\n<\/p>\n
Feb. 14 at 10 p.m. at the Second City, 64 North Ninth Street, Brooklyn; secondcity.com<\/a>.<\/p>\n For Valentine\u2019s Day, romance is the dominant theme at comedy clubs this weekend. A prime example is \u201cYour Love, Our Musical,\u201d<\/a> featuring New York City\u2019s top improvisers who use the real-life courtships of couples in the audience as fodder for their ad-libbed tunes. Tickets are from $49 on Second City\u2019s website<\/a>.<\/p>\n Other options on Friday night include \u201cWhy Are You Single? A Game Show With Marie Faustin<\/a>\u201d (8 p.m., Bell House; $20<\/a>); \u201cYoung Hot Sluts,\u201d a live dating show hosted by Carly Ann Filbin<\/a> (8 p.m., Littlefield; $20<\/a>); and \u201cThe Naked Comedy Show,\u201d which Billy Procida<\/a> will preside over, as advertised, in the buff (8 and 10 p.m., Bushwick Comedy Club; $39<\/a>).<\/p>\n On Saturday, you can stay in and stream the sold-out show \u201cAsk a F \u2014 boy: V-Day Debrief,\u201d in which female stand-ups tell dating horror stories to a panel of male comics (9:30 p.m., on Caveat\u2019s website; $10<\/a>), or catch Lane Moore swiping through dating profiles in a \u201cTinder Live\u201d<\/a> livestream (9 p.m. on the Moment platform; $20<\/a>). SEAN L. McCARTHY<\/em><\/p>\n<\/div>\n<\/div>\n Pop & Rock<\/p>\n Feb. 14 at 8 p.m. at Terminal 5, 610 West 56th Street, Manhattan; terminal5nyc.com<\/a>.<\/p>\n To followers of the indie blogosphere in the early 2010s, Chaz Bear was known as a progenitor of chillwave<\/a> \u2014 the atmospheric, nostalgia-heavy microgenre of electronica whose fingerprints are all over the \u201cvibey\u201d mood music that proliferates in today\u2019s streaming economy. Bear, who records under the moniker Toro y Moi, has since sidestepped the \u201cchillwave\u201d label with a succession of wide-ranging albums. He\u2019s leaned into more traditional pop and R&B, and tried his hand at guitar-forward indie rock. Toro y Moi\u2019s \u201cHole Erth,\u201d released in September, is yet another genre experiment: On it, Bear lays claim to the emo and rap-rock sounds<\/a> of his youth, which have recently been retooled by a new generation of Internet-native artists.<\/p>\n On Valentine\u2019s Day, Bear is linking up with another bear \u2014 Panda Bear, of Animal Collective \u2014 for show in Midtown. Tickets are $56 on AXS<\/a>. OLIVIA HORN<\/em><\/p>\n<\/div>\n<\/div>\n Classical<\/p>\n Feb. 14 at 7:30 p.m. at St. Paul\u2019s Chapel, 1160 Amsterdam Avenue, Manhattan; ekmeles.com<\/a>.<\/p>\n<\/div>\n<\/div>\n Valentine\u2019s Day is a perfect time to set the mood and get in tune. Luckily, the German word Stimmung \u2014 also the title of a notable Karlheinz Stockhausen composition from 1968 \u2014 covers those bases, translating to \u201cmood,\u201d \u201ctuning\u201d and more besides.<\/p>\n This Friday at St. Paul\u2019s Chapel on Columbia University\u2019s campus, the experimental vocal ensemble Ekmeles presents \u201cStimmung <\/em>Is for Lovers,\u201d reviving a concert it performed last Valentine\u2019s Day. Six vocalists, each singing into a microphone, build Stockhausen\u2019s \u201cStimmung\u201d from a barely audible low drone to a roiling stew of sound to a single fluctuating chord over the course of an hour.<\/p>\n Configurations of syllables and harmonies shift as \u201cmagic names\u201d and snippets of poetry emerge and are slowly assimilated into the overall texture. It\u2019s a mesmerizing work, capturing the flush of late 1960s experimentalism. With its overtones on overtones, embedded odes to love and endless searching for harmonic accord, what could be more romantic?<\/p>\n To attend, scroll down and click on \u201cFree admission, registration required\u201d on Ekmeles\u2019s calendar<\/a> to access the form. GABRIELLE FERRARI<\/em><\/p>\n<\/div>\n<\/div>\n Feb. 15-22, 10 a.m.-5 p.m., at the Intrepid Museum, 46th Street and the Hudson River, Manhattan; intrepidmuseum.org<\/a>.<\/p>\n The Intrepid Museum, formerly the U.S.S. Intrepid<\/a>, transported military forces as an aircraft carrier for decades before becoming a harborside center for science and culture. This weekend, the museum will welcome a woman who has also been around the world, but in an even more famous vehicle: the International Space Station<\/a>.<\/p>\n She is the astronaut Jeanette J. Epps<\/a>, who on Sunday will deliver two talks about her experiences as a flight engineer for the SpaceX Crew-8 mission<\/a> last year. At 1 p.m., she will treat young visitors to a slide show of her nearly eight-month expedition. At 3 p.m., the former astronaut Mike Massimino<\/a> will interview her for the Astro Live Series, which will be simultaneously streamed on the museum\u2019s social media platforms: YouTube<\/a>, Facebook<\/a> and X<\/a>.<\/p>\n Epps\u2019s appearances are part of NASA Explore Days<\/a> (Saturday through Monday), which include interactive demonstrations, a look at astronaut food and panels on aerospace careers. This three-day celebration begins the museum\u2019s annual Kids Week<\/a>, during which young visitors can enjoy daily offerings like robotics, author talks, theater, circus arts and live-animal presentations. (A full schedule is online.)<\/p>\n All activities are included with museum admission, which starts at $28 and is free for children 4 and younger. LAUREL GRAEBER<\/em><\/p>\n<\/div>\n<\/div>\n Through Feb. 26 at Anthology Film Archives, 32 Second Avenue, Manhattan; anthologyfilmarchives.org<\/a>.<\/p>\n This retrospective on Willem Dafoe, titled \u201cWild at Heart,\u201d takes its name from David Lynch\u2019s 1990 feature, in which Dafoe plays a repulsive, dentally challenged villain called Bobby Peru (\u201cjust like the country\u201d). But Anthology means these words to be understood literally: Dafoe is an actor with an almost feral presence and an easily underestimated range; his career quite explicitly runs the gamut from \u201cThe Last Temptation of Christ\u201d (showing on Saturday and Tuesday) to \u201cAntichrist\u201d (on Monday).<\/p>\n In Paul Schrader\u2019s \u201cLight Sleeper\u201d (on Friday, Sunday and Feb. 20), Dafoe plays a drug dealer whose monastic existence is presented as a contemporary correlative to the curate\u2019s life in Robert Bresson\u2019s \u201cDiary of a Country Priest.\u201d Dafoe, who has been turning up in person throughout the series, will appear for a Q&A at Sunday\u2019s screening. The theater\u2019s showing of \u201cWild at Heart\u201d on Sunday night is already sold out. BEN KENIGSBERG<\/em><\/p>\n<\/div>\n<\/div>\n Last Chance<\/p>\n Through Feb. 16 at the Samuel J. Friedman Theater, Manhattan; manhattantheatreclub.com<\/a>. Running time: 1 hour 35 minutes.<\/p>\n In Jonathan Spector\u2019s sharp social satire<\/a>, a mumps outbreak at an ultra-precious private elementary school in Northern California exposes the rift between vaccine advocates and skeptics<\/a>, challenging the board\u2019s unctuous commitment to valuing each community member\u2019s perspective equally. Anna D. Shapiro (\u201cAugust: Osage County\u201d) directs an ensemble cast that includes Jessica Hecht, Bill Irwin, Thomas Middleditch and Chelsea Yakura-Kurtz. Read the review<\/em><\/a>.<\/em><\/p>\n<\/div>\n<\/div>\n Critic\u2019s pick<\/p>\n Through March 2 at the Todd Haimes Theater, Manhattan; roundabouttheatre.org<\/a>. Running time: 1 hour 40 minutes.<\/p>\n The winner<\/a> of the 2023 Pulitzer Prize for drama, Sanaz Toossi<\/a>\u2019s quiet comedy is set in an Iranian classroom, where a group of adults is learning English from a teacher who once lived abroad, and dreaming of inhabiting different lives. Knud Adams, who staged the exquisite Off Broadway production in 2022, directs the original cast. Read the review<\/em><\/a>.<\/em><\/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 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. 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 last Chance<\/p>\n Through Feb. 22 at the Museum of Modern Art, 11 West 53rd Street, Manhattan; moma.org<\/a>.<\/p>\n<\/div>\n<\/div>\n Featuring a cross-racial and international selection of women and gender-nonconforming artists, nearly all from the museum\u2019s collection, this survey offers fresh acquisitions such as twee body-horror ceramics (a woman merged with a book titled \u201cHistoria del Hombre,\u201d or a cob studded with toothy lumps) by Tecla Tofano<\/a>. Lynda Benglis<\/a> is here with a classic condiment-hued latex \u201cpour,\u201d an almost obligatory nod to 1960s feminist critiques of Abstract Expressionism excess. And there are happy surprises, like Mako Idemitsu<\/a>\u2019s video \u201cInner Man,\u201d<\/a> in which a mustachioed nude frolics over footage of a woman in a pale kimono. Read the review<\/em><\/a>.<\/em><\/p>\n<\/div>\n<\/div>\n Critic\u2019s Pick<\/p>\n Through March 9 at the Solomon R. Guggenheim Museum, 1071 Fifth Avenue; guggenheim.org<\/a>.<\/p>\n Sprawling, mood-lifting and masterpiece-studded, this exhibition confers a thrilling sharpness on a movement that has long been a blur. This first in-depth look at Orphism brings together about 80 works by 26 artists that mostly date to the enchanted years preceding World War I, an upbeat time when inventions ranging from incandescent lightbulbs to the first cars and airplanes were leading artists to rethink their mission. You may think that Picasso and Braque had already answered the question adequately through their Cubist canvases. But no, not to the Orphists, who sought to infuse the dun-hued planes of cubism with rapturous color. Read the review.<\/em><\/a><\/p>\n<\/div>\n<\/div>\nToro y Moi and Panda Bear<\/h2>\n
\u2018Stimmung Is for Lovers\u2019<\/h2>\n
Kids Week<\/h2>\n
Wild at Heart: Willem Dafoe<\/h2>\n
\u2018Eureka Day\u2019<\/h2>\n
\u2018English\u2019<\/h2>\n
\u2018Gypsy\u2019<\/h2>\n
\u2018Hell\u2019s Kitchen\u2019<\/h2>\n
\u2018Flight Into Egypt: Black Artists and Ancient Egypt, 1876-Now\u2019<\/h2>\n
\u2018Vital Signs: Artists and the Body\u2019<\/h2>\n
\u2018Harmony & Dissonance: Orphism in Paris, 1910-1930\u2019<\/h2>\n