Dave Malloy’s latest: a song revue of Moby Dick at Joe's Pub. If you haven’t read Moby Dick, but really wanted to hear Dave Malloy’s latest and still know what was going on, you were in luck!
Paul Pinto as Reverend Roy G. Biv explained all, but not without ranting on ideas of race and our natural scheme of things. He questioned in a frenetic style of spoken word with an avant-garde girl group accompanying him. His rant was infectious, which seemed to be him challenging difficult ideas, but with an open heart and without too much worry about tradition or correctness. The general spirit suggests we reword and recraft the lens by which we look at people and their situations; I liked this idea.
Next, we met Pip in a dire situation, and what a contrast from the high energy Roy G. Biv. Pip seemed the lonely sort, almost defeated; the kind that seems to teach most when or if you can peer into their world. What a sweet moment as we listened to quiet query on the significance of his life. These questions with lots of time for wonder were filled in by jazz melodies on piano; I was especially fond of these, the silver lining in his dark moment. Were Pip’s questions answered? I don’t know, but he was not entirely alone as he pondered his fate.
I think Malloy may have tricked us. We sat and were caught up in the charisma of these performers, were surprised by nods to various genres, and I think everybody in the audience at some point wanted to shake a tambourine (!), but really, we sat and pondered meaningful life questions. Whether potent and high-energy or sweet and sparing, these two characters each gave us their view of universal questions regarding our fate as well as our place with others.
-Sally, Spring 2014
March 21, 2014
March 18, 2014
East Bank Music Series - Jay Sorce
East Bank Music Series:
As I sat and listened to Benjamin Britten played by Jay Sorce in an Episcopal church in Greenpoint, Brooklyn, I couldn’t help but think of Moonrise Kingdom by Wes Anderson. In that movie, the church scene showcases the performance of Noye’s Fludde by Britten; this is the moment when the two main characters meet and ultimately fall in love. The boy has a chance meeting with his future girlfriend in disguise; she is in a bird costume. He doesn’t let that throw him, but instead uses this as a conversation starter: “What kind of bird are you?” he asks. “I’m a raven,” she responds. While thinking of this scene, I realized I probably would not be meeting my future husband in this church scenario. Obviously, I mean, I wasn’t even wearing a costume, and so what would we have to talk about anyway?
My mind wandered as I listened to Nocturnal after John Dowland by Britten. It is the perfect piece for this, since it is several movements of variations on a theme. The original is “Come, Heavy Sleep,” an old vocal piece with lute written by John Dowland, and it is a dwelling on death, or perhaps with a lighter mind, endings or seeking respite. I’m glad I did not know this because it would have hung a dark cloud over my more current dwellings on birds (wink and nod). Instead, I was able to listen to the beautiful plucking of an acoustic guitar within this resonant, quiet space. Every sound lifted up and each movement of Nocturnal after John Dowland telling their own perspective on the same story, perhaps on a raven? One was quick-paced and impatient, another one still and quiet, while another steady in its dream-like lulling. The final movement, Passacaglia, was the most catching with its rhythmic turns and groovy, downward-flowing melody. Differences told in part by the many color changes with the guitar: sometimes plucked bright and hollow with an ethereal delicateness and other times strummed heavy-like and grounded. All thanks to Jay Sorce, who was able to create these different characters and moods, and all with one instrument. I applaud in thanks, caw!
-Sally, Spring 2014
As I sat and listened to Benjamin Britten played by Jay Sorce in an Episcopal church in Greenpoint, Brooklyn, I couldn’t help but think of Moonrise Kingdom by Wes Anderson. In that movie, the church scene showcases the performance of Noye’s Fludde by Britten; this is the moment when the two main characters meet and ultimately fall in love. The boy has a chance meeting with his future girlfriend in disguise; she is in a bird costume. He doesn’t let that throw him, but instead uses this as a conversation starter: “What kind of bird are you?” he asks. “I’m a raven,” she responds. While thinking of this scene, I realized I probably would not be meeting my future husband in this church scenario. Obviously, I mean, I wasn’t even wearing a costume, and so what would we have to talk about anyway?
My mind wandered as I listened to Nocturnal after John Dowland by Britten. It is the perfect piece for this, since it is several movements of variations on a theme. The original is “Come, Heavy Sleep,” an old vocal piece with lute written by John Dowland, and it is a dwelling on death, or perhaps with a lighter mind, endings or seeking respite. I’m glad I did not know this because it would have hung a dark cloud over my more current dwellings on birds (wink and nod). Instead, I was able to listen to the beautiful plucking of an acoustic guitar within this resonant, quiet space. Every sound lifted up and each movement of Nocturnal after John Dowland telling their own perspective on the same story, perhaps on a raven? One was quick-paced and impatient, another one still and quiet, while another steady in its dream-like lulling. The final movement, Passacaglia, was the most catching with its rhythmic turns and groovy, downward-flowing melody. Differences told in part by the many color changes with the guitar: sometimes plucked bright and hollow with an ethereal delicateness and other times strummed heavy-like and grounded. All thanks to Jay Sorce, who was able to create these different characters and moods, and all with one instrument. I applaud in thanks, caw!
-Sally, Spring 2014
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