“A song can enter the solar plexus and activate a dream world. It can achieve the power of other forms of narrative—the novel, film, a play—in less than three-and-half minutes it recruits matter from the unconscious, the recesses of the heart, the heatlightning of the soul. When forty women are gathered in a room, singing these songs, another world is conjured, something not quite recognizable, not quite ours, and this is why art can be beautiful: because it has the power to transform us, to transport us to other places whether they be subterranean, molten, aquatic, or interstellar. So welcome to our planet where the scum runs deep, the speed tastes so sweet, and the Virgens run wild. Let’s begin at the end… “ –Adam Rapp
The curtain to the stage dropped and Karen O’s signature voice cautiously sang through the opening lullaby. The last words to delicately fall out of her mouth were “Let’s begin at the end.” As that message resonated throughout the theater, it became apparent that the end had already started. As the audience was ushered into the theater, we had to walk through a tunnel lined in translucent chiffon-like walls. On the other side of the walls were the Virgens themselves, whispering haunting phrases such as “the speed tastes so sweet” and “the scum runs deep” while pushing through the barrier and invading your personal space. This haunting thematic element set the tone for the eve.
This work can be the spark for hours of conversation, delving deeper into the thick of the plot. However, I dare not give away the story itself for that would diminish fragments of the theaters authentic magic. The classic battle of good versus evil runs deep through the spine of this tale and plays a pivotal role in Karen O’s character. While watching the scenes unfold, my mind danced back in time to a past Dramatic Literature course and I began to view this dramatic work as a jigsaw puzzle. Christian Joy’s imaginative mind worked its magic at full force and shined through the simplicity of the Virgens and Karen’s decadent attire sculptured out of hair and various loud fabrics and colors. The “Players” were clad in midnight blue, almost black, nun-ish robes that resembled death, lies, and darkness. The “Virgens” could have stepped out of the first scene in Fischerspooner’s “Emerge” video. They were very bare; minimally clad in white cloth that resembled bandage wrap. The white cloth was also wrapped around their knees and elbows, possibly healing broken joints or holding them together? As the snow fell from the sky in the end all I could think of was “Softness. Compliance. Forgiveness. Grace.” from “Angels in America.” A new beginning could now form post catharsis. (Also, take note that the trees in the opening scene are white in a black forest. In the closing scene, the colors are inverted.)
Watching Nick Zimmer play with such enthusiasm and passion was as much of a treat to be a part of. The chorus was lead by a live conductor while the band lined both sides of the stage. Every last detail of this work of art was carefully thought out and executed to perfection. If there were anyone in the world I could sit down and have drinks with, it would undoubtedly be Karen O. Her mind is a beautiful and brilliant mystery that birthed this masterpiece.
“Since the music was written it called out to be something more; even though I still can’t describe exactly what it is we have created, I can’t imagine it being anything else, nor can I see a more perfect collective of artists and friends answering that call.” Karen O
