trixxie carr
MUSICIAN CHANTEUSE FAUX QUEEN PLAYWRIGHT
songstress . storyteller
serious/satirist
fierce/ferocious
dreamer/creator
trixxie carr is a musician, drag artist and playwright from San Francisco, CA. She has traveled nationally and internationally, performing at everything from street fairs and venues to museums and art festivals. Her albums 'A Souvenir for the Existentialists' and 'Salome, Dance for Me', from her one-woman glam rock opera which premiered at NCTC in 2015 are both available on iTunes and at cdbaby.com
Upcoming Shows!
About/Video
trixxie has written two plays, 'Hold Me Closer, Tiny Dionysus', about struggling artists in SF, and 'Salome, Dance for Me', which received a grant from the SF Arts Commission. For her second work she chose to interpret the music of Strauss and the words of Wilde to create a one woman glam-rock adaptation of the classic play and opera, which is also now available online!
trixxie is NCTC's "Emerging Artist" of 2015, and also holds the title of "Miss Tiara Sensation" 2012. She performs locally at venues such as OASIS, where she has produced two cabaret tribute shows, 'Maneater!', a tribute to the music of Hall and Oates, and 'Maniac!', a tribute to the music from the motion picture 'Flashdance'. trixxie has also graced the stages of The Chapel, The Warfield, The Great American Music Hall, The DNA Lounge, SF MOMA, The deYoung Museum, The DNA Lounge and so many more that it would be tedious to list them all for you, dear reader. But if you ask nicely...eh, it's still too many!
She is a regular performer at the drag shows 'Mother' at OASIS (formerly Trannyshack, where the infamous Heklina gave a young faux queen her start), 'SOME THING', and 'Dark Room' (in addition to many others), with her favorite numbers relating to her favorite musicians: The Cure, Siouxsie and The Banshees, Bowie, The Glove as well as ironic and unexpected music such as Hall and Oates or Suicidal Tendencies - she is, after all, a comedian and loves an ironic twist. Again, too many amazing bands to list, but her DJ tendencies show through in her song choices. Most, if not all, of her art is politically subversive, revolutionary, satirical and intended to create dialogue as well as entertain and educate.
trixxie has performed nationally and internationally with a live band, as a solo artist, and as a faux queen. She curated and created a drag show called 'The Right to RULE!' for Manchester's Abandon Normal Devices Festival in 2012, which was sponsored by the UK Cultural Olympiad and HOME/Cornerhouse, taking good friend Honey Mahogany along with her. She joined Peaches Christ to sing as Deborah Tennis (Natasha Lyonne's lead role), in the live musical pre-show of the movie 'All About Evil', presented in Switzerland as part of the LUFF Festival, in addition to touring the US for its premiere (SF/LA/NY), which lead to many other collaborations with the famous drag queen and filmmaker, including as part PC's tribute to RHPS where she got to sing as Magenta onstage with Magenta (Patricia Quinn!). trixxie even went all the way to Beijing, China with her mash-up rock band Smash-Up Derby, the house band at the club BOOTIE at the DNA Lounge in SF (who also toured nationally). She can be found collaborating with the Jazz Mafia at various events around SF, and has plans to do far more traveling in the near future to bring the world her brand of music/drag/art!
In the strictly 'theatrical' realm, trixxie has a BA in Drama with an emphasis on Performance from SFSU.
Gallery
~See ALL the photos HERE at Calibree's Sf Weekly Slideshow of missIntegration!!!~
~more pics HERE from Calibree's SF Weekly Slideshow!~
~more pics HERE from Calibree's SF Weekly Slideshow!~
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trixxie loves to get press, and whenever she is doing a show she is bound to be in the papers and magazines. To name-drop just a few: Time Out: Beijing, American Theatre Magazine, SF Chronicle, SF Weekly, and as the Best of the Bay in The SF Bay Guardian.
Testimonials
Josh Staples of TVT/The New Trust playing trixxie's EP on his radio show!
BOOKING
trixxie can be booked to perform her own original music or theatrical works, or as Faux Queen/MC of events, as well as an actress who can do live theatre or camera roles, as well as voice over. She is also skilled at many other performance based art forms - just ask if you're not sure! To book her for an event or to contact her directly about performances of her music or plays, click below or email her at:
Photographers whose work I have used with this site and beyond this site: Jose A Guzman Colon (above), Jen Calibree (Maneater and Maniac photos), Louis Tema (Salome, Dance for Me photos), Mark Christopher, Jamie Alun Price, Robbie Sweeney, Keegan Marling, Gareth Gooch, ShutterSlut, Shot in the City, Asia Hassan, Stanley Frank, Emi Stanley, OutAllNight
Salome, Dance for Me
PRESS KIT from NCTC's production of 'Salome, Dance for Me'
A one-woman, glam rock musical adaptation starring San Francisco rock sensation and acclaimed faux queen trixxie carr.
Heads will roll! Salome, Dance for Me, a savagely beautiful new glam rock re- imagining of the infamous Biblical tale, starring San Francisco’s most erotically-charged and campily hilarious rock chanteuse, trixxie carr is a new work created from a generous grant from the SFAC. The breathtaking vocals and outrageous ingenuity that has made carr a local rock sensation and award-winning faux queen find a theatrical story as epic as her uproarious onstage antics in this commission by NCTC, developed in a year-long residency as part of its Emerging Artist Program. The brutal power of ancient myth collides with twenty-first century decadence in this exhilarating multidisciplinary new musical play based on Oscar Wilde’s most controversial work and Richard Strauss’ searing landmark opera. Salome, Dance for Me features an all-original score penned by carr herself, with celebrated emerging classical conductor Robert Mollicone.
"It has a sense of humor about the lurid tale while still managing to hold on to its basic horror ... intriguing compositions ... carr can project the essences of the characters through broad strokes. " Bay Area Reporter
"Electrifying." Talkin' Broadway
"Salomé has come a long way and still has something new to say." American Theatre
“trixxie carr takes the Biblical tale to new places by adapting Oscar Wilde's seductive version of the story into a solo performance piece — but rather than going down the Richard Strauss musical route, she swaps traditional opera for glam rock with assistance from pianist (and former Adler Fellow) Robert Mollicone." SF Weekly
"In fusing her own sensibility with the oft-told tale of Salome, carr joins other writers and artists throughout history, from the original tale told by the Gospels of Matthew and Mark through painters such as Filippo Lippi, Titian and Caravaggio, to an opera that predated Strauss’ (“Hérodiade,” by Jules Massenet, based on Flaubert’s story), to poetry, to songs (by Andrew Lloyd Webber, Liz Phair and many more) to dozens of films, including Al Pacino’s 2011 “Wilde Salome,” featuring Jessica Chastain. There’s even as asteroid named Salome." SFArts.com
"trixxie carr is one of the best all around performers I have ever seen." Audience Member
THE STORY...(briefly)...
Judea, A.D. 30. On the moonlit terrace of the Tetrarch, King Herod’s palace, Salome rushes out for fresh air, bored with Herod’s lechery and his coarse guests. (Moon) Echoing from a deep cistern - a well being used as a dungeon - is the voice of a prophet, Iokanaan/John the Baptist, who has been imprisoned by Herod, fearful of his prophecies. (A Prophecy) Inside the cistern, Iokanaan denounces the incestuous union of Herod and Salome’s mother, Herodias, and demands Salome repent. Equally appalled and mesmerized, Salome is increasingly overcome by desire for Iokanaan, and sees him a means of escape from her life. She attempts to seduce him, and the prophet rejects her, speaking of the Son of God who will come to save mankind. (Suffer Me to Kiss) Herod emerges with Herodias, seeking Salome, who soon enters, only to continue ignoring Herod’s advances. Iokanaan cries prophetic warnings from the well, prompting Herodias to demand he be silenced as he continues to interrupt her political monologues, frustratingly preventing her from being able to sing her own song in the play. Herod’s attention is solely focused on Salome, whom he begs to dance for him, and promising anything she might wish in return. (Salome, Dance for Me) Salome makes Herod swear he will live up to his promise, and against her mother’s warnings, she dances the Dance of the Seven Veils. In return, Salome demands her payment be the severed head of the prophet. As the moon turns blood red, Salome seizes her reward passionately, ecstatically kissing Iokanaan’s lips, achieving fulfillment at last, yet feeling a deep sadness (The Lullabye)…and then suddenly things change… In carr’s version of the story the characters orbit each other, locked into cycles of obsession and pleading with each other to be heard, respected, loved and escape. Where the original play and opera end with King Herod ordering Salome to be killed, carr’s version diverts from the standard ending and turns metaphysical, and Salome dances the Dance of the Seven Veils again, but this time it is fundamentally different. It is a dance that examines our bargain with the universe to exist, ‘trapped’ in physical form, and our ability to move beyond this together into another dimension of being, looking into the abyss with love, instead of fear. (The Kiss/Into the Abyss)
“Into the Abyss” is dedicated to Nietzsche, Carl Sagan, and The Never Ending Story.
This method of explaining the songs along with the story makes me think of Amanda Lear, please look her up if you do not know her music!
A few words from our audiences :)
"Trixxie Carr is an astonishing performer. Salome is an exciting evening and the thrilling feeling I got from watching it stayed with me for days". Alison Sacha Ross
"‘Salome Dance for Me’ is a show that features familial strife, madness, and beheading, and it is a lot of fun…and funny! Blending artworks of the past with contemporary elements is a time honored tradition for shining a light on modern-day issues. ‘Salome’ manages to do so without the stuffiness or pretentiousness that can plague some works. It’s full of witty language and catchy songs that belie seriousness of its meditations on power, ambition, and sexuality. trixxie carr is part nerdy art history buff, part intellectual social commentator, all wrapped up in a sexy chanteuse’s clothes. This show uses of her talents to great effect." Jim Weston
"Trixxie inhabits all the characters of this savvy, edgy production with grace, humour and vigor. I sat at the edge of my seat and happily allowed myself to be swept along her story. Glam Rock and english literature and religious mythology all set to new music that was at times hilarious, at times ethereally lovely and at times Seriously rocking." Genevieve Purdue
"This is a most excellent production. Compelling original score; intelligent, often witty lyrics. Creative lighting and staging. Insightful characterizations and fabulous singing by Trixxie." Lance Huntley
"Trixxie Carr's one diva show 'Salome' was an amazing evening of glorious and haunting song accompanied by superb acting. Her ability to portray multiple characters while giving each their own personality was a treat to see! With touches of comedy and Trixxie's absolutely beautiful voice to hold your gaze from beginning to end, 'Salome' is a not to be missed rock opera. Quote me!" Taylor Cramer
Lyrics
Salome, Dance for Me
How good to see the moon / she is like a silver flower / cold and chaste and beautiful / I am sure she is a virgin...
She has never defiled herself / or abandoned herself to men / like the other goddesses / like some people everyday must.
How sweet is the air here / finally I can breathe / the arguments and the barbarians / all that I wanted was to leave
be the moon
with feet like little doves
A piece of silver
A virgin.
far away
alone
you look at me...
what do you see?
What do you see in the moon above / the mystery, loneliness, your love
So cold and bright in an endless sky / you can’t escape and neither can I
He sees her rise like a hysterical woman / stumbling through the clouds like a terrible omen
Naked and looking over her shoulder / phases in the sky, marking him getting older
My mother says the moon is just a moon
But I know better than anyone
You see yourself when you look at her
It’s your own reflection
What mystery do you see in love / when you look down from the sky above
Or is our drama just too small to see / a speck of stardust in infinity
You see a king begging for perversion / a queen whose only move is to pawn her virgin
A prophet screaming from his dungeon cell / your light can’t reach him, chained up in this well
My mother says the moon is just a moon
But I know better than anyone
You see yourself when you look at her
It’s your own reflection
My mother says the moon is just a moon
But there are things that she cannot see
I wait alone in my own tomb
For a spotlight on me.
2. Mole Eyes
Caught you lookin at me with those mole eyes / I see your phallacy in its disguise / drinking in your palace and hailing your Caesar you got a pretty woman but you don’t know how to please her / instead, you stare at me through a veil of lies
If I added up the times it’d be exponential / your creepiness reigns and it’s torrential / if your sleaze was a disease I’d be the first in line to get a vaccination from the filth in your mind / it’s enough to make a saint go existential
You’ve got money, you’ve got a prophet in a cistern, one clammy hand plays with the rings on the other, events are taking such a strange turn - next thing you know the wind changes direction, fear eating you up like a viral infection...you’re in for a surprise
Caught you sneaking a peek with those mole eyes / the same old perverted stare that I despise / you’re sitting on a throne right next to my mother trying to act like maybe I should be your lover / what will it take to make you realize
You’ve got money, you’ve got a prophet in a cistern, one clammy hand plays with the rings on the other, events are taking such a strange turn - next thing you know you’re losing track of the rhythm, everybody's leaving and the party goes with them...you’re in for a surprise
He hears a prophecy / he hears the beating of wings / we got a prophecy / we hear the beating of wings
You’ve got money, you’ve got a prophet in a cistern, one clammy hand plays with the rings on the other, events are taking such a strange turn - next thing you know the wind changes direction, fear eating you up like a viral infection...you’re in for a surprise
Stop looking at me with those mole eyes
3. A Prophecy
After me shall come another / mightier than I...
The ears of the deaf will open / the blind will regain their sight.
Some of us hear better than others / some can already see
The centaurs hide in the rivers / the nymphs beneath the leaves.
From the seed of the serpent / shall come a basilisk
The little doves will be devoured / by that which is born of it...
Behold! The Lord hath come / Behold! The Son of Man!
Arise from your bed of abomination / the whip of the Lord is in his hand!
I hear a prophecy, meant for me
A prophecy
I hear the angel of death / and I am not afraid / for I know divine truth / I know the path, I know the way
For Him I will be strong / and look towards the light / in visions that I see / the angels speak to me
I hear a prophecy
I hear the beating of wings.
4. Suffer Me to Kiss
(SALOME)
Speak, speak to me / tell me what I can do / Look, look at me / the way I look at you
Let me touch thy body / whiter than the freshest snow / like the whitest lilies / in a field that’s never mowed
There is nothing in the world / as beautiful as you
There is nothing in the world / as transparent as their truth.
There is nothing in this world / for me and you.
We want the same thing, you and I
(IOKANAAN in italics)
Who is this woman who looks at me / with her gilded eyes
By her came evil unto the world / I will not hear her lies!
Back! Daughter of Babylon…I will not listen to thee!
Touch me not - seek forgiveness for your accursed profanity!
Ooh, I wanna suffer
Suffer me to kiss thy mouth
Hand it over to another,
Suffer me to kiss thy mouth
Let me touch thy hair / like clusters of black grapes / black like when the moon is new / and the stars are all afraid
There is nothing in the world / as beautiful as you
There is nothing in the world / as transparent as their truth
Touch me not! Profane not the temple of the Lord God! (By that I mean this here body!)
Ooh, I want to suffer,
Suffer me to kiss thy mouth
Hand it over to a lover,
Suffer me to kiss thy mouth
Let me kiss thy lips / scarlet like the reddest fruit / vermillion pomegranate / this is all I ask of you
Suffer me to kiss thy mouth, Iokanaan...
You don’t know love/You know not what love is, but I do...
Love is with me here / and I’m so much happier than you
You will never get / what your shallow heart desires in this world, you belong to this world
You will never escape / for the walls are the walls of your little mind in this world, you belong to this world
You belong to this world... and the moon shall become like blood...
You do not know love.
Now you’ve got words for me, your tongue is like a snake, your body’s hideous, a wall to which I’m chained, your hair a knot of serpents coiled around your throat, pale flesh like a dead man swinging from a knotted rope. You are obsessed with death, you wear a crown of thorns, empty like a black hole where the universe was torn. Am I profanity? Your venom works like glue - do not mock my misery, in this abyss I share with you - suffer me to kiss thy mouth, Iokanaan.
HEROD
Come bring forth the wine / the nectar of the gods divine / dip your little lips, take your tiny sips / I’ll drain the cup! Salome!
SALOME (in italics)
I am not thirsty, Tetrarch.
Come eat fruits with me / I love to see the mark of thy little teeth / just a little bite, just whet your appetite / I’ll devour the rest! Salome!
I am not hungry, Tetrarch.
Come sit next to me / I’ve been saving you this special seat / (your mother’s been keeping it warm for me!) / You can have it all! Salome!
I am not tired, Tetrarch.
But the wind! And the moon! And the blood I slipped in this afternoon! lll omens, everywhere I go - ohhhhhh! oh! OH!
Salome, please dance for me / in the air I hear a beating of wings / help me escape, I’ll give you anything! / You can have it all! Salome! (x3) / One more time, everybody! / SALOME!
I have no desire to dance, Tetrarch.
6. The Lullabye
Speak, speak to me, tell me what I can do / look, look at me, the way I looked at you / funny, isn’t it, that you can’t seem to open your eyes / open to love, it seems like your heart was too wise / or maybe it was just your pride
There was nothing in the world as beautiful as you
There was nothing in the world as transparent as their truth
There is no sound / I hear nothing but a terrible silence / I have the right / to have the thing that is mine / and it’s strange, is it not / your tongue that red viper, now silent / your hair like black grapes / now crushed into wine / your lips now cannot resist mine.
There was nothing in the world as beautiful as you
There was nothing in the world as transparent as their truth
There was nothing in this world for me and you
We want the same thing – you and I
7. The Kiss/Into the Abyss
Ah, your mouth I've kissed, Iokanaan. Ah, I have kissed, your mouth...there was a bitter taste on your lips. Was it perhaps the taste of blood? No! Perhaps the taste of love! They say love has a bitter taste...
ooo there are billions and billions of stars my love, and billions of galaxies, far beyond what your eyes can see
and there's endless possibilities, in this incomprehensible infinity
and we ride a wave of time together, and it takes all of our combined effort
so don't be afraid, of the things from which you're made
i looked into the abyss, and it asked me for a kiss
i looked into the abyss, and it offered me a kiss
ooo there are billions and billions of hearts my love, and they beat with me, onwards towards infinity
and there's billions and billions of energies, in this endless sea of possibility
and we ride a wave of time together, and it takes all of our combined effort
so don't be afraid, of the things from which you're made
i looked into the abyss, and it asked me for a kiss
i looked into the abyss, and it offered me a kiss
i stared into the abyss...and it danced with me like this!
i looked into the abyss, and it offered me a kiss...ahhhh...
don't be afraid of the stars from which you're made / don't be afraid this universe is not a grave / don't be afraid of the things from which you're made / don't be afraid...don't be afraid