The Theatrical Evolution of Sufjan Stevens’s “Illinois” Album
Sufjan Stevens showcases his artistic brilliance on stage in New York, where his 2007 project, “The BQE,” dedicated to the Brooklyn Queens Expressway, mesmerized audiences with a multimedia extravaganza at the Brooklyn Academy of Music. This production featured captivating visuals and synchronized performances by Hula-Hoopers. Fast forward to the present day, Stevens’s “Illinois” album has undergone a remarkable transformation into a multidimensional spectacle, seamlessly blending dance, theater, and music to create a mesmerizing kaleidoscopic presentation.
The concept album from 2005 continues to garner praise for its innovative fusion of indie-folk music that captures the essence of Illinois, both as a physical location and a cultural identity. Serving as the second chapter in Stevens’s ambitious “50 States” project, with a vast majority of states yet to be explored, “Illinois” stands out as a pinnacle of musical achievement in the past decade. Spanning across various genres from chamber music to pop and rock, “Illinois” intricately weaves together historical narratives and personal anecdotes with a charming sincerity that resonates deeply with listeners.
“Illinoise” (spelled with an “e”), a theatrical interpretation by Jackie Sibblies Drury and Justin Peck, mirrors the grandeur of Stevens’s original work. The stage is adorned with suspended pine trees hanging upside-down, while a 14-member live band, featuring vocalists in butterfly wings, commands attention on crimson scaffolding meticulously designed by Adam Rigg. This production strikes a delicate balance between a grand spectacle and an intimate portrayal, effectively capturing the emotional depth and intensity of Stevens’s compositions.
The storyline unfolds with Henry (portrayed by Ricky Ubeda) parting ways with his partner Douglas (played by Ahmad Simmons) in a poignant moment filled with sorrow. As Henry hastily packs his belongings, including a journal adorned with a butterfly motif, and puts on his hiking boots, he exits the stage only to reappear in a field of wheat bathed in golden light.
The stage seamlessly transitions into a campfire setting, where dancers clad in outdoor attire move around with lanterns and journals, creating a mesmerizing visual spectacle. The choreography, set to the vibrant rhythms of Stevens’s “Come On! …,” mirrors the exuberance of the music, with dancers leaping and twirling in harmony with the lively trumpet melodies and dynamic beats.
Throughout the performance, the reinterpretation of the album’s tracks, skillfully arranged by Timo Andres, unfolds through narrative sessions around the campfire. Drury, a Pulitzer Prize winner for “Fairview,” and Peck, a resident choreographer at the New York City Ballet, use these vignettes to delve into themes of connection, queerness, and mortality without the need for scripted dialogue.
Peck, who serves as both the director and choreographer of the show, expertly conveys tension and intimacy through spatial dynamics and physical interactions among the dancers. The performers mirror each other’s movements, fostering a sense of community, exemplified in a tap dance duet set to Stevens’s folksy tune “Jacksonville.” Despite the intricate nature of the lyrics, which may pose a challenge to convey solely through narrative, Peck initiates a compelling dialogue through dynamic movements enhanced by evocative lighting effects by Brandon Stirling Baker.
The production navigates moments of profound emotional depth with tracks like “Decatur, or, Round of Applause for Your Step-Mother!” and “Casimir Pulaski Day,” exploring themes of friendship, attraction, and terminal illness with sensitivity and poignancy. However, some segments, such as the literal interpretation of “The Man of Metropolis Steals Our Hearts” and “John Wayne Gacy, Jr.,” may appear overly explicit, lacking the subtlety found in other parts of the show.
Despite occasional clarity issues in Henry’s narrative progression, particularly during the second act where memories and dreams intertwine, “Illinoise” stands as a boundary-pushing masterpiece that defies traditional genres. Drury and Peck have masterfully crafted a cinematic tribute to Stevens’s original brilliance, offering an immersive and transformative experience for the audience.
Experience “Illinoise” live until March 26 at Park Avenue Armory, embarking on a 90-minute uninterrupted journey through music and theater.