“The Rusalka Cycle” is a vocal performance unlike any other I’ve seen. The performers, composer, and director immersed themselves deeply in the folklore and culture of the Ukraine, and brought back something amazing. The dilemma that often comes with such cultural appropriation exists here, also, but it is made explicit in this performance. Traditional rites of passage are interposed –sometimes jarringly– with the spoken thoughts of the very American observers. Somehow, this acknowledgement allows the performance to avoid cheapening its source.

The depiction of Ukrainian life is anything but explicit, however. I felt the hardship, sorrow, and joy of that life very directly, without understanding any of the lyrics. The singing is brought to life with dance, shadow, and water on a minimal set. The performers bring to life a very particular part of the world, but in doing so they paint a vivid picture of womanhood in general.

That’s the analysis (of course I’d start with that.) The experience is something else. It begins like this: The lights have not gone down. Nonchalantly, smiling, the women trickle in from all directions. In the corner, one woman begins taping herself, describing the first time she ever saw women paying respect to the dead with their songs of grief. Her description is lush, but it pales in comparison when the song itself erupts from the performers interspersed throughout the audience. It’s eight-point surround-sound in harmony, and it is simply overwhelming. The volume of it alone took my breath away. That’s just the first two minutes.

Obviously, I recommend this show. It runs through this weekend; you can get your tickets here.