Tribeca Cinemas screens the latest works by renowned national and international filmmakers, but not on a new-movie-every-Friday schedule. Instead, Tribeca's two theaters hosts festivals throughout the year, including the famed Tribeca Film Festival, the Architecture & Design Film Festival, NY Television Festival, and Vision Fest. In between fests, the theater's curators stick to foreign films and repertory classics, which they screen using both digital projections and projectors for 35mm and 16mm reels. They also do private screenings and theater rentals.
But entertainment at Tribeca Cinemas isn't just limited to what's onscreen. Soirees at The Varick Room, the theater's industrial-chic event venue, run the gamut from film premieres and rehearsal dinners to lavish cocktail parties. Backed by glowing red letters that spell "LIQUORS," bartenders whip up cocktails themed around each event, while the wait-staff distributes beverages and bottle service to a soundtrack of live entertainment.
If your name were Aristotle, it would be hard not to be profound. Aristotle "Telly" Savalas––the actor who exuded '70s masculinity as TV cop Kojak––proves not to be an exception. The smirking, self-aware alpha male swaggers on stage to piano accompaniment in Who Loves You, Baby?, a retro lounge comedy show where Tom DiMenna embodies Telly's persona––complete with a bald cap, a holster, and a butterfly-collared shirt tucked into a leisure suit.
Founded in 1970, Film Forum has established itself as a cultural institution, showcasing independent flicks, unforgettable classics, and globally sourced cinema. As an autonomous, full-time nonprofit theatre, the 489-seat Film Forum eschews the reigning Hollywood regime of 3-D smell-o-vision for screenings that focus on social, political, historical, and cultural commentary. Valid for one full year after activation, a $110-level one-year membership lets cineastes practice their favorite seated pastime with an array of benefits including a $5.50 price reduction on one or two tickets (from $12.50 down to $7) for every movie on all three screens 365 days a year, as well as a 20% discount on Film Forum merchandise.
The Flying Karamazov Brothers explode with ramshackle percussion, frenetic footwork, and musically inspired jokery amidst myriad trademark juggling routines. The daffiness is dashed with danger as the kilt-sporting Brothers juggle an arsenal of hazardous objects in their signature act, "The Terror," while an element of impromptu excellence enters during "The Gamble," an act that involves the juggling of personal items procured from the obliging, applauding audience.
Abbey Theatre veteran Ray Yeates takes audiences on a guided tour of the Irish émigré’s psyche with an uplifting one-man performance set amid the Irish economy's stunning collapse. In this standalone sequel to his internationally produced In High Germany, acclaimed playwright Dermot Bolger reconnects audiences with Eoin, an expat back in the country of his birth after an extended stay in Germany. Armed with no more than his sharp wits and the stitching on his polo shirt, Ray Yeates convincingly transforms the intimate West Village stage into Dublin Airport for a riveting 75-minute performance. Making use of airports’ birthday-clown-like tendency to evoke existential dread, the play extracts an uplifting story of friendship and family from the midst of a late-night boarding area.
From its inception in the 1980s performance-art scene in New York, the Blue Man Group’s shows have evolved from impromptu sets in Central Park to stages across the world. The eponymous blue-skinned trio, described by the Chicago Tribune as “ever-curious, ever-hopeful, ever-restless,” remains unchanged by its more than two-decade tenure, still bewildered by the telescoping tubes of PVC piping it uses as instruments and the appreciative applause of the audience. But the group's shows are nothing if not timely, deftly posing questions about technology and stardom.
The spectacle is equal parts aural and visual, with live rock bands accompanying the men as they tap out rhythms on tangled snarls of pipe and flail wobbly poles covered in neon lights. Videos provide context for the speechless drummers, as well as a constant stream of wry humor.