Reviews of ‘Dysfunction’ at Selma Arts Center, Fresno Philharmonic’s tabla spotlight

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The themes: “Dysfunction” states the themes clearly and strongly: We all go through bad times, some of us more than others. Bad choices, bad relationships, bad luck with the parental lottery – all can dislodge and even maim us. The key is not to suffer silently because of a misguided view that to do so is to be “strong.” Be open with your pain, and people will step up to help and commiserate.

The structure: The show has a song-cycle feel, with a large introductory ensemble number (“Stronger,” a punchy tune) that knowingly sets the theme, followed by a long thread of tunes performed in a variety of configurations (solos, duets, trios, and more). I call it a song cycle because the “little worlds” presented by these songs – characters in specific settings and circumstances – don’t continue beyond the parameters of the numbers. I happen to be a big fan of song cycles, but I think that for them to work well, there has to be a clearly delineated structure presented to the audience. I spent too much of “Dysfunction” just trying to grip on what I was experiencing: Is there some sort of central character guiding me through? (Flowers, who brings a lot of heart to the ending, would be a good candidate.) Are any of these scenes connected to each other? How much of this is building toward something greater in terms of the narrative?

The music: Flowers’ compositional voice feels sturdy and embracing, with many of them suffused with a melancholy and anger that suits the subject matter. (After all, when you title a song “Own Your Pain,” you’re not going to be expecting an upbeat singalong.) When songs like “Text Me Back,” with a boppy feel, and the title song “Dysfunction,” with a country twang, come along in the second act, they’re a welcome respite from the darker-toned offerings that have dominated. The arrangements of many of the songs are lush, and some are gospel-tinged, with the a cappella “Watch Your Tone” a harmonic favorite.

The lyrics: Here’s where I think the show could best be adjusted. To me, the essence of musical theater is telling stories – either in the context of just one song, or, more broadly, in the context of the show’s narrative (which is what you’d find in more character-driven musicals). In some of the numbers, such as “Resentment,” “Programming” and “Flimsy Friendships,” the lyrics seem stubbornly general. We hear a lot about flimsy friendships in the abstract sense but don’t get the chance to cozy up to good examples. Musical theater songs often use a standard verse-and-chorus structure, and for good reason – you get the specifics in the verses and emphasize the more general point in the chorus. I wanted to hear more of that style in “Dysfunction.” Other songs offer more character-driven details for actors to latch onto. Later in the show, in the song “Triggered,” Flowers offers a great example of how character-specific lyrics can turn a number into something you’d want to listen to again and again, if only to be able to absorb the intensity of the storytelling.

The direction and choreography: Flowers often stages her scenes and block her actors in a lyrical, theatrical way. I love some of the ways she mixes up what you’d expect: in the song “Addiction,” for example, a character sings to a bottle of pills. “Text Me Back” gets a chorus line. In one of my favorite moments of the show, the song “I Remember This Day,” the same phrase is repeatedly invoked by a character, almost to the point of monotonous annoyance. Suddenly, the entire cast appears and then seems to explode in a frenzy on stage, as if we’ve been summoned into a train station at rush hour.

The performances: The talent pool for Selma Arts Center runs deep. Rather than burden this review with a bunch of names, I’ll simply say I was pleased with the consistency, emotional range and dedication of the performances.

Looking ahead: As Flowers continues to work on “Dysfunction,” I’d encourage her to think about ways to complicate and sophisticate the message. There are many kernels of possibilities already present. When it comes to the always popular trope of blaming everything on our parents, the show toys near the end of the first act with a moment of self-reflection. What if life is more complicated than singling out Mom and Dad? I couldn’t tell if this bit of insight is meant in seriousness or in jest. Whatever the intent, it toughens up the show and keeps it from sliding into self-help glibness. Overall, I preferred the second act of the show to the first – it feels fresher, more pointed, and more specific, especially as it moves into the realm of social media and the impact of overbearing influencers.

Takeaway: Congratulations, Ke’lea, and Selma Arts Center, and to everyone who gave so much of themselves for this show. You have a lot to be proud of.

Tabla master and Brahms

Fresno Philharmonic; performed April 12, Shaghoian Hall

A strong end to a strong season: Music director Rei Hotoda gave us yet another dynamic and diverse concert to end the Fresno Philharmonic’s 70th anniversary season. From my notebook:

Tabla master: Sundeep Das brings an evangelist’s fervor to his praise for the tabla, something I learned in a delightful conversation with him before the concert. Before taking the central role in Dinuk Wijeratne’s Tabla Concerto,, he took time beforehand to explain the nuances of his instrument. The introduction elevated the performance because I then felt like an insider. I was impressed with the virtuosity of Das’ playing and the agility of his body. In the piece’s third and boisterous final movement, he used his right hand in a circular motion so quick and limber that his fingers reminded me of the strands of a mop being swished furiously on a tile floor.

Beyond the physical prowess, the biggest draw was Das’ emotional connection with the audience, and also his obvious appreciation for Hotoda’s conducting (and her rhythmic prowess). The piece was a fascinating blend of Western and Indian classical traditions – and a success for the Fresno Philharmonic.

Sturdy Brahms: Hotoda closed out the concert and season with the bountiful Brahms Symphony No. 1. A transcendent moment: the beautiful ending to the second movement, with the violin fading to a mere shimmer.

Adieu to Janette Erickson: Since 1978, Erickson was principal flute for the orchestra. Sunday was her last performance. Along with her constant presence for the Fresno Philharmonic, she elevated the local classical music scene as a professor at Fresno Pacific University and as a member of the chamber group Moment Musical. Thank you for your decades of virtuosity!