Country Western music is not what you might expect for the score of a dance-theater piece exploring the coming out process of a young gay man and the reaction of his family. But, Jakob Karr’s dynamic dance piece Ain’t Done Bad, now at Signature Theater Center after a run in Orlando, Florida, is an explosive and passionate declaration of the love that now speaks its name loudly and the music feels just right. That might be because the tunes playing on the soundtrack are those of Orville Peck, the openly gay C&W singer-songwriter. Ironically, Peck wears a mask onstage, contributing, perhaps unintentionally, to the idea that gayness should be hidden, but that’s the subject of a separate article.
While Peck keeps his features hidden in his onstage appearances, Karr exposes himself almost literally in the lead role of Ain’t Done Bad which he also conceived, directed, and choreographed. At several points he strips down to a bikini-brief and dances with abandon, joyously celebrating his slim, toned body and his attraction for other men.
The storyline is fairly routine, Karr plays The Son, the youngest child of a presumably conventional, Southwestern family since Peck’s music denotes that part of the country. His doting Mother (Megumi Iwama) indulges in his artistic, creative side, allowing him to try on her make-up. His Brother (Ian Spring) is baffled by his sibling’s expression of identity but still loves him in roughhouse manner. The father (Adrian Lee) is openly hostile. Karl depicts the fraught family dynamic in a fascinating staging around the dinner table with the four dancers conveying anger and conflict through violent, synchronized movement.
The Son leaves home to find freedom and makes a connection with two free spirits (Yusaku Komori and Jordan Lombardi) who encourage him to be his true self by donning a glittery, spangled denim jacket complete with silver fringe. After several brief trysts, he finds a steady boyfriend (Josh Escover) and takes him home to meet the folks. Not an especially original or unique storyline, but the main feature here is the dancing—sharp, kinetic choreography thrillingly executed by an exemplary company.
There are several memorable sequences. In addition to the intense dinner scenes, there’s beautiful erotic and emotional duet for Karr and Escover to Peck’s soulful rendition of “Unchained Melody.” After they coyly flirt and then passionately embrace, the company circles them with mirrored flats, so we see flashes of the lovers reflected repeatedly. The Son discovers himself with the encouragement of his new friends while Peck’s “Legends Never Die” plays, in a burst of youthful athleticism.
Karr conveys the Son’s shy, tentative steps towards self-acceptance with flair. Adrian Lee captures the Father’s rage perfectly. Megumi Iwami makes for a compassionate Mother. Ian Spring portrays the Brother’s ambivalence well, Yesaku Komori and Jordan Lombardi give the Friends exuberance, and Josh Escover has charm as the Lover.
Philip Lupo’s lighting is particularly effective in setting the proper mood whether dreamily romantic or fraught with tension. Ain’t Done Bad takes a story we’ve heard and seen frequently and delivers it in a new and exciting way.
