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Hidden behind a haphazard arrangement of mismatched sheets draped from the ceiling, Buran Theatre Company’s Bill Murray’s Cousin Live in Concert! attempts to “call Uncle Bill” with a mixture of mildly distorted electric guitars, languid singing and light use of processed electronic loop effects featuring clips of Bill Murray’s voice. The music has a relaxed alt-rock feel thanks to the basic chord progressions and simple twangy guitar solos. The vocal intervallic harmonies were pleasant enough and some interesting textures were achieved throughout.

The quasi-psychedelic, stream-of-consciousness quality of composition was passable, though the performance of the music was unpolished. The uniform tempo throughout quickly became tedious and the guitars were just out of tune enough to make me question if it was intentional. Balance was an issue as well between the voices and instruments, and not all the lyrics were clearly heard or understood from behind the curtain of sheets.

The lengthy introduction made me wonder when something was going to happen, waiting for the performers to emerge, for a change in the music to grab my attention. Instead, the entire one-hour show is performed exclusively behind the curtain of sheets. Being offstage disengaged the audience and was a severe detriment to the show. The audience of twenty or so (decent for the upstairs room at Vulcan’s Forge) trickled out and within twenty minutes only myself, my guest, and another reviewer remained. Watching performers instead of sheets would have improved the experience exponentially.

I do admire Buran Theatre Company’s humorous and sanguine marketing strategy—it definitely intrigued me—but Bill Murray’s Cousin sadly did not live up to the expectations set by the show’s title and the upbeat nature of its description with a convenient narrative to exploit. I loved the premise—there were so many directions it could have gone. The few references to Bill Murray were equally vague and conspicuous, and ultimately confusing. The performance overall has the ambiance of a casual basement jam session instead of a performance art festival offering.

REVIEW:
Kansas City Fringe Festival
Bill Murray’s Cousin Live in Concert!
July 22–30, 2011 (Reviewed July 22)
Vulcan’s Forge
3937 Washington Street, Kansas City, MO
For more information visit www.kcfringe.org

By Kristin Shafel Omiccioli

Editorial Assignments Executive Editor; Traditional and New Classical Contributor

Kristin Shafel Omiccioli, a native of Madison, WI, holds composition degrees (M.M., B.M.) from the UMKC Conservatory of Music and Dance. Kristin's compositions have been performed at national and regional new music festivals and conferences throughout the United States. During her time at UMKC, Kristin also focused on double bass performance and arts administration. She was a student leader and performer in many of the Conservatory's student organizations and ensembles, including Musica Nova, Composers' Guild, the Conservatory Student Association, the orchestras, and Wind Symphony. Her composition instructors were James Mobberley, Paul Rudy, Zhou Long, and Chen Yi, and her bass instructor was Sue Stubbs. Formerly a guitarist, Kristin performed with big bands and her own jazz combo in Madison, WI, having studied jazz guitar and theory with Roger Brotherhood in Madison and jazz voice and theory with Hal Melia in Kansas City at UMKC.

Kristin enjoys being active in the performing arts community. She has volunteered with the Chamber Music Society of Kansas City and Charlotte Street Foundation, and has played in the bass section of the Northland Symphony Orchestra, among other bass gigs around the metro. Kristin currently serves as principal bass for the Kansas City Civic Orchestra and Heritage Philharmonic, and is a section bassist for Kinnor Philharmonic. She joined the writing staff of KCMetropolis.org in February 2010 and has been KCM’s executive editor since July 2011. Read her blog at mylittleheartmelodies.com.

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