Chelsea certainly puts the art in the heart of New York. The neighborhood is home to dozens of galleries with the best free art in NYC on view—from Gagosian to David Zwirner galleries—and the newly minted Whitney Museum of American Art, one of the best museums in the city. Once you've had your fill, head to the High Line to lounge on tree-lined paths with views of the river, then head to one of the best Chelsea restaurants or bars, like Del Posto and the NoMad. The sky's the limit in this neighborhood!
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Theater review by Helen Shaw When you walk into Say Something Bunny!, you enter another time. You might not notice that at first, because the brick office space where it takes place is so determinedly ordinary-looking. The small audience sits around a doughnut-shaped conference table, and as Alison S.M. Kobayashi begins her multimedia docuplay, some spectators are already paging through the scripts that have been placed in front of each chair. The text turns out to be the full transcript of a real, unlabeled 65-year-old recording that Kobayashi found hidden in an antique wire recorder: the audio relic of a teenage boy in Woodmere, Queens, enthusiastically taping two dozen family members and neighbors. Kobayashi has listened to the recording hundreds of times and has a seemingly boundless interest in the people whose voices it preserves, including amateur recordist David, mother Juliette and neighbor Bunny. She conducts us through a pair of after-dinner conversations, the first in 1952—she deduced the date from song lyrics mentioned on the wire—and the second in 1954. Aided by coauthor Christopher Allen, she pursues hints and half-heard jokes to determine who these people were and what befell them; she shows us the census records she used to find their old houses. The play unspools unhurriedly, leaving space for Kobayashi to make jokes, play short films and highlight points of historical interest. It takes a while for it to sink in that—of course—many of these vibrant people
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
Theater review by Adam Feldman Tom Jones has got wood. It’s thick, it’s hard, it extends below his knee, and he can do amazing things with it. No wonder ladies can’t keep their hands off the illegitimate but well-favored hero of Marc Acito and Amy Engelhardt’s ribald new musical comedy, adapted from Henry Fielding’s picaresque 1749 novel. As played by Evan Ruggiero, an endearing young actor with a prosthetic leg, Tom hops from bed to bed with great ingenuity. (He doesn’t just dance on his false leg; he also uses it as a weapon and a mock electric guitar.) Like Tom, Bastard Jones is randy yet ingenuous; it’s like a very bawdy Disney movie, with hummable pop music to match. Staged with few frills, it relies mainly on the talents of its diverse and impressive cast of nine, which includes Elena Wang as Tom’s virtuous love and Crystal Lucas-Perry as a rich and insatiable femme fatale. (Both sing tremendously well.) If this smartly plotted and irrepressible musical moves beyond the Cell, there is work to be done in beefing up the characters and polishing the jokes. But the show has legitimate potential. The Cell (Off Broadway). Book by Marc Acito. Music by Amy Engelhardt. Lyrics by Acito and Engelhardt. Directed by Acito. With ensemble cast. Running time: 2hrs 20mins. One intermission. Through July 15. Follow Adam Feldman on Twitter: @FeldmanAdam Follow Time Out Theater on Twitter: @TimeOutTheater Keep up with the latest news and reviews on our Time Out Theater Facebook page
New York Times best-selling author and meditation teacher Sharon Salzberg and other esteemed practitioners of mindfulness meditation lead beginners and long-time meditators in midday sessions designed to expand your consciousness—during your lunch break. Inspired by art from the Rubin Museum, each event includes an opening talk, a sitting meditation and a closing discussion.
Theater review by Jenna Scherer There are two kinds of people at a magic show: Those who like to be tricked, and those who fancy themselves untrickable. Wherever you land on this spectrum, it will be hard not to be at least a bit bowled over by Secret, the latest from "psychological magician" Derren Brown. Though he's a sizable celeb in his native Britain, thanks to his numerous TV specials on Channel 4, Brown is less well-known in the States. But it's easy to see why he's developed such a following in the U.K.: He oozes confidence and charisma, the kind you don't quite trust but can't turn away from nonetheless. In Secret, he uses a combination of psychological manipulation, hypnosis and old-fashioned misdirection to spin a web around his audience. It’s hard to describe the show in detail without giving away the game—and a grand game it is—but suffice to say, it's a combination of jaw-dropping "How did he do that?" moments and inspirational speeches that veer dangerously close to the litanies of motivational speakers (perhaps the most influential flimflam artists of our age). Brown is of two minds about all of this: He both wants to wow you with his sleight of mind and debunk the notion that mysticism and divination hold any water. But he takes such obvious pleasure in inspiring wonder at his tricks that it's hard to believe he isn't a believer himself. However you feel about Brown and his mental machinations, what transpires in Secret is enough to make even the most harde
Theater review by James Gavin From the Great Depression to the Cold War, Woody Guthrie roamed the country with his guitar, writing and singing songs that empowered blue-collar workers, rallied for unionization, scorned capitalist greed and glorified the heartland. “This Land Is Your Land” and other Guthrie tunes inspired Bob Dylan and galvanized the burgeoning folk movement. His story is an American epic, and a cast of four gives it a stirring reenactment in Woody Sez: The Life & Music of Woody Guthrie. Like the songs themselves, everything about the show has the ring of truth. The performers look and sound as though they’ve stepped off a farm in Guthrie’s native Oklahoma, and their singing evokes the Weavers, the 1950s quartet (featuring Pete Seeger) whose rough-hewn fireside harmonies helped make the Guthrie canon famous. Playing guitar, fiddle, banjo, dulcimer, harmonica and other instruments, the performers plumb the inner depths of a man whose Okie roots—scarred by poverty, mental illness and domestic tragedies—filled him with empathy for the downtrodden. As Woody, David M. Lutken (who devised the show with director Nick Corley and others) captures Guthrie’s droll humbleness and purity of heart. Earth mother Helen Jean Russell sings with a lullaby sweetness. Megan Loomis is touchingly guileless and plaintive; Andy Teirstein dispenses the show’s gruffer, pluckier wisdoms. Together the cast gives voice to Guthrie’s disdain for the abuse of power at the expense of the com
Benjamin Millepied, the former New York City Ballet principal and artistic director of the Paris Opera Ballet (and current Mr. Natalie Portman), now leads this ambitious West Coast dance collective. Both of the company's programs, presented in rep, include the premiere of Millepied's In Silence We Speak. Program One also features Ohad Naharin's Yag and Millepied's Hearts & Arrows; Program Two offers Justin Peck's Murder Ballades, Merce Cunningham's MinEvent and another Millepied debut, Orpheus Highway.
Blu on Park
While New York's steakhouse stalwarts (Keens, Peter Luger) remain staunchly true to their original forms, today's newer meat meccas have redefined the boundaries of the genre. From glitzy extravagance (and Bieber appearances) at Bowery Meat Company to laidback fun (and $19 cuts) at Quality Eats, it's clear there's no one way to cut that cake. For their take on the trope, European proprietors Emir Muhic and Gigi Dzidzovic (DiWine) adopt the meet-in-the-middle approach, taking over the first three floors of a renovated 1920s-era brownstone with a contemporary-minded restaurant that also channels the building's old-time grace with gray-stained wood panels, sleek marble counters and a working fireplace. In the 132-seat space, diners can settle elegant Windsor-style chairs for an array of traditional and creative starters, as well as seven cuts of steak—all tag-teamed by co-chefs Russell Rosenberg (the Boathouse) and Dusan Celic (DiWine). A crab cake ($22), garnished with marinated jicama, apple salad and remoulade was wonderful—you’ll fight over the last bite. The jumbo shrimp cocktail ($18) featured plump, finger-long crustaceans served over ice, the cocktail sauce fiery from just enough horseradish. Of course, if you’re at a steakhouse, you’re going to go for the beef (why bother if not?). A gargantuan ribeye ($49) arrives at the table still sizzling, flanked by béarnaise and peppercorn sauces. The well-seasoned cut is perfectly cooked, so the sauces are gilding the lily. Yo
Venue says: “Join us for Happy Hour Mon-Sun 4pm-8pm, Oysters $1.5, Draft Beer $6, Well Drinks $8, House Wines $8, and Cocktail of the Day $10”