Conceived, directed, choreographed by, and starring So You Think You Can Dance Season 6 runner-up Jakob Karr, Ain’t Done Bad engagingly tells the story of a young gay man growing up in the American South, The Son (Karr), as he navigates coming out and paternal rejection, self-discovery and acceptance, finding strength and joy in community, and falling in love for the first time. All of this is told without a word spoken through beautifully expressive contemporary dance set to the songs of queer country star Orville Peck. Following its award-winning world premiere at the Orlando Fringe Festival in 2021, Ain’t Done Bad is now playing Off-Broadway at Pershing Square Signature Center until August 31st, 2024.
At home, The Son is unconditionally accepted by his loving Mother (Megumi Iwama) who lets him play with her makeup and attempts to protect him from his overbearing, rather menacing Father (Adrian Lee), while he has a typically scrappy fraternal relationship with his Brother (Ian Spring). Stifling domestic scenes set around the kitchen table give way to the liberation of gay club dancefloors as the Son leaves his rural beginnings (to the sounds of Peck’s haunting, poignant 2020 cover of Bronski Beat’s queer anthem Smalltown Boy) and finds chosen family in the city. It is there where he meets playful new Friends (Yusaku Komori and Jordan Lombardi) and eventually falls for his Lover (Joshua Escover).
In the tradition of Country music, Peck knows how to tell a darn good yarn with his evocative lyrics, and his rich, commanding voice make him a compelling storyteller. There is real drama, power, and urgency in Peck’s delivery as well as the production of his tracks, which sound fantastic in the theatre; loud and crisp. One of the pleasures of the show is listening to nearly twenty of Peck’s tracks—largely from his 2019 debut album Pony, the 2020 followup EP Show Pony, and 2022’s Bronco—which form the soundtrack of the show, as we see echoes of the themes and vibe of each song unfold in the action on stage. Peck’s music also invokes a rugged masculinity that is not afraid to show its sensitivity or vulnerability—or of course its queerness—making it an ideal fit for Karr’s movement work.
Karr conveys his character’s journey with pleasingly clarity in this warmly inviting, highly accessible dance show, that isn’t so much about impressing us with the company’s physical finesse (though there is plenty to be in awe of), but more about drawing the audience into the emotion embodied in the choreography. There are balletic and acrobatic flourishes, hip hop influences, and nods to line dancing, along with striking ensemble numbers that include women slow dancing with women and men slow dancing with men.
There is an innocence and exuberance in the youthful scenes; palpable joy in The Son’s discovery of queer chosen family, and a spicy, sexually-charged flow to the scenes of cruising and exploration set to Peck’s “Dead of Night”. In a tender, delicate sequence that plays out like a gay dance reworking of the pottery wheel scene in Ghost, the Son and his Lover fall for one another to the sounds of Peck’s gorgeously yearning cover of “Unchained Melody”. Even the gentle touch of their hands is exhilarating as it leads into an intimate duet sealed with a kiss.
Blake Schulte and Joey Coombs’ scenic design makes inventive use of large mirrors on wheels, which become part of the dance at times, hiding and revealing dancers, and bringing a different perspective to the choreography. While costume coordinator J. Marie Bailey brings a queer country flavour to the looks, incorporating leather, cropped tanks tops, denim overalls styled over bare torsos, and a show-stealing sparkly tasseled denim jacket (there’s a cute replica available at the merch stand). Reflecting The Son’s newfound self-love and sexual freedom, in multiple scenes he wears nothing but some butt-hugging briefs. Let’s face it, while we are admiring the beauty of the choreography, it’s hard not to respectfully appreciate the stunning physiques of Karr and company, all in peak form, as they move with such graceful power about the stage.
As it leads to its hopeful, simple but deeply moving conclusion, Ain’t Done Bad, is by turns a fun, sexy, and uplifting show with some electrifying dance moves courtesy of Karr and company and a stirring soundtrack thanks to Mr Peck.
By James Kleinmann
Ain’t Done Bad plays Tuesday at 7:30pm, Wednesday at 2pm and 7:30pm, Thursday – Friday at 7:30pm, Saturday at 2pm and 8pm, and Sunday at 7:30pm at Pershing Square Signature Center, New York, until Saturday, August 31st, 2024. For more details and to purchase tickets head to: www.aintdonebad.com. Stream the official Ain’t Done Bad playlist featuring all the songs in the show.