My Six Top Musical Moments of 2014

Musically speaking, I was a very lucky girl in 2014 – I saw some really terrific concerts, many without even having to leave my lovely smallish town. I tried, and failed, to come up with a Top Five Concerts of the Year listing – but how do you compare a teensy two-person show in a teensy dark little club in downtown Bloomington with a giant arena spectacular featuring approximately one billion E Street Band members and supporting musicians on stage? You really can’t, and yet that describes two of my favorite shows this year.

So I’m going to come up with a list of my favorite musical moments. Lots of great shows, but these were the moments that made my jaw drop, made me shriek with glee, made me hold my breath so as not to miss a note. These are in chronological order, because I can’t figure out how to rank them.

  1. Josh Ritter (at the Buskirk-Chumley in Bloomington), “In the Dark” With a small acoustic group, Josh Ritter gave an absolutely luminous performace for which I was lucky enough to be front row center. For “In The Dark” the stage and house lights were turned out and Ritter & band came out to the very edge of the stage to perform barely-lit and completely unplugged – risky, but an absolute goosebumps moment, stunning, filled with hush and echo. My first time seeing Ritter, and I was pretty well knocked out – does anyone else, short of Springsteen, perform with such an air of absolute joy? 
  2. Bruce Springsteen/E Street Band (at the US Bank Arena in Cincinnati), “Lost in the Flood” One of the songs I’d never managed to hear live and had been longing for – had even brought a sign for it once or twice when I had a GA ticket. I’m grateful for the person who brought a sign for it on this night, and the song was just as ferocious and spectacular as I could have hoped. It transitioned right into “Because the Night,” a pairing perfect as any fine wine could offer. Honorable mention goes to “Dream Baby Dream” that same night, cellphones lighting up one by one in the audience till the arena was spinning with stars; honorable mention as well to Springsteen’s Nashville show, not so much for the show (which was excellent as usual, especially the darkest-encore-ever salvo of “The Wall”/”Point Blank”/”Born in the USA”) but for the spectacularly fun few days I spent with great friends there. 
  3. Amanda Shires/Jason Isbell (at Schuba’s in Chicago), “Mutineer” I was lucky enough to see this absolutely gorgeous cover of one of Warren Zevon’s greatest songs twice this year, once at an Amanda Shires show with Jason Isbell sitting in with the band and once at a Jason Isbell solo acoustic show with Amanda Shires supporting on fiddle & vocals. I give the slight nod to the Schuba’s performance, partly because it was my first time hearing it, partly because I was with friends who appreciated it as much as I did. I just want these two to sing me this song every night before I go to sleep so I can float away on a little cloud of bliss – is that too much to ask? Honorable mention: Isbell’s appropriately loud-and-sweaty show at the Bluebird in Bloomington, where he performed with his band the 400 Unit and blew the roof off that little club multiple times. As a side note, though both Isbell’s “Southeastern” and Shires’ “Down Fell the Doves” came out in 2013, I listened to them about a bajillion times in 2014 – if I had to pick two studio albums as the soundtrack of my year, these would probably be the ones. 
  4. Rosanne Cash (at Clowes Hall in Indianapolis), “Ode to Billie Joe” Again, I was lucky to see this multiple times – in South Bend, Bloomington, and Indianapolis. Rosanne Cash’s “The River and the Thread” shows, in which the first set consisted of the album played straight through followed by a set of other material, were a major highlight of my musical year. No, she hardly varied the setlist at all – but it was one of the most perfectly constructed setlists I’ve ever witnessed, so why screw around with a good thing? I’m sometimes skeptical of “album shows” but the album performed live creates a near-perfect journey, and then the second set pleased the audience with a number of Cash’s hits and old favorites. “Ode to Billie Joe” harks back to the landscape and themes of the album, and each time the audience initially responded with raucous applause as they recognized the familiar song – and each time, by the midway point of the song, the audience had gone absolutely still. Cash sings the song like it’s something she’s just witnessed and she NEEDS to tell you the story right now, and her vocal reveals the darkness and mystery at the heart of a song you’ve heard a billion times and maybe hadn’t really thought about. I give the slight performance nod to the Clowes Hall show only because that was the rowdiest audience so the transition to breath-holding silence was the most remarkable. Honorable mention to “Money Road” at all three shows, which closed out the first set with an unexpectedly ferocious – and entirely delicious – guitar rave-up. 
  5. Pearl Jam (at the Scottrade Center in St. Louis), “Imagine” This was my first time seeing Pearl Jam (I know, I know, about time!) and I was appropriately blown away by the energy and passion both onstage and in the crowd. The first encore opened with an acoustic set, kicking off with Eddie Vedder performing John Lennon’s “Imagine” for the first time at a PJ show – just Vedder on guitar and vocal with Boom Gaspar adding a bit of keyboard. My initial expectation was that it would be a bit cliché, but in that sold-out arena with thousands of voices joining Vedder’s heartfelt vocal, it became a real goosebump moment. Honorable mentions from this show: “Footsteps” which is just a fantastic song and didn’t let go of me for weeks following the concert, and the absolute no-holds-barred kick-ass rock of “Porch.” 
  6. Lera Lynn (at the Bishop in Bloomington), “Fire” Yet another cover makes my list. Lera Lynn was a favorite musical discovery this year; her album “The Avenues” has been making a lot of best-of-2014 lists for good reason. Her whole show at the Bishop was great and had that “you’re not going to be seeing this artist on a stage this tiny much longer” feel to it; I single out her cover of Bruce Springsteen’s “Fire” mainly because it was not only a great cover (YouTube it; she does cool things with this song!) but because it was a real pivot point in the show – starting with this song the setlist went somewhat out the window and the audience interaction kicked into high gear. 

So that was 2014 – lots of other great moments too, of course. 2015 is shaping up nicely so far; I’ve got tickets for Iris DeMent, Keb’ Mo’, Glen Hansard, the Gaslight Anthem, and a U2 doubleheader in Chicago among others. As always I’ve got my eye out for announcements from my favorite artists and venues; in particular, I’m hoping Nils Lofgren will make use of some E Street downtime to play some stateside shows after his UK winter tour. (The Midwest would be lovely, but I’ll get on a plane for this one if I have to.)

It’s been a crazy year in the world, with a lot of things that just make me want to hide under my blankets and never leave my house again. Music helps. Ann Powers hit the nail on the head with her essay accompanying some best-of-the-year album picks. There are probably more important things in the world than so-and-so musician singing such-and-such song and giving me goosebumps – in fact, delete that “probably”! – but those moments kept me alive, kept me getting up in the morning, reminded me that the world is worth holding on to. And you know, that’s not such a small thing after all.

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Pearl Jam, Scottrade Center, St. Louis, 10-03-2014

Yeah, yeah, I know… dormant blog… bla bla bla. I know I’ve promised to revive it before. I think I’ve just been unfocused about why I even have the thing. Let’s try to start back up with a little concert review, shall we?

When you are a serious fan (knows all the words, has lots of bootlegs, travels for shows, compares setlists, would instantly recognize any of the band members on the street, etc.) of one band and then you go to a concert by another band in a similar genre, it’s a little like attending services in a church that’s in your same religion but a rather different denomination. It’s both familiar and a little disorienting. As a pretty serious Springsteen/E Street Band fan, I attended my first Pearl Jam show in St. Louis on October 3, and while it didn’t feel like “home” the way a Bruce show does, it was good. Really, really good.

Pearl Jam St. Louis button

Shout-out to the guy sitting next to me, also a big Bruce fan, who gave me this button at the end of the show. Super nice of you, man!

I have been, for years, a pretty casual Pearl Jam fan. I know the radio hits, of course. I’ve got a few of their albums, though I don’t know those albums backwards and forwards. In the weeks before the show I did make an effort to listen to them more, and I picked up the most recent album (Lightning Bolt) and gave that one particular attention. While I’ve been a casual fan, I guess I have to qualify that a bit, because a lot of casual fans wouldn’t drive 200 miles to catch a show. I’m still not sure what tipped the scales; I’ve heard for years that they put on an excellent show, but it wasn’t until this tour that I decided I needed to see them. The most logical shows for me to catch were either Cincinnati (about a 2.5 hour drive) or St. Louis (about a 4 hour drive). I’d been to Cinci already this year for a Bruce show, and I have a couple of friends in STL that I knew I’d like to see; the fact that when tickets went on sale I wasn’t able to nab anything better than an upper level for Cinci but found a good lower for STL was the clincher. Also, STL has several reasonably priced hotels within walking distance of the arena, so you don’t have to pay “event” rates for parking. (A note for St. Louis traveling show-goers: if you stay at the Pear Tree Inn, just down Market Street from the Scottrade Center arena, the restaurant next door has a shuttle bus that will take you there and bring you back afterwards for two bucks a person each way. It’s walkable, but so nice to have another option that doesn’t involve shelling out money for parking.)

I do love a rock & roll road trip.

I will say this. If you’re a casual, or even relatively casual, fan and you go to a show, plan on being OK with hearing songs you don’t necessarily know, or know well. Don’t plan on talking through them. Plan on listening to them and enjoying them and maybe even falling in love with them (Footsteps, I’m talking to you – what a killer song!). The St. Louis setlist gave us a nicely-balanced mix of big hits (Jeremy, Daughter, Even Flow, etc.), deeper cuts, and a couple of covers. The first set was very solid, the band super tight and the audience extremely responsive. “Even Flow,” “Not For You,” and of course “Jeremy” were highlights of this set. The second set opened with Eddie Vedder seated alone onstage, where he gave us a stunning, utterly heartfelt cover of John Lennon’s “Imagine.” Not a huge surprise to get this, I suppose, since he’s just released this song as a charity single on iTunes – but apparently it had never been performed at a PJ show before, only at Vedder’s solo shows. This was followed by “Just Breathe,” a song I got sick of on the radio but which sounded really lovely tonight. The aforementioned “Footsteps” is, I gather from reading some of the fan boards online, infrequently performed and one some fans have been chasing for a while – it was a highlight for me too, and I’d probably only heard it a couple of times in my life before. After a fun “Last Kiss” performed directly to the audience seated behind the stage (classy move, PJ!), the set returned to the louder material – “Chloe Dancer/Crown of Thorns” was outstanding and “Porch” was a major face-melter.

The third set (officially the second encore) blew the roof off the place. “Alive” was a highlight for me, and “Baba O’Riley” was just a lot of fun. I tried hard all night to resist comparing the show to a Springsteen show, wanting to take it entirely on its own merits, but the late-in-the-show, house-lights-up, loudly-singing-audience atmosphere reminded me of, say, “Born to Run” followed by “Rosalita.” You know, the point in the show where it’s no longer even about the song itself but about the energy in the arena, the joy of collective release, and the need to throw yourself into it even though you’ve been rocking for well over two hours – both band and audience giving it everything they’ve got. A glorious feeling.

I was sorry to get neither “Black” (a song I’ve always absolutely loved, and the one that probably came closest to pulling me into PJ fandom way back when) nor “Sirens” (I guess some people think this is a bathroom-break song, but it’s probably my favorite on the new album) – but you can’t have all the songs in every show, and I have no quibbles with the setlist, which was nicely balanced and flowed very well.

The band’s energy seemed excellent; this was the second show on this US leg of the Lightning Bolt tour, and they seemed glad to be there and definitely back into the groove after three months of downtime. Next time I’m definitely aiming to sit on Mike McCready’s side of the stage – he was SO much fun to watch, and an interesting guitarist. I’d been a little concerned about Eddie Vedder, having heard that he did something to his leg in Cincinnati and was seen limping badly at the end of the show – he acknowledged the injury at one point in St. Louis, thanking the doctors who’d fixed him up. He seemed to be moving just fine, spending a lot of time looking intently into the audience and going into the crowd a bit. He also seemed to be in a great mood. At one point Vedder and McCready did this thing where they were leaning on each other’s backs and going lower and lower until they both lost control and crashed down on the stage; I looked up at the video screens then and Vedder was grinning like a fool. I LOVE it when the band members seem like they are having fun on the stage, enjoying the show, enjoying one another’s playing and one another’s company. (One of the reasons I love the E Street Band so much – every show has a lot of that.)

First Pearl Jam show – in the books! And it definitely won’t be my last. And you know, it does say something about a band when, twenty-plus years into their career, they can put on a performance strong enough to continue pulling in new fans, or at least to convert casual fans into the more serious variety. Well done, guys. Well done.

* * * * *
Slideshow: Pearl Jam at Scottrade Arena, from the Riverfront Times

Setlist, review and photos from Speakers in Code

 

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Greetings from the Polar Vortex

photo of icy treesAnd greetings to anyone who might still be following this blog! Yes, it’s true, I’ve been frozen in the polar vortex… we haven’t had it as bad here as folks just a few miles to the north, because when the storm came through on Sunday we skated right on the rain/snow line for quite a few hours. I woke Sunday morning to about two inches of snow, but then it changed over to rain… and sleet… and slush… and snow… and freezing rain… and some big fat white globs that rocketed straight down from the sky and looked for all the world like a giant horde of birds was flying over and pooping on us. Every time I looked out the window, we were getting different precipitation. I fully expected frogs to start falling from the sky at some point.image of radar display showing precipitation

Eventually it started to change back over to snow, and I went outside to clear the 2-3 inches of pure gross slush off my windshield and other parts of the car before it froze solid overnight. That was a very, very smart move on my part. This morning I saw a guy across the street trying to chip about 2-3 inches of pure gross frozen-solid slush off the windshield of a mini-van with what looked like a kitchen spatula. He was also not wearing a hat (the temperature was hovering around 5 below zero at that point), so I’m thinking he might not have been the sharpest snowflake in the tundra. But I felt a little smug as I looked out at the perfectly clear windows of my own car.

Anyway, to make a long story short (too late, right?), the temperature dropped below zero shortly after midnight Sunday night/Monday morning, and stayed there until around 11 am on Tuesday. We didn’t get the foot of snow that Indianapolis got, but our roads are covered with bumpy frozen slush, which has its own … er … joys? Campus was officially closed both Monday and Tuesday, which was fantastic, as I am relatively sane and didn’t really want to venture outside in the 30-below-zero wind chill. I have been very, very lucky in that my furnace never gave out on me, I never lost power (a lot of people did), and my pipes didn’t freeze. It was on the cool side in the house even so, but I bundled up in fleece and blankets and enjoyed the heated throw I bought on Saturday for the occasion – as did the cats. I have basically spent most of the last three days underneath various combinations of lap cats. It’s been very, very nice.

3 cats on top of electric blanket

note the box in the background, which has not been opened & contains a brand new space heater bought for the occasion. If my furnace had given out during the polar business, I was PREPARED.

 

High Hopes album artSome people bake cookies when they have a snow day… I apparently write album reviews. If you’re interested in knowing what I think of the new Springsteen album, you can read my review over at Blogness on the Edge of Town. It won’t surprise anyone that I mostly like the album; when I write about music I’m actually less interested in the kind of review that pins the album with a certain number of stars or whatever, and more interested in just delving into it and asking “what’s going on here? what does the artist’s intention for this music seem to be, and does he succeed?” Especially with someone like Springsteen, who’s earned my respect and trust as an artist over the years, I make the assumption that he knows what he’s doing; I am more interested in examining the trajectory of the album and poking at it to find out what makes it tick. I’m not articulating this very well, I think. And I’m not really a music reviewer; to the extent that I have a strategy for doing that sort of thing, it comes more from what I’ve learned about workshopping poetry than from anything else. Anyway, I have a lot of thoughts about the album that didn’t make it into what I wrote, so stay tuned for more, perhaps.

Stay warm and safe out there, everyone – if you go out, wear your hat and mittens and for goodness’ sake clear the snow off of ALL your car windows before you drive! (I shoulda been a mom, huh?)

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No Surrender: On writing retreats

Boardwalk leading down into the woods towards the falls

Clifty Falls State Park

A few years ago, I spent several summer days (a little less than a full week) at Clifty Falls State Park, working to finish a book-length poetry manuscript. This writing retreat was generously funded by an Individual Artist Grant from the Indiana Arts Commission.

On the one hand, the retreat was a success. I got into a routine: breakfast, coffee, check in online, then dive into the manuscript for a few hours. When my head got too full of words, I’d go outside and tromp around in the woods for a bit. (On one jaunt I was tremendously startled by a wild turkey who happened to pop out of the shrubbery just as I walked past. Those things are HUGE! I think s/he was just as startled as I was…) And I came away with what felt like a finished manuscript.

Desk with papers all over it and coffee cup

Work in progress, Clifty Inn

On the other hand, the retreat was a failure, because that manuscript racked up a pretty good pile of rejection notes when I started submitting it to publishers. Sigh.

On the other other hand, it was a success, because once I’d put together that manuscript and felt “finished” with it, I was able to move on from those poems and began writing some that were very different from the ones I’d been writing for quite a while.

Since I don’t have that many hands, we’ll call that retreat … a partial success. I’m certainly glad I did it, and I learned a lot about putting together a manuscript that week too. I spent some of my time listening to three Springsteen albums I have always thought were masterpieces of sequencing, albums that have a definite storytelling/emotional arc – Born to Run, Darkness on the Edge of Town, and Tunnel of Love – and tried to figure out which of my poems made the most sense as my manuscript’s “Thunder Road.” Most importantly, I learned to settle down, center, and dive into the work in a way that felt really good.

When I read poems from my manuscript-allegedly-in-progress, “Chasing Angels,” last weekend – and as I prepared for that reading – I realized I hadn’t looked at that manuscript, or even thought about it much, in at least a year. I’d thought I might be ready to abandon it. But the poems felt alive to me again as I dug through them picking out which ones to read. It kind of surprised me. And I think I’m ready to pay attention to “Chasing Angels” again.

So… I’m planning another retreat. This one’s going to be more intense in some ways; I’m going in February, and I’m getting a cabin with (omg) NO INTERNET. (At Clifty Falls, I stayed in the inn, in a lovely room with a jacuzzi and internet.) I’ll be able to hike over to the lodge in the park with my iPad in tow and check email or whatever, and I might have a weak-ass 3G signal from the cabin – in Brown County I occasionally find a spot where I get 3G, but it’s not that widespread – so for the most part, getting connected will require a 10-15 minute tromp. Which isn’t that bad (not exactly roughing it, I realize) but for someone like me who pokes at whichever device is closest every five minutes or so, and checks Twitter and email on her phone last thing before falling asleep at night and first thing after waking up in the morning – it’s going to be a challenge. Poetry Unplugged. (Also known as: “If you want internet you’re gonna have to put on pants.”)

For some people, four days of near-solitude would be the challenge. And I know I’ll have moments when it’s too quiet and I can hear myself think too well. Mostly, I’ll miss the cats! I don’t have aloof, low-maintenance cats; all three of mine are usually right near me at any given moment, and usually if I’m sitting down at least one (sometimes two, occasionally three) will be on my lap. As I type this, in fact, I’ve got one sprawled across my legs, just on the other side of the laptop I’m typing on, purring up a storm. But I am used to solitude, and pretty comfortable with it. And if I really need to see another human being, I can go over to the lodge – I could even eat a meal or two in the restaurant there.

I’m not exactly going to be cut off from civilization – the cabin has electricity, heat, plumbing, a TV. There’s a wood stove (failed drafts probably make excellent kindling!) and a deck overlooking a wooded ravine. I have no idea what the weather will be like – it could be 50 degrees or it could be below zero – but if it’s at all reasonable, I will tromp around in the woods to clear my mind every now and then.

I might take a guitar, in case I am inspired to write any of the manuscript’s protagonist’s songs. (Here’s hoping I don’t have any nearby neighbors.) I will certainly take binoculars, as it’s not at all unlikely that I’ll see some wildlife – deer, raccoons, eagles, maybe even another turkey to scare the crap out of me. Mostly, though, the plan will be – once again – to emerge from the retreat with a “finished” manuscript in hand, ready to start sending out. It’s a little different this time, as I cobbled together a version of a manuscript some time ago. But that version is waaaaaay too long, and I’ve written a few more poems for it since then. My hope is that after being away from it for a while, I’ll be able to take a harder look and excise the weaker poems.

Anyway, it’s a few months away, but I am looking forward to it. I think it will challenge me, probably in ways that are as unexpected as a big-ass wild turkey jumping out from the underbrush. I’m not in a position to take a month-long residency at a fabulous place like Yaddo or McDowell, even if I thought I could get accepted there. I probably couldn’t even swing two weeks, given the realities of vacation time limitations and cat sitter bills. So I’m taking four days, and by golly I am going to make the most of it.

Onward!

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Setlist: First Sundays, 11/3/2013

autumn leaves
Despite an absolutely gorgeous autumn Sunday afternoon in Bloomington and the inevitable discombobulation that comes with the clocks having “fallen back” the night before, we had a nice little audience at Boxcar Books today for the First Sundays reading. I read a selection of poems from “Chasing Angels,” my manuscript-in-progress about a fictional rock musician; it was my first attempt to construct an entire setlist solely consisting of “Chasing Angels” poems and I was fairly happy with the narrative arc and the way the poems hung together.

I’d left the manuscript untouched for quite a while – a couple of years I guess – feeling frustrated and tired of it, and was pleasantly surprised when I dove back into it last night to find that I was interested in it again. Sometimes you have to let writing sit and marinate by itself for a while before working on it does anyone any good, you know? Now I’m thinking of getting it back out and fiddling with it some more; it’s way too long to send it out as it stands now, but hopefully with new perspective I’ll be able to ruthlessly yank out the poems that aren’t as strong. By spring 2014 I’d like to start sending it around. Don’t tell, y’all. It’ll be our little secret.

I’m also, because I enjoyed reading the poems so much today, having wacky ideas of constructing some kind of a semi-theatrical staged reading of a big chunk of the manuscript. I know, that’s crazy talk. It wouldn’t be that big a production – I certainly wouldn’t try to memorize it all, I’d have the pages in front of me – but with musical interludes here and there and some slides behind me and maybe some interesting lighting. I don’t know. I’m not necessarily the most dynamic of performers and I don’t know if I’d want to watch me on a stage for 45-60 minutes solid, even with multimedia and music and awesome boots on my feet and whatever… well… watch this space next year and see if anything develops!

Anyway, here’s what I read today (a 15 minute set):

  1. The Roar the Day After
  2. Sweet the Morning After
  3. The Smoke
  4. Curfew
  5. That Conversation
  6. First Earthquake

Many thanks to Nancy Long, the Bloomington Writers’ Guild, and Boxcar Books for hosting this monthly series!

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Upcoming: First Sunday Reading & Open Mic

Bloomington, Indiana folks (and those nearby) – I’ll be reading poems this coming Sunday afternoon (3-5 pm) at Boxcar Books, a nice independent bookstore in downtown Bloomington. Expect some poems from “Chasing Angels,” the manuscript I’ve been working on forever about a fictional rock musician – and maybe some other stuff as well.

Doris Lynch, one of the other featured readers, is one of my favorite Bloomington poets. And if you write (poetry, fiction, whatever), feel free to bring a little something and sign up for the open mic!

Flyer for First Sundays reading

 

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Review: Ghost Brothers of Darkland County

Cover art from Ghost Brothers soundtrack album

Tonight I was fortunate enough to see the tour premiere of “Ghost Brothers of Darkland County,” the musical written by Stephen King and John Mellencamp (with musical direction by T-Bone Burnett). I’m not going to write up a detailed review, but I have some thoughts about it. Since it’s a mystery, I’m going to do my best not to include any spoilers.

I’m not particularly a fan of musicals (it’s just a taste I never really acquired), and I’m not that big on mysteries either. The performance was strong enough to overcome my general lack of interest in those genres, though. There were some really fantastic singers on that stage; I was especially taken with Bruce Greenwood (Joe) – who you may know from his acting career but probably didn’t know that he actually has a killer singing voice – as well as Kylie Brown (Anna) and Eric Moore (Dan Coker) but there were a lot of very strong voices. I was completely captivated by Jake LaBotz (The Shape), who played a slimy, funny, villainous, charming, evil, sexy Satan-esque character like it was what he was born to do. Great voice, great movement, incredible stage presence. The songs were terrific, Mellencamp in absolutely top-notch songwriting form, and the band (Mellencamp’s guys – Andy York, Dane Clark, Troye Kinett, Jon E. Gee) was spot-on perfect.

The staging was minimal, but worked really well for me. The idea was that it would be sort of like an old-time radio drama, and there’s even an old-fashioned microphone that serves as a center stage focal point. The set is extremely minimalistic and the costuming is not elaborate. That could, in some hands, make it feel low-budget and amateurish. But because the lighting was very nicely done and the performance was so very good, the staging served to leave room for the audience’s imagination. It was, in a way, kind of like reading a book – you get a certain amount of description but you have to fill in a lot of it for yourself. I liked that very much.

That said, I’m troubled by some things about the show. First, and just to get this out of the way, the women in the show basically existed to serve as pretty prizes for the men to fight over. It really became quite problematic for me. The actresses were great, and they did what they could with the roles, but make no mistake, they were basically high-class props on the stage. It didn’t prevent me from enjoying the show, but it did bug me.

The other troubling thing – and this is troubling in a more interesting way – is that I’m not quite sure what I’m supposed to take away from the show. It’s going to be hard to explain this very well without including spoilers, so this may be sketchy. It was quite clear to me that this was meant to be more than just a thrilling ghost story – there are themes of family dynamics and how those repeat from one generation to the next, of the relationship between the living and the dead, of sin and forgiveness, of how lies and secrets can poison the soul.

I think my question about the takeaway is really a question about the theology of the show, oddly enough – and I know even less about theology than I do about musicals, so it’s possible that the gap in understanding is all on me. I guess I’m just not sure, in the end, what position the story takes on the possibility of redemption. The musical finale said one thing and I’m not entirely sure the script was saying the same thing. It kind of felt like when I write a poem that has a bang-up final couplet, boom boom perfect ending, but the couple of stanzas before the couplet are a mess and you don’t really feel like the ending was arrived at, more like I got tired of trying to get to the ending I knew I wanted and so I just gave up and stuck the ending on there. But maybe I’m meant to walk out of the theater asking the question about redemption?

I can’t really go farther than that without spoiling it, and I do think it is good enough to be worth seeing, so I don’t want to spoil it. Go for the very strong performances, go for the great music, go so you can explain to me what I’m not quite getting about the theology thing! It’s playing mostly around the Midwest through early November; I wouldn’t be surprised if it – or possibly a slightly revised version of it – ends up touring more widely, so keep an eye out.

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