The Puck in the Midden

Ghost Quartet is a band: Dave Malloy on keyboard, Brent Arnold on cello, Gelsey Bell and Brittain Ashford on various instruments, and everyone providing vocals. Ghost Quartet is a song cycle, a concert album performed semi-staged, a mash-up of "Snow White, Rose Red," The One Thousand and One Nights, the Noh play Matsukaze, "Cruel Sister", "The Fall of the House of Usher", the front page photo of a fatal train accident, and a grab bag of Twilight Zone episodes. The ghost of Thelonious Monk is sometimes invoked, but does not appear; whisky is often invoked, and, if you see the show live, will most certainly appear. "I'm confused/And more than a little frightened," says (one incarnation of) the (more-or-less) protagonist. "It's okay, my dear," her sister/lover/mother/daughter/deuteragonist reassures her, "this is a circular story."

Once upon a time two sisters fell in love with an astronomer who lived in a tree. He seduced Rose, the younger, then stole her work ("for a prestigious astronomy journal"), and then abandoned her for her sister, Pearl. Rose asked a bear to maul the astronomer in revenge, but the bear first demanded a pot of honey, a piece of stardust, a secret baptism, and a photograph of a ghost. (The music is a direct quote of the list of spell ingredients from Into the Woods.) Rose searches for all these ingredients through multiple lifetimes; and that's the plot.

Except it is much less comprehensible than that. The songs are nested in each other like Scheherazade's stories; you can follow from one song to the next, but retracing the connections in memory is impossible; this is less a narrative than a maze. Surreal timelines crash together in atonal cacophany; one moment Dave Malloy, or a nameless astronomer played by Dave Malloy, or Dave Malloy playing Dave Malloy is trying to solve epistemology and another moment the entire house of Usher, or all the actors, are telling you about their favorite whiskies. The climax is a subway accident we have glimpsed before, in aftermath, in full, circling around it, a trauma and a terror that cannot be faced directly; the crash is the fall of a house is the failure to act is the failure to look is the failure to look away.

There are two recordings available. Ghost Quartet, recorded in a studio, has cleaner audio, but Live at the McKitterick includes more of the interstitial scenes and feels more like the performance.

In Greenwood Cemetery, there were three slightly raised stages separated by batches of folding chairs, one for Dave Malloy, one for Brent Arnold, and one for Gelsey Bell and Brittain Ashford, with a flat patch of grass in the center across which they sang to each other, and into which they sometimes moved; you could sit in the chairs, or on cushions in front of the first row, or with cheaper tickets you could sit in the grass on the very low hills above the staging area, among the monuments and gravestones, and, presumably, among more ghosts. The show started a little before sunset; I saw a hawk fly over, and I could hear birds singing along when the humans sang a capella. It was in the middle of Brooklyn, so even after dark I couldn't see stars; but fireflies sparked everywhere.