Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

The Momenta Quartet Stage a New Classic of Classical Music for Children

How can you tell if a chamber music performance is appropriate for children? By how the kids react, for one. Yesterday morning, the Momenta Quartet’s boisterously amusing multimedia show, The Lost String Quartet – by their violist Stephanie Griffin – kept two busloads of five-year-olds engaged and for the most part equally well-behaved for over an hour. It’s one thing to keep a preschooler close to you, with the occasional reminder to sit still. Two whole posses of them, all surrounded by their fellow crazymakers, completely change the game.

The plot, based on N. M. Bodecker’s now out-of-print 1983 children’s book, concerns not a missing piece of music but a missing ensemble. The Momentas  cast themselves as the musicians, abetted by actor Fernando Villa Proal, who chewed the scenery with relish in multiple roles as emcee, truck driver, prison warden and several other personalities. The plot follows the misadventures of a quartet who have to deal with all sorts of vehicular drama on their way to a gig – late. And much as the humor is G-rated, it’s far more Carnival of the Animals than Peter and the Wolf. The group have to go down into the sewer at one point – ewwww! The kids loved that.

And like the Simpsons, the jokes have multiple levels of meaning, the musical ones especially. Adults, as well as older gradeschool children who have some familiarity with standard classical repertoire, will no doubt get a big kick out of them. In a mostly wordless performance, the group acquit themselves impressively as actors, in expressively vaudevillian roles. Are violinists Emilie-Anne Gendron and Alex Shiozaki really the merry prankster and space-case introvert in the group? Is cellist Michael Haas as dangerously stubborn as his role, or Griffin the quartet’s deus ex machina? That could be an inside joke.

Griffin’s score, some of it improvisational, is sublime, and the group sink their fangs into it, no small achievement considering the physical demands of the acting. Just the slithery, menacing, distantly Indian-tinged viola solo that opens the show, and appears later in disguise, is worth the price of admission. The deliberately educational moments, i.e. how a string quartet’s instruments differentiate from each other, are understated and flow seamlessly within the narrative.

As you would expect, a lot of the music – usually performed in configurations other than the full foursome – is pretty broad too, if hardly easy to play. Doppler effects, sirens, sad-face wah-wah riffs and the like pop up all over the place. But the rest is more carnivalesque than cartoonish There’s vastly more of a Bartok influence, or for that matter echoes of Luciano Berio or Jessica Pavone, than there is buffoonery.

What’s most impressive is that the quartet do double duty as what might, in tightlipped chamber music lingo, be called a hybrid ensemble. Who knew that Haas was such a capable percussionist, playing discernible melodies on found objects including a car door panel and oil pan? Or that Griffin could spiral around on melodica as if she was Augustus Pablo?

This is where the show’s subversive undercurrent takes centerstage What the Momenta Quartet are proposing is tthat if we expose kids to the avant garde when they’re young enough, they’ll be smart enough to laugh at any older, know-it-all Grinch who might sneer, “Oh, contemporary classical music, it’s so harsh and boring and pretentious.”

This piece has a huge upside. The quartet could tour it if they could find the time – it’s hard to imagine a cultural center in this country who wouldn’t stage it. It’s probably an overstatement to suggest that it could be a Broadway hit. Then again, kids are certainly ready for it. Be the first family on your block to see it when the Momenta Quartet’s perform it tomorrow, Dec 10, with sets at 10 and 11 AM at the Time In Children’s Arts Initiative, 227 W. 29th St, Studio 4R just north of FIT. Admission is free, and reservations are highly recommended.

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December 9, 2017 Posted by | avant garde music, children's music, classical music, concert, drama, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

A Potentially Paradigm-Shifting Series of Women Performers at the New School

In conversation with the audience and performers at her potentially paradigm-shifting new series Women Between Arts at the New School yesterday, singer/actress/impresario Luisa Muhr contemplated the complexities of branding interdisciplinary works. How do you market something that resists easy categorization? Maybe by calling it what it is: outside the box. Considering the turnout, there definitely is an audience for what might be the only interdisciplinary series focusing on women performers whose work encompasses so many different idioms in New York right now.

When Muhr springboarded the project, she’d assumed that Women Between Arts would be one of at least five or six ongoing programs here. But this seems to be the only one at the moment – If there’s another, would they please identify themselves, because they could be doing very important work!

Dance on the same program as storytelling? Sure! Writer/choreographer Allison Easter wryly remarked that audiences at dance performances don’t mind being talked to. Her piece on the bill featured dancers Tiffany Ogburn and Paul Morland subtly and then explosively tracing Easter’s spoken-word narrative about a couple of American college girls intent on thwarting a would-be rapist on a train winding its way through the Alps.

Klezmatics violinist Lisa Gutkin proved to be the ideal headliner for a bill like this. Born and raised in a secular Jewish family in Sheepshead Bay, the songwriter/actress revealed an insatiably curious worldview that mirrored her sizzling musical chops, via excerpts from her one-woman show. Likewise, part of her eclectic background stems from the demands of being a highly sought-after sidewoman. Irish reels? OK. Tango? Si! Klezmer? No problem! She grew up with that culture, inspired by her immigrant grandmother, who would hitchhike upstate to her bungalow where she’d book artists like Pete Seeger to entertain her garment worker friends.

And Muhr illustrated her own, similarly eclectic background with wistful projections, a subtly humorous dance piece and poetry, following her own Greek immigrant great-grandmother’s journey as a refugee from Istanbul to Vienna. In pushing the boundaries of diverse idioms, a program like Muhr’s has the potential to spur the growth of new synapses for both audiences and performers.

The next Women Between Arts performance features songwriter Jean Rohe, choreographer Sasha Kleinplatz, brilliant carnatic violinist Trina Basu, singer/actress Priya Darshini and Brooklyn Raga Massive tabla player Roshni Samlal on January 7 at 3 PM at the New School’s Glass Box Theatre (i.e. the new Stone) at 55 W 13th St.

November 13, 2017 Posted by | avant garde music, concert, dance, drama, experimental music, folk music, Literature, Live Events, Music, music, concert, New York City, poetry, review, Reviews, theatre, world music | , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

A Harrowing, Ferociously Relevant Mother-Daughter Conflict at the French Institute

While there’s nonstop drama and some actual physical violence in Nazmiye and Havva Oral’s No Longer Without You, a searing mother-daughter conflict currently in its US debut run at the French Institute/Alliance Française, its most serious fireworks are only alluded to. We don’t get more than a mention of the abortion, or passing references to the screaming matches and literal tug-of-war between religious Muslim mother and her willful daughter determined to escape the confines of what she feels is an antedeluvian, misogynist environment.

On a surface level, this is a feel-good story of female empowerment and triumph over adversity. A Turkish immigrant in Holland, Havva raises her Nazmiye with an iron fist in a strict religious household. Nazmiye’s father dies young and doesn’t figure much in this story: it’s clear who runs the show in this family. But Nazmiye doesn’t want an arranged marriage at age eighteen and a life of domesticity like her mom. So she leaves home, marries a foreigner, has a couple of daughters of her own, divorces and becomes a world-famous journalist and performer along the way. What’s not to be proud of?

Havva doesn’t exactly see it that way. In this performance piece, she’s less volubly critical than Nazmiye recalls, dredging up one childhood battle after another. And she’s withholding. What Nazmiye wants most is her mother’s love. In the piece’s most touching scene, Nazmiye recalls that despite the disputes and the terror of being dragged off by a teenage husband-to-be whom she doesn’t even like, the one place she feels secure is in her mother’s arms. And time after time, Havva keeps her at arms length.

Yet Havva is also anything but an ogre. Her traditional garb makes a stark contrast with her daughter’s scarlet dress. She’s calm, stolid, unassailably confident and someone who says a lot in a few aphoristic words. And she’s funny! As the piece progresses, it’s clear that the apple didn’t fall far from the tree, two indomitable women, each with big dreams. Daughter speaks in English, mother answers in Turkish, usually translated by Seval Okyay, who also provides gorgeous, haunting musical interludes with electric saz lute and a soulful, often plaintive voice. If there’s anything this performance could use more of, it’s Okyay.

While the cultural idiom here is specifically Muslim, the story is an all-too-familiar one: escapees from militant Christian and Orthodox Jewish environments tell the same tale. Beyond the breaking of one taboo after another – where Havva seems genuinely worried for her daughter’s soul, not to mention her own – the most shocking moment of all might be where Nazmiye asks what right a mother has to live vicariously through her daughter. Havva asserts that it’s perfectly kosher for a child to be the vehicle for a parent’s aspirations – or dashed hopes, perhaps. It’s another familiar dynamic. Obsessive Colorado pageant moms, psycho Texas football dads and harried Park Slope helicopter parents would find themselves more at home in Nazmiye’s childhood environment than they might think.

More poignantly, there are several “do you love me” moments: the answer may surprise you, like the ending, which is anything other than pat. But the one question that Nazmiye never asks, after all she’s accomplished, is “Are you proud of me?” One suspects the response would be more predictable.

Adelheid Roosen’s direction is everything the relationship isn’t: comfortable and familial, the audience seated on comfy cushions around the floor, living room style. There is also a little interaction with the audience, which is similarly welcoming and comforting and a serendipitous respite from the intensity of the performance. The final show today is sold out, but the Institute’s long-running events and concert schedule, including their legendary film series continues through the fall. 

October 15, 2017 Posted by | concert, drama, Live Events, middle eastern music, Music, New York City, review, Reviews, theatre | , , , , , , , , , , , , , , , , , , , , | Leave a comment

Celebrating a Tragic, Iconoclastic Hungarian Hero at the National Arts Club

Wouldn’t you wash your hands after you touched a corpse? Hospital physicians at Vienna’s Algelemine Krankenhaus didn’t. From a 21st century perspective, the results were predictably catastrophic.

Ray Lustig’s grim, powerfully resonant song cycle Semmelweis,  which premiered on September 11 at the National Arts Club, begins in 1848, One of Europe’s deadliest outbreaks of puerperal fever is killing one in ten new mothers at the hospital. Hungarian-born obstetrician Ignac Semmelweis is at a loss to explain it.

Semmelweis was a tragic hero in the purest sense of the word. Decades before Louis Pasteur, Semmelweis discovered the bacterial connection for disease transmission. But rather than being celebrated for his discovery and for saving countless of his own patients, he was derided as a medical heretic,  ended up losing his mind and died alone in a mental asylum seventeen years later. If not for the reactionary Viennese medical establishment, terrified of being blamed for the epidemic, today we would say “semmelweissed” instead of “pasteurized.” In an age where leakers are murdered, whistleblowers are jailed as terrorists and 9/11 historians are derided as conspiracy theorists, this story has enormous relevance.

And the music turned out to be as gripping as the narrative. Out in front of an impressively eclectic twelve-piece ensemble for the marjority of the performance, soprano Charlotte Mundy dexterously showed off a vast grasp of all sorts of styles, singing Matthew Doherty’s allusively foreboding lyrics to Lustig’s shapeshifting melodies. Pianist Katelan Terrell. accordionist Peter Flint and violinist Sam Katz wove an alternately austere and lustrous backdrop for the rest of the singers: Lustig himself in the role of Semmelweis, alongside Marcy Richardson, Catherine Hancock, Brett Umlauf, Charlotte Dobbs, Jennifer Panara and Guadalupe Peraza.

The suite began with a wash of close harmonies and ended on a similarly otherworldly note with a Hungarian lullaby sung in eerily kaleidoscopic counterpoint by the choir. The story unwound mostly in flashbacks – by women in peril, ghosts or Semmelweis himself, tormented to the grave by all the dead women he wasn’t able to save.

Many of the songs had a plaintive neoromanticism: the most sepulchral moments were where the most demanding extended technique came into play, glissandoing and whispering and vertiginously shifting rhythms. That’s where the group dazzled the most. Recurrent motives packed a wallop as well, voicing both the dread of the pregnant women and Semmelweis’ self-castigation for not having been able to forestall more of the epidemic’s toll than he did. The Hungarian government will celebrate the bicentennial of Semmelweis’ birth next year, a genuine national hero.

September 21, 2017 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Sarah Small’s Provocative Secondary Dominance: Highlight of This Year’s Prototype Festival

Sarah Small’s work draws you in and then makes you think. It says, “Get comfortable, but not too comfortable.” It questions, constantly. Throughout her fascinating, understatedly provocative multimedia work Secondary Dominance last night at Here – part of this year’s Prototype Festival – there was so much happening onstage that the leader of the Q&A afterward confessed to having a page worth of notes and no idea where to start.

Executive produced by Rachelle Cohen, the roughly hourlong performance began immediately as the audience settled into their seats, a warm, lustrous voice singing a gorgeous love song in Arabic wafting over the PA. Who was responsible for this gentle and reassuring introduction? It turned out to be Small’s Black Sea Hotel bandmate Shelley Thomas, seated stage right with an assortment of drums and percussion implements.

About midway through, the composer herself emerged from behind her two keyboards and mixing desk – mounted on a podium colorfully decorated like a curbside shrine out of the George Lucas universe – and stooped over, to the side as a trio of dancers – Jennifer Keane, Eliza S. Tollett and Carmella Lauer, imaginatively choreographed by Vanessa Walters – floated on their toes. Meanwhile, Small’s chalked-up collaborator Wade McCollum lurked tenuously behind her as her calmly uneasy vocalese mingled with the atmospherics looming from Marta Bagratuni’s cello, Peter Hess’ flute and Thomas’ voice and drums. A simultaneous projection of the action onstage played on a screen overhead, capturing Small’s lithely muscular, spring-loaded presence in shadowy three-quarter profile.

McCollum’s wordless narrative behind Small’s music explores power dynamics, memory and family tension. Gloria Jung and Henry Packer exuded regal integrity and a stolidity that cut both ways:  there was a moment where someone tried to pry something out of someone’s hand that was as cruelly funny as it was quietly vaudevillian. Ballet school, its rigors and demands was another metaphorically-loaded, recurrent motif, and the dancers held up under duress while barely breaking a sweat. McCollum’s ghostly character didn’t emerge from a fetal position until the spectacle had been underway for awhile, which ended up transcending any ordinary, otherworldly association.

What was otherworldly was the music, which, characteristically, spans the worlds of indie classical, art-rock and the Balkan folk traditions that Small has explored so vividly, as a singer, arranger and composer since her teens. What’s most notable about this surreal, nonlinear suite is that while it encompasses Balkan music – with brief, acerbic, closer harmonies sung by Small, Thomas, Bagratuni and McCollum, in addition to a projection of a lustrously lit seaside Black Sea Hotel music video directed by Josephine Decker  – the majority of it draws on western influences. Inspired by a series of dreams and an enigmatic, recurrent character named Jessica Brainstorm – who may be an alter ego – the sequence has the same cinematic sweep as Small’s work for the Brooklyn Youth Chorus, grounded by Bagratuni’s austere, sometimes grim low register, Hess sailing warily overhead, sometimes mingling with the voices and electronic ambience. As the show went on, the music grew more detailed, with interludes ranging from gently pulsing, midtempo 80s darkwave, to rippling nocturnal themes evocative of Tuatara’s gamelanesque mid-90s psychedelia.

The work as a whole is a stunning example of how Small so often becomes the focal point of a collaboration that brings out the best in everyone involved.  Over the years, these efforts cross a vast swath of art forms: from her playfully ambitious body of photography in the early zeros, to Black Sea Hotel, to her surrealistically sinister starring role in Decker’s cult classic suspense/slasher film Butter on the Latch, and her lavish “tableaux vivants” staged earlier in this decade, equal parts living sculpture, slo-mo dance flashmob, dada theatre and fearless exploration of intimacy in an era of atomization, data mining and relentless surveillance. Small and McCollum have plans for both a more small-scale, “chamber version” of this piece as well as an epic 1200-person version for the Park Avenue Armory, still in the early stages of development. For now, you can be provoked and thoroughly entertained at the remaining three performances at 9 PM, tonight, Jan 12 through 14 in the downstairs theatre at Here, 145 6th Ave south of Spring (enter on Dominick Street). Cover is $30.

January 12, 2017 Posted by | avant garde music, concert, dance, drama, experimental music, gypsy music, Live Events, middle eastern music, Music, music, concert, New York City, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

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

Pandemonium and Nonstop Laughs at the Faux-Real Theatre Company’s Lysistrata

Somehow the Faux-Real Theatre Company has found a way to make Lysistrata even funnier than the original. Their performance of Aristophanes’ filthy antiwar feminist polemic last night at the Nuyorican Poets Cafe, directed by Mark Greenfield, mixed in-your-face punk rock shock value and carnivalesque pandemonium into an orgy of hilarious sexual innuendo and battle-of-the-sexes humor whose relevance has never waned in the span of more than two millennia. While dramaturge Aaron Poochigian has taken some liberties with the original by sprinkling in some droll contemporary references, the script follows the original more closely than you’d think from this adaptation, emphasis on sexual politics which even by this era’s standards might seem risque.

Men do not get off very well in this play to begin with, a springboard for this production’s most side-splitting moments. See, the never-ending war between Athens and Sparta has not only sent all the guys off to battle, it’s also cut off the sex toy trade. So one, or two, or…um….maybe a handful of them (or, more accurarely, an armload of them) make an appearance throughout the show. The sight gags, and how they’re directed, are too good to spoil. Suffice it to say that the Greeks in this cast may want their wives first, but they’ll settle for their fellow soldiers in a pinch. Arguably the funniest moment of the entire play involves a demigod cast as a lubed-up drag queen, another moment that the cast relishes: the sold-out crowd was howling.

In a nod back to ancient tradition, everybody plays multiple gender roles, but in this case so do the women in the cast. Stephanie Regina imbues – and sings – the titular role with an unexpected, tongue-in-cheek gravitas in contrast to Elena Taurke’s sardonic Calonice, Josephine Wheelwright’s cynical Myrrhine, Emma Orme’s irrepressible chorus girl, Dominique Salerno’s self-centered Lampito and Layna Fisher’s feisty sexy-grandma role. The men in the cast are all pretty much the same lunkheaded guy, easily manipulated and unable to think outside the box, but the group as a whole – Jason Scott Quinn, Tony Naumovski, Alan Fessenden, Aaron Scott, Dorian Shorts, Ricardo Muniz, Tom Metzger and Aidan Nelson – have a stomping, dionysian good time setting themselves up to be pussywhipped and then brought to embrace the womens’ ironclad pacificist logic.

Greenfield has fashioned an entertainingly vaudevillian acoustic score where the cast join in singing several of the chorus parts, plus a couple of what sound like originals that suggest what John Waters might do with this, played with tightness and wry verve from many corners and a considerable distance by multi-instrumentalists Jeff Wood and Jim Galbraith. You will be offered wine by a tunic-garbed cast member as you enter (grape juice and grapes are an alternative), and you may become something of an extra in the play’s most comedic moments if you take an aisle seat. The final two dates in the currrent run are tonight, Oct 21 and tomorrow, Oct 22 at 7 PM at the Nuyorican Poets Cafe, 263 E 3rd St. between Aves A and B. Admission is $18/$15 stud/srs.

October 21, 2015 Posted by | drama, Live Events, New York City, review, theatre | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Object Collection Stages a Deliciously Noisy, Messy. Provocative Piece at LaMaMa

Longtime LaMaMa impresario Nicky Paraiso reminded last night’s sold-out crowd at Object Collection’s latest experimental opera, Cheap & Easy October, that the experience would be what used to be called “total theatre” back in the 80s – a description that really nailed it. With a tight, often scorchingly intense four-piece band playing behind a ratty knitted curtain of sorts and cast members scampering, leaping and chasing each other around the stage, it’s more of a concert with a cast acting out a dadaesque video of sorts than it is anything else. And what a show it is. As immersive and pummeling as composer Travis Just’s score is, it’s far less abrasive than it is enveloping: you are drawn into the heart of the cyclotron, violently thrust out or, surprisingly, cast gently into a starlit reverie. Earplugs will be handed out, hut you don’t really need them. The run at LaMaMa is coming to a close, with final performances tonight, October 17 and then tomorrow at 10 PM; tix are $18/$13 stud/srs.

The band shifts abruptly but strangely elegantly through dreampop, post-hardcore and Mogwai-esque nightmarescapes, with acidic mid-80s Sonic Youth close harmonies, furious percussive interludes that recall taiko drumming, moments of what seem to be free improvisation, and echoes of the cumulo-nimbus swirl of guitarist Taylor Levine’s quartet Dither. Violinist Andie Springer uses a lot of extended technique and nails-down-the-blackboard harmonics; she also plays bass. Explosive drummer Owen Weaver doubles on Telecaster, while keyboardist Aaron Meicht also adds the occasional trumpet flourish or joins the stomp on a couple of floor toms.

The text – drawn from Soviet revolutionary histories by Leon Trotsky and John Reed as well as conversations between writer/director Kara Feely and cast member Fulya Peker (whose butoh background informs the simmering menace she channels throughout the show) veers from lickety-split spoken word to a bizarre, falsettoey singsong. Sardonic symbolism is everywhere: there’s a zombie apocalypse subplot, a telephone gets abused, and swordplay abounds. The rest of the cast – Deborah Wallace, Daniel Allen Nelson, Tavish Miller and Avi Glickstein – take on multiple roles, some of them living, some of them presumably dead.

There’s some toying with poststructuralist japes, springboarding off the premise that if you control the conversation, you control the situation. “Do you think a revolution of words can be as profound as an actual revolution?” one of the cast poses in one of the performance’s less chaotic moments. Much of the iconography in the set is sarcastic and ultimately portends a lot of very gloomy endings: as Feely and Just see it, revolutions tend to disappoint.

No less august a personality than Robert Ashley gave this group’s work the thumbs-up. For those who need their ideas packaged neatly and cohesively, this isn’t going to work. And it raises fewer questions than it intimates – which by itself is reason to see this provocative piece, one more nuanced than its sonic cauldron might initially suggest.

October 17, 2015 Posted by | avant garde music, concert, drama, experimental music, Live Events, Music, music, concert, New York City, review, Reviews, theatre | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

ThingNY Debuts a Blackly Amusing, Sonically Rich Reflection on Hurricane Sandy

ThingNY‘s provocative, often hilarious performance piece This Takes Place Close By debuted last night, making maximum use of the spacious, sonically rich Knockdown Center in Maspeth, a former doorframe factory recast as adventurous performance venue. Through the eyes of various witnesses to Hurricane Sandy, the multimedia work explores apathy, anomie and alienation in the wake of disaster. It raises more questions than it answers – which isn’t necessarily a bad thing. Is this limousine liberal self-flagellation, a vain attempt to demonstrate eleventh-hour empathy? A simpering, self-congratulatory meme for gentrifiers hell-bent on their fifteen minutes on Instagram? A welcome dose of perspective on where the hurricane falls, historically speaking, in terms of disastrous consequences? A caustic and often poignant critique of narcissism raising its ugly head at the least opportune moment? You can find out for yourself when the piece repeats, tonight, September 25 through Sunday the 27th at 8 PM; general admission is $20.

Ostensibly an opera, this is more of an avant garde theatre piece with music. The six-piece ensemble lead the audience from one set to another, creating a surround-sound atmosphere, voices and instruments leaping unexpectedly from the shadows. The live electroacoustic score – a pulsing, rather horizontal, minimalistic theme and variations – is gripping and often reaches a white-knuckle intensity, and the distance between the performers has no effect on how tightly they play it. The narratives vary from more-or-less straight-up theatre vignettes, to phone calls, harrowing personal recollections and surrealist spoken-word interludes. Other than Gelsey Bell – whose pure, translucent chorister’s soprano is the icing on the sonic cake – the rest of the ensemble do not appear to be trained singers. Yet they gamely hold themselves together through some challenging, distantly gospel-inspired four-part harmonies. Violinist Jeffrey Young‘s shivery cadenzas and the occasional creepy glissando enhance the suspense, while Bell’s keyboards and Dave Ruder’s clarinet supply more resonantly ominous ambience. Percusssionist Paul Pinto wryly doubles as roadie and emcee of sorts with his trusty penlight. Bassist Andrew Livingston distinguishes himself by playing creepy tritones while sprawled flat on his back in the rubble; meanwhile, Bell projects with undiminished power despite the presence of Livingston’s bass on top of her diaphragm.

Intentionally or not, the star of this show is multi-saxophonist Erin Rogers, whose vaudevillian portrayal of a 911 operator slowly losing it under pressure – in between bursts of hardbop soprano sax – is as chilling as it is funny. Happily, she later gets to return to give the poor, bedraggled, unappreciated woman some dignity. And playing alto, she teams with Livingston for a feast of brooding foghorn atmospherics during a portrait of a philosophical old bodega owner for whom the storm is “been there, done that.”

The characters run the gamut from enigmatic or gnomic to extremely vivid. Young gets to relish chewing the scenery as he channels a wet-behind-the-ears, clueless gentrifier kid who’s just self-aware enough to know that he ought to cover his ass while expunging any possible guilt for gettting away with his comfortable life intact. Livingston’s shoreline survivor, horror-stricken over the possible loss of his girlfriend, really drives the storm’s toll home. Bell’s baroque-tinged ghost is more nebulous, as is Pinto’s mashup of tummler and historian at the end – in a set piece that seems tacked on, as if the group had to scramble to tie things together just to get the show up and running in time. Yet even that part is grounded in history – which, if this group is to be believed, does not portend well for how we will react when the waters rise again. And they will.

September 25, 2015 Posted by | avant garde music, concert, drama, Live Events, Music, music, concert, New York City, review, Reviews, theatre | , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment

Joris Lacoste Brings His Hilarious Found Sounds to NYC

The second the supertitle of a 2003 pre-Iraq War George W. Bush television address hit the screen, chuckles made their way through the audience at Joris Lacoste‘s Suite No. 2 at the French Alliance this past evening. The same thing happened a little earlier with a less unintentionally funny announcement from a Donald Trump property. But those were the coarsest jokes in an evening full of them, most of them vastly more subtle and just as crushingly relevant. It’s something of a shock that as of late this evening, tomorrow’s performance is not sold out. Seriously: if you need a laugh, this is is for you. Friday’s show, in comfortable, plush Florence Gould Hall at 55 E 59th St. is at 7:30 PM; general admission is $25.

Is it choral music? Not really, although there are moments where the five-person lineup (three men, two women) join voices seamlessly. Is it theatre? In the sense that the cast are narrating material from the vast online archive L’encyclopedie de la parole, yes. Is it comedy? Extremely. Central to this performance is a reading of the Portuguese parliamentary decision – rendered in a deadpan monotone in the original language, with English supertitles – to cut salaries and necessary services in order to meet the German bankers’ Euro membership requirements. Superimposed amidst this are dialogue from a porn video, a mallstore opening celebration, a frustrated cellphone customer telling off her provider network, and other reconstructed random moments too good to give away here.

Some of the more obvious LOL sequences are a soccer coach’s predictably over-the-top pregame address to his team, a cruelly inept song performed at an open mic, a drunk girl on reality tv and a family video where a fascist Christian family – their most likely closeted gay patriarch included – publicly disown their openly gay son. Less obvious and arguably funnier found footage, all narrated in a deadpan, straightforward fashion that only amps up the LOL factor, includes a haphazardly spot-on diatribe on racism from a drunken, homeless African immigrant in the Paris subway (in French) and a scary manifesto from a wannabe Islamofascist terrorist in Australia (in Arabic).

Cornered after this past evening’s show and asked whether the more seemingly private moments were hacked, Lacoste cited the web, and particular Youtube and Facebook as endless sources of inspiration…and raw material. And he’s site-specific: he tailors this performance to every location where it’s staged. The most New York-centric quote of this particular show was also among the most touching. Where, among all available historic landmarks,  does Lacoste’s breathless teenage pal want to convene with all her friends? At Anthology Film Archives. Otherwise, be careful – your online indiscretions might just show up in Lacoste’s Suite No. 3!

September 10, 2015 Posted by | drama, Live Events, New York City, NYC Live Music Calendar, review, Reviews, theatre | , , , , , , , , , , , , , | Leave a comment