There are more than 18,000 known species of butterflies and five families. Meet gems from three of those families, including Pieridae (white and sulphur), Papilionidae (black and yellow swallowtails) and Nymphalidae (psychedelic-colored longwings) as they fly around in a vivarium compound.
View over 100 works made by creators outside of the artistic community, including inventive self-taught sculptors in New York City and illustrators who found their passion in prisons and psychiatric hospitals. Explore the inner lives of unknown artists through works made in private and often discovered after the artists' passing, with pieces like Steve Ashby's Rocking Bed Cunnilingus Whirligig and Henry Darger's watercolor At Sunbeam Creak/At Wickey Lansinia.
Though First Ladies have never been granted a salary for their work, they've often played a critical hand in shaping the future of our country's culture and values. This exhibition explores the women who brought the Founding Fathers' visions to reality despite legal and society barriers. View documents, artwork, clothing and other artifacts from Dolley Madison and other often-overlooked presidential women, and learn how much of their influence still endures.
Tictail and Absolut Art team up for this rad Lower East Side tour, which displays the work of female artists on local businesses. Though self-led tours of the pieces are available for visitors of Tictail, you can head to guided tours on May 20–21 to learn more about the creators.
The venerable company—including dancers Stella Abrera, Isabella Boylston, Jeffrey Cirio, Misty Copeland, Marcelo Gomes, Alban Lendorf, Gillian Murphy, Veronika Part, Hee Seo, Daniil Simkin, Cory Stearns, James Whiteside and Diana Vishneva (in her final season)—returns to the Met for eight weeks. The New York premiere of Artist in Residence Alexei Ratmansky's Whipped Cream (May 22–24, June 26–July1) is among the offerings, along with six full-length ballets: Don Quixote (May 15–20), Giselle (May 25–31), The Golden Cockerel (June 1–3), Le Corsaire (June 5–10), Swan Lake (June 13–17) and Onegin (June 19–24). The run concludes with a week of short works set to music by Tchaikovsky.
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
Theater review by David CoteYou’ve heard Hemingway’s blunt formula for writing: “All you do is sit down at a typewriter and bleed.” Annie Baker’s characters more or less follow that advice in The Antipodes, her latest intensely vivid hypnotizing act disguised as a play. A TV staff writer (Danny Mastrogiorgio) recalls an extramarital affair that ended with (deep breath) gory ejaculate in a shower. Later, assistant Brian (Brian Miskell) hacks up a bloody knot of…thread? before shamefully making his exit. Besides these visible exsanguinations, the rest of Baker’s scribes seem to shrivel up over the course of several months, their vital fluids sucked out by intimidating, inscrutable showrunner Sandy (Will Patton).The milieu is behind the scenes of series TV, but Baker (The Flick, John), one of America’s most exacting and exciting voices, does not supplement her income in Hollywood (unlike many playrights). The Antipodes happens to be set in the writers’ room of a supernatural-themed show ruled by Sandy, who demands his ink-stained wretches dredge up their deepest memories or fantasies to fuel the creative bonfire. That means lots of embarrassing or painful recollections of sex and death—and elliptical theory-spinning. It takes place in two unbroken hours (not real time, but linear), and we never leave the corporate conference room.This hermetic premise—executed with gimlet-eyed flair by director Lila Neugebauer—gives Baker (and the audience) permission to view narrative in all it
Theater review by Adam FeldmanThe resonant original musical Bandstand dances a delicate line between nostalgia and disillusion. What it seems to promise, and often delivers, is Broadway escapism: a tale of soldiers returning from World War II into a lively world of big-band music, boogie-woogie dancing and a booming American economy. Donny (the very engaging Corey Cott) assembles a music combo composed entirely of fellow veterans, hoping to win a competition in New York and earn a shot at Hollywood. Sounds like a happy old movie, right? But these soldiers, we soon learn, have trouble getting into the swing of things. Try though they may—through work, repression, copious drinking—they can’t shake off the horror of war. Director-choreographer Andy Blankenbuehler (Hamilton) doesn’t stint on period vitality; the terrific group dance numbers, including an Act I showstopper called “You Deserve It,” burst with snazzy individuality. But Bandstand’s heart is in its shadows—the entertainers often share the stage with ghosts of lost comrades—and in the persistence of its efforts to shed light on them. That happens, most of all, through music. The actors in Donny’s motley band—Brandon J. Ellis, Alex Bender, Geoff Packard, Joe Carroll and James Nathan Hopkins—play their instruments live (and extremely well), fronted ably by Laura Osnes as singer-lyricist Julia, the widow of Donny’s closest buddy in the Pacific. (Beth Leavel adds welcome comic support as her mother.) As the stakes rise, B
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 Still 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 first marriage to lyricist-partner Gerry Goffin (Jake Epstein) and their friendly rivalry with anothe