mellysblog

You may have noticed that I haven't been posting lately. This is for two reasons:
1. I've been insanely busy with shows.
2. I've been insanely neurotic about my writing...

Fuck that. From a review of my 8/18 - 8/23 run of the Newspeak Non Sequitur show at the Flea:

It should come as no surprise the most transportive piece was that of composer David First's adaptation of Ansel Berrigan's dark and lyrical " Let Us Sample Protection Together." David First, one of Philadelphia's founding father's of experimental ambient sound, elevates Mellissa Hughes' vocal to hallucinogenic heights. "...Protection Together" felt like the longest single performance of the evening, but may have been surpassed in length by the cheerfully disjointed closing piece, "What Remains". If there can be any complaint, it is that Hughes' Sarah Brightman-esque vocals favored operatic stylings in favor of elocution; we could not always understand Berrigan's words, which is a shame since they convey perfectly the ambivalence of the outsider artist struggling to survive:
I won't belong to this scripted conversation/Though I might play along.

I HATE Sarah Brightman....tremendously. This is HILARIOUS. I think by operatic stylings they mean I used a little bit of vib above the staff, like once or twice to get through a phrase. I don't vib if a composer specifally says not to, because the human voice is actually capable of doing both... however, la voce was really really really tired, and it's just easier up there to let her rip when I start feeling tight. But interesting because so many people commented on how they could understand every word, even when the range was extended...hmmm.

My theory: my purple dress and sparkle leggings and Aqua-Net sprayed CURE hairstyle brought this to mind?