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Several camera operators and a robotic camera that rolled back and forth across the front of the stage captured and projected the performers on the front scrim. In the rear, film footage shot in Paris played on the top three screens. Similar footage played on the bottom three screens, but with the characters erased by CGI so that those screens served as backdrops to the live performers. Rouse's score provided a kinetic electropop soundtrack, seductive enough on a surface level yet also deeply sophisticated in its layering of melodic, harmonic and rhythmic strata.

As Allan Kozinn reported in his New York Times review , one song in particular, which was repeated twice, evoked the Beatles circa Revolver. It wasn't the only song to appear twice: Several numbers from the beginning of the piece eventually returned near the conclusion.


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Other likely influences included vintage doo-wop and contemporary hip-hop. I'm still having trouble drawing a bead on precisely how Rouse's visually gorgeous, sonically stimulating show actually furthers his chosen subject matter. For example, the work is completely non-narrative in structure, yet the action is often accompanied not only by subtitles but also by performers accompanying their singing with sign language.

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A will to communicate is strikingly evident throughout the piece. But precisely what is being communicated was more readily discernable through Rouse's pre-concert interviews and press clips than through the piece itself. Did this fundamentally wound the production in any way? Not especially. Rouse's music, as always, was instantly appealing. And while the iconography of Rouse's images suggested sexy French cinema, when this was combined with constantly shifting visual perspectives and unexpected jump cuts, what The End of Cinematics evoked most was the schizophrenic look of MTV, as well as '80s rock shows by Talking Heads which Kozinn noted and even Laurie Anderson circa Home of the Brave, taken to the next level of sophistication.

It was as if -- and I don't mean this to be glib -- Robert Ashley had been provided with the means and tools to mount a production of Rent. Ultimately, I continue to consider Dennis Cleveland to be a more complete theatrical experience, mainly for its evocation, however sketchy, of character and motive. Failing Kansas remains a more personally involving work as well, both for its subject matter and its one-man engagement with the viewer.

But I can't help but think that even these responses were somehow not only anticipated but actually solicited by what Rouse put on stage -- the net effect being the idea of having to think about why there was so little to think about, plotwise, in the piece, somehow underscoring precisely the point Rouse was trying to make about contemporary film, even while couching it in the nostalgic imagery of the art cinema he has loved and lost.

Still, in viewing a DVD of the production several times prior to seeing the show onstage, I wondered whether some viewers might not simply give up trying to make sense of The End of Cinematics, and instead simply sit back and soak in the tricky visual effects and sexy music.


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When I posed that very question to Rouse in an interview for a TONY feature , he stated that the work of John Cage and Merce Cunningham had completely validated that response, creating an art in which it was simply okay to "check in and check out. I choose to ignore him.

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