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Radio City Is Transformed Into a Cirque Tent The hearty-voiced fellow in the cherry-red top hat and matching silk cape obviously has a lot on his mind. Sweeping across the football-field stage of Radio City Music Hall as the ring master of THEATER “Zarkana,” the latest REVIEW Cirque du Soleil spectacular, he sings incessantly of an absent love, as if she could only be conjured by bombastic synthesizer-rich balladeer-


A Fresh Take Adds a Jolt To a Standard The modest idea of the New York Philharmonic’s Summertime Classics concerts, which began in 2004, is to provide a few postseason programs of lighter fare, novelties and a staple or two at reduced prices. The British conductor Bramwell Tovey, a lively musician who has charmed Avery Fisher MUSIC Hall audiences with his REVIEW avuncular commentaries on music, concert protocols or whatever else strikes him, remains the host of choice for these events. While they are perfectly pleasant, you do not attend to hear extraordinary performances at these concerts. A big exception took place on Tuesday night when the summer series opened. The Russian-born pianist Kirill Gerstein, in his Philharmonic debut, played a brilliant, perceptive and stunningly fresh account of Tchaikovsky’s First Piano Concerto. At 31 Mr. Gerstein is emerging as one of the most respected pianists of his generation. In 2010 he became the sixth winner of the distinguished Gilmore Artist Award. Every four years the prize is bestowed as a surprise upon a pianist who has been observed in performance over an exContinued on Page 6


ing, a whole iPod playlist of Celine Dion songs delivered one after another. For all the man’s throbbing vocalizing it’s pretty hard to feel his pain, I’m afraid, or even pay much heed to his lyric lamentations. That’s because you spend the usual amount of time at the new extravaganza from this French-Canadian entertainment behemoth trembling in dread for the aerialists, contortionists and other daredevils plying their phenomenal wares onstage.

Cirque du Soleil A new show, “Zarkana,”

fills Radio City with trapeze artists, above, and other trademark attractions.

As has been the case at Cirque shows I’ve seen in the past, more than once I had to resist the urge to leap from my seat and holler, “Get down from there, you senseless girl!” The tingly suspense generated by the many feats of gravity-defying gymnastics draws on

our instinctive fear that at any moment someone could end up splattered across the stage. (This uncomfortable pleasure is also, I suppose, among the reasons audiences remain hungry for the muchderided “Spider-Man: Turn Off the Dark.”) Cirque du Soleil and its impresario, Guy Laliberté, belly-flopped without a net last year with their ill-fated production “Banana Shpeel,” in which the company attempted to forsake its trade-

‘Cripple’ Finally Comes to Inishmaan By PATRICK HEALY

INISHMAAN, Ireland — As captured by the dark imagination of the playwright Martin McDonagh, life on this storm-battered island near Galway inspired hardness, sarcasm and co-dependency in the characters in his 1996 play “The Cripple of Inishmaan.” It was home to a bachelor who both saved a drowning baby and called his mother a “hairy-lipped fool” and to a young dreamer so desperate to flee that he tricked a grieving friend into helping him escape. It was with some anxiety, then, that Mr. McDonagh took a ferry on Sunday to see the first performance of “Cripple” ever mounted here, along-

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In Alliance, Nets Arena To Offer Arts By MELENA RYZIK

A theater troupe travels to a play’s remote setting. side some of the 150 natives whose history he conjured. (The play is set in 1934.) Leaning forward on one of the folding chairs in a dusty village hall turned theater, Mr. McDonagh used an unprintable euphemism to explain that it has never been his intent to take the measure of his fellow Irishmen cruelly. “I like bringing the old country back to life, as a storyteller,” said Mr. McDonagh, a four-time Tony Award nominee. “I don’t set out to offend.” Nor did he, not terribly so. The Irish of Inishmaan have seen worse. Lives lost to the rough swells that Synge immortalized in his drama “Riders to the Sea.” Failed crops. Persistent Continued on Page 5

mark formula and create a more narrative-driven show with a vaudeville theme. Cirque has returned to home territory with “Zarkana,” written and directed by François Girard, which is essentially a traditional company presentation outfitted in extra layers of lavish digital technology and lush, exotic art direction. Careful attention to the song lyrics


Martin McDonagh on the island of Inishmaan, Ireland, where his play “The Cripple of Inishmaan” was presented for the first time.

It’s been a springboard for Brooklyn nostalgia, a debate about urban design and the politics of eminent domain and, depending on your perspective or basketball affiliation, a community uniter or divider. Now Atlantic Yards, the development that will bring the New Jersey Nets to downtown Brooklyn, will also be a cultural center. The Barclays Center, the 18,000seat arena at the heart of the project, will host performances by artists selected by the Brooklyn Academy of Music in a programming alliance between the two neighboring institutions, their directors said. The collaboration will include three or four shows a year and allow the academy to bring to Brooklyn work that would not fit into its theaters — the largest of which has 2,000 seats — with costs underwritten by the arena. “I always like to put things that are a little bit ironic together,” Bruce C. Ratner, the chairman and chief executive of Forest City Ratner Companies, the developer of the arena, said in an interview Tuesday. “So here you have a place like BAM, which is a great contemporary-arts cultural institution, and then you have an arena, which, people think about sports and circus and so on,” he said from his office overlooking downtown Brooklyn. “And then you put them together, and then I think you’ve got something special.” The idea for the collaboration came from Mr. Ratner, who was chairman of Continued on Page 2

An Auld Lang Syne Kicks Off an Artistic Diaspora Artists, festivals, theaters, trends: they come and go with dizzying frequency in this city. It’s dangerous to get too attached to any one idea of New York’s cultural fabric. Still, certain losses hit CRITIC’S NOTEBOOK harder than others. Saturday night brought one such blow: the final show at Performance Space 122 before it vacates its storied East Village home, a former school-



New York Philharmonic Bramwell Tovey

leading a Summertime Classics concert on Tuesday at Avery Fisher Hall.

house, for a city-financed multiyear renovation. When P.S. 122 returns, it will be to an utterly transformed building, one that bears little physical resemblance to its scruffy, scrappy roots. There is much to be gained (access for the disabled and adequate restrooms, for starters). But something will also be lost. “I knew somehow that I was home,” Mark Russell, the theater’s artistic director from 1983 to 2004, said Saturday

of his first encounter with the space in 1979. “Over time it took on the weight of a community’s dreams and history. As all good theaters take on the resonance of the acts that happen in their space, and the people, the audience, who claim that room as theirs for just a moment.” He spoke during the closing moments of the four-day Old School Benefit, also the culmination of P.S. 122’s 30th anniversary. The evening had stretched to almost four hours at that

point, and the house was still packed well beyond capacity, the seats and cushions and floor filled, the stage’s central columns covered with numerous artist signatures, and the air loopy with all sorts of emotions. The Wooster Group, Elevator Repair Service, Big Dance Theater, Split Britches, Philip Glass, Penny Arcade, Banana Bag & Bodice, Mabou Mines, Continued on Page 4




Wainwright Offers Taste Of Opera With its plans for next season still a mystery as June winds to an end, New York City Opera raised its flag, briefly, on Tuesday at the Winter Garden of the World Financial Center, offering an evening of arias, ensembles and Rufus Wainwright songs. Mr. Wainwright MUSIC was on hand to play his REVIEW music and to explain, more or less, what the operatic excerpts were about. City Opera musicians not involved in the performance (the singers were accompanied by Kevin Murphy, the pianist), were outside the Winter Garden handing out fliers denouncing the company’s general manager, George Steel, for his decision to withdraw from Lincoln Center. And Mr. Steel introduced the performance with a promise that he would announce the company’s plans soon, saying only what is already known: that Mr. Wainwright’s “Prima Donna” is one of the five operas the company plans to present. But though the concert was a City Opera event, Mr. Wainwright — who wore a tuxedo jacket, shirt and bow tie, with shorts — was the clear draw. The River to River Festival, which presented the concert, described the performance on its schedule as an evening of excerpts from “Prima Donna,” as well as songs by Mr. Wainwright that were inspired by his love of opera, and some of his favorite arias. That was more or less accurate, although listeners who expected a more extensive preview of “Prima Donna” — of the dozen pieces on the program, only two were from it — could perhaps be forgiven for feeling let down. “Prima Donna” has already had an eventful history. It was commissioned by the Metropolitan Opera and Lincoln Center Theater but dropped by the Met in a dispute over Mr. Wainwright’s choice of language (French rather than English). The work had its premiere in Manchester, England, in 2009 and will have a concert performance



Undead Jazzfest featured an array of bands, including, above, the ensemble Plainville at the Homage Skateboard Training Facility, and Jeff Lederer, below, at the club Littlefield.

A Wide-Ranging Festival Savors Some Late-Night Jazz Among the many possible ways of gauging a good time at the second annual Undead Jazzfest, which wound down in the wee hours of Monday morning, there are a few that seem truest to the spirit of the event. If you were there, you might rate your experience by anMUSIC REVIEW swering the following questions: Did you feel like a part of something vital and collegial? Did you momentarily forget the conventional wisdom about jazz as a withering art? Did you hear something new? The festival — spread out over four nights, twice as many as last year — did everything in its power to earn a yes on all counts. Beginning last Thursday night in Greenwich Village, it then branched out to Brooklyn, setting up on Friday at the Bell House not far from the Gowanus Canal. On Saturday the action unfolded on a single block of Degraw Street, near the industrial edge of Park Slope. On Sunday it was along North Sixth Street in Williamsburg, more of a nightlife corridor, with actual foot traffic. At Public Assembly — Sunday’s center of gravity, with two stages — there was always a crowd, though rarely in both rooms. The main room put forth a cross-section of the festival’s aesthetic. Bizingas and the Claudia Quintet each explored driving


but hyper-articulate jazz-rock, impressive in its use of texture, full of small surprises. Peter Brötzmann, the venerable German saxophonist, played fiery, convulsive free jazz with the drummer Michael Wertmüller. Preceding Mr. Brötzmann was a nimble post-bop quartet led by the drummer Ari Hoenig: tight, groove-minded and clever. Before that was the Oliver Lake Organ Quartet, led by its well-traveled namesake alto saxophonist. And here was a working band that felt both well honed and appealingly unhinged. Mr. Lake, with his wild, searing tone, soloed in bracing gulps over fluctuating rhythm, but here and there he paused to play a tightly coiled melodic line with his trumpeter, Freddie Hendrix. After a half-hour I left to check in on the cellist Erik Friedlander, playing solo next door at Cubana Social; I returned in time to see Mr. Lake’s closer, a steamrollering shuffle, stout and unabashed. Intentionally or not, each of the secondary spaces on Sunday had an identity. The back room at Public Assembly was earmarked for groove, ranging from the hard-glare funk of a band led by the drummer Gene Lake (Oliver’s son) to the hazier backbeats of Joshua Three, organized by the trombonist Josh Roseman. Cameo, a gallery down the street, was a site of fringe exertions: solo

drums by Ches Smith, the screeching saxophone of Marshall Allen. And Cubana Social, a restaurant, had several sets with cellists: Mr. Friedlander; Marika Hughes, in her singer-songwriter mode; and Will Martina, a member of the string ensemble Graffi-

to, which melded intriguingly with a guest, the multi-reedist Andrew D’Angelo. Maybe it shouldn’t be surprising that Undead drew a smaller audience on Saturday night. The anchoring site was Littlefield, an indie-minded club. (Search and Restore, one of the promoting organizations behind the Undead Jazzfest, books the occasional show there.) The other two spaces, on an ugly industrial street, had been adapted to the festival’s purposes in a way that made the music feel like an un-

derground pursuit, even a little illicit. Littlefield’s lineup, uniformly strong, began with Jeff Lederer’s Sunwatcher, a band in the tradition of jazz’s spirit-minded 1960s avant-garde. Drawing from a new album the group made a refined mess, with Mr. Lederer playing his tenor saxophone and clarinet in prayerful gusts, against the drumming of Matt Wilson. The pianist Jamie Saft brought a sly subversiveness to his role, rummaging inside the piano and soloing on a toy-size synthesizer. Mr. Saft later played the final set at Littlefield with his New Zion Trio, featuring Larry Grenadier on bass and Craig Santiago on drums. With chiming Fender Rhodes piano and deep-current pulse, it was explicitly derived from Jamaican dub music, tuned into notions of tracelike repetition. A less organic version of that idea underpinned a set by Mountains, an electronic duo, across the street at the CrossFit Gym. They played the final set in that space, a warehouse of a room with rubber mats and seriouslooking workout equipment, and much of their sparse audience listened from a prone position, in questionable states of consciousness. Earlier in the same room Elliott Sharp had played solo-guitar versions of Thelonious Monk


Previous reviews from the festival:

songs, spiraling out into abstraction. And a band called H-Alpha — Briggan Krauss on alto saxophone, Ikue Mori on laptop, Jim Black on drums — had played its rugged noise-jazz, which felt all the more confrontational under harsh lighting. By contrast the Homage Skateboard Training Facility was dim and cavelike. This heightened the drama of solo recitals by the saxophonist David S. Ware, the vocalist Dean Bowman and Mr. Wilson, the drummer. It also lent a welcome, spooky intensity to a duo performance by Min Xiao-Fen, on pipa, and Satoshi Takeishi, on electronics and percussion; they played at the top of a skate ramp, backlit by a single industrial fixture. Much later, after 2 a.m., the saxophonist Jeremy Udden filled the space with the echoing sound of his band, Plainville: a distinctly contemporary wash, warm and rusticated, with a strong pull of nostalgia. There weren’t all that many people in the room then, but everybody seemed glad to be there.

Nets Arena to Present Arts With Brooklyn Academy’s Help From First Arts Page


Rufus Wainwright presenting selections from his opera “Prima Donna” at the Winter Garden.

next month at Covent Garden in London. The two excerpts Mr. Wainwright offered here — “Dans mon pays de Picardie,” a flighty, attractive soprano aria, performed by Anne-Carolyn Bird, and “Les feux d’artifice,” which Mr. Wainwright sang himself — tell you little about the full work. Both are shapely, melodic pieces in a late-19th-century style, with little to suggest that Mr. Wainwright has much interest in contemporary experimentalism. They are also more athletically tuneful than his pop songs, of which he performed three: “Damned Ladies,” “Who Are You New York?” and “Vibrate.” Much has been made of Mr. Wainwright’s operatic expertise, but his introductions, though charmingly off the cuff, suggested a more glancing familiarity (and a disinclination to prepare). He had trouble pronouncing titles of arias and works, and of “O Don Fatale,” from Verdi’s “Don Carlo,” he said: “I think it means — I don’t know! Fatal something or other.” (It means “Oh, Fatal Gift.”) The opera excerpts were given committed, able performances by a handful of young City Opera singers. Robert Mack, a tenor, and Matthew Burns, a bass-baritone, offered an appealing account of Bizet’s “Pearl Fishers” duet, “O fond du temple saint.” On their own, Mr. Mack gave a strikingly bright-edged account of Puccini’s “Che gelida manina,” and Mr. Burns offered a strong reading of an aria from Wagner’s “Tannhäuser.” Ms. Bird, heard to good effect in Mr. Wainwright’s aria, also sang “Dis-moi que je suis belle” from Massenet’s “Thaïs,” and the mezzo-soprano Laura Vlasak Nolen was at her best in a sultry “Habanera” from Bizet’s “Carmen.” The full ensemble closed the performance with the Act III quartet from Verdi’s “Rigoletto.”

the board at the Brooklyn Academy for a decade. (Mr. Ratner’s company also helped develop the headquarters for The New York Times.) Karen Brooks Hopkins, the academy’s president, said in a telephone interview that Mr. Ratner “called me and said that he really was hoping that this arena would be different from every arena, from the basic commercial fare.” She said she expects the performances to be “on a very large scale, large nouvelle cirque kind of work, big dance kind of things, music.” The Brooklyn Academy will receive a curatorial fee but no share of ticket sales. It expects to present a slate of half a dozen potential shows a year for the arena, whose management can choose those that best fit the space, which can also be subdivided. Even so, Ms. Brooks Hopkins said programming for the arena would be a challenge. “For us this is a new kind of thing, to be working as a part of a consulting team, to be working, obviously, on this scale,” she added. “But in these days the idea of not-for-profit arts institutions like ours that have a certain kind of expertise to earn some income and work in a different context is great. We feel like we’re pioneering some new territory here.” Ms. Brooks Hopkins would not specify the artists the academy was considering for the Barclays Center, except to say that they would be culled by the academy’s executive director, Joseph V.


The Barclays Center, the future 18,000-seat arena at the center of the Atlantic Yards project. Melillo, from around the globe. “I know that he has seen a number of large-scale works in Asia that he is very enthusiastic about,” she said, adding that, in an effort to fill seats, “we’re not married to one aesthetic or one point of view or even one audience demographic.” Mr. Ratner said he was not qualified to be much of an artistic curator. But he recalled the academy’s staging of a piece by the avant-garde French director Ariane Mnouchkine as representative of the grand work he thought

made an impact. Ms. Brooks Hopkins referred to the prospective programming as “spectacle,” while Mr. Ratner called it an “extravaganza.” (The shows will be separate from other nonbasketball events at Barclays, like concerts and boxing matches. And, of course, Forest City Ratner hopes to profit from all of them.) Asked if there was overlap between a Brooklyn Academy audience and a Nets game crowd, Mr. Ratner paused for a bit before saying yes. “People who grew up urban in Brooklyn, and in other

places, you have people who have played basketball since they were zero, of all intellect and education,” he said, offering Bill Bradley, the Hall of Fame basketball player turned senator, as an example. Ms. Brooks Hopkins agreed that the psychic distance between the Brooklyn Academy and the Barclays Center, which are physically two blocks apart, was not as large as it may seem. “Everything about it is in line with New York as a cultural capital, with Brooklyn as an interest-

ing and adventurous arts community,” she said. But as with all things related to Atlantic Yards, the cultural plans have their doubters. Michael Galinsky, the director with his wife, Suki Hawley, of the new documentary “Battle for Brooklyn,” which chronicles the yearslong fight against the project, was skeptical that the Barclays Center would deliver on all its promises to the neighborhood. He pointed to the changes in the original Atlantic Yards plan, from the departure of the architect Frank Gehry to the exclusion of a rooftop track to the number of jobs created. “Any time the arts has more of a venue that’s a wonderful thing,” Mr. Galinsky said. “But the question then becomes at what cost to public process.” He added, “this is a much greater benefit to Ratner from this P.R. perspective than it is to BAM.” Mr. Ratner said the partnership with the Brooklyn Academy was not meant to appease critics. “I don’t care,” he said, then corrected himself. “We care a tremendous amount about the community, but we don’t do it to get credit,” he said. “We must do stuff here because we think it’s good to do, not because it just happens to make a splash. Everything has to be substantive. Most of it has to be as substantive as possible.” The Barclays Center is set to open in September 2012. Ms. Brooks Hopkins said an academy work could appear there in the spring or summer of 2013.

This Colorblind Woman Can’t Distinguish Black From White “Yes We Can,” a postmodern, postracial romp by Daniella Shoshan, is a pretty smart play. But you’ll only discover that if you read the script. Unfortunately most theatergoers THEATER who aren’t critics REVIEW won’t have that advantage. Instead they’ll spend 95 minutes squinting their ears, trying to decipher what a cast of marble-mouthed actors are mumbling.


Most of the actors play multiple stock characters, listed in the program only as “a Black Nanny” or “an Indian Mother.” In a nonlinear sequence of scenes set on the eve of the 2008 presidential election, these various archetypes investigate what defines one’s racial identity. Maybe it’s how you see your“Yes We Can” continues through July 2 at Walkerspace, 46 Walker Street, TriBeCa; (800) 838-3006,

Yes We Can


self, or instead how others see you, they argue. Some litmus tests about hygiene, hobbies and Twitter habits are also offered. Such questions are teased out primarily through a thread about a black woman (Makeda Declet) who does not believe she is black. When a black man on the bus tells her she is, she is both con-

fused and insulted. She then seeks guidance from characters whom she finds constantly shape-shifting into different ethnic caricatures. A rabbi played by the charismatic Duane Cooper, for example, sometimes thunders with the rich baritone and gesticulant flourishes of a Baptist preacher, and then abruptly starts lilting and shrugging like Billy Crystal. Most of the actors, however, rely simply on silly accents to convey their winking racial meta-

morphoses. They seem not to realize that even when speaking in funny dialects, they still need to enunciate. And face masks that they sometimes wear don’t help . Thanks to some unfocused acting and sloppy directing by Alec Strum, about 20 percent of the words in the show were unintelligible from the third row in Walkerspace’s black-box theater. It’s too bad; according to my copy of the script there were some good zingers in there, just waiting to be discernibly zinged.




Arts, Briefly Compiled by Felicia R. Lee

Music Director Vows to Restore Philharmonic’s Free Summer Concert Series There will be no free concerts in the parks for the New York Philharmonic this summer. But Alan Gilbert, right, the orchestra’s music director, has given his word that that situation will change in 2012. “I am making a personal promise that these beloved free concerts will return next summer and continue for many years to come,” he wrote in an e-mail sent to The New York Times on Wednesday, following the publication of a critic’s notebook lamenting the orchestra’s decision to suspend the series, which began in 1965. According to Zarin Mehta, the Philharmonic’s president and chief executive, the popular annual parks tour was dropped to accommodate other projects, including a

memorial concert at Avery Fisher Hall on Sept. 10 commemorating the 10th anniversary of the terrorist attacks. The orchestra will also perform with the Italian tenor Andrea Bocelli in a free concert in Central Park on Sept. 15 that is to be broadcast by PBS and will be made into a CD and a DVD. In his response to the notebook on Wednesday by Anthony Tommasini, the Times’s chief classical music critic, Mr. Gilbert, who took over as musical director of the

Philharmonic in 2009, disassociated himself from the cancellation of this year’s series. “Don’t think for a moment that I’m ‘on board’ with the New York Philharmonic stepping away from our annual Concerts in the Parks,” he wrote. Though the 9/11 commemorations are likely to be “a significant moment of renewal for the city,” he added, they “may have caused us, unjustifiably, to sit this summer out.” Mr. Gilbert did not specify how far into the future he envisions the free summer concerts’ continuing, once resumed, though he mentioned private benefactors of the series like Didi and Oscar Schafer, who have made a commitment to it.



A Return to Broadway For ‘Porgy and Bess’ A revamped version of George Gershwin’s “Porgy and Bess,” starring Audra McDonald, Norm Lewis and David Alan Grier, will go to Broadway soon after it completes its run at the American Repertory Theater in Cambridge, Mass. Producers said on Wednesday that the show — which plays down its roots as an opera and features a reworked book by the Pulitzer Prize-winning playwright Suzan-Lori Parks and new arrangements by Diedre Murray — will open at the Richard Rodgers Theater on Jan. 12, with previews beginning on Dec. 17. Diane Paulus, the artistic director at the American Repertory Theater, will direct. Kicking off the company’s season, the show is to run from Aug. 17 to Oct. 2. “Porgy and Bess” had its premiere in Boston in 1935, then ran briefly on Broadway. The show had months-long

Strong Sales in London For Some German Artists By CAROL VOGEL

Barbie, the Klimt Edition Over the last half-century Barbie has come in about as many guises and get-ups as Inspector Clouseau: cheerleader, supermodel, ski queen, doctor, astronaut, lawyer. Last year Mattel, the doll’s maker, released “Mad Men” versions, giving Barbie a pile of fire-red hair and a fetching office-girl dress in her Joan Holloway incarnation. Now high art is taking a turn at a makeover. Three Barbies have just been released, inspired by great paintings, Tablet Magazine reported. One takes a crack at Mona Lisa — a long-overdue role for Barbie — though the doll itself, with heavy eyeliner and a shower of curls, looks more like a model in an ad for a Renaissance fair. Another doll is inspired by van Gogh’s “Starry Night” — which does not happen to feature a woman, so Barbie is simply a blonde with a “Starry Night”print strapless gown. Then there’s the Barbie based on Gustav Klimt’s “Portrait of Adele Bloch I,” the Viennese Secessionist masterpiece that Ronald Lauder bought for what some reported to be $135 million in 2006. The Barbie, with a winged hairdo and a dress that gets the dazzling Byzantine mosaic pattern from the painting almost right — minus Klimt’s gold leaf — goes for $34.95.


“Jungle” by Sigmar Polke, which was sold for $9.2 million.

Even With a Debt Crisis, Plans Proceed in Athens


The final designs for the Stavros Niarchos Foundation Cultural Center, a major arts hub planned for Athens, were unveiled on Wednesday. Designed by Renzo Piano, the center, above, includes a 42-acre park, the headquarters for the National Library of Greece and a 1,400-seat opera house for the Greek National Opera. Budgeted at more than $800 million, the project is to be financed by the Stavros Niarchos Foundation. Construction, to begin this year, is to be completed in 2015. The center’s design is inspired by the Acropolis, with the park rising gradually to a summit where a “reading room” with glass walls will provide views of the city and the Aegean Sea. The main library is to house more

revivals there in 1942 and 1953, but in recent decades it’s remained in opera houses.

Who’s No. 1? Jill Scott Two new singers take over the Billboard album chart this week. The R&B singer Jill Scott, below, hits No. 1 for the first time with her fourth studio album, “The Light of the Sun” (Warner Brothers), which sold 135,000 copies, according to Nielsen SoundScan. And Bon Iver, the group led by Justin Vernon, bowed at No. 2 with its self-titled second album; released by the independent label Jagjaguwar, it sold 104,000 copies, Bon Iver’s highest chart position and best sales week. On the digital songs chart, Katy Perry’s “Last Friday Night (T.G.I.F.)” holds at No. 1 for a second week, with 226,000 downloads. “Moves Like Jagger,” a new song by Maroon 5 with Christina Aguilera, opens at No. 2 with 213,000 downloads; it has come out just in time for the finale of “The Voice” on NBC, on which Ms. Aguilera and Adam Levine, Maroon 5’s lead singer, are judges. BEN SISARIO

than two million books, and the opera house will mount concerts, ballets and musicals. The center’s operations are to be run and paid for by the Greek government, raising obvious questions about the center’s future, given the debt crisis. Andreas C. Dracopoulos, a co-president of the foundation’s board of directors, wrote in an e-mail that the project was “a good example of a public-private partnership where the State has made available the land, our Foundation has taken the full financial responsibility to build and deliver the project, and then upon delivery it will be wholly transferable to the State so that the people and society at large can enjoy it.” ADAM W. KEPLER

Ballet Theater Finds North Carolina Partner American Ballet Theater and the School of Dance at the University of North Carolina School of the Arts in Winston-Salem are embarking on a five-year partnership that will teach Ballet Theater’s National Training Curriculum throughout three divisions at the school: preparatory, high school and collegiate. The partnership is to be announced on Thursday by Rachel S. Moore, Ballet Theater’s executive director, and John Mauceri, chancellor of the school of the arts. The partnership will begin at the start of the fall 2011 term. Its plans also call for making the campus a second home for Ballet Theater’s Manhattan-based Jacqueline Kennedy Onassis School, a preprofessional ballet training program for students ages 11 to 18. Under the agreement, all of the school of the arts’ ballet faculty will receive training and become certified in the National Training Curriculum from primary through partnering levels. The curriculum is intended to train young students in basic ballet principles, incorporating elements of the French, Italian and Russian schools of training. In

addition, Ballet Theater’s artistic staff and faculty will conduct master classes in the curriculum annually at the School of Dance.

‘Follies’ to Broadway Bernadette Peters, Jan Maxwell, Danny Burstein and Ron Raines are set to reprise their starring roles in the Kennedy Center production of “Follies” when it opens on Sept. 12 at the Marquis Theater on Broadway for a limited engagement, the show’s producers said on Wednesday; previews are to start on Aug. 17. With a book by James Goldman and a score by Stephen Sondheim, the musical is directed by Eric Schaeffer and will feature musical direction by James Moore and choreography by Warren Carlyle. The show is about the reminiscences of two couples, all former members of the Weismann Follies, who reunite on the eve of their theater’s demolition. The Kennedy Center production at the Eisenhower Theater in Washington opened in May and closed on June 19. “Follies” first opened on Broadway in 1971 at the Winter Garden Theater, where it ran for 522 performances and won seven Tony Awards.

LONDON — Prices for contemporary German artists — Sigmar Polke, Georg Baselitz and Blinky Palermo, among others — soared to new levels at Sotheby’s here on Wednesday night in an auction that featured 34 works from the collection of Count Christian Duerckheim, a German industrialist who became obsessed with what he calls “the art of his time.” Beginning in the early 1970s Count Duerckheim got to know Mr. Polke and Mr. Baselitz along with Gerhard Richter and lesser-known artists including Jörg Immendorff, Konrad Lueg and Eugen Schönebeck. He often bought their work soon after it was made. In a recent interview Count Duerckheim said he felt that the collection, which chronicles a fertile moment in German art, was more or less complete, and that it was time for him to start something new. As a result Sotheby’s was offering the bulk of his collection. Conservatively priced and including mostly of works that had not been on the market for more than 30 years, the Duerckheim paintings had been the talk of the auction world since highlights of the sale were on view in New York last month. Bidding for the best of the paintings was long and fierce. The Duerckheim works alone totaled $96.6 million, above their collective high estimate of $73.6 million. They took up the first part of the evening’s sale, which brought $174.1 million in total, close to its high estimate. Of the 88 works on offer only 9 failed to sell. (Final prices include the buyer’s commission to Sotheby’s: 25 percent of the first $50,000; 20 percent of the next $950,000; and 12 percent of the rest. Estimates do not reflect commissions.) The Duerckheim collection included many desirable works by Polke, who died last year and is scheduled to have a retrospective at the Museum of Modern Art in New York in 2014. Of the seven paintings by him up for auction, the top seller was “Jungle,’’ a romantic landscape from 1967 that used magnified Benday dots from a newspaper in the style of Roy Lichtenstein. Six bidders tried for “Jungle,’’ which was estimated to bring $4.9 million to $6.6 million; it sold to an unidentified telephone bidder for $9.2 million, an auction record for

Polke. Another work by him, “City Painting II’’ from 1968 — depicting New York skyscrapers outlined in bright yellow, with red starbursts lighting up the black night — went for $6.5 million, or $7.4 million including Sotheby’s fee, far above its $4.9 million high estimate. Mr. Richter’s color chart paintings have always been popular, and on Wednesday the gridded “1024 Colors’’ from 1974, estimated at $1.6 million to $2.4 million, was bought by Christophe Van de Weghe, a Manhattan dealer, for $6.8 million. Five bidders wanted to take home Mr. Richter’s “Girl in Deckchair,’’ a blurry 1964 photo-based painting that was expected to sell for $1.9 million to $2.9 million but ended up going to a telephone bidder for $5.7 million, or $6.7 million with fees. A variety of paintings by Mr. Baselitz were for sale, including “Spekulatius’’ from 1965, a sexually charged image of a male figure that was estimated to sell for $3.3 million to $4.9 million, but went to Acquavella Galleries of New York for $5.1 million — also a record for him at auction. The rest of the evening’s sale brought solid prices but lacked the energy of the Duerckheim collection. A 1961 Francis Bacon painting, “Crouching Nude,’’ depicting a skeletal woman reclining in a green boxlike environment, which was estimated at $11.5 million to $14.8 million, brought $11.8 million, or $13.3 million with fees. (At Christie’s the night before Bacon’s “Study for a Portrait’’ from 1953 had sold to an eager telephone bidder for $25.5 million, or $28.6 million with commission.) After the sale Gordon Veneklasen, a Manhattan dealer who represents several of the German artists including Polke and Mr. Baselitz, said he wasn’t surprised by the high prices they brought. “There’s a whole new international group of collectors buying this art,’’ he said. On top of that, he added, “over the years there hasn’t been major material by artists like Polke to come up for auction.’’ Cheyenne Westphal of Sotheby’s contemporary-art department in Europe said that the Duerckheim collection had attracted bidders from 14 countries. “It was a triumph for German art,” she said.




On a Fool’s Mission in a Dying Colonial World Combat experiences are like Tolstoy’s unhappy families: no two are alike, which may be why they often make for great novels, as Tolstoy also knew. The cause need not even be noble, since a hopeless situation and senseless violence can actually BOOKS OF THE TIMES fortify a work of fiction. Certainly that is the case with António Lobo Antunes’s “Land at the End of the World,” set in Angola in the early 1970s, as Portugal’s ludicrous effort to preserve its African empire was meandering to an inglorious end. The unnamed narrator is a young doctor wrenched from a comfortable life in Lisbon and forced to spend 27 months on the front lines treating his hapless fellow soldiers. He resents that they have been made “agents of a provincial form of fascism that was corroding and eating away at itself with the slow acid of its own sad, parochial stupidity.” But mostly he is sickened by the mutilated bodies delivered to his care, and fearful the same may happen to him. Though there are flashes of humor, almost always mordant, this is not “M*A*S*H” but something far darker and more absurd. “The Land at the End of the


Reluctant soldiers in the last days of Portuguese Angola. World,” newly translated by Margaret Jull Costa, was originally published in 1979, four years after Portugal’s withdrawal from Africa and the final collapse of America’s intervention in Vietnam. At that time it was interpreted as a comment on the inherent futility of those recent Western adventures in the third world. But read at more than 30 years’ remove from those events much of this account of what Mr. Lobo Antunes’s narrator calls a “painful apprenticeship in dying” would no doubt make sense to survivors of the Iraq and Afghanistan wars. “What have they done to us,” the narrator asks in one of his typically long and torrential sentences, “sitting here waiting in this landlocked place, imprisoned by three rows of barbed wire in a land that doesn’t belong to us, dying of malaria and bullets, whose whistling trajectory sounds like a nylon thread vibrating, fed by unreliable supply lines whose arrival or not is dependent on frequent accidents en route, on ambushes


The Land at the End of the World By António Lobo Antunes Translated by Margaret Jull Costa. 222 pages. W. W. Norton & Company. $26.95.

and land mines, fighting an invisible enemy, fighting the endless days that never pass, fighting homesickness, indignation, and remorse, fighting the dark nights as thick and opaque as a mourning veil.” Back home in Lisbon, his marriage yet another casualty of the war, the traumatized doctor finds no solace. “Rootless, I float between two continents, both of which spurn me,” he says. “I have no place anywhere, I went too far away for too long to ever belong here again, to these autumns of rain and Sunday Masses, these long winters as dull as blown light bulbs.” Even sex cannot provide relief, or a distraction, since he is capable only of collecting women “the way you might find odd bits of change in the pocket of a winter coat.” The narrator’s story unfolds over the course of a long, drunken night in which he successfully, but only half-heartedly, seduces a woman he has just met in a bar, who has the “aseptic, competent dandruff-free air of an



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Extended to July 9 ONLY! "A FUNNY, MOVING, ALTOGETHER WONDERFUL DRAMA." —Isherwood, The New York Times Tonight at 8 ALL SEATS $20 Lincoln Center Theater/LCT3 presents A New Play by Amy Herzog Directed by Daniel Aukin Tue-Sat at 8; Wed & Sat at 2 The Duke on 42nd Street 229 West 42nd Street or 646-223-3010

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executive secretary.” He knows this erotic escapade will end like all his others: with “the damp defeat of two exhausted bodies on the mattress” after an act of coitus that has all “the limp joy of two strands of spaghetti entwining.” Like Anton Chekhov, William Carlos Williams and Moacyr Scliar, Mr. Lobo Antunes belongs to that select group of writers who are also doctors — a psychiatrist, to be more precise, who himself served in a field hospital in Angola. But the novelist-doctor he probably most resembles is Louis-Ferdinand Céline, whose “Journey to the End of the Night” is also a grotesque reflection on the horror of war and the failure of European imperialism in Africa. Mr. Lobo Antunes has even told of how, as a teenager, he experienced such “bedazzlement” from reading Céline’s “Death on the Installment Plan” that he wrote a letter to that misanthropic Frenchman, who, to his credit, responded with, he recalled, “immense tenderness.” The original version of Mr. Lobo Antunes’s novel had a suitably Céline-like scatological title, which refers to the anatomy of Judas and is a common Portuguese-language slang expression meaning something like “the back of beyond.” Ms. Jull Costa has had to find a less pungent substitute, as did an earlier translation, published in 1983, that was called “South of Nowhere.” But once the story begins, her rendering of the novelist’s language and style is simply splendid. He has created a memorably unhinged narrator, and she manages to capture, perfectly and faithfully, the bitter, hallucinatory and increasingly desperate tone of his monologue. Perhaps because of his training as a psychiatrist, Mr. Lobo Antunes is also an unusually observant writer, which in turn seems to have bestowed on him a particular gift for coining unusual but apt similes. Rain clouds in the tropics are “as heavy as udders,” an exhausted soldier slings his rifle “over his shoulder as if it were a useless fishing rod,” a skinny schoolmarm in a bereft colonial outpost has “collarbones as prominent as Brezhnev’s eyebrows,” and basic training finds the narrator “side by side with a fat recruit as wobbly as a crème caramel on a plate.” Ms. Jull Costa begins her introduction to the novel by noting that Mr. Lobo Antunes is “generally considered to be Portugal’s greatest living writer.” She was writing a few weeks after the death last year of the Nobel laureate José Saramago, whose work she also has translated, but even during Saramago’s lifetime many readers and critics preferred Mr. Lobo Antunes, who certainly is the more subtle and sardonic of the two. Where the doctrinaire Saramago saw simple blacks and whites (communism and atheism good, fascism and Catholicism bad), Mr. Lobo Antunes is an equal-opportunity skeptic, firing darts at all kinds of targets, including his narrator. Since the publication of “The Land at the End of the World” Mr. Lobo Antunes, now 68, has gone on to write more than a score of other novels and win many literary prizes. Often, as in “The Inquisitors’ Manual” and “The Return of the Caravels,” his subject has again been Portugal’s troubled history, in particular the scars left by colonialism. But it was “The Land at the End of the World” that first enabled him to open that floodgate, and, as this fine translation shows, it continues to stack up against the best of his later, more mature and experimental work.

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An Auld Lang Syne Kicks Off a Diaspora From First Arts Page Sarah Michelson, Yvonne Meier, Nicky Paraiso, John Zorn and on and on and on: the list of people and companies from the performance art, dance, theater and music worlds who participated in the benefit, virtually none of them new to its stages, was astonishing (not to mention those who were there in spirit only, like Spalding Gray and Ethyl Eichelberger.) You had only to look around, onstage and in the audience, to understand what a vital artistic hub this theater has been, and for how long. “Everybody who talked to me described P.S. as a home or a clubhouse or both, and that doesn’t really exist anywhere else,” said Sarah Maxfield, an artist and former P.S. 122 employee who interviewed many benefit attendees as part of a larger oral history project. There are too few established places where artists and audiences alike are encouraged to take risks, and develop in the process. P.S. 122’s survival as a laboratory where risk and failure are par for the course is vital to the arts and the city. So too will be its resistance to the conservative impulse that can so insidiously seep in, once an arts center has moved into shiny new digs. This is especially important as artists are pushed ever further from the center. “That’s something we’re really dealing with right now,” Ms. Maxfield said, quoting a Village Voice writer: “What C. Carr calls the Bohemian Diaspora.” Ms. Maxfield spoke to a common sentiment when she discussed the physical singularity of P.S. 122 and the accumulated power of so much history. Of course, for every artist who is deeply attached to P.S. 122 in its current incarnation and relishes the challenge of the limitations imposed by its architecture, there are others who would like a less idiosyncratic space and don’t feel it would lead to less experimental work. They would rather, as Kenneth Collins of the theater company Temporary Distortion said, “be in a more functional theater,” one that accommodates rather than inhibits their ideas. These ideas, like the city that incubates them, are in constant flux. Institutions are rarely so malleable, especially as they age, accruing legacies and constituencies. For many years Performance Space 122 has been synonymous with the downtown arts scene — never mind that this world, and its accompanying aesthetic, long ago fractured. One of the theater’s tasks now is to honor that history without being hamstrung by the expectations that come with it. It has

managed pretty well to avoid this, better, say, than the Brooklyn Academy of Music’s Next Wave Festival, or La MaMa, though it certainly trots out the ’80s vibe in its benefits and ought to reconsider series like AvantGarde-Arama and what sometimes feels like a “more is more” philosophy. “This renovation in a lot of ways gives us the opportunity and the necessity of thinking ourselves into a next stage — thinking about what we could be and what kind of presenter we want to be,” Vallejo Gantner, the theater’s artistic director, said. He emphasized that presenting and financing models for contemporary performance were dysfunctional, with too little money going to support too many shows, and too few artists making anything close to a living wage. Plenty of newer spaces, he added, now provide the fly-by-

Will P.S. 122’s renovations change its spirit? the-seat-of-your-pants experience that he says P.S. 122 has outgrown as its theater has become more technologically sophisticated. “One of the challenges I would like us to be meeting,” he said, “is creating the infrastructure around the development of new performance that is fully realized and finished, and feels finished, and feels ready,” even if the performance “is bad. Even if it fails. That’s O.K. But there’s too much work that we see that still feels incomplete.” As the theater’s actual infrastructure will grow to include two state-of-the art performance spaces, its business model will incorporate the online presentation of commissioned live art projects, a series of humanities events, the addition of at least two in-house producers and a push toward innovative partnerships. It sounds great on paper. Time will tell if it works. But for now P.S. 122 is beginning its own diaspora. It will be fully operational while homeless, with an intriguing peripatetic 2011-12 lineup that includes Carmelita Tropicana and Young Jean Lee, programming in London and a co-presentation with Crossing the Line, an innovative interdisciplinary festival. As Ms. Maxfield said on Friday night at the end of her monologue, “A Partial History Between Two Columns”: “P.S. 122 is dead. Long live P.S. 122.”


Americans Win at Europe Open By PHILLIP ALDER

Three team competitions at the fifth European Open Championships in Poznan, Poland, finished on Wednesday. The open event was won by Jim Mahaffey, Gary Cohler, Jeff Meckstroth, Eric Rodwell, Sam Lev and Jacek Pszczola (Pepsi, as he is known) from the United States. They defeated Michel and Thomas Bessis (father and son) from France and Josef Piekarek and Alexander Smirnov from Germany by 155 international match points to 133. The women’s teams was taken by Mine Babac, Lale Gumrukcuoglu, Serap Kuranoglu and Dilek Yavas from Turkey. They beat the Dutch team of Carla Arnolds, Bep Vriend, Laura Dekkers, Marion Michielsen, Jet Pasman and Anneke Simons by 89 imps to 51. (Geeske Joel, Tobi Sokolow, Jill Levin, Jill Meyers and Janice Seamon-Molson from the United States and Sabine Auken from Germany were fourth.) The senior competition went to Patrick Grenthe, Philippe Vanhoutte, Patrice Piganeau, François Leenhardt, Guy Lasserre and Philippe Poizat from France. They defeated an English-Swedish team of Paul Hackett, Tony Waterlow, David Price, Colin Simpson, Gunnar Hallberg and Hans Gothe by 111 imps to 64. All finals were over 48 boards. In the open event Mahaffey was losing by 25 imps after the first session and 16 after the second. But a powerful last set, won by 51 imps to 13, saw the Americans capture the gold medals. The diagramed deal was Board 38. Piekarek (East) opened one spade; Pepsi (South) overcalled two diamonds; Smirnov (West) made a negative double to show four hearts (or, as here, five in a hand too weak to respond two hearts); Lev (North) cue-bid two spades to promise at least gameinvitational values with diamond support; South rebid his second suit (perhaps partly as a lead-inhibiter); North settled for three

S h d C S h d C

NORTH 10 9 K 10 4 3 KQ963 97 EAST(D) S Q8763 2 h Q86 d 84 C AK

WEST J4 J9752 J Q J 10 6 3

S h d C

SOUTH AK5 A A 10 7 5 2 8542

East and West were vulnerable. The bidding: West North East South — — 1S 2d Dbl. 2S Pass 3 C Pass 3 d Pass 3 N.T. Pass Pass Pass West led the spade jack. diamonds; and South signed off in three no-trump. As you can see, declarer had nine top tricks: two spades, two hearts and five diamonds. At the other table, after Meckstroth (East) opened one spade, Michel Bessis (South) cautiously passed. Rodwell (West) responded one no-trump, East rebid two spades, and everyone passed. The defenders could have taken seven tricks: two spades, two hearts, two diamonds and a heart ruff by South. They started on the right track when South led the heart ace, then cashed his two top trumps. However, North played his spades nine then ten. Presumably reading this as suit-preference for clubs, South shifted to that suit. Now declarer drew South’s last trump and escaped for down one. Plus 400 and minus 100 gave Mahaffey 7 imps on the board. Note the employment of useless trumps to send suit-preference signal. North should have played first his spade ten then his nine to indicate diamond values.




The Cirque’s in Town, and Radio City Transforms Itself Into a Tent Cirque du Soleil

From First Arts Page reveals a smidgen of storytelling: that top-hatted magician, called Zark and portrayed by the French-Canadian pop star Garou, is in love with a woman named Lia (the similarly singlenamed Cassiopée), who remains stubbornly elusive until the grand finale. (Perhaps she’s off having a very elaborate manicure?) Also unusually, and I am tempted to add unfortunately, all the songs in “Zarkana” (written by Nick Littlemore) are performed in English instead of the usual fantasy Esperanto that’s been a Cirque trademark. But while the recipe has been tweaked here and there, this new production plays to the company’s core strengths: it’s basically a series of familiar, reliably exciting old-school circus acts embroidered in baroque, sometimes bewildering art direction. There is also, of course, the requisite pair of jabbering, mugging, whimsical clowns, as delightful or as tiresome as ever, depending on your age and your tastes. (One of them is shot from a cannon and careers around above the audience, brandishing what appeared to be a Spider-Man T-shirt.) I’ll admit I’m a sucker for quite a few of the aah-inspiring feats performed by the company’s roster of 75 acrobats and performers of various nationalities. The young woman engaging in scary aerial feats on a moving balance beam held by two men was pretty staggering. The crack trapeze team conjured memories of big-top delights of my youth. The contortions performed by Anatoliy Zalevskiy, twisting himself into rubbery forms while standing on one hand, were amazing, even if he did remind me of that irritating showoff in every yoga class who smugly flips into a perfect headstand while the rest of us teeter and experience uncalming thoughts about aneurysms. What remains appealing about Cirque du Soleil shows is this emphasis on the human ability to create excitement from sheer physical prowess and perfectly drilled gymnastic feats. Even the Italian corps of flag-throwers, while hardly the most physically perilous of acts, won my admiration for the grace and skill with which they fling their batons aloft, creating dizzying patterns that suggest swarms of butterflies moving with the grace of champion synchronized swimmers. The more oppressive aspect of the Cirque aesthetic is the heavy layering of surging music, whimsical costuming and florid exotica. These elements are amplified to steroidal levels in “Zarkana,” because the massive arching stage of Radio City might dwarf many of the more modestly

Zarkana Written and directed by François Girard; Guy Laliberté and Gilles Ste-Croix, artistic guides; Line Tremblay, director of creation; sets and props by Stéphane Roy; costumes by Alan Hranitelj; music by Nick Littlemore; choreography by Debra Brown and Jean-Jacques Pillet; lighting by Alain Lortie; Raymond St-Jean, image content designer; sound by Steven Dubuc. At Radio City Music Hall; (866) 858-0008; /zarkana. Through Oct. 8. Running time: 2 hours 20 minutes. WITH: Garou, Cassiopée and Anatoliy Zalevskiy.


More photos of “Zarkana” and an interactive timeline on the history of the company:


The French-Canadian Cirque du Soleil has returned to its successful formula of stylish acrobats, singers and other-worldly effects.

scaled acts. And so while the oddly burly high-wire performers are inching or somersaulting their way across the wire — “I admire them for squeezing into those leotards more than anything else,” my companion said — a cacophonous sound and light show is going on behind them. Cassiopée, sheathed in a snake suit, hangs in the air, impersonating Nina Hagen at her most outlandish. Digital snakes hiss and flames flare after each spectacular feat. Similarly elaborate digital video accompanies most of the acts: cascading streams of feathers, roses, spinning planets, glaring eyeballs. (Why the eyeballs?) At times this video wallpaper enhances the excitement of the live acts, at other times merely confuses the eye or distracts from them. There is live wallpaper too. Other members of the cast, attired in tattered white outfits suggesting ghosts of Cirque shows past, clamber up and around the set or cavort in mocking imitation of the acrobats, providing some human décor to fill the gaping stage space. The design, by Stéphane Roy, evokes a grand theater slowly being reclaimed by a ravaging jungle. Snakes twist up and around the largest proscenium, and another is entwined in thick vines. One of the more bewitching video effects shows a Manhattan skyscraper canyon as if glimpsed through the decayed back wall of Radio City. It’s an eerie, unsettling image — the glorious Radio City fallen into decrepitude! But we needn’t really worry. The whimsical ghosts and capering clowns and dazzling aerialists of “Zarkana” will make way in the fall for the theater’s annual holiday extravaganza. And, really, as feats of carefully coordinated physical prowess go, it’s pretty hard for even the most fantastically talented gymnasts to top a stage full of Rockettes flinging their legs skyward in unison.

‘Cripple’ Finally Comes to Inishmaan: McDonagh’s Play Is Presented in Its Setting From First Arts Page poverty. Accidents from walking on unlighted roads or from room to room without candles, before electricity arrived around 1980. The pleasure of theater is a relatively rare occasion here. The production of “Cripple” by actors in the Druid Theater Company, of Galway, was their eighth visit to Inishmaan since 1982, when they mounted Synge’s “Playboy of the Western World.” Few if any other theater companies have performed here, but Druid has kept returning because its artistic director, Garry Hynes, is devoted to Synge, who stayed here in the late 1800s and collected stories that appeared in his plays, while also refining his own bleak

An islander is touched by the vintage clothing. themes while sitting — according to tourist markers — on a mound of limestone rocks overlooking the high cliffs facing Inishmore, a sister island to the west. The era of Synge was more familiar to some of the theatergoers on Sunday. Anna McDonagh, who was born here in 1921 (and who is no immediate relation to Mr. McDonagh), said after seeing “Cripple” that its story moved her less than the sight of the characters’ wool trousers and sweaters of a nearly bygone era. “We don’t swear like that, no,” Ms. McDonagh said of the writer’s trademark profanity. “But once, everyone had the clothes.” She herself wore a multicolored shawl and thick dark skirt that had once been the traditional garb to face the elements. Modernity has ushered in baseball caps and track suits, not to mention the five different cellphones that went off around her during the

performance. Another islander, Maire Choil, whose memory is sharp at 90, savored the personalities onstage, especially the “two old aunties” who run the shop where most of the play unfolds. Inishmaan has but one shop today, yet people rarely linger there these days for gossip from a seannachai, Gaelic for a person who wanders picking up and sharing tales. (Johnnypateenmike is the superb name of that character in “Cripple.”) “There used to men like Johnnypatee,” said Ms. Choil, who speaks only Irish. (A young woman offered to translate.) “Now people get the news on computer.” For Ms. Hynes, of Druid, the changes on Inishmaan have been remarkable since 1982. Then company members could not land safely in the old harbor because of poor weather; they had to come ashore in a smaller currach, an Irish rowboat with a pointed prow that slices through swells. A new manmade harbor and concrete pier opened a few years ago, which made it far easier to lug the sets and props over from Galway. Still, travel here can be difficult — the small airstrip often closes in fog and storms — and the tides and rough chop help make Inishmaan (or “middle island”) a less frequent destination than Inishmore or the third of the Aran Islands, Inisheer. “The big change in the island, at least for me, is the introduction of street lighting,” said Ms. Hynes, who recalled falling into a puddle in the dark back in 1982, when people still walked outside at night with flashlights. The two performances on Sunday brought to an end a fivemonth tour of Ireland and the United States, which included stops in Chicago, Dublin, Philadelphia and Washington. (The production, with a largely different cast, ran two years earlier Off Broadway at Atlantic Theater Company; Druid, along with Imagine Ireland, a government


More photos of the Druid Theater Company’s preparations for “The Cripple of Inishmaan” on the island of Inishmaan:


Atlantic Ocean

Area of detail Dublin







Top, Ingrid Craigie, left, and other actors at the rocky seat called Synge’s Chair on Inishmaan, Ireland; above left, Tadhg Murphy, left, and Liam Carney; and, above right, the remote island. endeavor to export theater, helped present the tour.) Ms. Hynes said the months of shows made enough money to cover expenses, which, in the case of

Inishmaan, included chartering a boat for the cast, crew and sets. “Druid has always believed that people should be able to see great, professional theater with-

out having to go hundreds of miles from their own communities, or islands,” said Ms. Hynes, a Galway native who helped found Druid in 1975. Twenty-three

years later she became the first woman to win a Tony Award for best director for “The Beauty Queen of Leenane,” another play by Mr. McDonagh set in the west of Ireland. This time around, Druid’s arrival on Inishmaan caused a greater stir than most of its past trips (though its previous one, in 2005, was a six-play Synge cycle). On Sunday the president of Ireland, Mary McAleese, flew here by helicopter and sat at Ms. Hynes’s right during the matinee at the village hall. Ms. Hynes brought several relatives and her partner, Martha O’Neill, who sat behind the president’s husband, Senator Martin McAleese. Mr. McDonagh brought his parents, and the spectacle brought the news media. After the evening performance, once the actors had hugged backstage a final time, each soul on Inishmaan repaired to its single pub, or so it seemed. Mr. McDonagh huddled with some of the cast members over pints in one corner. Other men, who were not in the play, broke into song now and then. Every few minutes amid the din, snippets of theater criticism could be heard, a choice bit of dialogue retold. “Some of it was dead right about life and moods here, some of it may have been a bit off, but you know what?” said Pat Hanrahan, a 49-year-old laborer. “Seventy percent of our people are older folks. The time will come, soon, when Inishmaan will completely change. More tourists. Vacation homes, maybe. So this play did right by telling our history some.”





Kirill Gerstein performing Tchaikovsky’s First Piano Concerto with the New York Philharmonic.

A Fresh Take Adds a Jolt to a Standard From First Arts Page tended period by a roster of eminent judges. One of the best recordings of 2010 was Mr. Gerstein’s recital on the Myrios label that included works by Schumann, Liszt and Oliver Knussen. Though his artistry is fortified by comprehensive technique, he is no flashy virtuoso. Those in the audience on Tuesday accustomed to hearing the Tchaikovsky as a scintillating showpiece may have had to adjust to Mr. Gerstein’s probing approach. I was with him from the first moments of the first movement. When the orchestra broke into the surging main theme, Mr. Gerstein played the series of thick, rising chords not just as an accompaniment, but as another musical element. The chords were shaped into gestures and phrases, and voiced This program is repeated on Thursday night at Avery Fisher Hall, Lincoln Center; (212) 7216500,

with telling emphasis to bring out harmonies’ intricacies. Throughout the first movement you never felt, as you often do in other performances, that the pianist was simply displaying how fast he could dispatch a cascade of double octaves or a burst of dizzying passagework. Every element of the piano part was organic and musical. He teased out the Schumanesque richness and contrapuntal details of the cadenza so intriguingly that you forgot how technically daunting it is. The opening of the second movement was graceful and direct. Then, in the crazed scherzolike middle section, Mr. Gerstein dashed off the spiraling, hyperfast runs with a fluidity that attested to his background as a jazz pianist. He taught himself jazz as a boy in Russia, then at 14 entered the Berklee College of Music in Boston to study jazz. Classical music eventually won out. He and Mr. Tovey, the music director of the Vancouver Symphony Orchestra, took a bracing tempo in the finale, which Mr. Gerstein played with punchy rhyth-

mic accents and the snappy brio of a slightly demonic dance. There were some coordination problems between the piano and orchestra. Mr. Tovey, sadly, had arrived in New York behind schedule because of the death of his mother. This memorable performance was the result of just one rehearsal. The remainder of this program, titled “Tchaikovsky and Other Romantics,” was, as Summertime Classics concerts promise, pleasant. A heavy-footed account of Khachaturian’s seldomheard Waltz from the incidental music for “Masquerade” opened the concert, and a spirited performance of Borodin’s popular Polovtsian Dances from the opera “Prince Igor” ended it. There was also the first Philharmonic performance of Glazunov’s Valse de Concert No. 2, a buoyant, somewhat run-on piece that at least fulfilled the promise of this series to offer novelties. “Here is the moment you all have been waiting for without realizing it,” Mr. Tovey wryly told the audience.


The Coathangers At its performance at 285 Kent, Stephanie Luke sang, leaving the drums to Meredith Franco.

On a Hot Night, Intense Frenzied Punk You can learn a lot about the Coathangers by watching the hands of the keyboard player Candice Jones. Sometimes they strike the keys precisely and carefully, picking out nimble little lines that give this band’s punk some whimsy. And MUSIC sometimes they REVIEW appear to have an indifferent, or outright adversarial relationship to the keyboard, slamming on it casually, making the best of what comes out. Before those hands even struck a note Friday night at 285 Kent, in Williamsburg, Brooklyn, they were waving a folding fan. It was sweltering in the room before the band took the stage, and it would only get worse. The Coathangers, four women from Atlanta, play frenzied, lighthearted and sometimes thrilling punk, full of carousing and snotty attitude.“Larceny & Old Lace” (Suicide Squeeze), the group’s third album, bashes on for a


scratchy 30 minutes, with most of the songs building to a quick swell, and staying there, loudly. There are a couple of breaks in mood, like the bluesy “Well Alright,” and “Go Away,” one of the album’s sweeter, more wistful tracks: Hey, you like it when I stay But I want you to go away, go away Hey, I like it when you stray Cause I don’t want you every day, every day Friday’s set was an early slot in a lineup that concluded with the Bush Tetras, reunited semistars of New York’s early-’80s post-punk underground. The Coathangers were intense from the get-go, plowing through songs new and old at a brisk clip, toeing the line between greatsloppy and regular old sloppy. There was noise of course. A couple of microphones were pointing back into amplifiers sitting onstage, making the group’s punchy rhythms more viscous.

The singing was distributed among the group members, though most of the ferocious parts went to the guitarist Julia Kugel, who brayed her lines. By comparison the drummer Stephanie Luke was a barker, an effect she sometimes used to shout down her band mates. Ms. Luke was also something to watch on the drum kit, a tall woman — her hair long, except at the sides of her head, which were shaved clean — hunched over her snare, which rose maybe to the top of her calf, as if she were pounding it into the ground. The group’s energy was just cresting when its allotted time was up, so the band members squeezed out a few more songs, switching instruments and places on stage four times, and spraying the crowd with beer. At the end Meredith Franco, the bass player, who’d been the quietest until that point, jumped out into the crowd and sang while barreling around. It was rowdy, but routine.






















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France 24 News Globe Trekker “Malawi & Zambia.” Lunch N.Y.C.





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Caso Cerrado: Edición Especial













Entertainment Tonight (N) (CC) (HD) (PG) Access Hollywood (N) (CC) (HD) (PG) > Simpsons > The Office “The Devil Wears “The Carpet.” Nada.” (CC) (CC) (HD) (14) Jeopardy! (N) Wheel of For(CC) (HD) (G) tune “Big Money.” (HD) (G) How I Met Your How I Met Your Mother (HD) (14) Mother (HD) (14) Two and a Half Two and a Half Men (CC) (HD) Men (CC) (HD) PBS NewsHour (N) (CC) (HD) The Insider “Jessica Simpson!” (N) (CC) (HD) Extra (N) (CC) (HD) (PG)

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The First 48: Missing Persons A The First 48 “Blood Money; FifThe First 48 “Left to Burn; Trigger The First 48 “Brother’s Bread; Into The First 48: Missing Persons “Worried Sick; Silent Night.” (N) (HD) missing college sophomore. (HD) teen.” (CC) (HD) (14) Happy.” (CC) (HD) (PG) the Woods.” (N) (CC) (HD) (PG) ABCFAM . Mrs. Doubtfire (1993). Caring dad becomes nanny in disguise. Brilliant Robin Williams makes a sitcom shine. Melissa & Joey State of Georgia The 700 Club (N) (CC) (HD) (G)



Chicago Hope “Informed Consent.” Unsettled Land (1988). Kelly McGillis. Jewish pioneers build a dream in 1920s Palestine. (PG) The Ray Lucia Show (G) . A Few Good Men (1992). Tom Cruise, Jack Nicholson. Marines and code on trial. Hard-breathing and . A Few Good Men (1992). Tom Cruise, Jack Pearl Harbor (2001). Ben Affleck, Josh Hartnett. (PG-13) (CC) (HD) (5) familiar, with juicy Nicholson. (R) (CC) (HD) Nicholson. (R) (CC) (HD) I Shouldn’t Be Alive (CC) (HD) Infested! (CC) (HD) (PG) Infested! (CC) (HD) (PG) Infested! (CC) (HD) (PG) Infested! (CC) (HD) (PG) Infested! (HD) . Robin Hood: Prince of Thieves (1991). Kevin Costner. Fast, thorny, pungent. (PG-13) (CC) (HD) Top Gear (CC) (HD) (PG) Top Gear (CC) (HD) (PG) The Mo’Nique Show Ask Mo’Nique’; Beyoncé: Year The BET Awards 2011 Music, entertainment and sports in LA. (CC) (HD) (PG) Valeria Cruz. (CC) (HD) (14) of 4 (N) (CC) Notorious “Framed.” (CC) (PG) Biography (CC) (HD) (PG) Biography “Ed O’Neill.” (CC) (HD) Biography (CC) (HD) (PG) Biography “Steve-O.” (CC) (HD)

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ESPNCL Boxing 1997 Gatti vs. Patterson

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24 Hour Restaurant Battle FOXMOV Butch and Sundance: The Early Days (1979). (PG) (CC) (6) FOXNEWS The Fox Report With Shepard Smith (N) (CC) (HD) FSC The Magic of the FA Cup

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English Premier League Soccer From Nov. 6, 2010. (HD)




Love Triangle


Little House on the Prairie (CC)


Hunters Int’l House Hunters My First Place My First Place Selling NY Selling NY House Hunters Hunters Int’l House Hunters Hunters Int’l Selling NY Swamp People “Beat the Clock.” Swamp People “Rising Pressure.” Swamp People “House Divided.” Ancient Aliens “Unexplained Struc- Ancient Aliens “Angels and Aliens.” Swamp People Angels as space travelers. (HD) (PG) (CC) (HD) (12:01) (CC) (HD) (PG) (CC) (HD) (PG) (N) (CC) (HD) (PG) tures.” (CC) (HD) (PG) Issues With Jane Velez-Mitchell Nancy Grace (N) (HD) Dr. Drew (N) Nancy Grace (HD) Showbiz Tonight (N) (HD) Dr. Drew Wicked Attraction “Till Death Us Do Nightmare Next Door “Sea of Wicked Attraction “Crossing the Wicked AttracWicked Attraction “Calm Before Wicked Attraction “Crossing the Part.” (Season Premiere) (N) (HD) Hate.” (N) (CC) (HD) (14) Line.” (CC) (HD) (14) tion (HD) (14) the Storm.” (CC) (HD) (14) Line.” (CC) (HD) (14) Fall Time (1995). Mickey Rourke, Sin City (2005). Jessica Alba. Sordid characters creep through crime-ridden metropolis. Sin City (2005). Jessica Alba, Bruce Willis. (R) (CC) (10:32) Stephen Baldwin. (R) (6) Slavishly faithful adaptation of the comic book series. Pow, wham, but mostly splat. (R) (8:03) Unsolved Mysteries Dan and Carol Unsolved Mysteries UFO sightUnsolved Mysteries A woman is Unsolved Mysteries (CC) (14) How I Met Your How I Met Your New Adventures Montecalvo. (CC) (14) ings. (CC) (14) gunned down. (CC) (14) Mother (CC) Mother (CC) of Old Christine Sorority Wars (2009, TVF). Lucy ● Queen Sized (2008, TVF). Nikki Blonsky, Annie Potts. Overweight ● The Pregnancy Pact (2010, TVF). Nancy Travis, Thora Birch. Girls Queen Sized Hale. (CC) (HD) (6) teenager stands up to prankster classmates. (CC) (HD) agree to get pregnant at same time. (CC) (HD) (2008, TVF). (HD)




Juice (1992). Omar Epps, Tupac Shakur. (R) Two and a Half Two and a Half ● Wilfred “Trust.” Louie (N) (HD) Men (CC) (14) Men (CC) (14) (N) (HD) (MA) (MA) (10:31) Cops (CC) (PG) Cops “Arizona.” Cops “Arizona.” Cops (CC) (PG)

AWA Wrestling

100 Sexiest Videos Me, Myself & Irene (2000). Jim Carrey, Ren?e Zellweger. (R) (5:30) Attack of the Show! (N) (14)


100 Sexiest Videos Two and a Half Two and a Half Men (CC) (14) Men (CC) (14) Campus PD (14) Campus PD (14)

Car Auctions

Juice (1992). Omar Epps, Tupac Shakur. (R) Wilfred “Trust.” Louie (HD) (MA) Louie (HD) (MA) (HD) (MA) (11:01) (11:32) (12:02) Campus PD (14) Campus PD (14) Cheaters (CC)

P.G.A. Tour Golf AT&T National, first round. From Aronimink Golf Club in Newtown Square, Pa. (HD) Baggage (N) (HD) Lingo (N) (HD)



Drew Carey

Little House on the Prairie (CC)



Golf Central (HD) Big Break

Love Triangle


Family Feud (G) Family Feud

Lingo (CC) (HD) Drew Carey

Love Triangle

> Frasier (CC)

> Frasier (CC)

> Frasier (CC)

> Frasier (CC)

Golden Girls



> Frasier (CC)



> Frasier (CC)




RuPaul’s Drag U “Bringing Sexy Back.” (CC) (14) World War II in Color (CC) (PG)

RuPaul’s Drag U “Suddenly SinAbsolutely Fabulous “Gay.” Edina goes to New York. (CC) (14) gle.” Three single ladies enroll. (CC) JFK: Beyond the Magic Bullet (G) JFK: Beyond the Magic Bullet (G) Unsolved History (CC) (PG)

Absolutely Fabu1 girl 5 gays (N) 1 girl 5 gays lous “Gay.” (14) (CC) (MA) (CC) (MA) JFK: Beyond the Magic Bullet (G) JFK: Bullet M.L.B. Tonight Live (HD)


M.L.B. Tonight Live (HD) (6)

M.L.B. Regional Coverage. (HD)


Melo & Amare 30pts

Knicks 70s


Belmont in 30

Best of Fight Sports Boxing

Best of Fight Sports Boxing

The Game 365

The Last Word

The Rachel Maddow Show (N)

The Ed Show (N) (HD)

The Last Word

Rachel Maddow

The Challenge: Rivals (14)

True Life “I Hate My Roommate.”

True Life (N)

True Life “I’m the Big Girl.” (N)

The Challenge


MSNBC Hardball With Chris Matthews

When I Was 17


Amare S

Boomer & Carton in 60

Beyoncé: Year


Alaska State Troopers (HD) (14)

Grand Canyon Skywalk (HD) (PG) World’s Largest Cruise Ship (HD) Naked Science Fireworks. (HD)


iCarly (CC) (HD) SpongeBob

My Wife & Kids My Wife & Kids > Lopez




Inside City Hall

New York Tonight

The Call

Go, Diego, Go!

> Lopez


Yo Gabba

Inside City Hall


Fame (CC) (PG)

Fame (CC) (PG)

Fame (CC) (PG)


> Dr. Phil (CC) (HD) (PG)

> Dr. Phil (CC) (HD) (PG)

. Before Women Had Wings (1997, TVF). Oprah Winfrey. (CC) (HD)

Fame (CC) (PG)


Necessary Roughness (PG) (6:30) Snapped “Shannon Crawley.” (CC) Snapped (8:50)

Snapped “Linda Henning.” (9:40)

> The Nanny

> The Nanny

Upside Down

Upside Down

Wow Wow




Fame (CC) (PG)

Fame (CC) (PG)

> Dr. Phil (CC) (HD) (PG)

Before Women

Snapped “Malaika Griffin.” (CC)

Snapped (11:20) Snapped (12:10)

PLANET Alaskan Wild (CC) (HD) (G)

Extreme Australia (HD) (G)

Extreme Hawaii (CC) (HD) (G)

The Hottest Place on Earth (HD)

SCIENCE Planets “Moon.” (CC) (HD) (G)

The Planets “Destiny.” (CC) (HD)

The Planets “Life.” (CC) (HD) (G)

The Planets “Terra Firma.” (HD) (G) The Planets “Destiny.” (CC) (HD)

Extreme Australia (HD) (G)

Extreme Hawaii The Planets (HD)


M.L.B. New York Mets vs. Detroit Tigers. (CC) (HD)


The Young and the Restless (HD) All My Children (CC) (HD) (PG)

One Life to Live (CC) (PG)

General Hospital (CC) (HD) (PG)

Days of Our Lives (N) (CC) (HD)



Nascar Racing

Speedmakers (HD) (PG)

Am. Trucker

The Day (HD)



Jail (CC) (14)

U.F.C. Countdown




Project Runway (CC) (Part 2 of 2) The Ground Truth (2006). Documentary. (R) (CC) (6:50) Hollywood Trea- Hollywood Treasure (HD) sure (HD) > Seinfeld (CC) > Seinfeld (CC) (HD) (PG) (HD) (PG) . Devil’s Doorway (1950). Robert Taylor, Louis Calhern. (CC) (6:15) NY Ink (CC) (HD) (14) Bones “The Princess and the Pear.” (CC) (HD) (14) Man v. Food (G) Man v. Food (G)

Christian Siriano: Mmnt Clean House: Messiest Home in the Country 5 (PG) Supernanny “Benton Family.” (PG) Messiest Home A Home at the End of the World (2004). Man falls in love with roommate The Royal Tenenbaums (2001). Gene Hackman, Gwyneth Paltrow. (R) A Dirty Shame of his gay friend. Delicate novel becomes clumsy film. (R) (CC) (8:15) (CC) (2004). (CC) Hollywood Trea- Hollywood Trea- Hollywood Trea- Hollywood Trea- Hollywood Trea- Hollywood Trea- Hollywood Trea- Hollywood Trea- Hollywood Treasure (HD) sure (HD) sure (HD) sure (HD) sure (HD) sure (HD) sure (HD) sure (HD) sure (HD) RV (2006). Robin Williams, Jeff Daniels. Dysfunctional family goes on Family Guy (CC) Family Guy (CC) Conan Actor Tom Hanks; BBQ chef Lopez Tonight vacation. Broad as a double-wide, and going nowhere. (PG) (HD) (HD) (14) (HD) (14) Myron Mixon. (N) (HD) (14) (N) (HD) (14) The Blob (1958). Steve McQueen. Big mass of glop The H-Man (1958). Yumi Shirakawa, Kenji Sahara. The Magnetic Monster (1953). King Donovan, consumes people. The 1988 remake is better. (CC) Fair. Richard Carlson. Anyway, a monster. Police Women of Broward County Police Women of Broward County NY Ink “Out of the Box.” (N) (HD) Police Women of Broward County NY Ink (HD) (PG) > CSI: NY “Grand Murder at Central Franklin & Bash Bones “The Bones That Foam.” Bones “The Doctor in the Photo.” A Bones “The Salt in the Wounds.” (CC) (HD) (14) brilliant surgeon is found dead. (HD) Pregnant teen murdered. (CC) (HD) Station.” (CC) (HD) (PG) (CC) (HD) (14) Man v. Food (G) Man v. Food (G) Man v. Food (G) Man v. Food (G) Man v. Food’s Greatest Moments Man v. Food (G) Man v. Food (G) Man v. Food (G)


World’s Dumbest. (14)


Mets Weekly

Boomer, Carton

Grand Canyon Skywalk (HD) (PG) Cruise Ship

That ’70s Show That ’70s Show > The Nanny

Bubble Guppies Team Umizoomi Ni Hao, Kai-lan

Quick Pitch Live

Ball Up Streetball

The Final Score The Dan Patrick Show (HD)


Blue’s Clues (Y) Dora Explorer

Most Wanted

The Day (HD) Jail (N) (CC) (HD) (14) (7:40)

SportsNite (HD) SportsNite (HD) SportsNite (HD) SportsNite (HD) Am. Trucker

Jail (N) (HD) (14) iMPACT Wrestling

World’s Dumbest. (14)

World’s Dumbest. (14)

Top 20 Most Shocking (N) (14)

All in the Family All in the Family > NCIS “Deception.” A commander is abducted. (CC) (HD) (PG) Behind the Music “Missy Elliott.”

> Raymond

> Raymond


All in the Family > NCIS “Boxed In.” Tony and Ziva become trapped. (CC) (HD) (PG) Single Ladies Beyoncé: Year

(CC) (HD) (PG) Celebrity Rehab With Dr. Drew

Three’s Company (PG) (11:12) 3’s Company ● Suits “Errors and Omissions.” (N) Covert Affairs “All the Right Burn Notice (CC) (HD) (PG) Friends.” (CC) (HD) (PG) (CC) (HD) (PG) Mob Wives (CC) (HD) (14) Ferris Bueller’s Day Off (1986). (PG-13) (CC)


Countdown to UFC (HD)

World Series of Poker (HD)

World Series of Poker (HD)

World Series of Poker (HD)


Cloudy-Mtballs The Sandlot (1993). Tom Guiry, Mike Vitar. (PG) (CC) Airborne (1993). Rollerblader at new school. Strictly formula. (PG) (CC) (9:15) Angus (1995). Charlie Talbert. (PG-13) (CC) (10:50) Charmed “Sin Francisco.” The Bridezillas “Erica & Krystal.” Erica’s Bridezillas “Krystal & Gabrielle.” Bridezillas “Gabrielle & Kym.” (CC) Amsale Girls “Kori Steps Up.” Kori Amsale Girls seven deadly sins tempt. (CC) (14) nasty attitude. (CC) (HD) (14) Krystal has high expectations. (HD) (HD) (14) steps up in the bridal business. (HD) (CC) (HD) (PG) M.L.B. Milwaukee Brewers vs. New York Yankees. (CC) (HD) Yanks Mag. CenterStage Jay-Z. (CC) Yankees Old-Timers’ Day

TVLAND Sanford & Son USA


> Raymond

● Burn Notice “Mind Games.” (N)

Most Shocking Riots. (14)

World Dumbest

> Raymond

World Series of Poker (HD)




9 P.M. (Current TV) 4TH & FOREVER Long Beach Polytechnic in Southern California claims the largest number of high school athletes who have gone on to play in the National Football League. In the latest installment of this reality series Coach Raul Lara, above, capitalizing on a win against Jordan High School, motivates his players to focus on a single goal: beating their crosstown rival, Lakewood, which defeated Poly last year for the first time in three decades. Meanwhile Jeremiah Hollowell learns from Ty Burford, the player-development coach, that he will be benched if he doesn’t improve his grades. And the team supports breast cancer awareness by wearing pink during the Lakewood game. 4:50 P.M. (Flix) GREY GARDENS (1975) Before the Broadway musical and the HBO film there was this portrait, directed by David and Albert Maysles, of Edith Bouvier Beale and her daughter, Little Edie, an aunt and first cousin of Jacqueline Kennedy Onassis, who lived as recluses in a deteriorating mansion in East Hampton, N.Y. 8 P.M. (13) SUNDAYARTS PRIMETIME SPECIAL Philippe de Montebello, the former director of the Metropolitan Museum of Art, hosts this episode from the New York Botanical Garden, where its president, Gregory Long, discusses the exhibition “Spanish Paradise: Gardens of the Alhambra.” Other segments look at the new Elinor Bunin Munroe Film Center at the Film Society of Lincoln Center and “Alexander McQueen: Savage Beauty” at the Costume Institute at the Met. 8 P.M. (LMN) QUEEN SIZED (2008) An overweight teenager (Nikki Blonsky) takes on school bullies by running for homecoming queen after she is nominated as a joke. Annie Potts plays her svelte mother, who offers words of encouragement and healthy eating tips. In “The Pregnancy Pact” (2010), at 10, an online magazine journalist (Thora Birch) returns to her hometown to investigate the sudden abundance of teenage pregnancies at her old high school. Her reporting leads to a dispute with the leader of a local conservative-values group (Nancy Travis), whose 15-year-old daughter (Madisen Beaty) is newly pregnant. Meanwhile 18 girls have expanding waistlines, and the school nurse (Camryn Manheim) is still struggling to persuade officials to dispense contraception. What gives? 8:30 P.M. (TV5Monde) NUMBER ONE (2008) Aziz Saadallah plays Aziz Number One, the macho Moroccan owner of a clothing factory who refuses to bend to the moudawana — the family code enacted in 2004 that gave rights to women and children — and routinely terrorizes his 50 employees, never mind his wife (Nezha Rahile). That is, until she glimpses the gentleman within Aziz during a meeting with a foreign customer. So she decides to curse her husband, forcing him to become a feminist in spite of himself. Zakia Tahiri directed this comedy, shown in French with English subtitles. 9 P.M. (E!) 50 SUPER EPIC TV MOMENTS NeNe Leakes and Jerry Springer provide commentary for this two-hour countdown of some of the most outrageous events on television from the past six years, including Heidi Montag and Spencer Pratt’s jungle excursion; Kathy Griffin’s “female checkup”; and antics by Katy Perry, Gary Busey, Mel Gibson and the Kardashians. Also not to be forgotten are Lady Gaga’s egg chariot at the Grammy Awards, Christina Aguilera’s botched rendition of the national anthem at this year’s Super Bowl, and Prince William and Kate Middleton’s nuptials in Westminster Abbey. 9 P.M. (USA) BURN NOTICE Michael (Jeffrey Donovan) helps a woman locate a cousin embroiled in a human-trafficking scheme but can’t believe that Madeline (Sharon Gless) wants in on the plan. In “Suits,” at 10, Louis (Rick Hoffman) pressures Mike (Patrick J. Adams) to make a decision that could damage his relationship with Harvey (Gabriel Macht), who is having his own problems with a case. 9 P.M. (Starz) ALICE IN WONDERLAND (2010) Johnny Depp conjures the Mad Hatter; Helena Bonham Carter is the Red Queen; and Mia Wasikowska, right, is Alice in “Tim Burton’s busy, garish and periodically amusing repo of the Lewis Carroll hallucination,” Manohla Dargis wrote in The New York Times. “It’s a long fall turned long haul, despite the Burtonian flourishes — the pinch of cruelty, the mordant wit.” 10 P.M. (FX) WILFRED Ryan (Elijah Wood) uses deception to get his dog friend, Wilfred (Jason Gann), to the dentist and win favor with his neighbor Jenna (Fiona Gubelmann). But Wilfred has some tricks of his own. 10 P.M. (Fox Business Network) STOSSEL John Stossel questions whether college is a scam and confronts his alma mater, Princeton, about the cost of tuition. KATHRYN SHATTUCK

ONLINE: TELEVISION LISTINGS Television highlights for a full week, recent reviews by The Times’s critics and complete local television listings. Definitions of symbols used in the program listings: ★ Recommended film ✩ Recommended series ● New or noteworthy program

(N) New show or episode (CC) Closed-captioned (HD) High definition

Ratings: (Y)All children (Y7) Directed to older children (G) General audience

(PG) Parental guidance suggested (14) Parents strongly cautioned (MA) Mature audience only

The TV ratings are assigned by the producers or network. Ratings for theatrical films are provided by the Motion Picture Association of America.

NYT ARTs section 6-30-2011  

Arts Section

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