Ten curated Scope NYC picks for Monday, October 19, 2026.
BAM screens Ken Russell’s uncut The Devils in a new 4K restoration. The 4:15 p.m. showing presents the 1971 film’s collision of religious authority and political power in a restored 114-minute version.
VIA marks its tenth year with an evening at Norr Cohan Gallery, including live music by Venezuelan Grammy winner Jorge Glem, art, food and a silent auction. The 6:30 p.m. benefit pairs a cultural celebration with support for the organization’s next decade.
Platform by the James Beard Foundation hosts Edy’s Grocer, Sawa and Lebnani for a one-night Lebanese dinner and cookbook launch. Chefs Jad and Aga Youssef, Edy Massih and Samaya Boueri Ziade lead the meal and conversation; tickets are listed from $185.
Earl Sweatshirt and MIKE bring their Home on the Range tour to Brooklyn Paramount. Two distinct voices in contemporary rap share a large Brooklyn room for a Monday-night bill.
The Tank’s queer fairy tale begins when one partner wakes transformed into a mouse. Little Beast follows a couple of eight years as friends and family reckon with a new shape for intimacy, home and acceptance.
NAAP stages Meredith Willson’s The Music Man as a concert version with an all-AANHPI cast, including Daniel May and Viveca Chow. The one-night production brings a familiar musical to Ailey’s dance theater through a distinct community lens.
Shawn Gude presents American Socialist, his new biography of Eugene V. Debs, in conversation with historian Kim Phillips-Fein. Greenlight’s 7:30 p.m. event includes audience questions and a signing in Fort Greene.
Marc Ribot marks the release of Hurry Red Telephone with Chad Taylor, Sebastian Steinberg and Briggan Krauss. Roulette’s intimate room gives this volatile, genre-crossing quartet room for improvisation.
Amber Mark takes the Blue Note stage for an 8 p.m. set. The singer’s shape-shifting blend of soul, R&B and electronic pop lands in a close-listening jazz room; the club lists a two-item minimum.
Symphony Space’s 9:15 p.m. show gives the Improvised Shakespeare Company a fresh audience prompt and no script. The company builds a full-length comedy on the spot, making the late set a different play from the sold-out 7 p.m. performance.