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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.
