Month: July 2011

Events, Performances, Review, Theatre, Whats On

Review: OBSERVE THE SONS OF ULSTER MARCHING TOWARDS THE SOMME

A brave war effort in theatre

By Anastasia Russell-Head

This new Melbourne production of Frank McGuinness’ iconic play Observe the Sons of Ulster Marching Towards the Somme visually transports us to another place and time.

From the moment we entered the theatre space at the Brunswick Mechanics’ Institute and were confronted with a mist-shrouded cross-shaped catwalk-style stage, the somber palette and earthy textures of World War I set the mood very effectively.

Telling the story of eight young Northern Irish soldiers who are thrown together by circumstance, and who must navigate their own fears and prejudices, this play is compelling in its subject-matter but yet left me strangely unsatisfied. There were some fine performances from the ensemble cast, who bravely took up the challenge of the Irish accents, and Dan Walls is to be commended for his portrayal of the subversive Kenneth Pyper. Nicholas Brien also showed depth and sensitivity as the young blacksmith David Craig.

The play itself is a little heavy-handed – as The Guardian’s Michael Billington writes, McGuinness puts an “excessive emphasis on an apparent Ulster death-wish”. The shortcomings in the script, coupled with perhaps some lack of subtlety in direction, prevented this story from fulfilling its potential to be truly moving. Lighter comedic moments really hit the mark, however, evoking genuine laughs from the audience, and providing a bitter-sweet counterpoint to the main plot.

Visually and spatially this production is quite successful. Having the audience in the round gives visual depth and interesting angles from which to view the action, and I enjoyed the surprising moments of intimacy which this offered. This stage layout is of course much more challenging for sight lines and lighting – a challenge that was generally met very well.

Hoy Polloy has taken the challenge of a tough ensemble play – a work not without its flaws – and has produced a solid production supported by an excellent cast of young actors. If you want to see the next generation of leading men strut their stuff, this is the show to see.

Featuring: Nicholas Brien, Angus Brown, Karl Cottee, Kevin Dee, Mathew Gelsumini, Tosh Greenslade, David Passmore, Ian Rooney & Dan Walls

Season runs until 13 August, 8pm Tue to Sat

Mechanics Institute Performing Arts Centre (cnr Sydney & Glenlyon Rd, Brunswick)

$30 /$24/$20 Tue

Bookings www.trybooking.com

 Enquiries 9005 6734

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REVIEW: Le Gateau Chocolat (UK)

His motto? “In drag, but not a drag!”

By Kim Edwards

On his opening night for this year’s Melbourne Cabaret Festival, UK cabaret sensation and star of La Clique Le Gateau Chocolat got a standing ovation from his wolf-whistling, foot-stamping and highly delighted audience.

Even the demure middle-aged lady to whom he had given the vigorous and pelvis-thrusting lap dance, the young guy who had earlier made the ‘wrong’ choice of dance over song, and the poor straight man he’d made joyous fun off in the front row were on their feet applauding until their hands were sore.

Melbourne announced emphatically that they loved this plump, pleasurable  and piquant performer, and with his grandiose voice and outlandish personality, there is certainly plenty in this performance to enjoy.

Le Gateau Chocolat is everything that’s fabulous about drag, but with his revealing one-piece lycra suit, his beard surmounted by spectacularly beautiful makeup and luscious lashes, and his rich and rumbling bass-baritone voice, this diva is not at all about female impersonation.

His performance, like his ridiculous and glorious wardrobe, is shameless in calling attention to anything and showing off everything. The show exploits all the classic cabaret diva cliches, and his relentless showtune song list is an exemplar of everything cabaret performers should normally avoid – but the wonderful charm of his outrageous character and the fabulous musical arrangements that showcase his beefy and beautiful baritone sound were triumphant crowd-pleasers.

Accompanied by an excellent pianist and cellist, and starring alongside his beloved costume rail Bruce and over-sized suitcases of lycra, Gateau is all dolled up to feed your showtune cabaret and sugary chocolate addictions.

Le Gateau Chocolat’s final solo show is tonight 23 July at 8.30pm in the Grand Hall of South Melbourne Town Hall, but you can also have your cake and hear him too tomorrow night for the festival’s Big Gay Cabaret Sunday Finale! See www.melbournecabaret.com for the details…

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Review: HEY WORLD, HERE I AM – The Streisand Story

Australian artist Avigail Herman celebrates our favourite Funny Girl

By Kate Boston-Smith

 There is no faulting Avigail Herman’s vocal ability and technique. A mainstay of Australian music and theatre, people are more likely to recognize her voice than her name, and it is with this exceptional voice and her tremendous talent that she channels Streisand into the room with us for this year’s Melbourne Cabaret Festival. 

Performing in a difficult space, Herman opens her heart through the songs of Barbra Streisand to her audience. Herman is a true professional in every sense of the word. This show is classic and sleek and Herman is as intelligent as she is talented. 

As the show title suggests, she tell stories of Streisand and her 40-year career while flawlessly covering her beloved and expansive body of music, including classics we all know and love to more obscure numbers that are playful and fun.

Lovers and fans of the stage and Hollywood diva will be on the edge of their seat as each song starts, and again when it finishes as there no knowing where Herman is going to take us next on this journey. The Streisand-uninitiated will enjoy learning about this incredible woman, all she has achieved and where she has come from. 

Songs are breath-taking and wonderfully recognizable.  At times I heard audience members singing along, tapping their feet and at one point, holding their beloveds in romantic embraces.

It was a beautiful show, and ideal for those wanting to be transported to a New York cabaret lounge for an hour of the wintery evening.

Performed by Avigail Herman and accompanied by Peter Bailey

Tonight and Sunday 24 July, 9.15pm


Tickets: $38 / $35


The Liber Room next to the South Melbourne Library (opposite Town Hall)

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REVIEW: The Tiger and Me, and The Nymphs

Speakeasy vagabonds and wartime songbirds

By Kim Edwards

Indie-pop meets wartime swing harmonies as The Tiger and Me, a stunning and atmospheric band of great vocalists and multi-instrumentalists, and The Nymphs, a female quartet with sensational harmonies and style, join forces for the Melbourne Cabaret Festival.

Merging the astonishing talents last night of artists Jane Hendry, Ade Vincent, Tobias Selkirk, Gerard Mason, Tim Keegan, Sarah Galdes, Clare Hendry, Rebekah Chapman and Kelly Day was beautifully slick and musically sophisticated as the groups both traded songs and joined together to perform swing, jazz, torch songs, and elegant indie reinterpretations of unexpected music from the last seventy years.

The atmosphere created was exactly right for a smoky and seductive speakeasy, with simple clever costuming, a wonderful variety of instruments and voices blending sensually, and some sleek and sultry standout numbers such as Brother Can You Spare a Dime and Bei Mir Bist Du Schon.

Unfortunately however, although the musicians and vocalists were wonderfully in tune, the structure of this performance was in severe discord. With all respect to the nice older gentleman in the tux at the podium who provided the incongruous history book readings between every song, the clunky and incongruous lecture-like introductions and overhead projections constantly and irrevocably broke the delicately-evoked mood, and undermined any chance for us to get lost in the musical eras explored.

Cabaret is about interactions not introductions, and integrating music and script in subtle and organic ways. With such talented performers, presenting this history of music as personal anecdotes perhaps by the costumed characters and singing to the crowded audience rather than looking over our heads would prevent the feeling of distancing and disruption that is familiar in concerts and gigs, but so alien to the cabaret genre.

These assembled ensemble of artists ready create spectactular music and atmosphere for cabaret. When their format and scripting builds rather than unsettles this in the future – they will be remarkable.

You can still catch The Tiger and me and The Nymphs tonight and tomorrow 23/24 July @ 6.45pm, though at $33 / $30, tickets are selling out fast.
Performances at The Incubator, Auspicious Arts, 228 Bank Street Sth Melbourne (next to the town hall)

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Review: THE BEST (AND WORST) of Queenie van de Zandt

A loveable and laughable performance

By Kate Boston-Smith

Queenie van de Zandt is a vocal powerhouse filled with warmth and goodwill who knows how to laugh, especially at herself.  Her 2011 Melbourne Cabaret Festival show The Best (and Worst) of Queenie van de Zandt is a fantastic stroll down memory lane. 

Though we, the audience, don’t know these memories firsthand, van de Zandt acknowledges her non-celebrity and celebrates it with gusto and humor using photos, promotional material and personal keepsakes.

With 22 years in the business she has a kaleidoscope of stories to share.  That said, this is not a show written to gloat or big-note (though she has the vocal strength do so should she wish). No, this is a story about her journey; her ups, downs, mistakes and ultimately her passion for singing and performing.  It is like she takes the audience by the hand into the living room for a cup of tea at an intimate family gathering, where she shares pictures, hilarious horror stories and laughter.

Van de Zandt is welcoming and generous, playful and cheeky.  Her song choice displays her incredible, self-taught, vocal ability. Her inspiring song choices include the likes of ABBA, Olivia Newton-John and Joni Mitchell to name a few. 

She commands the stage, yet allows for interaction, sharing the spotlight with her adoring audience.

As she playfully poked fun at her lack of notoriety, I couldn’t help but empathise.  Not knowing much about her before I walked into the show, I can honestly say I left feeling like an old-friend; such is the connection she has with us.

If you are looking for a beautiful, honest show about joy, heartache and renewal all told with warmth and humor then this is the cabaret for you.

Performed by Queenie van de Zandt with Lucy Bermingham accompanying.

Tonight & Sunday 24 July,  8.15pm

$40 / $37

The Incubator, Auspicious Arts,

228 Bank Street, South Melbourne

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REVIEW: Mark Jones and Geraldine Quinn sing SONGS FROM UNDER THE BED

Rediscovering great Australian music, cabaret-style

By Bradley Storer

At the beginning of the evening the two performers, Mark Jones and Geraldine Quinn, were casual as they walked onstage through the audience. They chatted excitedly to one another, briefly pausing to tease three eager audience members sitting in the front row. This atmosphere continued throughout the performance, Mark and Geraldine bantering playfully with one another (and a particularly talkative group near the front) between songs.

Their highly polished performances stood in stark contrast to their informal stage manner. The concept behind this show was to uncover and explore the treasures of Australian song-writing which have been hidden or lost, figuratively, ‘under the bed’. There were a broad range of songs chosen, from Paul Kelly, John Williamson to Claire Bowditch as well as a few originals thrown in.

Geraldine Quinn is a highly charismatic performer, with a large range and a powerful voice. Mark Jones was the perfect foil to her flamboyant stage presence, responding to Geraldine’s continual attempts to make good-hearted jibes at him with a cheekily deadpan expression. With their natural chemistry onstage, the two were a joy to watch.

There were many highpoints during the evening. The first was an exquisite duet of Paul Kelly’s ‘Deeper Water’ which actually brought tears to the eyes of this reviewer. Later there was a suite of Australian murder ballads (not Nick Cave, surprisingly) which related to specific geographical locations in Australia.

Beginning with a hilarious duet about the Snowtown murders, the two took turns with individual songs –  Mark sinisterly half-speaking, half-singing his section before seamlessly passing onto Geraldine who finished with an acoustic rendering of ‘Everything’s Turning to White’ which stunned with its simplicity and underplayed intensity. A surprising inclusion was a sprightly ode by Mick Thomas to the Australian sub-culture of the ‘Cave Clan’ – the concept of a real-life group of ‘subterranean Freemasons’ was unknown to me, and had apparently only been introduced to the performers when they discovered the song. Under the bed indeed!

While a fantastic night overall, a tighter focus needed to be present – sometimes the evening meandered as the performers took too long between songs to banter between themselves and the audience, and the show ended up going overtime and they were disappointingly forced to skip several songs to finish up. Other than this, it was an evening of amazing Australian music sung by two excellent performers which would be a great night for anyone (even those unfamiliar with a lot of Australian music).

Performances on  Saturday 23rd, Sunday 24th July at 6:30pm

The Lamond Room, South Melbourne Town Hall

Tickets:  Full $35/ Concession $32 @ www.melbournecabaret.com 

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Review: SHORT+SWEET CABARET

Short and sweet, just the way we like it.

By Deborah Langley

Who wouldn’t love something called Short + Sweet? In this age of fast food, quick chats and instant messages, cutting our cabaret into short and sweet little ten-minute morsals sound absolutely perfect to me.

For the 2011 Melbourne Cabaret Festival an even smaller package of the Short + Sweet Cabaret series, normally performed at Chapel Off Chapel in November, has been delicately assembled into a one-hour package.

That means, five acts in under sixty minutes – if you don’t like one, just wait ten minutes, ‘cos I am sure you will find something to love in this little collection. So let’s have a look at what they have put together for us:

First up is Mercedes-Benz: Awkwardly. And I’ve got to say, yes she does. I didn’t know where to look for some of this one and I still saw parts of the female anatomy I wasn’t expecting. This honest and raw show by Hannah Williams is a ‘how to’ from the world of stripping. Jumping from documentary-style dialogue,  how-to-instruction and insightful versions of some kitch pop songs, if you ever wondered what it was like to be a stripper, this one’s for you. For me through it was a little too real!

From reality we jump to the farcical with Porcelain Punch Travelling Medicine Show. This one would have to be my favourite of the night, complete with piano accordion and missing teeth. The trio comprised of Emilie Johnston, Madeline Hudson and Paul Bourke performed miracles as a member of the audience went from crippled to dancing a jig in just a few moments. Great characters, great music and a great gimick! They will keep you laughing and thoroughly entertained – old school style!

Two of a Kind is next up, when two identical twins sing about life as a twin, the benefits and pitfalls. This show kept me smiling and is defiantly very very sweet. The twins Dace and Mara Kapsis are very likable with angelic voices and lovely harmonies.

For a single girl, I could completely relate to the next act. Torn: Ten Minutes of First Dates delivers exactly what is says it will in a hilarious and brilliant show. Through song and witty banter we see one guy’s last four dates. Jordan Bowering meets the lier, the nerd, the attached and after three disasters he tries out the non-date. All written and performed with wonderful and relatable humor. A close contender for favourite of the night.

Time to put the laughter aside for the last show of the night, Chants Des Catacombes is a French tragedy that would have Edith Piaf relating. Our mournful songstress plays a beautiful harp and tells tales of woe, how she fell in love and then met her end… but I can’t help but feel that I missed out because I don’t speak French. Although for Anna Boulic, as with Edith Piaf, the message still came through beautifully.

So if you want a night of cabaret with a bit of something for everyone head down to Short + Sweet Cabaret as part of the . Performances in the Council Chambers of the South Melbourne Town Hall @ 6.15pm until this Sunday

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REVIEW: Suade are FOR ADULTS ONLY

Good clean dirty a capella fun!

By Maxine Montgomery

On  Suade’s website, there are quotes from audience members who attended the boys’ 2010 Melbourne Cabaret Festival offering: ““My God, those guys can sing – but I’m glad I didn’t bring the kids” and “I nearly laughed my guts out.”

With those two quotes in my head, I went along to see For Adults Only expecting something akin to the musical version of ‘Men Behaving Badly’.

And the lads did not disappoint!

After dealing with an initial technical audio glitch with the right measure of professionalism and humour, the show began with some classic Stevie Wonder done a capella which got the crowd into the right mood for what would be a night of great singing and fabulous cheek.

I was surprised to find the opening number to be suitable for children – but all that was about to change. Perhaps it was designed to first introduce the uninitiated to the sound of a capella and then hit us with dirty stuff after a couple of numbers.

And, oh man, did it get dirty! That awkward moment with a new love when you’re so nervous you’re coming and going at the same time. The lengths to which you’d go to please your woman – “I would do anything for love, but I won’t do that”. Or exploring the benefits of role play to spice up your relationship.  My personal favourite was Loz’s song of creative insults (his words, not mine). Along with many in the crowd, I found myself simultaneously screaming with both laughter and horror.

The lyrics, the choreography, the obscene hand gestures – Suade know how to have fun and take the audience with them every step of the way. It was delightful seeing the boys trying to crack up each other mid-song.

But more importantly – their singing most definitely has the “wow” factor. One can only begin to imagine the number of hours that go into creating the perfect balance and execution of just one song, let alone a whole program. The final ascending chord of the night had me thinking, “Hot, hot, HOT!” – the sound that the guys produce is polished, tight and more than a little bit sexy.

Suade are an a capella tour de force.

If you’re a fan of damn fine singing, a good clean bit of dirty fun and you are a self proclaimed filthy bastard (again, Loz’s words, not mine!), get along to one of the two remaining shows this weekend.

Suade presents For Adults Only at the 2011 Melbourne Cabaret Festival.

Sat/Sun July 23/24 @ 8pm

Lamond Room, South Melbourne Town Hall

Tickets $37/$34 @ www.melbournecabaret.com

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Review: WORLD WAR WONDERFUL by Karin Muiznieks

Let the battle begin!

By Brad Storer

World War Wonderful! stands as a dark parable about blind patriotism and the cycle of violence surrounding warfare. Luckily for the audience, the near-Brechtian bleakness of its vision comes clothed in hilariously quotable dialogue and insanely hummable tunes.

Greeted upon entry with the projected image of the American flag and accompanied by manic ragtime music, audience members are cast as soldiers watching a USO entertainment show.

Tonight’s performers are the Wonderful Sisters, a trio of energetic, harmony-singing siblings in the style of the Andrews Sisters (their bitter rivals). It is World War Six, Winston Churchill is President of the United States (played on video here by Casey Bennetto) and after many years of profitable war-mongering, the frightening prospect of peacetime is approaching.

The setting gives writer/composer Karin Muiznieks many opportunities to create pastiches of 1940’s musical styles, such as patriotic anthems, novelty songs, dark tangos and syrupy torch songs – all served up with deliciously twisted lyrics and pointed political satire.

Subjects include the advantages of a decorated military love-partner with (several) amputated limbs, sexual ‘warfare’, and a ‘Mr Sandman’ take-off describing the perfect political leader while making jibes at the modern American political landscape. Even those unfamiliar with this period of music will find themselves laughing at the wit and audacity of these seemingly peppy songs.

The three leads, as directed here by Scott Gooding, are all impressive in their individual roles: Louise McCrae as Fanny, the innocent youngest sibling, Laura McCulloch as the cunning middle sister Ruth, and Penelope Bruce as the morally ambivalent eldest sister Gloria. Their interactions and family feuding are perfectly played out as they seek to maintain their wealth and power in a world on the verge of peace.

By the time we reach the end of the show, the sinister conclusion seems both comically logical and chillingly unavoidable. Despite some minor technical problems on opening night, which were competently covered over by the performers, the gruesome message of World War Wonderful! was perfectly executed by all involved.

The Lamond Room, South Melbourne Town Hall

Friday 22/Saturday 23 July, 9.30pm

Tickets: www.melbournecabaret.com, ph. 1300 640 801 or at the festival box office (South Melbourne Town Hall)

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REVIEW: Tommy Bradson in PIRATE RHAPSODY MERMAID REQUIEM

Down into cabaret depths with this seductive and scurvy tale…

By Kate Boston Smith

Tommy Bradson is a passionate performer who barely draws breath during his poetic and emblazed performance.

His cabaret Pirate Rhapsody Mermaid Requiem for the Melbourne Cabaret Festival is an unbridled verbal and musical explosion about love, life, sex and all the murky waters in between. 

It is as though he has been set adrift and drunk the waters on which he floats to then return in search of truth and real connection. 

Celebrating curiosity in a scene where he explores “Without wonder where would we be?”, his show condemns the mediocre meanderings of taken-for-granted lives.

Split into two stories, Bradson’s cabaret serves up a feast of tales and observations.  His words ignite, lighting up the dark theatrette with a blaze that lingers long after he has continued into his next thought. 

Bradson performs in thick accents, one being old, rich, Irish and at times almost impossible to decipher.  This is by no means a hindrance to the performance as it draws you further in.

Moreover Bradson holds his audience by the balls, or whatever they consider safe and dear to them. 

There are few performers who can write and deliver shows to this magnitude of divine agony without making the audience cringe or wish they were elsewhere. 

Pirate Rhapsody Mermaid Requiem is a one-man show with the spirit of 10-strong cast.  It moves, dances, provokes, interacts and evokes sentiment we can relate to in our darkest hours….all with the sharp slap of dark humour to it. 

This is a show that could nestle into the bosom off Broadway or in the crotch of the theatre-set in East London.  It is poetic, it is raw and it is not for the faint hearted.

Pirate Rhapsody Mermaid Requiem is part of the Melbourne Comedy Festival 2011

Written and Performed by Tommy Bradson


Composed and Arranged by John Thorn

Final festival show tonight Thursday 21 July, 8.15pm


Tickets $33 / $30

The Incubator, Auspicious Arts, 228 Bank Street, South Melbourne