I have admired David Byrne's art and music since high school. One of a few theater pieces I saw at the time was his "The Knee Plays" at Warner Theater in Washington, DC. I am aware of contemporary art work he has made (i.e. Playing the Building) but I haven't heard much of his music recently.
This is all a big wind-up to say: the mix of my long-term admiration, the suddenness of the event, and the element of surprise in getting the ticket all enhanced what was already a fine experience. In fact, losing my right contact lens directly before entering the theatre didn't dampen my enjoyment. I watched the show happily with my right eye shut or covered.
The band wore all white, which increased the impact of the modest lighting effects. The outfits also punctuated the gospel/preacher elements of his music and performance.
I am not sure whether it was a reflection of the music he selected to play this night or whether it is a theme throughout much of his work, but it struck me that a lot of what I was hearing was based on traditional gospel or African-American religious folk music. Also, his vocal delivery mimicked that of a preacher (he specifically mentioned that he was providing the evangelical preacher vocals for "My Life in the Bush of Ghosts").
He was accompanied on stage by a three-person troupe of dancers who performed choreography that resembled Twyla Tharp's work. Occasionally, all standing stage performers would coordinate movements (such as rocking back and forth or walking back and forth in a large formation). For the most part the dancers seemed to weave their movements around the musicians and backup vocalists, and the movements of all groups would only intermittently coincide (as when David Byrne leaned down to play his guitar lower and a dancer jumped over him as part of his routine).
It is difficult to explain, but it was as if there were two performances happening that were not necessarily related. Of course the dancers danced to the beat of the music being performed, but they were clearly separate from the band. Occasionally the two performances intersected. It is kind of like watching some mechanical thing in motion, such an oscillating fan, while listening to music. Sometimes the fan would appear to move to the rhythm. In this way, the band sometimes seemed to join the dance.
I am someone who is only now gaining a deeper appreciation for dance performances in middle age. The tension between and coordination among dancers and live performers is very interesting to me. I am not well versed in the field, but it appears that most modern dance is performed with recorded music. Ballets may have an orchestra, but it is tucked away in a pit.
Many traditional ethnic dancers, on the other hand, continue to perform alongside musicians. When I see these performances, there are three levels of appreciation operating. The dancers and musicians are engaging in two separate activities that can be appreciated independently, and their combination is a third element that heightens the enjoyment of the experience. The choreography of this show seemed to feature that third element, the coordination of artists, by shifting back and forth from separate events to a combined event.
If I recall correctly, there were four encores that evening. The third one was the best encore I have experienced. The ensemble returned to the stage in their usual white outfits, but each member had put a fluffy, white tutu over his or her outfit. As they played "Burning Down the House," the dancers became more prominent on the stage. Near the end of the song, the stage was flooded with male and female ballerinas in white tutus. They did some coordinated movements and ended with a grand kick line. This was particularly appropriate on the Rockette's stage.
I suppose music videos were created to provide a vision to go with songs. I certainly think of some old videos when I hear music from back in the day when I watched videos. The use of these ballerinas was a very effective way to facilitate the reinterpretation of a standard song visually.
Which leads to the next device in the show, the majesty of Radio City Music Hall as a venue. At one point David Byrne played the introduction to a song on the gorgeous Wurlitzer pipe organ to the right of the stage, but then moved to pick up the rest of the song with the participation of the full band. The organ was lit throughout the show, and should have been. It is a work of art and Americana that deserved its own spotlight.
This theatre is probably the most beautiful theatre in America. I recall eagerly taking a tour of it in my early 20s. Although I have only been inside twice since that tour, I still recall some of the things pointed out nearly 20 years ago.
For example, the stage was designed to appear like the sun setting in the sea. The walls and ceiling are a series of concentric half circles radiating out from the stage. Each half circle is scored to appear like rays of light. From the back of the theater facing the stage, the chair backs look like waves. The carpet is a stylized rendition of blue sea animals and waves.
It is such a blessing that this theatre was restored. Even attending a rock concert in jeans feels glamorous in this art deco palace-like setting. The entrance hall with large chandeliers and two-story murals is elegant. The bathrooms are still large lounges with beautiful murals, fancy tables, and leather club chairs. These are spaces that in modern times are usually encountered in private clubs.
The restoration includes the continuing function of the original hand dryers in the bathroom. A curved pipe emerging from the wall blows air when one steps on a pedal below. Charming.
The whole evening was charming.
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