\n<\/p>\n
Through March 22 at 7 p.m. at Asylum NYC, 123 East 24th Street, Manhattan; asylumnyc.com<\/a>.<\/p>\n Harrison Greenbaum<\/a> regularly tells jokes at the Comedy Cellar, but he is also a successful magician who has toured the globe.<\/p>\n Starting in 2022, Greenbaum spent nearly two years as a starring act in Cirque du Soleil\u2019s New York City-themed \u201cMad Apple\u201d in Las Vegas. Before that, he hosted \u201cThe Unbelievable: The World\u2019s Greatest Entertainers,\u201d a production that made the rounds in Australia in 2017 and \u201918 put on by the touring group the Illusionists. A winner of the Andy Kaufman Award in 2010, Greenbaum has also racked up TV credits on \u201cConan,\u201d \u201cLast Comic Standing\u201d and \u201cAmerica\u2019s Got Talent.\u201d<\/p>\n Now back in New York, Greenbaum is blending comedy and magic in his sleight-of-hand one-hander \u201cWhat Just Happened?,\u201d<\/a> which is every other Saturday night at Asylum NYC through March. Tickets start at $30 on the club\u2019s website<\/a>. SEAN L. McCARTHY<\/em><\/p>\n<\/div>\n<\/div>\n Pop & Rock<\/p>\n Feb. 21 at 6 and 11 p.m. at Knockdown Center, 52-19 Flushing Avenue, Queens; knockdown.center<\/a>.<\/p>\n In the decade and a half that Sam Shepherd has been recording music as Floating Points, the chameleonic producer, composer and D.J. has shuttled between the rave and the symphony. A product of London\u2019s late-2000s club scene, Shepherd gained a following with simmering, expansive dance music that hinted at his affinity for jazz. Experimental projects like 2017\u2019s \u201cReflections: Mojave Desert\u201d \u2014 recorded outdoors, using geologic formations as acoustic enhancements \u2014 and performances where he improvised live on modular synth showed his range and cerebral side. The defining work of his career so far, though, is a collaborative album with the jazz titan Pharoah Sanders and the London Symphony Orchestra, released in 2021. That record, \u201cPromises,\u201d<\/a> was Sanders\u2019s last before his death, and a testament to Shepherd\u2019s gifts as a collaborator and sonic world builder.<\/p>\n The expansiveness of Shepherd\u2019s vision is evident in his live performances \u2014 vivid multimedia productions that engage the mind as well as the body. Tickets for his 6 p.m. show on Friday are about $44 on dice.fm<\/a>; the later show is sold out, but there is a wait list. OLIVIA HORN<\/em><\/p>\n<\/div>\n<\/div>\n Jazz<\/p>\n Through March 2 at 8 and 10:30 p.m. at the Blue Note, 131 West Third Street, Manhattan; bluenotejazz.com<\/a>.<\/p>\n<\/div>\n<\/div>\n Few musicians have navigated the transition from wunderkind to established artist as deftly as Esperanza Spalding. The five-time Grammy winner stirs souls and lifts spirits through her singing and bass playing, while always honoring her jazz roots in the dream-kissed music she composes and collaborates on.<\/p>\n Spalding grounds elliptical tunes and lush electroacoustic production in an irresistible sense of groove and exploration \u2014 in her singing, her playing and her incisive chatty asides \u2014 of what she once called in song \u201cThe Longing Down Below.\u201d During this two-week residency, she will survey her career, including the music from \u201cMilton + Esperanza,\u201d her Grammy-nominated album with the Brazilian songwriter Milton Nascimento from 2024. No matter who may turn up to these sets, they have the potential to dazzle with the feelings she conjures with her band, which at the Blue Note features Morgan Guerin, Eric Doob and Matthew Stevens. Her return to an intimate club setting is yet another reason to line up for tickets.<\/p>\n They start at $50 on the Blue Note\u2019s website. ALAN SCHERSTUHL<\/em><\/p>\n<\/div>\n<\/div>\n Feb. 21 at 4 p.m. at the Concert Hall, Brooklyn Conservatory of Music, 58 Seventh Avenue; bkcm.org<\/a>.<\/p>\n<\/div>\n<\/div>\n The 1900 hymn \u201cLift Every Voice and Sing\u201d<\/a> is often described as the Black national anthem. On Friday, the Brooklyn Conservatory of Music will invite children to lift their own voices and sing it, along with \u201cThe Star-Spangled Banner\u201d and other works.<\/p>\n The occasion is the conservatory\u2019s Black History Month Family Singalong<\/a>, which will show young music lovers \u2014 the recommended age range is 2 to 6 \u2014 how African American composers and arrangers reinterpreted familiar tunes and concepts, giving them a new cultural resonance. In addition to pairing these songs honoring liberty, the event will illustrate how John Coltrane turned Rodgers and Hammerstein\u2019s \u201cMy Favorite Things\u201d<\/a> into jazz, while the Supremes made it a Motown ballad<\/a>.<\/p>\n Hosted by Uton Onyejekwe<\/a>, a member of the school\u2019s faculty and its director of diversity, equity and inclusion, the festivities will feature Lafayette Harris Jr.<\/a>, another conservatory instructor, on piano. The program will include projections of the song lyrics and clips from television shows and films. It will reveal, for instance, how the composer Charlie Smalls transformed \u201cThe Wizard of Oz\u201d into \u201cThe Wiz,\u201d<\/a> a musical that celebrates Blackness.<\/p>\n Families can then ease on down the road home with a dance party.<\/p>\n Suggested admission is $8. LAUREL GRAEBER<\/em><\/p>\n<\/div>\n<\/div>\n Feb. 21-24 at Symphony Space, 2537 Broadway, Manhattan; dancefilms.org<\/a>.<\/p>\n Dance is often championed as an ephemeral art form, best experienced live. But for more than 50 years, Dance on Camera<\/a> has made a persuasive case that it can also be uniquely explored and appreciated onscreen. The festival\u2019s 53rd edition, in partnership with Symphony Space, is presenting 28 films from 13 countries, including full-length documentaries and artful shorts<\/a>.<\/p>\n The festival opens on Friday with \u201cResilient Man,\u201d which follows the dancer Steven McRae\u2019s return to the stage following an injury, and closes on Monday with a 20th anniversary screening of \u201cMad Hot Ballroom,\u201d the beloved documentary about dance in the New York public schools. In between are a look inside an influential dance festival in Belgrade (Saturday at 3 p.m.) and a film about the flamenco dancer Mar\u00eda Pag\u00e9s (Sunday at 2:15 p.m.). The debut of \u201cCaribbean Nights,\u201d an unfinished, never-released film from 1953 featuring the illustrious dancer Carmen de Lavallade, accompanies the presentation of this year\u2019s Dance in Focus Award to honor her long, influential career (Saturday at 6 p.m.).<\/p>\n General admission tickets are $17 and festival passes are $99 at symphonyspace.org<\/a>. BRIAN SCHAEFER<\/em><\/p>\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<\/div>\n<\/div>\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 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 Belasco Theater, Manhattan; maybehappyending.com<\/a>. Running time: 1 hours 45 minutes.<\/p>\n Robot neighbors in Seoul, nearing obsolescence, tumble into odd-couple friendship in this wistfully romantic charmer of a musical comedy by Will Aronson and Hue Park<\/a>, starring Darren Criss and Helen J Shen. Michael Arden (\u201cParade\u201d) directs. Read the review<\/em><\/a>.<\/p>\n<\/div>\n<\/div>\n At the Bernard B. Jacobs Theater, Manhattan; outsidersmusical.com<\/a>. Running time: 2 hours 25 minutes.<\/p>\n Rival gangs in a musical who aren\u2019t the Sharks and the Jets? Here they\u2019re the Greasers and the Socs, driven by class enmity just as they were in S.E. Hinton\u2019s 1967 young adult novel and Francis Ford Coppola\u2019s 1983 film. Set in a version of Tulsa, Okla., where guys have names like Ponyboy and Sodapop, this new adaptation<\/a> is the show with the rainstorm rumble<\/a> you\u2019ve heard about. It won four Tonys, including best musical and best direction, by Danya Taymor. With a book by Adam Rapp with Justin Levine, it has music and lyrics by Jamestown Revival (Jonathan Clay and Zach Chance) and Levine. 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 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>\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>\nFloating Points<\/h2>\n
Esperanza Spalding<\/h2>\n
Kids<\/h2>\n
Black History Month Family Singalong<\/h2>\n
Dance on Camera Festival<\/h2>\n
Film<\/h2>\n<\/div>\n<\/div>\n
Wild at Heart: Willem Dafoe<\/h2>\n
\u2018English\u2019<\/h2>\n
\u2018Gypsy\u2019<\/h2>\n
\u2018Maybe Happy Ending\u2019<\/h2>\n
\u2018The Outsiders\u2019<\/h2>\n
\u2018Vital Signs: Artists and the Body\u2019<\/h2>\n
\u2018Harmony & Dissonance: Orphism in Paris, 1910-1930\u2019<\/h2>\n
\u2018Luna Luna: Forgotten Fantasy\u2019<\/h2>\n