In May 2019, the dancer and choreographer Bobbi Jene Smith took over the Ellen Stewart Theater at La MaMa, within the East Village, with “Lost Mountain,” a vivid, tempestuous work of dance theater for 10 dancers and musicians. Throughout the coronavirus pandemic, Smith, who’s at the moment La MaMa’s resident artist, has continued working with members of that forged on a sequel of types, “Broken Theater,” additional excavating the tense, virtually familial relationships of the sooner undertaking. “We’ve been really digging into themes of power, love and chaos, which I feel are all around us these days,” Smith stated by telephone.
On Friday and Saturday at 7 p.m. and Sunday at midday, La MaMa will stream “In Process With Bobbi Jene Smith,” a recorded program that includes an excerpt from “Broken Theater” and conversations with a number of the artists. Tickets to every broadcast are pay-what-you-can, from $5 to $25, and obtainable at lamama.org/in-process-with-bobbi-jene-smith.
Pop & Rock
Nostalgia With Teeth
If you swiped by means of TikTok at any level within the fall of 2019, you possible heard the glue lure of a hook from Ashnikko’s track “STUPID.” At the peak of its reputation, “STUPID” appeared in movies by some three million of the app’s customers. That early hit previews a lot of what animates its creator’s new mixtape, “Demidevil”: lewd antics, bravado, misandry and zippy one-liners engineered for social media (e.g., “I put that teddy bear you gave me in a blender” — think about that viral problem).
The launch of “Demidevil” — successfully Ashnikko’s debut album — is about for Friday. Often billed as a rapper, Ashnikko does make the most of lure manufacturing however leans in to singing on this tape, her yelpy fashion borrowing closely from pop-punk from the 2000s. She bears this affect with specific satisfaction on “L8r Boi,” a spin on Avril Lavigne’s 2002 smash “Sk8r Boi.” Ashnikko’s R-rated remake each indulges in Y2K nostalgia and makes an attempt to replace the unique with a extra feminist bent.
Exploring a Wilderness of Emotion
Trying to show coping expertise and yoga strikes to preschoolers by means of a livestreamed Zoom musical might sound like a recipe for chaos. But because of even handed use of the mute operate (and the assistance of attending dad and mom), New York City Children’s Theater has made this premise work.
The result’s “Forest of Feelings,” created and carried out by Rachel Costello and Dan Costello, the married founders of Yo Re Mi, a musical yoga program for youngsters. During an interactive journey to assist a misplaced giggle return to the woods of the title, little ones submit concepts, follow fundamental yoga poses and grasp easy calming strategies, like deep respiration.
Playing twice on Sundays (besides on Jan. 24) by means of Feb. 7, this half-hour present unfolds in opposition to Preston Spurlock’s colourful animations. Families registering on the theater’s web site obtain associated video actions and a Zoom hyperlink for $20. For two weeks after the manufacturing closes, the forest will nonetheless welcome youngsters in an on-demand recorded efficiency, obtainable for $15.
Getting on the phone to speak with an nameless stranger — not an actor taking part in a job, only a member of the general public such as you — won’t sound like theater. Yet “A Thousand Ways (Part One): A Phone Call,” a gentle-hearted participatory piece from the experimental duo 600 Highwaymen, is an affecting train in socially distanced connection. With an automatic voice posing scripted questions (“Are you good in an emergency?”), the 2 individuals on both finish of the personal, hourlong encounter are each other’s only audience.
The begin of a deliberate triptych whose different components will happen in individual, “A Thousand Ways (Part One): A Phone Call” is a chilled counterpoint to this anxious, atomized second. Presented by means of Sunday as a part of the Under the Radar Festival (tickets are free however offered out at publictheater.org), it’s obtainable concurrently by means of Stanford Live, the place $75 tickets at live.stanford.edu embrace admission to Parts 2 and three, coming later this 12 months to one of many efficiency areas on Stanford University’s campus in California.
Inside a Mystic’s Mind
Audiences who loved the Metropolitan Opera’s 2016 manufacturing of Kaija Saariaho’s “L’Amour de Loin” have a purpose to rejoice this weekend. Starting on Saturday, the Operavision platform can be streaming a live performance efficiency of one other dramatic work by the Finnish composer: the oratorio “La Passion de Simone,” impressed by the life and writing of Simone Weil. (The stream can be obtainable free and on demand for six months.)
Despite the Passion framing, the piece just isn’t an unalloyed celebration of Weil, a mystic and thinker. Saariaho’s music, together with the writing of her common librettist, Amin Maalouf, strikes between being swept up with Weil’s thinking and commenting on it. The oratorio’s narrator — normally a soprano function — is sung from the attitude of an unnamed, fictional sister of Weil’s. (Weil’s personal writing is piped into the combo, too, through electronics.) In this Operavision efficiency, taped late final 12 months, the half was sung by the veteran mezzo-soprano Anne Sofie von Otter, which makes for an additional compelling purpose to tune in.
SETH COLTER WALLS