In recent years, Tyler, the Creator has won a Grammy, debuted two albums at the top of the Billboard 200, and received widespread critical acclaim. But even for such an accomplished rapper and singer, performing at Madison Square Garden remains a source of pride. He spoke about it more than once on last year’s “Call Me if You Get Lost,” a lively, boastful and sometimes melancholy album that draws aesthetic inspiration from mid-2000s rap mixtapes (including the hypeman services rendered by DJ Drama). on disk single leadTyler brags about his “MSG sale”, as well as his car collection and credit rating.
And he’s filled the Midtown arena again: his two upcoming shows are sold out. However, fans can get verified resale tickets at msg.com for the shows, which are Sunday and Monday starting at 7 p.m. Kali Uchis, Vince Staples and Tyler’s “Call Me” collaborater Teezo Touchdown opens.
No damsel in distress
Long before Katniss Everdeen wowed her oppressors with her archery skills in “The Hunger Games,” another fearless fictional heroine was demonstrating her prowess.
She is Manijeh, a besieged princess who is the central character of “Song of the North” a new adaptation of part of the 10th century epic by the Persian poet Ferdowsi “Shahnameh” (“Book of Kings”). Hamid Rahmanian created, designed and directed this theatrical version, which is intended to be a play of shadow puppets that looks like an immersive cinema. With a screenplay by Rahmanian and Melissa Hibbard, music by Loga Ramin Torkian and voice of Azam Ali, the production features a cast of nine actors wearing elaborate headgear, whose silhouettes are projected onto a 15-by-30-foot screen.
Part of the BAMkids series at the Brooklyn Academy of Music, this 80-minute show depicts the plight of Manijeh after his father throws his beloved, a knight from a rival kingdom, into a well and strips him of his title. Tickets from $12 (partial view) and $15 for the final performances, Saturdays at 2 p.m. and 7 p.m. at the Harvey Theater, where young audiences can watch the princess triumph with a weapon even mightier than arrows.
You can always wear green and grab a Guinness at your nearest Irish pub, but why not celebrate St. Patrick’s Day this year by engaging in Irish culture too? The week ahead offers several opportunities around the city to see stellar troupes perform Irish dancing, which is characterized by stiff torsos and punchy, tornado footwork and accompanied by dramatic folk music.
Friday at 8 p.m., the National Dance Company of Ireland presents “Dance Rhythm”, a show tracing Irish history from ancient mythology to the present day, at Kingsborough Community College in Brooklyn (tickets start at $34 at onstageatkingsborough.org). Sunday at 4 p.m. Velocity Irish Dance takes a similar historical approach in a flashy program at the Lehman Center for the Performing Arts in the Bronx (tickets start at $25 at lehmancenter.org). Velocity will also make two stops on Long Island: at the Patchogue Theater on Friday and at the Madison Theater in Rockville Center on Tuesday. Also on Tuesday, Trinity Irish Dance Company begins a run through March 20 at the Joyce Theater in Manhattan (tickets start at $20 at joyce.org).
in the provocation “Caveman,” When a Republican deputy goes away for the weekend, his employee Imaculada (Annie Henk) and three of her friends (Claudia Acosta, Jacqueline Guillén and Socorro Santiago) hold an unforgettable meeting in his decadent, mostly male basement.
Written by John J. Caswell Jr., the play explores “American anxieties and the shrewd ways that systematically maintained forces penetrate and corrupt our own singular and collective identities,” he said in an interview. Its seance-like work combines elements of horror and comedy with devilish sharpness, as the four main characters exorcise demons of the emotional, sexual, political, and supernatural varieties.
Directed by visionary Taylor Reynolds, “Man Cave” is presented by Page 73 and runs at the Connelly Theater until April 2. Tickets start at $10 and are available at ovationtix.com.
Kate Soper’s opera “The Romance of the Rose” was one of the most anticipated premieres of 2020 until it was canceled due to the pandemic. His last album, “The Understanding of All Things” should help tidal fans until the opera is rescheduled. And it can also serve as a compelling introduction to the inimitable style of this composer, singer and pianist.
Soper is best known for pairing lavish song forms with delivered speeches. Fittingly, the new album begins with his treatment of a work by Kafka. The second track, “Dialogue I”, is a musical improvisation between Soper and live electronics virtuoso Sam Pluta. But one of the texts Soper quotes, by philosopher George Berkeley, is part of a grander design, for Berkeley’s name recurs during the album’s centerpiece, “The Fragments of Parmenides” (which also includes a text by Yeats).
When hearing the nimble and engaging humanities lectures on this album, you’ll probably want Soper’s libretto in front of you. (A PDF booklet is supplied with each digital purchase on the Bandcamp platform.) But the sublimity of Soper’s singing material needs no great explanation—just check out his setting of Yeats’ “For Anne Gregory” in “Fragments.”
SETH COLTER WALLS