I’d been publishing this newsletter, more or less in its current form, for about six months before the last presidential election. I wrote, in its aftermath, about what I felt to be true: that art remained essential to a democratic society and that it wasn’t frivolous. We’ve seen, since, the way the Trump administration suppressed and defunded arts, in the same way countless fascists have done. The past two years have not been easy. But it’s a new day in the United States.
The midterms were a referendum on the MAGA movement and a reassertion of the Democratic party’s support of the working class—if the newly elected hold to their promises. With that, we may hope to see more support for the arts:
Texas senator-elect James Talarico, while serving in the Texas House of Representatives, authored a bill—which did not pass—which would have supported fine arts funding in Texas, Hyperallergic reported. “Research shows fine arts programs improve student achievement, graduation rates, and mental health,” he wrote on X in 2023. “I know it did for me when I was growing up.”
New York representative-elect Claire Valdez is a painter, who told Hyperallergic she wants to help directly fund artists and support Medicare for All to lower the cost of living, so that more people can afford to make art.
Texas representative-elect and Tejano singer Bobby Pulido has won several Latin Grammys and has been nominated for a Grammy twice. He continued performing while campaigning.
Colorado governor-elect Phil Weiser vowed to protect public investment in the arts. In a letter to the Colorado Business Committee for the Arts, he wrote: “Supporting Colorado’s creative economy means addressing housing costs, increasing employment opportunities, and the expanding access for all Coloradans to create and perform. That support must extend across the entire state, including rural communities and areas where access to arts education, programming, and funding remains limited.”
In Philadelphia, voters made Creative Philadelphia a permanent city office, to “increase public access to arts and culture, support creative communities, and celebrate Philadelphia’s cultural resources.”
We should also note that Congress plays a role in how the arts are funded on a federal level. Americans for the Arts and other groups have been lobbying for $213M each for NEA/NEH in FY2027, up from $207.0 million in FY2026. We’ll keep an eye on subcommittee appointments for an idea of how that might shape up.
And we’ll continue to see how things pan out at our dear friend the Kennedy Center. After all, Congress created it—they could win it back.
Introducing two new monthly segments—most relevant to New York City readers, though we could expand in the future. As always, I’d love to hear your thoughts.
Coming up:
So frequently do I find myself the bearer of bad news when I have to tell people they’ve missed their chance to see something really good. Here’s what’s on my calendar for the next few weeks:
November 3-22: Paul Taylor Dance Company at Lincoln Center
I’m most interested in the new Pam Tanowitz.
November 7, 11, 14: Lincoln in the Bardo at the Metropolitan Opera
The buzziest opera of the season. I’ll be there!
November 12-14: Fort Greene Orchestra presents Mahler’s Fifth
These are always enjoyable. Worth seeing Handel’s Messiah in December, too.
November 16 - December 4: Jenůfa at the Metropolitan Opera
A new production from the same director (Claus Guth) who brought Salome to the Met a few years ago. In typing this I realized I am only available for one of these shows so I suppose I’d better get my ticket…!
November 17-November 29: Complexions Contemporary Ballet at the Joyce
Your chance to see one of the best contemporary companies in the world—you have two full weeks and four programs to choose from. No excuses!
November 19-21: Einstein on the Beach at the Brooklyn Academy of Music
It’s five hours long, and I am going to Poland the next day, but I do fear I will have too bad FOMO if I don’t go. A special 50th-anniversary production of Philip Glass’s opera.
December 2 - January 2: Alvin Ailey at New York City Center
You should see “Revelations” at the very least.
October in micro-reviews:
I saw a staggering amount of performances last month (17). Here’s what I thought:
October 3: New York City Ballet “Masters at Work”
One delightful, if expected, ensemble ballet in which Tiler Peck truly shined (“La Source” by George Balanchine) and one complete masterpiece of neoclassical ballet that was a standout of the season (Balanchine’s “Four Temperaments.” One Jerome Robbins work—“The Concert (Or, the Perils of Everybody)”—that was kind of funny but a bit too unserious. Also, kind of violent toward women?
October 3: New York City Center Fall for Dance Program 5
Pony Cam won me over, Alexei Ratmansky’s “Roses from the South” made me actively angry, and Australia Ballet put me at ease with Stephanie Lake’s “Seven Days,” even if it did contain some of the stereotypes that Pony Cam alluded to earlier in the night.
October 6: “Extraordinary Woman” preview
Chloe Misseldine performing the original “Dying Swan” choreography under the direction of Isabelle Fokine. A very special night—which I wrote about at length here.
October 7: Limón Dance Company at the Joyce Theater
Exciting to see the proud and poised “Mazurkas,” by José Limón, performed for the first time in full since the 1960s, though “Join” by Aszure Barton blew me away and took me to church.
October 11: Australia Ballet: “Oscar” by Christopher Wheeldon
Phenomenal dancers, theatrical production, and a new story ballet that actually works, for once. Said that Adam Elmes deserved a promotion and then he got one.
October 13: New York City Ballet: All Balanchine I
“La Sonnambula” was deliciously odd; same for “Pithoprakta,” though in a different, far more abstract, experimentalist way. “The Unanswered Question (from Ivesiana)” was bewitching, like a continuation of the final image in “Serenade.” And it’s hard not to love “Theme and Variations,” though I prefer “Ballet Imperial.”
October 14: New York City Ballet: Contemporary Choreography I
I missed “Puncinelli Variations” (Justin Peck) because I was running from a work event, though I appreciated the absurdity of “Auspicy” (Alysa Pires). I liked the costumes of “Shared Rain” (Jennifer Archibald) but I got a bit lost in the piece. “Love Letter (on Repeat)” (Kyle Abraham) remains a feel-good favorite, though I must admit the random handshake irritates me.
October 15: New York City Ballet: Eclectic NYCB I
I liked Christopher Wheeldon’s “Continuum” less the second time I saw it, though still appreciate its crispness. “Solitude” made me cry, even as I saw it for the third or fourth time (Ratmansky redeemed). “Bourée Fantasque” (Balanchine) is fun, though takes the bit a touch too far in a particular partner pairing (small, skinny man / taller, stronger woman). The older gentleman next to me remarked, “It’s a bit tricky, because you don’t want to laugh too much, right?”
October 18: “Goya’s Musical World” at the Frick Museum
I should see more flamenco. The Frick’s concert series is underrated, also.
October 22: “Degenerates” at Playwrights Horizons
Nearly three hours long but I was locked in the whole time. Unsettling to realize times in your life you have heard manosphere talking points without realizing they were manosphere talking points……….
October 23: American Ballet Theatre: “Neoclassical Works”
It’s hard to beat “Ballet Imperial” (Balanchine) though Frederick Ashton’s “Birthday Offering” brought a pleasing change of pace, and “Mercurial Son” (Abraham) proved a great vehicle for Mezzanine Society favorite Jake Roxander and soloist Breanne Granlund.
October 24: “La Bohème” at the Metropolitan Opera
A classic and an amazing stage production that features not just a donkey but also a horse! Genuinely: some of the best operatic ensemble work I’ve seen.
October 25: American Ballet Theater: “Fresh Visions and Timeless Classics”
An utter privilege to see Jiří Kylián’s “Petite Mort”—a total masterpiece. Helen Pickett’s “Petal” was fun, with a strong performance by Madison Brown, Calvin Royal III, and James Whiteside. “Paquita” is a delight, with Chloe Misseldine pristine as ever, even if the corps work could be a touch tighter.
October 27: London City Ballet at the Joyce Theater
John Neumeier’s “Ghost Light” was disquieting and strikingly original; exciting to see him join the dancers on stage after the performance, too. A real mix of repertoire, with Ashley Page’s “Mephisto Waltz” (which ran a touch too fast), Tasha Chu’s “Soon,” and Jerome Robbins’ poetic “Quiet City”—my favorite of the program, particularly pointing to the strength of the men in the company.
October 28: American Ballet Theatre: “An Elegy and a Dream”
Exciting to see a mature, emotional work by ABT corps de ballet member Brady Farrar—who, at 21, became the company’s youngest-ever commissioned choreographer. “Flight” by Jae Man Joo felt like something I’d seen before, though Herman Cornejo is lovely to watch. Frederick Ashton’s “The Dream” is a particular treat, especially with Cate Hurlin as Titania and Roxander as Puck.
October 29: Aa | aB: BEND by Ambrose Akinmusire and Azsure Barton
Just what the doctor called for. Synths paired with jazz trumpet paired with hypnotizing social dance that takes on an air of religiosity.
October 30: “Medea” at the Metropolitan Opera
Entrancing stage design, rich vocals, and a timeless, tragic story. I also somehow spent $40 on a glass of champagne. Oops! (There are a few more performances in November)
Bonus: I read Madame Bovary by Gustave Flaubert, Operation Heartbreak by Duff Cooper, and Switzy by Emma Cline.