Yeah, But Not Right Now

Written and Performed by AJ Holmes, directed by Caitlin Cook

Off-Broadway, Solo Musical

Runs through 10.16.21

Soho Playhouse, 15 Vandam Street

Best Bet: A triumphant return to theatre

While many are loath to admit their shortcomings, AJ Holmes has crafted a one-man-musical that sings and harmonizes the very worst parts of himself. His procrastination, his issues with his parents, his poor choices in romance, his pathological lying, his neediness to be needed, and finally his awareness that all of this self-awareness doesn’t make him cool.  From another performer these topics might be a dreary, but coming from “Broadway’s AJ Holmes” (he apparently tried to change his first name to Broadway), it is hard to react with anything but sheer delight and joy.

With regards to musical ability, Holmes is undeniably talented. It’s not surprising that he was poached by both national and international tours of shows like The Book of Mormon immediately after graduating from college. His vocal talent is matched by his work as a composer and instrumentalist. The keyboard seemed to be an extension of voice, as is his guitar, djembe, and did I spy a steel handpan? Holmes also used a loop machine to great effect, recording his voice and then layering recording on top of it to harmonize with himself, the layers creating a full blown concert coming from a single person. As an audience member, it was fascinating to watch a single line of music transform and blossom into a wall of sound. His compositions fit with his story well, roiling the audience in laughter and moving them deeply as his narrative progressed

The audience seemed to be the key to unlocking the very best of Holmes. He engaged with them throughout the performance and didn’t seem bothered by the odd interjection. In anything, Holmes flourished from the live reactions, creating whole songs from statements like an improv show or crafting a goodbye song as an audience member left following a vulgar joke about necrophiliacs at a cemetery. It was hard to recall if we were watching a one-man musical or a stand-up comedian, luckily for all of us it was a combination of both.

While the desired outcome of any performance is leaving the audience wanting more, in this case Holmes’ show may deeply benefit from allowing the audience into more of his story. While Holmes was upfront about all of his various transgressions and mistakes over the years, he was surprisingly reticent about sharing his moments of celebration and joy. While an hour (not including a musical guest to open) is enough time to share his agony, the audience was left wanting to experience the moments of ecstasy that made audiences all over the world stand up and cheer. 

At one point Holmes jokes that he agrees with the audience - he also doesn’t know why he hasn’t won a Tony yet. After seeing this performance, I agree with him wholeheartedly.