Tag: Ireland Page 1 of 2

2019: Looking Forward

Andreas Schlüter kopf einer gottin

Andreas Schlüter, Kopf einer Göttin (Head of a Goddess); Bode Museum Berlin, 1704. Photo: mine. Please do not reproduce without permission.

A new year is a good time for assessments and remembrances, for reflecting on moments good, bad, and otherwise. As well as a desire to keep more cultural experiences within the personal realm, I’d prefer look ahead, to things that spark my imagination and inspire expansion, challenge, and evolution.

Earlier this year a friend observed that my tastes have become (his words) “more adventurous” over the past eighteen months or so. Flattering as this is, it’s also a reminder of the extent to which I have layered over my past, one largely spent wandering through the vast, lusciously dark forests of curiosity and wonder. Decades of weighty responsibility cut that forest down and gave me a deep trunk, into which all the unfinished canvases of a fragrant, lush wonder were stored; I came to believe, somehow, such a trunk had no place in the busy crowded living room I’d been busily filling with the safe, acceptable predictability of other peoples’ stuff. My mother’s passing in 2015 initially created a worship of ornate things from her trunk — perhaps my attempt to raise her with a chorus of sounds, as if I was Orpheus, an instinct based more in the exercise of sentiment than in the embrace and extension of soul.

Contending with a tremendous purge of items from the near and distant past has created a personal distaste for the insistent grasping and romanticizing of history (though I do allow myself to enjoy some of its recorded splendor, and its visual arts, as the photos on this feature attest). Such romanticizing utterly defines various segments of the opera world, resulting in various factions marking themselves gatekeepers of a supposedly fabled legacy which, by its nature, is meant to shape-shift, twist, curl, open, and change. It’s fun to swim in the warm, frothy seas of nostalgia every now and again, but mistaking those waves for (or much less preferring them to) the clear, sharp coldness of fresh water seems a bit absurd to me. À chacun son goût, perhaps. 

kupka

František Kupka, Plans par couleurs, grand nu; 1909-1910, on loan to Grande Palais Paris; permanent collection, Guggenheim NYC. Photo: mine. Please do not reproduce without permission.

Rediscovering the contents of my own trunk, pulling each item out, examining it in the sunlight, looking at what it means now (if anything) and deciding whether to keep or bin, has been a slow if meaningful process; it has been a homecoming to myself, one groaning and gloriously stretching with every breath. Refreshingly, such a process has not been defined by the rather narrow tastes of a somewhat culturally dictatorial mother, but by things I like, things I miss, things have no need to feel validated for liking.

“You’re so serious,” I was once told, “serious and critical and intellectual.”

I don’t know if any of these things are (or were) true, but making a point of experiencing the work of artists who reveal and inspire (and challenge and move) has become the single-biggest motivating factor in my life. “Adventurous” is less a new fascinator than an old (and beloved) hat. Here’s to taking it out of the trunk, and wearing it often and well in 2019. 

Verdi, Messa da Requiem; Staatsoper Hamburg, January

The year opens with an old chestnut, reimagined by director Calixto Bieito into a new, bright bud. Bieito’s productions are always theatrical, divisive and deeply thought-provoking. Doing a formal staging Verdi’s famous requiem, instead of presenting it in traditional concert (/ park-and-bark) mode, feels like something of a coup. Paolo Arrivabeni conducts this production, which premiered in Hamburg last year, which features a stellar cast, including the sonorous bass of Gabor Bretz.

despair

Jean-Joseph Perraud, Le Désespoir; 1869, Paris; Musée d’Orsay. Photo: mine. Please do not reproduce without permission.

Tchaikovsky/Bartok, Iolanta Bluebeard’s Castle, NYC, January

A double-bill exploring the various (and frequently darker) facets of human relating, this Marius Treliński production (from the 2014-2015 season) features soprano Sonya Yoncheva and tenor Matthew Polenzani in Tchaikovsky’s one-act work; baritone Gerald Finley and soprano Angela Denoke perform in Bartók’s dark tale of black secrets, last staged at the Met in early 2015. The orchestra could well be considered a third character in the work, so rich is it in coloration and textures.  No small feat to sing either, as music writer Andrew McGregor has noted that “the music is so closely tied to the rhythms and colours of the Hungarian language.” Henrik Nánási, former music director at Komische Oper Berlin, conducts.

Vivier, Kopernikus; Staatsoper Berlin, January

Spoiler: I am working on a feature (another one) about the Quebec-born composer’s influence and the recent rise in attention his work have enjoyed. Kopernikus (subtitle: Rituel de Mort) is an unusual work on a number of levels; composed of a series of tableaux, there’s no real narrative, but an integration of a number of mythological figures as well as real and imagined languages that match the tonal colors of the score.  This production (helmed by director Wouter van Looy, who is Artistic Co-Director of Flemish theatre company Muziektheater Transparant) comes prior ahead of a production the Canadian troupe Against the Grain (led by Joel Ivany) are doing in Toronto this coming April.

Vustin, The Devil in LoveStanislavsky and Nemirovich-Danchenko Moscow Academic Music Theatre, February

It was while investigating the work of Russian composer and pianist Rodion Shchedrin that I learned about the work of contemporary composer Alexander Vustin — and became utterly smitten with it. A composer who previously worked in both broadcasting and publishing, Vustin’s opera is based on the 1772 Jacques Cazotte novel Le Diable amoureux, which revolves around a demon who falls in love with a human. Vustin wrote his opera between 1975 and 1989, but The Devil in Love will only now enjoy its world premiere, in a staging by Alexander Titel (Artistic Director of the Stanislavsky Opera) and with music direction/conducting by future Bayerische Staatsoper General Music Director Vladimir Jurowski.

zurich opera

Inside Opernhaus Zurich. Photo: mine. Please do not reproduce without permission.

Ligeti, Le Grand Macabre; Opernhaus Zurich, February

The Opernhaus Zurich website describes this work, which is based on a play by Belgian dramatist Michel de Ghelderode, as “one of the 20th century’s most potent works of musical theatre.” It is also one of the most harrowing things I’ve seen; anyone who’s experienced it comes away changed. Directed by Tatjana Gürbaca (who’s directed many times in Zurich now), the work is, by turns, coarse, shocking, cryptic, and deliciously absurd. General Music Director Fabio Luisi (who I am more used to seeing conduct Mozart and Verdi at the Met) was to lead what Ligeti himself has called an “anti-anti-opera”; he’s been forced to cancel for health reasons. Tito Ceccherini will be on the podium in his place.

Zemlinsky, Der Zwerg; Deutsche Oper Berlin, February

Another wonderfully disturbing work, this time by early 20th century composer Alexander von Zemlinsky, whose “Die Seejungfrau” (The Mermaid) fantasy for orchestra is an all-time favorite of mine. Der Zwerg, or The Dwarf, is an adaptation of Oscar Wilde’s disturbing short story “The Birthday of the Infanta” and is infused with the sounds of Strauss and Mahler, but with Zemlinsky’s own unique sonic richness. Donald Runnicles (General Music Director of the Deutsche Oper ) conducts, with powerhouse tenor David Butt Philip in the title role, in a staging by Tobias Kratzer, who makes his DO debut.

lucke grimace

Johann Christian Ludwig Lücke , Bust of a Grimacing Man with a Slouch Hat; 1740, Elfenbein; Bode Museum, Berlin. Photo: mine. Please do not reproduce without permission.

Kurtág, Fin de Partie; Dutch National Opera, March

Among the many music happenings of late which could be called an event with a capital “e”, this one has to rank near the top. Ninety-one year-old composer György Kurtág has based his first opera on Samuel Beckett’s 1957 play Endgame. Premiering at Teatro Alla Scala in November, music writer Alex Ross noted that “(n)ot since Debussy’s  “Pelléas et Mélisande” has there been vocal writing of such radical transparency: every wounded word strikes home.” Director Pierre Audi and conductor Markus Stenz (chief conductor of the Netherlands Radio Philharmonic Orchestra) bring Kurtág’s painfully-birthed opera to Amsterdam for three (nearly sold-out) dates.

Handel, Poros, Komische Oper Berlin, March

A new staging of a rarely-heard work by legendary opera director Harry Kupker, Handel’s 1731 opera based around Alexander the Great’s Indian campaign features the deep-hued soprano of Ruzan Mantashyan as Mahamaya and the gorgeously lush baritone of KOB ensemble member Dominik Köninger in the title role. Conductor Jörg Halubek, co-founder of the Stuttgart baroque orchestra Il Gusto Barocco (which specializes in forgotten works) makes his KOB debut. The combination of Kupfer, Handel, and Komische Oper is, to my mind, very exciting indeed.

woman bode

Southern Netherlands, Screaming Woman; late 16th century; Bode Museum, Berlin. Photo: mine. Please do not reproduce without permission.

Shostakovich, Lady Macbeth of Mtsensk; Opera National de Paris, April  

A new production of Shostakovich’s passionate, brutal, and darkly funny opera from innovative director Krzysztof Warlikowski, whose creative and thoughtful presentations have appeared on the stages of Bayerische Staatsoper, the Royal Opera, Teatro Real (Madrid), and La Monnaie (Brussels), to name a few. He also staged The Rake’s Progress in Berlin at Staatsoper im Schiller Theater. Here he’ll be directing soprano Ausrine Stundyte in the lead as the sexy, restless Lady, alongside tenor John Daszak as Zinovy Borisovich Ismailov (I really enjoyed his performance in this very role at the Royal Opera last year), bass (and Stanislavsky Opera regular) Dmitry Ulyanov as pushy father Boris, and tenor Pavel Černoch as the crafty Sergei. Conductor Ingo Metzmacher is on the podium.

Berlioz, La damnation de Faust; Glyndebourne, May

Glyndebourne Festival Music Director Robin Ticciati leads the London Philharmonic and tenor Allan Clayton (so impressive in Brett Dean’s Hamlet, which debuted at Glyndebourne in 2017) as the doomed title character, with baritone Christopher Purves as the deliciously diabolical Mephistopheles, and French-Canadian mezzo-soprano Julie Boulianne as Marguerite. I love this score, a lot, and quite enjoyed a 2017 staging at Opéra Royal de Wallonie. Likewise the work of director Richard Jones, whose Lady Macbeth of Mtsensk at the Royal Opera last year afforded some very creative choices and character insights; I’m very curious how he might approach Berlioz’s dreamy, surreal work, together with Ticciati’s signature lyrical approach.

hands neues museen

Pair of Hands from a group statue of Akhenaten and Nefertiti or two princesses; Neues Reich 18 Dynastie. At the Neues Museen, Berlin. Photo: mine. Please do not reproduce without permission.

Gluck, Alceste; Bayerische Staatsoper, May

A new production of Gluck’s opera about self-sacrificing love with a fascinating backstory: after its publishing in 1769, a preface was added to the score by Gluck and his librettist which outlined ideas for operatic reform. The list included things like making the overture more closely linked with the ensuing action, no improvisation, and less repetition within arias. Alceste came to be known as one of Gluck’s “reform” operas (after Orfeo ed Euridice). Two decades later, Mozart used the same chord progressions from a section of the opera for a scene in his Don Giovanni, which Berlioz called “heavily in-inspired or rather plagiarized.” The Bavarian State Opera production will feature a solid cast which includes tenor Charles Castronovo, soprano Dorothea Röschmann,  and baritone Michael Nagy, under the baton of Antonello Manacorda.

Handel, Belshazzar; The Grange Festival, June 

Described on The Grange’s website as “an early Aida,” this rare staging of the biblical oratorio sees a cast of baroque specialists (including tenor Robert Murray in the title role and luminous soprano Rosemary Joshua as his mother, Nitocris) tackling the epic work about the fall of Babylon, and the freeing of the of the Jewish nation. Musicologist Winton Dean has noted the work was composed during “the peak of Handel’s creative life.” Presented in collaboration with The Sixteen, a UK-based choir and period instrument orchestra, the work will be directed by Daniel Slater (known for his unique takes on well-known material) and will be led by The Sixteen founder Harry Christophers.

Festival Aix-en-Provence, July

The final collaboration between Kurt Weill and Bertolt Brecht (and the source of the famous “Alabama Song”), Rise and Fall of the City of Mahagonny will be presented in a new production featuring the Philharmonia Orchestra, led by Esa-Pekka Salonen. Director Ivo van Hove (whose Boris Godounov at the Opera de Paris this past summer I was so shocked and moved by) helms the work; casting has yet to be announced. Music writer Rupert Christiansen has noted that it “remains very hard to perform […] with the right balance between its slick charm and its cutting edge.” Also noteworthy: the French premiere of Wolfgang Rihm’s one-act chamber opera Jakob Lenz, based on Georg Büchner’s novella about the German poet. (Büchner is perhaps best-known for his unfinished play Woyzeck, later adapted by Alban Berg.) Presented by Ensemble Modern, the work will be helmed by award-winning director Andrea Breth and conducted by Ingo Metzmacher. This summer’s edition of the festival marks Pierre Audi’s first term as its new Director, and all five productions being staged are firsts for the fest as well.

sphinx altes

Sphinx of Shepenupet II, god’s wife of Amon; late period 25th Dynasty, around 660 B.C.; Altes Museum, Berlin. Photo: mine. Please do not reproduce without permission.

Enescu,Œdipe; Salzburger Festspiele, August

The Romanian composer’s 1931 opera based on the mythological tale of Oedipus is presented in a new production at the Salzburg Festival and features a stellar cast which includes bass John Tomlinson as the prophet Tirésias, mezzo-soprano  as Jocasta, mezzo soprano Clémentine Margaine (known for her numerous turns as Bizet’s Carmen) as The Sphinx, baritone Boris Pinkhasovich as Thésée, and baritone Christopher Maltman in the title role. In writing about Enescu’s score, French music critic Emile Vuillermoz noted that “(t)he instruments speak here a strange language, direct, frank and grave, which does not owe anything to the traditional polyphonies.” Staging is by Achim Freyer (who helmed a whimsical production of Hänsel and Gretel at the Staatsoper Berlin), with Ingo Metzmacher on the podium.

Schoenberg, Moses und Aron; Enescu Festival, September

In April 1923, Schoenberg would write to Wassily Kandinsky: “I have at last learnt the lesson that has been forced upon me this year, and I shall never forget it. It is that I am not a German, not a European, indeed perhaps scarcely even a human being (at least, the Europeans prefer the worst of their race to me), but that I am a Jew.” The ugly incident that inspired this would result in his mid-1920s agitprop play Der biblische Weg (The Biblical Way), from which Moses und Aron would ultimately spring. Essentially a mystical plunge into the connections between community, identity, and divinity, this sonically dense and very rewarding work will be presented at the biennial George Enescu Festival, in an in-concert presentation featuring Robert Hayward as Moses and tenor John Daszak as Aron (a repeat pairing from when they appeared in a 2015 Komische Oper Berlin production), with Lothar Zagrosek on the podium.

wexford

Post-opera strolling in Wexford. Photo: mine. Please do not reproduce without permission.

Wexford Festival Opera, October

It’s hard to choose just one work when Wexford is really a broader integrative experience; my visit this past autumn underlined the intertwined relationship between onstage offerings and local charms. The operas being presented at the 2019 edition include Der Freischütz by Carl Maria von Weber, Don Quichotte by Jules Massenet (which I saw, rather memorably, with Ferruccio Furlanetto in the lead), and the little-performed (and rather forgotten) Adina by Gioacchino Rossini, a co-production with Rossini Opera Festival. The latter will be paired with a new work, La Cucina, by Irish composer Andrew Synnott.

Strauss, Die ägyptische Helena; Teatro Alla Scala, November

A reimagining the myth of Helen of Troy (courtesy of Euripides) sees Paris seduce a phantom Helen created by the goddess Hera, while the real thing is held captive in Egypt until a long-awaited reunion with her husband Menelas. In a 2007 feature for the New York Times (published concurrent to a then-running production at the Met), music critic Anthony Tommasini characterized Hugo von Hofmannsthal’s libretto as “verbose and philosophical,” and posed questions relating to Strauss’s score thusly: “Is a passage heroic or mock-heroic? Opulently lyrical or intentionally over the top?” I suspect those are precisely the questions the composer wanted to be raised; he questions not just the tough questions around intimate relating, but ones connected with audience and artist. The piece features some breathtaking vocal writing as well. Sven-Eric Bechtolf (whose Don Giovanni I so enjoyed at Salzburg in 2016) directs, and Franz Welser-Möst leads a powerhouse cast that includes tenor Andreas Schager, baritone Thomas Hampson, and soprano Ricarda Merbeth as the titular Helena. This production marks the first time Die ägyptische Helena has been presented at La Scala.

Oskar Kallis, Sous le soleil d’été; 1917, on loan to Musée d’Orsay; permanent collection, Eesti Kunstimuuseum, Tallinn.

Messager, FortunioOpéra-Comique, December

I freely admit to loving comédie lyrique; the genre is a lovely, poetic  cousin to operetta. Fortunio, which was premiered in 1907 by the Opéra-Comique at the Salle Favart in Paris, is based on the 1835 play Le Chandelier by Alfred de Musset and concerns a young clerk (the Fortunio of the title) caught in a web of deceit with the wife of an old notary, with whom he is enamored. Gabriel Fauré, who was in the opening night audience (along with fellow composers Claude Debussy and Gabriel Pierné) noted of André Messager (in a review for Le Figaro) that he possessed “the gifts of elegance and clarity, of wit, of playful grace, united to the most perfect knowledge of the technique of his art.” This production, from 2009, reunites original director Denis Podalydès with original conductor Louis Langrée. Paris en décembre? Peut-être!

herbin composition

Auguste Herbin, Composition; 1928, Musée d’Art Moderne de la Ville de Paris. Photo: mine. Please do not reproduce without permission.

This list may seem extensive, but there’s so much I’ve left out — festivals like Verbier and Les Chorégies d’Orangehouses like Wiener Staatsoper and Teatro Real, outlets in Scandinavia (Den Norske, Royal Swedish Opera, Savonlinna) and Italy (Pesaro, Parma) and the UK (Aldeburgh, Garsington, ENO, and of course the Royal Opera). It’s still too early for many organizations to be announcing their upcoming (September and beyond) seasons; I’m awaiting those releases, shivering, to quote Dr. Frank-n-furter, with antici…pation.

And, just in the interests of clarifying an obvious and quite intentional omission: symphonic events were not included in this compilation. The sheer scale, volume, and variance would’ve diffused my purposeful opera focus. I feel somewhat odd about this exclusion; attending symphonies does occupy a deeply central place for me on a number of levels, as it did throughout my teenaged years. Experiencing concerts live is really one of my most dear and supreme joys. I may address this in a future post, which, as with everything, won’t be limited by geography, genre, range or repertoire. In these days of tumbling definitions and liquid tastes , it feels right (and good) to mash organizations and sounds against one another, in words, sounds, and spirit.

For now, I raise a glass to 2019, embracing adventure — in music, in the theatre, in life, and beyond. So should you. Santé!

Thomas Moore: “His Songs Are Timeless”

Moore Ireland portrait

Portrait of Thomas Moore (1779 – 1852), Irish poet, singer and songwriter, by Martin Archer Shee (National Gallery of Ireland)

When it’s discovered I lived in Dublin, I am always asked, since I have no Irish ancestry or family, why I chose to live there.

Romantic as it sounds (and romantic as it was at times), it’s because so many of the artists I admired in my youth were from Ireland; some chose to stay, some chose to leave, but I felt, as a young woman hungry for art, adventure, and love (and some magical combination therein), that it was important to be in the place of my artistic heroes and heroines, as if by some magical osmosis their genius might seep into my own work. I was fortunate to have spent good amounts of time working with and around artists of all kinds during my time there, and though it wasn’t quite what I’d been expecting, to quote Danish photographer Krass Clement (who himself spent a good deal of time in Dublin in the 90s), “I was a bit scared, but also drawn to the atmosphere.” Amen.

Moore

Thomas Moore (Photo via)

I seriously contemplated a trip to Ireland on my way back from Berlin recently. The timing meshed beautifully with the last third of the Wexford Festival Opera, an fest I have long wanted to attend, and which holds particular fascination for its blend of Irish culture and rarely-done work by famous composers. One event, The Thomas Moore Songbook, especially caught my interested. I’ve loved the work of Moore for many decades; the 19th century writer was one of the figures firmly in mind when during my initial move to Dublin decades ago. As my exposure to the music, movies, literature, theater of Ireland expanded, I became especially fascinated by such a small country, with such a difficult and very painful history, producing so very many great artists of all stripes, some wildly divergent in terms of their thoughts and feelings around the notion of Irish identity. Moore was one of the very first widely-acclaimed Irish artists to examine this question in a way that was inspiring, enchanting, and important, all at once. His work seems more important than ever now, in light of current news around borders and Brexit.

As well as being an acclaimed singer, songwriter, poet and entertainer, Moore (born in 1779) led an incredibly interesting, accomplished, and occasionally tragic life; he was one of the first Catholics admitted to Trinity College Dublin, had a brief stint living in Bermuda, and outlived all five of his children. The Poetry Foundation (who publish Poetry magazine) describes him as “a born lyricist and a natural musician, a practiced satirist, and one of the first recognized champions of freedom of Ireland.” His best-known work is Irish Melodies (1808-1834), which came to span over ten volumes and cemented Moore’s reputation in the poetry/music worlds. Composers (including Berlioz) set nine of them to music, and the works were translated into several languages including Czech and Hungarian.

Moore Byron biography

Volume 2 of Moore’s biography of Lord Byron. (Book and photo: mine. Please do not reproduce without permission.)

Moore was also good friends with Lord Byron, who described various Moore works as his “matins and vespers.” The two had a long association, and Moore wrote a biography of his famous friend (who died in Greece in 1824), one Mary Shelley particularly admired. My intense love of the work of the so-called “dangerous-to-know” poet in my university days led me to Moore and made me a forever fan. This love expressed itself most clearly via loss; when a very close friend of the family’s, passed away in the late 1990s, my grieving mother asked me what should be carved on his gravestone. With nary a hesitation, I choose a few passages from a poem of Moore’s, words she loved. When my mother herself passed away in 2015, I couldn’t imagine the words of any other poet on her gravestone.

Wexford wasn’t in the cards this year, alas, but when I return to Ireland, it will be for a lengthy visit; there’s so much to see, to rediscover, to reconnect with and to explore anew. The Wexford Festival Opera is at the top of that list, and I am hoping there will be more of Moore’s work presented — that is a given if Una Hunt has anything to do with it. Hunt is an accomplished broadcaster, musician, coach, and scholar, and is a leading authority on Irish music history, particularly within the realm of forgotten composers. She has been at the forefront of the new Archive of Irish Composers at the National Library of Ireland and has taught at many of Ireland’s most prestigious music academies. She was Executive Producer of My Gentle Harp, a six-CD compilation (released in 2008) that is a complete recorded collection of all 124 songs from Moore’s Irish Melodies. In 2010, she presented the Melodies at Carnegie Hall  (to two standing ovations, no less) and a year repeated the concert in Russia as part of the unveiling of a sculpture honouring Moore at the University of St Petersburg. Along with extensive publishing and performance work, Una has also produced a number of documentaries for Irish broadcaster RTÉ, including a tribute to French composer tribute to Claude Debussy.

The Thomas Moore Songbook was a huge hit at this year’s Wexford Festival Opera; both of its presentations sold out, something Una wasn’t surprised by, but, as you’ll hear, led to more questions, and more opportunities. As you’ll hear, Una has very strong opinions about the role Moore has played in Irish culture as well as identity. Why should you care about Moore? What does his work say to us now? How can a country forget (and/or ignore) its classical composers entirely? Blame not the bard...

Eternity’s Sunrise

(photo via)

The opportunity to sit with a piece of art, undistracted, has become a luxury, especially for those of us with stressful lives. Amidst the hospitalization of a parent, my own health woes, and a skunk-sprayed pet, having the time (mental, emotional, spiritual) and space to just sit with something artistic (and not fall asleep) has been a rare and much-longed for thing, a wish that vanishes with too much wind and implodes with too much noise. Time, place, and condition, of house, of hearth, of heart, have to be just so. It felt like a blessing to have a recent evening where all the phone calls had been made, all the dishes had been washed, and the skunk stench has dissipated enough to allow for clear thinking and open listening.

photo via

I was a huge admirer of U2’s work in the 1990s; a sense of adventure, in the sonic, lyrical, and especially visual senses, pervaded every creative choice they made at that time, and I suppose it reflected a more open and adventurous approach in my own life. I also loved the bald, raw honesty of Bono’s words, the way they swirled and stomped about with a ferocious kind of poetry, and the deep, dark places he and bandmates Adam Clayton, Larry Mullen Jr. and The Edge boldly stepped into, with nary a look back. The combination of innate playfulness, balls-out experimentation, and unapologetic intelligence was intoxicating, and even now, listening to Achtung Baby or Zooropa or Pop (or even some moments on the Passengers project with Brian Eno) sends chills down my spine. It’s hard to describe the incredible nature of cultural discovery that U2 (and their inspirations) provided the soundtrack for in my younger days; I delved into the work of Genet, Duchamp, Basquiat, Antonioni, and innumerable others, with Joy Division, Patti Smith, David Bowie, and The Ramones on in the background. New worlds opened up to me — new ideas inside me were enthusiastically birthed and raised — and, at the time, it felt like so much of it had sprung from randomly seeing a guy writhing around in a pink shirt, and thinking, “hey, that’s a good song… I can dance to that…”

Alas, people change, circumstances change, the only constant thing in life is change, and so, my interest in 2000s U2 output plummeted. I can’t explain it, except to say that I didn’t feel the same kind of connection or fire-lighting inspiration. That changed, however, with the release of No Line on the Horizon; a sense of adventure was palpable in many of the songs from the 2009 album, and I loved the fact that, despite the quick hit / MP3 / downloadable / disposable nature of music in the 21st century, the work still felt like a complete thought, as an album, rather than a series of singles. There were flashes of rawness, realness, and plain old… mischief. It had stuff to dance to as well. And the cover art, by Hiroshi Sugimoto, was (is) poetic and beautiful. There was something daring about the entire venture, and it engendered a kind of new/old respect that pushed my artsy buttons.

I didn’t see the mammoth 360 tour, however; it was out of reach financially, and I just didn’t have the back strength to stand for any length of time. Something in me snorts at the possibility of having any kind of profound creative experience in the super-corporatized tour world of the 21st century as well (this could be cynical old age creeping in), but one moment (glimpsed via YouTube) that did impress was when you couldn’t see the band at all, during the performance of “Zooropa.” Done behind a huge metal sheath with the glorious sound blasting out, it was as it the band were begging its worshipful audience, “Please, forget the screens, forget the effects; just use your own imaginations, pretend you don’t know us, and just listen.” Absence created presence. It was, for me, truly a profound statement, one made all the more powerful for being made in such an immense space by an immensely influential group, and it’s one that still resonates.

That dance, between absence and presence, powers Songs of Innocence, released last year. I put off listening to it because I wanted the space, the time, the energy to simply be with it, uninterrupted. Just sitting and spending time with an album is, ridiculously, a kind of a luxury now, so great are the demands on our attention. But, turning off social media, TV, radio, and phone, and simply letting the music wash over me, the way I did in the 80s and 90s when I’d get a new album, felt like the most cleansing kind of ritual. Amidst the tidal wave of frustrations, setbacks, and challenges of late, it was the right time to step into the world the album offered, eyes, hands, and heart wide open.

Its title, referencing the work of William Blake, is a bit misleading; this is a very adult album that looks back to find strength and wisdom in the wide-eyed, pillow-lipped, deep-breath state of youth, and uses that energy to find meaning in the present. Many of the songs have a certain wistful quality lyrically, while there are also some searingly honest moments that feel confessional through not only words but sound; “Sleep Like A Baby Tonight” defies its peaceful title by having a creepy, Throbbing-Gristle-esque electro undertow that provides just the right note of discomforting menace that paints a nightmare portrait of abuse, while “This Is Where You Can Reach Me Now” has a pulsating pseudo-dance beat that fits its anti-hero ethos and nicely salutes the sounds on Sandinista by The Clash, a fitting tribute to its Joe Strummer dedication. There’s also the continuance of charming geography here. In the 1980s, there was “Red Hill Mining Town” and “Heartland”; in the ’90s, “Zoo Station”, “Miss Sarajevo”, and “Miami”; in the 2000s, “New York”, “City of Blinding Lights”, and “Fez/Being Born.” Now there’s “California (There Is No End To Love)” and “Cedarwood Road.” It’s interesting to consider the contrasts between the latter two, one so rooted in the present, the other so firmly ensconced in the past; this push-pull of contrasts gives the album much of its power, with love and aggression, loss and abundance, acceptance and anger, and of course, presence and absence, providing a kind of dialectic undertow that reveals and conceals at once in a maddening, if eminently listenable dance of modernity.

Right in line with this dance are the album’s words. Bono has always had a special knack of making the epic, intimate, and of making the personal, universal in his lyrics. Here he’s co-credited with The Edge in lyrics writing duties, but one can still discern the heart, the art, and the electric shock of a life lived so full so as to be bursting with profane (and profound) contradictions. I felt a special, and deeply personal twinge in hearing his plaintive tenor deliver the line, “I’ve got your life inside of me” in “Iris (Hold Me Close)”, a song about his too-soon-departed mother. It’s one thing to hear a favorite artist belt out something personal; it’s quite another to hear them shout out the pain you happen to have felt over the course of a week filled with hospital visits, phone calls, and meetings. The absence of a mother figure, while always powering work creatively, holds a special sheen here, because it’s that absence that works as a kind of guiding presence that allows forward momentum along creative avenues — ones fraught with dangers, darkness, and dreariness, true enough, but also filled with “cherry blossoms,” with seashores, with light. Those things can’t exist without the other. Innocence can’t exist without experience, and vice-versa. Inspiration can’t exist without ennui. Absence can’t exist without presence.

And so, this is an album about balance, regeneration, and contemplation, and one that, perhaps, couldn’t have been enjoyed and experienced at a better moment, amidst the phone calls, the hospital visits, the surgeries, the skunk smell, and the dirty dishes. Am I a fan? No, I’ve never, ever felt comfortable in that camp. Am I grateful? Yes. Thank you for putting that in my iTunes, U2. My world’s a little richer,  and a little brighter. Innocence is both more wide-eyed and astute, and experience has never tasted more bitter or sweet, at once. Contradiction truly is balance, and that’s probably how it should be. Now I’m ready to dance.

The Big Scan

(mine)

Most days I face a precarious balance between the immediate satisfaction of Twitter and the longer satisfaction of writing and careful reading. Call it the shower vs. bath approach, but minus the cleansing effect. My mind usually comes away from each activity with varying degrees of clutter and mess, to say nothing of my hard drive.

Being a fan of analytics (perhaps the mark of the 21st century Real Life Writer; could emails be next?), I noticed that, amidst the tango of words and numbers and maps and colors of the past week, a post from 2010 is getting a lot of reader love, one in which I gathered various news tidbits I’d seen a week, and mused on each thing. I enjoy doing this: it’s an effective way to make sense of the tidal wave of information that comes at me throughout any given day.

Between the popularity of that post and others like it (ie Linkalicious), as well as the fact I have a few tabs open (“a few” = fifty-one across two windows), and keen to keep things fresh here, the thought occurs: why not share?

Barely Keeping Up in TV’s New Golden Age (New York Times)
The future of TV is coming into focus, and looks pretty great (Quartz)

It will come as no surprise to regular readers that I am slowly becoming seduced (perhaps re-seduced is better) by the greatness of contemporary television. In younger days, I was a devoted fan of Twin Peaks and Northern Exposure; I was late to Deadwood but in no way did it dampen the powderkeg of enthusiasm I felt when I saw it. Zachary Seward at Quartz has gathered up a number of important elements that will greatly enhance future TV-watching enjoyment; things like accessibility, remotes, subscriptions, cost, and subject matter are nicely touched on and explained — but none of this would matter if TV was a cultural wasteland. It isn’t. As the New York Times’ David Carr rightly observes, there’s been a cultural cost of the ascendance of television as a cultural force; books, magazines, and cinema have all seen significant changes. The internet has, of course, played a huge role as well — but it feels like TV and the web are working together, not at odds, to deliver smart programming people can (and do) commit to. (Question to you, readers: should I start watching Game of Thrones?)

(mine)

Journalism startups aren’t a revolution if they’re filled with all these white men (The Guardian)
I’m a fan of Emily Bell’s, having followed her fine work, as well as her great Twitter account, for a long time. (Thank you for the follow-back, Emily; forever flattered.) This succinct, snappy op-ed examines the various media startup ventures by Nate Silver, Ezra Klein, and Glenn Greenwald/Pierre Omidyar over the past year, with Bell rightly concluding that, to paraphrase Roger Daltrey, the new boss looks the same as the old boss. Sadly, such a conclusion doesn’t surprise me; theorizing about fairness and justice is usually just that; it takes decisive action to make those ideas reality. This op-ed did make me wonder why more women aren’t creating startups, but hopefully that’s changing. As Emily tweeted (in an exchange with PandoDaily’s Paul Carr), “I am staggered that there are so few women who have Klein / Silver / Greenwald power.” It was good to see Kara Swisher got a mention here; I’ve noticed that, within some circles of the innovation/entrepreneurial journalism worlds, Kara isn’t considered enough, if at all. It’s vital there be more intelligent critiques like Emily’s down the line. As I tweeted to Paul Carr recently, no organization can or should be above scrutiny. Bravo.

I am embarrassingly out of the loop when it come to new bands for one simple reason: I don’t listen to anything but classical music between the oodles of writing and reading and research I do every day. My journalist-come-artist’s mind can’t function properly with anything but Mozart / LVB / Glass et al while I’m in the thick of things. This is probably the result of a classical-filled youth, but old habits die hard. If and when I listen to new music, I like to give my full attention: laptop closed, concentrating on lyrics/melody/production, of course, but also the spaces between beats, the breaths between words. I listen to new music the way I read a new book. When I invariably fall across I band I like, I get really excited, and act like no one else has heard of them before, when in fact, I’m probably the last to the party; Haim, Savages, and Warpaint are, for example, three bands who’ve made me sit up and pay attention. I’m keen on finding more. These lists should help. (I am also open to reader suggestions!)

Recipe for Irish soda buns (BostonGlobe.com)

What with St. Patrick’s Day coming up this Monday, Irish-isms are everywhere online: where to drink, what to drink, what to wash the booze down with. It’s hard for me not to roll my eyes at the automatic Ireland/alcohol associations that invariably come up every March, but surely one of the nicest developments of late has been the myriad of food recipes that appear alongside the cocktail ones. I work in my kitchen;  a big reason I love it (aside from the view, which, right now, is of a snow-filled garden) is the proximity I have to cooking, an activity I love. It’s such a treat to move between making stuff in the virtual world and making stuff in the real one. I’m tempted to make these buns between bouts of reading, tweeting, uploading, writing — or rather, I’m tempted to read, tweet, upload and write between bouts of cooking. As it should be.
It’s been with much interest I’ve noted a real uptick in my overseas blog readership; viewers from Ukraine seem especially interested in my work. (I am flattered and honored — Спасибо!) I actually grew up with a Ukrainian best friend, and I worked with a Ukrainian journalist, Kateryna Panova at NYU. (Her first-hand report from Kiev is in the latest edition of Brooklyn Quarterly if you’re interested; good stuff.) I came across this story via Mark MacKinnon’s Twitter feed, and it points up something I feel is somewhat lacking in the coverage of the Ukrainian / Russian crisis: first-hand experience, or more pointedly, the stomach-churning fear of being there. Mark’s report bubbles with anxiety, though it’s mixed with thoughtfulness. He speaks with his fellow train passengers and cabbies about their fears, and his work reveals an uniquely Eastern mix of worry, resilience, and wry humor; “It can’t be worse than this!” remarks one. It’s a tense, terse situation loaded down by decades –if not centuries — of heavy resentment and power-shifting. Pieces like these are stitches in the as-yet-unfinished quilt of modern history.

Russia Aggression Paves Way For Ukrainian Energy Coup: Interview With Yuri Boyko (Oilprice.com)
This is a separate entry from the one above because I feel like, while Mark’s entry is a diary-style, micro-examination of the Ukrainian/Crimean/Russian crises, James Stafford’s piece is a more macro analysis, offering a strong subtext to the current affairs we’ve seen over the last few weeks on our screens, monitors, magazines and papers. This Q&A came to my attention via the Twitter feed of a favorite financial blogger, Felix Salmon. It’s essentially a Q&A with Yuri Boyko, who has a long list of “formers” in his CV: former deputy Prime Minister of Ukraine, former Vice Prime Minister for Energy, Space and Industry, former Minister of Energy and Chairman of the Ukrainian State Gas industry. In 2004, he was awarded the “Hero of Ukraine,” a title recognizing long-term service to the development of the Ukrainian energy and fuel industries. Why more news outlets haven’t covered the energy angle of this story is mystifying. As Boyko notes,

Natural gas is the single most important weapon in Russia’s arsenal. It is President Vladimir Putin’s weapon of choice. Europe understands this all too well as most of its natural gas supply transits Ukraine, so supply disruption is used to influence events not only in Ukraine, but also Berlin, Paris and Brussels. This is why Europe will be hesitant to apply strong sanctions against Russia.

This brief, if deeply insightful exchange deeply illuminates what is, for some, a deeply confusing issue. Highly recommended reading and one to bookmark for re-reading, especially after Sunday.

“In A World…” : The voice of your favorite movie trailers has died (The Daily Edge)
I feel guilty and not a little stupid at my ignorance; I didn’t know Hal’s name until he passed. He shaped a million movie experiences for me, and I’d imagine, for so many others besides. Movie-going has lost some of its magic for me, what with the relative ease of modern convenience; going to the movies sometimes feels like more of a chore than a pleasure. Still, the sound of Douglas’ voice immediately transports me to the cinema of my younger days, and makes me want to go back, even if I know I’ll never again hear those dulcet tones before the feature starts.

How to grieve when you’re a journalist (Medium)

(mine)

The title grabbed me first here. How to show remorse and sadness when you’re supposed to constantly be objective, when you’re supposed to “rise above,” when you have to report things like death with a straight face, no matter how tragic? I had a deeply personal reaction to the passing of Peter Kaplan last fall; I looked at (and still regard) the former New York Observer editor as both a symbol of a past era and a stubbornly gorgeous, tall, bright poppy in a sea of grey, metallic, screen-glare conformity. He understood writing, and he understood branding, and what perhaps he understood best was how the two could — and should –do a sexy tango across a page and into the mind and heart of the reader, heels, hair, lipstick and low-cut dress intact. I’ve been wanting to write a lot more about Kaplan (and intend to), but I appreciated the sensitivity and deft touch with which Mark Lotto approaches his subject matter here, inspired, tragically, by the passing of another great writer, Matthew Power. Lotto writes with great affection (it isn’t cheesy at all), while infusing his piece with a palpable hurt and compelling humanity. He makes me want to read every single thing Power ever did. And he reminds me I’m on the right path:

…with every story we can do a little better, push a little harder, go a little farther, get a little weirder, be a little truer. And we’ll feel happier, knowing such awesome stories would have made Kaplan and Matt happy.

Unearthing Ireland

As has been noted, part of my mission this summer is to educate myself about music a little more – new music, old music, everything in-between. Being an arts journalist has afforded me a ton of opportunities to go exploring, even if time constraints mean I frequently feel a bit of a musical dilettante, skipping from one artist/band/era/genre to the next. But one thing caught my attention, and it’s stayed glued there for months now. It even resulted in my writing a formal feature.

July 16th saw the release of Strange Passion, a compilation of sounds from the Irish post punk era. The first tune I heard from it (back in June) was SM Corporation’s “Fire From Above”, which has since become my unofficial summer anthem. With its bouncy beat and bleepy-bloopy electronic sound, along with a vaguely keening-esque vocal line, it’s really the best sort of earworm to have through the heat waves and hot storms dominating the last couple weeks. In deciding to do a feature length story on Strange Passion and post punk in Ireland, I knew I’d be falling, delightedly head-first, into a cultural landscape I find deeply fascinating, even now. 
The Dublin of the late 1970s and early ’80s was anything but glamorous, but, based on research and interviews (and frankly, the music), it was an inspiring time for artists. As Gavin Friday told me, sometimes the best art can come from the smaller, less glamorous cities; I turned this over in my mind after he said it, considering the home cities of some of my favorite artists (Prince is from Minneapolis; R.E.M., from Athens, Georgia; even The Beatles are from Liverpool, which was hardly a hotbed of hip cultural life in the late 1950s). There’s something to be said for geography being destiny for artists: why, how, if (or when) they leave, they always carry a piece of their locale with them in song and sketch and spirit. 
Bands like Major Thinkers, Chant Chant Chant, and The Threat may not have lasted in any literal sense, but I’d like to think that listening to them affords me a peek into a creatively compelling place and time, one that’s bled over into our own multi-faceted era of mixed sounds and places and experiences.

Addendum: For a detailed examination of the bands on Strange Passion, do check out Ian Maleney’s excellent piece over at The Quietus. 

Brighter

As spring approaches, I always think about Ireland a little more than usual. I moved from Dublin in the spring, and every time there’s a whiff of spring in the air I remember the crocuses that were merrily breaking through the ground when I left Ireland. Standing in stark contrast to all that spring gaiety was Ballymun.
Through the 70s, 80s and 90s, the area one travels through to get to (and from) the airport in Dublin was dominated by seven low-level apartment buildings and became infamous for its drug-related activities, particularly when Dublin suffered a serious heroin epidemic in the 1970s and 80s. To quote Design Research Group’s thorough feature:

They were a well intentioned attempt to relocate people from the inner-city of Dublin to more modern high rise accommodation on the then outskirts of the city. The symbolism of the names of each block, Pearse, MacDonagh, Clarke, Connolly, Ceannt, Plunkett and MacDermott, each a leader of the 1916 Rising was indicative of efforts to re-imagine an identity for the Irish state during the late 1960s. Their very modernity was such that it embodied a shift away from the rural towards the urban.

Owing to a complete lack of infrastructure (including roads, services, and even access to basic goods), the site quickly suffered a kind of ghettoization, with the apartment blocks becoming the epicenter of the spiral downward. People may know the line about seeing ‘seven towers’ (and no way out) but they don’t necessarily know the place, much less its history or people. Author Lynn Connelly worked to set that right in 2006, when she published The Mun, which portrays its residents in a far different light than the drug-filled media reports that dominated Irish press for so long.
In 2004, demolition on the infamous apartment block began, its residents relocated to housing as part of the area’s regeneration. There have been plenty of good developments, including a Civic Centre, a theatre, residents’ groups, and of course, new housing. But the Ballymun renaissance hasn’t included everyone, alas.
Genius Dublin artist Maser, who’s been doing his special brand of pop-meets-graffiti around the city for over a decade, offered his own colourful contribution to Ballymun, just before demolition began. I used to see Maser’s early work when I’d wander around Dublin, old Minolta in-hand; looking back on it, the graffiti-meets-billboard approach incorporates so many elements of art I love: colour, texture, playfulness, and subtext.

This was done as part of the They Are Us project in 2010 and is dedicated to Rachel Peavoy. The Ballymun flat resident was found on January 11th, 2010 in her apartment. She’d died of hypothermia. An inquest into her death revealed that Dublin City Council had turned her heating off and refused to turn restore it to the flats despite the cold winter.

Next time I’m in Ireland, I’m not just driving through Ballymun. I’m going to stop for a while.
Photo credits:
Top photo by World News.
Demolition photo by Barry Delaney.

Showing And Knowing

There’s a strange expectation that you must be stupid if you flip burgers, make lattes, or, in my case, answer (and make) phone calls. This sharp divide -between what I love and what I do -used to bother me a great deal.

When I arrived in Dublin many years ago, I took a series of “joejobs” and found myself spiralling into a great fierce tornado of depression. In hindsight, I think I hadn’t worked out separating one’s self from the source of one’s income. You’re not necessarily what you do, as this short points out, though for us souls who want the opportunity to do professionally what we love most, the joejob tornado can sometimes be hard to sidestep.

I don’t know what accomplished filmmaker Shaun O’Connor was thinking when he wrote and directed this delightful work, but it feels awfully familiar. There’s a knowing wink directed at people who are both too quick to judge, and who see that judgment coming a mile away. I used to react badly; now, I try not to react at all.

Demonstrating the finer points of my well-read self to people in the joejob environment isn’t a priority anyway; booksmarts are great, but they’re limited -and limiting. Too many potentially interesting conversations and possibly great connections get cut off because one hasn’t read the latest Eggers or Bezmogis or any of the books on the New York Times Bestseller List. But maybe that person likes graphic novels, or comics. Maybe they draw. Maybe they dance. Maybe they own a small business. Maybe they sell vegetables off the back of a truck. Everyone has a story.

Everyone has a feisty, scissor-wielding hairdresser in them too.

Special thanks to the James Joyce Centre Dublin for posting Mr. O’Connor’s work on their Facebook page.

We Write (and Draw) The Future

There are few things as good as starting the week calm, focused, and full of inspiration. I happened upon the creative video, above, via Facebook, that seeming- springboard for inspiration and revolution lately.
What I love about this is that the visionary is rendered into actual vision; it isn’t spoon-feeding with cutesy drawings so much as rendering ideas into something understandable -and comfortingly familiar (and all done with a trusty sharpie, I suspect). The other thing I love about this video is that it stands for something, not against it. Ireland, facing serious economic problems, is holding an election soon; with all its woes, it’d be easy for candidates to attack others, claiming fault, pointing blame, and engaging in nasty attacks against fellow candidates.
There’s an ad on Canadian television right now, in fact, that doesn’t mention the ruling party (who clearly paid for it) but attacks the leader of the opposition for, in their view, being out of the country for too long to be a credible leader (a charge that has an ironic ring to it right now). It’s this kind of advertising -and the altogether-yucky instincts beneath it (petty, mean, small-minded) -that, I think, turn people off, whatever their political persuasions. And yet it’s so easy to be seduced by the “no” side of the equation.

The weekend filled my head with images of contradiction: is it revolution or chaos in Egypt? good change or bad change? It’s been encouraging to hear a number of voices who are coming out with their own vision for the country’s future. “No Mubarek” and “yes democracy” has been a theme, which well and good, but… who then? Who are people looking to? Answers aren’t easy, but I hope they become clearer this week.
Egyptians are writing their future, right now. We are watching them. The scenes being drawn for us -on TV and the internet -are indeed a puzzling collage of violence, thuggery, community and hope. I’m betting on those last two to provide a vision for a solid future -one that extends past Egypt’s borders, to Ireland, to Canada, and beyond. And Dylan Haskins? Great ad. Thank you for the inspiration.

Salty and Sweet

First things first: don’t bring anyone who’s sensitive to the f-word to see How Now Mrs. Brown Cow. It gets a workout in the hands -make that mouth -of the formidable Mrs. Brown, also known as one Brendan O’Carroll, Irish comedian and super-performer. For two hours, any easily-offended ears will be singed by its extensive and creative usage.

It should be noted, however, that the word, within the context of the show, is made musical, magical, and even poetic. I mean, hell, it’s an Irish show -you have to expect the salty and the sweet, the dark and the light, the low and the high, the profound and the profane, all mashed up in one gorgeous, overwhelming package of funny, naughty, heart-tugging hilarity. How Now Mrs. Brown Cow is the fifth in the wildly popular Mrs. Brown series, which started life two decades ago as a radio series before extending into TV, movies, books, and videos. O’Carroll, donning a big wig, glasses, frumpy dress and dowdy shoes, takes on the persona of a working class Dublin mum. In this show, she’s readying her home for the family, including her beloved Priest-son Trevor, and tangling with her other three sons, daughter, and “granddad”, who becomes the unwitting guinea pig for Mrs. Brown and her friend Winnie (Eilish McHugh) to test mail order products on. The scene involving country music, a baking sheet, and a crash helmet is especially memorable; like the show itself, this single scene is a smart blend of dark humor and gleeful slapstick. Politically correct it ain’t, but funny… hells yes.

The humour extends itself to local references, with O’Carroll playing to both the Toronto crowd (with mentions of local discount store Honest Ed’s) and Irish expats (jokes about son Mark’s “Prod” wife abounded). Later I overheard an audience member remark that some of the show’s references were “too obscure” for most Canadians, which is true. Equally, O’Carroll’s portrayal of Rory (Rory Cowan), Mrs. Brown’s gay son, could be construed as stereotypical and offensive- but as I recall it, some Northside Dubliners (and indeed some Irish) have a pretty narrow idea and tolerance of homosexuality altogether. Should O’Carroll soften the writing? The Mrs. Brown series concerns rough people who say (and do) offensive things, many of which are specific to a cultural time and place. The write and director is full aware of the ridiculousness of Rory, and perhaps, knowingly, portrays partner Dino differently, clothing him not in gold lame pants, but suit trousers, like everyone else. To moan about the “offensiveness” of this show conveys a huge ignorance around Dublin culture, and, to be frank, a poe-faced Canadian seriousness that doesn’t match the larkish nature of the material. There are many other forms of entertainment that portray gay people (and others) in far more offensive ways; this show isn’t one of them.

Indeed, Mrs. Brown is fierce, feisty, and very, very funny -she’s no cuddly Mrs. Doubtfire or cutesy Golden Girl. She’s a lot closer to the tough Northside ladies I once knew (and would occasionally borrow hoovers, tin foil, and window cleaner, or buy fruit and veg from). Mrs. Brown’s shouts at the unseen drug-users outside her door -“injectin’ yer cannabis!” -may be momentarily funny, but reflect a darker reality, one those of us who lived in Dublin around that time vividly remember. Mrs. Brown is tough, loud, and weirdly, very real, with echoes of Dublin echoing with her every word, whether it’s a curse or a blessing.


The potent mix of dark and light is brought to the fore again and again, with sometimes hilarious, sometimes touching results. O’Carroll creates short, simple scenes involving friends and family to explore elementary, albeit timeless themes of human connection and bonding, especially in tough times. Part story, part sitcom, the material leaves plenty of room for improvisation, something that cast members take full advantage of. At last night’s North American premiere of How Now Mrs. Brown Cow (produced by Toronto’s Mirvish Productions at the historic Canon Theatre), cast members Danny O’Carroll (as local boy Buster Brady) and Gary Hollywood (as Dino Doyle, companion to Mr. Brown’s son Rory) couldn’t keep straight faces, as O’Carroll, consciously but keeping in character expertly chided them. One telling moment saw Hollywood’s lack of composure become so acute, he was doubled over hysterically laughing into his hands. Rather than being unprofessional or distracting, the reaction worked beautifully with his character’s extreme horror within the context of the scene. After all, extreme horror and extreme giggles really do look the same at a distance. Salty and sweet indeed. (And, for the record, O’Carroll’s deadpan response -in character -was, “I remember writing this – it wasn’t this feckin’ long.” Ha.)

Other moments where O’Carroll purposely broke the fourth wall included his character’s attempt to place a star atop the Brown Family Christmas tree. After trying a variety of chairs, s/he balanced on a railing in the set, and then took hold of the upper edge of the set itself. It was a good example of O’Carroll’s extreme, and extremely happy, disregard for theatrical convention. He definitely play with panto, with improvisation, and with his castmates in the most jovial of ways, but when it comes to delivering the more serious moments, there’s no horsing around. He goes straight for the heart, without any compromises. Talking with the lone daughter of the family, Cathy (Jennifer Gibney), Mrs. Brown delivers a heart-rending speech about the closeness of mothers and daughters, one that brings to mind possible parallels with fathers and sons, which is made all the more poignant with the knowledge of the comedian losing his own son some years ago. The square emphasis on family, and on the ties that bind between people, generations, faiths, lifestyles, and ideas, couldn’t be more apparent, F-bombs or not.

How Now Mrs. Brown Cow definitely has fun exploding a few proper theatrical conventions, but it also leaves you wondering just where you stand in terms of your relationship to family and those closest to you. Wandering down Victoria Street after the opening, I overheard comments confirming this connectedness. One man remarked to his friend that the title character “is so much like your own mum!” to which the man readily agreed, while another pair of friends noted that the show’s premise, with its mix of stress and joy, “looks just like our Christmas.” Several Irish grannies stood outside the stage door, one with a mobile phone to her ear.

“It’s lovely show, just grand,” one said, waving a cigarette around, “Now what time will you be over for dinner tomorrow?” Pause.

“Don’t be f*ckin’ late again.”

Good advice.

Photo credits:
Top photo of Brendan O’Carroll as Mrs. Brown courtesy of Mirvish Productions.
Photo of “Shadowplay – O’Connell Street, Dublin” by Dave Walsh, blather.net
Photo of Moore Street courtesy of goperimeter.org

Bloomin’ Great

Today is Bloomsday.

Not having read Ulysses in over a decade, much less looked through it (ironically, I left my annotated copy in Dublin), I decided it was the perfect day to pick up a copy. As I flipped through page after page of beautiful, confounding prose, I was reminded of the place writing once occupied in my life, and how my perceptions around it have changed.

It’s not a higher calling to me anymore, nor is it some kind of holy act; it simply is, along with any number of other things people have a particular affinity for. I both fought and embraced the monikers of “writer” and “artist” for years, feeling, on the one hand I wasn’t worthy of those titles, and, on the other, I was purely defined by them. Neither, life has shown me, is quite accurate.

And yet there’s the same sense of wonder, joy, and wordless awe when I open Ulysses, just as there was way back when I first read it in the mid 1990s. The mad combination of drama, poetry, geography, and frankly… a jazz-like feeling of improvisation infuse every word in the 700+ page novel with wonder for me. It isn’t polite, tidy, or precise; this is rough, edgy, coarse prose, the kind you might find your brain -much less (eeek) soul -getting cut on (badly) if you’re looking for soothing respite. That’s a big part of its appeal. Who wants soothing? There’s yoga for that. Joyce’s words are real, raw, crude, shrewd, raunchy, sad, infuriating, confusing … and poetic. Like people. Like life.

This, of all days, feels like the right time to offer up a tribute, and I can think of no better way of saluting the book, and all of us still intoxicated by it. Yes, for real:

There’s a beautiful roughness to this, without the 360 frills, that feels right for the poetic (dare I say Joycean) lyrics; the musical rawness here feels (and sounds) like the perfect dance partner for the pitbull-like aggression of the prose, and, conversely, the prose has a wild, unhinged musicality that becomes more muscular with the beefy sonic accompaniment. My first reaction when I heard this song was: Joyce. And it wasn’t just the June 16th reference, either.

Words -they’re not much, but they can get us through some dark times. They, like any art, don’t define -they refine; the silence between syllables and the long yawning vowels become the music we understand. Writing isn’t reformation but sublimation to a higher power: imagination.

“How moving the scene there in the gathering twilight, the last glimpse of Erin, the touching chime of those evening bells and at the same time a bat flew forth from the ivied belfry through the dusk, hither, thither, with a tiny lost cry. And she could see far away the lights of the lighthouses so picturesque she would have loved to do with a box of paints…”

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