreements and disagreements lead to either tragedy or joy, but, of course, this being Iceland, the former is far more prevalent, especially as more and more Brennivin (Black Death) and other drink is consumed. Writer-director Erlingsson’s debut feature is gorgeously photographed by Bergsteinn Björgúlfsson, whose camera moves lovingly over the green fields and mountainous valleys, treating the horses like Hollywood sirens, zooming in on their eyes to show the reflection of the people who seek to control them, equating the basic animal instincts of both species. The horses in the film are no mere props; Erlingsson, who grew up in a theatrical family and has directed numerous stage productions (in addition to owning a horse, whom he called his “life companion,” for thirty years until recently having to put her down), treats the animals like characters in their own right, revealing their, dare we say, humanity. Produced by Icelandic cinema legend Friðrik Þór Friðriksson (Children of Nature, Mamma Gógó), Of Horses and Men is a dark, wildly entertaining treatise on human nature among a rather quirky and unusual equestrian set. The film is being shown March 24 at 6:30 at the Walter Reade Theater as part of Lincoln Center and MoMA’s annual “New Directors / New Films” series, with Erlingsson on hand to participate in a postscreening Q&A.