I was also disappointed that Knee Play I was pretty much missed on Friday. Luckily this was not the case on Saturday. The tones played for 20 minutes and the moment the text began, the whole hall went silent. The ability to let this piece really draw us in completely changed the experience and the early result, for me, was that Train I was much more intense, chill bumps and all.

Like many, I have benn waiting for this opportunity for many years. We came up from Tennessee to see the Fri & Sat performances. We are all just 9 hours out of the performance so detailed questions about the aesthetic experience, for me at least, will have to wait. So accept these general observations until then. No spoilers, but if you are coming to one of this weekend’s shows, don’t read this until later.

I am still struck by the Knee Plays, and the first demonstrated the exquisite delivery that Kate Moran and Helga Davis offer. Knee Play 3? The chorus nailed it and brought sonic lives into it that you will not hear on the recordings. The Philip Glass Ensemble, it is hard to believe that 6 or 7 people can produce such a wall of sound. Lisa Bielawa, PGE soprano soloist, was great. Ok, at this point I realize I could go on and on, and I haven’t had coffee yet. Performers did a wonderful job, often with a simple smile or wink that alter the drama, but only if you catch them doing it. Hai-Ting Chin, Ty Boomershine, Jasper Newell, and many more. I will forever associate their names with some of the many aesthetic gifts that they delivered. I have said too much 🙂 10 hours to go until the next performance!