this week in theater

THE TONIGHT ZOOM WITH JORDAN KLEPPER: A CELEBRATION OF LIVE THEATRE

Who: Jordan Klepper, Fred Armisen, Maura Tierney, Thomas Sadoski, Arian Moayed, Annie McNamara, April Matthis, Vin Knight, Young Jean Lee, Joel Perez, Yo La Tengo
What: Virtual gala
Where: Elevator Repair Service online
When: Wednesday, June 23, $25-$500, 7:30 (private virtual cocktail reception at 7:00 for donors of $2,500+)
Why: During the Trump era, comedian Jordan Klepper has been one of the funniest, move insightful television journalists around, in his “Fingers the Pulse” segments on The Daily Show, in which he fearlessly goes straight into the heart of the MAGAverse, speaking with Trumpists who are not in on the joke. He has also hosted his own satirical series, The Opposition with Jordan Klepper, as well as the influential special Jordan Klepper Solves Guns. On June 23 at 7:30, the Michigan-born Klepper, a former member of the Second City and Upright Citizens Brigade, will be hosting The Tonight Zoom with Jordan Klepper A Celebration of Live Theatre (remotely) (and partially pre-taped), a virtual gala benefiting New York City experimental theater stalwarts Elevator Repair Service.

Founded in 1991 by artistic director John Collins, ERS has developed a unique theatrical language over its thirty years, presenting collaborative works that often reimagine literary classics into something new and unpredictable at such venues as the Public Theater, New York Theatre Workshop, the New York Public Library, and PS122. Among their shows are Marx Brothers on Horseback Salad, The Sound and the Fury (April Seventh, 1928), Everyone’s Fine with Virginia Woolf, The Select (The Sun Also Rises), Measure for Measure, and their widely acclaimed Gatz, an eight-hour adaptation of The Great Gatsby.

At the virtual gala, Klepper will interview ERS company members Vin Knight, April Matthis, and Annie McNamara as characters they have portrayed in the troupe’s productions; there will also be appearances by Fred Armisen, Maura Tierney, Thomas Sadoski, Arian Moayed, Young Jean Lee, Joel Perez, and Yo La Tengo. It might be called “a celebration of live theatre,” but, in true Klepper/ERS style, they are pointing out that it will take place remotely, with some prerecorded segments. Tickets start at $25 and go up to $10,000 for the Gold Virtual Table, which includes a preshow cocktail reception for twelve people, tickets to ERS’s upcoming adaptation of The Seagull at the Skirball Center, and select merchandise.

ANIMAL WISDOM

Heather Christian bares her heart and soul in glorious online show Animal Wisdom

Woolly Mammoth Theatre Company / American Conservatory Theater
Through June 27, $19-$49
heatherchristian.com

A few minutes into Woolly Mammoth’s stream of Heather Christian’s pandemic-filmed Animal Wisdom, I grew terribly upset with myself: How in the world did I miss this remarkable show when it premiered at the Bushwick Starr in 2017?

Extended on demand through June 27, this new iteration of Animal Wisdom is an intimate and rapturous confessional of music and storytelling, an ingenious journey into the personal and communal nature of ritual and superstition, of grief and loss, of ghosts and, most intently, the fear of death. Presented by DC’s Woolly Mammoth and San Francisco’s American Conservatory Theater, the 135-minute show is a movie/theater/concert hybrid and a melding of public séance and stirring revival meeting, with film direction by Amber McGinnis and stage direction by Emilyn Kowaleski. They create a unique and special experience that the audience can feel a part of even though they are at home watching a recording, which is especially enhanced if they follow Christian’s request that each viewer gather four elements so they can participate in the proceedings.

“This performance was never supposed to happen on film,” Christian says directly into the camera early on. “I guess that’s obvious. But contrary to what it looks like, it wasn’t supposed to happen in a theater either. It was supposed to happen in a defunct church or holy space, but houses of any kind are deconsecrated and reconsecrated all the time, so I guess we’re not so far off. Anyways, maybe at least yours is already haunted.”

Animal Wisdom was filmed onstage at DC’s Woolly Mammoth Theatre Company

Singer-songwriter and pianist Christian is joined by her band, guitarist and cellist Sasha Brown, bassists Fred Epstein and B. E. Farrow, percussionist Eric Farber, and violinist Maya Sharpe, as she travels back to her hometown of Natchez, Mississippi, sharing tales about her deceased grandparents amid original songs that range from country and blues to folk and gospel, with such titles as “Well Made Fish,” “Wild Thing’s Daughter,” “Dies Irae” (“Day of Wrath”), and “Libera Me,” eschewing conventional hook-laden sing-along pop and standard theatrical orchestrations. She makes regular comparisons between her relatives and such animals and insects as mosquitoes, birds, coyotes, elephants, cicadas, and cats, which explains the name of the work.

“When I say ‘Love is in the garden,’” she says after singing that song, “I mean that. I mean that because: When my grandma Heloise died, she up and put herself in the plants, and so I go to the garden to talk to her and rip up weeds when I am heartbroken. When I say ‘Grandmother’s a red bird’ — I mean that too. When my grandmother Geraldine died, she threw her ghost into a cardinal. As a bird, she was hard to pin down for conversation so I tattooed a red feather on my arm. Hasn’t totally worked if Imma be honest. When I say Grandaddy’s in the car, he is, and when I say ‘Praise be the wrecking ball,’ I mean my brain. That one’s a metaphor. I don’t know about you but my brain is a wrecking ball.”

She later admits, “The women in my matrilineal line are New Orleans Catholics who are also musicians who suffer migraines and talk to dead people. There are three of us. Ella, Heloise, Heather. Skipped my mom. Don’t know what that’s about.”

Director of photography Aiden Korotkin follows Christian — primarily wearing a “Lux Aeterna” T-shirt, the communion antiphon for the Roman Catholic Requiem Mass — as she moves about Christopher Bowser’s intricately designed stage, from pianos to a carousel slideshow with theater seats, from a small table with an old telephone (with a cord) to a shrine to her grandma Ella, from various lamps and candles to a soda vending machine and other unexpected items, centered on a circle of overlapping rugs to give it a homey feel. She and the band also wander through Woolly Mammoth’s hallways and lobby, reminding us of the physical space of theater.

An NYU grad, film composer, and leader of the band Heather Christian & the Arbornauts, Christian is spellbinding in Animal Wisdom, capturing our attention from the very beginning and never letting go as she openly and honestly details critical moments in her life, her dark eyes and round face captivating. Christian is a multitalented creator who has recently released the audio work Prime: A Practical Breviary for Playwrights Horizons and the video collaboration I Am Sending You the Sacred Face for Theater in Quarantine on YouTube, and she will premiere the Covid-delayed Oratorio for Living Things at Ars Nova next spring. She leaves nothing behind in Animal Wisdom, one of the best virtual shows to come out during the pandemic, baring her heart and soul, a magnetic force in full command of the stage, her supporting cast, and her bewitched audience.

“I’m gonna tell you what I think about the soul,” she says to us. “So we should make friends real quick, ’cause that’s heavy. Hum with me like this?” I dare you not to listen to her and hum along; it’s impossible to not join Christian on this fabulous interactive ride through metaphorical and metaphysical ghosts that haunt us all.

OHIO STATE MURDERS

Goodman Theatre is streaming live performances of Ohio State Murders from their stage in Chicago (photo by Flint Chaney)

OHIO STATE MURDERS
Goodman Theatre online
June 17-20, $25
www.goodmantheatre.org

It might have taken a pandemic lockdown and national protests against racial injustice for eighty-nine-year-old Pittsburgh-born playwright Adrienne Kennedy to be rediscovered, but we’re all the better for it. Last November, the Round House Theatre in Maryland and the McCarter Theatre Center at Princeton kicked off “The Work of Adrienne Kennedy: Inspiration & Influence,” featuring four productions filmed onstage at the Round House. It was a deep dive into Kennedy’s growing legacy, dealing with police brutality, racism, white supremacy, sin, bigotry, and murder. One of the plays has become a touchstone for past and present societal ills that have been front and center during the Covid-19 crisis.

“I was asked to talk about the violent imagery in my work; bloodied heads, severed limbs, dead father, dead Nazis, dying Jesus,” Kennedy alter-ego Suzanne Alexander explains directly to the camera at the start of the hourlong Ohio State Murders. “The chairman said, we do want to hear about your brief years here at Ohio State but we also want you to talk about violent imagery in your stories and plays.” There’s a good reason for Kennedy’s use of violent imagery in her work.

Jacqueline Williams stars as Adrienne Kennedy alter ego Suzanne Alexander in Goodman Theatre production of Ohio State Murders (photo by Flint Chaney)

First produced by the Great Lakes Theater Festival in 1992 with Ruby Dee as Suzanne, the play made its New York premiere in 2007 at the Duke starring LisaGay Hamilton. Round House and McCarter’s 2020 online version featured Lynda Gravatt in the role, while Broadway’s Best Shows’ benefit livestream reading for the Actors Fund earlier this month had six-time Tony winner Audra McDonald as Suzanne, directed by Tony winner Kenny Leon. Now the Goodman Theatre in Chicago is presenting five live productions June 17–20 that can only be experienced in real time, as it happens, filmed live by three mobile camera operators, with no audience in the seats.

Jacqueline Williams is exquisite as Suzanne, delivering her speech in an almost matter-of-fact manner as she moves about the Goodman stage, watching scenes from her past unfold before her eyes. It’s essentially a memory play, with Suzanne detailing her time at Ohio State — Kennedy’s alma mater — when she was a student (portrayed in flashbacks by Eunice Woods) studying English with white professor Robert Hampshire (Shane Kenyon) and sharing a room with musician Iris Ann (Destini Huston) in a dorm where there are only twelve Black girls among six hundred female students. Suzanne displays a profound interest in Thomas Hardy’s Tess of the D’Urbervilles while also learning about Sergei Eisenstein’s Battleship Potemkin, but her options at college are limited because she is Black.

When she becomes pregnant, her relationships with the men in her life — her father, her friend Val (Ernest Bentley), and Hampshire — change dramatically. She is treated unfairly by dorm head Miss Dawson but is supported by her aunt Louise and widowed landlady Mrs. Tyler (all three of whom are portrayed by Dee Dee Batteast), and she grows close with law student David (Bentley) after horrific tragedy strikes.

Director Tiffany Nichole Greene (Between Riverside and Crazy, Blood at the Root) and video director Christiana Tye bring the tale to the computer screen superbly, creating a compelling hybrid presentation that has the exciting feel of live theater, or at least as much as you can get streaming at home. Greene also makes the play’s exploration of loss, trauma, mourning, race-based suppression, and unexpected violence relevant to what has occurred over the last fifteen months in America. When Hampshire reads King Arthur, the words hit hard: “‘Till the blood bespattered his stately beard. / As if he had been battering beasts to death. / Had not Sir Ewain and other great lords come up, / His brave heart would have burst then in bitter woe: / ‘Stop!’ these stern men said, ‘You are bloodying yourself!’ / Your cause of grief is cureless and cannot be remedied. You reap no respect when you wring your hands: To weep like a woman is not judged wise.’”

Director of photography Gabe Hatfield and cameramen Matt Cozza and Eugene Hahm, wearing the complex equipment on their backs, calmly navigate Arnel Sancianco’s comfortable set, which consists of library shelves, a desk and chalkboard, a dorm bedroom with two mattresses, a few chairs, and piles of books that look like they might tumble over at any moment. They follow the older Suzanne’s point of view as she shares her story, moving in and out of her old life without strong emotion but instead a kind of perceptive acceptance and admirable grace. In one memorable shot, Hampshire peers at the younger Suzanne from the shadows, suspicion palpable. The lighting is by Jason Lynch, with costumes by Mieka van der Ploeg and sound by Melanie Chen Cole. The cast is exceptional, led by Williams and Woods portraying the same character at different points in her life, revealing that time doesn’t necessary heal all wounds, especially as the world fails to change nearly enough over the decades.

STAGE DOOR MIXER

Who: Kathryn Allison, Jacqueline B. Arnold, DeMarius R. Copes, Robyn Hurder, Clyde Alves, Ashley Loren, Isabelle McCalla, Alise Morales, Stephanie Park, Demi Remick, Jelani Remy, Daniel Quadrino, Jessica Vosk, Olivia Puckett
What: Live music benefit for the Actors Fund
Where: Watermark Bar, 78 South St., Pier 15
When: Monday, June 21, $40, 8:00
Why: The outdoor Watermark Bar, jutting out on Pier 15 on South St., celebrates the return of live music and theater to New York City with a benefit concert on June 21 at 8:00, raising funds for the Actors Fund, which has done an extraordinary job helping the entertainment community during the Covid-19 crisis. “Stage Door Mixer” will feature performances by Kathryn Allison, Jacqueline B. Arnold, DeMarius R. Copes, Robyn Hurder and Clyde Alves, Ashley Loren, Isabelle McCalla, Alise Morales, Stephanie Park, Demi Remick, Jelani Remy, Daniel Quadrino, and Jessica Vosk, with Olivia Puckett serving as host. In addition, the audience will be treated to a sneak peek screening of Australian dancer and choreographer Reed Luplau’s short film Places, Please, starring Danny Burstein, Krysta Rodriguez, Pixie Aventura, Ben Cook, Deborah S. Craig, Joseph Haro, and Bahiyah Hibah in a story about a therapy session for artists struggling during the pandemic.

BROADWAY BARES 2021: TWERK FROM HOME

Who: More than 170 dancers, Harvey Fierstein, J. Harrison Ghee, Jay Armstrong Johnson, Robyn Hurder, Peppermint, Jelani Remy
What: Annual benefit for Broadway Cares/Equity Fights AIDS
Where: Broadway Cares, YouTube
When: Sunday, June 20, free, 9:00
Why: Last year, the annual “Broadway Bares” benefit, in which performers take it off for Broadway Cares/Equity Fights AIDS, went virtual, and the 2021 edition follows suit with “Twerk from Home.” On June 20 at 9:00, vaxxed and waxed performers will show us what they got from their homes, where they’ve spent so much of the past fifteen months because of the pandemic lockdown, and from across the city now that we are opening up again. Directed by “Bares” creator and Tony winner Jerry Mitchell with codirectors Laya Barak and Nick Kenkel, the free evening features more than a dozen high-concept videos from choreographers Barak, Kenkel, John Alix, Al Blackstone, Frank Boccia, Karla Garcia, Jonathan Lee, Ray Mercer, Dylan Pearce, Jenn Rose, Luis Salgado, Michael Lee Scott, Gabriella Sorretino, Kellen Stancil, Rickey Tripp, and James Alonzo White, with appearances by more than 170 dancers, leading up to a grand finale recorded in Times Square.

Donations are strongly encouraged if you can afford it; 2020’s online event raised more than half a million dollars, which sounds great until you realize that the 2019 in-person benefit took in more than two mil. “Being back with the ‘Broadway Bares’ family to create ‘Twerk from Home’ has been an incredible reminder of how beautiful our theater community is, both inside and out,” Mitchell said in a statement. “Creating one more virtual edition of our beloved celebration in safe environments reinforces our belief that the best way to take care of ourselves is to take care of each other.” In addition, there will be special appearances by Harvey Fierstein, J. Harrison Ghee, Jay Armstrong Johnson (in a revealing opener), Robyn Hurder, Peppermint (in a new song, “Strip”), and Jelani Remy.

LITTLE ISLAND

Little Island is an urban oasis that juts out on Pier 55 in Hudson River Park (photo by twi-ny/mdr)

LITTLE ISLAND
Pier 55, Hudson River Park at West Thirteenth St.
Open daily, 6:00 am – 1:00 am
Free timed tickets, noon – midnight
littleisland.org
little island slideshow

While billionaires Jeff Bezos, Richard Branson, and Elon Musk battle it out to see who can rocket to Mars first, New York socialite couple Barry Diller and Diane von Furstenberg have their feet firmly planted on the Earth. Ten years ago, the Diller-von Fürstenberg Family Foundation contributed $20 million to the construction of the High Line, a converted elevated railway that has become one of the most glorious parks in the world. And in 2015, they cemented their local legacy by donating $113 million to Little Island, a lovely new paradise built on the remnants of a ramshackle pier at West Thirteenth St., in the shadow of the Whitney and just down the street from David Hammons’s Day’s End, a 325-foot-long brushed-steel outline of an abandoned warehouse on Pier 52 where Gordon-Matta Clark carved holes in the walls in 1975, a ghostly homage to what — and who — is no longer there. (The Diller-von Fürstenberg Family Foundation was one of many donors who helped fund Hammons’s permanent installation.)

Concrete tulip pillars welcome visitors to Little Island (photo by twi-ny/mdr)

Little Island is a warm and welcoming oasis rising more than 60 feet above the Hudson River, shaped like a large leaf, leading visitors from the land into water. It is bursting with more than 350 species of flowers, trees, and shrubs, a 687-seat amphitheater for live performances known as the Amph, the Play Ground plaza where you can get food and drink (sandwiches, salads, fried stuff, vegan options), and stage and lawn space called the Glade. More than 66,000 bulbs and 114 trees have been planted, taking into account the changing seasons and even the differences in light between morning, afternoon, and night. It all sits upon 132 concrete pillars of varying heights that resemble high heels or slightly warped tulip glasses.

Winding paths lead to fun surprises on Little Island (photo by twi-ny/mdr)

There are several sloping paths that take you through the greenery and up to lifted corners that offer spectacular views of Lower Manhattan and Jersey City across the river. Little Island was designed by Thomas Heatherwick of London-based Heatherwick Studio, with landscape design by Signe Nielsen of the New York City firm MNLA, offering unique surprises and sweet touches as you make your way across the stunning environment, including rusted cylindrical metal posts that evoke the pier’s eroding wooden piles, a small wooden stage, interactive dance chimes and an instrument sculpture (“Instrument for All”) by Alfons van Leggelo, and a pair of black-and-white optical spinners.

Little Island has unique architectural elements around every corner (photo by twi-ny/mdr)

In the middle of the Play Ground, an abstract-shaped floor plaque pronounces, “In this year of 2021 we dedicate Little Island to the people of New York and to visitors from around the world — for their everlasting enjoyment, for gamboling and cavorting, playing and ramping, repose and reflection — and with the hope that it fulfills that ambition with as much joy as it has brought to those that built it.”

The Amph will host free and ticketed live performances all summer long and into the fall (photo by twi-ny/mdr)

That joy continues with free year-round multidisciplinary programming that kicks off this month with such series as “Free Music in the Amph,” “Sunset Sounds,” “Little Library,” “Live! at Lunch,” “Late Night in the Play Ground,” “Weekend Wind Down,” “Savory Talks,” “New Victory LabWorks,” and “Creative Break: Music,” “Creative Break: Visual Art,” and “Creative Break: Dance.” Admission is first-come, first-served; however, entry to Little Island, which is open daily from 6:00 am to 1:00 am, requires advance reservations between noon and midnight. There will also be paid ticketed performances such as “Broadway Our Way” and “An Evening with American Ballet Theatre,” both of which sold out quickly, and free shows that must be reserved in advance, such as “Tina and Friends: BYOB (Bring Your Own Beautiful),” a Pride Month celebration on June 26 at 8:00 with award-winning playwright and director Tina Landau. Landau, tap dancer and choreographer Ayodele Casel, actor, singer, and music director Michael McElroy, and PigPen Theatre Co. are Little Island’s inaugural artists-in-residence; they will be curating and participating in numerous events in the next several months. Below is a list of upcoming ticketed shows.

Saturday, June 26, 8:00
Tina and Friends: BYOB (Bring Your Own Beautiful), with Tina Landau, the Amph, free tickets available June 16 at 2:00

Saturday, July 10, 2:00
Little Orchestra Society’s Things That Go Bang, the Amph, $25-$65

Saturday, July 24, and Sunday, July 25
Little Island Storytelling Festival, with Mahogany L Browne, Sarah Kay, Jon Sands, Shaina Taub, Broken Box Mine, Daniel Nayeri, Phil Kaye and the Westerlies, Michael Thurber, and others, the Amph, some shows require advance tickets available June 22

Friday, September 17, Saturday, September 18, and Sunday, September 19, 8:00
Little Island Dance Festival, with Ronald K. Brown/Evidence, Barkha Patel, Michela Marino Lerman, Tomoe Carr, Danni Gee, Andre Imanishi, and others, the Amph, tickets on sale June 22

MAGIS THEATRE COMPANY: THE ALCESTIAD AT FOUR FREEDOMS PARK

Who: Magis Theatre Company
What: Covid-delayed production of Thornton Wilder’s The Alcestiad
Where: Franklin D. Roosevelt Four Freedoms Park
When: June 18-20, free with RSVP, 7:00
Why: Thornton Wilder’s lesser-known The Alcestiad followed the most productive period of his career, arriving after 1938’s Pulitzer Prize winner Our Town and The Merchant of Yonkers, the 1942 Pulitzer winner The Skin of Our Teeth, and the 1954 Yonkers revision The Matchmaker, the inspiration for the 1964 musical Hello, Dolly! Wilder, who would have turned 125 next year, wrote about The Alcestiad, a tale of tyranny and plague from Greek mythology that involves Princess Alcestis and her husband, Admetus, King of Thessaly, along with Apollo and Hercules: “On one level, my play recounts the life of a woman – of many women – from bewildered bride to sorely tested wife to overburdened old age. On another level it is a wildly romantic story of gods and men, of death and hell and resurrection, of great loves and great trials, of usurpation and revenge. On another level, however, it is a comedy about a very serious matter. . . . Yet I am aware of other levels, and perhaps deeper ones that will only become apparent to me later.”

In 1938, Wilder started working on the play, which was inspired by Euripides’s 438 BCE Alcestis; it premiered at Assembly Hall at the Edinburgh Festival in 1955 as A Life in the Sun, with Irene Worth starring as Alcestis, directed by Tyrone Guthrie. The Brooklyn-based nonprofit Magis Theatre Company, which specializes in bringing back neglected texts, is presenting the rarely performed play during the summer solstice, June 18-20, at 7:00 outdoors in Four Freedoms Park on Roosevelt Island, in the shadow of the landmarked remains of the James Renwick Jr.—designed Smallpox Hospital, which treated about seven thousand men, women, and children a year suffering from the dread disease between 1865 and 1875, after which it became a nurses’ dormitory. The cast features Jeanne Castagnaro, Russ Cusick, Margi Sharp Douglas, George Drance, Jack Fadner, Kimbirdlee Fadner, Jacqueline Lucid, Tony Macht, Rachel Benbow Murdy, Gabriel Portuondo, Mae Roney, Diego Tapia, and Jenna Wyman, with music by Sara Gallassini and production design by GianMarco Lo Forte and Mark Tambella. “This has been a very long and trying year for all of us, and although we continued to meet online as a company, we are beyond thrilled to announce that we will be performing live this summer,” director George Drance said in a statement. “We chose The Alcestiad long before the pandemic, and the plague it deals with speaks to our present reality. Performing at Four Freedoms Park reminds us that there is still work to be done on ‘the freedom from fear.’ The ruins of the Smallpox Hospital remind us of how we have made it through all this before.”

In a January 1941 speech to Congress, FDR outlined the four freedoms: “The first is freedom of speech and expression — everywhere in the world. The second is freedom of every person to worship God in his own way — everywhere in the world. The third is freedom from want — which, translated into world terms, means economic understandings which will secure to every nation a healthy peacetime life for its inhabitants — everywhere in the world. The fourth is freedom from fear — which, translated into world terms, means a world-wide reduction of armaments to such a point and in such a thorough fashion that no nation will be in a position to commit an act of physical aggression against any neighbor — anywhere in the world.” Tickets for the three performances, which follow all Covid-19 regulations, are free but must be reserved in advance.