Described as “a hybrid theatrical dance experience,” Ain’t Done Bad, starring, conceived, directed, and choreographed by Jakob Karr (a native of Orlando, FL, who began dancing at the age of twelve and whose many credits include appearances on Broadway, at Radio City Music Hall, with Cirque du Soleil, and as runner-up on the sixth season of So You Think You Can Dance), tells the story of a Son coming out, finding a community, and falling in love in the American South.
Presented by Orlando’s Renaissance Theatre Company and Blue Topaz Productions – the latter founded by Broadway producer Patti Maurer (The Band’s Visit; Come from Away; Hello, Dolly!) – the expressive piece, now playing a limited Off-Broadway summer engagement at Pershing Square Signature Center, following its premiere at the Orlando International Fringe Festival in 2021 (where it received the highest honor of Best Show), is relayed entirely through vivid contemporary dance set to the recorded music of gay South African-born country star Orville Peck.
A masterful cast of seven – Karr as the Son, Adrian Lee as the Father, Megumi Iwama as the Mother, Ian Spring as the Brother, Yusaku Komori and Jordan Lombardi as the Friends, and Joshua Escover as the Lover – embody the moods of familial tension, ebullient camaraderie, sexual liberation, joyous romance, and ultimate acceptance with eloquent movement, articulate gestures, and telling facial expressions, through a score of eighteen songs, without speaking a single word. While the style is primarily modern dance, there are other genres incorporated into the piece, from ballet to neo-expressionist movement (as in a scene of the family banging on the table), all of which work together fluidly to express the shifting tones.
The soaring performances are enhanced by Philip Lupo’s evocative lighting, casual and provocative contemporary clothing (with J. Marie Bailey serving as costume coordinator), and a scenic design by Lupo, Joey Coombs, and Blake Schulte, with movable components of tumbledown wooden slat walls, a kitchen table, and chairs, and large dance mirrors on wheels that set the stage for the changing locales, without distracting from the paramount choreography.
Jakob graciously made time during his active performance schedule to answer my questions about the genesis, development, and intent of the show, and what it means to him.
The narrative arc is so specific, are there any autobiographical elements that you’ve included in it?
Jakob: There are definitely certain elements of the show that have been pulled from my personal experiences growing up. From being closeted, to the quirky friends, having a brother, etc. The main difference is that I have very loving parents and they have always been incredibly supportive of me.
Can you tell us about your creative process and which came first – your idea for the theme, the inspiration of Peck’s music, or your vision of the choreography that you wanted to set to music and a story?
The show kind of came together in a waterfall effect. I had been listening to Orville Peck for a while and was obsessed with the theatricality and storytelling nature of his music. When the opportunity arose for me to create a piece of theater, I knew it had to be set to his music. The storyline was born out of shared experiences between myself and the people I love. I first wrote the show as an outline, including a song or two that would match with each scene. Then I got the show up on its feet in a few weeks of rehearsal before its premiere in 2021 at The Orlando Fringe Festival.
The dancers are all outstanding and deliver their roles and emotions to perfection. How was the casting done – through an audition process or by inviting artists you know and have worked with previously?
My cast blows me away every single performance; thank you so much for acknowledging their greatness! I am so lucky to have three cast members who have been with the show from the start (Adrian Lee, Jordan Lombardi, and Ian Spring). When the time came to find additional cast members, we had a big audition here in NYC. We saw hundreds of dancers and it will stick with me as one of the most exciting parts of the life of Ain’t Done Bad for years to come.
What do you hope audiences take away from the show?
Love! Love, over all things. The journey of The Son is one that I think a lot of people can relate to. No matter where you’re from or what you’ve been through, we all deserve to be loved for who we are. I hope people come to see this show with open minds and hearts, and leave feeling an overwhelming sense of love for themselves and the people they hold close.
What has it meant to you to bring it to the NYC stage?
To say it is a dream come true would be wildly understated. Never in my life did I think I would be creating and presenting work on an Off-Broadway stage! It is the honor of a lifetime and I am so grateful to my entire cast, crew, and production team for believing in this show and jumping in, head-first, with me every night.
Many thanks, Jakob, for sharing your thoughts on this beautiful and meaningful work with our readers and with your fans everywhere.
Running Time: Approximately 75 minutes, including an intermission.
Ain’t Done Bad plays through through Sunday, September 1, 2024, at the Pershing Square Signature Center, 480 West 42nd Street), NYC. For tickets (priced at $47-85, including fees), go online. Rush tickets (priced at $20) will be available at the box office beginning 90 minutes prior to the performance, subject to availability.