This was true in 2016, when I first posted it, and it proves once again that Chekhov provides a model for new plays and spurs a playwright to use The Cherry Orchard as a starting point for startling new work:
Anton Chekhov, it seems, provides excellent inspiration for contemporary Americans in his line of work. As if the Chekhov challenge asks the modern playwright to match him wit for wit and build on his premises.
Chekhov teases imitators, adaptors, translators and audiences with themes of grandeur and loss. His plays are shown on stages large and small each year; his works are mimicked in pastiches, like Stupid F**king Bird at the Pearl, or Minor Character— in Brooklyn from June 17-25, 2016. In the latter, multiple versions of Uncle Vanya merge in a mist of millenial angst.”
This March, The Cherry Orchard is the influence for Breitwisch Farm, a play by Jeremy J. Kamps at the Esperance Theater Company at the new Tribeca venue, Town Stages. Breitwisch Farm explores issues of displacement and immigration in the era of America First, giving Chekhov’s story a distinctly of the moment twist. The play runs from March 2nd through March 16th.
Breitwisch Farm author Jeremy J. Kamps is part of the Public’s Emerging Writers Group. The play stars Danaya Esperanza, Joe Tapper, Katie Hartke, Will Manning, Charlie Murphy, Maria Peyramaure, Alejandro Rodriguez, and Katie Wieland, under Ryan Quinn‘s direction.
Jerome Robbins was a man who knew how to put on a show. His ballets has as much pomp and circumstance, flair and flavor as any of his Broadway show.
At 30-40 minutes, they constitute something like a one-act on every program on which they are featured. Like many another dance-maker, Robbins covered a range of styles and subjects. There’sNY Export: Opus Jazz, the West Side Story Suite, and I’m Old Fashioned with their modern and pop culture motifs.
The Four Seasons, set to ballet interludes by Verdi from a number of his operas, is an exhilirating and very classical entertainment. In it he creates not just a mise en scène that takes us from winter through spring to summer and fall but also hearkens to Shakespeare. A Puck-like figure (puckishly danced by Preston Chamblee at the performance we attended) gambols through the final chapter of the ballet.
The Four Seasons with its processions representing the times and temperatures that progress through the year is at once majestic and light-hearted. Robbins, a much lauded stage choreographer contributed greatly to the NYCB repertoire in his long association with the company. He joined George Balanchine as Associate Artistic Director of the New York City Ballet in 1949.
Going to theaters to see drama, comedy or dance is one of the ways in which New Yorkers get to spend their free time. New entertainments abound. Here is a short and very incomplete list of suggestions for you:
You’ve heard a good deal from us about the New York City Ballet, a company which enjoys many seasons at its New York Lincoln Center hq. It will continue its present winter presentations with classics and new works from the repertory and Peter Martins’ Romeo and Juliet starting the week of February 13th. Balanchine, Ratmansky, Peck, Peter Walker etal return from February 24th through March 4th, at which point the Paul Taylor troupe takes the David H. Koch stage.
A special performance on Tuesday, March 6 at 7pm – Dance for All generously underwritten by Taylor Foundation Trustee Elise Jaffe and Jeffrey Brown – has been added to the 2018 Season of Paul Taylor American Modern Dance (PTAMD) at the David H. Koch Theater at Lincoln Center. All seats to this performance by the Paul Taylor Dance Company, with music performed live by Orchestra of St. Luke’s, featuring Paul Taylor’s classics Arden Court, Banquet of Vultures and Promethean Fire, will cost just $5. Tickets to the performance,, will go on sale, Wednesday, February 7 at 10:00 a.m. at the Koch Box Office at 20 Lincoln Center Plaza or at www.boxoffice.dance. There are no facility fees or convenience charges for these tickets.
Actors and screen-writers are busier these days than they have been in some time. There are “streaming” shows, 100s of cable outlets producing both series and movies, and of course Hollywood and the Indie scene all requiring their talents and services.
We are the beneficiaries of all this production. We will be enlightened, entertained and excited by the films they produce.
What better way to spend Valentine’s Day than binge watching Divorce?
Gifted, the movie with Chris Evans and Mckenna Grace, and not so incidentally Octavia Spencer, Jenny Slate, Lindsay Duncan, and Elizabeth Marvel, is touching without being maudlin. It is generally intelligent, with a sterling performance by young Ms. Grace, and until we saw it last night on HBO, I had not heard much about it.
The assignment for Black History Month can include the excellent Get Out, Jordan Peele’s genius defies and reinvents the “horror” genre.It should also feature a viewing of Birth of a Nation, perhaps both in its regressive D.W. Griffith 1915 version and Nate Parker’s 2016 “remake.” The contrast between a paen to the Ku Klux Klan and to Nat Turner’s slave rebellion may prove edifying. Add Steve McQueen’s 12 Years a Slave (although not our personal favorite) to your list of films for 2018. (In the New Yorker, Vinson Cunningham expresses a different view, especially of Parker’s film.)
Art is meant to engender controversy, stimulate and even incense and enrage. We should not be passively diverted in its presence. It is here to help us ponder life’s (and history’s) biggest issues.
Thanks to films and serial dramas we have a lot to consider and enjoy. And we are treated to some terrific performances in the bargain.