this week in theater

PERFORMA 17 BIENNIAL

Multiple venues
November 1-19, free – $40
17.performa-arts.org

The seventh Performa biennial takes place November 1-19 in multiple venues around the city, featuring an impressive roster of international artists pushing the limits of what live performance can be. This year’s lineup includes ten Performa commissions and dozens of events, from film, poetry, and dance to architecture, music, and comedy, arranged in such categories as Performa Projects, Performa Premieres, and Pavilion without Walls. In addition to the below recommendations for this always exciting festival, there will be presentations by Kendell Geers, Xavier Cha, Yto Barrada, Brian Belott, Flo Kasearu, Jimmy Robert, Mohau Modisakeng, Kelly Nipper, Kemang Wa Lehulere, Nicolas Hlobo, Kris Lemsalu with Kyp Malone, the Marching Cobras of New York, and others at such venues as Abrons Arts Center, BAM, the Met, White Box Arts Center, Marcus Garvey Park, the Connelly Theater, St. Mark’s Church in-the-Bowery, Harlem Parish, and the Glass House in New Canaan.

Thursday, November 2, 7:00
Friday, November 3, 7:00 & 9:00
Saturday, November 4, 7:00
Teju Cole: Black Paper, BKLYN Studio at City Point, 445 Albee Square West, $15-$25

Thursday, November 2, 9, 16
Barbara Kruger: The Drop, Performa 17 Hub, 47 Walker St., $5, 4:00 – 8:00

Sunday, November 5
Monday, November 6
William Kentridge: Ursonate, Harlem Parish, 258 West 118th St., $25-$40, 7:00

Sunday, November 5, 12, 19
Eiko Otake: A Body in Places, Metropolitan Museum of Art, free with museum admission, 10:30 am

Wednesday, November 8
Estonian Pavilion Symposium: Call for Action — Key Moments of Estonian Performance Art, lecture and screening with curators Anu Allas and Maria Arusoo, free, Performa 17 Hub, 47 Walker St., 5:00

Thursday, November 9
Friday, November 10
Saturday, November 11
The Tracey Rose Show in Collaboration with Performa 17 and Afroglossia Presents: The Good Ship Jesus vs The Black Star Line Hitching a Ride with Die Alibama [Working Title], the Black Lady Theatre, 750 Nostrand Ave., $15-$25, 7:30

Friday, November 10
Zanele Muholi on Visual Activism, grand finale of two weeks of meetings, performances, discussions, and art-making, the Bronx Museum, 1040 Grand Concourse, free, 7:00

Friday, November 10
through
Sunday, November 19
Alex Schweder and Ward Shelley: The Newcomers, with Lena Kouvela and Sarah Burns, 28 Liberty Plaza, free, all day

Saturday, November 11
Architecture Conference, with Giovana Borasi, Lluís Alexandre Casanovas Blanco, Yve Laris Cohen, Cooking Sections (Daniel Fernández Pascual & Alon Schwabe), and Elizabeth Diller, Performa 17 Hub, 47 Walker St., free, 2:00 – 6:00

Monday, November 13
Tuesday, November 14
Wangechi Mutu: Banana Stroke, Metropolitan Museum of Art, Grace Rainey Rogers Auditorium, free with museum admission, 7:00

Monday, November 13
through
Friday, November 17
Kwani Trust: Everyone Is Radicalizing, multimedia installation and public programs, Performa 17 Hub, 47 Walker St., free, 12 noon – 6:00 pm

Wednesday, November 15
Thursday, November 16
Friday, November 17
Anu Vahtra: Open House Closing. A Walk, Performa 17 Hub, 47 Walker St., free, 5:00

Thursday, November 16
Julie Mehretu and Jason Moran: MASS (HOWL, eon), Harlem Parish, 258 West 118th St,, $25-$40, 7:00 & 9:00

Thursday, November 16
Friday, November 17
Saturday, November 18
Gillian Walsh: Moon Fate Sin, Danspace Project, St. Mark’s Church in-the-Bowery, 131 East Tenth St., $22-$25, 8:00

BAM NEXT WAVE FESTIVAL: RICHARD III

Thomas Ostermeier transforms Richard III into a glittery spectacle in German production (photo by Arno Declair)

Brooklyn Academy of Music
BAM Harvey Theater
651 Fulton St.
October 11-14, $35-$115, 7:30
718-636-4100
www.bam.org
www.schaubuehne.de

German director Thomas Ostermeier and Schaubühne Berlin return to BAM with a wildly unpredictable, glittery, contemporary take on William Shakespeare’s paean to power and ego, Richard III, running October 11-14 at the BAM Harvey as part of BAM’s 2017 Next Wave Festival. Last at BAM in 2013 with An Enemy of the People —his previous shows at BAM include Nora in 2004, Hedda Gabler in 2006, and The Marriage of Maria Braun in 2010 — Ostermeier now presents the Bard as if caught up in endless expressionistic glam decadence. Lars Eidinger plays the hunchbacked villain, with Moritz Gottwald as Buckingham, Eva Meckbach as Elizabeth, and Jenny König as Lady Anne. The pulsating soundtrack is by Nils Ostendorf, with songs by Tyler Gregory Okonma, Laurie Anderson, Iannis Xenakis, and Thomas Tomkins and Andrew John Powell; Thomas Witte provides live drumming. The luxuriously gaudy visual style comes courtesy of set designer Jan Pappelbaum, with costumes by Florence von Gerkan, video by Sébastien Dupouey, dramaturgy by Florian Borchmeyer (who adapted An Enemy of the People), and lighting by Erich Schneider. On October 12 at 6:00 ($25) at BAM Rose Cinemas, Ostermeier will sit down for an “Iconic Artist Talk” with playwright Branden Jacobs-Jenkins (Everybody, An Octoroon), who is adapting Ostermeier and Borchmeyer’s An Enemy of the People for a Broadway run later this season.

NOH-NOW: LEFT-RIGHT-LEFT

Luca Veggetti’s Left-Right-Left will make its North American premiere at Japan Society October 13-14 as part of “NOH-NOW” series

Japan Society
333 East 47th St. at First Ave.
Friday, October 13, and Saturday, October 14, $35, 7:30
212-715-1258
www.japansociety.org

In May 2014, Italian director and choreographer Luca Veggetti brought Project IX — Pléïades to Japan Society, a graceful collaboration with Japanese percussionist Kuniko Kato and Japanese dancer Megumi Nakamura that was the finale of the sixtieth anniversary season of the institution’s performing arts program. Veggetti and Nakamura are now back for the North American premiere of Left-Right-Left, part of Japan Society’s 110th anniversary and the series “NOH-NOW,” which blends the traditional Japanese musical drama with contemporary styles. The work, commissioned by Japan Society and Yokohama Noh Theater, is conceived, directed, and choreographed by Veggetti, with the esteemed author and scholar Dr. Donald Keene of the Donald Keene Center of Japanese Culture serving as project advisor and text translator. The three-part piece is inspired by the ancient play Okina, a sacred ritual about peace, prosperity, and safety. It will be performed by butoh dancer Akira Kasai, contemporary dancer Nakamura, and butoh-trained dancer Yukio Suzuki, with music director Genjiro Okura on noh small hand drum and Rokurobyoe Fujita on noh fue. Child noh actor Rinzo Nagayama will recites the new English translation of passages from Okina and another popular traditional noh play, Hagoromo, about a celestial feather robe. The lighting is by Clifton Taylor, with costumes by Mitsushi Yanaihara. “Noh has very precise patterns in the space that the performers follow,” Veggetti says in a promotional interview, explaining that his goal was “to use this archaic blueprint form and infuse it with different choreographic ideas, with that to find a language that is somehow organic.” Left-Right-Left, or “sa-yu-sa” in Japanese, will be at Japan Society on October 13, followed by a Meet-the-Artists Reception, and October 14, followed by an artist Q&A. In addition, Okura, Grand Master of the Okura School of kotsuzumi, will lead a noh music workshop on October 14 at 10:30 am ($45). “NOH-NOW” continues November 3-5 with the world premiere of Hiroshi Sugimoto’s Rikyu-Enoura, December 7-9 with Leon Ingulsrud’s adaptation of Yukio Mishima’s Hanjo, and January 11-14 with Satoshi Miyagi’s Mugen Noh Othello.

BAM NEXT WAVE FESTIVAL: CROSSING

Matthew Aucoin’s Crossing makes its New York premiere at BAM this week (photo by Gretjen Helene Photography)

BAM Howard Gilman Opera House
30 Lafayette Ave. between Ashland Pl. & St. Felix St.
October 3-8, $35-$110
718-636-4100
www.bam.org/opera/2017/crossing

Five years ago, BAM presented “Crossing Brooklyn Ferry,” a three-day multimedia festival celebrating Walt Whitman’s 1856 poem of the same name from Leaves of Grass, in which the New York City native wrote, “Others will enter the gates of the ferry and cross from shore to shore, / Others will watch the run of the flood-tide, / Others will see the shipping of Manhattan north and west, and the heights of Brooklyn to the south and east, / Others will see the islands large and small; / Fifty years hence, others will see them as they cross, the sun half an hour high, / A hundred years hence, or ever so many hundred years hence, others will see them, / Will enjoy the sunset, the pouring-in of the flood-tide, the falling-back to the sea of the ebb-tide.” The Brooklyn arts institution is now returning to Whitman with Crossing, Matthew Aucoin’s hundred-minute 2015 chamber opera, which takes off from Whitman’s 1861-63 Civil War diary and these lines from the poem: “What is it then between us? / What is the count of the scores or hundreds of years between us?” The twenty-seven-year-old Aucoin wrote, composed, and conducts the work, which is directed by Tony winner Diane Paulus (Pippin, Eli’s Comin) and features the Boston-based chamber orchestra A Far Cry, with choreography by Jill Johnson, sets by Tom Pye, costumes by three-time Tony nominee David Zinn, lighting by two-time Tony winner Jennifer Tipton, and projection by Finn Ross. Baritone Rod Gilfry, who has previously appeared at BAM in David Lang’s the loser and Mark-Anthony Turnage and Richard Thomas’s Anna Nicole, plays Whitman, a Civil War nurse tending to wounded soldier John Wormley, portrayed by tenor Alexander Lewis. The work, which was produced and commissioned by the American Repertory Theater at Harvard University, runs October 3-8 as part of BAM’s 2017 Next Wave Festival. “Crossing emerges out of my sense that Whitman wrote his poetry out of need,” Aucoin writes, “that his poetry is not, or is not exclusively, a vigorous assertion of what he is, but rather the expression of a yearning to be what he is not, or to reconcile opposing aspects of his identity. The person/persona/personality ‘Walt Whitman, an American, one of the roughs’ is the living product of this need.”

THE RED LETTER PLAYS: IN THE BLOOD

The Pershing Square Signature Center
The Alice Griffin Jewel Box Theatre
480 West 42nd St. between Tenth & Eleventh Aves.
Tuesday – Sunday through October 15, $30 ($75 starting October 10)
212-244-7529
www.signaturetheatre.org

In Fucking A, the first of the two Red Letter Plays that Suzan-Lori Parks wrote in the late 1990s inspired by Nathaniel Hawthorne’s The Scarlet Letter, the protagonist, Hester Smith, is an ostracized abortionist with an “A” branded near her heart, a single mother with a son in prison, both caught up in a cruel system. In the first Red Letter Play, the extraordinary In the Blood, which is currently running in tandem with Fucking A at the Signature Theatre, the main character is Hester, La Negrita (Saycon Sengbloh), a welfare mother with five young children from five different men. In her case, the “A” is the first letter of the alphabet; she is trying to learn to read and write, without much success. Hester and her kids — Jabber (Michael Braun), Bully (Jocelyn Bioh), Trouble (Frank Wood), Beauty (Ana Reeder), and Baby (Russell G. Jones), all wearing Montana Levi Blanco’s fanciful costumes — live in filth under a bridge, where trash is regularly pumped in. The town blames Hester herself for the predicament she’s in; at the beginning of the play, members of the community yell at her, “That’s why things are bad like they are / cause of girls like that . . . And now we got to pay for it. . . . She don’t got no skills / cept one,” adding, “She knows she’s a no count / Shiftless / Hopeless / Bad news / Burden to Society / Hussy / Slut / Pah!” But Hester adores her children, constantly referring to them as her “treasures,” her “joys.” She wants her life to be a fairy tale; she even tells her kids a bedtime story that serves as an uplifting metaphor about their situation. Hester is desperate to provide for her family, but she sometimes gets in her own way, looking for shortcuts because she doesn’t know any better. Each of the actors playing Hester’s children also doubles as an adult with ties to her: Amiga Gringa (Reeder) is a prostitute who is friends with Hester; the Doctor (Wood) offers her free medical tests and advice; Welfare Lady (Bioh) wants Hester to start helping herself and being more conscientious; Reverend D. (Jones), the father of one of Hester’s kids, keeps avoiding acknowledging their former relationship; and Chilli (Braun), the love of her life, is back in town and looking for her. (The names Reverend D. and Chilli are direct references to Puritan minister Arthur Dimmesdale and Hester Prynne’s husband, Roger Chillingworth, from Hawthorne’s 1850 novel, although the plot is completely different.)

In the Blood is beautifully written by Pulitzer Prize winner Parks (Topdog/Underdog, The Death of the Last Black Man in the Whole Entire World and superbly directed by Obie winner Sarah Benson (An Octoroon, Samara), never heavy-handed as they explore racism, misogyny, religious corruption, and inefficient government bureaucracy. Louis Thompson’s set has Hester trapped from the outset, a curved metal ramp serving as a Sisyphean non-exit, while bars put Hester in a zoolike cage. Tony nominee Sengbloh (Eclipsed, Hurt Village) gives a deeply heartfelt performance as Hester, La Negrita, a caring woman who just wants her family to be happy. “My lifes my own fault,” she recognizes. “But the world dont help.” Each of the adult characters delivers a soliloquy, called a “confession,” regarding their connection, primary sexual, to Hester, seeing her first and foremost as a sexual object, not as a person with very real problems. “Do not for a moment think I am one of those people haters who does not understand who does not experience — compassion,” the Doctor says. The Welfare Lady explains, “I walk the line / between us and them / between our kind and their kind. / the balance of the system depends on a well-drawn boundary line / and all parties respecting that boundary.” And the Reverend D. admits, “Suffering is an enormous turn-on.” In the Blood, which also features choreography by Annie-B Parson and movement by Elizabeth Streb, is a riveting, deeply intelligent and powerful parable that takes place in the “here” and “now,” marking it as a timeless work about institutionalized social ills that don’t look to be going away any time soon. (Parks will be playing with her band, guitarist Christian Konopka and percussionist Julian Rozzell, on October 7 at 4:15 and 6:30 at the Signature Café + Bar; admission is free and open to the public. There will also be a talkback with members of the cast and crew following the October 5 performance of In the Blood.)

BAM NEXT WAVE FESTIVAL: THE PRINCIPLES OF UNCERTAINTY

Maira Kalman looks on as her online graphic diary is brought to life at the BAM Fisher (photo by Rebecca Greenfield)

BAM Fisher, Fishman Space
321 Ashland Pl.
September 27-30, $25
718-636-4100
www.bam.org

The audience at the BAM Fisher isn’t the only one smiling throughout The Principles of Uncertainty, the lovely multimedia collaboration between choreographer John Heginbotham and author-illustrator Maira Kalman; the musicians and dancers seem to be having just as much fun, if not more. Based on Kalman’s 2006-7 online graphic diary, the hour-long dance-theater piece is infectiously gleeful from start to finish. The sixty-eight-year-old Kalman is onstage the entire show, reciting text, calmly watching from the back, and, yes, dancing with Lindsey Jones, John Eirich, Courtney Lopes, Weaver Rhodes, Amber Star Merkens, and Macy Sullivan (several of whom are from Dance Heginbotham). The baroque and carnivalesque songs are played by music director Colin Jacobsen on violin and viola, Caitlyn Sullivan on cello, Nathan Koci on accordion, and Alex Sopp on flute and vocals. The lively staging puts Kalman in a large movable box, where she’s joined by assistant director Daniel Pettrow for some literary surprises and acerbic comedy; meanwhile, Todd Bryant projects (not enough of) Kalman’s words and drawings on a back wall, and a classical framed painting lies on the floor. (Kalman also designed the set and the costumes.) Heginbotham’s choreography includes repeated pairings: dancers’ foreheads rest against each other, and gentle fists press against knuckles and palms. The set is reconfigured — nearly everything is on wheels — while Nicole Pearce has a ball with different colored lights, and the band, members of the chamber ensemble the Knights, plays works by Bach, Villa-Lobos, Schubert, Beethoven, and Mexican ranchera king José Alfredo Jiménez. “John and I are trying to make something that feels like nothing,” Kalman writes in the program. “Well, not nothing, of course, but the kind of nothing that is full of the sad sweet funny uncertain life we lead.” As an added touch, each seat is covered by a two-sided cloth printed with words from the serious to the silly, the practical to the mundane. But there is nothing mundane about The Principles of Uncertainty, which indeed is a unique look at “the sad sweet funny uncertain life we lead.”

A CLOCKWORK ORANGE

Hunky version of Anthony Burgess’s A Clockwork Orange is now playing at New World Stages (photo by Caitlin McNaney)

New World Stages
340 West 59th St. between Eighth & Ninth Aves.
Wednesday – Monday through January 6, $59-$99
www.aclockworkorangeplay.com
newworldstages.com

Director Alexandra Spencer-Jones reimagines the stage version of Anthony Burgess’s A Clockwork Orange as an energetic, hyperstylized gay fantasia with a cast of muscle boys but never quite achieves the rhythm that made the 1962 novel and Stanley Kubrick’s controversial 1971 film so involving. The London hit, which opened last night at New World Stages, features an all-male cast led by Jonno Davies as Alex deLarge, a juvenile delinquent who enjoys the old ultraviolence while defying all forms of authority. Alex speaks in Nadsat, Burgess’s brilliant invention, a subversive teen slang drawn from both Russian and English, but Davies’s delivery is more aggressive than poetic and is too often difficult to understand. Upon encountering one of his enemies, rival gang leader Billy Boy (Jimmy Brooks), Alex says, “Well, if it isn’t fat stinking billy bob Billy Boy in poison. How art thou, thou globby bottle of cheap grazzy chip oil? Come and get one in the yarbles, if you have any yarbles, you eunuch jelly, thou!” When Alex decides to make himself leader of his Droogs, Georgie (Matt Doyle), Dim (Sean Patrick Higgins), and Pete (Misha Osherovich) are none too happy and ultimately leave him to be caught by the police after a particularly vicious attack on an old woman (Ashley Robinson). In prison, Alex, known by his number, 6655321, volunteers for an experimental procedure, the Ludovico Technique, run by Dr. Brodsky (Brian Lee Huynh), who is attempting to erase the impulse to do evil from the minds of criminals (perhaps evoking gay conversion therapy). The Chaplain (Timothy Sekk) warns Alex, “When a man cannot choose, he ceases to be a man. . . . Is a man who chooses to be bad in some ways better than a man who is forced to be good?” But Alex decides that freedom is worth any cost.

Jonno Davies struts his stuff as Alex in A Clockwork Orange (photo by Caitlin McNaney)

While Davies portrays only Alex, the other eight actors play nearly three dozen roles, with Sekk standing out as the concerned Chaplain and the wonderfully smug Mr. Deltoid, Alex’s probation officer, who deliciously exaggerates certain words and isn’t afraid to tell Alex what he thinks of him, calling him “Villainy Incarnate. . . . Original Sin prowling the town.” The relatively spare set, which features three rows of seats on either side for audience members, is dark and black, with an occasional table brought to the center, a raised platform, and some oranges and glasses of milk on the back wall. The transitions between scenes and episodes of violence and rape are performed like 1980s dance videos, complete with cinematic slow motion; the soundtrack consists of original pulsating music by Glenn Gregory and Berenice Scott that incorporates Alex’s beloved Ludwig van and Rossini’s “The Thieving Magpie” alongside such club anthems as Frankie Goes to Hollywood’s “Relax.” You might suddenly think you’re at a rather hot Pride party as Jennifer A. Jacob’s mostly black-and-white costumes come off and on the hunky dudes. The show also includes the much-debated twenty-first chapter of Burgess’s book — which was not available in America until 1986 and was not used by Kubrick in his Oscar-nominated film because of how it resolved Alex’s story — and it brings things to a confusing halt in the play, making us wonder what it was all about. Spencer-Jones (Dracula, Gobsmacked!) seems so intent on dazzling us with the hot dancing that Burgess’s message about adolescence and maturity, religion, government control, and behaviorism gets lost. But there are still lots of oohs and aahs from the crowd when the actors really let loose and get down and dirty.