Tag Archives: Grace Rainey Rogers Auditorium

THE HARLEM RENAISSANCE AND TRANSATLANTIC MODERNISM: A CREATIVE CONVENING

Who: Jordan Casteel, Joy Bivins, Rhea L. Combs, Thelma Golden, Tayari Jones, Christopher McBride, Tayari Jones, NSangou Njikam, Denise Murrell, more
What: All-day symposium with lectures, conversations, and performances
Where: The Grace Rainey Rogers Auditorium, the Met Fifth Ave., 1000 Fifth Ave. at Eighty-Second St.
When: Saturday, April 27, free with RSVP, 10:00 am – 6:00 pm
Why: The exhibit of the year thus far is the Met’s “The Harlem Renaissance and Transatlantic Modernism,” an eye-opening collection of more than 160 paintings, sculptures, photographs, films, and ephemera from the “New Negro” movement in Harlem between the 1920s and 1940s. Featuring works by Horace Pippin, Charles Alston, Aaron Douglas, Jacob Lawrence, William H. Johnson, Winold Reiss, Augusta Savage, Hale Woodruff, James Van Der Zee, and others — alongside pieces by Henri Matisse, Edvard Munch, Chaim Soutine, Pablo Picasso, and more to provide context — the show is divided into such sections as “The Thinkers,” “Everyday Life in the New Black Cities,” “Portraiture and the Modern Black Subject,” “Debate and Synthesis: African and Western Aesthetics,” “A Language of Artistic Freedom,” “Cultural Philosophy and History Painting,” “European Modernism and the International African Diaspora,” “Luminaries,” “Nightlife,” “Family and Society,” and “Artist and Activist.”

On April 27, the Met will host “The Harlem Renaissance and Transatlantic Modernism: A Creative Convening,” a free, all-day symposium consisting of live performances, lectures, and conversations with an outstanding lineup of artists, authors, educators, curators, museum directors, and other experts. The full schedule is below.

“Art must discover and reveal the beauty which prejudice and caricature have obscured and overlaid,” Alain Locke, who is featured prominently in the exhibition, explained in The New Negro in 1925. “All vital art discovers beauty and opens our eyes to beauty that previously we could not see.”

The revelation of the show is the little-known Archibald J. Motley Jr., a painter of extraordinary quality who immerses visitors in his dramatic scenes bursting with life; among his striking canvases on view are Jockey Club, Dans la rue, Blues, Cocktails, and Black Belt. He even gets his own section, “The New Negro Artist Abroad: Motley in Paris.”

Archibald J. Motley Jr., Black Belt, oil on canvas, 1934 (Hampton University Museum / courtesy the Chicago History Museum. © Valerie Gerrard Browne)

“We younger Negro artists who create now intend to express our individual dark-skinned selves without fear or shame. If white people are pleased we are glad. If they are not, it doesn’t matter. We know we are beautiful. And ugly too,” Langston Hughes wrote in 1926. “If colored people are pleased we are glad. If they are not, their displeasure doesn’t matter either. We build our temples for tomorrow, strong as we know how, and we stand on top of the mountain, free within ourselves.”

Be sure not to miss the final room, which contains Romare Bearden’s monumental 1971 six-panel Harlem tribute The Block, its own temple for tomorrow.

Saturday, April 27
Opening Performance: The National Jazz Museum in Harlem House Band led by Christopher McBride, 10:00

Welcome and Introduction, with Max Hollein, Heidi Holder, and Denise Murrell, 10:35

Keynote, by Isabel Wilkerson, 10:45

Session I
Presentations: Harlem as Nexus, with Emilie Boone, Rhea L. Combs, Ego Ahaiwe Sowinski, and Richard J. Powell, 11:30

Session II
Conversation: Legacies of Harlem on My Mind, with Bridget R. Cooks and Lowery Stokes Sims (virtually), moderated by Denise Murrell, 2:00

Conversation: Visioning the Future — The Collections of Historically Black Colleges and Universities, with Kathryn E. Coney, Jamaal Sheats, Danille Taylor, and Vanessa Thaxton-Ward, moderated by Joy Bivins, 3:00

Session III
Conversation: New Renaissance — Harlem Today, with Jordan Casteel, Anna Glass, and Sade Lythcott, moderated by Thelma Golden, 4:30

Reading, by NSangou Njikam, 5:30

Closing Remarks, by Denise Murrell, 5:45

THE FACADE COMMISSION: AN EVENING WITH ARTIST HEW LOCKE

Who: Hew Locke, Tumelo Mosaka, Kelly Baum
What: Conversation about “The Facade Commission: Hew Locke, Gilt”
Where: Metropolitan Museum of Art, Grace Rainey Rogers Auditorium, 1000 Fifth Ave. at 82nd St.
When: Thursday, September 15, free with RSVP, 6:30
Why: On September 15, Scotland-born, Guyana-raised, London-based sculptor Hew Locke will unveil his Met Museum facade commission, Gilt, which will be on view through May 23, 2023. The four-piece work references the Met collection, focusing on appropriation, power, and colonialism through a theatrical lens.

“Hew Locke creates emotionally powerful and visually striking work that will stop you in your tracks. This site-responsive commission for the museum’s facade will be informed by Locke’s deep knowledge of the Met’s collection and will reference the institution in ways both direct and indirect, recovering and connecting histories across continents, oceans, and time periods,” Met director Max Hollein said in a statement. Curator Sheena Wagstaff added, “Hew Locke uses a delirious aesthetic of abundance and excess to reflect themes of deep urgency in the past and present, including wealth, imperial power, and prestige, astutely critiquing their visual iconography through reclamation.”

The third facade commission, following Wangechi Mutu’s The NewOnes, will free Us and Carol Bove’s The séances aren’t helping, Locke’s aptly titled Gilt will be explored in a panel discussion September 15 at 6:30 with Locke, Columbia University director and curator Tumelo Mosaka, and Met curator Kelly Baum; you can attend in person at the Met’s Grace Rainey Rogers Auditorium or watch the livestream online.

BIJAYINI SATPATHY: DOHĀ

Bijayini Satpathy concludes her MetLiveArts residency on September 13 (photo courtesy Metropolitan Museum of Art)

Who: Bijayini Satpathy
What: MetLiveArts performance
Where: Grace Rainey Rogers Auditorium, Metropolitan Museum of Art, 1000 Fifth Ave. at 82nd St.
When: Tuesday, September 13, $35+ (includes museum admission), 7:00
Why: MetLiveArts artist in residence Bijayini Satpathy concludes her residency with Dohā, taking place September 13 at 7:00 in the Grace Rainey Rogers Auditorium. In the evening-length work, the Indian principal dancer, master teacher, and respected scholar explores ritualized prayer while embracing playfulness as she searches for the divine. Satpathy will also give give a talk on Odissi dance at the New York Public Library on September 19 at 6:00 as part of the new Dr. Sunil Kothari Honorary Lecture series; admission is free with advance registration.

AN EVENING WITH CHARLES RAY: FIGURE GROUND

Charles Ray’s Boy points out Family romance at the Met (photo by twi-ny/mdr)

Who: Charles Ray, Hamza Walker, Kelly Baum, Leon Polsky
Brinda Kumar
What: Live panel discussion on exhibition “Charles Ray: Figure Ground”
Where: Grace Rainey Rogers Auditorium, Metropolitan Museum of Art, 1000 Fifth Ave. at 82nd St.
When: Tuesday, March 15, free with RSVP, 6:30 (will be recorded for on-demand viewing)
Why: In his essay in “A Questionnaire on Materialisms,” Chicago-born, LA-based sculptor, photographer, and performance artist Charles Ray wrote of encountering an odd phenomenon every time he approached a particular rock with his flashlight during his every-day early morning walk: The flashlight would always suddenly turn off. He becomes obsessed with discovering why it keeps happening, with no success at first. “Could there be a spirit or a ghost about, some being traumatized in the vicinity of this rock, and I was disturbing it every morning with my light? And was it this specter that was turning the light off?” he ponders. When he eventually finds out why it is turning off by the same rock every day, he admits, “I had found the location of my problem, and somehow it was still just as scary as before I knew the solution.”

Detail, Charles Ray, Sarah Williams, stainless steel, 2021 (photo by twi-ny/mdr)

Ray’s relationship with the rock is not unlike viewers’ relationship with his art, particularly his sculptures, which range from ultrarealistic works that you will double check to make sure they’re not breathing to oversized and undersized depictions of characters in shiny metal or wood. Nineteen such objects are on display in “Charles Ray: Figure Ground,” continuing at the Met Fifth Ave. through June 5. The show opens with No, what appears to be a photograph of Ray but is actually a picture of a mold of his head and torso fitted with a wig and his glasses and shirt, letting us know from the very start that not everything we are about to see is what we think it is.

“Figure Ground” is a menagerie of sculptural objects that both confuse and delight. Boy is an adult-size mannequin-like child pointing away, questioning conventions of race, gender, and sexuality. Family romance consists of a naked mother, father, son, and daughter all the same size, holding hands, their faces not appearing to be too happy. For Tractor, Ray reconstructed an existing vintage farm vehicle part by part out of clay and wax, then cast it in aluminum, restoring a childhood memory. A vitrine containing the small sculptures Chicken, Hand Holding Egg, and Handheld Bird bring up ideas of birth and creation, nature and nurture, as well as the fragility of life; Chicken was designed to be touched but it is now too brittle.

Charles Ray’s Boy with Frog stands behind Tractor in Met exhibit (photo by twi-ny/mdr)

Boy with Frog, a large-scale stainless-steel sculpture of a boy dangling a frog from his right hand, is painted white to evoke classical marble statuary. The stainless-steel Huck and Jim is left in glittering, reflective metal; both are naked, with Huck bent over, Jim’s hand almost touching Huck’s back, thoughts of monument destruction, homoeroticism, and cancel culture coming to mind. Mark Twain’s Adventures of Huckleberry Finn is also the impetus for Sarah Williams, in which Jim is on his knees behind Huck, who is disguised as a woman, a scene from chapter ten. Ray references Henri Matisse and Henry Moore in Reclining woman, which is like a Renaissance painting come to life in stainless steel, machined in stunning detail. Archangel was carved out of one block of Japanese cypress, a large-scale male who is a new kind of mythological figure, wearing flip-flops and rolled-up jeans and sporting a man bun. And you’re likely going to have to look at least twice to spot Rotating circle, a slowly spinning circle cut out of the wall that is scaled to Ray’s precise height, as if we are seeing it through his eyes.

In conjunction with “Charles Ray: Figure Ground,” the Met is hosting “An Evening with Charles Ray,” a panel discussion on March 15 at 6:30 in Grace Rainey Rogers Auditorium with Ray, Met curator Kelly Baum, and Met associate curator Brinda Kumar. If you can’t make it in person, it will be recorded and available for on-demand viewing afterward. Just be sure to see the show itself, which is captivating and beautifully curated, with the works spread out to give them maximum affect.

THE ROOF GARDEN COMMISSION: AS LONG AS THE SUN LASTS by ALEX DA CORTE

Big Bird rides on a crescent moon on Met roof (photo by twi-ny/mdr)

Who: Alex Da Corte, Shanay Jhaveri
What: In-person discussion of Alex Da Corte’s Roof Garden Commission
Where: The Grace Rainey Rogers Auditorium, the Met Fifth Avenue
When: Friday, October 29, free with museum admission and advance RSVP, 5:30 (installation on view through October 31)
Why: In previous works, Camden-born, Philadelphia-based artist Alex Da Corte has embodied such famous real and fictional figures as Eminem, Mr. Rogers, and the Wicked Witch of the West. For his commission on the Met’s Iris and B. Gerald Cantor Roof Garden, As Long as the Sun Lasts, Da Corte took on the persona of Jim Henson in creating a work that melds childhood memories with visions of the endless sky, inspired by Alexander Calder’s mobiles and sculpture, Little Tikes plastic outdoor activity gyms, Donna Summer’s Four Seasons of Love album cover, the blue Garibaldo character from the Brazilian version of Sesame Street that he watched as a kid in Venezuela, the song from the 1985 movie Follow That Bird in which Big Bird gets painted blue, and the Italo Calvino titular short story.

Alex Da Corte’s As Long as the Sun Lasts continues through Halloween (photo by twi-ny/mdr)

The result is a playful and colorful kinetic sculpture that moves with the wind as Big Bird, covered in more than seven thousand handmade feathers, rides around on a crescent moon, holding on to a ladder of hope. Referring to his transformation into Henson, Da Corte says in a Met interview with curator Shanay Jhaveri, “It stems from thinking about characters I loved or didn’t understand and wanted to understand more. And I see Jim as quite a thoughtful maker.” For those who want to understand more about the installation, which is on view through October 31, Da Corte — likely in costume as Henson — and Jhaveri will sit down for another talk, in the Grace Rainey Rogers Auditorium at the Met on October 29 at 5:30.

PLAY IT LOUD: INSTRUMENTS OF ROCK AND ROLL

Joan Jett Melody Maker, 1977 Gibson (photo by twi-ny/mdr)

Joan Jett’s 1977 Melody Maker Gibson is part of Met exhibition “Play It Loud” (photo by twi-ny/mdr)

Metropolitan Museum of Art, Met Fifth Ave.
Gallery 199
1000 Fifth Ave. at 82nd St.
Through Through October 1, $25 suggested admission
212-535-7710
www.metmuseum.org

In 2011, the Met hosted “Guitar Heroes: Legendary Craftsmen from Italy to New York,” focusing on the lutherie tradition of Italian Americans in New York and New Jersey, artisans making violins, mandolins, guitars, and other stringed instruments. In the current exhibition “Play It Loud: Instruments of Rock & Roll,” the Met turns it up to eleven, celebrating the stringed and nonstringed apparatus of rock and pop music since the 1950s. In Mott the Hoople’s 1973 staple “All the Way from Memphis,” Ian Hunter refers to his guitar as a “six-string razor,” an “axe,” and “electric junk.” He continues: “Some dude said, ‘Rock ’n’ rollers, you’re all the same / Man, that’s your instrument.’ / I felt so ashamed.” Ian and Mott might not be represented in the Met exhibit — or in the Rock and Roll Hall of Fame — but there’s nothing for anyone to be ashamed of regarding this exciting collection of nearly two hundred items, with most of the instruments displayed in vitrines, like sculptural works of art, which of course they are.

Keith Emerson’s 1960s Modified Hammond L-100 organ features two knives Emerson would stab the keys with (photo by twi-ny/mdr)

Don’t go straight to the labels, which contain information about who made the instrument and who played it on what songs; it’s a lot of fun trying to figure out whose instrument it is. You’re likely to guess twangers by Rick Nielsen of Cheap Trick, Prince, Bo Diddley, Buddy Holly, Ravi Shankar, and Bruce Springsteen, but others will surprise and delight you. One of the first items you’ll encounter is Jerry Lee Lewis’s 1955 Petite Grand Piano; for some reason, the signage refers to Lewis, who is eighty-three, in the past tense. Among the many gems are Chuck Berry’s 1958 Gibson, Louis Jordan’s 1954 Mark VI alto saxophone, Muddy Waters’s 1958 Telecaster known as “the Hoss,” Les Paul’s 1942 “Klunker,” Jimi Hendrix’s 1967 “Love Drops” Flying V, Joni Mitchell’s 1978 GB10NT George Benson Signature, Jack White’s 1964 Airline Res-O-Glas, Joe Perry’s 1985-86 X-100 Blade Runner, Stevie Ray Vaughan’s 1963 “Number One” composite Stratocaster, Robert Trujillo’s 2007–08 “Aztec De La Chloe” five-string bass, Keith Emerson’s 1968 Customized Moog Modular Synthesizer with keyboard, ribbon controllers, and stand, Ian Anderson’s 1975 Model 18-0 flute, Lady Gaga’s 2014 ARTPOP piano with custom housing, and Paul Stanley’s 1979–80 Cracked Mirror Iceman in addition to instruments played by Duane Allman, the Edge, Angus Young, Jeff Beck, Flea, Patti Smith, Ray Manzarek, Paul Butterfield, Nancy Wilson, Clarence Clemons, Steve Vai, Neil Young, Tina Weymouth, Bob Dylan, and dozens more.

Met exhibition is not just about classic guitars (photo by twi-ny/mdr)

These are not mere artifacts; Jerry Garcia’s Wolf was taken out of the museum so John Mayer could play it at a recent Dead & Co. show at CitiField, and a Stones guitar is out on the road with the band right now. There are several striking guitars from Met fave Steve Miller, who will playing a show in the Grace Rainey Rogers Auditorium on September 28 and contributed to the 2011 “Guitar Heroes” exhibit. Don’t miss Kurt Cobain’s destroyed 1993 left-handed Fender Stratocaster, Eric Clapton’s trippy 1964 “The Fool” SG (and the original headstock, which earns its own vitrine), Pete Townshend’s 1973 Gibson SG Special (which he smashed during a photo shoot and is now encased in Lucite), and a fragment of Hendrix’s 1967 Monterey Pop Fender Stratocaster, which he famously lit on fire. Four guitar greats tell their stories in a circular case that houses their gear and video monitors: Jimmy Page, Keith Richards, Eddie Van Halen, and Tom Morello. (Having seen Morello shred live, I understand exactly why he’s part of this elite quartet.) Several bands display their stage setup, including the Beatles, the Who, Metallica, and the Roots. The exhibition, which was inspired by Brad Tolinski and Alan di Perna’s book Play It Loud: An Epic History of the Style, Sound, and Revolution of the Electric Guitar and is co-organized by the Met’s Jayson Kerr Dobney and the Hall of Fame’s Craig J. Inciardi, is supplemented by vintage concert posters by Lee Conklin, Bonnie MacLean, Rick Griffin, and others. It’s easy to argue why certain musicians are not part of the show (What, no Richard Thompson or Lou Reed?!? Where’s Ritchie Blackmore, Bob Mould, and Johnny Ramone?), but it’s better to just enjoy who is in it. Below are the remaining special events being held in conjunction with the exhibition, which runs through October 1.

Prince’s 1993 Love Symbol captures his trademark glyph (photo by Cathy Hapka for twi-ny)

Saturday, September 7
Black Rock Coalition: History of Our Future, with the BRC Orchestra, Fantastic Negrito, Nona Hendryx, Vernon Reid, Corey Glover, and Will Calhoun, “Captain” Kirk Douglas, Stew, the Family Stand, Carl Hancock Rux, and Toshi Reagon, Grace Rainey Rogers Auditorium, $25, 7:00

Sunday, September 8
Sunday at the Met — Play It Loud: Instruments of Rock and Roll, panel discussion with Anthony DeCurtis, David Fricke, Holly George-Warren, Jayson Dobney, and Craig J. Inciardi, Grace Rainey Rogers Auditorium, free with Museum admission, 2:00

Friday, September 13
MetFridays: Play It Loud — ETHEL and Friends: Four for Fighting, Great Hall Balcony Bar, 5:00–8:00; screening of Woodstock (Michael Wadleigh, 1970), Bonnie J. Sacerdote Lecture Hall, 6:00; Conversations with . . . curators Jayson Dobney and Craig J. Inciardi, Gallery 199, 6:00; Signs and Symbols of Rock and Roll, with designers from ThoughtMatter, a band-name generator, and a button workshop, Great Hall, 6:00; Building Instruments with Atelier Rosenkrantz, Gallery 681, 6:00; Tie-Dye Workshop, Carroll Classroom, 6:00; Reflections on Woodstock with Chris Molanphy, Art Study Room, 6:30; Lez Zeppelin Live, preceded by discussion with Steph Paynes and Brad Tolinski, free with advance RSVP, Grace Rainey Rogers Auditorium, 7:15; all free with museum admission, 5:00–9:00

Saturday, September 28
Steve Miller Band and Jimmie Vaughan Band in Concert, Grace Rainey Rogers Auditorium, 7:00

HOLIDAY MUSIC AND COMEDY 2018

Ronnie Spector will present annual holiday show at City Winery on December 22

Hanukkah is about to start and Christmas is only a few weeks away, so the city is filling up with holiday-themed comedy shows, concerts, and special events. They range from classical performances at the Met and Carnegie Hall to hip-hop, soul, and rock extravaganzas at smaller clubs to Jewish takes on the season. Below is a sampling of some of the cooler events; keep watching this space for more additions.

Sunday, December 2
Hanukkah Family Day, art, music, and more for children ages three and up, with Josh & the Jamtones, Jeff Hopkins, Jewish Museum, free with museum admission (children eighteen and under free), 11:00 am – 4:00 pm

Sunday, December 2
through
Sunday, December 9
The 8 Nights of Hanukkah with Yo La Tengo, Bowery Ballroom, $40, 7:30

Monday, December 3
Tenth Annual Latke Festival, benefiting the Sylvia Center, Brooklyn Museum, $75-$120, 6:00

Holiday Cheer for FUV, with John Prine, the Lone Bellow, and Shannon Shaw, Beacon Theatre, $90.50 – $301, 8:00

Elon Gold and Modi: A Hanukkah Miracle, with Sherrod Small and Talia Reese, Stand Up NY, $20-$40, 8:00 & 9:45

Thursday, December 6
Festival of Light w/ Matisyahu and special guests the Soul Rebels and GRiZ plus friends, Brooklyn Steel, $30-$35, 8:00

The Cecilia Chorus of New York will perform Handel’s Messiah at Carnegie Hall on December 8

Saturday, December 8
The Cecilia Chorus of New York with Orchestra: HANDEL Messiah, with soprano Shakèd Bar, tenor Michael St. Peter, bass William Guanbo Su, and countertenor Nicholas Tamagna, Carnegie Hall, Stern Auditorium / Perelman Stage, $25-$85, 8:00

Cyndi Lauper & Friends: Home for the Holidays, benefit for True Colors Fund, with Amanda Palmer, Angie Stone, A$AP Rocky, Bebe Rexha, Bishop Briggs, Charlie Musselwhite, Dr. Elmo, Gina Yashere, Natalie Merchant, Regina Spektor, Robert Glasper, Sara Ramirez, Shea Diamond, and the Knocks, hosted by Carson Kressley, Beacon Theatre, $50-$150, 8:00

Sunday, December 9
For the Miracles: A Holiday Celebration, with the Young People’s Chorus of New York City performing Samuel Adler’s The Flames of Freedom and Benjamin Britten’s A Ceremony of Carols, conducted by Elizabeth Núñez, Met Fifth Ave., Grace Rainey Rogers Auditorium, $65 (bring a child for $1), 3:00

Holiday Concert, featuring Scandinavian and American holiday favorites and Saint Lucia procession with traditional gowns and glowing candles, with members of the Swedish Church Choir in New York, Scandinavia House, $25, 5:00

The 12th Annual Menorah Horah Hanukkah Burlesque Show, with the Schlep Sisters (Minnie Tonka and Darlinda Just Darlinda), Sapphire Jones, Zoe Ziegfeld, the Great Dubini, Allegra, host Bastard Keith, DJ Momotaro, Rara Darling, and Madame Brassiere, Highline Ballroom, $25-$50, 8:00

Friday, December 14
Yule Dogs: A Very Mercury Christmas, with Wormburner, Christopher John Campion with Mad Staggers, and special guests Lifeguard Nights, Mercury Lounge, $12-$15, 7:00

Sunday, December 16
Unsilent Night, participatory boombox concert with Phil Kline, Washington Square Park, free, 6:00

Ingrid Michaelson’s twelfth annual Holiday Hop takes place at the Beacon on December 17

Monday, December 17
Ingrid Michaelson’s Twelfth Annual Holiday Hop, Beacon Theatre, $44.50 – $64.50, 8:00

Oratorio Society of New York: HANDEL Messiah, conducted by Kent Tritle, with soprano Leslie Fagan, countertenor Daniel Moody, tenor Isaiah Bell, bass-baritone Joseph Beutel, and the Chorus and Orchestra of the Society, Carnegie Hall, Stern Auditorium / Perelman Stage, $28-$100, 8:00

Tuesday, December 18
KTU Holiday House Party w/ Why Don’t We, Highline Ballroom, $10 (proceeds benefit Cookies for Kids Cancer), 6:00

Saturday, December 22
Ronnie Spector & the Ronettes: Best Christmas Party Ever!, City Winery, $55-$75, 8:00

Sunday, December 23
Christmas Ball — A Merry Evening of Opera, Operetta, and Christmas Songs: Talents of the World Festival at Carnegie Hall, with bass William Meinert, baritone David Gvinianidze, baritone Oleksandr Kyreiev, tenor Arsen Soghomonyan, soprano Ruslana Koval, soprano Tamar Iveri, soprano Olga Lisovskaya, and the winner of the Talents of the World International Competition, Zankel Hall, $65-$95, 7:00

Monday, December 24
A Very Jewish Christmas, with Marion Grodin, James Goff, Sam Morril, Jared Freid, and others, Gotham Comedy Club, $25, 7:00 & 9:00

Tuesday, January 1
Ninth Annual New Year’s Day w/ Joseph Arthur & Lee Ranaldo, City Winery, $20-$28, 8:00