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The Juliet Letters, the extraordinary collaboration between cynical rock poet Elvis Costello and The Brodsky Quartet — violinists Michael Thomas and Ian Belton, violist Paul Cassidy and cellist Jacqueline Thomas, is an absorbing exploration of the endless variety of shapes that a letter can assume. A newspaper item about a professor in Verona who took on the task of answering letters addressed to "Juliet Capulet" inspired the song sequence, which was performed for the first time on an American stage at UCLA's Royce Hall.
The "letters" in the Juliet cycle (Warner Bros. Records) are individual, detailed character studies ranging from short sketches (the poignant child's note, "Why?") to complex, ever-changing works ("I Thought I'd Write To Juliet," in which a cynical writer ponders a soldier's letter). In conveying the range of emotions played out by the "writers," Costello does some great vocal stretching, which was heightened by his energetic live performance. Whether adopting a brash, circus barker-like persona for the outrageous piece of junk mail, 'This Offer Is Unrepeatable," or giving a sensitive (and even romantic) reply to the 'Juliet" correspondent on "Expert Rites," the singer carried off each portrait with great sensitivity.
The Brodsky Quartet, the object of much acclaim for their classical recordings (including their celebrated Shostakovich cycle) had a chance to stretch and experiment on the project as well, providing a dazzling array of textures which surround, contrast and propel the lyrics through their character transformations. On "Who Do You Think You Are?," for example, an accordion-like, flowing sound creates the seaside backdrop for a jaded young man writing a missive to his estranged lover. The tempo slows as his true loneliness is revealed — a beautiful effect, particularly in concert.
The most moving piece of the evening may have been 'Jacksons, Monk and Rowe," a composition based on the childhood recollections of brother and sister Michael and Jacqueline Thomas (the title refers to a law firm which is a recurring image of childhood hope and adult disillusionment). The strong and beautiful forward melodic motion of the piece was augmented by Michael and Jacqueline's joint explanation, which offered humorous insight into the writing process.
Taking in The Juliet Letters live on stage was a particular pleasure because of the exhuberance of the performers, who were clearly enjoying themselves, as well as the response of the enraptured audience. The music's abundant humor- — like Michael Thomas' recurrent Loony Tunes-recalling flourish on "I Almost Had A Weakness" — was enhanced by the evocative performance style of the Brodskys as well as Costello's in-character motions and facial expressions. Jacqueline Thomas' wild cello solo, which Costello explained as the "flying furniture" segment of the cycle, was a stunning centerpiece to "Romeo's Seance."
As an added bonus at the conclusion of the song sequence, the crowd was treated to many encores in which the quintet paid striking tribute to the work of Tom Waits, Jerome Kern and Kurt Weill. A dramatic arrangement of The Beach Boys' "God Only Knows" was particularly engaging, and a preview of a yet unrecorded Costello-Michael Thomas composition, 'The King & The Unknown Sea," offered the promise of future collaboration.
Adding to the feeling in the audience that The Juliet Letters cycle was a special experience was the knowledge that only three other stops were scheduled for the U.S. tour. There is a videocassette version now available for those unfortunate masses who missed out, which should also hold fans over until the prolific Costello unveils his next musical surprise.
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