Avante-garde but Accessible

Wilson, Robert, dir. The Black Rider. The Ahmanson Theatre. Los Angeles, CA. 4/28/06.

I really enjoyed The Black Rider, which was a "musical fable" based on a German folk tale with libretto by William S. Burroughs, music by Tom Waits, and direction and design by Robert Wilson. This is a fascinating combination of three very interesting and actually fairly distinct sensibilities. The resulting production was not exactly an opera, but more than a traditional piece of theater, and certainly not what one would expect from musical theater. It was what one would expect from Robert Wilson, famous for theatrical experiences such as Einstein on the Beach except relatively short (under 3 hours with 1 intermission) and honestly rather weirdly pleasant.

The feeling of the show was dark, but playful; it was very German, and it makes perfect sense that two of the leads (Matt McGrath as Wilhelm and Vance Avery as Pegleg) had both played the Emcee in Cabaret on Broadway. The leads (McGrath, Avery, and Mary Margaret O'Hara as Kathchen) were extremely skilled and did an excellent job at expressing Wilson's movement and Waits' music. I especially enjoyed McGrath in Wilhelm's dance at the crossroads, a beautiful moment in Act II.

The interesting thing about this show is that Act I and Act II were profoundly different, especially in pacing. Act I was relatively narrative and mostly clear, with songs frequently advancing the plot and a story progressing in a recognizable manner. Act II was more expressive, with much less happening in terms of action and more in visual spectacle and feeling. It was like one slowed down extended moment emphasizing the climax of the piece. The pacing for Act II seemed deliberately much slower, and more like what I expected from Robert Wilson. Looking back, I find the contrast between the two acts fascinating and delightful, an excellent choice for this strange piece of theater.

My overall opinion of this is that it has the advantages of Robert Wilson's work with a minimalization of the drawbacks; it's avante-garde and visually stunning but less maddeningly slow than some of his other work. It has a clear plot and sense of action, but it uses actors' bodies and visual spectacle as important instruments of the storytelling. If Robert Wilson, German Expressionism, or Avante-garde are ideas that appeal to you, I would recommend this piece. I certainly wouldn't take my mother, but I would take all my goth or hipster friends. It's an important theatrical experience, and while it's not for everyone, it is fascinating and well-done.

You might also be interested in the LA Times review, which I found quite informative.

UPDATE: Metroblogging LA also has a review up from someone who is less of a theater nerd, which some people might find useful in deciding whether or not to see this piece.