A note of the rural southeast moseyed its way into the SoHo Playhouse via the musical, “Gloaming, Nowhere.” The show was written and performed by Appalachian-native artist J.S. Streible with the purpose of encapsulating and broadcasting life in the remote mountains.  

On March 27, I had the privilege of attending the performance and interviewing the husband-wife duo that is producer Mackenzie Spivey and Streible himself. Despite the limited floor space of the theater, Streible utilized every square foot for storytelling during the 90-minute show.  

Prior to the show commencing, classic Appalachian and bluegrass music played through the speakers of the theater, a choice that turned out to be premeditated.  

“Every aspect of the show is heavily curated,” explained Streible. 

Streible played these tracks pre and post-performance, as well as during intermission as an ode to the traditional music of the genre. However, the performance itself is anything but orthodox Appalachian.  

While researching the show and coming across the phrase “neo-Appalachian patchwork kaleidoscopic collage,” I was at a loss for how those words worked together in the same sentence. I was pleasantly surprised when what I heard was a contemporary pop-style version of the classic Southern mountain regional music.  

“We’re calling this neo-Appalachian to delineate that this is not bluegrass old time,” clarified Streible. “It’s very melodic.” 

The musician accompanied his storytelling simply with a guitar or piano which were the only on-stage props throughout the show. Voice was the main instrument, putting a focus on the deeply lyrical songs. 

As opposed to writing specific songs for the musical, nearly all the numbers come from 10 years worth of poetry and songwriting by the artist with some dialogue to simply help the story move along. An “Appalachian patchwork quilt,” as the creator put it.  

The narration covered the rollercoaster of emotions associated with new adventures from apprehension to ambition. A nostalgic air surrounded the production, giving even the audience a sense of life in Appalachia.  

The setting of the show itself could not have been more juxtaposed with its venue, which ended up affecting the content.  

“We had to cut a song for New York,” said Streible, explaining that the song resonated less with an urban audience as opposed to a rural one. “In the south, everyone could relate … It almost was diminishing returns in New York.” 

Every aspect was thoughtfully curated and performed. The accent and mannerisms that the actor adopted stood out as a representation of a resident of the setting, and Streible did a fantastic job at maintaining the Appalachian energy with each new character he embodied.  

The performer did hefty research to find the best form of storytelling, pulling from examples of English minstrels and West African griots. He wanted the show to be a “celebration of storytelling” and invited all interpretations of the show, stating that art should be up for interpretation and talked about. 

Speaking of talking, the dialect had that redneck southern characteristic that was almost indecipherable at times. On top of vibrant dialogue, Streible’s acting was just as animated, relying primarily on physicality.  

The musical was less plot-driven, and focused more on the music and portrayal of characters one would encounter in the setting.  The lack of structure is reminiscent of the title itself, which (surprise) was chosen because of the metaphorical significance and double meaning. 

“Gloaming is a word that basically means dusk or twilight,” Spivey described. “That’s a really good metaphor for the in-between spaces that this show occupies.” 

The fact that the title is reminiscent of the phrase “going nowhere” is a nod to the wandering plot. Despite the show occasionally being advertised as a story of a biracial man living in Appalachia, that theme does not take center stage.  

“This is not going to be a [musical] about a biracial person,” insisted Streible. “I wanted to make something timeless that appeals to everybody.” 

The show does an excellent job of presenting the multifaceted nature of Appalachia. The moments of spirituality and mysticism create an eerie feeling within the viewer but are quickly displaced by upbeat refrains or heartfelt ballads. There was not one moment when Streible’s voice wavered, and his acting justified the lack of other bodies on stage. 

The show is in town until April 5 at the SoHo Playhouse, so if you are looking to be transported to the southern mountains and take in the twang, check it out! And, if you happen to talk to any Southerners, make sure you pronounce it as “Appa-latch-uh” to avoid any mockery.