\n<\/p>\n
Jan. 31 at 9:30 p.m. at Joe\u2019s Pub, 425 Lafayette Street, Manhattan; publictheater.org<\/a>.<\/p>\n As part of her residency<\/a> at Joe\u2019s Pub, the comedian Margaret Cho has been presenting artists whom she finds inspirational. Next in Cho\u2019s lineup is a show featuring her latest unofficial adoptees, the comedians Dylan Adler<\/a> and Sam Oh<\/a>, who will each have a half-hour to present their own jokes and songs this Friday.<\/p>\n Recently, Adler and Cho were panelists on the CBS game show \u201cAfter Midnight,\u201d where Adler, a former writer and performer on \u201cThe Late Late Show With James Corden,\u201d also appeared with his fall tour mate and dance partner<\/a>, Atsuko Okatsuka, in September. Around that same time, Cho performed with Oh\u2019s alter ego, Gay Virgin<\/a>, on a NSFW hyperpop tune. Oh is set to release an EP featuring that song and others soon. He also has a role in Greg Daniels\u2019s upcoming follow-up to \u201cThe Office,\u201d which is centered on a failing Midwestern newspaper attempting to save itself.<\/p>\n Tickets are $25 on the Public Theater\u2019s website<\/a>. SEAN L. McCARTHY<\/em><\/p>\n<\/div>\n<\/div>\n Pop & Rock<\/p>\n Feb. 1 at 9 p.m. at Kings Theater, 1027 Flatbush Avenue, Brooklyn; kingstheatre.com<\/a>.<\/p>\n<\/div>\n<\/div>\n The singer and rapper 070 Shake is a haunting presence, her bruised, plaintive voice a reliable source of emotional heft. Many first heard it in her soaring guest turn on Kanye West\u2019s 2018 track \u201cGhost Town\u201d<\/a>; even more were introduced to Shake via \u201cEscapism,\u201d<\/a> the 2022 hit in which her verse is a sobering interlude in the British singer Raye\u2019s epic of heartbreak-fueled hedonism.<\/p>\n In her own music, Shake is similarly drawn to melodrama, often returning to stories about tortured romance, late-night breakdowns and self-medication. Her third album, \u201cPetrichor,\u201d also reveals a growing experimental instinct. The record, which was released in November, stitches together hip-hop, arena rock and orchestral pop in an unpredictable patchwork that reflects the erratic nature of love.<\/p>\n Tickets for Shake\u2019s show in Brooklyn on Saturday start at $55 on Kings Theater\u2019s website<\/a>. OLIVIA HORN<\/em><\/p>\n<\/div>\n<\/div>\n Classical<\/p>\n Feb. 2 at 5 p.m. at Roulette, 509 Atlantic Avenue, Brooklyn; brooklynartsongsociety.org<\/a>.<\/p>\n<\/div>\n<\/div>\n Haydn, Mozart, Beethoven \u2014 these are the giants of the Classical era, from roughly 1750 to 1825, which was known for massive compositional outputs, outsize personalities and musical works on a grand scale. But in the ivory-miniature world of the art song, their names don\u2019t loom quite as large.<\/p>\n This Sunday at Roulette, Brooklyn Art Song Society re-examines the smaller works of these classical titans, tracing the development of the lieder form into the 19th-century Romantic era. The concert begins with characteristically elegant and slightly cheeky pieces from a mature Mozart, sung by the soprano Maggie Finnegan, before turning to English works by Haydn, sung by the soprano Ashley Emerson. Haydn\u2019s compositions are dramatic showcases for singer and pianist alike, especially his intense \u201cThe Spirit\u2019s Song.\u201d The concert closes with Beethoven\u2019s \u201cAn die ferne Geliebte,\u201d the composer\u2019s only song cycle, which served as inspiration for later ones by Robert Schumann and Franz Schubert, here sung by the baritone Michael Kelly. A piece replete with Romantic longing, this work may be short, but it casts an imposing shadow.<\/p>\n Tickets are pay-what-you-wish, with a suggested price of $35, at the society\u2019s website<\/a>. GABRIELLE FERRARI<\/em><\/p>\n<\/div>\n<\/div>\n Feb. 1-2, 10 a.m.-2 p.m., at BAM Rose Cinemas, Peter Jay Sharp Building, 30 Lafayette Avenue, Brooklyn; bam.org<\/a>.<\/p>\n<\/div>\n<\/div>\n Children are often excluded from a whole world of cinematic art that you don\u2019t have to be an adult to visit: independent short films.<\/p>\n Such works, however, are the staple of the BAMkids Film Festival<\/a>, presented all weekend by the Brooklyn Academy of Music in association with the Melbourne International Animation Festival<\/a>. But don\u2019t let the name of the partnering organization fool you. This year\u2019s festival, the academy\u2019s 27th, offers live-action movies, too, and projects from more than 20 nations, including the Czech Republic, India, Taiwan, Russia, Iran and Afghanistan.<\/p>\n The shorts are grouped according to age-appropriateness and thematic similarities, with two programs for preschoolers, three for children 6 to 8 and one for an often neglected audience: kids 9 and older. Some films contain no dialogue; others have subtitles. But all feature intriguing characters, such as clouds, a raindrop, spirits, animals and, of course, young people themselves. (A full schedule is on the website<\/a>.)<\/p>\n Have a yearning for live performance? Parallel Exit<\/a>, a troupe combining theater and circus, will offer free fun in the BAM Rose lobby from 11 a.m. to 2 p.m.<\/p>\n Tickets to the screening programs start at $10. LAUREL GRAEBER<\/em><\/p>\n<\/div>\n<\/div>\n Feb. 1-March 9 at the Museum of the Moving Image, 36-01 35th Avenue, Queens; movingimage.us<\/a>.<\/p>\n Complaints that certain actors missed out on Oscar nominations last week<\/a> inevitably seem small when measured against the careers in this series, which honors performers who never received \u2014 or, at least, have yet to receive \u2014 a single nomination. First up is John Cazale<\/a>, who starred in only five movies before his death at 42, but all of them are enduring classics of the 1970s, including the first two \u201cGodfather\u201d films and \u201cThe Deer Hunter.\u201d The museum is highlighting his nervy work as Al Pacino\u2019s bank-robbing partner in \u201cDog Day Afternoon\u201d (showing on Saturday and Sunday), a tightly wound role easy to overlook beside Pacino\u2019s loudmouth virtuosity.<\/p>\n It\u2019s hard to believe that the academy has completely ignored John Turturro and John Goodman, who play neighbors at a seedy Los Angeles hotel in the Coen brothers\u2019 \u201cBarton Fink\u201d (on Saturday and Sunday): Goodman is the supposed embodiment of \u201cthe common man,\u201d a group Turturro\u2019s self-important playwright presumes to write about. Next weekend, the museum will salute Mia Farrow (\u201cRosemary\u2019s Baby,\u201d on Feb. 7 and 8), Maureen O\u2019Hara (\u201cThe Quiet Man,\u201d on Feb. 8 and 9) and Joseph Cotten (\u201cThe Magnificent Ambersons,\u201d on Feb. 8 and 9). BEN KENIGSBERG<\/em><\/p>\n<\/div>\n<\/div>\n Last Chance<\/p>\n Through Feb. 2 at the Helen Hayes Theater, Manhattan; 2st.com<\/a>. Running time: 1 hour 40 minutes.<\/p>\n<\/div>\n<\/div>\n Second Stage leans right into holiday-season angst with this dramedy by Leslye Headland (\u201cRussian Doll\u201d) about a dysfunctional clan gathering for Christmas in Connecticut at the home of their parents (David Rasche and Mare Winningham), where the only harmony is in the carol singing. Trip Cullman, who staged the play last winter at Berkeley Rep, directs a strong cast that includes Zachary Quinto and Shailene Woodley. Read the review.<\/em><\/a><\/p>\n<\/div>\n<\/div>\n Critic\u2019s Pick<\/p>\n Through June 28 at the Lyceum Theater, Manhattan; ohmaryplay.com<\/a>. Running time: 1 hour 20 minutes.<\/p>\n Channeling the deliriously outrageous, emphatically queer downtown spirit of Charles Ludlam<\/a> and his Ridiculous Theatrical Company, this comedy by Cole Escola<\/a> (\u201cDifficult People\u201d) began as a fizzy Off Broadway hit. <\/strong>Escola stars as a sozzled, stage-struck Mary Todd Lincoln \u2014 a very loose cannon largely ignored by her husband (Conrad Ricamora), the president, who is otherwise occupied with assorted sexual exploits and the bothersome Civil War. Read the review.<\/em><\/a><\/p>\n<\/div>\n<\/div>\n Critic\u2019s Pick<\/p>\n At the Majestic Theater, Manhattan; gypsybway.com<\/a>. Running time: 2 hours 55 minutes.<\/p>\n<\/div>\n<\/div>\n Grabbing the baton<\/a> first handed off by Ethel Merman<\/a>, Audra McDonald plays the formidable Momma Rose in the fifth Broadway revival of Arthur Laurents, Jule Styne and Stephen Sondheim\u2019s exalted 1959 musical about a vaudeville stage mother and her daughters: June, the favorite child, and Louise, who becomes the burlesque stripper Gypsy Rose Lee. Directed by George C. Wolfe<\/a>, with choreography by Camille A. Brown, the cast includes Danny Burstein, Joy Woods, Jordan Tyson and Lesli Margherita. Read the review.<\/em><\/a><\/p>\n<\/div>\n<\/div>\n Critic\u2019s Pick<\/p>\n At the Shubert Theater, Manhattan; hellskitchen.com<\/a>. Running time: 2 hours 30 minutes.<\/p>\n Alicia Keys<\/a>\u2019s own coming-of-age is the inspiration for this jukebox musical, which won two Tonys. Studded with Keys\u2019s songs, including \u201cGirl on Fire,\u201d \u201cFallin\u2019\u201d<\/a> and \u201cEmpire State of Mind,\u201d it\u2019s the story of a 17-year-old girl (Maleah Joi Moon<\/a>, last year\u2019s winner for best actress) in the Hell\u2019s Kitchen neighborhood of Manhattan, growing into an artist. Directed by Michael Greif, the show has a book by Kristoffer Diaz and choreography by Camille A. Brown. Read the review.<\/em><\/a><\/p>\n<\/div>\n<\/div>\n Last Chance<\/p>\n Through Feb. 9 at the Whitney Museum of American Art, 99 Gansevoort Street, Manhattan; whitney.org<\/a>.<\/p>\n A major institutional tribute to the American choreographer and performer Alvin Ailey (1931-89), this show is also a relatively rare example of a traditionally object-intensive art museum giving full-scale treatment to the ephemeral medium of dance. But if you anticipated, as I did, that this would mean a display of documentary photographs, some archival materials (costumes, stage designs), and \u2014 best \u2014 extensive examples of dance on film, you\u2019ve got a surprise in store. Read the review.<\/em><\/a><\/p>\n<\/div>\n<\/div>\n Critic\u2019s Pick<\/p>\n Through Feb. 17 at the Metropolitan Museum of Art, 1000 Fifth Avenue, Manhattan; metmuseum.org<\/a>.<\/p>\n This unusual and audacious exhibition spotlights a propensity in American culture hiding in plain sight: the attachment, among Black artists, musicians and intellectuals, to ancient Egyptian culture, myth and spirituality. Rambling across a century and a half, with nearly 200 artworks, it explores the colonial roots of modern Egyptology, the Pharaonic motifs of the Harlem Renaissance, the Egyptian iconography of Black Power and other movements of the 1960s and \u201970s, and sphinxes and pyramids in the work of everyone from Kara Walker to Richard Pryor. Read the review.<\/em><\/a><\/p>\n<\/div>\n<\/div>\n Through March 16 at the Shed, 545 West 30th Street, Manhattan; theshed.org<\/a>.<\/p>\n This reconstruction of a fair held in Hamburg, Germany, in the summer of 1987 \u2014 complete with carnival rides decorated by artists such as Kenny Scharf and Jean-Michel Basquiat, which are unfortunately cordoned off \u2014 reserves its greatest pleasures for visitors with more art-historical tastes. Crammed with informative wall texts, this event \u2014 or is it an exhibition? \u2014 documents, but barely recreates, a long-lost cultural experiment that \u201cblurred the lines between art and play.\u201d Thirty-seven years later, at the Shed, those lines stay largely well defined. Most everything stays ensconced on the \u201cart\u201d side. The whole thing feels weirdly peaceful, hardly the midway I expected. Read the review.<\/em><\/a><\/p>\n<\/div>\n<\/div>\n070 Shake<\/h2>\n
\u2018Histories V: The Viennese School\u2019<\/h2>\n
BAMkids Film Festival<\/h2>\n
Snubbed Forever: Great Actors, No Nominations<\/h2>\n
\u2018Cult of Love\u2019<\/h2>\n
\u2018Oh, Mary\u2019<\/h2>\n
\u2018Gypsy\u2019<\/h2>\n
\u2018Hell\u2019s Kitchen\u2019<\/h2>\n
\u2018Edges of Ailey\u2019<\/h2>\n
\u2018Flight Into Egypt: Black Artists and Ancient Egypt, 1876-Now\u2019<\/h2>\n
\u2018Luna Luna: Forgotten Fantasy\u2019<\/h2>\n