1001: Review for Stage & Cinema
1001: Review for Stage & Cinema
Pornography: Review for Stage & Cinema
Senior prom is not likely to be a favorite memory for most hipsters. After all, prom represents the pinnacle of conformity to high school culture. The school year builds up to this overblown event, supposedly the best night of your young life. If your high school prom was the best night of your life … I am sorry for you. But when musician Jesse Nolan called the recent Cosmic Prom the best night of his life so far, I dug it.
On Friday, August 19, Nolan and friends time warped back to high school and restaged the prom as a collaborative artistic celebration. With a playful sci-fi twist, Cosmic Prom offered an immersive, interdisciplinary party that united an exciting array of young artists in downtown LA. The inaugural prom committee included songwriter/producer Jesse Nolan, DJ Ana Calderon, actress Tessa Thompson, performance/video artist D’Arcy French-Myerson, and artist/filmmaker Torie Zalben, in partnership with Vortex Immersion Media and c3: createLAB.
Who needs streamers when interactive visual media can set the scene? Prom guests, often bedecked in fabulously gaudy dresses and glittering astral attire, played with shadows and light in art exhibits throughout the studio. Photographer Tiffany Roohani captured memories in an impressively detailed space ship photo booth crafted by Nathan Owen, complete with ray guns and astronaut helmet props. (No boring, awkward prom poses allowed!) A troupe of performance artists in spacesuits wound about the Digital Dome Studio throughout the evening, interacting with guests and molding tin foil sculptures.
The center of this downtown studio space is the futuristic Vortex Dome, where VJs projected 360 degrees of psychedelic images – from cartoons to cosmic lights – to accompany a thrilling array of music throughout the evening. DJs Mor Elian and Noah Gershman (Bruno Mars) spun a playful selection of retro dance hits between live performances by local bands. The Morose Project, Lemon Sun, and Caught a Ghost each brought a rich palette of sounds and influences to the stage. Lemon Sun even pulled up the exceptional “tap dancing percussionist” Lauren Brown to fill out their rhythm section in a delightfully unexpected collaboration.
A full crowd had gathered by the time Caught a Ghost took the stage after midnight. This fresh collaboration between frontman Jesse Nolan, drummer Stephen Edelstein, and Tessa Thompson has an undeniably appropriate name; Caught a Ghost’s kaleidoscopic sound cuts across genres, capturing spectral connections in their richly layered soundscape. Their catchy “Sleeping At Night” overlays a contemporary electronica beat with Nolan’s grounded vocals, soulful backup harmonies, and countermelodies from an old school horn section. The smooth R&B blend of Nolan’s and Thompson’s voices in “No Sugar in My Coffee” had the audience singing, swaying, and holding their hands up high as the night drew to a close.
Cosmic Prom did culminate in the selection of a prom king and queen – but this was no high school popularity contest. The most innovative costumes and creative personalities were rewarded with a crown and a slow dance. But really, the entire party had already been rewarded by the fearless artistry and bold cross-disciplinary collaboration of Cosmic Prom’s organizers. Here’s hoping this interactive, immersive event becomes an annual affair.
I caught the last performance of Steve Yockey’s Heavier than … at Boston Court today. While production values were high, the script and lead performances were disappointing. Truth be told, I couldn’t stop drawing comparisons to the more innovative Psittacus Productions’ Cyclops: A Rock Opera throughout the show. Intertextual connections are one of the joys of theatergoing, so in a playful postmodern spirit, I offer a mashup of thoughts on sexuality in these reimagined Greek myths.
Steve Yockey’s world premiere play Heavier than … is “a strange account of Asterius in the labyrinth.” This “strangeness” derives not only from the fact that the minotaur is now the central character, but because Asterius is likely gay. If this buff minotaur is not gay, then he is certainly sexually ambiguous; the effiminate Icarus constantly flies into the labryinth and flirts with the lonely horned creature, who has a deep Freudian attachment to his mother.
What are the potential implications of portraying this mythological creature as gay? Most obviously, it registers homosexuality as unnatural and even monstrous. The minotaur Asterius is the bastard child of a white bull and King Minos’s queen, Pasiphae. Thus the minotaur is a strange, hybrid creature – part beast and part man. This “monstrosity” has several consequences. Perceived as a threat to men, the monster is isolated, estranged, exiled. King Minos confines Asterius in a labryinth after the creature lashes out in a violent rage at age 3, killing several men. Now every 7 years, Minos sends men to try to kill the minotaur – unless Asterius can kill the men first.
Similarly, Psittacus Productions’ Cyclops: A Rock Opera is a reimagining of Odysseus’ encounter with the one-eyed Polyphemus. (I have previously written about it here … and here … and here … and here … with a little overture here.) Based on Euripides’ satyr play, this carnivalesque inversion of a familiar Greek myth centers on the Cyclops – a sexually ambiguous figure in this adaptation. Polyphemus is a gender-bending glam rock star, drawing on cultural referents ranging from wildly excessive bel canto opera to Rocky Horror‘s Frank ‘n’ Furter. Polyphemus may have burned with desire for the sea nymph Galatea, but he drives into “Sodomy” with equal panache.
What are the implications of portraying this mythological creature as sexually ambiguous – especially with the creature’s blinding following close on the feet of a song called “Sodomy”? Again, it registers homosexuality as unnatural and monstrous. The Cyclops is not only a strange, hybrid creature – part god and part man – but he literally consumes men, gobbling up Odysseus’ crew. He is another isolated, estranged figure with only his satyr slaves to keep him company. Over the course of the show, the Cyclops becomes a sympathetic character. But he must suffer for his monstrosity: by all means, he must be blinded. That is how the story goes. Right?
Heavier than … is stylistically nonrealist, with a Greek chorus of three fates watching over Asterius (Ashanti Brown, Teya Patt, and Katie Locke O’Brien). Their voices mix and mingle in a rich polyphonic array, and their heightened physical vocabulary threads the rope of Asterius’ life to its fated end. The fates’ ensemble interplay is subtle and stunning. Unfortunately, there is no palpable connection among the remaining characters. Asterius (Nick Ballard) broods and occasionally bursts into an angry growl. Blonde and beautiful Icarus (Casey Kringlen) never mines deeper than his pretty boy surface. Pasiphae (the wonderfully grounded Jill Van Velzer) and moody teen Ariadne (Laura Howard) seem to inhabit entirely different theatrical worlds. Amidst such stylistic dissonance, the audience never reaches beyond the surface level of sympathy for Asterius — or for Icarus, who meets his own tragic death from flying too close to the sun. These (gay) figures are tragic, but ultimately impotent at the show’s conclusion.
I enjoyed Heavier than … today, if only because it was such an interesting counterpoint to my deep and ongoing consideration of Cyclops: A Rock Opera. Both pieces stem from Greek mythology into critical contemporary issues of sexuality and gender roles, of violence and estrangement. But both make me wonder: at what point is it time to not only bend the myths, but break them? Can we defy the fates?
(Psittacus Productions is currently rehearsing to rock the NY Musical Theatre Festival this fall. Support their road to NYMF at http://www.indiegogo.com/CYCLOPS-A-Rock-Opera.)
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