Your Week in Culture: Kendrick Lamar, Leonard Bernstein and Crime Scene Dioramas

His target this time is Christian, the curator of a modern-art museum in Stockholm whose finely crafted life is undone when an ill-conceived plan to get back his stolen wallet and iPhone unwittingly results in a public relations scandal.

The Danish actor Claes Bang — a hit at Cannes, where “The Square” won the Palme d’Or thus igniting a “Bang for Bond” (as in 007) campaign — stars as Christian alongside Dominic West, as an artist whose gallery talk is interrupted by an audience member with Tourette’s syndrome; Terry Notary, as an ape-man whose performance piece for a patrons’ dinner veers horrifyingly close to reality; and Elisabeth Moss, as an American journalist who beds Christian, leading to the most hilariously paranoid tussle over a used condom that some of us will ever witness. KATHRYN SHATTUCK

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From left, Philip Moore, Eric Berryman and Jasper McGruder in the Wooster Group production of “The B-Side: ‘Negro Folklore From Texas State Prisons.’” Credit Bruce Jackson

Theater: Wooster Group Performs ‘The B-Side’

Oct. 25-Nov. 19; thewoostergroup.org.

There is a hushed, meditative reverence to the Wooster Group’s show “Early Shaker Spirituals,” a mesmeric combination of traditional music and dance, based on a recording. Directed by Kate Valk and performed by women in prim Shaker attire, it is billed as a “record album interpretation.”

When the actor Eric Berryman saw that production two years ago, he was inspired to create something similar. He brought the idea to the Wooster Group, along with an album made in 1964 by the folklorist Bruce Jackson, containing the singing and spoken words of black men locked up on segregated prison farms. They were the voices Mr. Berryman wanted to pay homage to.

Directed by Ms. Valk, designed by Elizabeth LeCompte and starring Mr. Berryman, the resulting show is “The B-Side: ‘Negro Folklore From Texas State Prisons,’” which starts Wednesday, Oct. 25, at the Performing Garage in SoHo. Last fall, a work in progress showing there was spare, alive and nothing short of transcendent. LAURA COLLINS-HUGHES

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A rehearsal for Benjamin Millepied’s upcoming premiere of “I Feel the Earth Move.” Credit Marissa Kraxberger

Dance: Benjamin Millepied at Koch Theater

Through Oct. 29; abt.org.

American Ballet Theater is entering the realm of pop-up dance. As part of the company’s fall run at the David H. Koch Theater, the choreographer Benjamin Millepied will present not one, but two premieres.

Along with “I Feel the Earth Move,” set to music by Philip Glass and debuting Wednesday, Oct. 25, in the usual place — the theater’s proscenium stage — he will also present “Counterpoint for Philip Johnson.” Performed during intermission on select programs, the dance was created in homage to Philip Johnson, the architect of the building, which opened in 1964.

Set to Steve Reich’s “Nagoya Marimba,” the new work, with costumes by Rag & Bone, showcases 24 dancers from American Ballet Theater’s Studio Company and the Jacqueline Kennedy Onassis School. During his dancing days, Mr. Millepied, a former member of New York City Ballet, which counts the theater as its base, spent plenty of time on the promenade. How will he bring it to dancing life? GIA KOURLAS

Bernstein’s Philharmonic: A Centennial Festival Video by New York Philharmonic

Classical: The Philharmonic Celebrates Bernstein

Oct. 25-28, 31; nyphil.org.

Although Leonard Bernstein’s 100th birthday is not until next August, classical music institutions have already begun to fete the centennial of the enduring American cultural icon. Even Lin-Manuel Miranda got into the game, quoting a line from “West Side Story” for the hook of his star-studded new song to benefit hurricane victims in Puerto Rico, “Almost Like Praying.”

The New York Philharmonic celebrates its iconic former music director with the festival “Bernstein’s Philharmonic,” which will include performances of the composer’s complete orchestral works. Even if his reputation was made by “West Side Story,” Bernstein’s “Jeremiah” Symphony and “Serenade (After Plato’s Symposium),” featured on the first weekend of the festival, are formidable symphonic statements.

It is fitting that the program features violin soloist Joshua Bell, an inheritor to Bernstein’s populist charm, and is conducted by Alan Gilbert, whose now-concluded tenure as the New York Philharmonic’s music director was a spiritual successor to that of Bernstein. WILLIAM ROBIN

“Fearless,” Season 1, Trailer 1 (2017) Video by MEDIA HIVE

TV: ‘Fearless’ on Amazon Prime

Oct. 27; amazon.com.

“I was in East Anglia today, and I went past the place where — where my unraveling started,” Emma Banville, a human rights lawyer, played by Helen McCrory, tells her hospitalized father in “Fearless,” a British thriller debuting Friday, Oct. 27, on Amazon Prime. (And, yes, that’s Donald Trump alongside Margaret Thatcher and Tony Blair in the opening montage.)

The dogged Banville — who throws back whiskey shots and chain-smokes cigarillos while pulling all-nighters in the name of justice — has taken on the case of Kevin Russell (Sam Swainsbury), convicted of murdering a schoolgirl 14 years earlier despite his insistence of innocence. But when a questionable confession at the hands of Detective Inspector Olivia Greenwood (Wunmi Mosaku) — now assigned to counterterrorism command — results in Russell’s freedom, pending a retrial, Banville is snared in a Pandora’s box involving Sir Alastair McKinnon (Michael Gambon), a disquieted politician turned Cambridge master who has summoned sinister American operatives to the scene.

Patrick Harbinson, the show’s creator, keeps “Fearless” and its tangly intrigue all in the family: He was a former writer and executive producer of “Homeland,” in which Ms. McCrory’s husband, Damian Lewis, originally starred. KATHRYN SHATTUCK

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