2006 EDITOR'S PICKS.
By Scott Heller, Globe Staff | December 31, 2006
Imagine what a year in arts will look like in January, and you hone in on the special events, the world premieres, the visits from luminaries. Boston certainly expected its share in 2006, thanks especially to James Levine's penchant for star-driven concert versions of operas at Symphony Hall. "Monty Python's Spamalot" and "Wicked" were due to make their first appearances downtown, and the pre-Broadway tryout of "High Fidelity" was on its way.
Smaller companies promised to stretch themselves with stagings of ambitious works like "The Pillowman" and "Ragtime." And the American Repertory Theatre planned a powerful slate that included adaptations of the film "Wings of Desire" and a collaboration with cabaret rockers the Dresden Dolls.
Look back on that year in December -- this December, at least -- and the truly memorable events turned out to be less "officially" special, yet utterly rewarding just the same. "High Fidelity" had one great number ("Conflict Resolution") but not enough of a reason for being. All those onstage local references damaged "Wings of Desire," though the airborne kiss between the angel and the aerialist may have been the year's most breathtaking moment of theater.
Instead, many of the events that stood out for me in 2006 were left-field surprises, or they were part and parcel of a cultural landscape that delivers top-notch work on a regular basis, without a lot of fuss over who's first or what's new. To wit:
JENNY LEWIS, Berklee Performance Center
When the lead singer of an up-and-coming band decides to put out an
album under her own name, it probably means trouble for the band. I
wish indie rockers Rilo Kiley all the best, but this transporting
Berklee show proved that lead singer Jenny Lewis can pretty much do
anything all on her own. Touring behind the wonderful "Rabbit Fur Coat"
disc, Lewis and backup singers the Watson Twins delivered a night of
roadhouse soul worthy of "Dusty in Memphis," though Lewis's
confessional songs are a lot spikier. Critical distance be damned; once
Lewis and the twins arrived in glittery mini-dresses to deliver the new
"See Fernando," I wanted to paste her picture on the cover of my
loose-leaf binder.
"A VERY MERRY
UNAUTHORIZED CHILDREN'S SCIENTOLOGY PAGEANT," Boston Theatre Works
The TomKat wedding got the headlines, but the real news for Scientology
watchers was Kyle Jarrow's mini-musical, at once perfectly silly and
perfectly searing. A gaggle of kids put on the show, tracing the story
of L. Ron Hubbard with the utmost of seriousness and the cheesiest of
props. Under Jason Southerland's shrewd direction, the gimmick worked
beautifully. Yes, you laughed, but you also understood the lure of any
get-clean-quick therapy, no matter how outlandish its teachings. Bravo
to Southerland's company for such very alternative holiday-season
programming.
"BOBRAUSCHENBERGAMERICA," American Repertory
Theatre
There wasn't much buzz for the New York-based SITI company's latest
appearance on the ART stage, and based on the company's 2003 "La
Dispute," I saved my visit until late in the run. How I would have
regretted missing Charles L. Mee's weird and wonderful exploration of
the will to create, as refracted (sort of) through the sensibility of
the collage artist. On a stage dominated by an oversize American flag,
members of the exemplary cast clowned, skated, and sang. There wasn't a
story, exactly, but the show proved that nostalgic pastiche could be
deeply emotional, too. Rarely have everyday activities -- a picnic, a
yard sale -- been imbued with such grace.
"MATTHEW BOURNE'S SWAN LAKE," Colonial Theater
It took 10 years from its London debut for this riveting psychosexual
rework of the ballet to reach Boston, and in fact, weak sales meant the
American tour closed up shop early here. That made the final
performance, with Jose Tirado as the lead Swan, extra special. I'd
loved Bourne's spoofy choreography and Lez Brotherston's clever design
when I first saw the production on Broadway; this time, though, the
male swans seemed to be dancing for their lives, and the show felt like
anything but a laughing matter.
"SERENADE," Boston Ballet
The big news on the bill was the premiere of a "Carmen" by Boston
Ballet resident choreographer Jorma Elo and set (the company said) in
the world of high fashion. But all the joy came courtesy of George
Balanchine, whose "Serenade" proved that neo-classicism, done well, is
its own reward. Anything but high concept, this was all about lavender
gowns and beautifully turned arms extending in unison. Just lovely. (An
excerpt from "Carmen" looked better as part of the Ballet's gala later
in the season.)
SIBELIUS, SYMPHONY NO. 3, Boston Symphony
Orchestra
James Levine's provocative programming (the Schoenberg-Beethoven
project) and capital-E events ("Moses und Aron " ) were must-see. But
the BSO performance that reached me most directly was a regular old
evening of Sibelius, with Robert Spano holding the baton, not Levine.
These days the symphony's brash, horn-driven sound can raise the roof.
Here, though, was the BSO at its quietly aching best. At moments you
had to lean in to hear. And you never wanted to pull away.
BOSTON POPS with MY MORNING JACKET
In its continuing effort to stay relevant, the Pops guessed right by
bringing in Kentucky psych-rockers My Morning Jacket for a concert that
gave delusions of grandeur a good name. Tucked into tuxedoes that made
them look like hippies at a prom, the band members seemed awed to be in
Symphony Hall. This charming awkwardness disappeared once lead singer
Jim James opened his mouth. With his full-throated wail on "Gideon" and
"Run Thru," backed by the Pops' orchestral muscle, pomp rock never
sounded so fine. When is the follow-up show -- and how about holding it
at an outdoor arena so MMJ drummer Patrick Hallahan can really pound
away?
"FIVE BY TENN" and "THE WOMEN," SpeakEasy Stage Company
The ensemble casts were excellent; so were the sets and costumes. But
the star of both productions was their director, Scott Edmiston , who
found new ways to breathe life into a set of minor Tennessee Williams
playlets and Clare Booth Luce's arch comedy. In both cases, Edmiston
framed the shows as narrated by surrogates for their authors. In "Five
by Tenn," this lent the plays the gravity of Williams's own troubled
biography, making for the musical-savvy SpeakEasy's strongest
production of a drama to date. The conceit worked less well in "The
Women," but it did allow Edmiston an Act 1 tour-de-force finale: His
entire cast sauntered onstage to sing "Down in the Depths," by Cole
Porter, and the lyrics felt like they were written for these very
women: "When the only one you wanted wants another," they sang, "What's
the use of swank and cash in the bank galore?" It was nowhere in the
script, but everywhere in the marrow of this bitter comedy.
"SPRING AWAKENING," Eugene O'Neill Theatre, New
York
Take an 1891 play about German teenagers struggling to understand their
bodies. Add a highly contemporary musical score with numbers right out
of the emo songbook. Unbelievably enough, what you got is Duncan Sheik
and Steven Sater's blazingly original show, which features what may be
the best rock score ever heard on a Broadway stage.
OPENING DAY AT THE INSTITUTE OF CONTEMPORARY ART
Oh, there was one special event that did turn out as special as
promised: the opening of the first new art museum in Boston in nearly a
century. Yes, it was delayed. Yes, it sits amid parking lots. Yes, some
people are more impressed by the building than the art (I thought the
inaugural "Super Vision" show was a well-conceived welcoming gesture).
But the museum's free public opening on Dec. 10 was, simply, a great
day in Boston. The weather cooperated, the crowds were patient, the
entertainers delivered. Now the hard part -- reminding the thousands of
people who passed through the doors to visit regularly. Special as it
is, the ICA is not just meant for special occasions. Globe arts editor
Scott Heller can be reached at sheller@globe.com.
