David Byrne's American Utopia
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Cititour.com Review
You may ask yourself, “How did David Byrne get here?” as you enter the Hudson Theatre for the rock superstar’s “American Utopia.” And the odds are, you’re not alone, even if any metaphysical questions are overtaken by sheer elation shortly after this brilliantly theatrical concert begins.
As it happens, there’s a clue or two to be had while stopping at the merch stand (all those books!) or by looking at the colorful pre-show curtain (designed by the brilliant Maira Kalman) depicting a ton of small American towns. We quickly surmise that Byrne wants to engage us intellectually and emotionally -- not just musically. And indeed, that idea is instantly reinforced once the gray suit-clad, barefoot performer is revealed, sitting at a desk, holding a brain and talking about all the synapses in a baby’s brain.
In that instant, at least one reason for this choice of venue becomes clear. A Broadway theater is a far more appropriate and intimate place than, let’s say Madison Square Garden, for Byrne to convey to us his thoughts about our need to connect with each other on every possible level, his own social phobias, his mixed feelings about the concept of “home,” and even about the state of America. He’s a talking head (and body) who’s trying, in his own humble way, to change our view of the world.
However, what “American Utopia” – which mostly consists of cuts from his 2018 album, “American Utopia,” and a few well-known hits by his landmark group, The Talking Heads, such as “Burning Down the House” and “Road to Nowhere --ultimately proves is that a virtually blank stage (albeit one surrounded on all sides by flowing silvery “curtains) is actually the perfect backdrop for the magic that unfurls over 100 minutes.
Downtown stalwart Annie-B Parson has inventively choreographed and staged this once-in-a-lifetime show to a fare-thee-well, creating museum-worthy pictures which brings these songs to life in a way no one has done before. Kudos are also due to production consultant Alex Timbers (though exactly which ideas are his are hard to tell), the often-evocative lighting of Rob Sinclair and the sterling sound design of Pete Keppler. (As is proven during one song, should there be any doubt, everything we hear is played live without any electronic assistance.)
Above all, one must give equal credit for the show’s success to 11 of the most extraordinary musicians I have ever seen in my life: killer guitarist Angie Swan and bassist Bobby Wooten III (who moves like lightning), a stunning septet of percussionists and pianists, and above all, singer-dancers Chris Giarmo (who sweats completely through his shirt and worries not if his makeup starts to run while flying, prancing and stomping) and the gorgeous Tendayi Kuumba, who moves with ultra-amazing grace. They are the ultimate supporting cast!
Intriguingly, though, the show’s most effective musical moment is not one of Byrne’s tunes: it’s when the entire cast takes on Janelle Monae’s powerful protest song “Hell You Talmabout.” Essentially, it’s little more than a recitation of names of victims of social and racial injustice, updated possibly daily. (It now includes recent Texas murder victims Bothan John and Atatiana Jefferson.) Yet, more than any song or speech in this remarkable evening, this one number painfully reminds us that an American utopia remains, at least for now, just a dream deferred.
By Brian Scott Lipton
Visit the Site
https://americanutopiabroadway.com/
Open/Close Dates
Opening 10/20/2019
Closing Open-ended
Theatre Info
St. James Theatre
246 West 44th Street
New York, NY 10036
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