Last Sunday’s tribute to Klaus Nomi was a clear act of love for the unconventional popera star, seamlessly blending his catalog with compositions from a new Broadway musical in development, Do You, Nomi? A countertenor with a unique artistic vision, Nomi cultivated a dramatic onstage persona, described affectionately during the introductions as a “space alien.” For modern audiences, the show blends the camp and theatricality of Eurovision with an extraordinary vocal range and classical roots. Nomi, however, was far from a caricature, and the new musical numbers seek to explore more of the person and the complexities behind the persona.
The tribute featured original collaborators of Klaus Nomi including Joe Katz (bass), Tish and Snooky Bellomo (backing vocalists), and Kristian Hoffman (musical director and primary songwriter). Hoffman, alongside Peter Danish, also composed new numbers exploring Nomi’s life. Three performers brought Nomi to life: David Sabella, Tony d’Alelio, and Jordan Rutter Covatto. Sabella primarily performed the operatic numbers, Tony focused more on the popular repertoire, while Jordan brought a mixture of both. Special appearances included numbers from Rita Harvey and Liz Byrne, as well as Eric Buckley.
The music itself is something of an irreverent fever dream: bizarre, exhilarating, and infectious, with earworms that are likely to stay with you long after the performance ends. Nomi reportedly thought of himself as the “lovechild” of Elvis and Maria Callas, and his operatic flair was evident throughout the repertoire. Although he eventually found considerable success in his homeland of Germany, America was not quite sure what to make of him in the 1980s. Today, in an increasingly complicated political landscape, this delightfully unconventional celebration offers theatergoers an opportunity to escape and embrace the strange, theatrical, and joyful.
Nomi’s original songs were never designed to tell the story of the man behind the performer. For that, the musical’s creators wrote a series of new songs, and the concert made a compelling case that, more than being just connective tissue, they are essential to his life’s score. The haunting immigrants’ song “No Place Feels Like Home” offers a particularly touching glimpse of a man seeking belonging, while “G.R.I.D,” performed to great effect by Tony d’Alelio, is a visceral exploration of the frightening period before the full outbreak of the AIDS epidemic began. “Must the Show Go On,” sung by guest performer Eric Buckley, is another moving addition as Nomi prepares for his final performance.
The new material fits comfortably alongside Nomi’s catalog, while also drawing back the curtain to reveal the vulnerable man behind the otherworldly star. By the end of the concert, there was little sense of a divide between the “old” and “new” material. Instead, the songs came together as a cohesive experience, turning Nomi’s extraordinary life and music into a moving piece of musical theater.
Each performer impressed by using their own distinct qualities to bring a different aspect of Nomi to the stage. If the musical continues toward Broadway, Jordan Rutter Covatto makes a particularly compelling case for the central role, combining a stunning upper range with considerable emotional depth.
The event was held in aid of Broadway Cares/Equity Fights AIDS, making the tribute especially poignant given that Nomi’s life and career were cut short by AIDS. Danish, serving as narrator, emphasized that while the fight continues, Nomi’s legacy lives on in his determination to be himself, even when the world did not always know what to make of him. This theme will likely continue to resonate with audiences, offering an important moment of light amid the tragedy of losing him.
Perhaps most importantly, Do You, Nomi? gives the impression that considerable care has gone into understanding the man behind the public figure, rather than simply capitalizing on the enduring fascination with Klaus Nomi. That respect for his individuality, combined with the strength score, makes the project one worth watching as it continues to develop.
