Frank Erwin Center, February 4
There are many jokes to be made about this show, and, rest assured, you’ll get a few of them. Arguably the most popular dance ensemble touring at the moment, Michael Flatley’s Lord of the Dance fuses Celtic mythology with traditional music, modern dance, a touch of ballet, and, of course, step dance. The problem is that Lord of the Dance has become synonymous with Flatley’s �ber-personality, and without his dervish presence, the show becomes very one-dimensional. This is not to say it’s bad� it’s not by any means � but a show hinging so much on one performer’s presence makes for a dangerously unbalanced presentation. In the role of the Lord of the Dance for the touring company that played Austin for two sold-out shows, John Carey (attention, Daily Texan) is as able and talented as any to step into the role, having won five major dance championships at age 10. But Flatley brings ego to the role, while Carey has yet to inflate to that degree, and the distinction is visible.
Fulfilling the two female roles were much easier for original cast members Arleen Boyle as the fair Saorise and Gillian Norris as the dark temptress Morrighan. It was Norris’ spirited performance as Morrighan that most recalled the excitement of the original company, particularly during her bravura “Gypsy.” Still, Boyle(if that was Boyle dancing the lead; she did not resemble the dancer pictured in the program) brought undeniable sensuality to the heroine, most evident in the memorable ensemble number “Breakout.”
The twin fiddles of Maire Egan and Teresa Heanue emphasized the close relationship between Irish folk and American country music, so much so that the Irish step-dancing performed in conjunction with it leaves no doubt to the origin of Appalachian clog-stepping.
Cian Nolan as the Dark Lord Don Dorcha had the toughest job; the masks he and his warlords wear add that over-the-top cartoon touch to Lord of the Dance. He and a Puckish character known simply as “The Sprite” were where my friend and I put our heads together to recite “Stonehenge” from This Is Spinal Tap in low tones while on the alert for dancing elves. Even the crystalline voice of the woman singing as Erin the goddess (former Anuna vocalist Dierdre Gilsenan) � the only three vocal components of the piece � could only momentarily diffuse the giggles once they’d started. “Lord of the Safety Dance,” my friend whispered. “Bored of the Dance,” I shot back. “Lord of the Square Dance,” he bantered. “Lord of the Pants,” I snickered. Century-old mythology being what it is, no dance performance should ever go too far without a little fun on tap. � Margaret Moser
AN EVENING OF SCHUBERT AND BEETHOVEN: VIENNA WAITS FOR ME
On the lake, Febuary 2
For those not familiar with the music scene of 18th- and 19th-century Vienna, let me explain that, in the Vienna of that era, the Elector, or elected nobility, had ensembles of musicians � ranging from chamber groups to orchestras � play in his palace or the homes of other wealthycitizens. Two hundred years later and an ocean away, here I am, in a beautiful home on a Texas lake, surrounded by all types of people, none of us nobility, to hear chamber music.
While it may not have been so then, a salon concert today is less formal than a concert in a performance hall. The players dress more comfortably. Wine and refreshments are served � tonight’s event includes Viennese specialties � and an introduction/commentary/lesson offers background on the composers whose work is featured. The scene seems highbrow but is actually relaxed, personal, and unpretentious.
The first half of this Salon Concerts, Inc. event focuses on Beethoven. Following background remarks by the vibrant Robert Rudi�, Beethoven’sString Trio in C minor, Op. 9, No.3, written for violin, viola, and cello, begins. The first movement warms up both the audience and players, with something dark hiding behind the prettier notes, creeping about. During the second movement, Adagio con espressione, the three instruments begin a conversation, led by the violin. The viola and cello take turns repeating the violin’s notes, sometimes pausing to leave room for reflection. They argue, then stop, return to the tension again, and go back to the initial theme. What the violin says proves important as the three start agreeing, playing some of thesame notes, then hushing. The third movementis more serious, and we sense a resolution fromthe levelheaded viola. Joining together, the three play the same lines with force, suddenly changing to a more positive tone. The violin still leadsduring the finale with its high-pitched screech andsong. All three return to the feelings of the earlier debate.Adding to the suspense, the notes get louder and fuller. The end arrives softly and suddenly.
Next are four songs by Beethoven, all dealingwith universal themes of love and death. Vocalist Rose Taylor brings expressiveness and sincerity to Beethoven’s music and the accompanying poetry. “Resignation,” the second song, tells of the loss of hope and takes the singer’s pitch high to cry, “Go out, my light!” Taylor’s voice penetrates to my core in the thirdsong, “In questa tomba oscura (In This Dark Tomb).” For four songs written by Schubert, Taylor again delivers sadness and beauty through her voice. Schubert’smusic does not exactly fit the emotions described in the lyrics. Realizing the songs are like poems, I call up my own experiences to understand them.
Before Schubert’s Piano Trio in B-flat, op.99, for piano, violin, and cello, Rudi� reminds the audience of counterpoint, the art of writing two or more different lines played simultaneously. The trio dive into the music to illustrate Rudi�’sdefinition, which gears me up for the final pieceand strengthens my appreciation for the music’scomplexity. The cello gives us a groove, making the first movement kind of funky.
Traveling up inclines, shifting around a magnificent theme, the music wastes no time. More “arty” than Beethoven’s, Schubert’s music breaks away from its theme into abstract trails of notes, resembling improvisation. The third movement lifts from the previous movement’s slowness; fast notes and a friendly melody grasp my attention. Rondo, the final movement, stimulates with high activity from all three instruments. A wonderfully deep and low hum from the strings foreshadow the end. The piece, while long for a Monday night, is a feat for all. Culturally stimulated and absolutely entertained, I leave Vienna and head home. � Elise Guillot
This article appears in February 13 • 1998 and February 13 • 1998 (Cover).