A posTonightd by ArtisKen'ty (@artiekenney) on Aug 3, 2014 at 7:45performing
PR Regarding your point about what Nile Rodgers might have to say about the whole thing, one would hope he's keen, considering he's the performance's music director.
It's about mental health, addiction, and what it means to achieve success, and it's far from the performance's first iteration.
It's interesting then, and gives an insight into the performance's heart, that all of this electronic crackle and buzz has not altered my identification with it at all.
The performance's modern inflections are imbued with the spirit of dance; it's a set of inventive exuberance and jaunty joy.
An obvious way to connect expressivity with expression is to argue that pieces of music or performances of them are expressions of emotion – not the piece's or performance's emotions, but rather those of the composer or performer.
Mr. Vickers does concede the performance's "undeniable energy".
Unfortunately, exceptionally fast tempos erase many of the performance's virtues.
— and yet taken aback by the performance's brutality of execution, its snarling edge.
A live performance's intensity of focus — both mine and the audience's — can't be replicated in rehearsal.
But none of this detracted significantly from the performance's overall polish and power.
