The one-woman musical is an intriguing idea, if not nerve-wracking one. Solo shows are hard enough to pull off without a musical element, but when you consider that Jeannette Bayardelle not only performs all the parts in her new musical, Shida, but wrote the book, music and lyrics, you start to wonder how it will all come together.
Shida is the titular character of this harrowing journey, which details the tragedies of this young girl's past that lead her from a promising future as a writer to a cocaine addict on the streets on New York. Ultimately a redemption tale, this character-focused show gives Bayardelle lots of places to shine as she embodies heartfelt characters that allow Shida to eventually find her way back home.
The piece is a great platform for Bayardelle, as her voice takes on difficult notes without abandon. She's got some powerful pipes, for sure, and total commitment in tackling the show's tougher scenes. The lyrics to the songs have some really poignant moments with some nice motifs weaved throughout. The characters also have distinct voices and populate the story with lovable people.
Perhaps most of all, one thing I've noticed with a lot of new musical theatre is that there's not a lot of diversity in the types of stories it tells, especially if it's not a period piece. Watching Jeannette Bayardelle do her thing, I couldn't help remembering a friend talking about how often you just have to create the parts for yourself if they're not out there. Bayardelle has certainly done that and given herself a meaty role to tackle. She definitely has a voice, both in performance and on the page, and it's worth checking out if you want to explore something new.
Shida plays at Ars Nova until the end of August-- buy your tickets here.
I would say I see a fair amount of theatre-- and much of it is great. Beautiful. Wonderful. Masterful.
But once in a while, a theatre piece comes along that is truly special. Something that is less of a show and more of an event. Something a little wilder, a little newer that pushes the boundaries of theatre making. This kind of show is the one that pull you out of your beliefs of what theatre is. It challenges you. It fights you. And in the end, you learn something and appreciate something that you didn't even know existed before. This is a rare event. Almost as rare as a comet, streaking across the sky.
And thus are my feelings about Natasha, Pierre & The Comet of 1812, a dynamite electro-pop opera finishing its extended run this week at Ars Nova. I would tell you that you should absolutely run out and buy a ticket before it closes, but the show has been sold out for a while, so giving such advice would probably just make you feel like I do every time I see an ad for Book of Mormon on television. Still, for those who haven't had the chance to see it (and even for those who have), I thought I would just give a few thoughts about the piece, since I think this is an experience that is hard to replicate but everyone deserves a chance to experience.
Natasha, Pierre & The Comet of 1812 is based on none other than Tolstoy's War and Peace. But lest you think this is some stilted classic left to collect dust on a shelf, this operatic version takes on a life of its own, quickly summarizing multiple characters and modernizing their plights so that you can find some of these countesses and scoundrels making the rounds at the club. The actors move on the bars that snake around the room-- there's no formal stage, rather, the audience is seated at tables which are outfitted with bottles of vodka for everyone to pour at their leisure, along with some vegetarian dumplings (not bad, I must say). You, the audience member, are very much in the fray as old Pierre tries to find himself and young Natasha finds herself... in the arms of a man other than her fiance.
As to be expected, loves are lost and found, characters despair, and hopes and dreams are born as quickly as they are squashed. And while sometimes the dramatic arcs reach a point of melodrama, what separates this rousing musical from many before it can be attributed to Dave Malloy's music, an exciting blend of pop from the folksy to the techno with subtle Russian influences and the occasional remix over an electric beat. The music shows depth and humor, and the lyrics manage to capture the deep dramatic feelings of the characters while still poking fun at them on occasion.
Photo by Ben Arons
Director Rachel Chavkin creates an atmosphere of warmth and inclusion-- normally I balk at the prospect of audience participation, but I felt strangely at ease even so up close and personal with the action around me. All of the cast delivers excellent performances, and I was riveted throughout. The energy never falters and every moment is performed with such glee and commitment.
This show is truly something special, a reminder of the possibilities of theatre and a justification for why some things just need to be experienced on stage. It was a gorgeous representation of not only great musical theatre, but also great atmosphere and performance-- a chance to come in from the cold and to share in a good story.
As its run comes to an end at Ars Nova, the creative team is going all out to celebrate all that is Bloodsong. A ticket to this Sunday's performance will also buy you a ticket to Joegasm with a post-show concert featuring the cast, as well as Lindsay Mendez and Jay Armstrong Johnson. Need more convincing?
I hate to favor one composer, but with all the promotional things Ars Nova and the Bloodsong of Love creative team are putting together, I figure everyone should take advantage. Tomorrow night at 5:30, Joe Iconis and friends will be putting on a FREE concert performance of Bloodsong songs as well as others at Housing Works in Hell's Kitchen (9th Ave between 49th and 50th Street). Go! And give in to the Bloodsong.
When I look back at the time that has passed since my first Joe Iconis experience, The Blacksuits at SPF in '08, I'm embarrassed by how closely I've followed his career, how much money I've spent on his shows, and how much I adore just about every song that has worked its way into my brain. But I am not afraid to say that I am a huge fan of Joe's music and that I have never been so convinced that someone is destined for greatness. From his outlook on the business and his determination to keep his friends close, to the sheer talent of his music and the wit of his lyrics, if he creates something, I want to see it.
Needless to say, I have been highly anticipating Joe's latest show, a full length music done as a part of his residency at Ars Nova. Fully titled Bloodsong of Love: The Rock 'n' Roll Spaghetti Western, this show does not disappoint in bringing a distinctly Joe Iconis voice and presence to the stage in a hilarious, irreverent parody and send-up of the Spaghetti Western. For one thing, the usual suspects are all here, shining in their multiple roles. Eric William Morse gets his cowboy on, MK Lawson plays the camp out of her heroine role, and Jason "Sweet Tooth" Williams lends sweet vocals with some winking narration. Lance Rubin steals the show in countless areas as sidekick "Banana," and Jeremy Morse delights in creepiness and ruthlessness as the shows villain, while Katrina Rose Dideriksen brought the house down with a few choice notes and played a string of bizarre characters, including a footless prostitute.
The music, as always, was flawless. Not a weak song in the bunch with a lot of solid motifs that help carry the story through. There's the unforgiving rock undertone, but it gives way to a sound that sets the scenes for a Western show down. "Last on Land" only dazzles even more in context, and a string of other songs voices the dusty, worn hearts of an open road.
Anyone who has seen Joe's concerts will recognize some of his trademark humor throughout, and there are a few choice gags involving walks across the desert plain and lots and lots of blood.
Overall, it's a fun evening with a lot of unexpected twists. Believe the Bloodsong.
So I know I mentioned Joe Iconis' upcoming show Bloodsong of Love, which is soon to premiere at Ars Nova in just over a month's time. Though tickets are not available to the general public yet, if you sign up to be a Super Nova (it's free) at the Ars Nova website, you will not only get a free drink at each Ars Nova performance you attend, but you will also have access to buying tickets to Bloodsong right now. Ars Nova has a lot of great programs and shows (by the way, try to see the Alter, Greenberg, Allen, and Allen concert ofBand Geeks! on Monday, March 1st as they prepare for their production at Goodspeed -- I assure you it's going to be a solid night of some really wonderful songs), but throw in some free drinks and exclusive offers like this presale and I say why not.
And, just to give you more of an idea of the kinds of talent you will be treated to at Bloodsong, here are a couple of videos from Iconis' recent Bare Bones concert at Joe's Pub with Michael R. Jackson.
There's the always fantastic Jason Sweet Tooth Williams singing new Iconis' tune "The Protector":
And just because I can't believe they played this song that has been a strange motif in our office for the past month or so, here's Iconis and Jackson singing "One of Us":
