The best NYC events in September include everything from early fall celebrations to incredible art and cultural events, so you better start planning early. Luckily, you can use our events calendar for September as a guide to schedule all the happenings you don’t want to miss, including some of the best things to on Labor day, the West Indian Day Parade, and the one of the best NYC street fairs, Atlantic Antic. Sure, summer is nearly over, but the warm-weather isn’t going anywhere anytime soon. So make sure to enjoy all of the wonderful things to outside in New York before the cold front sweeps in!
RECOMMENDED: Full NYC events calendar for 2017
Featured NYC events in September 2017
The annual West Indian Day Parade draws close to two million people to Crown Heights in Brooklyn each year. During the seven-hour New York carnival, steel-pan and calypso bands in elaborate costumes march down Eastern Parkway, and vendors sell homestyle island grub along the route.
Before you bid summer adieu, go out with a bang on Labor Day. Whether you want ideas for cool out-of-town spots or just want a staycation, we've listed all the best events and other unmissabale things to do, including ways to have the best summer ever before Labor Day weekend 2017.
One of the top things to do in New York this fall includes two weeks of drinking some of the best beer in NYC during Oktoberfest. Take in the beautiful fall foliage while drinking at one of the best beer gardens and beer halls in New York City. Oktoberfest New Yorkers, take advantage of this glorious holiday to sample fine Bavarian beer and food. Prost!
The Oscars of street food returns for its 13th annual roving-eats smackdown, where nominated food trucks, stalls and pushcarts post up on Governor’s Island to compete for your final vote. Experience cuisine from all around the world with diverse offerings from top contenders. Public nominations determine the winner, so you get to choose by casting a ballot to crown the next food truck champ.
The company’s fall season includes 14 works by cofounder George Balanchine, including the full-length Jewels and two programs of shorter pieces. Also on the schedule are a collection of dances by Jerome Robbins (including Glass Pieces) and world premieres of ballets by Lauren Lovette, Annabelle Lopez Ochoa, Justin Peck and Peter Walker.
Look out New York City dance clubs, the Electric Zoo Festival is poised to take over Labor Day weekend, briging hoards of EDM fans to Randall's Island for the event's eighth summer. The festival has become an unmissable attraction on the electronic-dance-music circuit, featuring a wide range of artists both top name and underground. Get on your dancing shoes and best festival clothing and enjoy the tunes.
At this annual porkfest, over 20 of Gotham’s top pitmasters will break down and ’cue up whole heritage hogs from Flying Pigs Farm and other small regional pork farms. Feast on all-you-can-stomach porcine and wash it all down with craft beer and cider, including a myriad of whiskeys and mescals available at their respective pavilions.
Forgive the analogy, but unicycles are the Nickelback of the cycling world: misunderstood by many but cherished by a select few who love them more than anything else. Enjoy four-days of one-wheel madness including a unicycle ride from the Brooklyn Bridge to Coney Island, Battery Park to Central Park and a bunch of events that take place on Governors Island. There you’ll find races, freestyle competitions and even unicycle sports including basketball, hockey and even—not making this up—unicycle sumo wrestling.
Selling Fast in September 2017
Linda Eder—the Star Search songstress turned Broadway and concert star—has never been known for the subtlety of her approach, which can be boiled down to two steps: (1) Stand, and (2) Sing. But gee whiz, the lady can really belt a number. Her current set includes selections from her latest solo album, If You See Me.
Talented singers from the Broadway and cabaret worlds sing side by side in this tribute to the master of musical theater that has often featured former cast members of Sondheim shows. Guests at the May editions include Sally Mayes, Sarah Rice, Harris Doran, Lina Koutrakos, Lucia Spina, Gabrielle Stravelli, Kelli Rabke and T. Oliver Reid.
Pro trainers Ludnie Faustin and Joe Hannon melt your body into shape at this intense, high-energy weekly training session in the park. Join a lively group on Saturday mornings for cardio and resistance training in the sunshine. Eventbrite link updates every week. Embrace the pain.
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.
Argentine singer Juana Molina’s soft songs are worldly, intrinsically musical and, at times, even funny. On her latest effort, Halo, her songs roll forth placidly, circling back on themselves as if Molina is soundtracking a dream. It's a superb addition to her catalogue and will make for transfixing live fare.
Ruffelle has a place of her own in the hearts of musical-theater fans for her performance as sacrificial waif Éponine in the original London and Broadway casts of Les Misérables. Having recently relocated to New York City, she returns to the nightclub stage with a charmingly game and gamine monthly set at the Green Room 42.
Theater events in September 2017
Hamilton: Theater review by David Cote What is left to say? After Founding Father Alexander Hamilton’s prodigious quill scratched out 12 volumes of nation-building fiscal and military policy; after Lin-Manuel Miranda turned that titanic achievement (via Ron Chernow’s 2004 biography) into the greatest American musical in decades; after every critic in town (including me) praised the Public Theater world premiere to high heaven; and after seeing this language-drunk, rhyme-crazy dynamo a second time, I can only marvel: We've used up all the damn words. Wait, here are three stragglers, straight from the heart: I love Hamilton. I love it like I love New York, or Broadway when it gets it right. And this is so right. A sublime conjunction of radio-ready hip-hop (as well as R&B, Britpop and trad showstoppers), under-dramatized American history and Miranda’s uniquely personal focus as a first-generation Puerto Rican and inexhaustible wordsmith, Hamilton hits multilevel culture buttons, hard. No wonder the show was anointed a sensation before even opening. Assuming you don’t know the basics, Hamilton is a (mostly) rapped-through biomusical about an orphan immigrant from the Caribbean who came to New York, served as secretary to General Washington, fought against the redcoats, authored most of the Federalist Papers defending the Constitution, founded the Treasury and the New York Post and even made time for an extramarital affair that he damage-controlled in a scandal-stanching pamp
In this captivating original musical, Hello, Dolly! scene-stealer Taylor Trensch now plays the title role of a high school student thrust into social relevance after a classmate's suicide. Benj Pasek and Justin Paul's score combines well-crafted lyrics with an exciting pop sound, and Steven Levenson’s book gives all the characters shaded motives. Read the full review.
If theater is your religion and the Broadway musical your sect, you've been woefully faith-challenged of late. Venturesome, boundary-pushing works such as Spring Awakening, Bloody Bloody Andrew Jackson and Next to Normal closed too soon. American Idiot was shamefully ignored at the Tonys and will be gone in three weeks. Meanwhile, that airborne infection Spider-Man: Turn Off the Dark dominates headlines and rakes in millions, without even opening. Celebrities and corporate brands sell poor material, innovation gets shown the door, and crap floats to the top. It's enough to turn you heretic, to sing along with The Book of Mormon's Ugandan villagers: "Fuck you God in the ass, mouth and cunt-a, fuck you in the eye." Such deeply penetrating lyrics offer a smidgen of the manifold scato-theological joys to be had at this viciously hilarious treat crafted by Trey Parker and Matt Stone, of South Park fame, and composer-lyricist Robert Lopez, who cowrote Avenue Q. As you laugh your head off at perky Latter-day Saints tap-dancing while fiercely repressing gay tendencies deep in the African bush, you will be transported back ten years, when The Producers and Urinetown resurrected American musical comedy, imbuing time-tested conventions with metatheatrical irreverence and a healthy dose of bad-taste humor. Brimming with cheerful obscenity, sharp satire and catchy tunes, The Book of Mormon is a sick mystic revelation, the most exuberantly entertaining Broadway musical in years. The high
Theater review by Adam Feldman The world of Harry Potter has arrived on Broadway, Hogwarts and all, and it is a triumph of theatrical magic. Set two decades after the final chapters of J.K. Rowling’s world-shaking kid-lit heptalogy, the two-part epic Harry Potter and the Cursed Child combines grand storytelling with stagecraft on a scale heretofore unimagined. Richly elaborated by director John Tiffany, the show looks like a million bucks (or, in this case, a reported $68 million); the Lyric Theatre has been transfigured from top to bottom to immerse us in the narrative. It works: The experience is transporting. Jack Thorne’s play, based on a story he wrote with Rowling and Tiffany, extends the Potter narrative while remaining true to its core concerns. Love and friendship and kindness are its central values, but they don’t come easily: They are bound up in guilt, loneliness and fear. Harry (Jamie Parker) is weighted with trauma dating back to his childhood, which hinders his ability to communicate with his troubled middle son, Albus (Sam Clemmett); it doesn’t help that Albus’s only friend is the bookish outcast Scorpius Malfoy (the exceptional Anthony Boyle), son of Harry’s erstwhile enemy, Draco (Alex Price). Despite the best intentions of Harry’s solid wife, Ginny (Poppy Miller), and his friends Hermione (Noma Dumezweni) and Ron (Paul Thornley), things turn dark very fast. Set designer Christine Jones and lighting designer Neil Austin keep much of the stage shrouded in
Theater review by Adam Feldman “I'm no hero, that’s understood,” sings Bruce Springsteen in “Thunder Road,” self-effacingly but also with the knowledge that a cardinal rule of heroism is denying it. He's got the dirty hood, sure, but it’s a hoodwink of a kind, and in the extraordinary concert show Springsteen on Broadway he is candid about that: Rock stardom, he says, is partly “a magic trick.” He's the young man without a driver’s license writing songs about the road; the artist costumed in the “factory clothes” of his emotionally withholding father; the working man who is also always the Boss. For more than four decades, Springsteen has maintained a sturdy performance of authenticity. He writes unforgettable character songs and sings them, essentially, as an actor; between them, he recites eloquently plain-spoken monologues—full of lists that touch on joy and sex and pain—that he writes for the character of Bruce. So Springsteen on Broadway is less of a contradiction in terms than it may seem. Dressed in simple black with no band (though his wife, Patti Scialfa, joins him for two duets), he performs what amounts to a two-hour solo musical about himself, a rock-star cabaret act. The hits are here, including “Born to Run” and “Dancing in the Dark,” but stripped down and edged with wistfulness; “Born in the U.S.A.” is pared into a skeletal, nearly a cappella blues. It’s an intimate show and a generous one, not just to past friends and collaborators but also to the audience,
[Note: The review below is for a 2014 version of this show, which was then titled The Imbible. A revised version now plays at New World Stages. A different, brunch-theater edition, titled Day Drinking, plays on weekend matinees.] Remember Bill Nye the Science Guy? Great! Now imagine him as a bartender who is deeply interested in the history of ethanol alcohol, really likes wigs and costumes, and just joined a coed barbershop quartet. That description of Anthony Caporale’s The Imbible: A Spirited History of Drinking may sound far-out, but the show is both educational and entertaining. (It's also a fine showcase for a cappella classics arranged by Josh Ehrlich and performed by a gifted ensemble that includes the show's director, soprano Nicole DiMattei.) Mixing whimsy and information, Caporale makes the story of our relationship with alcohol remarkably compelling. And the show's lessons—on subjects like the drinks served at Prohibition-era speakeasies, the origin of the gin and tonic, and the difference between a cocktail and a mixed drink—can be washed down with complimentary, thematically appropriate beverages. As Caporale says, “Trust me, I get funnier with every sip.” That makes the show a must-see for anyone who enjoys free booze, which is probably nearly everyone.—Amelia Bienstock
This musical prequel to The Wizard of Oz addresses surprisingly complex themes, such as standards of beauty, morality and, believe it or not, fighting fascism. Thanks to Winnie Holzman’s witty book and Stephen Schwartz’s pop-inflected score, Wicked soars. The current cast includes Jackie Burns as Elphaba and Amanda Jane Cooper as Glinda.
Theater review by Diane Snyder For seven Harry Potter novels, the mediocrities of the Hogwarts house Hufflepuff lived in the shadow of their overachieving schoolmates. Matt Cox’s Puffs, or: Seven Increasingly Eventful Years at a Certain School of Magic & Magic gives them their due. In this funny and affectionate homage to J.K. Rowling’s world of wiz kids, Harry, Hermione and Ron take a back seat to average American wizard Wayne (Zac Moon), goth gal Megan (Julie Ann Earls) and math genius Oliver (Langston Belton), who is stuck at a school that doesn’t even teach his subject. They may not be at the top of the class, and they’re not wild about Harry, but they persevere through adversity and find power in friendship. A press release asks that the word parody be avoided in describing Puffs, but much of the show’s comedy is clearly aimed at Potterphiles. The 11 cast members play an assortment of characters, from a mumbling potions master to a squeaky house elf, and some of the jokes will be lost on those with no knowledge of the films or books. But even Potter virgins will enjoy the show’s witty wordplay and well-executed physical comedy. At times, the pacing is so frenetic that jokes can’t find a place to land, but there’s heart as well as humor here. In the past two years, Cox and director Kristin McCarthy Parker have shepherded their silly, subversive show from the People’s Improv Theater to Off Broadway’s New World Stages. Like its main characters, Puffs illustrates the heigh
After many years, the sassy and clever puppet musical doesn’t show its age. Robert Lopez and Jeff Marx’s deft Sesame Street–esque novelty tunes about porn and racism still earn their laughs. Avenue Q remains a sly and winning piece of metamusical tomfoolery. Running time: 2hrs 15mins. One intermission.
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.
Music events in September 2017
The world owes a great cosmic debt to time-traveling bandleader Sun Ra. He went back to Saturn and left the funkiest, swingingest band in the Milky Way here on Earth. This afternoon matinee show is your opportunity to travel the spaceways; your captain is 90-year-old Arkestra mainstay Marshall Allen.
Pitchfork and October present their second annual pairing of bands and brews. The fest hits Governors Island with a two-day lineup of more than 20 acts, including Vince Staples, Yo La Tengo, Chic, Vagabon, Julie Byrne and the Flaming Lips. Between sets, grab beer samples from over 90 different breweries based near (Blue Point, Circa) and far (India's Bira 91, Germany's Aktien). A single-day ticket includes 45 ounces of beer, a two-day ticket includes 90 ounces and plenty more is available for $1.50 per 3-ounce pour. Come thirsty.
Portland, OR, singer-songwriter Liz Harris brings her murky yet lovely tunes to NYC for the first time in over two years. She hits town behind her latest, Grid of Points. A sparse affair à la 2014's Ruins, Grid of Points finds Harris once again at the piano, her voice swathed in reverb and drifting among the chords like a slowly curling mist. It's music well worth losing yourself in.
Seminal ‘90s punk band Jawbreaker came out of retirement last year, which meant two decades’ worth of teenagers who passed around 24 Hour Revenge Therapy CDs finally got to shout along to a live rendition of “Boxcar.” Since reuniting for Riot Fest last September, the trio has gradually expanded its tour and even revealed plans to log some studio time. If you weren't able to catch the band during its sold-out run at Brooklyn Steel in February, consider this Coney Island appearance your shot at redemption.
The Aussie quintet has peddled bright, bounding indie rock on its two splendid EPs—2016's Talk Tight and 2017's The French Press—and now it's added an equally infectious debut album to its oeuvre. A 35-minute collection of pristine guitar pop, Hope Downs beautifully showcases RBCF's keen melodic sensibilty, chugging motorik vim and clever, impressionistic lyrics.
The former Talking Head, active solo artist and avid bicyclist returns to Forest Hills for the first time since his erstwhile band visited in 1983 (he's also doing a two-night stint at Kings Theatre directly afterward). His new show is a choreographed spectacle that echoes his Stop Making Sense heyday. In the opening slot, Merrill Garbus and Co. supply Afrobeat-inspired pop with vocal gymnastics that never fail to impress.
Vitriolic Bristol punks Idles come stateside for a rager behind last year's critically acclaimed Brutalism. Show up for a raucous, searingly candid and wholly untethered performance from this politically-charged five-piece. Local noise-rock trio Bambara opens in the wake of their Western gothic latest, Shadow On Everything.
It's been two years since Dev Hynes released his stunning 2016 effort, Freetown Sound. A complex, swirling affair, Freetown cemented his status as a multi-talented alt-pop visionary. Back in April, Hynes teased the release of a proper follow-up to that album, as well as a new mixtape and eight singles. Count on hearing from that treasure trove when he takes the stage for this Summerstage gig.
The celebrated indie-pop upstarts, who first made our hearts flutter with 2014's dreamily delicious single, "Archie, Marry Me," hit town for a pair of dates behind last year's effervescent and thoroughly satisfying Antisocialites. Catch the Toronto quartet at Greenpoint's Polish-community-center-turned-concert venue for a late-summer dose of starry-eyed melodies that'll carry you far into fall.
Niu Noodle House
Cantonese-style noodles are the focus of this 60-seat Chinese eatery. Choose from six types of homemade varieties (traditional, rice, egg, udon, wheat and buckwheat), paired with local ingredients, from noodle whiz Fang Wei Zehang. Also on the menu: dim sum, including pork-and-crab soup dumplings.
Venue says: “Join us for Happy Hour daily! Monday - Saturday 4-7PM and All Day on Sunday! Grab a cocktail or two and enjoy some of our Delicious Dishes!”