Tonight Karen Akers looks at the concept of “home” as in where the heart is; memories, peace of mind, love, a mate, the sense of belonging within a group, the country. Developed before the election was resolved, her first presentation of the show November 2024, brimmed with anxious awareness and determined hope. This one reveals incredulity, anger and compassion.
“Home” (John Kander/Fred Ebb) opens with “la, las”, wry and resigned in what sounds like a New York apartment rife with constant disasters. The artist follows with “a child’s perspective. A child sees home as safe and familiar.” Richard Maltby, Jr/David Shire’ (music)’s “I Want to Go Home” from Big finds Josh Baskin alone in the Port Authority Bus Terminal where he’s at the same time excited and frightened.
Akers looks like a deer in headlights.
It’s not difficult to imagine reaction to unfamiliar and potentially dangerous environment/circumstances one didn’t expect. Try America. Many of these songs take on a different tenor tonight, overall feeling of precious things lost. Additions feel purposeful.
Memories of a summer house in Massachusetts depict teen love: Jonathan, who was a playmate and Dick, who had a motorcycle. Sound familiar ladies? “Boys in the Trees” (Carly Simon) is wistful. Shoulders rise with high notes.
“Life goes on. You grow up. One day you find yourself living in a new home,” introduces “Our House” (Graham Nash) with cozy back-up vocals. The actress now appears to be a young woman full of love and hope. In tandem, Randy Newman’s “Feels Like Home,” grateful for “his” having changed her life, elicits a little laugh. The experience has passed. Hands fist at her sides.
In “Solitaire” (Neil Sedaka), the artist’s vocal fiercely surges, something Akers rarely does, emitting a palpable cri de coeur. This new facet of expression erupts several times tonight. “Home to Myself” (Melissa Manchester) reveals vulnerability in bravado. The protagonist stoically (wisely?) tells herself she’s her own best friend.
The rendition of “When I Was Young” (Craig Carnelia) is more heart wrenching than sentimental: “When I was young/The good guys always wore white/ America was always right/Of thee I sing…” There’s no pop influence. These are ballads, melodically smooth, emotionally raw. At the piano, Alex Rybeck cradles.
Stephen Flaherty’s droll “Torch Song”, wherein the Statue of Liberty longs for a date, manages to be sophisticated, universal, and personal at the same time. “From a Distance” (Julie Gold) is an example of stepping away from home to achieve perspective: “From a distance you look like my friend/Even though we’re at war…” Akers gives the song an aura of prayer. Once again her voice rises, tearing the air. Both songwriters are in the audience.
Alex Rybeck
The artist hesitated to perform at the White House during the terms of three Republican presidents for whom she didn’t vote. Paul Hecht told her, “It’s not his house, it’s ours, and you go because you’re grateful to be an American citizen.” How far we’ve come. Those who refuse now take a stand not against a man, but against fascism. “Lately, our house has been on my mind a lot,” Akers darkly remarks.
“Anthem” (Benny Andersson and Bjorn Ulvaeus/Tim Rice) and a heady “Take Care of This House” (Leonard Bernstein/Alan Jay Lerner from 1600 Pennsylvania Avenue) are entreaty. “You’re My Home” (Billy Joel) she sings arms extended with gratitude and resolution.
Quotes by Tennessee Williams, a poem by Sheldon Harnick, and a few personal anecdotes are candid, apt, and well placed. Sequence is adroit. Akers arms are mostly at her side making every gesture meaningful, almost inevitable. She rotates slowly taking us all in.
In this second iteration of Feels Like Home, the artist faces aftermath of the election. She radiates sincerity, dignity, and national wounded pride speaking for us all.
Karen Akers: Feels Like Home II
Directed by Sara Lazarus
Alex Rybeck- MD/Piano/Vocals
Ritt Henn – Bass
Birdland
315 West 44th Street
Photos by Alix Cohen
