The Week in Arts: John Cameron Mitchell Brings Back ‘Hedwig’; L.G.B.T.Q. Films Roll Out for Pride
Theater: ‘Hedwig,’ With a Side of Dish
June 27-29; thetownhall.org
“You know,” John Cameron Mitchell mentioned, over the telephone, “we have been rejected by all of the theaters in New York when Stephen Trask and I have been developing with ‘Hedwig.’ Drag wasn’t actually thought of theater. And punk rock — they didn’t go collectively.”
Twenty-odd years in the past, possibly not. But “Hedwig and the Angry Inch” modified that, stomping glamorously throughout these assumptions with its debut downtown in 1998. Starring Mitchell as Hedwig, a transgender rock star manqué, the musical rapidly grew to become a cult hit — one which’s since been staged all over the world, together with on Broadway, and made into a movie.
Remembering these early days can be a part of the present when Mitchell and Trask carry their live performance spectacle “The Origin of Love” to Town Hall in Manhattan for 3 performances, beginning Thursday. “We’ll get all of the outdated forged members and as many Hedwigs as we are able to discover,” Mitchell mentioned. With a four-piece band, they’ll carry out songs from “Hedwig” and inform tales about it in a celebration timed for Pride. LAURA COLLINS-HUGHES
“Flying Geese Variation Quilt,” c. 1935, by Annie E. Pettway, one of many quilters of Gee’s Bend. Pieced cotton and wool, 7 toes 2 inches × 71 inches.CreditEstate of Annie E. Pettway/Artists Rights Society (ARS), New York; Philadelphia Museum of Art
Art: A Collage of Collages in Philadelphia
Through Sep. 2; philamuseum.org
Based in Atlanta and named for a line in a Langston Hughes poem, the Souls Grown Deep Foundation acquires work by black artists from the American South and locations it in museums throughout the nation. Some of the muse’s trove is now displaying on the Philadelphia Museum of Art — the exhibition, “Souls Grown Deep: Artists of the African-American South,” consists of beautiful items by masters of politically charged, found-object assemblage like Thornton Dial and Lonnie Holley. But there’s nonetheless nothing just like the quilts of tiny Gee’s Bend, Ala., the place for the higher a part of a century girls have been making highly effective summary compositions with no matter cloth that they had at hand. They simply maintain their very own with the Picassos, Cornells and different masterworks within the museum’s effective concurrent “Art of Collage and Assemblage.” WILL HEINRICH
Jennifer Monson on the Chocolate Factory Theater in Long Island City, Queens.CreditJulieta Cervantes for The New York Times
Dance: Listening to the City
June 23, 26 and 28; lmcc.web
Dancing open air at daybreak might sound excessive, nevertheless it’s common for Jennifer Monson, whose choreographic course of usually takes cues from nature. For one among her current works, “bend the even,” she rehearsed on an Illinois prairie as daylight broke. And the primary a part of “ditch” — a brand new response to social, financial and ecological forces on Manhattan’s Lower East Side — unfolds on the East River Esplanade at dawn (that’s 5:25 a.m.) on Sunday.
If you’re not an early riser, to not fear: “ditch” continues on Wednesday and Friday with night performances on the South Street Seaport Museum. One of many free choices within the Lower Manhattan Cultural Council’s River to River Festival, the work pays shut consideration to its environment — to the motion of individuals, water and climate on the base of the island. Looking inward as a lot as outward, Monson and her collaborators discover how our bodies know when catastrophe, or refuge, is close to. SIOBHAN BURKE
Tracy Edwards, left, and Mikaela Von Koskull, members of the 12-woman crew of the Maiden.Credit scoreTracy Edwards, by way of Sony Pictures Classics
Film: Women Voyagers Win Over the World in ‘Maiden’
The sailors aboard the Maiden, the primary yacht with an all-female crew to enter the Whitbread Round the World Race, have been ridiculed as “a tinful of tarts.” Some even put down wagers on how lengthy they may keep afloat. They have been advised repeatedly — by males — that they might fail.
Nevertheless, Tracy Edwards and her fellow yachtswomen endured.
And when their vessel sailed into port at Southampton, England, in May 1990 — after touring a complete of 33,000 miles by the Earth’s harshest oceans (beating their male-led counterparts on two legs of the race within the course of) — they have been met by a flotilla of vessels and 1000’s of cheering spectators, though they hadn’t are available first.
Edwards, the boat’s 27-year-old British skipper, had proved the naysayers fallacious, and for that she grew to become the primary lady to win the Yachtsman of the Year trophy.
Alex Holmes’s “Maiden,” opening Friday, is a thrill trip, weaving collectively exhilarating, even terrifying footage filmed through the nine-month journey and present-day interviews with Edwards, a teenage hellion turned fearless chief, and her crew. It additionally checks again with a few of these males who tried to snicker Edwards out of the water — and who now admit the error of their methods. KATHRYN SHATTUCK
Mireille Lebel, middle, performing on the Boston Early Music Festival in 2016.Credit scoreRichard Termine for The New York Times
Classical Music: The French Baroque Tours to Westchester
June 23; caramoor.org
In 2017, the summer time music competition Caramoor, in Katonah, New York, concluded its long-revered bel canto opera program, led by the esteemed conductor Will Crutchfield. Though it has meant the lack of a significant supply of nineteenth-century opera rarities, the sequence has luckily been changed by visits from touring corporations providing different vocal fare. This Sunday, Caramoor hosts “Versailles: Portrait of a Royal Domain,” a day of enchanting music from the French Baroque courtesy of the Boston Early Music Festival. Under the course of consultants Paul O’Dette and Stephen Stubbs, and with a powerful forged, this restaging of a 2016 manufacturing incorporates a pastiche of excerpts from operas by Marc-Antoine Charpentier, Jean-Baptiste Lully and Michel-Richard de Lalande that present a window into the musical lifetime of the court docket of King Louis XIV of France. WILLIAM ROBIN
Michelle Zauner, who performs as Japanese Breakfast, on the Sasquatch Music Festival in George, Wash.CreditStephanie Dore
Japanese Breakfast at Rumsey Playfield
June 24; cityparksfoundation.org
Japanese Breakfast is a real indie success story — however one whose origins are clouded by sorrow. Michelle Zauner, the singer, songwriter and guitarist behind the venture, was a mainstay in Philadelphia’s D.I.Y. neighborhood after graduating from faculty there in 2011. She started recording beneath the Japanese Breakfast moniker in 2013, nevertheless it was solely after her mom’s demise the next 12 months that her profession began to take off.
Zauner channeled her grief into “In Heaven,” a standout monitor from her 2016 debut studio album, “Psychopomp.” The tune fashions one among Japanese Breakfast’s greatest methods: masking the melancholy ache of its lyrics with the decadence of dream pop. For a free efficiency in Central Park, Zauner can be joined by one other purveyor of the style: Hatchie, a younger Australian singer whose music reveals a lighter coronary heart: Her sugar-dusted melodies may be heard on final 12 months’s “Sure,” and “Secret,” from her just-released debut album. OLIVIA HORN
A nonetheless from ”Madam Phung’s Last Journey” (2015), directed by Nguyen Thi Tham.CreditIcarus Films
TV: OVID.television Keeps Growing, Adds Films for Pride
June 28; OVID.television
OVID.television, a haven for indie gems not usually discovered on Netflix or Amazon, has been celebrating Pride Month by rolling out 20 L.G.B.T.Q.-themed motion pictures. The lineup consists of Bill Sherwood’s groundbreaking “Parting Glances” (1986), starring Steve Buscemi as a rock singer dying of AIDS and Nguyen Thi Tham’s “Madam Phung’s Last Journey” (2015), a few former Vietnamese monk turned protector of transgender carnival performers.
On Friday, the subscription streaming service will unveil the final two of the sequence: “108 (Cuchillo de Palo)” (2013), Renate Costa Perdomo’s investigation into her uncle’s persecution as a homosexual man beneath the regime of the Paraguayan dictator Alfredo Stroessner, and “Alive!” (2015), by which Vincent Boujon follows 5 H.I.V.-positive males getting ready for his or her first solo parachute bounce.
Since debuting in March, OVID.television has expanded its number of art-house movies and documentaries to greater than 400, just lately including Oscilloscope and Metrograph to its assortment of companions. And it simply retains rising: Next month, the service will welcome Kartemquin Films, the MacArthur Award-winning manufacturing firm behind 2016’s “63 Boycott,” concerning the 1963 pupil protests of racial segregation within the Chicago Public Schools, and “The New Americans,” the critically acclaimed 2004 documentary mini-series about immigration. KATHRYN SHATTUCK