|
Muse of Fire
A Sorcerer and His Apprentice
A new play by David Katz
Original production directed by Charles Nelson Reilly
Produced by Hat City Music Theater
At the Theatre Building Chicago
1225 W. Belmont Ave
Chicago, IL
Call 773-327-5252, tickets $20 - $25
Thursdays & Fridays at 7:30 pm
Saturdays at 2:30 & 7:30 pm
Special Sunday matinee at 2:30 pm March 23
Running time is 100 minutes with intermission
Through March 23, 2008
Conductor
“A conductor directs rehearsals and performances by an orchestra, band, chorus, opera company, or other musical group. In the most general terms, a conductor's job is to shape a musical interpretation; to form ideas about the most compelling way to perform a piece and to lead a group of musicians in such a way that those ideas are realized. Conductors often serve as the “music directors” of their organizations, as well. A music director's duties include choosing programs and soloists and hiring (and firing) musicians.” (From the Chicago Symphony’s glossary of Music terms)
Personal story for classical musicians only
David Katz’s one man play, The Muse of Fire, now at the Theatre Building Chicago, is a semi-autobiographical confessional about his early days at Maonteux School in Maine in the 1980’s under the stewardship of Charles Bruck (1911-1995). Katz’s play opens with classical music playing with a photo montage of famous conductors, I think? With no names under the photos, I can only guess. We soon meet Katz’s Apprentice (himself?) as he reminisces about his days at Charles Bruck’s school for conductors. We never are told why Bruck is an important teacher/mentor to conductors. We only learn about Bruck’s insults, intimidation and general nastiness toward his students. I quickly wondered why anyone would out up with such degradation from a teacher? Katz goes to lengths to point out that he didn’t want to attend the Monteux School and how much he disliked Bruck.
 |
Da! Why did he go then? It is never made clear and I still don’t know much about Bruck. This and the boring, much too technical language about classical music quickly turned me off. Katz’s irritating Eastern European accent to depict Bruck and his use of two body microphones rendered his shouting and vociferous speech grating. Katz dramatically portrays how Bruck badgered, affronted and intimidated his students. Why no one got up and punched the teacher is anyone guess. Since Katz fails to develop any rapport for his Apprentice and never states why he would undergo such humiliating treatment, I quickly couldn’t relate nor care about what was being presented. I’m not a classical music expert so it is hard for me to understand why it is necessary to be mocked by a teacher.
This failure to engage made for a long evening. This play unfolds as a personal confessional steeped in biographical memories in a dramatic catharsis for the benefit of author/performer, David Kartz. The play speaks to musicians only. General audiences like me will find it tedious, too technical and ultimately boring. By the time Katz presents moving moments where he gets us to understand the essence of what the role of a conductor is, we don’t care. Katz deftly demonstrates how the conductor must internalize and render his personal feeling of a piece of music to the orchestra in order to have them get to its essence.
David Katz works hard and succeeds in instilling his passion for music and his love for Charles Bruck. I still can’t understand why. Students of classical music may relate to this play, I can’t.
Not Recommended
Tom Williams
Tom99@chicagocritic.com for comments
Talk Theatre in Chicago podcast
Date Reviewed: February 21, 2008
|
