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Theater: Bryan Cranston is crazy like hell
November 10 to March 17; networkbroadway.com.
About half way to "Network", Sidney Lumet's satire in 1976, with a presumptuous grimace, gives rise to an extremely powerful rage scene. Howard Beale (Peter Finch), a disconcerted presenter whose anger is gold, is upset about the power of television.
"But, man, you will never receive the slightest truth from us," he laments to his millions of admirers. "We'll tell you everything you want to hear. We lie like hell. "
Ah, false news and fury – accompanied by an old fashioned greed and cooked crime for the cameras. This seems like an ideal time for the return of "Network", is not it? But this time, it's on Broadway, where premieres begin Saturday, November 10 at the Belasco Theater.
Bryan Cranston plays Howard Beale in the theatrical adaptation of Paddy Chayefsky's screenplay, directed by Ivo van Hove and inaugurated on December 6th. The first production took place last fall at the National Theater of London, Ben Brantley, in New York. Time, called "convulsive", and Mr. Cranston "the ideal center for this meticulously calibrated chaos". In the New York cast, Diana Christensen, the leader of cold as ice, Faye Dunaway played on the screen, is Tatiana Maslany ("Black Orphan"). LAURA COLLINS-HUGHES
Movie: Lucas Hedges in a heartbreaking adaptation
Nearly 700,000 L.G.B.T.Q. Americans reportedly undergo conversion therapy, report says January 2018 Report of the Williams Institute of U.C.L.A. Law School. Writer and activist Garrard Conley is one of them. Son of a Baptist pastor, Conley was unmasked at age 19 by a classmate after which his parents gave him an ultimatum: to be disavowed or attend an "ex-gay" program in Memphis that promised to "cure" him of his homosexuality. .
Today, Australian actor and director Joel Edgerton has adapted to the screen the text of "Boy Erased" of Conley's 2016, starring Lucas Hedges as Jared Eamons and Nicole. Kidman and Russell Crowe as his fundamentalist Christian parents who refuse to accept the sexuality – which initially confuses Jared himself. Edgerton is Victor Sykes, head of hard training camp, who claims to teach masculinity and inflict corporal punishment on those who do not conform. It's something that Jared's mother can not stand, no matter what her husband believes.
Conversion therapy, criticized by the American Psychiatric Association and the American Medical Association, and posing health risks, is now prohibited to minors in 14 states and in the District of Columbia. KATHRYN SHATTUCK
Dance: Hungarian national ballet arrives in America
4, 7, 9 and 11 November; davidkochtheater.com.
It's old for the world, but new for us. The Hungarian National Ballet, which dates back to 1884 and is now under the artistic reign of Tamás Solymosi, debuts in the United States with the Hungarian State Opera Orchestra. What better way to introduce yourself than with "Swan Lake"? The company presents a 1988 version of the Dutch choreographer Rudi van Dantzig (character dances are attributed to Toer van Schayk), with Tatiana Melnik in the double role of Odette-Odile, at the David H. Koch Theater in Manhattan.
Subsequent programs present Michael Messerer's words on "Don Quixote", a classic ballet full of virtuoso fireworks, and "LOL: Trio of Hans van Manen's Works", which the company unveiled last year in Hungary celebrates the 85th anniversary of the choreographer. From the legendary "Black Cake" to the delicately delicate "Trois Gnossiennes" and the sensual "5 tangos", this will also highlight Van Manen. On November 4th, the company will carry out a selection of directories as part of a gala evening. GIA KOURLAS
Classical Music: Provocations of the Harpsichord by Mahan Esfahani
November 7 and 8; millertheatre.com.
It's hard to know how much to take seriously Mahan Esfahani, the provocateur of the so-called harpsichordist who has made a point of publicly reprimanding his peers in the small world of keyboard performance. But his interpretations of the standard repertoire were highly appreciated – the New Yorker described his efforts as "exuberant, anti-sentimental, invigorating" and his commitment to expanding the repertoire of new works for his very old instrument is persuasive.
At the Miller Theater at Columbia University this week, Esfahani will combine selections from Bach's "The Temperate Keyboard" with contemporary music by Luciano Berio and Tristan Perich (November 8) and with the world premiere premiere of 39, a new work by the incredibly inventive experimenter (and Columbia teacher) George Lewis (November 7). WILLIAM ROBIN
Pop music: Julien Baker leads a great independent rock band
Nov. 6 and 7; bowerypresents.com.
The name of the boygenius group was designed with the tongue in the cheek: when singer-songwriters Julien Baker, Phoebe Bridgers and Lucy Dacus decided to turn a national tour into a six-song EP, they thought of the people who were, for once, not included. "We were only talking about well-known boys and men who were told they were geniuses, because they could basically hear," Dacus told the Times, "and what kind of creative work comes out of this education. ".
Their eponymous EP was recently released on Matador, just before their tour of 19 shows, which includes two days at Brooklyn Steel. The women will play separate sets, with a few songs together. All three share a talent for making sincere and sincere songs that always sound fresh; beyond that, they each have distinct styles.
Dacus turns to folk and rock; Bridgers, grungy pop; and Dacus, melancholic melodies with unconventional arrangements. Fortunately for the fans, instead of fighting against the fact that they are grouped because they are all women, they chose to rely on them. The result is even more thoughtful and cathartic pop music, which sounds new thanks to the original voices that sing it. NATALIE WEINER
Art: Martha Rosler's uncompromising vision
Until March 3, 2019; thejewishmuseum.org.
In Martha Rosler's 1975 video "Semiotics of the Kitchen," the artist recites an alphabetical listing of all kitchen equipment, starting with the apron she wears, and showing the use of each tool with a violent and clumsy pantomime. Her tone is a little embarrassed, but she keeps her face almost straight until the end. After cutting a "Z" in the air with a knife, she raises her eyebrows, raises her hands and raises her head as if to say, "What were you waiting for me?"
Nuanced but uncompromising, video says just about everything. But this is just one of the many scores, photographs, and large-scale installations, from the 60s to the present, in "Martha Rosler: Independent," a new retrospective presented at the Jewish Museum in Manhattan. HEINRICH
Television: The sorrow of Jenna Coleman in "The Cry"
November 8; sundancenow.com.
"Of all the things that can happen to a person, and there are some that could be worse … can you think of that?" Asks Joanna (Jenna Coleman), a Scottish teacher whose son has been removed. But as "The Cry", a BBC One drama second in popularity in Britain this year only after the blockbuster "Bodyguard", proves it quickly, you really can not.
The four-episode psychological thriller – based on Helen FitzGerald's best-seller and debuting on Thursday, Nov. 8, on the streaming Sundance Now – begins with a crying baby, whose father, Alistair (Ewen Leslie), gives a blow elbow to Joanna, exhausted. tend to be important because, well, it's a man who works. But the tears persist – throughout Joanna's hectic days and the couple's 30-hour flight to Australia, where Alistair fights his ex-wife (Asher Keddie) for custody of their teenage daughter. Then, during a quick grocery store stop in Alistair's hometown, Joanna makes the decisive decision to leave her baby in the car. And when Alistair and she come back, their son is gone and the fingers start to point fingers, including the parents themselves.
Coleman, who represents Queen Victoria in "Victoria" from Masterpiece in PBS, will also be performing on stage at the Old Vic in London this spring alongside Sally Field and Bill Pullman in Arthur Miller's "All My Sons." KATHRYN SHATTUCK
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