The concept of summer movies is synonymous with action, and also with action franchises, as with “Furiosa: A Mad Max Saga” (May 24), George Miller’s prequel to “Mad Max: Fury Road.” Anya Taylor-Joy plays the title character as a young woman, who is kidnapped from the matriarchy in which she’s been raised and must fight her biker-gang captors in order to return home; Chris Hemsworth plays Furiosa’s nemesis, the warlord Dementus. “A Quiet Place: Day One” (June 28), the third installment in the series, is also a prequel, directed by Michael Sarnoski and starring Lupita Nyong’o, Djimon Hounsou, Alex Wolff, and Joseph Quinn in an origin story about an alien invasion’s first contact with Earth, in New York City. “Twisters” (July 19), the sequel to the 1996 hit “Twister,” stars Daisy Edgar-Jones, Glen Powell, and Anthony Ramos as some of the storm chasers risking life and limb to track tornadoes, which have grown more prevalent owing to climate change. Lee Isaac Chung (“Minari”) directed.—Richard Brody
The Theatre
Illustration by Jackson Gibbs
Bardic Fairy Dust, “Titanic” Riffs, “Oh, Mary!” on Broadway
After a breakneck spring—a year’s worth of Broadway openings in just a few weeks—much of this summer will seem drowsy. During the dead of August, for instance, almost nothing is stirring. Early summer, though, is rife with offerings: Raja Feather Kelly’s “The Fires”—a time-hopping drama about the erotic lives of three Brooklyn men—flickers at SoHo Rep (now in previews); Alexis Scheer’s “Breaking the Story,” starring Maggie Siff as a war correspondent, premières at Second Stage (starting previews May 16); and the great Sandra Oh is at Atlantic Theatre Company in “The Welkin” (May 16), Lucy Kirkwood’s much anticipated feminist thriller about an eighteenth-century Englishwoman facing down her mobcapped peers. Atlantic Stage 2 hosts Shayan Lotfi’s sibling drama, “What Became of Us” (May 17), which rotates two starry duos: some nights, BD Wong and Rosalind Chao; others, Tony Shalhoub and the divine Shohreh Aghdashloo.—Helen Shaw
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Art
Illustration by Jackson Gibbs
Sizzling Color, Paula Modersohn-Becker, a Gilded Age Master
Though far from the most renowned today, the Jewish Museum may have been the single most important art institution in New York during the nineteen-sixties, arguably the single most important decade in New York art history; had it never existed, the careers of umpteen major sculptors and painters wouldn’t have been the same. “Overflow, Afterglow: New Work in Chromatic Figuration” (opening May 23) gathers paintings, sculptures, and installations by seven artists, most of them under forty, and continues the museum’s honorable tradition of making worthy, unfamiliar names more familiar. “Chromatic” is putting it mildly—the colors pop and sizzle, and anyone who visits in the hopes of escaping the summer temperatures will find a different kind of heat waiting inside.—Jackson Arn
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Classical Music
Illustration by Jackson Gibbs
A Philharmonic Farewell, “Inside Light”
The summer season begins with a departure, when the New York Philharmonic’s music director, Jaap van Zweden, steps down, after six years. His final programs, laden with symbolism, shift from the mournful drama of Mozart’s Requiem (select dates May 23-28) to the new-day promise of Mahler’s “Resurrection” Symphony (June 6-8), at David Geffen Hall.
Having wrapped its subscription season, the orchestra basks in the sunshine of the city’s parks and of Randall Goosby’s violin tone in free al-fresco performances of Mendelssohn’s Violin Concerto, led by Thomas Wilkins (June 11-14). The Metropolitan Opera also tours the boroughs with its free outdoor recital series (select dates June 18-28).—Oussama Zahr
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Dance
Illustration by Jackson Gibbs
“Summer for the City,” a Virginia Woolf Ballet
In summer, if you’re lucky, dance can include fresh air, beautiful views, even fireflies. For the third year in a row, Lincoln Center will be transformed into an outdoor urban playground, complete with a giant disco ball, as part of “Summer for the City” (June 12-Aug. 10). Classes, silent-disco dancing (with music provided via headphones), and themed dance parties, from swing to mambo, animate the center’s grounds—as do more formal performances. During “India Week” (July 10-14), the British dancer-choreographer Aakash Odedra—trained in kathak and bharata natyam—and the Chinese dancer-choreographer Hu Shenyuan bring their collaboration, “Samsara” (July 11-12), to the Rose Theatre at Jazz at Lincoln Center. In this tale of discovery, based on a sixteenth-century Chinese novel recounting the travels of a Buddhist monk, Odedra’s lithe, quick-footed dancing meets Hu’s liquid, shape-shifting style.—Marina Harss
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Contemporary Music
Illustration by Jackson Gibbs
Modern R. & B., Rap Agitators, Gen X Royalty
This summer of music concerts is marked by virtuosos and tinkerers, flourishing songwriters and nostalgia-laden bands, outdoor jazz and insider pop. The spellbinding harpist Brandee Younger returns to the Blue Note (June 10), and the Tuareg musician Mdou Moctar brings the intensified guitar playing of his fiery LP “Funeral for Justice” to Warsaw (June 26). As Nourished by Time, Marcus Brown blends club music and R. & B. into an aberrant pop, and he unleashes the unsteady voice at its center on Bowery Ballroom (June 11). On Aug. 23, at Terminal 5, Santigold pursues the merger of indie and electronic sounds that she began with her self-titled début, in 2008.—Sheldon Pearce
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