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New York Women in Film & Television (NYWIFT) is proud to present the 39th Annual Muse Awards gala luncheon on Thursday, December 13, 2018 at

the New York Hilton Midtown hotel, located at 1335 6th Ave. Actor and CBS Commentator Nancy Giles will emcee the afternoon’s event, which celebrates women of outstanding vision and achievement both in front of and behind the camera in film, television and digital media.

The honorees for this year’s Muse Awards are some of the most extraordinary women in the business: Sarah Jessica Parker, a New York City icon and one of the most well-known actors and producers of our time; Lisa Nishimura, Academy and Emmy Award winning Vice President of Original Documentary and Comedy Programming at Netflix; and Ellen Burstyn, is one of the few actresses with the Triple Crown of Acting after winning multiple Academy Awards, two Emmy Awards and a Tony Award.

The 13th Annual Loreen Arbus Changemaker Award, created with the generous support of NYWIFT member Loreen Arbus, is given to an individual, organization or corporation in the entertainment industry that has helped to create and bring about significant change to benefit and aid women; this year it will be presented to Maysoon Zayid, a comedian, writer and producer, as well as a fierce disability advocate. In its second year, the Nancy Malone Directing Award will be awarded to film and television director Tricia Brock (The Walking Dead, 30 Rock, Younger, Mr. Robot). The award is named for Nancy Malone, an Emmy Award-winning producer and director, one of the first female directors in television, and a founding member of Women in Film in Los Angeles who dedicated her life to women’s advancement in TV, film and digital media.

NYWIFT is also proud to announce that Terry Lawler, NYWIFT’s Executive Director, will be presented with this year’s Made in NY Award from the New York City Mayor’s Office of Media & Entertainment. After a long and devoted membership, Lawler joined the staff as Executive Director in June 1997, at the start of NYWIFT’s 20th anniversary year. Not only has Lawler guided the organization through massive organizational growth, she has also led NYWIFT through enormous change in the industry at large. She spearheaded its move to online communications and the inclusion of the “digital media” industry, alongside film and television, in the organization’s programming and membership outreach. She also significantly enhanced membership diversification across occupations with more members represented in the below-the-line crafts, as well as age, race and ethnicity and, yes, gender. Moreover, she has revitalized NYWIFT’s advocacy initiatives and strengthened relationships with important governmental, industry and media partners.

Established in 2006, the Made in NY Awards celebrate excellence in New York City’s creative community and recognize the achievements of individuals and organizations that have made significant contributions to the City’s media and entertainment industries. Other recent honorees include Alysia Reiner, Michael K. Williams and Judith Light.

“I am thrilled to present Terry with the ‘Made in NY’ Award, which recognizes her steadfast commitment to supporting women in the City’s creative community,” said Media and Entertainment Commissioner Julie Menin. “The City is grateful for her more than two decades of leadership as Executive Director of New York Women in Film & Television, where she not only diversified membership across age, race and gender, but also spearheaded numerous innovative programs that provide women with more career, funding and mentoring opportunities to find success in the creative fields. Supporting equity and inclusion is more critical than ever and Terry has been a leader in empowering and lifting up women’s voices.”

“I’m truly honored to be receiving the Made in NY Award at the Muse Awards this year,” said New York Women in Film & Television Executive Director Terry Lawler. “After 21 years with NYWIFT, I couldn’t imagine a better way to complete my hugely satisfying tenure as Executive Director. The progress we have made in helping to move women to the forefront of many entertainment mediums is something I am not only genuinely proud of, but so truly thankful for. I have loved every wonderful, challenging and rewarding moment of my stewardship. I will miss my colleagues dearly, but I know I leave the organization in marvelous and highly competent hands, and look forward to welcoming incoming Executive Director Cynthia Lopez as she takes the helm.”

“Now in its 39th year, the Muse Awards continues NYWIFT’s long tradition and dedication to applauding the work and achievements of women in our industry, said New York Women in Film & Television Board President Simone Pero. We are thrilled to honor this year’s incredible roster of accomplished women, and also look forward to toasting our beloved Terry Lawler in gratitude for all she has done not only for individual members and for the organization as a whole but also for NYWIFT’s mission of equality in our industry.”

The Muse Awards is always a highly anticipated celebration at the height of the holiday season. Join leading executives from major studios, broadcast and cable networks, and media production facilities as they celebrate these influential women. Past recipients include some of the most respected women in the entertainment industry such as Meryl Streep, Claire Danes, Mary-Louise Parker, Anne Sweeney, Martha Stewart, Robin Wright, Maggie Gyllenhaal, Julianne Moore, Tina Fey, America Ferrera, Judith Light, Laura Dern, Julianna Margulies, Blythe Danner, Victoria Alonso, Gabourey Sidibe, Debi Mazar, Martha Plimpton, Cicely Tyson and Lucy Liu.

Tickets are $165 for most New York Women in Film & Television members and $350 for nonmembers. Corporate tables for $3500 or sponsorships starting at $5000 are also available. To purchase, please visit nywift.org/MUSE.

Suzanna, co-owns and publishes the newspaper Times Square Chronicles or T2C. At one point a working actress, she has performed in numerous productions in film, TV, cabaret, opera and theatre. She has performed at The New Orleans Jazz festival, The United Nations and Carnegie Hall. She has a screenplay and a TV show in the works, which she developed with her mentor and friend the late Arthur Herzog. She is a proud member of the Drama Desk and the Outer Critics Circle and was a nominator. Email: suzanna@t2conline.com

Broadway

The Glorious Corner

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G.H. Harding

KNIVES OUT AGAIN — (Via Deadline) The next installment in the Knives Out series has its title. Writer/director Rian Johnson announced on social media this morning that the film will be called Wake Up Dead Man. It was also confirmed that the film would come out sometime in 2025 and that production would be under way soon with Daniel Craig returning to star.

Johnson returns as the writer and director of the series and will also produce the pic with his partner Ram Bergman. Plot details are unknown and as of now Craig is the only talent involved.

The most recent pic, Glass Onion, bowed in 2022 with Craig returning as world famous detective Benoit Blanc. The film premiered on Netflix after the streamer made a record setting $450 million deal for the two sequels with this being the third in the series.

SHORT TAKES — The trailer for Beverley Hills Cop 4 is out. Here it is:

Harold Faltermeyer

The theme for the movie sounds like a cheap re-working of “Alex F” an electronic instrumental track by German musician Harold Faltermeyer …

The Wallows

The Wallows, who I’ve never heard of, kicked off the Today Show Summer Concert series. When interviewed, each of them said they used to watch the show before they went to school. My, I wonder how that made the hosts feel? Even Carson Daly, who’s no kid either, must have batted an eye. Interesting band. Nothing special I saw, but good luck to them …

David Krumholtz

SIGHTING: David (Numbers) Krumholtz at the Factory Bar Friday for Trivia Night … (Via Theatermania) Grammy

Stephanie Mills

Award winner Stephanie Mills will return to Broadway to play Hermes in the Tony Award-winning musical Hadestown. Her first performance will be July 2, coinciding with the start dates of Maia Reficco and Yola. Mills takes over from Jon Jon Briones, who plays his final performance June 30. Mills originated the role of Dorothy in the first Broadway production of The Wiz in 1975. Her last appearance on Broadway was for a special concert in 1989 … The Washington Post will go full AI. Check out this story: https://futurism.com/washington-post-pivot-ai

Tracker

… A short Memorial Day-vacay in East Hampton was great. Checked out Sakura and was introduced to CBS’ Tracker with Justin Hartley. Smartly done and directed by Ken Olin from Thirtysomething. Impressed for sure …

Billy Joel

The Long Island Musical Hall of Fame abruptly canceled their June 7 event, honoring Billy Joel at Tilles Center.  Performers at the event were to be Run-DMC; Debbie Gibson; and Felix Cavaliere.  Joel said a family event would prevent him from attending …

RIP producer

Al Ruddy

. He produced The Godfather and Million Dollar Baby. Check out Deadline’s obit: https://deadline.com/2024/05/al-ruddy-dead-godfather-million-dollar-baby-1235942541/

NAMES IN THE NEWS — Marsha Stern; Jane Berk; Randy Jones; James Edstrom; Chuck Scarborough; Bill Adler; Dan Zelinski; Bobby Shaw; Mike Greenly; Mark Bego; Roy Trakin; Crispin Cioe; Steve Walter; Steve Paul; Lou Reed; Foreigner; Bobby Watman; Bobby Orlando; Adriana Kaegi; Thomas Silverman; Seymour Stein; Barry and Marissa Zelman; Dan Zelinski; and ZIGGY!

Images on this page have been licensed under the Creative Commons Attribution-Share Alike 4.0 International license.

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Celebrity

In “Back to Black,” Star Marisa Abela Turns in An Uncanny Performance as Amy Winehouse in The Sam Taylor-Johnson Biopic

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Evoking classic R&B, the late Amy Winehouse emerged as a celebrated new stars by making old music sound fresh. She possessed a deeply soulful voice which she used to sing songs of love, heartbreak, and struggles with substance abuse, as in her Top-10 hit “Rehab.” Winehouse sold 16 million copies of the LP Back to Black” and won big at the 2008 Grammy Awards, taking home Song of the Year, Record of the Year, and Best New Artist. All that success was overshadowed by the Brit’s personal troubles, which, according to MTV News, included an arrest for drug possession — there was a viral video of the singer smoking what was reportedly crack cocaine — and an emphysema diagnosis.

Winehouse’s demons tragically got the best of her. According to The Guardian, authorities were summoned to the singer’s north London home in July 2011, where they found her dead at the scene. Winehouse was reportedly a heroin user, but a post mortem inquest pinpointed a different cause of death. According to “The Independent”, a London coroner found no drugs in her system, ruling that the singer died of alcohol poisoning following a period of three weeks of sobriety. Winehouse is believed to have consumed 416 milligrams of alcohol per deciliter of blood, well over a fatal level of 350 milligrams. She was 27 years old.

This complicated history has been fodder for articles, books, a notable documentary and now a feature film, “Back to Black”. The movie’s title is taken from the hot album of the same name. Directed by 57-year-old Sam Taylor-Johnson, her feature film debut was 2009’s “Nowhere Boy,” based on the Beatles’ singer/songwriter John Lennon’s childhood experiences.

Taylor-Johnson’s star for “Back to Black,” Marisa Abela, made her TV debut in 2020 with leads in the Sky One political thriller, “COBRA” and the BBC Two/ HBO office drama, “Industry.”  Abela appeared in the 2022 films, “She Is Love” and “Rogue Agent.” In July 2022, she joined the cast of Greta Gerwig’s “Barbie” (2023). Then the actress starred as Winehouse in this biopic.

This Q&A comes from an appearance made by the duo at the Museum of The Moving Image shortly before the film’s May 17th release.

T2C: This is a remarkable story and one that, in some ways, is privy to when she was alive. For each of you, what moved the dial from this is a remarkable story to this is a remarkable story that I need to tell?

Sam Taylor-Johnson:

Sam Taylor-Johnson: When Alison Owen, our producer, called me and said, “I’m looking to make the story of Amy Winehouse, which would be interesting,” I felt like I couldn’t say “Yes” quick enough. After I said so, I suddenly processed the enormity of what I was taking on. It felt like it had to be made from [Amy’s] perspective because, by living in London around the time when she was alive, I watched how her life was dissected and pulled apart in the tabloids and similarly post-death. I felt like going directly into her perspective. It was almost like allowing her to tell her own story through her words and her lyrics. It felt like a timely thing to do.

Marisa Abela

Marisa Abela: Basically, I got a call from my agent who said they’re doing it. I was about 13 when “Back to Black” came out, so I was aware of her music. I was singing the songs, but when you’re singing “Love Is A Losing Game” and you’re 13 years old, it doesn’t mean that you really understood it fully. That was my understanding of Amy [at the time]. Then, because of all of the tabloids and the images and stuff, I knew of her in that way. So, I said, “Let me think about it.” I was then in front of Sam Taylor-Johnson and Nina Gold, an amazing casting director in London. I knew they were being quite specific about who they were seeing, so I just didn’t want to make a fool of myself, essentially.

Then I started watching footage, the documentary, interviews about her life – things that really were quite telling [about] who she was as a person. There was just this thing about her and that carried me through the entire process I was watching. And there was this magnetism, this intensity, this deep well of feeling, emotions and intensity, that I was so drawn to. I felt that we’d drawn from Amy, herself. It was all there in her music. And for the people who still listened to her music often, this is for them. In the narrative around her life and death, I felt that what we’d lost really came through, but it seems like there’s a double-edged sword here.

T2C: There’s so much media and coverage, so many perspectives to sort through. Talk a bit more about your process and how you blocked out the noise and chose to privilege us with her perspective with what was there?

Sam Taylor-Johnson: It was important from the beginning to just block out the noise. There was a lot, especially when we were filming, and it became louder and louder. The louder it became, the more determined I was to just keep driving forward with it through her eyes and to uphold her. Our press are quite famous for pulling down anything that might seem to be successful in any way. It felt like those voices saying we need to protect her legacy were also the ones who pulled her apart during her lifetime. That emboldened me in a way to shut those voices out. The decision around how and what sort of film was going to be quite quickly came into place.

When I sat down with Matt Greenhalgh, who wrote the movie, I said, “If we are going through her workstyle perspective, with “Frank” and then “Back to Black,” obviously those are the keys to this film. “Back to Black” really is a love story and tells us everything within it. It became our framework. I knew that that was difficult for a lot of people who had a lot of opinions and judgments. I felt like her declaration of love and the power of that love was important to uphold in order to understand the creative journey of “Back to Black. In a way, we went into her perspective saying, she loved her father and she loved Blake: therefore, that’s our view. We still see some of the things that are highlighted in the documentary that people feel strongly about. They’re still part of our film, but they’re not seen through the lens of judgment. It was quite freeing to stay in her shoes on that journey.

T2C: This being a love story, you think immediately of romantic love. But the relationships that I was most struck by were those she had with her family. Talk a bit about choosing actors and having them light up those roles?

Sam Taylor-Johnson: With her Jewish grandmother, it was clear — during the research and hearing the stories from the family and others — that she was so much a part of the fabric of who Amy was, through Grandma Cynthia’s style and love of jazz and music. So it felt like, “Okay, this is worth going further into and strengthening that relationship.”  But when I went to Lesley [Manville] initially, she said, “Oh, I don’t know if there’s enough on the page for me.” I said, “Look at it like this is the fabric of Amy.” Once Lesley came on board, we then wrote more scenes because she was just so exceptional. We just honed in on those relationships that we felt were really important to the narrative of this story. Obviously, within — I don’t know how many minutes it was, I’ve forgotten — so much had to be dropped by the wayside. For me, as a storyteller, I have to just find my path. The Winehouses — Cynthia, Mitch, and Janis — plus husband Blake were on a path.

T2C: Talk a bit more about the music. Obviously there’s a great blueprint here. Did you have to make difficult decisions about what songs were included?

Sam Taylor-Johnson: I’ll start, but I want Marisa to take over on this because I’m talking too much. What I had quite early on was one of her playlists. On that playlist were The Specials and Minnie Riperton. It was quite a gift to have that. Amazingly, of all the things that were written that weren’t Amy’s music, we managed to have access to it. But when I started the movie, I had all the music rights from Sony and Universal. I didn’t have to have approval for anybody. I could just make the movie I wanted to make. Matt wrote very specifically for the songs, almost like it’s a musical in the sense that it belonged to the narrative structure. You couldn’t choose “Love Is a Losing Game” and switch it with “Stronger Than Me.” It really was laid out that way.

I’ll let Marisa come into this because I just want to say, when I met Marisa for the audition, she said, I remember, “What about singing? I’m not a singer.” But Marisa sang that entire movie. Every song you hear. So from the position of declaring she couldn’t sing, what you saw is very contrary to that. Okay, you can talk about that…

Marisa Abela: I think what became clear was, as I was reading the script more and more, and watching more and more footage of Amy, was that these albums are so iconic and incredible from a songwriting perspective as well as a musical one. But what was so incredible about the performances I was watching was that they were completely different every single time. If she was in a bad mood – and she was often in a really, really bad mood – you wouldn’t get half the song from her. If she was in a great mood, she was singing all over the place, amazing riffs. To certain members of the audience, this is the thing that made Amy a live performer.

What weirdly felt like the most authentic choice was to be able to use my own voice to make whatever choice came to me in the moment from a purely impulse perspective as an actor. What was inspiring me at this moment? Is it that I’m looking at Blake during “There Is No Greater Love” and I’m so overwhelmed with feeling and emotion that I want to hold on to a specific sound for longer so that he can hear me through all of those decisions? In the same way, the first time you hear her write one of her own songs with “What Is It About Men,” I wanted to be able to think about each line. How am I formulating this moment? you get to see the behind-the-scenes of the creation of a song. That’s a really beautiful thing. If we were cutting to the studio recording of “What Is It About Men,” for example, you couldn’t have that scene of Amy sitting on the bed writing it for the first time, getting mixed up with certain words.

I basically felt I needed to get as close as possible to something that sounded as recognizable as possible to one of the most recognizable voices that you would believe in. The truth is, if you listen to them side by side, I’m sure there are huge differences. But it doesn’t matter as long as you believe what she’s saying and as long as you believe what she’s feeling. That, to me, was always the most important thing as an actor, obviously. It’s the intention that matters. Process-wise, I trained very hard and also learned to play the guitar. I listened to all the people that I think she would have grown up listening to. As Sam said, we had lots of playlists of hers.

I was aware that she grew up listening to Billie Holiday, Sarah Vaughan, Diana Washington, Ella Fitzgerald, Lauryn Hill, Ray Charles. I just surrounded myself with that music and was singing along to it all the time. Then I was using the techniques I was learning with my singing teacher that were Amy’s tecjmoqies. We have a different face. She has a bigger jaw than me. She had a different nose to me. We use different resonances. So, it’s different. But the intention is the most important thing. I was training for two hours a day, every day, over the four months with my singing teacher.

T2C: There’s so much to dive into with its emotionality, but you touched upon something that I wanted me to talk to you about – creating these scenes like Glastonbury, the Grammys and things that we have enormous touchstones for beyond Amy’s experiences. These are media events that happen all the time. So practically recreating these scenes, which you do so successfully, can you talk more about them?

Sam Taylor-Johnson: Oh, I’d love to because I’m so proud of Glastonbury. When you see that big open-air festival, we shot it in a room not much bigger than this theater. We just had brilliantly creative teams working on this. Glastonbury for the rest of the year is just a field. So all of those stages and everything, we had to recreate and film it. I had an incredible sound crew. What we created, it took months to get that sound exactly right. Then the Ronnie Scott scene early on. That was the only time I ever saw Amy play, in a young, up-and-coming Voices of Jazz. How old was she? Probably 19 or 20. It was at Ronnie Scott’s. I used my memory of what it felt like being in the room with her to recreate how that would have felt. But yes, a lot of it, like the Grammys, we had YouTube running alongside what we were filming to try and emulate it as much as possible – like the same camera angles. Marisa’s performance, as you can see, was absolutely spot-on. Every finger movement was incredible. So it was fun. It was so fun to recreate this. And, it’s fun to watch it.

Film: Back to Black

Director: Sam Taylor-Johnson

Cast: Marisa Abela, Jack O’Connell, Eddie Marsan, Juliet Cowan, Lesley Manville, Sam Buchanan, Pete Lee-Wilson, Thelma Ruby, Renee Matilda Thorpe, Ryan O’Doherty

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Broadway

Ken Fallin’s Broadway: Richard M. Sherman Songwriter for Mary Poppins and Jungle Book Passes On

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Richard M. Sherman, was a nine-time Academy Award nominee along with his brother Robert. The Sherman Brothers wrote more than 200 songs for some 27 films and 24 television productions. Their film credits include Mary Poppins, The Jungle Book, The Absent-Minded Professor, The Parent Trap, Summer Magic tv, The Sword in the Stone, That Darn Cat!, Winnie the Pooh and the Honey Tree, The Happiest Millionaire, The Aristocats, and Bedknobs and Broomsticks.

The won two Academy Awards for Mary Poppins, taking home the trophies for Best Score – Substantially Original and Best Original Song (for “Chim Chim Cher-ee”). They won three Grammy awards and received 24 gold and platinum albums and were inducted into the Songwriters Hall of Fame in 2005 and received the US National Medal of the Arts in 2008.

They also wrote the score on Broadway for Over Here.

The brothers were portrayed in the 2013 film Saving Mr. Banks, which told the story behind the making of Mary Poppins.

Sherman died of age-related illness at Cedars-Sinai Medical Center in Beverly Hills. His brother Robert died in 2012.

 

 

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Broadway

Ken Fallin’s Broadway: On The Town For Fleet Week

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Fleet Week is upon us, so, attached is a drawing I did of Channing Tatum a few years ago for The Los Angeles Times. This was done for Hail Caesar! choreographed by Christopher Gattelli.

Hail Caesar!  is by Joel and Ethan Coen (No Country for Old Men, Fargo), starring Josh Brolin, George Clooney, Alden Ehrenreich, Ralph Fiennes, Jonah Hill, Scarlett Johansson, Frances McDormand, Tilda Swinton, and Channing Tatum, Hail, Caesar! follows a single day in the life of a studio fixer who is presented with plenty of problems to fix.

Here is a video with Channing and the rest of the cast. Talk about a great Happy Memorial Day!

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Dance

Events For June

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On going is still  Beatrix Potter: Drawn to Nature, is at The Morgan Library & Museum through 6/9.Florals in Fashion highlights the work of designers Hilary Taymour (Collina Strada), Olivia Cheng (Dauphinette) and Kristen Alpaugh, aka FLWR PSTL Also Alicia Keys and Swizz Beatz’s “Giants,”is at the Brooklyn Museum until 7/7. The exhibition features artists who have made and continue to make a significant impact on the art world and contemporary culture. The show features 98 artworks by Black American, African, and African artists including Gordon Parks, Kehinde Wiley, Jean-Michel Basquiat, Mickalene Thomas, Hassan Hajjaj, Barkley L. Hendricks, Lorna Simpson, and Amy Sherald. Until 8/11 the Whitney Biennial, this happens every two years.  This year, the theme is “Even Better Than The Real Thing” and features the work of 71 artists and collectives. Also on display is Apollo: When We Went to the Moon at The Intrepid Museum. The exhibit is included with museum admission and goes until 10/2. The Rubin Museum, is permanently closing its physical space later this year and is open until October. If you’ve never been time to go. Until 10/27: The New York Botanical Garden is getting in on the Mad Hatter fun with a new, garden-wide exhibition for 2024 titled “Wonderland: Curious Nature.”

6/1 -23: How Long Blues at Little Island. Twyla Tharp featuring live music by T Bone Burnett and David Mansfield.

6/6 – 16: Tribeca Film Festival

6/7 – 9: Governors Ball

6/7 – 24: River to River Festival 50th anniversary has celebrations of dance, music, video, installation, and exhibitions. Featuring 13 projects of live art, performances, and participatory events in public spaces throughout Downtown New York, the 2024 River To River Festival explores themes of resonance, reconsideration, and resistance.  All events are free and open to all. Reservations are requested for some performances and events with limited capacity reserve here.

6/9: National Puerto Rican Day Parade

6/10: Movie nights in Bryant Park Forrest Gump (1994)

6/12: The Tony Awards

6/12: NY Philharmonic Concerts in the Parks

6/12 – 30: Summer for the City The Dream Machine Experience and The Bridge Lincoln Center Presents Time travel through an immersive AR experience across our outdoor spaces led by Cyboracle, the larger-than-life virtual avatar portrayed by Nona Hendryx.

6/12: The third annual Summer for the City festival. Over 200 free or choose-what-you-pay events that span a variety of topics, genres and  locations.

6/13 – 16: Juneteenth New York Festival

6/13: Summer for the City The Outdoor Film Series Black Swan Natalie Portman gives an Oscar-winning turn as a sheltered but driven young dancer with a ballet company in NYC who begins to buckle under pressure

6/17: Movie nights in Bryant Park The Talented Mr. Ripley (1999)

6/18 and 20: SummerStage The Metropolitan Opera Summer Recital featuring Leah Hawkins, Mario Chang, Michael Sumuel

6/19 – 30: Black Restaurant Week up to 80 participating venues, including Red Rooster Harlem, Cascade Jerk, Twins BBQ Co., Collective Fare, Tamarind Island, Voila Afrique, Misfits Nutrition, Brooklyn Blend, Negril Village, Lee Lee’s Baked Goods, The Real Mothershuckers and many more.

6/20: Summer for the City The Outdoor Film Series Before Sunrise Jesse (Ethan Hawke) and Céline (Julie Delpy) meet on a cross-Europe train. In Vienna, they walk, talk, look around—and fall unexpectedly in love. Damrosch Park

6/21: Summer for the City Social Dance Abaddón Tango. Get swept up in the majesty and beauty of Argentinian tango at this social dance night featuring the Abaddón Tango sextet.

6/21: 125th birthday of the Bronx Zoo 

6/21: Summer for the City The Outdoor Film Series Before Sunset. Nine years after Before Sunrise’s open-ended finale, Before Sunset’s immediate question—did Jesse and Céline reunite in Vienna—soon gets eclipsed.

6/21: Summer for the City Silent Disco. Strut your stuff under the stars as our popular Silent Disco series returns to NYC’s largest outdoor dance floor with a ten-foot disco ball.

6/22: The Coney Island The Mermaid Parade kicks off at 1pm.

6/22: Summer for the City Mykal Kilgore a concert for all ages featuring GRAMMY-nominated performing artist Mykal Kilgore!

6/22: Summer for the City The Wedding: New York’s Biggest Day Ever dreamed of getting married at Lincoln Center? For the third year in a row, we’re inviting hundreds of couples to celebrate love. Come join us!

6/22 -23: SailGP (Sail Grand Prix) will bring 10 international teams to the waters to race turbocharged F50 catamarans at more than 60 miles per hour. Fans can watch the action in stadium-style seats close to shore along Governors Island.

6/23: Summer for the City Rosanne Cash.  one of America’s leading songwriters and creative voices, performs a live set on the 30th anniversary of her classic album, The Wheel.

6/24 and 26: SummerStage The Metropolitan Opera Summer Recital featuring Brittany Olivia Logan, Hannah Jones, Matthhew Cairns

6/26: Summer for the City ABT Silent Disco With DJ Remeice and Connor Holloway. Celebrate Pride Week with American Ballet Theatre in a silent disco spun by DJ Remeice and co-

6/24: Movie nights in Bryant Park Boomerang (1992)

6/26-29: Robeson at Little Island.

6/29: SummerStage Pride Disco: DJ Trixie Mattel + Amanda Lepore + Jess King

6/30: Pride Fest, The March

6/30: SummerStage Dreamland: Pride In Central Park With John Summit

 

 

 

 

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