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Beate Hein Bennett
The
Quest across Seven Valleys Nov.21 – Dec, 8, 2024
One wouldn’t think that there are any connections to be made between an allegorical epic poem by the 12th century Persian Sufi poet Farid Us-Din Attar and our times but the Czech children’s book artist Peter Sís has re-imagined it for our times (Penguin, 2011). That text with illustrations by Peter Sís is the inspiration for the present world premiere CAMT production, directed by Vít Horejš as an “object theatre rock opera” with music and lyrics composed by Avi Fox-Rosen and choreography by Martha Tornay. Vít Horejš, whose puppet productions have delighted audiences of all ages for decades, has tacked with his production of “Fowl Play: Conference of the Birds” into the ancient mystic realm of human quests for spiritual fulfillment. However, his libretto also provides a parallel political twist towards our time. While the original Sufi quest is for the Ultimate Leader/King, the divine “Simorgh” (see more?), who shall provide everyone with the answer to the ultimate meaning of Life, the fight for leadership among these birds is clearly tinged with contemporary political implications.
In order to find this mysterious/mystical Simorgh or Phoenix (the one who rises from the ashes), the birds must traverse the Seven Valleys of Purification, a difficult journey of abandoning all worldly desires—but who shall lead them on this journey? The wise and gentle Hoopoe (Deborah Beshaw-Farrell) is the natural choice but the arrogant Noisy Bird (Michelle Beshaw) hungering for absolute power continually challenges and undermines her. It is in this nexus of the spiritual quest and the politics of power that a diverse collection of birds confers and haggles about the proper process towards Enlightenment. The Sufi text is an amalgam of references into all the major religious and spiritual movements—Islam, Christianity, Judaism, Buddhism-- that intersected in Persia and the Near East during the Middle Ages. The modern addition is the resonance with the present-day power politics of propaganda and persuasion based on rumor and intimidation. Vít Horejš, dressed like Prospero in a black glittery robe, accompanies the performance by moving throughout the theater space (somewhat reminiscent of Tadeusz Kantor). The lively ensemble of ten actor/birds dance, slither and slide, stalk, run, twitter, quack, chirp and sing their way through a complex text, ranging from profound philosophy to trivial banter, from grandstanding to anxious mumbles.
The cavernous space of the Ellen Stewart Theatre was designed to allow for action on the surrounding galleries, far upstage, and on the generous floor space. The scene designers, Tom Lee and Theresa Linnihan, who also performs as the melancholy Nightingale and Sparrow, have made full use of it. Two large wing-like canvases are spread above the playing space and serve as the projection surface for Peter Sís moving images (from his book) of the mystical mountain/valley landscapes with clouds and flocks of various birdlike shapes flying across. A green circle on the floor is the center for much of the action. Daisy Long’s lighting and Boris Nazarov’s sound designs support the far-flung stage action of the ensemble of birds. The Fowl Band led by Avi Fox-Rosen with terrific guitar riffing a la Jimmie Hendrix, Rima Fand’s lilting violin, Eleonora Weill’s flute singing, Jesse Chevan’s gentle percussion, and Carrie Behan’s voice accompany the birds throughout from the side.
Special kudos for the costumes should go to Michelle Beshaw who also plays Noisy Bird. Her inventive choice of cheap materials add humor: e.g. bird wings shaped from plastic bags and bottles one finds floating around in urban landscapes, colorful dime store costume feathers and accoutrements, or the bird cage over the head of the Parrot (Ben Watts), the Peacock’s (Gage Morgan) splendid tail plumage, or the many Trumpian ties cascading over Noisy Bird’s chest and stomach. Each actor uses his/her costume to great effect but also incorporates the appropriate bird sounds and movements of his or her bird. Duck (SK) quacks and waddles in protest and in sorrow, Hoopoe asserts herself against blustering Noisy Bird, the Love Birds (Emily LaRochelle and Sarazina Stein) sing and dance passionately, Falcon/Peacock struts, and the confused Parrot squawks, dies, and turns into the extinct Dodo. And so, like human beings, each bird argues, pouts, cheers, rebels in his or her own style but ultimately all complete the journey across the Seven Valleys of Enlightenment including the Valley of Nothingness, the Valley of Bones! (Los Alamos?) And they find the answer to their quest…to find out that answer, you must make your way to LaMama—it’s worth the journey! |
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