CONCERT

Merkin Hall
Tuesday Matinées

Manhattan Chamber Players

Strauss - Sextet from Capriccio, Op. 85
Shostakovich - Piano Quintet in G minor, Op. 57
Tchaikovsky - Souvenir de Florence, Op. 70

“Absolutely stunning performances – luminous, probing, deeply personal” — Washington Post

"Back by popular demand! Manhattan Chamber Players is a collective of top Prize Winners at the Banff, Concert Artists Guild, Fischoff, Melbourne, Naumburg, Osaka, Primrose, Queen Elisabeth, Rubenstein, Tchaikovsky, Tertis and Young Concert Artists Competitions. Formed by Artistic Director Luke Fleming, MCP is comprised of an impressive roster of musicians who all come from the tradition of great music making at the Marlboro Music Festival, Steans Institute at Ravinia, Music@Menlo, Yellow Barn and Kneisel Hall Chamber Music Festivals and Perlman Music Program, and are former students of the Curtis Institute, The Juilliard School, Colburn School, New England Conservatory, and Yale School of Music."

 Watch the Manhattan Chamber Players perform.

CONCERT

Marble Collegiate Church
Manhattan Brass: 25th Anniversary Celebration

"As promised, there are a number of great things happening “under the hood” of the newest version of Manhattan Brass. And now, as the weather starts to cool, we’re going to take this baby out for a few long drives and show everyone how this classic takes a moment for a little retooling and comes out roaring!

We are very happy to announce that our first all-out NYC concert in almost two years will be a double entendre of a celebration…September 25th will be a celebration of the 25th Anniversary of this venerable ensemble, and will also mark the start of a new relationship, which we are seriously looking forward to embarking on. That relationship is with Marble Collegiate Church, of midtown Manhattan, and its music director and principal organist, Ken Dake. To celebrate this partnership, the concert is being held at Marble, in their magnificent sanctuary, and will feature Mr Dake as our guest artist on the program. Marble has an impressive and recently installed Sebastian M. Glück organ, which really cranks out the bass, as well as all manner of great sounds through 6500 pipes! Please come join us at this momentous occasion!"

THEATER

Cherry Lane Theater
The Gospel According to Thomas Jefferson, Charles Dickens, and Count Leo Tolstoy: Discord

"From Scott Carter, Executive Producer of HBO’s “Real Time with Bill Maher,” this timely New York Premiere finds three of history’s most famous men, all of whom wrote their own version of the gospels, debating everything from religion to literature to marriage in this “hugely entertaining, rapid-fire” (Chicago Sun-Times) new play. Thomas Jefferson (author of the Declaration of Independence), Charles Dickens (the man who brought us A Christmas Carol and Oliver Twist) and Count Leo Tolstoy (the epic Russian novelist of War & Peace fame) are trapped in a limbo where each believes their path to salvation depends on convincing the other two that they are wrong. Kimberly Senior, the acclaimed director of Chris Gethard’s Career Suicide and the Tony-nominated Disgraced, will helm this profound and exciting battle of truly biblical proportions."

http://www.chicagotribune.com/entertainment/theater/reviews/ct-gospel-according-to-northlight-ent-0516-20160515-column.html

In smart 'Gospel,' Jefferson, Dickens and Tolstoy duke it out in hell

Chris Jones

Did you know Thomas Jefferson, Charles Dickens and Leo Tolstoy all wrote their own versions of the Bible? Ah! The ego of the refined mind! Hello, Matthew, Mark, Luke, John, Thomas, Charles and Leo!

In Jefferson's version, "The Life and Morals of Jesus of Nazareth," aka the Jefferson Bible, the great man cut-and-pasted bits of the New Testament so that the story of Jesus Christ better resembled a rationalist code for life, shorn of the miraculous and supernatural. The founding father was not hitting Control-C, of course. His cutting and pasting involved scissors and glue.

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Dickens, the great English novelist, wrote "The Life of Our Lord" in 1849, although it was the last of his works to be published. Written for his children, this biblical retelling in the Dickensian style also cut most of the miraculous stuff and emphasized the so-called Social Gospel. And Tolstoy? His 1883 work, "The Gospel in Brief," emphasized Christ's teachings, not historical events, and aimed to offer up the greatest pedagogical hits of all four Gospels in a single volume from the voluminous Tolstoy's mind.

That hubristic coincidence — these men lived in different eras — is the inspiration behind "The Gospel According to Thomas Jefferson, Charles Dickens and Count Leo Tolstoy: Discord," a heady snoozer of a title that's tough to fit on a marquee, so it's just as well the Northlight Theatre does not have one at the North Shore Center for the Performing Arts in Skokie.

This 2014 play was penned by Scott Carter, the longtime writer and executive producer for "Real Time With Bill Maher," which indicates both the pedigree and the wonkish bona fides of the scribe. But Carter actually has written an amusing little play, cheerfully anachronistic and irreverent, that imagines Jefferson (Nathan Hosner in Kimberly Senior's production), Dickens (Jeff Parker) and Tolstoy (Mark Montgomery) all stuck together in purgatory, here aptly defined as three towering egos obliged to argue with one another for eternity.

Carter is riffing, for sure, on that signature bit of dramatic existentialism, Jean-Paul Sartre's "No Exit," wherein hell was famously defined as "other people."

"Discord" won't shake you to your boots with emotion nor send you into giddy raptures of amusement — Senior's sometimes removed production, seriously designed by Jack Magaw, does not fully exploit every comedic possibility, and this isn't the ideal physical space for this small show. And although the audience Friday night remained quieter than is ideal for a comedy, this remains an entertaining and intellectually stimulating 90 minutes, featuring three skilled Chicago actors working with a smart director and a clever script.

If you like some catnip for the noggin, this is your show. I'd give it a week to find its groove before you go.

The most interesting section (and the only time the work gets really emotional) is when Carter really gets into how much the lives of these men diverged from their philosophical pronouncements, such as Jefferson's relationship with his slaves or Dickens' own troubled personal life (which involved Chicago, but that's another story). The characterizations of the men tend to fall into established stereotypes — Montgomery's Tolstoy is gruff in that famous "nyet" kind of way, Parker's Dickens is snippy and sanctimonious, and Hosner's Jefferson is, well, tortured in his all-American pursuit of nationalistic exceptionalism. Then again, history suggests some truth to all of that, and it's part of the fun.

It is indeed quite jolly to watch these towering egos argue with one another with such force — especially since Carter makes it very clear that you are also watching three different historical eras in vigorous debate about matters political and philosophical. None of the men has any spiritual certainty about them — I mean, who does? — but they're all bold-faced advice columnists when it comes to prescribing the path to redemption for anyone other than themselves.

How much will that count in the final analysis? Well, that's pretty much what this play wants to know. And it's well worth 90 minutes of thought.

Chris Jones is a Tribune critic.

LINCOLN CENTER

David Geffen Hall
New York Philharmonic

Jaap van Zweden - Conductor
Katia and Marielle Labèque - Pianos

Philip Glass - Concerto for Two Pianos and Orchestra (New York Premiere)

Mahler - Symphony No. 5

"Experience Jaap van Zweden’s chemistry with the Philharmonic as our Music Director Designate leads Mahler’s epic Fifth Symphony — a tour de force for the Orchestra’s virtuoso musicians encompassing intense passion, demonic energy, and breathtaking radiance — plus a brilliant concerto composed for the Labèque sisters by American master Philip Glass in a long-anticipated New York Premiere."

ART EXHIBITION

New York Botanical Garden
Chihuly

"Breathtaking works of art that dazzle with color, light, and form—by day and night

Artworks by world-renowned artist Dale Chihuly are now on view at NYBG in his first major garden exhibition in New York in more than ten years. CHIHULY, presented by Bank of America, showcases more than 20 installations and includes drawings and early works that reveal the evolution and development of Chihuly’s artistic process during his celebrated career. Set within NYBG’s landmark landscape and buildings, this sensory-filled exhibition is a must-see throughout the changing seasons from spring through fall.

The Garden’s dramatic vistas become living canvases for work created specifically for NYBG, showcasing Chihuly’s signature organic shapes in brilliant colors. Among the singular sights is a monumental reimagination of his storied 1975 Artpark installation: three new works enliven the water features of the Native Plant Garden and the Enid A. Haupt Conservatory Courtyard’s Tropical Pool, reflecting the interplay and movement of color and light.

Special weekend celebrations, films, poetry, and fun-filled art programs for kids offer colorful and imaginative tributes to nature. On CHIHULY Nights, the exhibition is infused with a magical energy as the artworks are spectacularly illuminated amid NYBG’s sweeping vistas and magnificent Conservatory."

Go to this site to see the spectacular pieces of blown glass art on exhibit...

LINCOLN CENTER

Jazz at Lincoln Center
Fred Hersch, Kurt Elling & Kate McGarry: Leaves of Grass

"Composer and pianist Fred Hersch has been described by the New York Times as "a master who plays it his way." Over the course of Hersch's long and inspiring career, Leaves of Grass stands out as one of his most ambitious and deeply personal projects. Originally premiered at Carnegie Hall in 2005, Leaves of Grass celebrates the life and poetry of the American bard Walt Whitman, whose work redefined American poetry and had a significant, life-affirming impact on Hersch. In this Appel Room performance, vocalists Kurt Elling and Kate McGarry will reprise their acclaimed roles from the original project, presenting Whitman's words with grace, emotion, and a lyrical sweetness that would have made Whitman proud. An eight-piece ensemble, featuring trumpeter Nadje Noordhuis, trombonist Mike Christianson, multi-reedist Bruce Williamson, tenor saxophonist Tony Malaby, cellist Jody Redhage, bassist John Hébert, and drummer John Hollenbeck, will assist them in evoking the sweeping melodicism for which Hersch is renowned. It's been over 160 years since Whitman wrote his epic masterwork, "Song of Myself," which forms the centerpiece of Hersch's Leaves of Grass, and its messages seemed almost alien in our society at the time. Now, its promotion of unapologetic love for one's true self, appreciation of the present, wonder at the miracle of nature, and the openhearted love of all beings is especially timely and important. It is a powerful and unique experience to witness this profound poetry spun into song by one of today's leading musical visionaries."

LINCOLN CENTER

Rose Theater
The Fantastic Mr. Jelly Lord

"The Jazz at Lincoln Center Orchestra with Wynton Marsalis kicks off our 30th season with a joyous celebration of New Orleans legend Jelly Roll Morton (1890–1941). Jazz’s first great composer, musical intellect, and piano virtuoso, Morton gave us the musical blueprint of an eternal New Orleans and jazz as we know it today. Through both classic and never-before-heard arrangements of essential tunes like "King Porter Stomp," "Jungle Blues," “Black Bottom Stomp,” and “The Pearls,” the JLCO will showcase the contemporary power and the depth of possibility in the earliest jazz.

The Jazz at Lincoln Center Orchestra with Wynton Marsalis kicks off our 30th season with a joyous celebration of New Orleans legend Jelly Roll Morton (1890–1941). Jazz's first great composer, musical intellect, and piano virtuoso, Morton gave us the musical blueprint of an eternal New Orleans and jazz as we know it today. Through both classic and never-before-heard arrangements of essential tunes like "King Porter Stomp," "Jungle Blues," "Black Bottom Stomp," and "The Pearls," the JLCO will showcase the contemporary power and the depth of possibility in the earliest jazz. The concepts found in these pieces have been explored by master musicians for the past century, and through the lens of Jelly Roll, you will hear that all jazz is truly modern. In addition to the JLCO's own resident pianist Dan Nimmer, this performance will feature the celebrated pianist Aaron Diehl,rising star Sullivan Fortner, and two promising young Juilliard jazz students from the Midwest and the West: Micah Thomas and Joel Wenhardt. Jelly Roll had to proclaim himself the "King of Jazz" in the early 20th century, but his genius stands the test of time. His music is earthy, sophisticated, and – most of all, fun – guaranteeing a raucous and festive opening weekend in Rose Theater. Welcome back to the House of Swing!

This concert has been chosen as one of our 30th anniversary landmark performances because of the huge influence Jelly Roll Morton has had not just on the development and evolution of jazz, but on Jazz at Lincoln Center itself. Along with Armstrong, Monk, and Ellington, Jelly Roll is among the most performed and celebrated artists at Jazz at Lincoln Center, including in the Jazz at Lincoln Center Orchestra’s 1996 tour, Morton, Monk, Marsalis. Morton was also one of the first inductees into the Ertugen Jazz Hall of Fame in 2004."

THEATER

59E59
The Violin

A new play by Dan McCormick
Directed by Joseph Discher
With Robert LuPone, Peter Bradbury, and Kevin Isola

A WORLD PREMIERE PLAY

Broadway veteran Robert LuPone (A Chorus Line, OBC; True West; The Sopranos) stars in a humorous and heartbreaking world premiere drama directed by Joseph Discher (Butler).

What happens when a world-renowned musician leaves his beloved instrument in the back seat of a New York City cab?

When Bobby, Terry, and Gio—two hapless brothers and a world-weary tailor—find a 1710 Stradivarius violin worth four million dollars in the back of a New York City taxi, it looks like the opportunity to change their fortunes may have landed in their laps. A shot at their dreams, however will mean some quick decisions testing loyalty and family ties with irrevocable consequences.

http://www.theatermania.com/off-broadway/news/robert-lupone-braves-return-in-the-violin_82293.html

Robert LuPone Braves a Return to the Stage in The Violin

The Tony nominee and MCC co-artistic director gets ready to tread the boards once again.

"I'm at the beginning of jumping into the pool without a life preserver." That's how Tony nominee and MCC co-artistic director Robert LuPone described the experience of returning to the stage after almost 15 years. "I'll let you know if I swim," he continued, with a wry laugh.

The multi-hyphenate theater artist, who was last seen on Broadway in the 2001 revival of A Thousand Clowns, will soon begin performances at the off-Broadway theater complex 59E59 in Dan McCormick's The Violin. The work follows two hapless brothers and an elderly tailor who find a priceless Stradivarius in the back of a taxicab. But it was director Joseph Discher who convinced LuPone to sign onto the project.

"I've been in discussions with him about the play and about the fact that I haven't been onstage since 2003," said LuPone, "and he was willing to take the chance, so here we are."Robert LuPone will return to the stage in 59E59.
(© David Gordon)

What's unique about this project?
The demands of this play scared me, and that's why I decided to do it. I'm happily married; I work at MCC; I have a pension; life is good. But of late, within the last six months to a year, I've been feeling the urge to get back onstage. And the reason I took this play is because the demands of the amount of work the play would entail in terms of language and lines, it scared me. There's some real meat to this play, and I wanted to go after it; I wanted to try it. I wanted to see what chops I've got left.

What was the pull that made you want to get back onstage?
It wasn't showbiz — I can tell you that. It wasn't the idea of a career. I wish I could give you a concrete answer, but none of that was of interest to me. It was just something about the call of the wild. Something about the call to the stage, the call to the boards. This could all be an utter failure and end of story — who knows? But it was something about that call. I heard the call again.

So tell me about the character that you're playing.
It was a lot to chew on in this role. It's a kind of rich Italian opera. I play an Italian tailor. The emotional stakes interested me. It's like an operatic, Avenue A drama with lots of big emotions, lots of big gestures, lots of histrionics — and hopefully meaning. I like feeling dwarfed by this play.

How are rehearsals going?
All three of us actors, we're like nose to the grindstone to try to pump this thing out, because it's gargantuan, the amount of words that we're trying to put together in three weeks. It's just too much too fast, and it should have another week of rehearsal at least. To everybody's credit, there's nothing but the utmost professionalism and care.

As a co-artistic director, can you speak to me about what the relationship is between the different off-Broadway theaters?
The thing that we all relate to is the duress, because we don't have enough real estate, we don't have enough money, don't have enough audience, and we don't have enough marketing dollars. I mean, the list is endless. And I think that we all know the circumstances and yet we still decide to take it on. And with those obstacles we still make, I think, pretty cool theater off-Broadway. Life's short and we've got a lot of problems in this world, and so I think it's important that what the theater does best is educate and make an audience reflect upon themselves and the society that they live in.

New York is a tough place — it's very competitive, and if you can survive in New York as an actor, you've earned your stripes. There are a lot of people that come and go, and there's a few people that stick. The ones that stick really understand what it is to do theater in New York and what it is to be in a community that creates theater.

If we were to get you back on Broadway, what kind of project would you be looking for?
That's a really good question. You know, I haven't thought about that. As far as I'm concerned, my acting career is ending with this role. [laughs] So I wasn't thinking about a future beyond this role. Well, obviously, if a play came my way that I could really do well and meant something to me, then I would certainly be interested in that.

Listen, I'm approachable, let's put it that way. I'm approachable for anybody that wants to talk to me about giving me a job to go back on Broadway. Robert LuPone in a scene from The Violin.
(© Carol Rosegg)