BWW Reviews: The Majesty that Mayhem Can Wreak

What happens when you mix the atmosphere and originality of a Blue Man Group performance with the dynamics of a recent Sarah Brightman concert, giving Zooey Deschanel (the 500 Days of Summer version) a chance at lead vocals to top it all off? A little show called Mayhem and Majesty fits the bill quite well, and with its exhibition of different styles, sounds and talents does this show encapsulate a little bit of everything mentioned above, and then some. As the most recent show to grace the stage at 59E59 Theaters on Manhattan's Upper East Side, Mayhem and Majesty is an eclectic mix of styles, sounds and talents that, when combined, cannot do anything but amaze those who bear witness to one of the most unique shows New York has ever seen. Essentially, audiences watch as this assortment of "stuff," seemingly random at first, is magnificently transformed into a show that creators Jackie Dempsey and Steve O'Hearn should be very proud of indeed.

Dempsey, O'Hearn and the rest of Squonk Opera, as they like to be called (also comprised of vocalist Anna Elder, percussionist Kevin Kornicki and guitarist David Wallace) have come back to New York for Mayhem and Majesty's triumphant Off-Broadway return, stopping here to continue on with the show's cross-country tour; it has been eleven years since this particular show has been performed here. Long before that (since 1992), Squonk has been performing its eleven original productions in venues around the world, impressing international audiences with its exceptional display of the unique and unusual - not in the sense of unfathomable sights and unexplainable oddities that would do well to frighten the audience more than entertain it, but the show is instead a rare sight to behold, throwing in a bit of a magical twist to create this new topsy-turvy world that is very difficult to simply describe. It must, indeed, be experienced, which makes this show so different. With Dempsey's talent to compose and play any sort of instrument with white keys, and O'Hearn's vision as the group's Artistic Director, the audience is taken on a sort of ride through different scenes of a story that cannot be rationalized; the sights and sounds that constitute this show can only truly be witnessed.

As soon as you decide to see Mayhem and Majesty and have proceeded to find your seats, these are just a few thoughts that may go through your mind as you wait for the show to begin: there are instruments on stage, so is this more of a concert or something of a more Off-Broadway musical-based concept? Wait, this is also the set, complete with a screen on the back wall, so perhaps there will be a few visual effects as this group sings? Yet, when the show does begin, there is little that appears on stage that can really be expected, even after this repertoire has already made its way through your mind. When Anna Elder begins to sing, there is this automatic atmosphere that is created for this show, a sort of "persona" that becomes tangible which takes shape and begins to define what unfolds on stage - it may even be said to become the theme which remains a constant throughout the entire performance. Then, as the band is brought out upon the stage for the opening musical number, the audience has already been absorbed into this world that can only come from the mind of someone who has thought long and hard about the aura she wishes this show to have, and what she would like the audience to feel in the midst of experiencing sounds and feelings that may never have been encountered before.

Each member of Squonk is a musical phenomenon in his or her own right, beginning with basic instruments and then playing around with flutes and horns, instruments that are both visually and in function unusual and beautiful. This multi-talented cast is amazing as it coasts along from scene to scene: not only does each member of Squonk have an array of different talents that seem almost effortlessly demonstrated, but these abilities are used in a unique method of storytelling - a story that does not have a rational basis, but instead appeals to the senses and creates a vibe instead of an explainable "circumstance," per se. The music that is a result of these individuals' combined efforts and talents is extremely varied. While one scene may be rather mellow and sad, as the show's vocalist balances upon a stood as she sings into four surrounding microphones which surround her and revolve as if in their own orbit, another may feature Dempsey playing the accordion while (unbeknownst to the audience) strapped onto the back of this same woman. Then, almost suddenly, there is this explosion of sound and light that happens as Squonk rocks out to something which resembles what is heard at a rock concert. I did not even mention the visuals yet.




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Kristen Morale Kristen is a recent graduate of both St. Francis College and Hunter College, with degrees in English and Musical Theatre. She enjoys going to Broadway - actually, any show, and especially loves musicals; The Phantom of the Opera and Les Miserables are among her favorite. She continues to pursue her interest in singing and acting by performing in community theatre productions in her hometown of Brooklyn whenever possible, and by continuing with her training does she hope to find her true passion in life; so long as it revolves around theatre will she be happy.