Tag Archives: brooklyn academy of music

THE BRIDGE PROJECT: RICHARD III

Kevin Spacey stars as the iconic Shakespearean king at BAM in final production of the Bridge Project (photo by Manuel Harlan)

Brooklyn Academy of Music
BAM Harvey Theater
651 Fulton St. between Ashland & Rockwell Pl.
Through March 4, $30-$135
718-636-4100
www.bam.org

Three years ago, BAM began the Bridge Project, a partnership with Sam Mendes’s Neal Street Productions and the Old Vic, headed by Kevin Spacey, staging The Winter’s Tale and Tom Stoppard’s adaptation of The Cherry Orchard in 2009 and The Tempest and As You Like It in 2010. After taking last year off, the project concludes with Richard III, directed by Mendes and starring Spacey as the iconic Shakespearean king notably played previously by such stalwarts as Laurence Olivier, Ian McKellen, John Barrymore, Kenneth Branagh, Alec Guinness, Ian Holm, and Al Pacino. As part of the initiative, the three-hour play, which runs at BAM’s Harvey Theater through March 4, features a cast of both American and British actors, including Simon Lee Phillips, Hannah Stokely, Jack Ellis, Gemma Jones, Stephen Lee Anderson, Katherine Manners, and others bridging the Atlantic.

MLK DAY 2012

MLK Day features a host of special events and community-based service projects throughout the city (photo by twi-ny/mdr)

Multiple venues
Monday, January 16
www.mlkday.gov

In 1983, the third Monday in January was officially recognized as Martin Luther King, Jr. Day, honoring the birthday of the civil rights leader who was assassinated in Memphis on April 4, 1968. Dr. King would have turned eighty-three today, and you can celebrate his legacy tomorrow by participating in a Martin Luther King, Jr. Day of Service project or attending one of several special events taking place around the city. BAM’s twenty-sixth annual free Tribute to MLK includes a keynote speech by education chancellor Denis M. Walcott, the community art exhibition “Picture the Dream,” a musical performance by Toshi Reagon and BIGLovely and the Institutional Radio Choir C.O.G.I.C. of Brooklyn, and a screening of the stirring documentary The Black Power Mixtape 1967-1975. The JCC in Manhattan will be holding a blood drive and a food-service project during the day, then team up with Symphony Space for “Moving Ideas: A Conversation Between Choreographers Jawole Willa Jo Zollar and Liz Lerman,” including excerpts from Zollar’s Give Your Hands to Struggle and Lerman’s The Matter of Origins, which were both partially inspired by Dr. King and Rabbi Abraham Joshua Heschel; a concert by Daniel Kahn and the Painted Bird; Zalmen Mlotek’s “Soul to Soul: A Celebration of African-American and Jewish Song” with Elmore James, Tony Perry, and Cantor Magda Fishman; and a screening of Nick Parker and Jazmin Jones’s documentary The Apollos. The Museum of the Moving Image will be honoring King with a screening of Michael Roemer’s seminal Nothing But a Man, in which Ivan Dixon and Abbey Lincoln play a young couple battling racism in 1960s Alabama. The Children’s Museum of Manhattan will teach kids about King’s legacy with its “Make a Difference Pledge” and performances by the Harlem Gospel Choir, while the Brooklyn Children’s Museum has “Let’s Join Hands,” a “Historical Snapshot” talk with civil rights activist Yolanda Clarke, and a living legacy collage and hand wreath workshop. And Dizzy’s Club Coca-Cola is hosting Jazz at Lincoln Center’s annual “Dr. Martin Luther King Celebration” with the Warren Wolf Quintet, with Tim Green, Christian Sands, Kriss Funn, and Billy Williams.

PINA

PINA is a 3-D celebration of seminal choreographer Pina Bausch and Tanztheater Wuppertal

PINA: DANCE, DANCE, OTHERWISE WE ARE LOST (Wim Wenders, 2011)
BAM Rose Cinemas, 30 Lafayette Ave. between Ashland Pl. & St. Felix St., through January 5, 718-636-4100, $15
IFC Center, 323 Sixth Ave. at West Third St., extended run, 212-924-7771, $17.50
www.sundanceselects.com

Back in 2004, in reviewing Pina Bausch’s Fur Die Kinder von Gesern, Heute und Morgen (For the Children of Yesterday, Today, and Tomorrow) at BAM, we wrote, “You don’t have to be a dance fan to love the always engaging Pina Bausch.” The same holds true for Wim Wenders’s loving 3-D documentary, Pina. The longtime director of Tanztheater Wuppertal, German choreographer Bausch created uniquely entertaining pieces for more than thirty years, combining a playful visual language with a ribald sense of humor, cutting-edge staging, diverse music, and a stellar cast of men and women of varying ages and body sizes, resulting in a new kind of dance theater. A friend of hers for more than twenty years, Wenders (Wings of Desire, Paris, Texas) was collaborating with Bausch on a film when she suddenly died of cancer in 2009 at the age of sixty-eight, two days before rehearsal shooting was to begin. Wenders decided to proceed, making a film for Pina instead of with her. Using the latest 3-D technology, including a specially developed camera rig mounted on a crane, Wenders invites audiences onstage as he captures thrilling, intimate performances of several of Bausch’s seminal works, 1975’s Le Sacre du printemps, 1978’s Café Müller, 1978 and 2000’s Kontakthof (Contact Zone), 2002’s Fur Die Kinder, and 2006’s Vollmond (Full Moon), which were selected by Bausch and Wenders together. The dancers seem to be more motivated than ever, reveling in Bausch’s building, repetitive vocabulary of movement and discussing how she inspired them with just a few words. As a bonus, Wenders includes footage of Bausch dancing Café Müller. Some members of the company also dance personal memories on the streets, in a factory, and aboard a monorail in and around Wuppertal. Pina is not a biopic; Wenders does not delve into Bausch’s personal life or have random talking heads discuss her contribution to the world. Instead, he focuses on how she used movement to celebrate humanity and get the most out of the men, women, and children who worked with her. In the September 2009 memorial ceremony held for Bausch at the Wuppertal Opera House, Wenders said, “I would like to ask all of you, finally, to cherish this treasure of Pina’s gaze. . . . appreciating that you knew Pina, that we all knew her gaze and were fortunate enough to experience such a priceless gift.” With Pina, Wenders has given us a beautiful gift, a wonderful tribute to his great friend. Pina is screening through January 10 at the IFC Center [ed. note: It continues to be extended there and is still running as of mid-June] and January 12 at BAM, where Tanztheater Wuppertal regularly performed since 1984, including most of the pieces featured in the film. Wenders will be appearing at a handful of screenings at IFC on January 6-7 and BAM on January 8 for intros, a book signing, and Q&As.

KRAPP’S LAST TAPE

John Hurt listens to his past in KRAPP’S LAST TAPE, running at BAM through December 18 (photo by Richard Termine)

NEXT WAVE FESTIVAL
Brooklyn Academy of Music
BAM Harvey Theater
651 Fulton St. between Ashland & Rockwell Pl.
Through December 18, $25-$90
718-636-4100
www.bam.org

Originally written in 1958 for British actor Patrick Magee, Samuel Beckett’s autobiographical Krapp’s Last Tape is a haunting examination of time, memory, and the futility of language. Performed over the years by the likes of Magee, Harold Pinter, Brian Dennehy, and Michael Gambon, the fifty-five-minute one-act is perhaps most closely identified today with John Hurt, who first appeared in the play at Dublin’s Gate Theatre in 1999, starred in Atom Egoyan’s 2001 film version, and is now giving a bravura command performance at BAM through December 18. Making his New York stage debut, Hurt (Midnight Express, 10 Rillington Place) plays a failed writer named Krapp who, when first seen, is sitting at a table in silence, an old lamp dangling overhead. He says nothing for several minutes and then eventually gets up, walks around in squeaky white shoes, consumes two bananas, slips on a peel he dropped on the floor, and carefully approaches the darkness on either side of him, deciding not to venture out of the lighted area, as if something unknown and dangerous awaits outside his very private, solitary comfort zone. It is a critical moment in the play, establishing the precipice of life and death that Krapp is balancing on while also reminding the audience that this is a staged production. As he does every year on his birthday, Krapp listens to reel-to-reel recordings of messages he left on previous birthdays and makes a new one; in this case, the sixty-nine-year-old shabbily dressed man is looking for the tape he made on his thirty-ninth, which, according to his dusty old ledger, can be found in “box five, spool three.” Krapp takes delight in drawing out the word spool like he is a child. As he listens to his old self discuss the past, present, and future as he saw it thirty years before, he starts and stops the tape, remembering some moments that elicit strong emotions while clearly having no memory of others, the fractured narrative tantalizing and teasing the audience. “Thirty-nine today,” the recorded Krapp says. “Sound as a bell.” But alas, the sixty-nine-year-old Krapp is not sound as a bell, with little but death to look forward to.

Director Michael Colgan and lighting designer James McConnell have placed Krapp in a masterfully minimalist black-and-white world, surrounded by darkness, the only colors the yellow of the bananas and the green in Krapp’s description of a former love’s coat. Hurt, now seventy-one, is a less angry, more fragile and perhaps desperate Krapp than he portrayed in previous versions, cupping his ear tighter as he leans his head to hear the tape, shuffling to the back — through a minefield of his past, the boxes of tapes strewn across the floor — to steal a drink, staring straight ahead, wondering what happened to the ambitious youth he once was. (He even resembles Beckett himself this time around.) Krapp’s Last Tape is an extraordinarily complex work that delves deep into the human psyche, a challenge for both the actor and the audience, a play that will stay with you for a long time, eliciting thoughts of where you’ve been, who you are, and what awaits you in the future. Hurt will participate in a post-show artist talk on December 15; in addition, BAMcinématek will be highlighting four of the British actor’s best films in “John Hurt Quartet,” including The Elephant Man (David Lynch, 1980) on December 12, Scandal (Michael Caton-Jones, 1989) on December 13 (followed by a Q&A with Hurt), Love and Death on Long Island (Richard Kwietniowski, 1997) on December 14, and Nineteen Eighty-Four (Michael Radford, 1984) on December 15.

JOHN JASPERSE: CANYON

John Jasperse’s CANYON should delight audiences at BAM this week

NEXT WAVE FESTIVAL
Brooklyn Academy of Music
BAM Harvey Theater
651 Fulton St. between Ashland & Rockwell Pl.
November 16-19, $16-$45, 7:30
718-636-4100
www.bam.org

In works such as Becky, Jodi and John at Dance Theater Workshop, Truth, Revised Histories, Wishful Thinking, and Flat Out Lies at the Joyce, and Misuse Liable to Prosecution at BAM’s 2007 Next Wave Festival, New York City–based choreographer John Jasperse has shared intimate moments with the audience in creating unusual and often challenging evenings of dance theater. This week Jasperse and his Thin Man Dance company return to BAM to present the New York premiere of Canyon, which deals with “the transformative power of losing oneself in visceral experience.” Running November 16-19, the seventy-minute piece features dancers Lindsay Clark, Erin Cornell, Kennis Hawkins, Burr Johnson, and James McGinn, a live score by Hahn Rowe, visual design by Tony Orrico, and lighting by James Clotfelter. There will be an artist talk with Jasperse and his collaborators following Thursday night’s performance, moderated by Mary-Jane Rubenstein, whose book Strange Wonder: The Closure of Metaphysics and the Opening of Awe influenced the making of Canyon.

John Jasperse’s CANYON celebrates the thrill of the dance (photo by Tony Orrico)

Updated: Dance does not always have to be about something. In such previous works as Becky, Jodi and John, Truth, Revised Histories, Wishful Thinking, and Flat Out Lies, and Misuse Liable to Prosecution, John Jasperse dealt with a number of themes, from personal relationships and environmentalism to the fine line between fantasy and reality. In his latest evening-length piece, Jasperse eschews high concept in favor of, quite simply, the thrill of the dance. The seventy-minute Canyon puts Jasperse’s breathtaking choreography front and center, a celebration of the joy of movement, with Jasperse, Lindsay Clark, Erin Cornell, Kennis Hawkins, Burr Johnson, and James McGinn running, jumping, twisting, and rolling to an exciting score composed by Hahn Rowe and performed live by Olivia De Prato on violin, Ha-Yang Kim on cello, Doug Wieselman on bass clarinet, and Rowe on violin, guitar, and electronics. Because this is Jasperse, there are odd elements as well, courtesy of visual designer Tony Orrico, that include yellow tape that begins outside on the street and wends its way through the BAM Harvey lobby and bathrooms and into the theater, down the steps, across the stage, and onto the back wall, where they resemble an abstract map. Meanwhile, a large white box continually roams the space, adding to the fun. And what fun it is.

TONEELGROEP AMSTERDAM: CRIES AND WHISPERS

A brave artist’s impending death is the focus of multimedia stage adaptation of Ingmar Bergman’s CRIES AND WHISPERS at BAM (photo by Jan Versweyveld)

Brooklyn Academy of Music
BAM Harvey Theater
651 Fulton St. between Ashland & Rockwell Pl.
October 25-29, $25-$80, 7:30
718-636-4100
www.bam.org
www.tga.nl

The Brooklyn Academy of Music has had a long and fruitful relationship with Swedish director Ingmar Bergman, presenting his films as well as stage productions over the decades. Among the plays Bergman directed at BAM were A Doll’s House, Long Day’s Journey into Night, Miss Julie, The Ghost Sonata, Maria Stuart, and Ghosts, and shortly after his death BAM put together a stellar lineup of actors to read from his diary, including Bibi Andersson, Pernilla August, Lena Olin, and Peter Stormare. BAM and the late auteur continue their collaboration this week with the U.S. premiere of Toneelgroep Amsterdam multimedia adaptation of Bergman’s 1972 intense family drama Cries and Whispers, which starred Harriet Andersson, Kari Sylwan, Ingrid Thulin, and Liv Ullmann. The Dutch company, led by director Ivo van Hove, has previously adapted such cinematic gems as John Cassavetes’s Faces, Husbands, and Opening Night and Luchino Visconti’s Rocco and His Brothers and Ludwig in addition to classic works by Shakespeare, Molière, Williams, Hellman, O’Neill, Ibsen, Chekhov, Pinter, and others. Cries and Whispers features scenography by Jan Versweyveld, dramaturgy by Peter van Kraaij, video design by Tal Yarden, costumes by Wojciech Dziedzic, and sound design by Roeland Fernhout, all coming together for what looks to be an appropriately complex and moving experience.

A family faces some harsh truths in CRIES AND WHISPERS (photo by Jan Versweyveld)

Update: Ivo van Hove paints a harrowing, brutal, yet ultimately strangely comforting portrayal of death in Toneelgroep Amsterdam’s intense and, at times, inexplicable Cries and Whispers, running at BAM’s Harvey Theater through October 29. Liberally adapted from Ingmar Bergman’s 1972 film — the company previously staged Bergman’s epic, documentary-like Scenes from a Marriage — this multimedia version turns the protagonist, Agnes (an immensely brave Chris Nietvelt), into a visual artist who is recording her final days, evoking Hannah Wilke’s “Intra-Venus” project. Jan Versweyveld’s stunning set contains mirrors, video screens, television monitors, a drop-down white surrounding wall, reflective glass, and multiple rooms in a mansion where Agnes is being cared for by her sisters, Karin (Janni Goslinga) and Maria (Helina Reijn), and her attending nurse, Anna (Karina Smulders). The pain Agnes feels is physically and emotionally palpable, echoing throughout the theater, especially when she releases an ear-piercing, shattering death howl as an overhead camera swings like a pendulum counting down her last breaths. The twelve silent minutes that follow are mesmerizing — and the show is still barely half over at that point. Although van Hove offers snippets of the other characters’ lives, not enough is learned about them, and there is a heavy dose of nudity, both male and female, that seems titillating but not always necessary. And some viewers might need a stronger stomach when Agnes takes care of some unpleasant bodily functions in plain view. Van Hove has added personal touches to the story, influenced by the death of his own father, who died in 2007, the same year as Bergman. The white color scheme is offset by Agnes’s blue paint and videos, providing a stark contrast that pays homage to Sven Nykvist, who won the Oscar for Best Cinematography for his camerawork on the film version. Van Hove recently told Gothamist that he’ll be back at BAM with an even bigger production for the 2012 Next Wave Festival; we can’t wait to see what he has up his sleeves for that.

JOHN GABRIEL BORKMAN

Alan Rickman, Lindsay Duncan, and Fiona Shaw head a stellar production of Ibsen’s JOHN GABRIEL BORKMAN at BAM (photo by Richard Termine)

Brooklyn Academy of Music
BAM Harvey Theater
651 Fulton St.
Through February 6, $25-$80
718-636-4100
www.bam.org

Written in 1896, Henrik Ibsen’s penultimate play, JOHN GABRIEL BORKMAN, feels as fresh and alive as if it were written yesterday. Frank McGuinness’s new English-language version, directed by James Macdonald and first presented at Dublin’s Abbey Theatre this past fall, is currently having its U.S. premiere at BAM’s Harvey Theater, in a splendid production running through February 6. Ibsen’s dark tale of greed, power, and cold, soulless hearts centers on a once-prominent family torn apart by scandal. John Gabriel Borkman (Alan Rickman) was a successful bank manager who ultimately got caught embezzling funds, serving five years in prison before returning home, where he has been pacing in his upstairs cave for eight more years, never seeing his destroyed wife, Gunhild (Fioan Shaw), or his now-grown son, Erhart (Marty Rea). While Borkman is determined to regain his position, refusing to admit his guilt, Gunhild is battling her twin sister, Ella Rentheim (Lindsay Duncan), over Erhart’s love; after Borkman’s arrest, Ella took in Erhart for six years as Gunhild tried to deal with the shame and suddenly having no money. Neither woman is happy that Erhart, in the meantime, has been spending more and more time with the older Fanny Wilton (Cathy Belton), a free-spirited woman whose husband recently left her. Over the course of one very long night, secrets are revealed in a series of dazzling scenes filled with fast-paced dialogue beautifully delivered by the outstanding cast. Set designer Tom Pye has surrounded the stage with large piles of snow, emphasizing the coldness that has taken over the main characters’ hearts. As Ella and Gunhild, both wearing long, mournful black dresses, give one another icy stares, they drag bits of snow into the middle of the sparse room, where chairs are set up by themselves, continuing the physical and psychological isolation, which is furthered by Borkman’s often vacant eyes. As Borkman speaks with his one friend, Vilhelm (John Kavanagh), and teaches piano to Vilhelm’s daughter, Frida (Amy Molloy), upstairs, the grandfather clock in the back can be heard ticking away, counting the seconds till Borkman’s ultimate destiny. Rickman, Duncan, and Shaw so embody their characters that on January 15, when a disturbance was going on in the right front corner of the audience, Rickman calmly announced, still in Borkman’s voice, that the play should be stopped because someone appeared to be ill. After several moments, the sick man was helped out of the theater, and Rickman and Duncan returned to the scene, picking up right where they left off, as if nothing had happened, their fiery passion as palpable as ever. Although McGuinness’s version was written in response to the economic crisis in Ireland, it is impossible not to think of such figures as Bernie Madoff as the Borkmans fight over their despised name, yet JOHN GABRIEL BORKMAN still winds up a timeless, masterful piece of theater. (An Artist Talk with Duncan, Rickman, and Shaw, moderated by Paul Holdengräber, will follow the January 16 performance [$15, 6:45.])