Sarah Foard (Violin), Peter Brice (Button Accordion), Valerie A. Higgs (Musical Director-Piano), Eric Abalahin (Flute), and Tom Zebovitz (Cello) from Quotidian Theatre Company's production of James Joyce’s The Dead.

Audrey Cefaly

British author, composer, and actor Neil Brand once wrote, “All music communicates more than the sum of its notes.” Quotidian Theatre Company’s current production of James Joyce’s The Dead, in collaboration with the New Century American Irish-Arts Company, is a prime example of this.

The endeavor began in December 1999 when Director Jack Sbarbori caught a preview performance of the new Broadway musical James Joyce’s The Dead. “We immediately wanted to do the musical, but we didn’t have the resources then,” said Sbarbori. “It took 12 years to find the right, real musicians for this. But then we reached Peter [Brice]. I was impressed with how passionate he was about the music, the authenticity of it, and also the cultural aspects of it. I could immediately tell how invaluable Peter’s experience would be.”

Peter Brice is Co-Founder, Executive Director, and Musical Director of the New Century American Irish-Arts Company. Founded in 2011 as a response to the growing strain of the infrequency of mid- and high-level traditional arts, the New Century strives to revitalize these traditional arts in communities fueling cultural tourism and reinforcing community identity. And what better outlet than a play with music that both showcases the unique harmonies of Irish music while exploring the culture of Ireland with an authenticity true to Quotidian’s mission that brings you right into the Morkan sisters’ living room.

Through this collaboration the creative team of Sbabori and New Century has fused artistic rigor and cultural curiosity. Sbabori, of Italian descent and proudly married to his Quotidian style, initially found some of the American-Irish raucousness difficult to “buy into.”

As the choreography progressed each week, however, Sbabori began to recognize how the piece fit into Quotidian’s aesthetic. Even the raucous dance numbers reflect “real life.” The challenge for Brice and New Century choreographers Kate Bole (also a Co-Founder of the New Century), Kara Haslebeck, and Catherine Marafino became finding the balance between their professional artistic experience and a production quality that for Sbabori had the feel of looking through the window of a house in 1904 Dublin. While there are certainly choruses and dance numbers that “Wake The Dead,” the partnership between Quotidian and New Century adds an engagement with the Irish art and culture that is both true and exciting.

“We wanted it to be culturally accurate, “ says Sbabori, “which is why we brought Peter on board and why we were happy to bring in the New Century choreographers as well. But we also wanted it to look and feel like us.” Art does, after all, imitate life.

Quotidian’s production of James Joyce’s The Dead is at once familiar. With a musical ensemble that includes piano, flute, cello, violin, and the button accordion, the play with music captures the vibrant world of Irish art as well as the poignancy of a culturally compelling narrative.

“There’s a continuum of music making and of dancing and of storytelling and singing that doesn’t often exist in the public eye,” said Brice. “Working with Quotidian on The Dead has been an opportunity to bring that to all the people who see this show. It is evidence that there’s more to Irish music than Riverdance or U2. There’s a very traditional Irish music that exists very close to us all and close to the heart.”

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