Interacting With Sarah Silverman
Over the past few years, the comedian Sarah Silverman has been reaching out. In 2017 and ’18, for her Emmy-nominated Hulu series, “I Love You, America,” she traveled the country to seek out differing opinions. Then, in October, she started “The Sarah Silverman Podcast,” during which she fields questions from listeners who leave voice messages for her at kastmedia.com/asksarah.
Now she’s ready to hear from people even more directly in a new livestream. Silverman promises an interactive stand-up performance, saying in a promo she filmed for it, “I’m going to be talking about everything big and small, guided by your live questions and comments.” Tickets to the stream are $20 and available at RushTix. The show begins at 9 p.m. Eastern time on Saturday and will be available to view for 48 hours afterward.
SEAN L. McCARTHY
Silliness and Surprises Up His Sleeve
Mario the Maker Magician doesn’t pull a rabbit out of a hat, but he does expel a large coin from his nose.
Known offstage as Mario Marchese, he executes this and other tricks in Mario’s Virtual Punk Rock Magic Party, which he will host on Sunday and March 21 at 1:30 p.m. Eastern time. Marchese, who has appeared on “Sesame Street,” presents as much silly comedy as sleight of hand in this 40-minute Zoom production. (The punk rock is G-rated.)
A high-energy performer — he can make Gilbert Gottfried look mellow — Marchese specializes in the kind of slapstick that gets children under 10 giggling. They especially welcome the invitations to assist him, as much as the format allows, and to dance wildly at the end.
Families, who can buy tickets at Eventbrite.com for $25 a household, will see some cool illusions that involve not only coins but also playing cards, milk and a few handmade robots. This is magic with a soupçon of science.
Art & Museums
From the Periphery to the Fore
A lot of things happened in 2020 that we would rather forget, but the social justice movement should not be among them. It has shaped the practices of many artists of color in the months since. “Parallels & Peripheries: Practice + Presence,” a dynamic exhibition of works by artists of color at the New York Academy of Art, is a testament to the recent re-evaluation of art’s intersection with activism.
Robyn Gibson, an assistant curator, organized the show with Larry Ossei-Mensah to hold the academy itself accountable for not providing space where artists of color could feel seen. In that way, Jean Shin’s “Projections,” a series of cascading projector slides meant to convey this marginalization, is not only the actual centerpiece for the show but also the thematic one. Together, the pieces ask us, “Who are the real ‘masters’?”
The exhibition will be on view through Sunday. Appointments to see it in person can be made at nyaa.edu/parallels-peripheries, where there are also links to a virtual show and a recording of an artist panel discussion.
Three Sides of Claudia Acuña
After becoming established on her hometown music scene in Santiago, Chile, Claudia Acuña arrived in New York in the mid-1990s amid a jazz rebirth. The expanse and richness of her voice drew attention quickly, as did her adaptability to the gentle rhythmic inflections of her band.
On Saturday, Acuña will present a multipart program from the Academy of Music Theater in Northampton, Mass., as part of the International Women Rising Festival. The first concert, at 3 p.m. Eastern time, will draw much of its material from “Turning Pages,” her most recent album, which features mostly original compositions while highlighting Acuña’s familiar alchemy of influences: South American folk, Afro-Latin rhythm, 20th-century pop and American jazz repertoire. At 8 p.m. she offers a separate show, focused on the romantic bolero tradition. Both concerts can be streamed at thirdrow.live/events/claudia-acuna; each costs $15. At 7 p.m., Acuña will participate in a Q. and A. session; tickets to that are $20.
Women on Pointe, Together
As a queer woman in ballet, Adriana Pierce has often felt unseen and unrepresented, onstage and off. No wonder. The presence of queer women in ballet is rarely discussed and almost never explored in choreography. With her project #QueertheBallet, Pierce is trying to change that.
In February, she and two dancers from American Ballet Theater, Remy Young and Sierra Armstrong, were in residency at the Bridge Street Theater in Catskill, N.Y. A nine-minute film chronicling the rehearsals and excerpting a new duet choreographed by Pierce is now available free on the project’s website and Bridge Street Theater’s YouTube channel.
In the film, Pierce explains her desire to explore the nuances of how women connect, as well as the technical and expressive possibilities of two women in pointe shoes. The duet certainly doesn’t look subversive, which may be the point. “Ballet doesn’t need to change very much to include more identities,” she says.
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