Category: Cabaret Review

Cabaret, Cabaret Review, Events, Theatre, Whats On

REVIEW: Dracula’s Presents SPIDERLASH: VAMPIRE VAUDEVILLE

Dinner with the vampire is fabulous fare

By Bradley Storer

Spiderlash

After an hour of sampling both the fine cocktails and served a delicious array of meals at Dracula’s Theatre Restaurant whilst being serenaded by a band of vampiric jazz artists, I settled into my seat for the main show –  one could only hope it would match the hilarity of the floor show being provided by the dementedly jolly waiting staff!

Luckily I was not disappointed, and my expectations were even surpassed. After a quick introduction to our various performers for the evening, mixed with a stirring group rendition of Muse’s ‘Uprising’, Spiderlash: Vampire Vaudeville launched off with an opening worthy of a gothic rock opera that integrated multimedia to dizzyingly entertaining effect and set the bar high for the entire evening.

Spiderlash is truly vaudevillian in the traditional sense of the word. One minute we’re thrown a stand-up routine that harks back to a music-hall comedian, the next we’re treated to an arachnid-themed aerial routine before we were surprised with a scintillating drag performance (a cameo by effervescent drag performer Art Simone). Dancing skeletons, a garden of living statues, a magic act that leaves most of the performers in various states of impalement and dismemberment – all happen and we were left glowing with pleasure at the sheer breadth of variety. Throughout the evening the audience is deluged with campy good humour that is sure to delight anyone and everyone (though I advise leaving the children at home) with a few choice moments of seriousness that are all the more effective for their rarity. The production values and costume quality for the show are extremely high with technological fittings for nearly every section that makes you admire Dracula’s for their sheer dedication to providing excellent entertainment for their patrons.

All the performers are exceedingly talented, many doubling as musicians onstage and off, and provide a slick, confident experience, especially when interacting with the audience. Special mention to performer Philippa Harrison, whose strong vocals come to the fore in a simmering burlesque performance of Portishead’s ‘Glory Box’ (with a twist I won’t give away here) that held the audience spellbound for its entire duration.

VENUE: Dracula’s Theatre Restaurant, 100 Victoria St, Carlton VIC

DATES: Now playing

PRICE: VIP ‘A’ Reserve Tues–Thurs $105, Fri–Sat $115, ‘B’ Reserve Tues–Thurs $85, Fri–Sat $95

TIME: 6.30pm for ‘A’ Reserve, 7pm for ‘B’ Reserve

BOOKING: www.draculas.com.au ,  (03) 9347 3344

Cabaret, Cabaret Review, Festivals, Performances

REVIEW: Rachel Dunham in OPRAHFICATION

Talk-show queen becomes cabaret goddess

By Kate Boston Smith

Rachel Dunham is a power-house of the Melbourne musical theatre scene and her show Oprahfication, written and composed with the incredible Shanon Whitelock and directed by Dirk Hoult, showcases the extent of her unbridled talent.

Oprahfication

From the moment she takes the stage, accompanied by Whitelock on keys and a full band, Dunham has the audience in the palm of her hand.  The atmosphere was electric and charged by Dunham’s impeccable transformation into America’s leading lady of the small screen, Oprah Winfrey.  Dunham has Oprah’s mannerisms, quips and throwaway lines down pat and utilizes all possible impro moments with the audience without missing a beat.

The story plays out like biography, so even the few who do not know much about America’s first black billionaire will leave with a firm understanding of how and why people adore this remarkable talk-show host.  Touching on her relationship with her best friend Gale, her love for life partner Stedman and of course her ever-expanding and contracting waistline, Whitelock and Dunham have created a show with monumental LOLs and genuine heart-felt moments.

Having not had the pleasure of being in a recording studio audience with the tv queen herself, Oprahfication is the perfect artificial simulation. Complete with faceless producer bringing us in and out of ad breaks we see change from on-camera Oprah to off-camera Oprah, and we are shown the vulnerability beneath her all-conquering façade.

The show is all original music that evokes the drama, passion and hype one would associate with Oprah herself.  Dunham heads fearlessly into the aisles clapping and singing, with her adoring audience joining in when ever possible.  A truly spectacular moment was during the huge closing number where, in a music break, the audience took over the show chanting in full voice “Oprah! Oprah! Oprah!”.  It took several moments before Dunham could take back the stage and close the show with one of the greatest numbers you could hope to hear in a cabaret show like this.

Oprahfication is amazing: it left this reviewer literally weak at the knees. Get to this show as soon as you can.

This season of Oprahfication took place on Saturday 29 and Sunday 30 June
 at 7pm for the Melbourne Cabaret Festival 2013

Cabaret, Cabaret Review, Events, Festivals, Musical Theatre, Opportunities, Performances, Whats On

REVIEW: Melbourne Cabaret Festival Presents ADAM GUETTEL IN CONCERT

You won’t want to miss this

By Kim Edwards

A music theatre icon quietly strolled into Melbourne this week for a few modest and intimate performances at this year’s Melbourne Cabaret Festival. With a simple entourage of an accompanist and a vocalist, the two-time Tony winner joked gently about his failure to bring sequins or spectacle for the festival, but for his fans a piano, a guitar, a stool, microphones and the man himself were all we wanted. Grandson of the legendary Richard Rogers, performer, environmentalist, and lauded composer-lyricist in his own right for some of the most daring and dazzling musicals you’ll ever hear – and nowhere near enough people know his name.

Adam Guettel

Adam Guettel is the musician’s music-theatre maker: his rich, complex songs and lush, romantic arrangements won his 2005 musical The Light in the Piazza the Tony Awards for Best Original Score and Best Orchestration, and the chance to hear him personally debut new material and perform old favourites is an irresistible one for all musical lovers.

My prolonged love affair with Guettel’s work began with a chance encounter with the ethereal and enthralling song cycle Myths and Hymns, and then an abiding fascination with his extraordinary musical Floyd Collins. Emotion drives all his music: there is no sense that he thinks up a melody and tries to fold it into plot or character. First there is a sweeping, encompassing feeling, and then his songs strive to capture that illusive, complicated human experience in music and lyrics. There is the contrary simplicity and sophistication of poetry to his work, and a wonderful playfulness and experimentation with how the voice might express ‘impossible’ experiences, from the joyous opening number of Floyd Collins where the protagonist sings with his own echo to create the immensity of an underground cave he is exploring to Light in the Piazza‘s ‘Say it Somehow’ duet as the young lovers try to describe an embrace with their vocalisations.

Guettel’s love for giving voice to characters who struggle to express themselves is glorious, from the immobilised Floyd trapped in a tiny cave to the emotionally-stunted heroine Clara, and he has continued to explore this with new works based on the novel The Invisible Man, the movie Days of Wine and Roses and Danny Boyle’s enchanting Millions. And hearing a composer perform his own songs is always illuminating: ‘Dividing Day’ for example has new poignance, and ‘Saturn Returns’ and ‘How Glory Goes’ soared to new emotional heights.

With extraordinary Broadway MD Kim Grigsby on the piano and the stunning accompanying vocals of his fiancee Haley Bond, Guettel offers an evening of disarming banter, personal charm, and enriching, thrilling, passionate music. Tonight (Sunday June 30) is your last chance to hear him perform in Melbourne – 7:30pm at Chapel Off Chapel… Seize it!

Bookings: http://melbournecabaret.com/index.php/shows/adam-guettel-in-concert

Cabaret, Cabaret Review, Festivals, Performances

REVIEW: Joey Arias in ARIAS ON HOLIDAY

International star lights up our cabaret festival

By Myron My

Joey Arias’ Arias on Holidays was the perfect introduction to not only the 2013 Melbourne Cabaret Festival but also to Arias himself. Appearing in a haze of smoke and armed with nothing more than a piano (and a flashlight), Arias was captivating and from the second I heard his voice, I was hypnotized.

Joey Arias

Arias’ jazz and blues tunes are quite breathtaking and he manages to fit in a few other unexpected songs that keeps us guessing as to what is coming up next with a cheeky rendition of a “Hard Day’s Night” by The Beatles proving to be a crowd favourite.

Arias’ repertoire for the night also includes songs from her time with Cirque De Soleil and her 2008 production Arias with a Twist – which sounds like a show that must be seen to be believed.

My favourite song of the evening was “Why Don’t You Do Right?” – most famously sung by Peggy Lee, but Arias owns it. Arias’ finale “Be My Baby” not only continued to showcase his massive talent but also some surprisingly great singing voices from the audience.

There’s no doubt that Arias is channeling Billie Holiday in his music choices and style, but amusing there is an occasional touch of Carol Channing in Arias’ voice too!

Arias is joined on stage by jazz piano virtuoso Jeremy Brenna and the rapport between them is quite frankly, hilarious. Their banter could have been a show on its own and it’s hard to believe they’ve only been working together a short time.

There were a few comically cringe-worthy moments in the show which included Arias shoving a microphone down an unsuspecting “volunteer’s’ trousers and singing into it but somehow Arias makes these all seem – er – ‘above board’…

New York cabaret icon Joey Arias’ Arias on Holiday was an evening of a lot of class and a little bit of crass, but either way, it was an enjoyable venture out for this year’s Melbourne Cabaret Festival.

Joey Arias performed on June 27 and 28th at Chapel Off Chapel as part of the 2013 Melbourne Cabaret  Festival.

Cabaret, Cabaret Review, Events, Festivals, Whats On

Review: Opening Night Gala for MELBOURNE CABARET FESTIVAL

A glorious beginning to this year’s star-studded and spangled festival

By Kate Boston Smith

Opening Night Gala

A festival first born in the garden of delights that was The Butterfly Club’s original address has blossomed out of its next gothic home in the South Melbourne Town Hall to now stretch its sequin canopy over the length and breadth of our music-loving city.

It was a fantastic and bold move by directors Neville Sice and David Read to open this year’s heavenly event at the auspicious and grand old dame of live performance art, The Palais Theatre on St Kilda’s Esplanade.   Lush red curtains and a smattering of sparkling stars pulled cabaret performers close to the practically sold-out audience for an intimate taste of this beloved art form.

Fem Belling, jazz vocalist and leading lady (performing her own show Blossom Dearie at Chapel off Chapel) hosted the Gala with all the flair, playful wit and costume changes one could hope for.  Clearly a night of stand-out acts from the festival, Trevor Ashley and Rhonda Burchmore took parody and adult-only panto to gin-soaked, pun-tastic new heights, with Burchmore proving she has still most definitely ‘got it’.

Divine Gala moments included Yana Alana’s scantily-clad excerpts from her anticipated return in Blue Show (being performed at 45 Downstairs). Gripping all with her lasso quips and razor-sharp lyrics Yana Alana brings a certain cheek to the stage others could only dream of.  New York cabaret icon Joey Arias took us from the cheeky to the sensual with his beautiful channeling of Billie Holiday. His velveteen tones should not be missed in Arias on Holiday at Chapel Off Chapel.

Absolute crowd favorite was the impeccable Mary Wilson, original chanteuse of The Supremes.  Draped in a red gown, diamonds and white mink stole, Ms Wilson was every bit the dream diva.  Performing excerpts from Stormy Weather: The Lena Horne Project, she captivated the entire room with her grace and beauty.

This Gala Opening Night was the perfect initiation into the superb world of cabaret.  All the acts were tremendously chosen, with performers such as Tara Minton, David Pomeranz and Adam Guettel who tantalized all not only with their voices, but literally with the sharing of secrets from their personal lives and work practices.

It is this transformative journey from cabaret room into the mind, body and artist imagination that fuels the fire of cabaret-loving audiences.  This is an ideal time of year to make your way into an intimate performance space to have your soul sparked by some of the best in the business.

The Opening Night Gala took place on Wednesday June 26, 2013. There are over 150 performers and performances running NOW for the Melbourne Cabaret Festival 2013 until 7 July. Check www.melbournecabaret.com for full listings.

Cabaret, Cabaret Review, Comedy, Events, Review

REVIEW: Sarah-Louise Young is JULIE, MADLY, DEEPLY

Practically perfect

By Bradley Storer

Let’s get one thing straight first off: Julie Andrews does not appear in this show.

Julie Madly Deeply

This is the point that both British cabaret starlet Sarah-Louise Young and her accompanist make in the first five minutes of Julie, Madly, Deeply, a loving tribute to the musical/movie star who has touched the lives of so many.

After Andrews’ recent visit to Australia this show could not come at a more appropriate time. Over the course of an hour the audience is taken on a guided tour of Andrews’ life and career leading up to the present day, summoned up through a series of characters (and a grab-bag of comically mismatched accents) who all influenced the British legend in one way or another.

Young as a performer channels her own version of Andrews’ delightful open-heartedness, combined with a goofy comic physique, spritely choreography and a sunny soprano voice. Describing herself as Andrews’ number-one fan, dressed in an awkward pseudo-Maria von Trapp outfit and bobbed brown wig, Young’s adoration for her subject and love for sharing her with an audience creates an atmosphere of intense community.

A downside is that the charmed life of Dame Julie lacks the conflict and drama necessary to make it a truly compelling narrative, which subsequently means the show does not travel along a hugely satisfying dramatic arc. However Young does manage to find some darkness in the sugary sweetness – a manic medley of Andrews’ most famous songs is intercut with the heart-breaking inference that her busy schedule left Andrews no time to deal with the collapse of her first marriage.

Julie, Madly, Deeply is infused with a warmth and glow similar to the great lady herself, coupled with the songs that awaken the child inside any adult with a heart, making this a performance impossible not to enjoy.

VENUE: Chapel off Chapel, 12 Little Chapel St, Prahran

DATES: Friday 21 June – Saturday 22 June (plus post-performance Q&A with Sarah-Louise Young Sat 22nd at 3pm Matinee)

TIMES: 7:00pm Fri & Sat, 3:00pm

TICKETS: At the door, Phone: 03 8290 7000, Email: chapel@stonnington.vic.gov.au, Online at www.chapeloffchapel.com.au

PRICE: $40 Full, $35 Concession

Cabaret, Cabaret Review, Events, Festivals, Late Night Shows, Whats On

Review: YON AND HIS PRISM OF SEXY THOUGHTS

As good as its title

By Jessica Cornish

Yon

Yon and His Prism of Sexy Thoughts had a familiar format to the shows of his famous group act – however it was so smothered with sexual references that comparatively it made Tripod look like a family-friendly entertainment band. Don’t worry though, Yon – a.k.a Simon Hall, hasn’t actually left the comedic trio – he’s just expanding his comic horizons at this year’s Comedy Festival.

Yon, or more accurately known as the Man-daddy, was a quirky and amusing front man, backed by talented musicians, SJ (vocals, guitar, tambourine and piano) and Naomune Anzai (synthesiser and backing vocals), and with the trusty drum-machine tucked into a corner.

Wrapped in his red silk dressing gown and slippers, Yon requested his audience watch the proceedings through a veil of sexy thoughts, which was necessary considering the whole show centred around sexual relations, fantasies and troubles with his wife. His audience participation requirements even included throwing a couple torches into the crowd to ensure two free follow-spot operators for the night.

Yon reminisced in the sadness of losing his virginity at the ripe age of 23 to an ex-girlfriend at the time who pitied him. He also talked of more awkward nights where he morphed into a glorified dildo stand for a stripper, which caused tiny tears to fall on to his wife’s pregnant belly. Yes – I know. Want to know what happened next with Mrs Yon though?  You’ll just have to go to the show because I’m not going to tell you!

His songs were slightly and deliberately uncomfortable at times, but continually hilarious. Memorable tunes still looping in my head included such gems as “0.05% Chance Of F&*#ing Her”, and “I’ll Go Back On The Anti-Depressants If You Do Too“.

If you’re a modest and demure being who feels uncomfortable at the thought of sex, this show probably isn’t for you, but for everyone else it will be 60 minutes of high fun and ridiculousness.

Venue: The Butterfly Club (Carson Place off Little Collins St) CBD

Dates: April 11-13 / 18-20

Time: 10.30pm

Price: Full $23, Conc $20, Group (8+) $18

Bookings:

www.ticketmaster.com.au

Ticketmaster 1300 660 013

At the venue 9690 2000

thebutterflyclub.com

At the door

Cabaret, Cabaret Review, Festivals, Whats On

Review: KARIN DANGER’s Hot Box

Making up as she goes – with make up!

By Jessica Cornish

Last night I journeyed to The Butterfly Club at its new inner city location to – er – enter into Karin Danger’s Hot Box… The award-winning musical comedian presented a mix of cleverly written songs and banter throughout the 50 minute cabaret performance for MICF.

Hot Box

Karin has a terrific voice, and belted out some impressive notes with great force and control. Her original songs were animated and well-presented, and some of the lyrics were both clever and intriguing.

However, her dialogue between the musical numbers unfortunately seemed to fall flat most of the time. To be honest, I’m not really sure what the show was about. Her banter was rather confusing and jumped from idea to idea, whilst she sporadically smeared on another layer of makeup, or completed one of many costume changes.

That said, there was definitely a strange audience dynamic for her performance last night. The audience on one side of the room sat almost in silence throughout the entire show, whilst three or four people howled with laughter throughout the evening on the other side of the divide. Unfortunately I was on the quieter side of the room that didn’t quite seem to get the night.

Karin Danger was accompanied throughout by excellent pianist Cameron Thomas. Initially he appeared to be more like the backing track rather than a part of the performance; however he turned out to be quite a colourful character, providing the show with some extra energy.

Reflecting on this festival show, I appreciate that the cabaret comedy of Hot Box is a safe place where Karin can and others are invited to laugh at themselves. Like her show itself, it was clearly when performing her witty songs Karin was most comfortable with herself and us, and could be happy in her own skin – despite the odd imperfection here and there.

When:  April 09- 21, Tue-Wed 8pm, Thu-Sat 9pm, Sun 8pm

Where: The Butterfly Club, Carson Place (Off Little Collins St) CBD

Cost: Full $23 & Conc $20

Booking: Ticketmaster, at the venue 9690 2000, thebutterflyclub.com, at the door

Cabaret, Cabaret Review, Festivals, Whats On

Review: THE KRANSKY SISTERS – Piece of Cake

Deliciously quirky fun

By Christine Moffat

The three lovely Kransky Sisters, Mourne, Eve and their half-sister Dawn, hail from Esk in Queensland. They have been touring Australia and the rest of the world for over a decade.

The Kransky Sisters

You could be forgiven for assuming that their act must have dated in that time, but it hasn’t. They are as fresh as a spring daisy!The ladies like to perform their offbeat interpretations of songs that they have heard ‘on the wireless’, or while ‘standing outside a discothèque’. Some of their songs are surprisingly recent, and the result is riotously funny.

These seasoned performers also know that there’s nothing much funnier than audience participation, and they milk it for all it’s worth. Two victims were selected last night, and although they were hilariously humiliated on stage, both walked away happy.

A Kransky Sisters’ show is essentially an excellent musical comedy. Over the course of the hour, they fill you in on their travels and their early lives, including some interesting, slightly dark insights about ‘Mother‘. This is interspersed with what they feel are relevant songs to the topic at hand. The combination of their odd tales with some of the best-known cover songs in rock and roll is hilarious.

These very unusual sisters play strange and varied instruments, including (but not limited to) a wood saw, a tuba, saucepan and even a toilet brush! They also have superb voices, and so every song is not just funny, but musically fantastic.

Although their shtick remains almost unchanged from their beginnings in 2000, the show is new and surprising. The entire cabaret show is a whole lot of weird fun that may even get you singing Kransky-style on the train home… Their style is classic but absolutely not dated: I’m sure Mother would be pleased.

The Kransky Sisters: Piece of Cake

Venue: The Hi-Fi, 125 Swanston St

Dates: 10 – 14 April, 16 – 21 April

Times: Tues – Sat 7pm, Sun 6pm

Price: $30 – $39

Bookings:

www.ticketmaster.com.au

Ticketmaster 1300 660 013

At the door

Cabaret, Cabaret Review, Events, Festivals, Performances, Whats On

REVIEW: Geraldine Quinn is STRANGER

Powerhouse voice and delightfully mysterious comedy

By Bradley Storer

A dark-clad figure silently glided into the room, gazing entranced at the audience before taking a seat beside the people in the second row. A powerful voice emerged from beneath the veils, serenading us with how fascinating we humans are. This mysterious and alluring image drew us into the world of Geraldine Quinn’s wonderful Melbourne International Comedy Festival show Stranger from the very start, Quinn keeping the moment from becoming too self-indulgent with some well-timed silliness.

Geraldine Quinn

The veils soon came off to reveal some amazing Bowie-influenced spandex along with the true nature of the show. Quinn’s character, an enigmatic but bright-eyed outsider from worlds unknown, regales us with her captivation with human beings and the myriad ways they relate and interact with each other.

Songs range from an amusing look at the ambiguous joys of family, how to be a half-assed ‘best friend’ and the similarities of love to an immuno-virus. Quinn combines abundant song-writing talent with a stunning voice, her commanding vocals embracing a spectrum ranging from rock goddess to a light-opera diva.

My one criticism would be that the beginning of the show left me a little confused about who Quinn’s character actually was (and perhaps this aspect needs some strengthening), but this became clearer as the show went on. The audience is treated (along with Quinn’s signature intense eye contact and hilariously forceful choreography) to this strange figure’s journey from an outsider observing the foibles of humanity to a willing actor in the drama of the human condition.

A sequence in which the ‘stranger’ unknowingly opened herself up to all of humanity’s inner voices combined heart-breaking confusion with wide-eyed wonder in a way that was simultaneously poignant and beautiful. An engaging hour of comedy/cabaret that both amuses and stimulates the mind!

DATES: 28th March – 21 April

TIME: 8:15 (7:15 Sun)

VENUE: Trades Hall, Cnr of Lygon & Victoria St, Carlton

TICKETS: $22, Conc $18, Group (8+) $18, Laugh Pack $18, Tightarse Tuesday $15

BOOKING: www.ticketmaster.com.au 1300 660 013, www.comedyfestival.com.au , Melbourne Town Hall Box Office or Trades Hall Box Office.