Featured events in October 2018
The Metropolitan Opera House is one of the newest additions to the Open House New York, the weekend-long festival where more than 250 fascinating sites across New York open their doors to the public. The incredibly popular two-day event offers glimpses into spaces that are usually off limits to the public, from sky-high rooftop gardens to palatial apartments.
New York is one happily caffeinated city—its love of java is well documented, from cold brews at your neighborhood café to spiked Irish coffees at the best bars in NYC. We even have an entire festival wholly dedicated to coffee—you can spend a perked-up weekend in awe over live latte art, sipping espresso-laced, non-classic martinis and sidling up to a steampunk brew bar.
Have you figured out what you’re doing this Halloween? NYC is full of Halloween parties and events (including the iconic Village Halloween Parade and the Tompkins Square Park Halloween Dog Parade)—use our guide to find things to do, Halloween stores where you can pick up a killer costume, the scariest haunted houses and more.
Before you head out to some of the best Halloween parties in NYC, start with the basics: namely, the world’s largest pumpkin day procession, the Village Halloween Parade in NYC. With over 50,000 zombies, giant puppets and Donald Trumps taking to the streets, you may need a little help with navigation. So dress in your best Halloween costume ideas (or else you won’t be allowed to march), work on your Halloween makeup and get ready for the walk of your life.
Selling Fast in October 2018
Tom and Betsy Salamon’s unique adventure—part interactive theater, part scavenger hunt, part walking tour—draws participants into an amusing web of puzzles and intrigue. You can choose between the three-hour New York tour, which takes participants through various neighborhoods of lower Manhattan, or the two-hour Village tour, which travels through quirky Greenwich Village on Saturdays. Groups of as many as 11 are booked every half hour.
Part cabaret, part piano bar and part social set, Cast Party offers a chance to hear rising and established talents step up to the microphone (backed by the slap and tickle of Steve Doyle on bass and Billy Stritch at the ivories, plus the bang of Daniel Glass on drums). The waggish Caruso presides as host.
Broadway by the Year impresario Scott Siegel curates this monthly concert series, in which Broadway stars sing some of the Great White Way's best-loved tunes. Performers at the September edition include Lisa Howard, John Cudia, Danny Gardner, Ward Billeisen, Maxine Linehan and Brian Charles Rooney.
Stand up and musical dynamo Ikechukwu Ufomadu takes over Joe's Pub for a night of dry and witty sets, charming songs and special guests. After crushing it at UCB, Ars Nova and Under the Radar Fest, Ike is on a roll, and you don't want to miss him before he becomes a household name. His droll, murmuring delivery—delivered with a confidence as big as all outdoors—leaves audiences in a haze of laughter.
Mosher is one of those talents you need to see to believe: warm, funny, biting, ferociously committed. In her biweekly series at the brand-new Birdland Theater, she invites a gaggle of performers from Broadway and beyond to show their talents. Guests at the September 18 edition include Beth Leavel, Tori Scott, Marcus Paul James, Caroline Jackson, Mark Planner, Celisse Henderson, Christine Pedi, Terry Palasz, Allie Sciulla and the mononymous Will.
Dive deep into the terrors and artistic triumphs of genre filmmaking at this annual festival, which features premieres of new scary movies like the grisly satire Cannibal Club, the shorts anthology The Field Guide to Evil and the documentary Wolfman's Got Nards. Head to “Miskatonic: Big Scares on the Small Screen,” for a discussion on made-for-TV horror movies, and don't miss the cursed ’70s flick ATRUM, which is showing alongside a documentary about the film's history of ill-fated screenings. On second thought, maybe do miss that.
With the start of a new season comes a new wave of young powerhouses ready to risk their reputations for a chance at eternal glory on the iconic Apollo stage. Your cheers (or boos) will decide who receives the night’s biggest honor—Top Dog—along with a cash prize of $20,000. Consider this your chance to see legends in the making before they become household names.
Theater events in October 2018
Director-designer Julie Taymor takes a reactionary Disney cartoon about the natural right of kings—in which the circle of life is putted against a queeny villain and his jive-talking ghetto pals—and transforms it into a gorgeous celebration of color and movement. The movie’s Elton John–Tim Rice score is expanded with African rhythm and music, and through elegant puppetry, Taymor populates the stage with an amazing menagerie of beasts; her audacious staging expands a simple cub into the pride of Broadway, not merely a fable of heredity but a celebration of heritage.—Adam Feldman Running time: 2hrs 40mins. One intermission.
One of the more unlikely musicals on Broadway this season, Come from Away is the tense but humane story of an airport in Gander, Newfoundland, where 38 planes and more than 6,000 passengers were forced to land on September 11, 2001. The book, music and lyrics are by the Canadian team Irene Sankoff and David Hein. Read the full review.
Waitress: Theater review by David Cote [Note: Nicolette Robinson plays the lead role of Jenna through October 28. Today Show weatherman Al Roker joins the cast from October 5 through November 11.]One’s sorely tempted to praise the delightful new musical Waitress using lots of bakery metaphors. After all, its hero is a pastry genius with relationship woes named Jenna (Jessie Mueller). She’s a perky Southern gal who can confect a mouthwatering Mermaid Marshmallow Pie but can’t measure the right ingredients for happiness. So, unable to resist, here I go: Fresh and delicious, Waitress has an excellent ratio of sweet to tart; supporting characters who provide crustiness (Dakin Matthews’s grumbly store owner) and flakiness (Christopher Fitzgerald’s loony admirer of another waitress); and cooked-to-perfection staging by Diane Paulus. The whole dish is—please forgive me—love at first bite.Based on the 2007 indie film by the late writer-director Adrienne Shelly, Waitress has been whipped (I’ll stop now) into an expertly constructed and emotionally satisfying tale of self-liberation in the face of limited options. Jessie Nelson’s broadly comic yet brooding book meshes wonderfully with a frisky, bright score by pop star Sara Bareilles, a seasoned songwriter who lets the Beatles and other Britpop influences shine through. Bareilles’s custom-built earworms address workplace pluck (“Opening Up”), first-date jitters (“When He Sees Me”), quirky, obsessive love (“Never Ever Getting Rid of Me
Three deadpan blue-skinned men with extraterrestrial imaginations carry this tourist fave, a show as smart as it is ridiculous. They drum on open tubs of paint, creating splashes of color; they consume Twinkies and Cap'n Crunch; they engulf the audience in a roiling sea of toilet paper. For sheer weird, exuberant fun, it's hard to top this long-running treat. (Note: The playing schedule varies from week to week, with as many as four performances on some days and none on others.)
Theater review by Adam FeldmanBroadway musicals often feature heroines trying to find themselves, but perhaps never as literally as in Anastasia. In 1927 Leningrad, the scrappy, strapping Dmitry (Derek Klena) and the worldly, roguish Vlad (John Bolton) devise a scheme to pass off a street sweeper, Anya (Christy Altomare), as the Grand Duchess Anastasia Nicholaevna Romanov, rumored to have survived the massacre of the rest of her royal family in the Russian Revolution 10 years earlier. But as the con men school her, My Fair Lady–like, in the ways of nobility—hoping to deceive Anastasia’s grandmother in Paris, the Dowager Empress (an elegant Mary Beth Peil)—it emerges that Anya may be the real Anastasia after all. Who knows? Not Anya: She has amnesia. What former self might be nested like a doll inside her, waiting to be revealed? And might there be other dolls inside that one?As Anastasia piles discovery upon discovery, the happiest surprise is how consistently good the musical turns out to be. Smartly adapted by Terrence McNally from the 1997 animated film and the 1956 Ingrid Bergman movie—with Stephen Flaherty and Lynn Ahrens impressively expanding their score from the former—Anastasia is a sweeping adventure, romance and historical epic whose fine craftsmanship will satisfy musical-theater fans beyond the show’s ideal audience of teenage girls. (When I saw it, a second-act kiss was greeted with deafening shrieks of approval.) Director Darko Tresnjak keeps the story swirling
[Note: Since this review was written, Then She Fell has moved and reopened; it now plays on three floors of a church building in Williamsburg.] At first blush, Then She Fell seems to be a small-scale cribbing of Punchdrunk’s Sleep No More. Yes, you wander solo through intricately dressed rooms in a creepy building; yes, that man in a cravat is crawling up the wall in front of you. But you begin to realize that Third Rail Projects’ interactive riff on Lewis Carroll’s Alice books is using a similar language to give you a different experience: When you peer into the looking glass, it stares right back at you. Performed in the former Greenpoint Hospital, the show only permits 15 audience members a pop—making for a distinctly intimate experience. You’re given a shot of mulled wine and a set of keys before nurses, Carroll characters and even the psychotropic author himself usher you through a combination Wonderland–psych ward. As in Sleep No More, no two individuals will have the same evening. You may find yourself taking dictation for the Hatter (the mesmerizing Elizabeth Carena), painting cream-colored roses red with the White Rabbit (Tom Pearson) or sitting down to the infamous tea party with the whole gang. The experiences that director-designer-mastermind Zach Morris and his company offer are stunningly personal. You don’t have a mask to hide behind here—when you peep in on the Red Queen (Rebekah Morin) having a private breakdown, she catches you watching through the two-wa
Theater review by Adam Feldman After seeing the imaginative and dynamic Once on This Island, you may feel that once is not enough. Michael Arden’s immersive revival of Lynn Ahrens and Stephen Flaherty’s 1990 musical is staged in the round and constantly on the move, drumming its story forward to a steady throb of pop-Caribbean beats. Framed as a folktale shared among impoverished islanders—Dane Laffrey’s sandy set suggests the aftermath of a natural disaster—the plot follows naive orphan Ti Moune (Hailey Kilgore, in a winsome Broadway debut), who falls for a boy above her station: the rich and light-skinned Daniel (Isaac Powell). Overseeing their quasi-romance, which defies the strict class and color divides of their French Antilles isle, is a quartet of sometimes capricious gods, played by Lea Salonga, Quentin Earl Darrington, the striking Merle Dandridge and the remarkable Alex Newell (in an astonishing drag diva turn). One of Ahrens and Flaherty’s earliest collaborations, Once on This Island is patchy in parts. Its best-known songs, “Waiting for Life” and “Mama Will Provide,” bring down the house, but there are also languors (such as the drippy “The Human Heart”). And the central story of female sacrifice and degradation, which borrows liberally from Hans Christian Andersen’s “The Little Mermaid,” is treated as more inspirational than it actually is. But it is hard to imagine a better account of the show than the one that Arden and his team—including choreographer Camill
To untimely rip and paraphrase a line from Macbeth: Our eyes are made the fools of the other senses, or else worth all the rest. A multitude of searing sights crowd the spectator's gaze at the bedazzling and uncanny theater installation Sleep No More. Your sense of space and depth---already compromised by the half mask that audience members must don---is further blurred as you wend through more than 90 discrete spaces, ranging from a cloistral chapel to a vast ballroom floor. Directors Felix Barrett and Maxine Doyle, of the U.K. troupe Punchdrunk, have orchestrated a true astonishment, turning six warehouse floors and approximately 100,000 square feet into a purgatorial maze that blends images from the Scottish play with ones derived from Hitchcock movies—all liberally doused in a distinctly Stanley Kubrick eau de dislocated menace. An experiential, Choose Your Own Adventure project such as this depends on the pluck and instincts of the spectator. You can follow the mute dancers from one floor to the next, or wander aimlessly through empty spaces. I chose the latter, discovering a room lined with empty hospital beds; a leafless wood in which a nurse inside a thatched cottage nervously checks her pocket watch; an office full of apothecary vials and powders; and the ballroom, forested with pine trees screwed to rolling platforms (that would be Birnam Wood). A Shakespearean can walk about checking off visual allusions to the classic tragedy; the less lettered can just revel in
[Note: Abby Mueller, the sister of original star Jessie Mueller, takes over as King starting August 7.] Beautiful—The Carole King Musical shares several virtues with its titular singer-songwriter, among them humility, earnestness and dedication to craft. If Douglas McGrath’s book never achieves the dramatic grit or comic zip of Jersey Boys, at least director Marc Bruni’s production avoids being a brain-dead, self-satisfied hit parade à la Berry Gordy’s Motown. Still, it does seem that stretches of Broadway’s newest jukebox musical consist of situations such as this: “Carole, you’ve got to write us a hit!” “I’ve written something.” “It’s a hit!” Yes, Beautiful loves its diligent, long-suffering pop genius, and invites you to do the same. It’s quite an easy task when you have the phenomenal Jessie Mueller in the lead. The effortlessly appealing star cut her teeth on Broadway flops (the mis-reconceived On a Clear Day You Can See Forever) and in supporting parts (The Mystery of Edwin Drood). Now she’s ready to carry a show. As Brooklyn-raised King, who started churning out teenybopper tunes at 1650 Broadway in the late ’50s, Mueller exudes warmth and common sense, playing up King’s old-fashioned modesty and insecurity without becoming a doormat or cipher. And when she wraps her rich, burnished voice around those hits—“So Far Away,” “Will You Love Me Tomorrow,” “It’s Too Late”—they feel as fresh as the day King penned them. McGrath’s deft, wry book tracks its hero’s tortured fi
School of Rock: Theater review by David CoteEver see the pitch-perfect 2003 Jack Black comedy School of Rock? Then you know what to expect from the musical version: fake substitute teacher Dewey Finn frenetically inspiring his charges to release their inner Jimi Hendrix; uptight preppy tweens learning classic riffs; and the band’s pivotal, make-or-break gig, with their overbearing parents watching in horror. We expect cute kids in uniform, a spastic Dewey and face-melting riffs—along with heart-tugging family stuff. It worked for the movie, and wow, does it work on Broadway, a double jolt of adrenaline and sugar to inspire the most helicoptered of tots to play hooky and go shred an ax. For those about to love School of Rock: We salute you. What a relief to see that an unlikely creative team—Downton Abbey creator Julian Fellowes, veteran composer Andrew Lloyd Webber and lyricist Glenn Slater (Leap of Faith)—successfully execute such a smart transfer of film to stage. This is one tight, well-built show: underscoring the emotional arcs (Dewey as both surrogate kid and parent; the students’ yearning to be heard); gently juicing the romantic subplot between Dewey and buttoned-up school principal Rosalie Mullins (sweetly starchy Sierra Boggess); and knowing when to get out of the way and let the kids jam. School of Rock has absorbed the diverse lessons of Rent, Spring Awakening and Matilda and passes them on to a new generation.You’d have to have zero sense of humor about pop to no
Music events in October 2018
With the Farewell Yellow Brick Road tour, Sir Elton is saying a final goodbye to the touring life. That's right—this is your final chance to catch the rollicking songman live in person, as he takes the audience on a massive visual journey spanning his entire 50-year career. Swoon along to "Tiny Dancer," make juvenile hand gestures to "Crocodile Rock" and smile meaningfully at your folks during "Can You Feel the Love Tonight" here for one last time.
The local indie-rock heroes, whose punky, crunched-out anthems manage to sound both commanding and casual, hit Greenpoint behind their imaginative and wildly entertaining lastest, All At Once. Brace yoursef, frontwoman Marissa Paternoster's soul-shaking vibrato is even more thrilling live.
The industrial icons roll into town behind their latest, Bad Witch, which finds the band as vigorous and relevant as ever. The tour's supporting acts are nothing to sneeze at: shoegaze luminaries the Jesus and Mary Chain join Reznor and Co. for all dates, Savages bassist Ayse Hassan's Kite Base rounds out the lineup on Oct 13 and electronic maven Daniel Avery opens the last three shows. Get there early.
Sitting at the intersection of R&B, classical and gospel, serpentwithfeet’s Josiah Wise creates pop music that manages to be both cavernous and intimate, experimental and accessible. His stunning debut album, soil, appeared in June and excellently showcases Wise's otherworldly vibrato, giving it ample space to shiver against the potent, haunting textures of producers Clams Casino, mmph and Katie Gately. Expect to get some shivers of your own at this Elsewhere appearance.
Big Thief’s second full-length release, Capacity, appeared last year and found guitarist and vocalist Adrianne Lenker following up her folk-rock band's critically acclaimed debut, Masterpiece, with a slow-burner that expertly distilled years of songwriting experience into a wide-ranging yet seamless collection. You'll hear from it at this show, and be mighty glad you did.
For a second there, it seemed like this Cali funk-pop crew's popularity was on the wane, but thanks to his profile boost as a coach on reality talent contest The Voice, Adam Levine is riding high once more. Whatever you think of the falsetto-shrill, modelizing frontman, Maroon 5’s slick, radio-friendly rock, as heard on last year's V, really hits the spot when you’re in the mood for an effervescent earworm.
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