Shara Worden is a rock star. Performing under the name My Brightest Diamond, she crafts mournful, operatic songs, her otherworldly voice swallowing the listener. Each delicate piece remains impressive in its live form, but she injects enough charisma to make even the quietest ballad engrossing.  Like fellow Sufjan Stevens collaborator St. Vincent, Worden defies easy categorization. A one week span saw Worden at her most versatile, as she performed a mostly acoustic set at Other Music, a record store in Greenwich Village, followed by a full scale performance at the Gramercy Theater, 20 blocks uptown.

Worden has an obvious appreciation for theatrics. Replete with accessories, she resembles a stage performer in an avant garde musical. Indeed, the Gramercy show began with a bizarre puppet show, accompanied by minimal guitar-work. When Worden emerged with her sizeable orchestra – a full string section and multiple percussionists – the show took a giddy atmosphere.  The band passed around party hats, and Worden invited the crowd to get their faces painted (She had a black and white diamond on her cheek.) While somewhat precious, her actions were ultimately charming, particularly when backed up by formidable musical skill – and some killer dance moves.

The setlist contained selections from her debut, Bring Me The Workhorse, and the recently released A Thousand Shark’s Teeth. Two covers – Prince’s ‘When Doves Fly’ and Edith Piaf’s ‘Adieu Mon Coeur’ – added a sense of adventure, as Worden strutted around the stage, slashing at her guitar. Although her studio recordings contain a hushed solemnity, Worden was dynamic, and her collaborators added a full, authoritative accompaniment.  Worden is comfortable with soft, as on the minimal ‘If I Were Queen,’ but the triumphant moments stood out, such as her new single ‘Inside a Boy’ and the crowd favorite, ‘Golden Star.’

It’s no surprise that the music has appeal, but for an artist that treads an experimental path, Worden’s stage presence is comfortingly familiar. She’s achingly sweet, but a sense of mischief prevents her manners from being overly stiff. Throughout the set, she encouraged audience participation, from singalongs to laughter at her various personas, including a druggy’s drawl. Clare Manchon from local group Clare and the Reasons joined in on ‘Gentlest Gentleman,’ but it was the crowd’s ‘la la’s’ that made the experience truly communal.  Thus, what was merely a spectacle, became a real party.