The Hajj, the pilgrimage of Muslims to Mecca, is the largest yearly gathering of people in the world, attracting two to three million pilgrims. A pillar of Islam, the Hajj provides the setting and structure for Rohina Malik's The Mecca Tales, which premiered in Chicago in 2015 and is now making its debut in New York. Its tales are those of five women whose progress along the road to Mecca also marks their difficult progress towards self-determination.
Elga Wimmer PCC presents "Free, Form, Five," a group exhibition curated by D. Dominick Lombardi, which explores abstract and semi-abstract themes with human and natural references that extend into metaphoric terrain. The exhibition includes photographer Sandra Gottlieb, Sharon Kagan, Bobbie Moline-Kramer, Rebecca Calderón Pittman and Susan Sommer. The artists use with vigor and assurance platforms that incorporate complex processes and aggregate techniques. Pittman's works probe the oblique role of chance in consciousness; the psychological influences of attraction and aversion interest Moline-Kramer. Kagan explores the microcosmic roots of matter while Gottlieb brings the firmament into focus. Susan Sommer records the rhythms of desire in daily existence. While Moline-Kramer, Pittman and Kagan enhance their practices with distinctive procedures, Gottlieb uses specialized equipment, and Sommer mixes her motifs to achieve a sense of depth and relevance that is becoming the exception rather than the rule in contemporary art.
Many readers these days probably know the feeling of anxiety about what appallingly reactionary new story will leap out at them every time that they set eyes or ears on a news source. To take just the latest in an interminable series of examples, as this review is being written, the head of the U.S. government is threatening to end aid to Puerto Rico, whose American citizens are denied governmental representation, a mere three weeks after an incredibly devastating natural disaster. As it happens, the production of Christie Perfetti Williams' new play, The Werewolf of Washington Heights, will donate one dollar of every online ticket sale to The Boys and Girls Club of Puerto Rico. It also focuses on the political effects (keeping in mind that the political is always also the personal and vice-versa) of fear and anxiety, especially as and where they intersect with gender. Beyond its narrative concerns, Werewolf extends the political consideration of gender to the material conditions of its own production: it is presented by Carnival Girls, a sponsored project of the non-profit arts service organization Fractured Atlas that dedicates itself to "creating and producing art by and about women," and it boasts an all-female cast and crew, including director Charmaine Broad, who also helmed Cougars, winner of the Estrogenius Festival's award for best show.
How many places have you gone in the past 10 days? Now what about in the past ten years? The matriarch at the center of Lori Fischer's world-premiere play Petie hasn't ventured beyond her Tennessee yard in the decade since her young son's death, an event that continues to bind the remaining family members' lives as surely as the property line bounds hers. Presented by Theatre East, a company that concentrates on new plays with socially relevant themes, Petie asks whether the family can become more than a prison and a site of fracture for these characters.
Some plays have an inner logic that defies linear story-telling. That doesn't mean they need be inaccessible or opaque. It merely means that the playwright's imagination sometimes takes over - for better or for worse.
Frantic Beauty, the third installment of multidisciplinary artists Ximena Garnica and Shige Moriya’s five-part BECOMING Series, offers up a challenging piece of experimental dance theater. Choreographed with and performed by the LEIMAY Ensemble (Masanori Sahara, Krystel Copper, Derek DiMartini, Omer Ephron, and Mario Galeano), it takes as its theme what its creators describe as "beauty, frantically calling out from its captivity." In doing so, the production seeks to unsettle the boundaries of the beautiful.
Comedian and author Jen Kirkman is coming to NYC with brand new comedy shows on her "All New Material, Girl" Tour at the Highline Ballroom (September 21st) in Manhattan and The Bell House (September 22nd) in Brooklyn. She'll be sharing stories and jokes you haven’t seen on her Netflix specials. And for those of you who don't know this critically-lauded writer and comedian, Jen was a long time writer and round table guest on Chelsea Lately. Regardless, she is one funny person and not to be missed. In these scary times, we can all use some belly laughs to deal with world's insanity.
Making its American premiere after originally opening in Lisbon at the National Theatre D. Maria II in 2016 under the direction of its author, Mickaël de Oliveira, The Constitution marks the first production of Saudade Theatre, an organization dedicated to introducing Portuguese theater to an American audience. While saudade refers to a profound nostalgia or melancholic longing for something or someone absent, the company's challenging debut play represents the product of addition rather than absence: in Saudade's words, a "meeting between an European aesthetic and the American theatre culture." With The Constitution, this cross-cultural conjunction produces complex results from a simple premise.
The same day that we saw Friends Call Me Albert, Zachary Desmond's world premiere "bio-epic" of Albert Einstein, Gizmodo headlined a post about a new paper arguing that quantum entanglement is an inevitable feature of any fundamental physical theory, "Scientists Finally Prove Strange Quantum Physics Idea Einstein Hated." While the Gizmodo piece itself describes entanglement as "what allows particles that have once interacted to share a connection regardless of the separation between them," it also quotes Einstein's derisive description of it as "'spooky action at a distance.'" A century after his general theory of relativity was published and more than half a century after his death, Einstein remains, at least in the popular imagination, the central point of reference for modern physics. Desmond's play too takes this towering figure as its center, but it also illuminates an important woman historically obscured by the tower's shadow.
Weeks before it closes, I got a chance to catch up with Groundhog Day, The Musical.
[I'm tempted to simply repeat the above sentence 28 times but will fight the urge!]