I know of no greater idealism than that which believes in a better future although it is surrounded by hopeless circumstances. (MLIA)
I know of no greater idealism than that which believes in a better future although it is surrounded by hopeless circumstances. (MLIA)
By Bob Shuman
A cello stands at the center of This Is Why We Live, at La Mama, which closed September 29 and Oedipus, Sex with Mum was Blinding, at BAM Fisher, which also ended on that date, two international pieces—one based on the poetry of Wisława Symborska and the other after Sophocles, with a classical and jazz score by Tilemachos Moussas & Julia Kent. Both are directed by women and focus, primarily, on women’s themes and talents, down to a string’s last pluck and bow.
When she won the Nobel Prize in 1996, Symborska drew the attention, and hearts, of the world with something almost as small—the modesty of her Polish life (at the time, Edward Hirsh, writing for The New York Times, described the apartment where she lived: a fifth-floor walk-up, in “a nondescript building”; the living room, “where she writes, doubles as her bedroom”). Today (Symborska died in 2012), twenty-one of her poems are acted earnestly, in Open Heart Surgery’s Canadian- and Polish-backed production (direction is by Coleen MacPherson, and the evening is performed by Elodie Monteau (France), Alaine Hutton (Canada) and Dobrochna Zubek (Poland/Canada) to music written by Zubek. Musical development and dramaturgy are by Tatiana Judycka and Dobrochna Zubek. Set and costume design are by Helen Yung. Lighting design is by Rebecca Picherak. The show is played in English, Polish, and French, using subtitles.
Men have contributed editorially, even if they are not in the show: the French translation is by Piotr Kaminski; English translation is by Clare Cavanagh and Stanislaw Baranczak; Dramaturgy and translation support is by Viktor Lukawski—all of which might have confounded the poet: ”I think that dividing literature or poetry into women’s and men’s poetry is starting to sound absurd,” Symborska states in the Hirsh interview, ”Perhaps there was a time when a woman’s world did exist, separated from certain issues and problems, but at present there are no things that would not concern women and men at the same time.” New Yorkers have been watching the crystallization of women’s theatre in the city’s arts scene, though, even when co-opting writers, such as Symborska, who might be philosophically opposed to such a conceptualization. Her work, playful and ironic (“Don’t blame me for borrowing big words and then struggling to make them light”) does not find itself dramatically in the current production, despite the skill and dedication of the Butoh and Lecoq-trained theatremakers. Yet her writing is reflective of the issues being explored today by women in the arts and nonfiction–eating disorders are alluded to in one segment of This Is Why We Live, for example, as one of the dancers stuffs herself with cake. The self-deprecation, penetrating self-criticism is apparent in a piece like “Under One Small Star,” ideas which will reappear in Greek director Elli Papakonstantinou’s goth Oedipus.
My apologies to time for all the world I overlook each second /
My apologies to past loves for thinking that the latest is the first /
Forgive me, distant wars, for bringing flowers home /
Forgive me, open wounds, for pricking my finger /
I apologize for my record of minuets to those who cry from the depths /
I apologize to those who wait in railway stations for being asleep today /
Pardon me, hounded hope, for laughing from time to time . . .
Unless it is deeply, painfully ironic, laughter is not associated with Jocasta, the wife and mother of Oedipus. If Papakonstantinou (she also conceived and wrote the immersive opera) is to be believed, the ancient queen’s self-recriminatory behavior is also well-known in the lives of women today—and is an issue for men as well. ODC Ensemble’s Oedipus, Sex with Mum was Blinding is an intensification of Szymboska’s examination of women’s guilt, as well as a deep-dive into the psychology of the ancient queen (the seer Teireias also appears, who lived life both as a woman and a man). The grunge immersion—the often grainy cinematic environment is by Stephanie Sherriff–uses singing and technology, pop culture and neuroscience (advised by professor Manos Tsakiris), even an m.c., a keyboardist for the show, Misha Piatigorsky, who combines Joaquin Phoenix in Joker and Joel Grey in Cabaret. Other men in the cast include Lito Messini as Oedipus, Elias Husiak, and Tsakiris. Papakonstantinou may seem indiscriminate, because she can pull from everywhere—she is unafraid of postmodernism, myth, and onstage cameras–the kind many Americans will recognize having seen work by Ivo van Hove—music (Kent plays the cello onstage)—including Philip Glass sounds and an excerpt from “Nature Boy”–languages, social media, and politics—“this country is based on racism.” Debatably, she shapes the work into the story of three women, an actor (Nassia Gofa) and two singers (Anastasia Katsinavaki, Theodora Loukas), one classical and the other jazz, who might seem to be refracting the same character, in guilt and trauma. Papakonstantinou is never exactly clear in her excursion through the subconscious—but she understands and elicits the feelings Symborska transcribes, in, as another illustration, the baldly titled poem: “In Praise of Feeling Bad About Yourself”:
The buzzard never says it is to blame. /
The panther wouldn’t know what scruples mean. /
When the piranha strikes, it feels no shame. /
If snakes had hands, they’d claim their hands were clean.”
The poet finishes: “On this third planet of the sun / among the signs of bestiality / a clear conscience is number one.”
Current women’s theatre explicates, however, that no human, at least, has one.
© 2019 by Bob Shuman. All rights reserved.
Visit La MaMa
THIS IS WHY WE LIVE
Press: Jonathan Slaff
OEDIPUS, SEX WITH MUM WAS BLINDING
ODC Ensemble (Athens, Greece) with
The Directors Company
Sex with Mum Was Blinding
An Immersive Opera
Conceived, written and directed by
Original Music Composed by
and Julia Kent
Cinematic Environments by
Lighting design: Elli Papakonstantinou
Mask concepts, design and materialization: Maritina Keleri & Chrysanthi Avloniti
Costume Design: Jolene Richardson
Nassia Gofa, Elias Husiak, Anastasia Katsinavaki, Theodora Loukas, Lito Messini, Manos Tsakiris, Julia Kent (cello), Misha Piatigorsky (piano), Hassan Estakhrian, Barbara Nerness (electroacoustic environments), and Stephanie Sherriff (live cinematic environment)
Scientific Advisor: Professor Manos Tsakiris
Press: Michelle Tabnick
Photos–This Is Why We Live: Jonathan Slaff; Oedipus: Carol Rosegg
“Lateness, laziness, caprice, hysterics, bad character, ignorance of the role, the necessity of repeating anything twice are all equally harmful to our enterprise and must be rooted out.” (MLIA)
(Alison Flood’s article appeared in the Guardian, 9/16.)
Hailed as one of the most significant archival discoveries of modern times, text seems to show the Paradise Lost poet making careful annotations on his edition of Shakespeare’s plays
Almost 400 years after the first folio of Shakespeare was published in 1623, scholars believe they have identified the early owner of one copy of the text, who made hundreds of insightful annotations throughout: John Milton.
The astonishing find, which academics say could be one of the most important literary discoveries of modern times, was made by Cambridge University fellow Jason Scott-Warren when he was reading an article about the anonymous annotator by Pennsylvania State University English professor Claire Bourne. Bourne’s study of this copy, which has been housed in the Free Library of Philadelphia since 1944, dated the annotator to the mid-17th century, finding them alive to “the sense, accuracy, and interpretative possibility of the dialogue”. She also provided many images of the handwritten notes, which struck Scott-Warren as looking oddly similar to Milton’s hand.
Palpable objects seen by us on the stage are much more necessary and important for us actors than colorful canvases that we do not see. Sculptural things live with us and we with them, while painted backdrops hang behind us and live separately from us, for there is not connection between us and them. (MLIA)
(Benjamin Moser’s article appeared in the New York Review of Books, 9/9.)
David Rieff went to Bosnia in September 1992, at the end of the first summer of siege. Like so many of the journalists who made the journey to Sarajevo, he did so because he believed, however implicitly, in the existence of a civilized world and in the duty to inform it. “If the news about Bosnia could just be brought home to people,” he thought, “the slaughter would not be allowed to continue. In retrospect, I should have known better than to believe in the power of unarmed truths.”
At the end of that first visit, he spoke to Miro Purivatra, who later founded the Sarajevo Film Festival, and asked if there was anything, or anyone, he could bring back. “One of the persons who could be perfect to come here to understand what’s going on would definitely be Susan Sontag,” he said. Without mentioning the connection—“for sure,” Miro said, “I did not know that he was her son”—David said he would do what he could. He appeared at Miro’s door a few weeks later. “We hugged each other and he told me, ‘Okay, you asked me something and I brought your guest here.’ Just behind the door, it was her. Susan Sontag. I was frozen.”
It would be at least a month before he figured out their relationship: “They never told me.” The first of what would turn out to be Susan’s eleven visits to a place that became so important to her life that a prominent downtown square is today named for her—so important that David would consider burying her there—took place in April 1993.
The more times emotion is forced to attack problems too difficult for it, the more timid it becomes and the more used to its buffers. And the more the buffers are developed, the harder it is for emotion to appear when needed and the more necessity there is for old stencils and stagy craftsmanship. The more stamps and staginess, the farther emotion runs from them. (MLIA)
(Clare Brennan’s article appeared in the Guardian, 8/25.)
The annual celebration of the work of Brian Friel carries powerful reminders of the work of building community
“Politics are so obtrusive here.” The great Irish playwright Brian Friel (1929-2015) was being interviewed in the Guildhall in Derry in 1980. Gesturing to the Ebrington barracks beyond the window, on the other side of the River Foyle, he continued: “For people like ourselves… definitions of identity have to be developed and analysed much more frequently [than in England]. We’ve got to keep questioning until we find… some kind of generosity that can embrace the whole island.”
The cross-border FrielFest, now in its fourth year, invites audiences to participate in both the questioning and the embrace. In doing so, it reflects Friel’s own strength – making works particular to time and place that express our universal experiences. The quest for answers to shifting questions is reflected in the peripatetic form of the festival, with dramatic readings of Friel’s works presented in and around Derry and Donegal – and audiences, on occasion, visiting multiple venues in the course of one performance.
First produced in 1973, The Freedom of the City is set in Derry’s Guildhall, where, poignantly, this production is staged. A few hundred yards away, people are gathering around a makeshift music stage to commemorate the 50th anniversary of the Battle of the Bogside. On the night I attend, the audience meets outside the Museum of Free Derry (on other evenings, the rendezvous point is the Ebrington barracks). We are sung to the Guildhall by Nigerian-born, Liverpool-based performer and playwright Tayo Aluko, and walk in the wake of his resonant spirituals. Where some of us see city streets, others see invisible barriers crumbled (“I would never have crossed this road when I was young,” says one). The play is partially based on events around 1972’s Bloody Sunday. Its action unfurls in double-time. The fictional experiences of three civil rights demonstrators, who stumble into the Guildhall, fleeing a tear gas onslaught, are interspersed with the official inquiry into their subsequent deaths (shot leaving the building by the army, which maintains they were armed terrorists).
WORKS & PROCESS, THE PERFORMING ARTS SERIES AT THE
GUGGENHEIM, ANNOUNCES FALL 2019 SEASON
· New commissions by Machine Dazzle and Caroline Shaw
· Rotunda performances by Dance Theatre of Harlem, Roomful of Teeth, and Caleb Teicher and Ben Folds
· Theatrical first looks at Joe Iconis, Theresa Rebeck, and Erica Schmidt featuring Peter Dinklage
· Dance previews featuring Alvin Ailey American Dance Theater, Ballet West, National Ballet of Canada, and Washington Ballet
· Behind-the-scenes glimpses of the Metropolitan Opera‘s Akhnaten and Porgy and Bess
“An exceptional opportunity to understand something of the creative process.” -The New York Times
|Works & Process at the Guggenheim is pleased to announce its fall 2019 season. Since 1984 the performing arts series has championed new works and offered audiences unprecedented access to leading creators. The intimate Frank Lloyd Wright-designed Peter B. Lewis Theater is the venue for seventy-minute programs that explore the creative process through stimulating discussions and riveting performance highlights. One-of-a-kind productions created for the Guggenheim’s rotunda offer a unique experience of the landmark space celebrating 60 years as an architectural icon.Additional information is available at worksandprocess.org.
Audience members are invited to cocktail hour, from 5:30 to 7:30 pm, at the The Wright restaurant and artist receptions in the rotunda following most evening programs.
Works & Process lead funding is provided by the the Ford Foundation,Florence Gould Foundation, the Christian Humann Foundation, Mertz Gilmore Foundation, Stavros Niarchos Foundation, Rockefeller Brothers Fund, and Evelyn Sharp Foundation, with public funds from the New York City Department of Cultural Affairs in partnership with the City Council and the National Endowment for the Arts.
Fall 2019 Season Schedule
WORKS & PROCESS COMMISSION
Treasure by Machine Dazzle
Thursday-Saturday, September 5-7, 7:30 pm
Distant dreams come full circle in this Works & Process commission ofmultidisciplinary artist and maximalist Machine Dazzle. Undressing layers of his past to make sense of the present, Machine will introduce12 new looks alongside stories stitched together through song. Treasure is accompanied by music director Viva DeConcini and her band, and will premiere made-to-measure on the occasion of New York Fashion Week.
Treasure by Machine Dazzle is commissioned by Works & Process at the Guggenheim with support from Pomegranate Arts and a creative residency at LUMBERYARD.
MCC Theater: Seared by Theresa Rebeck
Monday, September 9, 7:30 pm
Harry, a brilliant and hot-headed chef, scores a mention in a food magazine, and his business partner sees profits finally within reach. The only problem is Harry refuses to serve his masterpiece for the masses. Mix in a shrewd restaurant consultant and a waiter with dreams of his own and it all goes to hell in this hilarious and insightful new play that asks us to consider where art ends and commerce begins. Prior to its New York premiere at the MCC Theater, playwright Theresa Rebeck and director Moritz von Stuelpnagel take audiences into the kitchen of their fit-for-foodies comedy as cast members perform highlights.
The National Ballet of Canada: Orpheus Alive by Robert Binet and Missy Mazzoli
Sunday, September 15, 3 pm
Orpheus Alive retells the tragic myth of Orpheus, casting the titular characteras a woman; Eurydice, Orpheus’ fallen lover, as a man; and audiencemembers as gods of the underworld who hold Orpheus’s fate in their hands. Choreographed by Robert Binet, Choreographic Associate of the National Ballet of Canada, and featuring a commissioned score by acclaimed composer Missy Mazzoli, Orpheus Alive is a story of love, loss, and an extraordinary artist facing the limits of his mortality. Company dancers and the Mivos Quartetperform excerpts, and dramaturg Rosamund Small moderates a discussion with Binet and Mazzoli about the creative process before the ballet’s world premiere in Toronto.
The Metropolitan Opera: The Gershwins‘ Porgy and Bess with Angel Blue, Camille A. Brown, Eric Owens, James Robinson, and Golda Schultz
Monday, September 16, 7:30 pm
The Gershwins’ Porgy and Bess returns to the Met for the first time since 1990 in a production directed by James Robinson with choreography by Camille A. Brown in their company debuts. America’s “folk opera,” asdescribed in 1935 by its creators, tells the story of Porgy, sung by Eric Owens, and his love for the drug-addicted Bess, portrayed by Angel Blue, with an all-star ensemble that includes Golda Schultz. General Manager Peter Gelb moderates a discussion with the creative team while cast members presenthighlights from the upcoming production.
The New Group: Cyrano by Erica Schmidt, with Peter Dinklage and Aaron Dessner
Saturday, September 28, 7:30 pm
Prior tothe New Group’s world premiere of Cyrano, director Erica Schmidt,actor Peter Dinklage, and composer Aaron Dessner illuminate the creative process behind the new adaptation of the classic tale Cyrano de Bergerac by Edmond Rostand. Schmidt’s Cyrano is a proud man who, believing himself unlovable, agrees to woo the woman he loves on behalf of someone else. With a charged contemporary immediacy to the dialogue, Cyrano is an enduring story about heartbroken yearning, and features haunting music by Aaron Dessner and Bryce Dessner of the National, lyrics by Matt Berninger of the National and Carin Besser, and choreography by Jeff and Rick Kuperman.
Ballet West: Balanchine’s Ballets Russes “The Song of the Nightingale” and “Apollo”
Sunday, September 29, 3 and 7:30 pm
With sets and costumes designed by Henri Matisse, The Song of the Nightingale (Le chant du rossignol) is a tale about a mysterious songbird who cures an ailing Chinese emperor. Created by George Balanchine in 1925 when he was only 21 years old, The Song of the Nightingale was his firstpartnership with composer Igor Stravinsky, leading to a 46-year friendship thatresulted in some of the greatest ballets of the twentieth century. This production marks its US premiere and designates Ballet West as the second company in the world to present this important reconstruction by Millicent Hodson and Kenneth Archer. Prior to the work’s October premiere in Salt Lake City, Ballets Russes expert Lynn Garafola, Professor Emerita of Dance, Barnard College, Columbia University, moderates a discussion with Hodson, Archer, Ballet West Artistic Director Adam Sklute, and Balanchine Trust repetiteur Victoria Simon on Balanchine’s development as a choreographer, the influence of Asian art on Matisse, and ethnic representation in the twenty-first century. The discussion will be accompanied by excerpts performed by Ballet West dancers. Simon will restage the 1928 Balanchine-Stravinsky collaboration Apollo, including the original birthing scene and final ascent to Mount Olympus.
WORKS & PROCESS ROTUNDA PROJECT
Dance Theatre of Harlem at 50
Monday, September 30, 6:30 and 8:30 pm
Founded in 1969, the Dance Theatre of Harlem made its 1971 official New York debut in the rotunda with a performance that included founder Arthur Mitchell’s Tones.To celebrate the Guggenheim building’s 60th and Dance Theatre of Harlem’s 50th anniversaries, Works & Process will present a Rotunda Project with the Dance Theatre of Harlem. The company will pay tribute to its history in a restaging of Tones, with music by Tania León, and other works from their repertoire.
Floor Seating: $100/$95
Ramp Standing: $60/$55
Lead funding provided by the Ford Foundation, Stavros Niarchos Foundation, and the National Endowment for the Arts.
The Washington Ballet: NEXTsteps
John Heginbotham, Jessica Lang, and Annabelle Lopez Ochoa
Sunday, October 6, 3 and 7:30 pm
Artistic director Julie Kent, a champion of new choreography, discusses upcoming world premiere works by choreographers John Heginbotham, Jessica Lang, and Annabelle Lopez Ochoa. Witness exclusive performance excerpts and a live rehearsal prior to the October 23 premiere in Washington, DC.
Lead sponsor Monica B. Voldstad.
The Metropolitan Opera: Akhnaten by Philip Glass, with Anthony Roth Costanzo, Karen Kamensek, Phelim McDermott, and J’Nai Bridges
Wednesday, October 16, 7:30 pm
On May 6, 1984, the very first Works & Process program featured Philip Glass’s Akhnaten before its debut at New York City Opera. This fall, prior to itsMetropolitan Opera premiere, General Manager Peter Gelb moderates a discussion with the creative team and countertenor Anthony Roth Costanzo, who plays the title role of the revolutionary ancient Egyptian pharaoh. Highlights are performed by members of the cast. Originally presented in collaboration with Improbable by the LA Opera and English National Opera, this production received the 2017 Olivier Award for Best New Opera Production.
Two River Theater: Love in Hate Nation by Joe Iconis, with John Simpkins
Sunday, October 20, 7:30 pm
Writer Joe Iconis and director John Simpkins discuss the turbulent rock romance, Love in Hate Nation, set in a 1960s juvenile hall, and cast members perform highlights prior to its world premiere at the Two River Theater with moderator Laura Heywood. Classic girl group, Wall of Sound-style vocal harmonies meet punk rock spirit in this rebellious and romantic new musical that uses classic “bad girl” movies as the inspiration for the story of young people caught between eras of a changing America. Sixteen-year old Susannah Son is carted off to the National Reformatory for Girls to get her head put on straight. There she meets the aggressively incorrigible Sheila Nail, and a relationship forms which leads to an all-out “revolution in the institution” as they attempt to break out of the boxes society has created around them.
Dance Lab New York and Joyce Theater Foundation Lab Cycle: Female Choreographers of Color in Ballet
Sunday, November 10, 7:30 pm
For one night only, see the culmination of Dance Lab New York and Joyce Theater Foundation’s partnership promoting and advancing female choreographers of color in ballet. Provided with a stipend, studio time at theJoyce’s Artist Residency Center, professional dancers, a studio supervisor, and administrative support, choreographers Margarita Armas, Amy Hall Garner, Micaela Taylor, and Preeti Vasudevan explored the classical, neoclassical, and contemporary ballet idioms. Lourdes Lopez, Artistic Director, Miami City Ballet, moderates the discussion with Dance Lab New York founder, Josh Prince, and the four choreographers.
Lead sponsor Stephen Kroll Reidy
DANCE * MUSIC
Brian Brooks Moving Company: Immersive Technology
Sunday, November 17, 7:30 pm
Brian Brooks, choreographer and Mellon Creative Research Fellow at the University of Washington’s Meany Center for the Performing Arts, and Michelle Witt, Executive and Artistic Director of the Meany Center, participate in a discussion moderated by Jacob’s Pillow Director Pamela Tatge. Prior to the performances’ premieres in 2020, see highlights from Brooks’s fellowship, where he explored dance in intimate physical and digital spaces and collaborated with Seattle-based physicists and virtual reality programmers.
Alvin Ailey American Dance Theater: New Work
Monday, November 18, 7:30 pm
Preview a world premiere from Alvin Ailey American Dance Theater’s December season at New York City Center. Artistic Director Robert Battle and the choreographer participate in a moderated discussion and Ailey’s acclaimed dancers perform highlights.
Merce Cunningham Centennial Celebration
Sunday and Monday, November 24 and 25, 7:30 pm
Dylan Crossman, a former member of Merce Cunningham Dance Company, curates a program celebrating the 100th birthday of modern dance legend Merce Cunningham. Fellow former company dancers, including Jamie Scott, perform duets examining Cunningham’s evolution over decades. A unique MinEvent (an uninterrupted sequence of excerpts of works by Cunningham) made for the Frank Lloyd Wright-designed theater at the Guggenheim including movements from Night of 100 Solos will be performed by dancers from A.I.M, Alvin Ailey American Dance Theater, Limón Dance Company, New York City Ballet, and more. Costumes by Reid Bartelme and Harriet Jung and music by John King complement the program. Andrea Weber moderates a discussion with former Cunningham dancers Kimberly Bartosik and Gus Solomons.
This program is presented courtesy of the Merce Cunningham Trust as part of the Cunningham Centennial celebrations. Choreography by Merce Cunningham © Merce Cunningham Trust. All rights reserved.
DANCE * MUSIC
Peter & the Wolf with Isaac Mizrahi
Saturday, December 7, 1, 2:30, and 4 pm
Sunday, December 8, 1:30* and 4 pm
Friday, December 13, 6:30 pm
Saturday, December 14, 1, 2:30 and 4 pm
Sunday, December 15, 2:30 and 4 pm
Isaac Mizrahi narrates and directs Sergei Prokofiev‘s charming children’s classic. Ensemble Signal performs the music, and the cast, wearing costumes by Mizrahi, performs choreography by John Heginbotham, bringing the 30-minute story to life for the young and young at heart.
Premium front row seating for all performances $100/$95 members
General tickets $45/$40 members
*In partnership with the Guggenheim’s education department and Simon & Schuster Children’s Publishing, for the December 8, 1:30 pm program, two-time CaldecottMedal winning illustrator Chris Raschka, will read from his illustrated telling of Peter & The Wolf at 1:30 pm, followed by the performance starting at 2:30pm. Tickets for this special event are $100/$95 member and include a signed copy of Chris Raschka’s Peter & the Wolf.
No matter how tall or small, everyone needs a ticket. Please enter via the ramp at the corner of 5th Ave & 88th St.
WORKS & PROCESS ROTUNDA PARTY
Monday, December 9, 6:30-11 pm
Lead sponsor First Republic Bank
VIP Cocktail Reception, Performance, and Dancing
VIP table for six: $5,000
Table for six: $3,000
VIP seated ticket: $500
Rotunda floor general seated ticket: $250
Performance, Drinks and Dancing
Ramp standing ticket: $75
Rotunda Holiday Concert with Roomful of Teeth and Caroline Shaw
Sunday and Monday, December 15 and 16, 7 pm
Celebrate the season with the joyous sounds of holiday music and a new Works & Process commission of composer Caroline Shaw. Roomful of Teeth perform as part of this beloved annual tradition in the museum’s iconic Frank Lloyd Wright-designed rotunda.
Floor seating: $60, $55 Friends of Works & Process and Guggenheim members
Ramp standing: $25, $20 Friends of Works & Process and Guggenheim members
Peter B. Lewis Theater
Solomon R. Guggenheim Museum
1071 Fifth Avenue at 89th Street
Subway: 4, 5, 6, or Q train to 86th Street
Bus: M1, M2, M3, or M4 bus on Madison or Fifth Avenue
$45, $40 members (unless otherwise noted)
$10 student rush tickets one hour before performance, based on availability
(for students under 30 with valid ID)
Priority ticket access and preferred seat selection starts July 22 for $500+ Friends of Works & Process and Guggenheim members at the Associate level and above.
General ticketing starts July 29.
For more information, call 212 758 0024 or 212 423 3587, Mon-Fri, 1-5 pm, or visit worksandprocess.org.
Seared photo: Daniel Rader
For more information, press tickets, and photos, or to arrange interviews, please contact:
Duke Dang, General Manager
Works & Process at the Guggenheim
212 758 0024
Michelle Tabnick, Publicist
Works & Process at the Guggenheim
646 765 4773
May Yeung, Publicist
Solomon R. Guggenheim Museum
212 423 3840