In the bustling city of New York, it is easy to become desensitized to noise. However, after fourteen years, one individual experienced something entirely new: a full concert performed on toy pianos and various makeshift percussion instruments in a narrow catacomb located atop a hill within a quiet cemetery in south Brooklyn.
For nearly a decade, Green-Wood Cemetery has hosted a series of concerts in its 30-vault catacomb, originally constructed in the 1850s for those who wished to be buried above ground but could not afford their own mausoleum.
The tunnel itself is unassuming, lacking elaborate carvings except for a skylight at the far end. Each vault is loosely enclosed by metal gates, often marked with family names above the entrances. Notable names such as Ferguson, Piro, and Herrmann can still be seen above several vaults, while many remain unmarked.
Although more details might have been visible during the day, the concert attendee arrived long after dark to witness “Curios in the Catacombs,” a performance piece by avant-garde artist Margaret Leng Tan. Upon arrival, Tan and her team were preparing for their second and final performance of the night. The tunnel glowed with purple lights, contrasting with the entrance, which was illuminated by a projection of a vintage clown photograph.
Three makeshift stages were set up in the center of the tunnel, flanked by approximately fifty seats. At the far end, just in front of the Piro vault, a baby grand piano, only a few feet tall, awaited. Many of Tan’s toy pianos are custom-made, contributing to the disorienting scale of the performance. Additional toy pianos, a wind-up music box, a children’s toy phone, various masks, and other props were brought out, their intended use remaining a mystery.
As the crowd settled in, having been ferried from the entrance on a trolley, anticipation filled the air. After several minutes of audience members finding their seats and stealing glances into the vaults, the room fell silent, and Tan commenced her performance.
Throughout the 90-minute show, Tan seamlessly transitioned between various instruments and sound-producing devices, including the children’s toy phone, each enjoying at least one solo moment. Sparse lyrics added to the eerie atmosphere, with one piece intertwining a World War I children’s song about hearses. A particularly catchy yet unsettling number titled “The Worms Crawl In” hinted at its macabre theme. A standout moment was “Rosie,” a musical horror tale in four scenes composed by a ten-year-old named Anastasha from Singapore.
Tan’s performance would have served as an excellent opener for the spooky season in any venue, but amidst a crowd of entombed bodies, which outnumbered the living audience significantly, the shared oddity of the experience created a unique thrill.
The catacomb concerts have now closed for the year, as the arrival of fall brings dropping temperatures unsuitable for the living. However, the enduring lesson remains: If invited to attend a show at a cemetery—whether orchestral, curious, or otherwise—one should always say yes.
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