[Performance Analysis:] BEFORE I DIE, The Cavendish Arms, London.
There is a certain clunky disorganisation to this performance which could be successful in a different, more deliberate context, but it serves here as this performance’s major downfall. Firstly, there is a semantic confusion with the purporterd form of the performance: cabaret. I can certainly understand the attractively pompous and extravagant connotation of a ‘cabaret’, and the cosy-lounge and fourth-wall-breaking style, that all together led to using the term as a descriptor of this performance, but this performance is certainly not a cabaret but a simple medley concert, especially given that the vast majority of this work is performed sitting down. Thus, from the very beginning, we have a misleading title and promotional material. Secondly, the very purpose of this performance is communicated differently at the very beginning vs throughout: is it to create one’s own artistic opportunities because there are so few out there, is it to look good for an Arts Council application, or is it to secure an artist’s visa? Lastly, we have the consistent performance-based mishaps upon which I shall elaborate below.
These significant concerns remain such without a noteworthy degree of irony: we must feel that the performers are describing themselves and their work ironically; that the work is of high-quality and is deliberate, well structured, clever and refined; and that the mishaps and misuses are pre-determined and rehearsed aspects of the performance, serving only to accentuate the integrity of the work. When we have faltering vocals, forgotten lyrics, stumbles over set pieces, missed cues, etc., and this is not ironic, it is easy as an audience member [with no internal familiarity with the performers] to feel cheated of one's money and time. It is easy to feel that the performers are, indeed, just ticking a box for a funding application or doing the bare minimum to evidence the propriety of their stay. [NB: This is the impression, of course — an inoffensive reading and not truly evidenced as the reality.]
There are some very tender moments in this performance where emotionality pairs well with refined and controlled vocals, most notably in Kelsey Marlowe Jessup's parts. The desire to include and interact heavily with the audience is also a good direction for this performance, though this feels indecisive in the first segment, and so there is too extreme a shift when we are invited to sing ‘When I Grow Up’ in the second [a section of participation that really ought to be a lot shorter, I may add]. The underlying concept, regardless of its articulation and form, is most inviting as well, but this is certainly overclouded by inconsistencies in reason and delivery.
For Kira Gaudynski, I would really recommend singing in a lower register, especially as currently there is an over-reliance upon the head voice, which causes notes to either falter with a strain of the vocal cords or to be projected nasally — both most common to this performance, where pitch has been prioritised over tone. I would also pay attention to note accuracy, as there is often an inaccuracy of a half- or whole step, and there is a particular tendency for control to falter when scaling up abruptly seven whole steps or higher. For Marlowe Jessup, some very strong vocals at times; I would just be wary of the overuse of vibrato and the control over notes leading up to and succeeding its usage, which are often quite shaky. To sustain the note and introduce vibrato further into the notes at the end of verses would have a greater, punchier effect and would demonstrate further control.
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[Premium Analysis]
For the Creatives Behind this Performance: Additional Notes Are Available on…
Performance Styles: Significant Clash Between the Two Performers.
Onstage Personae and Their Communications.
Structuring Narrative Work and Autobiographical Material.
Incorporation of the Pianist.
Use of Space: Topography, Use of Properties and Choreography.
Audience Participation: Agency and Invitations.
Backstage Etiquette.
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