#1
Posted: 11/20/05 at 2:01am
“See What I Wanna See”
November 19, 2005
Evening
How do we derive truth? Who can we believe? Who’s right, who’s wrong? Perhaps the answers are not as black and white as we would like - but who can figure out the gray better than Michael John LaChiusa? As usual with his work, LaChiusa’s See What I Wanna See deals with a look into the depths of the human conscious. If it has not become apparent yet, it should be by now: LaChiusa thrives on topics dealing with controversial subjects. Consider some past LaChiusa musicals: a musical about sexual conquest; a musical about a victimized woman who kills, among many, her own babies; a musical about a smoker who can’t quite manage oxygen; and a musical about a woman who throws a party for the destruction of her lover. Well, right away it becomes quite apparent that all that’s missing from this portfolio was a musical about lying, cheating, and no good people who get theirs in the end. Alright, so maybe they aren’t all of these things, but one thing is sure: in all of the three different stories presented in SWIWS, everyone needs a lesson in Truth 101, including the audience.
Furthermore, the idea of a musical based on Rashomon has LaChiusa’s name all over it because of his ability to write an effective, character-driven song. One in which the music tells as much a vibrant story as the lyrics.
The show is an adaptation of three Akutagawa stories – Kesa and Morito, In a Grove, and The Dragon. As with the film version of the book, the story of Rashomon is basically non-existent (the film focuses on the story In a Grove, with the tone of Rashomon*).
A noticeable problem in SWIWS, as with most of LaChiusa’s shows, is the book. The book ranges from awkward moments of dialogue to dialogue that sacrifices emotion for intelligence. There are times when LaChiusa tries to intellectualize the emotions we, the audience, should be feeling – completely taking us out of the moment. This was even more noticeable because of the source material. Akutagawa has a writing style that is free and simple. Yet within its simplicity is a layer of extreme emotional complexity. The emotional state of the writing presents itself so clearly that it negates the simple writing style. This concept is hard to understand, and even harder to explain, but as you read Akutagawa’s stories, it becomes completely evident.
This problem of the intellectualization of the book is also apparent in the lyrics themselves. Under the lyrics, we have a rich beautiful score that borrows from classic Japanese musical art (I use the term musical art because Japanese music is so completely rich in simplistic strokes that make up a beautifully moving whole) as well as jazz (a LaChiusa favorite, it seems), and just about everything else. This is one of Lachiusa’s more melodic scores, full of lush melodies that fully develop.
Based on reviews, and knowing the short stories, I expected to like Act One (based on “In a Grove,” but entitled ‘R Shomon’ in the Playbill) more than Act Two. However, I was unprepared for the fierce emotional journey we take in Act Two – entitled ‘Gloryday.’ As in the source material, a priest makes up the idea of a miracle that will occur. However, the question is – Did the miracle really occur. Without giving it away, Henry Stram (as the Priest) gave a performance that ranks with the best of the best. The empty, desolate look in is washed eyes just makes you feel his agony. In the end, there were quite a few wet eyes in the house.
Mary Testa and Marc Kudish are both their brilliant selves – with Testa giving a knockout performance in Act Two (not to mention her comic relief in Act One as well). Aaron Lohr also switch nicely from a character we loathe to one who is suave and, I’ll say it, deep (who knew a reporter could feel (such) emotions!).
Not to segregate her, but since she seems to be a huge drawing factor, Idina Menzel is gloriously beautiful, with a light about her I have never seen before. Her ability to win the audience, as well as have them hate her character, is text-book good – no, great – acting. Her voice, live in the small theatre, blends beautifully with the rest of the cast’s. She isn’t on her own – she supports the cast as much as they support her, giving what will likely be one of the greatest performances of her career.
It is clear that, musically and book-wise, Act Two is stronger and brings the audience on a huge emotional journey. Act One was good, but Act Two was grand.
LaChiusa did, however, do a brilliant job of tying all three stories together, making a seamless whole that will make you laugh, cry, and think.
---------------------------------
*For a note: Rashomon is the story of a man servant who was just dismissed from his job, after no longer being needed. He takes shelter in a large gate where dead bodies and bandits can often be found. (The run-down gate that used to guard Kyoto is called Rashomon). Through most of the story, this man ponders hi life and is existence until noticing a faint light and some smoke coming from out of the gate. He fears it may be some evil people there, but when he checks it out discovers an old woman stealing hair off of dead bodies. Without giving away the ending, the story deals with the perception of what is right, fair, and just.
The Color Purple below
November 19, 2005
Evening
How do we derive truth? Who can we believe? Who’s right, who’s wrong? Perhaps the answers are not as black and white as we would like - but who can figure out the gray better than Michael John LaChiusa? As usual with his work, LaChiusa’s See What I Wanna See deals with a look into the depths of the human conscious. If it has not become apparent yet, it should be by now: LaChiusa thrives on topics dealing with controversial subjects. Consider some past LaChiusa musicals: a musical about sexual conquest; a musical about a victimized woman who kills, among many, her own babies; a musical about a smoker who can’t quite manage oxygen; and a musical about a woman who throws a party for the destruction of her lover. Well, right away it becomes quite apparent that all that’s missing from this portfolio was a musical about lying, cheating, and no good people who get theirs in the end. Alright, so maybe they aren’t all of these things, but one thing is sure: in all of the three different stories presented in SWIWS, everyone needs a lesson in Truth 101, including the audience.
Furthermore, the idea of a musical based on Rashomon has LaChiusa’s name all over it because of his ability to write an effective, character-driven song. One in which the music tells as much a vibrant story as the lyrics.
The show is an adaptation of three Akutagawa stories – Kesa and Morito, In a Grove, and The Dragon. As with the film version of the book, the story of Rashomon is basically non-existent (the film focuses on the story In a Grove, with the tone of Rashomon*).
A noticeable problem in SWIWS, as with most of LaChiusa’s shows, is the book. The book ranges from awkward moments of dialogue to dialogue that sacrifices emotion for intelligence. There are times when LaChiusa tries to intellectualize the emotions we, the audience, should be feeling – completely taking us out of the moment. This was even more noticeable because of the source material. Akutagawa has a writing style that is free and simple. Yet within its simplicity is a layer of extreme emotional complexity. The emotional state of the writing presents itself so clearly that it negates the simple writing style. This concept is hard to understand, and even harder to explain, but as you read Akutagawa’s stories, it becomes completely evident.
This problem of the intellectualization of the book is also apparent in the lyrics themselves. Under the lyrics, we have a rich beautiful score that borrows from classic Japanese musical art (I use the term musical art because Japanese music is so completely rich in simplistic strokes that make up a beautifully moving whole) as well as jazz (a LaChiusa favorite, it seems), and just about everything else. This is one of Lachiusa’s more melodic scores, full of lush melodies that fully develop.
Based on reviews, and knowing the short stories, I expected to like Act One (based on “In a Grove,” but entitled ‘R Shomon’ in the Playbill) more than Act Two. However, I was unprepared for the fierce emotional journey we take in Act Two – entitled ‘Gloryday.’ As in the source material, a priest makes up the idea of a miracle that will occur. However, the question is – Did the miracle really occur. Without giving it away, Henry Stram (as the Priest) gave a performance that ranks with the best of the best. The empty, desolate look in is washed eyes just makes you feel his agony. In the end, there were quite a few wet eyes in the house.
Mary Testa and Marc Kudish are both their brilliant selves – with Testa giving a knockout performance in Act Two (not to mention her comic relief in Act One as well). Aaron Lohr also switch nicely from a character we loathe to one who is suave and, I’ll say it, deep (who knew a reporter could feel (such) emotions!).
Not to segregate her, but since she seems to be a huge drawing factor, Idina Menzel is gloriously beautiful, with a light about her I have never seen before. Her ability to win the audience, as well as have them hate her character, is text-book good – no, great – acting. Her voice, live in the small theatre, blends beautifully with the rest of the cast’s. She isn’t on her own – she supports the cast as much as they support her, giving what will likely be one of the greatest performances of her career.
It is clear that, musically and book-wise, Act Two is stronger and brings the audience on a huge emotional journey. Act One was good, but Act Two was grand.
LaChiusa did, however, do a brilliant job of tying all three stories together, making a seamless whole that will make you laugh, cry, and think.
---------------------------------
*For a note: Rashomon is the story of a man servant who was just dismissed from his job, after no longer being needed. He takes shelter in a large gate where dead bodies and bandits can often be found. (The run-down gate that used to guard Kyoto is called Rashomon). Through most of the story, this man ponders hi life and is existence until noticing a faint light and some smoke coming from out of the gate. He fears it may be some evil people there, but when he checks it out discovers an old woman stealing hair off of dead bodies. Without giving away the ending, the story deals with the perception of what is right, fair, and just.
The Color Purple below
Updated On: 11/20/05 at 02:01 AM
