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    5 Things to Do on Labor Day Weekend

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    Our critics and writers have selected noteworthy cultural events to experience virtually and in person in New York City.Art & MuseumsMoMA PS1’s Engaging CourtyardNiki de Saint Phalle’s “La femme et L’oiseau fontaine” (1967) will be on view in MoMA PS1’s courtyard until Monday.Niki Charitable Art Foundation/Artists Rights Society (ARS), New York/ADAGP, Paris; MoMA PS1; Marissa AlperIn 1997, the courtyard at MoMA PS1 became the main venue for “Warm Up,” a summer event that mingled art, music and design in order to draw new audiences. But things change. “Warm Up” certainly hasn’t gone away, but last fall, the institution began “PS1 Courtyard: an experiment in creative ecologies,” a program testing out ways to use the outdoor space that encourage community engagement.The initiative’s projects include a fountain from Niki de Saint Phalle, part of a larger exhibition at PS1 that closes on Monday, and Rashid Johnson’s “Stage.” Visitors are welcome to get up on his installation’s large yellow platform and freely use its five live microphones of varying heights. By showing a microphone as a dynamic social tool, Johnson’s piece, which will be on view through the fall, indicates the many things a stage can represent: a site of protest, music making, solidarity and, most important, amplification of your voice.MELISSA SMITHFilm SeriesScenes From Every SeasonA scene from “A Summer’s Tale,” one of four features in Eric Rohmer’s Tales of the Four Seasons, all of which Film Forum will screen through Sept. 9.Janus FilmsThe maximalist moviegoing event of Labor Day weekend is “Lawrence of Arabia,” screening on Saturday and Sunday on 70-millimeter film at the Museum of the Moving Image. But for a minimalist alternative, try Eric Rohmer’s Tales of the Four Seasons — four features, each set at a different time of year, that Rohmer, the most conversation-oriented French New Wave director, turned out from the late 1980s through the late 1990s. (Together, the running times total roughly two showings of “Lawrence of Arabia.”) With the changing of the seasons, Film Forum is showing all the titles separately from Friday through Sept. 9.Watching them in tandem illustrates how Rohmer — superficially so consistent and serene — subtly toys with structure and variation, recombining types of characters in friendships and romances that rarely develop as expected. The most summery is, naturally, “A Summer’s Tale.” Melvil Poupaud plays a commitment-phobe vacationing in Brittany who somehow winds up juggling a surfeit of commitments to women.BEN KENIGSBERGJazzCelebrating a Visionary Record LabelCharles Tolliver at the 50th anniversary of Another Earth in 2019. Through Saturday, he will be celebrating another 50th anniversary at Birdland — that of the record label he started with Stanley Cowell, Strata-East.Lev Radin/Pacific Press, via Getty ImagesIn 1971, seeking refuge from an exploitive, increasingly commercialized jazz industry, the trumpeter Charles Tolliver and the pianist Stanley Cowell founded Strata-East, a record label offering artists creative freedom and relative commercial control. Though short-lived, Strata-East inspired Black musicians in other cities to undertake similar efforts. And it captured a moment in time: Nearly every Strata-East album simmers with the heat and tension of the Black Power era, delivering terse, syncopated rhythms and pushing jazz linguistics into a more spare, confrontational zone.Cowell died last year after a prolific career, but Tolliver, 79, continues to perform. At Birdland through Saturday, he is celebrating the label’s 50th anniversary with an ensemble of all-stars, including some who recorded on Strata-East in the 1970s: the tenor saxophonist Billy Harper, the pianist George Cables, the bassist Buster Williams and the drummer Lenny White. Sets are at 7 and 9:30 p.m. The late show on Saturday, which will also be livestreamed at dreamstage.live, will feature a guest appearance by the storied bassist Cecil McBee and will be hosted by the actor Danny Glover.GIOVANNI RUSSONELLOComedyNo Labor for These LaughsErik Griffin in his Showtime special “AmeERIKan Warrior.” He is headlining at Carolines on Broadway through Saturday.ShowtimeEven workaholics know they should take it easy this weekend, and fans of “Workaholics” will recognize the headliner at Carolines on Broadway through Saturday: Erik Griffin, who played Montez Walker on that Comedy Central sitcom. Griffin also portrayed a stand-up in “I’m Dying Up Here,” a dramedy about comedy in the 1970s on Showtime, where you can find two of Griffin’s comedy specials. At Carolines, he will perform one set at 7 p.m. on Thursday and Friday, and two sets at 7 and 9:30 on Saturday. Tickets start at $31.25.On Sunday at 7 and 9:30, Carolines will welcome Rosebud Baker, who released her debut special, “Whiskey Fists,” in August on the Comedy Central Stand-Up YouTube channel. Tickets are $27.25 and up.There will be a two-drink minimum at each show.SEAN McCARTHYKIDSThis Is How They RollA child at an NYC Unicycle Festival event in 2019. The 12th edition of the annual celebration takes place throughout the boroughs this weekend.Kenneth SpringleIn New York, casual basketball games are about as common as strutting pigeons. But the contest scheduled on Saturday at 11 a.m. in the Bronx should result in a lot of head-turning, not to mention wheel-turning.That’s when the King Charles Unicycle Troupe will play — while riding its favorite vehicles — at the basketball court in Clinton Playground in Crotona Park. (Enter at Clinton Avenue and Crotona Park South.) A beloved local circus act, these guys can double-Dutch jump rope on one wheel, too.Their show is a highlight of the 12th annual NYC Unicycle Festival, a free outdoor celebration presented by the Bindlestiff Family Cirkus. The festivities also include long-distance group rides on Thursday, Friday and Saturday, which proficient young unicyclists can join if they’re accompanied by an adult. (Details are on the festival’s website.) Experienced riders can participate in a post-performance pickup game with the King Charles players on Saturday, too, along with a free-throw basketball contest and a unicycle obstacle course.Neophytes, however, can do more than watch. On Sunday from 1 to 5 p.m., at Grant’s tomb in Morningside Heights, the festival’s conclusion will offer instruction and youth-size equipment for children who want to give unicycling a whirl.LAUREL GRAEBER More

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      in Theater

      With Venues Reopening Across New York, Life Is a Cabaret Once Again

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      “Thank you all for risking your lives by coming out tonight,” Joe Iconis quipped, welcoming a socially distanced crowd to the June reopening of the cabaret venue Feinstein’s/54 Below in Manhattan.Iconis, a composer, lyricist and performer beloved among young musical theater fans, was joking, but before diving into an alternately goofy and poignant set with the actor and singer George Salazar — a star of Iconis’s first Broadway production, “Be More Chill” — he added, earnestly, “It’s the most incredible thing to be able to do this show for real human beings, not computer screens.”Moist-eyed reunions between artists and fans have been taking place across the city as Covid-19 restrictions are gradually relaxing. “I hope you’re prepared for how emotional it will be when you’re onstage, because it will be emotional for us, supporting artists we love again,” a fan told the band Betty. In the intimate spaces that house these shows, interaction between artists and those who love them is integral to what the downtown fixture Sandra Bernhard called “the in-the-moment, visceral experience.”Storied establishments like the jazz clubs Birdland and Blue Note, newer spots such as the Green Room 42 and City Winery at Hudson River Park (which both reopened in April), along with the East Village alt-cabaret oases Pangea and Club Cumming are once again offering food, drink and in-the-flesh entertainment, as cabaret veterans — along with other jazz and pop acts, and drag performers — return to the work that is their bread and butter.Fans at Feinstein’s/54 Below snap a selfie before Joe Iconis and George Salazar took the stage.Justin J Wee for The New York TimesAn emotional Salazar onstage at Feinstein’s/54 Below.Justin J Wee for The New York TimesSalazar mingles with fans after the June show.Justin J Wee for The New York Times“To see people physiologically responding to music again — toes tapping, heads bopping — that’s almost better than applause,” said the pianist and singer Michael Garin, one of many who used social media to stay connected with fans during the pandemic, and among the first to resume performances for live audiences.But, Garin noted, “It’s not like we’re flipping a switch and bringing everything back to normal.” Particularly in the spring, not everyone was ready to pick up where they left off. “There were some musicians who were ready to book as soon as possible, and others who said, ‘Let me see — I don’t know if I want to be in an indoor space right now,’” said Steven Bensusan, the president of Blue Note Entertainment Group.The producer and host Scott Siegel, creator of the virtual “Scott Siegel’s Nightclub New York,” said that trepidation is still shared by some patrons: “Everybody’s hopeful, but I hear people say they’re nervous. There are also many who come in from outside the tristate area, and it’s more of an effort to get in.”Iconis rehearsing for his return to the live stage.Justin J Wee for The New York Times“It’s the most incredible thing to be able to do this show for real human beings, not computer screens,” Iconis said.Justin J Wee for The New York TimesWith regulations still in flux, both vigilance and adaptability are key. Before Gov. Andrew M. Cuomo’s mid-June announcement that the state could almost fully reopen, Birdland had planned to return at just 50 percent capacity on July 1. Instead, all 150 of its seats have been accessible from the start, with returning variety-show hosts Jim Caruso and Susie Mosher featuring theater and cabaret luminaries such as Chita Rivera and Natalie Douglas in the first week back. (The club’s downstairs space, Birdland Theater, will remain closed until September.) The Blue Note, which reopened in mid-June at roughly two-thirds capacity, has since made all of its 250 seats available. Proof of vaccination against the coronavirus is not required at either club, though masks are recommended for the unvaccinated at Birdland.By contrast, at 54 Below, where the plan is to build gradually back to a full crowd of about 150, proof of vaccination is necessary, as it is in the 60-seat cabaret room at Pangea, still limited to 80 percent capacity. Both venues were among those that developed streaming series while shuttered. “We originally got into it to remain active, but it became a way to pay staff, and expand the audience,” said Richard Frankel, one of the owners of 54 Below, which will kick off the new series “Live From Feinstein’s/54 Below,” offering live streams direct from the venue, on July 11. “Right now we’re focused on reopening live, but it’s definitely something to continue exploring after the dust settles.”Streaming a performance “broadens the spectrum of who’s able to see things, and that’s so important,” said the singer and actress Lilli Cooper.Justin J Wee for The New York TimesRyan Paternite, director of programming at Birdland, has been similarly encouraged by the response to “Radio Free Birdland,” though he added, “My feeling is that people are pretty burned out on watching shows on their computer or phone — especially if they have to pay for tickets.”Artists generally remain bullish on the opportunities posed by technology. “I’m very pro-streaming,” said the Tony Award-nominated singer and actress Lilli Cooper, who is set to appear at 54 Below on July 28 and August 15. “It broadens the spectrum of who’s able to see things, and that’s so important.” Caruso plans to continue streaming his “Pajama Cast Party” weekly; he noted that the virtual program has allowed him to diversify both his audience (“It has become more colorful, literally and figuratively”) and his talent pool (“I’ve delved into TikTok and Instagram and discovered some thrilling new artists”).Many are hopeful that diversity and inclusivity will be further emphasized in an art form that counts artists of color like Mabel Mercer and Bobby Short as historical icons. “My art is often based on what I’ve gone through, and being a Black man is part of that,” said the Broadway veteran Derrick Baskin, who packed R&B classics into his set list for recent dates at 54 Below.Garin, seen from above performing at the piano at the Roxy Hotel.Justin J Wee for The New York Times“It’s not like we’re flipping a switch and bringing everything back to normal,” Garin added.Justin J Wee for The New York TimesJustin Vivian Bond, scheduled to reopen Joe’s Pub in October, said, “The brilliant thing about cabaret is that you can react, if you’re capable, to what’s going on in the world.” For Bond, the pandemic posed challenges as sobering, albeit in a different way, as those faced by the L.G.B.T.Q. community during another plague: “When AIDS was happening, even when people were dying, you could be with them. What we’ve just been through was a very isolating trauma. I don’t know if I’ll have any brilliant insights about it, but hopefully what I’ll say will resonate with the audience.”Bernhard, who will return to Joe’s Pub in December for the annual holiday engagement she had to skip in 2020, still isn’t sure what insights she’ll be offering. “The head space that I’m in, I don’t even know what the next two months are going to bring,” she said. “I just want to perform, like everybody else does right now.”“My art is often based on what I’ve gone through, and being a Black man is part of that,” Derrick Baskin said.Justin J Wee for The New York Times“I cannot imagine any artist now taking any moment of what we do for granted,” Michael Feinstein said.Justin J Wee for The New York TimesPerformers and fans will be greeted with renovations at certain venues, and other enticements. Birdland has reduced its ticket price to 99 cents in July, the fee when the club originally opened in 1949. 54 Below is offering a new menu, created by the “Top Chef” winner Harold Dieterle. The West Bank Café’s Laurie Beechman Theater is getting a “face lift,” said its owner, Steve Olsen — fresh paint, new carpet and bar equipment, upgraded sound and lighting — in preparation for a reopening after Labor Day. The Triad Theater also used its forced downtime to “improve the furnishings, repaint and get new equipment,” said the booking director Bernie Furshpan.But it is the love of performing itself, and the perspective gained after a year of lost shows, that is driving many artists’ emotional responses to returning to the stage. Michael Feinstein, the multitasking American songbook champion and namesake for clubs in San Francisco and Los Angeles as well as New York, believes “that anyone who is a performer is coming out of this in a very different place, with a deeper sense of connection and joy and gratitude.”“I cannot imagine any artist now taking any moment of what we do for granted,” he added. More

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      in Music

      Piano Bars and Jazz Clubs Reopen, Calling Live Music ‘Incidental’

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best MoviesBest TV ShowsBest BooksBest TheaterBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyPiano Bars and Jazz Clubs Reopen, Calling Live Music ‘Incidental’As the coronavirus continues to spread, Marie’s Crisis Cafe became the latest Manhattan music venue to reopen, claiming that it is not a performance venue.Despite the worsening pandemic, Marie’s Crisis Cafe, a West Village piano bar, reopened with a singalong this week. Like other venues, it says its music is “incidental,” and therefore allowed.Credit…Nina Westervelt for The New York TimesSarah Bahr and Dec. 11, 2020, 5:00 a.m. ETAlthough most indoor live performances have been banned in New York since the coronavirus began its deadly spread in March, about a dozen people turned up Wednesday night at Birdland, the jazz club near Times Square, for a 7 p.m. performance that was billed as dinner with live jazz. They had reservations.Among them was Tricia Tait, 63, of Manhattan, who came for the band, led by the tuba player David Ostwald, which plays the music of Louis Armstrong. Until the pandemic hit, it had performed on most Wednesdays at Birdland. She admitted to health worries “in the back of my mind,” but said, “Sometimes you just have to take a chance and enjoy things.”While the number of daily new coronavirus cases in New York City has been climbing to levels not seen since April, in-person learning has been suspended at public middle schools and high schools, and Gov. Andrew M. Cuomo warned this week that indoor dining in the city could soon be banned, Birdland and a number of other noted jazz clubs and piano bars across the city have been quietly offering live performances again, arguing that the music they are presenting is “incidental,” and therefore permitted by the pandemic-era guidelines set by the State Liquor Authority.Those guidelines state that “only incidental music is permissible at this time” and that “advertised and/or ticketed shows are not permissible.” They continue: “Music should be incidental to the dining experience and not the draw itself.”That has not prevented a number of New York venues that are better known for their performances than their cuisine — including Birdland, the Blue Note and Marie’s Crisis Cafe, a West Village piano bar that reopened Monday with a show tune singalong after declaring itself a dining establishment — from offering live music again.“We think it’s incidental,” Ryan Paternite, the director of programming and media at Birdland, said of its calendar of performances that include a brass band and a jazz quartet. “It’s background music. That’s the rule.”The rules have been challenged in court. After Michael Hund, a Buffalo guitarist, filed a lawsuit in August challenging them, a judge in the U.S. District Court in the Western District of New York issued a preliminary injunction last month preventing the state from enforcing its ban on advertised and ticketed shows. “The incidental-music rule prohibits one kind of live music and permits another,” the judge, John L. Sinatra Jr., wrote in his Nov. 13 decision. “This distinction is arbitrary.”The state is appealing the ruling.“The science is clear that mass gatherings can easily turn into superspreader events, and it is unconscionable that businesses would attempt to undermine proven public health rules like this as infections, hospitalizations and deaths continue to rise,” William Crowley, a spokesman for the liquor authority, said Thursday. He noted that a federal judge in New York City had ruled in another case that the restrictions were constitutional. He said that the state would “continue to vigorously defend our ability to fight this pandemic whenever it is challenged.”But it is unclear what, exactly, “incidental” music means. Does that mean a guitar player in the corner? A six-person jazz band like the one that played at Birdland on Wednesday night? The Harlem Gospel Choir, which is set to perform at the Blue Note on Christmas Day? Mr. Crowley did not respond to questions seeking further clarity on Thursday, or about what enforcement actions the state has taken.Customers at Marie’s Crisis Cafe.Credit…Nina Westervelt for The New York TimesRobert Bookman, a lawyer who represents a number of New York’s live music venues, said venues interpreted the ruling as allowing them to advertise and sell tickets for incidental music performances during dinner.So venues have chosen their words carefully. They are taking dinner reservations, and are announcing calendars of lineups for what Mr. Paternite, of Birdland, characterizes as “background music during dinner.” Unlike Mac’s Public House, the Staten Island bar that declared itself an autonomous zone and was recently lampooned on “Saturday Night Live,” they have no interest in openly flouting regulations.Mr. Paternite said that Birdland, after laying off nearly all of its 60 employees in March, is now back to what he calls a “skeleton staff” of about 10 people.“It’s a huge risk for us to be open,” he said. “And it only brings in a pittance. But it helps us out in our agreement with our landlord, because to pay our rent over time and stay current on our utilities and taxes, we need to stay open. But we’re losing massive amounts every day.”If venues don’t reopen now, he fears, they may never do so. The Jazz Standard, a beloved 130-seat club on East 27th Street in Manhattan, announced last week that it would close permanently because of the pandemic. Arlene’s Grocery, a Lower East Side club that hosted the Strokes before they became well known, said it was “on life support” and, without aid, would have to close on Feb. 1.Randy Taylor, the bartender and manager at Marie’s Crisis Cafe, said the last time the piano bar had served food was probably back in the 1970s — or perhaps earlier. “There’s a very old kitchen that’s totally disconnected upstairs,” he said. Its dining options are extremely limited: It currently offers $4 bowls of chips and salsa. “We are required to sell them,” he said. “We can’t just give them away.”Steven Bensusan, the president of Blue Note Entertainment Group, said that he hopes the state does not move to shut down indoor dining.“I know cases are spiking,” he said. “But we’re doing our best to keep people safe, and I hope we can continue to stay open. We’re not going to be profitable, but we have the ability to give some people work who’ve been with us for a long time.”The clubs said that they were taking precautions. At the Blue Note, which reopened Nov. 27, the formerly shared tables are now six feet apart and separated by plexiglass barriers, and its two nightly dinner seatings are each capped at 25 percent capacity, or about 50 people. At Marie’s Crisis Cafe, where the masked pianist Alexander Barylski was ensconced behind clear shielding on Wednesday night as he led a jubilant group chorus of “Frosty the Snowman,” Mr. Taylor said that tables were separated by plastic barriers, and that the venue conducted temperature checks and collected contact tracing information at the door.Daniel Wiseman, left, and Rindi Klarberg are greeted by Moni Penda, right, at Birdland, a noted jazz club that now calls its live music “incidental.” Credit…Nina Westervelt for The New York TimesMarie’s Crisis Cafe had been livestreaming shows on Instagram and its Facebook group page, but Mr. Taylor said it wasn’t the same. On Wednesday night, 10 customers belted out holiday tunes through masks, some sipping their first drinks at a venue since March.“There have been some tears,” Mr. Taylor said. “People really, really missed us. We can’t see their smiles through their masks, but their eyes say it all.”AdvertisementContinue reading the main story More

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      in Television

      Theater to Stream: Holiday Specials Edition

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best TV ShowsBest DanceBest TheatreBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyTheater to Stream: Holiday Specials EditionAlan Cumming and Patti LuPone add their voices to this season’s tidings, plus a gender-bending Scrooge and a live broadcast of “The Grinch Musical!”Danny Burstein and Betsy Wolfe in the musical “Estella Scrooge.”Credit…Tyler MillironBy More