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 →
When Bushwick DIY venue Palisades closed in 2016 after an unsuccessful quest to get up to code following a police raid, we briefly brainstormed what the space at 906 Broadway might become. A corporate music venue, a new Vice headquarters, some kind of chain store? None of these appeared, but in June a Sicilian “casual dining experience” called Concrete officially began serving dinner and weekend brunch there, with plans to begin hosting live events later this fall.More →
From left: Nelson Antonio Espinal, Rob Granata, Ned Shatzer (Photo: Nicole Disser)
Bushwick/Bed-Stuy venue The Gateway was forced to close on May 23 and has launched a crowdfunding campaign to raise the money to reopen, according to an email from the space’s owner Ned Shatzer. More →
The developer of a controversial project in South Williamsburg was hit with a restraining order yesterday that temporarily bars the construction of eight buildings on the former Pfizer site. The move came after several Brooklyn residents and activist groups filed a lawsuit claiming that the city failed to protect communities of color when it cleared the way for the new buildings in the Broadway Triangle area. Plaintiffs claim that the city and Mayor de Blasio ignored their obligations under federal law when they approved a rezoning for the project.
The plaintiffs, led by a coalition of churches in the Broadway Triangle area, argue that the Pfizer project will raise rents in the surrounding area, causing residents of color, and especially Latino families, to be pushed out. Three of the plaintiffs have already suffered landlord harassment and are in danger of losing their homes, the suit claims. More →
(image via Salty Brine’s Living Record Collection / Facebook)
How Strange It Is Wednesday, February 7 at Pangea, 7:30 pm: $20 advance, $25 doors
You may have first caught wind of this show back in 2016, when it happened at small East Village venue the Red Room. Whether you did or not, Salty Brine’s cabaret that uniquely puts Neutral Milk Hotel’s In The Aeroplane Over The Sea in a WWII setting has been enjoying an encore run at nearby spot Pangea for the past few weeks. The show is part of his longtime “Living Record Collection” project, in which he performs notable albums in their entirety with a conceptual twist. Past endeavors have included a German cabaret Abbey Road, a Prohibition-era She’s So Unusual, and a sentimental, seafaring rendition of Joni Mitchell’s Blue. Tonight will be the last night of this particular creation, so don’t be a “fool” (ha ha, get it, because that is one of the song titles) and get over there. More →
In his first book, Making Rent in Bed-Stuy (HarperCollins, 2017), New York-based writer and filmmaker Brandon Harris uses his memoir of “trying to make it in New York City” as the starting point for a complex, multi-layered discussion of race, class, and gentrification.
If short n’ sweet shows are your preferred method of entertainment, this could be quite the change of pace. The Obie-winning company Target Margin Theater will be commemorating their 25th anniversary of making work by taking on Eugene O’Neill’s 1931 work Mourning Becomes Electra, and they’re doing it in a big, big way. Or rather, a long, long way. The production runs around six hours long, but don’t expect to sit for that entire time. Mourning Becomes Electra is technically a play cycle, consisting of three plays that serve as a modern retelling of Greek tragedy The Oresteia, turned into a Freudian family melodrama set at the end of the Civil War. So, the company is dividing Abrons’s Playhouse into different sections, guiding audiences between different portions of the performance space as the play cycle progresses.
If you’re still hesitant about committing to this behemoth endeavor, know that it also includes two intermissions and “a light meal.” Everyone loves a nice meal.
Deathdays aren’t usually cause for celebration, but in the case of Christopher Wallace– better known as Biggie Smalls– it only makes sense to organize an art show dedicated to the late rapper around the afterlife. Without it, 20 Big Yearswould have denied the necromancy that runs throughout the life work of Notorious B.I.G. (his mere two studio albums are a clear sign that his life was cut too short), and that has come to define his persona after death. Even if all these ghosts still give his fans the willies. As one visitor, pointing to an altered version of Barron Claiborne’s famous photo of Biggie wearing a crown, said to her friend: “That one with the skull–it’s so morbid, but so deep.” (The friend agreed.)
Of Ghosts and Girls Opening Tuesday March 14 at The Living Gallery, 6 pm to 10 pm. One night only.
This one-night-only exhibition (as is the norm for The Living Gallery) showcases the work of Üriel Shlüsh-Reyna, a Bushwick-based artist who creates paintings, drawings, and sculptures. She also appeared as a cast member in immersive show Houseworld in 2015, which took place in the various rooms of a Greenpoint church. Her work zeroes in on matters of mysticism, fantasy, and magic. Also, she draws and paints a lot of women, some busty, some doe-eyed, some even tied-up and split in two. Of Ghosts and Girls will show a mix of old and new works in various mediums. She also indicates on her website that she’s inspired by both sleep paralysis and ice cream, which if anything is an interesting combo. The opening reception will also feature musical performances by Mike Campbell, Ben Pagano, and Charles Mansfield. More →
Deli on Franklin Avenue in Greenpoint (Photo: Nicole Disser)
Last week, our Seattle-bred writer told New Yorkers to stop being babies about the five-cent fee that the City Council had voted to impose for the use of plastic takeout bags. That plea fell on deaf ears, because on Tuesday, Governor Cuomo blocked implementation of the Bring Your Own Bag Law for at least a year. The Lower East Side’s own Margaret Chin was among those who dropped a W-T-F bomb, insisting that “carryout bag fees are the right policy” and that Cuomo’s move had quashed a measure that she and her colleagues in City Council had “democratically adopted” after slogging through “two years of hearings, reviewing evidence, reusable bag giveaways, and public debate.”