Considering how many film soundtracks Rufus Wainwright has contributed to, his live performances are fittingly cinematic.
Rufus’ third time in Kansas City brought him to the gorgeously remodeled Midland Theatre. A venue that houses ballet and theater performances among its gold furnishings and red drapery. Rufus’ piano provided a stark silhouette against a the cool solid colors lighting a backdrop screen during his sister, Lucy’s, opening performance. Lucy Wainwright Roche stood alone on the big stage: just her and her guitar. For anyone else, it would have been too big a space and swallowed them up, but somehow, Lucy made it intimate. It was more like an intimate show at a friend’s apartment or a a coffee shop setting. She talked to the audience in between each of her songs as if she had known each and every member for years. Lucy even invited everyone to find her on Facebook. “We already are!” shouted one guy in the crowd. Lucy chuckled, “Well, it’s nice to finally see you.” She made lots of mediocre jokes, but it didn’t matter. The audience laughed anyways and she never promised to be a comedian. She’s a singer and that is something that she is without a doubt talented at; the cliche ‘voice of an angel’ actually applies to her. Her lilting songs told stories about subjects ranging from her family to awkward first dates. It was a pleasant opening, but a very stark contrast for what was about to come with Rufus.
When it came time for Rufus, a member of his crew came out and announced that his set would be done in two parts. For set one, applause was asked to be held until the end, but that the audience could do whatever it wanted in the second half. This left people scratching their heads, but an answer was soon to come to explain this unusual request. 
Set one was dark. Very dark. Yet, it was also tinged with an almost ironic humor at times. A spotlight appeared on the piano in Rufus slowly appeared from side stage. He marched toward the piano in a long black cloak with feathered shoulders that mirrored his hair feathery hair style. He didn’t smile or say a word before he rested his hands on the keys. Then, he began playing. A large eye appeared on the video backdrop screen. As he played, the eyes multiplied. Blinking at different speeds. It was fascinating, but creepy. Some of the eyes had more wrinkles, cataracts and glistened with the threatening approach of tears. Other eyes, were wide and youthful. But what all the eyes had in common was the outline of a person reflected in the pupil.
Meanwhile, while the eyes told their story in the background, Rufus’ hands were flying across the piano in a way that would have made Mozart envious. The piano melodies were complete songs within themselves, but Rufus still had his stories to tell. He sang sonnets about relationships, life and his family. Lyrically, some might be taken aback by the straightforwardness of his lyrics, “Your nose is too big for your face,” being one such lyrical example. But the guy is smart, talented and that’s just how he tells his stories. From this first half, “The Dream,” really stood out. The blistering fast piano line and big dynamics would have made this a great way to end, but he kept playing and instead ended this set on a slower, quiet number. Again, without a word, he turned from the piano and marched off the stage into a spotlight emitted from the side stage.
It was beautiful, but heavy material for a Sunday evening, especially for people used to the goofier side of Rufus’ music. What would the second half bring?
The stage was quickly transformed by the addition of candles covering the ground.
When Rufus came out for set two, it was a more colorful Rufus in both appearance and performance personality. He wore a suit splashed in a blend of oranges and pinks. He smiled, waved and spoke to the crowd, offering up explanations of his songs and detailing his past visits to Kansas City. Before even playing a song, set two was already cheerier. It was very cathartic to have the tension of the first act relieved by this. If the dark eye performance had been it for the evening, then that would have been too much. The audience needed this cheerier side of Rufus. 
“It’s ok to cheer and clap,” Rufus said as he began the opening chords to his “Hallelujah” cover. The audience had been a bit timid leading up to this and seemed to appreciate that it was ok to geek out over the popular tune. Though this is the tune that probably would have gotten the audience to brave singing along, no one seemed to want to ruin the perfect blend of Rufus and his sister’s surprise addition of vocal harmonies to this song. It was beautiful.
Though audience singing along was sparse, people were still really into it and from “Hallelujah” on, the audience did seem a lot more engaged. When Rufus ended on the also popular “Cigarettes and Chocolate Milk,” the audience offered a standing ovation. He quickly returned for a three song encore that included a beautiful cover of a song by his mother who recently passed. “The Walking Song,” was a lovely love song that emitted both his love for his family, music and fans. It was a perfect way to end the evening.
Photo contributions by Alex Reed, Inc.
