Patrick Somerville on the connections that viewers are missing—and the ones he never intended.
, which features child versions of his adult daughters, was based on a real production that Emily St. John Mandel saw. But I’m curious about the Traveling Symphony’s, especially the costumes: Gertrude has this huge May Queen headdress and Hamlet wears a jacket that has about a dozen stuffed arms protruding from the back.
We’re a little sloppier than that. We’re a little bit more like, “Some of this and some of that.” I think Clark and Tyler are fundamentalists in their point of view, and the artists are the ones who straddle the before and the after, and the show naturally is aligned with the artists ideologically. The Conductor doesn’t care that she’s writing her score on a keytar. She’s using what’s available to compose an incredibly complicated piece of music.
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