Are we ready for the pandemic musical? Musicals, unlike straight plays, almost always inherently demand that we sit inside the internal experience of a singing character, as song elongates and amplifies each emotion it depicts. Not everyone will be ready to stare into the maw of our memories from four years ago. And if individual mileage for audiences reliving shared horror may vary, the more pressing question may be whether the pandemic musical is ready for us. To judge from Dave Malloy’s Three Houses, by far the most unflinching depiction of life in lockdown on a New York stage yet, the answer is: not quite.
It’s not that Malloy, the multi-hyphenate creator of works like Natasha, Pierre, & The Great Comet of 1812 and the a cappella choral-theatrical Octet, is afraid to plunge rawly into the depths of isolation. Rather, Three Houses, in wading through its excesses of ideas and often free-associative images,...
It’s not that Malloy, the multi-hyphenate creator of works like Natasha, Pierre, & The Great Comet of 1812 and the a cappella choral-theatrical Octet, is afraid to plunge rawly into the depths of isolation. Rather, Three Houses, in wading through its excesses of ideas and often free-associative images,...
- 5/21/2024
- by Dan Rubins
- Slant Magazine
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