The Week in Arts: Martha Graham, ‘Ink’ and Let’s Eat Grandma

The Week in Arts: Martha Graham, ‘Ink’ and Let’s Eat Grandma

April 2-14;

As women in the United States exercised their newly won right to vote, after the passage of the 19th amendment in 1920, the modern dance pioneer Martha Graham was summoning a different kind of feminine power. Establishing her company in 1926, she created worlds where women reigned, whether uniting in bold ensembles or starring as formidable protagonists in stories told from female points of view.

That company, still intact, returns to the Joyce Theater in Manhattan with “The EVE Project,” a celebration of the 19th amendment’s upcoming centennial. The two-week season features all works by women, including premieres by Pam Tanowitz and the team of Maxine Doyle and Bobbi Jene Smith, as well as Annie-B Parson’s 2017 “I used to love you” and Lucinda Childs’s 1999 duet “Histoire.” Graham classics and obscurities, like the potent “Chronicle” and rarely seen “Secular Games,” ground the company in its founder’s vision — sometimes dated, sometimes enduringly radical. SIOBHAN BURKE

April 4-5;

Though just 19 and 20, the singers Jenny Hollingworth and Rosa Walton are longtime musical collaborators. The childhood best friends from Norwich, England, began working together nearly eight years ago, and their songs, which they record as the alt-pop duo Let’s Eat Grandma, grew up along with them. The sense of curiosity and play that once motivated the pair to sing about radioactive mushrooms and “Chimpanzees in Canopies” evolved into a more rigorous experimentalism on “I’m All Ears,” their breakout album from last year.

A production assist from the pop futurist SOPHIE on “Hot Pink” leads Hollingworth and Walton to embrace shards of industrial noise; elsewhere, they dabble in disco and prog. The pair gather disparate styles into a coherent pop point of view, with consistently deft lyricism adding a new layer of sophistication.

Let’s Eat Grandma returns to the United States for a handful of headlining dates. For their two-night engagement at Elsewhere in Brooklyn, tickets are available for their April 4 performance; April 5 is sold out. OLIVIA HORN

April 2-June 9;

“Stop giving them what you think they need,” a young Rupert Murdoch says, and by “them” he means newspaper readers. “Start offering them what they want.”

That’s the populist vision driving this 30-something mogul in James Graham’s play “Ink,” whose Murdoch — long before Fox News, or Brexit, or the rise of Donald J. Trump — is making his first inroads into Britain. In 1969, he buys The Sun newspaper, then mutates it for the masses.

Bertie Carvel (“Matilda”) won an Olivier Award for his turn as Murdoch in Rupert Goold’s West End production. In the Broadway transfer — starting previews on Tuesday, April 2, at the Samuel J. Friedman Theater — Carvel reprises the role opposite Jonny Lee Miller as The Sun’s top editor, Larry Lamb.

“Ink” is a newspapering drama, but it’s also about how our culture got here from there. As a veteran journalist warns in the play, once you stoke an appetite for what is basest in your audience, “You’ll have to keep feeding it.” LAURA COLLINS-HUGHES

April 1;

Around two decades ago, a young generation of classical musicians emerged from conservatories and universities with a sense of dissatisfaction about the current landscape for contemporary composition. Rather than wait for establishment recognition, they decided to form their own ensembles, with unusual names like Alarm Will Sound and Eighth Blackbird. One of the most continuously imaginative of these groups is Wet Ink, which celebrates its 20th anniversary on April 1 with a concert at Brooklyn’s Roulette. Inspired by the radical, improvisatory spirit of figures like Anthony Braxton and Christian Wolff, the group has revolved around the fiercely exploratory voices of its composer-performer members including Alex Mincek, Kate Soper, Eric Wubbels, and Sam Pluta, all of whose works will be featured in Monday’s concert. WILLIAM ROBIN

April 5

The vibrant redcoat of a British bugler returning to blighted Manchester from the Battle of Waterloo is a rare blaze of color throughout much of Mike Leigh’s “Peterloo.”

It also helps connect the dots between the end of the Napoleonic Wars in 1815 — which left the textile-manufacturing city mired in unemployment — and the Peterloo Massacre, on Aug. 16, 1819, when some 60,000 famished constituents assembled to protest their parliamentary representation. And a saber-wielding cavalry unit charged the crowd, killing 18 people and injuring several hundred.

Two centuries later, Leigh — who has mined class divides in “All or Nothing” and “Secrets & Lies,” and delved into period drama with “Mr. Turner” — has recreated the rebellion leading up to that bloody Monday in exacting detail, from drab poverty to royal theatricality. Overflowing with political rhetoric and character sketches for two and a half hours, “Peterloo” requires a steady attention span. But the final scenes, as a peaceful march explodes into a terrifying frenzy, are breathtaking.

“Peterloo,” which won the Human Rights Film Network Award at the 2018 Venice Film Festival, opens Friday, April 5, in New York and London and will be available to a wider audience starting April 12. KATHRYN SHATTUCK

Through Sep. 2;

Born in Damascus and raised in Lebanon, Simone Fattal trained as a philosopher in Paris and Beirut before taking up ceramics. You can see it in her work. There’s a dangerous ambiguity to the pair of glazed, two-legged figures that together comprise “Man and his shadow,” currently appearing in “Works and Days,” the artist’s extensive first American museum solo exhibition, at MoMA PS1. Though they’re easily read as human figures, they have no faces, hands or feet. At the same time, they’re far too specific to be mere symbols or abstractions — each glazed but unpolished form is an exhaustive record of Fattal’s every pinch and poke. You can’t be in their company for long before you’re forced to discard your ordinary visual assumptions and accept the two strange objects merely as unnameable material facts. WILL HEINRICH

April 3;

The filthiest mouth in the booth is back. “Brockmire,” starring Hank Azaria as a whiskey-guzzling, vulgarity-spewing baseball announcer rebuilding his career after a microphone meltdown, returns to IFC on Wednesday, April 3. Only this time he’s clean and sober and stumbling down the road to redemption.

As Season 3 begins, Jim Brockmire has bunted the bottle after three months in rehab and is sweating through Oakland’s spring training alongside a new play-by-play co-host, the softball sensation Gabby Taylor (Tawny Newsome).

And though Jules (Amanda Peet) — the minor-league owner who held his heart hostage the first two seasons — has traded up to the former Kansas City Royal George Brett, Brockmire manages to keep it together. And to turn his love of the game, whether baseball or life, into piercingly eloquent soliloquies.

Not to be missed: Linda Lavin as the mean mama who deserted Brockmire as a kid. And J.K. Simmons as Matt the Bat, a big-time player turned television personality whose nickname has nothing to do with his swing. KATHRYN SHATTUCK

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