It’s challenging to encapsulate the essence of Sufjan Stevens’ acclaimed 2005 record “Illinois” in a single sentence. Even a paragraph, such as the following one, falls short of capturing the depth of this 74-minute masterpiece.
Exploring beyond the historical backdrop of the Prairie State, which serves as a thematic foundation, the album delves into various locales like Peoria and Decatur, prominent figures including Frank Lloyd Wright and Carl Sandburg, and intriguing subjects like the 1893 Columbian Exposition’s White City. Its tracks ponder on themes of love, loss, freedom, faith, enigma, and self-discovery, blending elements of rock, folk, jazz, electronica, and classical minimalism. Sufjan Stevens showcases his musical prowess by playing a diverse array of 20 instruments, ranging from oboe, saxophone, and recorder to banjo, organ, and accordion.
The Rationale Behind This Adaptation
Adapting a cherished indie album for the stage, encompassing a wide spectrum from Frank Lloyd Wright to zombies, and the oboe to the accordion, presents a unique challenge. A composer involved in the new rendition of “Illinoise” shares insights into this once-in-a-lifetime endeavor.
The stage adaptation of “Illinoise,” debuting on March 7 at New York’s Park Avenue Armory following a successful run in Chicago, pushes boundaries by infusing expressive, allegorical movements at its core. Helmed by director and choreographer Justin Peck, the production defies categorization—it’s not quite a musical, not quite a ballet, and not quite a concert, but an immersive experience in its own right.
Composer and pianist Timo Andres discusses the process of bringing “Illinois” to life on stage: “The chance to reimagine one of my favorite albums for a live audience in an optimal manner? It’s exhilarating and likely a once-in-a-lifetime opportunity.”
It’s challenging to encapsulate the essence of Sufjan Stevens’ acclaimed 2005 record “Illinois” in a single sentence. Even a paragraph, such as the following one, falls short of capturing the depth of this 74-minute masterpiece.
Exploring beyond the historical backdrop of the Prairie State, which serves as a thematic foundation, the album delves into various locales like Peoria and Decatur, prominent figures including Frank Lloyd Wright and Carl Sandburg, and intriguing subjects like the 1893 Columbian Exposition’s White City. Its tracks ponder on themes of love, loss, freedom, faith, enigma, and self-discovery, blending elements of rock, folk, jazz, electronica, and classical minimalism. Sufjan Stevens showcases his musical prowess by playing a diverse array of 20 instruments, ranging from oboe, saxophone, and recorder to banjo, organ, and accordion.
Hence, the new stage adaptation of “Illinoise,” premiering at New York’s Park Avenue Armory after a successful stint in Chicago, embarks on a journey to redefine norms. Director and choreographer Justin Peck integrates expressive, allegorical movements into the narrative, complemented by a dialogue-free storyline crafted in collaboration with playwright Jackie Sibblies Drury. This innovative production defies conventional labels, offering a unique and captivating experience.
Composer and pianist Timo Andres, responsible for arranging and orchestrating the score, introduces fresh dimensions to the familiar tunes of “Illinois.” By infusing extended moments of instrumental ambience and soloistic flair, the live performance breathes new energy into the beloved tracks. In a conversation with the Monitor, Mr. Andres sheds light on the intricacies of adapting “Illinois” for the stage.
Can you recall your initial encounter with “Illinois”? I have a vivid memory of that moment. It was during my junior year of college, in my dorm room.
While Sufjan’s name was not unfamiliar to me, his music was a revelation. The album stood out due to its distinctive sound, diverging from the mainstream pop music of that era. Its timbres resonated with the contemporary chamber music that my peers and I were exploring, sparking a dialogue between contemporary classical and pop genres—a concept that intrigued me.
Did you experience pressure to capture the essence of the original recordings?
Absolutely. Preserving the essence of the original work was paramount to me. I aimed to make this intricate masterpiece more accessible while retaining its unique charm. The chamber music elements, instrumental variety, and sonic palette of the album are aspects I deeply admire and sought to honor in my arrangements.
While some departures from the original recordings were inevitable, I strived to maintain a sense of familiarity for those well-acquainted with the album. The adaptations aim to strike a balance between homage and innovation, respecting the core identity of the music.
How did you approach crafting an instrumentation that mirrors the album’s complexity?
The process was gradual and meticulous. I began by meticulously listing every instrument heard throughout the album, mapping out a comprehensive inventory of the sonic landscape. Initially, replicating the original orchestration would have necessitated a full orchestra.
To streamline the instrumentation, I explored avenues for efficiency. This involved considering the versatility of musicians capable of playing multiple instruments, leveraging the vocalists’ instrumental abilities, and strategically combining instruments to achieve a rich yet cohesive sound. For instance, the inclusion of a French horn, absent in the original recordings, added a versatile timbre that enhanced the overall orchestration.
Byron Tittle, Christine Flores, Kara Chan, and Ricky Ubeda (front) perform in the new show “Illinoise” at the Park Avenue Armory in New York.
Do you believe the vocalists in “Illinoise” bring a fresh perspective to Sufjan’s compositions?
Indeed, our intention from the outset was to infuse new layers of interpretation into Sufjan’s songs through the vocal performances. Rather than mere imitation, we sought vocalists who could grasp the essence of the songs and imbue them with their unique interpretation.
The vocalists play a pivotal role in adding depth and meaning to the narrative, aligning their performances with the expressive dance sequences on stage. By experimenting with different vocal styles, ranges, and arrangements, we aimed to offer a fresh perspective on familiar tunes, enriching the audience’s experience.
Illinois enthusiasts hold a profound attachment to the original album. Do you believe “Illinoise,” the stage production, offers a novel perspective on the essence of Illinois, the place?
The album’s lyrical density, particularly in songs like “Come on! Feel the Illinoise!” and “The Tallest Man,” resonates with contemporary audiences in a unique manner, given the historical and cultural context. The abundance of lyrics, often layered with multiple meanings, invites a fresh interpretation in light of current events and societal shifts.
While preserving the album’s core themes, the stage adaptation introduces a dynamic dimension that may evoke new perspectives on Illinois and its cultural significance. The live performance breathes life into lesser-known tracks and hidden gems, offering a holistic experience that celebrates the album’s maximalist approach.
What aspect of “Illinoise” excites you the most?
A particularly thrilling aspect of the show lies in the opportunity to showcase unreleased and lesser-known tracks from the album in a live setting. These hidden gems, previously impractical for live performances, contribute to the album’s intricate tapestry and enhance its narrative flow.
Witnessing these obscure yet captivating moments come to life on stage is a rare and exhilarating experience. The chance to reimagine one of my favorite albums in a live performance setting is a privilege I cherish, knowing it may be a once-in-a-lifetime opportunity.