The 2005 concept album remains lauded as an imaginative, indie-folk take on Illinois (as a state and as its essence). His second album from Stevens' “50 States'' project (of which he still has 48 albums left) is often cited as one of his strongest albums of this decade. Spanning chamber, pop, rock and other genres, “Illinois” weaves historical and personal anecdotes with playful honesty.
“Illinois” (with an “e”), a staged interpretation by Jackie Sibleys Drury and Justin Peck, has a similarly epic quality. The production is rich in theatricality and uses the harmony of elements to explore Stevens' work. An upside-down pine tree is hung above the stage. His 14-person live band, complete with butterfly-clad vocalists, stands out on red scaffolding (scenic design by Adam Rigg). “Illinois” is an all-encompassing yet intimate song, a testament to the sensitivity and danger of Stevens’ work.
At the beginning of the film, Henry (Ricky Ubeda) leaves his partner Douglas' (Ahmad Simmons) bed with obvious sadness. He quickly packed up his belongings, including a diary decorated with butterflies, put on his hiking boots and made his exit, before re-entering the stage through a wheat field dotted with golden light.
Clever use of props transformed the set into a confessional campfire. Other dancers appear wearing outdoor gear and carrying lanterns, balls of light, and their own journals. They explore the campsite. It was a ritual performed to Stevens' jubilant “Come on!” …'' The dancers jump and twirl to the tune of the song's uplifting sound and the sound of trumpets, creating a cheerful and exhilarating atmosphere.
Reworkings of the remaining tracks (rich arrangements by Timo Andrés) are set to stories shared around a campfire. There is no written dialogue, and Drury (who won a Pulitzer Prize for his play Fairview) and Peck (resident choreographer at the New York City Ballet) cleverly use episodes to create stories about connection, homosexuality, and death. is posing a problem.
Peck, the show's director and choreographer, creates tension and longing through manipulation of distance and touch. The dancers often repeat and build on each other's movements to capture a sense of community, as seen in a tap dance duet set to Stevens' folk-tinged “Jacksonville.” Complex lyrics are difficult to fully grasp from a story perspective. But Peck creates conversation through bursts of movement, punctuated by kinetic lighting (designed by Brandon Sterling Baker).
“Decatur, or, Round of Applause for Your Step-Mother!” is a stripped-down banjo-driven melody that depicts the friendship and attraction between Henry and Carl (Ben Cooke). Peck weaves childhood play into the movement (a game of tag, for example) to emphasize intimacy as the dancers collapse into stillness and begin to play again.
“Kashmir Pulaski Day” is eerily gentle and devastatingly specific, capturing the sadness of a terminal illness. The song's opening line is sung with quiet honesty by a trio of incredible vocalists (Elijah Lyons, Shara Nova, and Tasha Viets VanLeer). Bone. ” Featured dancers turn and slide over each other, smooth and haunting repetitions of motifs, a tense focus on longing.
At times, “Illinois” veers toward the literal, when Stevens' poeticism should linger. The rock-energetic thrash “The Man of Metropolis Steals Our Hearts” is choreographed to dancers wearing Superman shirts (some thrown into the crowd concert-style). Although exciting, it lacks the subtlety of other scenes and is a forced interpretation.
Similarly, “John Wayne Gacy Jr.'', a strummed portrait of the notorious serial killer, is meticulously painted but feels surly when a dancer enters wearing a clown costume. . The quiet melody is especially moving when the soloist dances to the inward-looking lyrics. “And on my best behavior/I'm really just like him/Look under the floorboards/For the secrets I've hidden.” But that lighthearted scene is weighed down by the costumes, Only when vocalist Nova lets out a shaky breath does catharsis come again.
“Illinois” also struggles with clarity at times in Henry’s story. Henry's confession is one of the longest, reflecting on his grief and struggle with love.
“Chicago” is an emotional indie rock classic about a road trip to the Windy City and Henry’s emigration. But then, in the show's second act, it becomes difficult to follow the literal events of “Illinois” as other dancers come and go, portraying the memories and dreams that haunt Henry. Destination signs like “a small town in the middle of nowhere” indicate to the audience that the characters are moving between locations, but they don't really help.
Still, these aren't major accomplishments for a work that blends genres. Drury and Peck have created something of a film that is a true homage to Stevens' original talent.
illinois, through March 26 at Park Avenue Armory. 90 minutes without a break. illinoisonstage.com.