Patti Smith, the iconic singer-songwriter and punk pioneer, has always possessed a unique ability to capture the essence of human experience in her work. In her slim collection of prose poems titled Woolgathering, published in 1992, she takes readers on an intimate journey through the lens of her childhood. This collection is not just a memoir; it’s an exploration of the imaginative world of childhood, a realm where reality and the extraordinary intermingle. Smith describes the child’s mind as “like a kiss on the forehead — open and disinterested,” suggesting a purity and wonder that fades as one grows older. She writes of a mind “mystified by the commonplace,” which effortlessly transitions into the strange, weaving together a “crazy quilt of truths.”
This evocative prose has found a new life through Oliver Tompkins Ray’s adaptation, which premiered as a spoken-word opera at the Baryshnikov Arts Center. In this innovative production, Smith recites selections from Woolgathering, accompanied by Ray's atmospheric music and choreography by John Heginbotham. The interplay between spoken word and live performance creates a captivating experience that invites audiences to delve deeper into the memories and emotions that Smith so eloquently expresses.
On stage, Smith sits serenely in a chair, reading from a music stand, while a simple yet evocative backdrop—a clothesline with a single white sheet—adds a touch of nostalgia. Two dancers from Dance Heginbotham gracefully weave around her, embodying the spirit of her memories through movement. Ray accompanies Smith with acoustic guitar and electronics, enhanced by a violinist and a pedal steel guitarist. The ensemble creates a soundscape that, while largely understated, complements the lyrical beauty of Smith's words.
Although the score, conceived and directed by Ray, often fades into the background, it serves as an important mood-setting element. The music is primarily a collection of drones and bells, with occasional bursts of melody from the violinist Cornelius Dufallo, who adds sparse yet poignant lines. A brief, incongruous drum machine interlude momentarily disrupts the atmosphere, but overall, the score enhances rather than detracts from the spoken word performance.
Smith’s recollections are steeped in rural imagery, conjuring a vivid picture of her childhood surroundings. For instance, when she reminisces about a barn dance, Ray’s muted echoes of a traditional reel or hoedown provide an auditory backdrop that enriches the visual experience. Similarly, when she describes the spirits of the woolgatherers—ethereal figures she senses in a field—Ray creates a delicate soundscape that mirrors her dreamlike memories.
The dance elements of the production stand out, with Mykel Marai Nairne and veteran dancer Gerald Casel delivering beautifully delicate movements that resonate with the imagery in Smith’s text. Heginbotham’s choreography captures the innocence and intimacy of childhood, using simple gestures to suggest the profound connections shared among Smith and her siblings. The gentle flatfooting during the hoedown section recalls Martha Graham’s Appalachian Spring, evoking a sense of nostalgia and joy.
A particularly striking moment comes when Casel and Nairne embody Smith's dream of levitation—a theme she expresses as “in its simplicity all the more miraculous.” Their movements are enchanting, suggesting a transcendence that captures the essence of childhood wonder.
While the dancers are the primary performers, the appearance of Mikhail Baryshnikov adds a compelling layer to the production. He embodies Harry Riehl, a local character from Smith's childhood who she viewed as shaman-like. Baryshnikov’s theatrical prowess elevates the performance, particularly when he circles Smith, embodying the spirits and memories that permeate her narrative. His presence serves as a reminder of the intersection between the real and the ethereal, grounding the fantastical elements of Smith's recollections.
Throughout the production, Smith remains the undeniable focal point, guiding the audience through her memories with a voice that is both warm and evocative. While her literary influences may include the likes of Arthur Rimbaud, in Woolgathering, she channels a distinctly American spirit reminiscent of Wordsworth’s Immortality Ode. This connection between childhood and nature—a “visionary gleam” that often fades with adulthood—resonates deeply within her text.
In one of the final moments of the performance, Smith rises to sing a portion of her visionary song “Wing,” unaccompanied, allowing her voice to soar above the audience. This poignant moment encapsulates the essence of Woolgathering: a celebration of childhood’s fleeting beauty and the bittersweet nature of memory. As the house lights illuminate the space, Smith gestures toward the audience in a benediction, as if to impart the wisdom gleaned from her journey through the past.
Woolgathering is not merely a spoken-word opera; it is a profound exploration of the complexities of childhood and the power of memory. The collaboration of Smith, Ray, and Heginbotham creates a rich tapestry of words, music, and movement that draws the audience into Smith’s world. The production honors the imaginative spirit of childhood while inviting reflection on the inevitable passage of time and the loss of innocence.
In conclusion, Woolgathering serves as a poignant reminder of the importance of cherishing our memories and embracing the wonder of the world through the eyes of a child. Patti Smith’s ability to evoke such feelings through her art is a testament to her enduring legacy as an artist and poet. The spoken-word opera adaptation not only breathes new life into her prose but also underscores the universal themes of love, loss, and the miraculous simplicity of childhood. As audiences experience this beautiful convergence of art forms, they are left with a sense of awe and gratitude for the moments that shape us, reminding us to hold onto the childlike wonder that resides within us all.