Winter Arts Outlook

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The month of November marks the start of early evening gloom, coupled with the frigid air—but various spots throughout the metropolis will radiate illumination and warmth in the approaching months. Should you desire some sentiment, the comfy period has plenty to present, like Bradley Cooper’s flick “Is This Thing On?,” situated in the universe of standup; the melodious tones of the alternative-country performer Brandi Carlile; the most beloved televised ladies, the actual personalities from Salt Lake City; and, for a darker inclination, Tracy Letts’s unsettling suspense tale “Bug,” appearing on Broadway, with his spouse, Carrie Coon, portraying a despondent waitress. Alvin Ailey introduces several fresh pieces to its yearly gathering at City Center, including a restoration by the iconic Judith Jamison; the Met Opera assures grand spectacle in “Porgy and Bess” (taking place in nineteen-twenties Charleston) and “Andrea Chénier” (during the French Revolution era in Paris); and, within the art scene, Helen Frankenthaler, Joan Mitchell, and Louise Bourgeois, joined by the sculptor Carol Bove and the painter Ceija Stojka, all are given their moment to shine.

New Yorker members gain entry to our comprehensive periodic artistic forecasts directly through their mail. We appreciate your contribution.—Shauna Lyon

Go to: Television | Art | The Theatre | Movies | Dance | Contemporary Music | Classical Music

Television

“Game of Thrones” Spin-off, Female Realms

For the previous half-dozen years, wintry broadcasts have been dominated by “The Real Housewives of Salt Lake City,” which has given fresh life to the enduring reality series by way of imaginative taunts, investigations into sacred suffering, and the strikingly absurd attire of females who insist on donning heels in the snow. (Season 6 is ongoing; John Oliver, presenter of HBO’s “Last Week Tonight,” commented on “R.H.O.S.L.C.,” “I’m not sure if there’s a more amusing program on television, and I’m part of a comedy broadcast.”) Hence, it’s no surprise that “Salt Lake” has spawned copycats. The similarly devised—yet much less compelling—“The Secret Lives of Mormon Wives” makes its return to Hulu for its third iteration on Nov. 13, while a more committed examination of spiritual mistreatment will be delivered by Bravo’s “Surviving Mormonism with Heather Gay” (Nov. 11), presented by the “R.H.O.S.L.C.” celebrity.

Switching gears to scripted shows, there will be an abundance of powerful matriarchs this period. Claire Danes stars in “The Beast in Me” (Netflix; Nov. 13), portraying a woman who mourns the loss of her sole child to a car crash and finds her attentions captivated by a cutthroat entrepreneur (Matthew Rhys), who senses the somber impulses she harbors towards the young man she holds responsible for her son’s passing. Danes’s character shares an affinity with Sarah Snook’s distressed mother in Peacock’s “All Her Fault” (Nov. 6), a gripping narrative in which a young boy’s vanishing casts suspicion over the numerous women populating his world. Motherhood becomes even more complicated in Kurt Sutter’s Wild West offering “The Abandons” (Dec. 4), which features a woman (Lena Headey) in eighteen-fifties Oregon establishing a makeshift clan with four orphans and battling attempts from a mining heiress (Gillian Anderson) to seize their terrain.

Unity represents a repetitive thread. In BritBox’s “Riot Women” (Jan. 14), from the “Happy Valley” architect Sally Wainwright, a collective of women around menopause age combat the lack of attention typical for their demographic through starting a rock ensemble. A fancier type of sisterhood makes its appearance in “All’s Fair” (Nov. 4), Ryan Murphy’s frivolous legal piece on Hulu—featuring Glenn Close, Naomi Watts, and, uh, Kim Kardashian—centered on unhappy wives and the female attorneys resolved to securing all they are entitled to.

Strikingly, the male-focused entertainment over the ensuing months skews past-oriented. Michael Shannon and Matthew Macfadyen face off, playing President James Garfield and his ostentatious assassin, Charles Guiteau, respectively, in Netflix’s “Death by Lightning” (Nov. 6). The Revolutionary War receives the Ken Burns approach with PBS’s “The American Revolution,” a six-part, twelve-hour documentary set to launch on Nov. 16. And the new year will present another “Game of Thrones” precursor: the humbly titled “A Knight of the Seven Kingdoms” (Jan. 18). Peter Claffey embodies the HBO drama as the common-born Ser Duncan the Tall, who obtains a squire in a Targaryen prince. A preview for the series hints at a less weighty story, but, in Westeros, it’s all lighthearted amusement until someone misplaces a limb in some awful way.—Inkoo Kang

Art

Mozart’s Relics, Native Art

This period, several noted establishments turn toward attire for a wintry boost. The Hispanic Society spearheads the path with “Spanish Style: Fashion Illuminated, 1550-1700” (launches Nov. 6), employing dresses, glowing manuscripts, tomb figures, and other items, to analyze the bond between garments and influence in the early phases of modern Spain. The Frick Collection provides a supplement with “Gainsborough: The Fashion of Portraiture” (Feb. 12), transporting viewers to eighteenth-century England to analyze Thomas Gainsborough’s moving portraits through a societal, materialist viewpoint. And the Metropolitan Museum of Art delves into a central collection aspect—nineteenth-century Western Europe—for confirmation of “Fanmania” (Dec. 11), a fixation with handheld fans that artists during the period embraced.

If your curiosity for European history nearing modernity is insatiable, the Morgan Library & Museum features “Wolfgang Amadeus Mozart: Treasures from the Mozarteum Foundation of Salzburg” (March 13). The showcase, a collaboration with the group in command of Mozart’s legacy, places the composer inside his era through his own tools, letters, and keepsakes—all making their first-ever trip to New York. In case you would rather musical vibes over extensive research, examine Cooper Hewitt, Smithsonian Design Museum’s “Art of Noise” (Dec. 12; although, at the moment of this writing, the establishment remains inaccessible due to the national-government shutdown). The exhibit is a mixed compilation of aural creation, varying from Haight-Ashbury concert advertisements to early jukeboxes to specifically designed listening areas.

Within the territory of contemporary art, a pair of museums proceed to shine a long-overdue emphasis on Indigenous talents. “Clearly Indigenous: Native Visions Reimagined in Glass,” featured at the National Museum of the American Indian (Nov. 15, albeit as of the moment of this writing, the museum also remains inaccessible because of the national-government shutdown), examines the techniques Native artists have used to render the medium uniquely their own—a story beginning, unexpectedly, with the famous yet folksy Dale Chihuly. Grey Art Museum puts up “Irrititja Kuwarri Tjungu: Contemporary Aboriginal Painting from the Australian Desert” (Jan. 22), which unites over a hundred cosmic and meditative works by associates of Papunya Tula Artists, the first Aboriginal art partnership originating in Australia, established in 1971.

Concurrently, four of contemporary art’s leading ladies are getting independent features, with the most notable being “Helen Frankenthaler: A Grand Sweep,” displayed at the Museum of Modern Art (Nov. 18). Curiously, this compact overview occurs within the museum’s sprawling atrium, where it may be challenging to fully value the subtleties within Frankenthaler’s rich abstractions. David Zwirner honors one of her Abstract Expressionist counterparts through “To Define a Feeling: Joan Mitchell, 1960-1965” (Nov. 6), which concentrates on a period when Mitchell began centring color on her canvas more centrally, as inspired by her time along the Mediterranean. In neighboring Chelsea galleries, Hauser & Wirth puts on late, emotionally charged abstract works by Louise Bourgeois inside “Gathering Wool” (Nov. 6), whereas Pace features a late, lighthearted Agnes Martin sequence, named “Innocent Love” (Nov. 7).

Following its current extended presentation of the Rashid Johnson exhibition, the
Guggenheim introduces Carol Bove (March 5), whose scrap-metal sculptures ought to playfully punctuate the rotunda. However, the privilege of most relevant exhibition of the period goes to the Drawing Center’s “Ceija Stojka: Making Visible” (Feb. 20). The self-educated Stojka initiated her artistic path near the age of sixty, channeling her Roma background alongside her memories of surviving the Holocaust. The exhibition assembles her paintings and drawings along with preserved records to articulate a narrative that is at once grounding and uplifting.—Jillian Steinhauer

The Theatre

Romance from Britain, Carrie Coon in “Bug”

Winter quietly descends on Broadway; therefore solely a handful of productions are lightly stepping in after autumn’s surge. The duo British melodic piece “Two Strangers (Carry a Cake Across New York)” (Longacre; begins previews Nov. 1), crafted by Jim Barne and Kit Buchan, journeys over the sea anticipating to create a romantic mark; the incredible June Squibb stars in Jordan Harrison’s sentimental sci-fi showing from 2014, “Marjorie Prime” (Hayes; Nov. 20); the concise-story writer Simon Rich’s anthology production “All Out: Comedy About Ambition” introduces a changing series of renowned comics (Nederlander; Dec. 12); in addition to the revival for “Bug,” Tracy Letts’s suspenseful tale from 1996, features Namir Smallwood and the exceptional Carrie Coon, scratching her stage desire following excessive downtime (Friedman; Dec. 17).

Beyond Broadway, highly esteemed actors appear within well-known narratives: Michael Urie acts out the dismissed “Richard II” (Astor Place Theatre; showing previews, opening Nov. 10), as part of Craig Baldwin’s Shakespeare adjustment, whereas the playwright Alex Lin modernizes an alternate Shakespearean tragedy intended for “Laowang: A Chinatown King Lear” (59E59; Nov. 1), including the incredible Wai Ching Ho assuming the role of a restaurateur confronted with a succession dilemma. Nicholas Braun joined by the double-Tony Award honoree Kara Young feature in Rajiv Joseph’s poisonous relationship show from 2012, “Gruesome Playground Injuries” (Lucille Lortel; Nov. 7); Lucas Hnath’s take regarding Molière’s “Tartuffe” presents a multitude of Tony awardees, which includes Matthew Broderick and Francis Jue (New York Theatre Workshop; Nov. 28); while the five-time Oscar candidate Michelle Williams voyages into Eugene O’Neill’s demanding romance, the performance through 1921 for “Anna Christie” (St. Ann’s Warehouse; Nov. 25).

To fend off the wintry chill, consider red-hot innovation among experimental leaders: Else Went’s “Initiative,” a five-hour stretch covering teen life, occurs through Nov. 4 within the Public; Hannah Kallenbach’s “Mikey Maus in Fantasmich” ridicules a definite squeaky icon at the Brick opening Nov. 7; Philip Venables and Ted Huffman’s melodic adaptation covering Larry Kramer’s novel dating back to 1977, “The Faggots and Their Friends Between Revolutions” (Park Avenue Armory; Dec. 2) reaches New York; in addition to the oddball group Das Besties introducing their dance-theatre exploration of dependence, “Das Rauschgift” (Box of Moonlight; Dec. 4). Occasions which include Under the Radar (Jan. 7-25), Prototype (Jan. 7-18), in addition to the Exponential Festival (Jan. 5-Feb. 8) additionally illuminate the fresh year—all three represent an overflow of riches.

As we head into 2026, the stage-makers address politics, possibly in a roundabout manner: Shakespeare’s coup-related dramatic play “The Tragedy of Coriolanus” could strike a chord (Polonsky Shakespeare Center; Feb. 1); Lauren Yee premiers “Mother Russia” (Signature; Feb. 3), a spy dramedy addressing post-Soviet internal-Russian monitoring; Wallace Shawn reunites alongside his “My Dinner with André” companion, André Gregory, who presides over Shawn’s staged production “What We Did Before Our Moth Days,” centering around love and the principles of those among the middle-class, starring Hope Davis alongside John Early (Greenwich House; Feb. 4); while playwright Anna Ziegler handles Sophocles’ established play through “Antigone (This play I read in high school),” starring Tony Shalhoub assuming the character Creon while Celia Keenan-Bolger represents Chorus (Public; Feb. 26).

The start of March welcomes a pair of star powered transports headed directly for Broadway: John Lithgow embodies a struggling Roald Dahl within the West End import “Giant,” courtesy of Mark Rosenblatt (Music Box; March 11), plus a couple tough yet charming figures extracted from “The Bear,” Jon Bernthal and Ebon Moss-Bachrach, collaborate for “Dog Day Afternoon,” a Stephen Adly Guirgis transformation of the Sidney Lumet movie addressing a bank break-in originating back during 1972 (August Wilson; March 10). At such point, the Broadway schedule runs wild, given that millions of theatrical showings should launch before the Tony cutoff near the end of April—among the array of instances, Guirgis’s thriller shall perform the function as the starting signal relating to the spring period.—Helen Shaw

Movies

An Account of Shakespeare, a Table-Tennis Ace

There will be music flowing through the cold environment, commencing by using tunes by Stephen Schwartz through “Wicked: For Good” (Nov. 24), the continuation concerning the prior year’s “Wicked: Part One,” each of which commanded by Jon M. Chu. Cynthia Erivo comes back assuming the role of Elphaba—presently labeled the Wicked Witch relating to the West—with Ariana Grande reprising her character as Glinda, presently Glinda the Good. “Merrily We Roll Along” (Dec. 5), commanded by Maria Friedman, a documented account of the Tony-gaining 2023 Broadway manufacturing with Stephen Sondheim’s musical dating back to 1981, centered around three friends’ interconnected journeys—seen inversely spanning beyond twenty years—starring Daniel Radcliffe, Lindsay Mendez, and Jonathan Groff. As part of Óliver Laxe’s “Sirāt” (Nov. 17), a Spanish male (Sergi López), accompanied thanks to his small child (Bruno Núñez Arjona), hunts with the Moroccan desert to uncover his daughter, who vanished while participating inside a rave there; the showing provides a techno score made by Kangding Ray. Mona Fastvold’s history representation “The Testament of Ann Lee” (Dec. 25), which she co-composed coupled with Brady Corbet, stars Amanda Seyfried assuming the titular Shaker evangelist, that, in 1774, traveled away from Manchester, England, to New York; the dramatic performance provides choreography made by Celia Rowlson-Hall alongside sounds by Daniel Blumberg, influenced by Shaker hymns.

Real-life artists along with their recognized work obtain their occasion to shine. The leading figure associated with “Hamnet” (Nov. 27), Chloé Zhao’s transformation regarding a book compiled by Maggie O’Farrell, signifies the offspring regarding William Shakespeare (Paul Mescal) joined by his partner, Agnes (Jessie Buckley); the theatrical element will involve the young man’s passing 
alongside Shakespeare’s creating of “Hamlet,” responding in kind. Craig Brewer’s “Song Sung Blue” (Dec. 25) shows a history-centered portrayal, according to a documented account possessing the matching label from 2008, centered around Mike along with Claire 
Sardina (Hugh Jackman alongside Kate Hudson), that accomplished objectives being a Neil Diamond honor ensemble labelled Lightning & Thunder.

Political dream takes hold of an array of feelings this period. As part of Kleber Mendonça Filho’s “The Secret Agent” (Nov. 26), which assumes a putting living inside Brazil, mainly within 1977, whenever the region served being a dictatorship, Wagner Moura stars being a scientist who’s hunted by the regime’s paramilitary groupings together aided by having an underground protection network. Toni Servillo stars through Paolo Sorrentino’s “La Grazia” (Dec. 5), assuming the function of President associated with Italy whoever central selections just before giving way to office involve whether or not to agree to a monthly bill permitting euthanasia. “Ella McCay” (Dec. 12), commanded by James L. Brooks, stars Emma Mackey assuming the function of a lieutenant governor whom ascends for the governorship at the same time addressing family matters; Jamie Lee Curtis coupled with Woody Harrelson co-star. As part of Park Chan-wook’s satirical humorous component “No Other Choice” (Dec. 25), according to a novel created by Donald E. Westlake, an unemployed executive (Lee Byung-hun) whoever business applications are rejected decides to eliminate 
his rivals.

Sentiment stands as, as always, a powerful dramatic stimulus, that include “Is This Thing On?” (Dec. 19), a humorous dramatic component commanded by Bradley Cooper, where Laura Dern joined by Will Arnett engage in the character of a lately segregated duo whom uphold emotional links; performing a supporting position, Cooper embodies the character of their good friend. “Marty Supreme” (Dec. 25), Josh Safdie’s first ever showing since “Uncut Gems,” shows that movie’s insane vitality, inside a period-centered dramatic play, residing within 1952, regarding a table-tennis hustler (Timothée Chalamet) whom maintains intimate contacts coupled with a pair of women (Odessa A’zion joined by Gwyneth Paltrow) at the same time going after a world tournament. Jodie Foster stars through Rebecca Zlotowski’s melancholy “A Private Life” (Jan. 16), assuming the function of a psychiatrist based out of Paris whom reconnects coupled with her former husband (Daniel Auteuil) intending to display that a departed consumer was murdered.—Richard Brody

Dance

The Pastoral Work of Pam Tanowitz, Ailey Performs Joni Mitchell

During the dispiriting month connected with January, summertime makes a brief but pleasant appearance via Pam Tanowitz’s “Pastoral” (Rose Theatre; Jan. 11-13). It’s any bucolic work, a peaceable empire regarding serene, often bizarre dances, create within a scenery regarding vibrantly colored textile sections by the artist Sarah Crowner. Dancers move using strengthening quality because Beethoven’s “Pastoral” Symphony wafts across Caroline Shaw’s melodic collage, which also indicates the humming connected with pests, bird calls, rain.

Balmy wind gusts blow by using Maija García’s new dance for Alvin Ailey American Dance Theatre (New York City Center; Dec. 3-Jan. 4) as well. “Jazz Island” may be the Cuban American choreographer’s first alliance with the Ailey dancers, soon after years connected with employed Broadway (“FELA!”) and in films (“BlacKkKlansman”). It draws it is motivation coming from a folktale concerning the Haitian vodou goddess connected with love, Erzuli, collected within a volume connected with experiences by the late dancer Geoffrey Holder, “Black Gods, Green Islands.” Alicia Graf Mack’s first period since artistic director, abundant in new works, also includes the rebirth connected with Judith Jamison’s poignant duet “A Case of You.” This specific intimate dance is placed to the eponymous Joni Mitchell music, in a soulful documenting by Diana Krall.

Phone noises and birdsong participate for awareness in John Cage’s melodic setting for Merce Cunningham’s cheeky “Travelogue,” coming from 1977. The Trisha Brown Dance Company (BAM; Feb. 26-28) does this particular witty, often surreal dance—its first foray into the Cunningham catalog—alongside Brown’s “Set and Reset,” a cool, alluring work coming from 1983, made actually cooler by the sonic backdrop connected with Laurie Anderson’s glossy vocal-and-electronic score “Longtime No See.” Both creations include unforgettable designs by Robert Rauschenberg: a video collage and scrims for “Set and Reset,” bike tires and recliners for “Travelogue.”

Both connected with New York City Ballet’s resident choreographers, Justin Peck and Alexei Ratmansky, will produce new works for your winter period (David H. Koch Theatre; Jan. 20-March 1). Soon after a period connected with centering on contemporary music, Peck consumes Beethoven’s “Eroica”; and Ratmansky delves into satire in

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