
What to Do in New York City in May
Comedy
'Solving Your Problems With Chloe Troast'
In the months since her tenure on 'Saturday Night Live' came to an end, Chloe Troast has kept busy, performing at Moontower Comedy Festival in Austin, Texas, and appearing in the movie 'Sweethearts' and in an episode of the Netflix series 'The Four Seasons.'
Troast also occasionally invites her funny friends to join her at the Upright Citizens Brigade Theater to take crowd work to the next level, where audience members can seek advice from improvisers who act out potential solutions. Her guests for Sunday have yet to be announced, but past shows have included members of the 'S.N.L. '-affiliated Please Don't Destroy troupe. Tickets are $15 in advance on the UCB's website and $20 on the day of the show. Proceeds will be donated to local mental health charities.
Before that, at 7 p.m., the U.C.B. will present 'We Stan Together,' in which Caitlin Bitzegaio and Lauren Brickman take a studious approach to entertainment gossip. Tickets are $10 in advance, $15 day of. SEAN L. McCARTHY
Music
Charli XCX
The long tail of Charli XCX's breakout summer is continuing well into 2025: So far this year, the British singer has won her first Grammys, played a pair of buzzy Coachella sets and scored a surprise Hot 100 hit with a song that she released nearly five years ago. In April, she kicked off a new North American leg of her tour for 'Brat,' her culture-shifting sixth album that left the internet awash in hedonistic club pop and a ubiquitous shade of green last summer.
Indebted to the brash, volatile electronic music of the 2000s, 'Brat' begs for in-person communion rather than at-home listening. As her popularity skyrockets, Charli's concerts have ballooned to arena-size raves, which could serve to prove that an underground musician can go mainstream while retaining that aura of subcultural cool.
You can see for yourself at Barclays Center on Thursday, Saturday and Sunday. Tickets start at $130 on Ticketmaster. OLIVIA HORN
Long Play Festival
The foghorn blats of 100 tuba players marching through Fort Greene Park at noon on Saturday exemplify the essence of the Long Play Festival, Bang on a Can's annual celebration of classical, creative and improvised music.
Anthony Braxton's 'Composition No. 19 (for 100 Tubas)' is bold, experimental and something that could only be accomplished in a city full of community-minded musicians. That same spirit permeates the 50-plus Long Play concerts happening this weekend, including the premiere on Friday of the composer-improviser Henry Threadgill's 'Listen Ship' (8 p.m. at Roulette). Elsewhere that night, Kim Gordon will perform songs from her latest album (8 p.m. at Pioneer Works). Throughout Saturday, there will be sets from Mary Halvorson and Bill Frisell (1:30 p.m. at Roulette), Idris Ackamoor and the Pyramids (BRIC Ballroom at 6 p.m.) and the Tomeka Reid Quartet (BRIC Ballroom at 8 p.m.). On Sunday, the Bang on the Can All-Stars and special guests will wrap up the festival with a party for Terry Riley's 90th birthday (8 p.m. at Pioneer Works).
Passes are $95 for one day and $235 for three. For the full lineup and to buy tickets, go to Bang on a Can's website. ALAN SCHERSTUHL
Kids
BAMkids SpringFest
The rapper known as Hila the Earth may look as if she has the weight of the world on her shoulders. This isn't because she has a sad expression — far from it — but because she frequently wears a costume in the form of an enormous inflated globe.
Hila's 'eco rap' about preserving the planet will be just one of the highlights of the Brooklyn Academy of Music's BAMkids SpringFest, a free environmentally oriented extravaganza that will be held outdoors on Saturday (or inside the Peter Jay Sharp Building if it rains).
The entertainment will include international music and dance, interactive yoga and performances by three groups that will teach children some of their moves: the Alpha Phi Alpha Fraternity's step team, Ms. K's Swagga Jumpers (experts in double Dutch) and the circus troupe ABCirque.
Community organizations will also participate. Good People NYC will help young visitors create cups of ready-to-grow seedlings; Big Reuse will teach about composting; and Billion Oyster Project will lead an activity to build model food chains.
A schedule is online; registration at BAM's website is recommended but not required. LAUREL GRAEBER
Dance
New York City Ballet
The beloved ballet 'Paquita' was first performed in Paris in 1846, then revived and reimagined by the influential dance maker Marius Petipa in St. Petersburg, Russia, decades later. In 1951, George Balanchine restaged the first act, and now New York City Ballet's resident choreographer, Alexei Ratmansky, who is celebrated for his meticulous reconstructions of classic ballets, has crafted a fresh version that merges past productions with his own contemporary sensibility. After its premiere in February, Gia Kourlas, the dance critic for The Times, called it 'spectacular.'
Ratmansky's 'Paquita' returns this week for six performances as part of City Ballet's spring season. It is part of a program that also features 'A Suite of Dances' and 'Brandenberg' by Jerome Robbins and 'After the Rain Pas de Deux,' a haunting duet by Christopher Wheeldon. The season then continues with an appealing assortment of additional works by Ratmansky, Robbins, Justin Peck and others, culminating in a weeklong presentation of Balanchine's whimsical 'A Midsummer's Night Dream.'
The 'Paquita' program runs on Thursday and Friday at 7:30 p.m., Saturday at 2 and 7:30 p.m., and Tuesday and Wednesday at 7:30 p.m. Tickets start at $42 on City Ballet's website. BRIAN SCHAEFER
Theater
'Good Night, and Good Luck'
In his Broadway debut, George Clooney plays the broadcast journalist Edward R. Murrow, exposing the demagogic Senator Joseph R. McCarthy on air in 1954, during his Communist-hunting campaign of terror. Adapted by Clooney and Grant Heslov from their lauded 2005 movie of the same name, and using clips of the real McCarthy, it's a tale that pits truth against disinformation and those who sow it for their own political ends. David Cromer directs a cast that includes Will Dagger, one of Off Broadway's finest, making his Broadway bow as Don Hewitt, Heslov's role in the film. Read the review.
'The Picture of Dorian Gray'
Theatergoing admirers of the HBO drama 'Succession' love to ascribe its savvy artistry partly to the considerable stage chops among its cast. Now Sarah Snook, the Australian actor who played Shiv Roy — older sister to Kieran Culkin's Roman — makes her Broadway debut in Kip Williams's intricately high-tech retelling of Oscar Wilde's classic novel. Snook takes on all 26 characters, a feat that won her raves, and a 2024 Olivier Award, in the London run of this Sydney Theater Company production. Read the review.
'Gypsy'
Grabbing the baton first handed off by Ethel Merman, Audra McDonald plays the formidable Momma Rose in the fifth Broadway revival of Arthur Laurents, Jule Styne and Stephen Sondheim's exalted 1959 musical about a vaudeville stage mother and her daughters: June, the favorite child, and Louise, who becomes the burlesque stripper Gypsy Rose Lee. Directed by George C. Wolfe, with choreography by Camille A. Brown, the cast includes Danny Burstein, Joy Woods, Jordan Tyson and Lesli Margherita. Read the review.
'Hell's Kitchen'
Alicia Keys's own coming-of-age is the inspiration for this jukebox musical, which won two Tonys. Studded with Keys's songs, including 'Girl on Fire,' 'Fallin'' and 'Empire State of Mind,' it's the story of a 17-year-old girl (Maleah Joi Moon, last year's winner for best actress) in the Hell's Kitchen neighborhood of Manhattan, growing into an artist. Directed by Michael Greif, the show has a book by Kristoffer Diaz and choreography by Camille A. Brown. Read the review.
Art
'Weegee: Society of the Spectacle'
How did the photographer Arthur Fellig, better known as Weegee, go from hard-boiled shots of New York murder victims, criminal arrests and tenement fires during the 1930s and '40s — classic images that have never been equaled — to the cheesy distorted portraits of Hollywood celebrities that engaged him for the last 20 years of his life? That question is posed, if not persuasively answered, by this career-spanning retrospective. Like your family's ugly knickknacks that are sequestered in the attic, the lesser-known photographs of Weegee, from the late '40s until his death in 1968, have been mostly ignored by critics as an embarrassment. This is a rare chance to view the work and make a judgment. Read the review.
'Caspar David Friedrich: The Soul of Nature'
This is much more than a showcase of the Romantic icon 'Wanderer Above the Sea of Fog,' the wistful rear view Caspar David Friedrich painted circa 1817, which has come to America for the first time. The show has some surprises for audiences who associate Friedrich, and early-19th-century art more generally, with calm and tranquillity. Organized with three German museums, the exhibition includes 88 paintings and drawings, of rocks gleaming in the moonlight, solitary crucifixes in evergreen forests, and lonely Germans gazing out onto the sea. Read the review.
'Picture Stories: Photographs by Arlene Gottfried'
Arlene Gottfried was drawn to everyday folks who sparkled with the flair of performers. And through her eyes, New York took on the excitement of a circus. In her heyday, during the 1970s and '80s, she prowled the city with her camera, finding colorful characters who responded with a knowing urban gaze. Typically, they were Black, Puerto Rican, Jewish, gay. In the neighborhoods where she lived and hung out — the Lower East Side, East Harlem, Crown Heights, Coney Island and Greenwich Village — these groups mixed freely, brewing up a heady cocktail that intoxicated her, as can be seen in this small, tantalizing exhibition at the New York Historical, to commemorate its recent acquisition of nearly 300 of Gottfried's photographs. Read the review.
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Los Angeles Times
43 minutes ago
- Los Angeles Times
Tony Awards: Hollywood A-listers brought the spotlight to Broadway, but stage thespians carried the day
Broadway finally got its groove back. The 2024-25 season was the highest-grossing season on record and the second-highest in terms of attendance. Hollywood A-listers, such as George Clooney in 'Good Night, and Good Luck,' and Denzel Washington and Jake Gyllenhaal in 'Othello' got in on the action, raising Broadway's media profile along with its ticket prices. Two Emmy-winning alums of HBO's 'Succession,' Sarah Snook in 'The Picture of Dorian Gray' and Kieran Culkin in 'Glengarry Glen Ross,' have been treading the boards, as has Netflix's 'Stranger Things' standout Sadie Sink in 'John Proctor Is the Villain.' And though the experience seems to have been memory-holed, Robert Downey Jr. made a respectable Broadway debut in September in Ayad Akhtar's too-clever-by-half AI drama, 'McNeal.' On Sunday, the Tony Awards paid homage to the astonishing array of acting talent that drew audiences back to the theater. But it wasn't star power that determined the evening's prizes. It was boldness — unadulterated theatrical fearlessness — that carried the day. The ceremony, held at Radio City Music Hall amid the art deco splendor of old New York, was presided over by Tony-winner Cynthia Erivo, a natural wonder of the theatrical universe. One of the turbo-powered stars of the blockbuster screen adaptation of 'Wicked,' she was the ideal host for a Broadway year that owed its success to the unique ability of high-wattage stage performers to forge a singular connection with audiences. Viewers watching the ceremony on CBS were offered a glimpse of the cyclonic energy she can generate in a bubbly opening number celebrating the nominees. It didn't matter that most watching from home hadn't seen the shows name-checked in the specially composed novelty song. The vivacity of the art form broke through the screen courtesy of Erivo's capacity to blast through any barrier with her truthful virtuosity. Will Aronson and Hue Park's 'Maybe Happy Ending' was the evening's big winner, picking up six Tonys, including best musical. Branden Jacobs-Jenkins' 'Purpose,' which received the Pulitzer Prize for drama this year, was chosen as best play in a season showcasing a refreshingly wide range of ambitious playwriting. Anna D. Shapiro's sharply-tuned production of Jonathan Spector's 'Eureka Day,' a bitingly funny satire on the vaccine debate, won for play revival. And Jamie Lloyd's radical reworking of 'Sunset Blvd.' took the prize for musical revival. All in all, it was a strong season for directing. Michael Arden won for his exquisitely humane staging of the futuristic robot musical, 'Maybe Happy Ending.' And Sam Pinkleton was honored for his wild and whirling synchronization of Cole Escola's 'Oh, Mary!' As a critic, I don't usually have to pay for theater tickets, but I got a taste of the ludicrousness when charged $500 to see Washington and Gyllenhaal in a flaccid revival of 'Othello.' Apparently, I got off cheaply compared to a friend who paid even more for a worse seat on the same night. But the price-gouging didn't dent my appreciation for a season that reminded me of the privilege of being in the room where the theatrical magic happens. (Yes, even 'Othello' had its intermittent rewards.) Communing with audiences in the presence of gifted stage performers is one of the last bastions of community in our screen-ridden society. I was grateful that CNN made the agonizingly timely 'Good Night, and Good Luck' available to a wider public, presenting Saturday night's performance live. But watching Clooney and company on TV wasn't the same as being in the Winter Garden with them during the performance. It wasn't simply that the camerawork profoundly altered the visual storytelling. It was that at home on my couch I was no longer enclosed in the same shared space that brought history back to the present for a charged moment of collective reflection. The Tony Awards honored those actors who embraced the immediacy of the theatrical experience and offered us varieties of performance styles that would be hard to find even in the more obscure reaches of Netflix. Cole Escola, the first nonbinary performer to win in the lead actor in a play category, accepted the award for their fiendishly madcap performance in 'Oh, Mary!' — a no-holds-barred farcical display of irreverence that ignited a firestorm of hilarity that threatened to consume all of Broadway. Snook won for her lead performance in 'The Picture of Dorian Gray,' a multimedia collage of Wilde's novel that had the protean 'Succession' star playing opposite screen versions of herself in what was the season's most aerobically taxing performance. Francis Jue, who delivered the evening's most moving and politically pointed speech, won for his shape-shifting (and age-defying) featured performance in the revival of David Henry Hwang's 'Yellow Face.' And Kara Young, who won last year in the featured actress in a play category, repeated for her heightened artistry in 'Purpose,' the kind of extravagant performance no screen could do justice to. Nicole Scherzinger, who was honored as best lead actress in a musical for her portrayal of Norma Desmond in a bracing revival of Andrew Lloyd Webber's 'Sunset Boulevard,' demonstrated the power of theater to seize hold of us when she performed 'As If We Never Said Goodbye' on the telecast. In her Broadway debut, Scherzinger, who came to fame with the Pussycat Dolls, faced stiff competition from Audra McDonald, the six-time Tony winner starring in 'Gypsy.' No performance moved me more this season than McDonald's harrowing portrayal of Rose. In George C. Wolfe's revival, the character is a Black woman struggling not just with her frustrated dreams of stardom displaced onto her children but with the injustice of history itself. McDonald was given the impossible task of performing 'Rose's Turn' on the telecast, her character's Lear-like cri de cœur in song. She delivered, as she always does, but again I wish audiences at home could experience the broken majesty of this number in context at the Majestic Theatre, where theatergoers have been rising up in unison, wiping away tears, to express their gratitude for McDonald's sacrificial generosity. Darren Criss, an alum of 'Glee,' received his first Tony for endowing an outdated robot with a sophisticated taste for jazz with a deft physical life and diffident (yet unmistakable) humanity. His lead performance in 'Maybe Happy Ending' (perfectly in sync with that of his impressive co-star, Helen J Shen) is as responsible for the musical's unexpected success as Arden's staging and Dane Laffrey and George Reeve's Tony-winning scenic design. Natalie Venetia Belcon, the heart and soul of 'Buena Vista Social Club' along with the band, was honored for her featured performance in the musical that tells the story of Cuban musical style that defied history to seduce the world. And Jak Malone, who was responsible for the evening's second most riveting speech, won for his gender-blurring featured performance in'Operation Mincemeat: A New Musical.' These performances, by names you probably don't know all that well, embraced the special properties of an art form that is larger than life and all the more acutely exposed for being so. It takes enormous skill and dedication to find the delicacy in such theatrical grandeur. These artists know that flamboyance needn't preclude subtlety, and that stardom neither guarantees nor bars revelation. Actors from all ranks are clearly hungering for the kind of substance and freedom that the stage can uniquely provide. Off-Broadway has been filled with marquee talents connecting with audiences whose main interest is potent work. Patsy Ferran, starring opposite Paul Mescal in the Almeida Theatre production of 'A Streetcar Named Desire' at the Brooklyn Academy of Music's Harvey Theater, was, hands down, the best performance I saw all year. Andrew Scott in 'Vanya' at the Lucille Lortel Theatre, Adam Driver in Kenneth Lonergan's 'Hold on to Me Darling' also at the Lortel, Lily Rabe in Mark O'Rowe's adaptation of Ibsen's 'Ghosts' at Lincoln Center Theater's Mitzi E. Newhouse and Nina Hoss and Adeel Akhtar in the Donmar Warehouse production of 'The Cherry Orchard' at St. Ann's Warehouse left me feeling, as only theater can, more consciously alive and connected. The speeches at the Tony Awards, for the most part, skirted politics. This reticence was surprising given what we're living through. But there's something deeply political when we gather to look in the mirror that artists hold before nature. The politics are implicit, and this year Broadway reminded us that our humanity depends upon this ancient, timeless art.
Yahoo
an hour ago
- Yahoo
Academy Museum Brings ‘Wonders of Technicolor' Series to New York with ‘Willy Wonka,' ‘The Red Shoes,' ‘Cabaret,' and More
Since Netflix bought and restored The Paris Theater, one of New York City's last remaining single-screen movie theaters, the streaming service has used the historical venue to give a big-screen showcase to its original films. The streamer has also used The Paris to host increasingly robust retrospectives, and today IndieWire exclusively announces that Netflix has partnered with the Academy of Motion Picture Arts and Sciences to bring 'The Wonders of Technicolor' series to New York this summer. The retrospective series originally played this fall at the Academy Museum of Motion Pictures in Los Angeles to accompany the museum's 'Color in Motion: Chromatic Explorations of Cinema' exhibition. More from IndieWire 'Prime Minister' Review: An Up-Close-and-Personal Peek Into Jacinda Arden's Six-Year Term Shows What Thoughtful Leadership Can Look Like Danny Boyle and Alex Garland Had Planned a 'Sunshine' Trilogy, Boyle Recalls 'Big Blowout' with Fox Exec Over Sci-Fi Movie Technicolor IV was introduced in the 1930s. The three-strip color technology produced saturated and vibrant colors, often described as 'crisp' due to how the three-strip color negative and printing process kept the colors distinct from one another, avoiding the 'bleeding' that became common after the process faded from the industry. Hollywood used the enormous Technicolor cameras — which required special color consultants to advise on cinematography, costumes, and sets — for its biggest productions, especially musicals, up until the mid-1950s, when the old Studio System started to crumble. The shot in 'Glorious Technicolor' branding on posters and in the opening titles signaled to the audience that they were in for a special big-screen experience. The series at The Paris will kick off the weekend of June 28-29 with 'An American in Paris' and 'The Wizard of Oz,' and run through August 6. Other classic Technicolor films screening as part of the series are 'Willy Wonka and the Chocolate Factory,' 'Fantasia,' 'Gentlemen Prefer Blondes,' 'The Red Shoes,' 'The Black Pirate,' and 'The Women.' Also included in the series are Alfred Hitchcock's 'Vertigo' and Bob Fosse's 'Caberet,' which were shot after Technicolor's heyday on Eastman color film stock, but then printed on Technicolor stock, a combination resulting in a more modern and less studio-stage look for the color technology as it faded from existence. For 'The Wonders of Technicolor' screening and ticket information, visit The Paris Theater's website. Best of IndieWire Guillermo del Toro's Favorite Movies: 56 Films the Director Wants You to See 'Song of the South': 14 Things to Know About Disney's Most Controversial Movie Nicolas Winding Refn's Favorite Films: 37 Movies the Director Wants You to See
Yahoo
an hour ago
- Yahoo
10 new and returning Netflix shows to watch this week (June 8-14)
If you purchase an independently reviewed product or service through a link on our website, BGR may receive an affiliate commission. We share the list of all the shows, movies, and specials coming to Netflix every month, but with as much content as the streaming service releases, it can be hard to keep track of it all. We are here to help with a breakdown of all the new and returning shows hitting Netflix this week, from comedies and dramas to reality shows and docuseries. This is two weeks in a row that Netflix has added ten seasons of shows to its streaming service, which is quite an impressive feat. There are plenty of adult dramas and comedies from all over the world, but the kids have new cartoons to watch as well. Today's Top Deals Best deals: Tech, laptops, TVs, and more sales Best Ring Video Doorbell deals Memorial Day security camera deals: Reolink's unbeatable sale has prices from $29.98 Parents know that Netflix is the service to beat when its comes to kids shows, and The Creature Cases is just one of the many kid-friendly animated series. The series follows Covert League of Animal Detective Experts (C.L.A.D.E.) agents Sam Snow (a snow leopard) and Kit Casey (a kit fox) as they solve mysteries and go on adventures. Thomas Vinterberg, director of Another Round and The Hunt, debuted his first series at Venice in 2024. Netflix snatched it up, and now, nearly a year later, it's coming to streaming. The series is set in the near future, following a student named Laura (Amaryllis August) as she evacuates Denmark along with everyone else due to rising water levels. 'After a shocking public incident with her husband, a woman living in a world of glitz and gold credit cards loses everything,' Netflix says of this Polish show. 'Forced to start a new life from scratch, she has to face a reality governed by entirely different rules.' This docuseries is about the arrest of four French nationals on a private jet in the Punta Cana airport on March 20, 2013. 700 kg of cocaine was found on board, but the passengers claim they don't know who the luggage belongs to. What's the real story? The Fairly OddParents: A New Wish is the animated sequel series to the original Nickelodeon series, with Cosmo and Wanda interrupting their retirement to be 10-year-old Hazel Wells' new fairy godparents. 10 new episodes hit Netflix this week. Arnold Schwarzenegger returns with his team of secret agents for season 2 of FUBAR, which also introduces Carrie-Anne Moss as the German spy Greta Nelso. 'I don't know if I've ever had so much fun doing a job,' Moss told Netflix's Tudum. 'When the reigning King of Joburg makes an impossible and illogical deal to take over the notorious King of Cape Town's empire, it unleashes a deadly chain of events that not even Mo' Masire can stop…. Or can he!?' says Netflix about this South African crime series. The streamer refers to Rana Naidu as 'Netflix India's breakout series of 2023,' and in the second season of this action drama franchise, Rana the fixer struggles to keep himself and his family safe from the many dangerous people he works with. One of Netflix's most popular reality shows makes its way to Spain, and 10 singles have to give up sex if they want to win €100,000. This latest spinoff joins other international versions of the show in Germany, Mexico, Brazil, and Italy. Just weeks after the 21st season of Grey's Anatomy wrapped up on ABC, Netflix subscribers are going to get the chance to catch up on all of the latest drama at Grey Sloan Memorial Hospital. And don't worry, it's already been renewed for season 22. Don't Miss: Today's deals: Nintendo Switch games, $5 smart plugs, $150 Vizio soundbar, $100 Beats Pill speaker, more More Top Deals Amazon gift card deals, offers & coupons 2025: Get $2,000+ free See the