The New Pope: Strange and beautiful...

3/20

In days like these, we need all we can get from the world of arts and culture. This blog will share reflections on works in various genres that explore ethics and esthetics, beauty and justice…

The recently concluded HBO series The New Pope was a strange and beautiful experience. This series was an extension of the previous The Young Pope starring Jude Law as Lenny Belardo, the first American pope serving as Pius XIII. And as his confidante and advisor, even mentor,  Diane Keaton as Sister Mary. Interesting from the start as it explored the implications of a young and dynamic arch conservative pope, the last several episodes were powerful in their exploration of Lenny’s spiritual growth and sense of mission. The final episode, in his final address, contains some of the most theologically intelligent discourse ever on television. The season ended with Lenny suffering’s a stroke and possibly dying.  While much about the series would  undoubtedly be found offensive by institutionalists and traditionalists,  especially with internal Vatican politics and sexual scandals, the exploration of the nature of God was truly unique. Although the show had a decidedly magical realist element to it, it stayed enough within the realm of reality to keep its viewers connected and safe from alienation.

It was thus  with great anticipation I awaited the series’ new embodiment, The New Pope. The new series begins with Pope Pius XIII in a coma and the Vatican needing to move on. After one false start, Sir John Brannox from England, played by John Malkovich, is elected pope, as John Paul III.  Deeply troubled (and haunted by addiction), Malkovich is perfect in the role. Among other plot elements are a seeming terrorist threat from the Islamic Caliphate (which feels suspiciously and dangerously cliche leading to suspicions as to what is up with that?), a growing crowd of Pius XIII fanatics hanging on his every (broadcast) breath, a Ray Donovan typeVatican fixer played by Mark Ivanir and the longtime Secretary of State Cardinal with Silvio Orlando’s Cardinal Voiello almost stealing the show.

I struggled with this season however. While still beautiful -even breathtakingly so - the strangeness grew stranger with Director Paolo Sorrentino steering from magical realism deeper and deeper into David Lynchian territory, the connection with reality more tenuous at every plot turn.  In addition to beauty, words like  blasphemous, provocative, transgressive began to also seem apt. A sense of alienation began to set in. Until Lenny rises from his coma and renters the plot.  The last three episodes are among the best television can be. Voiello’s eulogy for his dead friend, one with multiple physical and mental challenges, is one of the most moving and profound exegeses of the incarnation I have ever heard.  The two popes arias on love and our responsibility to each other and the ultimate unresolved mystery of God are profound, challenging and heartbreaking. The resolution of the terrorist angle is surprising, unexpected and absolutely right. In the end, the series is about the dangers of fanaticism - of any kind, even Catholic - and the arguably miraculous power of love. 

As a form of epilogue, Sorrentino serves us an unexpected, out of left field homage to "The Shining" as a playful end to our journey. Truly cinematic television.

At the end of the day, as challenging, or even troubling, as some of the plot elements and devices of these “…Popes” are, God is ever present. Sorrentino has created a thought provoking, spirit provoking exploration of the nature of holiness, the nature of God. Strange and beautiful. Worth it.

Bread & Puppet Theatre Company: Puppets of Resistance

4/22

Bread & Puppet "Cheap Art"

When Bread and Puppet Theatre Company began in 1963, it was a visionary amalgam of medieval street theatre, European avant garde and nascent hippie esthetic.  To this founder Peter  Schumann added his own love of bread and baking with the quasi liturgical sharing of bread that takes place at every B&P performance.

Over the  last 55 years B&P has gone  from cutting edge to dated and stuck in the sixties to being all but forgotten to now being seen as a unique artistic expression of theatre, all without ever changing their esthetic or ethos. Which, as one observer said, was probably Peter's vision all the time. 

Over the years, other troupes with their roots in street performance have taken other paths. (Viz. Cirque du Soleil) One can chuckle imagining a B&P show in Vegas. Peter Schumann has managed to somehow survive this half century without changing his rigorous artistic ethic. You can call it persistence, stubbornness or just commitment but he has remained true to that vision.

Bread & Puppet eschews corporate patronage or traditional grants. They survive on voluntary contributions ...no one is ever turned away from a performance...and the sale of their "cheap art."  They live as a community in Vermont and travel in the same way, cooking, eating, celebrating forever with an ever changing cast of characters. Their summer interns come literally from all over the world. It is an experience one lives through and then then moves on in an ever expanding community of support. Every performance is made possible by local cadres of volunteers where they visit. 

In the end, it is the performance that keeps drawing people back. From the start, B&P has always been about analysis and critique of the present moment. They were a constant presence in the anti-Vietnam and anti-nuclear protests which helped bring them global visibility.  Much like Grotowski, there is a deep understanding and use of ritual along with their own archetypal lampoon. The voice of protest shifts between almost didactic declamation to deeply moving inference. There are always complicated Rube Goldbergesque instruments and devices. And as much as Schumann is a committed humanist, his music always goes deep into traditional hymns and church music. Their 50th anniversary production, for example, wove the 1599 German "Es ist ein Ros entsprungen" throughout. The current production, The Basic Bye Byes Show, uses the late 16th century Tallis Canon, first with a song written shortly after Trump's election, but in many other ways as well. 

The Basic Bye Byes, now on tour, is classic B&P. The topic is all that we are called to bid "Bye Bye" to if we are to survive.  In their own words, "The Basic Bye-bye Show – a manifesto on transformation, inspired by Albrecht Dürer's apocalyptic woodcuts, Brahms 4 Serious Songs, and the daily news. BREAD & PUPPET PRESENTS: THE BASIC BYEBYE SHOW." The various scenarios reference the climate crisis, the international capital system, the newly heightened anxiety over nuclear apocalypse and in a final devastating scene, gun violence.

A giant James Madison impregnates a "Holy Cow" (read Sacred Cow) which gives birth to the Second Amendment. At one point, small school chairs are turned over, one by one. The effect is emotionally devastating. At the final conclusion, the cardboard guns are gathered and tossed in the trash. I write this only to give a slight impression  of what you see. 



Having Bread & Puppet live at West Park for a month or so in 2013 celebrating their 50th anniversary was a true experience of community. They have continued to return West Park as one of their New York City homes, the other being the East Village's Theatre for a New City, in a nod to their Village roots. They are yet another expression of what the Center at West Park seeks to be. (And already is.)

If they come your way, join in. And break some bread with them.

Flamenco and resistance

3/28

Soledad Barrios

One of the reasons to be happy to be alive right now is to be here at that moment when Soledad Barrios may be reaching her peak as a dancer. That moment when the passion and desire of youth come together with the wisdom and insight of a life lived while the body can still express it all. It is a rare moment that only ever lasts so long.  It's amazing to witness someone who can dance simultaneously with reckless abandon and complete control, steely self possession and unbound passion.

Part of what has made Ms. Barrios' dancing so transformative over the years is her commitment to continually expand the vocabulary of her discipline. Her recent years of ballet study clearly inform her movement as does her engagement with hip hop. And in her most recent performance in Noche Flamenco's  Intimos program, she seems to be discovering and adding elements of the dance of the cultures that flowed into and created flamenco including northern India and the near east. She has become at the  same time both the keeper and preserver of the genre's deepest traditions and the pioneer who is always pushing the boundaries. 

Providing much of the vision for Noche Flamenca is artistic director and choreographer (and Soledad's husband) Martin  Santangelo.  With training in the Grotowski school of theatre, Santangelo brings to his creations a respect for deep ritual and archetype and the interconnections between theatrical  forms which led to his intuitive understanding of the connections between Flamenco and Greek drama resulting in Noche's historic Antigona. (Also in their current production of La Ronde, inspired by a play by Arthur Schnitzler.) The other important element to Santangelo's work is his absolute commitment to his understanding of the moral content of flamenco.

My first knowledge of flamenco came from the Dona of New Mexico flamenco, Eva Encinias Sandoval who told us that flamenco was about peasants in flight. Gypsies, gitanos, constantly driven from one place to another. It's a dance on the edge of the earth when facing life threatening oppression. It's a dance of defiance. Of persistance. Of celebrating life in all circumstances. It is important to Martin to always maintain that connection between the dance and its roots.

This is clearly what led Martin to an intuitive understanding of the connection between flamenco and hip hop. It's very important to understand that this is not stunt choreography but integral and organic. Unlike ballet, modern, etc, flamenco and hip hop are both artistic expressions from communities of oppression. What began as a literal battle between two genres  in Antigona moved to a dialogue in last summer's Creacion and has now evolved into a seamless engagement in La Ronde.
beauty  Noche's most recent show at the Joyce was a classic expression of their singular vision. La Ronde is a danced interpretation of Schnitzler's erotic exposition of mores across class boundaries in turn of the century Germany. In Noche's version, we could just as easily be in an Andalusian village with its cast of characters from rich to poor. In Achispar, rising  stars Marina Elena and Carlos Menchaca show their growing skill both as individuals and as partners. It has been a joy over the last several years to watch Marina grow into a distinctive dance personality. And Carlos is  scion of the New Mexico Encinias tradition as a student of Eva's son Joaquin.

The program's solo offering by Juan Ogallo is the visible definition of the essence of male flamenco dance in all it's dignity, passion, self possession and sensuality. The current Noche company is nothing short of an all star cast with the definitive vocals of Carmina Cortes, the classic guitar stylings of guitarists Eugenio Iglesias and Salva de María and  percussionist David “Chupete” Rodrigue. Electric bassist Hamed Traore has become a creative contributor to the whole. And vocalists Manuel Gago and  Emilio Florido create a whole village of characters by themselves. Robert Wilson (ShortSircuit) is the troupe's hip hop dancer, now fully integrated.

But what's really important to me these days is exploring resistance to oppression. Flamenco in the Noche style is precisely that. In a day as AI Wei Wei's Human Flow has pointed out, more humans are in motion than at any other time in history, the human experience is now defined as peasants in flight. Europe seeks to seal its borders. A US president wants a wall. Neighbors who have  lived here decades are deported, separated from family friends and community. When you see Soledad Barrios solo tour de force, it is the expression of that human experience. The capacity to embrace life, in the words of Rubem Alves, in all its paradox, perplexity but most of all profound beauty. And when she stands in the spotlight alone, jaw set, face  forward fist raised, she is the embodiment of that collective humanity, that duende, defiantly proclaiming You can abuse us. You can move us. But you will not defeat us. We will survive. We will be here, And we.... Will.... Dance.

This commitment makes Noche  a perfect anchor for the Center at West Park as it seeks to establish itself as a vital place of exploration of the intersections of beauty and justice, ethics and esthetics. It's a mission Noche believes in and has already contributed much heart and soul to.

Bravo y ole.

Update: So... what's up with West Park? This blog?

1/16/17

Pastor Robert Brashear

Update

The West Park Press began seven years ago as a way to track the daily progress of the project of bringing an (essentially) abandoned building and exiled congregation back to life. For at least five years we tracked the daily ins and outs of a classic urban ministry and an ever shifting cast of characters. From Occupy Wall Street to performances of music and theater of awesome creativity and beauty (cf. Woodshed Theatre Collective, Noche Flamenca....) to the struggles of a small community and all the crazy and wonderful people who came up the steps and into the church.  Over the last year or so, we’ve gone more weekly and focused on theological reflections. It has been the story of one church…one building…as seen through the eyes of one pastor.

Close readers may have noticed another shift. On March 1st, I officially retired from West Park as pastor and my 22 years of ministry there were celebrated on March 23rd. I continue to lead Bible Study on Monday nights and continue to advise the program committee of the Center at West Park, a center that grew out of my vision. (And the inspiration and work of Amanda…and Katherine who brought Mim and Ted and Asya….and so many others…). And of course continue to play at the Open Mic. 

We are now in a new place. The building has, for all intents and purposes, been saved from threatened demolition. Over half a million dollars of internal repairs, mainly of water damage, have been accomplished. No longer do we have the feeling of being somewhere between Berlin and Brooklyn, or even Havana. That is both an accomplishment and also an occasion for some sadness because as the renewal continues some of the funkiness and openness goes away. The more there is to protect, the more important money becomes. And voices of caution grow louder. There is still much to be done on the exterior and that still requires the active  involvement of the community. An ownership of its preservation as an integral part of the community’s cultural heritage as a collective responsibility is necessary. 

The Center at West Park is now up and running. It exists to inspire the transformation of the individual and society through arts and culture, social action, intergenerational education and spiritual exploration. Community preservation of the building is also part of its mission. And the center has an Executive and Artistic Director, Zach Tomlinson, whose wedding I will be doing next week,. Zach was ataracted by my vision. He’s marrying Sarah Zapiler (who authored the all time most read post on this blog). And who created and curated our 100th anniversary celebration and taught us to Dream.Real. Hard.  The Center is in good hands.

The congregation of West Park is still seeking its future. It does intend to be small but fierce. In light of the current reality of old mainline denominations,  it also seeks to find a sense of stability and sustainability independent of a professional pastor. It desires to be a community that would covenant to:

1. Be there for each other. Especially when it hits the fan.
2. Engage in disciplined study together.
3. Worship together, without regard to where or when but with regard to real sharing of one with another.
4. Act together for justice.   

The ideas are right. Making them real will be the challenge.

I come to this time with a sense of accomplishment. But also regret at what hasn’t happened. The missed opportunities, lost chances. Some don’t return. The times I  failed to follow my inner voice and listened instead to experts. 

As for me, I will  continue to explore the world of urban ministry, especially along the intersection of beauty and justice and ethics and esthetics with a special commitment to exploring creation as resistance.  Based in New York City but other places as well. I will continue to tell the West Park story but other stories as well.  Therefore the name will inevitably, sooner than later, change. Keep watching the space for more updates. And there will be forwarding in the meantime. 

This has been an intriguing venture. Sometimes our readership has reached over 19000 a month. We’ve had readers from around the world, with large numbers from France and Russia and China, but many other countries as well.  I have always wondered who you are and why you check in. As I move forward, I would sincerely appreciate hearing from you about what drew you to this site, what has kept you coming and what would ket you reading in the future. I would lobe for this  to be an ongojng conversation.

Over the next few weeks, I will do several articles wrapping up my “official” West Park time and also continuing some other explorations we have already begun.  I look forward to your being with us on the journey.

Break the Walls

6/6

The Wall

So what can I do? is a question artists often ask themselves related to the difficult social issues of our time. Especially with a seemingly intractable issue like the Israel-Palestine conflict, or more appropriately, the struggle of the Palestinian people for justice. Last night at the Lark Theatre Center in New York, the Break the Wall Theatre Project provided one valuable answer to that question. 

Inspired by the controversy around Caryl Churchill’s Seven Jewish Children (https://en.wikipedia.org/wiki/Seven_Jewish_Children), and Churchill’s making the play available for free for performance by anyone (you can read the whole text here: https://www.theguardian.com/stage/2009/feb/26/caryl-churchill-seven-jewish-children-play-gaza), Ismail Khalidi and David Zellnik have conceived and produced their own project, Break the Wall.

Conceptually, BTW refers both to the wall of separation built by Israel but also the fourth wall between stage and audience. BTW  intends to break through these walls. 

It’s first stage, celebrated by the launch, invited a variety of playwrights to write short plays on the struggle. All the resulting plays will be made available in an online archive for any who would like to perform them. The goal is to gather 50 plays within a year.

The plays presented Monday night were illustrative of the values that drive the project. There were common threads that run through all the plays. Among these is  the importance of approaching the issue through interpersonal relationships. Each play  (with one exception, Yussef El Guindi’s the Monologuist), is essentially a painful conversation about the issue between people who care about each other. The plays suggest that it is in the intensity of these conversations, as opposed to dialectical debate, that some understanding might come. 

That of course, is another recurring theme. The ongoing struggle of Palestinians to even be heard, let alone understood, even by people who are emotionally involved with each other at one level or another flowed through the plays.

Perhaps most importantly, the plays demand that we give up a balanced view. That in a situation with such an overwhelming imbalance of power …military, economic and political….a balanced view is morally untenable. It is to the credit of these artists that this point is made through the art, not through didactic moralism. You understand by being drawn into the relationships. 

While all the plays are of comparable quality, I went because of a long relationship with playwright Stan Richardson (co-founder of the Representatives .. http://therepresentatives.org/). Several of Stan’s plays have been produced at West Park, including the recent Edinburgh Fringe festival bound production of Private Manning goes to Washington.) Stan’s contribution, the Montagues, uses his typical command of relational conversation and the connections and gaps between us ending in his two characters’ passionate plea for help. In other words, exactly where we are. And  he doesn’t tell us what help means. We’ve got to figure that out. 

(It was also good to see longtime West Park friend Lynne Marie Rosenberg in several plays. She was a key cast member of the Woodshed Collective’s ground breaking immersive production of the Tenant that helped reopen West Park. http://www.woodshedcollective.com/the-tenant/)

Thanks to BTW for this demonstration of what artists can do in the struggle for justice while staying true to their art. The plays are there to read…and perform…in the theatre, in homes, in church, in the street…

For information about Break the Wall...and scripts...go to http://www.breakthewallproject.org/

By Night in Chile: a review

2/16

In these strange days in which we are living, I’m interested in what can be learned from others who have lived through oppressive nationalist regimes. 

                     

Roberto Bolano is an author who lived through the Pinochet era in Chile. His first novel translated into English, By Night in Chile, is his exploration of religion and aesthetics under that  regime. The novel is the deathbed confession of Sebastian Urrutia Lacroix, a priest, a poet and literary critic who shares his reflection in a fevered unbroken stream of consciousness. It’s a flooding rush of words in a style that has been used by others like Jose Saramago.

A wizened youth looks at him accusingly and Urrutia feels compelled to make his confession. He has been an aesthete who seems to prefer the world of literature to that of the church, although he wears his cassock much of the time clearly identifying himself as a priest. He is open about  his association with the ultraconservative Opus Dei movement.  His literary associates can praise and fawn over Neruda without ever understanding the political convictions that inspire his work. He describes the Allende years almost parenthetically in his reflections on the Greek classics and his church and literary associates breathe a sigh of relief when Pinochet’s coup is successful and Allende dead. 

While Bolanos does not write as a magical realist, he edges into that territory in a fantastic section where Urrutia takes on a project with priests who have become falconers to rid their churches of pigeons. (A problem I know all too well!) There is a moment of pure beauty as Urrutia releases a flacon into the wild. 

Later, he will accept an assignment to educate Pinochet and his junta on the basics of Marxism. He approaches this work as a pure teacher, while setting aside wrestling with his conscience.

As curfews are imposed, he settles in with a crowd that spends the nights together in extended salons. And then later discovers in horror that the house where he has enjoyed intellectual discussions of literature has also been used for the torture and even murder of dissidents by the husband of his host.

For Urrutia, this journey is about accepting responsibility for one’s actions, but also one’s silences…”One must be very careful with one’s silences..”  He begins to see that the whole of Chile has become a “Judas tree, a leafless, dead looking tree, but still rooted in the earth, our rich black earth..”  And he discovers that “…life was much more important than literature…”

Finally he begins to realize that the wizened accusing youth may be himself…

“Am I that wizened youth? Is that the true, supreme terror, to discover that i am that wizened youth whose cries no one can hear?”

By Night in Chile is a reminder that in the time we are living there can be no bystanders. There is no aesthetic without ethics, and no beauty without justice because beauty requires truth and there is no truth without justice.

All of us, artists, priests, intellectuals…are responsible, and accountable, even for our silences…

Creative Communities and Active Culture: At the Crossroads of Performative Competence and Social Change (part 1). A public conversation

2/19

In song and motion

Lee checking in about her rehearsals.  Marc has questions. Jeremy and friends getting set up for tonight’s event with the Open Center.

I’m off for a planning meeting of our Palestine film series.

I’ve actually managed to come up with a flier for tonight, based on who will be here:

Are you an artist?

Is your art an expression of your spirit?

Do beauty and justice go together?

Does your art affirm life?

Are art and community holy in some way?

Let's do it!

We are interested in finding a circle of artists who would be interested in coming together to explore in a lab setting what could be new experiences of  ritual/liturgy/shared performance in the context of a building with a deep and rich spiritual and social history. Open to the deep roots and flights of fancy, free to move where the spirit leads…

If you are interested, please leave us your information:

Name__________________________________  E-mail____________________

Discipline __________________________

The Center at West-Park:  Dream. Real. Hard.

West-Park Church:  Just. Love

When I arrive, the program is already in full swing. The deep and low songs of the African diaspora American south filling the front of the sanctuary the singers moving back and forth and towards one another  in an ever changing yet coherent circle. I’m happy to see all my Dzieci friends have joined in as well.The singing and movement goes on for nearly an hour and a half. Mesmerizing. Stirring.

Jeremy, Lloyd and I do brief introductions. Mine includes the socio-religious- artistic history of the church. Including my interest in the intersection of beauty and justice, ethics and aesthetics.

Then we broke for food and conversation.

What a series of conversations I had. These included:

* A young Mexican accordionist with a grant to develop theatre on the border and his dramatic dancer partner

* A young Ukrainian who is part of a choir who also collaborates with a Georgian choir that sings ancient church music who is interested in fundraising for displaced persons in the Ukraine. And who also was a volunteer with Bread & Puppet

* A couple working with Native Americans in choral and theatrical work, finding a group of Lenni Lanape, the original people of Long Island.

* A woman from Chile, doctoral student at Columbia working with indigenous people in the rain forest of Ecuador.

*Several dancers and choreographers

* Several clowns and puppeteers

* An accountant

* People from Italy, Brazil, Germany, Latin  America, eastern Europe…

ALL seeking a community in which to pursue spirit led ritual, community, spiritual and social transformation...And to my flier, I received 14 responses from the 50-60 gathered. I feel it was an important and good night.

Obviously what is needed is good follow up, but this illustrates that there is a market for the church and center we could become. All were here for the first time and all came as a result of word of mouth or social media. If done right, a revived church and center can come into being.

Kind of night that brings hope.

An afternoon conversation

1/23

Kristen Leigh has driven down to the city from her place in the woods an hour outside of Albany. To take care of some business and to continue our conversation. Living in the woods in  winter has made very elemental concerns…is there enough propane ? how much snow can the front porch hold? How will I  survive if my car gets stuck in the snow? Do I have enough food if I get snowed in? ….the highest priorities. And the fact is, that is where most of the world lives its life…struggling to get by for the next day, the next moment..

Her thesis Finding God in the in –between: A Post Modern Approach to Sacred Music and Art in Contemporary Western Culture tackled a lot of subjects, important for me was her critique of the institutional church for viewing music and art as illustrative or didactic exposition of the word when in reality, artistic expression is a word of its own, its own meaning inherent not derivative. The songs sung in  the Saturday night bar or café just as much to God’s glory as a Sunday morning offering. On this we totally agree. In my own dissertation, I had written that in a post 9-11 world, creation itself was an act of defiance and resistance against the forces of non-being, an act of partnership, co-creation with the creator.

In her post-graduate travel to Bali, she had learned that for much of the world , the distinction between sacred and secular doesn't exist. It's just life. the separation is a particularly western enlightenment late development. Likewise, the concept of art as a separate category is itself also a western concept. All to be taken into consideration as we consider art and the holy.

She also critiques so-called art for art’s sake, looking for a connection between beauty and truth as I look for the intersection between beauty and justice.  She is helping me fill out what I had intuited when I saw this intersection as a vital part of an urban theology. Reading her thesis inspired me to go back and reread my dissertation which left me with ambivalence. On the one hand, ten years ago I had clearly seen what was essential coming down the road. And the plan that I had developed had already started to show success…23 new members in one year. But the intervening landmarks struggle, building struggles and resulting conflicts plus an economic collapse had drained our energy. Is there still time?

I had heard her say that church is needed for when the shit hits the fan, but she pushes me further on that.  Not church, but something deeper, God, Jesus , the source. Ultimately, church has to be not about us, but God.

In the meantime, we share our sense of the demise of the church as we have known it.  Yes, there are congregations with enough resources to keep on living the present reality into the future, but in the bug picture, we are already in the postlude.  In her view, church is there wherever there are two or three gathered…and that can even include a work of art, so there will always be church. But my question is what does that mean for small churches like West-Park who have to find the funds to support a creaky behemoth of a building? Is Sunday morning still as possibility for the community I see coming into being?

She’s also faced the reality of churches concerned with safety in downtown settings behind security systems like I encountered when I first came to West-Park. Our front doors, open to the street, move her. And there is the experience of liberal compassion from position of privilege combined with judgment around drug use, etc. What we’re called to, she agrees, is vulnerability.

We talk about roles. What I learned in Occupy. And the current Black Lives Matter movement and the emerging spiritual communities that are forming themselves. We (well at least me, she’s younger) are not going to be the leaders. (Sorry Union Seminary, not you either…) That day is past. We are viewed with suspicion as if we think we know better and are going to tell them what they should do. Which is frankly what a lot of us still want to do. But if we listen closely, stay present, earn trust, we will be given our opportunity to reflect, advise, exegete, share language and structure and strategy. It is a ministry of radical accompaniment.

The late afternoon sun is shining through the windows at the Gate. I’m looking forward to making music with her tonight.