Moby Dick to Land in Milwaukee

Wu Tsang, creator of “Moby Dick; or, The Whale”. Image courtesy of Present Music.

Herman Melville‘s Moby Dick, a cornerstone of American literature, transcends its surface narrative of whaling. The 544-page novel plumbs the depths of human nature through its portrayal of men confined aboard the Pequod, an aging 19th-century whaling vessel. Captain Ahab, a monomaniacal sea captain hell-bent on avenging himself against the sea creature that robbed him of a leg, may be at the center of the story. But as they battle both natural elements and their own demons, the crew represents a microcosm of human society. Melville biographer Laurie Robertson-Lorant captures this complexity, noting that the whale hunt serves as a metaphor for “man’s search for meaning in a world of deceptive appearances and fatal delusions.”

In 2022, visionary artist Wu Tsang and the Swiss collaborative Moved by the Motion created a bold reinterpretation of this literary masterpiece, which Present Music will bring to Milwaukee’s Oriental Theater on Friday, February 14. Rather than attempting a comprehensive retelling of Melville’s sprawling narrative, this new, silent film deliberately focuses on specific themes and relationships. The relationship between Ishmael and the native Queequeg takes center stage, offering a fresh lens through which to examine the novel’s exploration of human connection.

At the heart of Wu Tsang’s interpretation is a commitment to examining Melville’s text through both environmental-decolonial and queer perspectives. It drew inspiration from C. L. R. James‘s  Mariners, Renegades, and Castaways: The Story of Herman Melville and the World We Live In, which studied the Melville work as related to colonialist greed and 1950s social hierarchy.

An omniscient character known as the ‘sub-sub-librarian’ provides voiceover commentary throughout the film, skillfully blending contemporary analysis with Melville’s original prose. This narrative device allows the film to explore often-overlooked themes from the book, including the homoeroticism inherent in the all-male crew’s confined existence and the environmental consequences of whale hunting.

The film embraces the aesthetic traditions of silent cinema while incorporating modern sensibilities. The camera lingers on the actors’ faces, allowing their expressions and movements to convey the emotional weight of their experiences at sea. At times, the physical labor of seafaring transforms into abstract, balletic sequences that capture the rhythm and poetry of life aboard ship. This innovative approach creates a dreamlike quality that serves the story’s deeper themes.

The soundtrack, composed by Pulitzer Prize-winner Caroline Shaw in collaboration with Andrew Yee and Asma Maroof, weaves traditional string orchestra with contemporary electronic elements. Each musical segment corresponds to carefully selected chapters from the novel, creating distinct emotional landscapes that enhance the visual experience. While the score shows clear influences of minimalist composer Steve Reich, it also incorporates harmonic structures that echo early classical traditions. Silent films allow composers complete control over the score, making the music essential to the audience’s experience.

The Oriental Theatre serves as an ideal venue for this unique presentation. The space’s exceptional acoustics and sight lines, combined with state-of-the-art surround sound, will create an immersive experience that honors both the film’s visual artistry and its complex soundscape. While adhering to silent film conventions, the production incorporates color cinematography, title cards and voice-over, intimate close-ups, and spectacular natural imagery of turbulent seas, raging storms, and the mysterious underwater world of whales.

The film joins a rich tradition of Moby Dick adaptations, which includes 16 feature films, numerous television productions, operas, and theatrical interpretations. However, this version stands apart through its innovative approach to the material.

This screening represents an important continuation of Present Music’s commitment to pairing silent films that address pressing social issues with contemporary classical scores. It exemplifies a growing trend among modern composers who seek to challenge conventional narratives through emotional expression and innovative musical techniques.

The experience creates a modern parallel to Richard Wagner‘s concept of Gesamtkunstwerk, combining multiple artistic disciplines into a seamless whole. In this case, traditional elements of story, music, and theater are enhanced by contemporary cinematography, choreography, and social commentary, creating a multidimensional artistic experience that speaks to current cultural concerns while honoring the source material’s timeless themes.

The film with live orchestra accompaniment begins at 8:00 p.m. on Friday, February 14 at the Oriental Theatre, 2230 N. Farwell Ave. on Milwaukee’s East Side. Advance tickets may be purchased online. The nearby Beans & Barley will host a post-concert gathering featuring curated small bites and a cash bar.

Present Music returns to UW-Milwaukee’s Jan Serr Studio for Into the Wild on March 26, when Present Music celebrates the release of 26 Little Deaths, a highly anticipated CD-release with an encore performance of Carla Kihlstedt‘s darkly humorous interpretation of Edward Gorey‘s macabre alphabet book. The evening will also feature premieres by contemporary composers Andy Akiho and Kamran Ince.