Folks flock to this floral-filled exhibition at Macy’s Herald Square, where jaw-dropping arrangements are on display for two weeks. The theme for this 43rd annual installment is “Carnival,” which means you can expect whimsical statues built with brightly hued blooms, which mimic the bedazzlement of a traveling road show.
Theater review by David CoteReviewing Miss Saigon is such a political minefield. I don’t mean arguing whether the 1989 musical fairly depicts the U.S. war against Communists in Vietnam. Rather, the challenge is to firmly call out Miss Saigon as a heap of Orientalist clichés filtered through 19th-century European melodrama and presented with all the subtlety of a coked-up, steroidal Michael Bay flick—while acknowledging that it provides work for a large number of Asian performers. Damn the show. and actors with too few opportunities lose jobs. You call that woke?Not that one pan will make much difference. We are talking about a show that ran for a decade in the same venue, whose blend of trash and tragedy thrills tourists and those for whom Sondheim is too wordy and un-hummable. Cats is garbage too, but that slunk back and seems to be doing fine.Alain Boublil and Claude-Michel Schönberg’s follow-up to Les Misérables is explicitly about the fall of Saigon, but in a larger sense, it’s about the fall of the Anglo-European Broadway blockbuster. In terms of musical bombast, visual spectacle and hyperbolic vulgarity, it closed out a sad decade for the serious American musical. With a score heavy on lite rock and anthems, the show may be mostly sung, but it’s less a song-and-dance affair in any recognizable sense than it is an ’80s summer movie, weighed down with ridiculous special F/X. Of course that means the infamous helicopter, which arrives with fans ruffling the audience’s coll
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
Enjoy stunning views of the NYC skyline with your favorite beats thumping in your ear at this regular Stage 48 rager. Choose from three headphones: Red delivers throwback jams from the ’80s, ’90s and early aughts; blue serves up hip-hop, R&B and reggae; and green guarantees a stream of Top 40 dance jams.
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.
Wear white and brace yourself for four stories of rainbow delight as Holi, the Hindu festival of colors, hits NYC. Dance in kaleidoscopic ecstasy with hundreds of strangers while you get covered in tinted powders, and enjoy hors d’oeuvres, a cash bar and live music. There’s no more cheerful way to usher in springtime.
The price-conscious art fair returns for its 23rd edition in NYC. For an $18 ticket, you can shop original paintings, drawings, photographs and sculptures from over 70 local, national and international galleries. With price tages ranging from $100 to $10,000, you can fix up your apartment without breaking the bank.
Theater review by David CoteThe core message of Lynn Nottage’s wake-up social tragedy Sweat is clarion clear and to share it does not spoil the show: We must help each other or we’re dead. Whether that means the rich pay more, the poor get health care or trans people enjoy greater legal protections, we have to unite these states. Nottage’s passionate and necessary drama, which transferred to Broadway after a run last year at the Public Theater, is a masterful depiction of the forces that divide and conquer us. Those agents shattering friendships and unions range from alcohol—used and abused nightly at the bar in Reading, Pennsylvania, where most of the scenes are set—to inhumane negotiating tactics used by the local factory to drive down workers’ wages. Drug addiction and anti-immigrant bigotry work like acid, destroying marriages and turning a convivial refuge into a hate-crime scene.Director Kate Whoriskey’s fluid and propulsive staging benefits from an excellent cast led by the fearless triad of Johanna Day, Michelle Wilson and Alison Wright, who play plant drones and tight friends destabilized when one of them moves into management. James Colby adds sensible notes as a kindhearted but ineffectual bartender, and the vibrant Khris Davis and Will Pullen are young buddies whose hope curdles into anger and violence. Sweat communicates its points with minimal fuss and maximum grit. Along with the rage, despair and violence, there's humor and abundant humanity. Prophetic before
Even if the sidewalks are overrun with tourists, you’ll have ample room to skate at the city’s most iconic rink; only 150 people are allowed on the ice at once. So be prepared to spend a bit of a wait in line fantasizing about your waltz jumps and double axels: the buildup will be worth it once you're on the ice. RECOMMENDED: More rinks for ice skating in NYC
An actor drinks heavily (in the vein of Comedy Central's Drunk History) and then tries to corral others into enacting a story by the Bard. Bibulous excess is encouraged. TIME OUT DISCOUNT TICKET OFFER:DRUNK SHAKESPEARE $35 for balcony tickets (regular price $55) $49 for mezzanine tickets (regular price $69) $69 for stage-side tickets (regular price $89) Promotional description: There is a hidden library on the fourth floor of a building on 43rd and Eighth, with over 15,000 books. The Drunk Shakespeare Society meets there every night to drink…and perhaps do a little Shakespeare. One actor has at least five shots of whiskey and then attempts to perform in a Shakespearean play. A mysterious bartender serves cocktails through a 10-foot high bookcase made entirely of black books. A hundred prized novels are forever buried in an amber fluid in front of a royal throne. Other easter eggs are hidden throughout the room…TWO WAYS TO BUY TICKETS:1. Online: Click here to buy tickets2. By phone: Call 914-713-7865 and mention code: DRUNKTIMEPerformance schedule: Monday at 7:30pm; Wednesday at 8pm; Thursday at 7:30pm; and Friday and Saturday at 8pm and 10pm. Some weeks also offer performances on Tuesday at 7:30pm, Sunday at 7pm and/or Saturday at 6pm. Running Time: 1hr 30mins. No intermission. 21 or over only. Photo ID required. Offer for performances thru 6/14/17. Not all seats discounted. Discount code valid for stage-side, mezzanine and balcony seats only. All purchases with c