the late 70's, following an invitation to a theater festival in Baltimore where
Squat Theater won a prestigious award and many new fans, the company set up shop
in a four story building on West 23rd Street in New York City, next door to the
legendary Chelsea Hotel. The landmark building, which the company called
home for the next nine years, had once been a famous 19th century restaurant,
a renowned sewing factory, and finally a transvestite nightclub just prior to
Squat settling in. (What remains is merely a ghost, it is one of three torn down
structures where the 23rd St. Cineplex Odeon now stands.) Here the group made
a name for itself with their Obie award winning plays, many of which featured
Eszter, and which were staged in the ground floor storefront. The performances
amazed some, outraged others, and amused many, particularly the spectators/unwitting
participants passing by on the street. The group's countless trips to theater
festivals abroad during this time included a rather strange visit to Shiraz and
Teheran, Iran, just before the outbreak of the revolution - but that is a long
story for another time.
In 1990 Eszter moved to Los Angeles where she spent seven long years losing herself and finding herself. And losing herself. And finding herself. This self imposed exile to Hollywood managed to extinguish whatever small flames of passion she ever held for the film industry, and she threw herself wholeheartedly and violently into her love of music and words. But not before she appeared in one of her favorite films, Steve Buscemi's Trees Lounge for which she also co-wrote a song with guitarist Smokey Hormel. Eszter formed a short-lived band with Sixteen Horsepower's Pascal Humbert, which managed to survive a bumpy first set; this included Eszter downing a pint of cognac in five minutes, singing all the songs slightly off key and gyrating nervously in her nevertheless enticing green suede miniskirt. The band went on to become a regular at L.A. venues such as Café Largo, and was featured on KCRW's Morning Becomes Eclectic. After their break-up, Eszter made the rounds at L.A.'s clubs singing harmonies with bluesman Jake LaBotz.
In 1998, after her return to New York, Eszter began writing and recording her debut album Flicker, produced by JD Foster and featuring a diverse collection of brilliant musicians from New York and Austin, where some of the recording took place. Most of the songs on Flicker were borne out of lyrical and musical ideas from Eszter's last lonely and prolific days in Los Angeles. Since Flicker's release on Scratchie Records, (co-owned by Adam Schlesinger from Fountains of Wayne and James Iha of Smashing Pumpkins fame) Eszter has toured the East Coast, the West Coast, and Europe with her songs, and has performed steadily in New York. For her sophomore effort, just completed and tentatively titled Mud, Eszter joined forces once again with JD along with a core group of musicians, some of whom have performed many a show with Eszter.
And this is where it gets tough, because this part of her story is unfolding as we speak - but you can have a look at her discography on this site to see some of what Eszter has been up to. Throughout this sometimes trying and sometimes thrilling adventure, one of the things that continues to amaze her and make her grateful, is the opportunity to have shared the stage and studio with some of the most gifted songwriters and musicians around. She has been fortunate enough to be asked to contribute to performances and/or albums by the likes of Rebecca Moore, Dayna Kurtz, Anthony Coleman, Dave Soldier, John Lurie, and Michael Gira's Angels Of Light. And those who have generously contributed their time and awesome talents to Eszter's work inlude Michael DuClos, JD Foster, Marc Ribot, Jane Scarpantoni, Sebastian Steinberg, Steven Ulrich, Sim Cain, Matt Johnson, Nic Brown, Phil Hernandez, Chris Maxwell, Richard Buckner, The Gourds, and Eszter's longtime guitarist, Chris Cochrane. To name a few.
And then they lived happily ever after...