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Following a relatively calm period for global theatrical productions in New York, we’re suddenly witnessing a vibrant surge, largely attributable to a host of bold global festivals, collaborating harmoniously this autumn. There’s an improvisational quality to this art form, which tends to materialize for brief two- or three-day stints, sometimes at recognizable venues—Lincoln Center’s captivating Festival of Firsts (situated in the David Rubenstein Atrium, until Oct. 23), as an illustration—and occasionally in more remote locales.
The foremost festival is L’Alliance’s Crossing the Line, which skillfully curates an extensive roster including numerous co-creations in conjunction with other festivals and showcasing sites. Courtesy of L’Alliance, you have the opportunity to experience several recent sensations from the Festival d’Avignon without enduring the Provençal climate: at BAM, Crossing the Line presents Caroline Guiela Nguyen’s “LACRIMA” (Oct. 22-26), a co-production that narrates the disquieting and expansive narrative of a single, custom-made gown’s crafting; at the Japan Society, the festival co-presents the reconstructed Noh-influenced drama “Le Tambour de Soie (The Silk Drum),” Oct. 24-25; and at its own location, within the Florence Gould Theatre, C.T.L. stages Tiago Rodrigues’s “By Heart,” an exquisite shared undertaking in recollection and bereavement, enacted by a collective sourced wholly from the spectators (Nov. 3-4).
“LACRIMA” at BAM.Photograph by Jean-Louis Fernandez
One of Crossing the Line’s freshest allies is Powerhouse: International, a brand-spanking-new season-spanning festival of composition, choreography, and stagecraft at the impressively revamped Powerhouse Arts edifice—an imposing sanctuary crafted from brick and street art, located within a former power station in Gowanus—where you’re able to view creations such as the Brazilian dramatist Carolina Bianchi’s unsettling “Chapter I: The Bride and the Goodnight Cinderella” (Oct. 23-25; consult Performance below); the Brussels-rooted artist Soa Ratsifandrihana’s movement and sound-infused narrative presentation “Fampitaha, fampita, fampitàna” (Oct. 28-30); and the Irish troupe Dead Centre’s “Good Sex” (Nov. 5-8), wherein a duo of unprepared thespians—replacements each evening—must execute a sensual scene, accompanied by an intimacy supervisor supplying real-time guidance.
For an anthology of premier offerings from other festivals, N.Y.U.’s Skirball Center has evolved into one of the most daring and indispensable purveyors within the city. Its autumn schedule is notably robust, and despite the “term” being partially concluded, we still retain the prospect of beholding the Norwegian ensemble Susie Wang’s macabre comedy “Burnt Toast” (Nov. 5-8), alongside my most keenly awaited demonstration of the season—the spirited, hedonistic, myth-imbued “Infamous Offspring” (Nov. 13-15). A peculiar amalgamation of choreography, cinema, and playwriting, it’s conceived by Wim Vandekeybus, whose company Ultima Vez has functioned as a touchstone for both modern dance-theatre and the Flemish Wave’s experimentalism since the nineteen-eighties.—Helen Shaw
About Town
Electro Pop
The versatile instrumentalist and singer-lyricist Gabriela Jimeno Caldas commenced the venture Ela Minus with a distinct intention: electronic composition possessing an analog sensibility. Her imaginative expedition took flight at age eleven, performing percussions within a hardcore band situated in Bogotá; attending the Berklee School of Music, together with encountering Boston’s club culture, impelled her to alter course. Upon graduation, she initiated the conceptualization and assembly of synthesizers, the primary instrument showcased throughout her music, which she enriches via her vocals, rendered in English and Spanish. The resounding, insurgent portions of her inaugural album, “acts of rebellion,” launched in 2020, resonated genuinely with her punk foundations. Minus’s eagerly-anticipated successor, “DÍA,” issued this past January, is heightened in a notably divergent manner, its resonating, ecstatic songs rendering techno akin to pop, and the electronic ambience authentic.—Sheldon Pearce (Elsewhere; Oct. 23.)
Off Broadway
The zany buffoon Natalie Palamides embodies both participants of a duo within her rom-com-gone-haywire creation “Weer” via cleaving herself down the midpoint: one segment of her frame dons a rose-hued sweater coupled with fluttering eyelashes, whereas the counterpart features facial plumage in conjunction with a spirited faux phallus. Her “couple” endures excessive upheaval for a consummately calibrated comedic presentation, albeit partnerships prove apt to be untidy. Palamides, in her capacity as a physical-humor prodigy, cherishes disarray—an inundation precinct exists proximate to the forefront, complete with audience affiliates clothed within see-through raincoats. Amid my favored juncture within her bare-bones spectacle, she succeeds in encapsulating a tumultuous New York thoroughfare, inclusive of cabs navigating excessively close to the periphery: her pair of enamored fools is splattered via street runoff, coupled with, exhilaratingly, likewise some of our collective.—Helen Shaw (Cherry Lane; through Dec. 21.)
Folk Rock
Neko Case.Photograph by Ebru Yildiz
Within the early two-thousands, Neko Case materialized as Americana’s auditory cannon, her timbre possessing both potency coupled with exquisite grace. Case’s contributions to the Canadian power-pop collective dubbed the New Pornographers might exhibit augmented vigor and impetus, although her individual endeavors are emotionally imbued, and more challenging to categorize. Across a collection of eight albums, Case has substantiated her explorations throughout country, folk, and indie stylings via resplendent, singular intonations in conjunction with cryptic verses, a custom that endures on the majestic “Neon Grey Midnight Green,” her initial album spanning a duration of seven years. Case finds company within the concert hall courtesy of a prestigious guest, the garage-punk group Des Demonas.—S.P. (Beacon Theatre; Oct. 22.)
Performance
“Goodnight Cinderella” is Brazilian terminology for a sedative employed via sexual offenders. Throughout “Chapter I: The Bride and the Goodnight Cinderella,” the Brazilian author alongside performer Carolina Bianchi extends beyond mere discourse regarding sexual maltreatment; she imbibes a spiked cocktail and loses consciousness, whereas eight supplementary actors reposition her physique—discarding it into a vehicle’s compartment, subjecting it to a gynecological assessment. Upon its unveiling, during the Avignon Festival, throughout 2023, this two-and-a-half-hour exercise in corporeal dedication was received with simultaneous controversy and career-launching triumph. Now, it garners its U.S. introduction amidst the post-industrial sophistication of Powerhouse Arts, upon the Gowanus Canal.—Brian Seibert (Oct. 23-25.)
Movies
Ben Stiller and Anne Meara.Photograph courtesy Apple TV
Ben Stiller commandeered the absorbing, poignant documentary “Stiller & Meara: Nothing Is Lost,” apropos of his progenitors, the performers Jerry Stiller alongside Anne Meara, as well apropos of their comedic partnership, which attained nationwide renown amidst the nineteen-sixties. Post the senior Stiller’s expiration, amidst 2020 (Meara perished amidst 2015), Ben joined by his sister, Amy, scrutinize the Upper West Side abode wherein they matured together with unearthing their parents’ repository inclusive of household films, self-produced audio recordings, screenplays, coupled with epistles. These archival valuables unveil the intricate existence of the associates, who authored together with practiced rehearsals at their residence, in conjunction with disclosing the tensions that each experienced as a result of the nonexistence of boundaries betwixt the realm of performance coupled with reality. The couple’s occupational tribulations coupled with conflicting aspirations—together with their functions within their progeny’s vocations—append strata apropos of blended sentiment.—Richard Brody (In theatrical release; streaming on Apple TV starting Oct. 24.)
Off Broadway
Within Preston Max Allen’s “Caroline,” overseen deftly courtesy of David Cromer, a former reckless spirit, Maddie (Chloë Grace Moretz), reëngages including her estranged maternal figure, Rhea (Amy Landecker)—the contrite damsel bowed amid flannel, whereas the matriarch resides frigid under the aegis of her Candice Bergen coiffure. Allen’s restorative script, however, in actuality revolves encompassing Maddie’s offspring aged nine, Caroline (River Lipe-Smith), who possesses solely newly asserted her pronouns in conjunction with, according to the header, her moniker. Throughout a majority of the drama, the couple of well-intentioned grown-ups uncover their persons entrenched amid ancient grievances, in that instance it’s felicitous that Caroline has garnered her peculiar judgment-rendering resilience. Lipe-Smith’s matter-of-fact maturity renders that manner of “in addition to the offspring shall steer” conviction plausible; one yearns to discover this charismatic dexterity thereafter to propose the adolescent to run apropos of elected office.—H.S. (M.C.C.; through Nov. 16.)
Bar Tab
Taran Dugal examines a brand-spanking-new Bushwick haven.
Illustration by Patricia Bolaños
Within the contemporary landscape encompassing New York, dive bars function as an increasingly scarce species, progressively forfeiting their status within the economic chain apropos of alluring entities that remain more amenable apropos of influencers inclusive of their algorithms. Turbo Pizza, nestled within Bushwick, hence serves apropos of a gust apropos of unpolluted atmospherics: that unusual emergent haunt which evokes an impression that it has existed spanning decades—neon lighting, battered pool apparatus, adhesive flooring, together with all. Throughout a recent weekday, a cluster apropos of companions comfortably accommodated within a leather compartment, complete including loudspeakers above them blasting forth a pop-punk sonic track stemming apropos of the primordial two-thousands. A singular companion, discerning a fragment apropos of the menu categorized according to the designation apropos of “SHOTS!,” advanced toward the bar coupled with procured the Jolly Rancher, a sugared concoction inclusive of vodka, cranberry coupled with pineapple extracts, together with peach liqueur. “I am of the impression that our provisions remain depleted,” the barman articulated, rummaging elbow-profundity within the refrigerator prior apropos of extracting a flask apropos of gelatinous scarlet essence. Forth emerged a grandiose whiskey receptacle. “You are in prosperity. I shall enrich your receptacle—uncertain apropos of the temporal extent apropos of its duration.” The companion detected a sting apropos of anticipatory remorse. Back amidst the table, gastronomic resolutions unfurled: the remnant apropos of the cluster derived benefit apropos of the establishment’s Detroit-esque pizzas, inclusive apropos of the Burrata Soppressata, a saccharine-spiced medley inclusive of fiery honey, basil, coupled with chile particles. The aforementioned found subsequent accompaniment apropos of the fried ravioli, which struck a location that solely an adequately saturated compact plate remains capable apropos of. By present, the Jolly Rancher has been caused apropos of disappearance, alongside a round apropos of the establishment’s refined muddy Martini, which’s shortcomings amid grit remain reconciled courtesy apropos of potency. Napkins lied crumpled; platters underwent licking. The cluster signaled apropos of the invoice, albeit uncovered stiff rivalry apropos of the barman’s regard, which remained interlocked (amid standard haunt convention) encompassing that evening’s Mets contest. Furthermore herein, the attention economy prevails.
A New Yorker Quiz
Guillermo del Toro’s “Frankenstein” emerges on the marketplace presently; are you able to ascertain such supplementary spectral narratives?
Disseminated within 1948, that aforementioned narrative showcases an archaic rite whereupon a singular townsman remains lapidary caused apropos of demise. Hint: “ ‘It isn’t equitable, it isn’t rightful,’ Mrs. Hutchinson exclaimed, together with thereafter they emerged encompassing her.”
Disseminated amid 2009, that aforementioned narrative showcases a soaring effigy in the guise apropos of a scarecrow inclusive of a misproportioned Halloween gourd apropos of a cranial replacement. Hint: “She inquired assuming that the peculiar iridescence apropos of the ambience had perpetually remained existent albeit amid her prior, sheltered habitation she had neglected apropos of its recognition.”
Disseminated amid 2014, that aforementioned narrative showcases an annulus inclusive of a azure-emerald gemstone shaped resembling an pachyderm, imbued according apropos of the psyche apropos of an specter. Hint: “He can’t orchestrate every manner toward yourself unless you bestow according apropos of him permission.”
P.S. Sound information on the digital world:
- One remains at liberty apropos of eradicating the proverb stemming apropos of the Netherlands . . .
- Instructions encompassing the conduction apropos of an analog autumn
- Marc Maron’s conclusive “WTF” instalment
Sourse: newyorker.com
