Deemed “truly spellbinding” by Michael Barbieri for NiteLife Exchange, Christina Pecce is a singing-actress who crosses over the genres of opera, musical theatre, jazz and performance art. She was most recently seen as Aldonza in the Timber Lake Playhouse production of Man Of La Mancha and before that Earth To Kenzie and Jesus Christ Superstar with Lyric Opera of Chicago.
Pecce’s cabaret series Witches, Bitches, and Divas! returns to Feinstein’s/54 Below on Thursday January 30th at 9:30 pm, with Musical Director Steve Bass, percussionist George Darrah and bassist Nick Francese. The show features standards and songs from musicals and operas—plus a night of cross-over comedy, all designed to put a spell on you!
NiteLife Exchange (NLE) celebrates Christina Pecce (CP) with Six Questions:
NiteLife Exchange: Praised for your “astounding vocal expressivity” and “soaring full voice,” your’re a singing-actress who crosses over the genres of opera, musical theatre, jazz and performance art; when did you realize you have a gift and what were some of your influences?
Christina Pecce: Somewhere out there is a home video of 4-year-old me singing “A Whole New World” fully donned with a blanket cape, self-made stage and toy microphone. I’d say from that point on I knew I was destined for the performing arts. My uncle, John Michael Flate, had a prosperous career as a fierce Broadway triple threat. I was in second grade when he was in the National Tour of Damn Yankees and when they were touring through our home state the cast was gracious enough to come to our school for a performance and talk-back. Years later, I remember sitting in the orchestra pit while he was touring with Sunset Boulevard. I have him to thank for branding the love of theatre into my psyche.
NLE: You completed your Master’s Degree in Opera Performance as a scholarship student at The Boston Conservatory; how did you eventually get your start in Cabaret? What made you decide the time was right?
CP: Though my professional career began as an opera singer, I always knew musical theatre, jazz, pop, and later even country, were all in my wheelhouse. After years of being told I could only choose one venue of performance I decided that wasn’t good enough for me and continued my work in other genres. I had the honor of working with Marilyn Maye in 2016 and that really opened my eyes to the cabaret genre. By the summer of 2017 I had a title and a concept of a way to combine all the things I love to do into one evening. That fall, I received a rejection that hit harder than most. It was the impetus to put the wheels in motion for Witches, Bitches, and Divas! By January 2018 we had our first show booked.
NLE: What can audiences expect in Witches, Bitches, and Divas!?
CP: Audiences can expect to hear classics from the musical theatre and operatic canon with a fresh spin. Of course, we center our programming on witch, bitch, and diva archetypes but we also play with current pop stars, famed jazz singers and even country moguls. Our set changes every time. For our upcoming show at Feinstein’s/54 Below on Thursday, January 30th at 9:30 pm, we have a handful of special guests on the program. We may also have some quick changes in store…
NLE: How did you source material for your show? Do you have anything in mind in regard to the future?
CP: Witches, bitches, and divas happen to be my “type,” so a lot of times I’m pulling from my own audition book. We also source material from artists we’re inspired by, as long as they fit within the category. Steve Bass, the music director for our upcoming show at Feinstein’s/54 Below has created a KILLER arrangement of “Love On Top” that I can’t wait to share with NYC. I’ll say it’s certainly Postmodern Jukebox-worthy.
NLE: You were most recently seen as Aldonza in the Timber Lake Playhouse production of Man Of La Mancha and before that Jesus Christ Superstar with Chicago Lyric Opera. What is the most memorable experience you’ve had in your career?
CP: Performing on Chicago Lyric Opera’s stage for JCS was certainly one of the most memorable experiences thus far. The cast was stellar, from Heath Saunders as Jesus to Jo Lampert as Mary and Ryan Shaw as Judas… every show was a masterclass. Between the cast and instrumentalists we had about 180 bodies on stage, which is certainly one of the more epic productions I’ve ever been a part of. Doing Man Of La Mancha was also a career highlight. Both shows are still extraordinarily relevant and touchingly meaningful to so many. They both stand the test of time.
NLE: What do you like to do in your spare time?
CP: It’s easy to get lost inside your own head as an artist. For me, cooking is the only way to turn off. My mom is an amazing cook and would always say “food is love” and I couldn’t agree more. I could spend six hours on a bolognese sauce and be in complete bliss. The best part about it is to share what you’ve poured your heart into with others—kind of similar to performing now that I think of it..
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