Choreographer Marla Phelan is interested in the birth of stars – not Barbra Streisand or Lady Gaga, but cosmic ones. Working with astrophysicist Blakeslee Burkhart, she created Birth + Carnage, a dance production in which performers imitate star formation patterns and other celestial movements. Dancers' bodies are affected by gravity, as well as human forms of attraction and repulsion. Constellating, colliding and collapsing, they reflect a digital installation of astrophysical computer simulation, drawing emotional color from James Newberry's score.—Brian Seibert (ur.At MaMa's; December 19-21.)
Movies
Jamie Lee Curtis and Emma McKay in the movie Ella McKay.Photo by Claire Folger/Courtesy © 2025 20th Century Studios.
WITH “Ella McKay.” James L. Brooks, a longtime champion of rom-coms, directs his first feature film in fifteen years. In some ways, this is a blatant return to the past, and in others, a drastic modification of the genre. The story takes place mostly in 2008, when Ella (played by Emma McKee), a thirty-four-year-old political nerd who is the lieutenant governor of her unnamed state, becomes governor. Then her love life goes awry as her estranged father (Woody Harrelson) shows up and her husband (Jack Lowden) feels neglected. Flashbacks to Ella's teenage years have left her with dilemmas; Despite the touching story revealed, it is an anti-romantic comedy about loser men and the trouble they cause. Brooks looks hopefully to a new generation of insecure men whose acceptance of weakness is their strength; As for Ella, she is just a figurehead in the film. Jamie Lee Curtis plays Ella's experienced aunt.—Richard Brody (Wide release.)
Off Broadway
Remember when you were eight years old and you climbed trees, carried your bike with you, and then pedaled off the school roof? Neither do I. But such is Rajeev Joseph's world. “Terrible injuries on the playground” in which the intrepid Doug (“Legacy's” Nicholas Brown) does just that and then meets Kaylin (two-time Tony winner Kara Young) in the school infirmary, where she is recovering from a stomach ache. Subsequent scenes move back and forth in time, each focusing on forms of harm: an eye gouged out by a firecracker, thighs cut by a razor blade. The actors' age-defying transformations, aided by Sarah Law's memorable costumes, are a tour de force, but neither they nor the nauseating attempts at humor detract from the porn-watching experience.—DS (Lucille Lortel; until December 28.)
What to listen to
Hua Xu on alternatives to the usual holiday tunes.
By now you're probably tired of all the holiday music. It sounded great while you were doing the Thanksgiving dishes, but the fun started to get overwhelming. Here are some alternative expressions of goodwill, fun and peace on Earth.
Jackson 5, “In Japan!”
A Christmas soul playlist that spun non-stop eventually sent me down the Motown rabbit hole, reminding me of this live gem recorded in Osaka in 1973. It captured the Jacksons in transition—no longer ABC cherubs—and experimenting with a looser, funkier sound.
Mavis Staples.Photo by Elizabeth De La Piedra.
Mavis Staples, “A Sad and Beautiful World”
It's one of the most surprising albums of the year, with the eighty-six-year-old gospel legend covering everyone from Curtis Mayfield and Leonard Cohen to Frank Ocean and Sparklehorse. Lush and serene, with a liveliness that inspires hope for what lies ahead.
Kim Chang-wan, “Essay with Guitar”
In Korean director Park Chan-wook's deliriously dark film No Other Choice, there is a scene set to Kim's song “Let's Move On,” a tender, haunting piece about lonely people. Kim's 1983 album is a sparse “guy and a guitar” masterpiece, a slightly unfortunate soundtrack for looking out the window at sunset at 4:30. PM
True Lies, “Summer Rain EP”
London duo Real Lies create dance tunes that feel both epic and elegant. They've been one of my favorite artists for over a decade and I admire how they never do anything easy. Their latest single came out in November, but it's an amped-up celebration of past bliss called “Summer Rain.” It's simply too early to wait until 2026. But I know that when the time comes, I'll still be nodding along to “Let the Lips Fall Where They May,” the breezy pop of New Order.
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