MASS

Jacqueline Kennedy commissioned Leonard Bernstein to create a requiem in memory of JFK on the occassion of the opening of the Kennedy Center in Washington DC. Instead of staying traditional, he created what is considered one of the most innovative works in his oeuvre. Formally called MASS: A Theatre Piece for Singers, Players, and Dancers, the play also included text written by others like Stephen Schwartz and Paul Simon.

The Kennedy Center is ginormous, a mammoth creation in a city full of monumental and iconic structures. Nothing stopped it from being built, not even its quadruple jump from the initial budget of $25-30 million. Eleanor Roosevelt is credited with the idea of a National Cultural Center, originally as direct-relief for unemployed artists during the Great Depression. The idea led to the creation of a Department of Science, Art and Literature, and along with it a performing arts building. This was the first time in history that the federal government helped finance a structure dedicated to the performing arts and it's a beauty designed by Edward Durrell Stone.

I walked through, around and all over the complex this week on my quick trip to DC for a monumentous occassion of another nature, that of the premiere of a ballet by Mark Morris there (one of several this season, culminating in his heartening Mozart Dances next January). Strolling around the upstairs terrace over looking the Potomac River in the still of the night, I imagined the structure's history and how it was equally as spectacular for those there on that first night in celebration and honor of a man who died too young and fought loud for arts in America.

MASS is an enormous piece, fitting for the premiere of this structure. In this 90th anniversary celebration of Bernstein's birth, there is just one full complete reconstruction of the work, taking place today at the United Palace. Unfortunately, it is completely sold out. I imagine it will be monstrous, and I hope it will be wonderful for all in attendance. John Rockwell speaks fodly of the experience here.

Leonard Bernstein's work first penetrated me as a child with West Side Story via my mom.


She was a big fan and the same feelings for the show were bestowed onto me as, I recall, singing aloud the great numbers with her either in front of a television (for the movie) or the record player (for the soundtrack). I hear that musical is now headed back to Broadway, only this time in Spanish during the parts that are naturally spoken (or sung) in native tongue. The production "will introduce the unprecedented element of selectively weaving Spanish throughout both the book and songs," according to a July 16 announcement.
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