June 1-10

For full lineup, locales, and info:

Carnegie Hall with Dave Chapelle? Oh Toyota, I love what you genius bastards do for me. The festival includes, among many others, the Queens of Comedy (judging from radio bits, Adele is ready!), a Breast Care Benefit with Joy Behar and Sue Costello, and politickin’ with Mr. Franken. (Peretti)


June 5-August 19

Delacorte Theater, Central Park, 539-8750

William Shakespeare, an English writer from the 16th century, and Anton Chekhov, some manner of Russian doctor, headline the Public Theater’s summer in Central Park. Billy Crudup stars in Measure for Measure, beginning June 5. July 24 launches Mike Nichols’s production of The Seagull, with a remarkable all-star cast—John Goodman, Philip Seymour Hoffman, Allison Janney, Kevin Kline, Debra Monk, Larry Pine, Natalie Portman, Stephen Spinella, Meryl Streep, and Christopher Walken. (Parks)


In previews, opens June 7

Mitzi Newhouse Theater, Lincoln Center, 239-6200

Shakespeare may be in the Park, but John Guare offers Chaucer in Rome. The playwright’s latest, directed by Nicholas Martin, focuses on three Americans living in a pilgrim-filled Rome during the last year of the millennium. Pope it’s good. (Parks)


June 13-30

P.S. 122, 150 First Avenue, 477-5288

Danny Hoch’s Caseroc Productions teams up with D.C.’s Hip-Hop Theatre Junction to stage an expanded sequel to last year’s popular, summer-long merger of hip-hop and performance. Among the productions from Los Angeles, New York, D.C., and London, look out for Imagine the Angels of Bread, a concert version of Martin Espada’s book of poems, rocked in rhyme and spoken word. (Germosén)

‘TICK . . . TICK . . . BOOM!’

In previews, opens June 13

Jane Street Theater, 113 Jane Street, 239-6200

Jonathan Larson’s musical monologue, last seen in a workshop staging in 1993, gets a full production at the Jane Street Theater. The autobiographical tale concerns the emotional and career crises of a musical composer as he nears his 30th birthday. Ralph Esparza plays Jonathan; fellow Pulitzer winner David Auburn provides fixes to the late Larson’s script. (Parks)


June 15-July 17

Here, 145 Sixth Avenue, 647-0202

Clubbed Thumb continues its enterprising playwriting with three new works. Gina Gionfriddo’s U.S. Drag tracks a serial killer in NYC; Rinne Groff’s Jimmy Carter Was a Democrat climbs up with the air traffic controllers at La Guardia; and Lisa D’Amour’s 16 Spells To Charm the Beast tells the tall tale of an ever growing apartment building and, well, a Beast. (Parks)


June 20-30

Duke Theater, 229 West 42nd Street, 239-6200

Five innovative and talented companies from Spain and Latin America make a stop in NYC. This year’s fest features work from Mexico’s Compania Nacional de Teatro de Mexico, Brazil’s Companhia dos Atores, Bolivia’s Teatro de Los Andes, Ecuador’s Grupo de Teatro Malayerba, and Spain’s La Zaranga. (Riera Salomon)


June 20-August 12

Greenwich House Theatre, 27 Barrow Street, 239-6200

The Drama Dept. follows up The Book of Liz with a new play from Douglas Carter Beane. When three friends invade rural New Jersey in search of the retired host of a kids’ TV show, they find more than they bargain for. Pee-wee’s pee-pee? Mark Brokaw directs T. Scott Cunningham, Ross Gibney, Josh Hamilton, and J. Smith-Cameron. (Parks)


July 11-August 18

Ohio Theatre, 66 Wooster Street, 966-4844

The Ohio Theater’s summer festival of new work returns for its ninth year. Check out six weeks of downtown experiment from the likes of ERS, Steven and James Ratazzi, Wax Factory, John Kaplan, Samuel Buggeln, and Philadelphia’s Pig Iron Theater. (Parks)


July 16-July 29

Various Lincoln Center venues, 721-6500,

Theatrically, the summer’s smallest big event (or vice versa) will be found at Lincoln Center, where an army of artists from overseas will be presenting nine plays by Harold Pinter over the last two weeks in July. To give the minifestival the seal of authenticity, Pinter, grand master of the polysignificant pause, will be on display himself, both as actor—playing the affable torturer in his 1984 one-act One for the Road—and as director of his very latest one-act, Celebration, not yet seen in New York. Among his more notable onstage colleagues in the multiple events—one full-evening play, three double bills, and two short pieces done singly—will be Sir Ian Holm, Lindsay Duncan, and the man who first suggested that Pinter write plays, Henry Woolf, who will make his American debut in—what else?—the very first play Pinter wrote, the cryptic and fascinating The Room (1957). Produced by a combine of Dublin’s Gate Theatre and two London institutions, the Almeida and the Royal Court, the festival will travel across every facet of Pinter’s canon, from the elegiac miniaturizing of Monologue (1972) and Landscape (1967) to the intense, ferocious power games of The Homecoming (1964). Among the bustling half-month’s special features, in addition to the author’s own New York stage debut: Karel Reisz, best known for films like The French Lieutenant’s Woman (screenplay by Pinter), will direct A Kind of Alaska (1982), Pinter’s riff on Oliver Sacks’s study of patients awakened from long-term comas, while Holm, who created the manipulative son, Lenny, in the original production of The Homecoming 37 years ago, will play the tyrannical father, Max, this time around. Tickets are liable to go fast, so don’t pause while talking to the TeleCharge operators—save the ambiguous silences for your next Pinter scene. (Feingold)


August 10-26

Various locales,

For two weeks in August, you’ll be able to attend a Fringe show at almost any time of day, as over 150 companies from the U.S. and abroad set up shop in the fourth annual festival. Plays, panels, alfresco performances, and usually a lot of sweating. (Parks)