At least on paper, one of the more fascinating collaborations of the 2012 installation of American Mavericks brought vocalists Jessye Norman, Meredith Monk, and Joan La Barbara together with Michael Tilson Thomas and members of the San Francisco Symphony for a performance of John Cage’s Song Books. Complete with lighting, sets, stage business, camera work, and sound design, this was an ambitious undertaking. Unfortunately, it raised as many questions about performing Cage as it answered.
In the performance of the work last night at Carnegie Hall, Jessye Norman sang like Jessye Norman. Meredith Monk did Meredith Monk. MTT made a smoothie and tore up newspapers. But Joan La Barbara: now she performed a John Cage piece. Here she is doing the same work in 2011, with Ne(x)tworks at Greenwich Music House.
Hats off to Monk and Norman for reaching outside their comfort zones. But they were placed in a difficult situation. My wife, a director and playwright, described it thus: “It felt like all the things ripped off from Cage by bad experimental theater were donated back for one night only. And it seemed like the design team were having much more fun than the audience.”
It’s great that San Francisco is giving the American Mavericks another airing. And I’m really looking forward to hearing what is, for me, a dream program at Carnegie Hall tonight: Ruggles, Feldman, and Ives orchestrated by Brant!
But their Cage presentation left me with questions about how those interested in interpreting his music are to proceed. The challenge: creating a performance practice for Cage that doesn’t become its own museum piece of cliches. The scores deserve it. There’s plenty of music in them and, indeed lots of ways to present Cage entertainingly, but without so much shtick.