Karen Oberlin comes on stage for "His Aim Is True: The Singular Songs of Elvis Costello" at Stage 72 wearing what looks to be an elaborate choir robe, fit for an early-20th-Century celebrity evangelist. But there's one difference: her outfit is not a creamy, calla-lily white but a flat black. She's Aimee Semple McPherson taking on the hues of Morticia Addams.
It's an apt wardrobe choice—pointing out a striking dichotomy. Much of the Costello song catalog—whether jazzy, folky, or rocking—seems to be blanketed in clouds of angst and pessimism. But Oberlin's presence is ethereal, positive, and reassuring. Throughout the show she is beaming and radiant. She honors the darkness in Costello's art, but she remains a proselytizer for hope and light.
The first half of the program consists mostly of songs written by Costello alone. If you haven't studied his lyrics in depth (and maybe even if you have), you may find yourself fumbling though your pockets in vain for a decoder ring with fresh batteries. The opening number, "Man Out of Time," is cryptic poetry, which the clear-voiced Oberlin delivers with a sphinx-like smile on her lips. Even more inscrutable is "Aubergine" (music by Brad Jones), with its tongue-twisting tangle of words that has Oberlin quipping ironically to the audience: "Everybody sing along!" Musically, the number is challenging as well. A lengthy piano interlude by virtuosic musical director Tedd Firth incorporates fragmented strands of blues and gospel to impressive effect. As wild and woolly as it may be, the number works.
Much more accessible is the yearning ballad "Allison," in which Oberlin takes on the persona of a broken-hearted lover who fairly shouts his (her?) admission of vulnerability. This song showcases the singer's delicate but bright upper range, which contrasts pleasingly with the blazing notes in her regular, lower register.
The show's second half includes several songs that Costello wrote with collaborators—something that evidently suits him well. Included is a fine version of "My Flame Burns Blue," a song for which Costello added words to the instrumental number "Blood Count," the last music ever composed by Billy Strayhorn. Costello's lyrics again contain vague meanings, but also some sharp images. They create a mood more than they explore an idea, but they are a fitting complement to Strayhorn's haunting, evocative melody. In any case, it's a fine performance by Oberlin, and Firth's musicality is once again a big plus.
Other Costello collaborators represented late in the show are Diana Krall (his wife) and Paul McCartney. One of the best performances of the evening is the Burt Bacharach/Costello song "God Give Me Strength," a forlorn prayer in the face of romantic disillusionment. When Oberlin sings the lyric "I want him to hurt," it's as if she's discovering her fury on the spot. She spits the words out savagely, then seems to have a flicker of recognition that her sadistic outburst has been unseemly. Oberlin here proves herself to be not just a fine singer but also a bold actor—and one who recognizes the power of nuance.
The show's finale is a performance of "(What's So Funny 'Bout) Peace, Love and Understanding?," a Nick Lowe composition that was famously sung by Costello. Oberlin begins it in a measured, thoughtful pace, then quickly throws in the towel and rocks out, singing in a driving, frenetic tempo.
Her between-song narrative is partly a description of Costello's art and career, and partly a confession of her longstanding (but evolving) fan-girl obsession with him. Her patter may not always be weighty, but it's earnest and appealing.
It certainly doesn't hurt that, in addition to Firth, the singer has the assistance of two other highly accomplished musicians: guitarist Sean Harkness and bassist Steve Doyle, who are their usual sensitive and supportive selves; Oberlin was wise to have secured them for this outing.
"His Aim Is True: The Singular Songs of Elvis Costello"
Stage 72 – June 4, 18, 25, July 30, September 25, 30
