Last year, theatre-makers Emily Lim and Dan Canham spent time in Sunderland developing a three-night live performance that sought to capture the north-east city’s essence and history through music, dance and spoken word. It was Lim’s final coup as the director of the National Theatre’s now defunct, UK-wide community programme, Public Arts, and the result was Public Record – a title that nods to both physical media (the audio is stored at the British Library and Sunderland Museum) and to the institutional archive. In New York, you don’t have to reclaim it; the myth of New York is constantly being told.” With a population almost 30 times larger and drastically different cultural footprints, he says the project has become “much more focused on the people and the community as opposed to trying to tell the story of the whole city, which is an impossible feat”.
About 350 New Yorkers were engaged nearly a year ago, through the Public Works programme, to participate in workshops and surveys describing their experiences in the city. The process “begins and ends with deep listening”, says Lim, to find “the right people who were steeped in life here and culture here to lead and help curate these stories”. (The final cast ranges from ages seven to 84.) She and Canham worked with playwright Lisa Sanaye Dring, whose play Sumo was produced at the Public last year, to sharpen that research into the piece’s “12-track” structure, which Canham says they intentionally developed in Sunderland as “a blueprint version, able to fit different contexts”. Rather than coming in with ideas of what this New York record would include, Dring was motivated “not by what I was excited to say, but by what our community is saying”.
Tracks are titled after types of public record, like Birth Certificate (where performers detail their “origin stories”), or broader musical terms repurposed for the city in sections like Karaoke, which for New York will substitute I Wanna Dance with Somebody (Who Loves Me) to the original’s Dancing Queen. The number Tribute Act initially honored Faye Fantarrow, a Sunderland singer-songwriter who died in 2023, aged 21, who Canham says “was beloved by the whole city and represented a lot for its people. In a city the size and breadth of New York, that’s kind of impossible.” This Public Record, Lim notes, has “become a different interpretation of how we hold collective grief and every city’s particular relationship to death”.
For the After Dark track, meant to honor the city’s nightlife, the team tapped Papi Juice, a Brooklyn-based collective that centers queer and trans people of color, to live mix the dancier section. The three-person operation has been organizing parties since 2013 and has recently branched into more theatrical spaces like Little Island and Lincoln Center. Lim says they “feel like they’re speaking to a very specific moment in the city”.
Its resident DJ, Oscar Nñ, is producing the collective’s first complete song for Public Record, co-written and performed with the artist Maya Margarita, another multi-disciplinarian who moves fluidly from opening for Beyoncé’s Renaissance tour to acting off-Broadway. We always undermine what it can do or has done for culture, so it’s cool that Emily and Dan were so excited to have a moment just dedicated to the New York City dance.” Michael Thurber, a longtime Public collaborator and the production’s music director, enlisted local artists across varied scenes to create original compositions, including the Carnatic violinist Arun Ramamurthy and Louis Cato, who led the house band for The Late Show with Stephen Colbert. When it came to the Love Song, the team kept finding themselves in the shadow of an enduring monument.
Sunderland’s slot was taken up by the classic Elvis ballad Can’t Help Falling in Love, which functions as its football club’s unofficial anthem. Eventually, Thurber says it became “the most exciting story, musically. We didn’t want to be too on the nose, but then it was Knicks in five” – the basketball team’s improbable win this summer – “and we came up with this idea of, what if it was sung in Spanish as a statement about the city’s Spanish-speaking population, and to subversively put a new lens on this song we all know and love?” The track, now titled Nuevayol as a wink to Bad Bunny’s own ode to the city, features new arrangements by Latin jazz legend Arturo O’Farrill, and will be sung live by Puerto Rican musician Mireya Ramos.
Extract — continue reading at the source.
