A scene from Chambre Noire, running January 10-13 at The Public Theater as part of The Public’s 15th Annual Under the Radar Festival. Photo Credit: Benoit Schupp
Under the Radar Festival Now through January 13 at The Public Theater (some shows at offsite venues), various times: $30
Yesterday marked the start of the Public Theater’s Under the Radar Festival, which showcases new performance from around the globe and is now in its impressive 15th year. While most of the shows take place at The Public, some are staged elsewhere, from Chelsea’s SVA Theater to The Met. Festival loyalists may recognize some familiar names—Peter Mills Weiss and Julia Mounsey’s [50/50] old school animation, a monologue-based work about violence that’s hard to adequately describe, also appeared as part of UTR’s smaller fest-within-a-fest last year, but is chillingly compelling enough to warrant a repeat viewing. Other highlights include creative storytellers James + Jerome filling the halls of The Met with their music-laced tales, multimedia puppet-centric riffs on both Frankenstein (Manual Cinema’s Frankenstein) and Warhol shooter Valerie Solanas (Plexus Polaire’s Chambre Noir), an evening with darkly odd comedian Lorelei Ramirez, and more.More →
(photo: Ian Douglas, courtesy of American Realness)
American Realness Now through January 16 at Abrons Arts Center and other venues, various times and prices.
If you thought last week’s Performance Picks covered all the winter theater festival shows to see, you would be incorrect. There are actually more, believe it or not. Abrons Arts Center and Gibney Dance’s American Realness festival began yesterday, bringing with it a slew of dance and movement-based works, including several world premieres. Whether you’re interested in profound performance art, classic dance, or pop cultural tribute, American Realness likely has you covered.
Some intriguing titles include nora chipaumire’s punk salute to Patti Smith and Zimbabwe, Neal Medlyn’s investigation into Pina Bausch and his years as an “untrained dancer in New York contemporary dance,” NIC Kay’s solo performance inspired by queer ballroom and Butoh, Adrienne Truscott’s “dance about dance without any dance,” Claire Cunningham and Jess Curtis’s physical delve into the seeing and perceiving of bodies both disabled and not, and of course, more. More →