Pop: Anderson .Paak at Madison Square Garden
May 30; ticketmaster.com
In recent years, Anderson .Paak — the stage name of the artist born Brandon Paak Anderson — has seen his career escalate from a slow burn to a rapid boil. A singer, rapper and drummer with an ample supply of breezy West Coast charm, Anderson had already released two mixtapes and a full-length studio album when, in 2016, he broke out with the soulful, genre-melding LP “Malibu.” Building on subsequent accolades and an extended turn on the festival circuit, he has released two albums in the last six months — “Oxnard,” last November, and “Ventura,” this April. Together, the pair showcases Anderson’s range: “Oxnard” packs some of his fiercest raps, while “Ventura” features some of his smoothest grooves. At Madison Square Garden on Thursday, he’s likely to perform songs from both releases. Of note are his two opening acts: Earl Sweatshirt, a fellow Californian who returns to New York after a show at Irving Plaza in March, and the superstar bassist Thundercat. OLIVIA HORN
TV: International Culture Fixes on Marquee.TV
May 27; marquee.TV
Culture addicts can pack away their passports: Marquee.TV is here. The arts streaming service, which has been inching its way into the United States market after launching last year in Britain, is a cornucopia of dance, music and theater performances from international venues like Shakespeare’s Globe and the Royal Opera House in London, Opera National de Paris, Teatro Real in Madrid and the Bolshoi Theater in Moscow. And no stressing about airport-security lines or ticket queues to savor them.
Starting Monday, the service offers itinerary stops in Britain, with Oscar Wilde’s “The Importance of Being Earnest,” presented by the Classic Spring, a theater company founded by Dominic Dromgoole, a former artistic director of Shakespeare’s Globe, and “Betroffenheit,” a dance-theater hybrid spun by the actor and playwright Jonathan Young from a personal disaster and choreographed by Crystal Pite, an associate artist at the Sadler’s Wells Theater. Marquee also journeys to Gran Teatro de la Habana for “The Sacral Dance” from Danza Contemporánea de Cuba, whose drum-heavy score incorporates Latin salsa-esque rhythms with Afro-Cuban nanigo beats. Pair it with “Secundaria,” Mary Jane Doherty’s 2014 film that chronicles the lives of ballet students at Cuba’s National School for the Arts. Find it among the site’s enticing documentary selection. KATHRYN SHATTUCK
Art: A Nun at the Silkscreen
Through June 15; andrewkreps.com
Irony and despair are baked into Andy Warhol’s Pop art as deeply as the literal approach and bright colors he borrowed from advertising. But when Corita Kent encountered Warhol’s Campbell’s Soup Can paintings at Ferus Gallery in 1962, she picked up on Warhol’s graphic exuberance and left the underlying cynicism behind. Born in Los Angeles, Kent joined the Order of the Immaculate Heart right out of high school. She began teaching art at Immaculate Heart College in 1947 and started making religiously-themed serigraphs not long after. She ultimately left the order, along with a number of other progressive nuns. But when she made the handful of bold prints in “Works from the 1960s,” being jointly presented by Andrew Kreps Gallery and kaufmann repetto at 55 Walker in Tribeca, she was still going by Sister Mary Corita. The work’s idiosyncratic design is faultless, but what’s most striking, in the current moment, is the open sincerity with which she juxtaposed progressive jargon, Christian dogma and aesthetic glee. WILL HEINRICH
Theater: Danielle Brooks in ‘Much Ado’ in Central Park
Through June 23; publictheater.org
TV is where Danielle Brooks got famous, playing Taystee on the Netflix prison dramedy “Orange Is the New Black.” But if you caught her delicious Broadway debut as Sofia in “The Color Purple” a few seasons back, you know why she landed a Tony nomination her first time out.
Now Brooks, a Juilliard grad, is back onstage, starring as the bickering lover Beatrice in Kenny Leon’s Shakespeare in the Park production of “Much Ado About Nothing,” at the Delacorte Theater in Central Park. It’s only five years since Jack O’Brien’s rollicking “Much Ado” there, but this one — set in suburban Atlanta in 2020 and performed by an all-black cast — promises a different take. With Grantham Coleman as Benedick and Chuck Cooper (“Choir Boy”) as Leonato, it’s in previews for a June 11 opening. Tickets are free and perennially in high demand, so strategize now. LAURA COLLINS-HUGHES
Classical Music: A Powerful Symphonic Memorial
May 30 and June 1, nyphil.org
Simultaneously grandiose and cogent, John Corigliano’s Symphony No. 1 was heralded upon its 1990 debut by both audiences and critics as a powerful response to its time: Inspired in part by the AIDS Quilt, Corigliano’s neo-Romantic symphony memorialized close friends who had died of the disease. The first movement, subtitled “Of Rage and Remembrance,” opens with cataclysmic flurries of seething strings and pealing brass, and the symphony maintains an unrelenting emotional force over its forty minutes. The New York Philharmonic, under the baton of music director Jaap van Zweden, will tackle Corigliano’s symphony on Thursday and Saturday, to commemorate the 50th anniversary of the Stonewall uprising; the program also includes Mozart’s Piano Concerto No. 24 with soloist David Fray and, fittingly, Brahms’s equally haunting Tragic Overture. WILLIAM ROBIN
Film: The Man and Myth of ‘Halston’
No fashion designer more intuitively tapped into the 1970s American zeitgeist than Halston: the body-grazing gowns, the sky-high hot pants, the Ultrasuede shirtdresses. There was a time when he was seemingly everywhere, escorted on red carpets by his entourage of favorite models, the Halstonettes, or to Studio 54 by celebrity friends like Liza Minnelli. Or — as the first American designer to bring his vision to the masses through an extensive licensing program — glamming up the uniforms of Team U.S.A. at the 1976 Olympics, Girl Scout troop leaders and Avis car rental agents.
But Halston ultimately suffered for his egalitarian streak, when in 1983 he collaborated with JCPenney on a line of affordable clothing — even revealing that growing up as Roy Halston Frowick in Des Moines, Iowa, his frugal mother had bought his clothes there. Longtime loyalists like Bergdorf Goodman, where Halston got his start as a milliner (and put the pillbox on Jacqueline Kennedy), abruptly dropped him, believing that he had cheapened his brand. Eventually Halston lost control of his namesake company and was banned from designing for the label.
Frédéric Tcheng’s “Halston,” opening Friday, May 24, chronicles the man’s spectacular rise and catastrophic fall, depicting his role in catapulting American fashion onto the international runway. Members of Halston’s inner sanctum, including Minnelli, Marisa Berenson, Pat Cleveland, Elsa Peretti and Joel Schumacher, pay tribute to the mystery-shrouded man who bought perhaps a bit too much into his own myth. KATHRYN SHATTUCK
Dance: Honoring Women Who Lead
May 28-June 2, kennedy-center.org
Ballet Across America, the Kennedy Center’s popular biannual festival, narrows its focus this year, spotlighting just two companies in place of the usual assortment. The pairing of Dance Theater of Harlem, led by Virginia Johnson, and Miami City Ballet, directed by Lourdes Lopez, celebrates women’s leadership in ballet, a field that has been making slow progress toward greater gender equality.
Each troupe offers its own program, May 28-30 (Dance Theater of Harlem) and June 1-2 (Miami City Ballet). On May 31 they join forces in a premiere by Pam Tanowitz, whose recent work for New York City Ballet brimmed with fresh perspectives on classical steps. The shared evening also includes a new work for Dance Theater of Harlem by Claudia Schreier, to a commissioned score by the violinist and composer Jessie Montgomery, as well as George Balanchine’s joyful “Walpurgisnacht Ballet” and Geoffrey Holder’s ritualistic “Dougla,” with live percussion by musicians from the original 1974 production. SIOBHAN BURKE
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