These are our top picks for the weekend of November 23–25. For more event listings and reviews, check out Goings On About Town.
© The Andy Warhol Foundation for the Visual Arts / ARSArt
Love or hate him, Andy Warhol is not escapable. Almost everything on display in the Whitney’s splendid retrospective feels, even now, definitively new. The show hits the most famous points—the Marilyns and the Elvises, the Jackies and the Maos—and some that are lesser known, such as precocious drawings from Warhol’s youth in his home town of Pittsburgh. In one room, many of Warhol’s multihued “Flowers” of the sixties adorn his chartreuse-and-cerise “Cow Wallpaper,” from the same period. It’s like a chromatic car wash—you emerge with your optic nerve cleansed, buffed, and sparkling.—Peter Schjeldahl
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Photograph by Jack Vartoogian / GettyNight Life
Fusion, the unruly alliance of jazz, rock, and R. & B., wasn’t yet an established genre when Miles Davis started dipping his toes in the music’s churning waters, in the late sixties. By the time of his death, in 1991, Davis had steadily reimagined fusion to his liking in ways that present-day acolytes are still working to master. An all-star contingent, featuring the trumpeters Jeremy Pelt and Randy Brecker, comes together at Iridium on Friday, Saturday, and Sunday to celebrate Davis’s farsighted vision.—Steve Futterman
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Photograph by David Williams for The New YorkerFood & Drink: Tables for Two
According to a philosophy known as “compassionate carnivorism,” the most ethical way to eat animals is to kill them yourself, as humanely as possible, thereby fully acknowledging their sacrifice for your sustenance. Does shooting fish in a barrel count? There aren’t barrels, per se, at the first U.S. outpost of Zauo, a novelty restaurant chain with thirteen locations in Japan, and there certainly aren’t guns, but there are open tanks crowded with live fish, and dinky little rods with which you, the diner, are meant to catch them. No matter how you feel about eating fish, eating at Zauo is a disaster.—Hannah Goldfield
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Photograph by Joan MarcusThe Theatre
At the center of Patricia Ione Lloyd’s eccentric, ghostly comedy “Eve’s Song,” at the Public, is Deborah, a black mother trying to hold her family—and herself—together. Deborah’s daughter, Lauren, is a budding lesbian, finding first love with the radical community organizer Upendo, and her son, Mark, is, as she says in a rage, “weird.” Her husband has left her and she hasn’t quite recovered. The world is coming for her family, and the spirits of several dead black women are haunting her, no matter her attempts at control. The brilliance of “Eve’s Song,” directed by Jo Bonney, is in its willingness to play all this trouble for mordant laughs, and to show our breaking culture for what it so often is: absurd.—Vinson Cunningham
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Photograph by GrangerMovies
Charlie Chaplin praised the French silent-comedy star and director Max Linder as his “professor”; Linder—whose movie career began in 1905—combined a self-deprecating style of first-person filmmaking with an exquisite, dandyish grace that points ahead to the anarchic antics of the Little Tramp. Yet Linder’s career was truncated by professional and personal troubles; two batches of his rare films will be screened at MOMA, on Friday and Monday.—Richard Brody
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Photograph by Salem KriegerClassical Music
Yvonne Troxler, a pianist and composer, formed the ad-hoc new-music group Glass Farm Ensemble in 2000; it’s named after the Hell’s Kitchen building in which it played its earliest concerts. Performing in the intimate Leonard Nimoy Thalia Theatre on Saturday, the ensemble brings home the music it presented during a recent European tour, including newly commissioned works by César Camarero and Ian Wilson, written for Charlotte Mundy, a versatile and expressive soprano.—Steve Smith
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Illustration by Eleni KalorkotiDance
Most people think of “The Nutcracker” as a light entertainment, and it is, but it’s also more than that. It’s an adventure, undertaken by a special little girl, Marie. She doesn’t care for conventional toys—instead, she’s drawn to the odd-looking Nutcracker. And she’s valiant—faced with a mouse a head taller than she is, she stands her ground, striking him with her slipper. The choreographer George Balanchine, who created the now classic version in 1954 for New York City Ballet (at the David H. Koch, Nov. 23–Dec. 30), had the good sense not to undermine her bravery by saying that it was all a dream. “Actually, it’s not a dream,” he once explained. “It’s the reality that Mother didn’t believe.” The Land of the Sweets, with its brilliant dancing, is her prize, and ours.—Marina Harss
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Illustration by Jorge ColomboFood & Drink: Bar Tab
The mood of Windmill, a quiet bar with bare, white walls, is faintly purgatorial. Fortunately, it’s a purgatory that serves drinks—exceptionally good ones, for which the adjective “heavenly” does not overstate things. On a recent Thursday, a gentle waiter offered his aid to two women worrying over which beverage to order. (Souls who “envy every other fate,” without choosing one for themselves, “were never truly alive,” Dante wrote, in his Inferno.) The waiter guided one to a drink with gin, “if you like gin. Everyone likes gin. But if you don’t like gin, not that.”—Elizabeth Barber
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CELEBRATING THE HOLIDAYS
Ready, set, go: check our list of New York City’s Nutcrackers, trees, menorahs, Messiahs, holiday exhibits, concerts, and more.