Everett didn’t always exhibit the confidence she does today. At Joe’s Pub, the subversive 42-year-old kissed a 17-year-old girl and sat on a man’s face, among other highlights. “I want people to feel like they’ve made a friend.” A very close friend: when she’s onstage, anyone in the audience is at risk of being used as a prop.
“I think it’s important to share all sides, without making it a clichéd ‘one-woman show.’ I want it to be like a party, but not like you got trapped in the corner with the drunk party girl,” she said. Besides belting out raunchy “club bangers,” she also soberly tells stories about her dead father and sister, her mother’s failed Broadway dreams, and growing up as a tomboy choir girl in a family of six in Manhattan, Kansas. “It can’t just be tits and dick for an hour,” she said. Everett’s voice has a hint of the Midwest, and sounds like a phone sex operator crossed with the narrator of a children’s novel. Her daytime alter ego meets me in a modest black maxi dress and flip-flops, dripping sweat. I meet her for iced coffee and turkey sandwiches on a humid afternoon the day after a raucous, sold-out show with her band, the Tender Moments.
It also includes more introspective, melodious material (“Why Don’t You Kiss Me?”) and uses more ambitious arrangements, with backup singers and a band. Co-written by Tony-winners Marc Shaiman and Scott Wittman as well as Beastie Boy Adam Horovitz and Matt Ray, Rock Bottom includes songs like “I’m in Love With a Married Man,” which pays reverence to Chris Martin, and “Let Me Live,” an ode, Ms. Everett to create Rock Bottom, a show that began a five-week run at the Public Theater September 9. Last year, with the financial assistance of the National Endowment for the Arts, Joe’s Pub commissioned cult alt-cabaret singer Ms.
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