MUSICIAN CHANTEUSE FAUX QUEEN PLAYWRIGHT
songstress . storyteller
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
Josh Staples of TVT/The New Trust playing trixxie's EP on his radio show!
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
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
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