01/23/14 9:43am
Frank Langella's turn as King Lear in BAM's staging of the classic Shakespeare play is a highlight of Brooklyn's current theater offerings. Photo: Richard Termine

Frank Langella’s turn as King Lear in BAM’s staging of the classic Shakespeare play is a highlight of Brooklyn’s current theater offerings. Photo: Richard Termine

Brooklyn saw the opening of some major new players in its theater scene in 2013: Theatre for a New Audience and BRIC opened shiny new spaces as part of the development project known as the Downtown Brooklyn Cultural District. And this year, newcomers as well as stalwarts like St. Ann’s Warehouse and BAM and tireless indies like The Bushwick Starr and The Brick Theater are producing exciting new pieces and staging plays that haven’t seen the light of day for far too long. Here’s a quick cheat sheet on the lineup this season.

BAM
BAM got their winter season underway early, but there’s still time to catch Frank Langella as King Lear. A winter play if there ever was one, any good production of “King Lear” will take everything an audience member has, and rumor has it this one is worth the emotional disembowelment. In collaboration with the Chichester Festival Theater of England. (Through Feb. 9, Tickets $25—125.)

Isabella Rosselini’s “Green Porno” has closed, but you can catch all the videos here.

Composer Benjamin Britten would be 100 years old this year, and BAM is celebrating his work with a short run of his nautical opera “Billy Budd,” based on the Melville novella, with libretto by E.M. Forster and Eric Crozier. Glyndebourne Festival Opera’s gorgeous-looking production (Feb. 7-13, Tickets $30-185) features the London Philharmonic Orchestra.

The most interesting piece of BAM’s spring season doesn’t come until summer, in the form of Robert Wilson’s “The Old Woman,” starring Willem Dafoe and Mikhail Barishnykov (June 22-29, Tickets $25-125). I have no idea what exactly this one will entail, but the combination of those two performers, Wilson’s brand of gestural strange, and some recently re-discovered absurdist Russian drama sounds like fun. Disturbing fun.

Theater for a New Audience
There’s a new classical theater in Brooklyn (the first built in NYC since the Vivian Beaumont in the 1960s). TFANA’s inaugural season at the Polonsky Shakespeare Center on Ashland Place started strong with Julie Taymor’s “A Midsummer Night’s Dream,” and continues in March with director Arin Arbus’ “King Lear,” starring Michael Pennington. Two King Lears in one season on practically the same block? Why the hell not? Bring it on—dueling high-quality classical theater companies should be the worst of our problems, and each Lear is its own world. Note that the British import at BAM is starring an American and TFANA is featuring a Brit. (March 14-May 4, Tickets $65-75, 866-811-411)

BRIC House
Rounding out the scene on that little corner between Fulton and Lafayette is the newly opened BRIC House (647 Fulton at Rockland), a multi-disciplinary arts and media center (complete with café) built to facilitate the making of art in the borough, through rehearsal spaces, long-range residencies, labs, collaborative spaces, and more. The most talked about upcoming performance is “Wow,” a real-time opera about the rise and tragic fall of Milli Vanilli, using the German pop duo’s four major videos to take us through their journey, literally, as the audience moves throughout BRIC’s performance spaces and galleries. With a libretto comprised of press conference transcripts, and a score that mixes Wagner with electronic skips and loops, this will be far more memorable than any VH1 special. The work-in-progress runs this weekend Jan. 24-25, Jan. 30 and Feb. 1-2 (Tickets $15 adv.-$18, 718-683-5600). (more…)

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10/10/13 1:15pm

Elvis Presley and Teddy Roosevelt go head to head over the soul of a Midwestern meat packer in a new play by The TEAM. Photo: Bushwick Starr

Elvis Presley and Teddy Roosevelt go head to head over the soul of a Midwestern meat packer in a new play by the TEAM. Photo: Sue Kessler

Two weeks from its opening at the Bushwick Starr, rehearsals for RoosevElvis were getting off to a slow start. It was to the point where the play’s director Rachel Chavkin was telling her A.D. Jake Margolin, “We can either choose to rewrite substantially or cut the shit out of it.” Not exactly where you want to be so close to opening night. However, by previews on Oct. 8, RooseElvis was ready for an audience—transforming into a funny, strange and moving piece of theater. (more…)

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