Your Week in Culture: Jimmie Durham, Bruno Mars, ‘Pride and Prejudice’ on Stage

The current leg of his world tour for the album, his third LP, wraps up with four nights at the Forum in Inglewood, Calif., starting Tuesday, Nov. 7. The tour will come to a handful of American cities in December, but this stop in the Los Angeles area is most fans’ best chance to enjoy the throwback thrills of a Bruno Mars show. SIMON VOZICK-LEVINSON

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Kate Hamill in “Pride and Prejudice” at the Hudson Valley Shakespeare Festival this summer. Credit T. Charles Erickson

Theater: ‘Pride and Prejudice’ in Manhattan

Nov. 7-Dec. 16; primarystages.org.

The first time I saw a play by Kate Hamill, it was her gloriously oxygenated Jane Austen adaptation “Sense and Sensibility,” a surprise downtown hit three seasons ago. The friend who brought me had never read the book, and I told him afterward there was no need to. The whole story was right there onstage. So was the playwright, starring as the impetuous romantic Marianne Dashwood.

Now Ms. Hamill (seen Off Broadway last spring in her adaptation of “Vanity Fair,” portraying the cunning social climber Becky Sharp) has turned her hand to Austen’s other most famous novel, giving it a similarly frolicsome feel.

Directed by Amanda Dehnert for Primary Stages, “Pride and Prejudice” starts performances Tuesday, Nov. 7, at the Cherry Lane Theater in Greenwich Village. Ms. Hamill plays the sharp-witted marriage skeptic Elizabeth Bennet; Jason O’Connell, who was sublimely hilarious as a spineless suitor in “Sense,” is her priggish yet magnetic Mr. Darcy. LAURA COLLINS-HUGHES

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Shashi Kapoor, left, and Madhur Jaffrey in “Shakespeare Wallah.” Credit Cohen Media Group

Film: Merchant Ivory in India

During the 1940s and ‘50s, the English actor Geoffrey Kendal, his wife and his two daughters performed throughout India — from rural village halls to the palaces of maharajahs — with their theater company, Shakespeareana.

In 1965, the director James Ivory fictionalized the family’s adventures in “Shakespeare Wallah,” with the Kendals playing versions of themselves. In it, the ingénue (Felicity Kendal) falls in love with a wealthy playboy (Shashi Kapoor, the real-life husband of her sister, Jennifer Kendal), who was already, and inconveniently, romancing a Bollywood film star (Madhur Jaffrey). The New York Times critic Bosley Crowther called it “very delicate and lovely.”

On Friday, Nov. 10, Mr. Ivory and Ms. Jaffrey will be in the audience when a 4K restoration of the film — Mr. Ivory’s second in what became a decades-long collaboration with the producer Ismail Merchant and the screenwriter Ruth Prawer Jhabvala — debuts at the Quad Cinema in Manhattan before a wider opening. It’s the latest rerelease from the Cohen Film Collection, which is restoring the Merchant Ivory Library under the oversight of Mr. Ivory himself. KATHRYN SHATTUCK

More Than a Music Magazine | Rolling Stone: Stories From the Edge (2017) | HBO Video by HBO

TV: Rolling Stone Documentary

“You’re probably wondering what we are trying to do,” Jann Wenner, a 21-year-old Berkeley dropout, wrote on Nov. 9, 1967, to readers of a new San Francisco-based publication he had founded with the music critic Ralph J. Gleason and $7,500 from investors, including his parents. “Rolling Stone is not just about music, but also about the things and attitudes that the music embraces,” he added. “We hope you can dig it.”

And dig it they did, on and off for the next 50 years.

“Rolling Stone: Stories From the Edge,” directed by Alex Gibney and Blair Foster, will air Monday, Nov. 6, and Tuesday, Nov. 7, on HBO, and chronicles a half century of rock culture through interviews with John Lennon, Tina Turner, Bruce Springsteen, Bob Dylan, the Clash and Ice-T, as well as the photographer Annie Leibovitz and the writers Hunter S. Thompson, Cameron Crowe and Matt Taibbi.

It also explores Michael Hastings’s 2010 profile of Gen. Stanley A. McChrystal, which led President Obama to fire him as the commander of U.S. forces in Afghanistan, and Sabrina Rubin Erdely’s retracted 2014 article about a purported gang rape at the University of Virginia. In September, Mr. Wenner announced that he would sell his controlling stake in the magazine. KATHRYN SHATTUCK

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Tanaquil Le Clercq, who wrote “The Ballet Cook Book” (1967). Credit Dance Magazine

Dance: Celebrating ‘The Ballet Cook Book’

Nov. 5 and 6; guggenheim.org.

“Ballet dancers eat better than any other people in the world,” wrote the ballerina Tanaquil Le Clercq in “The Ballet Cook Book,” her brilliant 1967 braiding of ballet history and recipes from dance-world notables like Diana Adams (sherry jelly) and George Balanchine (eggs like mama used to make them).

In commemoration of the rare book’s 50th anniversary, the food scholar Meryl Rosofsky has organized a program as part of Works & Process at the Guggenheim with the former New York City Ballet principals Jacques d’Amboise and Allegra Kent and the current ones Jared Angle and Adrian Danchig-Waring (also accomplished cooks). There will be live excerpts from ballets featuring roles originated by the book’s contributors.

Though both events are sold out, the box office will distribute standby tickets on a first-come, first-served basis; doors to the rotunda open at 6:30 p.m. If you miss out, head to the museum’s Wright restaurant, which will be serving dishes from the book, including Clercq’s own chicken vermouth. Reservations recommended: 212-427-5690. GIA KOURLAS

The Letter from Dominick Argento’s Miss Havisham’s Wedding Night Video by Odyssey Opera

Classical Music: Dominick Argento at Carnegie Hall

Nov. 9; nycopera.com.

Although he received the Pulitzer Prize for music in 1975, and has written numerous celebrated operas and song cycles, the composer Dominick Argento is unfortunately neglected by many classical institutions today. So an upcoming celebration of his 90th birthday on Thursday, Nov. 9, at Zankel Hall by the recently revived New York City Opera presents a rare opportunity.

In its heyday, City Opera was a home for Argento’s richly expressive music, and the upcoming performance will include two of his monodramas. The soprano Heather Buck will perform “Miss Havisham’s Wedding Night,” a potent reworking of a 1979 opera originally commissioned by the company as a star vehicle for the soprano Beverly Sills. And the baritone Aaron Engebreth will sing Mr. Argento’s “A Water Bird Talk,” a comic reworking of Chekhov in which a lecture about birds goes horribly awry as the speaker begins to divulge his personal failings. WILLIAM ROBIN

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