![]() And that is precisely why it’s here and not, for example, at The Forum or anywhere else. Overall it is pure musical theatre, beautifully matched to perhaps one of the greatest stages in London. John Myung is a reserved but prowling presence, providing the complex and undulating foundations which add a sense of depth as well as gravity to the proceedings. John Petrucci is composed, controlled and precise, yet cutting loose when needed to give voice to the powerful emotions and subtle arias. Mike Mangini’s drumming is inspired, his reach seemingly knowing no bounds as he athletically drives the show from within the confines of the structure that houses the diverse array which forms his kit. Indeed, the band are absolutely magnificent in the way such complexity is made to look so effortless. James Labrie is majestic, shouldering an impressive and demanding variety of roles, characters and voices. From behind his beautifully ornate tilt-and-swivel keyboard podium, Jordan Rudess is maestro and conductor, the musical director who, with a flick of his wrist, visibly beats out time to the other band members and brings the instruments together as and when the story dictates. This is underpinned as the evening progresses by the various members of the band who constantly leave the stage when they are not playing and return again when it is time for them to continue their part in the story. However, at the end of the song there is no silence as with an opera or a theatrical stage show, each part of the album is linked with quieter interludes, narrative signposts and video links which transition us seamlessly from episode to episode, track to track. The band gradually assemble, some from concealed vantage points and, to a huge and vociferous reception, open with Dystopian Overture. We are here, quite simply, to witness a performance piece a single, continuous musical experience divided into two ‘Acts’.Īs the lights go down, the video backdrop begins to narrate Descent of the NOMACS, the story which will take us through the entire evening. From the projection driven backdrop, to the dressing of the stage, to the exquisitely produced libretto-style book, to the way the band are positioned and cleverly choreographed throughout the evening, the venue has been chosen precisely because of the traditional form, structure and style of operatic and musical theatre, the way it works, the way it proceeds and the way it behaves. We are here for one purpose and one purpose only. There is no mining of the back catalogue to present a collection of individual songs. ![]() This is not – and was never intended to be – a ‘gig’. ![]() And as the evening unfolds, this powerful combination of context and concept driven performance becomes at once both the source of its triumphant success as well as its Achilles heel. Yet what quickly becomes clear is that the choice of venue is a deliberate and quite telling statement of intent by the band which matches perfectly the bold and courageous statement being made by the release of a concept album which is itself over two hours of pure musical theatre. Despite a long and varied history of musical theatre, the setting certainly appears to be a curious context for one of prog’s more metal-oriented super-groups, whilst the excitable audience eagerly filling the seats don’t seem to be an entirely natural fit for such a revered and iconic venue. There is a heightened sense of expectation and anticipation as a high spirited crowd gather on a chilly night outside the doors of the London Palladium for the opening night of Dream Theater’s world tour and the debut performance of their latest release, The Astonishing.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |