COME SEE HOW THE WORLD COULD BE.
Welcome to HADESTOWN, where a song can change your fate. Winner of eight 2019 Tony® Awards, this acclaimed new musical by celebrated singer-songwriter Anaïs Mitchell and innovative director Rachel Chavkin (Natasha, Pierre & The Great Comet of 1812) is a love story for today… and always.
HADESTOWN intertwines two mythic tales — that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone — as it invites you on a hell-raising journey to the underworld and back. Mitchell’s beguiling melodies and Chavkin’s poetic imagination pit industry against nature, doubt against faith, and fear against love. Performed by a vibrant ensemble of actors, dancers and singers, HADESTOWN is a haunting and hopeful theatrical experience that grabs you and never let’s go.
Tickets to HADESTOWN are available as part of the Key Private Bank Broadway Series subscription package at Proctors. Single tickets are not currently available.
In September of 2019, Machine Dazzle premiered his original show, Treasure, at the Guggenheim Museum as a commission by Works and Process. Treasure was a music theater work with original songs and narrative performed by Machine Dazzle. The three sold out shows also featured a 13-member fashion show, designed by Machine Dazzle. Produced with music director Viva DeConcini, Treasure is a future psyche-sex-adelic synthe rock experience with stories about Machine’s mother, their relationship, and the legacy she left to him. At the root, Treasure explores how stories, narratives, and beliefs are enforced and reinforced in the home. Undressing layers of his past to make sense of the present, Treasure features stories told and stitched together through song. Now, after almost three years Treasure is having its very own album release party at Joe’s Pub. Machine Dazzle has been dazzling stages via costumes, sets, and performance since his arrival in New York in 1994. Machine has collaborated with artists Julie Atlas Muz, Big Art Group, Justin Vivian Bond, Taylor Mac, Chris Tanner, Soomi Kim, Pig Iron Theater, Bombay Rickey, and has designed projects for Opera Philadelphia and Spiegleworld. In addition, he has held residencies at Tyler School of Art at Temple University, Moody Center for the Arts at University of Houston, Harvard University's Department Theater, Dance & Media Department, and Mana Contemporary in Jersey City, NJ. Machine Dazzle’s work has been exhibited at Parsons School of Design in New York City and contributed to the creation of Diane Von Furstenburg and Cara Delevingne’s 2019 Met Gala camp looks. Machine will soon be premiering a solo exhibition at the Museum of Arts and Design in New York City.
Husband and wife duo Jaime Lozano and Florencia Cuenca create Mexican musical magic on Broadway en Spanglish. Featuring Mariachi Real de México de Ramon Ponce, they deliver fresh interpretation of some of musical theater's most iconic tunes with new arrangements by Lozano. Photo credit: Gabrielle Mariella
Tony nominee (for her role as Janis Joplin) Mary Bridget Davies embodies Virginia Woolf in the concert version of A Room Of One’s Own. The text, a landmark in feminist thought, is a rhetorical masterpiece and has never been out of print since 1929. Now, with kind permission of the Estate of Virginia Woolf, it is a play with music, directed by the award-winning Kirsten Z. Cairns (Benjamin Britten’s Turn Of The Screw, Curlew River) and with original music by Mark Berman (“Sex and The City,” Bullets over Broadway) and Ms. Davies’ Music Producer T.J. Armand (The Queen’s Six, Sama: An American Requiem). Photo courtesy the artist.
Back by popular demand, Joey Arias returns to Joe’s Pub following the release of his new EP, NO ONE KNOWS. In addition to original tunes, don’t be surprised to hear Joey feature some covers of beloved artists like Billie Holiday, Jimi Hendryx, & Led Zeppelin! Photo credit: Steven Menendez
By Suzan-Lori Parks Directed by Niegel Smith On March 13, 2020, as theaters shut their doors and so many of us went into lockdown, Pulitzer Prize-winning playwright and The Public’s Writer-in-Residence Suzan-Lori Parks picked up her pen and set out to write a play every day. What emerged is a breathtaking chronicle of our collective experience throughout the troubling days and nights that followed. Performed in the intimate music venue, Joe's Pub, PLAYS FOR THE PLAGUE YEAR is at once a personal story of one family's daily lives, as well as a sweeping account of all we faced as a city, a nation, and a global community. Working in collaboration with Niegel Smith as director, Parks' groundbreaking new work is brimming with humanity, bears witness to what we’ve experienced, and offers inspiration as we look ahead.
By Madeline Sayet Directed by Mei Ann Teo Produced with Woolly Mammoth Theatre Company In Association with Folger Shakespeare Library In 2015, Mohegan theatre-maker Madeline Sayet moved to England to pursue a PhD in Shakespeare, grappling with the question of what it means to remain or leave, as the Brexit vote threatens to further disengage the UK from the wider world. Moving between nations that have failed to reckon with their ongoing roles in colonialism, she finds comfort in the journeys of her Native ancestors who had to cross the ocean in the 1700s to help her people. In this intimate and exhilarating solo piece directed by Mei Ann Teo, Sayet asks us what it means to belong in an increasingly globalized world.
By Lorraine Hansberry Directed by Robert O’Hara Lorraine Hansberry’s A RAISIN IN THE SUN comes to Astor Place this fall in Hansberry's Public Theater debut. Directed by Tony Award nominee Robert O’Hara, this fresh look at a classic proves to be as provocative and powerful today as it was in 1959. Lena Younger has decided to use her late husband’s life insurance to move her family out of their cramped apartment on Chicago’s South Side. Her son, Walter Lee, has other ideas. This innovative new production of an American classic fearlessly interrogates the American dream in the face of racial and economic strife.
New York Premiere BALDWIN AND BUCKLEY AT CAMBRIDGE Conceived by Greig Sargeant with Elevator Repair Service Directed by John Collins In 1965, two of America’s intellectual giants were invited to debate whether “the American Dream is at the expense of the American Negro,” bringing into sharp focus our country’s deepest divisions. The renowned theater company Elevator Repair Service returns to The Public with BALDWIN AND BUCKLEY AT CAMBRIDGE, a profoundly relevant presentation of the legendary debate between virtuosic writer James Baldwin and father of American conservatism William F. Buckley, Jr. The production concludes with an imagined scene between Baldwin and his close friend Lorraine Hansberry, researched and written by long-time ERS company members April Matthis and Greig Sargeant. Heralded by The New York Times as “one of the city’s few truly essential theater companies,” Elevator Repair Service applies their trademark approach of verbatim textual exploration and intensive collaboration to re-create Baldwin and Buckley’s blistering dissection of race, racism, and human worth. BALDWIN AND BUCKLEY AT CAMBRIDGE is conceived by Greig Sargeant and directed by ERS Founder and Artistic Director John Collins. The cast of BALDWIN AND BUCKLEY AT CAMBRIDGE will feature Daphne Gaines (Lorraine Hansberry), Gavin Price (Mr. Heycock), Greig Sargeant (James Baldwin), Christopher-Rashee Stevenson (Mr. Burford), and Ben Williams (William F. Buckley, Jr.).
Emily Dickinson: poet, recluse, a**hole. Loosely based on her “Master Letters,” Shut UP, Emily Dickinson is a pseudo-historical, quasi-biographical, hysterically existential, sadomasochistic psycho-romance about America’s most brilliant and annoying poetess. Holed up for all eternity in the bedroom of our minds, “the woman in white” stretches into a projection screen for truths, half-truths, truthiness, and truth-less-ness. Winner of The Jill Cummins MacLean Prize. This darkly comedic play runs approximately 75 minutes. “I found myself admiring O’Debra’s wild balancing act that captures Dickinson’s odd soul. We’ll never really know what kept Dickinson a prisoner in that upstairs room in Amherst, Massachusetts, but if you see this show you’ll have some insight into the kind of demons or gods that might have plagued her. And you’ll find yourself laughing guiltily as you learn these lessons.” – CityBeat We use theatrical haze and extremely coarse language that depicts sex and violence. This is not a polite depiction of Emily Dickinson, and it’s probably not suitable for children.
What happens when a country's politicians treat the justice system like their own private roulette table? Stairwell Theater is proud to present Henry VI, Part 2, Shakespeare's rarely performed prophecy about the insidious slide into civil war. An electro-pop nightmare, Stairwell's experimental production shows what happens when a group of elite oligarchs behave very, very badly indeed. Featuring the rise and fall of Queen Margaret, the murder of the Good Duke Humphrey, the insurrection of Jack Cade, and the rebellion of the Duke of York, this rarely performed masterwork will make you laugh, cry, and chop some heads with a crack team of downtown artists as they take you on a phantasmagoric boat ride to hell. With undertones of the insurrection on January 6, 2021, and our own urgent political struggles, maverick Shakespeare director Sam Gibbs brings 1447 England to the stage as a warning to those who would stand idly by in the face of injustice.
Birdland is thrilled to announce that singer/actress Karen Akers will return to the stage on Monday, September 12 at 7pm! Karen Akers is one of America’s more arresting and successful concert and cabaret stars. She is the recipient of the 2005 New York Nightlife Award for Outstanding Female Cabaret Vocalist in a Major Engagement, as well as the 2009 Nightlife Legend Award. Ms. Akers has appeared in many prestigious venues worldwide, including Carnegie Hall and The Hollywood Bowl, as well as New York’s premiere nightspots, the Cafe Carlyle and The Oak Room at The Algonquin Hotel. She has taken her music to the south of France, Russia, Barcelona’s Liceu Opera House and more recently, to The Crazy Coqs in London. Cabaret and concert performances are only a part of Ms. Akers multifaceted career, which encompasses theatre, television, film, and recordings. She appeared at the Martin Beck Theatre on Broadway as one of the original stars of the Tony Award-winning musical Grand Hotel, directed by Tommy Tune. She made her debut on the Great White Way in the original production of NINE, also directed by Tommy Tune, receiving a Tony nomination and a Theatre World Award. Ms. Akers television appearances include Cheers, The Tonight Show, The Equalizer, Hart to Hart, the Merv Griffin Show and the PBS Specials: Ellington: The Music Lives On and Ira Gershwin at 100: A Celebration at Carnegie Hall. In addition, Ms. Akers had two of her own PBS specials, Presenting Karen Akers and Karen Akers: On Stage at Wolf Trap. The latter is available on DVD. Her film roles include the femme fatale in Mike Nichol’s Heartburn, opposite Jack Nicholson and Meryl Streep, Woody Allen’s The Purple Rose of Cairo, and Vibes. Ms. Akers’s CDs include: If We Only Have Love, Feels Like Home, Live From Rainbow and Stars, Under Paris Skies, Just Imagine, Unchained Melodies, In A Very Unusual Way, Like It Was, Presenting Karen Akers and Simply Styne (DRG Records). The show, titled “Among My Souvenirs,” will be musical directed by Alex Rybeck. In this show, Karen Akers takes a look back at some of the songs that first brought her acclaim in cabaret as well as on Broadway, television, and recordings — works by Craig Carnelia, Maury Yeston, Edith Piaf, and Stephen Sondheim, among other treasures. In short, this is an evening of classic Karen Akers.
Our intimate and lyrical English-language production of CARMEN is back! Originally scheduled for March 2020, director Sammi Cannold (Encores’ Evita, Forbes’ 30 Under 30) helms a new cast including Ginger Costa-Jackson as Carmen, Mikaela Bennett as Micaëla, and John Brancy as Escamillo. Sung in its original Opéra Comique version, with dialogue rather than recitative, our production marks the NY Premiere of this fiery and dramatic translation – written by Broadway legend Sheldon Harnick, originally commissioned by the Houston Grand Opera. Featuring Orchestra of St. Luke’s and the MasterVoices Chorus conducted by MV Artistic Director Ted Sperling, along with flamenco-infused choreography by Argentinian-born choreographer Gustavo Zajac, get ready for a gorgeous Carmen in all its musical and theatrical glory! Tickets: Priced from $30 to $175, may be purchased beginning on August 11 online at jazz.org, at the Jazz at Lincoln Center box office, Broadway at 60th Street, or by calling 212-721-6500.