this week in theater

FIRES IN THE MIRROR

The Pershing Square Signature Center
The Romulus Linney Courtyard Theatre
480 West 42nd St. between Tenth & Eleventh Aves.
Tuesday – Sunday through December 15, $40 – $75
212-244-7529
www.signaturetheatre.org

On August 19, 1991, seven-year-old Gavin Cato was struck and killed by a car driven by Yosef Lifsh in Crown Heights, Brooklyn. The next day, riots broke out that pitted the black community against Orthodox Jews in a bloody battle that resulted in the murder of Yankel Rosenbaum, a visiting student from Australia. A year later, Baltimore-born actress and playwright Anna Deavere Smith staged Fires in the Mirror at the Public, a one-person show that explored the incendiary situation from multiple angles, consisting of verbatim dialogue taken from a series of interviews Smith conducted with more than one hundred people. With race still such a heated topic more than a quarter century later, the time is ripe for a revival; as part of her residency at the Signature, Smith has brought back the play, passing the torch to Michael Benjamin Washington, who will be performing the show, which opened tonight at the Romulus Linney Courtyard Theatre, through December 15. Washington is heart-wrenching as he spends 110 uninterrupted minutes switching among more than two dozen men and women as racial issues, biases, anti-Semitism, and social justice take center stage and the events of August 19-21, 1991, unfold.

Washington portrays such public figures as writer Ntozake Shange, theater director George C. Wolfe, the Reverend Al Sharpton, activists Angela Davis and Sonny Carson, and author Letty Cottin Pogrebin as well as various rabbis and ministers, Crown Heights residents, and relatives of both Cato and Rosenbaum. He makes subtle costume changes to indicate each character, adding a bowtie or a necklace, putting on a jacket, or taking off a shirt. (The costumes are by Dede M. Ayite.) Similarly understated are his shifts in accent to identify different individual monologues, all of which sing with their own poetry. Each character is introduced by Hannah Wasileski’s projections, which bounce off the floor and onto the long mirror at the back of the stage. Each interview is titled: an anonymous Lubavitcher woman’s segment is called “Static” because she is trying to get a non-Jew to turn off her radio on Shabbos; Wolfe’s is “101 Dalmatians” because as a child he could not go to the movies to see the animated film because the theater was segregated; Rivkah Siegal’s is “Wigs” because she describes the rules for Orthodox wives’ hairstyles; and an anonymous young man’s is “Bad Boy” since he doesn’t believe that sixteen-year-old Lemrick Nelson could have killed Yankel Rosenbaum because Nelson was an athlete and thus cannot be bad.

Accusations are made, prejudices are revealed (on all sides), the mayor and the police are blamed, and belief systems are challenged and defended. In addition to tables, cabinets, and chairs, Arnulfo Maldonado’s set is backed by a large mirror in which the audience can see itself, implicating all of us in the conflict. Fluidly directed by Saheem Ali (Kill Move Paradise, Passage) to prevent narrative gaps, Fires in the Mirror offers a provocative look at who we were then and who we are now, anchored by a bravura performance by Washington (The Boys in the Band, La Cage aux Folles). Among her other one-person shows, Smith documented and dramatized the 1992 LA riots in Twilight: Los Angeles, 1992 (which the Signature is remounting in spring 2020), took on the health-care crisis in Let Me Down Easy, and examined the school-to-prison pipeline in Notes from the Field. As this revival of Fires in the Mirror reveals yet again, Smith is a master at verbatim theater and at taking the nation’s temperature, while Ali and Washington prove the timeless universality of Smith’s work.

TAITEN: NOH & KYOGEN

Noritoshi Yamamoto (right) and members of his prestigious family will perform Kagyu (The Snail) at Japan Society November 14-16 (photo © Yoshiaki Kanda)

Japan Society
333 East 47th St. at First Ave.
November 14-16, $97, 7:30
www.japansociety.org

Japan Society’s Emperor Series, celebrating the ascension of Emperor Naruhito to the Chrysanthemum Throne in May, concludes with a special program that includes a noh play created for Emperor Taishō’s ascension to the throne in 1912. In honor of the era turning from Heisei to Reiwa, Kurouemon Katayama X will stage Taiten, portraying the god Amatsukami, wearing a Mikazuki mask as he descends from the heavens for a ritual dance. The work is rarely performed; in mounting the Reiwa version, Kurouemon X was influenced by notes left by his father and grandfather from the 1912 original commission. In addition, Noritoshi Yamamoto and members of his family will perform the comedic kyogen play Kagyu (The Snail), in which a servant is sent to gather up snails but collects a traveling priest instead, thinking it is the shelled gastropod.

The show runs November 14-16, at the same time the succession rites, known as the Daijosai, or the Great Thanksgiving Ceremony, are taking place at the Imperial Palace in Tokyo. The November 14 performance will be followed by a soirée, and Japan Society will host a noh workshop with actors from the Kyoto Kanze Association on November 15 at 1:00 ($60) and a kyogen workshop with members of the Yamamoto Tojiro Family of the Okura School of Kyogen on November 16 at 1:00 ($60). This is a rare chance to experience these works, so tickets are going fast despite their relatively high cost for a Japan Society event.

THE ROSE TATTOO

Marisa Tomei is fiery and passionate as Serafina in Roundabout revival of Tennessee Williams’s The Rose Tattoo (photo by Joan Marcus)

American Airlines Theatre
227 West 42nd St. between Broadway & Eighth Ave.
Tuesday – Sunday through December 8, $59-$299
212-719-1300
www.roundabouttheatre.org

Following the disappointing reaction to his third major play, Summer and Smoke, a Broadway failure in 1948 after the runaway successes of 1944’s The Glass Menagerie and 1947’s A Streetcar Named Desire, Mississippi-born playwright Tennessee Williams headed to Sicily with the love of his life, Frank Merlo. The trip reenergized Williams and inspired him to write The Rose Tattoo, which won four Tonys in 1951, including Best Play, Best Supporting Actor (Eli Wallach), and Best Supporting Actress (Maureen Stapleton). “The Rose Tattoo was my love-play to the world,” he wrote in Memoirs. “It was permeated with the happy young love for Frankie and I dedicated the book to him, saying: ‘To Frankie in return for Sicily.’” Roundabout’s revival of the play at the American Airlines Theatre, its ninth Williams show since 1975, is a fiery, passionate affair imbued with broad comedy, along with muddling confusion.

The play is set in 1950 in a Gulf Coast village populated by Sicilian immigrants. Serafina Delle Rose (Marisa Tomei) is eagerly awaiting the return of her truck-driver husband, who she calls the Baron. “The clock is a fool. I don’t listen to it. My clock is my heart and my heart don’t say tick-tick, it says love-love!” she tells Assunta (Carolyn Mignini), an elderly fattuchiere. But the Baron never makes it home, leaving Serafina a young widow raising a daughter, Rosa (Ella Rubin), by herself. Regularly surrounded by a Greek chorus of women in black (Andréa Burns as Peppina, Susan Cella as Giuseppina, Jennifer Sánchez as Mariella, and Ellyn Marie Marsh as Violetta) and with the Strega (Constance Shulman) ever lurking about, the young widow mourns intensely for three years, praying to her very special statue of the Virgin Mary at a shrine at stage front and to the urn that holds her husband’s ashes. Serafina, a seamstress having trouble sewing her life back together, swears to be faithful to the Baron’s memory while she tries to protect Rosa’s virginity as Rosa strenuously tries to lose it to Jack (Burke Swanson), an eighteen-year-old sailor in the throes of young love. But when she overhears Bessie (Paige Gilbert) and Flora (Portia) gossiping about how the Baron cheated on her with the fancy Estelle Hoehengarten (Tina Benko), Rose has to rethink her life, especially when she meets another truck driver, Alvaro Mangiacavallo (Emun Elliott), as he’s being harassed by a racist traveling salesman (Greg Hildreth). Alvaro reminds her of the Baron, lighting a fire inside her she hasn’t felt for a long time.

Serafina Delle Rose (Marisa Tomei) and Alvaro Mangiacavallo (Emun Elliott) find common ground in The Rose Tattoo at the American Airlines Theatre (photo by Joan Marcus)

Obie-wining director Trip Cullman zeroes in on the comic aspects of Williams’s story; if you’ve seen the 1955 movie starring Anna Magnani, who won an Oscar as Serafina, a role Williams wrote for her, you might be surprised at just how funny it is, including a bizarre moment with condoms that led to an arrest in a 1957 Irish production. Meanwhile, a scene involving Bessie and Portia coming to Serafina to pick up clothing she made for them is so racist it’s hard not to wonder why it’s done in that style in this day and age. Many of Cullman’s plays have unique and unusual sets that offer complex ways to look at the work, from Lobby Hero and Significant Other to Moscow Moscow Moscow Moscow Moscow Moscow and The Pain of My Belligerence. But Mark Wendland’s stage for The Rose Tattoo is confounding. It’s a combination of indoor and outdoor spaces, with a wooden walkway over sand, a living room, a window, a flock of pink flamingos at the back, and Lucy Mackinnon’s projections of the tide rolling in on the shore on three sides. Characters enter and exit inconsistently in too many different ways so it’s hard to tell where everything leads to and from. Tomei (The Realistic Joneses, How to Transcend a Happy Marriage), whose maternal grandmother was Sicilian, is steamy and, appropriately, ardent — Serafina means “ardent” in Italian — as the zealous widow, imbuing her with a fierce sexuality, leaving Elliott (Black Watch, Red Velvet), in his Broadway debut, to play catch-up. (The pair was played by Stapleton and Wallach in the 1951 original, Magnani and Burt Lancaster in the 1955 film, Stapleton and Harry Guardino in the 1966 Broadway revival, and Mercedes Ruehl and Anthony LaPaglia in the 1995 Broadway adaptation.) Rubin is a force as Rosa, representing the next generation of Italian Americans who are not about to do things the way their parents did. Jonathan Linden contributes country-folk blues off stage right, enhancing the period setting.

“During the past two years I have been, for the first time in my life, happy and at home with someone and I think of this play as a monument to that happiness, a house built of images and words for that happiness to live in,” Williams wrote to Elia Kazan in June 1950 when asking him to direct the show. “But in that happiness there is the long, inescapable heritage of the painful and the perplexed like the dark corners of a big room.” Williams even threw in a nod to Merlo, the man responsible for his happiness and whom he called the Little Horse, by giving Alvaro the last name Mangiacavallo, which means “eat a horse.” This latest Broadway revival of The Rose Tattoo also manages to find happiness amid the painful and the perplexed.

CYRANO

Peter Dinklage struts his stuff in wife’s musical adaptation of Cyrano story (photo by Monique Carboni)

The New Group at the Daryl Roth Theatre
103 East 15th St. between Irving Pl. & Park Ave.
Tuesday – Sunday through December 22, $107-$252
thenewgroup.org

You don’t need me to tell you that Peter Dinklage is an extraordinary actor. You can see for yourself in the New Group’s world premiere production of Cyrano, Erica Schmidt’s musical retelling of Edmond Rostand’s 1897 novel Cyrano de Bergerac, which opened last night at the Daryl Roth Theatre. Dinklage, who soared above his castmates in winning four Emmys as the wise, debauched Tyrion Lannister on Game of Thrones, commands the stage from the very start of the play; his eyes and body are so emotive, you cannot take your eyes off him. As opposed to many other stars who have portrayed Cyrano onstage and onscreen — Ralph Richardson, Derek Jacobi, Richard Chamberlain, Christopher Plummer, Gérard Depardieu, Steve Martin, and Kevin Kline among them — Dinklage does not wear a prosthetic nose; he is just himself, as he is. When Cyrano says early on, “I am living proof that God has a sick sense of humor,” it takes on additional meaning, given Dinklage’s achondroplasia. When he’s not onstage, you search for him, whether it’s when you hear his voice booming from the side of the audience or as he waits in the wings, watching the action in character, partially hidden by hanging ropes. Alas, if only the rest of the show were up to the same standards.

Cyrano is a brave, feared member of a company of guards; he is a man of both the pen and the sword, as expert with a blade as he is with a pencil. He is madly, desperately in love; the object of his affection is his childhood friend Roxanne (Hamilton’s Jasmine Cephas Jones), but the object of her affection is the novice guard Christian (Blake Jenner), a handsome man with not much upstairs. “I’m so stupid. It’s shameful,” he acknowledges. Roxanne is also desired by the wealthy and powerful Duke De Guiche (Ritchie Coster), who is charge of the company; he is determined to have Roxanne as his wife. Roxanne is love-starved as well: She sings, “I’d give anything for someone to say / That they can’t live without me and they’ll be there forever / I’d give anything for someone to say to me / That no matter how bad it gets they won’t turn away from me.” She falls for Christian at first sight, but he’s such a dull, dense beauty that he has no idea how to woo her, so Cyrano, who cannot bear to see Roxanne disappointed, starts ghostwriting love letters for Christian and feeding him romantic lines to say to her. It all comes to a head when Cyrano, Christian, and De Guiche are in a fierce battle on the front lines of the war.

Christian (Blake Jenner) makes his case to Roxanne (Jasmine Cephas Jones) with Cyrano’s (Peter Dinklage) help in new musical (photo by Monique Carboni)

Adapted and directed by Schmidt (All the Fine Boys), who is married to Dinklage, Cyrano is all about the poetry and power of words. Cyrano lives to write letters. When his friend Ragueneau (Nehal Joshi), a pastry chef, is being threatened by one hundred men coming to kill him, Ragueneau explains it’s because of a political poem he wrote. When De Guiche is intrigued by Cyrano’s nose but can’t bring himself to be direct about it, Cyrano says, “You seem at a loss for words and, good sir, you are staring.” But Cyrano doesn’t believe his way with words or a sword (oddly, the two words are anagrams of each other) will capture his true love’s heart. Dinklage (The Station Agent, A Month in the Country) sings in his affecting, compelling low register, “Roxanne, what am I supposed to say? / Words are only glass on a string. / The more I arrange them and line up and change them / The more they mean the same thing.” When he makes the deal with Christian, he says, “I am a poet. My words are wasted now — they need to be — to be spoken aloud. I will make you eloquent and you, you will make me handsome.” The battle scene is particularly poetic, beautifully directed by Schmidt and choreographed by Jeff and Rick Kuperman, with snow falling down as the men and women soldiers say farewell to loved ones, perhaps for the last time.

Christian (Blake Jenner) and Cyrano (Peter Dinklage) face off in New Group world premiere (photo by Monique Carboni)

The supporting cast is solid, led by Josh A. Dawson as Cyrano’s trusted right-hand man, Le Bret; Nehal Joshi as pastry chef and political poet Ragueneau; Grace McLean as Roxanne’s constant chaperone, Marie; Scott Stangland as the actor Montgomery and the cadet Carbon; Christopher Gurr as theater owner Jodelet and the priest; and Hillary Fisher as Orange Girl. Christine Jones and Amy Rubin’s narrow set features a long horizontal wall with sections that open up to reveal a room of chefs baking, a door, and a balcony where Roxanne calls out to Christian, who is coached by Cyrano in his replies. Words cover the wall like it’s a large blackboard; among the only legible phrases is the heartbreaking “And she loved me back,” which also pops up in one of the songs. The music, by twin brothers Bryce and Aaron Dessner of the National, and the lyrics, by the National lead singer Matt Berninger and his wife, Carin Besser (who cowrites lyrics for the band), are not as inventive as one might expect from a group with members who specialize in nontraditional melodies and experimentation, whether on an album, in an art installation, or even for an avant-garde opera.

For the show, which was workshopped in 2018 by Goodspeed Musicals in Connecticut, to really grab your heart and soul, the audience has to fall in love with Roxanne in order to understand why the Duke, Christian, and Cyrano do. But that never happens. As played by Cephas Jones, there’s nothing that sets Roxanne apart; she seems to be a nice young woman but not a heartthrob that makes men desire her on sight. And by the treacly ending, you’ll be wondering why the brilliant Cyrano ever wanted her in the first place. However, Dinklage’s gripping, poignant performance rises above everything else, making Cyrano well worth seeing despite its flaws.

DR. RIDE’S AMERICAN BEACH HOUSE

Meg (Marga Gomez), Matilda (Erin Markey), and Harriet (Kristen Sieh) hang out on a roof in Liza Birkenmeier’s Dr. Ride’s American Beach House (photo by Ben Arons Photography)

Ars Nova at Greenwich House
27 Barrow St. at Seventh Ave. South
Monday – Saturday through November 23, $35-$65
arsnovanyc.com

Liza Birkenmeier’s Dr. Ride’s American Beach House lands at a rather fortuitous moment in time. On October 18, astronauts Christina Koch and Jessica Meir completed the first all-woman spacewalk in history. The play, which opened tonight at Ars Nova at Greenwich House, takes place on June 17, 1983, the night before astronaut and physicist Dr. Sally Ride becomes the first American woman in space, aboard the Challenger shuttle. Dr. Ride was not initially part of the narrative; Birkenmeier originally intended to make a grand epic disproving the scientific method but instead concentrated on one scene, set on June 17, 1983, and only discovered later, after the work was already under way, that it had the connection to Dr. Ride, altering the plot significantly.

Best friends Matilda (Erin Markey) and Harriet (Kristen Sieh) are drinking, smoking, and gossiping on the roof of Harriet’s apartment building in St. Louis, supposedly a meeting of the Two Serious Ladies Book Club, which has nothing to do with literature but is just an excuse for the two of them to hang out. Matilda, who occasionally breaks into song, is married to Arthur and has two children, while Harriet, who writes poetry, is living with her boyfriend, Luke. Their main rule is to never discuss men while on the roof, but they can’t help themselves, especially since Harriet has an incredible story to tell about a one-night stand she just had with a biker, something she has never done before. “I don’t want to break the rule, but let’s talk about this through my perspective,” Harriet explains. “He is an object and I am the subject. He is the, the, commodity and I’m the . . .” It might not pass the Bechdel test, but it still keeps the women in charge.

Norma (Susan Blommaert) finds something to complain about to Harriet (Kristen Sieh) in Ars Nova premiere (photo by Ben Arons Photography)

They are soon joined on the roof — superbly designed with a cool slant and little in the way of safety by Kimie Nishikawa — by Matilda’s friend Meg (Marga Gomez), a butch, stout lesbian in boots, a baseball cap, and a Motörhead T-shirt. “Do you have a husband?” an oblivious Harriet asks Meg, who replies definitively, “Of course not.” Meg is bold and direct, open and honest. “Do you hate men?” Harriet asks, referring to a comment Meg makes regarding her job as a nurse. “No no, I don’t hate men; they only make me homicidal. I’ll be fine,” Meg answers. Meanwhile, hovering about is the persnickety Norma (Susan Blommaert), who is making sure that the building is run as efficiently as possible. As the long countdown begins for Dr. Ride’s journey into space — she is spending the night in NASA’s historic Florida beach house, where the astronauts have a barbecue before blasting off the planet — the four women continue to chatter away as Meg suspects that Harriet and Matilda don’t even realize that they are in love with each other.

Smartly directed by Katie Brook (How to Get into Buildings, She Is King) with a keen sense of humor and suggestive sexuality, Dr. Ride’s American Beach House incorporates the scientific method through exploration, observation, and testing. The all-woman cast and crew have a firm grasp of the material, which subtly takes on gender roles, societal expectations, sex, love, and power. It’s no coincidence that the two main characters are named after heroic female figures from children’s literature, Harriet the Spy and Roald Dahl’s magical Matilda. The two women are obviously in love with each other — Matilda calls Harriet “cupcake” and “pookie” — but are unable to understand what that even means, as they are stuck in traditional modes of thought involving the battle of the sexes, despite all that’s happening around them. Harriet uses binoculars while up on the roof — evoking Dr. Ride out in space, using a telescope — but while she peers longingly at a fashionable kitchen across the way, Meg sees a hapless man trying to kill a bug in his bedroom, criticizing his lack of skills in bed. In a reverse Samson and Delilah, Harriet decides to give up her firm control over the biker after he shaves off his facial hair; as opposed to him losing strength, she loses interest.

Besties Harriet (Kristen Sieh) and Matilda (Erin Markey) are rooting for Dr. Sally Ride in Liza Birkenmeier’s new play (photo by Ben Arons Photography)

Despite how funny the ninety-minute play is — and it’s very funny — a bittersweet edge hangs in the air. Dr. Ride died of pancreatic cancer in 2012 at the age of sixty-one, and her relationship first with Molly Tyson in the early 1980s and then with her longtime partner, Tam O’Shaugnessy, only came to light after her death, in her obituary; she was unable to come out during her lifetime. And less than three years after her trip into space, the very same Challenger space shuttle she flew in broke apart in the air, killing all seven people on board, including thirty-seven-year-old high school teacher Christa McAuliffe. But Birkenmeier’s (littleghost, The Way Out West) poetic yet realistic dialogue — the actors frequently hesitate, repeat words, and speak in incomplete sentences — and the engaging performances by Gomez (Latin Standards, Pound), Sieh (RoosevElvis, The Band’s Visit), and Markey (Singlet, A Ride on the Irish Cream) make this more than just another theatrical ride through the contemporary female psyche, in space and on a St. Louis rooftop.

LITTLE SHOP OF HORRORS

Seymour Krelborn (Jonathan Groff) suddenly discovers the bloody secret of Audrey Two in Little Shop of Horrors (photo © Emilio Madrid-Kuser)

Westside Theatre
407 West 43rd St. between Ninth & Tenth Aves.
Tuesday – Sunday through January 19, $69-$179
littleshopnyc.com

Little Shop of Horrors is back where it belongs, off Broadway, in Michael Mayer’s exhilarating adaptation continuing at the Westside Theatre through January 19. The 1982 satire of “science fiction, ‘B’ movies, musical comedy itself, and even the Faust legend,” as noted by book writer, lyricist, and original director Howard Ashman, debuted in 1982 at the WPA Theatre and soon moved to the Orpheum in the East Village, where it ran for more than five years. A smash hit that became one of the most-produced shows around the country, it was based on Roger Corman’s 1960 black-and-white comedy about a milquetoast floral assistant on Skid Row who is raising a rather odd plant. It was turned into a successful film by Frank Oz in 1986 and made it to Broadway — something Ashman, who died of AIDS complications in 1991 at the age of forty, was against — in 2003. But Mayer returns it to its roots (I know that phrase is part of the ad campaign, but it’s a darn good one), playing to sold-out houses in the Westside Theatre’s 270-seat upstairs space even though the star-studded musical easily could have done big business on the Great White Way.

Jonathan Groff is sweetly endearing as Seymour Krelborn, a schlemiel working in a failing flower shop on Skid Row owned by the gruff Mr. Mushnik (Tom Alan Robbins), who has raised the orphan Seymour since he was a child, although not with much love. Seymour pines for his coworker, Audrey (Tammy Blanchard), a squeaky redheaded bombshell who has an abusive boyfriend, black-leather-jacketed sadistic dentist Orin Scrivello (Christian Borle). The trio of Ronnette (Ari Groover), Crystal (Salome Smith), and Chiffon (Joy Woods) — yes, they are named for three popular 1960s girl groups, and they sing in that style — serve as a kind of Greek chorus, participating in some of the action as they hang out on a pair of grimy stoops. Mushnik is about to shut down the shop when a strange, unidentifiable plant that Seymour is nursing, which he calls Audrey Two (or Twoey), quickly becomes a local sensation; the store starts doing extremely well, and Seymour and Audrey’s drab existence is reinvigorated. The only problem is that Audrey Two, which is growing at an absurd rate, needs special food to survive: human blood. “Feed me,” Audrey Two, voiced by Kingsley Leggs, demands, not sounding at all like a destitute denizen of Skid Row.

Orin Scrivello, DDS (Christian Borle) thinks he has Seymour (Jonathan Groff) just where he wants him in Michael Mayer adaptation (photo © Emilio Madrid-Kuser)

A riotous take on movies about monsters, aliens, and serial killers in addition to romantic comedies, Little Shop of Horrors is also a trenchant look at class and capitalism in post-depression America. The play is set on Skid Row, where bums sprawl out next to garbage cans and kids never finish school. When Mushnik asks the three girls how they intend to better themselves, they sing about their lack of hope: “You go downtown / Where the folks are broke / You go downtown / Where your life’s a joke / You go downtown / When you buy your token, you go — / Home to Skid Row . . . / Where the cabs don’t stop . . . / Where the food is slop . . . / Where the hop-heads flop in the snow!” It’s a far cry from the downtown lovingly portrayed by Petula Clark in 1965 (“The lights are much brighter there / You can forget all your troubles, forget all your cares . . . / Downtown, everything’s waiting for you.”)

Audrey desperately wants a traditional suburban life where she’s not poor and beaten down, physically and psychologically. “A matchbox of our own / A fence of real chain link / A grill out on the patio / Disposal in the sink,” she sings. “I’m his December bride / He’s father, he knows best / Our kids play Howdy Doody / As the sun sets in the West / A picture out of Better Homes / and Gardens magazine / Far from Skid Row / I dream we’ll go / Somewhere that’s . . . / Green.” It’s no coincidence that Audrey Two is green, offering them all a way out, although not the one they pray for.

Seymour (Jonathan Groff) pines for Audrey (Tammy Blanchard) in Little Shop of Horrors (photo © Emilio Madrid-Kuser)

Two-time Tony nominee and Obie winner Groff (Spring Awakening, Hamilton) and Emmy winner and two-time Tony nominee Blanchard (Life with Judy Garland: Me and My Shadows, Gypsy) are adorable in roles originated onstage by Lee Wilkoff and Ellen Greene and onscreen by Rick Moranis and Greene. (The always terrific Gideon Glick will step in as Seymour from November 5 to 17.) It might not appear that Seymour and Audrey belong together at first, but then comes the beloved “Suddenly Seymour” and their love blossoms. Two-time Tony winner Borle (Peter and the Starcatcher, Something Rotten!) plays Orin and a bunch of other smaller roles with ketchup, mustard, and relish, devouring them with a sly wit, including several in just a few minutes, featuring hysterical, super-fast costume changes (the duds are by Tom Broecker) as Seymour and Audrey Two go viral the old-fashioned way, eons before social media and the 24/7 news cycle.

Tony winner Mayer (Hedwig and the Angry Inch, Spring Awakening) maintains a sweet intimacy, even as Audrey Two threatens to overtake Julian Crouch’s period set and the small theater itself. Ellenore Scott adds fun choreography harking back to 1960s pop; the puppet design is by Nicholas Mahon based on Martin P. Robinson’s original. The score, performed by an offstage four-piece band led by conductor and keyboardist Will Van Dyke, is chock full of nuggets, from the impossibly catchy title song and previously mentioned tunes to “Dentist” and “Da-Doo,” many of which will have you singing and dancing down the street afterward, which doesn’t happen often nowadays. “There will be a temptation to play it for camp and low-comedy,” Ashman, who also collaborated with Menken on Kurt Vonnegut’s God Bless You, Mr. Rosewater and the Disney animated films The Little Mermaid and Beauty and the Beast, explains in his author’s note in the script, adding, “When Little Shop of Horrors is at its most honest, it is also at its funniest and most enjoyable.” It’s hard to get rid of all the camp, but this Shop is nothing if not honest, funny, and most enjoyable.

PERFORMA 19

Sarah Friedland’s CROWDS will attract crowds at La MaMa as part of Performa Biennial

Multiple locations
November 1-24, free – $50
performa19.org/tickets

The eighth annual Performa Biennial kicks off today, celebrating the hundredth anniversary of the Staatliches Bauhaus, the German art school founded in 1919 by Walter Gropius that set in motion a major movement in art, architecture, and design around the world. There will be dozens of performances across disciplines, including film, dance, theater, music, installation, and unique hybrids, often incorporating architectural and sculptural elements, as well as conversations and panel discussions through November 24. The price for ticketed events range from $10 to $50, with most around $15-$25; among the highlights are artist Nairy Baghramian, dancer-choreographer Maria Hassabi, late modernist designer Janette Laverrière, and architect Carlo Mollino’s Entre Deux Actes (Ménage à Quatre), taking place on two floors of a Fifth Avenue town house; Lap-See Lam’s Phantom Banquet, a multimedia performance piece about ghosts and Chinese restaurants in Sweden; Pat’s You’re at Home, a one-night-only collaboration between Jacolby Satterwhite and Nick Weiss; Yvonne Rainer’s restaging of her seminal 1965 work Parts of Some Sextets, with new choreography and a recording of the original score; Huang Po-Chin’s Heaven on Fourth, which tells the story of a Chinese immigrant sex worker who committed suicide in Flushing in 2017; and the grand finale, Radio Voices, led by David J of Bauhaus and Love & Rockets with special guests Curse Mackey, Rona Rougeheart, Vangeline, and Heather Paauwe. But there are also dozens of free shows in cool locations, from museums and art galleries to outside on the street, most of which do not require advance RSVP; the full list is below.

Friday, November 1, 4:00 – 8:00
Saturday November 2, 4:00 – 8:00
Sunday, November 3, 2:00 – 6:00
Zakaria Almoutlak and Andros Zins-Browne: Atlas Unlimited: Acts VII–X, with the voices of Ganavya Doraiswamy and Aliana de la Guardia, 80 Washington Square East

Friday, November 1
through
Sunday, November 24
Ylva Snöfrid: Nostalgia — Acts of Vanitas, daily painting performance ritual, fifth-floor loft at 147 Spring St.

Saturday, November 2
Shu Lea Cheang, Matthew Fuller: SLEEP1237, Performa Hub, 47 Wooster St., 5:50 pm – 6:25 am

Gaetano Pesce: WORKINGALLERY, Salon 94 Design, 3 East Eighty-Ninth St., 2:00 – 4:00

Saturday, November 2
through
Sunday, November 24
Yu Cheng-Ta: “Fameme,” live and filmed performances about reality television, Wallplay, 321 Canal St.

Tuesday, November 5
Tara Subkoff: Deepfake, the Hole, 312 Bowery, 7:00

November 6, 13, 16, 20
Luca Veggetti with Moe Yoshida: From Weimar to Taipei (Roland Gebhardt-Mercedes Searer’s Selfdom, Luca Veggetti’s Fourth Character, Chin Chih Yang’s Black Hole, Rolando Peña’s Less Is More), WhiteBox Harlem, 213 East 121st St., 7:00

Thursday, November 7
Yahon Chang: Untitled, Performa Hub: Deitch Projects, 18 Wooster St., 5:00

Sarah Friedland: CROWDS, three-channel video installation of durational dance, La MaMa La Galleria, 47 Great Jones St., 6:00

Saturday, November 9
Pia Camil and Mobile Print Power: Screen Printing Workshop, Queens Museum, 1:00

Niels Bolbrinker and Thomas Tielsch: Bauhaus Spirit: 100 Years of Bauhaus, Goethe-Institut New York, 30 Irving Pl., 3:00

Duke Riley: Non-Essential Consultants, Inc., Red Hook Labs, 133 Imlay St., 6:00

LAP-SEE LAM, PHANTOM BANQUET, 2019. PRODUCTION STILL. COURTESY THE ARTIST AND GALERIE NORDENHAKE, STOCKHOLM.

Lap-See Lam’s Phantom Banquet takes place at Deitch Projects (photo courtesy the artist and Galerie Nordenhake, Stockholm)

Sunday, November 10
Glendalys Medina: No Microphone, Participant Inc., 253 East Houston St. #1, 4:00

Sunday, November 10, 17, 24
Glendalys Medina: The Shank Live, Participant Inc., 253 East Houston St. #1, 8:00 am

Monday, November 11
Nkisi: Listening Session, Performa Hub, 47 Wooster St., 6:00

Monday, November 11
through
Sunday, November 17
Dimitri Chamblas, Sigrid Pawelke: UNLIMITED BODIES, Performa Hub: Deitch Projects, 18 Wooster St., 12:00 and/or 1:00

Tuesday, November 12
Huang Po-Chih, Su Hui-Yu, Yu Cheng-Ta: “The Afterlife of Live Performance” Panel Discussion, Performa Hub, 47 Wooster St., 6:00

Adam Weinert: Monuments: Echoes in the Dance Archive, the New York Public Library for the Performing Arts, Bruno Walter Auditorium, 111 Amsterdam Ave., 6:00

Tuesday, November 12, 19
Glendalys Medina: Dear Me, Participant Inc., 253 East Houston St. #1, advance RSVP required, 4:00 – 9:00

Wednesday, November 13
Paul Maheke, Ligia Lewis, Nkisi: Levant, Goethe-Institut Cultural Residencies, Ludlow 38, 38 Ludlow St., 6:00

Thursday, November 14
The New Blockheads: The Brotherhood of the New Blockheads, the Mishkin Gallery, 135 East Twenty-Second St., 6:00

Friday, November 15
Bauhaus at the Margins: Gender, Queer, and Sexual Politics, Performa Hub, 47 Wooster St., 6:00

Heman Chong, Fyerool Darma, Ho Rui An, and Erika Tan: As the West Slept, Silver Art Projects, 4 World Trade Center, twenty-eighth floor, 7:00

Glendalys Medina: Dear Me, Participant Inc.,

Glendalys Medina’s Dear Me plays to one visitor at a time (photo courtesy the artist)

Saturday, November 16
“A School for Creating Humans”: Bauhaus Education and Aesthetics Revisited, Performa Hub, 47 Wooster St., 1:00

Sunday, November 17
Bodybuilding: Architecture and Performance Book Launch, including a lecture-performance by New Affiliates (Ivi Diamantopoulou and Jaffer Kolb), Performa Hub, 47 Wooster St., 4:00

Lap-See Lam in conversation with Charlene K. Lau, Performa Hub, 47 Wooster St., free with advance RSVP, 4:00

Tuesday, November 19, 6:00
through
Sunday, November 24, 8:00
Éva Mag: Dead Matter Moves, production of clay bodies, the Gym at Judson Memorial Church, 243 Thompson St., 1:00 – between 5:00 & 8:00

Tuesday, November 19, 6:00
Friday, November 22, 8:00
Torkwase Dyson: I Can Drink the Distance: Plantationocene in 2 Acts, multimedia performative installation, Pace Gallery, 540 West Twenty-Fifth St.

Thursday, November 21
Machine Dazzle, Narcissister and Rammellzee: Otherworldly: Performance, Costume and Difference, Aronson Gallery, Sheila Johnson Design Center at Parsons School of Design, 66 Fifth Ave., 6:00

Sarah Friedland: CROWDS — Conversation with Tess Takahashi, La MaMa La Galleria, 47 Great Jones St., 7:00

Thursday, November 21, 6:00
Saturday, November 23, 1:00 & 3:00
Sunday, November 24, 1:00 & 3:00
Tarik Kiswanson: AS DEEP AS I COULD REMEMBER, AS FAR AS I COULD SEE, featuring eleven-year-old children reading his writings, Alexander Hamilton US Custom House, 1 Bowling Green, free with advance tickets

Friday, November 22
Tarik Kiswanson: AS DEEP AS I COULD REMEMBER, AS FAR AS I COULD SEE: In Conversation with Performa Curator Charles Aubin, Performa Hub, 47 Wooster St., 5:00

Saturday, November 23
Cecilia Bengolea, Michèle Lamy: Untitled Performa Commission, featuring boxers and ballet, dancehall, vogue, and contemporary dancers, Performa Hub: Deitch Projects, 18 Wooster St., 4:00

Sunday, November 24, 8:00
Éva Mag: Dead Matter Moves — In Conversation with Camilla Larsson and Yuvinka Medina, the Gym at Judson Memorial Church, 243 Thompson St., 3:00