Category: Performances

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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

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Review: KARIN MUIZNIEKS’ Filthy Secrets

Risque, risky music theatre that’s both fresh and funny

By Kate Boston Smith

The rumors are true, Karin Muiznieks is one of Melbourne’s best musical theatre writer / composers, and Filthy Secrets is the perfect hot-breathed whisper to convey this exceptional talent. 

Unsure of what to expect when I took my seat, as the first song started my mouth curled into a half-moon and maintain that position for nigh on the next 55 minutes. Muiznieks and her team of talent have pieced together a jet stream of sketches that move from light-hearted over-bearing stage parents to more darker elements of sexual perversions in the society in which we all live. 

On stage with her are the flawless musical performers Cameron Thomas, Karlis Zaid, the ever-gorgeous Louise Joy McCrae and sibling/ fellow musician extraordinaire Emma Muiznieks. Together this ensemble produces choral completeness, jazzed-up jives and crooning tales of misunderstood woes. 

Interwoven into these delightful sounds are stories, tales and conversations which we all can relate to or comment on.  From sexually confused footballers and snooty Toorak housewives, to modern-day women with casual sex on the brain, no one is safe and nor should they be.  This is a show that explores and pokes fun at multiple facets of society with no-holds barred.

There was one sketch that was particularly risqué.  As my body squirmed in the “oh no” awkwardness of the sketches content, my head processed the intention behind this particular piece, a commentary on media outlets and the public’s obsession with celebrities.  This is a topic very fitting in today’s media climate in light of the controversy around the News of World phone-tapping scandal. 

Controversy aside, this is a show that is sleek, funny and setting the tone for modern musical theatre.  It is fast-moving to the point where you don’t notice time slipping beneath you, with performances that are strong and worthy of praise and applause they evoke. 

This is an ideal show both for those wanting to dabble in cabaret for the first time and for the more seasoned audience member: a perfect representation of fresh musical theatre with a dark, comedy bent.

Tonight Thurs 21 July at 7.15pm


$35 / $32, The Ballantyne Room, South Melbourne Town Hall

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REVIEW: Emily Taylor in HELLO YOU

This kamikaze cabaret is ambiguous, off-beat and excessively endearing

By Bradley Storer

Emily Taylor made her entrance wearing only high heels, a long coat and a confident smile. She wordlessly appraised each individual in the front row before presenting one particular lady with a bouquet of flowers. This opening managed to encapsulate the spirit of the entire show: intimate and mysterious as well as friendly and touching.

This ‘kamikaze cabaret’ mixes stories of childhood, family and heartbreak with dreamscapes, songs and improvised interactions with audience members to create a piece that bounces from topic to topic with child-like energy and enthusiasm.

The audience are treated like the inhabitants of Emily’s constantly shifting dream-world, changing from strangers to childhood friends without warning. They are kept constantly engaged through quirky games or the sentimental mementos Emily occasionally passes around for show-and-tell.

The rapid shifts in time and place can be disorienting, making it difficult at times to keep up with the flow of the story. However since the aim of the show appears to be to depict the fluctuating terrains of memory and dream, this ambiguity actually makes sense in context. The effective lighting design helps to minimize the confusion and creates a unique space for each territory encountered.

Emily Taylor is utterly charming, her bright open face instantly endearing her to the audience. Her enormous energy and commitment, combined with some ingenious and creative staging, turn what could have been clichéd material into something unique and hilarious (my particular favourite was the subtly filthy trampoline gag). Emily skilfully handles improvisation with the audience, constructing stories about the lives of the audience members which she then blends seamlessly into her final monologue. Her accompanist Quinn Stacpoole provides responsive and illustrative backdrops against which Emily’s tales and dreams play out.

The sombre finale of the show gathers up the fragments of all that has come before into a series of interconnecting monologues, weaving together haunting images of death, aging and loneliness. All these subjects appear, albeit hidden, in the stories throughout the show and provide a surprisingly appropriate conclusion to this seemingly light-hearted piece.

The final performance of Hello You is at 6:45 on Thursday 21st July, at the Auspicious Arts Incubator, 228 Bank St, South Melbourne as part of the Melbourne Cabaret Festival.

Ticket prices: $33 Full/ $30 Concession

Tickets can be booked online at MelbourneCabaret.com

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Review: ANNE EDMONDS in Ever Since the Dawn of Anne

A side-splitting night of songs, sin, Maccas mayhem and banjo-playing

By Maxine Montgomery

In Ever Since the Dawn of Anne, Anne Edmonds attempts to cover everything she’s ever done wrong. Before the show, I noticed on three sticks (or are they canes?) in a cylindrical vessel on the stage. In the front row, a fellow audience member gestured towards the stage and was heard to say, “She’s evil”. Were we all about to receive a good beating?

What the audience did receive was a highlights tour through Anne’s various crimes and misdemeanours – cigarettes, beer, vodka, hangover recovery, desperate attempts to get a man’s interest, driving disasters and more. Opening the show with an original title track, Anne immediately had the audience on side.

It would be hard to conceive of a person who would not be drawn in by Anne singing the line “Bless me, Father, for I have sinned” – a line she follows up with an inane yet winning smile. It was a fabulous through-line to the show to hear this main theme on piano as a recurring bookend to each new story.

Following the opening song, Anne walked us through two long stories of wrong doings from early in her life. Some performers attempting extended sections of dialogue that aren’t broken up by songs may struggle to keep an audience engaged, but Anne’s inimitable delivery – the right mix of charm & self-deprecation – had me totally absorbed, and fascinated to see what was going to be the next thing to come out of her mouth.

My favourite moment in the show was Anne announcing that the next confession to be so shocking that it had to be told in song – a morning-after-the-night-before trip to the local Maccas drive-thru which ended in the most horrifyingly expensive scenario imaginable! I have to say I laughed till I cried.

Anne’s partner-in-crime is her accompanist, Amy Bennett. Amy’s piano expertise is most evident, and it was wonderful to see their collaboration, with Amy so competently providing harmony vocals to Anne’s melodies.

For a highly amusing evening with this pelvis-thrusting, banjo-playing troublemaker, get along to Anne’s second and final show tonight for the Melbourne Cabaret Festival, Thursday July 21st at 6:30pm in the Lamond Room, South Melbourne Town Hall. Tickets available at melbournecabaret.com or by calling 1300 640 801, or visit the festival box office located outside the South Melbourne Town Hall.