AIN’T DONE BAD

Jakob Karr’s evening length dance/drama Ain’t Done Bad, reveals his immense talent as a dancer and choreographer, but more than that, exposes his huge heart and genuine sweetness as a human being. On stage at the Irene Diamond/ Pershing Square Signature Theater, the piece includes seven stellar dancers/characters besides the main character, Karr. The setting is a rural country town, sparse and somewhat cultureless. There is a family: the mother, father, brother, and two friends and characters featured later in the story: three male lovers, as Karr explores his homosexuality and his life as a performer. We witness him separating from the confining values of his childhood and eventually making it big in the theatrical dance world.

The entire piece is supported by the country music of Orville Peck which often acts as a metaphorical narration for the dance action on stage. The first song starts out “I was born in the badlands…” as Jakob is featured center stage with all the cast members surrounding him.  He remains contemplative, as the others fiercely execute his exquisite choreography with technical genius and passion. Karr wanders through this field of dancing, setting the stage for what is to come – his exploration of identity: self, friends, family, and art. 

He tells his early story of imitating his mother at the dressing table mirror, mimicking her feminine nature by putting on make-up; then hiding under the table when the father enters, ashamed of his predilections in front of his homophobic father.  His mother shields him, church bells toll in the background, the parents argue, all through movement.  

Mirrors attached to rolling partitions reflect various characters’ attitudes as they gaze at themselves,  and often act as set design to change the scene from home, to theatrical dressing rooms, to gay clubs. (Set designers: Philip Lupo, Joey Coombs, Blake Schulte). Jakob explores gay party venues, witnesses acts of gay bashing, campy performance dance. In one scene, the three performers are dancing upstage as his “real friends” are dancing downstage, exemplifying the split happening in his life. 

At one point, Karr pares his costume down to a simple brief, exposing his exquisite physique: muscular without bulkiness; perfect proportions, soft, pale skin, as he dances amazingly strong and difficult choreography fluidly and flawlessly. He is a dance dream.  Utterly beautiful.

He explores the gay club world inhabited by sexy male dancers dressed in overalls held over the shoulder with just one clasp who exhibit a flirtatiousness, raw sexuality, and carnal eroticism. He plays at love first, then eventually falls in love. A sensitive duet on a park bench reveals the shyness, hesitation, and fears of a true love. This converts into a true relationship.

Act II, although brief, starts at the dinner table with the family arguing. Brother, sister, and mother try to convince the father to come to terms with his son.

Jakob and his lover enter, and as the final dramatic song, Unchained Melody “Oh my love, my darling, I’ve hungered for your touch….” (Originally by the Righteous Brothers, now sung by Orville Peck) dramatizes the scene, Karr traverses the emotional landscape of his love for his partner and the eventual embrace and acceptance by his father. This finale depicts the loving gay couple sitting at the dinner table with the family… a happy ending; perhaps every LGBTQIA person’s fantasy.  Karr states in the program: “This is my love letter to anyone who has struggled with their identity…”

Karr’s final bow is one of humility and charm as he receives the audience’s appreciation of this personal and artistic achievement. This reviewer looks forward to more performances from this big talent!”

EYE ON THE ARTS, NY — Mary Seidman