In a captivating performance on Wednesday night, Eunbi Kim and Laura Yumi Snellcrafted a new kind of performance art, a new kind of presentation format for live classical music and a new message for contemporary performing artists. With the spell-binding production of Murakami Music, Eunbi and Laura made it clear that if you are willing to take big risks– your art will thrive.

It’s taken me several days to begin to write this review (for lack of a better term) of their performance. I’ve been thinking about the experience, what I took away from it, and how in the world I would try to explain it to you. I knew that a simple recap would never do it justice. This post is going to be much more detailed than other reviews I’ve done; for when I get the opportunity to write about something that absolutely embodies the core ideals of Tuxedo Revolt, I have to be able to share it with all of you.

When Eunbi first told me about her idea for Murakami Music, I featured the concept in a post back in January. If you aren’t familiar with this project or need a refresher– click here. Last week’s performance took place at The Cell Theatre in Chelsea. It was the perfect venue, living up to its definition as a 21st Century Salon. I must give a great deal of credit to the founding artistic director of the Cell Theater, Nancy Manocherian for her vision for such an innovative, elegant and multi-functional performance space. For a hybrid music/drama project like Murakami Music, the Cell provided a fresh and blank canvas for Laura and Eunbi to explore throughout their performance. But now— onto the performance itself.

Merely listing the order of events, pieces played, and highlights of the evening isn’t appropriate. I found Murakami Music to be so intellectually stimulating that I realized I would need to analyze the performance like a painting, or a piece of literature. This was no concert– it was a full-out experience.

When you consider that the project was based on passages of Murakami’s writings, combined with a performance of musical selections referenced in his novels, a book reading with musical examples is the first thing that comes to mind.  The project’s director Kira Simring anticipated this perception and skillfully transcended it. As the program began, artist LauraYumi Snell read from a copy of Murakami’s book– as we might have expected. Then, as Laura continued to recite passages from the novel, Eunbi began to delicately introduce the solo piano into our field of perception. Laura continued to read aloud, but gently closed the book, all the while still reciting Murakami’s text. The dramatic narrative from the text then took on a life of its own. With flawless transition, our descent into the world of Murakami Music had begun.

This performance was focused on engaging the audience at all times. Murakami’s texts, so skillfully dramatized by both Laura and Eunbi, shared a symbiotic relationship with the music of Chopin, Debussy, Prokofiev and other composers whose music was featured in the performance. Spoken word and live music gave meaning and context to each other. Audience members who had never read the works of Murakami were introduced to his world of dual meaning and pensive emotion through beautiful music with similar dramatic properties. Audience members who were not familiar with solo piano music were introduced to it in way that they could begin to understand its emotional depth as it echoed the emotions of the unfolding drama.

For the music-must-stand-alone-as-its-own-art-form critics who are reading this, I must say that Eunbi and Laura created a performance where both music and drama took equal roles. The music, brilliantly executed by both Eunbi and Laura, was in no way impeded by the precisely planned and well chosen texts they also presented. Under the gifted guidance of Kira Simring, the pair used both music and drama to appeal to the senses of sound, sight, and spatial awareness. As an audience member, I was on edge waiting for what was to come next.

Transitions between scenes and musical selections were handled flawlessly and the performance never lost its momentum. I am most critical of transitions between events when I attend performances. These are the moments when audience members are not lost in their own thoughts, but rather present with you and in the moment. Transitions present a golden opportunity to introduce new themes, new ideas and new energy. Too often, transitions seem like TV commercial breaks, interrupting the flow of a performance and flat-lining the energy of the overall experience.

Murakami Music reminded me of why the tradition to hold applause until the end of a performance came to be in be first place. Once upon a time, musical performances were so captivating to audiences that no one dared to release the energy or flow of a performance until the event was truly finished. Audiences didn’t know what to expect as the next great work began to unfold. Finally, at the end of the performance, the moment came for the audience to express appreciation for the performers and to release through applause the energy that was building within each audience member throughout the performance.

As the final tableau in Murakami Music drew to a close, I glanced around at my fellow audience members. I saw young and old on the edge of their seats, leaning forward, captivated and ready it burst into applause. When the final note of  Prokofiev’s Sonata No. 2 in d minor, op. 14 sounded, we the audience, finally had our moment to thank the artists who performed for us. It was truly a genuine exchange of gratitude.

When I am able to attend such a great performance, I am inspired to keep writing this blog. I am refreshed and reassured that through adaptation and innovation, live performing arts can still be socially relevant and meaningful to audiences. With its solo piano and stage absent of scenery and props, Murakami Music brought to my mind images from the great American playwright Thornton Wilder‘s Our Town. When the audience is challenged to use its imagination, but is guided to do so, there is a freshness to the performance and each audience member walks away with a unique and memorable experience.

I’m reminded of a line from Our Town spoken by the character Emily Webb, “Live people don’t understand, do they? They’re sort of shut up in little boxes, aren’t they?”

In Murakami Music the audience shared in an emotional journey together. We heard live music and spoken words. We saw expression on the faces of the performers which led to an expansion of our own sense of empathy. And for just a little while, we weren’t shut up in the little boxes of ourselves. As an audience we shared in the experience together, and it became ours.

Congratulations to Eunbi Kim, Laura Yumi Snell, Kira Simring and the Cell Theatre for a performance that was truly in the in the spirit of Tuxedo Revolt.

Stay tuned,

John-Morgan

Artists Without Walls is a multi-cultural community of artists from all artistic disciplines whose purpose is to collaborate, create and showcase its works.  The founders of  Artists Without Walls (AWoW) believe that creativity thrives when there are no barriers to innovation or walls between cultures, thus, the name of the organization, Artists Without Walls. 

AWoW is built on the core idea that the more contact we have with each other in a nurturing and collegial environment, the more collaborative the spirit and the greater the sharing of ideas. 

The objectives of the organization include: provide artists of all disciplines an opportunity to experiment with new ideas in front of a live audience; create an environment that fosters collaborative and creative effort and  promote members’ careers in the arts, whether they have already established themselves or are at the beginning of their artistic career.

 For more information contact info@artistswithoutwalls.com

https://www.artistswithoutwalls.com/

Please join us each month as we explore unique, emerging and under-recognized playwrights.

February Reading: “TEENIE by Nicholas Priore”

Directed by Gino DiIorio.

Should middle-aged man who has sought redemption for so long spend his remaining years in prison for a crime committed as a teenager?

Teenie. Abigail Treut

Marion. Mallory Jones Danaher*

Tammy. Myla Pitt*

Nick. Luca Pierucci*

Jake. David Holmes*

Getnick. Nelson Avidon*

Cop. Gabe Fazio

Join us for a reading and talk-back with the playwright.

Visit mmslam.com for more information

First-come first-serve admission to the mise-en ensemble @ the cell is FREE as usual. However, because some audience members want to reserve a seat in advance, we are happy to offer a $9 reservation service.

You can come without a reservation for free, or you can reserve a seat for just $9!

Please note that because this is a reservation service (NO ticket sale), your seat might be released if you arrive after 7:50pm for the 8pm show. If you do not want to reserve a seat, that is totally fine–we want everyone to feel welcome to attend either way!

The program:

Quinn Collins (USA)
Summer Music for chamber orchestra (2012, world premiere)

Elliott Schwartz (USA)
Texture (1966, rev. 2013, world premiere)

Hans Abrahamsen (Denmark)
String Quartet No. 3 (2008, US premiere)

Edison Denisov (Russia)
Five Studies for Bassoon Solo (1983, US premiere)

Bent Sørensen (Denmark)
Ständchen (2007, US premiere)

Celebrate Valentine’s day with songs of love – whether you got it, lost it, looking for it, found it, reminiscing about it or regretting it.

Tara O’Grady leads an elite group of jazz musicians playing their hearts out for you.

David Hofstra on bass
Jordan Sandke on trumpet
Andrew Burns on drums
and special guest Michael Howell on guitar.

This series opener is FREE, however to ensure that you will have a seat, we are offering a $10 reservation service

Chocolate and wine will be served after the show as well!

 Day on a Ladder — The Debut Concert

Day on a Ladder is a new music ensemble based in Brooklyn, founded by composer-performers Will Healy and Gabriel Zucker. Featuring strings and winds along with a rhythm section and emcee, Day on a Ladder borrows freely from jazz, hip-hop, and classical influences, melding improvisation and classical notation to create a unique hybrid sound. The ensemble primarily plays new music by Healy and Zucker, as well as work by other ensemble members, work by other local composers, and inventive original transcriptions of work from the classical repertoire, including Frederic Rzewski’s Winnsboro Cotton Mill Blues.

The 11-piece group was founded in fall 2012; this will be the group’s world premiere.

Day on a Ladder is:

Violin: Sergio Zenisek

Viola: Emily Bookwalter

Cello: Claire Solomon

Flute: Daryl Duran

Clarinet: Connell Thompson

Saxophone: Jean-Luc Mosley

Trumpet: Will Healy

Piano: Gabriel Zucker

Bass: Carlin Rizzo

Drums: Alex Goldberg

Spoken word: Ade Ra

Tickets 

$8 online

$10 @ the door

the cell, in association with The Custom Made Theatre Company, is thrilled to present a new play reading series. Please join us each month as we explore unique, emerging and under-recognized playwrights.

January Reading: “Sam and Dede, or My Dinner with Andre the Giant,”

by Gino DiIorio. Directed by Leah S. Abrams.

With David Fierro * and Bob Jaffe *

True story: 12-year old Andre the Giant, already over 6 feet tall and 240 pounds, didn’t fit on the school bus. Andre’s neighbor, as a kind gesture of returning a favor, offered to drive him to school in his truck. That neighbor was Samuel Beckett.

Out of that bit of trivia comes “Sam and Dede, or My Dinner with Andre the Giant,” imagining three scenes between a giant – a man who cannot hide, and a writer obsessed with silence. Dilorio fashions a world as absurd as a Beckett play itself.

Be a part of the play development process.

Join us for a reading and talk-back with the playwright.

FREE

the cell presents “Overture”

a preview concert of short performances that will later be developed into large-scale projects at the cell in 2013-14.

Includes excerpts of “Murakami Music” and performances by chamber group “Blink Ensemble.”

Special guest artists include Laura Snell (actress), Nelly Rocha, (cello) and Christopher Scanlon (trumpet).

Reception following

Visit our facebook event page

 

BUY NOW- TICKETS $10

First 30 people to buy tickets get a free drink. First 15 get priority seating plus a free drink.