Alethea Pace will present between wave and water twice on May 10 (photo by Whitney Browne)
Who:Alethea Pace and dancers What:Boogie Down Dance Series site-specific performances Where:Joseph Rodman Drake Park and Enslaved People’s Burial Ground, Hunts Point When: Saturday, May 10, $12.51-$44.52, 12:30 & 4:00 Why: The BAAD! (Bronx Academy of Arts and Dance) Boogie Down Dance Series continues May 10 with two site-specific performances by Bronx-based multidisciplinary artist Alethea Pace. Incorporating movement, music, and storytelling, between wave and water takes audiences on an immersive, interactive, participatory journey into the history of Joseph Rodman Drake Park and Enslaved People’s Burial Ground in Hunts Point, which was designated an individual landmark in December 2023; it contains two colonial-era cemeteries in an area where the Munsee-speaking Siwanoy people lived until being forced out in 1663 by English settlers.
Written and directed by Pace, the piece, which honors more than three dozen ancestors buried in the park, explores legacy and reclamation in the context of the modern world, with Ghost representing the present, Trickster the past, and Prophet the future; the music is by S T A R R busby with lyrics by Pace, who choreographed the work with the other performers, Maria Bauman, Imani Gaudin, Darvejon Jones, Alex LaSalle, Maleek Rae, Katrina Reid, and Indigo Sparks. The show, which runs between seventy-five and ninety minutes, includes walking a few blocks and getting on a short bus ride. Pace will also host her guided “Listening With: Hunts Point Walking Tours,” with specific dates and times to be announced.
“The articulation of memory, evoked through the act of moving, unearths an ever-evolving archive,” Pace explains on her website. “In collaboration, the participants and I investigate how our histories reside in our bodies, how our bodies shape and are shaped by the places they inhabit, and how bodies moving in nontraditional spaces inspire new ways of seeing.”
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
Japan Parade and Street Fair returns to NYC May 10 (photo courtesy Japan Parade)
Who: Masaharu Morimoto, Sayaka Yamamoto, Sandra Endo, the cast of ATTACK on TITAN: The Musical, Koji Sato, Soh Daiko, COBU, Taiko Masala Dojo, Harlem Japanese Gospel Choir, Japanese Folk Dance Institute of NY, Yosakoi Dance Project — 10tecomai / KAZANAMI, IKO Kyokushinkaikan, New York Kenshinkai, Anime NYC, Miyabi Koto Shamisen Ensemble, more What:Japan Parade and Street Fair and Japan Night concert Where: Parade: Central Park West between Sixty-Eighth & Eighty-First Sts.; concert: Edison Ballroom, 240 West Forty-Seventh St. When: Concert: Friday, May 9, $81.88-$108.55, 5:30; parade and street fair: Saturday, May 10, free, 11:00 – 5:00 Why: The fourth annual Japan Parade and Street Fair takes place on May 10, celebrating the long friendship between the United States and Japan. Among the many participants in the parade, which kicks off at 1:00 at Central Park West and Eighty-First St. (the opening ceremonies are set for 12:30 at West Seventy-First St.), will be the cast of ATTACK on TITAN: The Musical, Hello Kitty, My Melody, Kuromi, taiko drummers, Japanese dance troupes, martial arts organizations, language schools, a gospel choir, singer-songwriter Sayaka Yamamoto, and members of Anime NYC. The grand marshal is Iron Chef restauranteur and author Masaharu Morimoto, the community leader is JAANY president Koji Sato, the honorary chairman is Ambassador Mikio Mori, and the emcee is television news correspondent Sandra Endo. In addition, there will be a street fair from 11:00 to 5:00 on West Seventy-Second St. between CPW and Columbus Ave., featuring food and drink, calligraphy, Yukata, origami, tourist and cultural information, a donation tent, prizes, and more.
“I am deeply honored to be appointed the grand marshal of this year’s Japan Parade in New York City,” Chef Morimoto said in a statement. “This role gives me a unique opportunity to celebrate and share the rich, dynamic culture of Japan with the heart of one of the world’s most vibrant cities.”
The parade will be preceded on May 9 by Japan Night at the Edison Ballroom in the Theater District, with performances by the cast of ATTACK on TITAN: The Musical, Miyabi Koto Shamisen Ensemble with Masayo Ishigure, and Sayaka Yamamoto, the former captain of NMB48, in addition to a sake tasting and a crafts presentation by ASP Group. The event will be hosted by NBC News correspondent Emilie Ikeda; tickets are $81.88-$108.55.
“The Japan Parade, a community-wide effort, represents the interwoven cultural and economic ties between Japan and New York, reflecting — and deepening — the strong alliance between Japan and the US,” Ambassador Mori added. “And right now, with the world in considerable need of unity, goodwill, and hope, Japan–US relations are more vital than ever, demonstrating what can be accomplished by working together towards common goals. So, by extension, the Japan Parade is also vital — the greater the celebration, the greater our cooperation!”
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
On December 2, 2012, the Paramount in Huntington hosted a memorable show by a pair of British ex-pats. First up was the reunited Graham Parker and the Rumour, followed by Ian Hunter and the Rant Band, the latter featuring James Mastro on guitar, sax, and mandolin.
On April 28, Parker and Mastro will be at City Winery, with Parker playing songs from throughout his illustrious fifty-year-career, during which he has been backed by the Rumour, the Shot, the Figgs, the Small Clubs, and the Goldtops. His most recent album, 2023’s Last Chance to Learn the Twist, is classic GP, a phenomenal package of incisive tunes, from the bluesy rocker “The Music of the Devil” to the throwbacks “Grand Scheme of Things” and “Wicked Wit” to a love song to weed, “Cannabis.”
An expert raconteur, Parker came out of the gate with a remarkable string of records between 1976 and 1979 — Howlin’ Wind,Heat Treatment,Stick to Me, and Squeezing Out Sparks — and he has never stopped releasing terrific new music while also writing the short story collection Carp Fishing on Valium and the backstage novel The Thylacine’s Lair and acting in Judd Apatow’s This Is 40. I’ve seen him numerous times over the decades and he has never failed to work wonders; one of my favorite evenings was a house concert in New Jersey in which Parker performed one deep cut from each of his albums, in chronological order, introducing each song by talking about what was going on in the world when he wrote it.
In an interview on his website, he explains, “I can’t say I ever think I’m doing anything more with each song or each album other than throwing another pebble into the stream where it swirls around for a bit until it eventually gets picked up by the current and flows off downstream. Bye bye, thanks for helping pass the time.”
Graham Parker joins James Mastro, Ian Hunter, and the Rant Band at the Paramount in 2012 (photo by twi-ny/mdr)
I’ve also had the good fortune to see Mastro play in numerous configurations over the years, with the legendary Hoboken band the Bongos, the underappreciated Health & Happiness Show, Patti Smith, Richard Hell, Syd Straw, Megan Reilly, Amy Speace, and others. But last year the consummate sideman released his highly praised debut solo album, Dawn of a New Error, with Mastro taking on faith and religion in “My God,” death and loss in “Never Die,” true love in “Gangster Baby” and “Three Words,” and fake news in “Right Words, Wrong Song.”
In a February 2024 twi-ny talk, Mastro, who also runs the the Hoboken art gallery and live event space 503 Social Club, explained, “I’ve really enjoyed being a side guy all these years, and especially when you’re working with someone like Ian Hunter, or Patti or John [Cale], anyone I’ve worked with, Megan. So it’s been nice to go in and try to contribute and watch how other people work. It takes a lot of pressure off. Running a band is a pain in the ass; you gotta make sure the drummer doesn’t get arrested.”
Parker and Mastro will be more than passing the time at City Winery, and there will be no drummers needing protection from the law.
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
Artist Otobong Nkanga will be joined by six performers to activate Cadence installation on April 27 (photo by twi-ny/mdr)
Who:Otobong Nkanga and others What:Installation activation Where: Marron Family Atrium, MoMA, 11 West Fifty-Third St. between Fifth & Sixth Aves. When: Sunday, April 27, free with museum admission, 10:30 am – 5:30 pm Why: Describing her MoMA atrium commission Cadence, Nigeria-born, Belgium-based artist Otobong Nkanga notes, “Once I’d visited MoMA, I was interested in creating a tapestry work for the highest wall in the atrium, which would allow for a way of looking into the world from a different perspective. I wanted to create the notion of falling: a fall of things, a certain shift, a certain rhythm. The tapestry opens up to a more three-dimensional space, with sculptural pieces made of clay, smoked raku, and glass hanging from ropes and sitting on anthracite rocks, and a sound piece integrated in the sculpture that relates to the notion of teardrops, which is another kind of fall. . . . I wanted to make something that explores different rhythms of life. You might also feel that it’s a world that is beyond this one, like the universe somehow. It’s a mix of different worlds — from the underworld and the mining of minerals, to the surface and the soil, to the atmosphere and the heat of the sun, into outer space — all collapsing together in one place. That’s what creates the cadence of life. That’s what creates, actually, a world, because you cannot separate what is happening in the universe from what is happening underneath the soil in the core of the earth.”
On April 27 from 10:30 to 5:30, Nkanga and six other performers — Holland Andrews, Keishera, Muyassar Kurdi, Anaïs Maviel, Miss Olithea, and Samita Sinha, in costumes by Christian Joy — will activate the installation, incorporating sound and movement to interact with the piece. “What if a teardrop actually had a voice? What would it say? How would it say it? The work is really looking at that teardrop, and the emotions that go with it,” Nkanga says of the live performance, which is free with museum admission. Cadence is on view through July 27.
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
Whitney White reimagines Shakespeare tragedy in rousing Macbeth in Stride at BAM (photo by Marc J. Franklin)
MACBETH IN STRIDE
Brooklyn Academy of Music
Harvey Theater at the BAM Strong
651 Fulton St.
April 15-27, $29-$85 www.bam.org/macbeth
Whitney White’s Macbeth in Stride is an exhilarating hijacking of Shakespeare’s Scottish play, transforming it into an empowering and unrelenting Black feminist rock opera that serves as a takedown of the traditional roles assigned to women not only in the Bard’s canon but in theater and the world itself.
“Irreverence is everything,” White notes at the beginning of her multilayered, irreverent script. Best known as the award-winning director of such plays as Jaja’s African Hair Braiding,On Sugarland,soft, and Liberation, White is both the author and star of this dazzling production at BAM’s Harvey Theater. The ninety-minute show is fervently directed with plenty of winks and nods by Taibi Magar (Help,Twilight: Los Angeles, 1992) and Tyler Dobrowsky, who previously collaborated with White (and Peter Mark Kendall) on the virtual pandemic concert play Capsule.
In Macbeth in Stride, White portrays an unnamed woman who is the dazzling lead singer of a hot band and an actress playing Lady Macbeth. Holli’ Conway, Phoenix Best, and Ciara Alyse Harris are a trio of backup vocalists, the three witches, and a kind of Greek chorus; everyone interacts with the audience, starting with the sensational opening number, “If Knowledge Is Power.”
“So what’s the story?” the woman, dressed in a tight-fitting black sparkling pantsuit, asks in her speech following the song. “For me . . . tonight there is one story — one play in particular that kicked it all off / The funky little chain reaction that led someone like me / To be standing before you now / That led someone like me from where I’m from / To school and stage and work and rehearsals / And kept me up many nights / But for now let’s get back to all of you / Let’s stick with you. / What’s the story you told yourselves to get here?”
Macbeth is introduced in the next song, “Reach for It,” in which several characters sing, “So if foul is fair then fair is foul / Ambition’s not a sin at all!,” after which the woman proclaims she wants ambition and love, no matter that the witches tell her women cannot have both. She also is intent on flipping the switch on Shakespeare, since all of his “great women never seem to make it out of these plays alive!”
The man playing Macbeth (Charlie Thurston) arrives, a white accordionist clad in black leather. Learning that he is destined to be king, she realizes that she in turn would become queen and wants the power that comes with that, to be more than the secondary character Lady M is through much of the original play. She asks the audience, “Women, queer folk, and othered people out there? / What are you willing to do to get what you need? / To get what you want?” She admits that violence might be the answer.
When Macbeth tells Lady M that King Duncan will be staying the night at their castle, she advises her husband, “I’m pretty sure we’re gonna have to kill him.” He does the deed, she frames the guards, and they become king and queen. As he deals with a heavy dose of fear, suspicion, and guilt, she is determined to be more than an appendage who just gets to host dinner parties; instead, she is going to “reclaim everything.”
Whitney White and Charlie Thurston star as the doomed couple in meta-heavy Macbeth in Stride (photo by Marc J. Franklin)
Macbeth in Stride is a rousing reimagining of Shakespeare’s 1606 tragedy, a clever, passionate, and downright fun show that celebrates the freeing of women from the shackles of literature as well as the chains of real life. White’s Lady M is a symbol of changing the narrative and taking control of the story, in this case in the guise of a spectacular concert. Songs such as “Dark World,” “Doll House,” and “I for You” help place the tale in contemporary times. “You gon’ rework a four hundred year old play just for your ego?” the first witch asks White, who replies, “Yup. / Sure did! Sure did!”
Dan Soule’s set features several platforms and a diagonal walkway cutting through the middle. Jeanette Oi-Suk Yew lights the show like a concert, including vertical strips of colored lights, while Nick Kourtides’s sound balances the loud music with the less raucous dialogue. Qween Jean’s costumes are fashionably glitzy, as is Raja Feather Kelly’s choreography.
The crack band consists of music director Nygel D. Robinson on keyboards, Kenny Rosario-Pugh on guitar, Bobby Etienne on bass, and Barbara “Muzikaldunk” Duncan on drums. Conway (Six,Tina), Best (Dear Evan Hansen,Teeth), and Harris (Dear Evan Hansen,White Girl in Danger) excel as the chorus, who are worthy of their own show. Thurston (Liberation,Here There Are Blueberries) succeeds in a nearly impossible task, surrounded by strong, tenacious women.
White, who also sits at the piano for a few tunes, is right at home center stage. She might not always have the range the songs require — “Reach for It” is a bit of a reach for her — but she embodies her character with an intense grandeur that is as intoxicating as it is fierce.
Shakespeare purists will notice occasional iambic pentameter in the streamlined text, and most of the famous quotes are in there, in one form or another. However, since this is Lady M’s story, aside from Duncan, whose murder is described in some detail, there is no mention of Macduff and his family, no King Edward, no Donalbain and Malcolm, no visible ghosts, no Earl of Northumberland, no noblemen and doctors, no Birnam Wood, and only one mention of Banquo and his son.
As the end approaches, the woman wonders, “Why do they write us this way? / Why do they imagine us this way?”
White has picked up a sharp quill and stands boldly under the spotlight to write it her way. The script notes that Macbeth in Stride is the first of a four-part series; I can’t wait to see what she has in store for us next.
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
El Greco’s St. Jerome is once again flanked by Hans Holbein the Younger’s Sir Thomas More and Thomas Cromwell (photo by twi-ny/mdr)
THE FRICK COLLECTION
1 East 70th St. at Fifth Ave.
Wednesday – Sunday, $17-$30 (pay-what-you-wish Wednesdays 2:00–6:00) www.frick.org
The Frick is my happy place.
Judging by the smiles on the faces of the hundreds of other Fricksters I encountered at a recent members preview of the reopened Fifth Ave. institution, I am far from the only one.
In 1913, American industrialist and art collector Henry Clay Frick commissioned the architecture firm of Carrère and Hastings to design the building as both a private home and a public resource. Frick died in 1919 at the age of sixty-nine; his daughter, Helen Clay Frick, served as a founding trustee of the collection and, in 1920, established the Frick Art Reference Library. In 1931, the building was adapted into a museum by architect John Russell Pope. The Frick Collection opened on December 11, 1935, for distinguished guests; three days later, ARTnews editor Alfred M. Frankfurter wrote that it is “one of the most important events in the history of American collecting and appreciation of art.”
The Frick closed in March 2020 for a major renovation, temporarily moving its remarkable holdings to the nearby Breuer Building on Seventy-Fifth and Madison, the former home of the Whitney. On April 17, the Frick will reopen to the public, with ten percent more square footage, going from 178,000 square feet to 196,000, including 60,000 square feet of repurposed space and 27,000 square feet of new construction, increasing the gallery space by thirty percent, highlighted by the unveiling of the second floor, which has been converted from administrative offices to fifteen rooms of masterpieces. The renovation and revitalization also features a new Reception Hall, Education Room, and 218-seat auditorium.
The 1732 Great Bustard resides on a pedestal near the Garden Court fountain (photo by twi-ny/mdr)
The main floor will be familiar to anyone who has ever visited the Frick; amid some minor changes, the twenty rooms have remained mostly intact. The Gainsboroughs are in the Dining Room, Boucher’s The Four Seasons are in the West Vestibule, four Whistler portraits stand tall in the Oval Room, Fragonard’s The Progress of Love series populates the Fragonard Room, and Goya’s Portrait of a Lady (María Martínez de Puga?) brings mystery to the East Gallery.
El Greco’s Purification of the Temple can be found in the Anteroom, Tiepolo’s Perseus and Andromeda in the East Vestibule, and Vecchietta’s The Resurrection in the Octagon Room. John C. Johansen’s portrait of Henry Clay Frick enjoys primo placement in the Library, where he is joined by Gilbert Stuart’s 1795 portrait of George Washington and numerous canvases by such British artists as Reynolds, Gainsborough, Romney, Turner, and Constable, whose Salisbury Cathedral from the Bishop’s Grounds has delighted me over and over again.
The Garden Court, with its peaceful fountain surrounded by columns, plantings, and Barbet’s Angel, is one of the loveliest indoor respites in the city.
Velázquez’s King Philip IV of Spain and Goya’s The Forge hang catty corner in the West Gallery (photo by twi-ny/mdr)
The glorious West Gallery houses many of the greatest hits, from Rembrandt’s stunning 1658 Self-Portrait and Velázquez’s regal King Philip IV of Spain to Goya’s gritty The Forge and Veronese’s enigmatic parable The Choice Between Virtue and Vice, along with a pair of gorgeous Turner port scenes, Corot’s captivating landscape The Lake, Vermeer’s Mistress and Maid, portraits by El Greco, Hals, Goya, and Van Dyke, and more than a dozen small mythological sculptures.
Bellini’s St. Francis in the Desert no longer has its own room but is coping (photo by twi-ny/mdr)
The centerpiece of the Frick has always been the Living Hall, with magisterial furniture, chandeliers, large vases, and a five-hundred-year-old Persian carpet. On one wall, Titian’s Pietro Aretino and Portrait of a Man in a Red Hat flank Bellini’s St. Francis in the Desert, which in the Frick Madison had its own room. Opposite that trio is the pièce de résistance: El Greco’s elongated St. Jerome stares out above the fireplace; to his left and right, respectively, are Hans Holbein the Younger’s stunning portraits of archenemies Thomas Cromwell and Sir Thomas More, the latter, in my opinion, the most spectacular portrait in the history of Western art. Its name, the Living Hall, could not be more appropriate, as it feels lived in.
Drouais’s The Comte and Chevalier de Choiseul as Savoyards is near the base of the stairs (photo by twi-ny/mdr)
The South Hall offers two Vermeers, Girl Interrupted at Her Music and Officer and Laughing Girl, facing a Frick fan favorite, Bronzino’s Lodovico Capponi, with its cleverly placed sword. After years of appearing behind the ropes that bar visitors from going upstairs, Drouais’s The Comte and Chevalier de Choiseul as Savoyards, depicting two young boys smiling like the cat who ate the canary, can now be approached before you make your pilgrimage to newly sanctified land.
And then, there it is: the Grand Stairway leading to the previously off-limits second floor. The looks as people make their way to the steps are fascinating, a mix of bated breath, yearning, excited anticipation, and even stealth, as if some museumgoers still can’t believe it is allowed. At the landing is a decorative screen and an Aeolian-Skinner organ that was once played by Archer Gibson for Henry and at dinner parties. At the top is Pierre-Auguste Renoir’s La Promenade, a lush oil of a woman and two young twin sisters that used to reside near the base of the stairs and now serves as a fine introduction to the myriad treasures upstairs.
Pierre-Auguste Renoir’s La Promenade greets visitors at the top of the Grand Stairway (photo by twi-ny/mdr)
The second floor is a mazelike procession of tighter spaces where the Fricks lived, again adorned with dazzling classics and lesser-known works that were not regularly on view in the past. Corot’s Ville-d’Avray and The Pond are in the Breakfast Room, with sets of jars and wine coolers and Théodore Rousseau’s The Village of Becquigny. Manet’s The Bullfight can now be found in the Impressionist Room, joined by Degas’s The Rehearsal and Monet’s Vétheuil in Winter, which had numerous people gasping. “I don’t remember ever seeing this before,” one woman said, and others nodded. Don’t miss Watteau’s The Portal of Valenciennes in the Small Hallway.
Hans Memling’s Portrait of a Man is now upstairs in the Sitting Room at the Frick (photo by twi-ny/mdr)
The Gold-Grounds Room gathers such religious works as Fra Filippo Lippi’s The Annunciation, Piero della Francesca’s The Crucifixion, and Paolo Veneziano’s The Coronation of the Virgin. Although there is a user-friendly app that tells you where everything is, I preferred searching on my own and was thrilled when I finally located Hans Memling’s Portrait of a Man in the Sitting Room, a depiction of an invitingly calm, laid-back man. Ingres’s Louise, Princesse de Broglie, Later the Comtesse d’Haussonville, another Frick fave, now holds court in the Walnut Room, near Houdon’s marble Madame His.
Among the other second-floor galleries are the Clocks and Watches Room, the Du Paquier Passage, the Boucher Room and Anteroom, the Ceramics Room, the Medals Room, and the Lajoue Passage, each with their own charm. And be sure to check out the hallway ceilings, covered in a beautiful mural with fabulous detail in the corners and ends.
The corners of the second-floor ceiling murals hold tiny gems (photo by twi-ny/mdr)
As recently retired former Frick director Ian Waldropper notes in the Frick’s Essential Guide, “The reopening of the renovated Frick Collection is cause for celebration.” It’s an inspiring place to visit old friends and make new ones, to see masterpieces in literal and figurative new light. One way the Frick has not changed is that the institution still does not allow any photos or videos, except at the early members and press previews. At first, I wasn’t going to take any pictures, but then I heard a few guards say, “Get out your cameras now, because you won’t be allowed to starting April 17.”
My happy place is back, and just in time.
There are two current special exhibitions; “Highlights of Drawings from the Frick Collection,” continuing in the Cabinet through August 11, consists of a dozen rarely displayed works, from Pisanello’s haunting pen and brown ink Studies of Men Hanging and Whistler’s surprising black chalk and pastel Venetian Canal to Goya’s brush and brown wash The Anglers and the coup de grâce, Ingres’s graphite and black chalk study for Louise, Princesse de Broglie . . .
Vladimir Kanevsky’s porcelain hydrangeas can be found in the Breakfast Room (photo by twi-ny/mdr)
Meanwhile, for “Porcelain Garden,” US-based Ukrainian artist Vladimir Kanevsky has installed porcelain flowers in nineteen locations throughout the Frick, on the floor and on tables, in vases and pots, creating a dialogue between the fragile plants and the museum’s many treasures; you’ll find lilacs in the Dining Room, foxgloves in the West Vestibule, cascading roses and white hyacinths in the Fragonard Room, dahlia branches and anemones in the Portico Gallery, and a lemon tree in the Garden Court, among others.
And from June 18 to August 31, “Vermeer’s Love Letters” unites the Frick’s Mistress and Maid with the Rijksmuseum’s Love Letter and the National Gallery of Ireland’s Woman Writing a Letter, with Her Maid.
Below are only some of the scheduled programs, with more to come.
Friday, April 18
Gallery Talk: A Home for Art, Library Gallery, free with museum admission, 6:00 & 7:00
Gallery Talk: Closer Look at Vermeer’s Mistress and Maid, West Gallery, free with museum admission, 6:00 & 7:00
Friday, April 25
Gallery Talk: A Home for Art, Library Gallery, free with museum admission, 6:00 & 7:00
Saturday, April 26
Spring Music Festival: Jupiter Ensemble, Lea Desandre, Anthony Roth Costanzo, Stephen A. Schwarzman Auditorium, 7:00
Thursday, May 1
Spring Music Festival: Takács Quartet and Jeremy Denk, Piano, Stephen A. Schwarzman Auditorium, 7:00
Saturday, May 3
Spring Music Festival: Sarah Rothenberg, Solo Piano, Stephen A. Schwarzman Auditorium, 7:00
Sunday, May 4
Spring Music Festival: Alexi Kenney, Violin and Amy Yang, Fortepiano, Stephen A. Schwarzman Auditorium, 7:00
Thursday, May 8
Sketch Night, free with advance RSVP, 5:00
Spring Music Festival: Emi Ferguson, Flute and Ruckus, Baroque Ensemble, Stephen A. Schwarzman Auditorium, 7:00
Friday, May 9
Stephen K. and Janie Woo Scher Fellow Lecture: The Milicz Medals of Johann Friedrich of Saxony and the Subtleties of Political Art in the Age of Reformation, with Maximilian Kummer, Ian Wardropper Education Room, free with advance RSVP, 6:00
Sunday, May 11
Spring Music Festival: Mishka Rushdie Momen, Solo Piano, Stephen A. Schwarzman Auditorium, 5:00
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
Who:Sierra Boggess,Laura Bell Bundy,Nicole Ryan What: Live, unscripted conversation with drinks, snacks, shopping, and cocktail gathering Where:Shine by Randi Rahm pop-up boutique, 501 Madison Ave. between Fifty-Second & Fifty-Third Sts. When: Wednesday, April 2, free with RSVP, 5:30 Why: Randi Rahm’s Fashion Talks at Shine kicked off March 5 with Bachelor Night, featuring Golden Bachelorette Joan Vassos, Bachelorette Charity Lawson, and moderator Nicole Ryan from SiriusXM, followed by Music Night with Jillian Hervey of Lion Babe on March 19. The third edition of the live podcast takes place April 2 with Broadway Night, when Ryan will be joined by actor, singer, and figure skater Sierra Boggess, who has starred in such shows as The Little Mermaid,The Phantom of the Opera,School of Rock, and Harmony, and actor, singer, and Tony nominee Laura Bell Bundy, whose Great White Way career includes Hairspray,Legally Blonde, and The Cottage.
“I always say, I’m in the art of fashion. To me, that means creating something that tells a story — something that moves people,” Rahm said in a statement. “These talks are an extension of that. They’re about connection, creativity, and the courage it takes to share who you really are. Laura Bell and Sierra embody all of that. They’re not only incredible artists but women who lead with heart, humor, and authenticity — and I’m so honored to have them join me in this space.”
Randi Rahm is hosting a series of fashion talks at Shine pop-up boutique
The intimate, candid conversation will be preceded by a chance to explore Rahm’s new ready-to-wear Shine collection and followed by a cocktail reception and more shopping; tickets are free with advance RSVP.
[Mark Rifkin is a Brooklyn-born, Manhattan-based writer and editor; you can follow him on Substack here.]
