March 28-30, nycitycenter.org.
She’s not clowning around, but for her return to City Center, Michelle Dorrance has a special guest in the form of one: Bill Irwin. The much-admired clown and actor will perform with Dorrance in the New York premiere of “Lessons in Tradition,” as well as present the premiere of “Harlequin and Pantalone.” Throughout his career, Irwin has been captivated by the themes of commedia dell’arte; here, he creates a solo for the fantastically lanky hoofer Warren Craft, who dances the title roles. Irwin plays the narrator.
With three distinct programs, Dorrance Dance offers other treasures, too. Along with the tap veteran Brenda Bufalino’s “Jump Monk,” an ensemble work for 10 originally created for the North Carolina Youth Tap Ensemble — where Dorrance performed under Gene Medler — there will be a reimagining of “SOUNDspace.” In 2013, Dorrance turned Danspace Project at St. Mark’s Church into a sonic playground. Now City Center gets the same treatment. GIA KOURLAS
March 29, pbs.org. Through April 28, tfana.org.
To gauge what’s worrying a culture, you could do worse than to monitor its Shakespeare consumption. Ever since the presidential election of 2016, “Julius Caesar” has seemed resurgent. Liberty, tyranny, a fractured republic: We appear to be fretting over these.
This week brings two very different productions — though one is from the recent past, just now hitting PBS: Phyllida Lloyd’s all-female version from the Donmar Warehouse in London, which proved an electrifying hit at St. Ann’s Warehouse in Brooklyn, in 2013. With Harriet Walter as Brutus, it airs on “Great Performances” on Friday, March 29, and streams online the next day.
For those who prefer their Shakespeare live, Theater for a New Audience has “The Tragedy of Julius Caesar,” directed by Shana Cooper in her Off Broadway debut. Reimagined from her staging for Oregon Shakespeare Festival in 2017, it’s in previews at the Polonsky Shakespeare Center in Brooklyn, where it opens on Thursday, March 28. Brandon J. Dirden (“All the Way”) stars as Brutus. LAURA COLLINS-HUGHES
March 29, www.carnegiehall.org.
There are few Mozart interpreters as sublime as the pianist Mitsuko Uchida, who endows nearly every note she plays with exquisite, crystalline import. On March 29, she brings a pair of complementary Mozart concertos to Carnegie Hall: the bucolic and graceful No. 19 and the minor-key No. 20, whose stormy grandeur appealed to subsequent generations of romantics. The latter concerto was so admired by Beethoven that he may have performed it for Mozart himself, probably with his own impetuous cadenza that has become standard today. Uchida will lead the performance from the piano, joined by the international collective of musicians who make up the Mahler Chamber Orchestra, who will also perform orchestrated excerpts from Alban Berg’s searing “Lyric Suite.” WILLIAM ROBIN
There is plenty of work to be done in “Diane,” the debut feature from Kent Jones, opening Friday, March 29. Visiting a cousin with cancer. Checking on a drug-addicted son. Volunteering at a soup kitchen, and driving, always driving.
But Diane, the widowed septuagenarian immersed in all that busyness, will not be deterred. Played with a haunting resolve by Mary Kay Place, she goes about her day making lists and serving others, penance for a guilty conscience, though about what exactly isn’t clear. Until, as the movie progresses through months and years, and the objects of Diane’s devotion keep dying, it finally is — demonstrating the potent push-and-pull of memory and age.
Jones, the director of the New York Film Festival, has assembled a fine cast: Jake Lacy as Diane’s son, Deirdre O’Connell as her cousin and Andrea Martin as her best friend, supported by Estelle Parsons, Glynnis O’Connor, Joyce Van Patten and Phyllis Somerville. And Martin Scorsese, with whom Jones directed “A Letter to Ella,” is an executive producer of this stirring drama, which won the top award for best narrative feature at last year’s Tribeca Film Festival. KATHRYN SHATTUCK
March 29; ticketmaster.com.
Eighties babies will be particularly pleased with this year’s additions to rock’s official canon: Janet Jackson, Def Leppard, Stevie Nicks and the Cure will all be inducted into the Rock & Roll Hall of Fame at a ceremony at Barclays Center in Brooklyn. Radiohead also will be inducted after missing the chance to be first ballot hall of famers last year, much to the chagrin of fans and peers like Pearl Jam, as will fellow Brits the Zombies and Roxy Music.
The Radiohead frontman Thom Yorke will not attend the ceremony, citing a prior engagement with the Paris Philharmonic, but the other honorees will be present to be feted by a star-studded array of musical peers and descendants. Tributes and speeches will aim to encapsulate what makes this, the largest hall of fame class since 2004, so special: Stevie Nicks becoming the first woman to be inducted twice (she’s already in as a member of Fleetwood Mac), and Janet Jackson finally getting inducted 12 years after she became eligible. NATALIE WEINER
March 29; amazon.com.
As the homicide detectives Sarah Linden and Stephen Holder in “The Killing,” Mireille Enos and Joel Kinnaman were the best of partners, even when they didn’t exactly like one another. Now they’ve reunited to play the worst of enemies in “Hanna,” debuting on Friday, March 29, on Amazon Prime. And they’re out for blood.
David Farr has reimagined Joe Wright’s 2011 thriller into this eight-part series, which stars Kinnaman as Erik Heller, a rogue mercenary who rescued a baby, Hanna, from a top-secret facility — and then spent the next 15 years training her in lethal survival skills while hiding out in a forest in northern Poland. Enos is Marissa Wiegler, Erik’s C.I.A. superagent former boss, who thought the father and daughter were long dead. But now that they’ve resurfaced, she’s hunting them down to guarantee their silence before they can expose her deeply troubled past.
And Esme Creed-Miles, who inherited her acting DNA from her own parents, Samantha Morton and Charlie Creed-Miles, slays as Hanna — a role that helped make Saoirse Ronan, who played it in the original film, famous. KATHRYN SHATTUCK
Through July 7; nga.gov.
Tintoretto is still shocking. The painter born five centuries ago as Jacopo Robusti, later to be famous as “the dyer’s son,” liked to hoist the angels in his religious scenes up into strange, vertiginous positions, as if flinging them at the viewer. There’s something haunting about the way he put together colors, and the merciless insight of his portraiture can be genuinely unsettling. But the 46 paintings in “Tintoretto: Artist of Renaissance Venice,” which arrives at Washington’s National Gallery of Art this week from an inaugural run at Venice’s own Palazzo Ducale, also include moments of stately pleasure like the six-foot-long “Summer,” in which a partially undraped woman in a soft pink robe contemplates a parrot of rainbow hue. WILL HEINRICHB:
老炮儿50060.com.【这】【一】【次】【江】【诚】【对】【这】【个】【话】【题】【的】【看】【法】【跟】【上】【次】【一】【样】，【那】【就】【是】【现】【在】【的】【人】【实】【在】【是】【太】【闲】【的】【无】【聊】【了】，【所】【以】オ【会】【讨】【论】【那】【么】【无】【聊】【的】【话】【题】。 【上】【次】【在】【网】【上】【讨】【论】【江】【诚】【的】【智】【商】【有】【多】【高】，【他】【本】【人】【就】【是】【这】【么】【评】【价】【那】【些】【参】【与】【讨】【论】【的】【人】。 【反】【正】【他】【觉】【得】【现】【代】【人】【可】【能】【是】【闲】【的】【蛋】【疼】，オ【会】【一】【天】【到】【晚】【谈】【这】【种】【事】【情】。 【对】【江】【诚】【来】【说】【这】【种】【无】【赖】【的】【事】【情】，【他】【一】【向】【都】【会】【屏】
【一】【片】【虚】【无】【之】【中】，【两】【个】【身】【影】【互】【相】【看】【到】【对】【方】。 【这】【里】【是】【一】【个】【即】【将】【诞】【生】【的】【区】【域】，【现】【在】【这】【个】【区】【域】【才】【刚】【刚】【诞】【生】【了】【范】【围】，【内】【部】【没】【有】【任】【何】【存】【在】。 【时】【间】，【空】【间】，【维】【度】，【世】【间】【万】【物】【的】【概】【念】。 【一】【切】【的】【一】【切】【在】【这】【个】【刚】【刚】【诞】【生】【的】【区】【域】【都】【不】【存】【在】，【就】【在】【这】【一】【切】【尚】【未】【被】【书】【写】【的】【时】【候】【这】【个】【区】【域】【迎】【来】【了】【两】【位】【不】【速】【之】【客】。 【虚】【数】【领】【域】【的】【主】【宰】【者】，【三】
【突】【然】【间】【一】【声】【巨】【大】【的】【声】【响】！【鱼】【小】【妹】【直】【立】【起】【身】【子】！【面】【无】【表】【情】！【目】【光】【呆】【滞】！ “【砰】——！”【是】【隔】【壁】【家】【的】【人】【在】【放】【鞭】【炮】，【鱼】【小】【妹】【当】【场】【被】【喊】【醒】【了】。 【杨】【半】【烟】【和】【杨】【天】【晴】【还】【有】【杨】【天】【芮】【亲】【眼】【看】【到】【鱼】【小】【妹】【起】【来】【了】！【她】【们】【被】【吓】【了】【一】【跳】！【以】【为】【是】【鬼】【上】【身】！ “【啊】——”【母】【女】【三】【人】【恐】【惧】【的】【大】【喊】【了】【一】【声】。 【大】【夫】【被】【吓】【到】，【随】【后】【看】【向】【了】【身】【后】，【只】【见】
【阿】【良】【甚】【至】【理】【解】【了】。 【原】【来】【那】【些】【妖】【怪】，【是】【抱】【着】【这】【样】【的】【心】【情】，【才】【去】【往】【人】【间】【的】。 【听】【了】【他】【的】【话】，【少】【女】【阿】【眉】【双】【眸】【放】【光】，【是】【比】【他】【还】【要】【迫】【切】【的】【神】【情】，【忍】【不】【住】【坐】【直】【了】【身】【子】。 “【真】【的】【么】，【阿】【良】，【你】【也】【想】【去】【人】【间】【看】【一】【看】【的】【么】？【那】【太】【好】【了】，【咱】【们】【一】【起】【去】【吧】，【你】【知】【道】【么】，【也】【许】【再】【次】【穿】【越】【回】【去】，【我】【可】【以】【寻】【回】【我】【的】【记】【忆】【呢】，【到】【时】【我】【带】【你】【游】【历】【人】老炮儿50060.com.【现】【在】【限】【制】【永】【夜】【军】【领】【推】【进】【速】【度】【的】，【并】【不】【是】【东】【海】【舰】【队】【的】【反】【抗】【对】【他】【们】【造】【成】【了】【多】【大】【威】【胁】，【而】【是】【他】【们】【自】【身】【的】【消】【化】【速】【度】——【他】【们】【需】【要】【兼】【顾】【的】【战】【场】【太】【大】，【分】【兵】【太】【厉】【害】，【登】【船】【部】【队】【稍】【显】【不】【足】。 【东】【海】【舰】【队】【不】【是】【不】【想】【从】【朵】【瑙】【江】【上】【撤】【出】【去】，【而】【是】【不】【能】。 【永】【夜】【军】【领】【的】【布】【局】【实】【在】【是】【太】【周】【全】【了】。 【等】【到】【他】【们】【开】【始】【往】【后】【撤】【的】【时】【候】，【方】【才】【发】【现】，【朵】
【上】【次】***【海】【盗】【世】【界】【的】【时】【候】，【肖】【止】【就】【猜】【测】【纸】【片】【可】【能】【在】【特】【别】【搜】【集】【这】【些】【东】【西】，【但】【因】【为】【那】【种】【情】【况】【只】【出】【现】【一】【次】【所】【以】【不】【敢】【肯】【定】，【通】【过】【刚】【才】【的】【命】【运】【之】【矛】，【肖】【止】【意】【识】【到】【纸】【片】【存】【在】【着】【很】【强】【的】【目】【的】【性】…… 【纸】【片】【发】【布】【任】【务】【让】【穿】【越】【者】【们】【到】【各】【个】【世】【界】【去】【做】【任】【务】。 【不】【是】【恶】【趣】【味】【的】【想】【看】【穿】【越】【者】【们】【如】【何】【苦】【苦】【求】【生】，【再】【或】【者】【如】【同】【养】【蛊】【那】【样】【自】【相】【残】【杀】，
【半】【空】【中】【激】【烈】【的】【交】【战】，【而】【下】【方】【的】【海】【盗】【战】【舰】【和】【龙】【旗】【战】【舰】【一】【边】【靠】【近】，【一】【边】【互】【相】【激】【发】【了】【几】【波】【炮】【火】。【结】【果】【便】【是】【海】【盗】【战】【舰】【被】【毁】，【龙】【旗】【战】【舰】【也】【仅】【剩】【一】【艘】。 【经】【验】【丰】【富】【的】【海】【盗】【们】【在】【战】【舰】【沉】【没】【前】【纷】【纷】【跳】【入】【了】【海】【中】，【一】【个】【个】【叼】【着】【武】【器】【向】【那】【艘】【仅】【剩】【的】【龙】【旗】【战】【舰】【游】【去】。 【一】【些】【提】【前】【激】【发】【自】【身】【妖】【怪】【血】【脉】【的】【海】【盗】【游】【的】【最】【快】，【顶】【着】【炮】【火】【靠】【近】【了】【龙】【旗】【战】【舰】