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
December 31, 2013
Brent Arnold - Night Exquisite
To sit and dream with music as my guide, this I did during Brent Arnold’s album-release concert of Night, Exquisite at Rockwood Music Hall in December. My favorite way to hear music is live, especially for the first time. To sit naively and be greeted by something entirely new, a new sound, a new idea can be special and I consider these moments as one-of-a-kind and hard to forget. I wasn’t disappointed as four cellists joined Brent to create one dense cello sound; thanks to Raymond Sicam III, Isabel Castellvi, Meaghan Burke and Loren Dempster. Since Brent’s music is one cello that is looped and layered, it was interesting to hear and see it as collaboration among several performers. Neat that he recorded these melodies on various trips across the country and around the world to return home and put them together to create an album and then take them apart again for a live concert with friends. Between songs, Brent would briefly tell of his travels and inspiration for each song; the concert becoming much like sharing a scrap book of his adventures. Some songs were quiet and dreamy like the title track, “Night, Exquisite,” with its own hushed pulse, but others had a gentle groove like “King of May.” I was surprised by “A Ghost in the Library” when Brent sang a falsetto line with his cello- so sweet to hear a voice after all the bowing and plucking and such an ethereal moment, I couldn’t help but be a bit teary-eyed. As a whole, the concert had a contemplative feel with a touch of sweet melancholy, but not without its brighter, hopeful moments- much enjoyed! Kudos to the bread-making cellist/composer!
-Sally, Winter 2013
-Sally, Winter 2013
December 30, 2013
Drake at Barclays
I finally fulfilled my greatest dream in life, to see my most loved and appreciated artist. I have been in love with Drake, since I was 11 years old, watching him on my favorite teen show, Degrassi. I felt as if I was growing up with him on the show, going through his crisis alongside him. When he quit the show to begin his music career, I fell in love with him even more. His lyrics were deep and heartfelt, something hard to come across in rap music these days. It seems that most artists focus on sex and drugs, while he emphasized finding love as well as finding yourself. So, when I heard that he was performing at the Barclays Center in Brooklyn, you can imagine my absolute exhilaration and elation.
The venue was amazing. It was the biggest concert I've ever been to and will probably ever go to. The amount of floors seemed infinite and there were so many people; it was almost overwhelming. The only downfall was our seats. They were so tiny and close together; it felt like we were sardines. Also, we were so high, I could barely see my future husband, Drake, as we looked over the whole theater. This did not help me overcome my fear of heights at all. Although we were far away, there were speakers right next to us, so the audio made it seem like he was singing next to us. This made my heart soar.
The audience was loving and kind; everyone was sharing drinks and cigarettes as if we were all long, lost friends. When he performed, everyone sang along and danced, knowing every word just as well as myself. The ages of the audience varied from 21 to 40. I guess you can never be too old to be a Drake fan. As for the attire, my friends and I went for the "ghetto fab" look, wearing Addidas, high-waisted leggings, a tummy shirt, football jackets and snapbacks that said, "party" in pink. Everyone else seemed to follow Brooklyn attire.
Drake was a professional when it came to interacting with the audience. He brought a girl on stage and sang to her. It was mesmerizing. The whole time, I just kept screaming and wishing it was me. He kissed her right on the mouth after the song. My stomach dropped and the crowd went wild. There was one part where the stage elevated until it almost touched the ceiling and he pointed out to members of the crowd, acknowledging them for about half an hour. He'd point at someone and say, "I see you with the OVOXO shirt" or "I see you with the Yankees hat," among many other things. I thought that was unique that he took the time to make his fans feel special.
He danced and hopped all over the stage, waving his arms around and thrusting to the beat. He is an extremely expressive musician. He played all or most of the songs from his new album, which I loved, along with some of his oldies. There were some songs I wish he would have played, but I think they were so old that only the die-hard fans would have known what they were. I knew every song he sang word for word, which I'm sure genuinely annoyed everyone around me. I tended to scream the lyrics loudly and obnoxiously; I think it was due to the cranberry vodkas.
My favorite song he played was "Hold on We're Going Home." I literally cried when he sang it and imagined him singing it to me. The lyrics always cut to the core of me:
-Emily Mercado, Fall 2013
The venue was amazing. It was the biggest concert I've ever been to and will probably ever go to. The amount of floors seemed infinite and there were so many people; it was almost overwhelming. The only downfall was our seats. They were so tiny and close together; it felt like we were sardines. Also, we were so high, I could barely see my future husband, Drake, as we looked over the whole theater. This did not help me overcome my fear of heights at all. Although we were far away, there were speakers right next to us, so the audio made it seem like he was singing next to us. This made my heart soar.
The audience was loving and kind; everyone was sharing drinks and cigarettes as if we were all long, lost friends. When he performed, everyone sang along and danced, knowing every word just as well as myself. The ages of the audience varied from 21 to 40. I guess you can never be too old to be a Drake fan. As for the attire, my friends and I went for the "ghetto fab" look, wearing Addidas, high-waisted leggings, a tummy shirt, football jackets and snapbacks that said, "party" in pink. Everyone else seemed to follow Brooklyn attire.
Drake was a professional when it came to interacting with the audience. He brought a girl on stage and sang to her. It was mesmerizing. The whole time, I just kept screaming and wishing it was me. He kissed her right on the mouth after the song. My stomach dropped and the crowd went wild. There was one part where the stage elevated until it almost touched the ceiling and he pointed out to members of the crowd, acknowledging them for about half an hour. He'd point at someone and say, "I see you with the OVOXO shirt" or "I see you with the Yankees hat," among many other things. I thought that was unique that he took the time to make his fans feel special.
He danced and hopped all over the stage, waving his arms around and thrusting to the beat. He is an extremely expressive musician. He played all or most of the songs from his new album, which I loved, along with some of his oldies. There were some songs I wish he would have played, but I think they were so old that only the die-hard fans would have known what they were. I knew every song he sang word for word, which I'm sure genuinely annoyed everyone around me. I tended to scream the lyrics loudly and obnoxiously; I think it was due to the cranberry vodkas.
My favorite song he played was "Hold on We're Going Home." I literally cried when he sang it and imagined him singing it to me. The lyrics always cut to the core of me:
I got my eyes on you. You're everything that I see. I want your hot love and emotion endlessly. I can't get over you. You left your mark on me. I want your hot love and emotion endlessly. Cause you're a good girl and you know it. You act so different around me. Cause you're a good girl and you know it. I know exactly who you could be. Just hold on we're going home. It's hard to do these things alone. You're the girl. You're the one. Gave you everything I love. I think there's something, baby.As for extras in the performance, the stage was pretty wild. It was huge with a big "O" platform that lit up. The screen against the wall was gigantic and portrayed roses and fireworks and occasionally him singing. My expectations were definitely met. I think it was the best night of my life, finally achieving my life's goal. I would go every day, if I could. The best surprise was when he said, "This is the best night of my life." It was so beautiful to be able to share that with him and be a part of that. You could say I, as well as everyone else there was the reason it was the best night of his life. It was so touching. It was definitely one of the most memorable experiences of my life.
-Emily Mercado, Fall 2013
December 22, 2013
Blue Wizard/Black Wizard
St. Marks Church-in-the-Bowery hosts a really cool, offbeat performance series: Incubator Arts Series, which calendars concerts like Blue Wizard/Black Wizard. After walking the church grounds and up to the concert entrance, you are invited to choose a Wizard, or who you came to support. I had no idea I would be on a team, so this was intriguing. You are asked this by two women dressed in shiny, futuristic outfits- also intriguing. What to make of it, I wasn’t sure, but I chose blue; that part was easy. I was then given blue beads of declaration and was ushered to a particular side of the stage, which was in the shape of a star with lights surrounding it, creating an atmosphere of a discotheque. As I sat with the blue team, I couldn’t wait to find out what was to come of this, but I hoped to be fighting the good fight.
The show began with two hosts of some future time that welcomed us into their world of zany intellect, which included these two Wizards. These Wizards dueled with each other in order to determine the fate of the universe, but mostly just for fun, I think. As it turns out, these two were equal parts lovers and friends and were determining not the fate of the world, but their own fate with one another. It was sweet to see all this unfold: what began as a duel became a reconciling in the end. So, I couldn’t help but feel that we didn’t choose a fighting team of blue/black, but a friends and family team of bride/groom. We knew in the end that the future was not in their zany world of intellect, but us: those supporting a union of the two, a bride and a groom.
Overall, I loved how fun the show was and I enjoyed being in their imaginary world of games fit for all of us. The beautiful commentary to all of this was the trombonist, who seemed to be mute, so he spoke only through his instrument. With two hosts, two Wizards, and a trombonist, this world was full of dance and song, not without really tall boots and shiny, otherworldly outfits. Nehapwa!
-Sally, Winter 2013
The show began with two hosts of some future time that welcomed us into their world of zany intellect, which included these two Wizards. These Wizards dueled with each other in order to determine the fate of the universe, but mostly just for fun, I think. As it turns out, these two were equal parts lovers and friends and were determining not the fate of the world, but their own fate with one another. It was sweet to see all this unfold: what began as a duel became a reconciling in the end. So, I couldn’t help but feel that we didn’t choose a fighting team of blue/black, but a friends and family team of bride/groom. We knew in the end that the future was not in their zany world of intellect, but us: those supporting a union of the two, a bride and a groom.
Overall, I loved how fun the show was and I enjoyed being in their imaginary world of games fit for all of us. The beautiful commentary to all of this was the trombonist, who seemed to be mute, so he spoke only through his instrument. With two hosts, two Wizards, and a trombonist, this world was full of dance and song, not without really tall boots and shiny, otherworldly outfits. Nehapwa!
-Sally, Winter 2013
December 21, 2013
Stony Brook. Chamber Music Festival.
On Friday, I went to Stony Brook’s
Fall Chamber Music Festival at the Staller
Center for the Arts Recital Hall. I was surprised by how small the audience was;
there were only a dozen people, give or take. I wasn’t sure what to expect in regards
to the music, the audience or the performance, but I ended up really enjoying the
experience. Despite the room being almost empty, each performer gave their all. It
was clear to me that they weren’t performing because they needed an audience’s
attention, but they performed because they were passionate about their music. The
music played seemed to be mainly from the Romantic Period.
The first performance featured flutist, Ray Furuta, and pianist, Christina Dahl. They played Sonata “Undine” Op. 167 by Carl Reinecke. The first movement was Allegro and so it was a fast tempo and bright. The second movement was Intermezzo, which I interpreted to be fairy-like, beautiful and emotional. The third movement was Andante tranquillo, which reminded me of a love song because of the gentleness and daintiness encompassed in a call and answer style. The fourth movement was both powerful and gentle. I really enjoyed the piece because of the flutist’s passion, not to say the pianist didn’t have passion, but being a flutist myself I automatically paid more attention to him. He played passionately and sincerely, moving with the music, smiling when he wasn’t playing, and enjoying every moment of it. He was definitely in his element and it was inspiring to watch.
The second performance featured soprano, Bo-Kyung Kim, and pianist, Anna Betka. Bo-Kyung Kim walked out in a beautiful, long, white dress. She sang four songs by Claude Debussy and despite the songs being in French, I felt like I understood them because they each carried so much emotion. Bo-Kyung has a beautiful operatic and powerful voice. Each song was better than the next. Her voice was heavenly and while listening to her, I was able to forget about everything else. The beautiful dress combined with a beautiful voice came together to create a truly beautiful performance.
The third performance was 8 pieces for Clarinet, Cello, and Piano, Op. 83 by Max Bruch featuring clarinetist, Carina Canonico, cellist, Kumhee Lee, and pianist, Annie Brooks. They played the second, sixth and seventh pieces, of which the seventh, Allegro Vivace ma non troppo, was my favorite. The pieces were all different in feel, the first was a bit of call and answer, which I found to be inviting. The second piece had a winter-wonderland type feel. The last piece had a faster tempo, and a fun, prance-like feel to it, but it shifted from powerful to light in feel. I thought the performers were especially attuned to one another and the pieces chosen complemented each other. I especially love the sound of the cello, but I gained a greater appreciation for the clarinet during the performance.
The performance as a whole was a success; it was inspiring, beautiful and full of passion. I honestly would go to see a Stony Brook concert again. I was most surprised by the small size of the audience and I was pleasantly surprised by the variety of talent presented. I most enjoyed the passion of the flutist, the second performer’s beautiful operatic voice (and beautiful dress), and the calming effect of the cello in the third performance. This was a memorable experience because it reminded me of how much I enjoy music, especially live performances because while listening, the music is the only thing I feel and my mind is at peace. Without worry, I can just sit, listen, and be.
-Lisa Harbes, Winter 2013
The first performance featured flutist, Ray Furuta, and pianist, Christina Dahl. They played Sonata “Undine” Op. 167 by Carl Reinecke. The first movement was Allegro and so it was a fast tempo and bright. The second movement was Intermezzo, which I interpreted to be fairy-like, beautiful and emotional. The third movement was Andante tranquillo, which reminded me of a love song because of the gentleness and daintiness encompassed in a call and answer style. The fourth movement was both powerful and gentle. I really enjoyed the piece because of the flutist’s passion, not to say the pianist didn’t have passion, but being a flutist myself I automatically paid more attention to him. He played passionately and sincerely, moving with the music, smiling when he wasn’t playing, and enjoying every moment of it. He was definitely in his element and it was inspiring to watch.
The second performance featured soprano, Bo-Kyung Kim, and pianist, Anna Betka. Bo-Kyung Kim walked out in a beautiful, long, white dress. She sang four songs by Claude Debussy and despite the songs being in French, I felt like I understood them because they each carried so much emotion. Bo-Kyung has a beautiful operatic and powerful voice. Each song was better than the next. Her voice was heavenly and while listening to her, I was able to forget about everything else. The beautiful dress combined with a beautiful voice came together to create a truly beautiful performance.
The third performance was 8 pieces for Clarinet, Cello, and Piano, Op. 83 by Max Bruch featuring clarinetist, Carina Canonico, cellist, Kumhee Lee, and pianist, Annie Brooks. They played the second, sixth and seventh pieces, of which the seventh, Allegro Vivace ma non troppo, was my favorite. The pieces were all different in feel, the first was a bit of call and answer, which I found to be inviting. The second piece had a winter-wonderland type feel. The last piece had a faster tempo, and a fun, prance-like feel to it, but it shifted from powerful to light in feel. I thought the performers were especially attuned to one another and the pieces chosen complemented each other. I especially love the sound of the cello, but I gained a greater appreciation for the clarinet during the performance.
The performance as a whole was a success; it was inspiring, beautiful and full of passion. I honestly would go to see a Stony Brook concert again. I was most surprised by the small size of the audience and I was pleasantly surprised by the variety of talent presented. I most enjoyed the passion of the flutist, the second performer’s beautiful operatic voice (and beautiful dress), and the calming effect of the cello in the third performance. This was a memorable experience because it reminded me of how much I enjoy music, especially live performances because while listening, the music is the only thing I feel and my mind is at peace. Without worry, I can just sit, listen, and be.
-Lisa Harbes, Winter 2013
December 13, 2013
Hair: The American Tribal Love-Rock Musical
During this semester, I had the pleasure of attending the musical, Hair. This production was held at the Shea Theatre on the Ammerman campus of Suffolk County Community College. It is set in 1968, during a time of war, protests, experimentation, civil rights and the peace movement. The music of the show revolves around the hippy counter culture and psychedelics of that time, and is a great example of how Rock ‘n’ Roll became big in musicals. This performance was done by twenty seven students, who were cast into the show after auditioning.
I decided to go see this show because I enjoy music theater. I feel that when you combine acting and music you get an amazing combination of emotion and expression. I was excited to see this performance for many reasons. For one, this show was put on by fellow students, some of which I personally know. I really like that I was able to support them and get such enjoyment out of their performance. Secondly, the music and theme of this musical really represents Rock ‘n’ Roll and what we are studying in class. Every song is in the Rock ’n’ Roll style and is based around the controversial topics of free love, drugs, sex, war and overall finding inner happiness and equality.
The performance space was smaller than usual theaters, mainly because it is at a college. However, I have seen shows at much smaller venues in the past and I feel this one was a happy medium. There was not one bad seat in the house; everywhere you were there was efficient viewing of the stage. The audience, while it was not sold out, was very into it and actually quite involved and very much awake. The minute I walked in to find my seat the atmosphere was warm and welcoming, almost like it was inviting you on a musical journey. Since this was a musical, the stage was pretty open and ready for dancers and actors to grace it. The band instead of being center stage like at a concert was placed stage right in their own area. Since the space was not overly large, I felt that the music really wrapped itself all the way around the theater. It seemed even more personal and brought about many different emotions. My impression of the venue was that it was kept up very nicely and it was also much nicer than I had expected.
The audience was made up of people who were excited to see the show and fans of the music in the show. Everyone dressed pretty casually as this was not a very formal event. There were some people who you could tell were dragged along or had to be there, but no matter their purpose of why they showed up, everybody left saying great things about it. When it came to the age of the audience, it ranged from young teenagers to people who grew up during the time period portrayed. Clapping ensued after every song; some of the songs and singing were so great they required loud clapping, whistles and screams. Two songs that got the most attention out of the audience were definitely “Hair” and “Let the Sunshine In.”
The three leads in this performance were done by Joe Sergio, a music theater major, who portrayed the character of Berger, a drug loving, free-spirited guy, who always sticks to his beliefs. Hailey Kinsler, a theater major, who is planning a career in acting, portrayed the character of Sheila, a passion-filled protester. Finally, Mark Maurice, also a theater major, played Claude, the guy everyone wants and loves and is Berger’s best friend; he is drafted in the Vietnam War. Also, backing these performers was an incredible ensemble, which included amazing singers and dancers. The leads and the ensemble were all very dedicated to putting on a spectacular performance. Every scene and song showed complete emotion. You could really tell that they wanted the audience to feel it rather than just hear and see it. They also sang and danced within the audience with many of its members. During the song “Ain’t Got No,” they really got the audience members into it including myself. I would give their performance as a whole a 9 out of 10. The only reason I would not rate them 10 out of 10 is because I think they had the potential to make the opening scene better than it was due to how amazing the rest of the show turned out to be.
The composer of the Love-Rock musical is Galt MacDermot; he with help from lyricists, Gerome Ragni and James Rado, really paved the way for this Broadway success. Some things that really added to this show were the dancing and lights. Since this was a musical, the dancing was just as prominent as the singing and I thought it was choreographed exceptionally well. The light show really represented the psychedelic time period they were portraying, as well as their costumes, which consisted of bell bottom pants, crop tops, tie dye and of course long hair.
The pit band of this show consisted of saxophone, trumpet, trombone, keyboard, drums, bass and guitar. The combination of the instruments and voices of these performers was excellent. I have to highlight the voices of the three main leads. Joe Sergio, while his voice not as trained or smooth had a raspy, unique timbre. Hailey Kinsler, the female lead did have a much trained, smooth, ear-pleasing voice. Finally, Mark Maurice had a clear passionate way of singing and a freedom in his performance. All the voices blended well and you could even hear a four part harmony in the song, “Electric Blues.” The vast majority of the show was up-tempo songs; however, the slow more emotion-packed songs were there as well. One of these songs was “Easy to be Hard,” where Hailey actually ended up crying while singing it. Each song represented the controversial topics they face in the show, telling a dramatic story. During the final song, the character Berger, played by Joe, belted it out so incredibly as tears filled his eyes from the pain he felt from losing his best friend to Vietnam that tears began to fill the audience. The ending to that performance was one of the best I have ever seen.
I am very pleased that I chose to do my evaluation on Suffolk County Community College’s performance of Hair. The music, performers and venue combined to make an experience that I will remember for a very long time. Music theater has a great way of sending messages and emotions through song and dance. I especially liked the involvement of the audience that occurred, and the passion you could see in the performer’s eyes. The music itself showcased great melody, dynamics, harmony and all together every other element that there is. Without a doubt, I would love to see this show again and would recommend it to anyone, who enjoys a great musical performance.
-Joanna MacMahon, Fall 2013
I decided to go see this show because I enjoy music theater. I feel that when you combine acting and music you get an amazing combination of emotion and expression. I was excited to see this performance for many reasons. For one, this show was put on by fellow students, some of which I personally know. I really like that I was able to support them and get such enjoyment out of their performance. Secondly, the music and theme of this musical really represents Rock ‘n’ Roll and what we are studying in class. Every song is in the Rock ’n’ Roll style and is based around the controversial topics of free love, drugs, sex, war and overall finding inner happiness and equality.
The performance space was smaller than usual theaters, mainly because it is at a college. However, I have seen shows at much smaller venues in the past and I feel this one was a happy medium. There was not one bad seat in the house; everywhere you were there was efficient viewing of the stage. The audience, while it was not sold out, was very into it and actually quite involved and very much awake. The minute I walked in to find my seat the atmosphere was warm and welcoming, almost like it was inviting you on a musical journey. Since this was a musical, the stage was pretty open and ready for dancers and actors to grace it. The band instead of being center stage like at a concert was placed stage right in their own area. Since the space was not overly large, I felt that the music really wrapped itself all the way around the theater. It seemed even more personal and brought about many different emotions. My impression of the venue was that it was kept up very nicely and it was also much nicer than I had expected.
The audience was made up of people who were excited to see the show and fans of the music in the show. Everyone dressed pretty casually as this was not a very formal event. There were some people who you could tell were dragged along or had to be there, but no matter their purpose of why they showed up, everybody left saying great things about it. When it came to the age of the audience, it ranged from young teenagers to people who grew up during the time period portrayed. Clapping ensued after every song; some of the songs and singing were so great they required loud clapping, whistles and screams. Two songs that got the most attention out of the audience were definitely “Hair” and “Let the Sunshine In.”
The three leads in this performance were done by Joe Sergio, a music theater major, who portrayed the character of Berger, a drug loving, free-spirited guy, who always sticks to his beliefs. Hailey Kinsler, a theater major, who is planning a career in acting, portrayed the character of Sheila, a passion-filled protester. Finally, Mark Maurice, also a theater major, played Claude, the guy everyone wants and loves and is Berger’s best friend; he is drafted in the Vietnam War. Also, backing these performers was an incredible ensemble, which included amazing singers and dancers. The leads and the ensemble were all very dedicated to putting on a spectacular performance. Every scene and song showed complete emotion. You could really tell that they wanted the audience to feel it rather than just hear and see it. They also sang and danced within the audience with many of its members. During the song “Ain’t Got No,” they really got the audience members into it including myself. I would give their performance as a whole a 9 out of 10. The only reason I would not rate them 10 out of 10 is because I think they had the potential to make the opening scene better than it was due to how amazing the rest of the show turned out to be.
The composer of the Love-Rock musical is Galt MacDermot; he with help from lyricists, Gerome Ragni and James Rado, really paved the way for this Broadway success. Some things that really added to this show were the dancing and lights. Since this was a musical, the dancing was just as prominent as the singing and I thought it was choreographed exceptionally well. The light show really represented the psychedelic time period they were portraying, as well as their costumes, which consisted of bell bottom pants, crop tops, tie dye and of course long hair.
The pit band of this show consisted of saxophone, trumpet, trombone, keyboard, drums, bass and guitar. The combination of the instruments and voices of these performers was excellent. I have to highlight the voices of the three main leads. Joe Sergio, while his voice not as trained or smooth had a raspy, unique timbre. Hailey Kinsler, the female lead did have a much trained, smooth, ear-pleasing voice. Finally, Mark Maurice had a clear passionate way of singing and a freedom in his performance. All the voices blended well and you could even hear a four part harmony in the song, “Electric Blues.” The vast majority of the show was up-tempo songs; however, the slow more emotion-packed songs were there as well. One of these songs was “Easy to be Hard,” where Hailey actually ended up crying while singing it. Each song represented the controversial topics they face in the show, telling a dramatic story. During the final song, the character Berger, played by Joe, belted it out so incredibly as tears filled his eyes from the pain he felt from losing his best friend to Vietnam that tears began to fill the audience. The ending to that performance was one of the best I have ever seen.
I am very pleased that I chose to do my evaluation on Suffolk County Community College’s performance of Hair. The music, performers and venue combined to make an experience that I will remember for a very long time. Music theater has a great way of sending messages and emotions through song and dance. I especially liked the involvement of the audience that occurred, and the passion you could see in the performer’s eyes. The music itself showcased great melody, dynamics, harmony and all together every other element that there is. Without a doubt, I would love to see this show again and would recommend it to anyone, who enjoys a great musical performance.
-Joanna MacMahon, Fall 2013
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