Home / Arts & Life / Your Week in Culture: Clive Owen, St. Vincent, ‘Marshall’ Before the Supreme Court

Your Week in Culture: Clive Owen, St. Vincent, ‘Marshall’ Before the Supreme Court

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Clive Owen, left, and Jin Ha in “M. Butterfly,” directed by Julie Taymor for Broadway.

Credit
Josef Astor

New TV shows, museum openings, film releases and concerts — it’s a lot to keep track of. Let us help you. For the week of Oct. 8, seven events in New York and elsewhere not to be missed:

Theater: Julie Taymor’s ‘M. Butterfly’

Previews Oct. 7; opens Oct. 26; mbutterflybroadway.com.

David Henry Hwang’s Tony Award-winning play “M. Butterfly” begins in a Parisian prison, where the French diplomat René Gallimard is locked up in disgrace. Sexual obsession landed him there, and it’s also what keeps him company: the memory of his desperate, two-decade romance with Song Liling, a Beijing opera star. Song seemed to Gallimard “the perfect woman” — beautiful, submissive, modest about nudity.

Directed by Julie Taymor in her first return to Broadway since “Spider-Man: Turn Off the Dark,” “M. Butterfly” starts previews on Saturday, Oct. 7, at the Cort Theater, starring Clive Owen as Gallimard and the newcomer Jin Ha as Song. Borrowing from Puccini’s “Madama Butterfly,” the play is inspired by a true story, with details updated since its premiere in 1988. Bristling with racial and gender politics, it’s a tragicomedy about the nexus of arrogance and delusion — and how easy deception can be when all it takes is flattery. LAURA COLLINS-HUGHES

St. Vincent – Los Ageless (official audio) Video by St. Vincent

Music: St. Vincent’s New Album

On sale Oct. 13; ilovestvincent.com.

St. Vincent, known offstage as Annie Clark, is a wickedly talented guitarist with a knack for writing songs that sneak up and surprise the listener. Her sly indie-rock music has long implied a broader pop appeal, and this week she’s going for it: She recorded her fifth studio album, “Masseduction”, in collaboration with the producer Jack Antonoff, known for his work with Taylor Swift and Lorde. The result sounds sleeker than Ms. Clark’s past work without losing any of her edge.

It’s a busy week for musical reinventions. Beck, the eternal alt-rock chameleon, is also making his own bid for pop audiences this Friday with “Colors,” his catchiest and most cheerful LP in years. Also arriving that day is “Lotta Sea Lice,” a new duets album from the singer-songwriters Courtney Barnett and Kurt Vile. Funny, sweet and spontaneous, it’s millennial folk-rock at its best. SIMON VOZICK-LEVINSON

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Trailer: ‘Marshall’

A preview of the film.


By OPEN ROAD FILMS on Publish Date September 1, 2017.


Image courtesy of Internet Video Archive.

Watch in Times Video »

Film: Thurgood Marshall’s Biopic

Opens Oct. 13.

More than 30 years before becoming the first black Supreme Court Justice, Thurgood Marshall traveled the country as a lawyer for the N.A.A.C.P., arguing 32 civil rights cases before the court himself and winning 29, including Brown v. Board of Education, the landmark desegregation ruling. In “Marshall,” the director Reginald Hudlin steps back to 1941, when the 32-year-old Marshall, played by Chadwick Boseman, swaggers into Connecticut to help defend Joseph Spell (Sterling K. Brown), a black chauffeur accused of raping Eleanor Strubing (Kate Hudson), a white Greenwich socialite. It’s a story that doesn’t ring true to Marshall — or, eventually, to Sam Friedman (Josh Gad), the Bridgeport insurance lawyer who argues the case with Marshall’s counsel — yet arouses a more insidious bigotry than in the South, as wealthy families begin to dismiss their black servants. “It’s not the fires I’m after, Sam,” Marshall says when Friedman praises his colleague’s ability to tamp racism, case by case. “It’s fire itself.” KATHRYN SHATTUCK

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From Rebecca Davis’s “The Final Hands Count Beginning Sounds.”

Credit
Paula Court

Dance: Rebecca Davis’s Stop-Motion

Oct. 11-21; chocolatefactorytheater.org.

Stand up. Walk. Now sit down. Rebecca Davis began choreographing her latest dance, “The Final Hands Count Beginning Sounds,” by exploring ways in which weight is transferred in the body. In the quartet, performed at the Chocolate Factory Theater in Long Island City, Queens, Ms. Davis creates a mesmerizing world in which bodies morph into ever-shifting sculptures. The work was built like stop-motion animation in which five seemingly simple positions — standing, kneeling, sitting, lying prone and supine — and the lines and angles they create ask you to consider time. How does an image change the longer you look at it? Suddenly, pedestrian movement is anything but ordinary. “The dancers move from one position to another in one-second shifts,” Ms. Davis said in an email interview. “It’s as if each second of the dance is a line drawing.” GIA KOURLAS

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Patricia Kopatchinskaja in 2014. She will perform with the American cellist Jay Campbell at the Park Avenue Armory in Manhattan.

Credit
Richard Termine for The New York Times

Classical: Patricia Kopatchinskaja in Duet

Oct 9-10, armoryonpark.org.

The dynamic pairing of Moldovan-born violinist Patricia Kopatchinskaja and the young American cellist Jay Campbell should make for an invigorating evening of chamber music at the Park Avenue Armory’s intimate Board of Officers Room in Manhattan. This two-night stint marks a rare opportunity to see Ms. Kopatchinskaja in New York — an ever-inventive creative force, she will serve as music director of the Ojai Music Festival this coming summer — and a chance to hear the exceptional Mr. Campbell outside the environs of his main gig in the JACK Quartet. The violin-cello duo repertoire is not vast, but this searching pair will traverse a wide historical range, from music by the Renaissance composer Orlando Gibbons to Maurice Ravel’s canonic sonata, and forward to works by the avant-garde composers Iannis Xenakis and György Ligeti, as well as a newly commissioned piece by Michael Hersch. WILLIAM ROBIN

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Tarsila do Amaral’s “Postcard” (1929).

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Tarsila do Amaral

Art: Tarsila do Amaral in Chicago

Through Jan. 7; artic.edu. Through June 3; moma.org.

The Brazilian modernist painter Tarsila do Amaral (1886-1973) served a brief “military service in Cubism,” as she put it, while living in Paris, but her ambition was always to merge European developments into a new, purely Brazilian style. (Just how ruthlessly she and her circle meant to digest their continental influences is indicated by the name they gave their movement — Anthropophagy, or cannibalism.)

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