Tag Archives: cabaret

Review: Little Egypt’s Speakeasy (Grand Moustache / Django Bar)

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grandmoustacheVenue: Camelot Lounge (Marrickville NSW), Nov 6 – 9, 2014
Writers: Luke Escombe, Lucian McGuiness, Dominic Santangelo
Director: Lucian McGuiness
Cast: Brian Campeau, Kelly Ann Doll, Amos Elroy, Luke Escombe, Danica Lee, Lucian McGuiness, Katie-Elle Reeve, Dominic Santangelo, Damien Slingsby, Elana Stone, Aaron Flower, Nick Hoorweg, Evan Mannell, Mathew Ottignon
Image by Frank Farrugia

Theatre review
The term speakeasy refers to the illegal trade of alcohol during the American “prohibition” period from 1920 to 1933, and Little Egypt is the name of an exotic dancer from even earlier in the twentieth century. Lucian McGuiness’ show Little Egypt’s Speakeasy draws inspiration from both, to recreate the setting of a nightclub filled with sounds and sights from the 1950s. McGuiness is leader of the handsomest band in town, with four kooky vocalists, and a beatnik MC who provides the thread that helps us imagine the narrative that the show is vaguely built upon. Incorporated flawlessly are two burlesque dancers and the band leader’s comedic brother Don who owns the joint.

There are some stellar performances in the piece. The dancers Kelly Ann Doll and Danica Lee are both scintillating and drop dead gorgeous. The MC and narrator Amos Elroy has the deepest voice imaginable from a baby face, with a use of words and humour that is transportative and quite magnificent. Singer Elana Stone is vibrant in personality and in voice, and her male counterpart Brian Campeau is simply divine with a Chet Baker style sensuality, only with much stronger pipes. McGuiness is star of the show with an extraordinarily sharp presence that exemplifies the irresistible sexual allure of the entire evening.

Don and his club’s story do not quite take hold, but the introduction of a through line for a cabaret show is ambitious and astute. It is almost human nature to want to follow a plot, and the experience is certainly enriched with Don and the MC bringing cohesion to the many separate items presented. Little Egypt’s Speakeasy brings a taste of the bohemian life to Sydney, and it is delicious.

camelotlounge.wordpress.com | www.lucianmcguiness.com

Review: Desperately Young At Heart (New Theatre)

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roberthofmannVenue: New Theatre (Newtown NSW), Sep 23 – 27, 2014
Director: Stuart Maunder
Cast: Robert Hofmann, Cherie Boogaart, Tommaso Pollio
Image by John Marshall

Theatre review
Robert Hofmann’s work Desperately Young At Heart features the singer in various guises, performing humorous renditions of jazz and musical theatre classics. The show’s title reveals the fun-loving approach taken by Hofmann, but it serves also as a warning that nothing particularly poignant transpires. The songs are linked by a performance that sees Hofmann transform with wigs and costumes, although no obvious narrative connects each incarnation. Its sense of pageantry feels at home in the cabaret format, and while not terribly original, the show does afford an amusing glimpse into the creative mind of its author.

Hofmann’s baritone voice is accomplished and confident, with shades of opera that give his singing an enveloping power. The gender diversity of his characters is a key feature of the show, but Hofmann’s liberal use of falsetto is less effective. Mezzo-soprano Cherie Boogaart’s appearance is brief but memorable. Her comic abilities are competent, but it is her voice that truly delights. Pianist Tommaso Pollio is the unsung hero of the piece, single-handedly controlling the many mood transitions with ease and flair.

The presentation tries to be loud and outrageous, but it is the quieter moments when Hofmann works with more subtlety that resonate better. Desperately Young At Heart strength is the matured skill of its performers, whose expertise is clear to see. It is an opportunity for the artists to practise a genre of theatre different from their usual vocations, and results are mixed. It is not an enormously adventurous venture, but their enthusiasm in presenting a labour of love is quite infectious.

www.facebook.com/robert.hofmann.singer

Review: The Shuffle Show (The Chippendale Hotel)

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elenagabrielleVenue: The Chippendale Hotel (Chippendale NSW), Sep 10 – 13, 2014
Playwright: Grant Busé, Elena Gabrielle
Director: Grant Busé, Elena Gabrielle
Cast: Grant Busé, Elena Gabrielle
Image by 3 Fates Media

Theatre review
The Shuffle Show is a cabaret performance in which Grant Busé and Elena Gabrielle play devoted employees of an Apple store. There are many opportunities for sending up these curiously culty creatures of retail, and the duo makes full use of their every quirk to formulate a show that pays homage to the mega brand, and to deliver ceaseless laughter and amusement. “1000 songs in 1 hour” is their tagline, which seems implausible at first, but just five minutes into their stage time and we become convinced that Busé and Gabrielle’s talent and flair can comfortably achieve more than what our mere mortal minds can conceive.

Both performers are effectively multi-skilled, having written and directed the piece themselves to showcase their “triple threat” abilities. Gabrielle sings extraordinary operatic notes, then teases with a burlesque style number, and does a surprising “wigga” impression with a medley of rap classics. The variety of the show’s format allows Gabrielle to explore a delightful breadth of competencies, and witnessing her mischievous exhilaration in embracing different styles is truly joyous. Busé provides accompaniment on his acoustic guitar for virtually the entire duration, and is equally accomplished a singer and comedian. He does not display as great a range as his counterpart, but is consistently funny and tenaciously present. The strength in chemistry and timing between the two is the third star of the show, and their concluding extended dance segment is as unexpected and ridiculous as it is deliriously entertaining.

Through the journey of a thousand songs, we come to realise not just the pervasiveness of pop culture, but also the thoroughness at which our worlds are penetrated by technology and consumption. Steve Jobs is elevated from genius to saint, and we are powerless in the face of immense corporate voracity. The age of the iProduct continues to proliferate and resistance seems increasingly futile, but artistic talent is the one thing left that Goliath has to fear.

www.elenagabrielle.com | www.grantbuse.com

Review: Noise Complaint (The Imperial Hotel)

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sarahgaul1Venue: The Imperial Hotel (Erskineville NSW), Sep 9 – 14, 2014
Playwright: Sarah Gaul
Director: Sarah Gaul
Cast: Sarah Gaul

Theatre review
Sarah Gaul writes clever songs, and sings with charming bravado. She talks about things she knows, and reveals the concerns of young adults in Australia. Her themes tend to be more whimsical than sobering, but it is on occasions when she touches briefly on more intimate and sadder disclosures that she shines.

Her original material is strong, more memorable songs include Bad, A.V.O., Streetlights and Homesick. The irony Gaul introduces into her song writing does not always translate with enough edge, but the melancholic quality to her world view is endearing. She does renditions of popular tunes by Leonard Cohen and Iggy Azalea, which showcases her impressive keyboard skills and accomplished use of voice. Her connection with the audience however, requires further development. She seems to shy away from eye contact, choosing to be watched instead of finding a way to engage more closely within the relaxed and cozy setting.

It is encouraging to see a young woman taking on the reins to create a career for herself. Like every independent and courageous artist working against the tides of an increasingly capitalistic economy, Gaul should be admired for making her own dreams come true. Time is on her side, and it is with enthusiasm that one looks forward to new songs and new manifestations from a talent full of ambition and promise.

www.sydneyfringe.com.au

Review: Harry & Liv (Glebe Justice Centre)

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harryliv1Venue: Glebe Justice Centre (Glebe NSW), Sep 3 – 6, 2014
Writer: Charlotte Kerr
Cast: Charlotte Kerr, Evan Kerr

Theatre review
Charlotte and Evan Kerr are siblings, and they portray Harry & Liv (also siblings) in this cabaret/musical theatre piece. Harry has been staying over at Liv’s home, causing the place to look a real mess. Harry enjoys being the thorn in his sister’s side, and his constant jibes irritate her as much as the clutter he has unleashed upon her living room. Their sibling rivalry is charming and their banter is entertaining, but the greatest consequence of their squabbles is the music they create around Liv’s exquisite grand piano.

As a work of musical theatre, Charlotte Kerr’s script is delightfully witty, but it would benefit from a narrative that develops more substantially. As a cabaret act, the duo is eminently likeable with very accomplished musical abilities. Charlotte Kerr’s confident and emotive voice has excellent range that sings with humour and beautiful sensitivity. Evan Kerr is a dynamic pianist who keeps the show lively and animated. Song choices can be a little obscure for those of us who are not connoisseurs of the genre, but they are delivered brilliantly, and we cannot help but be impressed by the artists’ thorough familiarity with the material.

It is the simplest of shows, but Harry & Liv is thoroughly enjoyable. The set is economically but effectively arranged and intimately lit, creating a comfortable homely feeling so that the audience is at ease and involved. Indeed, the Kerrs’ hospitality is warm and their company is wondrous. Their talent is the kind that cannot be adequately represented by recorded media, you really do have to be there.

www.facebook.com/harryandlivcabaret

Review: Love And Death And An American Guitar (Highway Run Productions)

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highwayrunVenue: Hayes Theatre Co (Potts Point NSW), Jun 4 – 6, 2014
Playwright: Toby Francis
Director: Neil Gooding
Musical Director: Andrew Worboys
Cast: Toby Francis, Noni McCallum, Andrew Worboys

Theatre review
Jim Steinman is a living American rock legend. Best known for power ballads made famous by the likes of Meatloaf, Bonnie Tyler, Air Supply and Celine Dion, his music is deeply ingrained into pop culture the world over. Like many song writers responsible for the most popular music ever recorded, his fame has never matched those who are centre stage. Toby Francis’ new script is mainly a monologue that incorporates the cabaret format. He performs it with an accompanist, along with a support vocalist who provides a female voice for several numbers. The story gives us some background into Steinman’s work and subsequent estrangement with Meatloaf, then goes on to an imagined depiction of Steinman pitching to us, an idea for a rock opera. Neverland was the precursor to Steinman’s seminal Bat Out Of Hell, but Francis’ vision is assembled like a concerto of greatest hits.

The song list is selected wisely, with many of Steinman’s crowd-pleasers included. Francis is on stage, dressed in denim, wielding a guitar and a microphone stand. On his right is musical director Andrew Worboys on a grand piano. It seems an awkward arrangement, but the rock cabaret works. The glam quality in Steinman’s songs provide a romantic flamboyance that makes sense for the context. Pre-programmed backing tracks give the songs their arena style volume, but all vocals are sung live. There is no doubt that the strongest element of Love And Death And An American Guitar is its standard of singing. The notes that emerge from Francis and his female counterpart Noni McCallum’s voices are astounding. One of the great joys of live performance is to be in the presence of superhuman talent, and these singers’ abilities are beyond what any combination of iPod and earphones can encapsulate. Also accomplished is Francis’ storytelling and the script he has prepared for the show. There is a beautiful lyricism to his writing, although the story does lack vividness at times. His skills as an actor are persuasive enough for the production, but the command over his physicality requires training.

Much as Steinman is one of the greatest song writers ever to surface, he does not have the makings of a rock god. Successful rock stars lend style, attitude and personality to the stage. They need to resonate sexuality, danger, confidence and power. In his show, Francis is positioned somewhere between cabaret, musical theatre and rock. He has a vulnerability that is alluring, but there is a politeness that belongs to the more formal world of musicals. The songs belong to stadiums that seat thousands, but Love And Death And An American Guitar translates them for a much smaller venue, and an entirely different genre of show. Francis sheds new light on these classic tunes, allowing their many fans to fall in love all over again. To borrow from the man himself, “it’s so hard to resist and it’s all coming back…”

www.hayestheatre.com.au | www.highwayrunproductions.com

Review: O.C. Diva (Hayes Theatre Co)

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hilarycole1Venue: Hayes Theatre Co (Potts Point NSW), Jun 15 – 29, 2014
Directors: Hilary Cole, Jay James-Moody
Musical Director: Steven Kreamer
Cast: Hilary Cole

Theatre review
Hilary Cole’s cabaret show takes on the familiar structure of a singer with a microphone, and her musical director on piano. The format works well for Cole, whose voice is an absolute delight, and her ability to convey clear stories and emotions through song demonstrates real talent. As is customary, the song list is composed mostly of familiar standards, but unexpected twists are introduced for added dimension as well as comic effect. Blondie’s 1979 hit “One Way Or Another” gets a surprising mash up treatment with Andrew Lloyd Webber’s “Phanton Of The Opera”, delivering laughs as well as an impressive opportunity to showcase Cole’s musical flair and her musical director Steven Kreamer’s prowess as an accompanist. There is also a one-woman “duet” with Cole being joined by her own impersonation of Bernadette Peters, that illustrates her admiration for the Broadway superstar, and reveals an unexpected versatility.

Direction of Cole’s performance is effective in the comic sections. Her punchlines are subtle but defined, and the jokes are well written. The young performer’s level of confidence is still in teething stages, but she manages to connect well in the venue’s intimate setting. Cole does fidget and stroll around excessively, and her eyes often withdraw into an introspective downward glance, but her passion for the stage is vibrant and infectious. There is a significant portion of the show that looks back at Cole’s experience with obsessive compulsive disorder. The performance becomes vulnerable and truthful, but also overly dark and depressing. Balance is lost here, and one is reminded of the work of Sandra Bernhard and Liza Minnelli where melancholic humour is retained when dealing with bleaker subject matter. Sadness does have a place in the cabaret, but a greater sense of show needs to be applied.

Cole is a beautiful performer, both physically and vocally. She is also a quirky personality, which justifies the choice for a show that is slightly unorthodox in tone. Ultimately, O.C. Diva‘s most memorable moments involve Cole’s singing, which proves to be much closer to perfection than she believes it to be. After divulging her anxieties about personal deficiencies, the show ends at a point of catharsis where she confesses the need for trust. It is evident to all in the audience that she can certainly rely on her talents to take her very far indeed.

www.hayestheatre.com.au

Review: La Femme Boheme (The Spice Cellar)

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lafemmeboheme1Venue: The Spice Cellar (Sydney NSW), Wed evenings
Performers: Mariesa Mae, Penelope Morgan, Olly Stanton, Antigone Foster (guest)
Image by Matt Waugh

Theatre review (of Feb 26, 2014 show)
La Femme Boheme are two stunning burlesque performers, Mariesa Mae and Penelope Morgan. Their residency at The Spice Cellar begins at 8pm every Wednesday night, showcasing a series of numbers, solo and partnered, designed to fascinate and allure. Also present at tonight’s performance were pianist Olly Stanton and guest singer Antigone Foster, providing further entertainment to complement the stars.

The femmes’ show is raunchy but also elegant. It appeals to audiences of all sexual persuasions, as their work is not only about providing titillation. There is humour peppered throughout the evening, with a resulting experience that is cheerily light-hearted. There is a sweet fairy tale, a funny monologue about Mae’s early discovery of the art form in primary school, and a sequence involving multi-coloured balloons worn like bananas on Josephine Baker.

The women are a perfect visual match. They are virtually identical in height and shape, but they are also entirely distinct in personality and styles. Morgan is coy, while Mae is assertive. The yin-yang dynamic gives the show a lovely balance, but Morgan does stand out with a little more polish and confidence. Her sequence in a glorious mirrored bath tub is a show stealer, and truly breathtaking.

Most of the music is pre-recorded, but Stanton and Foster’s live performances add good variety to the evening. The grand piano in The Spice Cellar sounds and looks fabulous, and Stanton playing cabaret and burlesque classics on it certainly elevates the tone of the proceedings. Foster’s vocals are strong and idiosyncratic, giving excellent counterpoint to the headliners, especially in more familiar fare like “Cry Me A River” and “Hey Big Spender”.

At the core of their show is a commitment to creating images of beauty. It is an interesting and rare balance that La Femme Boheme explore, one that does not alienate any adult; man or woman, gay or straight. Desire exists in many forms, and the ladies allow us to relate to them in different ways. Are they goddesses, kittens, heroines, or clowns? The choice is yours, but the performance is best consumed with an open mind.

www.thespicecellar.com.au
www.lafemmeboheme.com.au

Review: The Vaudevillians (Strut & Fret Production House)

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vaudevillians1Venue: The Vanguard (Newtown NSW), Feb 18 – Mar 2, 2014
Musical Director: Richard Andriessen (Major Scales)
Performers: Jerick Hoffer (Jinkx Monsoon), Richard Andriessen (Major Scales)

Theatre review
The premise is simple. Spouses Kitty Witless and Dan Von Dandy were accidentally frozen under a torrent of snow and cocaine in the 1920s, but were discovered and revived in our very recent times of global warming. Both happen to be brilliant performers, and have found their way to Sydney, just in time to present their show for the Mardi Gras season.

Cabaret is about performance. Stories are rarely important, but storytelling is everything. The Vaudevillians are played by Jinkx Monsoon and Major Scales, American artists who are truly of an “international standard”. Scales provides excellent support to his leading lady. He is superb on the piano, and the re-arrangements he has created are intelligent and delightful. The choice of familiar songs by the likes of Madonna, Daft Punk, Cyndi Lauper, M.I.A., and Britney Spears makes for a setlist that would appeal to most, but it is his extravagantly comical interpretations that make them all so thoroughly entertaining. Scales does falter a little in confidence when performing his solo number, but it is wonderfully refreshing to see a highly animated and energetic piano man.

Jinkx Monsoon is a comic cabaret artist of the highest calibre. Clearly, The Vaudevillians is a work tailored to her specific talents and abilities, but the 80 minute show impresses and overflows with scintillating wit, belly laughs and stunning singing. Monsoon’s vocals are powerful, and she seems to have an infinite well of techniques for turning every line in every song into something that earns the audience’s laughter. A segment referencing Henrik Ibsen, “A Doll’s House 2: Electric Boogaloo” sees the leading lady attack Gloria Gaynor’s “I Will Survive” with the greatest amount of flamboyant drama one could ever wish to see. She is like a young Gloria Swanson, only louder and a whole lot sillier.

Combining disciplined training (you can hear it in her singing, and see it with her splits and headstands) and a sense of looseness that is unafraid of heckles and other chanced occurrences, Monsoon’s style is deceptively casual, and incredibly brave. It is live performance at its most thrilling, where the audience feels that anything could happen because the performers and the show’s structure allow, or even ask for it. There is danger in the air, the kind that is completely delicious and irresistible. The Vaudevillians is fun, entertaining theatre. Monsoon and Scales are silly as they come, but without a hint of stupidity, and their show is filled with genuine talent and quite genius creativity.

www.theofficialvaudevillians.com

Review: Short+Sweet Cabaret 2014 (Short+Sweet)

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sscabaretVenue: New Theatre (Newtown NSW), Jan 8 – 19, 2014
Festival Director: Kate Gaul
Musical Director: Daryl Wallis
Image by David Paul Jobling

Theatre review
Featuring a diverse selection from the Sydney cabaret scene, Short+Sweet encapsulates the best of our weird and whacky performers, all of whom are idiosyncratic and many, talented and original. The inaugural event concluded with an awards night where winners were announced (list below), based on votes from a judging panel, as well as audience selections. It is noteworthy that among the 40+ acts, a vast majority of participants were female, even though the winners list reads to be fairly gender balanced. This is a space that attracts female artists, and Short+Sweet should be lauded for its establishment.

Highlights include Thomas Albert and Samuel Valentine, two ridiculously talented young men who wrote several original songs and the script for Dirty Sexy Politics, which showcases their skills in comedy and musical performance. Theirs is unquestionably one of the most substantial and confident compositions in the festival, and are greatly deserving of both their award wins.

Harry & Liv is a sibling pairing, by real-life siblings Charlotte and Evan Kerr. Their musical talents and chemistry as a duo are outstanding, leaving an indelible impression and winning them two awards. The brother’s performance of “I Go To Rio” is a particularly effervescent moment in the festival. There are a few pieces in the festival that would benefit from extended renditions (they are only allowed 10 minutes each), and this is one of them.

Another duo Jacqui Dark and Kanen Breen wow’d the audience with their vocal abilities in Strange Bedfellows, a piece about twisted friendships that features unrelenting camp humour. Camp features heavily in the festival. In Dance With De Vil, Brendan Hay plays Cruello de Vill (Cruella’s son) with enough flamboyance and vitriol to make his mother beam with pride, and to win Best Male Cabaret artist.

Other memorable performers include Anne Wilson who presented two creations including the hilarious Pastor Dorcas who very excitedly warns her congregation about Judas who is known for “back-stabbing” (that’s a paraphrase). Great work also, from Irene Nicola who starts off with a nerdy striptease and ends with some unexpectedly beautiful singing, but not before providing a very dense lecture on performance theory and psychoanalysis.

Musical director of the festival is Daryl Wallis, who must be congratulated for the brilliant accompaniment he provided to more than half the acts. He has had to perform a very wide range of styles for performers from all kinds of backgrounds, and on many occasions, supply crucial dramatic or comedic accents. Wallis’ contribution to the festival’s success cannot be understated.

Peoples Choice for Best Cabaret Dirty Sexy Politics

Judges Choice for Best Cabaret Harry & Liv

Best Original Music Thomas Albert and Samuel Valentine Dirty Sexy Politics

Best Script Cienda McNamara Hardly the Portrait of a Lady

Best Comedy Hardly the Portrait of a Lady

Best Burlesque The Good The Bad and the Fugly

Best Newcomers Charlotte and Evan Kerr Harry & Liv

Best Female Cabaret Artist Cienda McNamara Hardly the Portrait of a Lady

Best Male Cabaret Artist Brendan Hay Dance With De Vil

www.shortandsweet.org