 Kadence Short Film |  Kadence Short Film |  The Little Girl from the Missy Elliott Videos Just Posted a Sick Missy Tribute Video The Little Girl from the Missy Elliott Videos Just Posted a Sick Missy Tribute Video | ALYSON STONER - 2013 Pedal on the Pier in Santa Monica -10 - GotCeleb ALYSON STONER - 2013 Pedal on the Pier in Santa Monica -10 - GotCeleb Alyson Stoner ��� 2013 Pedal on |
 Kadence Short Film |  137437_5742 | ALYSON STONER - Avatar Wiki, the Avatar: The Last Airbender resource ALYSON STONER - Avatar Wiki, the Avatar: The Last Airbender resource Alyson Stoner - Avatar Wiki, |  ALYSON STONER |
 137437_6043 |  Alyson Stoner | ALYSON STONER is Starlight Sweet | alyson stoner stellar night 02. ALYSON STONER is Starlight Sweet | alyson stoner stellar night 02. Alyson Stoner steps out in | ALYSON STONER - Wikipedia, the free encyclopedia ALYSON STONER - Wikipedia, the free encyclopedia Alyson Stoner 2.jpg |
| One Step At A Time ALYSON STONER - Page 1 - Wattpad One Step At A Time ALYSON STONER - Page 1 - Wattpad Alyson Stoner | CREDITS | ALYSON STONER Official Blog CREDITS | ALYSON STONER Official Blog About Alyson |  ALYSON STONER | ALYSON STONER Movies - Jualbacan - News and Entertainment ALYSON STONER Movies - Jualbacan - News and Entertainment Alyson Stoner |
 ALYSON STONER | ALYSON STONER at Phineas and Ferb Press Conference at Comic-Con. ALYSON STONER at Phineas and Ferb Press Conference at Comic-Con. ALYSON STONER | ALYSON STONER Biography, Upcoming Movies, Filmography, Photos. ALYSON STONER Biography, Upcoming Movies, Filmography, Photos. Prev Slide Play Pause Next | ALYSON STONER Archives - HawtCelebs - HawtCelebs ALYSON STONER Archives - HawtCelebs - HawtCelebs ALYSON STONER at Moms Night |
| ALYSON STONER Pictures - Fanwall ALYSON STONER Pictures - Fanwall Alyson Stoner Pictures | ALYSON STONER at Phineas and Ferb Press Conference at Comic-Con. ALYSON STONER at Phineas and Ferb Press Conference at Comic-Con. ALYSON STONER |  love2everyone_ | Alyson Stoner information: elegant in color photos Alyson Stoner information: elegant in color photos Alyson Stoner |
 STEP UP ALL IN |  Kadence Short Film | ALYSON STONER Hairstyle, Makeup, Dresses, Shoes and Perfume. ALYSON STONER Hairstyle, Makeup, Dresses, Shoes and Perfume. Alyson-Stoner-28 | ALYSON STONER - IMDb ALYSON STONER - IMDb Alyson Stoner Picture |
 Where is ALYSON STONER? |  love2everyone_ | Alyson_alyson_stoner_11334069_. Alyson_alyson_stoner_11334069_. Alyson_alyson_stoner_11334069_. |  137437_5687 |
 ALYSON STONER - Dance Montage - YouTube ALYSON STONER - Dance Montage - YouTubeAlyson Stoner dance montage. By Loranne. the song is : Feedback - Janet Jackson. |  Alyson Stoner - Missy Elliott Tribute - @missyelliott. Alyson Stoner - Missy Elliott Tribute - @missyelliott.Alyson Stoner - Missy Elliott Tribute Directed by Tim Milgram: http://youtube.com/ timmilgram. |  Interview ALYSON STONER and Adam G. Sevani STEP UP. Interview ALYSON STONER and Adam G. Sevani STEP UP.Interview mit Alyson Stoner und Adam G. Sevani zu STEP UP ALL IN Mehr Interviews. |  Tyler Ward - Without You (ft. Alyson Stoner. Tyler Ward - Without You (ft. Alyson Stoner.Pick this up song on itunes: http://bit.ly/1yv8Gjz ----- I hope you enjoy this original song. For me. |
 Alyson Stoner break dancing at Santiago High. Alyson Stoner break dancing at Santiago High.These are just some clips I recorded of Alyson Stoner break dancing at my High School. |  The Hanging Tree (Original Hunger Games Remix. The Hanging Tree (Original Hunger Games Remix.Download our version of The Hanging Tree directly from us: http://bit.ly/1wXjS9u ----- Alyson. |  ALYSON STONER Dance (totally sick) - YouTube ALYSON STONER Dance (totally sick) - YouTubeYou want to learn hip hop, you see Alyson Stoner dancing and then you better go back to your. |  Taylor Swift - Shake It Off (Alex G and ALYSON STONER. Taylor Swift - Shake It Off (Alex G and ALYSON STONER.TICKETS FOR MY LA SHOW ON DEC 2ND ON SALE NOW! http://bit.ly/ AlexLAShow Get my. |
 Love On Top - Alyson Stoner A Cappella - YouTube Love On Top - Alyson Stoner A Cappella - YouTubeShes a lucky one. Alyson Stoner can dance AND SING! WOW! I love you Alyson! Ive loved. |  Maps - Maroon 5 - MAX and Alyson Stoner Cover. Maps - Maroon 5 - MAX and Alyson Stoner Cover.Special thanks to Just Dance 2015 for working with us on this awesome video! Show them the. |  ALYSON STONER Urban Reach Master Class - YouTube ALYSON STONER Urban Reach Master Class - YouTubeFirst night of Urban Reach Dance Convention Burlington got a special kick off with an adult. |  Alyson Stoner - Dragon (Thats What You Wanted. Alyson Stoner - Dragon (Thats What You Wanted.Download Dragon (Thats What You Wanted) on iTunes Tuesday, September 24th!! From. |
 Step Up: All In Official Teaser Trailer #1 (2014. Step Up: All In Official Teaser Trailer #1 (2014.Subscribe to TRAILERS: http://bit.ly/sxaw6h Subscribe to COMING SOON: http:// bit.ly/H2vZUn. |  Sweater Weather - The Neighbourhood (Max. Sweater Weather - The Neighbourhood (Max.Lol Alyson stoner was my first crush when she was in cheaper by the dozen and that missy. |  ALYSON STONER Dancing - YouTube ALYSON STONER Dancing - YouTubeAlyson is an awesome dancer. so i put these videos together. most from LThiphop. |  ALYSON STONER and Adam Sevani on Step Up: All. ALYSON STONER and Adam Sevani on Step Up: All.Alyson Stoner and Adam Sevani on Step Up: All In their various dancing inspirations, and. |
Maps - Maroon 5 - MAX and Alyson Stoner Cover - YouTube
Special thanks to Just Dance 2015 for working with us on this awesome video! Show them the love here: http://bit.ly/1ycMWsz. Let meet and play.
The Force Is With Phineas and Ferb Review
Popular animated Disney channel series Phineas and Ferb, has released another episode collection centered on a high-concept episode. In this case it is a parody of Star Wars: A New Hope, with Phineas and Ferb as background characters from Tattooine .
Shake Off 2014: Alex G and ALYSON STONER Play, Play, Play.
One of the things that sets apart highly viewed and entertaining YouTube covers (especially collabs) is when it looks like the people involved are actually having FUN. And Alex G and Alyson Stoner look like theyre having��.
ALYSON STONER and Alex G Cover Taylor Swifts Shake It Off.
Alyson Stoner and Alex G lean on each other for their leg extensions in their hilarious new cover of Taylor.
ALYSON STONER Builds A Playground with KaBOOM! - Just.
Alyson Stoner gets her hands dirty and helps to build a playground at the Barack Obama Charter School in Los.
Alyson Stoner Makes a Missy Elliott Tribute Video
Alyson Stoner aka the Little Girl from the Missy Elliott Music Videos just released an awesome Missy Tribute video and it will blow your mind!
���Hoovey��� Los Angeles Movie Premiere - ��� Alyson-Stoner.us.
Alyson attended the ���Hoovey��� Movie premiere yesterday at the Bel Air Presbyterian Church in Los Angeles, California along with her co-star Cody Linley. I added to the gallery 16 photos of Alyson at the premiere. As always��.
Little Alyson Stoner Is All Grown Up���See Her AMAZING Tribute to Missy Elliott!
Alyson Stoner is best known as that awesome little girl dancer from the Missy Elliott/Eminem videos ��� and shes still got it! Now 21, Alyson was inundated with questions from people who wanted to know why she wasnt on stage with Missy at the Super.
Max Schneider And ALYSON STONER Maroon 5 Maps Cover.
Max Schneider and Alyson Stoner teamed up for a brand new cover video, and we cant get enough! The pair have worked together before, and every.
Scheduled to open in area theaters next weekend (Jan. 30) are:
Added to the list, however, are actress-singer Alyson Stoner, who plays Hooveys sister Jen Elliott, of ���The Suite Life of Zack and Cody��� fame; Echolight Pictures president Jeff Sheets; and Echolight CEO Rick Santorum. Gold digging: This weeks edition.
The Listings
Theater A selective listing by critics of The Times: New or noteworthy Broadway, Off Broadway and Off Off Broadway shows this weekend. Approximate running times are in parentheses. * denotes a highly recommended show. + means discounted tickets were available at the Theater Development Funds TKTS booth for performances last Friday and Saturday nights. ++ means discounted tickets were available at the TKTS booth for last Friday night. +++ means discounted tickets were available at the TKTS booth for last Saturday night. Full reviews of current shows, additional listings, showtimes and tickets: nytimes.com/theater. Broadway + ALL SHOOK UP Compared to its sickly cousin, Good Vibrations (thats the Beach Boys musical), this synthetic jukebox musical, inspired by the songs of Elvis Presley, looks like Jose Canseco at his steroid-plumped peak. But the relative slickness of All Shook Up, which features the appealing Cheyenne Jackson as an Elvis-like roustabout, only highlights the emptiness of this Mamma Mia!-style story of a pleasure-challenged small town, directed by Christopher Ashley. In a pint-size theater with a campy young cast, All Shook Up might be a moderate hoot. Inflated to Broadway proportions, its a mind-numbing holler (2:10). Palace Theater, 1564 Broadway, at 47th Street, (212)307-4100. Tuesdays at 7 p.m.; Wednesdays through Saturdays at 8 p.m.; Wednesdays and Saturdays at 2 p.m.; Sundays at 3 p.m. Tickets: $19.55 to $100. BEN BRANTLEY JULIUS CAESAR Those cruel forces of history known as the dogs of war are on a rampage in Daniel Sullivans carnage-happy interpretation of Shakespeares tragedy. Dripping blood and breathing smoke, these specters are chewing up everything in their path: friends, Romans, countrymen, blank verse and even the noblest movie star of them all. Thats Denzel Washington, who plays the conflicted Brutus. As the most important passenger on this fast, bumpy ride of a show, Mr. Washington does not embarrass himself. But despite several moving evocations of Brutuss ambivalence, he cant help getting lost amid the wandering, mismatched crowd assembled here. The cast includes the classically polished Colm Feore as Cassius (2:40). Belasco Theater, 111 West 44th Street, (212)239-6200. Tuesdays through Saturdays at 8 p.m.; Wednesdays and Saturdays at 2 p.m. Sundays at 3 p.m. Tickets: $51.25 to $101.25. BRANTLEY DIRTY ROTTEN SCOUNDRELS Is there room on Broadway for another odd couple of singing con men? On paper, this tale of two mismatched scam artists has an awful lot in common with The Producers. But if you are going to court comparison with giants, you had better be prepared to stand tall. Dirty Rotten Scoundrels, directed by Jack OBrien and starring John Lithgow and Nobert Leo Butz, never straightens out of a queasy slouch. Though shot through a rowdy spirit of self-parody, the show (with songs by David Yazbek) seems to believe in its own brazen agenda only when the criminally talented Mr. Butz commands the stage. (2:35). Imperial Theater, 249 West 45th Street, (212)239-6200. Tuesdays at 7 p.m.; Thursdays and Fridays at 8 p.m.; Wednesdays and Saturdays at 2 and 8 p.m.; Sundays at 3 p.m. Tickets: $41.25 to $101. 25. BRANTLEY ++* DOUBT, A PARABLE (Pulitzer Prize, Best Play 2005). This tight, absorbing and expertly acted play by John Patrick Shanley is far more complex than surface descriptions might suggest. Set in the Bronx in 1964, it is structured as a clash of wills and generations between Sister Aloysius (Cherry Jones), the head of a parochial school, and Father Flynn (Brian F. OByrne), the young priest who may or may not be too fond of the boys in his charge. The plays balance of conflicting viewpoints, its austere institutional setting and its sensational front-page subject at first bring to mind those tidy topical melodramas of truth and falsehood that were once so popular. But Mr. Shanley makes subversive use of musty conventions. Doubt hews closely to its reassuringly sturdy, familiar form, the better to explore aspects of thought and personality that are anything but solid. And under the eloquently reserved direction of Doug Hughes, Ms. Jones and Mr. OByrne, both superb, find startling precision in ambiguity (1:30). Walter Kerr Theater, 219 West 48th Street, (212)239-6200. Tuesdays through Saturdays at 8 p.m.; Wednesdays and Saturdays at 2 p.m.; Sundays at 3 p.m. Tickets: $26.25 to $90.25. BRANTLEY +THE GLASS MENAGERIE Memory, which is notorious for playing tricks on people, pulls off some doozies in this narcoticized production of Tennessee Williamss classic drama. Staged by David Leveaux, this revival suggests that to recollect the past is to see life as if it had occurred underwater, in some viscous sea through which people swim slowly and blindly. Folks drown in this treacherous element. Unfortunately, that includes the shows luminous but misdirected and miscast stars: Jessica Lange, who brings a sleepy, neurotic sensuality to the role of the vital and domineering Amanda Wingfield, and Christian Slater, who is a red-hot firebrand as her poetical son, Tom (2:30). Ethel Barrymore Theater, 243 West 47th Street; (212)239-6200. Tuesdays at 7 p.m.; Thursdays and Fridays at 8 p.m.; Wednesdays at 2 and 8 p.m.; Saturdays at 2 and 8 p.m.; Sundays at 3 p.m. Tickets: $71.25 to $91.25. BRANTLEY +JACKIE MASON: FRESHLY SQUEEZED Jackie Mason and Spamalot make an odd Broadway pair facing off across 44th Street, but reactions to the two shows are remarkably similar: lots of laughter, much of it indiscriminate. Mr. Masons new show is being promoted as a feast of exclusively new material, and this is not false advertising. But its Mr. Masons style and not his subject matter that signifies. Mr. Mason has so cunningly manufactured and marketed his dyspeptic comic persona -- the herky-jerky movements used to embellish the routines, the voice thats like a sinus infection with a bad back -- that he may soon be able to refine all actual jokes out of his act, and still slay em. Thats chutzpah. and quite a talent, too (2:05). Helen Hayes Theater, 240 West 44th Street, (212)239-6200. Tuesdays through Fridays at 8 p.m.; Saturdays at 2 and 8 p.m.; Sundays at 3 p.m. Tickets: $81. 25. CHARLES ISHERWOOD MONTY PYTHONS SPAMALOT This staged re-creation of the mock-medieval movie Monty Python and the Holy Grail is basically a singing scrapbook for Python fans. Still, it seems safe to say that such a good time is being had by so many people (including the cast) that this fitful, eager celebration of inanity and irreverence will find a large and lucrative audience among school-age children and grown-ups in touch with the nerdy, nose-thumbing 12-year-olds within. Directed by Mike Nichols, with a cast that includes Tim Curry, David Hyde Pierce, Hank Azaria and the toothsome scenery chewer Sara Ramirez (2:20). Shubert Theater, 225 West 44th Street, (212)239-6200. Tuesdays at 7 p.m.; Thursdays and Fridays at 8 p.m.; Wednesdays and Saturdays at 2 and 8 p.m.; Sundays at 3 p.m. Tickets: $36.25 to $101.25. BRANTLEY +STEEL MAGNOLIAS In Robert Harlings freeze-dried comedy, people speak in the kinds of sentences that wind up embroidered on decorative pillows: There is no such thing as natural beauty, or, Id rather have 30 minutes of wonderful than a lifetime of nothing special. Cute and sassy or sweet and soggy, the dialogue sometimes achieves the distinction of being all these things. But despite an ensemble featuring high-profile veterans of stage, film and television (including Christine Ebersole, Delta Burke and Marsha Mason), sitting through this portrait of friendship among Southern women, set in a beauty parlor in small-town Louisiana, is like watching nail polish dry (2:20). Lyceum Theater, 149 West 45th Street, (212)239-6200. Tuesdays through Saturdays at 8 p.m.; Sundays at 3 p.m. Tickets: $46.75 to $86.25. BRANTLEY Off Broadway +* ALTAR BOYZ This sweetly satirical show about a Christian pop group made up of five potential Teen People cover boys is an enjoyable silly diversion. Staking no claim to artistic significance, it makes a nice sound, looks pretty (if you like pretty boys) and sends you home with a smile. The show comprises a dozen sly parodies cooked up by the skilled songwriters Gary Adler and Michael Patrick Walker, with winking choruses like, Girl, you make me want to wait. All the guys have terrific voices and nimble limbs, and each gets a moment to linger in the solo spotlight. (1:30). Dodger Stages Stage 4, 340 West 50th Street, (212)239-6200. Tuesdays through Fridays at 8 p.m.; Saturdays at 2 and 8 p.m.; Sundays at 3 and 7 p.m. Tickets: $66 to $69. ISHERWOOD +++DESSA ROSE Its easy to admire Stephen Flaherty and Lynn Ahrens (Ragtime) for their steadfast belief in the humanist potential in musical theater. But their new show isnt likely to win many converts to the cause. An earnest, inert musical about the unlikely friendship forged between a white woman and an escaped slave in the South in the 1840s, its a long, dreary sermon in song. Individual songs are affecting, and director-choreographer Graciela Daniele stages some numbers effectively, but the scope of the musical is too broad, and its tone is too pedagogical, for even the two central characters to detach themselves from the burden of the narrative and establish their true humanity (2:30). Newhouse Theater, Lincoln Center, (212)239-6200. Tuesdays through Saturdays at 8 p.m.; Wednesdays at 2 p.m.; Sundays at 2 and 7 p.m. Tickets: $75. ISHERWOOD FAUST IN LOVE The Target Margin Theaters take on Goethes metaphysical epic of a professor selling his soul to the devil for knowledge comes off with all the sophistication of an over-long and slightly postmodern Saturday Night Live skit. Directed by David Herskovits, this is Faust played for laughs, from the costumes (Faust is clad in plaid pajamas) to the set design. But Mr. Herskovitss pop-cultural riff on the canonical text not only falls flat, it is confusing. The second installment in Target Margins trilogy, it picks up where Faust falls for Gretchen, a virtuous young girl. David Greenspan, as a mannered, mincing and effete Mephistopheles, is grating. George Hannah, as a dreadlocked Faust, and Eunice Wong, as Gretchen bring nothing but their looks to their parts. Nicole Halmos, as the sluttish Martha, is at least entertaining. The trilogy will be played back-to-back in a marathon performance next year, a frightening thought (1:15). Ohio Theater, 66 Wooster Street, between Spring and Broome Streets, (212)358-3657. Wednesdays through Fridays at 8 p.m.; Saturdays at 4 and 8 p.m.; Mondays at 7 p.m. Tickets: $20. PHOEBE HOBAN +GOING TO ST. IVES Questions of life and death are probed and settled over pots of tea in Lee Blessings thoughtful, tidy two-hander. May NKame (L. Scott Caldwell), the mother of a bloodthirsty African dictator, and Dr. Cora Gage (Vivienne Benesch), a respected British eye surgeon, are brought together by circumstance: Mays eyesight is failing. Their relationship will have fateful consequences for both. Mr. Blessing has a handy knack for domesticating seemingly unruly subject matter: the violent legacy of colonialism, the responsibility of Western governments to confront the carnage in Africa, the moral argument for sacrificing one life to save many. But if the plays structural and thematic niceties are intellectually pleasing, they also imbue it with a hollow, manufactured quality that fine performances cannot entirely disguise (2:00). Primary Stages, 59E59Theaters, 59 East 59th Street, (212)279-4200. Tuesdays at 7 p.m.; Wednesday at 2 p.m.; Thursdays and Fridays at 8 p.m.; Saturdays at 2 and 8 p.m.; Sundays at 3 p.m. Tickets: $55. ISHERWOOD +HOT N THROBBING Im not sure if Paula Vogels play is a comedy about domestic abuse or a tragedy about the effects of pornography, but the fact that a good argument could be made for either (or both) says something about the ambitions of this curious, clever and often frustrating jumble of a play. The New York premiere is about a mother of two who pays the bills by writing adult-film screenplays. In the end, the play feels too busy, an academic exercise so overstuffed with ideas and theatrical tricks that any trace of humanity has been crowded out. Hot n Throbbing is ultimately neither (1:30). Signature Theater Company, 555 West 42nd Street, (212)244-7529. Tuesdays through Saturdays at 8 p.m.; Saturdays and Sundays at 3 p.m. Tickets: $50 to $70. JASON ZINOMAN MONK Rome Neal eases his way through this solo play about the jazz musician Thelonious Monk, taking his time to tell the story of an artist he clearly loves. Mr. Neal drops a few names and recounts career high and lowlights. He even pauses to dance during musical interludes, composed by Bill Lee. Laurence Holders workmanlike script fits Mr. Neal like a glove. Its full of laid-back lines like trial and error, baby, thats my school or you dig, well, I dug. However, this is not the show for jazz fans that want to delve deep into Monks psychology or learn something new about his process. Its like a pleasant evening with an old friend, not an emotional ride. In one telling moment, Monk says: Im enigmatic. Im weird. Im me. (1:30). Abingdon Theater Compalex, June Havoc Theater, 312 West 36th Street, (718)288-8048. Tuesdays through Saturdays at 8 p.m.; Saturdays and Sundays at 3 p.m. Tickets: $45. ZINOMAN + MOONLIGHT AND MAGNOLIAS Hollywood ghosts squabble like starving chickens in Ron Hutchinsons shrill, obstreperously silly comedy about the making of Gone With the Wind. The conceit: David O. Selznick, in his desperation to keep his magnum opus on track, locks himself, Ben Hecht and Victor Fleming in his office on the MGM lot for five days, during which time they consume nothing but bananas and peanuts, flay each other with labored wisecracks and somehow come up with a final blueprint for the movie. Taking her cue from Mr. Hutchinsons antic approach, Lynne Meadow directs the proceedings with riding crop in hand (1:50). Manhattan Theater Club, at New York City Center Stage I, 131 West 55th Street, (212)581-1212. Tuesdays through Saturdays at 8 p.m.; Saturdays at 2; Sundays at 2 and 7 p.m. Tickets: $60. ISHERWOOD THIS IS HOW IT GOES Ben Stiller, famous in movies as an everyklutz, is the ideal guide for escorting audiences through the slippery maze of Neil LaButes extended ploy of a play, directed by George C. Wolfe. In this story of an interracial romantic triangle, Mr. Stiller gives an artfully layered, deceptive performance that leaves you thinking its a pity he had to portray a moral construct instead of a character. The same might be said of Jeffrey Wright as his surly rival. Fortunately, the wonderful Amanda Peet, exuding an aura of fractured confidence, is allowed to exist outside of the confining dimensions of a sermon (1:30). Public Theater/Anspacher Theater, 425 Lafayette Street, (212)239-6200. Tuesdays through Fridays at 8 p.m.; Saturdays at 2 and 8 p.m.; Sundays at 2 and 7 p.m. Tickets: $60. BRANTLEY +WOMAN BEFORE A GLASS Peggy Guggenheim, doyenne of the 20th-century art world, becomes the latest public figure to be exhumed onstage in this one-woman show starring the formidable Mercedes Ruehl. Written by Lanie Robertson and directed by Casey Childs, the play is gaudy and moderately fun, basically a big chunk of theatrical costume jewelry. It concentrates, as these borderline morbid celebrity showcases often do, on the declining arc of its subjects worldly career, and gives us the usual generous doses of dysfunction and despair beneath the glittering résumé. Ms. Ruehl gives a vigorous, enjoyably big performance, but even her hard work cant inflate the flatter stretches in the writing (1:40). Promenade Theater, Broadway at 76th Street, (212)239-6200. Tuesdays through Saturdays at 8 p.m.; Wednesdays and Saturdays at 2 p.m.; Sundays at 3 p.m. Tickets: $66.25. ISHERWOOD Off Off Broadway RADIUM Alex S. DeFazios unfocused drama operates on the now that I have your attention principle. The first scene is of two naked men simulating anal sex. One is the plays would-be hero, Alexis (as in Alex S., one presumes). The other, J., is the plays most interesting creation, a devastatingly good-looking guy whose favorite game is picking up men and then refusing to satisfy them sexually. Ive never been rejected, not as I am, he says. Unfortunately, Radium isnt about J. The play does have an inventive Pinteresque structure, but basically Mr. DeFazio has written two acts of college-boy poetry about being gay, looking for emotional connections and feeling uncomfortable about it all (1:40). The Jewel Box Theater, at the 42nd Street Workshop Theater Company, 312 West 36th Street, (212)868-4444. Thursdays through Mondays at 8 p.m. Tickets: $25, $15 for 65+ and students. ANITA GATES Last Chance +ENDGAME Tony Roberts, the actor often used by Woody Allen to epitomize suave charm in contrast to his own hapless shlubbery, moves into new territory as Hamm in this middling revival of Samuel Becketts caustic comedy about mans fumbling reckoning with extinction. Mr. Robertss urbanity is naturally translated into Hamms imperiousness, and his polished tones lend richly funny colorations to Hamms more high-minded monologues. But this production is sharper at etching the plays mordant humor than outlining the heaving shoals of dread on which it should rest. Nevertheless, its also notable for the performance of Alvin Epstein, a superlative Beckett interpreter, as Nagg (1:30). Irish Repertory Theater, 132 West 22nd Street, (212)727-2737. Tonight at 8; tomorrow at 3 and 8 p.m.; Sundayat 3 p.m. Tickets: $45 to $50. ISHERWOOD * HOUSE/LIGHTS The Wooster Group made the right choice when it selected House/Lights to embody its three decades of work. This technically dazzling production, based on a Gertrude Stein libretto, uses simulcast video monitors and voice-layering synthesizers to spin everything that is said and done into an orbit of multiple effects. The effect is as exhilarating as it is disorienting, capturing the impact of technology-driven life in a way that flat film and computer imagery never can. The subject may be dehumanization, but the cast is among the most vital and theatrically disciplined you will ever see. (1:10) St. Anns Warehouse, 38 Water Street, at Dock Street, Brooklyn, (718)254-8779. Tonight and tomorrw at 8 p.m.; Sunday at 4 p.m. Tickets: $37 BRANTLEY . A MATTER OF CHOICE The Second Avenue subway may not be built yet, but in Chad Beckims frequently compelling comic drama, it catches three roommates in Spanish Harlem off guard and symbolically runs them over. With their building coming down to make way for the subway, they have to get out. Will these 20-somethings stick together as a substitute dysfunctional family? Its a matter of choice. Or is it? In this Partial Comfort Production, Mr. Beckim is helped by a nearly solid cast -- including Jeremy Strong as the apartments surly, hilarious primary renter -- directed by John Gould Rubin. As for language, the conversations among some of the seven characters are like urban vernacular fugues -- much of them unprintable in this newspaper (1:30). Chashama, 208 West 37th Street, (212)352-3101. Tonight and tomorrow at 8 p.m. Tickets: $15. ANDREA STEVENS ON SECOND AVENUE Can a perfectly calibrated ensemble production also be a star vehicle? Apparently so, because thats what this Folksbiene Yiddish Theaters revival is. Six appealing performers with six fine voices share roughly equal time delivering songs and shtick from the heyday of Yiddish theater, yet the shows biggest name, the American/Israeli actor Mike Burstyn, shines all that much brighter in his solo moments. This zippy revue, first seen in the 1980s, has aphorisms (He who digs a grave for others will himself fall in) and sassy couplets and lots and lots of songs. Some of the material is delivered in Yiddish, with supertitles provided, though theyre hardly worth the trouble: the performers convey all the meaning thats needed English, though, takes over for a priceless barrage of jokes delivered vaudeville-style by Mr. Burstyn. Two Jewish cannibals, he begins, but the rest wont be spoiled here (2:00). JCC in Manhattan, 334 Amsterdam Avenue, (212)213-2120. Tomorrow at 8 p.m.; Sunday at 2 and 6 p.m. Tickets: $35 to $45. NEIL GENZLINGER Movies A selective listing by critics of The Times: New or noteworthy movies playing this weekend in the New York metropolitan region. * denotes a highly recommended film. Ratings and running times are in parentheses. Full reviews of all current releases, movie trailers, showtimes and tickets: nytimes.com/movies. BEAUTY SHOP Directed by Billie Woodruff. Starring Queen Latifah, Alicia Silverstone, Kevin Bacon and Djimon Hounsou (PG-13, 105 minutes). Less a sequel than an old-fashioned sitcom spinoff, this loose and genial comedy moves the Barbershop franchise to Atlanta, and gives the ladies a turn at the warm, salty banter that made the first two installments so popular. Queen Latifa plays Gina, who quits her job at an upscale salon (run by Mr. Bacons character) and opens her own establishment. Staffed by a group of boisterous women, along with a token male, the place soon becomes a neighborhood institution. Various subplots pop up now and then, but like its predecessors, this movie runs less on story than on the relaxed, playful humor that accompanies serious hair care. A.O. SCOTT THE BALLAD OF JACK AND ROSE Written and directed by Rebecca Miller. Starring Daniel Day-Lewis (R, 112 minutes). The Jack of all trades in this new film, played by the brilliant actor Daniel Day-Lewis, is no ordinary man. A proud survivor of the 1960s and its utopian promise, Jack lives alone on an island with his only daughter, Rose (Camilla Belle), a doe-eyed beauty with the milky skin and ruby lips of a fairy-tale heroine. Shrunk to near-skeletal size, his bones poking right angles through his clothes, Jack suffers from two heart conditions. One will soon put him six feet under. But before that, the other may send the terminal outsider and his daughter down the path of disaster, though one shaped more by the tao of Oprah and Dr. Phil than the tragedy of Lear and Cordelia. A story about the limits of love, The Ballad of Jack and Rose is also about the limits of idealism as well as, rather unfortunately, those of its restlessly ambitious writer and director. MANOHLA DARGIS BE COOL Directed by F. Gary Gray. Starring John Travolta, Uma Thurman and Christina Milian (PG-13, 112 minutes). In Be Cool, Mr. Travolta, wearing black and the glazed look of the overly pampered and chronically bored, returns as Chili Palmer, the reformed mobster he first played in Barry Sonnenfelds 1995 adaptation of the Elmore Leonard novel Get Shorty. That movie arrived hot on the heels of Pulp Fiction, which in turn owed a serviceable debt to Mr. Leonards oeuvre. But while Get Shorty rode the Pulp Fiction craze with finesse, largely propelled by Mr. Travoltas star presence and a screenplay from Scott Frank, Be Cool is running on empty, fueled by nothing more than the faintest of vapors left over from those earlier successes. The new film was written by Peter Steinfeld, whose draggy, generally unfunny screenplay packs in a lot of the same characters from the Leonard novel (the sequel to Get Shorty) and too much of its overworked, conceptually anemic plot. DARGIS GUESS WHO Directed by Kevin Rodney Sullivan. Starring Bernie Mac, Ashton Kutcher and Zoe Saldaña (PG-13, 103 minutes). This loose, pointless remake of Guess Whos Coming to Dinner at least suggests that American racial attitudes have relaxed since 1967, when Spencer Tracy worried about Sidney Poitier marrying his daughter. This time, the worried father is played by Mr. Mac, and the suitor by Mr. Kutcher. Mr. Mac plays Percy Jones, a truculent suburban patriarch deeply suspicious of Simon Green, the amiable, spazzy stockbroker played by Mr. Kutcher. He and Ms. Saldaña, who plays Percys older daughter and Simons fiancée, is charming and attractive, but her role is quite secondary to what is at bottom an interracial buddy comedy. Or would be, if the squad of screenwriters had bothered to write any funny jokes. SCOTT * GUNNER PALACE Directed by Michael Tucker and Petra Epperlein. (PG-13, 86 minutes). Mr. Tucker spent several months in late 2003 and early 2004 in Baghdad recording the lives and words of members of the Armys 2/3 Field Artillery division (known as the Gunners), who were living in an opulent, bomb-damaged palace that once belonged to Uday Hussein. The resulting film is raw, powerful and confusing -- less a polished documentary than a living, unfinished document of a complicated war and the complicated young men who are fighting it. We accompany them on raids and patrols, witness their moments of leisure, and hear their own conflicted responses to their experiences, conveyed through jokes, video diaries, poems and hip-hop freestyling. Whatever your opinions of the war in Iraq, this film will provide a necessary jolt of confusion, which is the first step toward an unsentimental understanding of who the American troops are and what they face. SCOTT HOSTAGE Directed by Florent Siri. Starring Bruce Willis and Kevin Pollak (R, 113 minutes). More than sad, its slightly sickening to consider the technology, talent and know-how squandered on this pile of blood-soaked toxic waste dumped onto the screen in an attempt to salvage Mr. Williss fading career as an action hero. The star plays a former hostage negotiator who has exiled himself to a quiet southern California town after a botched standoff. He springs back into action when the cliff-hugging mansion of a crooked book-cooking corporate accountant (Mr. Pollak) is simultaneously invaded by a posse of teenage punks and by a S.W.A.T. team of high-tech gangsters. The fiery demolition of this architectural monstrosity in which the accountant lives with his two children is the only thing worth applauding in this mess of film. STEPHEN HOLDEN INSIDE DEEP THROAT Written and directed by Fenton Bailey and Randy Barbato (NC-17, 90 minutes). It was the image seen -- cheered and jeered, canonized and demonized -- around the world. In 1972 Linda Lovelace, nee Linda Boreman, star of the notorious hard-core movie Deep Throat, played the role that would bequeath her a tawdry and lasting celebrity. With a single act of extreme fellatio, this dazed and often confused 23-year-old became a pinup for the party animals sexual revolution and, in time, a martyr in the crusade against pornography. But as is clear from this lively, if maddeningly reductive documentary, Ms. Boreman was also little more than a pawn, an empty vessel for opportunists from both sides of the pornography divide. The documentary is a slam, bam, thank you, maam trifle of an entertainment, one strategically packaged for Generation A.D.D. DARGIS * LOOK AT ME Directed by Agnès Jaoui. Starring Marilou Berry, Ms. Jaoui and Jean-Pierre Bacri (PG-13, 110 minutes; in French, with English subtitles). Ms. Jaoui follows her marvelous first feature, The Taste of Others, with an equally delicious comedy, as tart as it is sweet, of ambition, miscommunication and egoism. Set in a Paris that seems to be populated entirely by artists and writers (some of whom also have beautiful houses in the country), the film affectionately tweaks the bad manners and complacency of Frances intellectual elite. Mr. Bacri plays a famous novelist whose cavalier neglect of his slightly overweight daughter (Ms. Berry) is the moral pivot on which the complex plot turns. Ms. Jaoui plays the young womans voice teacher, who husband is an up-and-coming novelist and who is either the films most honest character or its most thorough-going hypocrite. SCOTT MELINDA AND MELINDA Directed by Woody Allen. Starring Chiwetel Ejiofor, Will Ferrell, Radha Mitchell and Chloe Sevigny (PG-13, 99 minutes). The same story, more or less, told two different ways -- as serious drama and as comedy. Though the drama lacks emotional intensity and the comedy lacks funny jokes, Mr. Allen interweaves them deftly enough and provides some of the members of his large cast with opportunities to do some crisp, old-fashioned stage-style acting. The link between the two tales in Ms. Mitchell, who plays Melinda in both -- an unhappy woman who throws the romantic, professional and social lives of a group of articulate Manhattanites into mild turmoil. In the tragedy, she chain-smokes and fidgets, while in the comedy she has an ingénues golden glow. Some of the actors fare better than others -- Ms. Sevigny and Mr. Ejiofor seem best suited for Mr. Allens anti-naturalistic approach to acting, while Mr. Ferrells shambling geniality make him a poor choice for the inevitable role of Woody Allen surrogate. In any case, the movie is most powerful as an extended piece of real estate pornography, depicting a seductive fantasy New York (though filmed in the real one) where struggling filmmakers and out-of-work actors live in fabulous lofts and labyrinthine prewar apartments. SCOTT * MILLIONS Directed by Danny Boyle. Starring Alex Etel (PG, 97 minutes). When it comes to making movies, Mr. Boyle is usually up to no good, which is something this visual stylist does with great ostentatious flair. Best known for Trainspotting, a grungy entertainment about the gleefully down and out, and for the shiver-filled zombie flick 28 Days Later, Mr. Boyle is the sort of creative type in whom the milk of human kindness often seems to curdle rather than flow. Given the gaudy violence that frequently moves his stories forward and keeps them jumping, it may come as something of a surprise that he has directed a heartfelt, emotionally delicate childrens movie about life and death and all the parts in between. Pegged to a motherless child named Damian (Alex Etel, making a sensational debut), Millions is about the secret world of children, in particular that miraculous, tragically brief interlude when the young imagination -- not yet captive to crippling adult conventions like time, space and rational thought -- takes boundless flight. DARGIS MISS CONGENIALITY 2: ARMED AND FABULOUS Directed by John Pasquin. Starring Sandra Bullock (PG-13, 100 minutes). Wading through this junky sequel to her genial goofball hit Miss Congeniality, Ms. Bullock looks as if she would rather be shoveling pig waste, though of course in some respects that is exactly what shes doing. Set a mere three weeks after the first film, which was released in 2000, this sequel finds Ms. Bullock as the charmingly clumsy F.B.I. agent Gracie Hart, vainly fending off unwanted celebrity. On her last assignment, Gracie infiltrated a beauty pageant by metamorphosing from duckling to swan, a mission that earned her legions of fans across the country. After her cover is blown during a bank heist, endangering her and the other agents on her team, the powers that be decide that she should become the face of the F.B.I., the idea being that flouncing about in designer threads will be better for Gracies soul and career and, by extension, this movie than pushing pencils. It isnt. DARGIS THE PACIFIER Directed by Adam Shankman. Starring Vin Diesel (PG, 97 minutes). In the primary visual gag of The Pacifier, a Navy Seal, on a top-secret babysitting mission, retrofits his gun and grenade holders to keep baby formula and diapers at the ready. Despite the specter of boogeymen, Disneys new family flick remains chipper and occasionally clever, as it sends up the high-tech know-how required in 21st-century parenting. As a special-ops warrior with a heart-thawing assignment, Mr. Diesel succeeds as a genre-switcher through the help of an able ensemble. The mayhem should delight kids, just as the imposed order will please parents. Anyone else, however, might feel as though they are, in Mr. Diesels words, merely burning daylight. NED MARTEL THE RING TWO Directed by Hideo Nakata. Starring Naomi Watts (PG-13, 111 minutes). It was only a matter of time before the Japanese horror auteur Hideo Nakata went Hollywood and so he has at last as the director of, yes, The Ring Two, the inevitable sequel to the American remake of his original hit. (Got that?) Once again, Ms. Watts plays Rachel Keller, a journalist and a single mom to a young son, Aidan (David Dorfman), recently relocated from Seattle to a small coastal town in Oregon. In The Ring, Rachel escaped the marauding ghost in the machine and now thinks she has entered a new chapter. No such luck; she is actually mucking about on a slag heap of recycled scares, dumb lines and predictable entanglements, including some static with a potential boyfriend replacement (Simon Baker) and some weirdness with an asylum inmate (Sissy Spacek in a fright wig). Once again, blood pools, water flows and the ghost comes calling through the magic of video, scaring to death anyone foolish enough not to have made the move to DVD. DARGIS ROBOTS Directed by Chris Wedge and Carlos Saldanha. With the voices of Ewan McGregor, Halle Berry and Robin Williams (PG, 89 minutes). Like so many other non-Pixar computer-animated family movies, this one, from Foxs Blue Sky Studios, runs on visual novelty and narrative familiarity. The setting, a world made entirely for and by clanky mechanical gizmos, is rendered with impressive skill and imagination, as are the characters, an assortment of dented heroes and sleek, silvery villains. Otherwise, its the usual junkyard assemblage of celebrity voices, lame pop-cultural allusions, cool soundtrack music and heartwarming lessons about being yourself and following your dreams. There is, it must be said, a certain honesty to the story, which suggests that recycled, second-hand junk is superior to the latest high-tech upgrades, a moral the movie at once upholds and refutes. SCOTT * SCHIZO Directed by Guka Omarova. Starring Olzhas Nusuppaev (No rating, 86 minutes, in Russian, with English subtitles). This modest neo-realist film from Kazhakstan is both tough and tender, and it illuminates the lives of its characters with bracing clarity and understated empathy. Schizo is a teen-aged boy living with his mother and her boyfriend in a desolate area of vast fields and ababandoned industry. After helping his would-be stepfather recruit fighters for illegal bare-knuckle boxing matches, Schizo gets involved with Zinka, a local woman whose husband has died in the ring after a brutal bout. Their friendship is sweet and a little improbable, but as the movie follows the conventions of a crime-tinged coming-of-age story it achieves a rough, convincing poetry made of the hard circumstances of real life. SCOTT SIN CITY Directed by Frank Miller and Robert Rodriguez. Starring Benicio Del Toro, Clive Owen and Bruce Willis (R, 126 minutes). There are eight million stories in the naked city and almost as many crammed into Sin City. Based on the comic book series of the same name by Mr. Miller, this slavishly faithful screen adaptation tracks the ups and downs of tough guys and dolls recycled from the lower depths and bottom shelves of pulp fiction. Instead of Raymond Chandler, though, these hard-boiled tales owe a debt to the American primitivism of Mickey Spillane and comic book legends like William Gaines. Sin City has been made with such scrupulous care and obvious love for its genre influences that its a shame the movie is kind of a bore. In recent years, Mr. Rodriguez has been a careless craftsman, but he went to great lengths to honor Mr. Millers vision. Alas, in an effort to make a faithful adaptation, Mr. Rodriguez put his own movie sense on hold, not even bothering with a real script. DARGIS THE UPSIDE OF ANGER Directed by Mike Binder. Starring Joan Allen, Kevin Costner, Erika Christensen, Evan Rachel Wood, Keri Russell and Alicia Witt (R, 116 minutes). The upside of this deeply flawed attempt to marry midlife romantic comedy with domestic farce is that it provides a platform for Mr. Costner and Ms. Allen to do some marvelous work. Both performances are somewhat familiar: Mr. Costner, once again, is an athlete past his prime, and Ms. Allen is a brittle, unhappy suburban housewife, but the actors slip into their characters with ease and wit, and complement each other beautifully as they explore a haphazard friendship that turns into a love affair. The downside is that Mr. Binder does not give them enough of a dramatic context to work in, and undermines their efforts with a surprise ending that very nearly destroys the whole movie. Ms. Witt, Ms. Christensen, Ms. Wood and Ms. Russell play Ms. Allens daughters, but their characters are as thinly conceived as figures in a television pilot, and it is hard to believe that the four of them and Ms. Allen add up to a family. SCOTT Pop A selective listing by critics of The Times: New or noteworthy rock and pop concerts in the New York metropolitan region this weekend. * denotes a highly recommended concert. Full reviews of recent concerts: nytimes.com/music.. AND YOU WILL KNOW US BY THE TRAIL OF DEAD, Irving Plaza, 17 Irving Place at 15th Street, Union Square, (212)777-6800. Whether its fulminating about the state of music or the state of the world.And You Will Know Us by the Trail of Dead is likely to have a hefty, ringing, asymmetrical guitar riff and a big crescendo to make its sentiments known. Its albums dont often capture the bands live furor, much less its urge to smash equipment. Tomorrow and Sunday nights at 8, with the Octopus Project and the Sword opening tomorrow and the Octopus Project and the Black Sole on Sunday; tickets are $18.50. JON PARELES BAKA BEYOND, Satalla, 37 West 26th Street, (212)576-1155. Nine musicians from six countries collaborate in Baka Beyond, which mixes African and Celtic vocals and West African grooves with Breton fiddling or piping (on the bombarde), Malian kora and whatever else comes to hand. Sunday night at 7 and 9:30; tickets are $20 in advance, $25 Sunday. PARELES * DERRICK CARTER, Crobar, 530 West 28th Street, Chelsea, (212) 629-9000. Count on Mr. Carter to spin an exciting, unpredictable set. He loves to enliven his thwacking house beats with squiggles and squelches; on Live at Om (Om), an appealing double-CD that also includes a set by Mark Farina, he gravitates toward robotic bass lines, disembodied voices and scrambled snippets of disco and jazz. Tonight after 10, with Yousef; tickets are $20 in advance, $30 at the door. KELEFA SANNEH * SHEMEKIA COPELAND/HOWARD TATE, B.B. King Blues Club and Grill, 237 West 42nd Street, Manhattan, (212)997-4144. Shemekia Copeland got an early start on the blues circuit touring with her father, Johnny Copeland. She sings in in a gutsy but girlish voice, like Etta James or Bonnie Raitt, about men and their many flaws, from indifference to infidelity, but she sounds like shell get what she wants. Howard Tate, a singer born in Georgia, made a handful of recordings that musicians have considered pinnacles of 1960s soul, among them Get It While You Can (later covered, sometimes phrase for phrase, by Janis Joplin). Decades later, he has returned with his voice intact. Sunday night at 8; tickets are $20.50 in advance, $24 Sunday. PARELES THE EAGLES, Continental Airlines Arena, the Meadowlands, Route 120, East Rutherford, N.J., (201)935-3900, and Madison Square Garden, 33rd Street and Seventh Avenue, Manhattan, (212)465-6741. With the early-1970s hits that gave them one of the best-selling albums ever released, the Eagles captured Los Angeles in all its contradictory splendor: as frontier and dead end, American dream and decadent dream factory, country outpost and slick pop citadel. This tour, which started in 2003, is billed as Farewell 1 for the band of Don Henley, Glenn Frey, Joe Walsh and Timothy B. Schmit, and their set includes songs from the solo careers they intend to resume. They can check out any time they like, but can they ever leave? At Continental Airlines Arena tonight at 8; tickets are $23 to $175. At the Garden Monday night at 8; tickets are $25 to $179.50. PARELES FIAMMA FUMANA/MICHELA MUSOLINO, Satalla, 37 West 26th Street, Manhattan, (212)576-1155. A double bill from Italy. Fiamma Fumana is a trio from the Emilia-Romagna region that modernizes local folk songs with electronics and rock arrangements. The results, with fiddle, accordion and fast-talking vocals, can sound like plugged-in square-dance tunes. Michela Musolino, from Sicily, sings in more traditional style, with mournful tunes and fierce tambourine rhythms. Tomorrow at 7:30 p.m.; tickets are $15 in advance, $18 tomorrow. PARELES * THE FIERY FURNACES, Webster Hall, 125 East 11th Street, East Village, (212)353-1600. In a smart scramble of eras and attitudes, the Fiery Furnaces back Eleanor Friedbergers flippantly surreal lyrics with blues riffs, teetering analog synthesizers, parlor piano and punky noise, coming up with a 21st-century urban skiffle. Dios Malos, formerly Dios, puts indie-rock twists in songs with a sense of melody that often hints at the Beatles. Tomorrow night at 7, with Blood on the Wall opening; tickets are $15 in advance, $17 tomorrow. PARELES FORRÓ FOR ALL, S.O.B.s (Sounds of Brazil), 204 Varick Street, South Village, (212) 243-4940. Accordion and triangle drive the northeastern Brazilian music called forró, which may strike American listeners as Brazils version of zydeco: a few chords and a lot of downhome energy. Forró for All is a New York band dedicated to forrós bouncy dance tunes, and its in residence on Sundays at S.O.B.s. Sunday, doors open at 5 p.m., with sets at 7 and 9:30 p.m. Admission is $5, or $12 with a buffet of the Brazilian bean stew feijoada. PARELES GARLAND JEFFREYS AND THE CONEY ISLAND PLAYBOYS, B.B. King Blues Club and Grill, 237 West 42nd Street, Manhattan, (212) 997-4144. Garland Jeffreys is a longtime voice of multiethnic New York, mixing rock, reggae and touches of everything from doo-wop to samba. His whispered hit Wild in the Streets put him on the charts in the early 1970s, but he has songs that touch on both good times and tough questions. Tomorrow night at 7:30, with Ellsworth & Hicks opening; tickets are $27.50. PARELES SHARON JONES AND THE DAP KINGS, Southpaw, 125 Fifth Avenue, at Sterling Place, Park Slope, Brooklyn, (718)230-0236. Determined to bring back 1960s soul, the Daptone label put together a house band (the Dap-Kings) and found itself a church-rooted singer from Augusta, Ga.: Sharon Jones, who finds the flirtation and heartache in songs by the Dap-Kings bassist, Bosco Mann. Tonight and tomorrow at 8, with Fast Breakin Classics opening tonight and Budos tomorrow; tickets are $12 in advance, $14 at the door. PARELES THE KILLS, Maxwells, 1039 Washington Street, Hoboken, N.J., (201) 653-1703. The Kills are a bare-bones duo whose pithy songs suggest P.J. Harvey with a streak of film noir, spitting out tough-gal sentiments like I Hate the Way You Love. Tomorrow night at 9:30, with Scout Niblett and Trouble Everyday opening; admission is $15. PARELES * B.B. KING and BOBBY (BLUE) BLAND, North Fork Theater at Westbury, 960 Brush Hollow Road, Westbury, N.Y., (516) 334-0800. B.B. King and Bobby (Blue) Bland have been friends and touring companions for decades. Back in the 1950s, Mr. Bland worked as Mr. Kings chauffeur. Together, they sum up Memphis blues and rhythm-and-blues. B.B. King and his latest guitar called Lucille can, on a good night, summon all the tribulation and joy and resilience of the blues. Mr. Blands voice, a model for soul men in his wake, is velvety, humble and long-suffering, begging for affection with suave melancholy. Tonight at 8; tickets are $51.50 PARELES ERICK MORILLO, Spirit, 530 W. 27th Street, near 10th Avenue, Chelsea, (212) 268-9477. This veteran house producer may still be best known for producing the huge 1993 hit I Like to Move It, but since then hes established himself as one of New Yorks most popular D.J.s, known for raucous, clattering sets that sometimes gesture toward his love of Latin music. His new release is a four-disc set called, The 2 Sides of My World (Subliminal), which includes both original productions (one track, Dance I Said, features P. Diddy) and DJ mixes. Tonight after 10; tickets are $30 in advance, $40 at the door. SANNEH JERRY OSULLIVAN, Our Saviours Atonement Lutheran Church, 178 Bennett Avenue at West 189th Street, Washington Heights, (212)923-5757. Jerry OSullivan play traditional Irish music on the uilleann pipes, and hes a widely recorded virtuoso. He has performed with Sinead OConnor, Dolly Parton, Paul Winter Consort and James Galway. Sunday at 3 p.m.; tickets are $12, students, $8. PARELES PONYS/TURING MACHINE, Mercury Lounge, 217 East Houston Street, at Ludlow Street, Lower East Side, (212)260-4700. If the punky blurt of Richard Hell was hurtled back to the psychedelic late 1960s, the results would sound like the Ponys, a Chicago band whose garage-rock tilts toward new-wave anxiety. Turing Machines instrumental rock winds frenetic guitar patterns so tightly they mesmerize and then implode. Sunday night, with Shop Fronts at 7:30, Levy at 8:30, Turing Machine at 9:30 and the Ponys at 10:30; admission is $10. PARELES JOSH ROUSE/AMY CORREIA, Irving Plaza, 17 Irving Place at 15th Street, Union Square, (212)777-6800. Josh Rouses latest album, Nashville (Rykodisc), wraps folk-rock melodies around wistful thoughts about regrets, near-misses and forlorn hopes. Amy Correias quavery, off-center voice isnt as fragile as it sounds. On her new album, Lakeville (Nettwerk), the characters in her songs are often barely hanging on, but theres a clarity in her details and bluesy streak in her voice that means theyll hang on tightly. Tonight at 8; tickets are $20. PARELES * SHIVKUMAR SHARMA AND ZAKIR HUSSAIN, Town Hall, 123 West 43d Street, Manhattan, (212)840-2824 or (212)545-7536. Shivkumar Sharma plays the santur, Indias hammered dulcimer, and has transformed it from an accompanying instrument into a solo instrument that brings shimmering resonances to the classical Indian raga repertory. He will be accompanied by Zakir Hussain on tabla, who can suppy subtle propulsion and percussive fireworks over the course of a raga. Tonight at 8; tickets are $25 to $45, $15 for students. PARELES * RICHARD SHINDELL, Joes Pub, 425 Lafayette Street, East Village, (212)539-8778 or (212)239-6200. Richard Shindell has emerged as one of the folk circuits most quietly lucid songwriters, with a compassionate intelligence that gleams through his songs. He writes character studies in which finely observed details gradually add up to a larger perspective on love, war and faith. Recently he has been living in Argentina, and his most recent songs have soaked up both rhythms and history there. Tonight at 9:30; tickets are $20. PARELES ROD STEWART, Nassau Coliseum, 1255 Hempstead Turnpike, Uniondale, N.Y., (631)888-9000. The soulful scratch in Rod Stewarts voice has carried him through boozy rock, rootsy coming-of-age tales, nostalgic rock and, lately, standards. Hes unafraid to be a self-parody as long as it pleases the crowds. Sunday night at 7:30; tickets are $36.50 to $95. PARELES DALE WATSON, Rodeo Bar, 375 Third Avenue at 27th Street, (212)683-6500. Dale Watson, from Texas, sings old-fashioned honky-tonk songs that look back to Buck Owens and Merle Haggard, with fiddle and pedal steel guitar to ease the music onto the dance floor. Sunday night, the first set starts at 10; admission is free. PARELES Cabaret A selective listing by critics of The Times: New or noteworthy cabaret shows in Manhattan this weekend. * denotes a highly recommended show. Full reviews of recent cabaret shows: nytimes.com/music. BETTY BUCKLEY, Cafe Carlyle, Carlyle Hotel, 35 East 76th Street, (212)744-1600. The unifying thought behind the singers new show, Smoke, is the evanescence of perfect moments, often romantic ones, that we cant hold onto try as we might. The signature number in this smart, carefully balanced program that embraces jazz, country, bossa nova, pop standards, soft rock and art songs is Mary Chapin Carpenters pop-country When Time Stands Still. Ms. Buckleys pianist, Kenny Werner, makes a formidable musical contribution. Tonight and tomorrow night at 8:45 and 10:45. Cover: $70; no minimum. STEPHEN HOLDEN BARBARA CARROLL, Oak Room, Algonquin Hotel, 59 West 44th Street, (212)419-9331. The Lady of a Thousand Songs is back in the Oak Room for Sunday brunch and evening performances. This elegant red-headed musician and singer is a poised entertainer whose impeccable pianism belongs to the school of jazz that maintains a sense of classical decorum at the keyboard. Even when swinging out, she remains an impressionist with special affinities for Thelonious Monk and bossa nova. Vocally, she belongs to the conversational tradition of Mabel Mercer, with a style thats blasé but never cold. Sunday at 2 and 8 p.m. cover: $55 at 2, including brunch at noon; $42 at 8, with a $15 minimum. (An $80 dinner-and-show package is available.) HOLDEN * BLOSSOM DEARIE, Dannys Skylight Room, 346 West 46th Street, Clinton, (212)265-8133. To watch this singer and pianist is to appreciate the power of a carefully deployed pop-jazz minimalism combined with a highly discriminating taste in songs. She remains the definitive interpreter, at once fey and tough, of the pop-jazz satirist Dave Frishberg, as astute and unforgiving a social critic as exists. The songs -- her own and other peoples -- date from all periods of a career remarkable for its longevity and for Ms. Dearies stubborn independence and sly wit, which have never gone stale. Tomorrow night at 7; Sunday night at 6:15. Cover: $25, with a $15 minimum; a $54.50 dinner-and-show package is available. HOLDEN * SINGING ASTAIRE, Birdland, 315 West 44th Street, Clinton, (212)581-3080. With Eric Comstock, Hilary Kole and Christopher Gines. The vocal trio that created the smart revue Our Sinatra has outdone itself with this lightly swinging 70-minute compendium of songs and lore associated with Fred Astaire. Suave and dry, and fleet on the piano, Mr. Comstock is a close stylistic relative of his idol, while Ms. Koles pop-jazz singing has a Ginger Rogersesque edge. Mr. Gines fills in the difference with creamy vocal custard: witty, informative and fast-paced. Tomorrow and Sunday at 2:30 and 5:30 p.m. Cover: $30 with a $10 minimum at a table. HOLDEN Jazz A selective listing by critics of The Times: New or noteworthy jazz concerts in the New York metropolitan region this weekend. * denotes a highly recommended concert. Full reviews of recent jazz concerts: nytimes.com/music. KENNY BARRON, Dizzys Club Coca-Cola, 60th Street and Broadway, Manhattan, (212)258-9595. Mr. Barron, the pianist who has been a widespread presence in jazz over the last three decades, seeks out collaborators of various generations and styles and works energetically on the bandstand. This is his Canta Brasil band, including the guitarist Romero Lubambo, the bassist John Patitucci and the percussionist Mino Cinelu; Sets through Sunday are at 7:30 and 9:30, with an 11:30 set tonight and tomorrow; cover charge is $30; minimum, $10 at the tables, $5 at the bar. BEN RATLIFF * BASS HITS: RICHARD DAVIS, EDDIE GOMEZ, AVISHAI COHEN, Iridium, 1650 Broadway at 51st Street, Manhattan, (212)582-2121. Mr. Davis, a great bassist whose discography includes key recordings with Eric Dolphy and Sarah Vaughan as well as a sideline in classical music, is joined by Mr. Gomez and a newer virtuoso, Avishai Cohen. Sets through Sunday night are at 8 and 10, with an 11:30 set tonight and tomorrow; cover charge is $30; minimum, $10. RATLIFF MICHEL CAMILO TRIO, Blue Note, 131 West Third Street, West Village, (212) 475-8592. The Dominican jazz pianist Michel Camilo plays it close to the edge. His music is effervescent to the point of distraction; it is suave to the point of frilliness. But what saves it -- and this process typically happens several times in one of his well-made sets -- is a group effort: the crescendo that passes between him and his drummer, who this weekend is Dafnis Prieto, and the percussive effect of the bass in this group bassist, who this weekend is Charles Flores. Sets through Sunday night are at 8 and 10:30; cover charge is $30, minimum, $5 at the tables, one-drink at the bar. RATLIFF * EDMAR CASTANEDA SEXTET, Sweet Rhythm, 88 Seventh Avenue South, at Bleecker Street, West Village, (212)255-3626. A young Colombian musician, Mr. Castaneda plays the harp, which has, obviously, rarely been used in jazz; but once you see his percussive technique you might wonder why this is so. Sets are Sunday night at 8 and 10; cover charge is $15; minimum, $10. RATLIFF BILL CHARLAP TRIO, Village Vanguard, 178 Seventh Avenue South, at 11th Street, West Village, (212) 255-4037. For about eight years, the pianist Mr. Charlap has had a steady trio with the bassist Peter Washington and the drummer Kenny Washington; his performances have become extraordinary displays of discipline and improvisation in the language of mainstream jazz -- the wonders of an organized, creative mind. Sets through Sunday night are at 9 and 11, with a 12:30 set tonight and tomorrow; cover charge is $30. RATLIFF GEORGE COLEMAN QUARTET, Smoke, 2751 Broadway at 106th Street, Manhattan, (212)864-6662. Mr. Coleman, the tenor saxophonist probably best known for the great couple of years he spent with Miles Daviss quintet in the early 1960s, often plays around town with the pianist Harold Mabern. These two men, adept at the post-bop rhythmic and harmonic vocabulary, are from Memphis and have a lot of history between them, and it shows. Mr. Mabern is on hand in this group, along with the bassist John Webber and the drummer Louis Hayes. Sets are tonight through Sunday at 9, 11 and 12:30; cover charge is $25, minimum, $10. RATLIFF * ORRIN EVANS LUVPARK, BAMCafe, 30 Lafayette Avenue, Fort Greene, Brooklyn, (718) 636-4100. From Philadelphia, where so many good young jazz players seem to originate these days, the pianist Orrin Evans is a ball of energy, determined to outdo the Miles Davis quintet of the 1960s in terms of a concept of controlled freedom on the bandstand. His band members can seem as if they are just following their instincts, but at a subtle cue they snap into a piece of composed material. Hes always bringing new people into his sphere, and the shows can get happily raucous; the band this weekend is Luvpark, his electric group, fusing jazz and R&B. Tonight at 9 pm; part of the Central Brooklyn Jazz Consortium Festival; no cover, $10 minimum. RATLIFF THE FRINGE, Cornelia Street Café, 29 Cornelia Street, West Village, (212)989-9319. George Garzone is a legendary saxophonist and teacher around the Boston area. More and more, though, he has been creating a fan base in New York, often with his band the Fringe, which plays a wild and virtuosic variation on structured free jazz. Tomorrow night at 9; cover charge is $10. RATLIFF EDDIE GALE, Sistas Place, 456 Nostrand Avenue, at Jefferson Avenue, Bedford-Stuyvesant, Brooklyn, (718) 398-1766. The trumpeter Eddie Gale, once of Brooklyn and now a resident of San Jose, Calif., started out playing in the post-bop era and moved on to the 1960s avant-garde, recording with Sun Ra and Cecil Taylor. Sets are tonight at 9 and 10:30; cover charge is $20. The event is part of the Central Brooklyn Jazz Consortium Festival. RATLIFF * SUSIE IBARRA, ERIK FRIEDLANDER, EARL HOWARD, ET AL, The Stone, Avenue C and 2nd Street, East Village, www.thestonenyc.com. Ms. Ibarra, the drummer, has become one of the most important moving parts of the downtown free-jazz scene, first through working with David S. Wares quartet and then through a steady series of her own projects. She plays a solo set tonight at 8 pm. At 10, the accordionist Rob Burger plays with his band, Lost Photograph. Tomorrow at the Stone, William Parker and Perry Robinson at 8, and the cellist Erik Friedlanders Broken Arm Trio, with Greg Cohen and Mike Sarin at 10; on Sunday, Earl Howards trio at 8 and Warren Smiths quartet at 10. Admission is $10 per set. RATLIFF * STEVE KUHN TRIO, Birdland, 315 West 44th Street, midtown, (212)581-3080. A deep-harmony player Mr. Kuhn played early stints with John Coltrane and Stan Getz but eventually developed his own identifiable trio sound, one that evades strict-time boundaries. Sets are tonight and tomorrow at 9 and 11; cover charge is $30, $10 minimum. RATLIFF CARMEN LUNDY, Jazz Standard, 116 East 27th Street, Manhattan, (212)576-2232. Ms. Lundy is a post-Betty Carter jazz singer who has been performing around New York since the 1980s. Here shell be playing with the promising young guitarist Lage Lund, the bassist Kenny Davis and the drummer Victor Lewis. Sets through Sunday night are at 7:30 and 9:30, with an 11:30 set tonight and tomorrow; cover charge is $25 and $20 on Sunday. RATLIFF Classical A selective listing by critics of The Times: New or noteworthy opera and classical music events this weekend in the New York metropolitan region. * denotes a highly recommended event. Full reviews of recent music performances: nytimes.com/music. Opera DON GIOVANNI Last years new Met production of Mozarts Don Giovanni is here again and in a splendid revival filled with some names you might not know. Gerald Finley plays the Don handsomely. Adina Nitescu makes a wonderful Donna Elvira. Samuel Ramey, known for the title role over his long career, plays Leporello here and does it very well. Philippe Jordan, a young Swiss conductor, seems to have the ear of the Met orchestra. Definitely worth a trip. Tomorrow night at 8, Metropolitan Opera House, Lincoln Center, (212)362-6000. Tickets: $40 to $215. BERNARD HOLLAND MADAMA BUTTERFLY The essentials of Puccinis opera are well-served in Mark Lamoss spare, attractive New York City Opera production, in which a magnified and uncluttered version of a traditional Japanese house fills the stage. A new cast joins the production tomorrow, with Marc Heller as Pinkerton, Jee Hyun Lim as Butterfly, Michael Corvino as Sharpless and Kathryn Friest as Suzuki. Atsushi Yamada conducts. Tomorrow night at 8, New York State Theater, Lincoln Center, (212)870-5570. Tickets: $32 to $105. ALLAN KOZINN THE PEARL FISHERS The New York City Opera unveils its new production of this seldom performed early Bizet opera about a priestess and her piscatorial admirers in ancient Ceylon. It may not have the dramatic and musical heft of Carmen, but there is still plenty to admire in Bizets exquisite vocal writing for the three principals. In this case, they are Mary Dunleavy, Stephen Powell and Yeghishe Manucharyan, in his City Opera debut. The production is by Andrew Sinclair and Emmanuel Plasson conducts. Sunday at 1:30, New York State Theater, Lincoln Center, (212)870-5570. Sold out, but returns may be available. JEREMY EICHLER TOSCA The young Italian tenor Salvatore Licitra made a last-minute debut at the Metropolitan Opera in May of 2002, substituting for Luciano Pavarotti in Puccinis Tosca on what was assumed (incorrectly, it turned out) would be Mr. Pavarottis farewell to the Met. On that night, Mr. Licitra, who was 33 at the time, seemed an immensely gifted tenor with an exciting but raw and unfinished voice. He is back at the Met for the first time since his dramatic debut, again as Cavaradossi in Tosca. Unfortunately, as an artist and singer he remains a work in progress. He still boasts a dusky-toned and powerful voice and sings with youthful energy and fervor. But he was vocally cautious on the first night of the Mets revival of Franco Zeffirellis 1985 production and his phrasing was sometimes labored. His Tosca, the veteran soprano Maria Guleghina, as is her way, sacrifices beauty of sound and lyrical elegance for the sake of hard-edged power and dramatic intensity. The excellent baritone Mark Delavan makes a vocally robust and dramatically imposing Scarpia. James Conlon conducts. Tomorrow at 1:30 p.m., Metropolitan Opera House, Lincoln Center, (212)362-6000. Sold out, but returns may be available. ANTHONY TOMMASINI Classical Music BARGEMUSIC Moored in the shadow of the Brooklyn Bridge, this intimate floating concert hall is a charming place to hear solo performances and chamber music while rocking gently on the waves of the East River. Tonight, the pianists Gerald Robbins and Jonathan Irving survey works by Mozart and Schubert. Tomorrow and Sunday, the Italian pianist Roberto Prosseda performs an all-Mendelssohn recital that promises a high degree of novelty: five works on the program are listed as American or world premieres. Tonight and tomorrow night at 7:30 and Sunday afternoon at 4, Fulton Ferry Landing, under the Brooklyn Bridge, Brooklyn, (718)624-2083. Tickets: $35; students, $25. EICHLER OLGA BORODINA The Metropolitan Museums Temple of Dendur is a stunning place to take in and wander through. It is far from ideal, though, as a concert hall. Music reverberates through the temple creating lots of shimmering but indistinct sound. Still, singers enjoy performing there, since it gives such an unearthly lift to their voices, and audiences seem to enjoy the temples echo-chamber ambiance. The dusky-tone and powerful mezzo-soprano Olga Borodina, who doesnt need an acoustical boost, presents a recital there tomorrow night as part of the museums Great Voices in Dendur series. With the pianist Dmitri Yefimov she sings a program of songs by Rachmaninoff and Tchaikovsky. Tomorrow night at 8, Metropolitan Museum of Art, Fifth Avenue at 82nd Street, (212)570-3949. Tickets: $55. TOMMASINI BRENTANO STRING QUARTET This accomplished and exciting quartet offers a richly varied program tomorrow night. It opens with the New York premiere of Bruce Adolphes Oh, Gesualdo, Divine Tormenter!, a suite of seven pieces by and about the radically original Italian Renaissance madrigal composer. Following this will be Schoenbergs visionary 1908 Second String Quartet, which includes a part for soprano, a setting of a poem by Stefan George, here sung by Elizabeth Keusch. The Brentano players conclude with one of the landmarks of the repertory, Beethovens late string quartet in A minor, Op. 132. Tomorrow night at 7:30, Zankel Hall, Carnegie Hall, (212)247-7800. Tickets: $30 to $42. TOMMASINI NEW JUILLIARD ENSEMBLE Joel Sachs, the conductor, has built his reputation on leading the New Juilliard Ensemble on all manner of musical expeditions into new areas and new works, so its no surprise that the ensembles final concert of the season features four world premieres. Two of the new works were written for the ensemble: the Indonesian composer Tony Prabowos Psalms, dedicated to the victims of the tsunami, and Edward Niedermaiers Weiber von Weinsberg, based on an oft-told German tale about a group of clever women in the Middle Ages who managed to save their husbands from execution. The other works are a clarinet concerto by Valentin Bibik, Walter Zimmermanns Schatten der Ideen 5, and, in its New York premiere, Wanderlied by the French composer Betsy Jolas. Tonight at 8, Alice Tully Hall, Lincoln Center, (212)769-7406. Tickets are free, but required; they can be obtained at the Juilliard box office. ANNE MIDGETTE NEW YORK PHILHARMONIC Christoph von Dohnanyi was to have led the New York Philharmonic this weekend, but when he withdrew because of illness, Semyon Bychkov stepped in for him. Mr. Bychkov has demonstrated considerable expertise in Shostakovich, and his concert includes the composers Symphony No. 7, a portrait of the besieged Leningrad during World War II. Retained from Mr. Dohnanyis original program is the Beethoven Fourth Piano Concerto, with Mitsuko Uchida as the soloist. Tonight and tomorrow night at 8, Avery Fisher Hall, Lincoln Center, (212)721-6500. Tickets: $25 to $90. KOZINN ORPHEUS This orchestras performances are generally well-polished and carefully thought through, leaving little reason to lament its refusal to work with a conductor, and the works on its program tomorrow are of the sort that show the groups strengths. Included are Mozarts Symphony No. 29, Haydns Scena di Berenice and two 20th century American works, Samuel Barbers Knoxville: Summer of 1915 and John Adamss Chamber Symphony. Barbara Bonney, the soprano, is the soloist in the Haydn and Barber works. Tomorrow night at 8, Carnegie Hall, (212)247-7800. Tickets: $30 to $88. KOZINN ESA-PEKKA SALONEN Better known as a conductor than as a composer, Esa-Pekka Salonen has lately been putting his own music in the spotlight, and to fine effect: his works are beautifully made, often witty and accessible without being simplistic. Per Tengstrand, a superb Swedish pianist, included one of Mr. Salonens works in a recital program a few weeks ago, and now offers more of them in a collaboration with the Scandinavian Chamber Orchestra. Tonight at 7:30, Scandinavia House, 58 Park Avenue, between 37th and 38th Streets, (212)879-9779. Tickets: $25. KOZINN SILK ROAD ENSEMBLE Yo-Yo Mas experiment in combining Eastern and Western styles and instruments has yielded happy results, some of which are on display here in works by Kayhan Kalhor, Franghiz Ali-Zadeh, Zhao Jiping and others. A family concert takes place in the afternoon, a full concert at night. And those who cant make either can catch up with the groups concoctions on a new recording from Sony Classical. Today at 2 and 8 p.m., Carnegie Hall, (212)247-7800. Tickets: $8, family concert; $17 to $47. JAMES R. OESTREICH TALLIS SCHOLARS This superb English vocal ensemble has been setting a high standard in the performance of Renaissance music for more than 25 years, and though it is by now a familiar presence in New York, it is no less welcome. Here, in a concert presented by Riverside Church in collaboration with the Miller Theater, Peter Phillips, the groups founder, directs it in works by Josquin, Gombert, Lassus, Byrd and others. Tonight at 8, Riverside Church, Riverside Drive at 122nd Street, Morningside Heights (212)854-7799. Tickets: $35, $21 for students. OESTREICH Dance A selective listing by critics of The Times: New or noteworthy dance events this weekend in the New York metropolitan region. * denotes a highly recommended event. Full reviews of recent performances: nytimes.com/dance. * BALLET BUILDERS These programs are always adventures in discovery, for they feature new works by emerging choreographers from around the country. The participants in the current series are Melissa Barak, of the New York City Ballet; Jennifer Hart, of Minnesota Dance Theater; Jamey Leverett, of Rochester (N.Y.) City Ballet; Gina Patterson, of Ballet Austin (Texas); Bonnie Scheibman, an independent New York City teacher and choreographer; Alison Seidenstricker, who directs her own New York City company, and Paul Vasterling, of the Nashville Ballet. Tomorrow at 8 p.m., Sunday at 3 p.m., Gould Hall, 55 East 59th Street, (212)355-6160. Tickets: $25. JACK ANDERSON BENNINGTON COLLEGE AFTER SCHOOL A liberal arts college known for its dance program offers works by alumnae Willa Carroll (1997), Elizabeth Ward (1999) and Katie Martin (2004) and current Bennington students. Tomorrow at 3 p.m., St. Marks Church, Second Avenue at 10th Street, East Village, (212)674-8194. Free. ANDERSON BROOKLYN DANCE SAMPLER Presented by the Thread Dance Theater, this two-day showcase will feature work by Brooklyn-based choreographers, companies and schools, among them the Charles Moore Dance Theater and Brooklyn Arts Exchange. Tomorrow at 8 p.m., Sunday at 4 p.m., BRIC Studio, 57 Rockwell Place, around the corner from the BAM Harvey Theater, Brooklyn, (718)633-5678. Tickets: $15. JENNIFER DUNNING DANCE COLLECTIVE A company promoting modern-dance diversity presents an evening of works by Carol Nolte. Her premieres, The Call, a sensuous dance to Brazilian music, and Black Crow, a solo, share the program with Monk Edit, a tribute to Thelonious Monk; Tower, which honors the spiritual strength of women following the 9/11 disaster, and Red Dirt, which evokes the earth and sky of New Mexico. Tonight at 9, tomorrow at 8 p.m., Merce Cunningham Studio, 55 Bethune Street, West Village, (212) 627-4275. Tickets: $15. ANDERSON * DANCE THEATER OF HARLEM OPEN HOUSE The company and school throw open their doors every first Sunday for relaxed entertainment, this month by Flamenco Vivo Carlota Santana, professional and student dancers from DTH, the Abyssinian Baptist Church Chancel Choir and Jeanne Ricks, a songwriter and storyteller. Sunday at 1 and 3:30 p.m., Dance Theater of Harlem, 466 West 152nd Street between Amsterdam and St. Nicholas Avenues, Manhattan, (212)690-2800. Tickets: $8; $4 for children 12 and under (1:30 performance); $18; $14 for children 12 and under (3:30 performance and reception). DUNNING DANCES PATRELLE The program of this young classical ballet ensemble features Francis Patrelles new American Overture, a solo set to music by Leonard Bernstein and performed by the guest artist Marcelo Gomes. Tonight and tomorrow at 8 p.m. The company will also present childrens matinee performances of Mr. Patrelles Madeline at the Circus, based on the Bemelman books and performed by the Cuyahoga Valley Youth Ballet. Tomorrow at 2 and 4 p.m., Symphony Space, Broadway and 95th Street, Manhattan, (212)864-5400. Tickets: $20 to $40 (evenings); $10 to $30 (childrens matinees). DUNNING * NEIL GREENBERG Mr. Greenberg has a rare gift for integrating dance and video almost inextricably, so that each plays against and enhances the other. In his new Partial View, set to music by Zeena Parkins, he plays with perspective in dancing by four performers live onstage and in live and prerecorded video footage by John Jesurun. Tonight and tomorrow (and Wednesday through next Saturday) at 7:30 p.m., Dance Theater Workshop, 219 West 19th Street between Seventh and Eighth Avenues, Chelsea, (212)924-0077. Tickets: $25; $15 for students and 65+. DUNNING JULIETTE MAPP AND OSMANI TELLEZ The dangers of the real world and the mysteries of the unknown are contrasted in a program shared by two choreographers. Ms. Mapps One, performed by 60 members of the New York dance community, is a meditation on the death toll of the war in Iraq. Mr. Tellezs Out is filled with surreal images expressing the complexity of the human mind. Tonight, tomorrow and Sunday at 8:30 p.m., St. Marks Church, Second Avenue at 10th Street, East Village, (212)674-8194. Tickets: $15. ANDERSON * RICHMOND BALLET A flourishing regional company that dates back to 1957 and which has emphasized new works as well as revivals, makes its New York debut with two programs of New York premieres. Program A has ballets by William Soleau, Jessica Lang and Colin Connor. Program B presents pieces by Val Caniparoli, Mauricio Wainrot and Stoner Winslett, the companys director. Tonight at 8 (Program B), tomorrow at 2 (special childrens matinee) and 8 p.m., (Program A), Sunday at 2 p.m. (Program B), Joyce Theater, 175 Eighth Avenue at 19th Street, Chelsea, (212) 242-0800. Tickets: $38. ANDERSON KAATSBAAN STARBURST GALA Star dancers from companies including American Ballet Theater and the New York City Ballet will perform to raise money for Kaatsbaans bucolic work and performance complex. Tomorrow at 7:30 p.m. Kaatsbaan International Dance Center, 120 Broadway, Tivoli, N.Y., (845)757-5107. Tickets: $125 (tax deductible and includes cocktail reception). DUNNING STREB S.L.A.M. Ms. Strebs Frequent Flyers -- shes not kidding -- will soar, crash and dodge through dances new and familiar for three more weeks at her Brooklyn studio-theater. Popcorn served. Tonight and tomorrow night at 7; Sunday at 3. Through May 1. S.L.A.M., 51 North First Street, Williamsburg, Brooklyn (718) 384-6491. Tickets: $15 adults; $10 children; free for children under 4. DUNNING KATHY WESTWATER Ms. Westwater, a lively veteran in the downtown dance scene, will present twisted/tack/broken, which she describes as a neoromantic melodrama. Tonight through Sunday at 8 p.m., Joyce SoHo, 155 Mercer Street between Houston and Prince Streets, Manhattan, (212)334-7479. Tickets: $50 (tonights benefit performance); $15; $12 students and 65+. DUNNING Art A selective listing by critics of The Times: New or noteworthy art, design and photography shows at New York museums and galleries this weekend. At many museums, children under 12 and members are admitted free. Addresses, unless otherwise noted, are in Manhattan. Most galleries are closed on Sundays and Mondays, but hours vary and should be checked by telephone. Gallery admission is free unless noted. * denotes a highly recommended show. Full reviews of recent shows: nytimes.com/art. Museums DEFINING YONGLE: IMPERIAL ART IN EARLY 15TH-CENTURY CHINA, Metropolitan Museum of Art, Fifth Avenue at 82nd Street (212)535-7710, through July 10. The Mets first exhibition to focus on the reign of a single Chinese ruler has a gem-like perfection and is sequestered, fittingly, in the sanctumlike space of its Chinese Decorative Arts Galleries. Object by object, it reflects astounding feats of craftsmanship in porcelain, lacquer ware, metalwork, embroidery, gilt bronze and ivory from the court of the great Ming emperor (and fanatical Buddhist) Yongle. But as a whole it demonstrates a messy exchange of ideas, styles and motifs between China and the rest of Asia, proving once more that any culture is an amalgam of many. Hours: Sundays, Tuesdays through Thursdays, 9:30 a.m. to 5:30 p.m.; Fridays and Saturdays until 9 p.m. Admission: $15; students, $7 and 65+, $10. ROBERTA SMITH * DIANE ARBUS REVELATIONS, Metropolitan Museum of Art, Fifth Avenue at 82nd Street, (212)535-7710, through May 30. Arbus could be cruel, but tenderness and melancholy were her finest modes of expression, the emotions that reveal themselves after her best pictures leave their first impression, which is often alarm. She captured a moment, the anxious 1950s and 60s, and -- this probably applies as much to Arbus as to any other photographer of the second half of the last century -- she captured New York. Appropriately, she is given the royal treatment at the Met, including some maddeningly dark, dense and absurdly theatrical galleries, like chapels, of memorabilia. That said, it touches her favorite subjects with grace. Even the shocking photographs of retarded women are sympathetic, implying that the world is full of wondrous things, if our eyes are open enough to recognize them, and that in the end we are all drawn together by our different flaws. Hours and admission: see above. MICHAEL KIMMELMAN DANIEL BUREN: THE EYE OF THE STORM, Solomon R. Guggenheim Museum, 1071 Fifth Avenue, at 88th Street, (212)423-3500, through June 8. The latest artist to be given Frank Lloyd Wrights Guggenheim to play with, Mr. Buren has devised a lumbering construction, 81 feet tall, the corner of what would be a cube large enough to enclose the rotunda, mirrored floor to ceiling. Imagine a glass office tower slammed through the front of the building. The spiraling ramps and circular roof complete themselves in the mirrored reflections, which predictably shift and shimmy in slightly queasy-making fashion along with your movement up or down the ramp. There is not much to the work beyond that. The museums ramps are empty. Alternative panes of the circular skylight are colored with magenta gels, making a kind of checkerboard pattern. This is pretty. Short kelly-green stripes of tape are stuck below the outside rim of the rotundas parapet. These are not attractive. A suite of Mr. Burens colored striped paintings from the late 1960s and 70s are eccentrically aligned, Salon style, on adjacent walls of the museums High Gallery and reflect through the gallerys doorway in the mirrors. They are at once boring and precious. Hours: Saturdays through Wednesdays, 10 a.m. to 5:45 p.m.; Fridays, 10 a.m. to 8 p.m. Admission: $15; students and 65+, $10. KIMMELMAN * LARRY CLARK, International Center of Photography, 1133 Avenue of the Americas, at 43rd Street, (212)857-0000, through June 5. The controversial creator of two influential books of photography -- Tulsa (1971) and Teenage Lust (1983) -- and director of the brilliant movie Kids (1995) has his first retrospective. The compulsively provocative Mr. Clark specializes in chronicling the dark and seamy side of American youth culture and his best works are unnervingly intimate, morally disturbing and beautiful. Hours: Tuesdays through Sundays, 10 a.m. to 6 p.m. Fridays, 10 a.m. to 8 p.m. Admission: $10; students and 65+, $7. KEN JOHNSON * TIM HAWKINSON, Whitney Museum of American Art, Madison Avenue at 75th Street, (212)570-3676, through May 29. On the gee-whiz meter, Tim Hawkinson skews high. His midcareer retrospective, like a mad scientists fair of screwball contraptions, sprawling in no obvious order across the museums fourth floor,hopscotches from one dexterous tour de force to the next. Each requires some head-scratching decipherment, inviting admiration for its doggedness, while not straining too hard to earn a viewers love. Feats of physical fancy, when so dizzily executed, can be their own justification. Mr. Hawkinsons larger purpose, you might say, is simply wonderment. At the same time the art borrows a healthy strain of ludicrous wit from Samuel Beckett, who knew a thing or two about how to clown around smartly. Hours: Wednesdays, Thursdays, Saturdays and Sundays, 11 a.m. to 6 p.m.; Friday 1 to 9 p.m.; closed Mondays and Tuesdays. Admission: $12; students and 62+, $9.50; children 12 and under, free. KIMMELMAN PORTRAITS OF AN AGE: PHOTOGRAPHY IN GERMANY AND AUSTRIA, 1900-1938, Neue Galerie, 1048 Fifth Avenue, at 86th Street, (212)628-6200, through June 6. More than 100 faces make up the cast of this show. The portraits were shot by 35 photographers active in the two countries, among them Lotte Jacobi, Josef Albers, Gisele Freund, Laszlo Moholy-Nagy and August Sander. Their images not only give a sense of the rich cultural life in Austria and Germany before the Nazis but also help trace the history of photography during the period. More important, this savvy show homes in on the changing ways people presented themselves in an era of rapidly turning social values. GRACE GLUECK Galleries: Uptown NORMAN BLUHM James Graham & Sons, 1014 Madison Avenue, at 78th Street, (212)535-5767, through April 23. A second-generation Abstract Expressionist who tended to dismiss the designation, Bluhm (1921-99) nevertheless held on to the broad, sweeping gestural painting associated with the movement. Yet his exuberantly free-form work was grounded by a solid background in architectural drawing and informed by a keen interest in art of earlier times. His attraction to the ripe, juicy female figure as a subject is fully manifest in these later works on paper, rife with erotic shapes. Bluhm was a painter to reckon with: unfazed by styles or trends, he did it his way. GLUECK Galleries: 57th Street IN BLACK AND WHITE, Lori Bookstein Fine Art, 37 West 57th Street, (212)750-0949, through April 29. This ecumenical group show follows its color scheme across the party lines separating generations, mediums, styles, and cliques. One of the earliest works is an unusual 1950s oil-on-board by Ad Reinhardt that looks like Willem de Kooning might have had a hand in it. Recent standouts include a drawing, collage and sculpture by, respectively, Susannah Phillips, Ken Kewley and Garth Evans. In between theres De Kooning himself, Jan Müller, Anne Tabachnick and an assertive bust of a woman in white plaster by Louisa Matthiasdottir. SMITH JOHN SONSINI, Anthony Grant, 37 West 57th Street, (212)755-0434, through April 16. This Los Angeles painter has created a wonderful series of portraits of Mexican day workers, whom he paid their usual hourly wages to pose in his studio. Mr. Sonsini paints with wide brushes and thick, richly colored paint and he renders each man with slightly oversize hands and feet and a Whitmanesque affection that you feel as much in the paint as in the portraiture. JOHNSON MYRON STOUT: PAINTINGS, C. 1950s, Washburn Gallery, 20 West 57th Street, (212)397-6780, through April 16. This striking exhibition shows Myron Stout (1908-1987) reaching maturity by way of two disparate precedents: Arthur Doves nature-based visionary abstractions and Mondrians inspired edifices of line, plane and color. So doing, it proposes him as a crucial link between European and American art and between ideal and organic geometry. In several works, subtly tilted mosaiclike pats of color create a headlong rush toward light. Other paintings present frontal, interlocking geometries, sometimes evoking sailboats. An enlarged checkerboard of black and deep lavender that appears to have been gently blown until it curved, shows Stout free and clear and on his own. SMITH ZULMA STEELE AND ARTHUR WESLEY DOW, Spanierman Gallery, 45 East 58th Street, (212)832-0208, through April 23. Theres a mismatch of talents here. Dow (1857-1922) was a highly accomplished painter and a significant figure in the Arts and Crafts movement. Steele (1881-1879), also a progressive minded artist and artisan, was far better at ceramics and furniture design than she was with a paintbrush. In this show of their landscapes, she is far outclassed by him. The best of Dows works here are of the Grand Canyon, which convey a magnificent sense of theatrical space and coloring; Steeles renditions of the Ashokan Reservoir in the Catskill Mountains, cued by Dows reductivism and her own post-Impressionist leanings, just hold their own, but pale by comparison. A selection of small works on paper by the two artists makes the disparity of their talents less of an issue. GLUECK Galleries: SoHo JOHN ALTOON: PAINTINGS AND DRAWINGS, 1961-67, Luise Ross Gallery, 568 Broadway, at Prince Street, (212)343-2161, through April 16. In the last years of his short life, Altoon (1925-1969) broke out of the freewheeling West Coast mode of Abstract Expressionism to zero in on more personal images -- some dreamy, others explicitly sexual, still others biomorphic doodles -- that floated through his fantasy. Altoons deft, light touch mates well with his fine sense of the silly. GLUECK MODEL MODERNISMS, Artists Space, 38 Greene Street, (212)226-3970, through April 23. This smart show of artists offering wry and oblique takes on Modernism includes driftwood sculptures by Carol Bove; a startling false corner of old cracked plaster and dusty floorboards by Bojan Sarcevic; Mai-Thu Perrets display of clunky little ceramic sculptures said to have been produced by a womens utopian collective in the 1920s; and a haunting video by Florian Pumhosl whose climax is a close-up of a Cyclops quietly peeling an apple in a tropically planted interior. JOHNSON Galleries: Chelsea MATTHEW BLACKWELL, Et in Arcadia Ego, Edward Thorp, 210 11th Avenue, at 24th Street, (212)691-6565, through April 16. In satirical contrast with I, Too, in Arcadia, Poussins classical, well-ordered figures in a landscape, Mr. Blackwells paintings and drawings are unrefined, juicy and off the wall; his painting style tends toward the ramshackle, replete with drips, streaks and more formal touches. His American scene mingles grungy rusticity, flashy cars, tramps, politicians, feisty women, humanoid animals and ambitious sunflowers. But the show could use a little pruning. GLUECK SYDNEY BLUM, Undoing, Kim Foster 529 West 20th Street, (212)229-0044, through April 23. File these elegant, ethereal wall pieces made of tangles of thin wire that has been variously colored, bent, crinkled and coiled under the heading of art that looks easy but isnt. There are all sorts of precedents to their homey formalism Alan Sarets early 1970s process pieces, Chamberlains amalgams of car bodies, even Cy Twomblys tumble-weeds of drawn line. Nonetheless, they hold their ground, breathing fresh air into the overused term drawing in space SMITH JOE FYFE, Paintings from Vietnam, JG Contemporary, 505 West 28th Street, (212)564-7662, through April 23. Mr. Fyfe, an art critic as well as a painter, made the paintings in this small show in Vietnam, last year in Ho Chi Minh City. Dont expect views of local scenery, however, as the paintings are almost purely abstract. Made of coarse burlap painted mostly white, they have pale colored shapes alluding distantly to landscape or portraiture, and in some cases feature vertical bands of brightly colored felt. They are rough and reticent yet somehow delicately poetic, too. JOHNSON ROBERT GOBER, Matthew Marks, 522 West 22nd Street, (212)243-0200, through April 23. Not surprisingly, Mr. Gobers first New York gallery show in 11 years reflects more thematic than formal development. The artists fetishized replication of familiar forms (often in painted bronze) relating to religion, cleanliness and childhood continues, this time in an arrangement that turns the space into a kind of church, complete with a suspended crucifix, inaccessible side chapels and intimations of a priest. Facsimiles of issues of The New York Times add the Clinton years and 9/11 to his perennial themes of life and death and sin and redemption. Once more, the incisive use of light and flowing water relieves the objects almost nagging sense of worldly weight. As usual Mr. Gober concentrates on iconography with an old-fashioned moral vehemence, combining the hermetic with the familiar in ever more mind-twisting ways. SMITH MARK HEYER, Lohin Geduld, 531 West 25th Street, (212)675-2656, through April 23. Mr. Heyers small, folksy narrative paintings of subjects like a tornado approaching a Midwestern farm, a circus act under the big top and sexy women getting dressed in their rooms look as if they were made in the 1920s and 30s by a simple-minded colleague of Edward Hopper and Charles Burchfield. That they are actually clever Postmodernist simulations does not prevent them from being nostalgically enchanting. JOHNSON GONZALO PUCH, Incidentes, Julie Saul, 535 West 22nd Street, (212)627-2410, through April 23. Five, well, metaphysical C-print photographs seem to comment ironically on science, art, their ambitions and intersections. The punchiest image is that of the artist lying on the floor, his mouth affixed to a tube. He seems to be blowing up a huge, erratically-shaped globe that rests on his belly. The globe, built of maps haphazardly glued together, seems to puff and strain at its own crankily rock-shaped outline as the artists breath goes in (or as it nourishes him). GLUECK ALEXANDER ROSS, Feature, 530 West 25th Street, (212)675-7772, through April 23. Mr. Rosss funny, weird, Pop-Surrealist paintings look made by a nerdy teenager steeped in science fiction and cannabis. Possibly copied from Photoshop photographs of clay models, his imagery consists of green, organic forms resembling micro-organisms, slimy tropical plants or amphibious monster close-ups. The paintings might represent the higher mind toying with its anxiety about the body. JOHNSON ALYSON SHOTZ, A Moment in Time and Space, Derek Eller, 526-30 West 25th Street, (212)206-6411, through April 16. This resourceful sculptor has hung an expansive, undulating, floor-to-ceiling curtain in the middle of the gallery. It was made by stapling together thousands of ovals cut from plastic magnifying sheets. The kaleidoscopic optical effects are surprising and delightfully confounding. JOHNSON ANGELA STRASSHEIM, Left Behind, Marvelli, 526 West 26th Street, (212)627-3363, through April 30. The large, extraordinarily vivid color photographs in this young artists first New York solo show have a subtly gripping archetypal magic. The businessman-father formally posed at his desk; the regal mother standing before her mansion; the glowing little girl at the window; the grandmother in her coffin; the debauched daughter sprawled naked in her dorm room: the images are like scenes from a contemporary fairy tale. JOHNSON STANLEY WHITNEY, Esso, 531 West 26th Street, (212)560-9728, through April 16. You might not have thought the tired old genre of grid-based abstract painting still had in it works as buoyantly radiant as these. Painted with a dry, flat and slightly brushy touch, Mr. Whitneys blocks of near-pure color, separated by horizontal bands like books on a bookshelf, have a syncopated chromatic rhythm that is a pleasure to behold. JOHNSON Last Chance OK 4/8 PHILIP PAVIA, Terracotta Heads: 2002-04, OK Harris, 383 West Broadway, (212)431 3600, through tomorrow. Mr. Pavias rugged clay heads, each twice life size and subtly tinted, look like ancient sculptures dug up recently by archaeologists. Their veiled features are inflected by slightly melancholy, faraway expressions, as if they were meditating on the grandeur or the pointlessness of human history. JOHNSON
Alyson Stoner and Alex G Cover Taylor Swifts Shake It Off and Its The Funniest.
Alyson Stoner and Alex G lean on each other for their leg extensions in their hilarious new cover of Taylor Swifts ���Shake It Off���. The two singers and friends went all out for the cover video, showing off their own awkward dance moves ��� and its just.
Alyson Stoner and Tyler Ward The Hanging Tree Cover
Alyson Stoner and Tyler Ward teamed up to record a remix of the song The Hanging Tree from the movie The Hunger Games: Mockingjay - Part 1. In addition to releasing the track the pair also recorded an emotional music video to go along with the song.
Alyson Stoner: As�� luce actualmente la protagonista de M��s barato por docena
Alyson Stoner m��s conocida por el personaje interpretado en M��s Barato por Docena, como Sarah Baker, fue una de los tantos recuerdos que nos trajo a mente el Super Bowl. A pesar de que la actriz, bailarina y dobladora de dibujos animados no fue una .
ALYSON STONER and Adam Sevani Returning for Step Up 5.
More of the Step Up family will return for the fifth installment. Alyson Stoner and Adam Sevani will return to play Camille Cage and Robert Moose Alexander III, respectively, The Hollywood Reporter has learned exclusively.
See Young Dancer From Missy Elliots Work It Video Do the Moves Now!
The rapper hit the stage to perform some of her biggest hits earlier this month, but you might have noticed a familiar face missing -- Missys favorite young dancer. Meet, Alyson Stoner, who appeared in several of the 43-year-old stars music videos.
Phineas Finally Realizes Isabellas Feelings In All-New.
. ten years in the future, ���Act Your Age��� finds a teenaged Phineas (Vincent Martella) deciding between two colleges while grappling with the discovery that Isabella (Alyson Stoner) has had a crush on him since they were kids.
Little Girl From Missy Elliott ���Work It��� Visual Is All Grown Up and Still.
After seeing Missys surprise Super Bowl Halftime performance with Katy Perry, Alyson Stoner decided to pay homage to the woman who gave her a chance to dance her 10-year-old ass off. Alyson is all grown up now, but her dance moves are still killer.
Is Tyler Ward Pursuing an Acting Career?
Maybe Alyson [Stoner] will get me into acting! I dont know.��� In case you missed it, Tyler and Alyson recently collaborated on an insanely awesome remix of The Hanging Tree from The Hunger Games: Mockingjay ��� Part One. If hes not planning on.
Exclusive: Watch American Idol Alum Casey Abrams Host a Backyard Jam
12) and competed on season 10 of the Fox show -- recruited fellow season 10 contestant Haley Reinhart, season 6 runner-up Blake Lewis and season 5 finalist Elliott Yamin to round out a chorus that also included actress Alyson Stoner (of Cheaper By the .
ALYSON STONER Has Three New Music Videos Out That You.
Alyson Stoner never fails to impress JJJ and her new music videos are no exception. The 21-year-old actress teamed up.
Celebrities Who Transformed Too Fast
Remember when Alyson Stoner was a child star? Youll never believe how much she grew up right in front of our eyes! In the gallery below you can click through to see which other stars grew up way too fast for our liking as well! Stars like Selena Gomez.
ALYSON STONER releases amazing tribute video to Missy Elliott.
(PIX11) ��� After Missy Elliott performed alongside Katy Perry during the Super Bowl halftime show (and stole the show), many of the hip hop stars fans wanted to know: Where was Alyson Stoner?
Viral video: Little girl from Missy Elliotts videos makes tribute.
Well Alyson Stoner is all grown up, and she has made a tribute music video for her mentor. And she can still flip it and reverse it! The video was uploaded Thursday, and already has over 8,000 views on YouTube.
Missy Elliotts Tiny Backup Dancer Is All Grown Up
Alyson Stoner was a badass little girl when she appeared in Missy Elliotts videos way back in the 90s, rocking a serious ponytail and even more serious moves. Stoner, whos now 21, broke it down in videos for Work It, Gossip Folks, and Im.
ALYSON STONER releases Missy Elliott tribute dance video
Missy Elliott performed with Katy Perry at this years Super Bowl, and some wondered where the little dancer was from Missys videos for ���Work It��� and ���Gossip Folk.��� Alyson Stoner is now 21 and has starred in Step Up 3D and Cheaper by the Dozen..
Sweater Weather - The Neighbourhood (Max and Alyson.
Lol Alyson stoner was my first crush when she was in cheaper by the dozen and that missy Elliot video. Had no idea she could sing.. Read moreShow less. Reply. ��. 90. View all 10 replies. directioner styels �� 4 weeks ago.
The Kid from Missy Elliotts Music Videos is Grown Up and Gorgeous
Now Stoner is also an actress and shes old enough to have a beer, vote, and buy lottery tickets. And shes been in Cheaper by the Dozen, Suite Life of Zach and Cody, Step Up, and has voiced Isabella on Phineas and Ferb since 2007. However, she hasnt .
10 Celebrities Who Transformed Too Fast - J-14
Remember when Alyson Stoner was a child star? Youll never believe how much she grew up right in front of our eyes! In the gallery below you.
Alyson Stoner ��� B*tches Be Crazy - ��� Alyson-Stoner.us.
Alyson Stoner shows off her stellar dance moves and voice in her new music video for Dragon (Thats What You Wanted). The 20-year-old actress/singer. Alyson Stoner ��� B*tches Be Crazy. Posted by Kiki on 17/01/2015 at��.
Little Girl From Missy Elliott Video Is All Grown Up and Still.
After seeing Missys surprise Super Bowl Halftime performance with Katy Perry, Alyson Stoner decided to pay homage to the woman who gave her a chance to dance her 10-year-old ass off. Alyson is all grown up now, but her��.
What the Little Girl From Missy Elliots Music Videos Looks Like Now
Thats Alyson Stoner, who appeared in several Missy Elliot performances and videos back in the day, including Work It, Gossip Folks, and Im Really Hot. NEWS: Katy Perry Spills Super Bowl Halftime Show Secrets -- I Am Not Beyonce! Heres what.
ALYSON STONER Builds A Playground with KaBOOM!
Alyson Stoner gets her hands dirty and helps to build a playground at the Barack Obama Charter School in Los Angeles on Thursday afternoon (November 13). The 21-year-old actress joined other VoluntEARS and transformed into a kid-designed playspace .
