By Alix Cohen

Billie Dawson (Sally Mayes) has returned to Livingston, Texas to clear out her mama’s house after she passed. Her Southern-influenced accent—closer to Louisiana and Arkansas in rhythm and phrasing – has organically returned. As the heroine goes through belongings, she’s interrupted by several well played phone calls. Memories arise in story and original song.

“For every moment in your life you can’t control/The contradiction of a southern soul…I need to feel connected and I need to let it go…” she sings. (written with Tex Arnold) Lyrics are thoughtful, melody lovely.

A photo of her father evokes first shared recollections (it would enhance the moment to see a real picture) “When I was two, my daddy discovered I could hold a pitch, so he taught me everything…” (He was a jazz guitarist.) “I think I look like daddy,” she says with a small sigh.

Except some theatrically effective, concocted aspects ,the story is that of the playwright. At five, she opened for George Jones as “Little Miss Dynamite”, unexpectedly having to cover for him late on a drunk. “I kept singing the only five songs I knew over and over.” Her reward was large type, top billing the following week.

Billie relives in the telling. We see excitement, nervousness, and surprise flicker across her face. Every reminiscence emerges with the shadow of painful letting go. Warmth emanates from the stage. Nuance is exceptional. There’s no fourth wall.

“The women in my world ruled by manipulation and humor. No wonder I thought I could do anything.” Having caught the performance bug, Billie forced her brother and sister to learn routines. We see a straw hat and cane excerpt. “First you take your hat and give it a pat…”

Her mama, an elementary school teacher, loved shopping and dining out. She collected leftovers, then never ate them. The kids would regularly toss take-home containers. We meet gregarious, bent-backed Maeve, the restaurant tea lady, wheeling a cart.
“You want summoar tea? I am the beverage technician.” The character has a raunchy side and few boundaries.

“Mama was a little bit fey. We all just called her little episodes, pearls…” A box of romance books elicits the rousing “Dagmar the Pirate King” (written with Tex Arnold.) One can easily imagine its cover illustration. Her mother was in a club that featured bodice-ripping books. Affection sours when something precious is meanly withheld; description becomes rueful. Nothing is cliché or pat.

Billie disinters and ominously handles a pistol and a bottle of blush wine. She intermittently swigs despite acknowledging she shouldn’t. Clearly there’s a history of abuse. “Whiskey Lullaby” (written with Ethan Fein) is lilting and liftable: “Rockabye baby/And a J & B for daddy… Drop a dollar in the hat/Support your local laddie…”

A serious accident and illness occur. Billie is conscripted into taking caring of her siblings. She calls the youngest, “My Boy.” (written with Tex Arnold.) The depth of this relationship is palpable. Having all but raised a family, the young woman resolved never to marry, then met her musician husband, Bob. She now has a son of her own. We hear the sweet, country, “Somebody Sent Me an Angel” wrapped in gratitude and amazement. (written with Ethan Fein.)

Two splendid, wrenching songs (written with Alex Rybeck) illuminate the surprise underbelly of Billie’s story. Though clues had been left, we’re shocked. Mayes knows where and when to channel the panoply of emotions; nothing excessive; nothing before its time. We’re on her side all the way.

Direction by Brett Cullen deftly utilizes space and props . Pacing takes us on the journey.

The show is captivating, moving. Mayes’ vocals are splendid.

Sally Mayes is a Tony-nominated actress and singer known for her work in theater, film, and cabaret. The artist is celebrated for her wit, vocal skill, and storytelling. Mayes has built a parallel career as a concert artist and teacher.

Performance Photos by Jeff Harnar

Contradiction of The Southern Soul
Written and Acted by Sally Mayes
Lyrics by Sally Mayes
Music by Sally Mayes, Tex Arnold, Alex Rybeck, and Ethan Fein
Orchestrations by Cooper Baldwin
Daryl Kojak- keyboard; Alyssa Kim – violin
Directed by Brett Cullen

United Solo at Theater Row 410 West 42nd Street
Repeated on April 9, 2026 at 8:30 pm & April 12, 2026 at 2:00 pm
Tickets: https://unitedsolo.org/the-20th-annual-united-solo-theatre-festival/contradictions-of-the-southern-soul/