by Ashley Steed~

Songs and Dances of Imaginary Lands is an ambitious collaborative effort headed by Overtone Industries. This contemporary operetta developed and directed by O-Lan Jones, with musical direction by David O comprises 28 original songs by 21 librettists and 11 composers. Utilizing a temporarily abandoned warehouse in Culver City, the space has been transformed into 21 “imaginary lands.” For an extra price, you can travel via the Overtone Express (created by Gregg Emmel), a specially made rickshaw. For those on a tighter budget, you get to carry around a chair and traverse by foot from land to land. After boarding, a video begins: The arching storyline follows married couple Tom (Jason Adams) and Susan (Jamey Hood) and their adventure to the Social Services Office. That’s right, the Social Services Office. Having lost their identities, they frantically ask the worker to help them get their identities back. The worker crouches over a little door in the wall, reminiscent of the film Being John Malcovich so you immediately know this is going to be an unusual experience, and reveals a box that launches the couple into the other lands.

These surrealist and bizarre lands serve as hallucinatory distorted memories, or seemingly thematic anecdote to their lives. I say seemingly because for most of the songs the connections are tenuous at best. Due to the poor sound quality of the warehouse, for many of the songs it is difficult to hear the words. Which is unfortunate because it’s evident a lot of time and thought has gone into this process. I’m wondering if the words to the songs provide a diaphanous web stringing the lands together. That being said, I also wonder if understanding the connections is even important. The overall quality of the music alone along with the visual feast almost make up for the acoustic obstacle.

There were a few standout songs. Atop of a tree, Tom reflects on “Burying the Father.” Beautifully sung by Adams with soft, melodic music by Jeff Fairbanks and touching lyrics by Chiwan Choi the simplicity of the piano accompaniment and the visual dichotomy of Tom in the tree are lovely.

Following this, Sue goes to the “University of Alaska,” an igloo made of pipe and plastic bottles. Her classmates in this rehab humorously sing about wanting to get warm. Upbeat music by Richard Marriott and clever lyrics by Kathleen Cramer and the gusto of the ensemble make this a delightful song.

“Sand,” sung by a chorus of men is eerily aided by the stark visual of a male figure setting up empty boots in the sand. Music by O-Lan Jones and lyrics by John Stepping, this song about dancing for those who are no longer here ends the first act on a somber and reflective note. The end is a little bit jarring though, as we are told it’s intermission and then must walk through the “stage” and to the lobby.

Starting up the second act is a hilarious parody of a spiritual group entitled “Land of People Humbler than Thou,” music and lyrics by Jones. Clad in white clothes, wrapped in orange ribbon, the people of this group humbly take it upon themselves to suffer. The One Who is Most Humble literally crawls in on the floor and hilariously sings, “I wish for hell in everything I do.” The actor playing this part not only has a terrific voice, but also has perfect comedic timing. This is definitely one of the most enjoyable moments.

Costumes and sets by installation artist Snezana Petrovic are truly spectacular. Each land has it’s own style and look. The sheer variety and effort put into each design alone is worth the ticket price. Made primarily of found and recycled materials, the imaginative costumes and sets make each land vividly saturated and distinct. From rock costumes and the intricately woven newspaper dresses and shawls to the war vehicle and the junkyard – each land is it’s own work of art.

The ensemble of 20 actors and the nine-piece orchestra, with their ninja-like prowess, sprint from land to land – actors ripping through costumes, musicians hauling instruments and music stands. To focus our attention, Jones cleverly masks the behind-the-scenes frenzy by linking movement, recorded music and focused lights. Nina Winthrop’s whimsical choreography helps with the fluidity in the transitions.

As someone who tends to analyze every word and every movement to develop a greater understanding, I soon realized that throughout the performance my feverish note taking dwindled to the point on non-existence. Not really understanding what was going on, I realized that I, literally, just needed to sit back and enjoy the ride. Let the visual and aural spectacle wash over me. Upon leaving, my theatre companion said, “I didn’t really understand what was happening.” But that didn’t seem to lessen her enjoyment.

Overall, Songs and Dances is a unique and mighty theatrical experience. Experience being the operative word here. Even with a couple of weak musical numbers, convoluted plot line and acoustic issues – the sheer audacity of the work, scale, commitment and ingenuity of those involved outweigh the negatives. This is a show that will have a myriad of meanings and is therefore something you just have to experience for yourself.

Songs and Dances of Imaginary Lands plays Thursdays through Saturdays at 8pm,  Sundays at 2pm and 8pm through July 18, 2010.

The Songs & Dances Warehouse is located at 8840 Washington Street, Culver City, CA 90232 between National and Washington.

Tickets: $25-50

Reservations online at www.overtoneindustries.org.