1.
Theater isn’t a word you hear thrown around much on new music blogs, unless of course it relates to the latest high Twitter drama between aspiring rappers. Looking straight at you Azealia Banks and Angel Haze. That’s because the staging of contemporary pop music around a narrative hasn’t historically fared well. A handful of theater producers have staged nostalgic sing-alongs like Mamma Mia or Rock of Ages on Broadway and subsequently ported these almost-current frankensteins to the silver screen, but these musicals routinely fail to deliver a story of any substance, or interest fans of cutting-edge pop. With Here Lies Love, a wildly creative disco opera, David Byrne and Fatboy Slim seek to bridge the gap between pop innovators and the theater.
Here Lies Love tells the story of the rise and fall of Imelda Marcos, the wife of the former dictator of the Philippines. It’s a classic rags to riches to drugs to clubbing all night on the presidential palace story, complete with a bowtie revolution at the end. The title was inspired by Imelda Marcos’ suggestion that her gravestone should read simply “Here Lies Love,” in place of her name or other adornments—she’s still alive, so we’ll just have to wait and see. It’s also unmistakably a product of both collaborators: David Byrne can’t resist slipping in a syncopated anti-authoritarian anthem or two, and Fatboy Slim fills the production with throbbing beats that put you right in the Manila heat.
But what’s most remarkable about Here Lies Love isn’t the story, or the curious pairing of creators, but its both unique and possibly replicable path to success. It began as a concept album, which was released in 2010 and featured 22 guest vocalists, an all-star cast including Florence Welch (of Florence and the Machine fame), St. Vincent (surprise, surprise), and Santigold. Though David Byrne always envisioned it coming to life in the theater, it was released as a standalone album that was reviewed (read: panned) by Pitchfork. But whatever faults some critics find in it, Here Lies Love (as released in 2010) is an album in a way a Broadway soundtrack simply isn’t. The repetition of overt musical themes and clear story lines that pervade most Broadway cast recordings don’t exist.
In an age that finds many bemoaning the decline of the Album as a capital-letter concept, how can you get an audience to sit still and essentially listen to an album without the celebrity draw of a concert? The answer is partially the obvious: you don’t.
The fact that Here Lies Love is at its heart is an album and not a "book," or a "play," presents significant staging challenges. In an age that finds many bemoaning the decline of the Album as a capital-letter concept, how can you get an audience to sit still and essentially listen to an album without the celebrity draw of a concert? The answer is partially the obvious: you don’t. Here Lies Love employs an innovative constant breakdown and rearrangement of the stage to immerse the audience in its action. Sometimes you’re the middle of a crowd at a political rally, with your face simulcast onto the walls, while other times you’re staring up at a line of club dancers hovering above you as they disco away the night. If the question is how can you effectively stage an album with actors, David Byrne and Fatboy Slim seem to answer: "be as dynamic as possible."
2.
3.
It’s unlikely that many pop albums would have a chance to be staged in an even off-off-off Broadway context. The audience overlap just isn’t there for most albums, and the closest thing we have right now is a nebulous Tupac musical somewhere on the horizon. But that doesn’t mean that a narrative interpretation of an album doesn’t have a chance in another medium. Until now, films associated with albums and artists have mostly stuck to the concert or documentary varieties. Think Katy Perry or Justin Bieber. It’s been a long time since Pink Floyd’s The Wall.
However there have been several artists in recent memory who have expressed the desire to have their albums given a more narrative treatment. Chief among these was the album many consider to be 2012’s best: Kendrick Lamar’s good kid m.A.A.d city. The album was billed as “a short film by Kendrick Lamar,” and there have been rumors floating around that Kendrick might be partnering with Shia LaBeouf to actually make that a reality. The move from "extended" music video (which has become an increasingly common form) to actual film is a daunting one, and it's no wonder that Kendrick has waited so long to begin this project. What Here Lies Love suggests is that a potential blueprint for success for good kid m.A.A.d city the film could rest in dynamism. Kendrick used the overlay of voicemails to anchor the narrative of his album and create an incredibly personal feel. This type of innovation could be a key to maintaining audience interest in the absence of overt dialogue.
At a time when some musicians—Odd Future for example—have begun turn their music careers into multi-faceted art businesses, is narrative film or theater a viable option to bolster an album's resonance?
At a time when some musicians—Odd Future for example—have begun turn their music careers into multi-faceted art businesses, is narrative film or theater a viable option to bolster an album's resonance? I came away from the theatrical production of Here Lies Love with a much-heightened sense of appreciation for the album itself, and the staged images have grounded my recent listening. Because of this, though I already have a strong sense of the story hardwired into good kid m.A.A.d city, I have high hopes for a possible film. But rumors are rumors, and Shia LaBeouf isn’t necessarily the most reliable collaboration partner, so until the cameras start to roll, it seems we'll have to be content with Kanye’s bizarre Yeezus short film starring Scott Disick. Your move, Kendrick.
