Below are highlights from the worlds of theater, pop music, dance and classical music — picked and recommended by Times critics.
‘Mean Girls’ for a New Generation
WHAT “Mean Girls”
WHEN Previews begin March 12; opens April 8.
The Plastics have signed up for drama club. Is that better or worse than mathletes?
Either way, the rigorously shallow adolescent clique at the center of the movie “Mean Girls” is headed straight for Broadway, at the August Wilson Theater. With a book by the “Saturday Night Live” veteran Tina Fey — the genius behind NBC’s “30 Rock” and Netflix’s “Unbreakable Kimmy Schmidt” — the musical stage version is adapted from her 2004 screenplay and updated to the present. A nice, previously home-schooled girl named Cady (Erika Henningsen, in the Lindsay Lohan role) is a new arrival at a suburban high school.
To the Plastics — Gretchen (Ashley Park), Karen (Kate Rockwell) and their coldblooded leader, Regina (Taylor Louderman, in the Rachel McAdams role) — this pretty naïf is fresh meat. First they’ll toy with her, then they’ll recruit her into their ranks, where of course the abuse will continue, because that’s just what they do. Cady, in her naïveté, starts out as a double agent, joining the Plastics so she can report back to her sardonic rebel friends, Janis (Barrett Wilbert Weed, in the Lizzy Caplan role) and Damian (Grey Henson). Then her motivations begin to change.
Directed by Casey Nicholaw (“The Book of Mormon”), “Mean Girls” has lyrics by Nell Benjamin (“Legally Blonde”) and music by Jeff Richmond — Ms. Fey’s husband and the composer on “Kimmy Schmidt,” a show with a deliriously catchy theme song and a demented breakout number called “Peeno Noir.” The lead producer of “Mean Girls,” by the way, is Lorne Michaels, Ms. Fey’s old boss at “S.N.L.”
When “Mean Girls” had its premiere last fall at the National Theater in Washington, the critic Peter Marks wrote in The Washington Post that “the soul of Fey’s script is closer to bruised than bubbly.” That’s not quite the case with the movie, inspired though it is by “Queen Bees and Wannabes,” Rosalind Wiseman’s book about teen girl social behavior. But if it’s true of the musical, it’s a smart move. A show aimed at theatergoers who are — or ever have been — adolescent misfits has a potentially endless audience.
The stage iteration of “Mean Girls” does have one big bummer about it: Ms. Fey will not be reprising her film role as the beleaguered teacher Ms. Norbury. (On the plus side, that means the terrific Kerry Butler can play the part.) But Broadway has waited a long time for Ms. Fey’s talent. At last she’s almost here. LAURA COLLINS-HUGHES
Lynn Nottage Tackles the Ivory Trade
WHAT “Mlima’s Tale”
WHEN March 27 to May 20
The troubles of the world flow through Lynn Nottage’s fingers onto the page. Rape as a weapon of war is the subject of her play “Ruined,” a searing, stop-you-in-your-tracks drama set in a Congolese brothel. That won Ms. Nottage her first Pulitzer Prize, in 2009. Her second Pulitzer came just last spring, for “Sweat,” a deeply researched piece set in Reading, Pa., that channels the anxiety and despair of working-class Americans caught in the wreckage of once-thriving factory towns.
Before it transferred to Broadway, “Sweat” ran downtown at the Public Theater, and that’s where Ms. Nottage will return with her new play, “Mlima’s Tale.” The Public isn’t letting much slip about it, but the story begins in a Kenyan game park and travels through the greedy, global black market for ivory. Directed by Jo Bonney (“Father Comes Home From the Wars (Parts 1, 2 & 3)”), it stars Sahr Ngaujah — an Obie Award winner, and a Tony and Olivier Award nominee, for playing the Nigerian singer Fela Kuti in Bill T. Jones’s musical “Fela!” Reviewing that show, the Times critic Ben Brantley called Mr. Ngaujah “electrifyingly insolent.” Here he has the title role, too. This time he plays an elephant. LAURA COLLINS-HUGHES
Off Broadway Theater Goes to Brooklyn
WHAT “Pay No Attention to the Girl”
WHEN March 29 to April 21
If you bring Off Broadway theater to Sunset Park, Brooklyn, will audiences follow? Finding out the answer to that question is the latest adventure for the persistently audacious and until lately itinerant company Target Margin Theater. Its first permanent home is a capacious industrial space called the Doxsee, soon to be the site of a premiere production called “Pay No Attention to the Girl.”
David Herskovits, Target Margin’s founding artistic director, leads his company in multiyear explorations of classic texts that can yield mind-bendingly illuminating results — and recently did, with an immersion into the plays of Eugene O’Neill. At the suggestion of Moe Yousuf, the troupe’s associate artistic director, the texts up for examination in the new show are the tales of “The Thousand and One Nights.” An investigation into power, gender roles and Islamophobia, the production is an early step in a process, shaped by the whole company, that will culminate in something larger down the road. LAURA COLLINS-HUGHES
Set to Hector Berlioz’s famous score, played live on piano, “Symphonie Fantastique,” the underwater masterpiece by the puppeteer extraordinaire Basil Twist, returns for a 20th-anniversary production at Here, the downtown arts center where Mr. Twist runs the Dream Music Puppetry Program. And dream music puppetry is exactly what this is. Opens March 29. LAURA COLLINS-HUGHES
Taylor Swift’s Pop Spectacle
WHO Taylor Swift
WHEN May 8 — Oct. 6
No one shrinks a gargantuan room quite like Taylor Swift, who for more than a decade has found increasingly ornate mechanisms to telegraph intimacy. Even as she’s become outrageously famous, and her private life has become public gossip chum, keeping the circle tight has been one of her essential gambits.
But Ms. Swift’s narrative changed with the release, last November, of “Reputation,” her sixth album, and first to implicitly acknowledge her seat on the pop superstar throne. “Reputation” is, in parts, about recriminations, backstabbings and disappointments — not the romantic sort that she chronicled early in her career, but the social-professional kind that comes when people greet you with hugs then shove knives into your back.
Whether Ms. Swift can maintain her usual guise of intimacy, or whether that’s now a thing of the past, has been the dominant question of this phase of her career. And this coming spring and summer, she’ll try to negotiate this territory out on the road, on the first leg of a coming world tour, and her first tour in this country to be exclusively in stadiums. (The “Reputation” tour comes to MetLife Stadium in East Rutherford, N.J., for three nights, July 20-22.)
A stadium stage is a challenging place to ask for sympathy, but Ms. Swift embarks on this tour from an unfamiliar vantage point: with no songs in or near the top of the Billboard Hot 100. The first two singles from “Reputation” — “Look What You Made Me Do” and “ … Ready for It?” — both made it to the Top 5, but the most recent, “End Game,” hasn’t gone higher than No. 18.
Though Ms. Swift has been performing in huge rooms for a decade, her “1989” tour, which played in both arenas and stadiums in 2015, was her first supersize pure-pop extravaganza. And in her “Reputation” live appearances thus far — on “Saturday Night Live” and on iHeartRadio’s Jingle Ball winter mini-tour — she has been diving deeper into high-end pop spectacle: blinding strobes, blaring bass tones, a gang of hard-hitting backup dancers and her least naturalistic presentation ever, a likely hint of what’s to come on this tour.
For more than a decade, it seemed to be a given that Ms. Swift could only get bigger, and should. Hiccups were inevitable, though — for the first time, Ms. Swift’s rate of ascent has slowed. And so now she has a tightrope to walk: standing firm atop the pop mountain while seeking a way to get 50,000 people a night to lean in close, and feel like they’re being whispered to. JON CARAMANICA
Big Emotions, Bigger Stage
WHEN March 1 — April 15
The show that has drawn the most notice on Lorde’s “Melodrama” world tour is one that she’s not playing: a concert that was booked for June 5 in Tel Aviv but then canceled when Lorde was persuaded that performing in Israel could be seen as supporting its government’s Palestinian policies. Condemnation, praise and litigation have ensued. Meanwhile, preparations continue — including, Lorde has posted on Twitter, building a cardboard model of the stage on her kitchen table — for the latest version of her tour, with dancers, costumes, video and full arena trappings; it begins March 1 in Milwaukee and reaches the New York City area with shows April 4 in Brooklyn and April 6 in Newark. Lorde is applying herself to the paradox of building mass entertainment out of songs that wrangle with solitude, self-doubt, betrayal, disillusionment and post-party depression, with music that can embrace big pop bangers or turn morosely inward.
Her first album, “Pure Heroine” in 2013, was full of adolescent struggles to define oneself within and against social expectations and pop culture. “Melodrama,” from 2017, coped with fame and tried to escape politics by telescoping infatuation, intoxication, disenchantment and regret into songs that chronicle one eventful house party. On tour since the album’s release, Lorde has presented herself as a passionate singer, a proudly gawky dancer and the center of an eccentric spectacle that, so far, has scaled up without sacrificing intensity. JON PARELES
Crossing Genres and Eras
WHO Mon Laferte
WHEN April 20 — May 19
Retro and modern, torch singing and alternative rock all get time-warped together in the music of Mon Laferte, a Chilean singer and songwriter based in Mexico who has become a star across Latin America. Ms. Laferte is touring the United States in spring as the opener (and likely duet partner, since they have recorded together) for the Colombian rocker Juanes; they’re at the Theater at Madison Square Garden on April 27. Ms. Laferte usually sings about fiery romance, with all its ecstasies and disasters, and on her albums the settings have reached back to folklore and 1950s rock as often as they have harnessed synthesizers and loud guitars. Her voice can be a girlish tease or a grunge scream, with its volatility matched by Ms. Laferte’s flamboyantly theatrical stage presence. How many of her facets can she fit into an opening set? JON PARELES
Becca Mancari, a songwriter based in Nashville, released her debut album, “Good Woman,” in October. Her songs look at restless travels along with the details of everyday life, in roots-rock with a nimbus of psychedelia. Her spring tour brings her to City Winery in New York City on April 25. JON PARELES
Rolling Loud — which has rapidly become the most essential annual hip-hop festival — was the fire-hot center of the SoundCloud rap explosion last year. This year it aims bigger, with the headliners J. Cole, Travis Scott and Future from May 11-13 at the Hard Rock Stadium in Miami Gardens, Fla. JON CARAMANICA
Miranda Lambert is one of the feistiest and most accomplished live performers in country music. On her Livin’ Like Hippies tour, which runs through March 24, she’ll be showing off material from her coolly tempered 2016 album “The Weight of These Wings.” JON CARAMANICA
The Contrasting Gifts of Jerome Robbins
WHAT Jerome Robbins Centennial
WHEN May 3-31
For people who don’t know the ballets of Jerome Robbins, New York City Ballet’s spring season will be an excellent opportunity to take the plunge. Its 19 offerings include most of the best-loved classics from his long career: above all, “Fancy Free” (1944), “Afternoon of a Faun” (1953), “The Concert” (1956), “Dances at a Gathering” (1969), “Glass Pieces” (1983) and “West Side Story Suite” (1995, a one-act revision of his famous Broadway musical).
These masterworks bring ample evidence of Robbins’s wide assortment of contrasting gifts: understatement and cartoon fun; the innocence and ebullience of adolescence and nostalgic evocation of community and folk vitality; his love of lyrical naturalness and semidetached attitude to academic ballet. No committed dancegoer should live without knowing these works. No lover of New York culture either: He made them all in and for this city.
How marvelous that this genius, who burst into creative life with the immediately sensational comedy “Fancy Free,” kept stretching himself over the decades. Has any choreographer answered musical minimalism so poetically and memorably as Robbins did in “Glass Pieces”?
Some of this spring’s offerings — “Dybbuk” (1974), “Antique Epigraphs” (1984) — are relative rarities. In “Dybbuk,” Robbins and Leonard Bernstein, in a commissioned score, addressed dark, obsessive aspects of their Jewish heritage; “Antique Epigraphs,” to Debussy, is an all-female dance, both introspective and impressionistic. These are works few dancegoers know well, and they weren’t generally loved. But this is what a centenary season should do: Brush the dust of some lesser-known works and give us the chance to reassess them and their maker.
Surely there should be more: Robbins was part of this company’s lifeblood for decades. There’s reason to fret that we may never see several of his ballets again. Why not revive, for example, “Piano Pieces,” the popular hit of the company’s 1981 Tchaikovsky Festival?
An important work to revisit will be “Goldberg Variations” (1971), the longest and most monumental of Robbins’s several Bach ballets. For some it’s too conceptual, too postmodern in its view of Bach’s place in history. Yet dancers love it; and many have made breakthroughs in it. One of the most formally organized of all his creations, it enlarges our knowledge of this versatile artist. ALASTAIR MACAULAY
Take Me to Church
WHAT Reggie Wilson’s “Dancing Platform Praying Grounds: Blackness, Churches and Downtown Dance”
WHEN Feb. 28-March 24
St. Mark’s Church in-the-Bowery, completed in 1799, has had a long history, not just as a place of worship but also as a site of social activism and the arts. Since 1974, it has been the home of Danspace Project, a leading presenter of contemporary dance. But for decades before then, the church hosted dance luminaries, and it has become a kind of sacred space for the art. At every performance, the past seems to be in the air, echoing around the nave, flowing in through the stained-glass windows.
What does this history mean to the choreographer Reggie Wilson? Danspace Project has chosen him to organize a monthlong series of performances and events called “Dancing Platform Praying Grounds: Blackness, Churches, and Downtown Dance.” Mr. Wilson’s own work has investigated spirituality and the culture of the African diaspora, so it’s no surprise that his curatorial focus is on the intersection of race, dance and religious architecture.
The scheduled events include group discussions, scholar-led walking tours and evenings shared by a promising list of performers: Beth Gill, Miguel Gutierrez and Keely Garfield, among others. Yet the person who is best at translating Mr. Wilson’s questions and ideas into structurally sound and sensually rich postmodern dance is Mr. Wilson himself. His new “ … they stood shaking while others began to shout” (March 22-24), which incorporates Baptist and Shaker praise songs, is likely to be the high point. BRIAN SEIBERT
East Village Shakers and Movers
WHAT Sarah Michelson and Yve Laris Cohen, East Village Series
WHEN April 27-May 5; March 8-11
This spring at the newly renamed and renovated Performance Space New York, we’re being dealt a pair of good hands: Sarah Michelson and Yve Laris Cohen, two choreographers known for their imaginative, evocative explorations of space, are part of its East Village Series.
Ms. Michelson made dances before 2001, but “Group Experience,” her first full-length work for the then-Performance Space 122 — or PS122 — jump-started her career. It took place on white carpet and included an extended group relevé in which performers, ranging from untrained dancers to those from Merce Cunningham’s company, fought for their balance. Contemporary dance had found a new choreographer to keep it on its toes.
Now she’s back with a premiere that looks at her deep history with the institution and the dance community. How will Ms. Michelson reveal the space’s possibilities? And for his part, Mr. Laris Cohen — provocatively, given the recent rebranding of the organization — has named his new work, “P.S. 122.”
In his site-specific premiere, Mr. Laris Cohen, a transgender choreographer whose work straddles visual art and dance, will explore how dance not only responds to architecture but also creates it. Press materials state that he is looking at “aesthetic and political fault lines among the building’s tenants over the past 40 years.” Look out.
A New ‘Così’ Is Set to Unfurl in a Fun House
WHAT “Così Fan Tutte” at the Metropolitan Opera
WHEN March 15-April 19
There may be no opera in the repertory harder to get right than Mozart’s “Così Fan Tutte,” which the Metropolitan Opera is finally redoing in one of the highlights of its spring.
The piece is, at first glance, a bit of a farce. Two young men, egged on by their cynical older friend, conspire to test their lovers’ fidelity: The men will disguise themselves and attempt to seduce each other’s girlfriends. The plot works all too well, but after some tears, all is revealed, and life goes on.
But even writing out that short summary begins to unveil the pain, even the nihilism, at the heart of the work. Central to “Così” is its cruelty, the starkness with which it exposes the tenuousness of romantic attachments — and, by extension, attachments altogether. Emerging out of the Enlightenment, Mozart and his great librettist, Lorenzo Da Ponte, sought to demonstrate just what enlightenment means. You say you want freedom, the opera suggests: Well, here is what freedom is really like.
Peter Sellars’s heartbreaking staging from the 1980s set “Così” in an American roadside diner. Christopher Alden transplanted the action to a nightmarish, slow-motion urban park. The film director Michael Haneke recently created a wrenching, elegant version set today but with haunting touches of commedia dell’arte. Two years ago, a savage Aix Festival production placed the action in colonial East Africa in the 1930s.
For the Met, which has needed to replace its wan “Così” for 20 years, Phelim McDermott will move the opera to 1950s Coney Island, with its fun house cast (bearded lady, strongman and all) and half-charming, half-creepy carnival décor. Mr. McDermott will have to suggest answers to the work’s unending questions. Just who is Don Alfonso, the older friend (Christopher Maltman, at the Met)? What makes the two boys (Ben Bliss and Adam Plachetka) listen to him when he suggests scheming against their lovers (Amanda Majeski and Serena Malfi)?
What motivates Alfonso in the first place, and what is his relationship to Despina, the ladies’ maid? (Despina will be sung, in an intriguing turn, by the luminous Broadway star Kelli O’Hara, expert at mixing ingenuous light and dusky melancholy. David Robertson conducts.)
And most important, how does the opera end? Do the original lovers reunite? Do they stick with the switch? Does singlehood triumph? Mozart and Da Ponte leave it tantalizingly ambiguous; we’ll see what Mr. McDermott thinks. ZACHARY WOOLFE
Descending on New York, With Batons
WHAT Three of the world’s greatest orchestras
WHEN March 28-29; April 11-13; May 4, 6, 7
The Berlin Philharmonic might not be visiting New York this spring, but three conductors with links to it are.
First comes Kirill Petrenko, whose defection to the Philharmonic draws slowly closer. He is still, for now, the music director of the Bayerisches Staatsorchester, the pit band of the Bavarian State Opera in Munich, which has a strong claim to be the gold standard among the world’s houses. Opera is on the bill for one of the orchestra’s two nights at Carnegie Hall, on March 29, when Mr. Petrenko conducts Strauss’s “Der Rosenkavalier,” with Adrianne Pieczonka singing the Marschallin, Angela Brower as Octavian, Peter Rose as Ochs and Hanna-Elisabeth Müller as Sophie. Mr. Petrenko’s Carnegie debut comes the night before, though, in Tchaikovsky’s “Manfred” Symphony and Brahms’s Double Concerto, with the soloists Julia Fischer and Daniel Müller-Schott.
Then there is Andris Nelsons, a conductor who was at one point rumored as a possibility for the Berlin job. His three Carnegie programs with the Boston Symphony Orchestra demonstrate a strengthening partnership between conductor and orchestra. There’s opera here, too, with an April 12 concert comprising Act II of Wagner’s “Tristan und Isolde.” Jonas Kaufmann is Tristan, subject to the tenor’s wearying tendency to cancel. The April 11 and April 13 programs are mostly standard Nelsons fare: Shostakovich, Mozart and Strauss, with Bernstein’s Symphony No. 2 and a new work by Jörg Widmann filling in the gaps.
Lastly, at the start of May, the outgoing chief conductor in Berlin, Simon Rattle, leads three concerts at David Geffen Hall with his new orchestra, the London Symphony. There’s no intrigue here, just Mahler: the Ninth, “Das Lied von der Erde” (with Christian Gerhaher and Stuart Skelton), and the completed 10th — each on its own program. DAVID ALLEN
From a Violinist, a Precise Way of Doing Things
WHO Jennifer Koh
WHEN March 15 and 31
Jennifer Koh is one of our most important violinists not just because she’s a very fine soloist, but because she is a prolific commissioner of contemporary music. Her commissions, moreover, tend to explore specific themes.
There was “Bach and Beyond,” which found new ways to think about the Baroque composer through recent works by Kaija Saariaho, Esa-Pekka Salonen and others, as well as fresh pieces by Phil Kline and John Harbison. “Bridge to Beethoven” took a similar approach, having Vijay Iyer, Andrew Norman and Anthony Cheung respond to the old master’s violin sonatas. Then there was “Two x Four,” a project about the relationship between teacher and student, with new double concertos by Anna Clyne and David Ludwig. “Shared Madness” involved 32 composers responding to Paganini, involving a huge network of artists in the collective creation of a new repertoire of short solo pieces.
Now there is “Limitless,” a set of duos for violin and another instrument, each performed by Ms. Koh and the composers, in two concerts at National Sawdust in Brooklyn. As ever, there are ideas in abundance: the relationship between composer and performer, between composition and performance, between soloist and collaborator. The choice of composers, too, is deliberately inclusive. On March 15, there is music by Zosha di Castri, Missy Mazzoli, Qasim Naqvi and Lu Wang; on March 31, Lisa Bielawa, Vijay Iyer, Tyshawn Sorey, Nina Young and Du Yun. DAVID ALLEN
“Brokeback Mountain,” Charles Wuorinen’s operatic version of Annie Proulx’s modern classic novella, is brooding, atonal, noble. With a libretto by Ms. Proulx, it was originally intended for New York City Opera, but opened elsewhere when that company went bankrupt. The reconstituted City Opera now presents the work’s American premiere from May 31 through June 4. ZACHARY WOOLFE
Julia Bullock, a radiant young soprano, is part of a tiny group of singers able to be persuasive in both classical and popular styles. On April 20, Ms. Bullock brings the gamut to Weill Recital Hall with the pianist John Arida, a program that includes lieder staples, jazz and blues. ZACHARY WOOLFE
The Chiara String Quartet, known for playing scores from memory and for superb performances of music old and new, is disbanding at the end of this season so that its members can pursue their own projects. The group’s final concert in New York is at the Metropolitan Museum of Art on May 12, and features the city premiere of a Philip Glass piano quintet alongside works by Beethoven and Nico Muhly. ZACHARY WOOLFE
Keywords clouds text link
Dịch vụ seo, Dịch vụ seo nhanh , Thiết kế website , máy sấy thịt bò mỹ thành lập doanh nghiệp
Visunhome, gương trang trí nội thất cửa kính cường lực Vinhomes Grand Park lắp camera Song Phát thiết kế nhà thegioinhaxuong.net/
|aviatorsgame.com ban nhạc||confirmationbiased.com|
|mariankihogo.com ốp lưng||Giường ngủ triệu gia|
© 2020 US News. All Rights Reserved.