this week in lectures, signings, panel discussions, workshops, and Q&As

REBUILDING DEMOCRACY: A POSTELECTION CONVERSATION BETWEEN SUE COE AND STEPHEN F. EISENMAN

Sue Coe, It Can Happen Here, linocut on thin white Rives paper, 2016 (photo courtesy Galerie St. Etienne)

Who: Sue Coe, Stephen F. Eisenman
What: Live conversation and Q&A
Where: Galerie St. Etienne Zoom
When: Wednesday, December 2, free with RSVP, 6:00
Why: On November 7, English-born American artist Sue Coe said, “I am beside myself with joy, but it’s not exactly a revolution. The reality is that four to five million more Americans voted for Biden/Harris than for Trump. Although capitalist democracy beat fascism by a razor thin margin, our electoral system still benefits cruel bullying overlords. The struggle continues. . . .” The vote differential is now more than six million, but the struggle continues, especially with an incumbent president who refuses to concede and keeps tweeting about voter fraud with zero evidence. On December 2 at 6:00, Coe, who lives in Upstate New York, will have more to say about the state of the country in a live Zoom discussion with art historian, activist, Anthropocene Alliance cofounder, and Northwestern University professor Stephen F. Eisenman, author of The Temptation of Saint Redon, Gauguin’s Skirt, and The Abu Ghraib Effect and who has collaborated with Coe on her book The Ghosts of Our Meat and the new pamphlet American Fascism Now.

The talk, “Rebuilding Democracy,” is being hosted by Galerie St. Etienne, the midtown gallery that is showing “Sue Coe: It Can Happen Here” through December 30. The exhibition consists of more than eighty paintings, drawings, lithographs, linocuts, and woodcuts that deal with such issues as anti-Semitism, AIDS, animal abuse, the pandemic, police brutality, greed, torture, government corruption, and the Trump administration, the president being a favorite target of vitriol. Be sure to read the exhibition essay, which begins, “People often ask Sue Coe, ‘Did you think it was going to be this bad?’ A proverbial canary in the coal mine, the artist has been ‘tweeting’ out warnings since the 1980s. In her view, the problems that plague us — zoonotic diseases, systemic racism, inadequate healthcare, rising income inequality, global warming, and countless other related ills — are the result of an undiluted form of capitalism that puts profits above individual lives. Forty years of such skewed priorities conditioned America’s grotesque bungling of the Covid crisis and have brought us to the brink of fascism. On the other hand, the Black Lives Matter protests — which are broadly supported by people of all colors — offer hope that it is not too late to take back our democracy. ‘The tectonic plates are shifting and colliding,’ Coe says, ‘allowing us to see the primordial depths below. The question is whether we can rise to the occasion.’”

INFRASTRUCTURE (OF A WORK): WAITING

Sidra Bell and Immanuel Wilkins will present a work-in-progress of their new collaboration online December 4 (photo by David Flores Productions)

Who: Sidra Bell Dance New York, Immanuel Wilkins
What: Performance of a new work in progress and conversation
Where: 92Y online
When: Friday, December 4, $10, 7:00
Why: Originally scheduled to debut at National Sawdust in June, Sidra Bell Dance New York and Immanuel Wilkins’s waiting will make its work-in-progress premiere December 4 at 7:00 in a presentation hosted by the 92nd St. Y’s Harkness Dance Center. Bell and Wilkins met in June 2019 at an SBDNY performance and decided to collaborate; because of the pandemic lockdown, they have continued working on the piece, which was commissioned by the Jazz Gallery, over Zoom and are ready to show an early version, to be followed by a live discussion between SBDNY artistic director Bell, whose New York City Ballet commission, Pixelation in a wave (Within Wires), can be seen here, and composer, arranger, and alto saxophonist Wilkins, who released his debut album, Omega, in August. SBDNY, which calls itself “an internationally recognized boutique brand of prolific movement illustrators based in New York City that presents and fosters a canon of innovative and progressive dance theater in a world of ideas and (im)possibilities,” consists of Marisa Christogeorge, AJ Libert, Kimie Parker, Sophia Halimah Parker, and Uma Shannon; Wilkins will be joined by Jeremy Corren on piano, Daryl Johns on bass, and Kweku Sumbry on drums. Virtual tickets for “Infrastructure (of a Work): waiting” are $10 and are available here.

EVERY SHUT EYE AIN’T ASLEEP

Who: Elizabeth Alexander, Cornelius Eady, Richard Hamilton, Rachel M. Harper, Aja Monet, Anthony Walton, Philip Schultz
What: Poetry readings in honor of Black Lives Matter
Where: The Writers Studio Zoom webinar
When: Friday, December 4, free with RSVP, 7:00
Why: Founded in 1987 by Pulitzer Prize-winning poet Philip Schultz, the Writers Studio is dedicated to helping students discover and nurture their own voice. On December 4 at 7:00, the New York-based organization will honor Black Lives Matter with an all-star reading of works from Every Shut Eye Ain’t Asleep: An Anthology of Poetry by African Americans Since 1945, the 1994 collection edited by Michael S. Harper and Anthony Walton that contains poems by nearly three dozen Black authors, including Derek Walcott, Rita Dove, Gwendolyn Brooks, Ishmael Reed, Sonia Sanchez, and Ralph Dickey. The participants, who will share some of their own poetry as well, include Elizabeth Alexander, Cornelius Eady, Richard Hamilton, Rachel M. Harper, Aja Monet, Walton, and Schultz. (Alexander and Eady are featured in the book.) The program will be streamed live over Zoom; advance RSVP is required.

OUT OF THE BOX FOLLIES

Who: Stephanie Byer, J. D. Brookshire, Georgia Buchanan, Susan Case, Susan Courtney, Kelly Gilmore, James Harter, Larry Stephen Hines, John Christopher Jones, Colleen Kennedy, Laurel Lockhart, Susan McBrien, Phil Mougis, Ward Nixon, Woody Regan, Joseph Rose, Betsy Ross, Gloria Sauvé, Sally Sherwood, Lin Snider, Jennifer Sherron Stock
What: Online streaming benefit
Where: Out of the Box Theatre Company
When: December 4-6, $20-$1,000
Why: Founded in 2006 by the late Scott Robinson, Out of the Box Theatre Company is a nonprofit that’s mission is “to feature working professionals at their peak and in their prime: seasoned actors, directors, and designers primarily past fifty years of age . . . and to present new interpretations of period plays and contemporary classics: works written in the last century and earlier.” Because of the pandemic lockdown, its annual fundraiser has moved online, where it will be streamed December 4-5 at 8:00 and December 5-6 at 3:00. “Out of the Box Follies” will consist of songs, sketches, poems, and more, including such tunes as “Vodka” by the George Gershwin, “Smile” by Charlie Chaplin, and “And I Was Beautiful” by Jerry Herman, a new skit by Susan Courtney and James Harter, who starred last year in Harvey, and an excerpt from William Shakespeare’s A Midsummer Night’s Dream. The show is directed by Lin Snider, with music direction by Woody Regan. “The pandemic has presented so many challenges and hardships to performing artists,” producer Halina Malinowski said in a statement. “We decided that we wanted to give the our company members — the average age of the performers in this show is over sixty years old — a chance to perform when it’s not safe for many of them to leave their homes.” Tickets are $20 and up, depending on what you can afford.

PAUL GIAMATTI: BARTLEBY, THE SCRIVENER READING AND DISCUSSION

Paul Giamatti discusses Herman Melville’s “Bartleby, the Scrivener: A Story of Wall-Street” in live online discussion

Who: Paul Giamatti, Andrew Delbanco
What: Audio reading and live Q&A
Where: 92Y’s Unterberg Poetry Center online
When: Thursday, December 3, $15, 7:00
Why: It’s one of the most famous sentences in the history of American literature, consisting of five simple words: “I would prefer not to.” Initially published anonymously in Putnam’s magazine in November and December 1853 and then slightly adapted for his 1856 collection The Piazza Tales, Herman Melville’s “Bartleby, the Scrivener: A Story of Wall-Street” features a title character who just decides one day to not follow orders, to not do what he is asked at his job as a legal copyist. It’s a gentle yet bold declaration, if not quite definitive, but one that Bartleby sets his mind to. As Melville writes:

Ere introducing the scrivener, as he first appeared to me, it is fit I make some mention of myself, my employées, my business, my chambers, and general surroundings; because some such description is indispensable to an adequate understanding of the chief character about to be presented.

In this very attitude did I sit when I called to him, rapidly stating what it was I wanted him to do — namely, to examine a small paper with me. Imagine my surprise, nay, my consternation, when without moving from his privacy, Bartleby in a singularly mild, firm voice, replied, “I would prefer not to.”

I sat awhile in perfect silence, rallying my stunned faculties. Immediately it occurred to me that my ears had deceived me, or Bartleby had entirely misunderstood my meaning. I repeated my request in the clearest tone I could assume. But in quite as clear a one came the previous reply, “I would prefer not to.”

“Prefer not to,” echoed I, rising in high excitement, and crossing the room with a stride. “What do you mean? Are you moon-struck? I want you to help me compare this sheet here — take it,” and I thrust it towards him.

“I would prefer not to,” said he.

I looked at him steadfastly. His face was leanly composed; his gray eye dimly calm. Not a wrinkle of agitation rippled him. Had there been the least uneasiness, anger, impatience or impertinence in his manner; in other words, had there been any thing ordinarily human about him, doubtless I should have violently dismissed him from the premises. But as it was, I should have as soon thought of turning my pale plaster-of-paris bust of Cicero out of doors. I stood gazing at him awhile, as he went on with his own writing, and then reseated myself at my desk. This is very strange, thought I. What had one best do? But my business hurried me. I concluded to forget the matter for the present, reserving it for my future leisure.

In conjunction with his outstanding reading of the short story for 92Y’s Unterberg Poetry Center, which is available here, on December 3 at 7:00, Emmy-winning, Oscar-nominated actor Paul Giamatti will take part in a live discussion with Columbia University professor Andrew Delbanco, author of the 2005 biography Melville: His World and Work, focusing on “Bartleby.” The New Haven-born, Brooklyn Heights-based Giamatti has a unique understanding of finance, Wall Street, and the law, having appeared in such films and series as Too Big to Fail, John Adams, and Billions. “It’s one of my favorite short stories by one of my favorite writers, so I was particularly gratified to be able to read it out loud. I’ve always wanted to,” Melville fan Giamatti said in a statement. “It’s a wonderful story — a very strange but sad story — but also funny. I think it’s very funny.” Admission to the talk and access to the ninety-minute reading is $15.

THE ARS NOVA FOREVER TELETHON

Who: Julia Abueva, César Alvarez, Frankie Alvarez, Cathy Ang, Brittain Ashford, Jaclyn Backhaus, Courtney Bassett, Gelsey Bell, Nick Belton, Katja Blichfeld, Brian Bogin, Rachel Bonds, Hannah Bos, Michael Breslin, Salty Brine, Starr Busby, Andrew R. Butler, Nikki Calonge, Josh Canfield, Kennedy Caughell, Rachel Chavkin, Karen Chee, Manik Choksi, Claudia Chopek, Heather Christian, Lilli Cooper, Gavin Creel, Lea DeLaria, Blake Delong, Sonia Denis, Vinny DePonto, Dickie DiBella, Billy Eichner, Erik Ehn, Naomi Ekperigin, Bridget Everett, Jesse Tyler Ferguson, Ashley Pérez Flanagan, Patrick Foley, Peter Friedman, Laura Galindo, Nick Gaswirth, Matt Gehring, Alex Gibson, Betty Gilpin, Amber Gray, Deepali Gupta, Stephanie Hsu, Khiyon Hursey, Joomin Hwang, Joe Iconis, James Monroe Iglehart, Michael R. Jackson, Sakina Jaffrey, Kyle Jarrow, Mitra Jouhari, Jinwoo Jung, Stephen Karam, Celia Keenan-Bolger, Jennifer Kidwell, Billy Kiessling, Blaine Krauss, Mahayla Laurence, Arthur Lewis, Chris Lowell, Grace McLean, Dave Malloy, Andrew Mayer, Karyn Meek, Sammy Miller, James Monaco, Kaila Mullady, Shoba Narayan, Lila Neugebauer, Ryan O’Connell, Emily Oliveira, Isaac Oliver, Larry Owens, Ashley Park, Joél Pérez, Paul Pinto, Pearl Rhein, Matt Rogers, Phil Romano, Kyra Sedgwick, Shalewa Sharpe, Scott R. Sheppard, Brooke Shields, Rona Siddiqui, Leigh Silverman, Ben Sinclair, Tessa Skara, Peter Smith, Phillipa Soo, Scott Stangland, Chris “Shockwave” Sullivan, Babak Tafti, Jason Tam, Robin Lord Taylor, Stephanie Wright Thompson, Alex Timbers, Anthony Veneziale, Cathryn Wake, Natalie Walker, Jason “Sweettooth” Williams, Beau Willimon, Bess Wohl, Lauren Worsham, Katrina Yaukey, John Yi, Paloma Young, more
What: Virtual fundraiser
Where: Ars Nova online
When: Friday, December 4, free with RSVP (donations accepted), 6:00
Why: What, you were expecting something standard from Ars Nova? Then you don’t know the arts organization very well, do you? Whether you’re a longtime fan of the innovative company or a newbie, you’ll find a vast array of talent participating in the Ars Nova Forever Telethon, taking place over twenty-four consecutive hours beginning at 6:00 pm on December 4. Founded in 2002, Ars Nova develops and nurtures experimental, cutting-edge, innovative presentations at its main home on West Fifty-Fourth St. and its new satellite venue at Greenwich House; among its biggest recent successes are Small Mouth Sounds, The Lucky Ones, Rags Parkland Sings the Songs of the Future, boom, and Natasha, Pierre & the Great Comet of 1812.

Natasha, Pierre & the Great Comet of 1812 will be celebrated by original cast members at Ars Nova Forever Telethon (photo by Ben Arons)

The telethon will feature appearances by such theatrical luminaries as Gavin Creel, Lea DeLaria, Bridget Everett, Jesse Tyler Ferguson, Betty Gilpin, Amber Gray, Stephanie Hsu, James Monroe Iglehart, Michael R. Jackson, Celia Keenan-Bolger, Lila Neugebauer, Ashley Park, Kyra Sedgwick, Brooke Shields, Leigh Silverman, Phillipa Soo, Robin Lord Taylor, Alex Timbers, and Bess Wohl, among dozens of others, who are all listed above. Registration is free, but donations are encouraged based on what you can afford; if you make a gift of $100 or more in advance, you will receive a watch party box filled with goodies you can eat, drink, and wear during the show. The full schedule is below.

The Kickoff, hosted by Ashley Pérez Flanagan and Grace McLean, 6:00 pm

The Comet Comes Home, hosted by Rachel Chavkin & Dave Malloy, celebrating Natasha, Pierre & the Great Comet of 1812, 8:00 pm

Showgasm, hosted by Matt Rogers & Shalewa Sharpe, variety show, 10:00 pm

Isaac Oliver’s Lonely Quarantine, hosted by Isaac Oliver, midnight

The Witching Hour with the Neon Coven, hosted by the Neon Coven, 2:00 am

Cartoon Camp, hosted by Mahayla Laurence & Matt Gehring, 4:00 am

Ars Nova Rewind: Vintage Videos, rare archival footage, 6:00 am

Morning Meditations: An In-Home Retreat, hosted by Sakina Jaffrey, inspired by Small Mouth Sounds, 8:00 am

“Boom Crunch” Zoom Brunch: A Celebration of Theatrical Choices, hosted by Larry Owens & Natalie Walker, 10:00 am

So You Think You Can KPOP, hosted by Jason Tam, celebrating KPOP, noon

Thon-Tha-Thon-Thon-Thon, hosted by Freestyle Love Supreme, 2:00 pm

The Finale for the Future!, hosted by Lilli Cooper & Joél Pérez, 4:00 pm

NDT: I WONDER WHERE THE DREAMS I DON’T REMEMBER GO

Latest NDT digital offering streams live December 3-5

Who: Nederlands Dans Theater (NDT)
What: Livestreamed dance
Where: NDT online
When: December 3-5, €15, 2:00 (with an added 6:00 am show on December 5)
Why: This past March, Nederlands Dans Theater brought its sixtieth anniversary celebration to City Center, presenting three US premieres: Gabriela Carrizo’s The Missing Door, Marco Goecke’s Walk the Demon, and Sol León and Paul Lightfoot’s Shut Eye. With much of the world in lockdown, there is no telling when NDT will be back on these shores — they have appeared at the Joyce often as well — but you can catch them December 3-5 in the company’s latest digital performance, Yoann Bourgeois’s I wonder where the dreams I don’t remember go. For his NDT 2 debut in 2019, the French acrobat, actor, juggler, dancer, and choreographer staged Little Song, in which a man and a woman move about a small wooden set that becomes a character unto itself while the Texas rock band Explosions in the Sky hovers behind them. The Hague-based company previously streamed “Dare to Say” November 6-8, consisting of Alexander Ekman’s Four Relations and Dimo Milev’s Fusions and some confusions. The forty-five-minute December 3-5 shows will be livestreamed from the Zuiderstrandtheater, where all coronavirus protocols were followed during the filming. “The livestreams are by no means a diluted theater experience,” NDT notes on its website. “The dancers and support teams make every effort to make your visit to our online theater as special and inspiring as possible.” The work will not be archived for later viewing but must be experienced live, so take careful note of the scheduled time depending on where you are in the world. (For more on Bourgeois, you can watch Les grand fantômes here.)

Yoann Bourgeois’s I wonder where the dreams I don’t remember go is a gravity-defying work of haunting beauty from Nederlands Dans Theater (photo by Rahi Rezvani)

Update: Streamed live from NDT’s Zuiderstrandtheater in front of a limited audience, Yoann Bourgeois’s I wonder where the dreams I don’t remember go is a mesmerizing, meditative, awe-inspiring work about identity and personal relationships that uniquely captures the emotional and physical ups and downs of life during this age of Covid-19 and quarantine. The presentation begins with a short documentary that goes behind the scenes of the making of the piece that only gives hints about its visual marvel. The forty-minute work is performed by four men and four women wearing some combination of a blue-patterned button-down shirt or green T-shirt, blue jeans or dark pants, and white sneakers or black heels, as if they are all interchangeable, and set to a score by German-British composer and pianist Max Richter.

Bourgeois’s initially claustrophobic set consists of two large catty-corner walls and a wooden floor on which there are two chairs and a table, all made of unpainted wood, the grain forming Rorschach-like designs. A man and a woman soon enter and take seats; as they glide about the floor and against the walls, using the furniture as props, film of them is projected onto one of the walls but at a different angle, rotated ninety degrees, making it look like they are executing gravity-defying feats, floating through the air in impossible ways as your head swivels between the real and the recorded, the latter at times becoming a haunting, dreamlike vision, especially when the table and chairs are repositioned directly into the walls, more of the dancers enter and reach out to one another, and the walls start moving. So many of us might still be trapped at home, desperate for the end of this global nightmare, but Bourgeois is reminding us that human existence is impermanent, that people are by nature social animals who need to be among fellow beings, and that life, above all, is intrinsically beautiful and poetic — and pretty darn cool — and that there is virtually no limit to what we can accomplish if we just put our minds and bodies to it.