Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

The Faux-Real Theatre Company Puts Their Original Stamp on an Ancient Greek Classic 

The Faux-Real Theatre Company have made a name for themselves lately with their acerbic, punk rock-style takes on classic Greek theatre. Their versions remain true to the originals, employing the full text in translation while adding edgy musical and dance elements, not to mention mining the wry subtext of these works for contemporary relevance. Their version of Euripides’ The Bacchae winds up its run at LaMama‘s first-floor theatre on East Fourth St. with two sold-out shows tonight, March 19 and tomorrow the 20th at 7:30 PM. If you’re feeling lucky, a handful of standby tix might become available.

Interestingly, while this performance is very funny, it’s not as over-the-top as a real bacchanal. The theme is hubris, Dionysus raining down fire and brimstone on an upstart ruler and his subjects who’ve forsaken the old ways and no longer pay tribute to their erstwhile protector deity. Other than the two main lead roles and a couple of supporting characters, pretty much everybody else is confined to the chorus, so director Mark Greenfield gives them an elegant dance piece to keep the crowd attentive.

Andrew Bryce plays the wine god with a campy smirk. Throughout the play, the homoerotic subtext is underscored with very amusing results. All the women of Thebes off in the woods by themselves, in the grip of Dionysus’ spell? You do the math. And the sequence where the god examines rebellious ruler Pentheus prior to putting him in a dress and a woman’s wig is downright hilarious. PJ Adzima’s cold, deadpan, corporate portrayal of the doomed king makes an apt foil to the fun-loving but merciless deity. The one point last night where the audience broke into spontaneous applause was where Jy Murphy’s wise old Cadmus explains that without wine – the one thing that makes living bearable – there’s also no love, and no Aphrodite.

Tony Naumovski makes the most of his vaudevillian role as Cadmus’ buddy Tiresius, while the rest of the supporting cast are strong in their sometimes tightlipped, sometimes unselfconsciously grinning roles. Greenfield’s direction encompasses the group’s signature style of breaking the fourth wall: spectators are enticed with grapes and real wine (and grape juice for the non-Dionysan among us) as they take their seats. Naumovski, who also serves as musical director, has assembled a tight percussion-and-clarinet team of Jim Galbraith, Jeff Wood (also of lyrically fiery original oldtimey swing jazz band the Fascinators) and Naum Goldenstein. They play a sometimes ominous, sometimes boisterous, minimalist original score that blends elements as disparate as Gregorian chant and Balkan music.

March 19, 2016 Posted by | drama, Live Events, New York City, Reviews, theatre | , , , , , , , , , , , , , , , | Leave a comment

The Fascinators Put New Fun in Oldtime Swing at Sidewalk

One of the most individualistic and stylistically diverse bands on the New York oldtime swing scene, the Fascinators call their music “old jazz for the New Depression.” What distinguishes them from the legions of lickety-split shufflers out there is their originals, bandleader/guitarist Lenny Molotov’s wryly amusing, corrosively clever lyrics, and their distinctive blend of purist, bluesy Ellingtonian style and jaunty, Django-inspired Romany sounds. They’re bringing all this to Sidewalk at 8 PM on February 5.

This blog caught them most recently back in October. Beyond Molotov and his longtime collaborator, bassist JD Wood, the band has a shifting cast of characters. This time out, in place of another similar deep blues purist, Queen Esther on vocals, they had the torchy, dramatic Carrie Jean Sooter. Jazz drummer Art Lillard propelled the unit, which also included a second guitarist who added several edgy blues-infused leads. They opened with a swaying, unexpectedly desolate, practically Lynchian take of Stardust, then Lillard pushed them into sunnier territory with his playful cymbal splashes throughout a pulsing take of Pennies from Heaven. Then they took their time behind Sooter’s brassy resilience in When the Sun Comes Out. But all that was just a warmup.

Molotov’s period-perfect 1940 vernacular matched Sooter’s saucy delivery in their new version of the Ink Spots’ Java Jive, which was a lot funnier than the original, at the expense of the French and others (including Molotov himself, who doesn’t drink coffee). Then they built a broodingly dusky Old Depression ambience with another Molotov original, Chicago Special. Sooter brought the energy up again as Lillard tumbled and spun through an unexpectedly brisk, fun Blues in the Night, then the drummer gave a wry latin spin to the band’s version of the old New Orleans standard Junco Partner (which the Clash famously covered as a reggae tune).

From there, Sooter brought the lights down with a chilling, doomed, slowly shuffling mashup of Memphis soul and Jimmy Reed blues. They scampered their way out from there, hitting a peak by putting an irresistibly funny political spin on Count Basie’s Topsy, punctuated by a tapdance solo by Sooter. It’s hard to imagine any other swing band in town with as many flavors as these guys and girls have – and you can dance to all of them.

By the way, if you’re wondering what a fascinator it, it’s one of those over-the-top Prohibition-era flapper hats with some kind of garish centerpiece.

January 26, 2016 Posted by | blues music, concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , | Leave a comment