![]() The score has grit and determination: an alchemy of jazz and folk-rock that resonates from the first to final chord. She goes on to praise Vienna Teng’s score: “Shaffer’s delightful existentialism is equally matched by Teng’s musical genius. Shaffer never quite answers this question, but implies that modern civilization tends to destroy goodness instead of learning from it.” Her transformation asks what it means to be enlightened in a modern world saturated with class warfare, tabloid media and other forces trying to undermine true growth. Setsu Uzumeof the Art Animal says the play stands apart from “other spiritual theater”by its “message of self-growth Mama Sid’s journey from bourgeois to Buddha demonstrates that it is possible to be both flawed and enlightened. ![]() Produced by Shaffer’s 100 Shades of Green company, it delves into a similar mix-and-clash of East-West culture, imaginatively staged by the same director – Broadway’s Matt August – and set and costume designers.” “”Messenger” – the almost sung-through musical takes its title from the omens that set Gautama on his path – is Shaffer’s first major project since her exhilarating “Baby Taj” premiered at TheatreWorks in 2005. Here’s an excerpt from Robert Hurwitt’s review of the play in SFGate – Of particular interest in pre- and post-play conversations was the common question that all of us asked ourselves – what if, indeed, the Buddha were a woman? Why are our gods and spiritual leaders mostly men? Our rapidly growing group (thank you, ladies!) was thrilled to attend this musical that re-imagines Buddha’s story – in this case, the Buddha is a woman, Mama Sid – and features a stellar acting line-up as well as Teng’s gorgeously eclectic score. With Warm Strangers, Vienna Teng has taken a confident step forward to create a set of songs that are sharper, deeper, and even more enchanting than her debut, proving that her talent and music are worthy of the accolades that continue to stack up around her.The Works by Women San Francisco Meetup Group hosted our fourth event on Feb 21st in Berkeley– a performance of Tanya Shaffer and Vienna Teng’s hugely talked about play, The Fourth Messenger, produced by Shaffer’s 100 Shades of Green company. Also noteworthy is a hidden bonus track whose lullaby-like melody, sung in Chinese, is a mesmerizing blend of Western pop music and Eastern language. The disc starts to meander in the second half, but there are enough interesting moments to keep it from wandering too far off-track, such as the ghostly, a cappella "Passage," in which Teng embodies the spirit of a car accident victim who observes the grieving loved ones she left behind. Simple enhancements like the solo trumpet in "Mission Street," or the strummed piano strings in the disc's majestic centerpiece, "My Medea," keep the songs moving forward without distracting from Teng's vocal and instrumental proficiency. ![]() Although Teng's piano still drives most of the songs, the accompanying arrangements are inventive yet unobtrusive. These diversions help bring more definition to each song, allowing plaintive ballads like "Shine" and "Homecoming (Walter's Song)" to be more memorable and affective than if they were sequenced together. Soothing sea winds are practically felt in the jubilant "Harbor," while the lilting "Shasta (Carrie's Song)" is quite possibly the most musically cheerful song ever written about a trip to an abortion clinic. Breaking the surface with the uneasy strains of "Feather Moon," Teng takes command with a quiet intensity that immediately bests anything from her debut, as her haunting voice beckons to "breathe in, breathe out," bringing to mind Kate Bush's equally spooky "Breathing." Unlike her debut's quiet meditations that tended to bleed into each other, Teng gets positively upbeat on several tracks. This may have proven to be a blessing in disguise, as her follow-up disc, Warm Strangers, displays the confidence of a burgeoning artist who had gotten her feet wet and has now plunged headlong into a pool of sparkling songs. But after the dust of praise finally settled, Waking Hour appeared slightly fragile in retrospect, with songs that were a bit too precious and self-conscious. Coming out at a time when plucky, piano-banging youngsters like Vanessa Carlton were upstaging their more reflective predecessors like Sarah McLachlan, Teng's songs kicked up a little wind for all sensitive singer/songwriters. It was easy to heap accolades on Vienna Teng's debut recording, Waking Hour, and its impeccable set of songs that overflowed with intelligence and sensitivity.
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