Teju Cole’s 2007 novella, ‘Every Day Is for the Thief,’ newly released in the United States, is a journey through Lagos. Read More
Jeff Goldblum is branching out from Adult Swim and Portlandia episodes. (Do you think he hangs out with Ray Wise a lot? They seem to occupy the same anti-comedy space and appear on the same shows, but never together. Maybe they are the same person? Food for thought.)
Anywhoozles, here is a little video from MTV’s After Hours of what it would be like if The Grand Budapest Hotel director had a restaurant named Goldblum’s. There is a Buckaroo Banzai Brisket, which is an acquired taste, but you’ll like it more later? Read More
Call it a win for those of us who had to listen to friends self-righteously claim to “not own a TV” for years, knowing all this time that what they really meant is that they were watching on their laptops. Read More
MONDAY, MARCH 10
The whole James Franco cannon is screening this week at IFC. No Spider-Man movies or Freaks and Geeks, but what can you expect? We live in a fallen world. —Dan Duray Read More
In 2011, at Sotheby’s, L’Aubade, a 1967 painting by Pablo Picasso sold for $23 million. In recent years, Picasso’s late works have taken center stage, with giddy results at auction and thronged exhibitions at Gagosian Gallery. It wasn’t always thus. The late works were undervalued for years by all but a perspicacious few. One of Read More
Broadly speaking, there are two types of New Yorkers: the ones who say “I’m going to the Met” meaning “I’m going to see an opera” and the ones to whom the phrase means “I’m finally going to see those Piero della Francescas everyone has been talking about.” Recently, though, opera showed up at both Mets, the Metropolitan Opera and the Metropolitan Museum of Art.
At Lincoln Center Feb. 26, the Met brought back its production of The Enchanted Island, which premiered in 2011. Two seasons ago, it was not just a new production but the first-ever performance of a new work cobbled together from bits and pieces of 18th-century operas and oratorios, fitted to a libretto concocted by British writer and director Jeremy Sams. Read More
Hand to God, a regional euphemism for “I swear,” turns out to be the perfect handle for this tall and demented Texas tale of a boy and his sock puppet. What seems to be arriving March 10 at the Lucille Lortel is the age-old contest between good and evil. Jason is a diffident lad of 15 who is coping with the recent death of his father. Jason’s alter ego is a malevolent sock puppet named Tyrone that has gone into takeover mode.
From this kinky Jekyll-and-Hyde Jr. premise, it’s reasonable to suspect playwright Robert Askins was at an impressionable age when he saw either A) Dead of Night, the creepy British classic where ventriloquist Michael Redgrave is dominated by his wooden dummy or B) Magic, William Goldman’s latter-day rip-off in which another ventriloquist, played by Anthony Hopkins, goes mad for the same reason—on a bigger budget. Read More
He Said, She Said: ‘The Open House’ Has a Bullying Dad, ‘Stage Kiss’ Follows a Quirky Couple, ‘Arlington’ Is a Musical Monologue
In early 2012, Quiara Alegría Hudes won the Pulitzer Prize for drama. A year later, her prize-winning work, Water By the Spoonful, a play about addiction and redemption among a sprawling Puerto Rican family in North Philadelphia, arrived at the Second Stage Theatre for its New York debut. It was an admirable work if not an ideal one. Now Ms. Hudes has returned to the same theater with The Happiest Song Plays Last, the final play in a trilogy about this clan, which opened Monday night. And once again, the play isn’t perfect, but there’s an awful lot to like.
The central relationship here is between two strong-willed cousins, Elliot (Armando Riesco, reprising the role), an Iraq war vet, and Yaz (Lauren Vélez), the one who got out—a classical musician with a prep school scholarship, an Ivy League education and a Center City penthouse—but then came back, to settle into her late Aunt Ginny’s role as neighborhood protector. Read More
Do you want to be a go-getter like those ambitiously inspired types on Scandal? They all have hopes! And dreams! And will achieve them, no matter what kind of torture-laden machinations or relationship-killing secrets they have to endure. This week’s episode, “We Do Not Touch the First Ladies,” was chock-full of advice for the budding Scandal-ite:
Drew Friedman is a great American illustrator. Without the benefit of historical perspective, it is perhaps too soon to evaluate, but it’s not a stretch to mention him in the same breath with artists like Norman Rockwell, NC Wyeth, and Jessie Willcox Smith. Read More