Review: OVER HER DEAD BODY by Pinky Swear Productions at Theatre J

Pinky Swear has revived its 2016 production of Over Her Dead Body for this year's Capital Fringe. The musical revue surveys murder ballads (yes, that is a thing) which originated in Scotland and England during the 16th century before emigrating to Appalachia and obtaining improved orchestration (Americans organize mean fiddle, guitar, mandolin bands). but the plots of each of these songs resembles a fellow ballad: boy meets girl/boy and girl are in love/girl gets murdered--not really grislier than what's streaming these days, but with real, live musicians.

The singing musicians (Jordan Avellino, James Finley, Annie Graninger, Karen Lange, Toni Rae Salmi) take turns at solos and then blend into outstanding, acoustic ensemble work. The instrumental trio, Seth Bixler, fiddle, Justin Heath, banjo, Zach Brewster Geisz, guitar, provides superior accompaniment. It is an absolute treat to have songs be respected, lyrics be clear, melodies be audible and balanced. Kevin Place directs.

John Bavoso (who shares authorship credit with Lange, Seth Alcorn, Ryan Maxwell, Kenny Neal, and Tristan Willis) has had one really good idea which synthesizes all the different songs into a unified set--he pretends that the reason the songs are being presented is that this is an Opry-style live radio broadcast in which the theatre attendees are really the studio audience. ("How-dee!" Sorry, I just miss Minnie Pearl.) His (their) less good idea is that the performers decide they want to have a seance to, in some way, "call upon" the characters in the songs. Singing the songs does that, thank you very much, without all the ultimately superfluous sound and light cues. But late in the 70 minute show, during a medley of "Murder Ballads Greatest Hits," the script does very aptly remind that simply singing the songs will keep the memory of the people in them alive.  (Tom Dooley really existed; so did Polly Vaughn and many of the murdered and their murderers.) The genre enjoyed a wee revival right before Beatlemania struck; elders will hear Joan Baez in their mind's ears when the Pinky Swear singers perform a bit of "Come all ye fair and tender ladies (be careful how you court your men)" and Johnny Cash when they're reminded that, due to the fact that he shot her, Delia's gone (one more round).

The show doesn't over think or overdo the obvious truth that these ballads express violence toward women. The songs come from The Before Times--before the vote, before the current semblance of equality, before feminism. Their position in the time line in no way diminishes their musical value. The title, Over Her Dead Body, provides just enough irony to mark the injustice going on in each song. The music itself is terrific.

To post a comment, you must register and login.