Hell is full of musical amateurs.
Steve Fagin’s La Cura (2024) is comprised of episodes – of tableaux. These jewel-like pieces do not add up to a plot. Even when something recurs – like the studio set that stands in for a nightclub, proudly stripped bare under the final credits – or a performer reappears in a different situation, it is not for the purposes of narrative linkage. The connections between tableaux come about in a different way: through an accumulated interweaving, threaded on music.
