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Michael Crowley (as Beethoven) and Michael Rau (photo by Rick Ngoc Ho)

The elaborately named Song of a Convalescent Ayn Rand Giving Thanks to the Godhead (In the Lydian Mode) is a play constructed of twenty-four comic skits, self-consciously styled “variations,” that aspire to something like fugue structure. This is not a happy accident of “negative capability”: the show’s writer, Michael Yates Crowley, constructs the analogy between musical formalism and dramatic form explicitly and self-consciously throughout the performance. That analogy is, in fact, the grounds for the argument of the play, which is that Romantic art only gains transcendence when tempered by philosophical Stoicism.

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Cultural Capitol welcomes our guest columnist Keith Meatto! Check out is other work at Frontier Psychiatrist.

Beethoven and Quasimodo team up to write a musical interpretation of a cryptic stage direction in Anton Chekhov’s play The Cherry Orchard, but both men are deaf and near death, Beethoven is senile, and the project ends in failure. Such is the setup of The Hunchback Variations, based on Mickle Maher’s play with music by Mark Messing, a “chamber opera” that had a successful run in Chicago and opened June 1 at 59E59 Theaters in New York.

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