Thursday, March 9 at Superchief Gallery, 8 pm: $10
Tonight, witness this fine-tuned evening of powerhouse performance, live music, and installations from an array of artists working in movement, visual, and sound mediums. Curated by multidisciplinary gal Ariele Max (who will also be performing), the evening is comprised of hyper-sexual “inverted gospel” musician/performer Cole, choreographer and installation artist steeped in dystopian imagery Kathleen Dycaico, research and ritual-based artist Autumn Ahn, and musician/choreographer/etc Richard Kennedy.
It’ll cost you $10 to get in, but the price includes a full day of exploring Superchief Gallery, plus wine and the mysterious notion of “edible art.” Why touch the art when you can eat it?
Pop Punk High
Fridays at The PIT Loft, 8 pm: $7
If you’re anything like me, you had a sort-of scene phase in middle and kind of high school, and listening to pop punk music was definitely part of that phase. New musical Pop Punk High, from the minds of Anderson Cook (who also wrote The Disembodied Hand That Fisted Everyone to Death: The Musical) and Ben Lapidus (who actually writes great pop punk), seeks to take us all back to that wacky time where you thought wearing bottom-lid eyeliner was a really good idea even though your mom was right, it does not look good.
In typical comedy-musical flair, Pop Punk High is very silly while also managing to have good and catchy songs, despite it being eternally 2006. Plus, it involves the ghost of Avril Lavigne and #sadboys and maybe also gremlins. TBH I am technically biased because the writers are my friends and I performed in an early iteration of the show. But even friendship cannot just summon the nostalgia I felt when bopping around to power chords with straightened hair and skinny jeans. Only the pop punk spirit can do that. And, I guess, the ghost of Avril Lavigne.
Dirty Panties: The Musical
March 10, 11, 16, & 17 at House of Yes, 8 pm: $25-40
Recently, House of Yes put out a call for those with underwear they did not want, asking them to donate the skivvies to them. By no means is this out of character for the glitzy and scantily-clad folks at the House, but the request is for something new. Continuing in the trend of more longform performance pieces like we saw with their Ketamine: The Musical, their next offering is Dirty Panties: The Musical.
Only it’s not just about undies with neglected hygiene. Dirty Panties is all about sex work and the community of those who do it, which is surely more vast than you can imagine. Most artistic creations about sex work fail when they are not made by people with hands-on experience, so I was glad to see that every part of Dirty Panties is both written and produced by individuals with histories of sex work. Some will also perform, but some who wish to remain anonymous will have their pieces brought to life by surrogate performers. Sex workers—especially those who are queer, trans, or people of color— remain one of the most marginalized groups even today, and giving them a platform to tell their own stories is important. Additionally, the show is being presented in partnership with the Sex Workers Outreach Project, and a rep from the group will be at every show with information on how to support the cause.
Sunday, March 12 at MoMA PS1, 2 pm: $15
Multi-talented musician, producer, choreographer, curator, and more Richard Kennedy takes the wheel this week for MoMA PS1’s Sunday Sessions, having assembled a fiery grouping of performers, creators, and musicians. The work being shown in FROM.UNDER.ABOVE is all about themes of “self-actualization, visibility of marginalized bodies, underground creative communities, and the transformative power of sound in the face of geopolitical violence.”
The lineup Kennedy has assembled is nothing short of awe-inspiring, with performance and music from rapper/producer/visual artist DonChristian, DJ BEARCAT of Discwoman, Bronx rapper Quay Dash (whose debut EP Transphobic is excellent), DJ/producers SADAF and TYGAPAW, artist Antwan Duncan, VIOLENCE, and Kennedy himself. Sometimes it can be hard to justify moving forward with art-making when the world feels like it’s crumbling a little more each day, but creators like these who are truly pushing the boundaries and carving out a place for those most vulnerable can remind us why it’s important.