this week in music

STEVIE VAN ZANDT: UNREQUITED INFATUATIONS

Who: Stevie Van Zandt, Bruce Springsteen, Jay Cocks, Joel Selvin, Chris Columbus, Budd Mishkin
What: Interviews with Stevie Van Zandt in conjunction with the launch of his new memoir, Unrequited Infatuations (Hachette, $31)
Where: Multiple sites online and in person
When: September 28 – October 3, $5-$100
Why: “Silence. He was under a blanket in the back of the car on the floor in the crazy spooky silence. Nobody spoke. No radio. Just the lazy hum of the motor, and him alone with his thoughts. And ooh daddio, that was not his favorite thing. His two coconspirators were sneaking him past the military blockade into the black township of Soweto. The ‘native unrest,’ as the government liked to call it, erupted every few years, but lately it had become more frequent, and now, constant.” So begins Stevie Van Zandt’s new memoir, Unrequited Infatuations: Odyssey of a Rock and Roll Consigliere (A Cautionary Tale), as he writes in the third person about his secret trip into South Africa in 1984. “How the fuck did a half-a-hippie guitar player get here? For seven glorious years, Bruce Springsteen and the E Street Band were Rock and Roll’s Rat Pack, and he happily and naturally played the Dean Martin role. If you were even thinking of throwing a party, you called him. That was the extent of his politics. He was the fun guy. The court jester. Always good for a laugh. Sex, booze, drugs, Rock and Roll, and . . . more sex. Yo bartender, another round for the house! A whole lot had to go sideways to find him under that blanket. . . . He chose to take the adventure instead of the money. What a putz.” Among the chapters in the book are “Epiphany,” “The Boss of All Bosses,” “The Punk Meets the Godfather,” “Freedom — No Compromise,” “Seven Years in the Desert,” and “Summer of Sorcery.”

Alternately known as Miami Steve, Little Steven, and Stevie for the last fifty years, Van Zandt is now detailing his unique life and career in the book, which launches this week with a series of in-person and online events. The memoir takes readers from the Jersey Shore to Sun City, from South Africa and Hollywood to Norway and the Super Bowl. A longtime member of the E Street Band and a ferocious political activist, Van Zandt also starred as Silvio Dante in The Sopranos — a role he helped create after HBO said no to him as Tony — wrote and produced songs for Southside Johnny and the Asbury Jukes, has been hosting the nationally syndicated radio show Little Steven’s Underground Garage since 2002, started Wicked Cool Records, played the lead in the Norwegian crime drama Lilyhammer, founded the nonprofit TeachRock to promote music education in schools, records and tours with his own band, Little Steven and the Disciples of Soul, and is the founder of Renegade Nation, the umbrella company for many of his wide-ranging pursuits. I’ve had the privilege of meeting him several times over the years, interviewing him, and seeing him play live with the E Street Band and with the Disciples going back to the 1970s and ’80s, and he has never failed to impress as a performer and a straight-shooting human being.

There are five programs being held in conjunction with the publication of Unrequited Infatuations, pairing him with film critic and screenwriter Jay Cocks, music critic and author Joel Selvin, director and screenwriter Chris Columbus, broadcast journalist Budd Mishkin — oh, and Stevie’s boss and best friend, Bruce Springsteen. Below is the full schedule; take note of which events come with a copy of the book, in some cases pre-signed as well.

Tuesday, September 28
Stevie in conversation with Bruce Springsteen, $35 with unsigned book, $45 with signed book, 8:00

Wednesday, September 29
Stevie in conversation with Jay Cocks, online and at the 92nd St. Y, $20 online, $35 in person with book, 7:30

Thursday, September 30
Stevie in conversation with Joel Selvin, Commonwealth Club online, $5 general admission, $35 with book, 8:00

Friday, October 1
Stevie in conversation with Chris Columbus, Book Soup at the Colburn Music School, $40 with book, 7:00

Sunday, October 3
Stevie in conversation with Budd Mishkin, Montclair Literary Festival, $40 with signed book, $100 with signed book and VIP seating, 5:00

SUN & SEA (MARINA)

Sun & Sea brings the beach to BAM in thrilling production (photo by Barbara Pollack)

SUN & SEA (MARINA)
BAM Fisher, Fishman Space
321 Ashland Pl.
September 15-26, $25
www.bam.org

The summer beach season might unofficially come to a close on Labor Day weekend, but BAM has extended it through September 26 with the US premiere of Sun & Sea, a wonderfully engaging indoor presentation that brings fun in the sun to Fort Greene. Winner of the Golden Lion at the 2019 Venice Biennale, the hour-long opera takes place on the 57×46-square-foot floor of BAM Fisher, where twenty-one tons of sand have been trucked in from South Jersey and spread out two inches deep. One hundred audience members at a time watch the show from the balcony that surrounds the stage on all four sides; you can walk around to see it from numerous angles as thirteen vocalists and about two dozen locals sing about the environment, bananas, colonialism, the threat of drowning, exhaustion, running out of water, tourism, littering, work, and vacation.

The unnamed characters do what people on the beach generally do: eat, drink, read books and magazines, apply suntan lotion, talk with one another, snooze, and catch rays. Kids play badminton, two men battle it out in a friendly game of ring toss, people check their cell phones, and a dog (Beans or Grimaldi) wanders about while certain characters break into song as the action continues around them. Wealthy Mommy (Kalliopi Petrou) confesses, “What a relief that the Great Barrier Reef has a restaurant and hotel!” Her husband, Workaholic (Vytautas Pastarnokas), surmises, “Suppressed negativity finds a way out unexpectedly.”

The Philosopher (Claudia Graziadei) asks, “Is this not a parody of the Silk Road?” Complaining Lady (Eglė Paškevičienė) declares, “What’s wrong with people?” And one of the young men from the Volcano Couple (Marco Cisco and Lucas Lopes Pereira) opines, “Not a single climatologist predicted a scenario like this / Maybe someone had a feeling.” Hope is embodied by Chanson of Admiration (Nabila Dandara Vieira Santos), who gently conveys, “O la vida.”

Among the others chiming in on income inequality, lava, shrimp, 3D printers, the extinction of the mammoth, and the end of the world are Bossanova Woman (Svetlana Bagdonaitė) and Bossanova Man (Jonas Statkevičius), Dreamer (Artūras Miknaitis), Siren (Ieva Skorubskaitė), 3D Sisters (Auksė Dovydėnaitė and Saulė Dovydėnaitė), and two Choir Singers (Aliona Alymova and Evaldas Alekna). The singing is all matter-of-fact, as if the characters’ thoughts are calmly emerging, one no more urgent than another, set to a shimmering score, mixed live by Salomėja Petronytė, that glistens like sunlight on the ocean. Each audience member is given a printout of the libretto; I got a kick out of peeking at who was next and guessing who the performer would be. (I batted about fifty percent.) Photos are allowed (but not video), and you can stay as long as you want, as the performance repeats for five hours.

Commissioned for the Lithuanian Pavilion at the fifty-eighth Venice Biennale and featuring an all-female creative team, the ingenious Sun & Sea is the second collaboration between director and set designer Rugilė Barzdžiukaitė, librettist Vaiva Grainytė, and composer and musical director Lina Lapelytė, the Lithuanian trio’s follow-up to its 2013 show, Have a Good Day!, in which ten cashiers took on capitalism and consumption. It’s a seamless production, like a day at the beach; you can imagine yourself on the sand with the cast, hearing snippets of conversations here, admiring bathing suits there, wishing the kids wouldn’t run across your blanket, and turning over to get an even tan.

But as relaxed as you might feel, there is a rising tide of fear at the future of the planet if we remain on our current path. As the Vacationers’ Chorus intones, “Today they have raised the red and yellow flag up high / The whirlpools of the sea, / drop-offs / riptides / undertows. / You’re not allowed / to wade in / deeper than your knees!” If we don’t start doing something about our environment fast, there’ll be no more beaches or oceans for safe wading at all.

CURTAIN UP! FESTIVAL

A bevy of Broadway stars will celebrate reopening at free three-day outdoor fest

Who: Norm Lewis, Michael Urie, Brian Stokes Mitchell, Daphne Rubin Vega, James Monroe Iglehart, Joe Iconis, Ayodele Casel, Joshua Henry, Jelani Alladin, Lauren Molina, Bryce Pinkham, Antoinette Nwandu, Lynn Nottage, A. J. Holmes, many more
What: Three-day festival celebrating the reopening of Broadway
Where: Duffy Square, Playbill Piano Bar in Times Square
When: September 17-19, free
Why: Dozens of performers, writers, directors, choreographers, podcast hosts, and others are coming to Broadway for a free outdoor three-day celebration of the reopening of the Great White Way. Playbill, in partnership with the Broadway League and the Times Square Alliance, are presenting “Curtain Up!” September 17-19, featuring live performances, panel discussions, singalongs, interviews, and more in Duffy Square and at the Playbill Piano Bar. Among the impressive list of participants are Norm Lewis, Michael Urie, Brian Stokes Mitchell, Ayodele Casel, Robin DeJesús, Daphne Rubin Vega, James Monroe Iglehart, Joe Iconis, Joshua Henry, Jelani Alladin, Bryce Pinkham, Antoinette Nwandu, Lynn Nottage, and A. J. Holmes. All events are free, but be prepared for big crowds.

Friday, September 17
Wake Up, Broadway!, with Joe Iconis, Ilana Levine, and Sam Maher, hosted by Ayanna Prescod and Christian Lewis, Playbill Piano Bar, 11:00 am

Curtain Up! Festival Kick-off Event, with Chuck Schumer, Anne Del Castillo, Alex Birsh, Charlotte St. Martin, Tom Harris, Vikki Been, Brian Stokes Mitchell, and Jessica Vosk, with music direction by John McDaniel, Duffy Square, noon

Divas of Broadway Sing-Along, with Brandon James Gwinn, Playbill Piano Bar, 1:00

Dear White People Panel, with Kandi Burruss, Ashley Blaine Featherson, Logan Browning, DeRon Horton, and Bryan Terrell Clark, Duffy Square, 1:30

New Broadway Hits, with Brandon James Gwinn, Playbill Piano Bar, 2:30

Sing Along with Joe Iconis, with Joe Iconis, Amina Faye, Jason SweetTooth Williams, Kelly McIntire, and Mike Rosengarten, Playbill Piano Bar, 3:00

The Playbill Variety Show, with Bryan Campione, Joshua Henry, Tom Viola, Frank DiLella, Joseph Benincasa, and T.3., Duffy Square, 3:30

Wicked Sing-Along, with Adam Laird, Playbill Piano Bar, 4:30

Jimmy Awards Reunion Concert!, with Bryson Battle, John Clay III, Sofia Deler, Caitlin Finnie, Elena Holder, Lily Kaufmann, McKenzie Kurtz, Sam Primack, Josh Strobl, and Ekele Ukegbu, directed by Seth Sklar-Heyn, with music direction by Daryl Waters, hosted by Jelani Alladin, Duffy Square, 5:30

Curtain Up After Dark Presents: Lauren Molina, Playbill Piano Bar, 6:30

Pass Over playwright Antoinette Chinonye Nwandu is part of “Curtain Up!” Broadway reopening festival (photo by Marc J. Franklin)

Saturday, September 18
The Broadway Morning Warm-Up, with James T. Lane, Jessica Lee Goldyn, Tyler Hanes, Chryssie Whitehead, and Alexis Carra, Duffy Square, 10:30

Wake Up, Broadway!, with Kaila Mullady, Anthony Veneziale, Tarik Davis, James Monroe Iglehart, and Jan Friedlander Svendsen, hosted by Ayanna Prescod and Christian Lewis, Playbill Piano Bar, 11:30

Black to Broadway — It’s “Play” Time!, with Harriette Cole, Kennan Scott III, Antoinette Nwandu, Lynn Nottage, and Douglas Lyons, Duffy Square, 12:15

The Golden Age of Broadway Sing-Along, with Logan Culwell-Block, Playbill Piano Bar, 2:00

Sing-Along with Rob Rokicki, Playbill Piano Bar, 2:30

The Playbill Variety Show, with Bryan Campione, Bryce Pinkham, Shereen Pimentel, Lauren Gaston, Austin Sora, Valerie Lau-Kee, Minami Yusui, Jose Llana, Lourds Lane, and Ted Arthur, Duffy Square, 3:00

A. J. Holmes: Live in Times Square, Playbill Piano Bar, 4:00

Musical Theatre Hits Sing-a-Long with Concord Theatricals, with Michael Riedel and Zachary Orts, Playbill Piano Bar, 4:30

¡Viva Broadway! When We See Ourselves, with Bianca Marroquín, Ayodele Casel, Janet Dacal, Robin DeJesús, Alma Cuervo, Linedy Genao, Nicholas Edwards, Eliseo Roman, Daphne Rubin Vega, Josh Segarra, Caesar Samayoa, Jennifer Sánchez, Henry Gainza, Claudia Mulet, David Baida, Florencia Cuenca, Marielys Molina, Natalie Caruncho, Angelica Beliard, Sarita Colon, Gabriel Reyes, Roman Cruz, Steven Orrego Upegui, Adriel Flete, Noah Paneto, Harolyn Lantigua, Valeria Solmonoff & Iakov Shonsky, Luis Miranda, Rick Miramontez, Emilia Sosa, and Sergio Trujillo, directed and choreographed by Luis Salgado, written by Eric Ulloa, with musical direction by Jaime Lozano, Duffy Square, 5:00

Curtain Up After Dark, with Lauren Molina, Nick Cearley, and Eric Shorey, Playbill Piano Bar, 6:30

Sunday, September 19
Wake Up, Broadway!, hosted by Ayanna Prescod and Christian Lewis, with Off Book: The Black Theatre Podcast!, with Kim Exum, Ngozi Anyanwu, and Drew Shade, Playbill Piano Bar, 9:00

Curtain Up: This Is Broadway! Finale Concert, with performances by stars of more than twenty current and upcoming Broadway shows, Duffy Square, 11:00

A SNAIL’S TALE: A PERFORMANCE BY KRIS LEMSALU AND KYP MALONE ON THE HIGH LINE

Kris Lemsalu Malone and Kyp Malone Lemsalu will perform on the High Line this week (photo by Eric Martin)

Who: Kris Lemsalu, Kyp Malone, others
What: Live performance in seven parts
Where: The High Line, between Fourteenth & Thirtieth Sts.
When: September 13-15, free, 6:30
Why: For the 2017 Performa Biennial, Estonian multidisciplinary artist Kris Lemsalu and New York–based musician and artist Kyp Malone (TV on the Radio, Rain Machine) collaborated on Going, Going, which took place on a kinetic bed. In February 2020, they collaborated on the exhibition “Love Song Sing-Along” at KW Institute for Contemporary Art. The two are teaming up again for A Snail’s Tale, a seven-part site-specific performance installation that runs the length of the High Line, from Fourteenth St. to the Thirtieth St. Spur.

Admission is free and no advance RSVP is necessary; the audience will walk across the gorgeous park, making seven stops, each offering a chapter in the story, featuring musicians Lara Allen, Kate Farstad, Forrest Gillespie, Andi Maghenheimer, and Katy Pinke as well as Lemsalu and Malone, in celestial costumes designed by Malone, and joined by a mobile snail shell fabricated by Tarvo Porroson. “A Snail’s Tale is a never-before-heard fairy tale,” High Line Art associate curator Melanie Kress said in a statement. “Kris Lemsalu and Kyp Malone’s phantasmagorical performance is an invitation to slow down and connect to the natural world during this moment of global instability and transition.” Along the way, you will also encounter the current High Line exhibition “The Musical Brain,” consisting of pieces by Rebecca Belmore and Osvaldo Yero, Vivian Caccuri, Raúl de Nieves, Guillermo Galindo, David Horvitz, Mai-Thu Perret, Naama Tsabar, and Antonio Vega Macotela, in addition to commissions by Ibrahim Mahama, Hannah Levy, and Sam Durant.

IN REMEMBRANCE OF 9/11: TWENTY YEARS

Eiko Otake returns to Belvedere Plaza in Battery Park City for twentieth anniversary of 9/11 (photo by William Johnston)

EIKO OTAKE: SLOW TURN
Belvedere Plaza, Battery Park City
Saturday, September 11, free with advance RSVP, 7:00 am & 6:00 pm
lmcc.net
www.eikootake.org

In 2000, Eiko & Koma were artists in residence on the ninety-second floor of the World Trade Center, in the North Tower. In July 2002, they presented Offering: A Ritual of Mourning in six city parks, starting at the Belvedere in Battery Park City, just west of where the towers stood. The meditation on loss ultimately toured the world. On September 11, Eiko Otake, who has been performing solo for several years, returns to the Belvedere for Slow Turn, consisting of movement, a monologue of personal memories of 9/11, and music by clarinetist and composer David Krakauer. Presented in partnership with NYU Skirball, the Battery Park City Authority, and the Lower Manhattan Cultural Council, Slow Turn takes place at 7:00 am, as the sun reaches the plaza, and again at 6:00 pm, as the sun sets over the Hudson River. Admission is free with advance RSVP.

BUGLISI DANCE THEATER: TABLE OF SILENCE PROJECT 9/11
Josie Robertson Plaza, Lincoln Center
65th St. between Broadway & Amsterdam Ave.
Friday, September 11, free, 8:00 am
www.tableofsilence.org
www.lincolncenter.org

Every September 11, there are many memorial programs held all over the city, paying tribute to those who were lost on that tragic day while also honoring New York’s endless resiliency. One of the most powerful is Buglisi Dance Theatre’s “Table of Silence Project,” a multicultural public performance ritual for peace, inaugurated in 2011, that annually features more than one hundred dancers on Josie Robertson Plaza at Lincoln Center. Because of the coronavirus crisis, it has been reimagined for the twentieth anniversary of the 9/11 attacks, as part of Lincoln Center’s “Restart Stages” programming. The event will begin with artistic director Jacqulyn Buglisi’s 2001 piece Requiem, her response to 9/11, with costume designer Elena Comendador transforming the original ten-foot-long red, gold, and green silk costumes into white and silver, representing ashes, purity, and sacredness.

Thirty-two dancers will gather around the Revson Fountain for Table of Silence Prologue, joined by bell master and principal dancer Terese Capucilli, electric violinist Daniel Bernard Roumain, and spoken-word artist Marc Bamuthi Joseph delivering “Awakening.” The performance will be livestreamed on Facebook and YouTube, and will also include the world premiere of Nel Shelby Productions’ short film Études II and the full 2019 performance of Table of Silence Project 9/11.

Tadej Brdnik will come out of retirement to honor the twentieth anniversary of 9/11 with Battery Dance (photo courtesy Battery Dance)

BATTERY DANCE MEMORIAL
Traffic island bordered by Varick and Franklin Sts. and West Broadway
Saturday, September 11, free, 8:46 am
facebook.com/BatteryDance

On September 11, 2001, shortly after the towers fell, Tadej Brdnik of Tribeca-based Battery Dance performed a solo on the traffic island bordered by Varick and Franklin Sts. and West Broadway, accompanied by four musicians. For the twentieth anniversary of 9/11, Brdnik will come out of retirement, joined on the same location by company members Sarah Housepian, Jill Linkowski, and Vivake Khamsingsavath, who will direct the piece, set to a composition by violinist Yu-Wei Hsiao. There will be no speeches, no fanfare, just a peaceful memorial of movement and music, occurring at the exact moment the first tower was hit on that fateful day. “We welcome passersby, neighbors, and anyone who may feel inspired to join us as a way of marking this tragic, life-changing occasion with the beauty and solemnity of this performance,” Battery Dance founding artistic director Jonathan Hollander said in a statement.

New York City AIDS Memorial Park will honor twentieth anniversary of 9/11 with special gathering

A VILLAGE GATHERING: HONORING AND REMEMBERING 9/11
New York City AIDS Memorial Park
76 Greenwich Ave.
Saturday, September 11, free with advance RSVP, 5:00
villagepreservation.force.com

Art2Action, Greenwich House Music School, Rattlestick Playwrights Theater, and Village Preservation are joining forces on September 11 at 5:00 for a twentieth-anniversary remembrance at New York City AIDS Memorial Park, a safe space where people can participate in sharing stories, singing songs, and expressing themselves in other ways to honor those lost on 9/11 as well as celebrate the resiliency of the city.

FIRE MUSIC: THE STORY OF FREE JAZZ

Sun Ra is one of the free jazz pioneers featured in Fire Music (photo by Baron Wolman / courtesy of Submarine Deluxe)

FIRE MUSIC: THE STORY OF FREE JAZZ (Tom Surgal, 2018)
Film Forum
209 West Houston St.
Opens Friday, September 10
212-727-8110
filmforum.org
www.firemusic.org

College is supposed to be a life-changing, career-defining experience. For me, there were two specific seminal moments, both of which took place in the classroom: discovering avant-garde film in a course taught by New York Film Festival cofounder Amos Vogel, author of Film as a Subversive Art, and being introduced to the free jazz movement, the radical response to bebop, in the History of American Music. Without those two flashpoints, it’s unlikely I would be writing a review of Tom Surgal’s Fire Music: The Story of Free Jazz all these years later.

Opening on September 10 at Film Forum, Fire Music takes a deep dive into free jazz, told with spectacular archival footage and old and new interviews with more than three dozen musicians who were part of the sonic upheaval, with famed jazz writer Gary Giddins adding further insight. Writer-director Surgal, who is also a drummer and percussionist, traces the development of free jazz chronologically, focusing on such groundbreaking figures as saxophonists Ornette Coleman, Eric Dolphy, John Coltrane, Albert Ayler, and Sam Rivers, pianist Cecil Taylor, and keyboardist and synth maestro Sun Ra. “It was terrifying for people,” Giddins says about the original reaction to free jazz, from audiences and musicians. “A lot of people were just, What the hell is this? This isn’t even music.”

There are snippets of live performances by Charlie Parker, Sun Ra Arkestra, Dolphy, Coltrane, Ayler, Max Roach, Don Cherry, Marion Brown, the Art Ensemble of Chicago, M’Boom, the Sam Rivers Trio, Globe Unity Orchestra, and others that set the right mood; this is not swing or bop but something wholly different — and dissonant — that requires an open mind and open ears, but it’s pure magic. “It was like a religion,” pianist Carla Bley remembers. Saxophonist John Tchicai explains, “Each individual could play in his own tempo or create melodies that were independent, in a way, from what the other players were playing. We had to break some boundary to be able to create something new.”

Surgal talks to the musicians about improvising without following standard chord progressions, the four-day October Revolution at the Cellar Café, trumpeter Bill Dixon starting the Jazz Composers’ Guild, pianist Muhal Richard Abrams cofounding the Association for the Advancement of Creative Musicians in Chicago, the formation of the Black Artists Group in St. Louis, the loft scene in New York City, the development of free jazz in New York, Los Angeles, the Midwest, and Europe, and the importance of the 1960 record Free Jazz by the Ornette Coleman Double Quartet, featuring Coleman, Cherry, Scott LaFaro, and Billy Higgins on the left channel and Dolphy, Freddie Hubbard, Charlie Haden, and Ed Blackwell on the right. Sadly, sixteen of the artists in the film have passed away since Surgal started the project; many others seen in clips died at an early age.

For these players, it was more than just fame and fortune; they were constantly called upon to defend free jazz itself. Taylor, who came out of the New England Conservatory, explains, “It seems to me what music is is everything that you do.” Pianist Misha Engelberg admits, “I am a complete fraud.” Meanwhile, Coleman trumpeter Bobby Bradford says of Ayler, “Here’s a saxophone player, man, that we all are thinking, we just broke the sound barrier — wow — and here’s a guy that’s gonna take us to another planet. Is that what we want to do?” As far as outer space is concerned, Sun Ra claims to be from Saturn.

John Coltrane is highlighted as the spiritual father of the free jazz movement (photo by Lee Tanner / courtesy of Submarine Deluxe)

Among the others who chime in are saxophonists Gato Barbieri, John Gilmore, Marshall Allen, Anthony Braxton, Oliver Lake, Noah Howard, Prince Lasha, and Archie Shepp, trombonists Roswell Rudd and George Lewis, trumpeter Wadada Leo Smith, pianists Burton Greene and Dave Burrell, drummers Rashied Ali, Barry Altschul, Thurman Barker, Warren Smith, Han Bennink, and Günter “Baby” Sommer, and vibesmen Karl Berger and Gunter Hampel, each musician unique and cooler than cool as great clips and stories move and groove to their own offbeat, subversive cacophony, brought together in a furious improvisation by editor and cowriter John Northrop, with original music by Lin Culbertson. Producers on the film include such contemporary musicians as Thurston Moore, Nels Cline, and Jeff Tweedy.

Surgal made Fire Music because he felt that the free jazz movement is largely forgotten today; his documentary goes a long way in showing how shortsighted that is. You don’t have to be in college to love this incredible music, and the film itself, which is a crash course in an unforgettable sound like no other.

(Film Forum will host an in-person Q&A with Surgal, Moore, and Smith at the 7:00 show on September 10 and with Surgal, Barker, and jazz writer Clifford Allen at the 7:00 screening on September 11.)

MOGUL MOWGLI

Riz Ahmed plays a rapper searching for his identity in Mogul Mowgli

MOGUL MOWGLI (Bassam Tariq, 2020)
Film Forum
209 West Houston St.
Opens Friday, September 3
212-727-8110
filmforum.org

There may be no more riveting, multidimensional actor, rapper, and activist working today than Oscar nominee and Emmy winner Riz Ahmed. Born and raised in London in a British Pakistani family, Ahmed rose to prominence as a suspected murderer in the HBO series The Night Of and made a major breakthrough playing a drummer who suddenly loses his hearing in the Academy Award–nominated Sound of Metal. For more than fifteen years, Ahmed has been releasing music, with his band, Swet Shop Boys (as Riz MC, with Heems), and as a solo act. It all comes together in his latest film, Mogul Mowgli, which opens September 3 at Film Forum.

Ahmed stars in and cowrote the tense drama with Karachi-born American director Bassam Tariq. Ahmed plays Zaheer, a rapper who goes by the name Zed and has just scored a huge gig opening for a popular rapper. But shortly before the tour kicks off, he gets hit with a baffling debilitating illness. With his career in jeopardy, he battles his hardworking religious father, Bashir (Alyy Khan); receives unconditional tenderness from his caring mother, Nasra (Sudha Bhuchar); is criticized by his brother, Bilal (musician, poet, and activist Hussain Manawer); reaches out to an ex-girlfriend, Bina (Aiysha Hart); argues with his friend and manager, Vaseem (Anjana Vasan); and is stupefied by the rising success of fellow rapper RPG (Nabhaan Rizwan), whose silly video “Pussy Fried Chicken” has gone viral.

All the while, Zed is haunted by memories from his childhood and hallucinations of a mysterious figure known as Toba Tek Singh (Jeff Mirza), whose face is covered by a ritual crown of rows of colorful fabric flowers. “People pay attention,” Toba Tek Singh tells him. “They drew a line in the sand. India and Pakistan. East and West. Us and them. I was born from this rupture. And I am the sickness from this separation. I am Toba Tek Singh!” The name refers to a city in Punjab and the title of a short story by Saadat Hasan Manto, about the troubles between India and Pakistan and a “Sikh lunatic” with a “frightening appearance” who “was a harmless fellow.” Ahmed also has a song called “Toba Tek Singh” on his March 2020 album, The Long Goodbye, in which he declares, “She wanna kick me out / but I’m still locked in / What’s my fucking name? / Toba Tek Singh.”

Riz Ahmed is a force to be reckoned with in Bassam Tariq’s debut narrative feature

Named after the Swet Shop Boys’ 2016 song “Half Moghul Half Mowgli,” Mogul Mowgli is a gripping film that deals with various dichotomies as laid out by Toba Tek Singh as Zed tries to find his place in a world that keeps letting him down. “The song’s about being torn between different sides of your identity, being descended from moguls and rich heritage, but living as Mowgli, lost in the urban jungle far away from the village that was once home,” Ahmed says in the film’s production notes. “That’s our experience in diaspora.”

In a concert scene, Zed raps, “Legacies outlive love,” which is at the center of his search for personal meaning, a concept he also explored in his arresting one-man show The Long Goodbye: Online Edition, livestreamed by BAM and the Manchester International Festival last December. (“I don’t belong here,” he says in the piece.) In addition, Ahmed gave a 2017 speech to the House of Commons on the importance of diversity and representation and has written about being typecast as a terrorist and profiled at airports.

Ahmed (Nightcrawler, ) and Tariq (These Birds Walk, Ghosts of Sugar Land), in his debut narrative feature, don’t make room for a lot of laughs in Mogul Mowgli, which passes the five-part Riz Test evaluating Muslim stereotypes in film and on television. It’s a powerful, personal work, made all the more poignant by Ahmed’s semiautobiographical elements and Tariq’s background as a documentary filmmaker. Ahmed is a force to be reckoned with; Anika Summerson’s camera can’t get enough of him, from his dark, penetrating eyes to his shuffling bare feet. Ahmed delivers a monumental performance that avoids clichés as it blazes across the screen. The 6:45 show at Film Forum on September 3 will be followed by a Q&A with Tariq in person and Ahmed on Zoom, moderated by filmmaker, critic, and curator Farihah Zaman; Tariq will also be at the 6:45 show on September 4 (moderated by Oscar nominee Shaka King) and the 4:40 screening on September 5.